Back catalogue: Funk Soul & Jazz

Review: In a meeting between generations of broken beat titans, Andrew Ashong and Kaidi Thatham's Sankofa Season rightly earned classic status soon after its release in 2020, and now we're being taken back into the heart of these tracks with a heavyweight remix package from some serious talent. Mala's imperious dubstep touch brings some low-end pressure to 'Low Ceilings' or Shy One chopping up 'Learning Lessons' in her peerless deft style, there's a lot of ground covered by this considered gathering of minds. Special mention goes to Equiknoxx's Gavsborg and Shanique Marie, bringing a sweetly soulful touch to 'To Your Heart'.

Review: Back ion 2021, the relaunched Foliage Records imprint offered up a killer mix from NYC house legends Mood II Swing, the must-check Deep Rooted. Soon, the revitalised label will release a sequel, with long-serving British deep house don Atjazz at the helm. This sampler EP boasts six of the highlights from that set - all remixed and reworked by Atjazz himself. There's much to enjoy throughout, from the tense, slowly building deep-tech shuffle of Halo''s 'Glorty (Atjazz Galaxy Art Remix)'and the sun-splashed 6am bounce of Atjazz's remix of Dominique Fils-Aime's gorgeous 'Sun Rise', to the dreamy dancefloor wooziness of Ralf GUM's 'AWA' (re-imagined by Atjazz as an Osunlade-esque spiritual house workout) and the jazzy, bass-guitar-propelled broken house excellence of 'On The Road (Vocal Mix)', a three-way collab between Atjazz, Kelli Sae and The Realm.

Review: Having played a slew of inimitable and unforgettable television comedy characters over the past decade or so, from Toast of London's Stephen Toast to Douglas Reynholm in The IT Crowd, Dixon Bainbridge in The Mighty Boosh and Todd Rivers in Garth Marenghi's Darkplace, you could be forgiven for expecting Matt Berry to use songwriting and music as another form of hilarious release. That's definitely not the case. There's plenty of release on I Gotta Limit, but this is anything other than satire. The first new music to come from Berry's 2025 album, Heard Noises, the two tracks here are pure joy, authentic and genuinely impressive on a technical level. Exchanging lines in a duet with Kitty Liv for the titular number, the vibe is part Northern Soul, part psych rock, and pretty much all completely captivating.

Review: Bouncing his time between Antibalas and his Marcos Garcia and Chico Mann projects, Chico returns after several years of silence with a sweet slice of lolloping broken soul. With its soft padded synths and cotton wool hug of Kendra Morris's vocals, there's a delicate tumble to proceedings as we nod and slide into a sound that's remained in its own soul universe since emerging almost 20 years ago. When done as well and with as much authenticity as this, it's timeless.

Review: Cool Million has long been synonymous with the boogie funk style, which is sadly a genre lost by the late 1980s. Collaborating with singers spanning eras from the 80s to today, they bridge generations of soul, funk, and boogie. Here they work with English soul sensation Kenny Thomas, known for his UK Top 40 hits, who is a cornerstone of the original UK soul scene, boasting eight Top 40 singles and two Top Ten albums. His track 'Without Your Love' exemplifies this genre, a driving uptempo anthem with a funky uplift. The accompanying dub version enhances its appeal for DJs worldwide, affirming its place in contemporary record bags.

Review: UK legend Dego and killer keys-man Kaidi Tatham have been in a rich vein of form of late, dropping brilliant EPs on Eglo, Sound Signature and Rush Hour (the latter under their 2000Black alias). Here, they return to Eglo with four more slices of warm, rich, soul-flecked fluidity. As with previous outings, much of the material has a laidback jazz-funk feel, particularly "Orbiting Uhara" and the delicious "The Vault Descends" (think bustling bruk rhythms and darting boogie synths). They also offer up some tougher, synth-laden bruk-funk in the shape of "Man Made", while "Black Is Key" sees them unfurl a head-nodding vocal roller.

Review: Jalapeno jive maestro Soupasoul had another standout year, in 2024 and only heightened his reputation for crafting exceptional edits that bring new life into funk standards and hidden gems. With a sharp focus on the groove-rich breaks, he is back once again with another instalment that will ignite dance floors everywhere. This time his scorching rework of 'Give It Up' spotlights dynamic horn interplay and soulful jazzy choruses and 'Rock Steady' celebrates Aretha's powerful vocals paired with a killer breakbeat. These finely tuned edits honour the originals while adding fresh energy.

Review: Sole Aspect takes us around the world and to the studios of artists based across Madrid, Switzerland, Los Angeles and Detroit on The Mystic Embrace EP. Opening it up is Ernes Joey & Robbin Hauz with 'U Should Know' (feat Shea Doll - Age Of Rage remix) which is a version by Dubbyman alongside Dan Piu with some delightfully jazzy keeps, seductive deep house drums and aching vocals full of heart. The original is a stripped-back sound with less melodic luxuriousness but the still superb vocal front and centre. Dubbyman then mixes Klima Project's 'Sweetback' into a mid-tempo, cuddly back room deep house sound and Patrice Scott Reshapes it with some crystal-cut synth lines that bring cosmic charm.

Review: Reel People Music breaks new ground, in more ways than one, with the launch of fresh compilation series Broken, Deep & Dope. A spin-off from acclaimed compilation brand Soulful, Deep & Dope - introduced back in 2015 - this new series sees the much-loved independent imprint pushing further at the boundaries of soulful music. All with that customary Reel People feeling. Broken, Deep & Dope 2024, the series' first instalment, unleashes 20 superlative examples of the soulful 'bruk' (broken beat), nu beat and nu jazz sound that has so innovatively informed contemporary dancefloors around the world since its inception back in late '90s West London.

Review: Some expansive, cinematic, orchestral spiritual jazz for you here, from the trio of talents that Fumio Itabashi, Kuniyiki and Henrik Schwarz. While the latter two are generally better-known for their deep and sometimes tech-tinged house and ambient productions, the original mix of 'Watarese' (featured here on side B) is a dense, immersive jazz soundscape laden with evocative Japanese vocals, improvised piano, moody orchestration and definite nods towards vintage free-jazz. Spiritual Life supremo Joaquin 'Joe' Clausell provides the remix and, somewhat predictably, steals the show. His take is gently rhythmic, sun-splashed spiritual jazz full of hand percussion, fluid piano motifs and rubbery double bass.

Review: K15 has never let us down ever since he emerged with a brilliant double pack on Kyle Hall's Wild Oats several years ago. The thoughtful London-based beat smith turns up here on 200 Lack, the acclaimed also London-based outlet for broken beats. 'Resonance' is a gorgeously shimmering and summery opener with pensive chords and lush drumming, while 'Within Reach" then brings some playful funkiness with the majestic squelchy bass work and free-spirited melodies that dart about up top. 'Resistance' closes down this superb EP with more thrilling drum patterns and lithe synths.

Review: London-based beat smith K15 is a UK answer to the likes of Kyle Hall - his house music is steeped in jazz, soul and funk. His drums are dusty and loose - and louche - and his moods are deeply meaningful. His latest EP is another case in point with three more sublime and seductive sounds. 'Still Devoted' is a downtempo cut with analogue drums and gorgeous female vocals soaring up top with the elegance of a church choir. 'State Of Play' has a fantastically cosmic outlook and a nimble bassline that rides its own ride as the synths soar and 'Time Reveals' then closes down with a more melancholic but no less beautiful vibe.

Review: The titular release from Kumomi Records, based in Japan, hears Okinawa salsa band Kachimba 1551 fuse two enduring traditions: Okinawa folk music and salsa. The band embarked on this fusion first in 1998 and have continued their activities in their hometown of Okinawa ever since. A-sider, their rendition of 'Asatoya Yunta', appears first - a folk song said to have originated on Taketomi Island in the Yaeyama Islands, and which has been covered by many musicians around the world (including Ryuichi Sakamoto, Haruomi Hosono, and Akiko Yano). On the B, meanwhile, is 'Uminu Chinboraa', said to have been handed down from 'Ie Island In Kunigami Gun Of Okinawa', a folk song known for its use in traditional party settings.

Review: Former band "Kadri Six" - five men plus singer "Lamia" - have devoted themselves to the real spirit of funk and soul music with the release of 'Cold Sweat' on Sonorama. Their trademark sound is "real", "alive" and "black", with raw vocals, moving organ, hard hitting bass lines and trombone or sax riffs to set every dancefloor on fire.

Review: Son of Todd Osborn (Soundmurderer/Ghostly) Kaito Ian makes a hugely impressing first outing on the Galaxy Sound Co label with a series of lo-fi hip-hop beat-strumentals that cannot fail to get your head nodding. He is a dedicated music lover and skater with a deep knowledge of his craft and that shows here with some refined sounds starting with the soul drenched 'Revert', then on to the warped angelic vocal samples of 'Sequoia' and the percussive jumbled and scratching of 'Trek'. 'Wait Up' is another excellently blissed out joint and 'Sloan' is a sunny, laid back, lazy vibe to close down a superb EP.

Review: Kalita Records are proud and honoured to announce the first ever and official reissue of Kallaloo's sought-after 1982 disco single 'Star Child', accompanied by interview-based liner notes. Originally released on Jeffrey Turpin's Trinidadian record label IDA, 'Star Child' has since become highly sought-after by both DJs and collectors alike as an invisible, yet astonishing piece of Caribbean disco. Unable at the time to gain the traction and success that it deserved, we hope that this re-release provides an opportunity to bring such a great record to a much wider audience.

Kallaloo consisted of various Trinidadian musicians including Keith Alexander and Peter Wayne Barkley. Keith had been well-respected as a member of the Trinidadian group Impact, and was later to become an in-demand producer and composer under the name of Keith Diamond, responsible for various hits by Billy Ocean, Donna Summer, Starpoint and Melba Moore. In contrast, Peter was a well-known recording session drummer, but after 'Star Child's' release he moved to North Carolina to pursue other interests and "was never heard from again".

'Star Child' was recorded at Right Track Recording, in mid-town Manhattan, New York. As Jeffrey recalls, the atmosphere in the studio was "great", with "everyone upbeat, the cream of the crop just looking for that break... everyone was talented and just wanted the chance to express their own ideas". Five hundred copies of the record were released on IDA with a white label design, and they were sold both in Brooklyn, New York and Port of Spain, Trinidad. It was also released on a red label, however this was not to Jeffrey's knowledge at the time.

Jeffrey explains that the reason why the record didn't fare well at the time was because of the difficulty in getting the song played on the radio. As he recalls, radio stations were much more likely to play 'radio versions' of songs which lasted for a couple of minutes, rather than five or seven minute 'extended' versions such as 'Star Child', which were more suitable to a club environment. In addition, as Jeffrey explains, radio airplay is a "political business", and also within a short while band members such as Keith got their own breaks, and the Kallaloo era was over as quickly as it had started.

Review: Dutch label Afrosynth's latest dig into the South African scene of the 1980s and '90s focuses on the career of Kamazu, a prolific artist who released six albums and a handful of killer singles between 1986 and '97. It's a great collection, combining his better-known hits - the mid-80s boogie goodness of "Korobela" and superb 1991 Kwaito smash "Indaba Kabani" - with a quartet of lesser-known cuts from his bulging catalogue. Our picks include the slo-mo Kwaito dreaminess of "Atikatareni" and the cheery, synth bass-propelled brilliance of "Victim", though the standard throughout is dizzyingly high. A must-have for all those who love the distinctive warm, dreamy and synth-heavy sound of South African dance music from the late '80s and early '90s.

Review: Karen Nyame KG, aka the "Goddess of Rhythm," presents her new EP here and it's another one designed for big things. The title track, 'The Remedy,' is a classic soulful house sounds with great bounce and glossy jazz infusions that are perfect for the last days of summer in the UK. Meanwhile, also included is 'Ritual', which is a stark contrast featuring nods to her Afro-electronic roots. It boasts a powerful low end, seductive horns, an earth-shaking bass line as well as a rhythmic groove that makes it a standout club weaponon the newly established London label One Level.

Review: The Polyversal Souls are renowned for the strength of their collaborative singles, which to date have featured all manner of legends and rising stars from the underground African music scene. This time around, the German-Ghanaian band provides high-grade backing for guest vocalist Frank Karikari, son of legendary Highlife musician Ralph Karikari. The A-side medley of "Siakwaa/Nana Agyei" is particularly good, with Karikari's confident lead vocal rising above shuffling, soft-focus drums and ear-catching juju guitars. Flipside cut "Odo Agye Gye Me" is great, too, offering a slightly more upbeat and undeniably percussive fusion of highlife/Afrobeat fusion.

Review: Expansions' latest essential reissue takes us back to 1980 and the much sought after seven-inch edition of singer Ty Karim's collaboration with lesser-known soul man George Griffin. "Keep On Doin' Whatcha' Doin'" was written and produced by Karim's other half Kent Harris and, like the original seven inch, appears here in two parts. The glorious A-side version is a lolloping chunk of disco-era sweet soul rich in soaring orchestration, fluttering flutes and Marvin Gaye/Tammi Tyrell style duet vocals from Karim and Griffin. Part two focuses more on the killer groove and the duo's impassioned improvised vocalizations, with a variety of tasty solos helping to whip things into a mid-tempo dancefloor frenzy.

Review: American music obsessive and archivist Jerome Derradji's Past Due Records label has got a fine compilation on its hands here. It gathers upside of the very best sounds that San Antonio-based funk band Horizon ever put out. They had a hardcore and devoted local following in the early 89s and secured a number of big radio hits. They were all released on 7"s that you will struggle to ever track down. Thankfully, each one gets assembled here across four fantastic sides of vinyl. What's more, no fewer than ten previously unreleased tracks also make the cut. These are authentic lo-fi funk gems with powerful rhythm sections and seductive vocal sounds.

Review: A compelling journey through the realms of deep house, drawing influences from Detroit, Chicago and soulful house. The first track, 'I Can Feel It (Anthony Nicholson remix)', takes center stage with its minimalistic yet devastatingly addictive bassline, sensual piano and alluring vocal, perfectly capturing the essence of deep Chicago house. The original version of 'I Can Feel It'maintains the same deep groove but adds a more house-driven energy, ensuring a difficult choice which to play in a pinch. The EP also has 'Kobe', with Dez Andres' remix bringing a raw electro beat fused with intricate, beautiful keysian innovative take that stands apart from traditional deep house. The original 'Kobe' brings the signature house vibe, rich with rhythmic depth. To close, 'Milton' offers a lush, atmospheric touch, elevating the EP to a sublime conclusion. Each track on Karma delivers a unique vibe with its rich textures and smooth, hypnotic beats.

Review: KAU return just one year after their debut on Sdban Ultra, and they're not slowing down. Their latest double single release is another energetic showcase of the trio's tight band dynamics, with intricate synthesiser arrangements, rapid drum patterns and deep basslines that capture the raw energy of their live performances. The first track, 'Kaugummi', fuses a dub bassline with complex drumming, resulting in a groove that feels both fresh and familiar. On the flip side, 'Mad Kau'-a reimagining of 2022's 'Mad Max'-stays true to the live version, bursting with frenetic arpeggios and synths. Both tracks push forward into the vibrant space where jazztronica meets jam band sensibilities, with nods to British jazz and that unmistakable 'Brussels sound'. This double A-side, set to drop on limited 7" vinyl in September 2024, is a must-have for fans who crave the trio's signature fusion of live energy and studio precision

Review: Kaymany & Asestar hail from Rome, a city where many musicians spend most of their days producing sounds for the television industry and even shopping malls. That's part of the reason the country has such a reparation for great jazz-funk sounds and now adding to that cannon are Kaymany & Asestar. 'Effimera' is glossy and feel good disco with retro future chords, while 'Digressione' has a Bob James style energy to it with its high speed funky bass and incidental chords. 'Capao' closes in Latin fashion with manic keys and more plucked and funky bass slaps making you shake every limb.

Review: Since the success of his breathlessly good debut album 99.9% in 2016, Kaytranada has become one of the most in-demand producers on the future R&B and leftfield hip-hop scenes. Here he takes a break from remixing Robert Glasper and producing Craig David records to drop three high-grade instrumental versions of tracks included on last year's U.S-only "Nothin Like U" EP. "Chances", a gorgeous mix of spacey chords, crunchy MPC beats, intergalactic synths and lilting melodies, sets the tone, before he reaches for the pianos on the low-down fusion of twinkling pianos, rolling beats and raw bass that is "It Was Meant 2 B". Closer "Track 3", meanwhile, is a sparkling slab of unfussy positivity.

Review: Funk, soul and jazz-funk reissue specialists Dynamite Cuts are particularly good at offering up seven-inch singles featuring album tracks that have never previously appeared on "45". They're at it again here, delivering a killer seven-inch featuring the much-sampled two-part track that bookends K.C & The Sunshine Band's self-titled, 1975 sophomore LP. "Let It Go (Part 1)" is a low-down Miami funk treat featuring a hot-to-trot-mix of bustling drums, heavy percussion breaks, rousing vocals, fiery (and familiar) horn riffs and impassioned lead vocals. The slightly shorter "part two" mix is an even heavier, vocal-free take that deftly showcases the quality of the band's hip-shaking, rabble-rousing instrumentation.

Review: The intriguingly named Humus Per Tutti label has made us wait well over two years for a seance EP after the tantalising first volume of this self-titled series. It comes from a section of artists who are all editing some worldly source material. First off is a Jean Kefta edit that locks you in a guitar loop while intoxicating vocals up top bring the charm. The Babach Flangerman mix of the A1 is another loopy disco cut with a Middle Eastern flavour and the comes Jean Kefta & Max Houmous's snake charming and psychedelic disco groover 'Muharaqa'.
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Review: Miami's legendary TK Disco label has swung open the doors to its vital back catalogue and allowed some of the most golden gems to be reissued here. These are two stone-cold breakbeat classics and b-boy delights that come kissed by the sun and ready to get your party started. 'Dance To The Drummer's Beat' opens up with plenty of joyous vocals and loose percussion over fresh and funky breaks. On the flip of this 45rpm is 'Do The Handbone', a hard-hitting and raw cut with big vocals and plenty of lively trumpet action. Both are surefire winners.

Review: Who doesn't like a sentimental soul 7" in their bags to drop as that magical end-of-the-night tune? Well not us, that's for sure, and this one more than fits that bill. Paul Kelly's buttery smooth vocals and romantic overtones make 'You Make Me Tremble' a real classic of the genre. The chords are warm, the drums gentle, and the sentiments intimate. The flip side of this 45rpm from Soul4real is 'Come With Me' which is even more heartbroken, with its quivering strings and oh-so-delicate vocals.

Review: A Delusional Guide for the Disillusioned is an all new collaboration between Kemastry and Jazz T that takes in five seriously heavyweight cuts that skirt around the edges of hip-hop. The beats have a futuristic and otherworldy quality with sinewy synths and twinkling celestial pads as the well-articulated and menacing bars are delivered with precision and an absorbing narrative. Some fine guest features from Ramson Badbonez and Roughneck Jihad add extra character to the beats and the artwork to this vinyl pressing, and the flipside full of instrumentals, is the icing on the cake.

Review: Long-serving, jazz-loving deep house duo Kemetic Just have been working with Terrence Downs for years, with the singer's soulful vocals appearing on many of their tracks over the last two decades. There's no original mix of 'We R Culture' here, but rather a quartet of club-ready remixes. DJ Spinna leads the way with vocal and instrumental variations of his 'Galactic Soul Mix' - a gorgeously colourful, pin-sharp shuffle through synth-powered deep house loveliness with all of the intricate musical touches and kaleidoscopic keyboard solos you'd expect from the NYC producer. Elsewhere, Wipe The Needle re-frames the track as a breezy, musically rich slab of jazz-funk-tinged broken beat of the sort regularly served up by Dego and Kaidi Tatham, while the Househeads mix is a carnival-ready, samba-house treat.

Review: Curtis L. Kendrick is a Rochester-based artist who single-handedly crafted and produced his debut solo album, 3rd Degree. It came all the way back in 1982 on a small and limited run of 200 cassettes and so years later it is still a much sought-after classic and has even reached 'holy grail' status amongst those who know. Prime Time has now got this special 7" which is the first single, 'Heartbeat,' off his upcoming new album. On the flip is a reimagined version of Curtis' super soulful track by Brian Ellis, who is the pride of Escondido, CA. Ellis is a talented multi-instrumentalist who adds his unique blend of magic and menace to the original and brings it right up to date.