Back catalogue: Funk

Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.

Review: Madrid via Cuba musical gang El Combo Batanga have finally dropped this new double-sider 7". It was teased by the early reals sou the a-side which brings plenty of dance floor filing heat with 'El Que La Rompe La Paga'. It's packed with samba shuffle, expressive horn work and results, and relentless keys work designed to get the ass moving. On the flip is 'Toca La Campana' which is a little less dense but not less rhythmic in the way it sways to and fro with fiery Spanish vocals and funk riffs.

Review: Los Caneyes was the first ever solo project from Cuban funk master Juan Pablo Torres and now Future Rootz - in collaboration with Canal Sounds and EGREM - is serving up a first-ever vinyl release of his early singles 'No Estabas No estabas Tu' and 'Oye Ven Y Baila Mi Son' on 7". These two superbly funky Afro-Cuban tracks were recorded in 1973 by this influential musical innovator. The first is a flame-hot and percussion-laden groove that is loose-limbed and sure to get those bones shaking and the second is similar - pure Latin heat for the floor.

Review: Mr Bongo continue to churn out top-quality re-edits and here they enlist Danny Krivit aka. Mr. K, the New York producer who has longstandingly helped prop up the dance scene there since the early 1960s. Krivit is responsible for perhaps some of the earliest and most significant disco and funk edits on Earth, so we're more than happy to hear these new ones out, in which he lends his ear to two mambi from Latin extraordinaires Sabu Martinez and Nico Gomez. Percussive clanks and boxy slaps abound on this audiophiles' charm.

Review: The University Of California Santa Cruz Chamber Singers is a group from the 70s headed up by Bob Masters that released two cult albums A Birthday Celebration and Voices. Their lush, lavish, soul-enriching sound is a harmonious balm that here on the newly reissued 'Children Of Bahia' gets paired with some Latin-tinged jazz sounds, shuffling samba rhythms, busy Rhodes keys work and plenty of organic percussive layers thanks to Randy Masters and Solar Plexus. 'Torremolinos (Windmills)' is an equally spiritual sound with more prominent flutes and dancing piano chords all energising every fibre of your being.

Review: F Spot kick off their year with a fresh new release from fresh new funk pushers, Mestizo Beat, emanative of the MagaNa Brothers's hillside studio in Topanga, CA.. Coming at the sound with a distinctive Afro-Cuban bent, this 7" flaunts the natural ends of their particular sound: 'She's A Rose' packs a beautiful brass section and charms the listener with it's extended pre-chorus section. 'Lotsapoppa', meanwhile, minimizes the sound with a simple kick, bass, and djembe groove to start with, before launching into a dynamic Afro-disco infection, the collaborative patients zero, one and two being Steve Haney of Jungle Fire on drums, Jason Cressey of the True Loves on trombone, and Jesse Audelo on arrangement.

Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.

Review: Ottawa's Afro-jazz-funk collective returns with a limited 7" showcasing two dynamic tracks that highlight their genre-blending prowess. Originally released in 2014 on Inner Fire, 'One Life To Live' kicks off Side-1 with an exhilarating fusion of funk, Latin and Afro rhythms. The track's lively horn arrangements and tight percussion create an infectious groove, balancing intricate musicianship with danceable energy. On Side-2, 'Kingdome Come' dives deeper into jazz territory, merging Afro-Cuban jazz with jazz-funk and Latin jazz elements. The result is a richly textured piece that moves fluidly between laid-back grooves and vibrant, rhythmic bursts. The percussion is sharp, and the brass shines with both restraint and exuberance, highlighting the band's ability to navigate complex arrangements while maintaining a relaxed, natural flow.

Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.

Review: The Paralytics have a timeless sound that is laid bare on this new, heavily limited 7" featuring 'Ghetto Funk.' The original on the a-side is a lo-fi sound with dusty drum breaks and prickly guitar riffs all overlaid with his idiosyncratic vocal mutterings and murmurings. It's expressive and emotive and hugely effective despite being low-key. The flip side instrumental strips back those vocalisations to allow the funky drum breaks extra room to do their thing. A fine pick up for those who like it raw and paired back.

Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.

Review: Heavenly Sweetness has always dealt in music for the soul that is drawn from the worlds of funk, soul and jazz. This new collection of such tunes is another testament to that with a heavily international and world bent. Oodles of Latin, hip hop and Afro vibes pervade the tunes by Guts aka Fabrice Franck Henri alongside a whole host of collaborators. He's a super prolific talent who has put out some ten albums in just over a decade and Estrellas is one of his best. It comes on six sides of delicious wax and takes you on a trip to sunny climates from Cuba to Brazil.

Review: Gilles Peterson's obsession with Cuba is long running and well documented over various compilations from across the years. His latest focusses on Experiments in Latin Music from 1975 to 85 and the title suggests it will be the first of an ongoing series on Soul Jazz, compiled in collaboration with Stuart Baker. Across three vibrant sides of vinyl all manner of grooves are offered up, some more traditional, some bravely out there, all drawing on the jazz, funk, Brazilian tropicalia and disco - mixed with classic Latin and salsa - which made it to the island in the 70s.

Review: Given that Gilles Peterson and Stuart Baker's Cuba: Music and Revolution - Culture Clash in Havana is one of the standout compilations of 2021, hopes are naturally sky-high for this speedy sequel. Like its predecessor, volume 2 focuses on music and made and released on the Caribbean island between 1975 and '85, this time round largely focusing on rare fusions of salsa, Latin jazz, disco, soul and funk, mostly licensed from records that have never been available outside Cuba. It's another stunning selection all told, with highlights including the heady Cuban disco/salsa fusion of Orquesta Los Van Van, the fiery disco-funk of FA 5, the heavily percussive hedonism of Luis Carobonell and the fuzzy psychedelic rock of Grupo De Experimentacion Sonora Del ICAIC. In a word: essential.