Back catalogue: Funk

Review: The Alex Santos Orchestra is a self-described "orchestra" orchestrated for the express purpose of sanctifying one Alex Santos' lifelong love for jazz and Latin music. Following the much loved 'Alex Santos Y Su Orquesta', 2021's next step in Latinizing said quasi-conceptual ensemble, we've now landed in the project's live ambit. 'The Alex Santos Orchestra On Tour' captures just two live highlights from a much more recent outing (given the mystification surrounding the project, this may or may not have happened). Whatever the case, these recordings span both potentialities, retaining something of a highly-strung Hammond organ come upfront-drumkit drama on the B-side, 'Mr Clean', and an equally stirring version of the main theme from 'The Godfather' on the A.

Review: 'Dreamtime Trance' is a cult gem for those who like to dig deep, and Alston Koch is exactly that person. She is a Sri Lankan-born Australian musician and the mastermind behind the Kookaburra Connection project, a collaboration with Aboriginal musicians, and this track blends indigenous themes with a unique, game-changing beat and infectious groove. It's a pure dancefloor revelation and this reissue includes a new extended version with a longer intro buildup that adds depth to the track. On the B-side, the heartfelt ballad 'Midnight Lady' offers a contrasting mood that is perfect for after-hours relaxation with PiNa Coladas. Remastered and re-issued with the original artwork, this EP is a must.

Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.

Review: Heavy Jazz returns with Ellis Island, their latest instrumental offering following the success of 'Indian Rope Man'. This new release highlights Brian Auger's signature jazz prowess, delivering another intricate and powerful workout. The flip side honours the late Zoot Money with the first-ever 7" release of 'George Bruno Money'. This limited edition comes in a carefully designed sleeve featuring foldout flaps and a cutaway rear. It's an essential piece for jazz lovers and collectors alike, brimming with soulful rhythms and nostalgic nods to jazz legends.

Review: Maledetta Discoteca closes out its year with this special blue vinyl featuring a mix of brilliant Italo disco artists. They all hail from Italy and Argentina and are editing originals that span disco, electro, proto-house and more. Hararis' 'Si No Pagan' is the first under the scalpel and is a funky cut with raw drums. Lance's 'Yo Quiero A Lucy' is a more slowed down and seductive sound with 80s synths, Marta Paradise's 'Calling' (edit) is a direct and sugar synth laced house stomper and Alan Strani's 'Tension Salsable' brings things to a closer with a nice stomping disco grove with mysterious synths and lush percussion.

Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.

Review: Fusion five-piece Aldorande are no fustians when it comes to full-length LPs. These self-styled groove adventurers remain radically open to the sound, thanks to their stylistic touchstone, 70s funk, and its diachronic conduction of future styles. Recorded on tape in a top Parisian studio, their third record Trois brims with trifect textures, bold phrasing, and soaring choral waves. Mathieu Edouard's precise drumming is glued to the spot by Erwan Loeffel's plaited percussion, all the while Laurent Guillet's fingertips and Florian Pellissier's splayed hands make the best uses of Fender Rhodes, axe and Minimoog.

Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.

Review: Truth Manifest Records proudly presents Beyond Jazz Volume 2, the next instalment in this futuristic four-part series. Produced by Malik Alston and distributed by Mother Tongue, this vinyl release takes listeners on a journey to the edge of their senses. With its blend of live instrumentation and a hip-hop foundation, the album morphs into an Afro-Cuban, up-tempo dance jazz banger. Poetry interweaves throughout, reflecting urban realities while reminding us that through struggle comes victory. This record captures the essence of boom bap jazz, offering a funky jazz groove that lets your spirit shine. A must-have for any jazz lover.

Review: The UK's Robin Lee is one of the members of much-loved disco gang Faze Action but also he's behind Andromeda Orchestra who return here with an album that offers a cosmic fusion of jazz-funk and disco. It's been put together with Moogs, clarinets, Rhodes and rich analogue textures that make for a mix of nostalgia and sonic richness that sinks you in deep. Blending nostalgia with innovation, Lee creates deep, immersive soundscapes. There are widescreen odysseys like 'Mythical', loved-up bunkers such as 'Thinking About Your Love' and a rare Nick The Record remix of 'Get Up & Dance' that overflows with cosmic melodies and lush, life-affirming strings.

Review: As it is often best done in soul, contemporary band Annie & The Caldwells are a family affair, channelling the depths of heartache and euphoria through danceable Mississippi-born bombasts. Lead vocalist Annie Caldwell leads the band alongside her husband of 50 years Willie Joe Caldwell, and is backed by children Deborah, Anjessica, Toni, Willie Jr. and Abel. Juggling hard work with harder musical playing, Can't Lose My Soul takes aim at modern day soul greatness, documenting quotidian struggles and everyday joys in song, and centring their concept on their locality of Main Street, West Point, Mississippi, where the family have run various businesses for decades. With a record this rooted in community, who better to rep the Southern soul set than the Caldwells?

Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.

Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.

Review: The multi-talented Joe Armon-Jones is back in the game with his most ambitious and self-defined solo work yet. All The Quiet (Part II) is a colourful collision of jazz, funk, dub, hip-hop and soul that was entirely written, produced and mixed by the man himself. His work as part of Mercury Prize-winning Ezra Collective is what established Armon-Jones, but his evolution as a solo artist on his own label, Aquarii Records, has been just as essential. This follow-up to 2019's Turn To Clear View features collaborators like Greentea Peng, Yazmin Lacey, Hak Baker and Nubya Garcia and is a deeply personal sound that veers from expansive and cosmic to more intimate and tender.

Review: Thrumming with conceptual aplomb, jazz mastermind and Ezra Collective co-founder Joe Armon-Jones's new album All The Quiet is finally revealed to us. Residua of jazz, funk, dub, hip hop and soul abound on the second chapter of a two-part Aquarii Records release, which Jones founded. With guest features from the likes of Greentea Peng, Yazmin Lacey, Hak Baker and Oscar Jerome, the record complements Jones and Aquarii's stated mission to blend genres and cross stylistic streams, from atmospheric electronica to dub, while building and subverting tropes of apocalypse, prophecy and redemption.

Review: Jazz maestro and Ezra Collective founding member Joe Armon-Jones presents his most ambitious solo project to date, released on his own fledgling imprint Aquarii Records. After a six-year gap since his last solo album, Turn To Clear View, Armon-Jones has spent his time touring, building a studio, and collaborating with icons of UK jazz, including Liam Bailey, Fatima, Prince Fatty, and Mala over a string of politically-charged EPs. Now All The Quiet promises an august jazz opera in two parts, and so coming complete with an interval, crossing twixt jazz, funk, dub, hip hop, and soul, the album is entirely written, produced, and mixed by Armon-Jones himself, and manifests as the first of a two-part album, featuring guests Nubya Garcia, Oscar Jerome, and Goya Gumbani.

Review: The talented Joe Armon-Jones has been at the centre of some of London's most exciting musical developments in the jazz world in recent years, not least as co-founder of the mighty Ezra Collective. He is a prolific creator, keyboardist, singer and producer who draws on dub, pop, hip-hop and electronica to foment his own style and once again that shines through with this, the first part of his new album on his own Aquarii Records. It is full of standouts like the Afro-leaning drums and summery melodies of 'Kingfisher (feat. Asheber)' with life-affirming lyrics. 'Show Me' has a darker downtempo energy with crashing hits and drums and 'Hurry Up & Wait' ends on a tender note with introspective keys and feathery drums.

Review: Aron and the Jeri Jeri Band's debut album Dama Begga Nibi (I Want To Go Home) is a dynamic fusion of Senegalese tradition and global influences. Founded by Berlin-based composer Aron Ottignon and Senegalese griot Bakane Seck, the album blends Mbalax, jazz, afrobeats, reggae and electronic sounds, reflecting the rich interplay of cultures in today's music scene. The title track, 'Dama Begga Nibi;, opens with Pape Diouf's evocative vocals and a poignant longing for home amid lockdown isolation. 'Sunugal', with Ale Mboup's expressive voice and a children's choir, underscores the central role of music in Senegalese culture with a heartfelt homage to the country's traditions. Tracks like 'Mama Djuma' and 'Teddoungal' bring funk, soul, and rhythm that invite movement, while 'Bongo Boys' and 'Jeri Jeri' deliver pulsating electronic beats ideal for lively settings. 'The Return Of The Golden Egg' in particular is very exciting with its blend of pop, rhythm and blues, Calypso and the unique electronic sounds. The album closes with 'Strange People', featuring Aicha's stunning vocals recorded by the Saloum River, providing a serene conclusion. Dama Begga Nibi beautifully illustrates the seamless blend of historical and contemporary influences, celebrating both tradition and modernity.

Review: Arp Frique & The Perpetual Singers come together for this most personal gospel funk album which was inspired by the birth of Frique's daughter, Jesamy. It finds the Amsterdam-based multi-instrumentalist mixing up organic funk with obscure synths, bubbly basslines that are always on the move with swirling guitars that add the colour and all make for an unusual and interesting mix of P-funk and gospel-disco. There are plenty of universal messages throughout which all emphasise the need for unconditional love while legendary vocalists like Dennis Bovell, Muriel Blijd, Mariseya, Brandon Delagraentiss and Rocq-E Harrell contribute to the powerful sound. Delagraentiss's choir, The Gospel Experience, also do their bit by adding big, rich, heartfelt vocals. It's quite the listen.

Review: Campania-based combo Asakaira has delivered a genuinely brilliant debut album here. Rooted in improvisation and the collective's combined love of jazz, Afrobeat, jazz-funk, hip-hop and the Afro-cosmic sounds that have long been a staple of Italy's underground music culture, the album's six original tracks (the seventh is an alternate 'Night' take on the jaunty, energetic and percussive 'Skijii') bristle with imagination and inventiveness. For proof, check the tropical disco delights of 'Night Tales', the head-nodding hip-hop-jazz of 'Chatting With You' and the dubby jazz-not-jazz shuffle of 'Moon Phases', a track that just intensifies and gets bigger as it progresses.

Review: It has been a full half a century since legendary Brazilian outfit Azymuth made their debut and their new album, Marca Passo, reaffirms their place as legends of jazz-funk. It was recorded in Rio and produced by Daniel Maunick and is the group's first album since drummer Ivan "Mamao" Conti's passing, with bassist Alex Malheiros now the sole founding member. He's joined by Kiko Continentino and new drummer Renato Massa to continue Azymuth's tradition of blending samba soul, funk and cosmic jazz. Highlights include a tribute to Conti, 'Samba Pro Mamao,' and a refreshed take on 'Last Summer In Rio.' The album is a vital, heartfelt continuation of Azymuth's enduring legacy.

Review: Tonal treasures and "three-man orchestra" Azymuth mark fifty years of service to the progosphere with Marca Passo, largely a conduit through which to reflect on the of loss of their founding drummer Ivan "Mamao" Conti in 2023. Now with only bassist Alex Malheiros as the last surviving original member, and joined by longtime keyboardist Kiko Continentino and new drummer Renato Massa, the new record deepens Azymuth's signature blend of samba, jazz-funk and 70s MPB studio textures. A rework of 'Last Summer In Rio' is an especial great, as it brings in Incognito's Bluey as a nod to Bertrami, while 'Samba Pro Mamao' honours Conti.

Review: Released 50 years after their self-titled debut, Azymuth's Marca Passo feels less like a comeback and more like a confident continuation, with the legendary Brazilian outfit carrying its past into the present with all the same vigour that marked their winding career. The formula remains intact: Brazilian jazz-funk, dreamy synths, and loose but locked-in rhythm. There's something moving in how naturally the trio i with Alex Malheiros still at the helm i navigates loss, memory and legacy without turning sentimental. 'Samba Pro Mamao' is a tender nod to Ivan Conti, but the record never lingers in nostalgia. Daniel Maunick's production keeps things warm and fluid, and there's joy in hearing Incognito's Bluey drop in on the rework of Last Summer in Rio. Not flashy or forced. Just a deep, grooving reminder that Azymuth's music still flows from somewhere timeless.

Review: Fela Kuti's Alagbon Close, released in 1974, stands as one of his most powerful Afrobeat statements, criticising police brutality in Nigeria. The title track was inspired by two raids on Fela's home, where police searched for marijuana. After swallowing a planted joint, Fela was detained at Alagbon Close, the headquarters of Nigeria's Criminal Investigation Department, for three days while police waited for evidence. His cellmates, in what became known as the Kalakuta Republic, helped Fela escape prosecution. Fela's lyrics denounce the arrogance of the police, declaring that wearing a uniform doesn't place one above the law. The album also marked the beginning of his collaboration with artist Ghariokwu Lemi, whose iconic cover art became synonymous with Afrobeat. Recorded at the A.R.C. Studios, the album is fueled by tight polyrhythms and fiery organ and horn sections, with Fela's sharp political commentary at the forefront. On Side-2, 'I No Get Eye For Back', offers a more groove-driven, mostly instrumental track, showing the collective talents of Africa 70. Together, these tracks solidify Alagbon Close as a timeless work of rebellion and musical innovation.

Review: Reel People Music expands the fizzing dynamic between highly accomplished label associates Opolopo (AKA Peter Major) and Angela Johnson with the release of their brand new album Best of Both Worlds. The nine-track record is an impressive merging of soulful souls, building on the pair's previous 'track-by-track' collaborative approach, and calling on influences from Quincy Jones to The Isley Brothers. From the twizzling decrescendos of Buffalo, which hears the pair summon the bruk maestro Kaidi Tatham on recording and co-prod duties, to the sparkly, sparky whetstone electro-disco track 'The Ones You Love', we really do get the best of both worlds here; we get nine worlds, in fact.

Review: The One by Will Sessions is a masterful blend of late 70s progressive funk, soul and boogie, brought to life with the help of Detroit legend Amp Fiddler and the dynamic vocal trio Dames Brown. The album tells a compelling story of love and its challenges in the heart of Detroit, with each track exuding authenticity and groove. The opening track, 'What It Is,' immediately sets the tone with its infectious rhythm, destined to become a dancefloor staple. Amp Fiddler's gritty vocals shine on 'Lost Without You,' perfectly matched by the growling bass and warm groove. 'Belle Isle Drive' offers a laid-back, Sly Stone-esque vibe, while 'Rendezvous' and 'Reminiscin' pure boogie, designed to get you moving. The expansive 'Seven Mile' brings a spacey, relaxed energy, and 'Who Am I' stands out as a soulful gem, with Dames Brown delivering impeccable harmonies. The album closes with the angular and uptempo 'Reconcile,' rounding off a flawless set. The One is an essential listen for fans of boogie and Roy Ayers, showcasing Will Sessions at their creative peak.

Review: At 88, Ghanaian highlife and afrobeat legend Ebo Taylor made his first-ever journey to the US, performing in the Jazz Is Dead concert series. These shows, which sold out across the country, led to an unexpected and electrifying collaboration between Taylor, Adrian Younge, and Ali Shaheed Muhammad. The result is a psychedelic afrobeat album, recorded at Younge's Linear Labs studio, that's bound to thrill fans of both classic West African funk and afrobeat purists. The album channels the raw energy of Ebo's 70s recordings, with swirling horns, fuzzed-out guitars, and the unmistakable polyrhythmic percussion that made Taylor a revolutionary figure in African music. "Collaborating with Ebo Taylor is a bucket-list accomplishment," says Younge, likening the experience to working with another afrobeat pioneer, Fela Kuti. The analog recording style, embracing the gritty textures of 70s Africa, gives this album an authenticity that's impossible to ignore. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' exemplify Taylor's profound lyricism. His reflections on love, spirituality, and gratitude echo his decades-long career, while the ensemble of Ghanaian vocalists adds a spiritual depth that transports listeners back to his prime. Ebo's son, Henry Taylor, also features, proving himself a formidable talent in his own right. This album is not just a nod to the past but a crowning achievement in Taylor's enduring legacy. For connoisseurs of afrobeat, it's a standout moment in both Ebo's catalogue and the growing canon of the Jazz Is Dead series.