Back catalogue: Funk

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.

Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.

Review: German funkateer Bjorn Wagner launched the Bacao Rhythm & Steel Band in 2007 following months spent learning to play steel drums during an extended stay in Trinidad and Tobago. 11 years on, Wagner and his trusty backing band return with album number two, "The Serpent's Mouth". As usual, the set sees them gleefully combine killer grooves - a mix-and-match fusion of funk, soul, hip-hop and jazz-funk - with a hint of humid tropical music and the distinctive melodies of oil barrel steel drums. There are, of course, nods to reggae and calypso (see "Real Hot") and a few eyebrow-raising cover versions, of which their rendition of Jan Hammer's "Crockett's Theme" from "Miami Vice" stands out.

Review: Bacao Rhythm & Steel Band, the mysterious steel pan outfit from Hamburg, have amassed a cult following around the globe. With a slew of classic 7"s and three critically acclaimed full length albums, they set a high bar for themselves, one which they clearly intend on pushing to even higher heights with this new offering. On their fourth album BRSB, Bacao return with more of the same, but more of the same with them is of course inherently different. Covering songs that span genres, and range from mega-hits to underground album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they choose, it is equally intriguing to see what original tunes they've cooked up alongside these, and this record is foul of standout originals. from 'In The Crosshairs' to 'Grilled' to 'Treasure Quest'.

Review: It's no mean feat to win awards with your debut album, but Bala Desejo did just that when they scored big at the Latin Grammys. As soon as you hit play on Sim Sim Sim you'll understand why, as the Rio de Janeiro band demonstrate their canny blend of 60s tropicalia, 70s psychedelia and MPB. It's pure pleasure music, full of wistful escapism and aching beauty, and in drawing so naturally on the best of Brazilian music culture through the ages, they've made something truly woven into the fabric of their home country. Spearheading a new wave of music and art from Rio de Janeiro, Bala Desejo have everything you could possibly want from a new Brazilian project, and more besides.

Review: After two well-received albums, BALTHVS comes out with their third, titled Third Vibration. The Columbian rock band plays a unique blend of exciting music,with songs often touching on psychedelic, funk, rhythm and blues and Latin, soul and rock music. Take their first song on the album 'All is One' for example - a cornucopia of influences mixing with a shimmering and crisp production that gives off a great 70s vibe to it. Whether you are relaxing by the pool, on vacation or you having a mellow get together at your house, Third Vibration is the perfect audio soundtrack and background music for a nice time.

Review: Melbourne funk and soul talents The Bamboos have now been blazing their own trail for almost a quarter of a century. This Is How You Do It makes their 11th studio album and shows the nine piece collective still has plenty to say for itself. Although at times this hints at a new direction, the album also bares all the hallmarks fans have come to love and expect from the group with Lance Ferguson's soulful production and effortless groove paired with the potent vocals of Kylie Auldist. Guest MCs from the US (Ozay Moore and Ohmega Watts) feature as do some boogie and disco tinged singles like 'Ex-Files'.

Review: Brazilian heavyweights Seu Jorge, Marcio Local, Elza Soares and Cesar Camargo Mariano all make up the legendary Banda Black Rio band. This was their much anticipate comeback album originally put out in 2001. Far Out have now secured reissue rights and serve up a special edition with two tracks that have never previously been on vinyl. They are 'Irere (feat. Gilberto Gil)' and 'Aos Pes Do Redentor (feat. Caetano Veloso)' and they sit with silky jazz-soul gems like 'Louis Lane' and contemporary samba jams like 'Samba Nova' with some exquisite guitar playing.

Review: Hailing from Salerno in Southern Italy, Bando Maje present their debut album on Four Flies Records. UFO Bar paints a picture of the pair's interests and experiences such as the local landscape, Neapolitan music, Italian soundtracks from the 70s, as well as B-movies, a passion for vinyl and cassette mixtapes, and afternoons spent watching third-division football. Peppe Maiellano (composer and keyboards) and Tonico Settanta (producer, rapper and DJ) head up the collective, featuring a revolving cast of members, all of whom are a bit like the lively port city they are from.

Review: Harlem-raised Gloria Barnes got her big break after a couple of her early recordings became big hits on the UK Northern Soul scene. Her sole album, 1971's Uptown, has long been an in-demand item amongst collectors, regularly fetching four-figure sums when copies do occasionally change hands. Here the album gets reissued for the first time, allowing those without money to burn to enjoy its rich and evocative mix of Northern style dancefloor stompers, heart aching torch songs and downtempo soul shufflers. The quality of Barnes' vocals naturally impresses throughout, but the musical backing - provided at different points by the Hustlers, the Disciples and Ohio Players - is every bit as beguiling.

Review: Spanish funk-rock group Barrabas formed in the 70s and had big success through that decade and the next. Drummer and producer Fernando Arbex lead the band and fomented a fusion of Latin rock and jazz-funk initially, before moving into a more disco orientated sound later on. Power was the band's second album and it came in 1973 with country-tinged tunes such as 'Boogie Rock', high speed funk workouts like 'Keep On Moving' and then more jazzy library sounds such as 'The Horse.' The second half of the album touches on busy dance floor funk like 'Casanova' and more stripped back and deep cuts like 'Children.'

Review: Spanish Harlem, New York native Joe Bataan is a king of Latin soul and boogaloo who has brought plenty of freshness to those genres over the years. His Salsoul album found him breaking down new borders with American soul fused to Latin rhythms to compelling effect. The title comes from the fact the music mixes salsa and soul and marked a high watermark in the NuYorican scene. Standout cuts like 'Latin Strut' and 'Aftershower Funk' are included and more straight-up Latin jazz like 'Sunny Gets Blue Mambo' is also featured.

Review: BCUC aka. Bantu Continua Uhuru Consciousness are a South African band working in a highly specific niche: political psychedelic music with an African twist. Six long, energetic opuses hear the collective band intone in multiple languages, embracing Babel, while paying due homage to the anti-apartheid movement, as well as indigenous peoples, through many an ecstatic, multifaceted, hedonic trance.

Review: Library music maestro and original member of The Shadows Brian Bennett has a raft of sought-after records to his name, but this is surely one of the most prized. As with the best library music, the execution of the compositions is impeccable - like slipping on silken luxury leisurewear for your ears. The record has been a rich source for sampling over the years, so half the joy is in spotting licks and loops from your favourite tunes, but equally these disco-fied delicacies funk all on their own. Lovers of the Black Devil Disco Club vibe will be more than happy getting down to these tasteful cosmic groovers, unbelievably repressed for just the first time on Isle Of Jura since the original release in 1978.

Review: Following the recent release of the outstanding 'Top Brass' single, Matt Berry releases a further unique collaboration with esteemed Library Music label KPM: the full-length album Simplicity, on which he follows in the footsteps of library music giants such as Keith Mansfield, Alan Hawkshaw and John Cameron, and presents a worthy successor album to complement them. Embodying the form of KPM's original LPs, geared towards film and television pitching, the album consists of 11 sharp and vibrant instrumentals, all of which will no doubt be heard in productions for many years to come.