New releases last eight weeks: Funk

Review: Roy Ayers at his most transcendent. 'Everybody Loves the Sunshine' is more than a summertime anthemiit's a spiritual moodboard that's shaped jazz-funk, soul, r&b and hip-hop for nearly 50 years. Ayers, born in Los Angeles and raised in its fertile fusion scene, places the vibraphone at the music's heart, coaxing heat-haze tones from sparse chords, synths, and that honeyed chorus. Flip it over and the instrumental version unlocks a deeper layer: stripped of vocals, it becomes a pure groove, drifting and hypnotic. What lingers is the balanceibetween melancholy and bliss, rhythm and release. A rare track that feels entirely unhurried yet quietly radical, now preserved in a limited pressing that looks as golden as it sounds.

Review: Few recordings capture the easy intensity of a summer afternoon like 'Everybody Loves the Sunshine'. Released in 1976 and wrapped in slow-drifting synths and soft falsettos, the track became a touchstone not just for Roy Ayers, but for 70s soul and beyond. Born in Los Angeles, Ayers helped define the jazz-funk crossover, placing the vibraphone at the centre of a sound both hazy and sharply detailed. The original vocal take on the A-side still melts under its own warmth; the instrumental on the flip uncovers the careful architecture beneath. Issued here on 7" black wax following Ayers' recent passing, this reissue feels like both a keepsake and a quiet honouring of an artist who shaped a whole way of listening.

Review: Bamma Gamma returns with a sizzling slab of funk in the form of 'Omelette' via Detroit's renowned Funk Night Records. This one is a digger's dream, raw, gritty instrumental funk with break-heavy drums, tight guitar licks and basslines so greasy they practically drip off the record. True to Funk Night's underground sound, Omelette is unapologetically retro and authentic and serves up irresistible dancefloor heat that feels like a lost '70s cut that has been newly rediscovered. For DJs looking to inject some analogue soul into their sets, it's a no-brainer.

Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. "Don't You Care" is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. "Never Did I Stop Loving You", meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way. You will care about this.

Review: Brian Ellis, known for his multi-instrumental work as part of Birdbone Unlimited on Star Creature, steps out with a solo release that channels West Coast flair into a bold reinterpretation of early 80s dancefloor energy. Revisiting Bobby O's production 'Love Is The Drug' for Roni Griffith's 1982 hit, Ellis transforms the original into a shimmering blend of Italectro and funk-driven electrobass, a proto-freestyle fandango filtered through Ellis' signature analog sensibility. A high-gloss, synth-laced homage results on orange gamboge vinyl; a replenishing source of sunny sonic vitamin D.

Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.

Review: Pam Todd & The Love Exchange's 'Let's Get Together' dropped in the golden disco era of the late 70s and is one of our all-time top jams. The percussive breakdown at the mid-section is magic, and it all oozes funk, as well as having a proper singalong vocal up top. Mr K maintains the care of the original while tweaking the drums for modern floors across three subtly different mixes here on the Shrylden label. We found this one in the warehouse, so don't sleep, cause it won't be around long.

Review: Australia's Choi Records drop their second release in the shape of two powerful cover versions either side of a devilish little 7" by The Traffic. The A-side, "White Lines", is a funky, horn-led reinterpretation of Grandmaster Flash's original tune : an instrumental brass ode to the original beast. On the flip, there's "Smack My Pitch Up", another mighty instrumental rework of The Prodigy classic, complete with a string of trumpets that imitate the original's inimitable vocal loop.

Review: Venice-based DJ and collector Zaffa is next up on the ever-superb Scruniversal label with a couple more delightful disco dancers. 'Trip Through The Galaxy' is a slow-motion cosmic trip that is vast in scale and high on soul thanks to the warm vocal that floats amidst funky riffs and glowing keys. Things stay just as sensuous and steamy on the flip with 'Supernova Child', another fluid and funky jam with oodles of synth magic and gentle grooves all soothing mind, body and soul. The real kicker is the vocal samples that add extra spaced-out funkiness.

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: 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: 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: Hamilton Bohannon's debut Stop & Go, first dropped back in 1973 and is a raw and essential slice of early 70s funk. Though maybe more known for his later disco hits, here Bohannon delivers something earthier-looser grooves, soulful vocals and inventive arrangements that simmer rather than explode. This album offers a deeper, more nuanced sound compared to his polished, high-energy disco work and highlights include the blissed-out 'Singing a Song for My Mother,' the deep funk of 'Happiness,' and the widely sampled 'Save Their Souls.' A crate-digger favourite and funk connoisseur's gem, Stop & Go is a percussive, spiritual, and downright nasty record that holds up start to finish.

Review: Second time around for Royksopp's superb contribution to the popular, post-club focused LateNightTales mix series, a beloved volume that first hit record stores back in 2013. For the uninitiated, it sees the long-serving Norwegian twosome offer up an attractive blend of synth-heavy Scandolearic shufflers (their own cosmic pop number 'Daddy's Groove'), dubbed-out soul (Rare Bird), swelling synth soundtrack fare (Vangelis), neo-classical (Johann Johannsson), reverb-laden accapella beauty (Prelude), sun-soaked blue-eyed soul (Richard Schneider Junior), nods to the KLF's Chill Out album (Acker Bilk), seductive slow jams (Byrnes & Barnes), vintage Balearica (Andreas Vollenweider, John Martyn) and atmospheric new wave (XTC, This Mortal Coil).