Back catalogue: Funk Soul & Jazz

Review: After a wild shelf-clearer came by way of a reissue of 'Ordinary Joe' earlier this year, we've now a second Outta Sight reissue of yet another gladly intoned Terry Callier deep cut on our hands. Born and raised in Chicago's Cabrini-Green, Callier came up alongside a generation of soul and jazz innovators but always stood apart. After his debut LP The New Folk Sound fell into obscurity, and his 1968 Cadet single 'Look At Me Now' slipped past unnoticed, he was brought into his mentor Jerry Butler's Songwriters Workshop, a game-changing move. This stirring early statement works in much inner commentary on manhood, stage fright and vital moment seizure - "now my people think I just fake it / I know I do things they don't understand / so I've got to show them I can take it / I've got to show 'em I can be a man" - aches with the strain of double consciousness in a performance society.

Review: Brazilian talent Rafael Cancian has grown in stature thanks to solid outings on the tasteful likes of Razor-N-Tape and Hot Pot Records. Now with that profile established, he heads out with a new label of his own in the form of About Disco. He inaugurates it with a quartet of edits that he has already been deploying to great effect on various dancefloors around the world. 'Sounds Chicago' does indeed with raw drums and great keys dancing over the beats. 'Ti Amo' has a more funky undercarriage and disco percussion, 'D'Afrique' again brings a funky bass riff to the fore with some psyched-out sounds for company and 'Opera' shuts down with some late-night and soul-drenched synths over intimate and stripped back house drums.

Review: A reissued 7" single, pressed on standard black vinyl, shows Carmen's unique fusion of soul, country and r&b, recorded in New York City with legendary producer Bob Morgan. Carmen's smooth, emotive vocals are perfectly complemented by the rich, soulful instrumentation of The New Frontier, harnessing the beauty of the early '70s music scene. Both songs highlight Carmen's ability to blend heartfelt lyricism with groovy, soulful melodies, creating a sound that resonates with fans of both northern soul and roots music. Despite not achieving mainstream fame, Carmen developed a dedicated following, and these songs provide a snapshot of his talent as a songwriter and performer. Housed in a full-color jacket with an insert, this release is perfect for fans of classic soul, funk, country and the crossroads of these genres. It's a remarkable opportunity to experience the timeless, evocative music of Kip Carmen in all its warmth and authenticity.

Review: A double dose of dancefloor bliss is administered (subversively without doctor's orders) by Kent Soul. These two numbers have been faved by fans from several scenes and the world over: first, there's The Cheques' 'In The Groove', a longingly upbeat homage to a groovin' place by the obscure Louisianan organists. Lead organist Tony Nardi, would later go on to form the Thai funk group Salt & Pepper, famously recording 'Man Of My Word', but for then and now, this 60s manoeuvre would serve to transcend its mod origins, attracting the Northern soul crowd in the years to come. After, 'Arabian Jerk' by The Merits rehears a Goldwax production out of Memphis: mod and exotica collide in a steaming instrumental excitation of backbeat accents and parping 2-4 guitars, making a mod belly dancer's anthem.

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: Commonsur is a rather elusive duo based between Geneva and Madrid. Now they finally present a stunning self-titled debut EP that blends their meticulous take on contemporary soul with an undercurrent of quiet optimism. The music draws from years of experience as multi-instrumentalists and producers in the European music scene and finds the artists craft a sound that's heartfelt, refined and deeply human from front to back. British-Spanish vocalist Rolita graces three of the four tracks and her rich, emotive voice adds extra lovely warmth and emotion to the polished grooves so that the result is a debut that feels both personal and expansive-music rooted in feeling, built with care, and delivered with understated power.

Review: New York disco don Joe Claussell takes a scalpel to Norman Connors' 1980 uncut 'Take It To The Limit', turning a smooth Philly disco-soul burner into a swirling, peak-time epic. Originally voiced by Adaritha and buried on Connors' overlooked tenth LP for Arista, the track is flaymorphosed: pulled inside out, looped, stretched and whipped into chaos with Claussell's trademark floor-focused touch. If you've caught him lately at Body & Soul, you've likely heard this one spiralling into the rafters.

Review: Released in 1977 on Buddha Records, Norman Connors' heartfelt number 'Once I've Been There' is a lush piece of honest-to-goodness soul music that's long been held in high regard by diggers. It features a powerful vocal performance from Prince Phillip Mitchell, warm orchestral instrumentation, and a gentle groove arranged by Jerry Peters. Blending elements of classic r&b with jazz sophistication, the track has a timeless, cinematic feel. It's a standout in US drummer Connors' catalogue. Released in the same year, 'Captain Connors' is a loose and limber soul-jazz workout, with energetic horns and deinty keys riding over a sprawling arrangement. Well worth adding to the collection.

Review: Never before released in this particular form, two inscriptions by the French jazz fusion band Cortex make for a fidgeting classic each, perfect for the tube-amped dancefloor. Made up of many a cover and original, the full-length 'Inedit '79' EP first came to Underdog Records in 2006, though it was composed almost entirely of recordings laid down in 1979, proving the band's asynchronic staying power across decades. This new 7", however, recuts the lead track from the album, and a never-before-heard session floorcut respectively. The B-side in question, 'Where Do You Come From', did not appear on the 2006 release, and was also recorded later in 1981, though it is considered a part of the same inspo-flush.

Review: You can always rely on Athens of the North to sure up pure gold each and every time. This is another case in point: Chris Rael's 'November 18, 1983' is a joyful, funky gem, somewhat reminiscent of a lost Cure record, and this is its first ever appearance on vinyl. Rael's dedication to creating something distinct by working progressive jazz and new wave into a new sound shines through. Despite initial doubts about his musical abilities, Rael's imagination and determination drove him to produce this layered work, which has long been out of print. Whether or not you have heard it before, you don't want to snooze on this one.A

Review: West Coast soul outfit Thee Baby Cuffs keep the slow-burning romance alive with 'There Ain't Enough Roses', a tender ballad drenched in harmonised falsettos and vintage charm. Now composed of Joe Narvaez and Reality Jonez, the group channels classic lowrider soul, working once again with Finnish production outfit Cold Diamond & Mink. Their signature downtempo style remains intactilush instrumentation, delicate grooves, and a melody built to sway. Previous Timmion singles like 'My My Baby' and 'You're My Reason' cemented their status as torchbearers of group soul, and this latest offering only deepens that legacy. On the flip, a flute-led instrumental nods to Steve Parks, sealing the track's timeless appeal.

Review: Cassiano's Cuban Soul - 18 Kilates was first released in 1976 and is a landmark of Brazilian soul for the way it blends the groove of American r&b with native rhythms in a way few artists have matched. Long coveted by collectors, the album has achieved cult status and now returns remastered from the original tapes on 180g vinyl so it is sure to fly off the shelves. Cassiano's velvety vocals glide over lush, cinematic arrangements throughout and in doing so, evoke the grandeur of contemporaries like Tim Maia. From start to finish, this album is packed with depth, warmth and effortless cool, which makes it an essential listen for anyone who likes soul, samba and vintage Brazilian brilliance.

Review: Tanika Charles has long paired throwback soul with incisive songwriting, but this latest release feels especially raw. Now four albums deep, the Toronto-based artist pivots inwarditrading the usual tales of romance and heartbreak for something more fragile: the fallout of early family trauma. 'Don't Like You Anymore' and 'No More' snap with funk-driven defiance, but it's the quieter moments that linger. 'The Lament' and 'Talk To Me Nice' lean into vulnerability, while 'Win', a duet with Quebec's Clerel, glows with understated uplift. Charles leads a tight teamiScott McCannell, Kyla Charter, and Chino de Villa shape the grooves; Monophonics' Kelly Finnigan adds the rougher edgeibut the clarity here is hers. Her voice, resolute yet tender, is unafraid to ask difficult questions and even braver in leaving them unanswered. There's growth in every chord, as the arrangements span lilting r&b, classic soul, and easy-stepping slow jams. From Polaris nods to JUNO nominations, Charles has long commanded her placeibut this is something more personal, more courageous. Soul music as a form of release, not just rhythm.

Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.

Review: Funk and soul album don't come much better than this. Chocolate Milk's Action Speaks Louder Than Words is a 1975 classic and an essential piece of New Orleans music history. Discovered and produced by the legendary Allen Toussaint, the band's debut blends tight grooves, sharp horn lines and socially conscious lyrics with the rich musical heritage of their hometown. The standout title track is a rare groove classic still sampled and revered decades later. With polished arrangements and undeniable rhythm, this album firmly established Chocolate Milk as a force in 70s funk and remains a superb boogie-infused release that is as vital and infectious today as ever.

Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.