Back catalogue: Funk Soul & Jazz

Review: This superb remix of Yuji Ohno's soulful gem 'Fairy Night' feat. Sonia Rosa, which is the ending theme for the anime Lupin the Third Part III from 1984, is now released as a 7" single to mark the 40th anniversary of its original release. The 45 rpm features two tracks: Side A showcases DJ Taro's fresh city funk remix, while Side B presents the classic 1984 version by Yuji Ohno. This limited release offers a rare opportunity to enjoy Sonia Rosa's sweet, evocative vocals through both the original and contemporary renditions which are subtly different but both equally excellent.

Review: A masterful ode to 70s soul, created in collaboration with Ray Hayden's Opaz, reviving the timeless spirit of rare groove, bringing forth deep rhythms, lush arrangements and vocals that feel like they're lifted straight from an era of analogue richness. Flip to the other side, 'Holding You Tight' drifts into a slower, entrancing space that closes with an instrumental coda; a feast for the senses. Mixed and mastered by Ray Hayden on vintage gear, this record's journey to vinyl delivers a truly transportive experience that's all warmth, soul and authenticity.

Review: London-based New Zealander Arjuna Oakes impresses hugely with this debut album, a contemporary soul and jazz fusion, global folk, electronica and post-rock motifs all woven in. Like any good LP, While I'm Distracted is a deeply personal journey exploring common themes of vulnerability, identity and hope in a world shaped by ever-more existential angst and social media stress. We're told that Arjuna approached this full-length album like a filmmaker crafting a feature and aiming to evoke emotion over concept. Performing vocals, piano, synths and arranging strings himself, he also leads a talented ensemble of collaborators who help him on this emotional odyssey.

Review: Brit soul legend Omar's new work finds him in full command of his craft, gracefully vaulting through decades of soul, funk and jazz with a sound that feels both grounded in history and refreshingly modern. His collaborations - from Paul Weller's understated elegance to Giggs' streetwise energy - highlight his remarkable versatility, yet it's his own magnetic voice that pulls everything together. The arrangements are lush, rich with organic instrumentation and tinged with Caribbean warmth, offering a sound palette that's as riveting as it is all-consuming. Tracks like 'There's Much Love In The World' reflect the timeless optimism that runs through Omar's music, celebrating unity while reminding us of the power of soulful connection. Despite the star-studded line-up of guests, this release is unmistakably Omar's. His voice - distinctive and effortlessly smooth - remains at the heart of each song, whether he's trading verses with Raheem DeVaughn or harmonising with Ledisi's rich tones. The musical textures on display are just as varied, blending organic rhythms with electronic beats that never overwhelm the track's emotional core. Over time, Omar's musical approach has only become more layered and expansive, yet his unmistakable sound remains intactianchored in the originality that made him a key figure in modern soul and funk.

Review: UK soul hero Omar steps up with his ninth studio album, bringing the depth, clarity and control that have typified his uncompromising and deeply rooted musical journey. The songwriting is tight, the grooves are locked, and the arrangements leave space for the music to breathe. His voice is as expressive as ever i warm, precise, unmistakably his. There's a strong sense of shape to the album, from the clipped funk of 'Research' to the more open, reflective tone of 'There's Much Love in the World'. Strings, samples and live instrumentation all sit together naturally, with nothing overplayed or overstated. The ensemble guest appearances i India Arie, Giggs, Paul Weller, Raheem DeVaughn among them i add some masterful flourishes to an already engaging set. Always good to hear new music from the one like Omar, a man who will never be underrated by those in the know.

Review: Orlas, a father-son duo consisting of Victor Chicri and Vic Delnur, offers a vibrant blend of Brazilian musical traditions on their debut album Viver o Mar. Named after the Portuguese word for "shores," the project is a heartfelt tribute to the ocean, weaving together elements of samba-jazz, bossa nova, fusion, and disco-funk. Victor Chicri, a seasoned maestro and pianist with deep roots in Rio de Janeiro's 70s music scene, has collaborated with legends like Gal Costa and Seu Jorge. His extensive experience, including performances with the Quincy Jones Orchestra at Montreux Jazz Festival and a Latin Grammy win, shines through in the album's sophisticated arrangements. Vic Delnur, a versatile multi-instrumentalist and producer, brings a modern touch to their sound, drawing on his global experiences playing with artists like Sessa and Mahmundi. The result is a dynamic fusion of old and new, enriched by an eight-piece orchestra that adds lush textures to the grooves. The title track, 'Viver o Mar,' is a smooth, breezy fusion of samba-jazz and disco-funk that captures the spirit of the sea. 'Alagoas,' the second single, is a soulful tribute to Delnur's grandmother, celebrating the simple joys of life in the tropical paradise of her homeland. Viver o Mar is a celebration of Brazilian music's rich heritage, delivered with a modern flair.

Review: Marysia Osu's debut album, harp, beats & dreams, is a stunning example of her musical evolution and innovative spirit. Known for her role in Levitation Orchestra and as a Brownswood 'Bubblers' graduate, Marysia blends her classical roots with contemporary exploration in this enchanting release. Originating from Poland and enriched by her musical education in London, she has embraced the harp with profound artistry, now intertwining it with electronic elements and personal introspection. The album opens with the hypnotic 'seatime,' a journey through coastal reverie that celebrates self-acceptance and inner harmony. It continues with 'care to care,' where Levitation Orchestra's Plumm adds ethereal vocals, advocating for self-care and personal space. The track 'memento mori' features YUIS's illuminating flute, echoing stoic reflections on life's impermanence. Marysia's return to the piano and spontaneous clarinet experiments, inspired by a vivid dream, add depth to her soundscape. The clarinet's breath symbolises life's essence, bridging body and mind, enhancing the album's introspective quality. Marysia Osu's debut is a an exciting debut, offering a serene escape thanks to her talent and unique vision.

Review: We Carry Eden is an album so deep you can plunge right into it and forget the real world entirely. It comes from Son Of Chi, the latest project by Dutch ambient pioneer Hanyo van Oosterom, and it melds drones, field recordings, dub, jazz and fourth world influences across a two-part composition that features storytelling by West African vocalist Omar Ka. A founding member of CHI and Chi Factory, van Oosterom crafts textured soundscapes rooted in meditative grooves and spiritual depth and is inspired by Patmos and Hopi wisdom. He also weaves nature, myth and memory into a unified sonic journey with fine artwork by Michael Willis underlining the message of harmony.