Back catalogue: Funk Soul & Jazz

Review: In a rare backwards castling and killer checkmate, Friendly Records boldly re-press one of J Dilla's most beloved cuts, 'Geek Down', which appeared on his landmark Donuts LP. Known for its sample of the 2001 dark funk tune 'Charlies Theme' by The Jimi Entley Sound, this indelible, ringed hors d'oeuvre was essential for the critics' collective assessment that the 2005 LP was his magnum opus. Trailing pink sprinkles behind it, 'Geek Down' made Dilla's name. Sadly, the title would seem predict the artist's death just three days after the record's release. Dilla was a true productive geekazoid, and it shows in this track, with its untameable, above-the-law Western guitar wahs and tense, lilting strings keeping the goosebump hairs stood aright. The originally sampled track appears on the B, still only part-revealing the magic trick.

Review: Potatohead People's classic tune 'What It Feels Like' featuring T3 (Slum Village), Kapok and Illa J, first released in 2020 alongside an unmatched live video, gets not only a reissue on vinyl here but a remix treatment from in-demand bass player Carrtoons. Switching up the order of the verses, dubbing out the horns and adding in his signature basswork, Carrtoons brings a fresh flavour to the track's already steaming, boom-bap verve. Fans of Anderson Paak, Smoove or anyone operating in the crossover of neo-soul, jazz and rap will be much pleased by this one.

Review: Connie Price & The Keystones team up with Fullee Love (aka. Soup of Jurassic 5) - as well as New Orleans' very own bounce king Hasizzle - to bring you the brand new second-line funk anthem 'Come On Down (To New Orleans)'. Patently referencing and working within the regional New Orleans hip-hop style known as bounce music, Price, Love and Hasizzle stick true to the soulful, syrupy and yet still hard-edged call-and-response style indicative of this 80s-90s stylistic cusp. Slacken lyrics, soul-tinged choruses, skrrt ad-libs and one-two-step antiphony predominate on this versioned A-B sider, as Professor Shorthair also provides a quintessential bounce demo mix on the B.

Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.

Review: After offering up EPs titled "Hard Times" and "Changing Times" in 2017, Kaidi Tatham returns to First Word to complete the trilogy with "Serious Times". Of course, the music contained within the EP's tightly packed grooves is as joyous, rich as intricate as ever. Check, for example, "Don't Cry Now", a samba-soaked, sun-kissed affair that wraps harmonic freestyle vocals, twinkling electric piano lines and darting jazz-funk bass around a seriously shuffling groove. Tatham's much-discussed jazz-funk influences are once again given an airing on "Sugar", while his fine piano work takes pride of place on instrumental hip-hop head-nodder "Zallom". Best of all, though, is opener "Cost of Living", which emphatically weaves together all of these strands and more besides.

Review: Back in 2004, Japanese r&b artist Tina headed into the studio with self-styled 'king of digging' Muro - a prolific DJ, producer, record collector and re-editor - to record some tracks for her fifth solo album. The most acclaimed of the lot was 'Struttin With Muro', a dope, funk-fuelled jam that made use of some choice Roy Ayers samples. At the time, Muro also prepared alternate takes - utilising different elements of the sampled Ayers track - which then appeared on a now impossible to find promo 12-inch. This 45 offers up those two takes - vocal and instrumental - and both sound like guaranteed party-starting jams, the kind of hybrid r&b/funky hip-hop workouts that never fail to get things going out on the dancefloor.

Review: American R&B girl group Total penned the original 'Can't You See' in 1995 as part of the New Jersey Drive soundtrack. By then, the duo had already appeared on classic joints by Notorious BIG such as 'One More Chance' and 'Juicy,' so he returned the favour with an intro rap verse to this one. IT made it a huge success n the US Billboard Top 100 and also hit the Top 50 of the UK chart. On the flip is the Keith Murray Bad Boy remix which is that bit slower and more sensuous

Review: Grammy award-winner Tyla broke the internet with her viral track 'Water', becoming the first South African artist in over 55 years to enter the Billboard Hot 100 - as well as the youngest South African of all time ever to do so. The 'Water' challenge swept the internet, earning her top ten placements in multiple countries and nominations for various awards - rightly so, her voice is sultry, the beat is smooth and the hook is infectious. On the other side of the 7" coin is Nigerian Afrobeat sensation Rema with his career-defining breakout hit 'Calm Down', his vocal talent shining through the minimal instrumentation. It's easy to see why the world was entranced, bolstered massively by a remix featuring Selena Gomez that has since led the track to be nominated for several Billboard and MTV awards, as well as holding a long list of world records: Most streamed Afrobeat song on Spotify, Longest charting African song on Billboard, most watched Nigerian music video... we could go on.

Review: YES! Any self respecting music fan will no doubt already have fully acquainted themselves with Black Messiah, the long promised new album from soul artist D'Angelo and know that it already stands as one of the long players of the year if not the decade! The real fans have probably been waiting for the vinyl release and it's great to see the correct decision has been made to grant Black Messiah a double LP pressing. Everyone no doubt has their favourites on Black Messiah but it's great to have cuts like "Sugah Daddy" on wax, that one is perfect for the house party situations.

Review: If Detroit as a collective mind knows what's good for it, it'll note 8 Miles To Moenart as one of its most prized dance albums. Tall Black Guy's debut LP hears a tenth anniversary reissue edition via First Word; the artist known personally as Terrel Wallace recalls his humble Detroit beginnings; he was raised on an early staple diet of Motown, and the phono-dubbed source material of which is here heard breezily funnelled and assembled into ten gaunt, sample-flipping house numbers. But this new edition doesn't fail to switch things up either, in fact presenting it almost as a different record; two new tracks feature, 'From Home To Work, And Back' and 'Running The Motor', on top of an alt-mix of the single 'Mon Amie De'troit', previously only available on 7" vinyl. "While it's nice to reminisce,", says Wallace, "it's important to look forwards, so I wanted to include something new here to represent my progression as an artist, so there's some new versions included, that I created with the help of some jazz musician friends of mine."

Review: Kaidi Tatham is a master of broken beats and a widely respected figure in the London music scene. His new 12 track album takes us on a lush and louche trip through all his myriad musical skills and styles. Boogie, gospel-tinged hip-hop, jazz-funk and more all colour the futurist grooves with contributions from The Easy Access Orchestra, and pianist Robert Mitchell. This is a fourth solo album from the man and maybe his best yet, even though it has come so quick on the heels of the release of An Insight To All Minds in 2021.

Review: Kaidi Thatham remains one of the truest artists in the field of broken beat and modern jazz, and his fifth album for First Word shows no signs of slowing down. There's a certain signature you know belongs to him when those nasty Moog synth lines start flexing around the groove, but there's such depth and variety to his expression at this point in time, it feels like the possibilities are endless. From rattling neo-funk get downs to blissful downtempo reveries and on to the killer hip-hop of 'The Only Way' featuring Uhmeer on mic duties, this is an album bursting with invention at every turn.

Review: Flying Lotus collaborator Thundercat returns to Brainfeeder with his first full album since 2013's superb Apocalypse. Presented over four coloured pieces of 10" vinyl, Drunk is a thrill-a-minute, mix-tape style trip through the multi-instrumentalist and beat-maker's various inspirations (think skewed hip-hop, jazz, soul, funk, left-of-centre electronica, and so on), all of which have been fused and mutated to fit his unique musical perspective. His high standing within the leffield hip-hop community has allowed Thundercat to snag some impressive guest stars, too, including Kendrick Lamarr, blue-eyed soul legend Michael McDonald, Kenny Loggins, Pharell and jazz man Kamasi Washington. Old pal Fly-Lo also lends a hand.

Review: Tyson's debut album is a captivating exploration of deep, soulful r&b infused with diverse sonic influences. Produced and co-written with Oscar Scheller, the album spans ten tracks that delve into homegrown bass cultureibreakbeats, street soul and trip-hopiwhile incorporating icy 80s synthpop and expansive 00s r&b. The result is a unique, boundary-pushing sound. Highlights include 'Jumpstart', a smooth, atmospheric piece that blends dub, drum & bass and trap into a mesmerising groove. 'Alien Romance' introduces futuristic elements with inventive soundscapes that merge r&b and hip-hop, creating an otherworldly yet accessible vibe. Meanwhile, 'Angel Dust' wraps listeners in a magical, ambient euphoria, showcasing Tyson's ability to craft deeply immersive tracks. Tyson's raw, emotive vocals and innovative production make this a seamless fusion of nostalgia and modernity that redefines contemporary urban music. Fans of experimental yet deeply soulful music will find plenty to love in this remarkable debut.