New releases last eight weeks: Funk Soul & Jazz

Review: Producer, DJ, and revered collector Marc Davis returns to his Chi-Talo series with a much-anticipated second volume. The Chi-Talo series deals in split EPs; each entry draws on an ultra-rare Chicago house gem and an Italian disco record respectively (one for the A and one for the B), re-working both into an enduring dialectal retelling of each city's contemporaneous come-ups in the 1980s and 90s. This time around, we're met with a reconstruction of 'Bass Construction', first heard on the Italo disco album Crazy Colours by New Sound Quartet (1979). Then comes a wonky, handclapping rendition of The Saucer Planes' 'Straight To The Point', the original of which can hardly be found on the net at all, even now. Both are huge but humble versions, marking out the guidelines for yet more editors to come.

Review: 18 months after a fantastic launch instalment courtesy of the mighty Danny Krivit, Mr Bongo's Edits series returns. This time round, it's Manchester legend and 'E Soul Cultura' specialist Luke Una at the controls. On the A-side he handles 'Love Games', an obscure slice of mid-80s South African disco by Thandi Zulu and The Young Five, cannily focusing on the warm, gently funky groove and the track's spacey synth solos. Over on the flip, the Electric Chair co-founder takes on Lionel Pillay's percussion, synth-and-organ classic 'Plum', stretching out the most dancefloor friendly sections before unleashing waves of solos and the original's saucer-eyed, sun-splashed instrumentation.

Review: Mr. Bongo presents the very latest album from Ana Frango Eletrico, one of the most exciting voices to emerge from Brazil's contemporary new wave. With two critically acclaimed albums and a swathe of award-winning production turns already under their belt, Me Chama De Gato Que Eu Sou Sua promises to follow in very much the same wake, a ten-track delight of sophisti-disco productions and nimble, fey vocal performances from Eletrico themselves, this LP explores the depths of queer love and romance via some slick and snappy productions.

Review: Mr Bongo continues to take us deep into the recorded work of Lonnie Smith with the reissue of this 1975 LP from the legendary jazz organist. It's an expansive, daring soul-jazz excursion which embellishes the heavyweight grooves with experimental, discordant tones which reach extraterrestrial heights, not least on the eyes-closed escapism of 'Spirits Free'. While Smith may have turned his hand to smoother sounds at certain points in his career, this is testament to the impact free jazz had on his development through the 70s. Crucially though, the music never derails into pure chaos, and the soulful sentiment of the music shines through even in its wildest stretches.

Review: This is a black vinyl version of a reissue that we also have on gold vinyl of Soyuz's '2' album. Originally released in 2019, this album marks a significant phase in the band's evolution, offering a glimpse into the sound that would define their later work while retaining traces of avant-psychedelic-pop influences. Produced during bandleader Alex Chumak's transition from Minsk to Kyiv, the LP reflects the tension between exploration and homesickness. Drawing from influences like Mikita Arlou, Ethiopian jazz, and Italian library music, the album eloquently captures the melancholy of long-distance travel and transience, creating a sonic narrative of emotional flux.

Review: Soyuz follows up their 2022 debut Force Of The Wind with a stark but subdued reissue of their second album, Ii, released three years earlier in 2019. The album captures a pivotal evolution in the band's career, the recordings giving a snapshot of what would become their sound on Force Of The Wind, yet with echoes of avant-psychedelic-pop footprints from yester years. Produced at a time when bandleader Alex Chumak had moved from Minsk to Kyiv, torn between the need to try something new and the homesickness it brought about, Ii nicely captures the slow burn of homesickness extended across a long bouts of travel and transience, through stylistic recollections of Mikita Arlou, Ethiopian jazz and Italian library music.