Back catalogue: Funk Soul & Jazz

Review: An intriguing song is 'Aftershower Funk', the Latin American musician Joe Bataan's curt salsa single from 1974. Fresh, cologned, groomed, and with towel firmly wrapped round hair, Bataan's largely instrumental track is about as lightfooted as the sprightly young man he was, then at 34 years old. With heavy tin drum and cowbell clangings peppered throughout, a toe-tapping mood is sure to beset the listener. B-sider 'Fin' continues the mood, uniting percussion with piano, brass, whistle and rhythm guitar; a much fuller exercise in triumphant finality.

Review: If you like your jazz mystical and spaced out then you're on the right page with this one. The Blackhole label returns with a sixth self-titled offering that is buy on sight. 'More Love Songs' has whimsical leads disappearing off into the cosmic ether over mic jazz-funk drums with some breezy vocals finishing it in style. 'Searching The Circle' then take off on another carefree and breezy groove with far-sighted melodies and gorgeous vocal harmonies that melt you to your core. Beautiful stuff.

Review: Blackhole drops a vital new 7" that features a pair of tidy edits of some classic cuts. First is a Dorothy Ashby masterpiece that has been remastered and is awash with lush, golden harp sounds and gently broken drums. It's a charming escape to heavenly melodic worlds. On the flip is 'Gold' with some masterful guitars and Donny Hathaway on piano. This is the first time this cut has been on its own 45 rpm and is one that has been sampled by greats like hip-hop kings Jay DIlla and Pete Rock.

Review: Matasuna Records, based in Berlin, kick off their 2025 with a ladling of fresh soul soma food, this time by Barca's finest one-girl band The Blaxound (Marta Roman), in collaboration with singer John Vermont. Building on irreverent, vintage 60s pop from Spain, whose sound is categorically fiendish to replicate, the two artists have nonetheless managed a close hewing here. 'No Es Por Ti' showcases Vermont's throaty singing, lyrically playing out the eternally relatable breakup trope of "it's not you, it's me." Then 'Qu Ms Te Da?' follows with an affectingly syncopal rhythm, with a tightened snare played only on the 4, heightening the erotic tensity of the scene, driven by shuffling hats alone, whilst the artists' respective cools are kept.

Review: Originally released in 1973 by New York-born soul singer Melvin Bliss, 'Synthetic Substitution' was never meant to change music. A B-side to his single 'Reward', it quietly slipped out on Sunburst Records i and then, years later, exploded. With 'Funky Drummer' sticksman Bernard Purdie's drums at its core, it became one of the most sampled tracks in hip-hop history, forming the rhythmic backbone of cuts by De La Soul, Mobb Deep, LL Cool J, Justin Bieber and hundreds more. This new release gives the track its due, with a sharp remaster and a respectful rework from Just Blaze. The original still hits hard i a slinky, minimal soul groove with impeccable swing and eerie vocal calm. On the flip, the 'Just Blaze Take 6 Master Mix' lifts that legendary break into widescreen, looping and layering it with warmth and flair. It's not flashy, just smart i honouring the DNA while letting it breathe. It's a fresh pressing of a foundational beat, and a timely reminder of how deep hip-hop's roots run. Whether you're crate-digging or just craving drums with history, this is as vital as it gets.

Review: Fresh instrumental Afro-funk-disco magic from LA-based quartet The Bombillas, once again emerging from their post-LP slumber with the complementary 'Kidi Bloom' and 'Hatif'. In no rush to release again since 2022's 'Nac Nac/Senebi', this new 12" is suitably taciturn and unaffected; the A-sider riffs on distinctive Arabian folkloric music styles, its brand of funk closing in on a harmonic minor key, as David Michael Celia and Tyler Nuffer digitally riffle the electric keys and vintage-amped guitar respectively. 'Kidi Bloom' is a similar pre-car-chase scene complement, bringing cluing vibraphones and mod-wheeled synth work to a relative slow jam.

Review: To bear a name like Breakbeat Lou, you'd have to have earned it. And Louis Flores is indeed arch-digger numero uno: mainly having cut his teeth as a co-creator of the Ultimate Break And Beats compilations on New York's Streetbeat Records, Lou was born anew as a DJ as way back as 1974 (!), amassing a boss pile of vinyl and thus music intel, largely as to where and how to source the best breakbeats out there. With elite producers like DJ Premier, Large Professor, The Bomb Squad, Pete Rock, Dr Dre and Marley Marl all having sampled Lou's wholesale procurements over the years, the man himself now steps back up to flaunt his very own pump-action breaks works. From KRS-One to Loose Ends, the samples on this are electric, and the original beats bombastic.

Review: This is a clear vinyl version, though we also have the black 7", of the latest from Finland's leading jazz label. It's a great return for Bronze, Silver & Brass as they again blend brass, guitar and funky drums for a thrilling fusion of funk, soul and jazz. The A-side delivers fast-paced, cinematic funk reminiscent of 1970s chase scenes and all driven by tight guitar riffs and breakbeat rhythms. On the flip side, 'Brass In Motion' offers a mellow, mid-tempo groove with jazzy undertones and a lyrical, laid-back charm. Together, these tracks showcase the band's knack for infectious, instrumental funk of the highest order.

Review: Through persistent questioning and doubting, Socrates challenged the norms and mores of his local Athens; through persistent flipping and releasing, BusCrates bucks the established trends and staid sounds of his local Pittsburgh. The synth wonder and beatmaker shares two new ones onto breakout translucent vinyl here, enlisting singer Anda for an embodied song on 'Drift', whilst DJ Epik joins on production duties. Meanwhile, 'Serenity' persists on the inverse side as an instrumental Minimoog meditation session.

Review: Bobby Byrd's classic 'I Know You Got Soul' was originally recorded with James Brown's band The J.B.'s back in 1971 and soon became a club staple. It has endured in original form ever since but now it gets subtly reimagined by Mister Mushi. He offers a fresh, funky remix that's perfect for both crate diggers and DJ sets with the standout feature being the open drum break, which is a percussion lover's dream and has been designed to be sampled and looped for fun. Mister Mushi's impeccable mix stays true to the original funk spirit and the whole thing has been pressed on high-quality vinyl so it sounds superb.

Review: REPRESS ALERT!: Funkyjaws Music is back to make your body move with the latest instalment in its ongoing edit series, Let's Dance, this time with a sixth sizzling volume. Monsieur Van Pratt's loose and languid 'Besame' opens up with some gorgeous strings and funky guitar licks then Kiko Navarro brings a rich Afro flavour with the shuffling and percussive rhythms of 'Bosinga'. Bogdan Ra's 'Get On The Floor' is a fresh take on a disco classic with irresistible vocal charm and swooning pads. Last of all, Zaffa demands you 'Shake It' and you surely will as he layers up wet claps, sliding hi-hats and lively drums into a big-hearted party starter.