Back catalogue: Funk Soul & Jazz

Review: Tom Browne's 1980 single 'Funkin' For Jamaica' has long been something of an anthem - a hybrid funk/boogie classic that remains a staple in sets of hip-hop, disco and soul DJs alike. Given its ubiquity, covering the song is fraught with danger, but remarkably Japanese producer Akiko and guest vocalist Mbanja Richy have successfully put a new spin on it. Their take is subtly tougher and more synth-heavy, with bilingual French/English vocals, nods to Zouk music and a bassline so squelchy it could have been lifted from a P-funk record. Over on the flip, the pair go mellow, deep and laidback on a pleasingly skewed hip-hop soul cover of Terry Callier's legendary vocal interpretation of Alex North's 'Love Theme' from 'Spartacus'. Inspired stuff all told.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.

Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: Get your hips and heart around this bit of L.A. boogie by the elusive Ben White and you cannot help but feel better. It is a highly sought-after rarity that disco collectors have been fawning over since forever. It was originally reissued as a 45 by the great Athens of the North and now comes this 7" version which was sourced from Andy Noble, who has often helped the label out before. It features two sides of exceptional modern soul and boogie that blend rhythm and grove in magical ways that are never going to age. 'I See A World' has lovely and tender falsetto vocals and 'Give Me Love (Always)' is more of a party starter.

Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.

Review: Loredana Berte's unmistakable voice meets the glittering finesse of French touch as Dimitri From Paris spreads her 1980 hit 'In Alto Mare' across a hot griddle of club-ready disco. The track launches a new remix series celebrating Berte's legacy through the lens of contemporary producers and DJs: Dimitri, known for his stylish refits of Jamiroquai, Chic and Dua Lipa, now leans into a comparatively classic funk groove, elevating it with a cinematic glide and streamlinear post-prod polish. Long a staple of his DJ sets and broadcasts in bootleg form, this official release feels fated. "It's melodic, disco-flavoured, cinematic, and emotionally powerful - all the things I love," he says, as it manifests as the first of seven reworks dropping over the course of May 2025.

Review: Several new 7" cuts by our good friends over at Bou Ga Louw have landed in our grasp, the Argentinian label pushing brand new South American funk and soul heaters. Big Jim Hangers' 'Jungle Fever' is a high-octane instrumental ballad clearly dedicated to the dirtiest of acts out there, sex. Moans, groans, organs and drums complete the recipe, and this is an attitude mirrored on the B-side with The Moon People's 'Hippy Skippy Moon Strut'. This is a riotous mix of Afrobeat, funk, and jazz, and a mise-en-scene for free love.

Review: Bloco & Soul Essentials are back with their smooth, feel-good vibes with their 7" There For You. Side-1 features the title track, a joyful slice of soul with a fantastic horn section and classy vocals. It captures a warm, 70s mood with smooth strings and an overall laid-back groove that's perfect for fans of classic soul sounds. On Side-2, 'Shady Lady' offers a slower, funkier groove. The track's funky bassline and gentle piano keys create a relaxed, sultry atmosphere, while the rich blend of guitar and smooth vocals tie everything together beautifully. There For You is an essential pick for anyone who enjoys soul music with a touch of Japanese funk and jazz influences, delivering timeless grooves with a modern edge.

Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.

Review: A bold fusion of Afrobeat, funk and jazz on the debut LP from Blvck Spvde & The Cosmos, marking an exciting addition to Mello Music Group's catalogue. The album is steeped in legacy, with powerful rhythms and expansive arrangements, with tracks like 'Doom' revealing an intense, layered sound, while 'What You Won't Do' reinterprets a classic with introspective depth. All in all, there's a balance of forward-thinking jazz with hints of raw, soulful energy as the ten-piece ensemble capture the feel of St. Louis' live scene and a spirit that's truly timeless.

Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.

Review: This release sees BOO showcasing their versatility, seamlessly blending elements of soul, jazz and electronica into a captivating sonic tapestry. 'Smile In Your Face' is a testament to the artist's ability to craft intricate soundscapes and infectious melodies, creating a listening experience that's both soothing and invigorating. The A-side features a collaboration with Muro, adding a touch of hip-hop flavour to the mix. On the flip, 'Smile In Your Face -Sunaga't Experience Remix-' takes the track into deeper, more atmospheric territory, courtesy of Sunaga t Experience. The production throughout is top-notch, with lush instrumentation and subtle electronic textures, all complementing BOO's soulful vocals.

Review: French disco singer Maeva Borzakian delivers a stupefying pair of electro-soul tracks to Six Nine, expanding on early feedings on 80s soul and Anglo-Saxon pop for a fresher modern twist. Raised in Paris among jazz musicians, Borzakian rejected the tutelage of her family in favour of self-taught disco productions and performances, which led to her building a career as a resident performer in her home city's many clubs and bars, studding the casts of over 20 different band projects so far. This limited UK press bottles the new and exclusive track 'Hey You' - a synth tomming wake-up slap that exhorts the bad actor in an earlier, controlling relationship - and a T Groove remix of 'You're My Ecstasy', an emotive loller with a finito feel and a drive towards empowerment.

Review: For the latest in their series of "giant 45s" - loud 12" pressings of classic cuts from the Studio One vaults - Soul Jazz has decided to offer-up a fresh pressing of Brentford All Stars' 'Greedy G'. Based on James Brown classic 'Get On The Good Foot', the track was famously sampled by Boogie Down Productions on their iconic cut 'Jack of Spades'. It remains a bona fide party classic, adding a bass-heavy, Hammond-heavy reggae spin to Brown's insatiable funk groove. As it did the last time Soul Jazz issued it back in 1988, it comes backed with the deeper and more laidback 'Granny Scratch Scratch', another classic cut from Studio One's in-house backing band.

Review: LRK Records has put together a special limited edition 45rpm by Bella Brown & The Jealous Lovers. Due to high demand, the popular 'Soul Clap' (Radio Edit) from their album is now available on vinyl and this energetic version condenses the original into a dance floor-ready anthem with funky Bohannon rhythms and James Brown-inspired grooves which has already received extensive airplay. Additionally, the festive track 'Always Christmas Eve' comes on the A-side of this special grey coloured vinyl.

Review: We Got To Change is an uncovered gem from James Brown, recorded in Miami at Criteria Studios on August 16, 1970. Featuring the original J.B.'s lineup, including Bootsy Collins, Catfish Collins, and Clyde Stubblefieldithe legendary Funky Drummerithe track was laid down in between some of Brown's most iconic releases like Sex Machine and Soul Power. With its unmistakable groove and fiery energy, this lost recording is an essential piece of Brown's storied career, capturing the raw funk sound that defined an era.

Review: Dimitri From Paris returns with a fresh installment of his celebrated DFP Vaults series, highlighting deep cuts that reinforce his status as a top-tier remixer, DJ, and a true connoisseur of dance music's hidden gems. This release holds particular significance for Dimitri, as it pays homage to the legendary James Brown, a figure whose influence in music is beyond measure. The release features Dimitri's 'Special Version' of 'Funky Men,' a track from James Brown's Soul Syndrome. Originally overlooked by Dimitri in 1981, it now shines with a unique disco beat that he's reimagined using both vintage and modern editing techniques. The track has already proven its power on the dance floor. On the flip side, Dimitri revisits 'Just Wanna Make You Dance' by The J.B.'s, featuring Maxxi. This rare disco track, with its Caribbean flair, gets Dimitri's expert touch, enhancing its dancefloor appeal. DFP Vaults, the sister label to Le-Edits Records, presents this release with meticulous attention to detail, featuring state-of-the-art mastering and vintage-inspired packaging.

Review: Bull & the Matadors, hailing from East St. Louis, brought their soulful energy to the Toddlin' Town label in 1968, joining forces with the iconic Leaner family. Inspired by Rowan & Martin's Laugh-In and its courtroom sketch craze, they released the groovy r&b hit 'The Funky Judge,' crafted by Andre Williams and Leo Hutton. Now, their unreleased sequel 'Where Did The Judge Go' finally sees the light, rescued from obscurity for eager fans on provided on the flipside.

Review: BunnDebrettQuintet has got a monster modern soul tunes on their hands here with the legendary Brian Auger on Hammond B3 helping bring the style. The glorious A-side 'Truth In My Tears' has a raw but heartfelt vocal and big horn energy over driving drums. It's a real dancefloor heater and then the flip is 'Wasn't It You', a more soulful groover with lush backing vocals but still dynamic drums powering it onwards. This outfit's last single went on to become a much sought-after release that is now well spenny on Discogs so do not sleep on this limited follow up.

Review: Burton Inc is perhaps not one of the better-known soul bands of the late 1970s. Formed by married couple Charles and Barbara Burton and featuring their son Tire amongst the backing musicians, the band recorded and released one album, 1976's L.A Will Make You Pay $$$, on their own private press imprint. It's from that set that these two tracks are taken. A-side 'Nation Song' is a glossy, slow-motion call for global unity featuring the twin attractions of incredible horn arrangements and spacey synthesizers (not to mention a fine lead vocal from Barbara), while flipside 'Groovin At The Night Club' is a slightly more up-tempo affair rich in jazzy guitar flourishes, fluid bass guitar and more incredible horn sounds.

Review: The Record Store Day releases are coming thick and fast right now, and this is another doozy that arrives in limited quantities. British artist Mark 'China' Burton left an indelible mark with his one and only ever release, which is this soulful disco masterpiece. Produced by Adam Sieff and unveiled on the Logo label in 1979, this string-laden gem remains highly coveted, with original 12" copies fetching over L400. The arrangement, crafted by the UK's John Altman, who later collaborated with icons like Diana Ross and Tina Turner, adds to its allure. Altman, known for his work on the iconic 'Walking In The Air' with Aled Jones, lends his expertise to this limited edition release.

Review: If you're into little-known South American gems from the dim and distant past, Mexico City's Discodelic label has got you covered. This limited-edition "45" marks the second instalment of their ongoing "Nicaraguan Afro-Latin" series and offers-up two deep cuts from the catalogue of tropical Afro-rock kings Bwama. Both tracks were originally featured on the band's second self-titled album in 1972. Our pick of the pair is A-side 'Ritmo Martizon', a richly percussive fusion of Guajira rhythms, salsa style pianos, gravelly funk-rock guitars and life-affirming vocals. That said, flipside 'Pa Goza' - a funky, shoulder-swinging affair featuring duelling organ and guitar lines atop a locked-in Latin beat - is also superb. In a word: essential!

Review: Serious jazz dance fusion from 1974, Norman Connors' cover of Carlos Garnett's "Mother Of The Future" drives with shamanistic fury before the firing keys, heaving horns and deep soul vocals fly into the mix. For a more contemporary jazz take, flip for Bembe Segue's emphatic live version. Lavished with her distinctively rich vocals and stern spoken word and complete with wild bass runs and a thick bed of percussion, it's an instant show-stopper. Two incredible covers, one special 10".

Review: This project stems from the mutual admiration between Daru Jones and Devonne "DJ" Harrison who, upon discovering their collaborations with Jack White, had the idea of blending rock with jazz. DJ Harrison's vintage keyboard skills and Daru's versatility made them perfect for such a rock-influenced project. Legendary guitarist Doyle Bramhall II, a longtime friend of Mr. Mandel, was ideal for the guitar role and after several years they finally got together to record this album in 2022. The result is a first 12" single, mastered at 45 rpm for exceptional sound. Here's hoping there will be more to come.

Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.

Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.

Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.

Review: French funk lovers Acts of Sedition roll out another tasty double 7" here that features some massive joints from around the world. First up is the Latin heat of Rare Cuts's 'Amigo Bracno' with its big, bright leads, string lushness and percolating, percussive groove goodness all finished with a great Portuguese vocal. Monsieur Van Pratt Le Groove's 'El Rap Clap O' (Regroove) hits a little harder but with similar funk playfulness and some great chord work and Bully Boy then offers the raw and strident funk of 'Fear'n'Loathing In Funk Vegas.' Ben Jamin slows it right down with the sun-kissed late night bliss of 'Old Time Feeling.'

Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.

Review: Electric Rider marks a major release from saxophonist Tomoaki Baba, celebrated for his role in the Blue Giant soundtrack. A Berklee alum who's performed with Takuya Kuroda and 'J-Squad,' Baba teams up with co-producer BIGYUKI, blending saxophone, keyboards and drums in a tight trio format. The album's original compositions showcase Baba's skill and chemistry with BIGYUKI, featuring a vibrant fusion of jazz and contemporary influences. Involving guests like JK Kim on drums and ermhoi, Electric Rider is a powerful statement from one of Japan's most notable jazz talents.