Back catalogue: Funk Soul & Jazz

Review: Jalapeno jive maestro Soupasoul had another standout year, in 2024 and only heightened his reputation for crafting exceptional edits that bring new life into funk standards and hidden gems. With a sharp focus on the groove-rich breaks, he is back once again with another instalment that will ignite dance floors everywhere. This time his scorching rework of 'Give It Up' spotlights dynamic horn interplay and soulful jazzy choruses and 'Rock Steady' celebrates Aretha's powerful vocals paired with a killer breakbeat. These finely tuned edits honour the originals while adding fresh energy.

Review: Son of Todd Osborn (Soundmurderer/Ghostly) Kaito Ian makes a hugely impressing first outing on the Galaxy Sound Co label with a series of lo-fi hip-hop beat-strumentals that cannot fail to get your head nodding. He is a dedicated music lover and skater with a deep knowledge of his craft and that shows here with some refined sounds starting with the soul drenched 'Revert', then on to the warped angelic vocal samples of 'Sequoia' and the percussive jumbled and scratching of 'Trek'. 'Wait Up' is another excellently blissed out joint and 'Sloan' is a sunny, laid back, lazy vibe to close down a superb EP.

Review: Kalita Records are proud and honoured to announce the first ever and official reissue of Kallaloo's sought-after 1982 disco single 'Star Child', accompanied by interview-based liner notes. Originally released on Jeffrey Turpin's Trinidadian record label IDA, 'Star Child' has since become highly sought-after by both DJs and collectors alike as an invisible, yet astonishing piece of Caribbean disco. Unable at the time to gain the traction and success that it deserved, we hope that this re-release provides an opportunity to bring such a great record to a much wider audience.

Kallaloo consisted of various Trinidadian musicians including Keith Alexander and Peter Wayne Barkley. Keith had been well-respected as a member of the Trinidadian group Impact, and was later to become an in-demand producer and composer under the name of Keith Diamond, responsible for various hits by Billy Ocean, Donna Summer, Starpoint and Melba Moore. In contrast, Peter was a well-known recording session drummer, but after 'Star Child's' release he moved to North Carolina to pursue other interests and "was never heard from again".

'Star Child' was recorded at Right Track Recording, in mid-town Manhattan, New York. As Jeffrey recalls, the atmosphere in the studio was "great", with "everyone upbeat, the cream of the crop just looking for that break... everyone was talented and just wanted the chance to express their own ideas". Five hundred copies of the record were released on IDA with a white label design, and they were sold both in Brooklyn, New York and Port of Spain, Trinidad. It was also released on a red label, however this was not to Jeffrey's knowledge at the time.

Jeffrey explains that the reason why the record didn't fare well at the time was because of the difficulty in getting the song played on the radio. As he recalls, radio stations were much more likely to play 'radio versions' of songs which lasted for a couple of minutes, rather than five or seven minute 'extended' versions such as 'Star Child', which were more suitable to a club environment. In addition, as Jeffrey explains, radio airplay is a "political business", and also within a short while band members such as Keith got their own breaks, and the Kallaloo era was over as quickly as it had started.

Review: Expansions' latest essential reissue takes us back to 1980 and the much sought after seven-inch edition of singer Ty Karim's collaboration with lesser-known soul man George Griffin. "Keep On Doin' Whatcha' Doin'" was written and produced by Karim's other half Kent Harris and, like the original seven inch, appears here in two parts. The glorious A-side version is a lolloping chunk of disco-era sweet soul rich in soaring orchestration, fluttering flutes and Marvin Gaye/Tammi Tyrell style duet vocals from Karim and Griffin. Part two focuses more on the killer groove and the duo's impassioned improvised vocalizations, with a variety of tasty solos helping to whip things into a mid-tempo dancefloor frenzy.

Review: Italo disco heads take note, here's a quintessential one-hit wonder from a mystery crew known only as Kash. Arriving in 1981, this particular release leans more towards the organic, band-led sound of the 70s with some choice synth flourishes on top, rather than the more driving sound which would catch hold further into the 80s. 'Supercool' is a bubbling, funky-as-hell joint which will loosen up any dancefloor with ease, but 'Percussion Sundance' might well be the popular pick here thanks to its outstanding drums and hazy ambience. It's an essential purchase for anyone who loves a proper disco curveball made the classic way.

Review: Kaymany & Asestar hail from Rome, a city where many musicians spend most of their days producing sounds for the television industry and even shopping malls. That's part of the reason the country has such a reparation for great jazz-funk sounds and now adding to that cannon are Kaymany & Asestar. 'Effimera' is glossy and feel good disco with retro future chords, while 'Digressione' has a Bob James style energy to it with its high speed funky bass and incidental chords. 'Capao' closes in Latin fashion with manic keys and more plucked and funky bass slaps making you shake every limb.

Review: Sonar Kolletkiv has dug deep for this one and got the rights to reissue Shirley Turner's 1965 recording 'I Wish You A World Of Happiness. ' It its one of those set soul jams that has been an evergreen fav and crate digger's delight thanks to its Northern soul elegance, controlled but emotive vocals and snappy drums. The KBCS is a union of musicians who all hail from Hamburg, Germany. They have their own unique styles but complement one another perfectly on their cover version on the A-side. They bring their own lush soul vibes and more contemporary drums to a version that will get floors going, no doubt.

Review: The intriguingly named Humus Per Tutti label has made us wait well over two years for a seance EP after the tantalising first volume of this self-titled series. It comes from a section of artists who are all editing some worldly source material. First off is a Jean Kefta edit that locks you in a guitar loop while intoxicating vocals up top bring the charm. The Babach Flangerman mix of the A1 is another loopy disco cut with a Middle Eastern flavour and the comes Jean Kefta & Max Houmous's snake charming and psychedelic disco groover 'Muharaqa'.
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Review: Taken from the album of the same name, this 1976 classic from Temptations frontman Kendricks was a huge disco anthem when released. Only, apparently, to be overshadowed by Donna Summer's "Love Trilogy". Kendricks' trademark falsetto rings with emotive insistence and with a tight guitar and bass backbone, big strings and bold horns, funk oozes out of every single beat matching his soul bar for bar. An excellent reissue.

Review: Dewey Kenmore clearly knows the pains of unrequited love and irrelationship better than most artists. The enigmatic soul singer's new single 'Before We Say Goodbye' channels the denial stage of grief: "you know it's just you and I, do or die", he opines, desperately grasping after the former ecstasy of a now fading relationship. The song is full of doomy minor chords and Hammond organ-ic reverie, laying on thick the mood of irreversibility around life's milestones.

Review: The latest single from The Kevin Fingier Collective, 'My Heart Is Burning' is an astounding dancefloor bomb, and the culmination of Kevin's three year journey on Acid Jazz. Featuring the three singers - Diane Ward, Jo Ann Hamilton and Josi Dias - who have helped make the Fingier 45s so in-demand. Its an uplifting r&b track which combines an infectious rare-soul beat with a classic girl-group vibe. It will be a must have for any DJ session or house party during these sultry summer months.

Review: Fingier Records is a new Acid Jazz sub-label that is back with a brand new 7" from The Kevin Fingier Collective. It's a real dance floor heater that is perfectly aged and authentic as it mixes up Northern Soul and r&b with driving guitar rhythms and steamy piano chords. The horns are killer but the vocal is the icing on the cake. On the flip things get Latin flavoured with the bossa-tinged mod jazz of 'The Great Akerman' which is defined by lush flute and organ vamps. This is a great taster of the full length to come from The Kevin Fingier Collective.

Review: Emotional Rescue closes out another brilliant year with one final hot drop. This sorting 7" Safari by King Sporty was the artist's first ever single back in 1976. It comes after the label has served up plenty of reissues of the man known as Noel Wiliam's tackle but this one might be the best. It's from his album Deep Reggae Roots and is nice tropical excursion with steamy hits, wooden percussive sounds and funky bass over a low-slung groove and chanting vocals. This one is backed with a special disco mix by Lexx that reworks the tune for more lively moments.

Review: There is some class edit and mash up business going on here with the latest one from the Disco Bits crew. The 45 takes the form of of classic cuts reworked with an all new and contemporary edge with the dancefloor very much in mind. First up, a Patti Job classic gets taken apart and rebuilt with new vocals and a more stepping beat. The Chopper's 'People Hold On' is a more smoochy sound with classic vocal refrains singing out and twanging guitar riffs powering along a groove that is suited for everything from weddings to late night shenanigans.

Review: This delightful 7" features a collaboration between two Star Creature veterans from Northern and Southern California who deliver a raw, uncut boogie track. The wonderful 'Girl Ur Freaky' is both breezy and laidback but irritably dance. The vocal harmonies are heart-melting, the wispy synths bring cosmic cool and the drums and squelchy bass sit together perfectly. The vocal version really is where it's at with this one but if you want it more subtle then the flip-side instrumental is the one for you.

Review: For the 29th instalment in their ongoing series of seven-inch singles, Demon Singles Club has decided to offer up a 45rpm pressing of Komiko's 'Feel Alright'. First released on legendary disco-boogie imprint SAM Records back in 1982, the track has long been a favourite with boogie DJs and with good reason. Built around a memorable bassline, squelchy electrofunk synths and unfussy machine drums, 'Feel Alright' boasts a fine female lead vocal whose lyrics extolls the virtues of dancing all night with happy strangers. As it did back in 1982, the vocal mix comes backed with an instrumental take in which producer Darryl Payne's killer bassline and synths rightfully take centre stage. If it's not in your collection already, you need to grab one of these copies pronto.

Review: Kozmik Funk is also known by aliases such as QUADRANT 77 and Synthman, but when they're donning this cap they tap into organic grooves with a space age slant that are a true gift to interstellar spinners. Following a prior volume of similarly astral jams, they return to NYC Records with a fresh trio of drum-focused rollers that keep the beats front and centre and weave subtle threads of synth around them for a heads-down experience that will delight DJs and dancers alike. Our pick is 'Percussion Invasion', which works wonders with pattering bongos and congas, and tickles the ears with artful flecks of boogie lead lines.

Review: Hot on the heels of his Discosaurs EP, which saw him expertly re-edit a swathe of obscure disco jams, Pascal Garnier AKA Krewcial delivers another hot-to-trot dose of dancefloor focused rearrangements. This time round, he's chosen to do a bit of (we think) multi-track "versioning", offering a trio of reworks of the same killer cut: Chaka Khan's 1980 disco hit 'Clouds'. The 'Extended Clouds' version is fairly faithful to the original, just longer and even more epic. Arguably more revolutionary and revelatory is the 'New Clouds' take, which opts for a denser, more freewheeling disco-funk sound with crunchy guitar licks aplenty and heavier bass. On the 'Acoustic Clouds' take he removes the groove entirely, instead showcasing Chaka's vocal and the original instrumentation. It's a real treat!

Review: Here comes a meltingly powerful 7" split single by Monophonics and Kelly Finnigan, a psychedelic soul band and a singer from California respectively. Monophonics' contribution is a classic: 'Love You Better', a catchy, soulful belter concerning a formerly broken relationship, and the sacrifices it takes to pick up the pieces. The flipside, meanwhile, is a newer one from Finnigan; 'The Shape Of My Teardrops', which reckons with grief in the form of a surreal, rimshotting slow jam.

Review: For fans of 60s/70s soul, American Psych-Soul band Monophonics have released another 45 from their acclaimed 2022 album 'Sage Motel'. Frontman and LA native, Kelly Finnigan is the conductor of this train taking the listener through a journey of Bay-area psych guitars, 60s soul trumpets and Motown influences sprinkled here and there, printed on a limited swirled 7" disc. Side B's 'Crash & Burn' is the mellow ballad that succeeds Side A's 'Warpaint', originally the ninth track on the ten-track LP. A sombre, wistful track that sees Finnigan's keyboard skills on full display, the psychedelic elements taking over, having an element of St Vincent's groovy 2021 album 'Daddy's Home' in its warbling synths and hippie-esque percussion. You don't know whether you want to cry to it or get high to it, or both.

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.

Review: Spanish producer Kiko Navarro has joined up with veteran Beninois vocalists and musical powerhouse Kaleta and the next level skills of The Ibibio Horns for this vibrant new 12". It's an inspired and Afro-infused groove exploration with funk, disco and acrobat all bottle dup in the beats that traverse Afria from East to West. The Ibibio Horns are on fire of course as they blaze up the sounds with their expressive horns and red hot keys while the vocals from Kaleta add further fuel to the fire. Instrumentals are also provided for more direct to dancefloor business.

Review: Medellin-based American Bosq - a renowned musical fusionist with a passion for all things tropical - has been working with Benin-based Nigerian guitarist/vocalist Kaleta on and off for 12 years, with the pair delivering a series of sensational singles. No Be Today is the duo's first collaborative full length, with previous singles being joined by previously unheard cuts across two slabs of wax. As you'd expect given their previous work, much of the music joins the dots between various Afro-Latin styles and similarly vintage Black American dance music genres such as disco, funk and soul. It's an effervescent and effortlessly brilliant set all told, with highlights including pitched-down Afro-funk number 'Ose', glorious Afro-disco number 'Sonayon', Afrobeat update 'Ipade' and scorching Latin dancefloor workout 'Miselou'.

Review: A contemporary jazz collaboration featuring the unique vocals of Deborah Jordan against the drum breakbeats and electronic nu-jazz fusion of fellow London native Kieron Ifill (aka K15). The collision of genres spans from the layered traditional R&B production on the smooth 'Heartbroken' to the 808 laden nu-jazz cut of 'Human' and the broken beats of 'Running'. Fans of Solange's 'When I Get Home', H.E.R's EPs and Liv.e's 'Couldn't Wait to Tell You' will have a long list of reasons to check this smooth mix of crystal clean production, jazzy soundscapes and hushed vocals. Jazz, Soul, Funk, and Blues fans cannot pass up the opportunity to give this LP a listen - R&B is far from dead.

Review: Almost entirely ignored at the time of its original release, Nigerian drumming maestro Remi Kabaka's legendary original LP Son Of Africa has gone down in legend as the defining solo statement of an incendiary drummer, whose contributions to music across the jazz and rock spectrums is credited and felt strongly to this day. A founding member of Afro-jazz band Osibisa, Kabaka is credited for his work with many a Rolling Stone and Beatle, but it's his solo work on this Afro-funk rare gem that really gets the least easy to please among us going. An Afrofuturist statement to the core, its jubilant vocal chants and defiant trumpet lines are but mere pepperings over the boxy, banging body that is Kabaka's live Afrobeat quads.

Review: A Dancefloor in Ndola, curated by East African DJ Kampire for Strut Records' 25th anniversary, is a great example at the broad sounds of classic East and Southern African music. With 13 tracks that span genres like Congolese rumba, South African bubblegum, and Zambian kalindula, the compilation pays homage to the rich musical heritage of the region. Kampire's personal connection to the music, shaped by her upbringing in Ndola, Zambia, adds depth to the compilation. Through her own edit of 'Ririmi Rotsombela' and personal liner notes, she traces her links to the music, creating a nostalgic experience for listeners. The compilation not only celebrates well-known artists but also shines a spotlight on women in African music from the 80s, including legends like Pembey Sheiro, Feza Shamamba, and Princesse Mansia M'bila. It's a testament to the diversity and richness of African music history. With its blend of classic tracks and Kampire's personal touch, A Dancefloor in Ndola is more than just a compilation; it's a cultural journey that highlights the beauty and significance of African musical traditions.

Review: Always keen to break new ground, Strut's latest compilation comes not from a well-known European or American crate-digger, but rather Kenyan-born, Uganda-based DJ Kampire. A Dancefloor in Ndola sees her look back to her time growing up in Zambia and specifically the music she heard and loved during these formative years. It's a great idea, executed brilliantly, with Kampire showcasing an enticing and highly entertaining mix of East and South African music from the 70s and 80s, including Congolese rumba and soukous, bubblegum, and kalindula, a guitar-led style native to Zambia. It's a joyous an eye-opening collection all told and notable for - aside from the high quality throughout - Kampire's decision to showcase a high number of tracks from legendary and little-known female artists. A genuinely essential collection all told.

Review: Timely reissue of this rare Japanese Fusion/Boogie Classic!

Review: XL Recordings presents the long-awaited repress of keiyaA's 2020 album Forever, Ya Girl. The singer-songwriter, producer and multi-instrumentalist was raised in Chicago's South Side; now based in New York, her jazz training, R&B sensibilities, and hip-hop inheritability are all deployed to full effect, crafting an experimental soul sound inundated with powerfully sultry voice and dense lyricism. Aiming to to foreground the standpoint and intellect of the black woman in the late-stage capitalist landscape, Forever, Ya Girl brings a sawn-off, digital neo-soul inflection to themes of struggle and grace, all while deploying many a quirky interjection and voice-modded sample between the beats.

Review: During the late 1970s and early '80s, Miami was a hotbed of percussion-rich disco-funk that blended popular Black American grooves of the day with nods to the drum-heavy rhythms of Afro-Cuban music. Herman Kelly & Life were amongst the outfits at the vanguard of this movement, though unusually they only released one album, 1978's Percussion Explosion! Here it gets a remastered CD reissue. It's naturally best-known for boda-fide disco anthem 'Dance To The Drummer's Beat', but there are plenty of other hot, break-heavy classics on display - not least the low-slung, high-octane brilliance of 'Who's The Funky DJ?', the string-drenched disco-soul sweetness of 'Share Your Love' and the low-down, extra-heavy funk rinse-out that is 'Do The Handbone'.

Review: A vibrant blend of political anthems and dancefloor-ready grooves, Gerson King Combo's 1977 album is a powerful and funky testament to the Black Rio movement which linked South America to the street culture of the black America emerging in the 70s. 'Mandamentos Black' sets the tone with its message of racial pride and infectious rhythm, while 'Just For You' and 'Andando Nos Trilhos' showcase a more soulful side to the band. The album's energy is undeniable, with tracks like 'Esse E O Nosso Black Brother' and 'Swing Do Rei' guaranteed to get bodies moving. On the flipside, 'Hereditariedade' and 'Foi Um Sonho So' offer moments of introspection, while 'Uma Chance' and 'God Save The King' deliver powerful messages of hope and unity. 'Blows' closes out the album with a funky flourish, leaving the listener wanting more. This is a must-have for any fan of Brazilian funk and soul, a timeless classic that continues to inspire and uplift.

Review: One of UK soul's brightest sparks and Danger Mouse on production: Michael Kiwanuka's highly anticipated sophomore takes a running jump and kicks the Motowns out of the difficult second album cliche. Ranging from epic urgent cinematica "Rule The World" to the smouldering blues ballad "The Final Frame" by way of ELO-meets-Finlay Quaye fuzzy rock funk "One More Night" Michael and Mouse take us through a detailed, dreamy and dramatic adventure that really explores Michael's gutsy range and developed writing style. On level, if not better, than Home Again.

Review: London singer-songwriter Michael Kiwanuka builds on the success of his first two albums by drafting in Danger Mouse and Inflo to produce the beats that house his hugely expressive voice. That voice is of course front and centre - and whether delivering tender moments of intimacy or more breezy soul, it is always wrought with tension and emotion, slow burning and buttery smooth. The production feels timeless yet contemporary whether offering gauzy, guitar laden textures "Hero" or soaring pop ("Final Days") and makes this an album that touches on all forms of soul with equal originality.