Back catalogue: Funk Soul & Jazz

Review: The third volume of the Incense Music compilation series, Incense Music For Dining Room, curated by Toru Hashimoto (Suburbia), comes new iterated on a split 7". Carrying over its themes of fragrance and music, 'Flamenco Sketches', named and remixed after Miles Davis' classic jazz bit, brings an exquisite reed diffusion of live-feel beats and scooped-out bliss-sound. With cover art by Jiro Fujita (FJD) and mastering by Calm, a key figure in the Japanese jazz, chill-out, and Balearic scenes, the record promises serenity: DJ Mitsu the Beats ensures a quietly contented DJ's touch. Side B offers another lo-fi cover of 'Flamenco Sketches' by Nobuyuki Nakajima, lowering the pace to an unassuming, dozy, guitar-blessed tread.

Review: Japanese jazz, funk and rare groove sensations Nautilus share their latest cover version, this time of Bobby Caldwell's 'What You Won't Do For Love'. This version stars Toshiyuki Saki on guest drums and vocalist Ruto Kasahara on vocals, bringing a digressional arc to Nautilus' usual sound. On the flip comes another rerub, this time of Nautilus' own 'Love Theme From Spartacus', from their latest album, remixed by producer Kenichiro Nishihara, which incorporates a light-hearted and feathery jazz-hop verve.

Review: With an irresistible blend of broken beat and nu-jazz grooves, 'Chameleon' is a enjoyable smooth jazz gem driven by funky basslines, strings, lively percussive and catchy keys. The arrangement flows effortlessly, creating a sound both sophisticated and danceableia perfect balance of complexity and accessibility. Flipping to the B-side, 'Losalamitoslatinfunklovesong' takes a more laid-back approach. Led by a warm, soulful organ, the track exudes chill vibes with its subtle funk underpinnings and jazzy finesse. The addition of a vocoder adds a playful, retro-futuristic charm, rounding out a composition that's as soothing as it is engaging.

Review: This 1973 jazz funk release shines with Steve Grossman at the helm, surrounded by a stellar lineup that's bound to excite both jazz aficionados and the Rare Groove and DJ communities. The original album, a gem from the iconic TBM (Three Blind Mice) label, has earned its place in jazz history, bridging the gap between traditional jazz and more contemporary sounds. Now, after years of anticipation, this reissue brings the record back to vinyl, expertly remastered by Bernie Grundman. The package includes the original liner notes, offering a richer experience for those revisiting this classic and new listeners alike.

Review: A second joining of forces from two celebrated Chicago acts, blending deep, organic rhythms with a minimalistic electronic pulse. With the novel but logical addition of Jason Stein on bass clarinet, the collaboration stretches even further, pulling together the spiritual fluidity of Natural Information Society and the electronic minimalism of Bitchin Bajas. The first single, 'Clock no Clock,' is a deep dive into hypnotic rhythms, with guimbri grooves intertwining seamlessly with electronic bursts, flutes and organs. The other three tracks are equally compelling, the music unfolding like a living organism, constantly shifting but always grounded. Expansive, intricately woven sonic delights.

Review: Definitely not to be confused with the 2005 Neo-noir US movie of the same name, Kiss Kiss Bang Bang was a 1966 Eurospy comedy directed by Duccio Tessari. The plot, which contains several genre tropes, revolves around a retired espionage agent who receives a death sentence after being caught trying to steal L1 million dollars. At the last minute, he's offered a reprieve, if he can steal a secret formula before terrorist Mr X does. We won't divulge what happens next, but as spy movies tend to, there are plenty of curveballs and red herrings thrown at us. Bruno Nicolai, a powerhouse of Italian cinema during this time, whose tracks have found their way into Quentin Tarantino's Kill Bill: Volume 2 and Once Upon A Time In Hollywood, delivers an archetypal score for this cinematic canon, packed with tension building percussive movements, swooning and sweeping string and woodwind pop, and even the odd gentle slow dance.

Review: Japanese jazzist Kenichiro Nishihara drew much acclaim for his second LP Humming Jazz in 2008, which came a full five years after his debut in 2003, and heralded a stabler career thereafter. With its harmonious, benignant piano melodies and oblique drum palette - which hears the artist secure both live bossa nova performances and original hip house beats - Nishihara knew the inherent entertainment value in tender modal jazz, and sought to enmesh sophistication with pop breeziness. 'Rain Falls' is an especially round-bodied track, with glycemic vocal flavours from Kissey Asplund and richly EQ-ed drums, setting a soulful precedent for two key hip-hop gems to come: 'From Time To Time' and 'Consider My Love', featuring rappers Gregg Green and Pismo. 'Step Out' signals the record's close with bopping triplet gaiety.

Review: Chicago-based composer and underground mainstay Rob Mazurek has teamed up with modular synth expert and light artist Alberto Novello for this new collaboration on Hive Mind. The music was recorded in a single afternoon at Dobialab, an experimental artist space in Northern Italy where they cooked up an immersive, improvised journey into uncharted musical dimensions. Across all the coherent pieces, Novello provides a rhythmic and timbral foundation while Mazurek weaves delicate trumpet harmonies, bells and samples to build an atmospheric soundscape. The results veer from new age to psychedelic and are truly mesmerising, like an intense space ritual that explores new realms.

Review: Pharoah Sanders, the legendary saxophonist known for his spiritual jazz and drummer Norman Connors, another key figure in the genre, deliver a blistering live performance at 1978's Montreux Jazz Festival set. The duo, both with decades of experience shaping the sound of free jazz, blend complex rhythms with expansive melodies, weaving through tracks like 'Babylon' and 'Casino Latino.' Sanders' saxophone improvisations glide between tension and release, while Connors' drumming provides a solid yet dynamic foundation. This recording encapsulates their mastery of blending the spiritual with the free, two jazz icons at the height of their craft, delivering a performance that is at once urgent and transcendental.