Back catalogue: Funk Soul & Jazz

Review: It would be fair to say that Twylyte '81 aren't exactly one of the better-known soul-jazz acts of the boogie era. In fact, the Frank Jones, Jnr-helmed act released just one album, "The First Coming", in 1981. It's near impossible to find original copies, so France's Favorite Recordings has done the decent thing and offered up this fully licensed reissue. It's a terrific album all told, with the trio offering up a killer mixture of soulful jazz tracks, effervescent jazz-funk numbers, disco-tinged dancefloor cuts and the kind of heart-achingly good slow jams that tend to get overlooked by DJs when they acquire albums of this sort.

Review: McCoy Tyner's Trident showcases the pianist's mastery within the classic jazz trio format, marking a high point in his illustrious 70s run. While the album's understated cover might suggest a more subdued affair, the music is anything but. Tyner, alongside Ron Carter on bass and Elvin Jones on drumsithree jazz titansicreates an intensely cohesive and dynamic experience. The album features Tyner's signature piano brilliance, with added layers of texture thanks to his use of celeste and harpsichord. These instruments offer a unique variety while staying grounded in the trio's tight, telepathic interplay. Standout tracks like 'Ruby, My Dear' pay homage to tradition, while 'Land of the Lonely' blazes with astonishing speed and energy, showcasing one of Tyner's most riveting keyboard performances. Trident blends innovation with classic jazz, offering both novelty and a timeless sound.

Review: On My Prophet, Oded Tzur and his quartet embark on a compelling musical journey, blending jazz with an introspective improvisational style. Tzur's saxophone prowess shines as he explores new depths of expression, supported by the quartet's seamless synergy. Nitai Hershkovits's versatile piano and Petros Klampanis's melodic bass provide a rich backdrop, while newcomer Cyrano Almeida on drums adds dynamic rhythm. Recorded in Southern France under the guidance of ECM producer Manfred Eicher, My Prophet is Tzur's fifth album as a leader, delving into themes of self-discovery and spiritual discipline. Inspired by Tzur's wife, the album's goddess of music persona is a thematic prequel to his previous work, Isabela, examining the journey to authenticity. Despite facing potential cancellation during the Israel-Hamas conflict, the album's eventual fruition becomes a testament to faith and resilience. Through five mythic movements, Tzur crafts a narrative of profound emotion, from introspective murmurs to ecstatic crescendos. My Prophet stands as Tzur's most accomplished work, a daring yet focused exploration that promises to elevate listeners to transcendent heights, continuing his legacy of introspective meditations on ECM Records.

Review: Chikara Ueda's Flying Easy from 1980 is an essential exploration of jazz fusion, combining intricate melodies with infectious grooves. The opening track, 'Flying Easy,' sets the tone with a laid-back, yet dynamic rhythm, led by Ueda's electric piano and synthesiser work. The ensemble, featuring renowned musicians like Harvey Mason on drums, delivers precise and energetic performances throughout. Tracks like 'Cloudy' and 'Jojo' showcase the group's ability to weave complex rhythms with soulful melodies, while 'Do Like You Do In New York' adds an engaging funk groove. This release captures a vibrant era of jazz fusion and remains a standout for its smooth and innovative approach to genre-blending.

Review: Ken Wheeler was a musician who was more than well schooled in the conventions of charts and dance bands. But for this project he cut loose and show a more improvisational skill and free will to go off-grid It's his debut album and was recorded with the John Dankworth Orchestra featuring a young John McLaughlin on guitar, Dave Holland on bass and various other talents who all helped make this such a fine example of modern jazz, big band and orchestral styles. Tunes like 'Propheticape' swell and build to tune peaks before all energy is dissipated and the trumpet is left to rebuild. 'Altisidora' is more quiet and subtle with oboes and gelt percussion setting the mood. 'Bachelor Sam' is a wandering wonder. Lovely.

Review: Unlike previous instalments in the 180g label's Wamono series, this isn't a compilation in the strictest sense of the term, but rather a retrospective. It showcases a range of killer jazz-funk and rare groove tunes recorded at Nippon Columbia studios in the mid 1970s by arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakahuchi master Kifu Mitsuhashi. Highlights come thick and fast throughout, from the mellow, slow-burn lusciousness of 'Nanbu Ushioi-Uta' and the up-beat, guitar solo-laden brilliance of 'Hohai-Bushi', to the all-time Japanese jazz-funk classic that is 'Saitaro-Bushi' and the solo-laden brilliance of 'Asadoya Yunti', whose dazzling Fender Rhodes solos are reminiscent of the early '70s work of the late, great Billy Preston.

Review: Released in the wake of Tony Allen's death, Lagos Paris London is the latest full-length record by Foals' Yannis Philippakis in collaboration with the late great drumming legend. The Yannis And the Yaw project finally emerges after years of fan-teasers revealing Philippakis to have been working with the acclaimed Fela Kuti bandmate and Afrobeat pioneer in the studio; after Allen's death in 2023, the likes of 'Walk Through Fire' and 'Lagos Paris London' effortlessly blend the sounds of Afrobeat and post-punk, bridging the spirits of each while unexpectedly swerving from the duo's initial impulse to produce a nostalgic record.

Review: The EP Lagos Paris London by Yannis & The Yaw, featuring the late Tony Allen, is a testament to the powerful creative synergy between two musical luminaries. Initially envisioned as a nostalgic Afrobeat project, the collaboration took on a life of its own, weaving together elements of rock, funk, jazz, and dub in a dynamic fusion. Recorded over a series of sessions in a Paris studio, the music emerged organically from jams and loops, guided by the intuitive telepathy between Yannis Philippakis and Tony Allen. Joined by Allen's regular collaborators, the result is a collection of near-complete songs imbued with high-spirited, loose-grooved exuberance. Despite facing challenges such as scheduling issues and Covid restrictions, Yannis felt a deep obligation to complete the project in honor of Allen's memory and his desire to share the music with the world. Lagos Paris London serves as both a celebration of their friendship and a timeless testament to the enduring influence of Tony Allen's rhythmic talent.

Review: This unique album is a bold reimagining of the iconic sweet-soul group, spearheaded by Delfonics' lead vocalist William Hart and infused with Adrian Younge's unique, hip-hop-informed perspective. While the album features elements familiar to Delfonics fans, such as the electric sitar, french horn and lush string arrangements, Younge's approach departs from traditional production, offering a more experimental and idiosyncratic take on the genre. Drawing influence from the eccentric strains of soul and r&b adored by crate diggers, Younge's arrangementsiincorporating harpsichord, glockenspiel and electric sitariimbue the album with a sense of campy psychedelia, yet manage to avoid veering into kitsch. Hart's crystal-clear falsetto remains a cornerstone of the album, with his voice serving as a bridge between the past and Younge's modern vision. Though much of the album sees Hart performing solo, a departure from the layered harmonies of classic Delfonics, it feels organic and fitting for the material. The pairing of Hart's legendary voice with Younge's analog-driven production creates a sound that feels both nostalgic and fresh. Tracks like 'True Love' and 'Stand Up' show how much care has been given to allow the original beauty to the focal point. A genius blend of old-school soul and modern sensibilities.