Back catalogue: Funk

Review: It has been a full half a century since legendary Brazilian outfit Azymuth made their debut and their new album, Marca Passo, reaffirms their place as legends of jazz-funk. It was recorded in Rio and produced by Daniel Maunick and is the group's first album since drummer Ivan "Mamao" Conti's passing, with bassist Alex Malheiros now the sole founding member. He's joined by Kiko Continentino and new drummer Renato Massa to continue Azymuth's tradition of blending samba soul, funk and cosmic jazz. Highlights include a tribute to Conti, 'Samba Pro Mamao,' and a refreshed take on 'Last Summer In Rio.' The album is a vital, heartfelt continuation of Azymuth's enduring legacy.

Review: Released 50 years after their self-titled debut, Azymuth's Marca Passo feels less like a comeback and more like a confident continuation, with the legendary Brazilian outfit carrying its past into the present with all the same vigour that marked their winding career. The formula remains intact: Brazilian jazz-funk, dreamy synths, and loose but locked-in rhythm. There's something moving in how naturally the trio i with Alex Malheiros still at the helm i navigates loss, memory and legacy without turning sentimental. 'Samba Pro Mamao' is a tender nod to Ivan Conti, but the record never lingers in nostalgia. Daniel Maunick's production keeps things warm and fluid, and there's joy in hearing Incognito's Bluey drop in on the rework of Last Summer in Rio. Not flashy or forced. Just a deep, grooving reminder that Azymuth's music still flows from somewhere timeless.

Review: Calibro 35 recalibrate with Exploration, a fresh dive into cinematic jazz-funk marking their first full-length LP on the independent since 2023's Nouvelle Aventures, continuing the path set by last year's 'Jazzploitation' EP. Yarning vintage soundtrack stylings with contemporary groove, the Milan group balance reverent covers - like Roy Ayers' 'Coffy' and Bob James' 'Nautilus' with bold, golden originals. Lead tune 'Reptile Strut', not to mention 'The Twang' and 'Pied De Poule', twine round taut rhythms, lush horn lines, and evocative cinematic textures. The band tips its hat to touchstones like Herbie Hancock, Lalo Schifrin, and Italian great Piero Umiliani, whose 'Discomania' appears on the accompanying limited clear blue 7" single, backed with 'Jazz Carnival'.

Review: How much soul and funk does East of Underground deliver? A lot, that's how much. This raw and righteous gem from 1971 was originally issued by the US Army and handed out to troops during the Vietnam War, which means that original copies are insanely rare and pricey. Thankfully, this reissue brings it back to the people, minus the less memorable Soap LP. What remains is pure fire: gritty covers of Curtis Mayfield, Funkadelic, James Brown and more, all of which are played with heart and urgency by a group of enlisted musicians. Bonus fact: their take on The Fuzz's 'I Love You for All Seasons' became the backbone of US trap star 21 Savage's 'A Lot.'

Review: An exceptional, almost entirely unreleased jazz-funk LP from Roland Haynes Jr., previously known only for a single 45 released in 1983 (included here). If you're thinking undiscovered James Mason, you're on the right track. This LP is huge, even by the highest standards. Until now, that rare single was the only material trace of Haynes and his band. However, Haynes meticulously documented his musical journey, recording both packed-out live gigs and studio sessions. The tracks on this release come directly from Haynes' personal archive, offering an incredible glimpse into his unreleased, carefully crafted studio work.

Review: British keyboardist, producer and songwriter Matt Johnsonibest known as a longtime core member of Jamiroquaiand no relation to the The The lynchpin isteps out once again under his own name with a second solo album that channels cosmic jazz, 70s funk and a renewed sense of purpose. Built around the symbolic narrative of Greta Thunberg's 2019 solo Atlantic crossing, the new record balances personal reflection with the energy of vintage groove music. With over 20 years' experience as Jamiroquai's co-writer and keyboardistihaving co-produced albums like AutomatoniJohnson now synthesises that foundation into something even more expansive. Aided by guests like Cory Wong, Will Lee and jazz fusion great Jeff Lorber, he crafts instrumentals that are warm, exploratory and fluid, rich with analogue synths and lyrical progressions. His YouTube community of 140,000 keyboard fans will find much to love here, but it's just as inviting for those new to his solo work. This is music that stares into the storm, yet sails through it with colour and clarity.

Review: Studio album number 11 from legendary French outfit Magma, now reissued on 180g vinyl, marking a vital return to new composition after nearly three decades. Written by founder Christian Vander in the early 2000s and performed live for years before recording, the material fuses operatic vocals, rigid minimalism, and the band's signature invented language, Kobaian. 'Ekmah' and 'Teha' move like liturgical invocations, while the choral repetitions of 'Les Hommes Sont Venus' sound as if channelled from another realm entirely. Vander's drumming is restrained but authoritative, a quiet force guiding the momentum beneath 'Zahrr' and the ecstatic climax of 'Felicite Thosz'. There's a sense of ritualised propulsion throughout, as Magma treat rhythm not as groove but as mantra. It remains singular music: hermetic, alien, and undeniably spiritual - a rare return from a band that have always existed somewhere outside of time and genre.

Review: Originally released in 1982 and now reissued by RHINO, this collection from Florida-born Gwen McCrae captures the tension between silky r&b and the tougher end of early 80s boogie. Her voiceiraspy, agile, unmistakably Southernidelivers every line with a kind of electrified conviction, whether she's yearning ('I Need To Be With You'), standing her ground ('I Didn't Take Your World'), or commanding the floor on 'Keep The Fire Burning'. That track alone has become a staple across dance, soul and disco scenes, but deeper cuts like 'Doin' It' and 'Make Believe' show her range in full colour. It's an archival release that still hums with present-tense urgencyisleek, groove-led and proudly unpolished. A welcome reissue that highlights McCrae's enduring place in the post-disco lineage.

Review: Germany's funk collective expand their sound on this release, recorded live at the MPS studio in the Black Forest. The raw, break-heavy foundation remains, but the album ventures into jazz, soul, and psychedelia, capturing an organic energy that feels both spontaneous and precise. Tracks like 'Open The Gate' blend punchy brass with intricate rhythms, while 'Spinning' layers folk-psych guitar and cinematic horns, creating a fluid dialogue between the musicians. 'Back And Better' highlights Nichola Richards' soulful vocals, adding depth to the sparse beats. The album also explores playful experimentation, with 'Sparks of Joy' embracing a swampy groove, and 'Phantom Power' introducing an electric phin, nodding to world jazz influences. Carlton Jumel Smith's performance on 'Can't Stop This Fire' and the gospel-tinged 'Homebound' anchor the album, grounding its expansive journey. The result is a cohesive and evolving soundione that truly captures the clearly audible joy of collaboration.

Review: The Middle East has always invoked a sense of wonder and escapism, even if a singular tag for a vast and varied global region is an instant disservice. So it's not much of a surprise to find many countries currently in the throes of an explosive rediscovery of psychedelic sounds. Ouzo Bazooka is just one example of the kind of bands we're talking about. Originally solo project from Uri Brauner Kinrot - a musician, scientist and producer - the vehicle quickly grew into the fully fledged group we have loved over the last five albums and ten years, give or take. Widely considered pioneers of the burgeoning scene, Kapaim (Hebrew for 'palms') cements their status as a cut above most psyche rock bands anywhere on the planet. Informed by jazz, soul, blues, and indigenous musical traditions of the South Eastern Mediterranean, it's a smooth and intoxicating ride.

Review: This latest collection from Yugoslavia's Jugoton label provides a revealing snapshot of the country's diverse and often overlooked musical legacy. With remastered tracks drawn from the label's extensive vaults, it offers a fascinating blend of rare grooves, soul, and jazz, alongside the quirky folk-disco fusion that emerged in the wake of Tito's death. From the funky, breakbeat-driven 'Zlatokosa' to the smooth jazz textures of Bosko Petrovic's 'Trogir by Day', the compilation captures a musical landscape both nostalgic and ahead of its time. Artists like Novi Fosili and Josipa Lisac contribute to a sound that is distinctly Eastern Bloc, yet remarkably universal in its appeal. The selection not only highlights the richness of Yugoslavian music in the late 70s and early 80s but also reflects the cultural shifts of the era. It's an evocative listen, brimming with the kind of unexpected pleasures that continue to excite collectors and newcomers alike.