Back catalogue: Funk

Review: Tramp Records come at us with an exclusive, ninja-lethal wax, chucked squarely in our direction: the debut 7" single from Natural Life lays down two extra-special instrumental jazz-funk cuts for our pleasure. Never heard before on the tiny label, and with little background info out there to scour (we're pretty sure it's not the same Natural Life as the upbeat funk band active throughout the 1990s), all that's left is to use our ears. Both versions of the eponymous track are essentially an obverse and inverse of the same theme, except for the fact that one is funky in the fast, riveting sense; the other in the slower, sultrier sense. Both are nonetheless rapid, to-the-point heaters, and can be easily deployed and exploited in many a party - or afterparty - context.

Review: The Shake & Bake Band's Shake & Bake is an undeniable invitation to hit the dancefloor. Side-1 kicks off with 'Shake & Bake (part 1),' where the band lays down a groove that's nothing short of exhilarating. The track stands out for its originality, offering a vibe that feels almost hedonisticiperfect for those looking to experience something fresh and exciting. On Side-2, 'Shake & Bake (part 2)' strips things down, bringing in a hoedown-like twist with the addition of a harmonica. The drumming intensifies, building excitement as the funkiness truly shines through in this version. Overall, Shake & Bake delivers two distinctive takes on a groove that will keep the energy high and the dancefloor moving.

Review: German sextet "SOUND" recorded a standout set in Frankfurt in 1978, immortalised on the LP "Jazzlife" at Night (Vol.1). Singled out was their composition 'Sound Spirit,' a dancey, post-bop jazz track where Volker Burkhardt's tenorsax soulfully wails in a Coltrane fashion over Werner Bauer' syncopated keys and Heli Kneipp's and Athur Greaves' driving percussion and drumming, intertwined with Jann Meyer's funky bass. All culminate in this super groovy contrapuntal track that often takes you nicely by surprise. Now this seminal piece arrives in a limited edition 7" of 300 on Tramp Records, the small but significant home of some of Germany's best reissued funk, soul and jazz on vinyl. Nat Adderly's 'Sweet Emma' was one of "SOUND's" other distinctive tracks that night, and it too resurfaces on the B side. This upbeat version may teeter on a 'trad' jazz precipice, but as the saxophone takes the cornet parts of the original, its tonality draws the listener in. These tracks already command attention from the discerning contemporary jazz community, and now again available is a must for those who like both upbeat or downtempo late 70s jazz.

Review: 'Funky Broadway' by The Villagers appeared on the well-received Movements Vol.12 compilation album and was a clear standout amongst standouts. As a response to that it now makes its long-awaited debut release on standalone vinyl. It's a soul-stirring gem that brings classic sounds and heart-melting grooves. On the B-side comes the red hot garage-rock gem 'You're My Baby (Don't You Forget It)' which is originally from 1966, and which coincided with Dyke & The Blazers' original recording of 'Funky Broadway' in the same year. Neat.

Review: Germany's gold standard soul, funk and sick label Tramp has dug deep again for this one. It's a reissue of Joe Washington & Wash's 1975 EP Blueberry Hill. It's a slice of wax that is hard to find and pricey on the second hand market and it's not hard to see why. The A-side title track is a funky number with big wind stabs and loose-limbed drums, hand claps and organic percussion. Pure vibes. 'Look Me In The Eyes' gets more raw and vulnerable with a slow motion, string-laced soul sound that will melt the heart.

Review: Tramp Records celebrate a whopper milestone, with the label's 125th record taking shape as a reconnaissant celebration of 1970s soul jazz and funk, forming part of the Praise Poems series. Launched to fare an interminable journey through the many privately pressed, furtively released and/or criminally undersung jazz-funk-soul records of yore, and with an international focus, this is a rather special case of one such compilation series making it to its tenth edition, and still retaining the kind of quality control and assiduity most comp-curators may only dream of. From the opening, ultra-headsy 'Fields Of Laughter' by the chartless American band Color Me Blu, to instrumental AOR from pianist George Melvin's short-lived Quintet, you can expect to hear super-rarities here, with some originals only having heard but two acetates to their names at first press.