Back catalogue: Funk

Review: Mike Dogliotti is a legendary Uruguayan keyboardist, best known for his fusion of candombe - a traditional Afro-Uruguayan rhythm - with popular incarnations of jazz, funk, and rock. Though he's been active since the 1970s, he's still able to prove his instrumental mettle with his new 7" double single 'Hagalo/Camaleon', released through the Jazz Room label. 'Hagalo' is a funky and upbeat version, perhaps inspired by Mandrill's 1972 hit of the same name. 'Camaleon', meanwhile, is a cosmic instrumental version of none other than Herbie Hancock's anglicised 'Chameleon', but brings with it a fair more laid-back approach.

Review: For the second missive on his Jazz Room Records imprint, legendary London DJ Paul Murphy has chosen to reissue two quality - and, we should add, obscure -slabs of Latin-fired dancefloor jazz. For us the real highlight is Kaoru Liyoshi and The Whip's A-side cut, "Soul Tripper", a breezy, sun-kissed chunk of lazy and hazy boosa-jazz that features some superb organ solos. If you want something a little more energetic, Alberto Baldan Bembo's "Abat Jour" ticks the box. It was originally released on the soundtrack to an obscure Italian film and fully deserves a single release - it's a jaunty Latin jazz delight!

Review: While trying to keep himself busy during lockdown, musician Laurence Mason decided to record a Dave Brubeck style cover version of the Stranglers' classic "Golden Brown" full of excitable drum solos, and snaking horn lines replacing the oh-so familiar lead vocal. It became a big hit online after he posted it on YouTube, so Jazz Room Records boss Paul Murphy asked if he could release it on wax. It's a superb version that successfully reinvents the Stranglers' gem as a quality jazz tune. Equally as impressive is his flipside version of the Police's "Walking on the Moon", which is as deep, atmospheric, enticing and intoxicating as they come. In fact, it could well be better than the in-demand A-side, and that's saying something.

Review: The Take Vibe EP is musician Laurence Mason. Back in the height of the pandemic, he decided to collide the music of two of his heroes in Dave Brubeck and Dave Greenfield of The Stranglers. His YouTube degot over one million hits, so the natural next step was to press the results to vinyl. The first edition sold out fast - and now we have a second one on a nice red 7". 'Golden Brown' and 'Walking On The Moon' are two superb jazz cuts with hints of funk and soul and singable melodies that will stay lodged deep in your brain for ages.

Review: At legendary jazzdance hubs like London's Horseshoe and Camden's Electric Ballroom, one track ruled the floor: Hino Terumasa's 'Merry-Go-Round', pulled from the Japanese trumpeter's 'Double Rainbow' album. A bass-driven jass fusion storm, it sent dancers into a frenzy, tending fast down a psychedelic jazz mountain. A staple of BBE's J Jazz compilation, 'Merry-Go-Round' was Paul Murphy's top pick for a fresh rework, heard here from Niknak. Rising to the challenge, Takumi assembled top-tier musicians to craft an electrifying tribute; eight minutes of unrelenting, steam-hammer funk, pushing jazz dance energy to its limits.

Review: This is a 7" by double bassist and producer Takumi Moriya, in collaboration with his studio band Black Nation. Two tracks of soulful jazz fusion, coming as a homage to the legendary Joe McPhee, appear on this 7": 'Shakey Jake' and 'Night Dream'. Both flaunt Moriya's interpretive talents, as he breathes fresh life into McPhee's ultra-energetic original number, all while proffering his own original cut on the B-side too.

Review: Jazz Room reissue the infamous first mini-album by Abacothozi. Formed in 1973 by bassist Berthwel Maphumulo, Mac Mathunjwa on organ, Innocent Mathunjwa on drums, Joe Zikhali on guitar, Thema Maboneng was released in 1975, before being almost immediately forgotten. However, a recent rediscovery by diggers and curators Kon & Amir, for their lauded Off The Track Volume Two: Queens compilation, sparked a renewed interest; the South African four-piece shared equal responsibility in writing and arranging these six instrumentals, which are tight and full, and come replete with Hammonds, well-surrounded guitar, and cross-sticking snare hits.

Review: First released in 1980 via the little-known Pick Up Records, Danish jazz-rockers Ariel's self-titled debut record sees an unlikely reissue via Jazz Room here. A worthy reintroduction of the quintet to the world at large - where before it wasn't well-known at all - it comes after the album was recently hepped to by none other than Brownswood aficionado Gilles Peterson, whose encyclopaedic internal memory bank and capacity to chin-wag served the cascading recollection of the album by Jazz Room label boss Paul Murphy. Now the eight-tracker dazzles us once more, fusing jazz with subtle elements of kraut and kosmische to make for bustling, brimming urban fugs, all hemmed together by a consistent baritone sax, and the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe.

Review: Carlos Franzetti eventually became a highly successful, Grammy Award-winning composer and producer, but back when he recorded Graffiti in 1977 he was a fresh-faced jazz musician struggling to survive in New York City. While the album sunk without trace in the United States, it became a staple of London's 1980s jazz-dance scene - hence this much-needed reissue from Paul Murphy's Jazz Room Records. It remains an excellent album of Latin jazz/funk/soul fusion tracks, with Franzetti's canny piano, synth and electric piano solos rising above brilliant backing tracks (some dancefloor friendly, others wonderfully jazzy and laidback) performed by a fine cast of musicians including Ray Mantilla (percussion), Victor Venegas (bass) and Dick 'Taco' Meza (flute, soprano sax).

Review: It's always worth checking the reissues offered up by Jazz Room Records, not least because there are few people more knowledgeable on the dancefloor friendly end of jazz than boss man Paul Murphy. Predictably, he's scored another coup here by securing the rights to reissue Jazzberry Patch's 1977 debut - a private-press jazz-funk gem that's long been a "holy grail" amongst collectors. Joined by virtuoso organist Mike Longo (who supplies liner notes) and a handful of guest percussionists, the Californian trio lay down a series of effortlessly funky, percussive and solo-rich workouts that should delight jazz-funk fans everywhere. The piece de resistance is undoubtedly the epic title track, which grooves, bobs and weaves over 20 mesmerising minutes.

Review: Vibraphonist Khan Jamal has made many fine albums over the years, though few are quite as revered within the jazz scene as Infinity, a self-released set from 1984 that has been near impossible to find for years. While Jamal's fluid and attractive vibraphone playing is given an airing throughout the album, it never dominates the sound space, with the storied members of his backing sextet - including scene legends Byard Lancaster (alto sax, flute) and drummer Sunny Murray - all being given a chance to shine. Musically, it sits somewhere between spiritual jazz, jazz-funk and Latin jazz, with hectic dancefloor numbers (see the superb 'The Angry Young Man') being joined by a wealth of deeper, more laidback compositions.

Review: Billed as a jazz-funk obscurity by many an expert, the 1984 self-released album by John Lamkin charts the trumpeting and flugelhorning talents of a lesser-spotted Maryland jazzer. Never again releasing a record after this debut for GMI, this shockingly varied record was dedicated to Lamkin's father, also named John Lamkin. Commanding a star cast of instrumental contributors - the likes of Gary Thomas, George Gray and Eugene Mauro - Lamkin would not achieve so much fame as those listed above, and yet brought a timelessly torrid fusion of funk and jazz here. 'Hot' is especially crispy and combustible, and we're not sure why it didn't blow up when it came out; you could fry an egg on that bass lick.

Review: Jazz saxophonist Tony Lavorgna, sometimes known as Captain Bad, recorded Chameleon with the St Thomas Jazz Quartet in 1982. The title track is a cover of Herbie Hancock's classic from Head Hunters, given a fresh lick on this superlative album of incredible renditions of long time favourites. Ray Charles' 'Georgia On My Mind', War's 'The World Is A Ghetto' and Dave Brubeck's 'Take The 'A' Train' all get a look in, given a soulful treatment which goes down very smooth indeed. On the strength of these, it's a shame the group never recorded more music together, covers or otherwise.

Review: Ronnie April's Positive Energy's 'Snowflake' is a legendary release that has achieved mythical status within the jazzdance scene. Originally pressed on Ronnie's own Jude imprint and distributed locally with limited success, this impossibly rare gem has become a coveted holy grail for collectors. The track's infectious groove and captivating melody have solidified its place as a timeless classic, even spawning bootleg copies due to its scarcity. Beyond its rarity, the music itself is truly exceptional, showcasing Ronnie April's immense talent as a composer, arranger, and multi-instrumentalist. With a career that boasts collaborations with jazz luminaries such as Tito Puente, Louis Armstrong, and Lionel Hampton, 'Snowflake' stands as a testament to April's enduring musical legacy. The album continues from there, highlights including the excellent upbeat gem 'Dancer's Theme' and the beautiful haunting 'A Ballad For Sir James' that really exemplify that variety of great Soul music here.

Review: Sir Edward's The Power Of Feeling album will cost you upwards of three figures if you want to buy an original copy. Thankfully you can enjoy its delights now for a much more reasonable price thanks to this reissue from Jazz Room. The record features unheralded sax man Harold Vick as side man with some legendary Hammond men Big John Patton, Jimmy McGriff and Larry Young also on board. They all serve up a soulful jazz sound that is smooth but never sentimental, with versions of Donny Hathaway and The Stylistics tunes and a super version of the classic 'People Make The World Go Round.'

Review: This reissue from Jazz Room is one from the rather more obscure end of the jazz spectrum but it is well worthy of your time. Johnny Walker - not the same guy as the whisky magnate - recorded this one when he was touring the world with veteran jazz star Lionel Hampton back in 1982. The sounds that defined his signature are drenched in funk with fat beats powering them along. The excellent rhythm section work really shines through here on an album that was originally released on his own Private Press label.

Review: Jazz Room Records is back with another high class reissue of an album that is considered to be a grail by those who know. The story goes that back in the late 70s in the Seattle area of the Pacific North West, Danny Ward & Reality were an oft called upon funky jazz collective for anyone throwing college or hardcore funk parties. Rather than just serving up covers of the day's big hits they offered proper musical trips though more considered fair from artists like George Benson. This album catches them at their best on one such mid-week gig in the summer of 1977.