Back catalogue: Funk

Review: In many ways, the surge in popularity enjoyed by Brazilian jazz-funk trio Azymuth since signing to Far Out Recordings in 2000 has been remarkable. Of course, fans of Brazilian music have always thought highly of their mood-livening, samba-centric take on jazz-funk, but rarely have their recordings been this popular or frequent. Aurora is, amazingly, their 26th studio of a career that stretches back to 1972. If you've bought any of their previous recordings, you'll know what to expect; rubbery bass, pleasingly sunny electronic piano melodies, shuffling jazz drums, and the odd fearlessly uptempo carnival rinse-out. The formula hasn't changed much in 30 years, but it would churlish to criticize especially when they continue to produce inspiring and entertaining music like this.

Review: Since emerging in their home country a decade ago, Caixa Cubo have flitted between labels (most notably Heavenly Recordings and Jazz 'N' Milk) while establishing trademark sound that expands on the jazz-funk-meets-samba-jazz template created by fellow countrymen Azymuth (like that band, they're a trio based around drums, bass and organ/electric piano). Unsurprisingly, they've now found a home on Joe Davis's Brazil-focused Far Out Recordings, a stable that has done much to champion Azymuth in the UK. Modo Avia (air mode) is typically warm, breezy and gently tropical, fusing killer grooves and infectious, off-kilter rhythms with brilliant solos, infectious riffs and far-sighted musical flourishes. It feels like the sort of set that will be talked about in hushed tones in 30 or 40 years, and we can think of no greater praise than that.

Review: Fans of original Brazilian bossa nova have been spoiled recently. Following hot on the heels of Soul Jazz's thrilling collection of 1960s originals, Brazil Bossa Beat is this excellent compilation of similarly vintage Brazilian rarities. While Soul Jazz's set focused entirely on bossa nova, Viagem Vol 3 - compiled by Italian bossa revivalist Nicola Conte - casts its net wider, taking in a fine selection of samba jazz alongside the bossa beats. It's actually these cuts that really hit the spot, with stand-out contributions from such little-known artists as Octoons, Luiz Carlos Sa and Carlos Sondres, whose Afro-flavoured "Samba De Negro" is outstanding.

Review: The Ipanemas fifth album 'Call Of The Gods' on the Far Out label, is a gorgeous slice of Brazilian vintage magic and clearly invokes the spirit of their 1962 debut 'Os Ipanemas'. Back then they forged their own unique sound by infusing bossa nova with African traditions, jazz instrumentation and the lyrical themes of Samba-Canção [sung samba]. 'Call of the Gods' exquisitely captures their self styled 'afro-bossa' sound of the 1960s, conjuring up that golden age Rio de Janeiro feel. The Ipanemas are a direct link to the old samba roots of the street bars in bohemian Lapa, the 1950s Copacabana jazz joints, and the emerging bossa wave. Wilson and Neco come from the source and made a sound all their own. Crucially, the album is driven throughout by the deep spiritual kick of the Afro-Brazilian religion and music Candomble, whose Gods inspire the title and so much more, as Wilson says 'Brazilian music is religion'. This album swings with grace and pure class, thanks to the rich experience only The Ipanemas can bring.

Review: Recorded at a time when Japan was in the midst of an intense love affair with all things jazz-funk, this long lost album by Cuban band Irakere (which was recorded in Japan in 1980) has been lovingly brought back into stock by the diggers supreme at Far Out Records.
Having formed in Cuba in 1973, Irakere brought their fusion of jazz and Afro-Cuban funk to these recordings, which were put together by Japanese bandleader Chikara Ueda (notable for having been sampled by Phoenix on "If I Ever Feel Better". The recordings certainly bear a distinctive Japanese quality to the production (sounding similar to Sadao Watanabe's 80's output), but Irakere's funk certainly punches through as well. Opener "Cuba Libre" sounds like an out-take from Curtis Mayfield's Superfly sessions complete with some tight Latin percussion, while "Sea Mail" is looser and blessed with some inspired alto-sax solo's.
The calm and sanguine "Que Pasa?" really shows off the clarity and perfection of the recording techniques, with every rim shot and guitar pluck picked up perfectly and clearly - rarely has this style of music been recorded in such a meticulous way. "Gospelanza" is another real highlight, as two separate pianos panned left and right duel with each other before the brass takes over and does the same. It's a magic moment on an album full of unexpected delights - a very worthwhile reissue indeed.

Review: Brazilian multi-instrumentalist Hermeto Pascoal was once described by Miles Davis as "the most impressive musician in the world"; high praise coming from someone of the jazz legend's abilities. Those unfamiliar with the work of "the Wizard" (a nickname earned thanks to a long, Gandalf-style beard) should check out this fantastic record, which presents for the first time a quartet of previously unreleased recordings from 1976. According to the accompanying notes, much of the material was improvised and barely altered after the recording session. Certainly, there's an attractive fluidity throughout and Pascoal and Grupo Vice Versa (his usual backing band) blur the boundaries between traditional Brazilian music, spiritual jazz, Azymuth style jazz-funk and more far-out, psychedelic flavours. 26-minute B-side "Casinha Pequenina" is particularly potent.