Back catalogue: Funk

Review: Vibrant Essential by Taro Hakase & THE LADS, features nine selected tracks, offering a rich listening experience that transcends genre boundaries with its violin-centered compositions. Known for blending classical and contemporary elements, Hakase's work takes on a new warmth and texture in this analog format, perfect for fans and audiophiles alike. A must-have for those seeking something uniquely vibrant and timeless in sound.

Review: The Harlem Gospel Travelers' new album, Rhapsody, is a vibrant exploration of the diverse musical influences that shaped their sound. Released on limited edition Rhapsody Swirl Vinyl with gold foil stamping on the cover, this album is ideal for collectors or those looking for something special. Vocalists Ifedayo Gatling, Dennis Bailey, and George Marage delve into the 1960s era when gospel began incorporating soul and funk elements. Inspired by Numero Group's 2006 release, Good God! A Gospel Funk Hymnal, the album reinterprets gospel funk tracks with their unique flair, from the high-energy 'God's Been Good to Me' to the hip-hop-inflected 'Get Involved.' Having gained acclaim with their debut, He's On Time (2019), and their 2021 follow-up, Look Up!, the trio, guided by mentor Eli "Paperboy" Reed, continues to push boundaries. Rhapsody is both a nod to the past and a bold step forward, blurring genre lines and redefining gospel music. The balance of traditional gospel while fusing newer genres with it is nothing short of breathtaking.

Review: The Harlem Gospel Travelers' new album, Rhapsody, marks a dynamic return for the trio, composed of Ifedayo Gatling, Dennis Bailey, and George Marage. Following their well-received 2022 release Look Up!, Rhapsody dives into a rich, often overlooked era of gospel music, blending traditional elements with influences from soul and funk. The inspiration behind Rhapsody came when Eli "Paperboy Reed," the group's mentor and friend, suggested they explore and reinterpret tracks from the Numero Group's Good God! A Gospel Funk Hymnal. The result is a collection that spans from the spirited soul of 'God's Been Good to Me' to the hip-hop-tinged 'Get Involved,' showcasing the group's ability to transcend the conventional boundaries of gospel. Originally formed as a quartet, the group reconfigured as a trio, bringing Bailey into the fold before recording Look Up!. Their journey began when Gatling and Marage met while studying under Reed, leading to the release of their debut album, He's On Time, in 2019, which garnered praise and attention from the likes of Elton John.Rhapsody is a project that not only honors the gospel tradition but also pushes it forward, offering a sound that is both rooted in history and refreshingly contemporary.

Review: This 50th Anniversary Edition resurrects a forgotten gem of 1970s soul-jazz, showcasing the masterful arrangements and musicianship of The Harold Wheeler Consort. It's a thrilling colliision of jazz harmonies, funk grooves and soulful melodies, with Wheeler's piano leading the way through a series of vibrant and eclectic compositions. From the infectious energy of the title track to the smooth sophistication of 'Then Came You', the album is a testament to Wheeler's talent as a composer and arranger. The B-side continues the journey, with tracks like 'Color Me Soul' and 'Feel Like Makin' Love' showcasing the band's versatility and deep understanding of soul and jazz traditions.

Review: When it comes to hunting the very of best library music cuts out there, De Wolfe's discography is likely the best place to start, and finish. The British music production company were the first to license such music exclusively for film and TV and thus single-handedly popularised the now DJ's favourite genre. Here on this reissue, Aussie producer, musician and double bassist Johnny Hawksworth (one of two famous library musician "hawks", only once removed from the perhaps more eminent Alan Hawkshaw), prizes open both falcon's eyes and auriculars: 'Bite Hard Breaks', the star, makes for an unfathomably cool piece for the playing of seductive games. Unsurprisingly, but with this fact not known to many, this record has been much sampled by hip-hop titans, from Beyonce to Drake to Jay Z to Madlib.

Review: This is a bold, progressive funk album from one of the genre's masters in Isaac Hayes. Although Hayes who was rooted in r&b was often overlooked in favour of prog-rock bands like Emerson, Lake and Palmer, his music was just as expansive and expressive across his career. This album served as the soundtrack for Hayes' first major film role and perfectly matches the gritty, exaggerated tone of the movie. Over time, its tracks were reimagined and sampled and influenced works from Geto Boys to Quentin Tarantino films, which has ensured it a lasting legacy in both cinema and music history.

Review: The original motion picture soundtrack for The Truck Turner delivers a thrilling blend of gritty funk, soul and high-energy jazz that perfectly complemented the 1974 blaxploitation classic. Composed by the great Isaac Hayes, the soundtrack is a dynamic showcase of his signature style that blends soulful melodies with intense orchestral arrangements. Tracks like 'Main Theme' and 'Breaking Into The Business' capture the raw energy and tension of the film while Hayes' deep voice and lush arrangements bring an added layer of sophistication to the score.

Review: Roland Haynes Jr. and his band Phenix may have only released one 45 in 1983, but their legacy extends far beyond that solitary record. This new collection of live recordings from the Quarter Moon club in Orangeburg, South Carolina, reveals the brilliance of Haynes and his ensemble. The album features a vibrant mix of originals and covers, including renditions of tracks by Marvin Gaye, Santana, Hubert Laws and The Jeff Lorber Fusion. These recordings, drawn from Haynes' personal archive, showcase the band's exceptional talent and ability to reinterpret classics while adding their own unique flair. The collection allows Haynes to assert his place among the most innovative jazz and soul artists of his time, capturing the energy and creativity of Phenix in their prime.

Review: Rhino Records, once again, share another classic as part of Rhino Reserves, which re-releases legendary albums on 180-gram premium quality black vinyl. This time, the label offer us a reissue of Eddie Hazel's Dames, Games and Guitar Things (1977), a funk freakout for the ages. After having broken ground as an instrumental player in the ingenious funk and soul supergroup Parliament-Funkadelic, Hazel went on to plant himself in fecund solo soils, delivering standout cuts such as 'California Dreamin'' (featured here on this debut), blending funky blues with a rock edge.

Review: Chicago was a hotbed for talent in the 1970s (well, it always has been and always will be, to be honest) and one of the groups to emerge at that time was Heaven & Earth, a vital soul vocal collective. They released four high-quality albums and this one, 'I Can't Seem To Forget You', was the first on Clarence Johnson's G.E.C. Label. It is packed with super sweet vocals and Dwight Dukes' lush falsetto and has never before been reissued. This version from the good folks at P-VINE has an extra bonus cut 'Promises,' which has previously only been available as a single from 1975.

Review: New Orleans brass band fixture The Hot 8 Brass Band unveil their latest record, in memory of Bennie Pete aka. "Big Tuba", the late co-founder and sousaphone player of the band. Having passed away on September 6, 2021, Pete was described as a "constant galvanising force", and this galvanic power is heard on full display here, as the top brass of the band are heard to collierly collude with many a New Orleands folk and hip-hop legend. Chief among the Hot 8's best characteristics are their incorporation of New Orleans bounce music (a local variation of hip-hop) into their brass-driven tracks and live shows; the sense of bustle, bombast and crowd commotion is heard here, reflecting the extent of the lives touched by Pete.

Review: Brazilian artist Hyldon's 1981 album 'Sabor De Amor' is a Latin classic that is well overdue this reissue by Jazzybelle Records. It was the fourth from the soul man, singer and instrumentalist who was, with equally celebrated peers Tim Maia and Cassiano, at the very heart of the Brazilian soul revolution of 70s. This may be his most consistent album with its more than accomplished backing by Azymuth musicians including Alexandre Malheiros on bass, drums from Ivan "Mamao" Conti and Hammond jams from Sergio Carvalho amongst others. The bass is funky, the arrangements are sophisticated and full of sun with noodling jazz melodies and Portuguese vocals all oozing summer magic. From mellow moments like the title cut to more dazzling and upbeat dancers like 'Amor Na Terra Do Berimbau' this isa joyous listen.

Review: Brazilian vocalist, musician and producer Hyldon De Souza Silva teams up with Adrian Younge on a brand new psychedelic Latin soul album, infused with the golden spirit of jazz, honouring both Hyldon's 60s and 70s opuses and Younge's trademark analog productions. With late drummer Ivan "Mamao" Conti on percussion, this is yet another tribute to the "Black Rio" movement in Brazil, an intoxicating infusion of Brazilian MPB and Black American rhythm & blues. The effect is major yet seductive, riffing on insporations from Marvin Gaye to Tim Maya to flatten the embossed edges of bossa nova and erotic funk, with remarkably paced and measured drumming and swirling vocal lines.

Review: Brazilian music legend Hyldon teams up with producer Adrian Younge for the 23rd edition of Jazz Is Dead. A psychedelic soul album reimagining the magic of Hyldon's 60s and 70s work through a modern lens, Hyldon's vivant vocals and poetic storytelling are paired with the rich analogue production that made Younge's name, honouring the past and yet still keeping things afresh. It also stands as one of the final recordings of the late Ivan "Mamao" Conti, the iconic Azymuth drummer and Hyldon's longtime collaborator. Fusing MPB, tropicalia, and Black American r&b, we're slack-jawed with awe at this spiritual, which elutes from the ethereal 'Olhos Castanhos' to the cosmo-funk of 'Viajante do Planeta Azul'.