Back catalogue: Funk

Review: Given the wide-eyed, largely downtempo nature of their music, it's perhaps a little surprising that it took Late Night Tales this long to ask Royksopp to mix a volume in the long-running after-hours series. Royksopp are, of course, old hands at this kind of thing - they delivered an impressive Back To Mine comp back in 2007 - and use the opportunity to mix-up a typically heady selection of stoner soft rock (Little River Band, FR David), sparse dub-rock (Tuxedomoon), cinematic soundscapes (Johann Johannsen), psychedelia (Prelude), well-worn favourites (Acker Bilk) and folksy Balearica (John Martyn). Fans will be pleased to see a sprinkling of unreleased Royksopp fare, including intensely beautiful opener "Daddy's Groove".

Review: Ruby & the Mudflaps were a funk group active throughout the seventies. Many of their best tunes have never before been pressed to vinyl and that is what motivates this new collection. Breezy. It is a superb collection of the band's best studio cuts alongside a number of live recordings, all made back in the seventies. These tunes are exclusive to the Cordial Recordings label and are new to vinyl aside from 'Is That Enough?' which the label put out on a 7" in 2018. The glorious title tune is a great one to kick off with and the funk levels do not dip from there.

Review: Patrice Rushen's album from1982, Straight From The Heart,' is a real landmark, It now gets presented as a definitive version by Strut. It was made during a period when the original label were striving to make 'sophisticated dance music.' Mission accomplished. This is an album packed with high class arrangements and disco and boogie stylings along with great musicianship. Patrcei's own vocals explore a broader range than ever before, and singles from the seminal album included 'Breakout!', 'Number One' and the most ionic of them all, 'Forget Me Nots'. The album overall had huge success, was a Billboard Chart hit and became a regular source for samples in the world of hip hop and R&B as well as picking up a Grammy nomination.

Review: Patrice Rushen's Prelusion marks her dazzling debut into the jazz world, originally released in 1974 on Prestige Records and now reissued on vinyl here in 2024. Before her r&b fame, Rushen showcased her talents as a jazz pianist on this album, backed by luminaries like Joe Henderson on saxophone. The record effortlessly blends post-bop with elements of jazz fusion, highlighting Rushen's versatility across acoustic and electric keyboard. Her performances on acoustic piano and electric keyboards reflect a strong influence from Herbie Hancock, evident in tracks such as 'Haw-Right Now' and 'Shortie's Portion.' Despite her shift to r&b in 1978, Prelusion stands as an early promise in jazz music.

Review: Patrice Rushen's Remind Me: The Classic Elektra Recordings 1978-1984 celebrates the unmatched talent of a jazz and r&b legend whose influence extends far beyond her chart success. Rushen's songs, including hits like 'Forget Me Nots' and 'Haven't You Heard,' have left an indelible mark on popular music, with countless artists sampling her work. Despite facing criticism and lackluster label support, Rushen's crossover into sophisticated urban pop paved the way for future R&B and hip-hop hits. This compilation shows Rushen's talents as a musician and arranger, with her production providing the building blocks for decades of musical innovation. Tracks like 'Givin' It Up Is Givin' Up' and 'Remind Me' highlight Rushen's electrifying performances and innovative sound. Rushen's timeless music remains as relevant and influential as ever, cementing her status as a true icon of musical innovation and creativity.

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.

Review: Adrian Younge and A Tribe Called Quest man Ali Shaheed Muhammad's recently released "Jazz Is Dead" album had the feel of a landmark set: a collection of inspired, all-star workouts that combined live, hip-hop style beats with the effervescent musicality of soundtrack jazz, soul, jazz-funk and Latin jazz. This speedy sequel flips the script, stripping back the guest list to a single guest collaborator: jazz-funk and fusion legend Roy Ayers. From start to finish, the set bristles with sweet female group vocals, mazy Vibraphone solos, ultra-warm electric piano, hybrid hip-hop/jazz-funk beats, and Ayers' effortless musical positivity. While nowhere near as eclectic as its predecessor, "Jazz Is 2" is arguably an even more coherent and enjoyable album - and that's saying something.