New releases last four weeks: Funk

Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.

Review: Bacao Rhythm & Steel Band, the enigmatic steel pan group from Hamburg, made waves in 2024 when their cover of 50 Cent's 'PIMP' was featured in the Oscar-winner film Anatomy Of A Fall. The track played a key role in the movie's success and led to the first-ever steel pans in the orchestra pit at the Academy Awards, further boosting the band's saliency. And yet despite global recognition, 'PIMP' is just a glimpse of their catalogue, which is already rather extensive. Since signing with Big Crown in 2014, Bacao've released four albums and numerous singles, and Big Crown Vaults Vol. 4 flaunts many of these dishings-out, with covers of Bob James' 'Nautilus', Khruangbin's 'Maria Tambien', and the uptempo original 'Kaiso Noir'. It serves as a tantalizing bud-whetter, too, before their oncoming fifth studio album.

Review: Funky Kromong Vol. 2 builds on the success of its predecessor with another bold and bright selection of tracks by legendary Indonesian artist Benyamin Suaeb for Lamunai Records. This volume highlights Suaeb's genius for fusing traditional Betawi music with infectious funk grooves and witty satire. Tracks like 'Kompor Meleduk', 'Cong-Cong Balicong', and 'Koboi Ngungsi' capture his signature humour and cultural insight while offering fresh energy for new generations. The seamless blend of traditional and modern instruments results in a timeless soundscape that honours Indonesia's musical heritage. Vol. 2 is both a nostalgic tribute and a bold, joyful celebration of innovation.

Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.

Review: Japanese electronic disco producer and performer Fujisawa Hideki aka. Dance Man coined the term "mirrorballism" as the philosophy behind his ultra-tight brand of disco. Four albums of mirror-ballistic albums, New Generation Dance Classics Volumes 1-4, appeared before his fifth album, Funkoverlic, surfaced in 2004, from which this ingenious pair of trax, 'Bomber' and 'Hey Hey Ookini Maidoari', came. Translating roughly to "there is a lot of everything" from Japanese, the latter track brims with posse-backed instrumental disco-hop steeze, worthy of bombastic emceeing should any rap collective fancy it. 'Bomber' is comparatively funky, save for its devilish wax scratches, giving way to one of Dance Man's more glamorous vocal lines.

Review: Manu Dibango knew how to work a crowd. By the time he hit the stage at Marseille's Theatre La Criee in December 1982, he had long mastered the art of turning a gig into a full-blown celebration. This was the man who took makossa global, who made 'Soul Makossa' an international sensation a decade prior and who could pivot between jazz, funk and African rhythms like it was nothing. The recording, unearthed from the INA archives, captures him in peak form, leading an eight-piece band through a set that refuses to sit still. 'Africa Boogie' is all clipped guitars, tight horns and a bassline that struts like it owns the place. 'Ashiko Oumba' turns the groove alluringly, locking into intricate polyrhythms before erupting into pure brass-fuelled joy. Then there's 'Waka Juju', sprawling across three parts, moving from simmering tension to full-throttle release with the kind of control only Dibango could pull off. He's conducting, shaping the music in real-time, every solo a conversation, every break a setup for the next explosion of sound. Four decades later, the set still feels alive. It's there in the call-and-response with the crowd, the sweat-soaked momentum of a band that knows it's on fire. Dibango, effortlessly cool at the centre of it all, proves once again why his music never ages.

Review: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.

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: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.

Review: Ekoya is the fourth album from Jupiter & Okwess and it marks a new chapter in their sound as they embrace Congolese funk, rock, Afropop and Latin influences. This record was conceived during a South American tour and recorded in Mexico so reflects a cross-cultural fusion that's deeply rooted in African history and features collaborations with artists like Flavia Coelho and Mare Advertencia. Along the way, the music tackles themes of change, resilience and the global challenges we face so tracks like 'Selele' and 'Orgillo' fuse political commentary with big rhythms. Through a great mix of languages, rich instrumentation and powerful messages, Ekoya is a wonderfully worldly celebration.

Review: Here, celebrating its 40th anniversary, Level 42's World Machine returns with a special reissue of the 1985 album that launched them to global fame. Departing from their jam-based roots, the band embraced a more structured songwriting process and also set to work producing the album themselves with engineer Julian Mendelsohn. The result was a polished, pop-funk breakthrough led by the hit single 'Something About You' which of course became a Top 10 hit worldwide, including in the U.S. Follow-up singles like the emotive 'Leaving Me Now' and the infectious "'World Machine' cemented the album's success and helped mark a major turning point in the band's career and 80s pop history.

Review: A new compilation which looks to celebrate the unheralded period of hugely successful Isle of Wight pop/funk band Level 42, named that after their cult funk days in the early 80s and their chart-topping victories in the middle and end of the decade. Music on Vinyl helps celebrate their 90s years with this compilation that spans the albums Guaranteed (1991) and Forever Now (1994). Originally released in 2007, this limited edition 2xLP set, pressed on vibrant 180-gram yellow vinyl, highlights the band's unique blend of funk, pop and jazz influences, with a mix of infectious grooves and introspective lyrics. The first side opens with the title track, 'Past Lives', a slick funk-driven number that sets the tone for the compilation, followed by the energetic 'Guaranteed' and the introspective 'Overtime'. Tracks like 'My Father's Shoes' explore deeper emotional landscapes, while 'Forever Now' explores the band's ability to craft smooth, soulful anthems. Side three is a ideal, featuring the infectious 'Model Friend' and the jazzy 'Romance'. Meanwhile, 'One in a Million' is a perfect example of the band's ability to blend pop hooks with sophisticated arrangements. Side four closes the compilation on a high note with 'If You Were Mine', a catchy, uplifting finale. The four-page booklet provides context for this fruitful period in Level 42's career, and the limited yellow vinyl adds an extra layer of collectible charm.

Review: The debut release from Hebrew Israelite vocalist, songwriter and multi-instrumentalist Margeeah Aharon was recorded in July 1983 with the Kingdom Sounds community band in Tel Aviv. This deeply introspective blend of jazz, soul, funk and reggae is guided by Margeeah Aharon's soothing yet resolute voice, imbued with a meditative graceidrifting between the searching melodies of 'Bring The People Home' and the deep-rooted spirituality of 'Rise Black Spirit', while 'Music Is My Love' glows with warmth and devotion. The reflective 'Daughters Of Zion' and the title track capture Aharon's gift for meditative storytelling, where faith and longing intertwine. Decades later, the album's messages of love and self-discovery are as vital as ever.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.

Review: This compilation is a vibrant celebration of Gnonnas Pedro, the legendary Beninese composer and musician. Spanning his career from 1967 to 1985, it showcases Pedro's remarkable versatility and eclectic musical palette; featuring 21 tracks that traverse genres with ease, from the Afrobeat energy of 'Pas De Petard' and 'L'Indomptable Gnonnas Pop' to the salsa rhythms of 'Tembleque' and the soulful grooves of 'How Much Love Naturally Cost'. Pedro's music is a fusion of influences, blending traditional African sounds with funk, soul and Latin flavours and highlights here include the irresistible 'Dadje Von O Von Non', the funky 'Yiri Yiri Boum', and the soulful 'Bailando Mi Solo'.

Review: NPG Records and Paisley Park Enterprises, in partnership with Warner Records, are pleased to announce the release of a brand-new audiophile Blu-ray featuring 2024's Dolby Atmos mix of Prince and the Revolution's iconic 1984 album, Purple Rain, as well as Prince's original 1984 stereo mix, in high-definition 24bit / 96kHz audio.

Prince shattered all expectations and made music history when he released the album Purple Rain, followed by the hit movie of the same name weeks later. The 9-track LP went on to win two Grammy awards ("Best Rock Performance by a Group" & "Best Album of Original Score Written For A Motion Picture"), two American Music Awards, a Brit Award, and an Academy Award for Best Original Song Score. In 2012 the Library of Congress added the album to the National Recording Registry, which only accepts sound recordings that "are culturally, historically, or aesthetically important, and/or inform or reflect life in the United States." Purple Rain spent 24 weeks at #1 on the Billboard album charts, sold over 25 million copies worldwide, and appears on countless 'Best Of' polls, most recently achieving the #4 spot on Apple Music's Top 100 Albums Of All Time.

The 2024 Atmos presentation of Purple Rain featured on this Blu-Ray, was meticulously mixed from the original multi-track master tapes by Prince's protege and Best Engineered Grammy nominee Chris James. It was released via all participating Digital Service Providers on June 21, 2024. "In 2024 we started our year-long celebration of the 40th anniversary of Purple Rain, we are thrilled to present Prince's masterpiece in ATMOS, providing an immersive, surround auditory experience of Prince's legendary album. This highly crafted release will present Prince's iconic work with more space and depth while preserving the beautiful songs that have shaped music and popular culture, and touched the lives of countless fans around the world." - Paisley Park Enterprises

Region code: universal

Review: Chicago has had a strong re-edit culture since the days when Ron Hardy and Frankie Knuckles were defining house music culture in the mid 1980s. Rahaan, who has been one of the more storied members of the global re-edit scene for the last two decades, is undisputedly the Windy City's current scalpel-edit king - as his ongoing series of reworks on Hot Biscuit Recordings emphatically proves. Here he adds two more fine revisions to his bulging discography. A-side 'For Dancing & Singing' sees the veteran DJ/producer apply his Midas touch to a vintage 60s funk jam, making most of the sampler-ready breaks and groove, while flip side 'The Galaxy' - our pick of the pair - is a soaring and spacey 70s disco workout piled high with percussion, jaunty piano motifs and suitably intergalactic synth sounds.

Review: Two Is One (1974, now 2025) recaptures saxophonist Charlie Rouse at the peak of his rabble-Rousing powers, commanding the popular will (through steering clear of sonic demagoguery) through effortless funk, soul jazz, and post-bop, all while orbiting that distinctive cosmic ring-edge that defined the Strata-East catalogue. Best known for his long tenure alongside Thelonious Monk, Rouse steps into a new light here, leading a stellar ensemble made up of guitarists George Davis and Paul Metzke, Cal Scott on electric cello and Stanley Clarke on bass. Together they stretch out across a set both grounded and exploratory, with a spiritual undercurrent running through the grooves. Newly issued on 180-gram vinyl, the record comes packed in a tip-on gatefold with fresh liner notes from Syd Schwartz and rare archival photos, bringing fresh focus to one of Rouse's most compelling records.

Review: Shawn Lee steps into untamed territory with Toe Rag Rhythms, a perc-ky odyssey trading in polish for pulse, spontaneity, and raw funk energy. Departing from his usual tightly composed fare, this session hears Lee, a seasoned multi-alias musician and composer from London, joined by four more percussionists, losing himself in a jungle of drums, shakers, bells, and earthbound textures. Lee adds tinkerbell piano lines to ground-lift the otherwise swirling, syncopated chaos, finishing each tracks with a loose-limbed, hypnotic charm. Whether the humid bounce of 'Tropical B Boy', the cinematic swirl of 'Dance Of The Pharoahs', or the laid-back snap of 'Rainforest Hum', this record easily earns its place alongside global groove rarities. Wild, rhythmic, totally addictive.

Review: A decade in the making, the long-awaited new album from Smith & The Honey Badgers gathers analogue sessions recorded by the band over a ten-year stretch, from early risings in Marietta and makeshift setups in a Hackney bedroom to recent studio time at Echo Ray in Wood Green. Lead vocalist Marietta Smith fills out each mix with clarity and vavavoom, the likes of 'Better Times', 'Don't You Doubt It Baby' and 'Echo's Theme' marking a terrific rouser soul record following four early-career singles released via Lunch Money and Fnr.

Review: It's been a while since the last one but finally, the fourth volume of the Mighty Mellow collection is here. It is another delight from the editors of The Mood Mosaic series and this time out, they explore mushy funk and abstract jazz while featuring tracks from a diverse range of artists including Pete Jolly, Annette Peacock, Dusty Springfield and more. Across the four sides of vinyl are an eclectic mix of soulful grooves and experimental sounds that span genres and eras. It's largely laidback, gentle funk and jazz for those occasions when you want to kick back and get lost.

Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.

Review: Use Vinyl looks back to two iconic tracks from the 70s and 80s here for source material for a new remix EP by the Vannelli family. Joe T remixes 'Thrill Me' by The Wonderland Band into the sort of direct and funky house sound that brims with early dance music charm while the Vannelli Bros offer their rework of 'Party On' by Pure Energy which comes with plenty of energy for club contexts. Both tracks are presented as Classic Mix versions and bring plenty of new life to the original hits without forgoing the timeless, catchy and meaningful melodies that define the originals. House music like this is as authentic as it gets.