New releases last two weeks: Funk

Review: Following the cinematic jazz-funk of 2021's 'Ufo Bar', Banda Maje returns with a new 7" single via Four Flies, which serves as a preview of their upcoming sophomore album Costa Sud. Composer Peppe Maiellano deepens his Mediterranean sound here while honouring his Italian and Neapolitan roots with a heartfelt cover of Peppino di Capri's 'Mo...' on Side A. On Side B, Maiellano explores Brazilian influences with '(Roda De) Samba Maje' featuring Amor Pela Roda and infused with vibrant percussion and cavaquinho. This lovely 45 rpm reflects a rich blend of South-inspired sounds while bridging Italy, Brazil, Africa and modern grooves.

Review: As you probably know if you're reading this, Jorun Bombay is one of the most consistently on for edit maestros in the game. Here he steps up with a new outing that sticks right at the heart of the dancefloor once more. 'Strictly Dann Stealy' is a clever mash-up of De La Soul's 'Eye Know (Know It All Remix)' featuring the original source vocals over a faithfully recreated instrumental. It channels the signature energy of early 90s hip-hop clubs with a fresh twist you've never heard before. On the flip, 'Whole Grain O's' offers a reimagined instrumental take on 'Oodles of O's' which is packed with reggae chants, added turntablism and signature 'Oh's'. It's a playful, party-ready version that balances just the right amount of nostalgia and brand new style.

Review: P-Vine Japan does great work once more here by bringing back into print some hugely sought-after sounds from the blues and r&b world. The first release in their new series revives Larry Davis' 1969 Kent Records single, which was originally written by Sherwood Fleming. The A-side, 'For 5 Long Years' delivers a gritty mid-tempo funk-blues groove while the B-side, 'I've Been Hurt So Many Times' (a classic subject for a blues tune) channels Willie Cobbs' signature sound. These will be familiar to anyone who has danced at a Northern Soul event and cannot be slept on.

Review: Brian Ellis, known for his multi-instrumental work as part of Birdbone Unlimited on Star Creature, steps out with a solo release that channels West Coast flair into a bold reinterpretation of early 80s dancefloor energy. Revisiting Bobby O's production 'Love Is The Drug' for Roni Griffith's 1982 hit, Ellis transforms the original into a shimmering blend of Italectro and funk-driven electrobass, a proto-freestyle fandango filtered through Ellis' signature analog sensibility. A high-gloss, synth-laced homage results on orange gamboge vinyl; a replenishing source of sunny sonic vitamin D.

Review: Originally hailing from Washington DC, Father's Children were one of the capital's most promising funk outfits in the late 70s. This new 7" reissue on South Street Soul revives two prized tracks from their Mercury Records era, produced by Wayne Henderson of The Crusaders. 'Hollywood Dreaming' is a breezy, rolling slice of mellow soul-funkithe sort of elegant groove that turns up on late-night radio, all gentle clavs and cruising vocals. Flip it and 'Shine On' turns up the energy, driven by a snapping slap bassline, crisp brass jabs and a slick group vocal arrangement. Both cuts originally appeared on their 1979 LP, but the original 45 has long been a holy grail for collectorsifetching triple digits. This reissue not only preserves the format but delivers on fidelity and style, giving DJs and heads alike a long-awaited chance to spin these Washington-grown grooves without fear of shelling out a fortune.

Review: Australian singer Nicky Nite Time and veteran Chicago second wavew house don Felix Da Housecat team up to rework Wham!'s 1984 classic 'Freedom', transforming its uplifting energy into a darker, harder-hitting, and low-key surreal dancefloor weapon. This bold refix pushes the track into pulsatory, late-night club territory, where the four walls about the dancefloor melt into strange shapes, and the checkered footlit floor cycles through the rainbow. The B-side includes Nicky's dub version for an alternative spin, along with an acapella, furthering our sense of possibility. A fresh, edgy, multi-version take on a beloved hit.

Review: Minnesota's Shaun LaBelle returns with two collaborative cuts that shimmer with West Coast class. On 'Mon Cher Amour', Maysa's effortlessly fluid delivery rides plush piano chords from Bobby Lyle, whose presence elevates the arrangement with vintage jazz-funk elegance. Lyle's involvement i rare and usually reserved i speaks volumes. Flip to 'Your Love Kept Calling My Name', a slower burn that shows off LaBelle's syrupy synth bass and clean guitar touches, anchored again by Maysa, this time joined by Stokley. The track's groove is thick but graceful, helped along by contributions from Jeff Lorber, Patrick Lamb and Maurizio Metalli. While there's a polish that veers towards the adult contemporary side of soul-jazz, both tunes have the kind of melodic strength and studio richness that make sense of their Billboard and UK Soul Chart success.

Review: Best known to many as Brett Domino from 8 Out of 10 Cats Does Countdown and all round internet keytar cover verion fame, Rob J Madin steps out from his comedy roots with a fresh suite of instrumental jazz-funk recorded mostly in his Sheffield attic. Drawing from the energy of artists like BadBadNotGood and Mildlife, the new six-track EP blends silky keys, warped synths, and choppy drum samples into a head-nodding, sun-drenched mod soul anthem set. 'Callisto Disco' veers over brash momenta, while 'Cherryade' leans back towards a laid-back optimism, not to mention the opener 'Bouquet Garni', which prophesies restless singalong hums by the never-forgetting listener.

Review: This priceless double-header brings together two timeless gems from South African music icon Letta Mbulu. On one side, the afro-electro boogie cult classic 'Nomalizo', a favourite among diggers and refined selectors alike, with its honeyed vocals, salty synth work and languid rhythms. On the other, there's 'Kilimanjaro Takes Us Higher', an uplifting, up-tempo dancefloor anthem radiating optimism with soul-drenched vocals, funk bass, disco strings and agile keys. Released together as a single for the first time, these sought-after tracks have been embraced across countless scenes for decades. Nothing short of essential.

Review: A jazz head with deep hip-hop roots, New York-based saxophonist Benny Reid returns with a brand-new 7" on Fat Beats, following his 2023 The Infamous Live reinterpretation. This is his latest standalone tribute, and it plays like a deliberate two-sided concept: '93 'Til Infinity' on the A, 'Day One' on the B i reworked with full reverence but plenty of vision. Reid's take on the former is all patience and atmosphere, stretching the groove into moody, modal territory without losing its swing. Flip it for a tighter, chunkier pass at the D.I.T.C. classic, where arrangements lean into low-end murk and sharper rhythmic interplay. Drawing on years of post-bop work for Concord, Reid reanimates sample culture as memory, process and momentum.

Review: Second time around for Royksopp's superb contribution to the popular, post-club focused LateNightTales mix series, a beloved volume that first hit record stores back in 2013. For the uninitiated, it sees the long-serving Norwegian twosome offer up an attractive blend of synth-heavy Scandolearic shufflers (their own cosmic pop number 'Daddy's Groove'), dubbed-out soul (Rare Bird), swelling synth soundtrack fare (Vangelis), neo-classical (Johann Johannsson), reverb-laden accapella beauty (Prelude), sun-soaked blue-eyed soul (Richard Schneider Junior), nods to the KLF's Chill Out album (Acker Bilk), seductive slow jams (Byrnes & Barnes), vintage Balearica (Andreas Vollenweider, John Martyn) and atmospheric new wave (XTC, This Mortal Coil).