Review: After years of silence following the loss of Sonny Knight in 2017, former Lakers members Blair Krivanek and Cy Pierpont return with their new project, Ace Box Shift. The duo have made plenty of standout contributions to the soul revival scene before now and here they debut on Secret Stash Records with another pair of fiery instrumental cuts that work exceptionally well for DJs and dancefloors alike. They find Krivanek's jazz-infused guitar work meeting Pierpont's pounding rhythms with raw, funk-driven results that make for a bold, high-energy comeback that pays tribute to their roots while also moving things onwards.
Review: Few recordings capture the easy intensity of a summer afternoon like 'Everybody Loves the Sunshine'. Released in 1976 and wrapped in slow-drifting synths and soft falsettos, the track became a touchstone not just for Roy Ayers, but for 70s soul and beyond. Born in Los Angeles, Ayers helped define the jazz-funk crossover, placing the vibraphone at the centre of a sound both hazy and sharply detailed. The original vocal take on the A-side still melts under its own warmth; the instrumental on the flip uncovers the careful architecture beneath. Issued here on 7" black wax following Ayers' recent passing, this reissue feels like both a keepsake and a quiet honouring of an artist who shaped a whole way of listening.
Review: This orange 7" is a miniature monument to one of soul's most quietly influential figures. Roy AyersiLos Angeles-born, jazz-schooled, funk-mindedicrafted 'Everybody Loves the Sunshine' not to dazzle but to dissolve. It moves with a drowsy clarity: shimmering synth, near-whispered vocals, and a lazily tumbling bassline that never quite lands. Released during a golden run of Ayers' mid-70s material, the track has since become shorthand for warm-weather introspection, equal parts ease and ache. The instrumental version on the reverse keeps the spirit intact, offering a meditative glide through the same terrain. Limited to 300 copies, this orange pressing pairs a low-lit groove with a deepening sense of legacyiAyers' influence isn't just heard, it's felt in the space he leaves behind.
Review: Roy Ayers at his most transcendent. 'Everybody Loves the Sunshine' is more than a summertime anthemiit's a spiritual moodboard that's shaped jazz-funk, soul, r&b and hip-hop for nearly 50 years. Ayers, born in Los Angeles and raised in its fertile fusion scene, places the vibraphone at the music's heart, coaxing heat-haze tones from sparse chords, synths, and that honeyed chorus. Flip it over and the instrumental version unlocks a deeper layer: stripped of vocals, it becomes a pure groove, drifting and hypnotic. What lingers is the balanceibetween melancholy and bliss, rhythm and release. A rare track that feels entirely unhurried yet quietly radical, now preserved in a limited pressing that looks as golden as it sounds.
Review: Rising Glasgow-based quartet Azamiah return with another engaging new EP that bridges their acclaimed debut In Phases and what's to come. Blending UK jazz roots with atmospheric electronics, dub-infused basslines and James Blake-esque textures, this one showcases the band's evolving sound and emotional depth as tracks move fluidly between moody introspection and radiant optimism, all played with a raw, fresh intensity. This outfit's promise as one of the UK jazz underground's most exciting crossover prospects is more than realised with this deeply moving new outing.
Review: Anorax Records' motto and hash-taggable suggestion is to #eatsleepcollect, as if we weren't doing so already! This time they deliver on the highly anticipated 'Tighten Up' by Melbourne soul collective The Bamboos. First released in 2006 on Kenny Dope and Keb Darge's Kay-Dee label, this instrumental version of Archie Bell & The Drells' 1968 hit quickly became a favourite in soul and acid jazz circles. Rhythm-made by The Bamboos' leader, Lance Ferguson, this one stands out for its vocal absence, offering a quirky, irresistible take.
Review: Bamma Gamma returns with a sizzling slab of funk in the form of 'Omelette' via Detroit's renowned Funk Night Records. This one is a digger's dream, raw, gritty instrumental funk with break-heavy drums, tight guitar licks and basslines so greasy they practically drip off the record. True to Funk Night's underground sound, Omelette is unapologetically retro and authentic and serves up irresistible dancefloor heat that feels like a lost '70s cut that has been newly rediscovered. For DJs looking to inject some analogue soul into their sets, it's a no-brainer.
Review: The latest deep dive into Galaxy Sound Co.'s Black Hole series is another carefully dug out delight featuring three essential jazz-funk-psych cuts. Joe Pass' 'A Time For Us' opens with beautiful cinematic strings, sparse drums and ghostly guitar that has been famously sampled by J Dilla and the Slum Village crew, and sounds powerful in situ here. Milt Jackson & Ray Brown's 'Enchanted Lady' follows with hypnotic modal swing, again famously flipped, this time by Pete Rock, De La Soul and Knxwledge. Closing out is Archie Whitewater's 'Cross Country', which is a funky, soulful groove with brass and keys that have been immortalised by Kanye and Common, but remains a burner here in its original form.
Review: The Milanese outfit dive headlong into cinematic Afro-disco on this limited 7", reworking two cult dancefloor staples with characteristic flair. On the A-side, their version of Piero Umiliani's 'Discomania' hits with tightened syncopation and swirling synth arrangements, turning the cosmic Italo-disco cut into a hypnotic afrobeat strut. Flip it over for a rich reimagining of Azymuth's 'Jazz Carnival'iCalibro 35 boost the groove with deep-bottomed funk and crisp horns, pushing the original's samba swing into widescreen. Known for their work at the intersection of funk, soundtrack and psych, the band bring sharp musicianship and warm analogue heat to both sides of this essential 45.
Review: After a wild shelf-clearer came by way of a reissue of 'Ordinary Joe' earlier this year, we've now a second Outta Sight reissue of yet another gladly intoned Terry Callier deep cut on our hands. Born and raised in Chicago's Cabrini-Green, Callier came up alongside a generation of soul and jazz innovators but always stood apart. After his debut LP The New Folk Sound fell into obscurity, and his 1968 Cadet single 'Look At Me Now' slipped past unnoticed, he was brought into his mentor Jerry Butler's Songwriters Workshop, a game-changing move. This stirring early statement works in much inner commentary on manhood, stage fright and vital moment seizure - "now my people think I just fake it / I know I do things they don't understand / so I've got to show them I can take it / I've got to show 'em I can be a man" - aches with the strain of double consciousness in a performance society.
Review: Released in 1977 on Buddha Records, Norman Connors' heartfelt number 'Once I've Been There' is a lush piece of honest-to-goodness soul music that's long been held in high regard by diggers. It features a powerful vocal performance from Prince Phillip Mitchell, warm orchestral instrumentation, and a gentle groove arranged by Jerry Peters. Blending elements of classic r&b with jazz sophistication, the track has a timeless, cinematic feel. It's a standout in US drummer Connors' catalogue. Released in the same year, 'Captain Connors' is a loose and limber soul-jazz workout, with energetic horns and deinty keys riding over a sprawling arrangement. Well worth adding to the collection.
Review: Never before released in this particular form, two inscriptions by the French jazz fusion band Cortex make for a fidgeting classic each, perfect for the tube-amped dancefloor. Made up of many a cover and original, the full-length 'Inedit '79' EP first came to Underdog Records in 2006, though it was composed almost entirely of recordings laid down in 1979, proving the band's asynchronic staying power across decades. This new 7", however, recuts the lead track from the album, and a never-before-heard session floorcut respectively. The B-side in question, 'Where Do You Come From', did not appear on the 2006 release, and was also recorded later in 1981, though it is considered a part of the same inspo-flush.
Review: Forget the World is a psychedelic instrumental trio led by bassist-composer Marc Decho, who is based in Toronto, Canada, and known for his work with Afro-Cuban jazz pianist Miguel de Armas. Decho brings a fresh, genre-blending sound to the scene and this group blends a real gamut of vibes - 70s soul-jazz, alternative hip-hop, cinematic textures, dreamy LA pop, UK Bruk, Afro-Brazilian rhythms, classical and experimental electronica. Joined by James Hill on Fender Rhodes and synths and Marito Marques on drums, percussion and electric kalimba, their music is immersive and imaginative. It's mixed and mastered by Grammy-winner Helik Hadar and offers a great escape into a new world of awareness.
Review: In 1969, Duo Ouro Negro travelled to the US and came back changed. By 1972, they channelled said many cross-country encounters with Black Power politics, spiritual jazz and liberation struggles into Blackground: a bold, pan-African statement recorded not in Luanda but Lisbon. The Angolan duo, already global stars in Portuguese-speaking circuits, were heard fusing jazz-funk with messages of decolonisation and Black identity, summed up in Raul Indipwo's cry: "Don't forget your blackground." A decade later, in 1981, the record was reworked with fresh arrangements and additions like the instrumental 'Iemenja' and the percussion-heavy 'Aruandai'. This new edition from Digei De Bairro brings that fiercely rhythmic and politically charged LP back into circulation, a vital slice of Lusophone jazz-funk with global intent.
Review: Thanks to the year being 2025, te jazz age of the 1920s is being centennially anniversaried the world over. But when recorded music took the world by storm from the 50s onwards, it was only a matter of time before such starlets Lu Elliott would make latent but no less powerful waves in the same early jazz sound, except this time around, the sonic vestiges of the time were preservable. Elliott, a jazz/blues singer and recording artist, was a onetime BB King and Duke Ellington posse member, having found her lungs playing in a band known as The Cubanaires before bronchi-ating out into mid '60s solo stardom with tunes such as 'Speaking Of Happiness'.
J Blue - "I Can't Keep Crying Sometimes" (part 1) (3:25)
Original Gravity Allstars - "I Can't Keep Crying Sometimes" (part 2) (4:02)
Review: London imprint Original Gravity keeps the 7" heat coming with a two-part reimagining of the blues standard 'I Can't Keep From Crying Sometimes'. J Blue takes the A-side, laying down a smoky, melancholic vocal over a stripped-back hip-hop groove, bringing 60s soul pathos into sharp modern focus. It's the kind of cut that creeps up on you-restrained, ghostly, all mood. On the flip, the Original Gravity Allstars stretch things out dub-style with a Pt. 2 version, turning the track inside out into something moodier, heavier, and bass-led. Another strong entry in the label's ongoing campaign to bridge vintage sonics and contemporary pulse-perfect for deep selectors and collectors alike.
Review: In 1979, the Washington-based Janice Lakers Quintet recorded this fetching demo, beloved for its formal attending to the joy of making music together. With Lakers on vocals, Dick Cady on piano, Mike Edwards on woodwinds, Larry Turner on bass and Fred Taylor on drums, the group delivered two unique covers, each worked into their own signature style. Their take on Seawind's 'He Loves You' strips back the funk, replacing it with a light, effortless glide. Taylor's whisking drums and Turner's steady bassline lay an airy foundation, while Edwards' clarinet and Cady's piano inject bursts of energy mid-song. On the flip, 'Shaker Song' bridges Spyro Gyra's instrumental and Manhattan Transfer's later vocal version; richer in texture, it offered Lakers a chance to explore her vocal range, closing with lively scatting.
Review: For five years, Acid Jazz has been showcasing Kevin Fingier's productions with each one carrying his signature Latin flair. It all began with 'Latin Dynamite', which sold out 15 days before its release and was followed by 'Cocktail de Medianoche' and 'Why Don't You Go Home', which were both instant sellouts. The second pressing of 'Latin Dynamite' included a fiery Latin rendition of the r&b classic 'It's Your Voodoo Working'. When Fingier released 'Not Strictly Soul,' it featured the Latin gem 'El Popcorn' which is now available on 7" for the first time. These four Latin Soul anthems are now united in one explosive Boogaloo EP that arrives just in time for summer.
Shaun LaBelle - "Mon Cher Amor" (feat Maysa & Bobby Lyle) (4:15)
Shaun LaBelle - "Your Love Kept Calling My Name" (feat Maysa & Stokey) (4:02)
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: Rindert Lammers' debut LP is a kaleidoscopic suite in five movements; pelican wingspans of twinkly, retentive but then also generous jazztronica, centring on two distinct themes: Japanese cinema and YouTube confessions. Japanese culture is seen through a grateful lens, as theatrical titans such as Kirin Kiki are homaged; the B1 especially is inspired by a poignant moment in the actor's portrayal of Hatsue Shibata in the 2018 film Shoplifters. Seemingly firstly inconsequential digital traces are lent an upscale gravitas, meanwhile, as a voice clip from a YouTube comment on an algorithmically boosted Hiroshi Yoshimura video evolves into the ride-embellished upswell 'Thank You Hiroshi Yoshimura'. Mastering the art of appreciation from afar, Lammers brings a mood of gobsmacked reverence for Japanese enviro jazz and its offshoots, suspending us over an endless realm of forms circa 1989.
Review: Continuing their mission to retrouve genres across the spectrums of Latin funk and cumbia, Original Gravity welcome back founding favourites Luchito and Nestor Alvarez with yet another sonic vitamin D pill, presaging the warmer days to soon come. Both sides tap into that rich 60s and 70s Afro-Carib crossover sound, with, at least on the face of it, no studio trickery in earshot (though careful listens reveal the method behind the majesty). Anyone with a weakness for brass-led Latin burner will melt on contact with this one.
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: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.
Review: UK mambo kinds Orchestra Mambo International share their second single for ATA Records, both on digital and vinyl formats once more. After a dazzling debut single for the label back in May 2024, 'Balia Mi Cha Cha' is a funky cha cha number driven forth by the songwriting of bandleader and trombonist Jonny Enright, backed up by vibraphone from John Settle and lead vocals from Venezuelan singer Carlos "Pachanga" PeNa. The B-side, meanwhile, is a mambo instrumental entitled 'Bajo Con Vibes' ('Bass With Vibes'), which riffs on the double metonymy of the word "vibes" and plays up to a fantastically warm bass sound, providing a proper aural rung onto which central part of the track the listener may latch themselves and become thus enthralled.
Review: Two popular tracks from the highly rated and MURO-curated compilation Diggin Victor: Deep Into The Vaults Of Japanese Fusion / AOR are now made available for the first time on their own standout 7". Originally released as a limited item at an anniversary event, these rare gems are magically escapist sounds that blend library music, jazz, soul and Balearic mindsets into a pair of tropical heaters. The Kumi Sasak A-side is a real melodic noodler with meandering bass and a whimsical, carefree spirit as it heads nowhere in particular in hypnotic fashion. Side-B has 'Kimono' by Tetsuo Sakurai, which is a more rhythmic sound with funky bass riffs and 80s broken beats and a lush vocal.
Review: This sizzling Hammond B-3 laced two-sider from Tommy Sims is a funk-infused gem that would make legends like Jimmy Smith and Brother Jack McDuff do a double-take. Bursting with soulful groove and rich, swirling organ tones, each side delivers brilliant vintage jazz-funk. The lead track lays down deep, bluesy riffs over tight drums and nimble bass, while the flip brings a more playful, upbeat vibe with sunny and infectious swing and crisp solos. Classic organ-driven soul-jazz never sounded better and this is proof that the mighty B-3 still reigns supreme when placed in the right hands.
Review: Madrid-based Sinouj blends Mediterranean roots with contemporary jazz, funk, rock and West African rhythms on this wonderful new 7". Their inclusive approach brings together influences from flamenco, Iranian classical, soul and modern jazz, all of which can be heard here in music that feels both global and uniquely theirs. Their latest release reimagines 'Hak Dellali,' a North African classic popularised in the 80s by Tunisian and Emirati artists. Sinouj transforms the song with Moroccan chaabi beats and Tuareg blues-rock energy, and it has become a staple and standout of their live shows. A psychedelic remix by Berlin's Voodoocuts adds a club-ready angle.
Review: Some cynics say there's no romance *without* finance, but the one hit wondrous German funk and soulers Thirty Two Soul Band begged to differ. A formerly unreleased lowrider soul beauty from 1975, 'Finance Or Romance' was shelved for nearly half a century, but now it finally steps out of the vault and chooses love. Woozy horns collide with a plaintive groove that could've easily lit up any Eastside cruise: "what's it gonna be, what's it gonna be?". On the flip, 'Body Wave' also resurfaces for the first time since its scarce 7" run, a sultry midtempo cut, dusty fidelity intact.
Review: Measured Mile, the 7"s label run by Bob Stanley, firms its focus on DJ-friendly 45s that are or were either very rare or previously unavailable in the format. Its run of sharply curated 7"s is replenished with another three-tracker, this time an unusual choice, fencing two classic British sports broadcasting themes, pivoting from midtempo funk to faster breaks. Leading the A are two standouts from Douglas Wood, 'Cranes', known as the punchy, synth-heavy theme from the BDO World Darts Championship - and 'Drag Racer', the atmospheric opener to the BBC's Snooker World Championships coverage, both drawn from the revered Studio G library catalogue. On the flip, John Cameron's 'Sprocket Shuffle' - the lively 1980s ITV Snooker theme - rounds out the package in a flurry of analogue texture and charming nostalgia.
Review: More than just a school concert, 1975's Rocking Grass was a sensation. On one fine estival day, The College Andre-Grasset auditorium overflowed, leaving hundreds spellbound. Registering its impact, Jean-Yves Quesnel and colleagues immortalised the show into a recording, transforming Rocking Grass into Phono Grass.Sessions at College Edouard-Montpetit's studio captured the energy of a shifting musical landscape in Quebec; and pianist Benoit Sarrazin, unknowingly recorded mid-performance, later became a professional musician. The album's original songs, 'Le Roi Muffe' and 'Bright Moments', embodied the era's creative freedom, with the latter later sampled by DJs and featured on Canadian Racer. Originally pressed on a 500-copy run, 1001 est Cremazie become a prized collectible; now it's much more readily available.
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.
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