Global Funk

Shonan Beach FM

Funk Soul Groove Roll - part 4

Russ - I'm Gonna Make You Love Me (Prod. Russ)

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THE MIGHTY RYEDERS 'EVIL VIBRATIONS' - SERGE GAMESBOURG REWORK

Soul Jazz Records Presents 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica

Armageddon Time

With the release of fourth album Crown Posada, Smoove & Turrell cement their position as one of the UK’s most exceptional soul acts with their innate ability to deliver hard times social commentary in a dancefloor friendly medium.

Further proof that they are never ones to follow trends is the choice of a cover of a lesser known song by British funk dons Hot Chocolate. It may not be as known as the other huge hits of that band but it’s a party track with a groove that doesn’t quit and the boys do it justice with their rework pulling out all the stops. With lyrics directed towards a woman that all the guys want and an energetic, jam packed, funk fueled fiesta of an arrangement it’s hard not to dance and sing along to the infectious chorus. 

Vinyl/Digital: smooveturrell.lnk.to/YouCouldveBeenaLady
Album Vinyl/CD/Digital: smooveturrell.lnk.to/CrownPosada
Spotify Playlist: bit.ly/CrownPosadaSpotify

More Info & Live Dates:
www.smooveandturrell.com
facebook.com/smooveandturrell
twitter.com/smooveturrell

VINYL/CD

You Could've Been a Lady

I heard it through the grapevine - Creedence

School of Groove

I Believe in Miracles

I Believe in Miracles (Broken Party Animal Mix)

Body & Soul

Feelin' Groovy

Street Sounds Presents Jazz Funk Classics, Vol. 1

Expansions

Since Then. 2017

Venasque

Bijou voyou caillou

Coup de foudre à Thessalonique

Watchin Out

Today Is the Day (Linkwood Chop)

Meet Me On The Corner is taken from the album ‘Orange Whip’ which was BBC 6 Music’s Album of The Day on its release. A pounding beat beefed up by bass, guitar and brass, propels forward while ‘Ríoghnach Connolly’ (pronounced Rainer) sings lyrics that could be straight out of the playground, but suggest something a little deeper.

Here is a remix from the legends of funky house music, ‘Crazy P’ with both vocal and dub versions. Turning Honeyfeet’s latest opus into a straight up soulful disco monster by ‘Hot Toddy’ and ‘Ron Basejam’, with Rioghnach’s rasping vocals playfully meandering over crisp beats and trademark live bass.

Wah Wah 45s:
https://soundcloud.com/wahwah45s
http://www.wahwah45s.com

Crazy P:
https://soundcloud.com/crazyp

Order

PREMIERE: Honeyfeet - Meet Me On The Corner (Crazy P Remix)[Wah Wah 45s]

Dowdelin est un trio qui propose une soul music contemporaine en langue créole.
Les trois musiciens mélangent élégamment musique des Caraïbes françaises et influences afro-américaines tentant d'esquisser un afro-futurisme créole.
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Dowdelin is a trio delivering a contemporary soul music in the Creole language.The three musicians elegantly fuse together French Caribbean music and afro-american influences, in an attempt to herald a Creole afro-futurism.

Carnaval Odyssey

DOWDELIN - Ka Fwo Bit

Super-vilains

Manoir des super-vilains

Atlantic Oscillations

STILL

FEEL

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Castelo (Version 1)

☼ ☀ ☼ ☀ ☼ ☀ ☼ ☀ ☼ ☀ ☼ ☀ ☼

Vance and Suzzanne – I Can't Get Along Without You (Jasper K & The Revenge Remix)

Buy 7" vinyl or digital: https://orcd.co/hangingtough
Released on Record Store Day 2019, the 5th release on BBE offshoot ALIM Music comes courtesy of London-based multi-instrumentalist and bandleader Claudio Passavanti, aka Sunlightsquare.

This special ’45 features two incredible Sunlightsquare cover versions commissioned by BBE and Alim founder Peter Adarkwah. First up is ‘Hanging Tough’, an obscure Latin disco-jazz cut written by Vinnie Griffin and originally recorded by Board Of Directors back in 1987. Claudio’s stunning piano and synth work takes centre stage in this effervescent version, which also features backing vocals from London duo HanLei.

On the flip is a rendition of Rodney Franklin’s 1980 hit ‘The Groove’, a staple among jazz-funk aficionados to this day. Sunlightsquare’s take on the track also boasts original vocals from HanLei alongside virtuoso keys and flute, plus super-tight brass and rhythm sections.

Sunlightsquare - Hanging Tough

Mr Fuego

My Life at 45, Pt. 3

Slim's Mood

2000 Blacks Got To Be Free

2000 Blacks Got to Be Free (Edit) [feat. Roy Ayers]

Marvin

Porsche 944

Azymuth - Dear Limmertz

* Read more: https://boltingbits.com/ruby-rushton-yardley-suite-22a/
* Watch on YouTube: https://youtu.be/E5bMVF9Tov8
* Pre-order: https://rubyrushton.bandcamp.com/album/overture-1

Tenderlonious led jazz quartet, Ruby Rushton, return with a brand new limited 7” single, a swift response to their highly acclaimed “Ironside” album released back in April of this year. These two new tracks continue to push the bands sound into newterritory.

'Overture 1' is a brand new composition from Ruby Rushton keyboard player Aidan Shepherd. Taking inspiration from bands like Weather Report and Soft Machine, its explosive introduction leads you to a dub-like breakdown, creating an open space for Shepherd to let loose his synthesizer for some deep space, Headhunters’esque exploration. 

'Yardley Suite' is a song first conceived by band leader Ed ‘Tenderlonious’ Cawthorne back in 2012. Having lied dormant for several years it felt like an appropriate time to pull it back out the bag. It’s a composition inspired by Cawthorne’s solo work as an electronic producer, under his alias Tenderlonious. Always wanting to merge his various approaches, 'Yardley Suite' is the perfect mix of Jazz and House. With a steady four tothe floor beat and snappy horn lines its sure to work its magic on dancefloors around the globe. 

Having focused on improvisation and more “open” compositions in the past, the bands new direction is geared towards tighter, more groove-orientated arrangements. This exciting new material is yet further evidence that this is a highly prolific band at the top of their game, continually evolving, stretching out their own unique sound across the full jazz spectrum. 

This is a, one off run, limited edition 7" single. 300 copies only with bespoke painted artwork from Lorna Robertson. No repress!

Canvas Cathedral

Dr Rubberfunk