The black butterfly is a symbol of hope, renewal and inevitable change. Brooklyn Funk Essentials’ eighth studio album marks the band’s continued groove r-evolution. Black Butterfly - the album - is a group collaboration highlighting and expanding BFE’s signature style and musical prowess. Recorded live-in-the-studio, Black Butterfly finds the cadre of stellar musicians exploring a bounty of multi-rhythms, analog instrumentation, funky jams and winsome arrangements. Brooklyn Funk Essentials once again deliver a full length journey of songs within a lyrical framework of love, respect, inclusion, hopefulness and dreams.

Debut album by keyboardist Yutaka Yokokura in 1978. Long-awaited analog reissue of this classic Japanese fusion album, which has become extremely hard to find. Features Dave Grusin (kb), Abraham Laboriel (b), Steve Gadd (ds), Patti Austin (vo), Osamu Kitajima (koto, biwa), and others.

Monument by Beggar & Co. is a sophisticated blend of British jazz-funk, soul, and R&B that reflects the polished musicianship and groove-oriented sound associated with the early 1980s UK funk scene. Originally released in 1981 and later reissued in 2015 by Funkytowngrooves, the album showcases the band’s seamless combination of tight rhythm sections, rich horn arrangements, smooth vocals, and danceable funk production. Formed by members connected to the influential Light Of The World collective, Beggar & Co. crafted a sound that balanced club-ready energy with soulful melodic sensibilities. Tracks such as “You Need Love,” “Break It Up,” and “Got To Get Away” feature infectious basslines, vibrant brass sections, and polished vocal harmonies that capture the spirit of sophisticated funk and post-disco music from the era. The album also incorporates elements of jazz fusion and Latin-inspired grooves, adding depth and musical variety throughout the record. Monument remains a respected release within the British jazz-funk movement and continues to appeal to collectors and fans of classic soul-driven dance music.

Back To Europe is a 1990 jazz-rock and jazz-funk album by Andrea Marchesini, featuring a blend of groove-driven rhythms, electric instrumentation, and fusion-style improvisation. The record reflects a late 80s/early 90s European jazz-fusion aesthetic, combining tight funk basslines with melodic keyboard work and guitar-driven arrangements. Across its tracks, the album moves between energetic funk sections and more atmospheric jazz passages, showcasing a polished instrumental style rooted in both fusion and contemporary jazz-rock production techniques of the era.

Absinth 4: The Finest Ambient Bar Tracks is a 2006 various artists compilation focused on relaxed lounge and chillout sounds, blending downtempo beats, jazzy textures, and smooth deep house grooves. Designed for atmospheric listening, the collection evokes a sophisticated bar and lounge environment with warm rhythms, mellow basslines, and soulful instrumentation. Across two discs, it brings together artists from the chillout and acid jazz scene, delivering a cohesive flow of relaxing yet rhythmically engaging tracks suited for late-night or background listening sessions.

The organ can often take a back seat in the pecking order of great Jazz instruments but underappreciate it at your peril. The likes of Jimmy Smith, Jack McDuff, Booker T and Ray Charles, to name but a few, made the instrument their own while crafting jazz cuts of dazzling brilliance.

Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes!

Bag Of Goodies is a groove-oriented compilation released by Luv N' Haight that explores the deeper side of soul-jazz, jazz-funk, and Latin jazz through a selection of rare and rhythm-driven recordings. The album brings together underground cuts and cult favorites that reflect the raw energy of late 60s and early 70s funk-influenced jazz scenes. Heavy drum breaks, warm organ textures, sharp horn arrangements, and infectious basslines dominate the compilation, making it especially appealing to collectors, crate diggers, and fans of sample-based music culture. Artists such as Ivan “Boogaloo Joe” Jones and Weldon Irvine contribute sophisticated jazz-funk compositions alongside more direct dancefloor-oriented funk tracks. The Latin jazz influence adds rhythmic diversity and vibrant percussion work, enriching the overall flow of the compilation. Bag Of Goodies stands as a concise but highly effective showcase of rare groove aesthetics and the organic crossover between jazz improvisation and funk rhythm traditions.

Deja Vu is a late-career studio album by keyboardist and composer George Duke, showcasing his signature blend of jazz fusion, funk, R&B, and sophisticated instrumental songwriting. The album reflects Duke’s mastery in combining harmonic complexity with accessible grooves, resulting in a polished and emotionally expressive collection. Throughout the record, rich keyboard textures, rhythmic bass lines, and smooth melodic structures highlight his ability to bridge jazz improvisation with contemporary funk and soul influences. Each composition balances technical musicianship with strong melodic appeal, creating a listening experience that is both refined and rhythmically engaging. Tracks such as “You Touch My Brain” and “Ripple In Time” demonstrate his signature fusion style, while the title track “Deja Vu” encapsulates the album’s reflective and nostalgic tone. The release stands as a modern continuation of Duke’s influential legacy in jazz-funk and fusion music.

Soulful is a carefully curated compilation that highlights deep grooves from the golden era of jazz-funk, soul, and underground funk recordings. Released by Luv N' Haight, the collection focuses on rare and highly regarded tracks that showcase the evolution of funk-driven instrumentation and soulful expression in the 1970s and early fusion-influenced periods. The selected recordings emphasize tight rhythm sections, rich horn arrangements, and organic production styles that reflect both dancefloor energy and musicianship. Each track contributes a distinct mood, ranging from upbeat funk workouts to more laid-back, jazz-infused soul pieces. Rather than following a commercial narrative, the compilation serves as a document of crate-digging culture, bringing together obscure yet influential artists whose work has been widely sampled and respected within hip-hop and modern funk scenes. The result is a cohesive listening experience rooted in authenticity and deep musical heritage.

Can't Get Enough is a 1992 various artists compilation released by Luv N' Haight, focusing on deep grooves from the intersection of soul-jazz, jazz-funk, and classic funk. The selection highlights rare and influential cuts that showcase the rhythmic foundations and improvisational spirit of early funk-infused jazz. With contributions from artists like Jimmy Smith and George Freeman, the compilation blends organ-driven soul jazz, tight funk rhythms, and extended groove-based performances. The tracks maintain a raw, organic feel, often emphasizing live instrumentation, warm analog textures, and hypnotic rhythmic repetition. Pieces such as Can't Get Enough and The Bump (Take Two) stand out for their energetic performances and deep-pocket grooves, while others explore more experimental or jazz-oriented directions. Overall, this collection serves as both a historical snapshot and a curated listening experience for fans of deep funk and jazz-funk culture.

Fela Kuti was often described as "the James Brown of Africa," but one could also argue that he was Africa's equivalent of Miles Davis or John Coltrane. Truth be told, either description is valid. Kuti was highly eclectic, and his innovative, visionary music contained elements of funk/soul, jazz, and blues, as well as African music. That eclectic spirit proves to be a major asset on Shakara, which consists of two 13-minute performances by Kuti's Africa 70 band: "Lady" and "Shakara (Oloie)." Performed in English, "Lady" finds Kuti criticizing modern African women in a humorous way for becoming what he sees as overly westernized and embracing a western view of feminism. You might agree or disagree with the song's viewpoint, but the groove and the beat are irresistible. Equally addictive – and equally sarcastic – is "Shakara (Oloje)," which is sung in both Yoruba and English and makes fun of the type of pompous, loud-mouthed braggarts who can never make good on their empty boasts.

SMOOVE VIBES is the electrifying new release from acclaimed Baltimore vibraphonist and multi-instrumentalist Warren Wolf. Blending jazz, soul, and groove-based rhythms, this self-produced album showcases Wolf's mastery across instruments-from vibraphone and drums to Fender Rhodes and vocals-recorded largely in his home studio. Joined by longtime collaborators Brent Birckhead, Elan Troutman, Terence Cunningham, Brandon Lane, and Imani-Grace Cooper, Wolf delivers a vibrant, accessible jazz experience that's both musically rich and irresistibly smooth. Featuring reimagined classics and standout originals like "Will the Real Kenny Gee Please Stand Up?", Smoove Vibes is a must-have for fans of groove-forward contemporary jazz.

Zombie was the most popular and impacting record that Fela Kuti & Africa 70 would record – it ignited the nation to follow Fela's lead and antagonize the military zombies that had the population by the throat. Fela is direct and humorous in his attack as he barks out commands to the soldiers like: "Attention! Double up! Fall In! Fall out! Fall down! Get ready!" Meanwhile, his choir responds with "Zombie!" in between each statement. Since the groove was so absolutely contagious, it took the nation by storm: People in the street would put on a blank stare and walk with hands affront proclaiming "Zombie!" whenever they would see soldiers. If "Zombie" caught the attention of the populous it also cought the attention of the authority figures – this would cause devastating personal and professional effects as the Nigerian government came down on him with absolute brute force not long after the release of this record. Also included are "Monkey Banana," a laid-back groove that showcases drummer Tony Allen's mastery of the Afro-beat, and "Everything Scatter," a standard mid-tempo romp. Both songs are forgetful in relation to "Zombie," but this is still an essential disc to own for the title track alone.