Category: jazz funk

Single Review by William Ruben Helms

New Audio: L’Eclair Returns with Slow Burning, Mind-bending “Dunes”

Bulgarian-born, Geneva-based brothers Stef (guitar, keys) and Yavor Lilov (drums) were shaped in a myriad of unseen ways by the centuries-old folk music that filtered through their daily lives. It helped mold their creative spirit and inspired them to make music together at a young age — and that unique and intuitive alchemy has been a foundation of their acclaimed, JOVM mainstay act L’Eclair, which they formed a decade ago.

Their newest EP, Echo was released today through Innovative Leisure. Self-produced by Stef and Yavor Lilov, Echo EP reportedly finds the acclaimed Swiss outfit once again pushing their endlessly elastic approach to rhythm, texture and groove while continuing to occupy their own peculiar corner of the dance floor. where hypnotic repetition gives way to unexpected detours, locked-in rhythms collide with warped electronics, and vintage textures meet a modern sense of space. The result is another playful, exploratory chapter from a band that has spent the better part of a decade proving that groove can be both a destination and a way of getting wonderfully, deliriously lost.

The EP also introduces some new additions to the studio lineup — James Iwa (bass), Panji Bharata (synth) and Eduardo Silva Fuentes (percussion).

Echo EP features the previously released “Excelsior,” a song that the band had been playing during live sets over the past year, and the album’s latest single “Dunes.” Subtly channelling some of their earlier efforts — i.e., 2018’s Polymood, 2019’s Sauropoda and 2020’s Noshtta — may be their most guitar-driven composition in a couple of years: Beginning with a gently droning tanpura-like sample woven around acoustic guitar, “Dunes” slowly unfolds into a mind-bending, psilocybin-fueled groove, anchored by a strutting five-song bass line paired with some laconic yet bluesy guitar solo. It’s a song that further cements their reputation for crafting material that’s simultaneously perfect for lazy afternoons and evenings at home — or for lifting off into the stratosphere.

L’Eclair explain, ““Dunes” marks our return to a more guitar-driven sound. It’s a thread that we explore throughout the entire Echo EP. The track highlights our ability to explore and blend genres, creating deep, mystical soundscapes equally suited for the dancefloor or a trip from the comfort of your couch.”

Single Review by William Ruben Helms

New Audio: The Filthy Six Share Strutting, Funky “The Favourite”

London-based, Grammy Award-winning trumpeter Nick Etwell has worked with an electric and varied list of music legends and superstars including David Axelrod, Beck, Roger Daltrey, Foo Fighters, Noel Gallagher and Tom Jones, as well as a decade-plus long stint touring with Mumford & Sons. Over the years, Etwell has leaned heavily into his deep and abiding passion for Black American music, working with Carla Thomas, Ronnie Spector, Mavis Staples, Cyril Neville, Fred Wesley, Jill Scott, Thee Sacred Souls, Antibalas, Jon Cleary and Adrian Quesada.

Along with his busy schedule as a highly-sought after session player, Etwell is the founder and leader of the soul jazz outfit The Filthy Six, an act that features a collection of highly accomplished members who have worked with Amy Winehouse, Jack White, Dionne Warwick, Mark Ronson, Robbie Williams, Jamie Cullum, Duran Duran and Madness. The London-based sextet has released three albums on UK label Acid Jazz back in the 2010s, while firmly cementing themselves as one most authentic soul jazz acts in the UK — and as one of the most eclectic live acts in the UK scene.

Sonically, the London-based sextet take the blueprint of legendary Blue Note and Prestige Records artists Lou Donaldson, Grant Green, Jack McDuff and others and add a bunch of modern influences to the mix, giving the classic soul jazz sound a bit of a modern sensibility and flair.

Etwell and company’s fourth album Return of The Swagger Junkies: Vol. 1 is slated for a November 27, 2026 release through Color Red. Throughout the album, their unique blend of soul jazz, funk blues and Boogaloo present musical adventures for the mind, body and soul — with a heavy dose of filthy, nasty ass funk. Trust me here, we all need a little bit of that stank in our lives, y’all. The album will also feature guest spots from longtime collaborator Snowboy on percussion.

Return of The Swagger Junkies: Vol. 1‘s will include the previously released, hauntingly gorgeous and mournful “911 Blue (For George)“and the album’s latest single, “The Favourite.” “The Favourite” is a strutting and gritty bit of funk anchored by a deep funky groove, big, swaggering horn, glistening organ lines and a shimmering blues-meets-jazz guitar paired with Latin-influenced percussion by longtime collaborator Snowboy. Sonically nodding at Booker T and the M.G.‘s, “The Favourite” showcases the deft musicianship of a band, who can balance improvisation with songcraft.

“An old school funk number that keeps the rhythm deep and the energy high all theway through,” The Filthy Six’s Nick Etwell says. “James’ Guitar solo leads us off into slightly psychedelic territory first up, followed by Mark laying down some seriously Filthy tenor in response. As the opening track off the album it’s the first opportunity to hear our special guest Snowboy on the record, giving it some welly on the Congas alongside Simon’s heavy grooves for a tasty little drum break before we take it home.”

Single Review by William Ruben Helms

New Audio: London’s The Filthy Six Shares Mournful “911 Blue (For George)”

London-based, Grammy Award-winning trumpeter Nick Etwell has worked with an electric and varied list of music legends and superstars including David Axelrod, Beck, Roger Daltrey, Foo Fighters, Noel Gallagher and Tom Jones, as well as a decade-plus long stint touring with Mumford & Sons. Over the years, Etwell has leaned heavily into his deep and abiding passion for Black American music, working with Carla Thomas, Ronnie Spector, Mavis Staples, Cyril Neville, Fred Wesley, Jill Scott, Thee Sacred Souls, Antibalas, Jon Cleary and Adrian Quesada.

Along with his busy schedule as a highly-sought after session player, Etwell is the founder and leader of the soul jazz outfit The Filthy Six, an act that features a collection of highly accomplished members who have worked with Amy Winehouse, Jack White, Dionne Warwick, Mark Ronson, Robbie Williams, Jamie Cullum, Duran Duran and Madness. The London-based sextet has released three albums on UK label Acid Jazz back in the 2010s, while firmly cementing themselves as one most authentic soul jazz acts in the UK — and as one of the most eclectic live acts in the UK scene.

Sonically, the London-based sextet take the blueprint of legendary Blue Note and Prestige Records artists Lou Donaldson, Grant Green, Jack McDuff and others and add a bunch of modern influences to the mix, giving the classic soul jazz sound a bit of a modern sensibility and flair.

Etwell and company’s fourth album Return of The Swagger Junkies: Vol. 1 is slated for a November 27, 2026 release through Color Red. Throughout the album, their unique blend of soul jazz, funk blues and Boogaloo present musical adventures for the mind, body and soul — with a heavy dose of filthy, nasty ass funk. Trust me here, we all need a little bit of that stank in our lives, y’all. The album will also feature guest spots from longtime collaborator Snowboy on percussion.

Return of The Swagger Junkies: Vol. 1‘s first single “911 Blue (For George)” is a hauntingly gorgeous, and mournful composition that seems to channels the despair and anger of Billie Holiday‘s rendition of “Strange Fruit” that reflects on the senseless brutality of that horrible day and of a life snuffed out — on television.

Written as a tribute to George Floyd following his tragic death in Minneapolis, the composition was originally released as a standalone quartet recording featuring Snarky Puppy’s Bill Laurence. But for the subtly reworked rendition, Etwell wanted to capture the greater weight and emotional depth of the full sextet, while reflecting the darkness and pain of the subject matter.

Single Review by William Ruben Helms

New Audio: Erica Tucceri Shares Breezy, Dance Floor Friendly “Grazie Ragazzi”

Erica Tucceri (pronounced like “two cherry”) is a Melbourne/Naarm-born, London-based producer, composer and flautist, who first cut her teeth as a prolific collaborator, working with Surprise Chef, ZEFX, Don Glori, Alexander Flood and a list of others from the local jazz scene while amassing a cult following for her signature tonal control and explosive solos.

Tucceri stepped out into the spotlight as a band leader and composer at 2024’s Melbourne International Jazz Festival, where her anticipated “Take Note” composition for 10 piece ensemble with strings was a triumphant sold-out headline debut that also showcased her continuing evolution as an artist.

Since relocating to London, the Aussie-born producer, composer and flautist signed to DeepMatter Records, who will be releasing her highly-anticipated full-length debut. Route 96. The album, which is slated for a November 27, 2026 release is part-diary, part-love letter to Melbourne/Naarm that was conceived during an unlikely stint moonlighting as a tram during during COVID-19 lockdowns. The rhythms and every day patter of the city and city life are translated into a blend of percussive, flute-driven cosmic jazz, informed by psychedelia and the dance floor. “This album is what happens when you leave a moonlighting musician alone in the drivers cabin of a Melbourne tram for a few years,” Tucceri says. “The compositions took shape while I drove. Influenced by the city around me, I’d sing ideas into my phone at the end of my shift, tying the fabric of the music to the sights, sounds and memories of the city. My only rule: if it was catchy enough to have remembered throughout the shift, it was worth capturing.”

Sitting on a growing stockpile of ideas, it wasn’t until the return of longterm friends Lewis Moody (keys, production) and Ziggy Zeitgeist (drums) to Melbourne/Naarm in late 2022 that she realized she actually had an album’s worth of material. Her backing band is rounded out by Matthew Hayes (bass) and Ray Pereira and Javier Fredes, two cross-generational masters of percussion and scene stalwarts, who contribute Cuban and West African-inspired percussion reuniting for their first collaboration together in twenty years.

The album follows upon the critical success of previously released single “Hey Bear” and “Flute Trip,” which received airplay across Australian community radio stations, including PBS FM and Triple R, and broke through onto UK national radio with airplay from Gilles Peterson, Jamz Supernova and BBC 6 Music’s New Music Fix Daily, as well as Jazz FM, Rinse FM and more. And adding to a growing profile, she has toured the world with various projects and has showcased her own music at EFG London Jazz Festival and at Ronnie Scott’s Jazz Club.

Route 96‘s first single “Grazie Ragazzi” is a breezy and strutting bit of disco-tinged jazz funk, anchored around African-inspired percussion, a deep dance floor friendly groove, an incredibly catchy melody and some fiery and passionately improvised solos. Sonically resembling a mix of 70s jazz fusion and contemporaries like Surprise Chef, Mildlife and L’Eclair, the track captures — and evokes — the lingering buzz of joy of freedom, of seeing sweaty bodies moving and grooving and the appreciation of collective experience after a show at Section 8.

“I will never forget the way the energy of the whole room turned. It was heaving,” Tucceri recalls. “Everyone in the space turned to face the stage, the band were on fire and the dance floor went completely nuts, almost as one. I’ve spent many a night at Section 8, but I’ve never seen that again.”

Single Review by William Ruben Helms

New Audio: Jaco Jaco Shares Meditative “Over When It’s Over”

Tulsa-born, Philadelphia-based musician and visual artist Jacob Theriot is a lifelong singer/songwriter and musician, who first picked up bass when he was 12. His musical career began in earnest when he began writing and recording music in grade school with his brother and childhood friend. Those early efforts led to the acclaimed indie project Sports. 

After three albums and several international tours with Sports, Theirot relocated to Philadelphia, where began to explore and refine a sound that blends elements of funk, psych pop and 70s AM rock over a period of a handful of years. Those explorations led to Theirot’s solo recording project Jaco Jaco.

The Tulsa-born, Philadelphia-based artist has released two Jaco Jaco albums, 2024’s debut Splat and last year’s Gremlin, which included three singles I wrote about, the Thundercat and 70s jazz fusion/jazz funk-like “Favorite Kind of People,” the Quiet Storm R&B-meets-Steely Dan-like “Woman” and the Tame Impala meets Bobby Oroza-like “I Won’t Bother.”

Building upon a growing profile, the Philadelphia-based JOVM mainstay’s highly anticipated third album, On the Levee is slated for a July 10, 2026 release. The album will include the previously released “Wager,” and its final single, “Over When It’s Over,” “Over Is When It’s Over” is a melancholy, slow-burning tune that — to my ears, at least — sounds like a blend of Tame Impala, 70s AM rock. But at its core, the song is meditation on accepting constant change, with a bit of a sigh.

“The song is about watching the world fly on by, but finding yourself strangely at peace with it,” Theriot says.

Single Review by William Ruben Helms

New Audio: Two from Delvon Lamarr Organ Trio

2021’s I Told You So is the Delvon Lamarr Organ Trio‘s best-selling and performing album to date. “Chicken Leg”/”If I Could” is the trio’s latest single, and first batch of new material from the band — currently, Delvon Lamarr (organ), Parlor Greens‘ and True Loves‘ Jimmy James, and Polyrhythmics and Champagne Bubblebath‘s Grant Schroff (drums) — in over four years.

The 7-inch 45RPM single, which features tracks originally recorded during the I Told You So sessions serves as the first batch of material from a forthcoming album. “Chicken Leg,” the A-side is a strutting bit of deep fried funk that channels Booker T and the MGs while capturing the deeply held, effortless simpatico between three grizzled vets. The B-side “If I Could” is a slow-burning and heartfelt, gospel-informed soul ballad that wouldn’t be out of place on Daptone or Big Crown.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay The Offline Teams Up with Koralle on a Vibey and Laid-Back Remix of “Enfin, la paix”

Hamburg-born and-based photographer, composer Felix Müller is the creative mastermind of the JOVM mainstay cinematic soul project The Offline. The Offline was deeply inspired and informed by Müller’s travels along the Atlantic coastline of southern France with an analog camera, capturing beach life. Upon his return to Hamburg, he started writing compositions as the sonic counterpart to his visuals.

The German-born artist’s full-length debut, 2023’s Timor Litzenberg co-produced La couleur de la mer was inspired by the work of Francois de Roubaix, and saw him creating a soundtrack to an imaginary film with themes and atypical song structures. Morning from dramatic cues to fragile romanticism, the album’s material incorporated elements of psychedelia, retro soul and hip-hop — inspired by his extensive record collection.

2024’s Les Cigales saw the German-born JOVM mainstay building upon the head-nodding blend of hip-hop and 70s soul jazz that he developed on his debut with the effort’s material taking sonic cues from 1960s and 1970s film and TV scores, while nodding at Francois de Rouabix, David Axelrod, Surprise Chef and Robohands.

Last year, saw Müller release the live EP, The Offline In Session, which featured live renditions of some of his previously released work including “Théme de la couleur de la mer,” and “Cap Camarat.”

Interestingly, his forthcoming effort, Révisé is reportedly a look back into his growing catalog — but this time with the hip-hop and beatmaker ramped up. The effort will feature contributions from highly sought-after producers across the global, lo-fi hip-hop scene including, Koralle, Knowsum, Jake Milliner and 53 Keys, as well as rising underground emcees like SANITY, Summer Sons‘ TURT and Physical Graffiti.

“One of my main motivations for The Offline project was to create a modern version of television and film music from the 60s and 70s, with an analog touch reminiscent of the old funk and jazz albums that hip-hop artists used to sample,” Müller explains. “After releasing several albums an [sic] EPs, the idea arose to change perspective and look at the music from the point of view of hip-hop artists and beatmakers, leading to the remix project Révisé.”

Révisé‘s lead single, sees Müller team up with Italian producer Koralle on a remix of Le couleur de la mer album track, “Enfin, la paix.” The Koralle remix adds anecdotes a laid-back, lounge/headphone hip-hop feel with congo, boom bap beats and dub-inspired textures paired with the original’s twinkling and reverb-soaked Rhodes, Müller’s soulful and psychedelic guitar lines and sun soaked vibes. The remix is perfect for that Chill Out/Make Out/Daydream playlist you’re thinking of.

Single Review by William Ruben Helms

New Audio: Jerk Returns with Funky and Soulful “alarmed”

Prolific Brooklyn-based producer, composer and multi-instrumentalist Joni Kinney is the creative mastermind behind, the rising recording project Jerk. And with Jerk, Kinney has released five albums and several EPs that feature a sound that draws from J. Dilla, Madlib, Patrice Rushen, Earth, Wind & Fire, Louis Cole, Knower, and Roller Trio. Never content with just music as a creative output, Kinney is also an avid writer and video essayist. 

Late last year, the Brooklyn-based producer, composer and multi-instrumentalist released the first part of a two EP narrative cycle, as night falls. The two EP cycle sees Kinney using the project’s sound into new territories, taking listeners on a journey through a fusion of electronic influences, midnight funk and forward-thinking jazz. 

as day breaks, the second EP of the narrative cycle is slated for a May 15, 2026 release through DeepMatter Records. as day breaks EP will see a limited vinyl release, alongside last year’s as night falls. 

While the first EP of the cycle explored the darker side of human nature through a blend of midnight funk and electronic-tinged jazz, as day breaks, which was created with long-time friend and collaborator Martine Wade, is a journey through daylight anchored around uplifting, soulful, instrumentals paired with house grooves, breakbeats, bird song and the sounds of NYC. “This joint album project is the essence of Jerk — neither day nor night, but something more ethereal,” Kinney explains.

as day breaks EP will include the swaggering, funky “steppin’ out,” the slow-burning and meditative “wait,” and the EP’s final pre-release single “alarmed.” “alarmed is a Bob James-like bit of jazz funk that opens with a intro that evokes the beginning of the day with a bop-like strutting opening before morphing into a free-flowing improvisational section with a soulful and explosive sax solo from Kinney.

“The track is made up of two distinct sections, with an A section meant to evoke those first moments of consciousness, as well as a B section meant to evoke the baggage we all carry day to day,” Kinney says of the new single.

Video by William Ruben Helms

Throwback: Happy Black History Month: Thundercat

JOVM’s William Ruben Helms continues his annual celebration of Black History Month with Thundercat.

Video by William Ruben Helms

New Video: Atabasca Shares Ethereal and Dreamy “Kundela Mawedi”

Italian trio Atabasca — Luca Mongia (guitar, lap steel, keys, vocals), Paolo Mazzioti (bass, keys, vocals) and Valerio Pompei (drums, percussion, vocals) — features three highly accomplished musicians, who over the course of the past 20 yers have made names for themselves individually on the national and international scene.

Formed back in 2023, the trio got together to create a project that merges experience, experimentation and creative freedom. The trio’s sound moves through jazz-funk, world music and film scores while weaving together elements of Afrobeat, desert and psychedelic influences into a personal and timeless musical language. Each composition manages to set a scene with each sound, each chord is a fragment of a world. Ultimately, their work is a dream-like journey between reality and imagination seamlessly blend.

Atabaca’s self-titled debut is slated for a March 27, 2026 release through Rome-based Killer Groove Records. “Kundela Mawedi,” the album’s second and latest single is an ethereal and slinky tune anchored around shimmering pedal steel, jazz-like four-on-the-floor and twinkling keys that evokes the sensation a psilocybin trip in a tropical paradise.

The accompanying video for “Kundela Mawedi” follows the trio as each individual member skateboards, rollerblades and/or bikes their way through the Italian countryside while they goof off. The video captures the trio’s easy-going, playful chemistry.

Video by William Ruben Helms

Throwback: Happy 84th Birthday, Maurice White!

JOVM’s William Ruben Helms celebrates the 84th anniversary of the birth Earth Wind & FIre’s Maurice White.

Single Review by William Ruben Helms

New Audio: Jerk Shares Slinky, Chilled-Out “stealthy, she moves!”

Prolific Brooklyn-based producer, composer and multi-instrumentalist Joshua Kinney is the creative mastermind behind Jerk. And with Jerk, Kinney has released five albums and several EPs that has seen him craft a sound that draws from J. Dilla, Madlib, Patrice Rushen, Earth, Wind & Fire, Louis Cole, Knower, and Roller Trio. Never content with just music as a creative output, Kinney is also an avid writer and video essayist.

Kinney will be releasing the first part of a two EP narrative cycle, continuing the rollout of as night falls. Slated for a November 14, 2025 release through DeepMatter Records, the two EP cycle reportedly sees Kinney pushing his solo project’s sound into new territories, taking listeners on a journey through a single night while exploring the darker side of human nature through a fusion of electronic influences, midnight funk and forward-thinking jazz.

Created with long-time friend and collaborator Martine Wade (drums), the EP is the follow-up to last year’s Mood Swings, which received airplay from BBC 6 Music’s Huey Morgan and Jazz FM’s Tony Minvielle.

The EP’s latest single, the Wyatt Rydleweski (bass) co-written “stealthy, she moves!,” is a slinky bit of chilled-out and groovy, 70s jazz-fusion-inspired funk jazz that — to my ears, at least — manages to recall JOVM mainstays Mildlife and Confusions-era L’Eclair, but with an earthier, grittier quality. “In our journey through the night, this is the soundtrack to those that must move without trace,” Kinney says of the new single.

New Video by William Ruben Helms

New Video: Moscow’s The Diasonics Shares Mind-Bending “Oriole”

Formed back in 2019, Moscow-based instrumental soul quintet The Diasonics — Daniel Lutsenko (guitar), Kamil Gazizov (keys), Maksim Brusov (bass), Anton Moskvin (drums) and newest member Alexander Shingaling (percussion) — quickly gained cult status through […]

Video by William Ruben Helms

New Video: L’Eclair return with Trippy House Banger “VERTIGO”

With recorded output that includes 2018’s full-length debut, Polymood, 2019’s Sauropoda, 2020’s Noshtta EP and 2021’s Confusions, the acclaimed Swiss-based group L’Eclair, founded and led by Bulgarian-born siblings Stef and Yavov Lilov established a sound centered around mind-bending, cosmic grooves.

Along with two live sessions for KEXP, which amassed over 900,000 views combined, the Swiss-based group have built up an international following, while landing on the playlists of adventurous listeners and DJs seeking deep grooves.

L’Eclair’s fourth album Cloud Drifter is slated for a June 20, 2025 release through Innovative Leisure. Meticulously crafted over the last four years, Cloud Drifter is a decided departure from the group’s signature instrumental music, with the album’s material featuring vocal contributions from a wide array of frequent collaborators they’ve worked with over the past few years, including Pink Slifu, Girl Named GOLDEN, Gelli Haha, A Ghost Column, and more.

Having toured with The Cinematic Orchestra and W.I.T.C.H. — including writing and recording W.I.T.C.H.’s 2023 effort Zango and The Cinematic Orchestra’s forthcoming album this year, as well as production work with Varnish La Piscine and Maston, the Lilov brothers have assembled a vast network of likeminded musicians. And across the entire album, they keenly curate a cohesive vision incorporating many disparate contributions. 

Earlier this month, I wrote about Cloud Drifter‘s first single “ODESSOS,” which featured Phoebe Coco‘s and A Ghost Column’s ethereal vocals paired with twinkling and oscillating synths and a dub-inspired motorik groove. While being one of the most club friendly songs the acclaimed Swiss outfit has ever released, “ODESSOS” is a bold, sonic left turn that retains the group’s long-held penchant for crafting mind-bending, expansive grooves. And perhaps more than ever, the track manages to convey the freewheeling, improvisation-driven and infectious energy of their live shows.

“VERTIGO,” Cloud Drifter‘s second and latest single is synth-driven, deep house instrumental that sounds like a synthesis of the material off 2021’s Confusions, Larry Levan-era house and krautrock, anchored around the Swiss unerring knack for hooks and mind-bending groove.

Edited by VVIDEO, the accompanying video for “VERTIGO” is a mix of kaleidoscopic and fittingly hallucinogenic imagery and footage of the band performing the song lie — sometimes simultaneously.