Tiki Tumbao is a new label based in Miami, FL that’s dedicated to the dissemination of “gritty analog funk.” The imprint’s output currently consists of two 45rpm 7-inch singles, the Latin boogaloo-Nuyorican groover “Piropo” b/w “Son Del Barrio” by Tony & The Kings, and the tough Southern funk instrumental action of “Double Dippin” b/w “Dippin Deux” by The Swizzlas. Both are worthy acquisitions for ears attuned to inspired contemporary manifestations of classique soul-funk-R&B-Latin heat.
Founded by Travis Acker, the Tiki Tumbao enterprise cuts their sides all-analog at West Bird Studio in Miami with a focus on South Floridian acts. Additionally, Acker is a member of The Swizzlas. The immediate Tiki Tumbao vibe is reminiscent of such heavy-hitting labels in the neo-classique soul-funk-R&B zone as Daptone, Big Crown, and Colemine, but with a distinctive Latin twist in the 45 by Tony & The Kings.
Dishing up a solid plate of Fania-esque Latin verve with “Piropo,” the sextet features a sturdy rhythmic bedrock with Danny Naval on congas and percussion and Eddie Garcia Jr. on drums, as Matt Pyatt strengthens the foundation on bass. Broadening the sound is Charles Gardner on keyboards and Robert Smiley in saxophone. Leader Antonio Rivera handles the vocals, guitar, and percussion.
The singing is in English on “Piropo,” a choice that sets the track a bit apart from the more celebrated releases in the Fania discography, and if Rivera’s vocals are unlikely to make anyone forget Héctor Lavoe, he more than capably gets the soulful job done. But really, the tune’s raison d’être is its blend of instrumental firepower and finesse, the members of the ensemble resistant to overplaying as the songwriting is a few cuts above the standard stuff.
The flip “Son Del Barrio” is harder to pin down stylistically. The label calls it Latin psych-funk, and that’s not off-target, but it’s worth noting the uncut post-Shaft moves of Rivera on guitar (no singing this time out), the gruff but lithe motions of Smiley on what sounds like a baritone sax, hitting like Hamiet Bluiett just rolled up into the joint, and the quickness of the pace as the band delivers its gritty punch. Not sure who’s playing trumpet, but I’m glad they made it to the session. Obviously impacted by the 1970s, the cut is just as clearly of a more contempo vintage.
The Swizzlas’ primary ties are to the swamp funk of New Orleans and South Florida, and it’s basically a cinch that anybody familiar with the in-the-pocket groove conjuring of the early Meters (think “Cissy Strut”) will hear it straightaway as A-side “Double Dippin” unwinds. The cymbals and the guitar riffs hit just right and the use of an upright bass deepens the vintage feel.
Along with Travis Acker, the other Swizzla is Tom Witek, making this outfit a studio project utilizing multitracking to get a full band sound. “Dippin Deux” picks up the tempo and is drenched in organ, retaining that Meters-y atmosphere but with an updated, almost ’90s feel (electric bass, this time), like it could’ve been cooked up by Mario Caldato Jr. and The Beastie Boys during the jam sessions for Check Your Head.
If neither single rises to the level of top tier, both are clear keepers with strong B-sides. Hopefully these four cuts represent the tip of a South Floridian funky iceberg.
GRADED ON A CURVE:
Tony & The Kings, “Piropo” b/w “Son Del Barrio”
B+
The Swizzlas, “Double Dippin” b/w “Dippin Deux”
B+
