Editing Funk (section)

== History ==
Funk was formed through a mixture of various music genres that were popular among African Americans in the mid-20th century. Musicologist Anne Danielsen wrote that funk might be placed in the lineage of rhythm and blues, jazz, and soul.<ref name=anne1>{{cite book|last=Danielsen|first=Anne|date=2006|title=Presence and pleasure: the funk grooves of James Brown and Parliament|publisher=Wesleyan University Press|pages=3–4}}</ref> Sociologist Darby E. Southgate wrote that funk is "an amalgam of gospel, soul, jazz fusion, rhythm and blues, and black rock."<ref name=encyclopedia>{{cite book |first1=Tammy L.|last1=Kernodle|first2=Horace|last2=Maxile|first3=Emmett G. III|last3=Price|date=2010 |title=Encyclopedia of African American Music |publisher=Greenwood |page=337}}</ref>

The distinctive characteristics of [[African-American music]]al expression are rooted in [[sub-Saharan African music traditions]], and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel, blues, and "body rhythms" ([[Juba dance|hambone]], [[patting juba]], and [[ring shout]] clapping and stomping patterns).

Like other styles of African-American musical expression including jazz, soul music and R&B, funk music accompanied many protest movements during and after the [[Civil Rights Movement]]. 

=== New Orleans ===
[[Gerhard Kubik]] notes that with the exception of [[New Orleans]], early blues lacked complex [[polyrhythm]]s, and there was a "very specific absence of asymmetric time-line patterns ([[bell pattern|key patterns]]) in virtually all early twentieth century African-American music&nbsp;... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African time lines."<ref>Kubik (1999: 51). Africa and the Blues. Jackson, MS: [[University Press of Mississippi]].</ref>

In the late 1940s this changed somewhat when the two-celled time line structure was brought into [[New Orleans blues]]. New Orleans musicians were especially receptive to [[Afro-Cuban]] influences precisely at the time when R&B was first forming.<ref>"Rhythm and blues influenced by Afro-Cuban music first surfaced in New Orleans." Campbell, Michael, and James Brody (2007: 83). ''Rock and Roll: An Introduction''. Schirmer. {{ISBN|0-534-64295-0}}</ref> [[Dave Bartholomew]] and [[Professor Longhair]] (Henry Roeland Byrd) incorporated Afro-Cuban instruments, as well as the [[clave (rhythm)|clave]] pattern and related two-celled figures in songs such as "Carnival Day" (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). [[Robert Palmer (American writer)|Robert Palmer]] reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of [[Perez Prado]]'s [[mambo (music)|mambo]] records."<ref name="autogenerated1979"/> Professor Longhair's particular style was known locally as ''rumba-boogie''.<ref name="pp" />

One of Longhair's great contributions was his particular approach of adopting two-celled, clave-based patterns into [[New Orleans rhythm and blues]] (R&B). Longhair's rhythmic approach became a basic template of funk. According to [[Dr. John]] (Malcolm John "Mac" Rebennack Jr.), the Professor "put funk into music&nbsp;... Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans."<ref>Dr. John quoted by Stewart (2000: 297).</ref> In his "Mardi Gras in New Orleans", the pianist employs the [[clave (rhythm)|2-3 clave]] onbeat/offbeat motif in a rumba-boogie "[[guajeo]]".<ref>Kevin Moore: "There are two common ways that the three-side [of clave] is expressed in Cuban popular music. The first to come into regular use, which David Peñalosa calls 'clave motif,' is based on the decorated version of the three-side of the clave rhythm. By the 1940s [there was] a trend toward the use of what Peñalosa calls the 'offbeat/onbeat motif.' Today, the offbeat/onbeat motif method is much more common." Moore (2011). ''Understanding Clave and Clave Changes'' p. 32. Santa Cruz, CA: Moore Music/Timba.com. {{ISBN|1466462302}}</ref>

The syncopated, but straight subdivision feel of Cuban music (as opposed to [[Swing (jazz performance style)|swung]] subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states: "Eventually, musicians from outside of New Orleans began to learn some of the rhythmic practices [of the Crescent City]. Most important of these were James Brown and the drummers and arrangers he employed. Brown's early repertoire had used mostly shuffle rhythms, and some of his most successful songs were 12/8 ballads (e.g. "Please, Please, Please" (1956), "Bewildered" (1961), "I Don't Mind" (1961)). Brown's change to a funkier brand of soul required 4/4 metre and a different style of drumming."<ref>Stewart (2000: 302).</ref> Stewart makes the point: "The singular style of rhythm & blues that emerged from New Orleans in the years after World {{nowrap|War II}} played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes."<ref name="Stewart2000-293">Stewart (2000: 293).</ref>

=== 1960s ===
====James Brown====
[[File:JamesBrown.jpg|thumb|right|James Brown, a progenitor of funk music]]
James Brown credited [[Little Richard]]'s 1950s R&B road band, [[The Upsetters (American band)|The Upsetters]] from New Orleans, as "the first to put the funk into the rhythm" of [[rock and roll]].<ref>{{Cite magazine|title=Little Richard: 20 Essential Songs|url=https://www.rollingstone.com/music/music-lists/little-richard-20-essential-songs-15792/|last1=Harris|first1= Keith|last2=Erlewine|first2=Stephen Thomas|date=2020-05-09|magazine=Rolling Stone|language=en-US|access-date=2020-05-15 }}</ref> Following his temporary exit from secular music to become an evangelist in 1957, some of Little Richard's band members joined Brown and [[the Famous Flames]], beginning a long string of hits for them in 1958. By the mid-1960s, [[James Brown]] had developed his signature groove that emphasized the [[Beat (music)#Downbeat|downbeat]]—with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the [[backbeat]] that typified African-American music.<ref>[http://www.anisman.com/steve/samd02.htm Lessons in listening – Concepts section: Fantasy, Earth Wind & Fire, The Best of Earth Wind & Fire Volume I, Freddie White.] (January 1998). ''Modern Drummer Magazine'', pp. 146–152. Retrieved January 21, 2007.</ref> Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-'''''two'''''-three-'''''four''''' backbeat of traditional soul music to the '''''one'''''-two-three-four downbeat – but with an even-note [[Syncopation|syncopated]] guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy [[Swung note|swing]]. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "[[Out of Sight (song)|Out of Sight]]" and his 1965 hits, "[[Papa's Got a Brand New Bag]]" and "[[I Got You (I Feel Good)]]".

Brown's style of funk was based on interlocking, contrapuntal parts: syncopated [[bassline]]s, 16th beat drum patterns, and syncopated guitar riffs.<ref name="Slutsky, Allan 1997"/> The main guitar ostinatos for "Ain't it Funky" (c. late 1960s) are an example of Brown's refinement of New Orleans funk— an irresistibly danceable riff, stripped down to its rhythmic essence. On "Ain't it Funky" the tonal structure is barebones. Brown's innovations led to him and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as "[[Cold Sweat]]" (1967), "[[Mother Popcorn]]" (1969) and "[[Get Up (I Feel Like Being A) Sex Machine]]" (1970), discarding even the twelve-bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns&nbsp;... [resembling] [[West African]] polyrhythms" – a tradition evident in African-American work songs and chants.<ref name=jbmusicstyle>Collins, W. (January 29, 2002). [http://arquivo.pt/wayback/20090628140121/http://findarticles.com/p/articles/mi_g1epc/is_bio/ai_2419200141 James Brown.] ''St. James Encyclopedia of Popular Culture''. Retrieved January 12, 2007.</ref> Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.<ref name=jbmusicstyle/>

{{external media
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After 1965, Brown's bandleader and arranger was [[Alfred "Pee Wee" Ellis]]. Ellis credits [[Clyde Stubblefield]]'s adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything. But 'give me a New Orleans beat' – you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming."<ref>Alfred "Pee Wee" Ellis quoted by Stewart (2000: 303).</ref> Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s."<ref name="Stewart2000-293"/> Concerning the various funk motifs, Stewart states that this model "...is different from a [[bell pattern|time line]] (such as clave and [[tresillo (rhythm)|tresillo]]) in that it is not an exact pattern, but more of a loose organizing principle."<ref>Stewart (2000: 306).</ref>

In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat&nbsp;... Simple as that, really."<ref name=nytimes>Pareles, J. (December 26, 2006). [https://www.nytimes.com/2006/12/26/arts/music/26brown.html?pagewanted=2&en=aef74e8250526096&ei=5087&ex=1182920400&excamp=GGGNjamesbrown James Brown, the "Godfather of Soul" dies at 73.] ''The New York Times''. Retrieved January 31, 2007.</ref> According to [[Maceo Parker]], Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.<ref name=fa_maceo>Gross, T. (1989). [https://www.npr.org/templates/story/story.php?storyId=6676990 Musician Maceo Parker (Fresh Air WHYY-FM audio interview).] National Public Radio. Retrieved January 22, 2007.</ref>

==== Parliament-Funkadelic ====
{{Main|P-Funk}}
[[File:George Clinton 2006.jpg|thumb|left|upright=1.15|[[George Clinton (funk musician)|George Clinton]] and [[Parliament Funkadelic]] in 2006]]
A new group of musicians began to further develop the "funk rock" approach.  Innovations were prominently made by [[George Clinton (funk musician)|George Clinton]], with his bands [[Parliament (band)|Parliament]] and [[Funkadelic]]. Together, they produced a new kind of funk sound heavily influenced by [[jazz]] and [[psychedelic rock]].  The two groups shared members and are often referred to collectively as "Parliament-Funkadelic". The breakout popularity of Parliament-Funkadelic gave rise to the term "[[P-Funk]]", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including [[Parlet]], the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or ''[[sui generis]]''.

Following the work of Jimi Hendrix in the late 1960s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with funk, borrowing [[wah pedal]]s, [[fuzz box]]es, [[echo chamber]]s, and vocal distorters from the former, as well as [[blues rock]] and [[jazz]].<ref name="Scott">{{cite book|first=Portia K.|last=Maultsby|chapter=Dayton Street Funk: The Layering of Musical Identities|url={{GBurl|id=eL37scDf0PMC|q=psychedelic+funk+genre}}|editor-last1=Scott|editor-first1=Derek B.|title=The Ashgate Research Companion to Popular Musicology|year=2009|access-date=November 25, 2016|page=275|publisher=Ashgate Publishing |isbn=978-0-7546-6476-5}}</ref> In the following years, groups such as Clinton's Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work.<ref name="Scott"/>

=== Late 1960s – early 1970s ===
Other musical groups picked up on the rhythms and vocal style developed by [[James Brown]] and his band, and the funk style began to grow. [[Dyke and the Blazers]], based in [[Phoenix, Arizona]], released "[[Funky Broadway]]" in 1967, perhaps the first record of the [[soul music]] era to have the word "funky" in the title. In 1969 [[Jimmy McGriff]] released ''[[Electric Funk]]'', featuring his distinctive organ over a blazing horn section.  Meanwhile, on the [[West Coast of the United States|West Coast]], [[Charles Wright & the Watts 103rd Street Rhythm Band]] was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971. Also from the West Coast area, more specifically [[Oakland, California]], came the band [[Tower of Power]] (TOP), which formed in 1968. Their debut album, ''[[East Bay Grease]]'', released 1970, is considered a milestone in funk. Throughout the 1970s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.

In 1970, [[Sly & the Family Stone]]'s "[[Thank You (Falettinme Be Mice Elf Agin)]]" reached #1 on the charts, as did "[[Family Affair (Sly & the Family Stone song)|Family Affair]]" in 1971.  Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. [[The Meters]] defined funk in [[New Orleans, Louisiana|New Orleans]], starting with their top ten R&B hits "Sophisticated Cissy" and "[[Cissy Strut]]" in 1969. Another group who defined funk around this time were [[the Isley Brothers]], whose funky 1969 #1 R&B hit, "[[It's Your Thing]]", signaled a breakthrough in African-American music, bridging the gaps of the jazzy sounds of Brown, the [[psychedelic rock]] of [[Jimi Hendrix]], and the upbeat soul of Sly & the Family Stone and [[Mother's Finest]]. [[The Temptations]], who had previously helped to define the "[[Motown]] Sound" – a distinct blend of pop-soul – adopted this new [[psychedelic soul|psychedelic]] sound towards the end of the 1960s as well. Their producer, [[Norman Whitfield]], became an innovator in the field of psychedelic soul, creating hits with a newer, funkier sound for many [[Motown]] acts, including "[[War (Edwin Star song)|War]]" by [[Edwin Starr]], "[[Smiling Faces Sometimes]]" by [[the Undisputed Truth]] and "[[Papa Was A Rollin' Stone]]" by the Temptations. Motown producers [[Frank Wilson (musician)|Frank Wilson]] ("[[Keep on Truckin' (song)|Keep On Truckin']]") and [[Hal Davis]] ("[[Dancing Machine]]") followed suit. [[Stevie Wonder]] and [[Marvin Gaye]] also adopted funk beats for some of their biggest hits in the 1970s, such as "[[Superstition (song)|Superstition]]" and "[[You Haven't Done Nothin']]", and "[[I Want You (Marvin Gaye song)|I Want You]]" and "[[Got To Give It Up]]", respectively.

=== 1970s ===
{{See also|Progressive soul|disco}}

[[File:Stone3.jpg|thumb|[[The Original Family Stone]] live, 2006. Jerry Martini, Rose Stone, and Cynthia Robinson]]

The 1970s were the era of highest mainstream visibility for funk music. In addition to [[Parliament Funkadelic]], artists like [[Sly and the Family Stone]], [[Rufus & Chaka Khan]], [[Bootsy's Rubber Band]], the [[Isley Brothers]], [[Ohio Players]], [[Con Funk Shun]], [[Kool and the Gang]], [[the Bar-Kays]], [[Commodores]], [[Roy Ayers]], [[Curtis Mayfield]], and [[Stevie Wonder]], among others, got radio play. [[Disco]] music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of [[Barry White]]'s hits, "[[Kung Fu Fighting]]" by [[Biddu]] and [[Carl Douglas]], [[Donna Summer]]'s "[[Love to Love You Baby (song)|Love To Love You Baby]]", [[Diana Ross]]' "[[Love Hangover]]", [[KC and the Sunshine Band]]'s "[[I'm Your Boogie Man]]", "[[I'm Every Woman]]" by [[Chaka Khan]] (also known as the Queen of Funk), and [[Chic (band)|Chic]]'s "Le Freak" conspicuously include riffs and rhythms derived from funk.  In 1976, [[Rose Royce]] scored a number-one hit with a purely dance-funk record, "[[Car Wash (song)|Car Wash]]". Even with the arrival of disco, funk became increasingly popular well into the early 1980s.

Funk music was also exported to Africa, and it melded with African singing and rhythms to form [[Afrobeat]]. Nigerian musician [[Fela Kuti]], who was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat".

=== Jazz funk ===
{{Main|Jazz-funk}}
{{see also|Soul jazz|jazz fusion|free funk}}
Jazz-funk is a subgenre of [[jazz]] music characterized by a strong [[beat (music)|back beat]] ([[Groove (music)|groove]]), electrified sounds<ref>{{Cite web|url=https://us.napster.com/jazz/jazzfunk/more.html|archiveurl=https://web.archive.org/web/20070929083925/http://www.rhapsody.com/jazz/jazzfunk/more.html|url-status=dead|title=Rhapsody :: Jazz-Funk|archivedate=September 29, 2007|website=Us.napster.com|accessdate=February 25, 2021}}</ref> and an early prevalence of [[analog synthesizers]].  The integration of funk, [[soul music|soul]], and [[rhythm and blues|R&B]] music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong [[Musical improvisation#Jazz improvisation|jazz improvisation]] to soul, funk or disco with jazz arrangements, jazz [[riff]]s, and jazz solos, and sometimes soul vocals.<ref name=allmusic>{{cite web|url=http://www.allmusic.com/genre/jazz-ma0000002674 |title=Jazz &#124; Significant Albums, Artists and Songs |website=[[AllMusic]] |date=2013-11-24 |access-date=2015-06-03}}</ref> Jazz-funk is primarily an [[United States|American]] genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club circuit in England during the mid-1970s. Similar genres include [[soul jazz]] and [[jazz fusion]], but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production.

=== 1980s synth-funk ===
{{See also|Electro music}}

In the 1980s, largely as a reaction against what was seen as the over-indulgence of [[disco]], many of the core elements that formed the foundation of the P-Funk formula began to be usurped by [[Electronic musical instrument|electronic instruments]], [[drum machine]]s and [[synthesizer]]s. Horn sections of saxophones and trumpets were replaced by [[Synthesizer|synth]] [[Electronic keyboard|keyboards]], and the horns that remained were given simplified lines, and few horn solos were given to soloists. The classic electric keyboards of funk, like the [[Hammond B3]] organ, the Hohner [[Clavinet]] and/or the [[Rhodes piano|Fender Rhodes piano]], began to be replaced by the new [[digital synthesizer]]s such as the [[Yamaha DX7]] and microprocessor-controlled [[analog synthesizer]]s like the [[Sequential Circuits Prophet-5|Prophet-5]] and [[Oberheim OB-X]]. Electronic [[drum machines]] such as the [[Roland TR-808]], [[Linn LM-1]], and [[Oberheim DMX]] began to replace the "[[funky drummer]]s" of the past, and the [[Slapping (music)|slap]] and pop style of bass playing were often replaced by synth keyboard basslines. Lyrics of funk songs began to change from suggestive [[double entendre]]s to more graphic and sexually explicit content.

Influenced by [[Kraftwerk]] and [[Yellow Magic Orchestra]], American hip hop DJ [[Afrika Bambaataa]] developed electro-funk, a minimalist machine-driven style of funk with his single "[[Planet Rock (song)|Planet Rock]]" in 1982.<ref name="Planet Rock">Planet Rock – The Album (Liner notes). Afrika Bambaataa & the Soul Sonic Force. Tommy Boy Records. 1986. TBLP 1007.</ref><ref name="wire_1996">{{citation|title=A-Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|date=March 1996|first=David|last=Toop|url=http://www.thewire.co.uk/articles/210/|access-date=May 29, 2011}}</ref> Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the [[TR-808]] drum machine. The single "[[Renegades of Funk]]" followed in 1983.<ref name="Planet Rock" /> Michael Jackson was also influenced by electro-funk.<ref>{{cite web|last=Dayal|first=Gheeta|title=Yellow Magic Orchestra|url=http://www.theoriginalsoundtrack.com/blog/archives/00000615.htm|work=Groove|publisher=The Original Soundtrack|access-date=June 17, 2011|date=July 7, 2006|archive-url=https://web.archive.org/web/20111002224518/http://www.theoriginalsoundtrack.com/blog/archives/00000615.htm|archive-date=October 2, 2011|url-status=dead}}</ref> In the 1980s, techno-funk music used the TR-808 programmable drum machine,<ref name="cbc_808">{{cite news|title=Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine|date=November 28, 2008|first=Jason|last=Anderson|publisher=[[CBC News]]|url=https://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|access-date=May 29, 2011}}</ref> while Kraftwerk and Yellow Magic Orchestra influenced electro-funk artists such as Afrika Bambaataa and [[Mantronix]].<ref name="wire_1996"/><ref>{{citation |title=Kurtis Mantronik Interview |work=Hip Hop Storage |date=July 2002 |url=http://www.cheebadesign.com/legends/articleX.html |access-date=May 25, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110524234641/http://www.cheebadesign.com/legends/articleX.html |archive-date=May 24, 2011 }}</ref>

[[Rick James]] was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album ''[[Street Songs (album)|Street Songs]]'', with the singles "Give It to Me Baby" and "[[Super Freak]]", resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.

[[File:Prince by jimieye.jpg|thumb|upright|left|[[Prince (musician)|Prince]] was an influential multi-instrumentalist, bandleader, singer and songwriter.]]

Prince formed [[The Time (band)|the Time]], originally conceived as an opening act for him and based on his "[[Minneapolis sound]]", a hybrid mixture of funk, [[Contemporary R&B|R&B]], [[Rock music|rock]], [[Pop music|pop]] and [[New wave music|new wave]]. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes, [[synthesizer]]s and other electronic technologies to continue to craft funk hits. These included [[Cameo (band)|Cameo]], [[Zapp (band)|Zapp]], the [[Gap Band]], the [[Bar-Kays]], and the [[Dazz Band]], who all found their biggest hits in the early 1980s. By the latter half of the 1980s, pure funk had lost its commercial impact; however, pop artists from [[Michael Jackson]] to Culture Club often used funk beats.

=== Late 1980s to 2000s nu-funk ===
While funk was driven away from radio by slick commercial [[hip hop music|hip hop]], [[contemporary R&B]] and [[new jack swing]], its influence continued to spread. Artists like Steve Arrington and Cameo still received major airplay and had huge global followings.  Rock bands began adopting elements of funk into their sound, creating new combinations of "[[funk rock]]" and "[[funk metal]]". [[Extreme (band)|Extreme]], [[Red Hot Chili Peppers]], [[Living Colour]], [[Jane's Addiction]], [[Prince (musician)|Prince]], [[Primus (band)|Primus]], [[Urban Dance Squad]], [[Fishbone]], [[Faith No More]], [[Rage Against the Machine]], [[Infectious Grooves]], and [[Incubus (band)|Incubus]] spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and other funk-inspired artists like [[Outkast]], [[Malina Moye]], [[Van Hunt]], and [[Gnarls Barkley]].

In the 1990s, artists like [[Me'shell Ndegeocello]], [[Brooklyn Funk Essentials]] and the (predominantly UK-based) [[acid jazz]] movement—including artists and bands such as [[Jamiroquai]], [[Incognito (band)|Incognito]], [[Galliano (band)|Galliano]], [[Omar Lye-Fook|Omar]], [[Los Tetas]] and the [[Brand New Heavies]]—carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday—with the exception of Jamiroquai, whose album ''[[Travelling Without Moving]]'' sold about 11.5&nbsp;million units worldwide and remains the best-selling funk album in history.<ref>{{Cite web|title=Best-selling album of funk music|url=https://www.guinnessworldrecords.com/world-records/74163-best-selling-album-of-funk-music|access-date=2022-02-09|website=Guinness World Records|language=en-gb}}</ref> Meanwhile, in Australia and New Zealand, bands playing the pub circuit, such as [[Supergroove]], [[Skunkhour]] and [[The Truth (Australian band)|the Truth]], preserved a more instrumental form of funk.
[[File:MeShell NdegeòCello (222747).jpg|thumb|right|200px|[[Me'shell Ndegeocello]] playing electric bass]]
Since the late 1980s, [[hip hop music|hip hop]] artists have regularly [[sampling (music)|sampled]] old funk tunes. [[James Brown (musician)|James Brown]] is said to be the most sampled artist in the history of hip hop, while [[P-Funk]] is the second most sampled artist; samples of old [[Parliament (band)|Parliament]] and [[Funkadelic]] songs formed the basis of [[West Coast rap|West Coast]] [[G-funk]].

Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. [[Dr. Dre]] (considered the progenitor of the G-funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelia: "Back in the 70s that's all people were doing: getting high, wearing [[Afro]]s, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album ''[[The Chronic]]'' and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".<ref>{{Cite web|url=http://musicstrands.com/|archiveurl=https://web.archive.org/web/20060220104429/http://www.musicstrands.com/artist/6599/biography|url-status=dead|title=MusicStrands|archivedate=February 20, 2006|website=Musicstrands.com|accessdate=February 25, 2021}}</ref> [[Digital Underground]] was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "[[Sons of the P]]", as their second full-length release is also titled. DU's first release, ''[[Sex Packets]]'', was full of funk samples, with the most widely known, "[[The Humpty Dance]]", sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release ''[[Future Rhythm]]''. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.

Funk is a major element of certain artists identified with the [[jam band]] scene of the late 1990s and 2000s. In the late 1990s, the band [[Phish]] developed a live sound called "cow funk" (a.k.a. "space funk"), which consisted of extended danceable deep bass grooves, and often emphasized heavy "wah" pedal and other psychedelic effects from the guitar player and layered Clavinet from the keyboard player.<ref>{{Cite news|last=Whitman|first=Marc|date=2007-03-02|title=Phish Friday {{!}} Fall '97, Not Just the Cow Funk Era|url=https://livemusicblog.com/features/phish-friday-fall-97-not-just-the-cow-funk-era/|access-date=2020-12-23|website=LIVE music blog|language=en-US}}</ref> [[Phish]] began playing funkier jams in their sets around 1996, and 1998's ''[[The Story of the Ghost]]'' was heavily influenced by funk. While Phish's funk was traditional in the sense that it often accented beat 1 of the 4/4 time signature, it was also highly exploratory and involved building jams towards energetic peaks before transitioning into highly composed progressive rock and roll.

[[Medeski Martin & Wood]], [[Robert Randolph & the Family Band]], [[Galactic]], [[Jam Underground]], [[Soulive]], and [[Karl Denson's Tiny Universe]] all drew heavily from the funk tradition. [[Dumpstaphunk]] builds upon the New Orleans tradition of funk, with their gritty, low-ended grooves and soulful four-part vocals. 

Since the mid-1990s the nu-funk or funk revivalist scene, centered on the [[deep funk]] collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco, [[Soul Fire Records|Soul Fire]], [[Daptone Records|Daptone]], Timmion, Neapolitan, Bananarama, Kay-Dee, and Tramp. These labels often release on 45&nbsp;rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on ''[[Late Night with Conan O'Brien]]''. Those who mix [[acid jazz]], [[acid house]], [[trip hop]], and other genres with funk include [[Tom Tom Club]],<ref>Walters, Barry. "[https://web.archive.org/web/20081010233404/http://www.rollingstone.com/artists/tomtomclub/albums/album/127680/review/5940822/the_good_the_bad__the_funky Tom Tom Club:The Good, The Bad & The Funky]", ''[[Rolling Stone]]'', 28 September 2000.</ref> [[Brainticket]],<ref>Davis, Lindsay. "Chicken Lips: DJ Kicks", ''[[The Dominion Post (Wellington)|The Dominion Post]]'', 5 December 2003, p. B13.</ref> [[Groove Armada]], et al.<ref>Gold, Kerry. "Groove Armada", ''[[Vancouver Sun]]''. 17 February 2000, p. C15.</ref><ref>Brown, Jonathan. "[http://arts.independent.co.uk/music/features/article2934333.ece Everything you ever wanted to know about pop (but were too old to ask)] {{Webarchive|url=https://web.archive.org/web/20071224185113/http://arts.independent.co.uk/music/features/article2934333.ece |date=December 24, 2007 }}", ''[[The Independent]]'', 6 September 2007.</ref>

===2010s funktronica===
[[File:Anitta Heat Latin Music Awards 2021.jpg|140px|thumb|[[Anitta (singer)|Anitta]] at the [[Coca-Cola]] Jeans parade in November 2014]]
During the 2000s and early 2010s, some [[Dance-punk|punk funk]] bands such as [[Out Hud]] and Mongolian MonkFish performed in the [[indie rock]] scene. Indie band [[Rilo Kiley]], in keeping with their tendency to explore a variety of rockish styles, incorporated funk into their song "[[The Moneymaker]]" on the album ''[[Under the Blacklight]]''. Prince, with his later albums, gave a rebirth to the funk sound with songs like "The Everlasting Now", "[[Musicology (song)|Musicology]]", "Ol' Skool Company", and "[[Black Sweat]]". [[Particle (band)|Particle]],<ref>{{cite magazine|url=http://www.billboard.com/biz/articles/news/1433055/particle-to-fuel-beats-of-peace-tour|title=Particle To Fuel 'Beats of Peace' Tour|magazine=[[Billboard (magazine)|Billboard]]|access-date=16 May 2014|author=Waddell, Ray|archive-date=August 25, 2015|archive-url=https://web.archive.org/web/20150825025926/http://www.billboard.com/biz/articles/news/1433055/particle-to-fuel-beats-of-peace-tour|url-status=dead}}</ref> for instance, is part of a scene which combined the elements of digital music made with computers, synthesizers, and samples with analog instruments, sounds, and improvisational and compositional elements of funk.<ref name="popmatters">{{cite magazine | url=http://www.popmatters.com/post/133824-headtronics/ | title=Funktronica Jams: An Interview with Freekbass of Headtronics | magazine=[[PopMatters]] | date=Nov 30, 2010 | access-date=16 May 2014 | author=Seymour, Jane Jansen}}</ref><ref name="liveforlivemusic">{{cite web|url=http://liveforlivemusic.com/features/the-floozies-talk-improvisation-in-funktronica-red-rocks-karl-densons-avocados/|title=The Floozies Talk Improvisation In Funktronica, Red Rocks & Karl Denson's Avocados|publisher=Live For Live Music|access-date=11 July 2016|author=Thomson, Rex|date=July 11, 2016}}</ref>