The body keeps veto power
Funk and R&B matter in JQD less as genre branding than as a reminder that language and arrangement eventually have to pass through a body. Groove can make an absurd phrase persuasive; repetition can become sensual rather than explanatory; bass can organize attention without requiring a narrative reason.
Early explicit field
ADVENT 1.9 describes spontaneous playing through funk, ’70s rock and early hip-hop patterns and explicitly invokes “Still Tippin’,” David Banner and Gil Scott-Heron. ILLEGAL AUDIO describes its anonymous collaborator as someone listeners of avant/jazz/funk/hip-hop may already have heard. These categories are already braided in the primary archive.
Maggot Brain as vocal laboratory
POST-CRINGE describes uploading dozens of improvisational vocal takes over an “iffy karaoke” version of Parliament-Funkadelic’s “Maggot Brain,” then imagining a handler extracting preferred fragments. Beneath the joke is a usable vocal method: extended groove as a surface on which many voices can be tried without committing to a conventional song form.
LTAP: R&B/hip-hop if you squint
The plural Scaled Alps record benefits from hearing groove beneath its rock instrumentation. “H-O-R-S” and “Pink Diamonds” are the obvious hard examples; “Neo Noir” and “Slow Motion” use pocket, repetition and vocal placement more subtly. The result is not a genre switch but a rhythmic cross-reading: live band as beat environment.
Against decorative funk
The important thing is not a wah pedal or a genre signifier. Funk/R&B matter when repetition, bass, pocket, erotic address or vocal looseness change how the text behaves. See Hip-Hop in JQD, Jazz in JQD and Vocal Persona & Delivery.