Brownswood Vinilo y CD

Review: Contemporary British jazz drummer-master Yussef Dayes returns with Black Classical Music, a monumental 18-track LP that not only contains collaborations with Rocco Palladino, Charlie Stacey, Alfa Mist, and Mansur Brown, but flaunt his compositional chops after the immediate fact of the studio, with the likes of 'Rust' and 'Early Dayes' laying down a heartfelt and clean foray into the nu-est expression of British jazz yet. Predominantly made in collaboration with Black artists, it's an album that aims to chart the history of an entire art form a fresh perspective, evidently tracing the line of his own personal past-present at the same time.

Review: This is a special white vinyl version of the new album from Yussef Dayes. His Black Classical is another superbly classy work from an artist who rarely misses. The 19 track opus finds him heading deep into his own past and present while also covering themes of home and the family. It is inspired by his own heroes Miles Davis and Rahsaan Roland Kirk, and takes cues from his worldly travels while on tour, which he says - and clearly have - helped to deepen his understanding of rhythm. The likes of Chronixx, Tom Misch, Shabaka Hutchings, Nathaniel Cross, Theon Cross and the Chineke! Orchestra, amongst many others all feature to add further quality to this essential record.

Review: Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP Halfway Somewhere, released on Gilles Peterson's Brownswood Recordings. Led by lead single 'Circles Going Round The Sun', which proffers a watery, spiritual jazz-dance exposition through which the raspy vocal humours of the group's founder, Rob Gallagher, waxes poetic about the meaning of getting together for a boogie in the club. Where the somatic essence of the night might otherwise be resigned to experience alone, Galliano defy the unfortunate tendency for philistinism among dance music enjoyers in favour of a consistent spoken-word throughline; this is what the group have done since the 1980s, when they arrived as the first act on Gilles Peterson's Talkin' Loud label in 1990, with 'Welcome To The Story'. Their first full-length record to emerge since their first album, Live at The Liquid Room (Tokyo), released in 1997, Halfway Somewhere is a triumphant yet latent return for these essential players.

Review: Galliano's return with Halfway Somewhere marks a significant moment in the resurgence of acid jazz. Led by founder Rob Gallagher, the band delve into the essence of club culture with their first single, 'Circles Going Round The Sun,' exploring the transformative power of dance. Referencing cultural icons like Andrew Weatherall and David Mancuso, Galliano capture the spirit of London's underground scene from the late 80s, blending music, dance, fashion, and art. With their debut on Gilles Peterson's Talkin' Loud label in 1990, Galliano epitomized reinvention, embracing a fusion of influences from Jamaican style to spoken word records. Now, more than three decades later, they return with a refreshed lineup, drawing inspiration from the global jazz scene. Halfway Somewhere reflects Galliano's evolution, responding to the dynamic landscape of contemporary jazz while retaining their signature sound. With contributions from longtime members and guest artists, the album embodies the band's enduring spirit of experimentation and joy. As they navigate this new chapter, Galliano proves they're still on a journey, but one filled with excitement and creativity.

Review: Kokoroko very quickly broke through with the last EP on Brownswood. The talented musical collective stuff their tunes with elements of afro, funk, soul and jazz and each one makes an indelible mark. This new EP offers two more such gems: first up, 'Baba Ayoola' has silky drumming that would make Tony Allen proud. The lead trumpets and mellifluous chords all make for a rich sonic tapestry that is ripe for dancing. On the flip is 'Carry Me Home' with more big horns and complex drum patterns, as well as some soulful vocal coos to finish it in style.

Review: Over a year since the release of their exhilarating debut album Could We Be More, Kokoroko present a new collection of remixes of tracks from their debut album. The record brings together a dizzying, globe-spanning array of contemporary music's most forward-thinking artists including Dreamcastmoe, anaiis, KeiyaA, Eun, Demae, Hagan, Ash Lauryn, Stefan Ringer, Miles James, and Vanyfox. A beguiling slice of contemporary jazzdance lent a fresh modern glitzing twist, mixing old friends and fresh faces alike, while not failing to demonstrate the enduring talents of Kokoroko in equal measure.

Review: Kokoroko have been on all world music lovers' radars since their very first and very impressive EP on Brownswood back in 2018. Now we are treated to an expansive and adventurous debut album on the same label that sees the group build on their great early start. Could We Be More has been preceded by new single 'We Give Thanks' and draws plenty of inspiration from the highlife and jazz sounds of West Africa, the Afrobeat and psych-funk sounds of the 70s and plenty of modern broken beat styles. Each tunes swells with emotion and evokes good times.

Review: 'Get The Message' is London jazz collective Kokoroko's latest EP, and is set to follow fresh on the heels of their pre-release new single 'Three Piece Suit', featuring Azekel. The latter track is a heartwarming tribute to the Nigerian immigrant experience; an initial draft began life at Kokoroko's studio under the working title 'Get The Message', which led to an interesting dialogue between one-off single and wider EP; 'Three Piece Suit' was recorded first, but appears last on the EP, which overall mounts and rides a trotting broken jazz advance. Lilting vocals, brassed-backed chorus harmonies and chop-chop drumming all mirror the quiet confidence with which band member Onome Edgeworth's grandfather first touched down and made his way in Balham, London in the early 1960s. An intentional vessel for joy, coming heavily filled with themes of community, connection and relationships both romantic and platonic.

Review: Newest on Brownswood's esteemed 'Remix Editions' series come Iman Houssein and Danalgue, who together reimagine Lefto Early Bird's recent release Motherless Father. Each artist brings a unique sonic perspective to tracks from Lefto Early Bird's 2024 album, one deeply rooted in explorations of jazz, soul and electronica on a historically informed basis. With only 300 copies pressed to vinyl and no plans for a repress, the emphasis is on high-carat gemstone haulage here: both remixes were crafted with the spirit of the dancefloor in mind and yet also aim to preserve something of Lefto's characteristic, jazz-electronique tendency, marking the kind of alchemical fusion that is difficult to ape and masterable only by experts. Clock Houssein's reworking of Diane Charlemagne, who also featured on Goldie's classic drum & bass track Inner City Life.

Review: At one with nature and evolution - while challenging reductionist ideas like survival of the fittest - the artist known as Davina Adeosun-Bright, aka. Muva Of Earth, here presents her latest album on Brownswood, Align With Nature's Intelligence. A spiritual jazz opus full of confidence, it instantly recalls the historic trace of Alice Coltrane, Lonnie Liston Smith or Pharoah Sanders, as we hear the Muva effortlessly command every instrument at her disposal - from harp to voice - while staking impassioned claims to her femininity, ancestry and empowerment. Sonically, it's implied that the only way to achieve an "evolved thinking" is through a return to source, and that's done using seemingly endless beds of twinkly jazz shimmer, which form the backbone for progressive double bass, vocal and drum-brushed wildouts.

Review: The second instalment of Brownswood Recordings' Remix Editions series features two dancefloor hitters; one from new kids on the block Izco & Reek0 and the other from sub-bass heavyweight Coki. Each producer turning their hands to a remix from a different track from Oreglo's debut EP, 'Not Real People', both efforts turn out to be massive. Izco and Reek0's version of 'Levels' opens the proceedings with a stargazing march, fusing motifs of amapiano, carnival and UK jazz. Coki's flipside is much more dubious, working in a much lower dubstep register, and filtering Oreglo's original 'Opedge' jazz instrumentation into a mnemonic groundwork for a grime-caked heater.

Review: A bold exploration of genre-blurring sounds with the eclectic influences and innovative approach of the London-based quartet. Comprised of c-se, Linus Barry, Nico Rocco, and Teigan Hastings, oreglo infuse their music with heavy rock riffs, drill-inspired percussion, breezy reggae vibes and more, creating a melting pot of diverse sounds that reflects their upbringing in London. The latest track from the EP, 'Peck,' is a sprawling seven-minute odyssey that captures the feeling of being pecked on the cheek by a crush, juxtaposing cool exterior with exploding inner emotions. Throughout the EP they explore themes of alienation, identity, and love, reflecting on their journey from adolescence to adulthood in the vibrant city of London. Featuring previously released singles like 'Levels' and "]'J.A.C.K.,' as well as four new tracks including 'Comet' featuring Bel Cobain, 'Not Real People' is a sonic tapestry that highlights oreglo's growth and diverse musical interests. Despite being together for just over a year, oreglo has already made waves in the music scene, winning the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition and performing at prestigious events like the Steam Down-curated World Island event. With their debut EP, oreglo solidifies their status as one of London's most exciting emerging acts, offering a fresh and dynamic sound that defies categorization.

Review: Marysia Osu's debut album, harp, beats & dreams, is a stunning example of her musical evolution and innovative spirit. Known for her role in Levitation Orchestra and as a Brownswood 'Bubblers' graduate, Marysia blends her classical roots with contemporary exploration in this enchanting release. Originating from Poland and enriched by her musical education in London, she has embraced the harp with profound artistry, now intertwining it with electronic elements and personal introspection. The album opens with the hypnotic 'seatime,' a journey through coastal reverie that celebrates self-acceptance and inner harmony. It continues with 'care to care,' where Levitation Orchestra's Plumm adds ethereal vocals, advocating for self-care and personal space. The track 'memento mori' features YUIS's illuminating flute, echoing stoic reflections on life's impermanence. Marysia's return to the piano and spontaneous clarinet experiments, inspired by a vivid dream, add depth to her soundscape. The clarinet's breath symbolises life's essence, bridging body and mind, enhancing the album's introspective quality. Marysia Osu's debut is a an exciting debut, offering a serene escape thanks to her talent and unique vision.

Review: Brownswood Recordings is back with Future Bubblers 8.0, the eighth volume of their influential annual compilation the highlights fresh talents as part of Gilles Peterson's network with support by Arts Council England and PRS Foundation. This new volume continues to spotlight unsigned talent and grow the audience for experimental music by helping emerging artists build sustainable careers by sharing revenue directly. Past artists include Yazmin Lacey, KinKai, and Lynda Dawn who have gone on to make their own mark and now this new vinyl features six tracks blending r&b, soul, funk, rap and electronic influences into all new sound worlds.

Review: Secret Night Gang is a Manchester crew formed by Callum Connell and Kemani Anderson, school mates who have been writing together for a long old time before bringing bassist Stuart Whitehead into the fold. After debuting on Brownswood in 2021 with an EP and an album, they're back with a follow-up which sees them going deeper and farther, leading in with the bumping neo-soul perfection of 'Out Of My Head' as the upfront single and packing nine other essential joints from one of the most exciting bands to be doing it in the UK right now. Just dip into 'Don't Know What Tomorrow Brings' and discover the sweet spot between D'Angelo, Funkadelic and Roy Ayers they've tapped into.

Review: One of this year's Mercury Prize nominees, Wisdom Of Elders sees London saxophonist Shabaka Hutchings hitting a new ambitious high as he recorded the whole body of work with a troupe of South African musicians led by Mandla Mlangeni in one single day. Aptly described as afro-futurism, the collective melt down nuances of jazz, psychedelia and traditional South African music to paint a unique picture that's delightfully frenzied yet soulfully smooth all at once. From the big Rhodes washes and vocal textures of "The Observer" to the dramatic percussive tumbles and lonely trumpet of "The Observed" by way of epic multi-suite adventures such as "The Sea" and the incendiary opener "Mzwandile", Wisdom Of Elders lives up to its name with a spirit that's at once both future and timeless.

Review: Str4ta is a project that harks back to the glory days of the vibrant British jazz-funk scene of the early 80s. Gilles Peterson and his partner in crime Jean-Paul "Bluey" Maunick are behind the music and the new album is the first new music they have put out in over a decade. Quick on the draw as ever is Dave Lee, fka Joey Negro, who on this 12" on Brownswood serves up two alternative mixes of one of the singles. The fist version of 'After The Rain' is all hip swinging claps, low slung funk and brightly shining, starry-eyed melodies. The second dub version is more scripted back but still with plenty of irresistible percussion and bass.

Review: Brownswood Recordings have become something of a meme, cementing their very distinct jazz sound with every new release. Str4ta's 'Str4tasfear' is the latest LP from the project (which consists of Gilles Peterson and Jean Paul Maunick), painting a vague party-jazz homage to the dawn of the Brit-funk era, but they're not being too succinct about any overarching message beyond that. The songs here are danceable, and that's their main focus. 'Lazy Days' is the drawer-inner - with Emma-Jean Thackray's singing lulling us into a state of preferring not to go to work - while 'Night Flight' opens the bay doors into an instrumental space lounge. All sizzlers.

Review: Str4ta is a joint project that includes Gilles Peterson and Jean-Paul Maunick aka Bluey, inspired by 80s Brit funk bands. In 2022, Str4ta released their third album Str4tasfear for Gilles's label, Brownswood Recordings and this 12" stamped white label offers two dance remixes of two tracks from Str4tasfear. For the A-side, 'To Be As One' is remixed by Venom with vocal by Theo Croker. This soulful house version is jazzy and slightly psychedelic, that gives off a tremendous 70s vibe to it, while the second side sees 'Lazy Days' is remixed by Wallace, adding a bit more of a Latin house feel and features Emma Jean Thackray on vocals. Both versions turn the originals into the perfect dancefloor shufflers for eclectic people. This is the perfect 12" for house, soul and Latin DJs to express their more jazzy side.

Review: South African jazz-influenced sounds take the lead on this new companion from the tireless Brownswood label. The collection explores the linage of the sounds and communities who helped it evolve as is spread across the country meaning plenty of subtle synths are taken in. The eclecticism is what makes this so essential as the music ranges from the hugely spiritual (from The Brother Moves On) to more late night and inmate (tasks to a fine entry from Sibusile Xaba) via the neo-soul drenched styles of Thandi Ntuli's beautiful 'Dikeledi' which is a particular highlight.

Review: Brownswood Recordings has high hopes for this debut album from the previously unheralded Yussef Kamaal, which brings together hyped producer Kamaal Williams (AKA Henry Wu) and fast-rising Afrobeat drummer Yussef Dayes. With such talent to draw on, you'd expect Black Focus to be rather good. Happily, it is, with the duo delivering a typically London-centric take on jazz funk. That means that they take as much inspiration from the work of Kaidi Tatham as, say, Herbie Hancock. The key to the album's success - and, yes, it is generally as special as Gilles Peterson suggests - is the fluid combination of Dayes' brilliant drumming and Williams' superb synth solos and effortlessly groovy Rhodes playing.