Brownswood Schallplatten & CDs

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: Black Classical Music by Yussef Dayes is another exceptional bit of work from this revered artist. It is a 19-track trip into his own past and present that also explores themes of home and the family. It is inspired by Hayes's musical heroes Miles Davis and Rahsaan Roland Kirk, as well as his own endless travels around the world, all of which have helped to deepen his understanding of rhythm. Plenty of top features add to the richness here including Chronixx, Tom Misch, Shabaka Hutchings, Nathaniel Cross, Theon Cross and the Chineke! Orchestra, amongst many others.

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: Brownswood Recordings proudly launches a new 12" series, The Remix Editions, highlighting remixes and reworkings from their rich back catalogue. Known for their dancefloor roots, Brownswood emphasizes extended versions and remixes, cut loud for extra bass-weight for club subwoofers. Each release will be on 45 and limited to 500 units, making them highly collectible. The inaugural release features two reworkings of South African pianist Bokani Dyer's 'Ke Nako' (feat. Sereetsi and The Natives). Side-1 showcases Kid Fonque's hypnotic house refix, stretching 'Ke Nako' into a 10-minute cosmic dance journey. This remix skillfully blends South African electronic sounds with the nation's jazz underground. On the flip side, Ntokzin, a key figure in Amapiano, reimagines 'Ke Nako' with soulful chords, soaring vocals, propulsive percussion, and thick, wriggly bass lines. His remix creates a dynamic tension and release, crafting a perfect summer dancefloor banger. This series not only celebrates exciting contemporary producers but also resurrects forgotten club gems.

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: Rob Gallagher and company make up Galliano, the trailblazing jazz and broken beat supergroup, active at least since 1997 andrenowned for their contribution to the musical landscape across the difficult-to-bridge gaps between music, fashion, spoken word and a concern for current affairs. Having staked their claim to their portion of the jazz and electronica pie as early as 1990, when they first appeared on the scene via Gilles Peterson's Talkin' Loud label, Galliano have gone down in memory as a pioneering acid hip-jazz act, "capturing a scene (then) built on re-invention", in the words of Brownswood. Now the five-piece collective once again moves at one, synergising over a nineteen-track opus, three decades on from their debut, recalling the (literal) quintessence of London's down-in-history acid jazz scene.

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: '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: 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: 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: 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: 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: 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 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: 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: Yussef Days, a virtuoso drummer, has injected fresh energy into contemporary jazz and broken beat genres through multiple innovative projects, each showcasing his remarkable talent. One of them is The Yussef Dayes Experience which recently dropped its Live At Joshua Tree Presented By Soulection album and now follows it up with another live album, this time from Malibu, on Gilles Peterson's revered Brownswood label. It features music from his critically acclaimed debut solo album, Black Classical Music, and plenty of other gems on limited vinyl with features from his usual longtime collaborators Rocco Palladino, Venna, Elijah Fox, and Alexander Bourt.

Review: Brownswood Recordings return to focus on Yussef Dayes and co. for their latest release. Live At Joshua Tree is Dayes' latest live album, capturing the jazz musician and drummer's stellar live performance while posted up slap-bang in the middle of Joshua Tree National Park in California, USA. With the music canopied by this natural desert amphitheater, the sound of the album is fittingly warm and dry, catching the tones of every instrumentalist to a muted, temperate T: there's bass from Rocco Palladino, sax by Malik Venna, keys by Elijah Fox and percs by Alexander Bourt. Make sure to catch the live video version of the album on YouTube.

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.