Your basket is empty

Categories :

Albums

Alternative & Indie - Released April 23, 2021 | Brownswood Recordings

Download not available
From
HI-RES$14.99
CD$10.99

Jazz - Released March 26, 2021 | Brownswood Recordings

Hi-Res
"The encapsulation of a vital British sound, ASPECTS peels apart the Brit-Funk layers while adding new flavours to the mixture." © TiVo
From
HI-RES$1.49
CD$0.99

Funk - Released March 19, 2021 | Brownswood Recordings

Hi-Res
From
CD$10.99

Africa - Released January 29, 2021 | Brownswood Recordings

From
CD$0.99

Africa - Released January 15, 2021 | Brownswood Recordings

From
HI-RES$1.49
CD$0.99

Jazz - Released January 11, 2021 | Brownswood Recordings

Hi-Res
From
HI-RES$1.49
CD$0.99

R&B - Released December 11, 2020 | Brownswood Recordings

Hi-Res
From
CD$0.99

Africa - Released December 1, 2020 | Brownswood Recordings

From
CD$10.99

Hip-Hop/Rap - Released November 20, 2020 | Brownswood Recordings

From
CD$0.99

Africa - Released November 13, 2020 | Brownswood Recordings

From
HI-RES$8.99
CD$5.99

Latin Jazz - Released October 23, 2020 | Brownswood Recordings

Hi-Res
While in Tokyo in 2018, musical impresario and Brownswood Recordings boss Gilles Peterson found and purchased a copy of Tino Contreras' 1979 classic Musica Infinita. The following year in Mexico City, he was introduced to Contreras through record collector and musician Carlos Icaza. Peterson licensed Musica Infinita to inaugurate his reissue label, Arc Records. He also signed the iconic Mexican musician to cut a new album for Brownswood. With Icaza producing, the nonagenarian Contreras went straight to work and completed La Noche de los Dioses with an octet that included his nephew Valentino on bass and his producer on pre-Hispanic percussion and Arp Harmonic synths. La Noche de los Dioses displays the hallmark qualities Contreras has developed over 75 years. His compositions meld music from various jazz periods -- from swing and hard bop to modal and vanguard -- with gritty lounge blues, exotica, and folk musics from several nations. The title track draws inspiration from the Aztec goddess Coatlicue (representing life and death) and the god Huitzilopochtli (representing war and the sun). The tune's deep blue feel features a grooving dialogue between piano, organ, soprano and tenor saxophones, electric guitar, bongos, and early percussion instruments. "Máscaras Blues" represents the masked rituals between gods in Aztec tradition. It is introduced by Contreras' tom-tom-heavy kit and Icaza's instruments before Jaime Reyes' piano sets a Latin groove. Rhythms shape-shift and expand throughout. "Naboró" is named for the goddess who, Contreras imagines, represents rebellion and feminine strength. The Afro-Latin groove shines with a canny dialogue between Emmanuel Laboriel's steel and nylon string guitars, guajira piano, swirling organ, bluesy tenor sax, and a steamy, sultry bass line. The modal frame in "Malinche" offers an Afro-Carribean piano vamp that frames spectral electric guitars, metal percussion, and hand drums. Contreras' deft cymbal feints and fills under Luis Calatayud's fluid, grainy, emotive tenor sax. Advance single "El Sacrificio" is classic Contreras; it showcases a plethora of Latin polyrhythms, Middle Eastern and North African modalism, and swinging hard bop. "Al Amanecer" is a humid collision between modern son -- with wild piano montunos from Reyes -- exotica, spacy post-bop, and grimy electric guitar blues. Closer "Niña Yahel" weaves many of Contreras' musical obsessions, from guaracha and rumba to psychedelia and funky exotica, into a seamless whole with bleating tenor, smoldering organ, snaky electric guitars, a nasty fuzzed-out bass line, harmonic synth, and of course, multivalent layers of percussion. Contreras, ever unintrusive, rolls, fills, lays down unexpected rimshots, and rides his cymbals with elegance while conducting the band from his kit. La Noche de los Dioses is delightfully accessible to listeners of many stripes. So much so that its welcoming grooves, warm, enveloping production, and rainbow of sounds can initially distract from the sheer musical sophistication on offer. At 96, Contreras remains a vitally creative musician and explorer; the basket of traditions and sounds he creates and weaves are nothing less than astonishing and almost shamanic in their emotional and spiritual power. © Thom Jurek /TiVo
From
HI-RES$8.99
CD$5.99

Funk - Released September 24, 2020 | Brownswood Recordings

Hi-Res
From
HI-RES$1.49
CD$0.99

Latin Jazz - Released September 16, 2020 | Brownswood Recordings

Hi-Res
From
HI-RES$1.49
CD$0.99

Jazz - Released September 4, 2020 | Brownswood Recordings

Hi-Res
From
CD$0.99

Alternative & Indie - Released July 30, 2020 | Brownswood Recordings

From
CD$10.99

Jazz - Released July 17, 2020 | Brownswood Recordings

It's been nearly a decade since Zara McFarlane's debut album was released into a world just getting its brain around the possibilities of Britain's new jazz scene. The singer's latest, Songs of an Unknown Tongue, dips deeply into the sounds of the African diaspora in a way that is philosophically similar to 2017's Arise—melding tradition-rooted rhythms with a profoundly modern approach. However, where Arise connected explicitly with Afro-Caribbean sounds, Unknown Tongue taps into more directly African sounds for the rhythmic underpinnings here. Still, those sounds and grooves are delivered in a spacious, electronic soundscape that gives plenty of room for McFarlane's voice to shine. That voice is a powerful force indeed, and while the singer tends toward a restrained and evocative delivery, the strength of her instrument is made abundantly clear. The sultry and soulful "Black Treasure" and the sparse, driving, and future-jazzy "Run of Your Life," are two tracks which could easily be mistaken for the works of completely different artists in their vibe and approach, but the easy versatility of McFarlane's singing ensures they make perfect sense here. This is, after all, a journey of an album, taking the listener through groove-forward optimism ("Everything Is Connected") and emotionally complex introspection ("Saltwater"), while culminating in the hypnotic, electro-Nyabinghi groove of "Roots of Freedom" and a more traditionalist album closer, "Future Echoes." © Jason Ferguson/Qobuz
From
CD$0.99

Jazz - Released July 14, 2020 | Brownswood Recordings

From
CD$0.99

Electronic - Released May 27, 2020 | Brownswood Recordings

From
CD$0.99

Hip-Hop/Rap - Released April 24, 2020 | Brownswood Recordings

From
HI-RES$14.99
CD$10.99

Jazz - Released April 10, 2020 | Brownswood Recordings

Hi-Res