Name: We Out Here
Brand: Various

Bonus disc

Bonus disc: No

Catalogue number

BWOOD175LP

Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Double Black Vinyl.

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Format Music GB

Limited edition

Release date

2018-02-09

Signed copies

Signed copies: No

Supplier GB

Tax rate GB

Standard:20

UPC / Barcode

5060180323325

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Total Cap

2 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No

bwood175cd

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5060180323318

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1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Various

Genre GB

Jazz

Label GB

Brownswood Recordings

Brownswood Recordings is a British label that was started in 2006 by Gilles Peterson. It originated from the Brownswood Records imprint, which was a side-label of Talkin' Loud (part of Mercury). The label draws inspiration from the Brownswood Basement sessions that Gilles did on his BBC Radio 1 'Worldwide' show. These sessions showcased modern jazz-influenced dancefloor music and continue to inspire newer musicians and producers today. Brownswood Recordings serves as an outlet for artists who are unique or overlooked by other labels, providing them with a space to release their work.

The label also features projects such as Gilles Peterson's Havana Cultura Band and Sonzeira, which are influenced by Cuban and Brazilian music respectively.

With its commitment to showcasing diverse talent and nurturing creativity, Brownswood Recordings has become an influential force in the music industry since its establishment.

Our curated collection of essential albums on vinyl, CD, and tape at Rough Trade.

Rough Trade Essential

A genre defining compilation and easily the best this year. A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene. Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, Black Skin, Black Masks, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record. Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, Brockley, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch. Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on Go See, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on Abusey Junction, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s Inside The Acorn is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s Once is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s Walls is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

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We Out Here

Music GB

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