STR4TA - The Invicta Mixtape Cassette (December 3, 2021 Brownswood Recordings)

Brownswood Recordings are proud to present an extension of the ever-evolving world of STR4TA, the brainchild of long time friends and collaborators Gilles Peterson and Jean-Paul “Bluey” Maunick. Their debut new wave Jazz Funk album ‘Aspects’ was released in March to a rapturous reception, garnering the attention of tastemakers on a global scale. ‘The Invicta Mixtape’ boasts an array of illustrious producers and polymaths unleashing their respective unique interpretations of STR4TA’s standout tracks. This release is a limited edition cassette tape with only 200 available worldwide and features a continuous mix of the reworked and reimagined music by Gilles Peterson and Sam Bhok (Worldwide FM/Stay Put). A digital version (‘The Invicta Remixes’) with the individual tracks will be released separately.

Opening with a percussive stripped-back, cowbell-driven rework of ‘Dance Desire’ by Steve Conry (Ten Lovers Music) & Japan’s finest cuban-inspired percussionist Takashi Nakazato, orchestrated by Colin Curtis, and a funk-laced ‘Rhythm In Your Mind’ by Ashley Beadle (North Street) plus Glasgow’s Nuovi Fratelli add a cosmic disco flare in the mix. Dave Lee’s rework of ‘After The Rain’ harps back to the classic Brit-Funk era whilst tailoring it to contemporary club culture with this spaced out Dub; conscientiously keeping the essence of that raw magic in the original. ‘Vision 9’ is catapulted to cult underground dancefloor status, reconceived by Melé's rhythmic inventiveness and Delfonic’s virtuoso. The mix also features LA-based experimental techno pioneer, Dave Aju, and the spellbinding Demus Dub originally released on an 12” white label in September 2020. To compliment his massive overview of U.K. Jazz-Funk published in Wax Poetics, DJ veteran Greg Wilson remixed STR4TA’s debut single ‘Aspects’ strictly for the dancers.

At the core of STR4TA is pure party music inspired by the gritty DIY sounds of the cult 80s Brit Funk era, emanating a live, raw & improvised energy, where musicians and dancers alike lay it all out on the dancefloor. The mixtape honours the importance of Radio Invicta, London's very first soul station running from the late-60s to mid-80s. Set up by passionate vinyl collectors Peter St Crispian and Tony Irons from Tony’s bedroom in Mitcham, the station expanded to a studio and from 1978 the station began operating every Sunday for three hours from midday. This innovative pirate station became a rich source of inspiration for Club DJs. Radio Invicta was the one that got there first. It was the first soul station in Europe, one of the first pirates to make the jump to VHF, one of the first to introduce stereo and live broadcasting from a separate studio location, and the first to give a home on the dial to the top club DJs of its day. Invicta set the blueprint for all the dance music stations that followed. (Full article written by amfm.org.uk here). The B-side contains the complete original STR4TA album. 

SIDE A:

Exclusive Cassette-only continuous mix of 'STR4TA - Aspects' remixes compiled by Gilles Peterson and Sam Bhok

SIDE B:

Includes full STR4TA - Aspects Album

1. Aspects

2. Rhythm In Your Mind

3. Dance Desire

4. We Like It

5. Steppers Crusade

6. After The Rain

7. Kinshasa FC

8. Vision 9

PREORDER

STR4TA - Aspects (2021 Brownswood Recordings)

Gilles Peterson has partnered with Jean-Paul “Bluey” Maunick to reinvigorate the loose, protean energy of the early-80s Brit-funk scene. Long-time friends and collaborators, STR4TA sees them mine new musical possibilities out of that shared formative era. It was through Maunick’s band, Incognito – one of the essential groups of an oft-overlooked, vital pocket of Black British musical history – that they first connected. On “Aspects”, he and Peterson revisit that important period and the spirit that guided it: self-taught, DIY vitality, and a raucous energy built on live performance.

Bringing a fresh slant to a sound first developed by groups like Atmosfear, Hi-Tension, Light of the World and Freeez – with Maunick, it should be noted, also a member of the latter two bands – it’s the first material that Maunick and Peterson have released together in over a decade. First appearing in October 2020 with single ‘Aspects’, the pair didn’t make public that they were behind the project; the limited edition 12” quickly sold out nonetheless, and the track received radio play from Moses Boyd (BBC Radio 6 Music), on KEXP and KCRW, and from Francois K (Worldwide FM), Trevor Jackson (NTS) and Colin Curtis (Worldwide FM).

Peterson and Maunick wanted to approach music-making from the starting point that led to those early records. This meant returning to the era where each of them first found their feet, a period which would shape their respective careers in the decades since. For Peterson, this has been as a tastemaking record label boss, DJ, collector and broadcaster; for Maunick, this has been as a musician, bandleader and composer, touring and making the fabled achievement of scoring chart and radio hits in the USA.

“The idea of the project was to capture that raw, moment to moment sound,” Maunick says, drawing a contrast to the touches of refinement he and his peers have acquired in the years since. In its early days, the Brit-funk sound – and the London jazz-funk milieu it grew out of – was rooted in raucous live shows, rivalling those of the punk bands in that same period. Recalling his role in the process, Peterson says he was the one making sure things didn’t get too polished. “I was there at the back, telling them, no, leave it like that, cut it there, or just use that first take,” he says.

It’s an idea that had been in the works for a while, but which was encouraged by a surprising catalyst: the award acceptance speech by Tyler, the Creator at the 2020 Brit Awards, where he shouted out the influence of “British funk from the 80s”. It was an acknowledgement of the particular sound that Maunick and his peers had honed, where their US influences were re-oriented through their own circumstances. “Like everybody else who plays music, we tried to emulate our heroes,” Maunick says. “But we didn’t have the tools, we hadn’t studied music: were all playing by ear, and we were coming off bits and pieces that we liked off certain records.”

This record is guided by the same ethos. An array of musical touchpoints have fed into the album’s direct, no-frills entries: each track’s parts are cut back to the bare bone. In writing and recording the album, the pair of them would work together to strike upon the point of departure – more naive, less considered – that had produced that killer Brit-funk sound. Peterson would dig out records that showed particular flashes or moods as jumping off points, and Maunick would then work with collaborators to build new directions out of those prompts or suggestions.

In the case of title track, ‘Aspects’, this meant working with Richard Bull to program drums that were spare and suitably punchy for the track’s tight, dancefloor-oriented sound. Elsewhere, this meant working with long-time associates such as Peter Hinds and Randy Hope-Taylor, on entries such as ‘Steppers Crusade’, a track that is rooted firmly in the groove, while building a steady-climbing energy that lifts to euphoric highs.

On ‘Rhythm In Your Mind’, they showcase another masterclass in wrapping a track tightly around the groove, showing off the taut musicianship of Francis Hylton, on bass, and Matt Cooper, on keys and drums. And on ‘Vision 9’, they nod to Luiz Eça and sneak in a bit of fusion at the album’s close.

It’s the latest chapter in a story that started with Peterson interviewing Maunick in his parents’ garden shed, the first interview that the former had ever conducted. Later, they would reconnect to put out a string of celebrated Incognito albums on Peterson’s pioneering, now-defunct Talkin’ Loud imprint. Now, linking up once more, they unpick an under-appreciated flashpoint in a vital musical lineage, one which each of them has been instrumental in shaping. 

1. Aspects 07:46

2. Rhythm In Your Mind 03:45

3. Dance Desire 03:54

4. We Like It 05:11

5. Steppers Crusade 05:09

6. After The Rain 07:01

7. Give In To What Is Real 04:36

8. Kinshasa FC 05:05

9. Vision 9 07:19

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Various Artists - Indaba Is (2021 Brownswood Recordings)

Brownswood are proud to present ‘Indaba Is’ – a compilation of current South African improvised music and jazz – released January 29th 2021. The project is a collaboration with 2 luminaries of the South African Music scene pianist / songwriter Thandi Nthuli and The Brother Moves On’s Siyabonga Mthembu who act as curators / musical directors on the project.

South African townships were historically cosmopolitan places. Apartheid confined all classes in the same impoverished locations. Migration from across the country and the region meant kasi residents commanded many musical languages. Church music, European classical music, the latest US jazz LPs and Liverpool pop tunes from offshore radio stations fed the mix. The same woman could sing Handel in church on Sunday, traditional lyrics by the evening fireside, local and overseas standards on a community hall bandstand and songs of resistance on a march. There never was just one sound. And it’s the flowers from all those roots, and more, that Indaba Is has harvested. Questions about lineage, community and spirit thread through the tracks – not just communities of descent or language, but the communities being built now through collective creation.

Bokani Dyer’s ‘Ke Nako’ (now’s the time) opens with an irony, because that was a slogan used to get voters to the polls in the first post-apartheid election. Now, Dyer’s using it to remind us to think again about who we are and where we’re going.

That’s always been the question for The Brother Moves On (TBMO: a genre-refusing, personnel-revolving performance collective named, with a twist, for The Wire’s assassin: Brother Mouzone). Here, it’s embodied in a meditation on relationships refracted through the distorting-glass of their context.

It’s the singing voices on both those tracks that reference roots even as they engage with contemporary spoken flows and instrumental improvisations. Explicitly, trumpeter Lwanda Gogwana bookends his track with the idioms of the Eastern Cape – galloping rhythms, harmonies from bow music and split-tone singing, a spluttering trumpet reminiscent of Mongezi Feza – and grows from them a chill contemporary meditation: no spatial or temporal barriers here.

Chill, though, is the last term you’d use for Wretched, vocalist Gabisile Motuba’s Fanon-inspired project with drummer Tumi Mogorosi and sound artist Andrei van Wyk and the voices of Black Panther Kwame Toure and liberation leader Winnie Madikizela-Mandela: “What is history?..” Motuba demands. Mandela describes how imprisonment on Robben Island actually sheltered those who became post-liberation leaders from the visceral realities of the struggle. Her presence poses the same question; her history is still weighed down with calumnies even after an apartheid police boss admitted not a shred of evidence linked her to the killing she was accused of: the whole farrago was deliberate fake news.

That, like ‘Ke Nako’ and The Brother Moves On's bitter allusion to “black yellow and green” (the colours of the ruling ANC) is the thread of another kind of tradition – the reminders and remainders of South Africa’s struggle not yet won – weaving through the album.

Balm is offered by what guitarist Sibusile Xaba has described as his “modal, groove-oriented roots music”. It is, he says, inspired by dreams; he sees himself as a diviner not a performer and his music as functional for healing. That echoes one of his musical masters, the late Dr Philip Nchipi Tabane. ‘Umdali’ is a reference to the Creator, inspirer of such service.

The Ancestors weave Siyabonga Mthembu’s voice into a web of musical references forward-looking and historical, including bluesy instrumentals that hark back to what South Africa’s jazz bandleaders of the ‘70s and ‘80s conjured up – another aspect of South Africa’s musical tradition.

Then pianist/composer/vocalist Thandi Ntuli returns to the theme of identity in ‘Dikeledi’ (‘Tears’). “Who are you?’ she asks. “What do you call yourself?.. the illusion [of who you are] emerges from you.” Ultimately, the song concludes, rootedness in community trumps image.

But community isn’t unproblematic. The persistent fractures in South African society were deliberately engineered by apartheid, results of an attempt to impose unitary, racially-constructed identities on all. All the tracks in this collection challenge that: they demonstrate the unifying power of collective hard music work.

In that context, iPhupho L’ka Biko’s ‘Abaphezulu’ (“They are coming, those who are above” – an invocation to ancestors, including the spirit of Steve Bantu Biko) is a fitting conclusion. Opening with the notes of Kinsmen’s Druv Sodha’s sitar, it smashes another of the walls apartheid tried to build against Black unity: between South Africans of African and South Asian heritage. The classically-inflected gospel voices of Mthembu's dialogue with Indian and modern jazz rhythms and free horn improvisations in joyous heterophony.

1. Bokani Dyer - Ke Nako 06:49

2. The Brother Moves On - Umthandazo Wamagenge 08:50

3. Lwanda Gogwana - All Ok 05:06

4. The Wretched - What is History 08:46

5. Sibusile Xaba with Naftali, Fakazile Nkosi, & AshK - Umdali 06:03

6. The Ancestors - Prelude to Writing Together 11:17

7. Thandi Ntuli - Dikeledi 08:58

8. iPhupho L'ka Biko ft Siyabonga Mthembu & Kinsmen - Abaphezulu 08:50

Pre-order

Joe Armon-Jones - Starting Today (BROWNSWOOD RECORDINGS May 4, 2018)

Joe Armon-Jones combines free-flowing, dynamic energy with a bigger vision. A prodigious, head-turning keys player, debut album Starting Today is a showcase for his ludicrous chops on the piano, and the like-minded, equally talented bandmates who join him on the record. It comes after years of building connections and finding a vision for the music he wants to make.

1. Starting Today ft Asheber

2. Almost Went Too Far

3. Mollison Dub

4. London's Face ft Oscar Jerome

5. Ragify ft Big Sharer

6. Outro (Fornow)

Toshio Matsuura Group: LOVEPLAYDANCE - 8 Scenes from The Floor (BROWNSWOOD RECORDINGS 2018)

On ‘LOVEPLAYDANCE’, legendary Tokyo DJ and producer Toshio Matsuura charts a new direction. Casting musical cornerstones in a fresh light, the TOSHIO MATSUURA GROUP features Tom Skinner (drummer for Sons of Kemet and Owiny Sigoma Band amongst others) as its musical director, as well as some of the UK’s most exciting jazz-influenced musicians. Drawing on years of surveying and curating different corners of music, Matsuura deftly combines this talented pool of players into one singular, wide-ranging album. 

A co-founder of Japan’s United Future Organisation (aka U.F.O.), this new record sees Matsuura reconnect with longstanding friend and collaborator Gilles Peterson. Releasing the album via Brownswood Recordings in the UK, it’s a continuation of a relationship which started as a bridge between London’s then-blossoming jazz scene and Tokyo’s new musical vanguard of the early ‘90s. This album continues that two-way dialogue between Japan and the UK. 

The project is focused on covers, putting classic or influential tracks in a new context, spanning a cross-section of Matsuura’s taste. On ‘Black Gold of the Sun’, Cuban vocalist Daymé Arocena fronts a new take on the Rotary Connection classic, along with a band – guided by Tom Skinner – that features her prodigious Havana-based players. Elsewhere, Byron Morris and Unity’s ‘Kitty Bey’, a Dingwalls classic, is knocked into a tight, high energy new shape (by a band that includes Yussef Dayes, Yazz Ahmed and Nubya Garcia.) 

The scope of the music reflects the breadth of Matsuura’s interests. It ranges from Bugges Wesseltoft’s Detroit-influenced, dancefloor-minded jazz, stretched out into a more meditative contemplation, to Flying Lotus’ LA-rooted, Brainfeeder beatmaking, translated from laptop-to-live, given a new, equally idiosyncratic lease of life. Elsewhere, Carl Craig’s iconic ‘At Les’ is taken in a looser direction, the overtones of euphoria cast in a different hue. 

They’re touchpoints which hint at interests in the different, diffuse corners of electronic music, and how they connect to jazz and improvisation. Coming to this project from the perspective of a DJ, producer and curator, it’s an album that shows his grasp of the bigger picture. This album shows him finding the threads which connect those different scenes together, exploring a to-and-fro – between live, played instruments, and the possibilities found in laptops and samplers – which has long been a backdrop to music aimed at dancefloors.

1. Change

2. High Noon

3. L.M. II

4. I Am The Black Gold Of The Sun

5. Kitty Bey

6. Brown Paper Bag

7. Do The Astral Plane

8. At Les

Toshio Matsuura Group - I Am The Black Gold Of The Sun (BROWNSWOOD RECORDINGS 2018)

This new Toshio Matsuura Group project single sees the return of the legendary, Tokyo-based curator, DJ and producer. One of the co-founders of Japan’s United Future Organisation, it sees him reconnect with Gilles Peterson to release this record via Brownswood Recordings in the UK. It features the likes of Nubya Garcia and Yussef Dayes, some of the most exciting players making waves with jazz-influenced music in the UK. 

1. I Am The Black Gold Of The Sun 05:01

2. Kitty Bey 06:31

Drums - Tom Skinner

Bass Guitar - Tom Herbert

Piano - Danalogue

Guitar - Mansur Brown

Percussion - Crispin 'Spry' Robinson

Vocals - Daymé Arocena

Piano - Jorge Luis Lagarza Perez

Bass - Rafael Aldama

Drums - Raul Herrera Martinez

We Out Here - We Out Here (BROWNSWOOD RECORDINGS 2018)

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. Surveying 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 results speak for themselves: they’re a window into the wide-eyed future of London’s musical underground. 

The album bottles up some of the vital ideas emanating from that burgeoning movement. A reflection of how London’s jazz-influenced music has reached outward into new spaces, the sound of the record draws from a wide pool. There’s plenty of crossover between each of the groups, too, speaking to the close-knit circles which make up the scene; shared line-ups reflect the mutual cooperation and DIY spirit which are second-nature. 

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 input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record. 

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. 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. 

On Moses Boyd’s ‘The Balance’, the drummer – who co-produced Zara McFarlane’s recent, critically-lauded album, as well as touring with the likes of Sampha – builds a steadily-paced, atmospheric creation, loosening up the rhythm and intensity as it progresses. Theon Cross – who’s part of Hutchings’ Sons of Kemet – 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. 

Showing a similarly controlled approach, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. Shabaka Hutchings’ ‘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. 

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. 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. Finally, 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.

1. Maisha - Inside The Acorn

2. Ezra Collective - Pure Shade

3. Moses Boyd - The Balance

4. Theon Cross - Brockley

5. Nubya Garcia - Once

6. Shabaka Hutchings - Black Skin, Black Masks

7. Triforce - Walls

8. Joe Armon-Jones - Go See

9. Kokoroko - Abusey Junction

Zara McFarlane - Peace Begins Within (BROWNSWOOD RECORDINGS October 2017)

Following the release of her much-lauded third album Arise, Zara McFarlane announces new single ‘Peace Begins Within’. Exploring the musical possibilities of her British-Jamaican identity, it’s seen her – backed by some of London’s best and brightest musicians – bridging the lines between soulful roots reggae and inclusive, open-ended UK jazz.

The track is a cover of Nora Dean, a Jamaica-born vocalist who put her name to a spate of sweetly-sung roots and lovers rock in the ‘70s and ‘80s. With Zara putting her spin on the 1971 original, the format of the single nods to that heritage: with a dinked centre (requiring adapter), it also comes backed with a reggae version on the b-side. Tracing the musical heritage of the Caribbean, it’s another side to her interconnected vision of the diaspora.

The album has been supported by Benji B on Radio One, David Rodigan on 1xtra and Zara has been interviewed on NTS, Worldwide FM and Soho Radio. The album has also received big support from magazines across the board (see press quotes below).

The physical release is a limited edition 7"

*Tracklist*

1. Peace Begins Within

2. Peace Begins Within (Reggae Version) (7" Edit)

3. Peace Begins Within (Reggae Version)

DAYMÉ AROCENA // NEW ALBUM CUBAFONÍA ANNOUNCED (Brownswood Recordings)

Daymé Arocena releases Mambo Na'má, first Single from Upcoming Album Cubafonía

With Cuba poised to become more connected to the rest of the world, the Cuban people’s pride in a unique musical heritage has never felt more vital. Arising from that lineage, Daymé Arocena has returned to deliver an ambitious second long player; rooting her compositions in Cuba’s classic rhythms, Daymé encompasses the rich, diverse musical make-up of her home whilst looking outward too – to the world she has spent the last two years traveling.

It’s her most polished, fully realised project since meeting her mentor (and record label head), Gilles Peterson, in 2012. Benefiting from Gilles’ expansive vision as a DJ, broadcaster and promoter, Daymé has been nurtured to this point by the Havana Cultura project – a platform for contemporary Cuban creativity driven by Havana Club rum.

First, there was 2014’s Havana Cultura Mix album, which introduced her to working with electronic producers for the first time. She then accompanied Gilles in his journey through rumba culture for the expansive Havana Club Rumba Sessions project, which produced a feature-length documentary along with an album – using her distinctive vocals – of rumba reimaginings and sample pack. As a solo artist, she released her debut album Nueva Era to critical and popular acclaim in 2015, with an EP of cover versions, titled One Takes, released in early 2016.

The reception to her music has spurred a whirlwind of opportunities: she shared an off-the-cuff live moment with Roy Ayers and Brazilian superstar Ed Motta to leave Worldwide Festival in tears of joy, jumped on stage with Miguel Atwood-Ferguson at his triumphant Suite for Ma Dukes show at the Barbican, and rung the opening bell of the New York Stock Exchange with a delegation from Women of the World. She has played shows from LA to Tokyo, charming audiences with her mesmerising vocal range and earthy sense of humour. She name-checks Kendrick Lamar and Anderson .Paak as artists she would love to work with.

Despite all that, however, it’s not distracted Daymé from a deep sense of seriousness about her art form; born of a uniquely musical culture, she strives to forge a cohesive musical language from Cuba’s distinct musical dialects. Growing up in a two-bed house with 21 other people, every available surface was scuffed from the rumba rhythms which had been played out on them. It’s a childhood typical of a country where children grow up readily exposed to the island’s numerous, particular rhythms.

That immersive upbringing forms the record’s starting point. Entering one of Havana’s prestigious, state-funded classical conservatoires at age 9, that rigorous classical training has informed an interconnected vision of Cuban music, where inspiration comes from the Caribbean island’s different rhythms and styles – from Guantánamo’s fast-paced changüí, to ubiquitous guaguancó and ‘70s-style ballada. Sung mainly in Spanish, Daymé drops into English (and even tries out a little French) when the mood takes her. Produced alongside Soundway artist Dexter Story, with string arrangements from Miguel Atwood-Ferguson, this is heritage music for modern-day citizens of the world.

Interviewing Daymé at the Sound of Cuba showcase at SXSW last year, NPR wrote, “It is hard to imagine a better voice to open her country’s gates” – and it feels like this statement holds true. Ambitious, hardworking, and hungry for cultural exchange that doesn’t compromise the unique flavour of her home country of which she is so proud, it feels like 2017 could be a monumental year for Daymé. She possesses a clear sense of her music’s intermingling influences: “We don’t have this native culture,” she explains. “We don’t have indigenous people, like Maya or Quechua. They made a country with people from everywhere – that’s what makes Cuban culture so different.”

Listen to Mambo Na’ Nà below and pre-order the album on Bandcamp and iTunes.

1. Eleggua

2. La Rumba me llamo yo

3. Lo que fue

4. Maybe Tomorrow

5. Negra Caridad

6. Mambo Na’ M à

7. Cómo

8. Todo por Amor*

9. Ángel

10. It’s Not Gonna Be Forever

11. Valentine

Check Daymé’s tour dates for 2017

5th January, Highline Ballroom, New York (US) – Tickets

6th January, Le Poisson Rouge, New York (US)

5th April, De Roma, Antwerp (Belgium)

6th April, Paradiso, Amsterdam (Netherlands) – Tickets

7th April, Motel Mozaïque Festival, Rotterdam (Netherlands) – Tickets

8th April, Espace Senghor, Brussels (Belgium)

14th April, Jazz Café, London (UK) – Tickets