DOWNBEAT MAGAZINE APRIL 2018
The Chicago-based Lowdown Brass Band proves you don’t have to be tied to New Orleans to produce a
powerful brass band album. With its latest disc, the eclectic Lowdown Breaks, the group works to pay
homage to the institution of hip-hop, setting its gaze specifically on the breakbeat, while keeping an
eye trained on the jazz genre. Just as proto-DJs did before them, Lowdown creates a unified style from
diverse musical influences, sounding at various points like a New Orleans trad band (“2nd Line Hop”), a
funkified Tower of Power-style outfit (“Live It Up”) and a Chicago-esque horn-rock group (“Ponder
This”). But what unifies the album is its horn lines. This ensemble is a little more sub-dued than its
N’awlins counterparts, with precision taking priority over all-out power. But the album doesn’t suffer
for its laid-back vibe. Quite the contrary: The clean sound grants MCs and guest vocalists space to
shine. Featured MC Billa Camp flexes some serious lyrical muscle, with a silky delivery that filters
poetic themes through colloquial language. Part of that is a product of his influenc-es. Though based
in Chicago, his work clear-ly has been informed by legends of East Coasthip-hop, especially Nas and Q-
Tip. Meanwhile, reggae artist Fada Dougou adds a stormy feroc-ity to his feature, “Don’t Wait, Right
Now,” and The Dread contributes a gritty, hard-bitten refrain to “Ghost Town,” a song that sports
themelody of The Specials’ classic.
—Brian Zimmerman
SoulTracks
Read more
DOWNBEAT MAGAZINE APRIL 2018
The Chicago-based Lowdown Brass Band proves you don’t have to be tied to New Orleans to produce a
powerful brass band album. With its latest disc, the eclectic Lowdown Breaks, the group works to pay
homage to the institution of hip-hop, setting its gaze specifically on the breakbeat, while keeping an
eye trained on the jazz genre. Just as proto-DJs did before them, Lowdown creates a unified style from
diverse musical influences, sounding at various points like a New Orleans trad band (“2nd Line Hop”), a
funkified Tower of Power-style outfit (“Live It Up”) and a Chicago-esque horn-rock group (“Ponder
This”). But what unifies the album is its horn lines. This ensemble is a little more sub-dued than its
N’awlins counterparts, with precision taking priority over all-out power. But the album doesn’t suffer
for its laid-back vibe. Quite the contrary: The clean sound grants MCs and guest vocalists space to
shine. Featured MC Billa Camp flexes some serious lyrical muscle, with a silky delivery that filters
poetic themes through colloquial language. Part of that is a product of his influenc-es. Though based
in Chicago, his work clear-ly has been informed by legends of East Coasthip-hop, especially Nas and Q-
Tip. Meanwhile, reggae artist Fada Dougou adds a stormy feroc-ity to his feature, “Don’t Wait, Right
Now,” and The Dread contributes a gritty, hard-bitten refrain to “Ghost Town,” a song that sports
themelody of The Specials’ classic.
—Brian Zimmerman
SoulTracks
There’s a reason why performers as distinct as Dumpstaphunk and trombonist Wycliffe Gordon would
want to perform with the Lowdown Brass Band on tracks such as “Ghost Town,” the first listen selection
form the ensemble’s latest project LowDown Breaks. The LowDown Brass Band hits hard with a horn
section that can harmonize when playing in unison, while also the individuals possess the chops to
step out on their own. That horn section is backed by drums that play funk and hip-hop – all in that
classic New Orleans shuffle march style. That instrumental talent is on display on “Ghost Town,” a track
where the band confirms what other instrumental hip-hop groups such as The Roots have made
obvious for years – that musicians can match the most skilled MC.
-Howard Dukes
With a blistering array of horns, funktacious drums and a powerful sousaphone, the Chicago-based
brass set has also perfected a gritty and dynamic sound through the genres of hip-hop, soul, ska and
rock. The fusion of MC Billa Camp’s poetic rhymes and adaptive storytelling, one of the band’s leading
vocalists, has helped catapulted LDB’s national movement with cruising vocals, ferocious depth and
provocative flows that helped audiences to capture the LDB experience.
- The Fox and King
“Not exactly Slipknot, but not exactly John Philip Sousa either. What it is, exactly, is AWESOME!" -
Chicago Sun Times
“Get up everybody, clap your hands and stomp your feet – it’s time to get funky!” I kid you not, these
guys woke me up with a tuba keeping the main beat/rhythm for the first good portion of the song.
There’s no way to be lazy when somebody is working this hard to be happy. Fun fun way to start the
week – thanks! Foot tapping or body swaying, doesn’t matter which – the week is started with a smile.
-eartaste.blogspot.com
People have been dancing to New Orleans parade brass and drum bands for more than a century, and
with Low Down Breaks, the LDB shows that this genre can bend contemporary styles to its will and
keep the second line dancing well into the future. Strongly Recommended.
-Soul Tracks
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