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Brian Jackson

Brian Jackson began writing songs in 1970 with classmate Gil Scott- Heron. Their partnership produced some of the most fiercely poignant, politically more...

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Past Events

Here are the most recent UK tour dates we had listed for Brian Jackson. Were you there?

• Aug 11 2023 Leeds, Belgrave Music Hall Brian Jackson
• 2023 Aug 10 Aug 14 2023 Dorset, Wimborne St Giles Church We Out Here Festival 2023 Ezra Collective, Knucks, Nia Archives, Roisin Murphy, Black Star…
• May 14 2022 London, KOKO Worldwide Awards Kojey Radical, Emma-Jean Thackray, Papaoul, MLE, Rebecca Vasmant…
• May 02 2022 Cheltenham, Jazz Arena Brian Jackson
• Apr 14 2022 Manchester, The Deaf Institute Brian Jackson
• Apr 13 2022 Bristol, Trinity Brian Jackson
• Apr 11 2022 London, The Jazz Cafe Brian Jackson
• Jul 14 2019 London, Hideaway Brian Jackson
• 2019 Jul 12 Jul 14 2019 Birmingham, Moseley Park & Pool Mostly Jazz, Funk & Soul Festival 2019 The Jacksons, Ibibio Sound Machine, Renegade Brass Band, Fullee Love, Boca 45…
• Sep 11 2018 London, The Jazz Cafe Brian Jackson

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Brian Jackson tour dates 2024

Brian Jackson is currently touring across 1 country and has 1 upcoming concert.

The final concert of the tour will be at Wimborne St Giles in Wimborne.

Currently touring across

Upcoming concerts (1) See nearest concert

We Out Here Festival

Past concerts

Blue Note Jazz Club

Belgrave Music Hall & Canteen

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Brian Jackson

This was a musical highlight for so many of you last year: we simply had to invite Brian Jackson back to perform!

One-half of the legendary duo Gil Scott-Heron and Brian Jackson, Brian began his career at an early age, having recorded nine albums by his 27th birthday. He is widely thought of as one of the forefathers of neo-soul and modern hip hop, prompting New Yorker Magazine in a 2022 article to call him “a musical pioneer.” His latest albums include a collaboration with Adrian Younge and Ali Shaheed Muhammad, in 2021 and the 2022 release, This Is Brian Jackson (BBE Music), which has met critical acclaim, earning spots in Mojo magazine’s “Highest Rated Albums of 2022“ list and the New York Times’ February 2022 playlist.

Defying categorization, Brian works with artists as diverse as Ron Carter, Roy Ayers, Gregory Porter, Alabama 3, Digable Planets, Bobbi Humphrey and many others. Brian’s catalogue has been a source of sample material for decades, among them artists such as Tupac, Common and Kendrick Lamar. Brian sees himself as a student of what he calls “The Tradition,” a timeless set of mostly unspoken guidelines passed on for generations by West African griots. He continually makes the choice to put his music at the service of social and/or political messages, focusing on what brings us together rather than what separates us. His ultimate creative goal is to inspire younger artists to do the same. Brian holds a Master of Fine Arts degree from Long Island University and has held professorships at both Long Island University and York College. He regularly offers masterclasses stateside and abroad.

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Brian Jackson

Half of the power duo Gil Scott-Heron & Brian Jackson , Brian wrote, arranged and produced over 10 albums over an eight-year period. Time and time again that music has found its way onto over 100 cuts like Common’s “The People” (from “We Almost Lost Detroit”) and Kendrick Lamar’s “Poe Mans Dreams” (from “Peace Go With You, Brother”).

Almost 40 years later, Brian is still building with artists as diverse as Adrian Younge and Ali Shaheed Muhammad (Midnight Hour, A Tribe Called Quest) vocalist Gregory Porter, Christopher “Puma” Smith, (The Archives, Thievery Corporation), jazz violinist Scott Tixier and legendary bassist Charnett Moffett.

Brian looks to both the present and the past for inspiration in order to honor to the ancient tradition of the griot – the African troubadour of truth.

“This music isn’t really mine,” Brian asserts. “I learned it from those who came before me. It’s my job to pass on what I’ve learned. That’s the Tradition.”

In the tradition of the African griot, Brian tells the stories of how many of his best-loved pieces came to light.

White Sox through the ages: Dilla gives historical tour to Brian Jackson, John Schriffen

A history lesson at guaranteed rate field.

It's opening day, and boy, did Brian Jackson get an unbelievable tour.

CHICAGO - Since 1900, the Chicago White Sox have made the South Side their home base. 

Originally formed as the Sioux City Cornhuskers in 1894, the team adopted the name White Stockings upon arrival in Chicago. 

Urban historian Sherman Dilla Thomas provided Good Day Chicago anchor Brian Jackson and Sox play-by-play announcer John Schriffen with a historical overview of the South Side baseball team.

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This Is Brian Jackson

Best known for his revolutionary collaboration with Gil Scott-Heron, Brian Jackson is one of the most influential musicians in the history of pop. This is how he found new inspiration...

Those of us who spent our youths dreaming of somehow being involved in music for their job, whether as artist, DJ or journalist, probably had some ideas of what that life might look like.

But as George Bernard Shaw wrote, for most of us who actually end up working in the industry “there are two tragedies in life. One is not to get your heart’s desire. The other is to get it.”

The music business, sadly, as it turns out, is just like any other, with rampant egos running riot, unrealistic deadlines, mountains of admin and constant burnout coupled with the added anxiety of constant reminders that “loads of people would kill to be in your position.”

However, once in a while, things turn out just as magical as your 13-year-old self imagined them to be. Sometime last year, Peter Adarkwah, founder of BBE Music, a UK independent label I do some freelance work for, informed me that he’d signed a Brian Jackson album, for which he needed me to write the liner notes. There are very few artists who still retain mythical, almost superhuman status in our hearts as we enter the grind of adulthood, but, for me, Gil Scott-Heron is one. Gil’s raw, visceral poetry and unique delivery hit me like a lightening bolt from the first moment I heard “The Revolution Will Not Be Televised” as a kid, and I became a lifelong fan. Brian Jackson was Gil’s writing partner throughout his golden era, collaborating on Pieces of a Man, Free Will and Midnight Band, supplying those iconic Rhodes piano and flute lines that made Gil’s music so extraordinary.

Those of you who are aware of BBE’s output will perhaps know that the label puts out a lot of reissues, so when I was informed that I was, in fact, to be working on brand new Brian Jackson album, my excitement reached fever pitch. Many of the songs on the new project This Is Brian Jackson were first penned and even demoed in the mid ’70s, but it wasn’t until 2018, when Brian met the Phenomenal Handclap Band’s Daniel Collás in New York, that things finally began to take shape. When I first heard the album, I was floored. The songwriting and musicianship that I fell in love with on Gil Scott-Heron’s output is, of course, all over this album. Hearing Jackson’s solo work now re-contextualizes those old albums I fell in love with back then. Now I hear Brian’s DNA all over them. I hear his phrasing, his pace, his soul. Collás provides a warm and truly sympathetic production aesthetic here: this is a man who feels Jackson’s musical intent and unselfishly facilitates it into something both contemporary and timeless.

While writing the album’s liner notes, I was able to interview Brian and Daniel together. Much of the interview ended up on the cutting room floor, but here it is, in full.

Photo by Nathalie Gordon

How did you two you meet?

Brian Jackson: At a performance at the club Nublu in the East Village, a mutual DJ friend of ours, Greg Caz, introduced us with the idea that we might be a good match to work together. I told Daniel that I was looking to record an album but I didn’t want to produce it myself, as I have in all my previous albums. Daniel said, “I think I could produce you.” I wasn’t sure why he thought that, but I considered it a challenge to find out. Turns out that he was right.

What did you discuss, if anything, in terms of the musical direction for this project, before you embarked?

Brian: Originally I had wanted to do a live recording of the material that I had been performing over the last few years, but there were problems with Gil’s estate that would’ve made it extremely difficult. Daniel had a different idea from the get-go. I had mentioned that I had begun work on a solo project around the time that Gil and I were recording Bridges in 1976. I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question, “What would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?”

What was the writing and recording process like for this album?

Brian: It took us about 11 months. I would Uber to Daniel’s studio in Williamsburg from my apartment in Ditmas Park, Brooklyn on an average of twice a week. We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things important to both of us personally. The lyrics for the songs are a result of those conversations. I want to thank Morgan Phalen for his lyrical contributions as well. He and Daniel had written together in the past and the two of them reconnected for “Force of Will” and “All Talk.” Musically, we got a lot of support from my old friend, guitarist Binky Brice (Billy Ocean, Evelyn Champagne King, Will Downing), and the amazing Latin Grammy-winning flautist Domenica Fossati.

Daniel Collás: For the most part, it was Brian and me in my studio, discussing and writing and recording twice a week. Occasionally we’d have visitors or guests, like Victor Brown (Brian’s cohort from the Midnight Band) or my friend Ben who was frequently in town from London. After a while, we would begin the sessions at McOndo, the Mexican restaurant on the corner, which we eventually named a song after.

Can you give me any more info on the other players on the album?

Daniel: I’ve come to think of Binky Brice as Brian’s right-hand man. They’ve been playing together for years and have this great chemistry, especially in the studio. I first met him as the bassist in Brian’s live trio, but he’s also an incredible guitarist and a legend in his own right, having played on sessions with Mtume, Billy Ocean, and Roy Ayers, to name only three. He plays either bass or guitar (occasionally both) on the whole record.

Moussa Fadera is a good friend of mine from Stockholm and one of my favorite drummers in the world. He happened to be in town on tour, so it was kind of a no-brainer to get him on the record. He played on “All Talk” and “Mami Wata.”

“What would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?”

I know Caito Sanchez from the scene here in New York. He’s one of a very few drummers who can play disco and soul music with equal fire and authority. After seeing him backing the late Charles Bradley, I recommended him to Brian for his live trio. Caito played on “Nomad” and “C’est Cette Comète.”

Some of the other musicians who contributed to the record are Domenica from Underground System who played alto flute on “Mami Wata” and “Path to Macondo,” my bandmates in Phenomenal Handclap Band, Juliet and Monika, who sang on “Mami Wata” and “Force of Will,” and my old buddy Ben Romans-Hopcraft who helped write “C’est Cette Comète.” For that session, we came straight from the corner Mexican place and just jammed, Brian on piano and Moog, me on drums, and Ben on bass. The song came together pretty quickly.

What does this project mean to you, on a personal level, now it’s being released?

Brian: I’ve never considered myself to be a singer. I would have never recorded an album where I sing on all but two of the songs, but Daniel pushed me to step out of my comfort zone and I’m happy that I did. In many ways this album has been nearly fifty years in the making. I don’t think I was ready to release it before now, but now that I have, I am very proud of the results.

Brian, how aware of Daniel and his previous work were you before you began working on this project?

Brian: I didn’t know that I knew some of Daniel’s work until my wife connected the dots for me with his Phenomenal Handclap Band song, “15 To 20,” which was a hit that she and her friends all knew well in France and one that I had heard here in the States as well. And then I began to listen to some of his explorations into Brazilian music — I’m a huge fan of Brazilian grooves and I dug what he had done. I also discovered that he had produced Joe Bataan’s latest album, which I had excitedly checked out when it hit! I’ve since become a huge fan of PHB and am bugging Daniel regularly about letting me do some work with them!

Daniel, when did you first become aware of Brian Jackson and his music? Please mention any favourite albums / songs and talk about what they mean to you.

Daniel: In the mid-’90s, after my first real trip to London, a friend played me “The Revolution Will Not Be Televised.” A few days later, the same friend played me a tape recording of the live version of “The Bottle” (which I realized many years later was from It’s Your World), and I distinctly remember hearing the “Brian Jackson on flute” part and thinking, “What, he plays flute, too? Who is this guy?!” At that time I was becoming obsessed with the flute but had yet to meet a single player. At best, it was usually just saxophone players who would switch over to flute to play a ballad or something. Of course, it’s not that strange for a piano player to also play flute, but at that time, it had never occurred to me as a possibility.

Anyway, from that point on, Brian and Gil Scott-Heron’s music was a constant in my life. But those records were never particularly easy for me to find, so I never knew the albums as much as I knew individual songs, which would kind of appear on a mixtape, like “It’s Your World,” or float out of a neighbor’s window, like “Pieces of a Man.” They were easily recognizable as the works of Gil Scott-Heron and Brian Jackson, even though I had never heard them previously. Both of those songs had a huge influence and impact on my life. And after I saw Gil do a spoken word version of “Show Bizness” in the late-’90s, I was prompted to buy the rarely discussed Secrets album, which is how I found “Angel Dust,” another big song for me.

Sumsuch: That was the end of the interview. I can happily report that, in-line with my teenage dreams, Brian Jackson turned out to be everything I’d hoped he’d be, both as an interview subject and as a human being: kind, generous, humble, funny, razor-sharp… One of those rare people that makes you feel like you’re the only person in the world when they speak to you.

Oh, and just to put a bow on the story and offer a little insider gossip… As part of Brian’s release on BBE, Peter Adarkwah connected him with Louie Vega, who has remixed the album’s closing track “Little Orphan Boy” alongside Josh Milan under their “Two Soul Fusion” moniker. The exact release date for the remix isn’t confirmed at the time of writing, but I have it on very good authority that Jackson and Vega have already been in touch about further collaborations in the future… You heard it here first!

This Is Brian Jackson is out now. This Is Brian Jackson: Instrumentals was released on June 24, 2022.

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Guitarist BRIAN JACKSON Joins HEMLOCK

Guitarist Brian Jackson (ex- SKINLAB ) has joined Las Vegas, Nevada heavy metallers HEMLOCK .

I’m super stoked and pleased to announce that I will be officially joining the band  HEMLOCK ,” Brian posted in a statement . “

I’m very excited for the opportunity to be part of the “Hemlock” family. I have been watching these guys kill it since I first moved to Vegas in 1999. They have always been one of my favorite live bands and I’m very excited to start conquering stages all over the world very soon!! We kick off our European tour in May and we will be adding more dates throughout the summer. Stay tuned.

HEMLOCK ‘s latest release, XXV , was released independently in 2018.

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Ariana DeBose to host Tony Awards for the third straight time

DeBose was widely cheered for the way she hosted last year amid the Hollywood writers’ strike, leading a show that had no script and opening the telecast by dancing and leaping her way through the lobby of the United Palace Theatre.

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NEW YORK (AP) — It’s a new location but the same host for the  Tony Awards: Ariana DeBose  will make it three in a row as MC of theater’s most watched event, which this year moves uptown to Lincoln Center.

The Academy Award winner and Tony Award nominee, who hosted both the 2023 and 2022 ceremonies, will be back this year for the show on June 16, and will produce and choreograph the opening number.

“I couldn’t pass up the chance to host the Tonys one more time, at Lincoln Center. I’m excited to collaborate with the team to create an incredible celebration of this season’s achievements on Broadway for our community and for everyone at home,” said DeBose in a statement.

DeBose was widely cheered for the way she hosted last year amid the  Hollywood writers’ strike , leading a show that had no script and opening the telecast by dancing and leaping her way through the lobby of the United Palace Theatre. She earned an Emmy nomination for her work.

DeBose is a theater veteran, with roles in “Summer: The Donna Summer Musical,” “Hamilton,” “A Bronx Tale,” “Pippin,” “Motown the Musical,” “Bring It On: The Musical” and “Company.” She won an Oscar for her role in Steven Spielberg’s remake of “West Side Story” and was in “Schmigadoon!” on Apple TV+.

This year’s location — the David H. Koch Theater — is the home of New York City Ballet and in the same sprawling building complex as Lincoln Square Theater, which houses the Broadway venue Beaumont Theater.

Like last year, the three-hour main telecast will air on CBS and stream on Paramount+ from 8 p.m.-11 p.m. EDT/5 p.m.-8 p.m. PDT with a pre-show on Pluto TV, with some Tony Awards handed out there.

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The Tony eligibility cut-off date for the 2023-2024 season is April 25, and nominations for the 2024 Tony Awards will be announced April 30. The awards are presented by The Broadway League and the American Theatre Wing.

Last year, the intimate, funny-sad musical  “Kimberly Akimbo”  took the best new musical crown, and  Tom Stoppard’s “Leopoldstadt,”  which explores Jewish identity with an intergenerational story, won best play. Sean Hayes won lead actor in a play for “Good Night, Oscar,” and Victoria Clark won for “Kimberly Akimbo.”

Never miss a beat:  Get our daily stories straight to your inbox with theGrio’s newsletter .

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