Jazz / Soul / Funk
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The first ever reissue of Juju’s powerful 1973 album for Strata-East, ‘A Message From Mozambique’.
The roots of Juju started in San Francisco after Plunky had met his musical mentor, Zulu musician Ndikho Xaba, helping to form his band Ndikho and The Natives. Three members of The Natives (Plunky, bassist Ken Shabala and vibes / flute player Lon Moshe) then joined Marvin X’s theatrical production The Resurrection Of The Dead, joining local musicians Al-Hammel Rasul (keyboards), Babatunde Lea (percussion) and Jalango Ngoma (timbales).
When the production ended, the six musicians formed Juju. “We had high-energy rehearsals that lasted for hours and, as a band, we became powerful and began gigging around the Bay Area,” remembers Plunky. Although oriented towards Black Nationalism, the band fed off the Bay Area’s culturally diverse communities as Plunky shaped an inclusive worldview based on collective political, social and artistic activities. During this time, the Soledad Brothers case and Angela Davis were prominent and the band supported Professor Davis and the cause.
Juju’s music matched the fire of their activism. “As a band, we blew, pounded and stroked our instruments like there was no tomorrow, like our life’s work was wrapped up in each session. We approached our performances like religious rites and the music mesmerised, informed and awakened people.” The band’s first album, A Message From Mozambique, was intentionally political. While the anti-war movement focused on Vietnam, Juju looked towards wars being waged in South Africa, Angola and Mozambique over issues of white supremacy and control of natural resources. A second album, ‘Chapter Two: Nia’ would follow before the birth of Oneness Of Juju during the mid-‘70s.
This definitive reissue is fully remastered by The Carvery from the original tapes and features original artwork and a new interview with Juju bandleader James “Plunky” Branch.
The definitive edition of Patrice Rushen’s landmark album from 1982, ‘Straight From The Heart’.
Recorded during Elektra’s drive for ‘sophisticated dance music’ as many jazz artists created their own arrangements of disco and boogie, the sessions marked a progression for Patrice as she began exploring sonics as much as songwriting. “I was looking at different ways to experiment with the sounds on my records. Synths widened the palette available to us.”
Singles from the album included ‘Breakout!’, ‘Number One’ and the global hit ‘Forget Me Nots’. “Bassist Freddie Washington played the bassline during a jam at my family’s house. I caught it, we kept messing around with the groove, then I developed the lyrics and chorus. It was just about recognising that moment when it came up.”
“When I delivered the album to the label, the A&R said, ‘we don’t like anything on here.’ I realised quickly that they would give us no support so producer Charles Mims, myself and Freddie decided to engage a promotion company ourselves to start working the single. Although it took a while to pick up support, it paid off.” The single hit no. 23 on the Billboard Hot 100 in March 1982 and the album became Patrice’s best seller globally from her time with Elektra / Asylum, securing a Grammy nomination. In more recent years, the album has become a regular source for samples in the world of hip hop and R&B. Most famously, Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’ were both based, to varying degrees, on ‘Forget Me Nots’.
Hardly anyone outside Ethiopia seems to know Hailu Mergia & The Walias Band “Tezeta” exists. Within Ethiopia this tape has been impossible to find for decades. That’s about to change with this release, which makes available this epochal recording on LP, CD and Digital formats for the first time. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album is the band’s second recording, released in 1975. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu’s melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it’s an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears. (text by Tessema Tadele)