Ju Ju -

Ju Ju was an American avant-garde jazz ensemble from San Francisco that released two albums in 1973/74 on Strata-East. They morphed into Oneness of Juju and released five further albums over the following decade.

Members: J. Plunky Branch, Michael “Babatunde Olatunji” Lea (percussion), Al-Hammel Rasul [aka Tony Grayson] (piano), Jalongo Ngoma [aka Dennis Stewart] (percussion), Ken Shabala (flute), Lon Moshe (flute)

Background

Ju Ju was the brainchild of saxophonist James “Plunky Nkabinde” Branch (b. 1947). He formed the band in San Francisco, where he arrived in 1969 after college. He first played behind exiled South African pianist Ndikho Xaba in The Natives, a spiritual free-jazz ensemble with bassist Ken Shabala, vibraphonist Lon Moshe, percussionist Daru ‘Baba’, and drummer Kieta ‘Keith.’ In 1971, their album appeared on Trilyte, a division of Oakland’s Olive Record Co.

For Ju Ju, Branch retained Shabala, Moshe, and Baba (aka Michael “Babatunde Olatunji” Lea). He completed the new sextet with pianist Al Hammel Rasul and percussionist Jalango Ngoma. Musically, they blended the cosmic jazz of Sun Ra and the free-form of Ornette Coleman with the percussive jams of Fela Kuti.

In 1972, Ju Ju relocated to New York and signed with Strata-East, a nascent avant-garde jazz label with an exclusive roster of talent (Charles Sullivan, Shamek Farrah, Sonny Fortune).

A Message From Mozambique

Ju Ju released their first album, A Message From Mozambique, in 1973 on Strata-East.

The album blends spiritual jazz, Afrocentric rhythms, and free-form improvisation, establishing Ju Ju’s signature percussive and politically charged sound. It features saxophonist Plunky Branch (as Plunky Nkabinde) leading a San Francisco-based sextet including Ken Shabala, Babatunde Lea, Lon Moshe, Al-Hammel Rasul, and Jalango Ngoma.

Primary songwriting comes from Plunky Nkabinde, with contributions from Al-Hammel Rasul, Jalango Ngoma, Lon Moshe, Babatunde Lea, and Ndikho Xaba (traditional) on the closing piece.

Musically, the album opens with two extended tracks—”(Struggle) Home” and “Soledad Brothers”—combining free-jazz horns with agile piano, subtle vibraphone, and layered percussion. The B side emphasizes ritualistic percussion and chants, highlighting political and spiritual themes, particularly on “Freedom Fighter,” “Make Your Own Revolution Now,” and “Father Is Back.” The final track, “Nairobi/Chants,” draws on traditional African melodies.

A1. “(Struggle) Home” (16:10)
A2. “Soledad Brothers” (5:15)

B1. “Freedom Fighter” (3:25)
B2. “Make Yor Own Revolution Now” (11:05)
B3. “Father Is Back” (2:05)
B4. “Nairobi/Chants” (8:00)

Bass and wooden flute are played by Ken Shabala, congas and drums by Babatunde Lea, piano and shekere by Al-Hammel Rasul, flute/piccolo flute/vibraphone by Lon Moshe, timbales by Jalango Ngoma, and soprano/tenor saxophone by Plunky Nkabinde. The collective Ju Ju contributes additional percussion and vocals.

Sessions occurred in September 1972, recorded by Marty Payne and mixed by Marzette Watts. Ju Ju Raga produced the album.

The album features back cover artwork by Suzi and front photography/liner notes by Thulani Nkabinde.

Between the two albums, Shabala cleared for bassist Phil Branch.

Chapter 2 Nia

Ju Ju released their second album, Chapter 2 Nia, in 1974 on Strata-East.

The album continues Ju Ju’s exploration of spiritual jazz, blending free-form improvisation, Afrocentric rhythms, and extended compositions. Plunky Nkabinde leads a sextet including Al-Hammel Rasul, Lon Moshe, Babatunde Lea, Phil Branch, and Ngoma Ya Uhuru, with additional congas by Simbo on two tracks.

Primary songwriting is credited to Plunky Nkabinde, with contributions from Al-Hammel Rasul, Lon Moshe, Ngoma Ya Uhuru, and Pharoah Sanders (on “Black Unity”).

Musically, the album opens with “Introduction,” a brief free-form piece leading into “Contradiction (For Thulani)” and “Black Experience,” which emphasize interplay between percussion, piano, and bass. The title track “Nia (Poem: Complete the Circle)” and “The End of the Butterfly King (Poem: Things Comin’ Along)” combine poetry and improvisation over layered percussion. The album closes with Sanders’ “Black Unity,” a nearly sixteen-minute ensemble piece featuring dynamic rhythm, extended horns, and flutes, highlighting the group’s cohesion and spiritual intensity.

A1. “Introduction” (2:40)
A2. “Contradiction (For Thulani)” (5:10)
A3. “Black Experience” (3:44)
A4. “Nia (Poem: Complete the Circle)” (8:36)

B1. “The End of the Butterfly King (Poem: Things Comin’ Along)” (6:10)
B2. “Black Unity” (15:58)

Bells and vocals are performed by Ngoma Ya Uhuru, who also contributed poetry. Babatunde Lea plays drums, congas, and whistle; Phil Branch performs electric bass; Al-Hammel Rasul handles piano, shekere, and percussion; Lon Moshe contributes vibraphone, percussion, and flute; Plunky Nkabinde plays tenor and soprano saxophones and flute; and Jalango Ngoma adds percussion.

Sessions occurred in June 1974 at Eastern Recording Studios, Richmond, Virginia, with Plunky Nkabinde producing and arranging. Tom Williams engineered the recordings, and DC cut the lacquer.

Art direction and layout were by Collis Davis, with video photography by Davis and liner notes by Thulani Nkabinde.

Discography: