Now-Again Records

Energy Control Center, Thomas's third LP with his Lightmen band is his masterpiece: Deep-set, Maverick Jazz that smolders in the embers of a cultural revolution. This is a highpoint amongst the best of the 1970s and this version of the album contains second with bonus tracks: unreleased alternate takes, including two versions of the Spiritual Jazz classic " All Praises to Allah" and the two singles Thomas produced for poet and activist Thomas Meloncon

Energy Control Center proves that there was amazing, boundary-pushing jazz that existed outside of the New York-L.A. nexus of 70s jazz. This new edition of the album, released in partnership with our pals at Now Again, is remastered from the original tapes. – VMP

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Houston, Texas, is not particularly well known for either jazz music or Civil Rights, but both had a vibrant presence in the Bayou City of the late 1960s. Bubbha Thomas was proof of that. He grew up in Fourth Ward playing basketball and drums, went away to college, then off to war in Korea—where he maneuvered himself into the band to get out of kitchen patrol duty—and then returned to Houston to start his career as Bubbha Thomas and the Lightmen. - VMP

The essence of Underground, Spiritual Jazz, figuratively and literally: their first album was recorded in a Boston church’s basement. Both World’s Experience Orchestra albums – one from 1975, the other from 1980 – were committed to vinyl by a visionary, bassist/composer/arranger John Jamyll Jones. He’s a magical type, who communicates with his instrument, his ensembles, and jazz’s ancient lineage in a manner so profound that his late-‘70s album are out of time with jazz’s trajectory, but timeless when presented today. – Rappcats

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Now-Again Records presents a reissue from the black fire catalog – JuJu live at the legendary Brooklyn Venue in 1973. Essential spiritual Jazz here, comes with a 12 page booklet with extensive notes on the album, the black fire collective and the musical and cultural revolution they created. Sounds of Sun Ra, Alice Coltrane, early projects from Detriot’s Tribe label can be heard here with that strong fire of creativity and improvisation.

“Oneness of Juju’s classic African Rhythms is a bold, badass concoction of Afrobeat, soul, jazz, and funk, held together by an undeniable sense of cool. Originally released on the Black Fire label in 1975, the album was first reissued by Strut in 2002. Now, the label has reawakened African Rhythms with a new edition that comes with two additional cuts, “African Rhythms (45 Version Parts 1 and 2)” and “Afrobeat.” Led by James “Plunky” Branch, a brilliant musician and activist, the New York band forged a riotous set with a power that refuses to wane.

Take the title cut, for instance: Blaring horns recall the work of Fela Kuti, while the sound of rowdy bystanders clapping along—bellowing to the music—imbue the song with a spontaneous festivity that feels totally appropriate. From there, the album shifts subtly, to the upbeat jazz of “Mashariki” and its peppy sax work. There are shades of Sun Ra’s Afrofuturism on “Incognito,” and traditional West African percussion on the bongos-laden “Chants.” The meaner funk of “Don’t Give Up” could soundtrack a night drive through 1970s New York.” – Bandcamp

“From a trailblazing band featuring members well-versed in jazz, funk, gospel, and African music, the debut album by the Oneness of Juju displayed a group playing with the dexterity of Kool & the Gang, the forward-thinking musical ideas of Herbie Hancock, and the social consciousness of Gil Scott-Heron. The title track is fiercely kinetic, with vocal choruses prodding listeners to dance and Plunky's echo-drenched saxophone floating serenely over the top of a funky space-jazz backing.” – All Music

Born in Los Angeles, California, November 1938 - He started playing the Accordion, Piano, clarinet, cornet, saxophone, trombone and banjo at a very young age. He became an expert in New Orleans traditional jazz during his high school year and later added blues & swing to his repertoire. During his late teens, he became well versed in modern jazz and got interested in Oriental music. He left America in 1958 with his family and toured the Orient such as Hong Kong, Japan, Thailand, India and finally settled in Teheran, Iran for a year. There he learned more about Iranian music & culture, which left a strong musical impression on him. All of the travels and experiences fed into the making of Oriental Jazz, a combination of the west and the east. Luckily for us, the kind people of Now-again Records are reissuing this 1968 gem for our listening pleasure, we advise you to check it out!