Strut

“Now one of the leading lights in the UK’s new generation of soulful, genre-fluid artists, the Leeds-born and now London-based 10-piece collective have created their finest recordings to date, effortlessly weaving together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music. Recorded at the band’s own self-built Henwood Studio in rural Oxfordshire, the album effortlessly moves through different voices from the band’s circle. The inimitable, timeless vocals of Nubiya Brandon lead the way on the album’s title track about breaking preconceptions and promoting equality, “Where you from? I’m from wherever I be.” Saxophonist Nick Richards vocals the killer first single from the album about inner turmoil and a search for the truth, ‘Tell It To Me Slowly’ while rising Ghanaian star K.O.G. appears on the Afro jams ‘Basa Basa’ and ‘They Talk’.

Percussionist / singer Pilo Adami voices the infectious bossa-jazz jam ‘Borders’. The band also draft in two African legends for guest duties with the original Afrobeat maestro Tony Allen on ‘Ghosts’ and Ethio jazz pioneer Mulatu Astatke contributing vibes on the sinuous ‘Addis To London’. “The depth of talent and ideas that every member of this group has brought to the table for this album is incredible,” says producer and orchestrator Tom Excell. “Conceptually, "Jungle Run"; is all about connecting different people and cultures whilst exploring the journey of individuals. This album is the pinnacle of everything we have done to date and to collaborate with the godfathers of Afrobeat and Ethio Jazz and celebrate their music in a modern context was very humbling.” - Bandcamp

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“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

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This Fall, we’re proud to present the first full career retrospective release for Ghanaian highlife master and “The Golden Voice Of Africa,” Pat Thomas, covering his late ‘60s big band highlife recordings through to the “burger highlife” movement of the early ‘80s. With Thomas currently wowing audiences on the road in support of last year’s incredible album with Kwishibu Area Band, Coming Home offers listeners a chance to get to know Thomas’ singular career.

One of Thomas’ earliest tracks, with the Ebo Taylor lead Broadway Dance Band, is streaming below. The partnership with Taylor would become one of the enduring forces in Ghanaian music during the ‘70s, creating a fresh, progressive new highlife sound. “Today, highlife has become the world’s music,” says Thomas, “and I am proud to still bring it to so many people.” – Press Release

“Coming Home includes four other tunes by Marijata that demonstrate the group’s range. All of the bands included here—Ogyatanaa Show Band, the Black Berets, the Sweet Beans, and The Big ‘7’—wear their influences on their sleeve, but they also manage to spice them up just enough. On “Revolution,” for instance, the Sweet Beans subtly re-invent reggae as a more limber, light-footed form, the song’s slippery bass line immediately recognizable as somehow more “African” than Caribbean.

Likewise, on “Set Me Free,” the Sweet Beans hint at but don’t quite dip all the way into Latin rhythms and horn textures, choosing instead to stay in a kind of limbo between Latin jazz and ragtime, with a snaking saxophone melody that betrays the music’s Ghanaian roots. It is at these moments, where the music doesn’t quite plant both feet in any one style, when Coming Home sounds most fresh. In fact, some of the combinations that Thomas and these bands come up with suggest that these musics are still fertile ground for new combinations.” – Pitchfork

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