JuJu - 1974 - Chapter Two- Nia

JuJu 

1974 

Chapter Two- Nia

01. Introduction 2:40
02. Contradiction (For Thulani) 5:10
03. Black Experience 3:44
04. Nia (Poem: Complete The Circle) 8:36
05. The End Of The Butterfly King (Poem: Things Comin' Along) 6:10
06. Black Unity 15:58

Saxophone, Flute, Percussion – Plunky Nkabinde
Bells – Ngoma Ya Uhuru
Bells, Vocals [Poetry] – Ngoma Ya Uhuru
Congas – Simbo
Drums, Congas, Whistle – Babatunde
Electric Bass [Fender] – Phil Branch
Piano, Shekere, Percussion – Al-Hammel Rasul
Vibraphone, Percussion – Lon Moshe

Recorded June, 1974 at Eastern Recording Studios, Richmond, Virginia

Chapter Two: Nia is the second of two albums by American avant-garde/spiritual-jazz ensemble Ju Ju, released in 1974 on Strata-East. The band would morph into Oneness of JuJu for the following year’s African Rhythms.

After setting the mood with the formless and free "Introduction," the band settles into its very funky groove on "Contradiction," a soul-jazz number that's a little safe for a Strata-East release but is still a lot of fun. Plunky's style is a little more deliberate than many of his contemporaries', and his controlled playing is at times in stark contrast to his more fiery bandmates, especially pianist Al-Hammel Rasul, who totally owns "Black Experience" (and not just because the shoddy production buries Plunky's sax deep in the mix for most of the track). That latter track is the first time we really get a good chance to hear the interplay between the bassist (possibly Ken Parker) and drummer Babatunde Olatunji and it almost immediately becomes the most interesting thing about the album, providing the backbone for the title track, which is also a great showcase for flutist Lon Moshe.

The real showcase here, though, is "Black Unity," a nearly 16 minute jam that rides along on the typically funky bass and drum work mentioned above, but allows Plunky and Rasul to really let loose. Percussionist Jalongo Ngoma is added to the core group for a little more sonic depth, and the whole thing flies around in a million directions with nary a solo or individual showcase (there is a section in the middle where it's cut down to just the two percussionists, however). It's really a stunning listen, if a tad tedious: the relentless rhythm sounds just exhausting to play, but is never anything short of mesmerizing. This isn't one of my favorite Strata East releases, but it's got a fair deal of charm and should be interesting for those who are into the later Oneness of Juju records.