Sons And Daughters Of Lite - 1978 - Let The Sun Shine In

Sons And Daughters Of Lite

1978 

Let The Sun Shine In

01. Let The Sun Shine In 8:21

02. Fly Away 5:26

03. Operation Feed Yourself 5:26

04. A Real Thing 6:59

05. Ju Ju's Door 4:34

06. Darkuman Junktion 5:46

Backing Vocals – Jeanne Cuffey, Kalamu Chaché

Backing Vocals – Jdlinkomo, Marty Payne

Drums – Snip Milton Jr.

Vocals – Basuki Bala

Vocals – Jdlinkomo

Bass – Marc Smith 

Tenor Saxophone – Paul Fenner III

Vocals – Jeanne Cuffey

Bass, Trombone – Michael Oliver Warren

Bongos, Congas, Percussion – Babatunde Olatunji

Drums – Terry Lawyer

Electric Piano, Percussion, Piano, Synthesizer, Vibraphone – Jdlinkomo

Flugelhorn, Trumpet – Marty Payne

Flute, Leader, Percussion, Alto Saxophone, Baritone Saxophone, Soprano Saxophone – Basuki Bala

Vocals – Lakiba

Sons and Daughters of Lite were a spiritual jazz collective hailing from the Bay Area, specifically Oakland, California, active during the early 1970s. Formed as a multifaceted ensemble blending elements of soul, funk, jazz, and African percussion, the group described themselves as a fusion of musical influences rooted in Black cultural and revolutionary movements of the era. Led by saxophonist Basuki Bala, the band included a rotating cast of talented musicians such as Joaquin Jessup on guitar, Babatunde Michael Lea on percussion, Arnaldo Escobel on bass, John Santos on percussion, Frederick Tiffin on trumpet, Olemide Manns on bass, Hershell West on tenor saxophone, Robert Conway on piano, and Carmen Davis on vocals. Their music often carried themes of optimism, self-empowerment, and community upliftment, echoing the socio-political climate of the time, including inspirations from the Black Panther Party's community initiatives.

Let the Sun Shine In, their sole studio album, was recorded in the early 1970s during the band's peak performance period in the Bay Area but wasn't released until 1978 on their self-founded label, Sunlite Record Publishing Company. This self-released LP (catalog no. SL 001) remained obscure for decades, virtually unknown outside local circles until its rediscovery in the late 1980s by collector Michael McFadin. It gained cult status through reissues, notably by Luv N' Haight in 1999 (on CD and vinyl), P-Vine Records in 2015 (limited edition CD), and a 2022 180g vinyl repress with tip-on jacket and obi strip. The album clocks in at approximately 36:20 and is classified under genres like Soul Jazz and Jazz-Funk, with descriptors including spiritual, groovy, and percussive. On platforms like Discogs, it boasts an average rating of 4.48/5 from 141 users, while RateYourMusic lists it with a 3.64/5 average from 62 ratings, praising its energetic fusion and rarity. Critics and fans alike hail it as a gem of underground spiritual jazz, comparable to works by Sun Ra for its intergalactic orchestration, Fela Kuti for its afro-funk rhythms, and Roy Ayers for its soulful sweetness. The title track, in particular, became a jazz-dance classic in the UK, thanks to heavy play by DJ Gilles Peterson.

The album's scarcity and raw, unpolished production contribute to its allure—it's a snapshot of a vibrant, community-driven scene that prioritized live energy over commercial polish. Reissues have included liner notes with clippings from Black Panther newspapers, underscoring its revolutionary undertones. While not a mainstream success upon release, its rediscovery has positioned it as essential listening for collectors of the Luv N' Haight series, blending heavy percussion with uplifting lyrics that provide "soulful healing."

Track-by-Track Analysis

The album features six tracks, all originals, showcasing the band's collective improvisation and precision. Here's a breakdown based on critical descriptions, musical elements, and thematic content:

Let the Sun Shine In (8:21)

The opener and title track is an outrageously funky standout, blending soulful vocals with driving percussion and jazz horns. It sets a tone of optimism and liberation, with lyrics urging listeners to embrace positivity amid struggle. Critics note its jazz-dance appeal, with infectious grooves that evoke Roy Ayers' vibraphone-led sweetness but amplified by African rhythms. This track's extended length allows for improvisational solos, particularly on saxophone and guitar, making it a highlight for its energy and club playability.

Fly Away (5:26)

A mid-tempo soul-jazz piece with ethereal flute and percussion, this track explores themes of escape and transcendence. The vocals, led by Carmen Davis, deliver a haunting quality, supported by tight ensemble work. It's less frenetic than the opener but builds emotional depth through layered horns and a subtle funk bassline, drawing comparisons to Sun Ra's cosmic explorations.

Operation Feed Yourself (5:26)

This track shifts into afro-funk territory, with heavy percussion and call-and-response vocals promoting self-reliance—a nod to Ghanaian independence slogans and Black empowerment movements. The rhythm section shines here, with Babatunde Michael Lea's congas driving the groove. Lyrics convey "phenomenal vocal pride" and optimism, making it a revolutionary anthem disguised as danceable jazz. It's one of the album's more urgent pieces, reflecting Fela Kuti's influence in its polyrhythms and social commentary.

A Real Thing (6:59)

The longest non-title track, this is a deep, introspective funk-jazz fusion with prominent bass and guitar interplay. Themes of authenticity and connection emerge through soulful improvisation, allowing space for solos that highlight the band's technical prowess. It's groovy and spiritual, with a build-up that rewards repeated listens, embodying the album's blend of precision and freedom.

Ju Ju's Door (4:34)

A shorter, more intense cut emphasizing collective precision, this track features intricate percussion and horn arrangements that evoke ritualistic "ju ju" magic from West African traditions. The energy is high, with fast-paced rhythms and minimal vocals, focusing on instrumental dialogue. Critics praise its sense of urgency and tightness, likening it to the band's live performances in Bay Area venues.

Darkuman Junktion (5:46)

Closing the album on a percussive high, this track references Darkuman, a neighborhood in Accra, Ghana, tying into the band's African influences. It's a funky, groove-heavy finale with strong bass and saxophone leads, maintaining the spiritual vibe while delivering a sense of communal celebration. The precision here is remarkable, wrapping up the record with revolutionary fervor.

Critical Reception and Legacy

Upon its 1999 reissue, Let the Sun Shine In received glowing retrospectives. Exclaim! described it as "a gem in classic soul-jazz recordings," highlighting the band's "incredible sense of collective precision" and its inspirational role in revolutionary contexts, such as providing "soulful healing" for activists. Amazon user reviews call it "beautiful to listen to" and predict its classic status. Bandcamp notes its packing of "soul, funk, and heavy percussion," appealing to fans of rare groove compilations. On RateYourMusic, users commend its spiritual depth and jazz-funk energy, with descriptors like "uplifting" and "percussive."

The album's legacy lies in its rarity and authenticity—it's not overproduced, capturing the raw essence of 1970s underground jazz scenes. While it may not appeal to casual listeners due to its niche spiritual focus, it's essential for enthusiasts of artists like Pharoah Sanders or Alice Coltrane. Reissues have kept it accessible, with vinyl pressings often fetching high prices among collectors. Overall, Let the Sun Shine In stands as a testament to communal creativity, blending joy and activism in a way that's timelessly vibrant. If you're into spiritual jazz with a funk edge, this is a must-hear—beautiful, loose, and profoundly uplifting.