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Plunky Branch

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Plunky Branch plays his soprano saxophone near Howard University’s WHUR 96.3 FM in Washington, DC in 2013.

African Rhythms – Oneness of Juju

“Juju” has various meanings in West Africa. It is a style of music, a form of witchcraft, and the ability to affect someone subconsciously through music. When Richmond, Virginia’s J. Plunky Branch traveled to the region with his jazz-funk group Oneness of Juju he discovered that people take the word “juju” very seriously.

20 years before his trip to West Africa the young saxophone player formed a band in New York City called The Soul Syndicate with a few fellow Columbia University students. They recorded one 45—covers of The Temptations’ “Fading Away” and a James Brown song, and pressed only a couple hundred copies.

In 1968 Branch moved to San Francisco.  There he met South African jazz musician Ndikho Xaba and joined his group Ndikho Xaba and the Natives. The group released a self-titled LP on Oakland’s Trilyte label in 1969.  Working with Xaba, Branch realized that music could be political and more than just entertainment.

After Xaba left San Francisco, Branch and two other members of the Natives got a gig in the music ensemble for a stage production by playwright Marvin X entitled, “The Resurrection of the Dead.” When the show ended Branch and the five other musicians in the ensemble formed the group, JuJu.

“Certainly there are people who know more music or who can play saxophone in circles around me,” says Branch. “But I have a lot of perseverance and a lot of study ability. I was able to articulate things from the stage and to other musicians that seemed to be able to rally them.”

In 1973 JuJu recorded their debut LP, “A Message From Mozambique,” which was a reference to African civil wars that were not being covered by the media. They released their follow-up, “Chapter Two: Nia,” in 1974. Both records were issued on Strata-East Records and featured African-style percussion.

By 1975 Branch returned to Richmond. He came across a magazine called “Black Fire,” which incorporated JuJu’s logo on the cover. Curious, Branch reached out to publisher Jimmy Gray and together they formed the Washington, DC-based Black Fire Records. Artists eventually signed to Black Fire Records included Experience Unlimited, Wayne Davis, and Southern Energy Ensemble.

Branch incorporated new members from Richmond into his group and in 1976 released “African Rhythms” as Oneness of Juju on Black Fire Records, which they recorded at Bias Recording Studios in Springfield, Virginia. The lineup at the time of recording was:

Eka-Ete Jackie Lewis: vocals
Plunky Branch: saxaphone, flute, vocals, percussion
Al Hammel Rasul: piano, keyboards, percussion, vocals
Muzi Branch: bass, percussion, vocals
Babatunde Michael Lea: drums, percussion, vocals
Lon Moshe: vibraphone, marimbas
Ronnie Toler: drums
Phillip “Pee Wee” Ford: bass
Reginald Brisbane: Balophone

More R&B influenced than the band’s previous albums, the title track’s bass line was a direct riff on James Brown’s “The Big Payback.” Howard University’s WHUR 96.3 FM became the first radio station to play the LP extensively, bringing a wider audience to Oneness of Juju in the Mid-Atlantic.

Oneness of Juju performed in DC constantly. Other musicians they performed with at the time included Gil Scot-Heron, Hugh Masekela, Chuck Brown & The Soul Searchers, The Young Senators, Brute, and Experience Unlimited.

Oneness of Juju released their fourth LP, “Space Jungle Luv,” in 1976, which continued the band’s explorations into R&B and jazz-funk. In 1977 they recorded and shelved a fifth LP, “Bush Brothers & Space Rangers” at Arrest Records in DC, which was finally released in 1996 on P-Vine Records. By 1982’s “Make A Change,” Plunky & Oneness of Juju were fully playing funk, disco, and reggae music. The album’s track “Every Way But Loose charted in Billboard Magazine, bringing them national attention. It was later featured in “Grand Theft Auto Vice City Stories.”

So when Plunky & Oneness of Juju toured West Africa in 1986 they were surprised by the reception to their name. In Ghana, radio DJs would only refer to them as “Oneness of God.” People were also caught off-guard by the band’s sound, which did not resemble West African Juju music. They dropped “Juju” from the name, becoming known simply as Plunky and Oneness.

Members of the band have changed but Branch has recorded and performed consistently over 35 years. In 2001 Strut Records released a two-CD retrospective, “African Rhythms – Oneness of Juju 1970-1982.” In 1999 Branch was named “Musician of The Year” by Richmond Magazine.

Plunky & Oneness released their latest album, Never Too Late, in 2013. They continue to perform regularly in Martini Kitchen & Bubble Bar in Richmond and at K2 Restaurant & Lounge in Woodbridge, Virginia. You can purchase Branch’s music here and here.

soprano_saxophone

Mmm, mmm, mmm.

Father’s Children

Father's Children

Everybody’s Got a Problem – Father’s Children

As their van tumbled off the highway, The Dreams were probably regretting that their community college gig went so late. It was only after the van landed right side up and everyone emerged unscathed that they realized they had been saved by an act of God. They converted to Islam and changed the group’s name to Father’s Children.

Father’s Children—Hakim Carpenter, Sadik Long, Malik Khabir, Nizam Smith, and Qaadir Sumler (pictured left to right)—played covers regularly but after hearing their music recorded for the first time with producer Robert Hosea Williams, they decided to aggressively pursue original music. In 1973 the band recorded a stack of material with Williams but the tapes were never released and eventually forgotten about. Father’s Children recorded a 45 with two tracks—“Linda“ and “Intellect” at Arrest Records on K Street NW in 1975, which fizzled. They continued to perform including with artists such as Earth, Wind and Fire, Stevie Wonder, Buddy Miles, Rare Earth, The Staple Singers, Albert King, Eddie Kendricks, Chaka Khan, Roy Ayers, and Herbie Hancock.

Father’s Children shuffled Smith with Tony Vaughn and recorded a self-titled LP in Los Angeles on Mercury Records in 1978, which sold poorly due to insignificant marketing. The group broke up shortly afterwards only to reemerge decades later with Capenter and Sumler and new members, releasing the album “Sky’s The Limit.”

In 2012 music historian Kevin Coombe discovered Father’s Children’s unreleased tracks in Williams’ garage and the album “Who’s Gonna Save The World” was finally released on Numero Group to critical acclaim. The original members still keep in touch and celebrated the long awaited availability of their intended debut album together.

“We still love each other so it’s all good,” says Sumler. “We spent too much time together, too many close moments—sleeping together, eating together, hanging out—a brotherhood.” Father’s Children released their latest album, “Love & Life Stories,” in 2013.

Father's Children

You can purchase Father’s Children‘s music here and here.

Mmm, mmm, mmm.
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