Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album Made Through Ritual on 11th July 2025.

In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. This July, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray.

The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music - sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.”

The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.

TRACK LISTING

A1. SHARE THIS LOVE 4.45
A2. MADE THROUGH RITUAL 3.13
A3. IN DUE TIME 3.59
A4. FREE SPIRIT 3.52
B1. SHADES OF LIGHT 3.20
B2. FREEDOM’S CALL 3.52
B3. COSMIC DUST 4.46
B4. CHILDREN OF THE DRUM 4.21

When a limited edition 45 single landed on the desk of Jazz Room Head Honcho Paul Murphy he contacted the guys straight away. "Do you want a 45 piece of wax released on Jazz Room Records?" Bells were ringing!

The A Side is a Latin Afrosound version of the Sun Ra Classic "Watusa". Featuring members of the Los Angleles based Afro Latin Beat Collective "Jungle Fire". You might have noticed this getting quite a few spins on the Gilles Peterson show on BBC 6 Music. The B Side is a funky version of the Charles Mingus composition "Meditations On Integration".

TRACK LISTING

1. Watusa
2. Meditations On Integration

Algerian music reissue program with the release of Freh Khodja's sought-after 1975 LP, Ken Andy Habib. Recorded in Paris with Les Flammes, a group of immigrant musicians, the album is now reissued for the first time. Selected by Paris-based DJ Cheb Gero, who recently compiled the Sweet Rebels Rai set and curated the Abranis LP release for Wewantsounds, Ken Andi Habib is a masterful blend of Arabic music, jazz, Carribean/Latin grooves and funk. Featuring original artwork, audio remastered by Colorsound Studio, and a two-page insert with new liner notes (French/English) by Algerian journalist Rabah Mezouane.

TRACK LISTING

1. Habitek
2. Ken Andi Habib
3. Ghariti Bya
4. Ya Coladera
5. Aich Sar Binia Koulili
6. Kalbou Ahzine
7. Hawa
8. Ani Jit El Youm

Straight digi-lovers cover fire from Kim Mulligan on 333, courtesy of Winston Jones' Brooklyn-based Flames stable. Taking on the Rose Royce classic in Phillip Smart's legendary Long Island studio during the latter part of the 1980s, with deft flourishes from NY reggae scene stalwarts Computer Paul & Danny Marshall. Flip it for a dub that ramps up the Balearic feels, replete with loon calls and rushing water.

TRACK LISTING

1. Wishing On A Star
2. Wishing On A Star (Dub Version)

‘Tuff Times Never Last’ is a spirited and vibrant collection of songs serving as an optimistic reminder to tightly hold and embrace the many dualities that occur in life. Over the course of the 11-song suite, the album explores togetherness, community, sensuality, childhood, loss and above all perseverance.

Initially drawing inspiration from a viral social media meme, co-bandleader Onome Edgeworth said of the title’s origins and meaning: “It’s true! Although we’re reflecting on joy and celebration, you realize that a lot of that beauty comes out of challenges and difficulties. It felt like a natural truth that we discovered whilst writing”.

The accompanying artwork was painted by Luci Pina, the acclaimed illustrator whose work has been sought and commissioned by the likes of The Cut, Soho House, DICE, Apple Music and It’s Nice That. Embedded within the image is Kokoroko’s ode to London in the summer. Speaking on its design, co-bandleader Sheila Maurice-Grey said: “The remit was summer in London, family and sense of everyone being in a congregation-like audience, and us being the musicians”.

The artwork’s imagery and colour was inspired by feelings of innocence and nostalgia - coming of age in London and those rare summer nights where everything felt full of hope. The cityscape also pays homage to Spike Lee’s 1994 film ‘Crookyln’ and Rick Famuyiwa’s 1999 opus ‘The Wood’. The band saw these movies as heartwarming representations of black family, community and resilience that served as a balm for them as Londoners. Speaking further on this, co-bandleader Onome Edgeworth said: “‘Crooklyn’ is very emotional, but also very uplifting. It felt like how I grew up. This album is us sharing our own feelings, hopes and dreams. We didn’t always have those stories in the UK”

Three years on from their debut album ‘Could We Be More’ which peaked at No.30 on the UK Albums Chart and received acclaim from The Guardian, The Telegraph, Financial Times, Jazzwise, CRACK Magazine and Downbeat Magazine, ‘Tuff Times Never Last’ sees the London band with careless abandon expand their wide-ranging palette and influences.

While the afrobeat jazz of their previous work is still a core part of the record’s sonic design, the new album largely pulls from British R&B from the 80s, neo-soul, West African disco, bossa nova, lovers rock and funk. Sonically taking cues from the likes of Loose Ends, Don Blackman, Common, Sly & Robbie, William Onyeabor, Patrice Rushen, Ofori Amponsah and Cymande. Throughout this instinctive evolution, the septet's seasoned musicianship preserves the essence of who Kokoroko are as masterful jazz artisans.

Speaking on the band’s progression in sound, co-bandleader Sheila Maurice-Grey said: “Innately, we’re jazz musicians but we've tried not to kind of box ourselves into one sound. So there is a level of freedom we're starting to feel. We want to continue being as creative as possible without feeling any boundaries”.

STAFF COMMENTS

Barry says: Smooth, hazy soul,jazzy chord progressions snappy Afrobeat percussion come together into a wonderfully summery expression of community and society, from one of the hottest voices in the uk at the minute. Beautifully emotive, wonderfully written and on the ever-reliable Brownswood. Banger.

TRACK LISTING

A1 Never Lost
A2 Sweetie
A3 Closer To Me
A4 My Father In Heaven
A5 Idea 5 (Call My Name) [feat. LULU.]
A6 Three Piece Suit (feat. Azekel)
B1 Time And Time (feat. Demae)
B2 Da Du Dah
B3 Together We Are
B4 Just Can’t Wait
B5 Over / Reprise

Following three acclaimed albums, a string of sought-after 45s, and collaborations with vocalists including Yurika and Sophia Solompon, championed by esteemed tastemakers such as Gilles Peterson, Cerys Matthews, and Jeremy Sole, ‘Nadir’ finds Sababa 5 at their enigmatic and irresistible.

Sababa 5's latest album, ‘Nadir’, delves into a darker, more sophisticated, and cinematic fusion of psychedelic soul and Middle Eastern rock. The title, Nadir, is an astronomical term referring to the point on the celestial sphere directly beneath an observer, diametrically opposite the zenith. Metaphorically, it signifies the lowest point or a moment of adversity. This duality resonates with the band's exploration of contrasting musical themes—melding the cosmic and the terrestrial, the ethereal and the grounded.

The name encapsulates the album's essence, reflecting a journey through deep, introspective soundscapes that are both otherworldly and rooted in raw, earthly grooves.

‘Nadir’ opens with 'VU' - close to four minutes of mysterious, darkly seductive, rhythm-driven funk. Swirling guitars, an Arabesque electric organ, and raga-like drones evoke the haze of a smoky Cairo bar, while the track nods to their close musical kin, vuvuvu, whose raw, noisy, and playful energy has rubbed off on the band.

The title track itself conjures the sultry ambiance of a Mediterranean night, plunging listeners into a realm of intrigue and intensity. A brooding bassline sets a suspenseful tone before a synth-led melody, laced with Italian motifs and Middle Eastern tonalities, unfolds— recalling the cinematic flair of soundtrack legends like Piero Umiliani and Stelvio Cipriani. Subtle wah-wah guitar accents add a psychedelic touch, echoing the acid rock elements of classic Poliziotteschi scores.

However, not all tracks dwell in darkness; 'Tell' sports a brighter tone reminiscent of ‘Aspan’. Leaning into Turkish ballad territory - except with synths taking the lead part - it is both melodic and melancholic, buoyed by an irresistible groove that offers a refreshing counterpoint to the album’s shadowy moods.

A must list album for fans of The Heliocentrics, Khruangbin, The Dap Kings, and Moğollar.

Nadir stands as Sababa 5’s most compelling and listenable offering yet - a transcontinental journey where hypnotic grooves, cinematic arrangements, and evocative Middle Eastern scales create vivid imagery, compel movement, and touch the soul.

TRACK LISTING

1. VU
2. Zenith
3. Descent
4. Nadir
5. 2025
6. Tell
7. Atom
8. Ignition
9. Sab
10. Timor
11. Into Orbit

Dom Salvador, the unassuming godfather of Brazilian soul music, has left an indelible mark through his unique fusion of jazz, soul, funk, samba, and Brazilian rhythms. His legacy continues with 'Dom Salvador JID024', produced by Adrian Younge and Ali Shaheed Muhammad. The album honors Salvador’s pioneering sound, continuing the vibrant dialogue between Brazilian and American music and inviting listeners to experience his rich, groundbreaking style.

TRACK LISTING

1. OS ANCESTRAIS
2. NAO PODEMOS O AMOR PARAR
3. DEBAIXO DA PONTE
4. AS ESTACOES
5. MUSICA FAZ PARTE DE MIM
6. MINHA MELANINA
7. SAFIRA

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. 'Other Worlds and Habitats' is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of 'I Too Am A Stranger', a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, 'Other Worlds and Habitats', as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

A Danish tour, unbelievably the first live outing for The Sorcerers, created another patina to the band. A weary time on the road, shared by the core Sorcerers trio of bassist Neil Innes, drummer Joost Hendrickx (Gotts Street Park, Kefaya, Eddie Chacon) and reed/flute/vibes player Richard Ormrod, alongside new/old member Richards led, to an organic, less cerebral sound than we have heard before.

The Sorcerers’ 'Other Worlds and Habitats' is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

TRACK LISTING

1. Echoes Of Earth
2. Ancestral Machines
3. Abandoned Satelites
4. The Great Bell
5. Beneath The Dunes
6. The Ghosts Of The Black Drift
7. The Infinite
8. The Last Transmission

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’.

Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa.

Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service.

During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

TRACK LISTING

1. Orchestre Du Jardin De Guinée - Sakhodou
2. Orchestre De La Paillote - La Guinée Moussolou
3. Bembeya Jazz National - Guantanamera-Seyni
4. Bembeya Jazz National - Sabor De Guajira
5. Balla Et Ses Balladins - Sakhodougou
6. Balla Et Ses Balladins - Samba
7. Orchestre De La Paillote - Kankan-Yarabi
8. Myriam’s Quintette - Solo Quintette
9. Pivi & Les Balladins - Ka Noutea
10. Horoya Band National - N’Banlassouro
11. Orchestre De La Garde Républicaine - Sabouya
12. Keletigui Et Ses Tambourinis - Samakoro
13. Keletigui Et Ses Tambourinis - Miri Magnin
14. 22 Novembre Band - Kouma
15. Les Frères Diabaté - N’Fa