private NDIKHO XABA the NATIVES ndiko PLUNKY afro jazz

$

500

whatcheerrecords Store  
a
fully play-tested
< Private Pressed >
Afro Free Jazz
Lp

~ Ndikho Xaba ~
Ndikho Xaba And the Natives

released c. 1969 by Trilyte # LR-7001

listen to the sound clip! winning bidder
also gets a free CDR copy of the entire Lp
if desired (just ask & you will receive)

Privately Pressed holy grail Afro Spiritual Jazz
on the Trilyte label out of Oakland, California with
incredible music in the same vein as Tribe and
Strata-East records (but far harder to find) thought
to be the first ever appearance of Plunky Branch
Plunky & Oneness Of Juju on a vinyl record

this Lp is very rare (especially in this condition)
and has sold for over $700 in past auctions because
of how amazing the music is on this hard to find
and extremely limited private pressing and is both
beautiful & moving Spiritual Free Jazz and features
long groove based tribal jams & "Freedom" is an
amazing bluesy soul stomp & this Lp features some
really moving inspired playing and even some
vocalizing (some chanting, some singing)

J. Plunky Branch is an acclaimed Avant Afro
Funk Jazz Saxophonist from Richmond, Va and
bassist Ken Shabala (Kent Parker) from Brooklyn
and met in college & formed a group called the
Soul Syndicate with Kent Parker the lead singer and
from 1966-'68 they played the New York circuit
in New York until moving to San Francisco where in
1969 they met Lon Moshe (Ron Martin) and joined
this African-Avant-Garde group with Ndikho Xaba
and recorded this one lone Lp led by South African
pianist/percussionist, Ndikho Xaba until soon
forming Plunky & Oneness Of Juju releasing their
first album in 1972 and relocating to New York



~ songs ~


Shwabada
Freedom
Flight
Nomusa
Makhosi

(three of these are amazing long jams)


~ credits ~


Ndikho / Ndiko Xaba (piano, percussion,
bullhorn, seaweed horn)
Plunky (tenor, soprano sax, flute, percussion)
Lon Moshe / Ron (vibes, percussion)
Duru Baba / ? Michael "Babatunde" Lea ? (congas, percussion)
Ken Shabala / Kent Shabalala (bass)
Kieta / Kieth (drums)

Arranged by Ndikho


~ condition ~


record is in Excellent - Condition and has been
fully play tested and it sounds great and the vinyl
is shiny & clean with light visible wear that doesn't
interfere with the sound other than light occasional
mellow crackle & a few spots with brief stray pops
and / or very quiet mellow tics & plays fully through
with no skips or repeats and this has a wonderful
loud full warm tone (some parts of the Lp are very
quiet when the music is dynamically so which is where
most of the minimal background noise is) & while
the labels are bright & clean, they do each have
spots where the paper is peeled away (believed
this to have been a pressing flaw)

cover is in Excellent - Condition with bold bright
printing and has no seam splits writing or markings
and has just light edge & corner wear and also
has a little bit of ringwear & light soiling

displays well & plays nicely


~ matrix #'s ~


side one : TR-7001-A-RE
side two : TR-7001-B-RE

the above is 'scrawled' into the dead wax


~ liner notes read ~


SIKHULEKILE

We welcome you to the exciting, vibrant, alive
sounds of Nkikho Xaba and the Natives.  Nkikho is
a native of South Africa who is in self-imposed
exile in this country.

He is the musical arranger/catalyst for the
group and the Natives make marvelous use of his
talent and knowledge in producing the music of
"Mother Africa," the full excitement and spirituality
of which is captured in this, their first album.

In Africa, music pervades almost every facet of
life. To quote Ndikho, "I developed from a complex
situation. I can be anything I want to be. In your way
of understanding, I can be in the bush, I can be in
the metropolitan areas. I can be anything at anytime
because of the situation that made me. As a result,
when it comes to music I have all these modes
which we try to present to you."

The Natives are African brothers born in this
country; their ability to play this music is living
testimony to what we have always known, but
seldom admitted: Black People in this country are
an African people. The Natives are unique in many
ways. They are as selflessly dedicated as they are diverse
in their musical talents. They are proud that they have
been able to incorporate the African principle of
Ujamaa: the understanding of their collective worth
both as musicians and as Human beings.

The album opens with Shwabada, a tribute to
Ndikho's family, the Xaba's.  "The song is a spiritual
offering to my ancestors.  Its mode is ethereal, much
like that of Flight which deals with man's oneness
with the universe.  Both of these compositions are
suspended;  just as the heavenly bodies are suspended;
just as we are suspended between our origin and our
destination."

Also included on side one is a brief but inspired
vocal rendition of Freedom.

"A tribute to the struggles of Africans in this
country for oh so long..."

Nomusa is a song co-written by Ndikho and his
beautiful wife for whom the song is named.  Side two
ends with Makhosi which is a tone poem - Habitation
scene depicting "all that has gone before us; all the
way back into the ages."  Of special note here, is the
use of one of the many instruments made by Nkikho
himself. This particular one is a horn, fashioned from
a piece of giant tubular seaweed, which he more
than effectively uses to produce the deep eerie tone
heard toward the end of the track.

I sincerely hope you enjoy the group and the
first of what I'm sure will be many great recordings.
Again, welcome to the sounds of Africa; welcome
to the sounds of Ndikho and the Natives.

THULANIE (poet, freelance jazz reviewer)


~ additional info ~


Ndikho Xaba also performed with Thulani Davis and
released another obscure album NDIKO & COUSIN WASH
called NDIKO THE MUSICIAN & CO... on the BERCO label
and the crazy rare (an obscure Oneness of Juju piece)
the legendary afro funk 45 "Zulu Lunchbag" with
the African Echoes on Shange Records


~ privately pressed ~


there was a time
when vinyl was the preferred format
for releasing records & many musicians would release and
distribute their own recordings when they couldn't find a
label to release their recordings & these types of DIY records
are referred to as "privately pressed" by todays collectors
and are now hard-to-find & sought after because they were
almost always made in extremely small quantities as artistic
or craft-based endeavors rather than purely commercial
ventures with no attempt at cashing it in commercially often
making for interesting & innovative DIY recordings that are
more honest, experimental and unusual than commercial
releases & many "private press" records have never been
'discovered' by today's listeners making them important
to collectors of many different recorded genres


__
_____



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 many more pictures have been added of this