Juma Sultan

About

Juma Sultan | A black-and-white photo shows two men, one wearing a wide-brimmed hat, captured from a low angle. They are underneath a large, ornate domed ceiling about which intricate geometric patterns abound. The scene suggests an architectural or historical setting.
Juma Sultan and Daniel Carter

Displaying his early affinity for music, Juma started playing African percussion instruments at the age of nine. In his late teens and early twenties, Juma was touched by Jazz, particularly the music of saxophonist Sonny Simmons.

While attending a concert in Los Angeles, he heard Ray Brown play Double Bass, which inspired him to learn it. His talent shone through, quickly becoming proficient. He soon befriended Sonny Simmons and joined his band. At the urging of Mr. Simmons, Juma relocated to New York where the music scene was exploding in the mid ’60’s.

 

Juma Sultan | Album cover of "Manhattan Egos" by Sonny Simmons. The center features a black and white photo of musicians performing, with one playing a saxophone and another playing a trumpet. The album title and artist's name are prominently displayed at the top.
Sonny Simmons (sax), Juma Sultan (bass), unknown percussionists at Group 212
Sonny Simmons (sax), Juma Sultan (bass), unknown percussionists at Group 212
Performance at Studio We. L-R – Hakim Jami, tuba; Mark Whitecage, alto clarinet; James DuBoise, flute; Charles Stevens, tmb. Photo by Jeannette Hamblin.
Performance at Studio We. L-R – Hakim Jami, tuba; Mark Whitecage, alto clarinet; James DuBoise, flute; Charles Stevens, tmb. Photo by Jeannette Hamblin.
Juma Sultan | Black and white photo of a man kneeling and interacting with a small child. About the moment: The man, wearing glasses and a patterned shirt, appears to be holding something while the child, dressed in a light-colored outfit, holds and looks at a small animal, possibly a squirrel.
Ali Abuwi with a young boy.

It was in New York that he forged the relationships that would prove to be his destiny. He met Ali K. Abuwi, with whom he co-formed the still active, free-form musical collective Aboriginal Music Society. Other notable collaborations involved Albert Ayler, Pharaoh Sanders, Sonny Sharrock, Archie Shepp, James “Blood” Ullmer, Dave Burell, Barry Altshult, and Sam Rivers, among many others.

Juma soon interacted with the burgeoning artist community in Woodstock and split his time between there and NYC. In Woodstock, under the auspices of the inter-media workshop Group 212, Juma staged concerts with his Aboriginal Music Society. He also started African Drum Circles on Sundays on Woodstock’s Village Green, a community-building tradition which continues to this day.

Juma Sultan | A black and white image of three men playing musical instruments outdoors. One man plays a flute, another a trumpet, and the third is engaged in rhythmic drumming. The men are surrounded by nature, suggesting an informal setting about the joys of impromptu music sessions.
Michael Berardi, bamboo flute; Earl Cross, tpt; Juma Sultan, dm at Group 212 Inter-Media Workshop.
Juma Sultan | A vintage black-and-white photograph showing a group of individuals in conversation. One person, wearing a headband and patterned shirt, faces the camera. Others in the background are partially visible, engrossed in dialogue about something intriguing. The scene appears to be from a past era.

During one Sunday drum circle in the summer of 1969, Juma was approached by a certain James Marshall Hendrix, who asked him on the spot to join his band for their upcoming performance at the Woodstock festival. The pair started spending time together and became very close friends. Juma wrote and recorded with Hendrix from late 1968 until the guitarist’s death.

After the death of Jimi Hendrix, Juma strengthened his musical partnership with James DuBois, and the two led Studio We – which was an integral hub of the Loft Jazz scene – in order to give underground jazz musicians places to play. In 1972, when the Newport Jazz Festival moved to New York, Juma and his colleagues felt that New York musicians were under-represented in the roster of artists that were to perform.

Juma Sultan | A sepia-toned photograph shows two men conversing outside a building with a sign reading "studio we-a." One man wears a headband and overalls, while the other faces away from the camera. The photo, framed with wavy, multicolored borders, captures a moment of candid interaction.
Juma Sultan and two others (faces not visible) in from of Studio We
Juma Sultan | A black and white image about two musicians playing wind instruments: The musician on the left, wearing a straw hat, plays the saxophone, while the musician on the right plays the trumpet. Both are dressed casually, and the background is dark.
Earl Cross, tpt; likely Jimmy Vass, alto. Photo likely by Bunny Brissett.

As a result, Juma helped organize, and eventually lead, the New York Musicians Organization (“NYMO”) which arranged concerts to successfully protest the Newport Jazz Festival’s programming. The next year, NYMO was invited to participate in the Newport Jazz Festival. After 1973, NYMO decided to stage its own annual jazz festivals in NYC for the next decade.

After the 1970’s, Juma never stopped creating, collaborating, and channeling the spirit of his music. However, other pursuits cut into his professional music career: raising a family, working as a paralegal, and dedicating an abundance of time to activist, humanitarian, and mutual-aid causes.

Juma Sultan | A black-and-white close-up photo of a man smiling. He has a beard and mustache and is wearing a woven straw hat. The background appears to be a plain, textured wall. The lighting casts shadows, emphasizing his facial features, giving insight about his character.
Juma Sultan
Juma Sultan | A lively band performs on stage under purple lighting. The group, reminiscent of Juma Sultan's ensembles, includes multiple musicians playing congas, guitar, saxophone, and other instruments. The stage is set against a patterned backdrop, creating a vibrant and energetic atmosphere.

Currently, Juma Sultan resides in Kingston, NY. His band, the Aboriginal Music Society, has been re-established as an active project, playing Juma’s original compositions, jazz standards, and other covers, in ensembles ranging from trio to ten-piece, in an improvisational style that is best described by the moniker “World-Beat Garage Jazz”.