Keziah Jones
Black Orpheus

THE REVIEW

Looking through the reviews published on de-baser, I noticed the absence of an album that last year gained a decent following of admirers (including me) thanks to the caliber of the artist in question: Keziah Jones. Even though it's late, I'm bringing it to you because it is truly a good work, this BLACK ORPHEUS, full of pathos and class.

Keziah Jones was born in Lagos, precisely in Yaba, in 1968. His original name is Olufemi Sanyalou. When Jones was a child attending school, he would cross the territory of the Kalakuta Republic, the commune founded by the Emperor of afro-beat, Fela Anikulapo-Kuti.

A note on Fela Kuti: during the '70s and '80s, the renowned Nigerian artist had millions of fans worldwide. He was an anarchist, a very influential figure who made African governments and the powerful uncomfortable (in fact, he had self-proclaimed himself Emperor of the Kalakuta Republic). Despite their attempts to divert public attention from him (including resorting to imprisonment and torture), nothing managed to silence his voice. Unfortunately, it was AIDS that cut Fela's life short in 1997, at the age of 58. His discography boasts more than fifty albums and recordings. There's a double Best Of by Fela Kuti from Mca, I strongly recommend it, you might be surprised. A great artist and thinker! Now it is his son Femi who keeps his father's name alive, much like Ziggy Marley (so with less conviction than the parent, but in a dignified manner).

Olufemi-Keziah Jones often went to the Kalakuta commune to visit a cousin who was part of it. The frequentation of that place, full of music and creativity, influenced indelibly his future as a musician. In 1987, Jones was sent by his family to study in England. It was there that he changed his tribal name to the current one. In the beginning, to make ends meet, Jones played the guitar on the streets, and somehow ended up in Paris. The meeting with producer Philippe Cohen, who was fascinated by the unique sound of his guitar, resulted in the recording of a demotape that brought him luck. Back in London, it was producer Phil Pickett who immediately took an interest in the artist, offering him a contract that changed his life. Thus began the career of this versatile and exclusive musician, who with BLUFUNK IS A FACT (1992-Delabel) composed an album of rare beauty and skill. When this album came out, it was a magical and unrepeatable moment for black music: at the same time, there was Prince for pop, Living Colour for rock, and Bad Brains for punk.

Now it's time for BLACK ORPHEUS, the album released last year in which funky rhythms vibrate in the suave Femiliarise, massive doses of r'n'b atmospheres in Wet Question, and black-soul air in Neptune and Beautiful Emile. Stunning Afrosurrealismfortheladies, where Jones recalls his Africa by immersing himself in a lustful and burning nostalgia. The whole is punctuated by acid-blues counterpoints and unlimited technical elegance.

An excellent album, where hopes, ardors, and dismay are put into play. Keziah Jones has never forgotten his country (the cover depicts him among the stilts of his native village): with the modern and universal flavor of his guitar, he pays tribute with an album that should be in the collection of all those who want to reflect with music, not just fantasize.