Jazz pianist, composer and producer NIJI has found himself in hot demand over the last few years, having played with some of the biggest names in music, including the likes of Harry Styles, Gregory Porter, and Beverly Knight. From learning piano in his local church, NIJI has forged a career as both a sought-after session musician, and respected solo artist. It’s the latter I am exploring today – more specifically his new, six-years-in-the-making album, Oríkì.
An exciting blend of Afrobeat and contemporary jazz, the nine-track record pays homage to both NIJI’s Nigerian heritage and East London upbringing, and the connections between them. The aptly named Oríkì, which means ‘praise poetry’ in Yoruba, has a strong focus on family heritage and ancestry. The album is a personal statement on identity, culture and legacy, and what makes NIJI who he is.
Diving into Àdùnní, one of the jazziest tracks on the album, we are immediately graced with NIJI’s immense talent on the keys. Having made his name as a pianist and organist, this was always going to be a strength on this album, but it’s the seamless integration and its ability to highlight the brilliant jazzy compositions, productions, and vast musicality which makes this even more special.
Sounds of the City, featuring jazz royalty Moses Boyd, is a driving and infectious piece, voiced over an upbeat electronic background, and yet again featuring a multitude of brass and synth elements to tie it all together.
Jayé (Dance Dance Dance) employs the high-energy vocals of Afronaut Zu, to create a track of continuing intense energy, over a distinctly Afrobeat sound, featuring chanting vocals and rich, layered percussion. Mo ti délé, meaning ‘I have come home’, slows down the pace to create a lovely flowing track, with beautiful trumpet melodies, guitar licks, and more rich percussion. I particularly love the evolving final couple of minutes. The track tangents through escalating key changes and an absolutely lush organ solo to whirl the track to another level, creating possibly my favourite passage of this record.
A13 FUJI draws from the energy of Mo ti délé’s climax, to bring us back up to speed with driving percussion and brass. Following a signature afrobeat-inspired drum and percussion break with Oba, we move into Mata, a tribute to NIJI’s great-grandmother, Matilda Taiwo. She provided vital inspiration for Oríkì as a whole, and also features as the centrepiece for Oríkì’s beautiful album cover.
Penultimate track Oríkì is punchy and jazzy, with a catchy melody and soulful strings and backings underneath. The poem which finishes this piece, by spoken word artist Adesayo, is another highlight of the album. It begins with acknowledgments and dedications to Nigerian and Yoruba culture (Funmilayo and Fela Kuti, palm wine, agbo), before moving onto references to British/Western culture (Air-force ones I wore to my white garment church), whilst Adesayo beautifully shifts from a Nigerian to London accent. It’s a lovely summation of the album’s overarching themes of identity, heritage, and ‘the bittersweet reality of dual nationality’ – delivered in a powerful and striking way.
Joshua’s Legacy rounds off a wondrous 45 minutes with a showcase of the piano, bringing it back to where it all started and wrapping up an excellent crossover of jazz, Fújì, afrobeat and more.
Oríkì is a vibrant whirlwind of a record, which will no doubt keep you grooving, but also enlighten you on NIJI’s proud heritage and family stories. Jazz, afrobeat, funk and soul define this record, and, fused with a medley of electronic elements and magnificent supporting musicians, it creates a sure contender for one of 2025’s best albums.
Waxing Lyrical 