As a contemporary blues man, KWESI has always travelled light, only packing the bare necessities a soulful voice, conscious vibes, and a wealth of experience. The Texas-native,who now calls London home, recalls the chaotic childhood years which account for his kaleidoscope of rich, black music influences and his restless, almost nomadic nature. Whether relocating in different cities - as his father’s military position required - or spending youthful summers with his grandparents in the deep south strongholds of Memphis, Tennessee and Atlanta, he was always compelled to soul search. "My steelo most assimilates with jazz and blues", enthuses Kwesi. "My father used to play jazz when I was young, so I definitely developed a liking for it. It was my resounding love because it’s timeless. It's African classic music."

By the end of the 80’s and early 90’s, uninspired by the roots of the burgeoning US new jack swing scene, KWESI found himself going against the grain, having sought sanctuary in the innovative sounds of UK soul exponents Loose Ends and Soul II Soul. As a child of the hip hop generation, he was also inspired by the likes of Eric B & Rakim and EPMD - however. his attempt to fuse the influences of different worlds initially went unrecognised. Still he experimented, hooking up with a local DJ to combine soul with hip hop breaks, four-track technology and samples, long before the term `hip hop soul' was introduced to the masses. He was constantly on the move, spiritually and physically, attempting; to feed his search for a cultural identity and carving his niche.

"I gained a lot of insight from travelling", he muses. "I had a lot of blues with the police in Texas, I was up there when I was 15 or 16: also in Los Angeles. I found that it’s always people who have fear of a culture who feel that they need to flex on somebody. If I was walking around looking vexed or something, it’s probably because I was vexed; no money, or maybe l broke up with my girlfriend or some shit like that, and so Johnny Law decides to pull me over and question me? That just perpetuates the situations. I’ve seen that take place in a lot in towns (ref. ‘riot in Brixton’). When studying at Howard University in Washington DC, Kwesi sought solace in ‘Sunchilde’, a loose collective of like-minded brothers and sisters drawn together by their sense of the brotherhood and his desire for academic excellence was not enough to see him through his studies. Finding himself at odds with a system which seemed to place more emphasis on economics than education, he left.

Kwesi had often looked to Europe for inspiration, so he decided to see what it had to offer. He left with little more than $30 in his pocket and this first trip ended as soon as it started with immigration authorities sending him back to New York on the first available flight. He survived the following lean period in a shelter while seeking any available studio work. Earning enough money to escape his predicament, he returned to DC to tell his tale.

Reunited with his college friends he set about fashioning with renewed determination, the serious musicians into a tight group. Still imbued with a need to explore, Europe was calling once more and he eventually made it to London where he and his Sunchilde protégé’s left an indelible impression, showcasing their live repertoire at venues like Jazz Café and Ronnie Scott's. However, on the recording front, the groups collective vision failed to manifest itself successfully in their debut album `Sunchilde University'. Disillusioned, they eventually disbanded.

Tenacity and commitment ensured that Kwesi emerged as a graduate. His long awaited debut album sees him confidently stepping to the fore as a compelling solo artist. His love and respect for the sound of pioneering UK producer Carl Mackintosh and contemporaries like Femi (from Young Disciples) helped to forge a fruitful relationship with both in the studio. It's Kwesi's passion for classic black music, particularly blues music, coupled with this conscious lyricism, plus innovative British street soul refreshing edge.

Flying in the face of boyish verve, on the soulfully sublime `Heavenly Daughter' he offers both sexual healing and sincerity in his search for love, while the flirtatious flow which laces ‘Let’s get Busy’ combines effortlessly with the moody jazzified production. As for the uplifting `Ain't No Need', the jah-praising `Testimony' and the romantic `Once In A Lifetime' they win over with a heartfelt sentiment and a rare degree of optimism in foreboding times. Kwesi is a blues man for the 90's and beyond.