While there is a plethora of bands that deliver the infectious sounds of Afro-Cuban, few deliver them from the African side of the world. Richard Bona, Cameroon-born bassist and vocalist, brought his vibrant Mandekan Cuban band to put the “Afro” back into the genre.
With a bright horn section of Dennis Hernandes/tp and Rey Alejandro/tb adding picante accents and a sizzling rhythm team including Osmany Paredes/p, Bona’s silky voice and galloping bass brought a delicious mix of percolating Latin pulses and African melody on pieces like “Jokoh Jokoh” and “Ekwa Mwato.” Singing in his local Doula language, Bona used his almost falsetto’d voice to create a serene atmosphere on the tender ballad with Paredes on “Mut’Esukudu” while going a cappella with his “voodoo recorder” to create layers of his voice and become a one man Ladysmith Black Mambazo on a rich improvisation.
His bass work during “Janjo La Maya” sounded like African percussion as it teamed with some rocking guitar soloing and a cantering ride cymbal, creating volcanic migration of rhythm similar to a Serengeti Migration. The alluring contrast of his gentle and soft voice and extroverted and relentless percussion teamed with horn section cries like adding dashes of cilantro to Jollof rice.
The aisles started getting filled with audience members dancing by the time Bona and company started closing up the evening with the fist pumping and celebratory “O Sen Sen Sen,” and the leader out Fela’d the famous Fela Kuti during the galloping Afro Funk finale “Diba La Bobe.”
For the encore, Bona took the audience to his own musical roots, sitting down at the piano and delivering a gorgeously liturgical hymn, reminding everyone in the theatre that during this time of Lent, there’s something, and Someone, that unites us all more than music.
Upcoming shows at the Broad Stage include The Klezmatics Mar 29 and Gabriela Martinez Apr/07