Richard Bona can play a bass line that makes other bassists stop and stare, then sing over it in a soft, soaring voice in the Duala language. Few African musicians have earned as much respect in the world of jazz.
Minta
Bona was born Bona Penda Nya Yuma Elolo on 28 October 1967 in Minta, Cameroon, into a family of musicians. He began learning music as a child and played in village celebrations.
Homemade instruments
Like many young musicians with little money, he built or improvised instruments and learned by listening and copying.
Discovering jazz
As a young man, he played in a club whose owner befriended him and introduced him to jazz, especially the music of Jaco Pastorius. Pastorius inspired Bona to focus on the electric bass.
France
Bona moved to Europe and worked in France, playing with many musicians and studying music more formally.
New York
In 1995, he left France for New York, where he still lives and works. There, he played bass with artists including Joe Zawinul, Larry Coryell, Michael and Randy Brecker, Mike Stern, George Benson, Branford Marsalis, Chaka Khan, Bobby McFerrin and Steve Gadd.
Belafonte
In 1998, Bona was musical director for Harry Belafonte’s European tour, a sign of how quickly he had earned trust in the American music world.
Pat Metheny
In 2002, he toured the world with the Pat Metheny Group, one of the most celebrated jazz groups of the era.
His own records
Bona has released solo albums that blend jazz with Cameroonian rhythms, soul and Brazilian influences. He sings mostly in Duala, his voice gentle and melodic.
Technique
Bassists admire his speed, precision and melodic playing. He often sings along with his bass lines, matching notes exactly, which requires unusual skill.
Teacher and mentor
Bona has taught and led workshops, encouraging young musicians, especially from Africa, to develop their skills and their own voices.
Collaborations across styles
Beyond jazz, Bona has worked with pop, soul and world music artists, and his session work appears on many records. Musicians often describe him as someone who can fit into almost any band while still sounding like himself.
Live shows
On stage, Bona often uses a looping pedal to layer his voice into choirs, building whole arrangements alone before the band joins in. Audiences frequently leave talking about those moments.
Roots in Minta
For all the New York stages, Bona’s music keeps returning to the rhythms and language of Cameroon. His career shows that an African musician can join the top of global jazz without leaving home behind.
