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 and discovering jazz
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. Like many young musicians with little money, he built or improvised instruments and learned by listening and copying. 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, New York and Belafonte
Bona moved to Europe and worked in France, playing with many musicians and studying music more formally. 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.
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.
Metheny and his own records
In 2002, he toured the world with the Pat Metheny Group, one of the most celebrated jazz groups of the era. 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. Bassists admire his speed, precision and melodic playing. He often sings along with his bass lines, matching notes exactly, which requires unusual skill.
Bona has taught and led workshops, encouraging young musicians, especially from Africa, to develop their skills and their own voices.
Roots in Minta
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. 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.
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.
