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This CD shows once again why this singer/songwriter/bass player defies categorical labeling. On Reverence, his third CD, Bona deftly melds together a unique blend of jazz, Latin and fusion sounds and punctuates it with soulful and rich African rhythms. Bona is in a story-telling mood with these songs, and you get that right away with his a capella rendition of the opening "Invocation", which showcases Bona's stirring falsetto, sounding as much a lullaby as a prophet’s prophecy. From there, he launches right into "Bisso Baba", a catchy little ditty that you'll find yourself humming along to despite the slightly syrupy, a la Al Jarreau pop-style. Guaranteed to put the ache in the word "heart", Bona's ballad "Suninga" vibrates with longing, shimmering melodies and lush orchestral arrangement. After a deceptively plaintive opening replete with minor chord trilogies, acoustic guitar and simple keyboards, you'll be swaying to the Brazilian beat of "Ekwa Mwato", a song of celebration and “affirmation of the spirit”. On "Sweet Mary", Bona navigates his falsetto through various syncopated rhythms and African percussion. Up next, Pat Metheny lends his acoustic guitar work to the title cut in a beautiful arrangement featuring full orchestra and Bona's tender delivery on fretless and piccolo bass. If you find yourself scratching your head on the cut after that entitled “Te Misea”, you’re not alone. I searched the liner notes more than once for a second credit to Metheny but there isn’t one. Suffice it to say that you can surely hear Metheny’s influence. You'll appreciate the playfulness of "Laka Mba" (despite it’s serious subject matter) as Bona accompanies himself on guitar and percussion but things start to crank up with Michael Brecker's tenor sax work on "Ngad'a Ndutu". The bridge is not what you will expect - take a second listen before you pass judgment. Cuban pianist Edsel Gomez accompanies Bona’s vocals on “Esoka” with some very juicy, yet deliciously restrained piano work, which is just long enough to give you a taste and wanting more. The final cut “Mbaga Kumba” is the only song on the CD that Bona did not write exclusively. This tune was co-written by Gil Goldstein and starts out with that by now, familiar lush orchestral arrangement featuring forlorn flutes and strings but lest you think that's all you get, Bona turns it into a blistering fusion piece that showcases his bass and percussive expertise. Bona continues to forge a place for himself that has no name for it other than “Bonaville”. If you try to classify him, you’re going to need to take an extra breath to be able to say “Multi-talented singer, songwriter, bass/keyboard/percussion/guitar/flute/trumpet player, with model good looks, expert backup musicians, who, by the way, also happens to make many of his own instruments.”Read full review
richard bona gives you wonderful vocals and music, and this album is phenomenal. you gotta hear it, just so sweet, classy and smooth
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