Bobby McFerrin: Beyond Words (2002)

Creative vocalist Bobby McFerrin's return to Blue Note after a nearly ten-year absence indicates a possible desire for a return to improvised jazz, and in a way distancing himself from the classical works he had become increasingly associated with. Working again with pianist Chick Corea and producer Linda Goldstein, his 2002 album, Beyond Words, is reminiscent of the other McFerrin/Corea collaborations (Play, The Mozart Sessions), but somehow these mostly improvised works lack the spark that their previous partnerships have created. Ably backed by Corea's bright piano, Omar Hakim on drums, and Richard Bona on bass, the songs feel to be all the same texture for the most part, never reaching any kind of a peak throughout the album. Beyond Words is a moody and dark affair, with subtle layers of McFerrin's undulating vocals weaving in and out of the musical bed, but instead of sounding earthy and natural, the album is punctuated by synthesized instruments that pull the recordings dangerously close to smooth jazz territory. Unfortunately, by taking one of the most articulate players of man's earliest instrument and layering it in slick, fretless basslines and synthetic Roland XP-80 chords, it almost defeats the purpose of hearing his voice altogether. Still, it is an excellently performed and cleanly produced document of both McFerrin and Corea's abilities, ideal for gentle background textures on a night in alone. -- AMG

Tracklist:
01. Invocation (Goldstein/McFerrin) — 7:10
02. Kalimba Suite (McFerrin) — 3:40
03. A Silken Road (McFerrin) — 4:28
04. Fertile Field (Goldstein/McFerrin) — 5:44
05. Dervishes (McFerrin) — 2:15
06. Ziggurat (Goldstein/McFerrin) — 5:20
07. Sisters (McFerrin) — 1:22
08. Circlings (McFerrin) — 1:14
09. Chanson (McFerrin) — 1:30
10. Windows (Corea) — 4:01
11. Marlowe (McFerrin) — 4:08
12. Mass (McFerrin) — 2:40
13. Pat & Joe (McFerrin) — 2:11
14. Taylor Made (McFerrin) — 4:22
15. A Piece, a Chord (McFerrin) — 3:46
16. Monks/The Shepherd (McFerrin) — 2:48
Beyond Words
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Richard Bona: Live Maastricht (2010)

Richard Bona is the 7th recipient of the Antonio Carlos Jobim Award, created for the Festival’s 25th anniversary to honour artists distinguished in the field of world music whose influence on the evolution of jazz and cultural crossover is widely recognized. Armed with his bass, Cameroon’s Richard Bona won swift entry to the most prestigious of musical circles: Salif Keita, Harry Belafonte, Mike Stern, Pat Metheny, Bobby McFerrin, Branford Marsalis…

Routinely recognized as the most expert of musicians, Bona is an equally impressive composer, ingeniously blending the rhythms of his native land with those of jazz, imbuing the whole with a lyrical, reflective quality that is sensitive, touching and very personal.

Tracklist:
01. Te Misea
02. Kalabancoro
03. Please Don’t Stop
04. Band Intro
05. Mbemba Mama
06. Shiva Mantra
07. Liberty City
08. Unknow
09. O Sen Sen Sen
10. Djombwe & I Wish & Trains
Personnel:
Richard Bona - bass, vocals;
Etienne Stadwijk - keyboards;
Obed Calvaire - drums;
Adam Stoler - guitar;
Mike Rodriguez - trumpet
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Richard Bona: The Ten Shades of Blues (2009)

Tracklist: Take One; Shiva Mantra; Good Times; M'Bemba Mama; Kurumalete; Souleymane; African Cowboy; Esukudu; Yara's Blues; Sona Moyo; Camer Secrets

Personnel: Rochard Bona: vocals, bass, keyboards, guitars, drums, percussion, mandolin, samples; Shankar Mahadevan: vocals; Nandini Srikar: vocals; Vivek Rajgopalan: mridangam, ganjira, konnakol; Satyajit Talwalkar: tabla, konnakol; Niladiri Kumar: sitar; Bob Reynolds: saxophone; Michael Rodrigues: trumpet; Marshall Gilkes: trombone; Frank McComb: vocals; Obed Calvaire: drums; Gregoire Maret: harmonica; Sylvain Luc: guitars; Jean-Michel Pilk: piano; Christian Howes: fiddle; Bailo Baa: fula flute; Jojo Kuoh: drums; Ryan Cavanaugh: banjo; Bert Van den Brink: hammond organ

Widely known in jazz circles for his virtuosity on the bass, relatively little attention has been paid to Richard Bona's solo career. Pity, as his solo records are generally excellent. Bona's records have a style that can only be referred to as world music. Generally, that term is misused, but Bona truly takes his influences from all over the world. Sure, he's Cameroonian, and his heritage plays a large role. But one can also hear overt references to jazz, bluegrass, blues, European pop and much, much more in Bona's music. This adds a sense of unpredictability to his work—it's impossible to know what to expect and so just about anything is possible.

Bona's The Ten Shades of Blues continues in the same vein. There are references to India, Africa, and good ol' down home Americana, all interpreted with Bona's natural flair and effervescent smile. As on most of his other solo work, the multitalented Bona is everywhere and plays almost everything. The album opens with "Take One," a choral masterpiece—except all of the voices are Bona's. "Shiva Mantra" follows, and here Bona is credited with lead and background vocals, bass, keyboards, guitars and percussion. Somehow, on this track, Bona manages to be at the forefront of the background, keeping the music grounded in jazz and African traditions while being overtly Indian. It's Indian religious music—with a kickin' bass line.

The special guests on the album also leave their imprint. "Shiva Mantra" works due to the powerful vocals of Shankar Mahadevan (John McLaughlin's Remember Shakti) and Nandini Srikar, as well as Niladiri Kumar's tasteful sitar. "Good Times" is a showcase for R&B vocalist Frank McComb and harmonica master Gregoire Maret. Ryan Cavanaugh, Bona's compatriot in Bill Evans' Soulgrass ensemble, joins in on banjo along with fiddler Christian Howes on "African Cowboy," a rootsy bluesgrass mйlange.

"M'Bemba Mama" is a highlight. A simple ballad, Bona's light yet powerful voice fits perfectly, with Jean-Michel Pilc's piano and Sylvain Luc's guitars providing beautiful counterpoint. While lighthearted, "M'Bemba Mama" is bubbling with emotion. Bona's vocal incorporates just the slightest bit of longing while managing to stay positive.

Bona is certainly a talent deserving wider recognition. His considerable musicianship speaks for itself, and his passion for music is evident in all of his work, whether as a sideman or a leader. The Ten Shades of Blues continues his excellent solo work, joining the likes of Scenes from My Life and Tiki as essential.

The Ten Shades of Blues
Part 1 - Part 2 (RS) / Part 1 - Part 2 (HF) flac

Mike Stern: Big Neighborhood (2009)

Mike Stern's music has always come from a colorful and diverse part of town - a place where numerous artistic styles converge to create a fresh sound that's rooted in jazz but refuses to adhere to rigid borders. Since his earliest recordings, this former bandmate of Miles Davis, Jaco Pastorius, Billy Cobham and other high-profile innovators has grafted elements of rock, blues, soul and more to his solid jazz foundations. On Stern's street, anybody who brings a sense of energy, eclecticism and passion to the craft of music is welcome to play.

Stern invites fans and newcomers alike into his rich and diverse little corner of the world with the release of Big Neighborhood. Aiding Stern in this latest chapter of his never-ending quest for the new and better groove is a long list of talented guests: guitarists Steve Vai and Eric Johnson; bassist-vocalists Esperanza Spalding and Richard Bona; jamband godfathers Medeski Martin & Wood; drummers Dave Weckl, Terri Lyne Carrington, Cindy Blackman and Lionel Cordew; bassists Chris Minh Doky and Lincoln Goines, and several others.

With a crew this large and diverse, the idea of the album title should be pretty clear, says Stern. "Music is like a big neighborhood - a place where anything and everything can happen," he explains. "You can find all kinds of things in a big neighborhood - all kinds of different people, all kinds of different ideas and perspectives, and of course, all kinds of different sounds."

Mike Stern's Big Neighborhood is an open community where everyone is welcome. Everyone has something worthwhile to say, and everyone is given plenty of room to say it. "The thing that really gets me going is listening to all these very different artists on this record interpret my songs," says Stern. "In the end, everything is unified by the mere fact that there's a lot of spirit and a lot of fun in the music. That's really the common thread. There's just that vibe that emerges when good musicians play their hearts out. Nothing else really matters as far as I'm concerned...I think anyone who likes any of these artists will really dig what they did on this record."

Buy at Amazon.com
Big Neighborhood (RS) / Big Neignborhood (MU)

Richard Bona: Munia/The Tale (2003) mp3 @ 320K

The beauty of music and instruments has intrigued Richard Bona since the days of his childhood in the Minta village of Cameroon. As a young boy in West Africa he made his own wooden instruments and performed as a singer and multi-instrumentalist for various religious ceremonies, weddings and celebrations in his village. Appropriately dubbed, "The African Sting", Richard Bona has been showcasing his West African inspired genius all over the world for the last 15 years. His unique style is situated at the crossroads of a horde of influences - jazz, bossa nova, pop music, afro beat, traditional song and funk. This fusion in conjunction with Bona's poignant voice is what constitutes his latest release, Munia (The Tale).

Munia, which means "tale" in the Douala language, tells its own eclectic musical story that could only be authored by Richard Bona. The album is packed with a variety of flavors, which include tropical rock, "Balemba na Bwemba", rhumba "Couscous" and an exhilarating fusion piece "Engingilaye". Collaborations with notable musicians like Salif Keita (vocals), Djely Moussa Conde (kora) and Bailo Ba (traditional flutes) on the zesty "Kalabancoro" or the virtuoso Romero Lubambo on the acoustic guitar on the vivacious bossa nova "Bona Petit" complete with Bona singing in French make Munia a world classic.

Gil Goldstein: Under Rousseau's Moon (2006) mp3 @ 320K

Gil Goldstein has always been an adventurous musician testing boundaries, but this may be his most eclectic release. With a group that includes elements of straight-ahead and contemporary jazz (saxophonist Chris Potter, trumpeter Michael Brecker, vibraphonist Mike Maineri and electric bassist Richard Bona), plus the Zebra Coast String Trio, the keyboardist looks to break down barriers. Opening with a dramatic setting of Robbie Robertson's "The Moon Struck One," the band segues into a decidedly contemporary setting of Charlie Parker's "Donna Lee," though Bona's plodding bassline proves to be a handicap. Several tracks composed by the late Jaco Pastorious prove a bit uneven; the boisterous treatment of "Liberty City" works well, while the reggae-flavored "Good Morning Anya" quickly grows tiresome. The leader switches to accordion for his subdued ballad "The Camel's Lament," played unaccompanied. While this project may not please every listener all the way through, its ambitious scope and the strong efforts of the musicians involved make it an ear-opening experience worth revisiting.