Richard Bona, Munia

Gentle Giant-like Gregorian harmonies start this intriguing and in some places beautiful album of new Afropop music from talented multi-instrumentalist Richard Bona. Salif Keita's angelic falsetto entwines with Bona's own supernal vocalisations, somewhere between Ali Farka Toure and Bhekumuzi Luthuli. The pervading essence is a lightness of touch; pop-ee, but with enough of that vital Afro-polyrhythmic interest. For example, the drums bounce, the keyboards skiffle vibrantly and the shifting cymbal is akin to the sliding beat of Oliver "Shoko" Mtukudzi. The inclusion of accordian in places is glorious: think of Vusi Ximba. Bona's compositional skills are laid bare here. From upbeat dances to endearing balladry, he extends himself to tell us his tale, "Munia" in his native Cameroonian Douala. Having subsequently absorbed influences as a Parisian sessionman for Didier Lockwood and Joe Zawinul, this album oscillates comfortably between continents. The influences gained from his most recent home of Manhattan are less obvious. Bona certainly has jazz chops to spare, but that can be taken for granted - his versatility has been embraced and engaged by the Hollywood of music; Michael Brecker, Paul Simon, Chaka Khan, Tito Puente, Mike Stern, Larry Coryell, Steve Gadd, Joni Mitchell, Harry Connick Jr., Herbie Hancock, Billy Cobham, Queen Latifah, Jacky Terrasson, Bobby McFerrin, Chick Corea, Pat Metheny and George Benson. The couple of jazzy tracks are slow, ponderous and on the smooth side, although one is almost saved by clever and melodic use of a child chorus. The other track is less successful. Listed as a tribute to Miles Davis, it probably has the legend turning in his grave. This sickly schmaltz features Vinnie Colauita on drums, Kenny Garrett on soprano saxophone and George Colligan on piano. Colauita and Garrett try to crank it up but Colligan is stuck in the cocktail lounge. A rare low point in this otherwise exceptional addition to World Fusion.