“I brought Jesus to Minneapolis,” Richard Bona exclaimed from The Dakota stage Monday evening, March 16th, “I know yesterday many of you didn’t go to church.” That seemed appropriate since a mega snowstorm cancelled many church services the day prior. Then with an impish smile, the bass player with his roots in Cameroon confessed that the Jesus he brought was Cuban-born keyboard player, Jesus Pupo.
Like much of the evening infused with easter eggs and humor, Bona confided that Pupo was only on loan from a Broadway musical. Bona had managed to sneak him away so the two of them, along with drummer Ludwig Afonso also Cuban, could make the magic happen in the nearly sold-out jazz club.
The evening started uncharacteristically twenty minutes past the Dakota’s posted start time, but still delivered a full 90-minute set with no intermission. The three musicians gathered on stage and immediately launched into Muntula Moto (Benediction of a Long Life).
The crowd was enthusiastic from the get-go and rightly so. Bona’s musical acumen matches perfectly what one would expect to hear at a renown world-class music venue. The cabaret-style motif worked well for Bona’s engaging, intimate demeanor as he interacted with both the audience and his bandmates.
The second number, Three Views of a Secret, was one of several ballads played that evening. As the song was performed, two thoughts came to mind. One, I wonder how often The Dakota has to have their piano serviced because it was getting a robust workout tonight. And two, if I were to look up the word “jazz” in a talking dictionary, this song should be the one to exemplify the word, quintessential jazz indeed.
Bona is wearing casual, comfortable clothing. I especially like the newboys cap on his head with the button unsnapped and the entire hat worn backwards. It speaks to the playful whimsy that he evokes. He takes his music seriously, but not himself. He is serious about providing a top-rate musical experience for the audience even as he jokes with us.
I can understand why he wanted his keyboardist, Pupo, to join in on the show. The two of them are so in-tune with one another, it’s like watching a pair of Olympic figure skaters glide about the rink in a flawless performance. Every move, every note is complemented by the other.
Although he regularly performs with Bona, Jesus Pupo is moonlighting to be here this evening. He’s actually the understudy for Leonardo Reyna who is portraying the young Rubén González in the Broadway musical of Buena Vista Social Club, which opened March 19th in New York.
Another favorite number from Bona this evening was Eyada that is delicate and wistful. Bona creates another world with his music and in this song in which we feel safe and cared for.
The band picks up the tempo with All Blues in Signature 11. This song also provides ample opportunity for the drummer, Afonso to shine. Ludwig Afonso’s repertoire includes performing with Spyro Gyra and Hector Martignon.
The show wouldn’t be complete without Bona’s Magic Voodoo Machine. He plays up his mischievously labeled looper, a piece of equipment that records and loops the recording while the musician is performing.
“When I first used this machine from Japan, it had two buttons. Now they’ve insisted I use their new machine with 18 buttons,” he says in mock exasperation. Bona has no trouble impressing me as he creates a multi-voiced song whilst on stage in the moment. I am not alone in my admiration of his talents.
The evening ends with an encore and we definitely feel sated even as we look forward to his next visit to Minnesota.
