Mention “Cameroon” to most Malaysians my age and the name Claude Le Roy comes to mind. He had led the Cameroon national team to runners-up in the 1986 African Cup of Nations and then champions in the 1988 competition.

How can one not forget the quarter-final match between Cameroon and England in the FIFA World Cup in 1990? After that, he was the Malaysian national soccer coach from 1992 till 1995. Alas that ended in disaster after the Malaysian national team failed to make it for the 1994 FIFA World Cup.

Now what about Cameroon’s offering to the Genting International Jazz Festival 2008, Bens Belinga Quartet?



During the interview, Ben had spoken and made the audacious claim that Jazz is African Music. If this is true, then there would not be anything discernible between the music of Ben Belinga’s Quartet and that of any other serious jazz band. After an hour of listening to Ben Belinga’s Quartet ‘live’ I found there to be some truth in Ben’s outlandish claim, no matter how peculiar or odd.



On the other hand, something does stand out that is an unseen, kind of African spiritualism that cannot be described in words but permeates the music. There is something distinctly “African” and “Caribbean” about the music.



But this is no ordinary music. It is seriously intense music for serious listeners whether you want to term it African music or American / European jazz.



Ben not only possesses the fingers of a master musician caressing his saxophone, he is a master entertainer too. From the grunts, grimaces and facial gestures to playing the role of the worship leader in leading the congregation in a series of deep African calls (scats!) and responses like in the last song “Africa Wake Up”, the self-taught musician is certainly a charismatic yet enigmatic figure.



The stuff that emanates from that horn echoes a great host of past luminous jazz figures with traces of Charlie Parker and John Coltrane. It is also hard to imagine that he was once part of the group “Kaoma” responsible for the “Lambada” which sold 15 millions copies to date.



Georges-Édouard Nouel is a genius on the piano. On several occasions, the pertinent use of tone clusters, augmented as well as diminished chords, chromatic piano runs and familiar Afro-Cuban piano montunos show up in the polished playing so evidently on “Balisier” and “O la la”. The soulful and pensive piano introduction into “Dugananda” has borrowed elements of European Romanticism especially Sergei Rachmanihoff’s.



The grooving rhythm section was extremely tight. Laurent Evini otherwise known as Zaki has drunk deep from the ancient musical wells of Africa. His album “Zakigroove” is a tribute to African rhythm and ethos. Here, the bass obstinatos and the solos are well executed and possess a melodious vein.



The drummer is one who plays with his heart on his sleeve. The feel and passion almost seem to explode from that radiant face and the ability to juggle Caribbean and Afro-Cuban rhythms in an interlock is commendable.



All in all, it is impossible to dismiss Bens Belinga Quartet for it ranks quite up there alongside serious jazz, sorry, African music bands.

“Abunga” or “Thank you” Bens Belinga.