Yohannes Tona

GIGS: Anyone who knows Twin Cities jazz will tell you that Yohannes Tona has become one of the most respected bass guitarists on the scene. In the few short years he’s lived here, he’s gone from being an in-demand hired gun for session work and backup gigs to leading The Yohannes Tona Band, which plays an infectious brand of funk-fusion that Tona calls “Afrounkjazz.” His CD debut, Sand from the Desert, features guest contributions from such local luminaries as Mint Condition’s Stokley, gospel star F. Darnell Davis, and spoken word siren Sha Cage. Sand from the Desert had a fine start at The Dakota last fall, and this month The Yohannes Tona Band headlines hot Minneapolis jazz spot Babalu.

GREW UP: Awassa, Ethiopia

THE MOVE FROM ETHIOPIA TO ST. PAUL: “As a young musician, I was looking for a way to get to the musical center of the world, and I couldn’t think of a better place than the Berklee College of Music (in Boston). Long story short, I got a scholarship and moved to the United States. After a couple of years, I was invited to perform and teach at the Ethiopian Church in St. Paul.”

ON CHOOSING BASS GUITAR AS A PROFESSION:  “After playing the guitar a while, I became more interested in harmony and groove. The bass is the only instrument with command of the two.”

ON PLAYING ACOUSTIC BASS (OR NOT): “I took the upright bass at school and used to play. I haven’t played one in years, but I am thinking about it. If I decide to get back to it, I’ll need a few months to get back in condition.”

ON PLAYING FUNK, JAZZ, GOSPEL, AND BLUES: “I once read an article by Wynton Marsalis, and he said a ‘twenty-first–century musician should be able to play different styles of music at a decent level.’ I am fortunate to play with artists who play authentic music, learn it in depth, and understand how to adapt to different styles.”

MUSICAL PHILOSOPHY: “I just let it be what it is. I can’t write programmed music, not in its classical meaning. I can’t sit down and say, ‘Oh, I’ve got a funk festival coming up, let me write a nice funk song.’ I’ve tried to write that way, but it doesn’t come out very good. The best way I can describe the way I write is the fancy word inspire. In my case, that means I hear [the music] in my head, usually when I don’t expect it. So the direction in my music is not always intentional. It might come from imagination or other listening. I just go to the nearest recording device and put down the idea, then finish it later.”

KEY TO SUCCESS: “If you take every gig seriously and do your best, you build a good reputation and get called again or get referred.”

INFLUENCES: “Traditional music from home and a variety of jazz and classical artists influence what I hear and write. I was blessed to grow up in Africa and also be exposed to Western music, which adds up to a very rich musical and cultural background. The worst thing I can do is limit myself to one style.”

RESPECTED PEERS: “Larry Graham [Sly & The Family Stone/Graham Central Station], Henock Temesgen, and Family Man. These guys are great.”

ON THE FIRST CD, SAND FROM THE DESERT: “It was necessary to introduce ourselves to the industry and to mark that developmental stage before moving to another chapter.”

NEXT PROJECT: “I plan to keep working and start recording [another CD] this coming summer.”

CATCH HIS ACT: March 18. Babalú, 800 Washington Ave. N., Mpls., 612-746-3158