{"id":319,"date":"2009-01-06T21:18:51","date_gmt":"2009-01-06T21:18:51","guid":{"rendered":"http:\/\/www.ferencnemeth.com\/music\/?p=319"},"modified":"2011-12-10T01:42:31","modified_gmt":"2011-12-10T01:42:31","slug":"gilfema2-jazztimes-review-by-bill-milkowski","status":"publish","type":"post","link":"https:\/\/www.ferencnemeth.com\/music\/2009\/01\/06\/gilfema2-jazztimes-review-by-bill-milkowski\/","title":{"rendered":"GilFeMa+2 – JazzTimes Review by Bill Milkowski"},"content":{"rendered":"

http:\/\/jazztimes.com\/articles\/21172-gilfema-2-gilfema<\/a><\/p>\n

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\"Gilfema-plus_2_span3\"<\/div>\n
JANUARY\/FEBRUARY 2009<\/h5>\n

Gilfema + 2
\nObliqsound Inc<\/h1>\n

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By\u00a0Bill Milkowski<\/a><\/p>\n<\/div>\n<\/div>\n

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One of the brightest talents to emerge this decade, Benin-born guitarist-vocalist Lionel Loueke has made significant strides in his career as a sideman to Terence Blanchard and Herbie Hancock as well as a solo artist in his own right. Meanwhile, one of Loueke\u2019s most delightful outlets has been his ongoing cooperative trio Gilfema, formed with Swiss-born Italian resident bassist Massimo Biolcati and Hungarian drummer Ferenc Nemeth when they were all attending the Berklee College of Music.<\/p>\n<\/div>\n

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On their second outing together, the three demonstrate their uncanny chemistry in an expanded ensemble that includes Anat Cohen on clarinet and John Ellis on bass clarinet and ocarina. Loueke handles all the vocal duties, singing in his native Fon language while also scatting in unison with his facile and harmonically adventurous single-note lines, a George Bensonesque technique perhaps best exemplified here on the guitarist\u2019s ebullient Brazilian-flavored \u201cFesta.\u201d And while Loueke\u2019s nylon string guitar resonates with a rare purity of tone, he also fancies harmonizer and wah-wah effects, as he demonstrates effectively on his buoyant \u201cTwins,\u201d as well as on two powerful pieces penned by Biolcati, \u201cSalom\u00e9\u201d and \u201cMaster of the Obvious.\u201d<\/p>\n

Ellis\u2019 bass clarinet provides a gutsy bottom end on Nemeth\u2019s dynamic, harmonically involved \u201cQuestion of Perspective\u201d and his darkly meditative \u201cMorning Dew.\u201d He also contributes some pleasing ocarina and provocative bass clarinet lines on Loueke\u2019s engaging, polyrhythmic, West African-flavored \u201cLonLon Gnin\u201d while Cohen\u2019s frisky, freewheeling clarinet improvisations bring a spirited klezmer vibe to the proceedings on Loueke\u2019s grooving \u201cYour World.\u201d<\/p>\n

The three principals hit their stride on Loueke\u2019s most challenging number, \u201cCove,\u201d which shifts nimbly from intricate odd-metered patterns to intensely urgent freebop blowing in 4\/4, featuring some whirlwind exchanges between Loueke and Nemeth along the way. And they create a dreamy ambiance, with the addition of some beautiful, swirling counterpoint harmonies provided by Ellis\u2019 low register and Cohen\u2019s high-register clarinets, on Biolcati\u2019s gentle ballad \u201cOne\u2019s Mind\u2019s Eye.\u201d<\/p>\n

While Loueke\u2019s recent Blue Note debut, Karibu, may have turned a lot of heads (especially with the presence of Wayne Shorter and Herbie Hancock), the material on this strong outing hits deeper and stays longer.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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http:\/\/jazztimes.com\/articles\/21172-gilfema-2-gilfema   JANUARY\/FEBRUARY 2009 Gilfema + 2 Obliqsound Inc By\u00a0Bill Milkowski One of the brightest talents to emerge this decade, Benin-born guitarist-vocalist Lionel Loueke has made significant strides in his career as a sideman to Terence Blanchard and Herbie Hancock as well as a solo artist in his own right.<\/p>\n

Continue readingGilFeMa+2 – JazzTimes Review by Bill Milkowski<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":["post-319","post","type-post","status-publish","format-gallery","hentry","category-press","post_format-post-format-gallery"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/posts\/319","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/comments?post=319"}],"version-history":[{"count":3,"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/posts\/319\/revisions"}],"predecessor-version":[{"id":321,"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/posts\/319\/revisions\/321"}],"wp:attachment":[{"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/media?parent=319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/categories?post=319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ferencnemeth.com\/music\/wp-json\/wp\/v2\/tags?post=319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}