{"id":322,"date":"2008-12-06T21:25:17","date_gmt":"2008-12-06T21:25:17","guid":{"rendered":"http:\/\/www.ferencnemeth.com\/music\/?p=322"},"modified":"2011-12-10T01:43:54","modified_gmt":"2011-12-10T01:43:54","slug":"gilfema2-all-music-by-michael-g-nastos","status":"publish","type":"post","link":"https:\/\/www.ferencnemeth.com\/music\/2008\/12\/06\/gilfema2-all-music-by-michael-g-nastos\/","title":{"rendered":"GilFeMa+2 – All Music by Michael G. Nastos"},"content":{"rendered":"
http:\/\/www.allmusic.com\/album\/gilfema-2-r1433844\/review
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Gilfema + 2<\/h1>\n
Gilfema<\/a><\/div>\n<\/div>\n
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Review<\/h2>\n

by Michael G. Nastos<\/p>\n

Gilfema<\/a>‘s follow-up to their excellent debut CD adds clarinetists\u00a0Anat Cohen<\/a>\u00a0and\u00a0John Ellis<\/a>\u00a0to the fray, expanding the sound of lead instruments on top of guitarist\u00a0Lionel Loueke<\/a>‘s personalized concept. Where their initial recording (and\u00a0Loueke<\/a>‘s trio that also includes extraordinary bassist\u00a0Massimo Biolcati<\/a>\u00a0and equally talented drummer\u00a0Ferenc Nemeth<\/a>\u00a0as heard on the Blue Note CD\u00a0Karibu<\/a>\u00a0) was an intuitive jam style concept, this one sports an even deeper texture, buoyed by\u00a0Cohen<\/a>‘s bright alto horn, and the bass clarinet undertow created by\u00a0Ellis<\/a>. While the music is heavier and more contemporary in flavor, it loses none of the inventive and playful concept of\u00a0Gilfema<\/a>‘s original collective vision. Where\u00a0Loueke<\/a>\u00a0in a leadership role features his compositions,\u00a0Gilfema<\/a>\u00a0equally splits up those chores. The bass clarinet of\u00a0Ellis<\/a>\u00a0works as a perfect underpinning for the band, whether shifting in funky mixed meters on “Question of Perspective,” thrusting the band and\u00a0Loueke<\/a>‘s wah-wah guitar through the 6\/8 time of the near klezmer piece “Salome,” or in kinetic fashion merging the best of two worlds in African depth and mainstream jazz swing 50\/50 during “Cove.”\u00a0Cohen<\/a>‘s clear influence on\u00a0Loueke<\/a>\u00a0during the beautiful, serene, slight samba feature “One Mind’s Eye” showcases her sweet voicings on an instrument that in modern times has few distinctive champions.\u00a0Loueke<\/a>‘s presence is undeniable, as his personal, unique individualism playing guitar, singing, or oft times both, is the centerpiece on the shuffle strut “Your World” or the spare patient lines of “Morning Dew.” He sounds very much like\u00a0Milton Nascimento<\/a>\u00a0on the 6\/8 opener “Twins.” The 6\/8 beat is the favored rhythm of the group, fueling the lead ocarina of\u00a0Ellis<\/a>\u00a0during “LonLon Gnin,” 10\/8 is the witty choice for the New York neo-bop styled “Master of the Obvious,” and the hip, exciting, and fun “Festa” is in 7\/8. The point is this is not conventional two or four beat music, and cannot be pigeonholed on any level of Afro-pop music.\u00a0Gilfema<\/a>\u00a0is raising the bar of world music — jazz with ethnic influences — and is not so much an aside to\u00a0Loueke<\/a>‘s major-label efforts or work with\u00a0Herbie Hancock<\/a>\u00a0as it is a logical extension of the many kinds of music he hears, and with this great group, collectively offers to all.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

http:\/\/www.allmusic.com\/album\/gilfema-2-r1433844\/review Gilfema + 2 Gilfema Review by Michael G. Nastos Gilfema‘s follow-up to their excellent debut CD adds clarinetists\u00a0Anat Cohen\u00a0and\u00a0John Ellis\u00a0to the fray, expanding the sound of lead instruments on top of guitarist\u00a0Lionel Loueke‘s personalized concept. Where their initial recording (and\u00a0Loueke‘s trio that also includes extraordinary bassist\u00a0Massimo Biolcati\u00a0and equally talented<\/p>\n

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