Melvin Gibbs’ “Amasia: Anamibia Sessions 2” Blends Jazz, Funk, and Experimental Soundscapes
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Amasia: Anamibia Sessions 2, the latest release from multi-instrumentalist and composer Melvin Gibbs, defies easy categorization, drawing from a vast musical palette and offering an unexpected continuation of his “sessions” series. Gibbs, whose career spans collaborations with luminaries like Sonny Sharrock, Arto Lindsay, and Caetano Veloso, alongside founding roles in Harriet Tubman and Body Meπa, delivers a record that is both challenging and remarkably cohesive.
From Atonality to Beats: A Shift in Sonic Direction
Listeners familiar with the first installment, Anamibia Sessions 1: The Wave, might anticipate a continuation of its freeform, atonal approach. However, Amasia takes a decidedly different turn, venturing into territory that could be described as a beats tape. Where its predecessor was characterized by “locked grooves and static,” this new work presents “knotty but clearly enunciated instrumentals,” according to one observer. Gibbs’ inspiration stems from the pioneering fusion work of Miles Davis and producer Teo Macero, particularly Davis’ 1975 album Agharta.
A Sonic Stew of Influences
The album’s tracks are described as “slow-cooked sonic stews,” where each element retains its distinct flavor. The opening track, “Felonious Monk,” immediately establishes this dynamic, featuring Onaje Allan Gumbs’ electric piano weaving through Gibbs’ trap drum programming and distorted sound effects reminiscent of 2000s-era hip-hop production. “Gullah Style Jack” then transports the listener back to hip-hop’s jazz-funk golden age, with Pete Cosey’s guitar providing a ’70s vibe, complemented by Gumbs and Napoleon Maddox’s beatboxing – which punctuates four of the album’s six tracks – creating a slick, late-’90s feel that ultimately builds to a frenetic pace.
Experimentation and Grounding
The latter half of Amasia leans more heavily into experimental sound design, prioritizing atmospheric textures over strict rhythmic structure. However, the closing track, “O.G. Dreams of Lost Love,” offers a return to more grounded territory. While perhaps not ideal for freestyle rapping, the song utilizes Maddox’s vocal percussion against Gibbs’ bassline to create a sense of stability. Ultimately, Amasia: Anamibia Sessions 2 is lauded as an unexpected and successful sequel, skillfully assembling disparate elements into “an immaculately oiled machine.”
