CD ECM Records Charles Lloyd / Maria Farantouri: Athens Concert

2010
Charles Lloyd - saxofon tenor, flaute, taragot
Maria Farantouri - voce
Jason Moran - pian
Reuben Rogers - contrabas
Eric Harland - tobe
Socratis Sinopoulos - lira
Takis Farazis - pian

AllMusic (Thom Jurek): "No one, save for perhaps Charles Lloyd, could have predicted that when he resumed his recording career in 1989 with ECM, he would scale such artistic heights as a player, a mentor, and a bandleader. Lloyd has taken part in many fascinating musical experiments: with the late Billy Higgins in Sangam with drummer Eric Harland and Indian master percussionist Zakir Hussain, as well as on his many quartet recordings. The latest version, with bassist Reuben Rodgers, Harland, and pianist Jason Moran, has been together just over four years.

It should come as no surprise then, that The Athens Concert, a double disc with the truly legendary Greek contralto Maria Farantouri, is as full of the exploratory wonder and delight as his other dates for the label. Farantouri is regarded in her own country as Edith Piaf was in France. Lloyd's band and Farantouri are assisted by Socratis Sinopoulos on lyra. "Kratissa Toi Zoi Mou (I Kept a Hold of My Life)," is a tune by Mikis Theodorakis set to a poem by George Seferis. Versions of Lloyd's "Dream Weaver" and "Prayer" are the only real instrumental tracks, and his song "Blow Wind" contains lyrics sung in English by Farantouri.

The tune "Requiem" is a jazz number with lyrics by the famed writer/lyricist Agathi Dimitrouka. The three-part, 15-song Greek Suite takes up the lion's share of the performance. It is comprised of tunes that range from a Byzantine-era hymn to traditional songs from various regions of Greece, two more Theodorakis tunes, and one by composer Eleni Karaindrou (also an ECM artist) entitled "Voyage to Cythera." The suite was arranged by Takis Farazis, who also plays an additional piano on set-closer "Yanni Mou," and with Sinopoulos, bridges the two traditions.

There isn't anything to really describe this music other than to say it is equally out of historical time and simultaneously concurrent within its stream. The two musical traditions -- post-millennial jazz and those of Greece's various eras and regions -- are made seamless, creating an entirely new and singular work that is dramatic, subtle, completely soulful, and full of startling musicianship. Indeed, the quartet plays this music as if it were part of their standard repertoire for a very special occasion. Improvisation, harmonic invention, and Lloyd's singular sense of leadership don't demand fine performances from his players; they are given freely.

In turn, he offers his finest to Farantouri, who brings the collective bounty to the listening audience. The Athens Concert is truly inspirational and quite a watermark in a career full of them for Lloyd. "