This project or collaboration was a pure expressive and emotional delight. The concept was continued on from past concerts which boldly meshed typical jazz and Greek musical traditions. Greek vocalist Maria Farantouri and jazz great Charles Lloyd from the U.S first headlined such events in 2010. The result then and now was not only a haunting blend between the stars but also a successful and natural dialogue between musical lines and various instruments from the Greek tradition and American jazz culture.

Such a gentle journey in colour and ensemble texture was just as successful this week. The musical exchanges, improvisation and solo excitement exuded constant enjoyment and freshness. Farantouri and Lloyd owed much to four outstanding supporting musicians- two from each cultural background.

Takis Farazis provided innovative modern piano atmospheres. Sokratis Sinopoulos’s lyra brought an unmistakable Greek flavour, holding its own against the other soloists. Reuben Rogers gave great direction with a jazz-style plucked bass. His harmonics and other bowed work tied in well with the lyra and shimmering figures on the piano.

Outstanding soloist and ensemble player was drummer and percussionist Eric Harland. His drum solos were emerged organically from quiet moments to fill the space with his variations. Harland’s accompaniment of single musicians or entire ensemble redefined ‘sensitive’ repeatedly with regard to the Greek styles. His diverse playing was sympathetic to music from both the worlds represented.

Hauntingly beautiful and deceptively restrained are some words to describe Maria Farantouri’s alto voice. Farantouri was a great storyteller throughout. She sang strongly in Greek and once in English over the enhanced accompaniment of drums and bass, willingly taking pause to allow the jazz great Lloyd to elaborate on her material, further enhancing the atmosphere.

Charles Lloyd provided moments filled with effortless runs on both saxophone, flute and the tarogato, a reed instrument found in European folk music over the last two centuries. His modal introductions to numbers on this expressive instrument was a relevant borrowing for the Greek Project.

Audience members could not always predict the ensemble’s next direction as one section of intensity gently or even hypnotically moved to the next. Some numbers leaned towards the Greek tradition, others were in the form of a pure jazz trio. The Greek Project’s total sound took us to a new place where labeling the exact tradition or cultural background was impossible. Such a place would be a tolerant and safe one for humankind in any multicultural environment.

The one and a half hours without interval for this concert had no lows or gaps in the unique soundscape. Performances were intimate, enthusiastic, empathetic, frenetic, and engaged. It was always sensitive genuine and respectful as the stage was shared by so many contrasted elements and performers working well together. On a social, musicological and aural-experience level this ‘project’ is a true ‘phenomenon’. As an entertainment it was extremely engaging to enjoy live.

An all round spectacular concert, THE GREEK PROJECT played the City Recital Hall, Angel Place, on the evening of Wednesday 4th June.