this is done with such an amazing empathy for the material and the setting in which it is recast says much for Yannatou’s vision, and her artistic prowess in the captivating performances heard here.
ECM 2773 / 753 4295
Savina Yannatou (voice); Lamia Bedioui (voice);
Primavera en Salonico:
Kostas Vomvolos (qanun, accordion); Harris Lambrakis (nay); Kyriakos Gouventas (violin); Yannis Alexandris (oud); Michalis Siganidis (double bass) Dine Doneff (percussion)
Recorded March 2022 & March 2024
The element of water has long been a subject matter and source of inspiration for music and song throughout the ages with its life sustaining properties and as a force of nature that can de devastatingly destructive and her on her fifth album for ECM, Greek vocalist Savina Yannatou draws together a collection of traditional songs from Egypt, North Macedonia, Greece, Cyprus, Corsica, Iraq and Ireland. That this is done with such an amazing empathy for the material and the setting in which it is recast says much for Yannatou’s vision, and her artistic prowess in the captivating performances heard here.
If this is a multicultural exchange of musical ideas and texts, drawing as it does on from sources from the 10th and 15th centuries, its success can be attributed to the work, care and devotion of not just Yannatou but also Kostos Vomvolus who is responsible for arranging the songs and the ensemble Primavera en Saloncio with Savina, and has worked with her on her previous ECM releases.
The skill of the arranger and use of traditional instruments such as the oud, nay and zither-like qanaug bring not just an authenticity to the music but also an intriguing blend of sounds to delight the ear. The ensemble has a seemingly inexhaustible array of rhythms, textures and melodic devices at their disposal, and with Savina’s voice create a unique acoustic soundscape in which to present the age old stories inherent in theses traditional world songs.
The traditional Greek melody of ‘The Song of Kildonas’ opens the set introducing us to, or reminding us of, Yannatou’s pure and expressive voice, combined with the spellbinding blend of oud, nay and violin outlines the possibilities that await; and with the introduction of Lamia Bedioui as a second vocalist/voice on ‘Naanaa Algenina/Ivana’ the bar is once again raised.
Yannatou’s pure is heard in all its beauty and elegance on the 16th century Spanish song ‘A los baños del amor (At the Baths of Love)’ and ‘Con qué la lavaré? (With What Shall I Wash it?) in which the vocals are supported superbly by oud, violin and arco double bass.
Changes in mood and tempo are handled with much good taste on the lovely traditional Greek song ‘Perperouna’ and ‘Kalanta of the Theophany’ with its driving bass line and insistent push from the ensemble; while the Irish ‘An Ròn (The Seal)’ finds Yannatou adding her vocals over an intriguing backdrop cast by oud and violin.
The voice of Lamia Bedioui is heard on ‘Mawal (To the Mourning Dove, I Said)’ with the words of 10th century poet Abu Firas al-Hamdami set to music by Nazem al-Ghazali, and the vocalist is heard again with Savina Yannatou on the anonymous composition from Southern Italy ‘Sia maledetta l’acqua (Cursed Be the Water)’.
The blending of the two voices really does create an exquisite combination and Yannatou and Bedioui emphasise their compatibility and empathy still further on the magnificent finale, ‘Wade in the Water / Allah Musau (God of Moses)’ that seamlessly incorporate the African American spiritual with the traditional piece from Aswan-Egypt bring this triuphmant celebration of past and present to a wonderous conclusion.
