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The partnership of saxophonist Lloyd and the late drummer Billy Higgins was one of jazz's magical associations. ... Perhaps because the polarity of their approach to rhythm, they seemed to blend into a cohesive, internally reflective musical team. The tracks trace to the same 1999 sessions that produced Lloyd's previous release, the superb The Water Is Wide. Once again, the quintet consists of Lloyd, Higgins, guitarist John Abercrombie, pianist Brad Mehldau and bassist Larry Grenadier. Again, the quality of playing is extraordinarily high, different only in the selections being a bit livelier in tempo and expression.
Don Heckman, Los Angeles Times

The music is spacious and often beautiful, but never static, and is given room to breathe even in the most urgent passages, expanding outward in a way that moves beyond issues of genre or form, but always with a powerful sense of structure and purpose. Lloyd's own playing has reached a new peak of control and expressiveness in the last few years, and the whole band plays to the peak of their considerable form. Highly recommended and a fitting valedictory tribute to a master percussionist.
Kenny Mathieson, Jazzwise

Vor einem guten Jahr war an dieser Stelle Charles Lloyds CD The Water Is Wide zu preisen. Jetzt liegt der zweite, weniger balladeske Teil jener Los-Angeles-Session vom Dezember 1999 vor, als ein unfreiwilliger Nachruf auf einen der zweifellos bedeutendsten Drummer der letzten fünzig Jahre: Hyperion With Higgins. Für einmal ist solch olympischer Aplomb kein leeres pathetisches Getöse. Higgins bringt alles, das heißt alle auf den Punkt, auf den jeweils eigensten Kern, und auf einen gemeinsamen Nenner. ... In den drei ECM-Produktionen mit Higgins fand Lloyd endgültig zu einer eigenen Hymnik. John Abercrombie, eigentlich ein Gitarrist aus einer anderen stilistischen Weltgegend, war selten so sparsam, ja lapidar zu hören, und Brad Mehldau, zurzeit der Shooting Star des Jazzpianos, vergisst, Higgins als Gewissen im Rücken, fast alle seine romantischen und impressionistischen Manierismen. Dank der selbstlosen, sozusagen minimalistischen Aufmerksamkeit von Higgins wird aus dieser Allstar-Gruppe eine veritable Band, ein Ensemble, das klingt, als spielte es seit Jahrzehnten zusammen.
Peter Rüedi, Die Weltwoche

Hyperion With Higgins fehlt alles, was man geläufig unter retrospektiver Jetztzeit subsumieren könnte. Aus dem Stand entwickelt sich eine Weite, die noch in den kleinsten Wendungen ihren Platz findet. Allein aus Brad Mehldaus vorsichtigem Ertasten der Anfangstakte von Secret Life of the Forbidden City schlägt ein Funke, der den Musiker-Organismus zur treibenden Kraft, zur Schönheit frei von Politur macht. Gerade in Lloyds weiterhin standhaftem wie facettenreichem Ton schält sich eine Ursprünglichkeit heraus, die zudem Charme und Eleganz besitzt.
Guido Fischer, Jazzthetik

Bei Higgins' unerschöpflicher Raffinesse gerät schnell in den Hintergrund, dass Charles Lloyd nicht nur die Musik komponierte, sondern als Saxofonist eine Tiefe und Spiritualität erreicht, die ihresgleichen sucht. ... Musik von erhabener Qualität.
Rolf Thomas, Jazzthing

Culled from the same sessions as last year's The Water Is Wide, this compelling CD is dedicated to the late Billy Higgins, whose subtle, vitalizing drumming all but steals the show from the saxophonist leader, pianist Brad Mehldau, and guitarist John Abercrombie. More assertive than the contemplative Water, Hyperion catches everyone in animated form, updating and enhancing the trademark modal jazz sound that Lloyd has nurtured since the '60s.
Steve Futterman, Entertainment Weekly

One is tempted to hone in exclusively on Billy Higgins's ebullient playing - every rebound, roll and cymbal crash - throughout this satifying companion piece to The Water Is Wide. Standing as the late, great drummer's last recorded work, it's only natural to focus in on his final statements in a long career permeated with smiles and an irrepressibly swinging spirit. But the work here is of such a piece that you can barely separate the parts from the overall fabric. Everything hangs together and flows so organically, from Larry Grenadier's near subliminal bass lines to Brad Mehldau's crystalline piano statements to John Abercrombie's warmly fingerpicked guitar lines, all in the service of Lloyd's resplendent compositions, each a thing of grace and fragile beauty.
Bill Milkowski, Jazz Times

The ageless tenorman Charles Lloyd closes the book on his nearly half-century association with the late Billy Higgins on Hyperion with Higgins, the just released second disc from a lengthy recording session of December 1999. Lloyd gathered most of the ballads from that session for The Water Is Wide, his extraordinary meditation, released last year. by contrast, Hyperion contains both the slow stuff - songs that elicited Higgins' incomparable brush work and crisp cymbal colorations - and the mid to uptempo material that was like candy to the unflagging Higgins, a man who'd driven everything from Ornette Coleman's first L.A. quartet to Pat Metheny's straightahead trio...Lloyd has emerged as one of those musicians who only get better with age. In the 35 years since his album Forest Flower sold a million copies and made him a staple of the burgeoning San Francisco jazz and rock scenes, his tone has darkened just enough to lend impressive weight to his fluttery phrasing and careening melodies.
Neil Tesser, Jazziz

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