Theo Bleckmann

THEO BLECKMANN TRIO

Theo Bleckmann   voice

Shai Maestro   piano

Ben Monder   guitar

TheoBleckmann

Hello Earth! – The Music Of Kate Bush

Theo Bleckmann   voice

Caleb Burhans   viola, guitar, laptop

Henry Hey   keyboard

Skull Sverrisson   bass

John Hollenbeck   percussion

 “He has taken vocalese into the 21st century.”

Martin Johnson, Wall Street Journal

Beyond being a vocalist of rare purity and daring, Theo Bleckmann is a sound painter who creates what JazzTimes has described aptly as “luminous webs” in music. The German-born New Yorker – after appearing on two ECM albums by Meredith Monk and another by Julia Hülsmann – made his striking label debut as a leader with Elegy in 2017. This album showcases Bleckmann as a composer as much as a singer, with several instrumental pieces voiced by what he calls his “ambient” band of kindred-spirit guitarist Ben Monder, keyboardist Shai Maestro and the subtle rhythm team of Chris Tordini and John Hollenbeck. Highlights include Bleckmann’s sublime rendition of Stephen Sondheim’s “Comedy Tonight” (“tragedy tomorrow… comedy tonight”), as well as the mellifluous vocalise of “Little Elegy” and achingly poetic “To Be Shown to Monks at a Certain Temple.”

This record is called Elegy for a reason – each of its songs relates to death or transcendence in some existential way,” Bleckmann explains. “Several of the pieces are instrumental, with ‘Cortege’ a funeral march. In the song ‘Take My Life,’ I imagine what it would be like to die, losing facility bit by bit: losing your voice, your heartbeat, your breath. I wrote that one thinking about Bach and his cantatas, especially ‘Ich habe genug,’ which is about joyfully going into the afterlife. For this album, I wanted to create songs that deal with this subject matter not in a morbid way but with some light to it.”

The overall tone and tenor of Elegy – floating yet substantive, reflecting on serious emotions but with a lightness of touch – reflects Bleckmann’s thoughts on the inevitability of the life cycle, the sublimity of our life’s punctuation.

Bleckmann and company recorded Elegy at New York City’s Avatar Studios with producer Manfred Eicher, who helped shape the album. “Elegy” was released by ECM in 2017.

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In describing the art of Theo Bleckmann, the Chicago Reader declared that he is “one of the most flexible and uncategorizable figures on the New York scene. Since the mid-’90s, he has been doing his thing in a niche of his own invention, somewhere between jazz, cabaret, classical, experimental and improvised music. He has got a strong, precise voice and impeccable pitch control… with range and curiosity. It’s tremendously rare for a singer to realize the potential of the voice so thoroughly.

Bleckmann’s first appearance in a jazz context for ECM was his featured role on pianist Julia Hülsmann’s exploratory 2015 album A Clear Midnight – Kurt Weill and America, which The Guardian called “one of the great jazz treatments of the songs of Kurt Weill,” singling out Bleckmann’s vocal “eloquence.” Prior to that, he appeared as a member of the Meredith Monk Ensemble on the albums mercy (2002) and impermanence (2007).

Since 1989, Bleckmann has been a resident of New York, where his early champions included jazz vocal great Sheila Jordan. He has sung everything from songs by Charles Ives and Kate Bush to Las Vegas standards and Shakespearean sonnets, collaborating with figures from Laurie Anderson to John Zorn.

After tackling American maverick composer Charles Ives and receiving a Grammy nomination for it, in 2012, vocalist Theo Bleckmann took on the mysterious songbook of British pop recluse Kate Bush. This project goes beyond merely re-creating Kate Bush’s music but taking it into other realms of sound and interpretation. Bush’s œuvre is indeed mysterious and often enigmatic in nature: unusual song forms, oracular lyrics and unpredictable meter- and harmony-changes are an anomaly in pop music, making it the perfect vehicle for Bleckmann’s distinctive, interpretive spirit and interest in the unusual. Even though Bush still remains a household name, it is fair to say that her music is not your usual run-of the mill boy-meets-girl/boy-looses-girl fare. Her use of British and Irish myths, her references to psychology, literature and film, her meticulously multi-layered productions and her unusually high voice make her idiosyncratic body of work challenging for other artists to interpret.

Bleckmann first heard Bush as a young teenager and was immediately intrigued… “Her music has this thing that I love in art: you’re instantly drawn into someone’s universe without really knowing why but somehow understanding everything in your heart.” A lot of teenage pop heroes came and went, but Kate Bush remained a constant in Bleckmann’s life. “Her songs and records never became obsolete ? – I now realize that the way she layered sound, speech and music became a major influence for my live electronic looping aesthetic.“

»Hello Earth!« is a journey into Kate Bush’s world through Bleckmann’s voice and interpretive vision. He treats Bush’s music as he would that of Charles Ives, Thelonius Monk, George Gershwin, Guillaume de Machaut, Joni Mitchell or any other composer he takes on: with love, respect and an insatiable curiosity for new possibilities.

– Nate Chinen, The New York Times

 

Vocalist and composer Theo Bleckmann has been a leader or collaborator on some of the most interesting jazz and new-music projects of the past 25 years. He has clear, crisp diction and can render a lyric poignant during a straightforward reading, but Mr. Bleckmann is unusually tech savvy and often uses delays and other effects to create an ethereal dreamscape. He has taken vocalese into the 21st century. […] ‘Elegy’ is an unusual recording for a performer known for his vocals, as they are not at the center of each tune. Some are instrumentals, and on others Mr. Bleckmann contributes elegant scatting to the work of his stellar band […] Today’s jazz is often as much about texture as it is about virtuosity, but in Mr. Bleckmann’s music it’s about both.

-Martin Johnson, Wall Street Journal-

 

The set builds from minuscule beginnings in fine pianist Shai Maestro’s soft chords and restrained flutters in the voiceless opener, through the pared-down Sondheim, and into the ghostly-chorister ascents of ‘Fields’, as Monder’s warm guitar emerges […] Bleckmann’s subjects are mortality and hope, but his lightness of touch and the band’s independence (several pieces are instrumentals) ensure that startling music-making is the overarching theme.

-John Fordham, The Guardian-

Bleckmann surrounds himself with longtime collaborators Ben Monder on electric guitar and John Hollenbeck on drums, as well two ECM initiates in pianist Shai Maestro and bassist Chris Tordini. Of the 11 songs here, only four contain lyrics, the rest are showcases for Bleckmann’s considerable improvisational gifts and elegant technique. […] it reveals Bleckmann’s creative authority as he searches the limits of both sound and silence for an expression that utters its own name. The album is a gentle wonder; it bodes well for an enduring relationship between artist and label.

-Thom Jurek, All Music-

Its underlying concept may be a dark one and there is, to be sure, plenty of introspective, existential-leaning music on ‘Elegy’; but, at the same time, Bleckmann and his empathically connected quartet also manage to deliver no shortage of beauty. Even with lyrics as final as ‘Take My Life’—‘Let me exhale once more and I’ll be mute forever / May there be no heaven’s gate / No other God than silence’—there’s a certain buoyant joy to the music, with Monder taking a rare solo that’s tonally connected to King Crimson’s Robert Fripp but harmonically all his own and filled with an abundance of head-scratching techniques, all driven, with frenetic energy, by Maestro, Tordini and Hollenbeck.

– John Kelman, All About Jazz-

As the title implies, his leader debut for ECM is a set of self-composed reflections on death and transcendence, but it’s nothing like as dark or morbid as that suggests. With a front-rank group that includes guitarist Ben Monder, pianist Shai Maestro, bassist Chris Tordini and drummer John Hollenbeck, Bleckmann spins an ethereal web of sound that hovers on the brink of ambience – wistful, hopeful sounds that ebb and flow like wind through a graveyard.

-Cormac Larkin, The Irish Times-