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Theo Bleckmann / Press

“JAZZTIMES, USA/John Murph Because of Bleckmann’s dynamic band- width that includes modern jazz, new music, European classical and cabaret, predicting his artistic trajectory is as tricky as forecasting the path of a hurricane.try stuff. His voice is instantly recognizable regardless of idiom or instrumentation. And it’s capable of imbuing melodies, lines and lyrics with flickering sensuality and emotion.”

John Murph - JazzTimes

“ARTSHUB, Australia/Melynda von Derksen Known for his integration of extended vocal techniques with live electronic processing and looping, Bleckmann creates an ambient jazz sound that earned him a nomination for the 2010 Grammy Awards [...], and his Melbourne concert was not only par excellence, but was consistent with his musical genius. Not only does he use an impressive array of vocal acrobatics, theatrical tricks, and an extended vocal range to give each song a life of its own, he also uses physical movement and electronic loops to add an extra dimension to his work that keeps you on the edge of your seat, listening to every abstract sound.”

Melynda von Derksen - Artshub, Australia

“JazzTimes/Nate Chinen "By contrast, consider the brilliant new album by Theo Bleckmann, a willowy fixture in the John Hollenbeck Large Ensemble. I Dwell in Possibility (Winter & Winter) is a solo-voice recital, with Bleckmann accompanying himself on an array of instruments, from autoharp to zither. The closest it comes to jazz orthodoxy is a debonair version of “Comes Love,” with upbeats creaked on an Indonesian frog buzzer. Yet I can’t help but imagine someone like Bleckmann (is there anyone else like Bleckmann?) onstage at the Monk Competition, bewitching and befuddling the audience. Possibility—now there’s one thing jazz singing shouldn’t do without.”

Nate Chinen - JazzTimes

“THE IRISH TIMES, Cormac Larkin THEO BLECKMAN Hello Earth ! The Music of Kate Bush Winter and Winter ***** (5 stars) The title is well-chosen. Avant-garde New York vocalist Theo Bleckman and his band approach the wonderfully bizarre, otherworldly songs of Kate Bush like aliens examining a new life form. Always precise and technically fastidious, Bleckman manages to be both adventurous and faithful to the material, probing each lyric for its meaning, while the talented band, hand-picked from New York’s fertile ‘downtown’ scene, create a spacey, ethereal backdrop which invests what are already extraordinary songs – Running Up That Hill, Cloudbusting, The Man With The Child in his Eyes – with a wide-eyed sense of wonder and discovery. It’s as if they landed in Kate Bush’s back garden and said “Take me to your Lieder!”. And its all wrapped in one of Winter and Winter’s gorgeously lo-tech Music Edition covers, which laugh in the face of downloads and make ‘albums’ w”

Cormac Larkin - THE IRISH TIMES

“Downbeat, USA/Zach Phillips Vocalist Theo Bleckmann reinterprets the British singer’s work through his own lens. It’s a gutsy move. Bush’s idiosyncratic musicality makes her difficult to cover, and tougher to reimagine. What’s surprising about Hello Earth! is how seamlessly Bleckmann pulls it off. [...]. On many of these songs, Bush had originally deployed an arsenal of vintage synth sounds and effects, some of which could sound dated to modern ears. Bleckmann, instead, relies on the muscle of a spartan quartet—featuring drummer John Hollenbeck—that leapfrogs styles from straightforward vocal jazz to ambience to thrash metal (“Violin”). Like Bush, Bleckmann has a flair for oddball harmonies and vocalese. His voice is also supple enough to charge the most oftencovered Bush numbers, particularly “This Woman’s Work,” with deep empathy. It makes for a generous collection, limited only by the near-impossibility of its vision.”

Zach Phillips - Downbeat

“NEW YORK TIMES, USA/Nate Chinen "Mr. Bleckmann knows his way around a dreamscape. A vocalist of inventive instinct and assiduous musicality, he’s never more secure than when in reverie, plumbing depths at once familiar and strange." [...] But Kate Bush is a special fit for him. The arc of her career, uneasily abutting art-rock and alternative music, jibes with his own off-kilter profile. And she’s another transfixing singer with a penchant for careful diction and spooky connotation, and deep interest in the subconscious. “Hello Earth! The Music of Kate Bush,” Mr. Bleckmann’s new project, had its premiere this spring; he plans to record an album next year. [...] But Mr. Bleckmann was at his best when he slowed things down, fixing a cold stare on Ms. Bush’s lyrics. In this mode, “All the Love” assumed an otherworldly sadness true to the song. A wordless cry at the start of “This Woman’s Work” became a formal device, sampled and transformed into a drift of ghostly a”

Nate Chinen - New York Times