Theo Bleckmann: I Dwell In Possibility

Were Theo Bleckmann Irish he would be a leprechaun, a magical bringer of joy and beauty with creativity and a sense of humor. Probably a more apt cultural consideration is viewing this vocalist/performance artist as the embodiment of all that was good, demiurgic, evocative, and provocative of Berlin during the explosively creative Weimar Republic period. Bleckmann is a daring and broadly talented artist fearing no type of artistic expression. A lover of sounds and gadgets, the singer has forged a place for himself on the whole art scene with releases culminating in the Grammy-nominated Twelve Songs by Charles Ives (Winter & Winter, 2009).

Bleckmann's collaborations with pianist/conductor/composer Fumio Yusada—Las Vegas Rhapsody: The Night They Invented Champagne (Winter & Winter, 2006) and Schumann's Favored Bar Songs (Winter & Winter, 2009)—have proven him an intensely personal artist, ready to share his wares with an interested public. I Dwell In Possibility is Bleckmann's celebration of the voice. No better way to do so than with his fine instrument and fertile imagination.

Bleckmann addresses his material on two levels: first is in choice, which is far and wide; second, "instrumentation" he provides his singing. I Dwell In Possibility is a solo recording in the truest sense of the word, as Bleckmann is the sole proprietor of his creative and expressive domains. The title piece is Bleckmann's imaginative setting of Emily Dickinson's verse of the same title; augmenting the piece with vibra tone, glass harp, chimes, and finger cymbals—a lover of gadgets, for sure, and gleeful employment thereof.

James Taylor Quartet's "Lonesome Road" and Joni Mitchell's "The Fiddle and The Drum" are transformed by Bleckmanns brilliant sorcery. Even ancient texts are not safe from Bleckmann, who adapts fragments by Euripides and from unknown ancient Egyptians. This is densely creative and very smart music that is enjoyable even at its most experimental (Meredith Monk's Wa-lie-ho." What next, Theo Bleckmann?

Comments