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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 YusadaLas 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 cymbalsa 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?
Track Listing: I Dwell In Possibility; I Hear A Rhapsody; Lord Is It Mine; Duet For One;
Static Still; Wa-lie-oh; That Lonesome Road; So La So Mi; Ma'at; If Only;
Earth And Sky; The Fiddle And The Drum; Kleines Norwegisches
Wintergedicht; Comes Love.
Personnel: Theo Bleckmann: voice, autoharp, chime balls, chimes, finger cymbals,
flutes, glass harp, hand-held fan, Indonesian frog bugger, iPhone, lyre,
melodica, miniature zither, nut shell shakers, rotary pan flute, shruti box,
tongue drum, toy amp, toy boxes, toy megaphones, vibratone, water
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.