JULIA HÜLSMANN QUARTET WITH THEO BLECKMANN - A Clear Midnight
ECM 470 9276
Theo Bleckmann (vocals); Julia Hülsmann (piano); Tom Arthurs (trumpet, flugelhorn); Marc Muellbaur (double bass); Henrich Köbberling (drums)
Recorded June 2014
The music of German-born Kurt Weill has been a source of inspiration for jazz musicians for many years, and in this their first collaborative recording, vocalist Theo Bleckmann and pianist Julia Hülsmann have put another new spin on the composer's best known songs along with some "unsung Weill". In doing so they have revealed aspects of the master's work that have often been overlooked and bring a fresh unhurried programme of music that is uniquely rewarding.
The tempo's for all the music have been slowed right down, and this gives a heavy emphasis on Bleckmann's intimate delivery. Hülsmann talent for arranging for ballads in much in evidence and the lack of variance in tempo's is never allowed to become repetitive or boring; and over the course of the twelve tracks that make up the album the listeners attention is not allowed to wander.
New life is breathed into well know pieces 'September Song', 'Mack The Knife' and Speak Low' with Bleckmann ensuring that the lyrics are given prominence to the point that they are almost being heard and studied by the listener for the first time. By the same token, this made is a pleasure to also make the acquaintance of some of Weill's repertoire that is heard less often and unfamiliar to some. New to me were 'Your Technique' with words by Anne Ronell (and arranged by bassist, Marc Meullbauer) and 'Great Big Sky'.
Hülsmann's relationship with words is well documented, and to these ends she feels able to take certain liberties with the material at hand. When featuring the words of Walt Whitman, Hülsmann provides the music herself for 'A Clear Midnight' and 'A Noiseless Patient Spider' and on 'Beat! Beat! Drums!' bypasses Weill's melody altogether replacing it with her own music.
The quartet accompany the vocal with empathy that comes from the shared exprience of working together as an instrumental unit, and find no difficulty in adapting to a fifth voice. Trumpet and piano will often drift alongside the vocal line, never cutting into or becoming intrusive but mirroring Bleckmann as he delivers the lyrics. Hülsmann touch at the keyboard is assured and the choice of notes impeccable.
The same can be said of trumpeter, Tom Arthurs who continues to grow in stature, and who sound almost effortless in the way he has incorporated his sound and phrasing in this new setting. This is also much in evidence in one of two instrumental track on the album, on 'River Chanty' a delight (the other instrumental, Alabama Song' being given over to the rhythm section.
Another impressive album from Julia Hülsmann that shows further development from her fine quartet furthering the work begun on the previous release In Full View.
Reviewed by Nick Lea
ECM 470 9276
Theo Bleckmann (vocals); Julia Hülsmann (piano); Tom Arthurs (trumpet, flugelhorn); Marc Muellbaur (double bass); Henrich Köbberling (drums)
Recorded June 2014
The music of German-born Kurt Weill has been a source of inspiration for jazz musicians for many years, and in this their first collaborative recording, vocalist Theo Bleckmann and pianist Julia Hülsmann have put another new spin on the composer's best known songs along with some "unsung Weill". In doing so they have revealed aspects of the master's work that have often been overlooked and bring a fresh unhurried programme of music that is uniquely rewarding.
The tempo's for all the music have been slowed right down, and this gives a heavy emphasis on Bleckmann's intimate delivery. Hülsmann talent for arranging for ballads in much in evidence and the lack of variance in tempo's is never allowed to become repetitive or boring; and over the course of the twelve tracks that make up the album the listeners attention is not allowed to wander.
New life is breathed into well know pieces 'September Song', 'Mack The Knife' and Speak Low' with Bleckmann ensuring that the lyrics are given prominence to the point that they are almost being heard and studied by the listener for the first time. By the same token, this made is a pleasure to also make the acquaintance of some of Weill's repertoire that is heard less often and unfamiliar to some. New to me were 'Your Technique' with words by Anne Ronell (and arranged by bassist, Marc Meullbauer) and 'Great Big Sky'.
Hülsmann's relationship with words is well documented, and to these ends she feels able to take certain liberties with the material at hand. When featuring the words of Walt Whitman, Hülsmann provides the music herself for 'A Clear Midnight' and 'A Noiseless Patient Spider' and on 'Beat! Beat! Drums!' bypasses Weill's melody altogether replacing it with her own music.
The quartet accompany the vocal with empathy that comes from the shared exprience of working together as an instrumental unit, and find no difficulty in adapting to a fifth voice. Trumpet and piano will often drift alongside the vocal line, never cutting into or becoming intrusive but mirroring Bleckmann as he delivers the lyrics. Hülsmann touch at the keyboard is assured and the choice of notes impeccable.
The same can be said of trumpeter, Tom Arthurs who continues to grow in stature, and who sound almost effortless in the way he has incorporated his sound and phrasing in this new setting. This is also much in evidence in one of two instrumental track on the album, on 'River Chanty' a delight (the other instrumental, Alabama Song' being given over to the rhythm section.
Another impressive album from Julia Hülsmann that shows further development from her fine quartet furthering the work begun on the previous release In Full View.
Reviewed by Nick Lea
|
|
|
