Hans Theessink Albums (10)
What The Critics Say
Less a summit meeting of two bluesmen from different continents than a cozy, loose musical conversation between friends who share similar interests, Visions is a low-key but poignant album whose charms grow stronger as it progresses. American soul/roots singer/songwriter Terry Evans is probably better known through his background singing for Ry Cooder and a few Cooder produced releases with fellow vocalist Bobby King than his impressive solo recordings. Hans Theessink, who is also a singing, songwriting guitarist (he blows harp here as well), hails from the Netherlands and is well known in Europe for a bulging collection of solo discs dating back to 1970. Both push the boundaries of soul, blues, gospel, and roots music and have worked extensively together in the past. This 2008 collaboration finds the duo joining with percussionist Phil Block and Richard Thompson (on electric guitar for two tracks) for a relaxed, predominately acoustic set of eclectic covers and a few older, rearranged catalog items from both men that sound almost unrehearsed in their natural spontaneity. Songs made famous by Bo Diddley ("You Can't Judge a Book by the Cover"), Fats Domino ("Let the Four Winds Blow") and Wilson Pickett ("Don't Let the Green Grass Fool You") nuzzle up to deeper blues selections from Memphis Slim and J.B. Lenoir for a stroll down memory lane that feels pretty close to what you'd hear if these two sat down on their back porch with a few beers without the tapes running. Theessink's deep bass voice and Evans' higher pitched gutsy soul/gospel tone make for surprisingly effective harmonies even though both are distinctive on their own. It's a laid-back session, heavy on folksy soul/blues with "Dark End of the Street," "Trouble in Mind," and the chestnut "Glory of Love" (likely picked up by Theessink from Big Bill Broonzy's version). Yet the combination of voices and originals mixed with oldies yields an unhurried vibe that's contagious and flows with the easy rhythm of buddies with mutual respect having a blast playing together. While it's not either artist's best work and at times seems a little too casual, Visions is a thoroughly enjoyable project that fans of either Evans or Theessink will relish. ~ Hal Horowitz, All Music Guide
'Songs from the Southland'
Release Date 5/10/2004
Tracks 14
Label Blue Groove
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What The Critics Say
Taking his cues from the '70s output of Ry Cooder, there is nothing in the sound of the Dutch-born and raised Hans Theessink that would indicate he learned his craft from albums and not from being raised in the swamps of Mississippi. His dusky baritone, greasy slide licks, and soulful male backup singers (led by Cooder vet Terry Evans who turns in a stunning performance throughout) plant him firmly into the deep South. The gospel feel of the title track, along with its subtle shuffle beat and rousing yet mellifluous supporting vocalists, sounds as natural as if he spent his entire life soaking up the spirits of the bluesmen he obviously adores. When he and the elegant singers harmonize on "Set Me Free," with pedal steel crying and longtime cohort John Sass' tuba counterpointing the bass, you can almost feel the flies buzzing around your head as you sit beside the banks of the mighty Mississippi. The ghost of Robert Johnson haunts this graceful music, yet the feel is less of the raw Delta blues than of a shimmering, daydream inhabited by the spirits of the swamp. Similar to J.J. Cale, Theessink finds his soul hovering through the backwoods, and with his sympathetic band, he has created an album that is hypnotizing in its intensity. Jaunty covers of Willie Dixon's humorous "29 Ways," Rufus Thomas' classic "Walking the Dog," and Leadbelly's "Bourgeois Blues" all get similar treatment, as Theessink nudges these often-covered tunes into the marsh and mud, wrapping his voice around them and providing interpretations so unique and distinctive it seems he's re-written the songs. An album-closing solo turn on Muddy Waters' "Feel Like Going Home" is a beautiful, sad coda, as the guitarist takes his time languidly unspooling the track, as if he's playing at home alone. In fact, the entire disc sounds comfy and cozy, with Theessink secure in his talents and especially those of his remarkable band. This is an artist steeped in the blues, but like Ry Cooder, one who successfully interprets it in his own characteristic fashion, which is what makes Journey On so consistently engaging, on so many levels. ~ Hal Horowitz, All Music Guide
What The Critics Say
Even a die-hard Big Bill Broonzy fan such as Theessink realizes the blues can't stay stagnant. That understanding helps makes his reverent combination of Delta blues, New Orleans R&B, and especially gospel so riveting. The Dutch guitarist/vocalist, besides being a talented singer and musician, is an accomplished songwriter. He uses the elements of his eclectic influences to create blues based tunes that pay tribute to their American roots without being hamstrung by them. He shifts from the J.J. Cale swamp shuffle of the title track and "Rolling Stone" (not the Muddy Waters tune) to the rousing deep Mississippi acoustic blues of "Train" and the folksy closing ballad "Man with a Broken Heart." Theessink's burnished, mellifluous vocals wrap around the material like a smoky haze, further reinforcing his obvious connection to blues and gospel. Vienna based, Theessink took his show, or at least his tapes, on the road to L.A., Dublin, and Austin, recruiting musicians from those cities to overdub parts on songs he had already laid down basic tracks for. Despite its somewhat Frankenstein-styled genesis, the results are warm and inviting, creating music that seems as if guests such as Marcia Ball, Cindy Cashdollar, and Terry Evans were recording simultaneously with him instead of after the fact. Tuba from Jon Sass creates unique basslines as well as reinforces the music's New Orleans connection. Songs such as the singalong "Home Cooking" overflow with churchy joy and choruses, begging to be belted out in a live setting. You can practically feel the mosquitoes biting on "Lazy, Long Hot Summer's Day," a languid trip through the heat of a typical summer day in the deep South featuring a short but head-turning tuba solo from Sass. These 13 originals boast distinctive melodies that can be traced back to Theessink's love of American blues but aren't bound by them. It's a blues album that expands the genre's boundaries with class, charm, and a deep appreciation and knowledge of all that has come before. ~ Hal Horowitz, All Music Guide
'Baby Wants to Boogie'
Release Date 1/1/1987
Tracks 10
Label Blue Groove
See Album Tracklist and Review
What The Critics Say
Hans Theessink often gets the short end of the stick because he's a Dutch bluesman, which means he couldn't possibly be "legitimate" in the eyes of some critics. That's not really fair, since he's actually an imaginative, unpredictable guitarist. Granted, his albums can sound a little sterile, but that criticism can be applied to most contemporary blues albums. The main problem with his records is that they're interchangeable -- all of them sound similar and all of them are about as strong as their predecessor. Baby Wants to Boogie isn't particularly different from his other albums, but it does have some good songs and solos, making it as good a place to learn about Theessink as any. ~ Thom Owens, All Music Guide
