-----Hal Horowitz (USA) winner of the Keeping the Blues Alive for journalism in 2009:
Don't let the "soundtrack" or "remixed" words in the title deter you from a low-key but emotionally moving collection of stripped down (predominantly) covers, that's as powerful a set from Theessink as any of his more produced albums. "Sympathy for the Devil" never sounded so sinister and songs from Ray Charles, Bo Diddley, Tom Waits and Hank Williams are equally as evocative of muggy, summer late nights and creaky back porches in the deep Mississippi
Richard J.Skelly, Blues Revue (USA) MAR/APR 2012, issue #133
With well over a dozen highly acclaimed records, Theessink remains a master of acoustic blues traditions. On all songs, his deep baritone combined with his expert guitar connects immediately.
AUDIOPHILE CD of the month - A beautiful piece of work!
-----KS, Properganda (UK):
One of those albums you start out liking and end up loving!
Hans has come up with more than just a good soundtrack, it’s a very good Hans Theessink album as well. As you expect with this master musician, whether solo or accompanied, his intricate slide guitar ramblings are as exquisite as his busy bluegrass runs and imaginative arrangements on songs familiar to us all. His beautiful version of Hank Williams’ Angel Of Death, the lazy faux-Cajun feel of Joe South’s classic Games People Play and the Stones’ Sympathy For The Devil are perfectly placed between Theessink’s own material which includes plangent guitar work on Cuckoo, the deep swamp-feel of Ready For The Ride and the throbbing soul-filled Call Me. An added bonus on a couple of tracks is the divine backing vocals of Terry Evans and Bobby King.
And who could have mastered such a daring task any better than Hans Theessink, a European, deeply rooted in this kind of music? A part of the material chosen is already familiar with Theessink collectors, the other part remains to be discovered. The cause may have been unusual but the result turns out a genuine Theessink with all the love, devotion and virtuosity we know him for. (Rating: excellent).
-----Przemek Draheim, Blues.pl (P):
For me the “Hans Theessink” logo is the symbol of highest quality music and this record proves that just right. “Jedermann Remixed” has all the essence of Hans' previous releases. It is stripped down, down to earth and a really moving piece of work. A blues lover’s treat.
-----Mark Uricheck, Living Blues (USA) December 2011:
Theessink successfully cherry picked a mix of his own original material, covers by artists like Tom Waits and Johnny Cash, and a few traditional, public domain chestnuts. The record ably shadows the film’s visuals, but also works on its own as a haunting slice of Americana. The cover material is ethereal and bone-strippingly minimalist, mostly Theessink and a guitar. Theessink’s music evokes empathy, warmth, and hope. His roots-inflected delivery and folk musical reference make him the perfect conduit for this uniquely 21st-century spin on the Jedermann story.
------Chico News and Reviews, Jaime o' Neil (USA):
Well, now, this is interesting, indeed, an 18-song cycle that serves as both a concept album and a soundtrack album, all sung and performed by Hans Theessink, who plays and sings with singular grace, using his honeyed baritone and his soulful pickin’ on guitar, banjo, and mandolin to reinterpret a bunch of songs by people as diverse as Hank Williams, Tom Waits, Bo Diddley, Johnny Cash, and the Rolling Stones, recasting all of their familiar tunes and a few of his own in service to a movie based on the Austrian version of Everyman, the English morality play. I want to see this movie, but I’m almost certain I’ll have to wait for it to come out on DVD. In the meantime, I can content myself with these artfully recast songs. If you can’t imagine any way to hear “Sympathy for the Devil” other than the way Mick did it long ago, you’re going to be surprised at how much more there was for Hans Theessink to find in that song, especially in this context. His version of Nick Lowe’s “The Beast in Me” fits here neatly, and the whole presentation just seems inspired, with God and the Devil both serving as collaborators. This could have been a pretentious flop of an album, but it avoids all the pitfalls that can so readily attend this kind of project. Hallelujah, Hans, and good on ya. This is an album for most every man. And woman, too.
------MIDWEST RECORD, Chris Spector (USA):
Veteran acoustic bluesman Hans Theessink adds the sinister elements of folk music to the Texas guitar sound he’s mastered so well. Taking “When the Man Comes Around” from the jubilee anthem Johnny Cash made it and turning it into something as eerie as John Jacob Niles doing “Lonesome Valley” with dark religious overtones, Theessink could sound like your kids worst nightmare. Wild, powerful stuff from a cat that knows his stuff, this is wild stuff that’ll breathe life into the most jaded ears. A winner throughout.
-----Ian McKenzie, Blues In The South (UK)
Eighteen tracks of magic, excellently recorded and giving Hans' growling bass-baritone voice and exemplary guitar picking a great workout. Hans has managed to reduce the arrangements - even of Rolling Stones' songs like Sympathy For the Devil and No Expectations - to the basic essentials; sometimes just one guitar-one voice, and it works! This one is strongly recommended to all fans of acoustic, gospel/blues based music and of course to fans of HT.
-----Sheryl and Don Crow, Nashville Blues Society (USA
Throughout, Hans’ acoustic and slide guitar as well as his somber, lower-register vocals, ring true. To add to the overall experience, the songs are sparsely arranged. Hans Theessink has taken his vocal skills and his skills on the guitar and channeled them into a collection of songs that are interwoven through their subject matters and fit the soundtrack of “Jedermann” perfectly. This one gets better with repeated listenings, and is highly recommended!
★★★★★ Donny Harvey, MuzikReviews.com (USA)
This is a great album regardless of how you decide to file it in your collection. I encourage fans of just about any kind of acoustic music to give it a try. (As an added bonus you’ll get to hear and understand all the lyrics to “Sympathy For The Devil” too!)
-------zeitgeist (UK) 2011.12.13
There isn't anything here I don't want to hear again, even a song as overplayed as 'Sympathy For The Devil' comes at you from a different angle, but the real killers are Hank Williams' 'Angel Of Death', the Trad Arr 'Oh Sinner Man' and Nick Lowe’s 'The Beast In Me', which are absolutely stunning in their execution. It's all stripped down and slide drenched, bar some backing vocals from well known bluesters Terry Evans and Bobby King. A winner from beginning to end.
------Dr.Blues, Long Island Blues Society (USA) 2011.12
Done subdued and restrained, the visuals and acoustic stimuli flow over you like a cleansing stream. Another fine, unique and original Theessink concept album.
HANS THEESSINK * JEDERMANN REMIXED – The Soundtrack
Dutch morality play Elckerlyc was written in the late 15th-century and may well have been the original source for the English play Everyman. In 1911 Hugo von Hofmannsthal adapted Everyman as Jedermann, and since 1920 Jedermann has been performed every year on the steps of the Cathedral in Salzburg as part of the Salzburger Festspiele. The open-air performances have been one of the highlights of the Festival season ever since. Throughout the years many famous German language actors/actresses have been part of Jedermann in
Salz burg. Actors playing Jedermann include Attila Hörbiger, Will Quadflieg, Curd Jürgens, Maximilian Schell, Klaus Maria Brandauer, Helmut Lohner, Gert Voss, Peter Simonischek and Nicholas Ofczarek. His famous “mistresses” (Buhlschaft) include Christiane Hörbiger, Senta Berger, Sunnyi Melles, Veronica Ferres and Birgit Minichmayr...
Based on Everyman and enhanced with dramatic modern adaptations, Jedermann presents God, Death, the Devil and other abstract beings as personifications. The rich Jedermann is faced by unexpected Death, calling him to his judgment. Allowed company on his final journey, he is deserted by his loyal servant, his friends and his money; the figures of Good Works and Faith help him repent and save his soul before he is lowered into his grave.
In 2011 the Austrian Broadcasting Corporation ORF commissioned film director Hannes Rossacher to produce the film “Jedermann Remixed” to commemorate the success-story of 90 years Jedermann phenomenon in Salzburg. Rossacher used archive footage from 9 decades to put together a cultural historic puzzle and create a unique performance of Jedermann that has not been seen in this form before. ORF and Hannes Rossacher asked me to produce the soundtrack for the film and we selected the songs that would fit the themes and scenes.
Besides several Theessink originals we recorded songs by many legendary songwriters: from Bo Diddley to Tom Waits, Hank Williams to Ray Charles, Johnny Cash to Rolling Stones Jagger/Richards. We also struck gold with some tradi tional songs that have been handed down through time.
For me it was a wonderful challenge to create this soundtrack to support the images of the film. I‘ve tried to reduce the arrangements to the basic essentials; sometimes just one guitar-one voice. It‘s the nature of film music that only certain passages of the songs are used where the film needs it. Still we recorded the songs in their full length; resulting in “Jedermann remixed” the soundtrack. Enjoy, Hans Theessink
Hans Theessink: lead vocals, guitars, banjos, mandolin, mandocello, mandoguitar, harmonica. Roland Guggenbichler: piano, organ, wurlitzer piano, accordion (1,10,14,16,18). Dumisani Moyo, Blessings Nkomo, Vusa Ndlovu: vocals, perc. (1,6,8,14,15,16,18). Brigitte Guggenbichler: vocals (14,18). Meena Cryle: vocals (11). Maximilian Djokic: cajon (1,18). Tobias Tautscher: double bass (1,18). Knud Møller: electric guitars, viola, pump organ (3,17). Morten Eriksen: percussion (3,17). Terry Evans: vocals (7,13). Bobby King: vocals (7). Harry Stampfer: drums (16). Erich Buchebner: double bass (16).