Press For

The Westerlies

“An arty quartet featuring two trumpeters and two trombonists, mixing ideas from jazz, new classical and Appalachian folk.” - The New York Times

“Chamber music with bracing melodies and, crucially, an undeniable sense of fun” - L.A. Times

“proof, if any be needed, that the same music can be both folk-like and composerly, lovely and intellectually rigorous.” - NPR Music

“Skilled interpreters who are also adept improvisers” - NPR’s Fresh Air

“a kind of bastard child, standing fiercely between genre cracks with works that evoke the Americana of Aaron Copland and John Philip Sousa on the one hand but seeming to translate the rhythmically spastic machinations of EDM on the other. There are plenty of other stops in between, all delivered with stunning clarity and richness." - Chicago Reader

“The Westerlies join a decades-long line of wind players who helped shape jazz history, each with a unique brand of genre agnosticism and freedom fighting.” - Downbeat Magazine

Press for “This Land” (Theo Bleckmann & The Westerlies)

Westerlies Records, January 2021

On “This Land,” Mr. Bleckmann and the Westerlies reconsider 20th-century protest songs, hymns and poems, and present new compositions addressing more current events. The resulting 15 tracks form concise expressions of resistance and resilience….As an ensemble, the Westerlies produce magisterial sounds as well as pained ones, execute deft improvisations, and project both affecting sincerity and knowing wit. The same can be said of Mr. Bleckmann, who here sometimes alters his pure and transparent voice through electronic processing. - Larry Blumenfeld, The Wall Street Journal

“This Land,” a new album by the all-brass quartet the Westerlies and the masterly vocalist Theo Bleckmann, celebrates music’s role in protest throughout American history, mixing covers (Woody Guthrie, Joni Mitchell) and originals. The themes are often grand in scale, but the LP is also an ode to intimate connection, and our ability to strengthen each other: With intention, harmony becomes solidarity. - GIOVANNI RUSSONELLO, NY Times

This Land, Bleckmann’s new collaborative work with the brass quartet The Westerlies, may be his most potent and important project to date….This Land also shines thanks to the seamless marriage of Bleckmann’s ever-extraordinary vocal calisthenics and The Westerlies’ brass arrangements. “This was the first time [The Westerlies] have put forth a collaborative project that was a true collective effort—the repertoire selection, composition, arranging, recording and editing required equal effort from each individual in the group,” de Koch says. “This Land feels like a standalone ensemble/project, rather than the combination of two distinct musical voices.” Bleckmann returns the compliment while discussing his collaborators. “If you think brass quartet, you think loud and hammering it out. The Westerlies are more like a string quartet in their sound and their aesthetic,” he says. “When I first heard their music and their playing, I was completely moved, overcome with emotion. It’s not just about power, it’s about this gentle sweetness that they get out of playing together. That’s really what drew me to it.” - Jeff Tamarkin, Relix Magazine

On This Land, The Westerlies, an impeccably calibrated brass quartet, continues to stretch our understanding of musical inventiveness. This time, the pair of trumpeters and trombonists join forces with vocalist Theo Bleckmann on a program that alternates between stirring protest songs and soothing palliatives. ★★★★ - Suzanne Lorge, Downbeat Magazine

The eclectic German-born singer/songwriter and the similarly genre-averse American brass quartet met up five years ago, and they describe their subsequent creative process as “five minds working together as one.” On their first joint album, This Land, those five minds are thinking about the troubled state of the U.S.—and how to address it in beauty. - A.D. Amorosi, JazzTimes

A thoughtful and gorgeously textured collaboration between vocalist Theo Bleckmann and progressive brass ensemble the Westerlies, 2021's This Land finds them exploring themes of social protest, American identity, and the search for a safe refuge during times of upheaval. A quartet featuring trumpeters Riley Mulherkar and Chloe Rowlands and trombonists Andy Clausen and Willem de Koch, the Westerlies have distinguished themselves with their vibrantly cross-pollinated blend of classical, folk, and jazz. Similarly, Bleckmann has garnered acclaim for his virtuoso and often unorthodox brand of vocalese. Together, they bring all of their varied skills to bear on This Land, placing their own harmonically inventive originals alongside finely curated traditional songs…What's particularly captivating about Bleckmann and the Westerlies' work together is how well they blend, his steady vocals mirrored with uncanny clarity by their warm brass intonations. It's that hopeful sense of unity, both musically and philosophically, that permeates all of This Land. - Matt Collar, AllMusic

Collaborations either reduce each participant to a less-than-satisfying mishmash or convert the strengths of each into something mutually enhancing. Clearly falling into the latter category is This Land, which works to the advantage of both Theo Bleckmann and The Westerlies (trumpeters Riley Mulherkar and Chloe Rowlands, trombonists Andy Clausen and Willem de Koch). In Bleckmann's case, his singing benefits from its pairing with the group's exemplary horn playing; the brass quartet likewise benefits when a fresh new dimension's added to its heretofore purely instrumental presentation. - Textura

This Land brings together iconoclastic musical minds that intersect in the jazz world: vocalist Theo Bleckmann and brass quartet the Westerlies. Bleckmann’s elastic tenor has graced everything from Weimar cabaret revues to Meredith Monk, Ben Monder and Kate Bush projects to the sound design for the film Men in Black. That breadth makes him an ideal collaborator for the Westerlies, who are not known for respecting genre-imposed musical boundaries….Most protest records lean toward passionate anger or seething bitterness – you won’t find too many as eerily sonorous as This Land.” - Michael Toland, The Big Takeover

Press FOR “WHEREIN LIES THE GOOD”

WESTERLIES RECORDS, JANUARY 2020

“An arty quartet featuring two trumpeters and two trombonists, mixing ideas from jazz, new classical and Appalachian folk, the Westerlies don’t really have the option of doing a straightforward cover of most songs. That’s doubly true when they’re dealing with Arthur Russell, the experimental-pop cellist and vocalist. His music is about melody and counterpoint, but it’s also about the grain of his voice, and treating sound as humid atmosphere. On this rendition of Russell’s “Eli,” the Westerlies smartly lean into the tune’s blend of harmonic splendor and hollering lament — and they’re mindful of the need for some textural play. One of the trombonists folded tin foil across the bell of his horn, creating a restless sibilance underneath the crystal tones and rough growls of his bandmates.” - Giovanni Russonello, NY Times

“The Westerlies are moving in sync with their stated mission: to ‘amplify unheard voices, paint new sonic landscapes and cultivate a global community.’ It’s a mission that group members take seriously, and one that influences the repertoire they choose, the musicians with whom they collaborate and the gigs they curate. Sporting this forward-leaning vision, The Westerlies join a decades-long line of wind players who helped shape jazz history, each with a unique brand of genre agnosticism and freedom fighting.” - Suzanne Lorge, Downbeat

“In addition to being a cohesive group of virtuoso musicians, The Westerlies is an innovative and versatile collective that has mastered several styles. Hence their artistic melange is far from being superficial. Wherein Lies the Good should appeal to purists of every ilk as well as lovers of good music everywhere.” - Hrayr Attarian, All About Jazz

“The Westerlies hew much closer to the “British” (or “Salvation Army,” if you like) flavor of brass band than the currently trending “street-funk” flavor. Nevertheless, the double-trumpet (Riley Mulherkar, newcomer Chloe Rowlands), double-trombone (Andy Clausen, Willem de Koch) ensemble comes closer to tearing the roof off the sucker on its third album, Wherein Lies the Good, than ever before.” - Michael J. West, JazzTimes

“Ultimately Wherein Lies The Good is flush with fascination, a daring and distinctive work of profound proficiency. Every album should be this intriguing.” - Lee Zimmerman, Rock & Roll Globe

“Surprisingly accessible, without a hint of gimmickry.” - George W. Harris, Jazz Weekly

“While all four players are prodigious talents with impeccable technique...the Westerlies’ talent ultimately lies in blending their four voices in ways that accentuate the beauty of the music, as Wherein Lies the Good makes clear. This is an excellent release from a fine working ensemble soon to embark on its second decade.” - Troy Dostert, The Free Jazz Collective

“What’s impressive about The Westerlies — originally from Seattle and now based in New York — is just how much music emanates from these four horns, not only in instrumental prowess but also dynamics, textures and composition reflecting a world of voices emerging as a beautiful, new American sound.” - Donald Elfman, The New York City Jazz Record

“On this release, everything from gospel, folk, jazz, and classical seeps into the performances, all such colours blending indissolubly into a mix that defies straightforward classification. Its classical dimension is reflected in the refinement of the music and the precision and clarity of its execution; jazz is accounted for in improvised moments that emerge out of composed structures; folk is heard in the music's melodies, and the playing exudes a soulful, gospel-inflected coziness. It's a distinctly, deep-rooted American sound, yet it also collapses borders in the way it welcomes listeners of all kinds. This is a virtuosic brass outfit that would be as comfortable on a New York concert hall stage as in a sweaty New Orleans nightclub.” - Ron Schepper, Textura

Press For “The Westerlies”

Songlines Recordings, October 2016

"How does a four-piece trumpet and trombone instrumental combo earn raves from both indie-leaning music blogs and public radio while also performing at the Newport Jazz Festival and local rock clubs? The answer can be heard in the sprawling self-titled album due Oct. 7. Over two discs the New York City-based, Seattle-born brass band occupies a lively territory between jazz, Steven Foster-styled folk and chamber music with bracing melodies and, crucially, an undeniable sense of fun. Listen to the rollicking “New Berlin, New York,” for starters." - Chris Barton, LA Times

"When New York brass quartet the The Westerlies dropped 2014’s Wish the Children Would Come Home (Songlines) they forced me to reevaluate Seattle keyboardist Wayne Horvitz as a composer. The readings trumpeters Riley Mulherkar and Zubin Hensler and trombonists Andy Clausen and Willem de Koch give to the music of their old teacher are extraordinary, and while I praised the group’s stunning technical abilities, rich timbre, and strong arrangements then, their dazzling new eponymous double CD indicates they deserve even more credit. Aside from interpretations of Charles Ives’s “Songs My Mother Taught Me” and Duke Ellington’s “Where’s the Music?”—as well as an arrangement of the folk tune “Saro” by Sam Amidon and Nico Muhly—the members composed the material, and it’s all knocked me on my ass. There’s no extensive improvisation on these gorgeous pieces, though when they do solo, the players display rigor and a level of execution on par with classic brass ensembles (Mulherkar’s solo on “Where’s the Music?” brings to mind the splendor of Lester Bowie’s Brass Fantasy at its best). The original repertoire is so strong and varied that the Westerlies represent a kind of bastard child, standing fiercely between genre cracks with works that evoke the Americana of Aaron Copland and John Philip Sousa on the one hand but seeming to translate the rhythmically spastic machinations of EDM on the other (check out “So So Shy”). There are plenty of other stops in between, all delivered with stunning clarity and richness." — Peter Margasak, Chicago Reader

"Many stylistic winds blow through the repertoire of The Westerlies. The unconventional brass quartet from New York (Riley Mulherkar and Zubin Hensler, trumpets; Andy Clausen and Willem de Koch, trombones) embraces jazz, classical, new music and dance — and in this case, puts a new spin on an old British ballad.....The Westerlies' rendition has no vocals, but you still feel the heartache. The expressive arrangement, by Nico Muhly and Sam Amidon, starts with spaciousness. The tune is played unadorned in soft, breathy tones that imply stillness, like the distant sound of a bugler's "Taps." Wistful harmonies creep in as a solo trombone sings the mournful tune. Then, a surprise: A chugging beat emerges and the song quickly takes flight in a glorious trumpet solo. Perhaps the protagonist has found freedom from his lament? Finally, we land, and the song closes softly and sweetly. What a distinctly American twist: to flip a story of sorrow on its head, opening it up to a future bright with possibility." - Tom Huizenga, NPR Music

"The Westerlies are an instrumental quartet bridging jazz, improv, classical, and folk. Their self-titled sophomore album is coming soon, and today they offered a tantalizing preview in the form of “Saro.” Best known as “Pretty Saro,” it originated as a 17th century British folk song — maybe you’ve heard Bob Dylan’s version? — but arrangers Sam Amidon and Nico Muhly have reimagined it as a brassy emotional triumph, like “Taps” slowly building into the stratosphere and then dissolving into warm downward flutters. It’s exceedingly lovely, so listen up." - Chris DeVille, Stereogum

"A few weeks back we shared “Saro,” a lovely ballad by genre-agnostic brass quartet the Westerlies arranged by Nico Muhly and Sam Amidon. Today the band is back with another fascinating exercise in traditional revision, an original composition called “New Berlin, New York.”
Trombonist Andy Clausen wrote the music after seeing a striking photo of a barn in upstate New York. Originally it was composed for a multimedia project called SHUTTER and featured two guitars, cello, trumpet, and trombone, but the Westerlies have transformed it into an all-brass rave-up. In contrast to the sentimental drama of “Saro,” this one is breathlessly frantic, a rapid dance of melodies that will have your heart racing and your body tapping along." - Chris DeVille, Stereogum

"This is a virtuosic outfit capable of playing with immense grace and poise in one setting (Mulherkar's scene-setter “A Nearer Sun” a representative example), its members clearly attuned to one another and demonstrating great sensitivity to dynamics and texture, and then performing the boisterous next with declamatory abandon. The four turn on a dime from the blustery “New Berlin, New York” to the wistful “Saro” with seeming effortlessness. The nine-minute “Although of Course You End Up Becoming Yourself” is as explorative and wide-ranging as the five-day road trip David Lipsky undertook with David Foster Wallace and wrote about in the same-titled book published in 2010. Elsewhere, the quartet's bluesier side convincingly asserts itself in the brassy Ellington cover, “Lopez” sees them weaving separate muted expressions into a restful evocation, and the rousing, Rota-esque “Rue des Rosiers” will likely bring to mind images from Fellini's Amarcord for many a listener. Heartfelt ballads, playful fanfares, elegant chorales, chamber works, hymnal meditations, luminous unison playing, robust soloing—all and more are accounted for on the seventy-five-minute collection." - textura.org

"The Westerlies’ eponymous sophomore album is unified by a clarity of purpose and a distinctive sonic palette. The overall effect of this release is one of harmony and serene simplicity. In fact, this album is so consistently styled and masterfully produced that it could be easy to miss the ingenious subtleties and careful construction that underpin the simple beauty of this release. That would be unfortunate, because to miss the subtleties in these 17 tracks is to miss the potential lasting impact of this album....Much like the delicious balance between varied and unified articulations and colors throughout the album, the pieces themselves represent a diverse, yet broadly unified element that ties the entire release together. All the compositions on this release save three are by The Westerlies themselves. While there are moments of raucousness and unique diversions that occur frequently among these compositions, the overall effect is similar to that of the soundscape that pervades the album; the pieces have enough in common that they hang together remarkable well.....It is at once a plainly beautiful release shot through with genius technique and considerate musical planning, and an innovative exploration into what the future of acoustically-driven music could be. The fearless choices The Westerlies have made on this release lead the way for acoustic music in the face of an increasingly computerized musical landscape, while at the same time creating a sublime listening experience that can be enjoyed for its simplicity and peace." - Second Inversion

Press for “Wish The Children Would Come on Home: The Music of Wayne Horvitz”

Songlines Recordings, May 2014

“The Westerlies play this music clean as a whistle, with attention to detail born of long rehearsals. And they infuse the lyrical passages with deep feeling….The Westerlies represent a breed of musicians rare when Wayne Horvitz was coming up, skilled interpreters who are also adept improvisers. With such versatile and well-equipped performers around, composers can expand their reach and they may all wind up in places they might not have found on their own.” - Kevin Whitehead, NPR's Fresh Air

“Composer and keyboardist Wayne Horvitz was a presence on the New York's genre-bending downtown avant-garde scene in the 1980s before settling in Seattle. The Westerlies are an improvising brass quartet (two trumpets, two trombones) originally from Seattle and now located in New York. Their Horvitz interpretations convey a sense of sky and soil (not to mention the occasional circus or parade) that immediately calls to mind Aaron Copland, Bill Frisell, late-1950s Jimmy Giuffre, and maybe Brian Blade's Landmarks and Charles Ives. It's proof, if any be needed, that the same music can be both folk-like and composerly, lovely and intellectually rigorous. (Also my choice as 2014's best debut album.)” - Francis Davis, NPR Music

“One of the more remarkable albums to cross my path this spring....an impressive feat from almost any angle...Take note of these players. You’ll be hearing more from them soon.” - Nate Chinen, JazzTimes

With the help of staunchly “beyond category” composer Wayne Horvitz, the Westerlies have turned that idea on its head, taking the brass quartet out of the military and baroque, and into that nebulous jazz/compositional space known as “new music.” The four incredible players (two trumpeters and two trombonists) lend Horvitz’s melancholy compositions a gentle, burnished sound, smoothing the edges off dissonance without masking it. “Waltz from Woman of Tokyo” sounds like the score to one of those seemingly pedestrian but ultimately transcendent short films, with its frenetic, contrapuntal center guarded on both sides by a lilting waltz. A beautiful take on what the future sounds like. - Revive Music

“You can’t take a 60-second sample at face value, you have to taste the whole pie to get at what’s inside. And what it is inside is no easy task to describe. Surface listening means you miss out on some rich details. Deeper listening means you may go a little crazy trying to mentally dissect the music. So, what to do? Pick your battles, because Wish the Children Would Come on Home: The Music of Wayne Horvitz means that the Westerlies have arrived and are facing a bright future.” - John Garratt, PopMatters

“Wish the Children Would Come on Home is a lot of things, but first and foremost it should be noted that it is just a lovely listen. It is that rare combination of approachable and unusual that can challenge listeners who want to be challenged and entertain those who don’t.” - Kurt Gottschalk, NYC Jazz Record

“The Westerlies, Wish the Children Would Come On Home: A brass quartet that decided to embrace the strange and beautiful music of composer Wayne Horvitz. The Westerlies capture the alien warmth and touching soulfulness inherent in so much of Horvitz’s music, of a soundtrack orphaned from the movie conceived in dream and never put to film. Two on trumpet (Riley Mulherkar & Zubin Hensler) and two on trombone (Andy Clausen & Willem de Koch). An added bonus are the four improvisatory tracks, for which Wayne Horvitz himself performs on. Just a beautiful album. Highly Recommended.” - Dave Sumner, Wondering Sound

“The Westerlies are most certainly a fresh breeze in an often stagnant world.  "Wishing The Children Would Come On Home" is a delightful reminder of the wealth of fine music that Wayne Horvitz has created and continues to create.” - Richard Kamis, Steptempest

“Theirs is a generally warm and soothing sound, with the horns in many passages locked in a tight embrace, though not so tightly that an instrument can’t break free for a bluesy solo. In the absence of a traditional rhythm section, the trombone at times assumes the bass player’s role in anchoring the others, and with a modest number of musicians involved, the group is able to alternate comfortably between quiet and loud passages and ensemble and solo episodes. The players are no slouches in the latter department either: on the jubilant “Home,” for instance, the trumpeter blows with the kind of bold assurance one hears in the playing of a Dave Douglas or Wynton Marsalis.” - Exystence Music Blog