Recognised as one of Europe’s most distinctive saxophonists, Tineke Postma opens a new chapter with VOYA, her ninth album as a leader and one of her most expansive statements to date. The album introduces Grammy-nominated vocalist Theo Bleckmann into Postma’s long-standing quartet, adding a human voice to a musical language already rooted in lyricism, openness, and deep listening. The title VOYA resonates on multiple levels—voyage, voice, and the Yoruba goddess Oya—reflecting themes of movement, transformation, and creative risk that run throughout the record.

In this interview, Postma speaks about composing specifically for Bleckmann’s voice, the evolution of her quartet after years of touring together, and the trust that allows the music to breathe freely. She reflects on the influence of her mentor Wayne Shorter, the balance between structure and openness, and how collaborations with artists such as Herbie Hancock and Terri Lyne Carrington shaped her approach to leadership. As VOYA unfolds as a journey through sound, spirit, and change, Postma reveals an artist still committed to exploration—travelling forward without seeking comfort, and embracing the unknown.

1.VOYA is your ninth album as a leader and features Grammy-nominated vocalist Theo Bleckmann. What drew you to his voice, and how did you shape the music around that new element?

Theo is known for his genre-blurring work across jazz, new music, and experimental sound. Those qualities are exactly what drew me to him. Most importantly, his sound truly resonated with me. His warm, lyrical tone moved me—both in his own projects and in his long-standing collaboration with guitarist Ben Monder, who also played on my last album Aria.

His voice brings a profound, emotional quality to the music, yet remains controlled and transparent. To me, his sound embodies real beauty. Composing for him came quite naturally because I could clearly imagine his voice: I wanted to leave plenty of space for him to improvise with the material, while at times being specific about certain compositional ideas.

When we began working on this recording, the process was very fluid and organic. He was incredibly easy to work with—extremely flexible and open-minded. When there’s good chemistry and you’re on the same page, you don’t actually need much explanation.

2. For readers familiar with your past work, what do you feel is most noticeably different on VOYA?

This recording was made with my steady working band. On ARIA I also recorded with Robert and Tristan, but guitarist Ben Monder was new for us, which was amazing. We toured after the release, and it was an incredible experience. When Ben joined The Bad Plus, he couldn’t tour with us anymore, and that’s when I started playing with David. With this configuration we’ve mostly toured over the past two years, and we’ve really created a band sound that I consider very personal. This album is a testament to that process, and I love the outcome.

Recording with Theo added an extra flavor that fits very organically and naturally. I love the human voice, and I’m very proud that for the first time in my life I managed to incorporate it into my album in such a significant way.

3. The album title connects ideas of voyage, voice, and the Yoruba goddess Oya. How did those meanings influence the direction or energy of the record?

It might sound cliché, but I feel that every composition is a voyage in itself. We love exploring new musical paths, avoiding repetition, and taking risks by truly listening to each other and giving each other space for new ideas. That’s where Voyage comes into the title.

I also included “voice,” represented by Theo—both as an ode to him and because, for me, the human voice is the most direct and expressive sound. I’ve always tried to play as lyrically as the human voice. This album continues the direction of my previous album ARIA, which was partly a tribute to my favorite opera singer, Maria Callas.

Lastly, I discovered the Yoruba goddess Oya and found her incredibly powerful: she represents wind, storms, change, and transformation. I feel that I’m at an age where I’m also going through changes and constantly seeking to develop myself, avoiding repetition. Goddess Oya also connects this album Voya to my second-to-last album Freya, named after the goddess of creation.

4. Your quartet members are based in three different European cities. What’s the secret to keeping a group like this connected and continually developing?

We tour regularly together and occasionally rehearse on specific days. This is the second album with this rhythm section, so we’ve developed a strong bond and a beautiful journey together—and in fact, we’re still exploring. It’s like a good friendship: unconditional. Even when we don’t see each other for a while, it doesn’t affect our musical or social connection. The bond, trust, and excitement are always there. When we come back together, it brings us great joy and inspiration, and it can feel as if we saw each other only yesterday.

5. The tracklist includes Wayne Shorter’s Someplace Called “Where.” What’s the single most important musical lesson you took from your relationship with him?

To use your imagination when creating music, and to be mindful of every aspect of how you work as both a composer and a player. To remember that music is “just a drop in the ocean of life,” and not take yourself too seriously. To explore different paths and travel into the unknown, because “seeking comfort kills the spirit.” To be honest and authentic with yourself, and to live your life “without a net”—which for me means taking risks and seeking adventure in music.

6. You’ve recorded with major figures such as Herbie Hancock and Terri Lyne Carrington. How have those large-scale collaborations shaped the way you lead smaller, more personal projects like VOYA?

I learned a lot from their band leadership—how to produce an album, how to promote your music. It’s very much about trust: giving your band members plenty of space while not being afraid to express your own vision and ideas. And above all, treating everyone with respect, positivity, and love.

7. The recording took place at CYH Studio in Basel with founder and engineer Patrik Zosso. How did this new collaboration shape the process?

From the moment we met, there was a great connection grounded in our mutual love for music. Patrik is a highly skilled and experienced engineer who gave me a lot of space to record my music, and communicating my sound wishes to him was incredibly easy. He works very quickly and can translate my ideas into sound almost instantly. I think it was one of the most enjoyable collaborations with a studio engineer that I’ve had in many years.

8. What albums or artists were you listening to around the time you were writing and recording this music?

I listened to several of Theo Bleckmann’s albums, such as Elegy, David Doruzka’s When the Child Was the Child, and Robert Landfermann’s Rhenus and Neon’s Dilemma, to get even closer to their way of playing for my composed material. I also listened a lot to Guillermo Klein’s music, Telmo’s Tune, Wayne Shorter’s Alegría and Joy Ryder (which includes “Someplace Called Where”), Arnold Schoenberg’s Symphony No. 2, Bartók’s string quartets, and Ben Monder’s Planetarium.

9. Finally, what’s coming up in the next 12 months for you and this project?

We’re touring as a quartet in December in the Netherlands and Germany:

08 Dec – Maastricht, NL – Lumière Jazz Night
09 Dec – Den Haag, NL – Amare
11 Dec – Amsterdam, NL – Bimhuis
12 Dec – Esslingen, DE – Jazzkeller
13 Dec – Garmisch-Partenkirchen, DE – JazzGAP
14 Dec – Wuppertal, DE – Loch

2026: In February we’ll be touring in India (Hyderabad and Bangalore). We’ll also be touring with Theo in December.