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Henry Kuntz
Henry Kuntz & Paul V. Kuntz | JAsZ KHARdMA
“The title JAsZ KHARdMA stems from Paul’s occasional use of a number of R. Crumb’s Early Jazz Greats Trading Cards inside the piano, laying the cards across the strings to achieve a flapping percussive effect.” — Henry Kuntz
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Henry Kuntz | Sonic Flares
As always when using these instruments, I ignored the scale and tuning differences between them to allow for an expanded sound range and an overlapping of divergent tonal occurrences.
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Henry Kuntz | IINFIINIITY
“The process of multi-track creation has been an ongoing musical exploration and experiment, the results of which have consistently surprised and delighted me. I hope you enjoy listening.” — Henry Kuntz
Henry Kuntz and Paul V. Kuntz | Year of the Ox
“These are the first recordings Paul and I have made together in 25 years. We had fun improvising and spontaneously shaping the music; each piece grew out of its own organic logic.” — Henry Kuntz
Henry Kuntz and Don Marvel | One One & One
“I hope this record will serve to introduce Don’s genius to the many who I know will want to hear how he works. I am grateful to him for helping to bring all of my music full-circle and into complete contemporaneity.” — Henry Kuntz
Moe! Staiano’s Moe!Kestra! | An Inescapable Siren Within Earshot Distance Therein And Other Whereabouts
Piece No. 7 & Piece No. 5: Two Compositions for a Large Orchestra, strings, percussion, 6 E-stringed guitars, u-bolts, wine glasses and sirens.
“The pieces are two large (and yet, separate) compositions as a whole” — Moe!
Moe! Staiano’s Moe!Kestra! | Two Forms of Multitudes: Conducted Improvisations
“A mass amount of musicians playing in huge clusters in a dissonant array, forming a wall of musical noise. I have always enjoyed working with a large orchestra using multitudes of the same instrument. I love a large sound or many players playing all at once in a massive frenzy.” — Moe! Staiano
Opeye Orchestra | Live at Tuva Space
The OPEYE ORCHESTRA, a world-expansive free-improvising ensemble.
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Opeye | Moss ‘Comes Silk
Highlights the formal advances possible in group playing when free improvisation is approached in its most natural manner. The uniqueness and complexity of each player’s part is expanded to the farthest extent possible while maintaining a recognizable group entity and musical identity.
Henry Kuntz | Bolivia (1986) Native Ritual Music from Italaque
Music from the Fiesta de la Invención de la Santa Cruz May 3, 1986. All of this music was recorded outdoors on basic equipment in “real life” circumstances.
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