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HUMMING BIRD RECORDS & TAPES

COMPACT DISCS – CASSETTES – LONG PLAYING RECORDS – EARTH SERIES CASSETTES

The music on HUMMING BIRD Records & Tapes is spontaneously composed, freely improvised. It is presented to the listener in its purest possible form, edited only for purposes of presentation on recorded media.

Multi-tracking has at times been utilized – as a separate but related improvising endeavor – to create unusual and unlikely instrumental ensembles and to suggest open-ended ways of approaching form and content during real-time group improvisation.

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COMPACT DISCS

The Ecstatic Center | HBD 02 | Free Download

HENRY KUNTZ
The Ecstatic Center | HBD 02

Free HUMMING BIRD Download Only Release

Free MP3 Download Available Here… (30:01)

HENRY KUNTZ: Nepalese Flute & Soprano Recorder (played together), Morocco double-reed Rhaita, Tenor Saxophone.

Performance of July 25, 1999 Beanbenders at Fine Arts Theatre Berkeley, California. On-location digital recording and original mastering & mix by Michael Zelner.

Thanks to Dan Plonsey who invited me to play at Beanbenders and to Michael Zelner who exquisitely captured the diverse sounds of the instruments.

Download listen to Nepal Flute – Soprano (excerpt)

Download listen to Rhaita (excerpt)

The Ecstatic Center | HBD 02 | Free Download

In June 1999 I attended the Festival National des Arts Populaires in Marrakech, Morocco, a 10-day music and dance extravaganza that featured more than 30 indigenous ensembles from diverse parts of the country.

The Ecstatic Center | HBD 02 | Free Download

Most musical performances took place at the city’s centuries-old palace, the Palais Badia, but ensembles also appeared in parade – an opportunity to hear all of the music side by side – and in Marrakech’s storied square, the Djemaa el-Fa. In the Djemaa el-Fa, one would regularly encounter a wild mix of snake charmers, storytellers, magicians, jugglers, acrobats, and others demonstrating strange skills, such as the ability to walk unscathed over broken glass and fire.

The Ecstatic Center | HBD 02 | Free Download

At the center of nearly all of the music were exuberant and captivating melodic/rhythmic flights of fancy built upon an evolving series of lines in repetitive motion. These were played by flutes of various types and sizes, by double-reed rhaitas, by plucked or bowed string instruments, or ritually sung by male or female voices.

The sweltering dynamic of this part of the music – surrounded by a bold mix of rhythmic counterpoints emanating from drums, hand-clapping, singing, high-pitched female ululations – could easily sweep one away. But the music was nearly always grounded by dance, which often included movements of great athleticism. And despite the music’s insistent forward momentum, it was not really going any place; rather, its effect was to propel one immediately into the Present. This aspect of the music is what I came to think of as its Ecstatic Center.

Less than a month following my return from Morocco, I performed at Beanbenders’ new series at Berkeley’s Fine Arts Cinema. The improvising for this solo performance was inevitably inspired by the in-depth experience of the music I had heard on my recent journey.

For the performance, I dressed in a silky cream and green-striped Moroccan djelaba and wore an emerald green half-face mask, the intention being to remove my known personality from the presentation and to allow the music to be heard as much as possible on its own terms.

The music, excellently recorded by Michael Zelner, has been sitting quietly for a lot of years. Not long ago, I came across it again, and it felt like it was time to bring it into the light.

- Henry Kuntz, March 2015

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ENVISION ENSEMBLE Encore Performance!

Henry Kuntz – Dan Plonsey – Brian Godchaux – Esten Lindgren – John Kuntz

Friday October 10 8:25 PM

Berkeley Arts Festival – 2133 University Ave – Berkeley Ca

PLUS: @ 8:00: METROPOLITAN BUTOH

@ 9:10: British-NY-based Avant-Vocalist Viv Corringham 2014 NorCal Tour

The Concept:

The Envision Ensemble moves toward an advanced improvisational archetype, one in which multiple independent events may occur while the musicians simultaneously create an experiential musical whole. Beyond expanding the independence of musical line – thus increasing the complexity of musical form – the Envision Ensemble expands the formal independence of each player – so that multiple musical forms might be happening at once, moving the music in the direction of what I call “festival form.” So the players will be creating the total musical space rather than any specific improvised composition.

How will this work?

Each player will simultaneously create an organic complete music. Each player may relate or not relate to the music and sounds going on around them, the same as when one is playing at home and sounds are occurring in the environment which may or may not affect one’s music. While the players will not necessarily relate to each other in a compositional sense, they will relate to each other and to their shared environment experientially and together create (or “compose,” if you will) a sympathetically-in-tune experiential musical space – a space defined by the composite layers of sound that make it up, similar to the way the simultaneous layers of sound at a festival define and create the festival.

As Archetype:

The Fullness of Individual Being in
Collaborative and Existential Flow
With the Fullness of All Life.”

The performance will be completely improvised. At my suggestion, the Ensemble has not rehearsed prior to playing. The reason for this is that experience suggests that players’ edge of creativity often comes out more in the initial meeting (i.e. in the rehearsal) than in the performance. So, along with the musicians, you will be experiencing this music for the very first time.

Henry Kuntz, for the Envision Ensemble

FREE DOWNLOAD is available by clicking here…

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Henry Kuntz | ENVISION NEW MUSIC  (HB CDR 10) Free MP3 Download Available

Henry Kuntz | ENVISION NEW MUSIC

(HB CDR 10)
Free MP3 Download available here…Henry Kuntz – Envision New Music

1. 2-IN-VISION (Duo in 2 Parts) – 4:12 Tenor Saxophone & Voice, Java Gamelan (saron slendro) – August 5, 2013 Download
2. BRIGHT VISION (1st Trio) – 10:24 Bali wood xylophone& Mali balafon, Java gamelan (saron pelog),Thai wood xylophone – July 20, 2012 Download
3. MYTH*STIC VISION (3RD Quartet) – 6:48 Balinese gamelan (gender), Thai wood xylophone,Tenor sax, Java gamelan (saron pelog) – October 1, 2012
4. LONG VISION (1st Quartet) – 6:49 Bamboo flutes, Mexican Indian violin, Tenor sax, Balinese gamelan (gender) – April 14, 2012
5. ROUND VISION (2nd Trio) – 8:59 Balinese wood xylophone, Balinese gamelan (gender), African balafon (Mali) – February 17, 2013
6. VISION SPEAK (2nd Quartet) – 10:22 Tenor Saxophone & Voice is added to the 1st Trio – July 20, 2012
7. DANCE OF DEER, SHADOW OF TIGER – 21:52 Guatemala slit drum & bass drum, 2 different Mexican toy violins, Mexican black clay flutes (Oaxaca) & bells – October 1989

Tape to Digital: Fantasy Studios – Photos: HK 2012 (Mexico) & 1988 (Costa Rica) by Martha Winneker
C & P Humming Bird Records 2013 – Humming Bird CDR 10

Henry Kuntz | ENVISION NEW MUSIC  (HB CDR 10) Free MP3 Download Available

Envision: to imagine something not yet in existence

From the beginning, in creating the multi-track pieces, I’ve brought into play a concept I refer to as “festival form”, an idea that has been an essential part of the overall creative approach to what I call Total Music.

“In Total Music, a player’s total musical intelligence may come into play at all times… (In each part of the music), a player’s awareness is that of a total field of activity rather than of specific notes or thrusts. In each part of the music, something like a total musical process is occurring, unique to itself, perhaps able to exist by itself, compatible with but not dependent upon or leading the other parts. The whole, in this way, takes on a considerably greater complexity, having mainly to do with the types of instruments combined, the ‘natural’ differences in ways of playing those instruments, and the actual conceptual approaches employed… I’ve likewise combined instruments with regard to sonority but without regard to pitch, so as to allow a new range of pitches and ‘harmonies’ to result.”
– Notes to Total Music, 1991 (Humming Bird Tapes 009-010)

As a concept, Total Music has served me well. This is music based in real-time free improvisation that occurs within an open-ended “ritual” form – which means that the pieces are mainly meant to be experienced as ongoing processes rather than “heard” as net results.

But it is time to go a step further with experiential form.

Festival Form is itself an experiential form that can fully accommodate all of the elements of “total music”.

It is the umbrella form of any number of festival occasions around the world during which different musical and sound events are occurring simultaneously in the same physical space at the same time. Each “separate” event, however, is fundamentally important to the creation of the whole.

How would this concept work in an actual group improvisational situation, of which the multi-track creations are a type of avant-sonic sketch?

Each player would simultaneously create an organic complete music. Each player would relate or not relate to the other music and sounds going on around them, similar to when one is playing at home and sounds are occurring in the environment which may or may not influence one’s music.

While the players would not necessarily relate to each other in a compositional sense, they would relate to each other and to their shared environment experientially and together create (or “compose,” if you will) a sympathetically-in-tune experiential musical space – a space defined by the composite layers of sound that make it up, similar to the way the simultaneous layers of sound at a festival define and create the festival.

As Archetype: the Fullness of Individual Being in Collaborative and Existential Flow with the Fullness of All Life.

In early 2012, I had the idea of putting together an ensemble of this sort – multi-directional, multi-dimensional, and pan-cultural – which I would call the Envision Ensemble. However, the practical difficulties of organizing such a group and of bringing together players to play the types of instruments I wanted to include moved me in the direction of creating the new pieces which appear on this release. My hope is that they might serve as conceptual prototypes for the music of such an ensemble.

Does this new music sound so different from the multi-track music I’ve been creating all along? I’m not sure, but I believe that new thinking and clarity of thinking about the way one is working can itself give impetus to new form and can begin to expand the music in multiple new directions.

To provide a longer view of what I’ve been up to, I’m including with this release an early multi-track recording of mine from 1989 when I was only beginning to create in this way. Dance of Deer, Shadow of Tiger has a festival form feel to it and reminds me of being in “the village” at festival time. Duration itself (the piece’s 20-plus minute length) was intentionally employed as a means of moving the music out of summation-al/compositional time and into present/experiential time. This is a piece that was meant for release a long time ago but was forgotten about as newer music was created.

With all of these pieces, my intention is to construct a conceptual platform from which to Envision New Music.

Henry Kuntz – October 2013
All Rights Reserved

16 EURO
incl. shipment cost world-wide for the CDR version

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GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series CDR 3

GUATEMALA (1990)

Marimba Music from the Festival of Todos Santos

Humming Bird Earth Series CDR 3 (Previously Earth Series Cassette 500)

Note: All of this music was recorded outdoors on basic equipment in “real life” circumstances, under conditions far from optimal for recording. Yet the ambience, excitement, and electricity of the music shine through in ways that fully reflect its cultural authenticity. It is to provide a small cultural looking glass into a world or worlds barely known to most of us that these recordings are presented. I hope they will encourage you to want to know more, to open your world up more to the many fascinating and diverse worlds around us.

Pieces 1 & 2 were recorded on the eve of the festival, October 30, 1990 and were played by four players from the nearby village of San Juan Atitan. Pieces 3-10 were played by three players from Todos Santos and were recorded on the first day of the festival, October 31, 1990. The players are playing a single 40-key marimba with resonators. On the recordings by the band from Todos Santos, the “middle” player changes after Pieces 3 & 4.

Tracklist: San Juan Atitan: 1. 7:21, 2. 4:15; Todos Santos: 3. 4:00, 4. 4:20, 5. 3:39, 6. 4:01, 7. 5:08, 8. 3:49, 9. 4:39, 10. 4:38

Download listen to Henry Kuntz Guatemala 1990 | Track 3 Todos Santos

16 EURO
incl. shipment cost world-wide for this CDR

The Download version as mp3 can be found be clicking here…

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

While most of Guatemala and much of Latin America is celebrating the Day of the Dead, Todos Santos—the village of All Saints—is celebrating its village festival as well. It is a nominally three-day affair that begins October 31st, though the festivities are in the air some days before. The festival is the major event of the year, and everyone from the village, no matter where they are—many men work on the lowland coffee plantations for much of the year—makes every effort to return for the occasion.

The people of Todos Santos are Mam (meaning “grandfather” or “ancestor”) and they are descendants of the ancient Maya.

In spite of a road being built only a few years ago connecting the village with the larger town of Huehuetenango, it is still a relatively isolated place. The road is not much to speak of —a winding boulder-strewn dirt road full of pot holes, certain to cause havoc with any vehicle of less than super strength.

Todos Santos is situated 8,000 feet above sea level, in a valley of the Cuchamatanes Mountains. The road to get there climbs to nearly 11,000 feet before its descent, at its peak looking and feeling as much like some part of the Andes as of Guatemala. And at festival time, the Guatemalan buses are as packed with people as the stuffed-with-humans trucks that ply the Andes. From Huehuetenango, it is 3 ½ slow hours by bus, an experience no foreigner arriving at this time of year will ever forget!

For all that, Todos Santos is a magical place—perhaps not even all that special, but extraordinary in its geographical setting and in its own ordinariness. By “ordinary” I should say that it is ordinary for Guatemala, for like all of the country’s traditional villages, it is a visual delight. Men and women both still wear their traditional dress. Vibrant reds and pinks stand out everywhere, impressionistically offset by every color of the rainbow. And the earth itself is thick with red dust and clay.

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

It is a mysterious place too, for though the mornings at this time of year are sunny and bright, illuminating the green-forested mountains that ring the village, by 4:00 or 5:00 in the afternoon, the highland mist is so thick and damp you can barely see half of one adobe block ahead of you.

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

No matter what is happening once the village has moved into its “festival time”, marimba music is the glue holding it all together. At about 4:00 in the morning on October 31st, the music began in earnest and continued with only the slightest interruption for three days and nights! There were at least a dozen different bands, some from other villages, playing in every far-flung nook and cranny, with incredible physical demands placed upon the musicians.

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

Each band plays a single marimba with 40 tuned wooden keys, underneath of which are progressively-sized, loudly buzzing, wood box resonators. The buzzing is as integral a part of the music as the playing itself, a combination of notes and their vibrations always lingering in the air after they’ve been played. There are four players for each instrument, though usually only three play at one time, the fourth person acting as a timely and much needed relief for one of the other three.

One player plays the high end of the instrument, another the low, while the musician who plays the “middle” is often the leader, at his best (listen closely to piece 6 or any of the ensuing pieces) both countering the rhythmic bottom while at the same time adding decoration to the higher-pitched melodic line.

The marimba accompanies every kind of event —the festival’s “main” event, the out-of-time “horse race” of November l, during which riders power their runs with shots of rum or aguardiente (not so long ago, the riders would also competitively yank off the heads of suspended chickens but, thankfully, no more!); commemorative ceremonies in the cemetery November 2nd; the colorful day-long masked dances and other ceremonies in between—but the playing of the music is also an event in itself.

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

The back yards of various host houses are the sites for much of the playing throughout the festival, and these are occasions for copious rum consumption, dancing, hooting, and passing drunkenly into the void for the men. The women may not get drunk until November 2nd, the festival’s final day.

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

GUATEMALA (1990)  Marimba Music from the Festival of Todos Santos  Humming Bird Earth Series

The marimba, however, sets a tone for the entire festival, and often more than one band can be heard playing at the same time while one is walking through the streets of the village. Indeed, without the marimba, the festival itself may not exist.

On the recordings presented, the first are from a band of four young players from the nearby village of San Juan Atitan. The remaining recordings are from a band from Todos Santos playing a brand new marimba with a mellower tone and with older musicians of somewhat more professional caliber.

Throughout the village, as I have mentioned, there were other bands and other musicians from other villages, each making their own contribution to this year’s festival of Todos Santos.

Recordings, Notes and Photos by Henry Kuntz. Digital Audio File by Michael Zelner. C & P Humming Bird Records 1991/2013 – All Rights Reserved

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click the cover to enlarge…

Henry Kuntz & Paul V. Kuntz

JAsZ KHARdMA

Humming Bird CDR 9

FREE DOWNLOAD

In April 2012 I had the opportunity to make a new collaborative recording with my brother Paul who lives in Houston, TX. As I live in Berkeley, CA, we don’t get to play together often.

Paul expands the textural dimensionality of his playing on this new recording, building from the personal explorative vocabulary he displayed on Year of the Ox (HB CDR 2).

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.

JAsZ KHARdMA evokes as well that improvisational inspiration of ours that comes from the jazz tradition. It represents our personal connection to that tradition through our family’s New Orleans history and ancestry.

Appropriated images from the Early Jazz Greats Trading Cards within the album cover & CD art are used with permission graciously granted by R. Crumb.

Mr. Crumb’s website can be accessed at http://www.crumbproducts.com/.

- Henry Kuntz


Henry Kuntz
: Nepalese Bamboo Flute, Tarascan Toy Violin (Paracho, Mexico), Morocco Rhaita, Tenor Saxophone | Paul V. Kuntz: Piano, Prepared Piano, Percussion

Recorded April 25 and 27, 2012 Houston, Texas. Tenor Saxophone parts recorded April 14.2012 Berkeley. California. Recorded, Mixed and Mastered by Paul V. Kuntz. Cover and Portrait Photos by Paul V. Kuntz. Appropriated images within the cover and CD art are from Robert Crumb’s “Early Jazz Greats” series.

Tracklist: 1. Bird in the Hand (2:26) Download 2. Bud’s Bluff (4:14) 3. Raise You Juan (4:16) 4. Read’em An’Weep (4:01) 5. Four of Fats (2:32) 6. Deuce of Dodds (Johnny & Baby) (2:17) Download 7. Queen Lady Day (3:33) 8. Bix of Clubs (2:53) 9. Duke’s Deal (3:02) Download 10. Hawk’s Flush (2:01) 11. Prez’s Full House (2:55) 12. Hot 5 of Diamonds (3:06) 13. Creoles Wild, King Joe High (2:13) 14. Call (0:19) 15. Webster’s Bad Theatre Suite Swing (2:00)

All pieces are improvisations. “Webster’s Bad Theatre Suite Swing ” is an improvisation on a composition of the same name by Paul V. Kuntz

click the image to enlarge…


16 EURO
incl. shipment cost world-wide (CDR version)

Please Note: The delivery of the physical CDR will start beginning of January 2013.

click the image to enlarge…

FREE DOWNLOAD click here…

16 EURO
incl. shipment cost world-wide (CDR version)

Please Note: The delivery of the physical CDR will start beginning of January 2013.

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CLASSIC OPEYE

2 Discs: Free Downloads!

1) SILK!


Silk! is a companion release to Moss ’Comes Silk (HB CD 1). It was recorded by engineer Myles Boisen the same two days in September 1995 as the earlier release. It is the only time all of the instruments OPEYE was using in performance were individually miked and recorded in a studio setting.

The music is a perfect complement to that on Moss ’Comes Silk. The flavors of Silk! are more subtle, more understated, but the multi-independent musical form is perhaps stretched even further.

From the notes to Moss ’Comes Silk:

OPEYE’s music is founded upon a new world creative aesthetic: one’s own experiences and background are central, but the fetters of provincial cultures are thrown off — we have all become heir to every tradition: Shared Humanity in all its richness and diversity — and the future is likewise embraced.

Free improvisation, we understand as a non-idiomatic approach to playing — an attitude about what we are doing — which is to say that although we remain attentive to all of our music experience, we are not playing music that is tied by necessity or design to any particular style or idiom.

Spontaneous composition, on the other hand, is the actual organizing of sound material, that which takes place at the beginning and end of each “piece” and in and between the lines of improvisation. It is the notions which formalize newly-created sound and the ways in which that sound is showcased.

Musically, we spoke before these sessions about moving more in the direction of true co-creation: we wanted each player to be as much as possible autonomous while remaining indispensible to the creation of the whole music.

In performance, we also frequently utilize masks, textiles, paintings, and unorthodox costume changes, adding a cross-cultural visual component to the music and heightening its dream-like and ritual qualities. For us, it becomes akin to a living shadow play, full of multi-cultural archetypes and (at times humorous) ambiguities.”


Download listen to Opeye | Improvisation No. 32

16 EURO
incl. shipment cost world-wide (CDR version)

Please Note: The delivery for the physical CDR will start beginning of January 2012.

DOWNLOAD OPEYE SILK! HERE!

2) The Sun Divination Session

The Sun Divination Session is a self-recorded OPEYE rehearsal session from August 1996 at which only Ben and Esten Lindgren and John and Henry Kuntz were present. The open-ended and relaxed nature of our meeting (on an unusually warm Berkeley afternoon) facilitated the creation of some particularly organic music.

Download listen to Opeye | Drum Bear (excerpt)

16 EURO
incl. shipment cost world-wide. (CDR Version)

Please Note: The delivery for the physical CDR will start beginning of January 2012.

DOWNLOAD OPEYE THE SUN DIVINATION SESSION HERE!

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OPEYE ORCHESTRA LIVE at TUVA SPACE (HB CDR 5/6)

Disc 1: C’AMELEON (39:43) Download listen to an excerpt

Recorded Live & Mixed Direct to 2-Track Stereo May 25, 2002 at TUVA Space Berkeley Ca by Scott R. Looney.

C & P 2011 Humming Bird Records

Disc 2: WHALAPAG’OS’ (41:08) Download listen to an excerpt

Recorded Live & Mixed Direct to 2-Track Stereo May 25, 2002 at TUVA Space Berkeley Ca by Scott R. Looney.

C & P 2011 Humming Bird Records

HENRY KUNTZ: tenor saxophone, musette, wood flutes, toy violins, Bali & Java gamelans DAN PLONSEY: Turkish clarinet, oboe, tenor & baritone saxophones CLEVELAND PLONSEY: flute (slide whistle) MICHAEL ZELNER: clarinet, alto saxophone, flutes and pennywhistle ESTEN LINDGREN trombone, trumpet, drums, percussion JOE SABELLA: tuba RON HEGLIN: tuba, trombone SUKI O’KANE: balafon, marimba, percussion BRETT LARNER: koto, zheng; HIRAM BELL: ukulele, clarinet, alto saxophone, harmonica, piano JOHN KUNTZ: ukuleles, guitar, mandolin, gamelans, percussion BRIAN GODCHAUX: violin, viola BOB MARSH: cello, JEFF HOBBS: violin NANCY CLARKE: violin JEFF PURMORT: Balinese gamelan instruments MARK SALVATORE: Balinese gamelan instruments

The theoretical concepts for the OPEYE ORCHESTRA, a world-expansive free-improvising ensemble, can be found by clicking here:

Thanks to the musicians who generously gave of their time and talents to breathe life into the OPEYE ORCHESTRA. Thanks to Eleanor Lindgren who provided Ben Lindgren’s painting “Exotic Jumble” for the performance and who took the orchestra photos. Thanks to Scott Looney who did the recording and mastering. Thanks to Michael Zelner for making copies of the results for each of the players. And thanks to Arjuna who invited the OPEYE ORCHESTRA to play at TUVA Space. —
Henry Kuntz (May 2011)

Recorded Live & Mixed Direct to 2-Track Stereo May 25, 2002 at TUVA Space Berkeley Ca by Scott R. Looney.

C & P 2011 Humming Bird Records

Two Outrageous Sets of World-Expansive Free Improvised Music!

“Along with expanding the range of instruments available for improvisation in a cultural sense, (OPEYE has) been working to expand the formal bounds of improvisation itself. As a group, we have been consciously moving away from what I think of as a lowest common denominator approach to the ways players relate to each other in an improvisational setting. That is, we are not attempting to coalesce musically around some lowest common denominator note, scale, melody, rhythm, or whatever. Rather, we are attempting to bring to collective improvisation the formal complexity of a string quartet, wherein each player’s role is a complete role, perhaps even able to stand alone, yet at the same time absolutely essential to the group music…

“The OPEYE ORCHESTRA is a first experiment to find out how well this approach can work with a larger ensemble. It is, in a sense, a social as well as musical experiment since it explores the maximum freedom that individuals may attain within a group while still maintaining the cohesion of the group.”

- From “The Theoretical Framework for the OPEYE Orchestra” – Henry Kuntz (May 2002)

16 EURO
incl. shipment cost world-wide for this DOUBLE CD.

Free – Download

This download consists of one zip file containing the complete track list in 192kbps MP3 format along with album art in high resolution JPG format. Please click the following link: Opeye Orchestra Live at Tuva Space | FREE DOWNLOAD

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Free MP3 Download Available

CLICK HERE FOR THE HENRY KUNTZ – SONIC FLARES – FREE DOWNLOAD

This download consists of one 54,2 MB zip file containing the complete track list in 192kbps MP3 format along with album art in high resolution JPG format.

Henry Kuntz| SONIC FLARES

1. SONIC FLARES (19:11) Solo Tenor Saxophone

Recorded Live at Beanbenders, Berkeley, Ca October 4,1998 DAT Recording & CD Master Suki O’Kane/ZOKA

Download listen to Henry Kuntz | Sonic Flares (4 minutes excerpt)

2. 6 TRACK ANGELS (20:12) Balinese Gamelan (Gender, 10 keys) and Gamelan Selunding (Two 4-key instruments), Javanese Gamelan Pelog (Saron, 7 keys) and Slendro (Saron, 9 keys), Chinese Musette, Drums & Percussion

Download listen to Henry Kuntz | 6 Track Angels (4 minutes excerpt)

Multi-Track Recording by Henry Kuntz July 16,17,1995. Re-Mastered 2007 for Release on “Speed of Culture Light”. Cassette Box, Dreamtime Tapes Digital. Transfer by Michael Zelner. C & P Humming Bird Records 2011 – Humming Bird CDR 4. Henry Kuntz Sax & Stories.

6-Track Angels includes instruments from two types of Balinese and two types of Javanese orchestras, each one with its own scale and idiosyncratic tuning. Normally, these instruments would never be heard together – unless one happened upon a festival at which two or more ensembles were playing together coincidentally in conjoined physical space.

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.

To the four Indonesian instruments, I added Chinese musette, drums and percussion – played with sonic and formal allusions to Thai classical music. In Thai music, it is not uncommon for instrumentalists to concurrently pursue singular expressive visions within a collectively unified ensemble.

16 EURO
incl. shipment cost world-wide (if you prefer the physical CD version)

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“Multi-track recordings have been an essential means of expression for me since 1989. Within pieces that are unique in sound, multi-cultural context, and instrumental combination, I’ve been able to showcase and synthesize those musical elements that are most important to me: independence of line, textural complexity, and equality of instrumentation and mix, 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 (March 2010)

Original Recordings & Mix by Henry Kuntz. Digital Master by Michael Zelner. Photos by Henry Kuntz. Label by Paul Kuntz. Humming Bird CDR 3 – C & P Humming Bird Records 2010 – All Rights Reserved

IINFIINIITY

Trans-Temporal Trans-Spatial Multi-track Creations

1. Critical Density (19:58) Soprano recorder, Balinese & Thai wood xylophones, drums & percussion recorded July 15, 1995; tenor saxophone recorded February 8, 2007. (First released on Speed of Culture Light Cassette Box, Dreamtime Tapes, 2007.)

2. Double 8 Bird (3:30) Hand drum, fetish gongs (Togo), balafon (Mali) recorded September 23, 2009; rhaita (Morocco) recorded August 26, 2001. Download

3. Grandfather Grasshopper (4:19) Two large bamboo xylophones (Bali), balafon (Mali) recorded September 23, 2009; soprano recorder & Nepalese bamboo flute (played together) recorded August 26,2001.

4. Grandmother Spider (3:23) Wood xylophone (Bali), slit drum (Guatemala), Thai wood xylophone recorded September 23, 2009; Hollowed-out log violin (Mexico) recorded August 26, 2001.

5. Islands to Highlands…the New Polyphonic Orchestra (4:59) Nepalese & Balinese bamboo flutes (played together), two Guatemalan bamboo flutes (played together), Bolivian bass flute recorded October 10, 2009; rhaita (Morocco) recorded August 26, 2001.

6. IINFIINIITY (13:18) Center tenor saxophone, left & right Tibetan bowls recorded August 26, 2001; Left and right tenor saxophones recorded September 23, 2009.

16 EURO
incl. shipment cost world-wide

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Year Of The Ox

Humming Bird CDR 2

Henry Kuntz: Chinese Musette, Angel Soprano Recorder (Korea), Bells, Voice | Paul V. Kuntz: Embellished Piano, Bell Wreath

Tracklist: Ox 1 (4:29) – Ox 2 (4:31) – Ox 3 (4:37) - Ox 4 (5:08) - Ox 5 (6:26) – Ox 6 (7:06) - Ox 7 (3:27) – Space and Time (O:40) – Hare of the Dog (3:41)

Tracks 1-7 recorded December 29, 2008 – Houston, Texas. Track 9 recorded December 27, 2006 – Houston, Texas. Produced by Henry Kuntz. Recorded and mastered by Paul V. Kuntz. Photograph and design by Paul V. Kuntz.

“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

Paul V. Kuntz (b. 1961) began playing piano as a teenager. His fascination with jazz and free improvisation led him on an intense journey of musical discovery and self study. He delights in having a blank canvas and being able to create on the spot. Among his piano influences are Dave Brubeck, Alice Coltrane, McCoy Tyner, Keith Jarrett and Cecil Taylor.

Paul V. Kuntz is a professional photographer whose work has been exhibited in fine art galleries internationally. His photographs are in the collection of the Museum of Fine Arts (Houston, Texas), Museet for Fotokunst (Odense, Denmark), and in various private collections including that of the late Helmut Gernsheim (Lugano, Switzerland). Most recently, his work appeared in a retrospective book of Mr. Gernsheim’s photography collection, Helmut Gernsheim: Pioneer of Photo History.

click the cover/images to enlarge…

Download listen to Henry & Paul V. Kuntz | Year Of The OX | Track One

Download listen to Henry & Paul V. Kuntz | Year Of The OX | Track Two

Download listen to Henry & Paul V. Kuntz | Year Of The OX | Track Three

Download listen to Henry & Paul V. Kuntz | Year Of The OX | Track Four

16 EURO
incl. shipment cost world-wide

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JAVA (1997)

Sacred Gamelan Sekati of Yogyakarta
Humming Bird Earth Series CDR 1

Note: This music was recorded in open-air pavilions on basic equipment under conditions far from optimal for recording. Yet the ambience, excitement, and electricity of the music shine through in ways that fully reflect its cultural authenticity. Earth Series is releasing this material because of its uniqueness and general unavailability on the commercial market.

1. Kyai Gunturmadu July 13, 1997 – 10:30 PM (22:49) | 2. Kyai Nagawilaga July 15, 1997 – 11:00 PM (24:53) | 3. Kyai Gunturmadu July 16, 1997 – 9:00 PM (29:34)

Download listen to Java | Kyai Gunturmadu July 13, 1997

16 EURO
incl. shipment cost word-wide

Instrumentation – 7 tone pelog tuning Bonang Barung 2 rows of 14 knobbed gongs, plus one on each side of the main seated player: played by1 leading player and 1 or 2 additional players who sit on the opposite side of the instrument adding occasional ornamentation. Saron Demung, 2 Saron Ritjik, Saron Peking Metallophones of graded sizes suspended over wooden trough resonators: Each saron may be played by 1 or 2 players, the players sitting on opposite sides of the instrument. Kempiang 2 knobbed gongs on a wooden stand: 1 player. 2 Tjempur small suspended gongs: 1 player. 2 Gong Ageng large suspended gongs: 1 player. Bedug large drum: 1 player.

On my initial visit to Yogyakarta, Central Java, in 1987, there was one type of gamelan music I did not hear anywhere. That was the unusual and extraordinary music of the ancient and sacred gamelan sekaten. Prior to my journey, I had heard this music on an LP Java / Historic Gamelans (UNESCO Collection, GREM G1004) recorded in 1970 by Jacques Brunet.

For me, this piece is the essence of what the music of the gamelan sekati is about. (Henry Kuntz, July 2009)

Recordings and Photos by Henry Kuntz. Digital Audio File by Michael Zelner. C & P Humming Bird Records 2009 – All Rights Reserved

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BOLIVIA (1986)

Native Ritual Music from Italaque: Panpipes, Flutes, Drums

Humming Bird Earth Series CDR 2 (Previously Earth Series Cassette 300)

Note: All of this music was recorded outdoors on basic equipment in “real life” circumstances, under conditions far from optimal for recording. Yet the ambience, excitement, and electricity of the music shine through in ways that fully reflect its cultural authenticity. It is to provide a small cultural looking glass into a world or worlds barely known to most of us that these recordings are presented. I hope they will encourage you to want to know more, to open your world up more to the many fascinating and diverse worlds around us.

Music from the Fiesta de la Invención de la Santa Cruz May 3, 1986

1. Group One (2:41) 2. Group One (2:25) 3. Group Two (3:22) | 4. Group Three (2:33) 5. Groups One & Three (10:09) | 6. Group Four (1:43) 7. Group One (5:20) | 8. Groups Two, Three & Four (8:30) 9. Groups Three & Four (8:50)

Download listen to Boliva | Group One

Download listen to Bolivia | Group Two – Alto Bamboo Flutes

16 EURO
incl. shipment cost word-wide

Group One plays large single-row panpipes of seven different-length tubes each. Pieces 1 and 2 were recorded on the group’s arrival and departure from the small courtyard. Group Two plays 5-hole straight flutes, each some 2 feet long. Piece 3 was recorded on their arrival in the small courtyard. Group Three plays two sizes of 4-hole straight flutes, one approximately 2 feet long and the other closer to 3 feet. Piece 4 was recorded on their arrival in the small courtyard. Group Four plays relatively small single-row panpipes of different sizes with different-length tubes in groups of 6, 9, and 12. Piece 6 was recorded on the hill overlooking the town, as were all of the remaining pieces featuring all of the different groups.

Recordings and Photos by Henry Kuntz. Digital Audio File by Michael Zelner. C & P Humming Bird Records 1986/2009 – All Rights Reserved

For more photos and to read the complete story of Henry’s Journey to Italaque (Parts 1-4), go to Sax & Stories by clicking here…

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HENRY KUNTZ – WHIRLING SUN VISIONS!

Humming Bird cdr 1

“Multi -Track Works – In – Process Miniatures”

1. Celestial Forest (9:06) – Tenor Saxophone, Javanese Gamelan, Bali “large” & “small” bamboo xylophones. (The saxophone is used exclusively in the lower register to mimic the percussive range of the bamboo xylophones.) July 17,2005 2. SolarSonic 1 (4:43) September 19, 2007 3. SolarSonic 2 (4:07) September 19, 2007 4. SolarSonic 3 (4:12) September 23, 2007 – Four Guatemalan chirimias. (The down-to-earth sound of the double-reed chirimia is extended to trance-like dimensions when multiplied. In SolarSonic 2, speed of execution is the dominant factor whereas in SolarSonic 3 the “noise” quality of the instrument is emphasized. SolarSonic 1 is a mix.)

  • Whirling Sun Visions
  • Of Beatific
  • Sound
  • Explode the Mind
  • Like a Flaming
  • Galaxy
  • Into Light Years of Bliss

5. Ele-Fantasia (3:58) – Four tenor saxophones.(Playing in a deliberately “scribbled” manner resulted in this heady dance.) September 23, 2007. 6. DreamSong 1 (9:10) August 25 &26, 2008. 7. DreamSong 2 (6:40) August 25 &26, 2008. -Tenor saxophone & voice, Mexican hollowed-out log violin, Javanese gamelan, Balinese wood xylophone & Mali balafon.(Freely-associated voice gave a dream-like quality to this music similar to that of Indonesian wayang.) 8. Gods Within (6:01) – Tenor saxophone, Balinese gamelan, Bali and Thai wood xylophones. (Inspired by the music of Marion Brown.) July 19, 2005. 9. Whirling Sun Visions (4:58) Tenor saxophone and Balinese gamelan double duo. (In the lineage of AA.) October 27, 2008. Total Time: 52:45

Music by saxophone player Henry Kuntz has been reviewed before and no doubt on one of the occasions I wrote about the fact that the saxophone is not really my favorite instrument. I do make exceptions for those players who use the instrument in a different way, like John Butcher for instance, and perhaps also for someone like Kuntz. Even when he plays his instrument in a different way than Butcher, more traditionally, there is more to his music than just the saxophone. On ‘Whirling Sun Visions’ he offers nine works for multi-track recording, playing along with his self, but also incorporates lots of ethnical percussion, like gamelan, ‘Mexican hollowed-out log violin’, ‘Mali balafon’ and his own voice. Kuntz keeps his music ‘limited’. Dense in nature, but with few variations on the various sounds he produces. His music is minimal, but not through the use of loops. Real-time repetition of sounds, layered on top of eachother, with small variations in playing. Free play at work here of microtonal stuff, which works quite well. Neither free jazz or saxophones could interest me very much, but in Kuntz’ hands this sounds pretty well. (FdW)

Subtitled “Multi-Track Works-In-Process Miniatures”, this is a collection of pieces for overlaid saxophones, vocals and exotic percussives, although the latter are not present in all the tracks. Kuntz appears very interested in the generation of ritualistic moods through the concurrence of different pulses, the presence of the Javanese gamelan adding evident metallic/melodic tints in episodes like the opening “Celestial Forest”. But if we pretend to be transported in a parallel dimension, this recipe leads to the magnification of an innocent-sounding density, a child playing with a series of reed instruments in a room full of clocks. The segments where only amassed saxes are featured are more comparable to the gathering of seagulls fighting for food on a beach, kind of a semi-chaotic superimposition of pattern-within-pattern designs which translates into a peculiar type of entrancement, a bunch of Poppy Nogoods who have had a few too many. (Massimo Ricci, Touching Extremes)

Download Listen to Henry Kuntz | SolarSonic1

    Download Listen to Henry Kuntz | DreamSong2

    Download Listen to Henry Kuntz | Gods Within

    16 EURO
    incl. shipment cost world-wide

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    Opeye

    MOSS ‘COMES SILK (HB CD 1)
    Henry Kuntz / tenor saxophone, Chinese musette, Nepalese bamboo flute, Bolivian & Balinese bamboo flutes; Ben Lindgren / doublebass, Balinese gamelan; Brian Godchaux / viola, Balinese gamelan “selunding,” percussion; Esten Lindgren / trombone, trumpet, Hawaiian conch shell, steel guitar, ukulele, percussion; John Kuntz / steel guitar, mandolin, ukulele, Javanese gamelan, wind-up toy xylophone, percussion.

    (Recorded September 22, 23, 1995)

    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.

    “Intelligent, dynamically rich free improvisation” – Michael Tucker, Jazz Journal

    “The closest sonic corollaries might be found in the freest playing of the Art Ensemble of Chicago, although there is no single precedent for OPEYE’s kaleidoscopic instrumental textures.” – Derk Richardson, SF Bay Guardian

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz / Don Marvel

    ONE ONE & ONE (HB CDs 2 & 3)
    ONE: CIRCLE-CYCLE (CD 2)
    Henry Kuntz / solo tenor saxophone (Recorded January 27 1998 & June 9, 1997)

    The Nature of Form in Time
    The Spirit of Sounded Space
    The Sound of 1 as The Sound of One

    ONE & ONE: 12 PATHS TO KNOWLEDGE (CD 3)

    Don Marvel / time machine, prophet sampler, old turntable, live signal processing and mixing; Henry Kuntz / tenor saxophone, Chinese musette and Nepalese bamboo flute. (Recorded April 18, 1998)

    Illusion and Reality With Allusion To Reality
    To Seek is To Find, But Not Always What is Sought

    “HENRY KUNTZ has reinvented himself on this amazing 2-CD set, his most challenging and best release. He and DON MARVEL explode the boundaries of the improvisational idiom, transcending all conventional concepts. Truly something new.” – Henry Kaiser

    16 EURO incl. shipment cost world-wide| Note: US citizens please use the order-form at the very end of this page.

    mp3logoClick here to Download the complete album as MP3. This download contains the complete tracklist in 192kbps MP3 format along with high resolution cover art and leaflet pages in JPG format.

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    Opeye

    MEDITATIONS ON IMPERMANENCE (HB CDs 4 & 5)
    DAY OF THE DEAD (CD 4)
    Documents a live ritual/performance at “Beanbenders,” Berkeley on November 1, 1998. It includes a 39-minute audio track and a SPECIAL 23-MINUTE VIDEO TRACK.
    LADY LUCK STRIKES AGAIN (CD 5)

    Features music recorded on March 4, 2002 at “Tuva Space,” Berkeley.

    Henry Kuntz / tenor saxophone, Chinese & Moroccan double reeds, Balinese & Javanese gamelans, Balinese & African wood xylophones, bamboo flutes, Mexican toy violins, percussion; Ben Lindgren / doublebass, piano, National steel guitar; Brian Godchaux / violin; Esten Lindgren / trombone, trumpet, guitar, alto saxophone, Tibetan conch, bull’s horn, drums and percussion; John Kuntz / electric and acoustic ukeleles, mandolin, Balinese & Javanese gamelans, wood xylophones, toys and percussion.

    Spirits are invited and entertained in OPEYE’s 1998 Day of the Dead performance/ritual; we approach the Spirit World anew in 2002 contemplating the ironies of life’s final journey.

    “An all-inclusive portraiture of the group’s seamless melding of worldly percussion, horns, and stringed instruments into a free-flowing modus operandi.” – Glenn Astarita, All Music Guide

    24 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz

    WAYANG SAXOPHONY SHADOW SAXOPHONE (HB CD 6)

    Henry Kuntz / tenor saxophone (Recorded April 14, 2006 solo; January 7 & February 18, 2006 for four tenors)

    In an alluring set of solo and multi-track improvisations inspired by his mixed-media presentations of saxophone and puppet theatre, Henry Kuntz re-examines the sound, technique, and musical dimensions of the tenor.

    The saxophone considered both as a resonator and source of sounds – extended mouthpiece clicks, vocal and fricative effects or continuous sounds that hesitate, moving back into the realm of its component elements – is later presented, through overlaying, as a complete polyphonic, seemly conceived in reverse order instrument.” – modisti, February 23, 2007

    “What is amazing to me is that Henry is able to layer these strange and unique sounds into something solid that speaks to us like the long lost or buried voices of ghosts.” – Bruce Lee Gallanter, Downtown Music Gallery

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    CASSETTES

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    Henry and John Kuntz

    NEW WORLD MUSIC (HBT 001)

    Henry Kuntz / Indian snake charmer’s flute, Chinese musette, tenor saxophone, bamboo flute, bells; John Kuntz / ukelele, harp, mandolin. (Recorded December 20,21, 1980 “live” at Woody Woodman’s Finger Palace, Berkeley.

    Exhilarating, micro-rhythmic music suggesting any number of conceptual breakthroughs.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry and John Kuntz

    ARCHANGELIC THE LAW OF ONE (HBT 002)

    Henry Kuntz / voice, Ecuadorian and Indian bamboo flutes, Chinese musette; John Kuntz / ukelele, tenor ukelele, ukelele banjo. (Recorded June 28, 1981)

    Exploring the edges – the soft, the sharp, the light, the dark, the funny, the “mystical.”

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry and John Kuntz

    (tHe cHILd cLowNs) tHE mAgiC lAnd (HBT 003)

    Henry Kuntz / hollowed-out log violin and toy violin (both Indian-made, Mexico), Ecuadorian bamboo flute, Chinese musette, tenor saxophone, voice; John Kuntz / ukelele, ukelele banjo, tenor ukelele. (Recorded March 19, 20, 1983 and during various 1982 performances)

    A multi-timbred, multi-purposed and proposed “primitive” string extravaganza. Wood, metal, and human lung interjection.

    “Nothing short of marvelous!…the best yet” – La Donna Smith (violinist and co-founder of Trans Museq and of the journal The Improvisor.)

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry and John Kuntz

    ATITLAN / LUNA NEGRA (HBT 004)


    Henry Kuntz
    / tenor saxophone, violins (Indian-made, Mexico), Ecuadorian and Indian bamboo flutes, Chinese musette, voice, bells; John Kuntz / ukelele, tenor ukelele, ukelele banjo. (Recorded March 12, 13, 1985 and in performance August 30, 1981 & December 28, 1979)

    An exuberance and dark humor. A rounding out and recapitulation. Musical areas not fully or specifically documented on previous recordings.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Trio Opeye

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    NORTHWEST COASTAL MUSIC (HBT 005)

    Brian Godchaux / violins, thumb piano, Mexican rattles, Indian bells, percussion; John Kuntz / ukelele, tenor ukelele, ukelele banjo, thumb piano, Mexican rattles, small Tahitian log drum, Indian bells, voice, percussion; Henry Kuntz / violins (Indian-made, Mexico), Bolivian bass flute , Indian snake charmer’s flute, various other flutes, Chinese musette, small Indian gong, percussion. (Recorded October 11, 18, 1986)

    Virtuosity and the ritual come full circle in this open-ended, fluid, and hard-edged cultural metamorphosis.

    “Primal, almost shamanistic in approach and just plain straight forward” – La Donna Smith, The Improvisor

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Trio Opeye

    NATIVE INTELLIGENCE (TRANCE AND DREAM CYCLES) (HBT 006)

    Henry Kuntz / violin and toy violin (Mexico), Balinese bamboo xylophone, African balafon (Mali), tenor saxophone, flutes, drums, rattles, voice; John Kuntz / ukeleles, guitar, mandolin,

    autoharp, metallophone, toy xylophone and bamboo xylophone, drum, small percussion; Brian Godchaux / violins, mandolin, bamboo xylophone, thumb piano. (Recorded November 27, December 6, 1987 & February 5, 1988)

    Evocative and challenging journeys to the Nether-Spaces of SOUND, where the mind floats alertly and moves artfully, dynamically, freely… suspended for a time from ordinary reality.

    “Lively, impressionistic, in a genuinely possessed-sounding way.”- The Improvisor (Winter 1988-89).

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz

    WHIRLS AWAY (HBT 007)

    Henry Kuntz / Balinese gamelan and gamelan selunding, Balinese wood and bamboo xylophones, African balafon (Mali) and “fetish” gongs (Togo), Mexican Indian violin, Chinese musette, Bolivian bass flute, Thai mouth organ, voice.
    Four 4-track pieces of 20 plus minutes each – C-90
    (Recorded October 30, 31, November 1,2, December 1-4, 1989.

    “New” New Music! Innovation in the Innovations.
    Improvisational form is freely extended in these sonically-rich, culturally-open multi-track ensembles.

    “It’s from another planet!” – John Oswald (alto saxophonist, performance artist, “Plunderphonics” )

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry and John Kuntz

    HOME (AT) THE RANGE (HBT 008)

    John Kuntz / toy accordian, ukelele, guitar, Chinese gong, percussion; Henry Kuntz / Thai and Balinese wood xylophones, Balinese gamelans, African balafon (Mali), Chinese musette, soprano recorder. (Recorded May and September 1990)

    A lively and spontaneous home-concocted brew of improvised doubles, plus two deeply experiential and highly experimental excursions into 4-track ALCHEMY!

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz

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    TOTAL MUSIC: VOLS. 1 & 2 (HBT 009,010)

    Henry Kuntz / Balinese and Javanese gamelans, Balinese wood and bamboo xylophones, African balafon (Mali), Balinese and Bolivian bamboo flutes, Chinese musette, tenor saxophone, Mexican Indian violins, thumb pianos.
    Two C-60 Chrome Cassettes (specially priced, sold as a set only)
    (Recorded January to August 1991)

    Melodically and rhythmically-concentrated textural layers, busy surfaces, the compacted parameters of free improvisation. TOTAL MUSIC!

    “This is deep, challenging music, informed by fairly disparate traditions.”- Myles Boisen (guitarist, Splatter Trio) – Freeway (Spring, 1993).

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz / New Trio Opeye

    ON THE PATH OF DARKNESS IS THE WAY OF LIGHT (HBT 011)

    Scott Braziel / keyboard electronics; Henry & John Kuntz / wind, wood, string, and percussion instruments. (Trio Opeye recorded “live” October 5, 1990; two multi-track improvisations by Henry Kuntz March 1992)

    Impressionist Flights, Surrealist Delights!

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz

    PLACELESS TIMELESS: VOLS 1, 2, 3 (HBT 012, 013, 014)

    Henry Kuntz / Balinese and Javanese gamelans and wood and bamboo xylophones, Thai and African wood xylophones, Tibetan bowls and bell, Chinese musette, tenor saxophone, Indian snake charmer’s flute, Mexican Indian violin, assorted drums and percussion.
    Three C-46 Chrome Cassettes (specially priced, sold as a set only)
    (Recorded February through November 1993, and one piece March 1991)

    Orchestral breadth, formal clarity, and instrumental purpose are highlighted in these engaging and explorative multi-track ensembles!

    20 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Opeye: Trio & Quartet

    ROYAL GARDEN SWEET (HBT 015)

    Ben Lindgren / doublebass; Esten Lindgren / trombone, conch shell trumpet, ukulele banjo, Thai wood xylophone; John Kuntz / ukulele, ukulele banjo, mandolin, Balinese & Javanese gamelans and various drums and percussion; Henry Kuntz / Nepalese, Balinese, and Bolivian wood flutes, Chinese musette, tenor saxophone, conch shell trumpet, and various drums and percussion. (Recorded January 22 and July 23, 1994)

    Innovation in these classically improvised sound excursions is a logical outgrowth of a well-founded and felt traditional continuum.

    “Henry Kuntz is the Ornette Coleman of Nepalese, Balinese and Bolivian flutes…..Opeye’s music has much more in common with the subconscious designs of weird dreams, things falling down basement stairs and squirrels in the attic. First-rate improvisation, an environment for relaxed little prophesies, which is ironic since the music is so constantly active.” –Davey Williams, The Improvisor, Volume XI, 1996.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz

    THE MAGIC OF MYSTERY (HBT 016)


    Henry Kuntz
    / tenor saxophone; Chinese musette; Thai, Nepalese and Bolivian bamboo flutes; Thai, Balinese, and African wood xylophones; Balinese and Javanese gamelans; Tibetan bowls; assorted drums, gongs, and percussion.
    Four multi-track pieces. (Recorded June, September 1994)
    Also available as a limited edition cdr on Foxglove.

    Prototype wind and percussion ensembles emphasizing sharply contrasted and divergent textural timbral, and rhythmic elements.

    “Pursuing his singularly eccentric aesthetic, Kuntz’s newest solo tape presents four remarkable pieces…Avoiding the steady rhythms and hummable melodies of the actual ‘Third World’ musics whose instruments he uses, Kuntz has long been working in a way that is closer (sonically) to the plant and insect life of the wildest lands than to the music of the humans who inhabit them…All his playing is underpinned by an uncanny attention to detail, resulting in a strangely ‘activated’ music from one of the most personalized voices in contemporary improvisation.” – Davey Williams, The Improvisor, Volume XI, 1996.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    LONG PLAYING RECORDS

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    Henry Kuntz

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    CROSS-EYED PRIEST (HB 1001)

    Henry Kuntz / tenor saxophone, Henry Kaiser / electric guitar, Charles K. Noyes / drums and percussion, Greg Goodman / piano and percussion. (Recorded: Side A
    Kuntz solo and Side B,2, Kuntz-Goodman, “live” at Woody Woodman’s Finger Palace May 6, 1979; Side B,1, Kuntz-Kaiser-Noyes June 1979)

    Primal, “magical” special-textural constructs

    Avant-Garde music critic Peter Riley included this on his list of favorite records for 1980 (CODA No. 176)

    40 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Henry Kuntz

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    ANCIENT OF DAYS, LIGHT OF GLORY (HB 1002)

    Henry Kuntz / tenor saxophone, bamboo flute (India), John Kuntz / harp, John Gruntfest / alto saxophone, Charles K. Noyes / drums and percussion. (Recorded mid-1980, most pieces “live” at Woody Woodman’s Finger Palace: Kuntz solo and in duo with John Kuntz, Gruntfest, and Noyes)
    Three-color hand silk-screened cover by artist Jerry Pierson.

    From the purely textural to the texturally elegant: a movement toward a “new” melodicism.

    40 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    EARTH SERIES CASSETTES

    AUTHENTIC ON-LOCATION RECORDINGS OF WORLD MUSIC

    The Earth Series cassettes were recorded using a single omni-directional Sony microphone positioned so as to obtain the highest quality natural mix in the music. All of the material was recorded in “real life” circumstances under conditions far from optimal for recording. Yet there is an oustandingly good sound-to-noise ratio on each of these tapes. HUMMING BIRD EARTH SERIES is releasing this music because of its uniqueness and general unavailability on the commercial market. The cassettes are “real time” dubs from metal masters and utilize type “B” Dolby noise reduction to ensure that everything originally recorded can be optimally heard by the listener. Descriptive notes are included with each release.

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    Mexico

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    BRASS BAND AND MARIMBA MUSIC FROM THE COAST AND ISTHMUS OF OAXACA (ES 100)

    Hot Coastal nights explode with fiesta sounds — fast, enticing rhythms and the whistling, swirling, and crackling of a thousand fireworks! Also, distinctively percussive (and highly virtuostic) marimba stylings from Mexico’s isthmus — marimba as it is played nowhere else!

    “Field recordings from Mexican festivals that make you feel you’re right there, sipping Dos Equis and whooping it up.” – Jay Walljasper, UTNE READER, January 1989.

    “The music abounds with the fiesta spirit of the village on this upbeat cassette.”
    - Francine Rota, EAST WEST, August 1988.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Guatemala

    INDIAN RITUAL MUSIC FROM CHICHICASTENANGO (ES 200)

    The cobbled and dirt streets of “Chichi” come alive with the mesmerizing tones of the oboe-like chirimia, wood flute, and drums. These old sounds mix with the buzz of the marimba and a shifting chorus of trumpets and saxophones. Plus a bit of highly-charged Mexican folklore from San Cristobal de las Casas.

    “This music is very charming — ragged at times, but with a heart.” - Kathryn Lyle, DOWN HOME MUSIC NEWSLETTER, January 1989.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Bolivia

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    NATIVE RITUAL MUSIC FROM ITALAQUE: PANPIPES, FLUTES, & DRUMS (ES 300)

    Extraordinary, ancient, trance-like music from a village high in the Bolivian Andes. Sounds of the wind and of the earth. A Musicians’ Festival!

    “The fiesta music of the legendary Italaque community is fascinating. Such layers of extraordinary sounds and resonances.” – Jan Fairly, FOLK ROOTS (England), March 1988.

    “My favorite of the tapes is Bolivia… The music is wild, and the overlapping of sounds of one group playing with the other (different songs, mind you) is mesmerizing.” – Cliff Furnald, DIRTY LINEN # 25, Spring 1989.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Bali

    SURVIVAL AND CREMATION RITUAL MUSIC: ANCIENT GAMELAN SELUNDING AND MOBILE GONG ENSEMBLES (ES 400)

    The fascinating metallophone music of Bali, heard in one of its most archaic modes on the rarely played ancient iron gamelan of Tenganan. And the engrossing gong and percussion sounds that mark the island’s cremation processions and ceremonies.

    16 EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    Guatemala

    MARIMBA MUSIC FROM THE FESTIVAL OF TODOS SANTOS (ES 500)

    Some of the purest Indian marimba music — melodically rich, rhythmically inviting, with that underlying sensual BUZZ that accounts for its ‘other-dimensionality’.

    “Guatemala presents a special aspect of the festival music of Central America. The marimba of the region is a wonderfully raspy device, and the music played on it is a beautifully melodic thing… light-hearted but complex.” – Cliff Furnald, CMJ “New Music Report,” December 6, 1991.

    16  EURO incl. shipment cost world-wide | Note: US citizens please use the order-form at the very end of this page.

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    HUMMING BIRD RECORDS AND TAPES PRINTABLE ORDER FORM

    HB 1001 CROSS-EYED PRIEST – $6.95
    1002 ANCIENT OF DAYS, LIGHT OF GLORY – $12.95 (Only a few copies remain)
    HBT 001 NEW WORLD MUSIC $6.95
    002 ARCHANGELIC V THE LAW OF ONE $6.95
    003 (tHe cHILd cLowNs) tHE mAgiC lAnd $6.95
    004 ATITLAN / LUNA NEGRA $6.95
    005 NORTHWEST COASTAL MUSIC $7.95
    006 NATIVE INTELLIGENCE $7.95
    007-C-90 WHIRLS AWAY $7.95
    008 HOME (AT) THE RANGE $7.95
    009,010-(2) TOTAL MUSIC 1 & 2 $9.95
    011 ON THE PATH OF DARKNESS IS THE WAY OF LIGHT $7.95
    012,013,014-(3) PLACELESS TIMELESS 1, 2, & 3 $11.95
    015 ROYAL GARDEN SWEET $7.95
    016 THE MAGIC OF MYSTERY $7.95
    ES 100 MEXICO $7.95
    200 GUATEMALA (CHICHICASTENANGO) $7.95
    300 BOLIVIA $7.95
    400 BALI $7.95
    500 GUATEMALA (TODOS SANTOS) $7.95
    CD 1 MOSS ‘COMES SILK $12.95
    2-3 ONE ONE & ONE $15.95
    4-5 MEDITATIONS ON IMPERMANANENCE $23.95 (Only a few copies remain)
    CD 6 WAYANG SAXOPHONY SHADOW SAXOPHONE  $12.95

    Buy CD 6 online @ metropolis or cdbaby

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    Dear HUMMING BIRD,

    I enclose $___________ for the CDs, Cassettes and Long-Playing records indicated.

    Please send to:

    NAME__________________________________________

    ADDRESS_______________________________________

    CITY__________________STATE_______ZIP_________

    COUNTRY_______________________________________

    PLEASE: Make all checks and money orders payable to HUMMING BIRD. Out-of-USA Orders (except Canada, Mexico, Central America) add $2.00 per CD or Long-Playing Record, $1.00 per cassette.

    MAIL TO: HUMMING BIRD RECORDS, 1117 THE ALAMEDA, BERKELEY, CA 94707
    (California residents add 8% sales tax.)
    All Orders Processed Promptly. ALL PRICES LISTED ARE POSTPAID

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28 10 2011

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