CLASSIC OPEYE | 2 Discs: Free Downloads!


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 indispensable 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.”


listen to Opeye | Improvisation No. 32


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.

listen to Opeye | Drum Bear (excerpt)


Henry Kuntz | Sonic Flares | Humming Bird Records CDR 4 & FREE DOWNLOAD

Free MP3 Download Available


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.


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

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

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.

Buy Henry Kuntz – Sonic Flares – Humming Bird – CRD4 here…

We find two works by Kuntz on this new release.

The title piece ‘Sonic Flares’ is for solo saxophone, recorded in 1998. During the 20 minutes of this solo Kuntz kept my full attention. I experienced emotional depth, humor, expressive and communicative playing. Great piece from a very advanced player! The other track on this CDR is ’6 Track Angels’, is of another nature. It is a fascinating piece that came about by multi tracking. It has Kuntz playing on a wide range of eastern instruments. Originally recorded in 1995, Kuntz re-mastered it in 2007 and now it is here on cdr. Concerning the instrumentation let me quote Kuntz. The piece “includes instruments from two types of Balinese and two types of Javanese orchestras, each one with its own scale and idiosyncratic tuning… To the four Indonesian instruments, I added Chinese musette, drums and percussion – played with sonic and formal allusions to Thai classical music.” The music makes the impression of a swirling complexity. Seemingly individual sounds swirl down into your ears. As if they happen to make up a harmonic whole by accident. In the background we hear Kuntz improvising on some wind instrument. Improvised and multilayered music in Eastern tonalities. Another intriguing piece! — Vital Weekly 784(DM)