Henry Kuntz & Paul V. Kuntz | DOUBLE VISION | HBD 03/CDR 13

24 08 2015

Henry Kuntz & Paul V. Kuntz | DOUBLE VISION | HBD 03/CDR 13

Henry Kuntz & Paul V. Kuntz

DOUBLE VISION | HBD 03/CDR 13
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Double Vision is the third release of music that actively attempts to extend the formal parameters of free improvisation. The first recordings were Envision New Music and Envision Ensemble Live at Berkeley Arts Festival.

The surface of this music will not feel unfamiliar, but the thinking behind it is different; the assumptions underlying it different.

Taking off from the idea of “festival form”, the music embodies a kind of meta-archetype. It is less a confluence of interests, musical or otherwise (the archetypical norm), than a confluence of Being – or beings. It moves toward a more inclusive and expansive ideal.

Double Vision follows its own idiosyncratic path toward that ideal.

Henry Kuntz & Paul V. Kuntz | DOUBLE VISION | HBD 03/CDR 13

DOUBLE VISION Total Time (48:23)

1. Sunflower Buttercups (14:07)
2. Bluebonnet Poppies (11:17)
3. Redwood Oaks (11:12)
4. Sagebrush Tumbleweeds (7:21) 5.Lotus Cactus (4:25)

FREE MP3 DOWNLOAD Available HERE

Henry Kuntz: Mexican toy violin (Paracho), Angel soprano recorder (Korea), Two Guatemala bamboo flutes, India bamboo flute, Chinese musette, Reed horn with resonant gourd bell (Indonesia). (The 6-hole reed horn is similar to an Indian snake charmer’s flute but without a drone tube.) Paul Kuntz: piano, prepared piano, small percussion.

Recorded: 1-4: April 7, 2015; 5: April 6, 2015 Houston Texas. Recorded and mastered by Paul Kuntz. Musician photos by Paul Kuntz.

On Double Vision, Paul and I began with the concept of “festival form” as showcased by the Envision Ensemble Live at Berkeley Arts Festival. At Paul’s suggestion, we expanded the bounds of the sonic fairgrounds to include: on Bluebonnet Poppies solo music of mine from the LP Ancient of Days, Light of Glory; on Redwood Oaks duo music by myself and John Kuntz from the cassette New World Music; and on Sagebrush Tumbleweeds generic crowd noise which is always an integral part of any festival sound field.

C & P 2015 Humming Bird Records (HBD 03/CDR 13)

Buy DOUBLE VISION | HBD 03/CDR 13: (CD or MP3) here…

Henry Kuntz

Henry Kuntz

Paul V. Kuntz | click the image to visit his web site...

Paul Vincent Kuntz

In addition to his musical pursuits:
Paul Vincent Kuntz is an award winning photographer whose work has been exhibited in fine art galleries internationally. His photographs are in the collections of the Museum of Fine Arts (Houston), Museet for Fotokunst (Odense, Denmark), and in various private collections including that of the late Helmut Gernsheim (Lugano, Switzerland). Most recently, his work was featured in the photographic exhibition “The Birth of Photography – Highlights of the Gernsheim Collection” at the Reiss-Englehorn Museum in Mannheim, Germany. He is also featured in the companion book to the exhibition of the same name.

Visit Paul’s new website, with photos from “Inside Houston’s Third Ward”

Rodeo-Party at Molo's | Photo by Paul V. Kuntz | click the image to visit the Paul V. Kuntz web site...

Henry Kuntz




Henry Kuntz & Paul V. Kuntz | JAsZ KHARdMA | Humming Bird CDR 9

17 10 2012

click the cover to enlarge…

Henry Kuntz & Paul V. Kuntz

JAsZ KHARdMA

Humming Bird CDR 9

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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) 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) 7. Queen Lady Day (3:33) 8. Bix of Clubs (2:53) 9. Duke’s Deal (3:02) 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

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Buy Henry Kuntz & Paul V. Kuntz | JAsZ KHARdMA | Humming Bird CDR 9 (CD version) here…

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

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Henry Kuntz & Paul V. Kuntz | YEAR OF THE OX – Humming Bird CDR 2

20 08 2009

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

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

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

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

Buy Henry & Paul V. Kuntz – Year Of The OX – Hummingbird CDR 2 (CD or MP3) here…

“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.


Vincent Frank playing accordion inside his home, Houston, Texas 2-26-1986 – Photo by Paul V. Kuntz

VITAL WEEKLY | number 698 | week 40

HENRY KUNTZ & PAUL V.KUNTZYEAR OF THE OX (CDR by Hummingbird)

Paul is a professional photographer, but plays piano since his youth with a love for jazz and improvisation. With Henry Kuntz we are in the company of a veteran improvisor. We first hear him on a very early record of Henry Kaiser, “Ice Death” (1977). And two years later Kuntz started Hummingbird and released his first solo-album “Cross-Eyed Priest”. Releases over the years were not many. Concerning this new release Kuntz says: “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.” The reason for this long gap remains is not given. Also whether we are are talking here of two brothers, father and son, or another (family-)relation is not made explicit, but of course of secondary importance. But let’s come to this meeting. Henry Kuntz plays chinese musette, angel soprano recorder, bells ,voice. Paul Kuntz embellished piano, bell wreath. We find them in nine concentrated improvisations, each one starting from a different angle. The music comes to you very direct. It is of great purity and rawness, unpolished. This makes that the music has an immediate emotional impact, although it are very abstract improvisations. Like in ‘Ox 1’ Kuntz produces often very penetrating sounds from his instruments, whereas Paul attracts attention with his self-made prepared piano turning it into an almost percussive instrument. In ‘Ox 2’ Henry excels in (fake) japanese vocals. Virtuosity is not their thing. The music lacks ego and pretensions. It springs from a meeting between two very personal and dedicated players. Authentic music! (DM)

Massimo Ricci | Touching Extremes

The simpler instrumentation (Chinese musette, Korean soprano recorder, bells and voice against “embellished” piano and bell wreath) makes for a straightforward path to the immediate understanding of the music, which grabs the attention via the obvious contrast between the respective approaches. We’re told that Paul Kuntz’s pianism has been partially influenced by people such as Cecil Taylor and Alice Coltrane besides “regulars” as Dave Brubeck and McCoy Tyner, but you won’t find no eruptions or cascades here. The structure of the large part of the pieces sees the piano underlining – typically quite calmly and evocatively – single strained notes and cried-out overtones halfway through forest calls and liberation of inner tensions. If, at times, this might generate the impression of a chance meeting with an overall sense of unglued parts and bizarre intrusions, one also clearly detects the feel of non-constriction by stylistic necessities, and appreciates the honesty that appears to drive the brotherly quest for unusual communication. — Massimo Ricci, Touching Extremes