“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
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.
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.
This new album by Mister Kuntz
is subtitled “Trans-Temporal Trans-Spatial Multi-track Creations”. It clearly points at what is happening here. For Kuntz multi tracking is not some necessary evil. On the contrary, for him it is an essential way of composing music. In all compositions on “Iinfiiniity”Kuntz uses old recordings from his archive, and combines them with new presently added playing. There is a time gap of about eight in most pieces. And maybe recordings were done at different places as well as the subtitle suggests. This procedure is like a dialogue with oneself. Kuntz the improvisor in 2001 or 1995 is not Kuntz the improvisor in 2009. Another combination that is relevant for Kuntz is shown by his use of asian and african wind and percussion instruments on the one hand, and western ones on the other. But it is not only the use of exotic instruments that give his improvisation an exotic flavor. It is also because of the way Kuntz structures his improvisations that his music has similarities with ethnic and tribal music. Again an inspiring and original work from this veteran improvisor. (DM)9 EURO CDR incl. shipment cost world-wide 6 EURO MP3 66.80MB zip download