Kuntz ( Paul V. )

PaulVKuntzPaul 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.

Henry Kuntz & Paul V. Kuntz | DOUBLE VISION | HBD 03

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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. — Henry Kuntz Continue reading →

ENVISION ENSEMBLE | Live at Berkeley Arts Festival | Hummingbird Records

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For the second-ever performance by the ENVISION ENSEMBLE, the players expanded instrumentation and instrumental range, moving more fully into multi-dimensional “festival form”. The ENSEMBLE’s formal expansion more or less flips the concept of a usual approach to improvisation, that in which players “listen” to and complementarily match what other players are doing while only occasionally moving into an entirely independent space. The ENVISION ENSEMBLE begins in independent space. The players hear the whole as well as listen to the parts, creating beyond the strictures of standard complementarity. The intent is to fashion an experiential rather than compositionally logical totality. Continue reading →

Henry Kuntz & Paul V. Kuntz | JAsZ KHARdMA

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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. — Henry Kuntz Continue reading →

Opeye | Moss ‘Comes Silk

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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 Continue reading →