Raymond Dijkstra

All my work is highly autobiographical, highly subjective and highly emotional. In this sense my work is the complete opposite of that from most musicmakers out of the experimental corner who’s work is mostly without any emotion. The reason for me making music is to strenghten my connection with life. For me my music is not experimental, simply because it was Never made to experiment. There is a bit of a problem with most experimental musicians, who are mostly only touching the surface of a subject after which they go beyond to find another experiment. I feel more connected to painters and sculptors who delve deep into the subject and explore it thoroughly, going into every possible direction, to really connect with their world. Even more interesting I find it when one connects with ones own genuine personal world. Just to come home to his self, instead of going out for a journey, what experimenting often is. — Raymond Dijkstra Continue reading

Jean-Michel Van Schouwburg | Jean Demey | John Russell | The Mercelis Concert (Brussels 2006)

“Van Schouwburg… unleashes a distinctive array of throat, mouth and tonsil intonation that encompasses guttural murmuring, duck-like quacks, extended nattering, Satchmo-style growls, saliva-filled expositions, Bedlam-like mumbles and vibrating warbles. Russell responds with crossbow-like pulls on his strings, rasps beneath the guitar’s bridge and abrasive extended slides.” — Ken Waxman, JAZZword Continue reading

Jonathan Zorn

My Mind Was Matching What You Were Making | set 01 Rachel Thompson – violin, Jonathan Zorn – synthesizer Violin processed by synthesizer, synthesizer processing violin. Two tracks of collaborative … Continue reading

Opeye Orchestra | Live at Tuva Space

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) Continue reading

Opeye | Moss ‘Comes Silk

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

Henry Kuntz | Guatemala (1990)

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. — Henry Kuntz
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