Creative Sources
Ernesto Rodrigues has been playing the violin for 30 years and in that time has played all genres of music ranging from contemporary music to free jazz and improvised music, … Continue reading
Labels
- American Clavé
- Amirani Records
- ARCH.MUSIK
- Aut Records
- Bayou Seco
- Cegin Productions
- Creative Sources
- Dust & Grooves
- Edgetone Records
- El Gallo Rojo Records
- Entropy Stereo
- Etude Records
- Euphorium Records
- Fantasma Inc
- Five Spot
- Fratto9 Records
- Headlights
- Humming Bird Records
- Impressus Records
- Joe Holiday
- Ken Filiano
- Kevin Frenette
- Koya Records
- Libra Records
- Lo Galluccio
- Long Song Records
- Metropolis
- Minority Records
- Misha Feigin
- Mistaking Monks
- Mudoks Record
- Nemu Records
- New Artists Records
- Newsonic Records
- No Business Records
- Not Two Records
- Otzir Godot
- Pata Music
- Percaso
- Plutonium Records
- Rogue Art
- Rudi Records
- S. A. Griffin
- Thank You Records
- Va Fongool Records
- VOX Audio
- Will Guthrie
- Zeitgeist Press
- Zerx Records
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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