Since John Cage drew attention to (rather than invented) prepared piano in the middle of the last century, it has steadily gained in popularity and acceptance, to the extent that most improvising pianists give it some role in their repertoire and it even makes occasional appearances in popular music.
While many pianists mainly play the keyboard straight, and dabble with using prepared piano and/or playing inside the piano, Cor Fuhler takes prepared piano to another level. Every pianist has their own distinctive ways of preparing their piano; these include using such things as sheets of paper, telephone directories, nuts and ...read more
Cornelis Fuhler is an Amsterdam based improviser who, as a pianist, is comfortable playing swing to John Cage. This recording from 2006 is a solo piano session made with no electronics, no overdubs, and no electronic treatments. With that in mind, he has created a series of sustained tones and notes that are remarkable in both a technical aspect and as a sonic document of sound improvisation.
A true chameleon in the experimental scene, Fuhler has recorded with drummer Han Bennink and bassist Wilbert de Joode. Sonic manipulator Gert-Jan Prins and Fuhler make up The Flirts. He works ...read more
The resourceful Amsterdam-based composer/performer/inventor Cor Fuhler brings his hatful of tricks to the nonet form when he leads the Corkestra. Miniature sound wonders materialize over the course of these organized improvisations. Fuhler's love of old, distinctive-sounding keyboards fits his richly textured ensemble, which includes Nora Mulder on cymbalom, the Ex's Andy Moor on guitar, Anne La Barge on flute, Tony Buck and Michael Vatcher on percussion, Ab Baars and Tobias Delius on reeds, and Wilbert de Joode on double bass. Together they traverse Fuhler's personal yet familiar soundscapes.
Zand I chugs along happily on square wheeled riffs, keyboard, bass, and ...read more
Cor Fuhler Corkestra Data Records 2004
Though a significant number of fluxus and neo-dada artists were in fact American and American expatriates, the penchant for obtuse, referential destructuralization did not catch on in American jazz as much as it did in European improvised music. One has only to leaf through the Fluxus Codex to find Misha Mengelberg and Peter Brotzmann's names among the participants. Perhaps it is because the rebuilding of postwar Europe required an art built on destabilization and change as a response to almost immobilizing political atmospheres, whereas civil rights ...read more
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