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 regularly with the likes of guitarist Keith Rowe, violinist Phil Durrant, cellist Tristan Honsinger, and saxophonists Michael Moore and Tobias Delius.
Forgetting the remarkable premise for this session, Fuhler brings sustained echoey and foggy sounds by utilizing various ebow and super magnets applied to an acoustic grand piano. They create electromagnetic waves that perpetuate a resonance of energy and sound that can only be described as "electric. The remarkable spatial feeling created is one of deep mediation of machine dreams.
This solo piano recording is unlike any other. In fact, any resemblance between these sounds and that of a piano are quite coincidental. The dreamy states of spinning energy Fuhler concocts are devices simply to muse on the imponderable
Track Listing: North-South; Ferrous; Stengam: part 1; part 2; part 3; part 4; part 5; part 6.
Personnel: Cor Fuhler: acoustic grand piano, preparations.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.