Cor Fuhler has been called many things: a maverick, a chameleon, a tinkerer, innovator and even traditionalist. However, above all, he simply thinks of himself as an improvising musician and organizer of sounds, ideas and combinations of people.
Mostly piano is his choice, the instrument he fought with and against for many years before and during his studies at the conservatory in Amsterdam in the 80’s. Since then he has added an array of other instruments to his practice: the EMS synthi analogue synth, the keyolin (a keyed violin of his own invention), the guitar and various unusual (but usually modified) instruments.
He has been busy with his own groups: Corkestra, the Cortet, Fuhler/Bennink/de Joode, devised music and story for "Wayang Detective" a combination of improvising musicians, gamelan orchestra and shadowpuppets. And with the eclectic rock/improv group Palinckx, electronics duo the Flirts, Otomo Yoshihide’s ONJO and the (in)famous electronic orchestra MIMEO.
He has recorded for labels such as Erstwhile, Potlatch, Leo, BTL, Nuscope, Geestgronden, Unsounds, Datarecords and his own label ConundromCd.
Cor has written contemporary pieces for chamber music ensembles MAE, the Nieuw Ensemble, Insomnio, just to name a few, and is regularly comissioned by smaller groups and individuals.
He has taught classes at Princeton University, Dutch Impro Academy, the Art Instutute of Chicago, West Coast Conservatory of Music (Vancouver) etc.
He has performed at Vancouver Int Jazz festival, Montreal Int Jazz Fest, Victoriaville, North Sea Jazz fest, Umbrella Music fest Chicago, Konfrontationen Nickelsdorf, Perspectives Fest (Sweden), What is Music Fest Sydney, Moers Fest (Germany), Molde Int Jazz fest (Norway), Musique Action (France) etc etc
He has played with Han Bennink, Jim O’Rourke, Louis Moholo, John Zorn, Roswell Rudd, George Lewis, Evan Parker, John Tilbury, Frances Marie Uitti, Leo “Wadada” Smith, Hamid Drake, Mats Gustafsson, Toshimaru Nakamura, Misha Mengelberg, Paul Lovens, Christian Fennesz, Lol Coxhill, Keith Rowe, just to name a few.
Cor is also a member of the Doek foundation and co-organizes the annual Doek festival.
You can listen to various stuff on soundcloud:
http://soundcloud.com/corfuhlerOr if you like watching:
Cor solo piano:
http://vimeo.com/25366223http://www.youtube.com/watch?v=qZbWjRTDNKoA composed piece for violin solo (played by Janine Jansen):
http://www.youtube.com/watch?v=mfIdLAqgEqUA half composed piece for 4 turntables:
http://www.youtube.com/watch?v=aDSXZ9uGYDsOn EMS synth in an improvising quartet:
http://www.youtube.com/watch?v=daGtTYLk0OQOn guitar with “the Gap”:
http://www.youtube.com/watch?v=ozRIHyYgnIsFurthermore, what some people have said in the press:
About "Stengam" his piano solo cd from 2006:In the last five or so years, Fuhler has been involved in a very wide range of projects which cumulatively reveal him to be an idiosyncratic musician of the first rate. I've grown accustomed to hearing him in gnarly electroacoustic small groups or in his own Corkestra, so I was a tad surprised to see this solo disc. A prepared piano recital, it's superb and instantly recognizable. Unlike the frequently quite antic prepared piano sets heard from other improvisers, Fuhler concentrates here on music that's highly atmospheric, somber and sepulchral. Fuhler uses mild preparations (such as super magnets and Ebows inside the piano) to superb effect, creating the feel of gentle, lolling bells or massive plangent drones. It's a lovely, at times even bewitching feel that recalls an Ambarchi/Müller improvisation or something. The sound is gorgeous, oscillating, and unfolding on Ferrous - a rattling bowl or something sits on top of string, vibrating crankily in contrast to the effulgent drone. It's very compelling stuff, almost like listening to Harry Partch if he was hooked on Eliane Radigue. I find it addictive and I love the subtle variations Fuhler introduces (with every so often anincisive pluck or pedal or pointed finger). But the bulk of the album is given over to the six-part title suite. A marvelous piece that's immediately arresting, it ranges from deep tuned gongs and cross-cutting high tones to almost watery or didgeridoo-like sounds to gentle scrapings and overtones that suggest bowed electric guitars. A fascinating recital that's one of the year's best solo entries so far. - Jason Bivins, Signal to Noise, June 2007
About the Corkestra live in Montreal Canada 2008:Once again the Dutch make my night. Pianist Cor Fuhler and his Corkestra were playing their singular brand of joyous mayhem at the Monument National Monday night. The nine-piece band—two drums, piano, three horns, guitar, hammered dulcimer, and bass—is the first one I’ve seen at this venue elicit cheers of joy and laughter from the audience during the set. It is certainly clear that the musicians are having a good time. They’re all big, silly smiles. The drummers looked as if there was nothing in the world they’d rather be doing. I can’t blame them. I’m sure it’s fun to improvise your way through Fuhler’s crafty compositions. At one moment they’re playing a beautifully orchestrated melody, and then suddenly, without preparation, they’re embarking on a collective noise solo. And with a group this experienced, even the noise sections have elegance about them. But mostly what I enjoyed were the composed sections. Fuhler uses his interesting instrumentation to full effect. The ensemble hits on some incredible moments of orchestration that sound like finely executed chamber music. Chamber music with a rock band edge, though. - Adam Kinner, Montreal Gazette.
About the 1998 cd “Bellagram” by Fuhler/Bennink/de Joode:“There are the requisite dashes of wry humor and madcap frenzy, but it always seems to proceed with a certain structural logic.... What is apparent throughout is that these three are astute listeners. They know each other well and can react with lightning-quick response to any twist or turn thrown in by any member. This release is full of surprises at every turn, offering a compelling document proving that the spontaneous invention and masterful interplay of Dutch improvisation is alive and vital.” - Michael Rosenstein: Cadence, February 1999
