Kinior

Music:

Member Since: 1/24/2008
Band Website: www.kinior.com
Band Members:

NOWE PLYTY

KINIOR & MAKARUK- LONDYN

Moving Closer cz 7, Tomasz Stańko feat. Kinior & Makaruk

Kraków, Zagnańsk, 29 marca 2008
Marek Chołoniewski Włodzimierz Kiniorski
Instytut Adama Mickiewicza Warszawa
Szanowni Państwo,W związku z ostatnimi wydarzeniami w Tybecie odwołujemy koncert duetu CH&K (Marek Chołoniewski i Włodzimierz Kiniorski) w Pekinie 19 maja b.r.Niestety nie możemy wystąpić w programie promocji igrzysk organizowanych w kraju, którego władze łamią prawa człowieka, stosując akcje przemocy przeciwko narodowi tybetańskiemu, prowadząc propagandę w stosunku do własnego narodu i społeczności międzynarodowej niezgodną z zasadami szeroko pojętej demokracji.Równocześnie dokładamy wszelkich starań, aby nasz projekt Polska SztukaDźwiękowa w Tybecie doszedł do skutku. Jego realizacja planowana na II połowe kwietnia b.r., z powodu zamknięcia granic Tybetu dla cudzoziemców, stoi obecnie pod znakiem zapytania i jest obecnie przeniesiona na jesień b.r.
Z poważaniem
Marek Chołoniewski i Włodzimierz Kiniorski

Koncerty w Tybecie Przeniesione na Pazdziernik

Noise Asia Ltd.. Hong Kong
“Muzyka Centrum” Art Society
Krakow, Poland
Polish Sound Art in Tibet
April 16 – 30, 2008
performed by:

Kinior&Makaruk, VjMilosh
Muzyka Centrum, IA, Dizzy Kinetics, Kinetic Trio
ZENDEE, OkoSanu, Zenial
featured by:
Marek Choloniewski (interactive systems)
Li Chin Sung (electronics)
Olga Szwajgier (voice)
Tomasz Choloniewski (percussion, objects)
Michal Dymny (guitar)
Wlodzimierz Kiniorski (sax, flutes, percussion)
Krzysztof Knittel (electronics)
Wojciech Kosma (video)
Milosz Luczynski (video)
Dariusz Makaruk (electronics)
Rafal Mazur (e.bass)
Kazimierz Pyzik (double-bass, Pipa, Erhu)
Lukasz Szalankiewicz (electronics)
Marek Ostafil (assistent)

calendar of events:

16.04.2008 departure from Poland to Beijing
17.04.2008 flight from Beijing to Lasa
18 - 20.04.2008 meetings, visits
21.04.2008 workshops with local musicians
22 - 23.04.2008 concerts in Lasa and session
24.04.2008 travel to Katmandu
25.04.2008 workshops in Katmandu
26.04.2008 concert in Katmandu and session
28.04.2008 return to Lasa
29.04.2008 return to Beijing
30.04.2008 return to Poland

project supported by:

Ministry of Culture and National Heritage in Poland
project coordinated by:
Marek Choloniewski and Dickson Dee

Polish Sound Art in Tibet is the two-weeks ongoing art travel to the Roof of the World with concerts, workshops, meetings, visits. The project is the first historical presentation of Polish art in Tibet. The project is the third part of an international art exchage between China and Poland initatied in September 2006 by the original and premiere event Polish Sound Art in China. Concerts, performances and workshops were presented at the concert venues, galleries and club spaces in Guangzhou, Foshan, Shanghai and Beijing. The mirror project called Chinese Sound Art in Poland were performed by Chinese experimental performers, musicians and painter in June 2007 in Kielce, Sanok, Krakow, Poznan and Warsaw. Presentation of the most advanced Polish and Chinese sound and video art forms stimulates the dynamic development of the cultural exchange between our countries. Integration of new technology, traditional instruments and originally designed installations and sound objects is a new advanced form of the sound art. Inviting Polish and Chinese artists to the project of exchange determines special form of integration in a timeless and multi-cultural dimension. It will take an impact to the clear separation of the art from their political context, getting closer elements which seems to be opposite from their cultural base, finally compose multidimensional platform of the cultural, ethnical, aesthetical and social references.

http://www.psach.z.pl
IZRAEL-DON..T DOMINATE-dża ludzie..
Influences:

Grazyna Auguscik - Kinior & Makaruk-Lodz kaliska -live-2

Myspace Layouts - Myspace Editor - Image Hosting

Kinior-Zlota ryba -Radek Kolo

Wlodzimierz Kinior Kiniorski interviewed by Maciej Lubieniecki

The art personality of a multi-instrumentalist W--odzimierz Kinior Kiniorski is deeply rooted in jazz and so far jazz has been very strong element of his music. Very soon he gained recognition from the audience, musicians and critics. The latter ones rewarded Kinior many times both in Poland and abroad. The free jazz background has been enriched with ethnic, electronic and contemporary music. His colourful compositions suit well to theatre performances, so we can listen to them while watching Klinika Lalek, Teatr Powszechny in Warsaw or Witkacy Theatre in Zakopane acting. Due to the consequence in making music he is more know to the audience as a member of Tiebreak, Graal, Young Power, Israel, Brygada Kryzys or other groups than a leader of his own bands. The name “Kiniorski” can be read on the covers of many records as result of cooperation with Stanis--aw Sojka, Grzegorz Ciechowski, Daab, Trebunie Tutki or Twinkle Brothers. And this is where a key to his art can be looked for. Kinior is more a phenomenon, a personality, a VIP, than a really renown musician. His art has a feature that is a privilege of the greatest musicians, including Miles Davis: music is a collision of personalities, an art dialogue, searching for new fascinations while cooperating with young musicians – music is not just putting a stamp with more or less known name on a record. A good example is a new project done together with Makaruk. I invite for an interview with Kinior; apart from questions about his music I have asked a one about recording in his home studio:
ML: Your recent show with Makaruk at Mandarynka (Tangerine) in Sopot, I found it a collision of two traditions of ethnic music: a jazz-rock fusion with electronic music played on laptop. However you yourself do not shun the latter one. Have you got any problems to find a place for yourself in this new aesthetic? When did you begin to be fascinated with techno music?

WK: I have always been interested in electronic music. It's such a vast adventure area. For dozen of years I have had a pleasure to play with masters of this art, Krzysztof Knittel and Marek Cho--oniewski, I mean two bands: Poci--g Towarowy (The Freight Train) and CH&K&K. I think an artist is like a kid, sees a new toy and at once wants to play with it. And that's exactly what happened when I met computer music. Time and tone - these are the two elements of music that have always been fascinating me. And this is the area where a computer gives me limitless possibilities.

ML: What elements are common for ethno and techno? Is it only the domination of rhythm and simplicity in general? Ethno and techno seem extremely different... However they somehow unite your recent music. You have recorded with Trebunie Tutki a CD titled “Ethno Techno”.

WK: Well, as for techno music, thanks to superb toys trance and rhythms can be emphasized in a way it is needed, depending on a recipient, in a more or less sophisticated way. This element is similar to ludic or even shaman trance as it can be met in live music. Dancing and swinging character of folk music can be even more emphasized with so called symmetric groove, it means a rhythm based on 1/0 combination that having been quantumised has no errors which are unavoidable in case of live music. Besides, even the most conservative music keeps evolving, so Ethno Techno is just the reflection of our times.

ML: So, music is a cycle and the complex technology has brought us back to its roots, hasn't it?

WK: I think everything is a cycle of changes and in case of art especially all the oppositions: today electronic tomorrow live, today fast tomorrow slowly, today jazz tomorrow rock and so on...

ML: Do you think music, and the whole art, reflects the world we are living in? If so, what reality arises from your music?

WK: My music reflects the Kaliyuga time or the time of great confusion, but let's call this eclecticism. Does art reflect life or vice versa – well, we can argue. I think, that probably everything does start from an individual or at first an artist and then life.

ML: You join various music styles in a very interesting way - jazz, folk, electronic – but also each of them within itself, for example you are influenced by Polish folk (oberek, kuyaviak) as well as African, there are Far East melodies, rhythms from Jamaica... don't you think such mixture can smudge and eliminate their individual features?

WK: Giving folk music new arrangements I never compose new melodies. I leave it to a competent folk musician – let's keep the tradition. I look for different rhythm patterns, different arrangements and instruments.

ML: Aren't you afraid that such mixing can be dangerous for the cultures themselves? Cultures have always collided one with the other and thus created new (usually valuable) features, however in the global village changes take place faster and deeper. So called “West” experiences the multi-culture crisis.

WK: Yes. You're right. It's so hard nowadays to surprise anybody with anything. I reckon a good emotion put into art will bring you some profit sooner or later.

ML: Very seldom you stay in one place to continue a project, maybe only except Tie Break and Graal. You keep taking aback with your music, plenty of ideas and projects, hundreds of musicians you work with. It proves your courage and open-mindedness as an artist. Do you wish to search ceaselessly, keep wandering all the time or are you bound for something?

WK: I'm bound for wandering. In a quite natural way I do something that fascinates me today.

ML: This question comes from the previous one: have you got any intentions while playing and making music?

WK: When I'm playing it is, frankly speaking, a meditation process. I rather don't speculate. But when I'm talking then I'm mainly interested in the dharma process (Buddhist teachings).

ML: Technology and music. Don't you think that right now engineers and programmers are getting more responsible for art than artists? In the past musicians themselves used to construct instruments or cooperated with artisans. Aren't you afraid that one day there will be too much mathematics in art and new sounds (of synthesizers and virtual instruments) will be just a better algorithm?

WK: This may be the point. Sometimes I'm really upset that so little depends on a human. But I think that this technological boom will be over one day and artists will take again the initiative.

ML: With this question I'm going to enter the technical side of our conversation. You've got at home your own studio. What hardware do you use (sound card, monitors, mixer, microphones)? Are these devices really important for you?

WK: I'm not chasing the newest things. If I need any information I use the knowledge of the others, most often of Marek Cho--oniewski and Darek Makaruk. I use Mac 10.4.3, Delta Sound Card 10 10, Logic 7.1.

ML: What software do you use (sequencers, trackers, plug-ins, synthesizers, etc.)? I heard you made one of your records on Fruity Loops...

WK: Well, I was using different programs. I made a record on Fruity Loops (I thinks it has rough, classical electronic sound). Now Logic 7.1 has so many possibilities you don't need any other program, but I like to work on Reason 3.4.

ML: Do you use free plug-ins, net synthesizers?

WK: So far I haven't tried.

ML: Where do you get the samples from? Do you buy them, cut them out from someone's records or cut your own tracks?

WK: I love to make my own grooves. As for sampling, it's very limited. I play on many instruments myself.

ML: Do you use analogue or digital synthesizers?

WK: AN1X. I often use midi sounds.

ML: Are you a self-taught sound engineer?

WK: I have a pleasure to play sometimes with Tadeusz Sudnik and he's my master and teacher in this area.

ML: Does a whole process of producing take place at your studio or maybe you make mixing or mastering outside?

WK: I give my things to Darek Makaruk or Tadek Sudnik. It's not good when mastering is made by a composer. You can easily make a mistake since you are too close to what you have recorded.

ML: How important is for you the sound quality of your recordings?

WK: It's important, but not that much. I share Miles Davis' opinion: regardless the sound quality the music is saved by itself.

ML: Don't you think a home production process, working in isolation, bring a danger of lack of art dialogue?

WK: There is such a danger and I'm afraid we will contact more often using Internet. Myself, I make up for it playing life with different musicians and such concerts are for me like meeting friends, sharing and exchanging experiences with them.

KINIOR & FLAP PEOPLE-TV

M.CHOLONIEWSKI ,KINIOR,R.MAZUR KINETIC TRIO-ISRAEL-WCHITE NIGHT -FESTIVAL

Sounds Like: flap music

KINIOR & FLAP PEOPLE from Kiniorski Wlodek on Vimeo .

KINIOR-FLAP JAZZ-NARTOWNIK-BIODRO RECORDS

12RAEL-Brotherhood of Man

Record Label: BOX MUSIC , FLAPART, FOLK
Type of Label: Indie