Power trio or acoustic sensitives? This album shuffles both manifestations and mostly decides to alternate the settings, allowing torn ears some peace following each eruptive onslaught. Surely this must be guitarist Henry Kaiser's most extreme recording, in terms of decibel achievement? His rabid emissions build a wall of Black Metal doom-chundering, a pinnacle of sludge detrimetalism. Damon Smith's grime-bass traverses the tonal range past cello and even as high as the violin, bowing, dexterously plucking, as if eternally questing for the very nature of string stress magnification, dark powders blooming into the night. Weasel Walter's drum strafes are sympathetically bludgeoning. ...read more
Berkeley-based experimental guitarist Henry Kaiser has gained a justified reputation for his eclectic tastes and the way that he fuses his influences into an idiosyncratic guitar style. He began playing the guitar after listening to seminal free-improv guitarist Derek Bailey and has a deep knowledge of the Grateful Dead's musical journeys, as well as the 1970s electric-era of Miles Davis, as documented in the three volumes of his Yo Miles! band with trumpeter Wadada Leo Smith. He also has a keen interest in musical traditions from around the world, as his musical tours to Madagascar and Norway with fellow-guitarist David ...read more
Nigh three decades are flown since these two weird brothers met and they recreate some of their own internal thunder, lightning and hailstorms here. Italian percussionist straordinario Andrea Centazzo has deepened his fascination with tintinnabulatory trinkets, sonic booms and visual-media outings (lost here), while guitar bad boy and madcap collaborator Henry Kaiser has honed yet broadened his cultural horizons (a celebrated series with Malagasy musicians) and unbridled explorations of plectra. These guys set each other off like sodium and chloride, splitting from simple table salt into dangerously electrified ions. Pots whirrs with whizzing fantasies of light. White ...read more
What was remarkable about the first Invite the Spirit record by the trio of guitarist Henry Kaiser, percussionist Charles K. Noyes and San Won Park (who plays the Korean kayagum, a twelve-stringed zither-like instrument) was how neatly they subsumed Asian traditions with the Western avant-garde. On the trio's second record, they more or less do the same, but some 23 years have passed and traditions have evolved. And in a sense, it's a misnomer to call it a merging of traditions. As much as Park does, Kaiser and Noyes play traditional" (if not as old) instruments. But ...read more
Last year the Yo Miles! collective released Sky Garden (Cuneiform), a two-disc set that surveyed ("covered" trivializes its accomplishment) Miles Davis' brand of funky '70s jazz fusion. At over two and a half hours, it was a massive slab of music. Upriver is also a massive slab. And once again it begs the question, Does the world need another 25-minute version of 'Bitches Brew'? Yo Miles! speaks to the affirmative. The group is larger than the band Miles led on Agharta and Pangaea by a couple of guitars and an extra saxophone, but what Yo Miles! loses ...read more
Wadada Leo Smith and Henry Kaiser's Yo Miles! band completes a trilogy with the release of Up River, their latest double-disc dive into the exotic and sensual world of Miles Davis's first electric period, circa 1969-75. Once again they take some of the fiercest and most revolutionary music of the 20th Century and manage to reimagine it while remaining faithful to the earth-rending originals. And, speaking of originals, as with the past collections, they go beyond tribute band status to compose new works that uncannily match the menace and majesty of the originals.
First heard on Big Fun, Go Ahead ...read more
Henry Kaiser and Wadada Leo Smith are back with a third double helping of their view of the music of Miles Davis, bringing along a couple of their own tunes. Once again it is time to celebrate the music and the perspective they bring to it.
Smith and Kaiser head Yo Miles!, the band that transforms Davis' music. Smith is adventurous, which in itself states the obvious, but he's marked by his ability to change colour and shape, sound and approach within the space of a tune and give it constantly moving contours. He can have his foot ...read more