“Why can’t we all just get along,” those now famous words spoken by Rodney King have bounced everywhere from Jay Leno’s lips to a tee shirt I saw on a Tibetan monk. But sampling has been around since well before Snoop Doggy. There was The Beatles’ White Album, and “I certainly was drunk at the time” from Pink Floyd’s Dark Side Of The Moon. It’s in our blood. Ever since the pilgrims borrowed Native American’s corn dogs and decided to play football on Thanksgiving we’ve been sampling. But generally it is a side ‘effect’ of the music, a window dressing, and not the window. Here, the electronics and sampling are the portal and multi-instrumentalist Vinny Golia is the curtain. The closest thing I can relate to Kaiser work is Brian Eno/David Byrne’s My Life In The Bush Of Ghosts. Golia plays sideman to the electronics for most of the recording. His patience and support in this new role for him, ties the seemingly disparate sounds together. Kaiser, the brains behind the disc, directs the flow playing a Miles-like trumpet Kaiser like Golia, never steps into the riotous stream of electronics, sampled children and rat talk. Maybe we really all don’t want to get along, playing a lyrical refrain to the world’s nihilism.
Track List:Mysterium Tremendum; Moral Geometry I; Yellow Light Surrounding The Shadow Outline of Large Man; Mysterium Fascinans; Son of god in Garage with Rat; Majestas; Man with Spider in Mouth; Ganz Andere; Coffin-like Hymns to God; Moral Geometry II; Templum-Tempus.
I love jazz because next to my kids, it's the love of my life.
I was first exposed to jazz by Joe Rico from a tiny station in Niagara Falls in 1954 when I was 13.
The best show I ever attended was Maynard Ferguson who blew the roof off Massey Hall in the late 50s.
My advice to new listeners is to listen to everything you can and then listen again.