#henry kaiser

[dustedmagazine]

Henry Kaiser — Mahalo Nui (Metalanguage)

John Fahey was 27 years old when he recorded Requia. While parts of it play as a sincere ceremony of remembrance for people who meant something to him, it was nonetheless the work of an ornery young man. That provenance showed, especially on the spectacularly trollish, side-long musique concrete composition, “Requiem For Molly.” Henry Kaiser knows all about Fahey, guitars experimental music, and Requia in particular. He’s recorded a couple albums of his own using that title, and posed for one of them in a visual homage to Fahey’s record. But Kaiser’s also managed to live a longer life than Fahey, very different but no less astounding. He has been able to carry on a career as a boundary-straddling guitarist who gets to play whatever he wants with pretty much whoever he wants and also to work as a research diver with a specialty in under-ice video work.

Several tracks from this projectstarted out as a COVID-era project, when Kaiser included among the regular YouTube videos that he posted from lockdown with shout-outs to recently passed musicians, such as Steffen Basho-Junghans and David Lindley. Over time, the partings tend to proliferate. Kaiser found himself with ten mostly-solo tracks that shared two criteria: they memorialized fellow travelers who adventured with him upon or under the ice, or who made music, films or musical instruments; and they continued Kaiser’s decades-long determination to do more with the guitar than it previously had been able to do. These became Mahalo Nui.

Born in 1951, Kaiser has now lived long enough to know loss in ways that Fahey could not when he recorded Requia in 1967. Across its two sides, Fahey dug deep into sorrow and respect, and also let fly some ill-focused antagonism. You’ll some sorrow on Mahalo Nui, particularly on the sole non-solo performance, a slide guitar trio in honor of David Lindley. But you’ll hear a lot more joy and gratitude; the album’s title translates from Hawaiian as Thank You Very Much. “Hard Time Killin’ Spoonful Requiem For Paul Hostetter” mashes up Derek Bailey and Skip James gestures with more glee than rue; perhaps Kaiser assembled the performances from licks that the late luthier loved? The glistening tones and complex timbres of “Antarctic Requiem For Liz Sutter & Bija Sass,” which is named after two of his fellow Antarctic travelers, evoke a state of drifting wonder and weightless solace.

In 1990, I caught a Kaiser solo concert and came away as impressed with the looming height of his effects rack as I was with his music. He’s never been afraid to indulge the possibilities of technology and technique, and there have certainly been times when they have gotten the better of him. That never happens on Mahalo Nui. The occasions when he foregrounds technical interventions, such as the school of psychedelic blurs on “Mysterious Requiem For Paul Plimley” and the real-time combination of scything slide guitar and MIDI-controlled piano notes on “Some Of The Great Ancestors Inside My Guitar,” pay off real musical dividends. This record makes a strong case for both the technical and emotional aspects of Kaiser’s art. One caveat for those who prefer physical formats; if you go to Kaiser’s Bandcamp page, this title is only offered as a download. However, it is also available as a CD if you’re willing to search a bit.

Bill Meyer

[schibborasso]

Passwords

[rastronomicals]

Henry Kaiser

[lordofmyland]

[morningwalksposts]

14.05.2024

tuessday ~ 14.05.2024

japan - ghosts

ex-easter island heads - norther

jan jelinek - social engineering 1 (the narrative of the heritage)

henry kaieser - the lost chord

ex-easter island heads - magnetic language

[radiophd]

henry kaiser & damon smith -- requiem for martin davidson

[spilladabalia]

Henry Kaiser - Murder One

[deadheadland]

VIDEO "Henry Kaiser’s REQUIEM for DAVID LINDLEY"

Henry Kaiser’s REQUIEM for DAVID LINDLEY

[triplebucker]

[alanlicht]

New video with Henry Kaiser and Anthony Pirog

Henry asked me to collaborate with him on a video for his monthly series on the Cuneiform Records’ YouTube channel. I sent him my arrangement of Sonny Sharrock’s “Once Upon a Time” and he overdubbed bass and got Anthony Pirog to play lead guitar and Ramon Goose on Moroccan percussion. Check it out here - Henry’s intro is at 41:21, the tune starts at 44:33

[sictransitgloriamvndi]

[carsthatnevermadeitetc]

Excalibur J Prototype, 1952, by Brooks Stevens. The original Excalibur concept by Brooks Stevens was a sports car based on the Kaiser Henry J compact saloon. Henry Kaiser agreed to supply the chassis, but did not want to have his company’s name associated with the car. Three Excalibur J prototypes were built, two with 125hp Willys six-cylinder engines and one a supercharged 3.8 litre Jaguar XK engine. Headlights, bumpers and windscreen were removable in order to enter the car in competition. They raced  in several SCCA (Sports Car Club of America) races with some success. That’s Brooks Stevens standing by the car, the drawing is his rendering of a hardtop coupé version that was never built

[schibborasso]

HENRY AND HENRY

Henry Kaiser is an american guitarist and composer, known as an idiosyncratic soloist, a sideman, an ethnomusicologist, and a film score composer. recording and performing prolifically in many styles of music ...

[rastronomicals]

6:10 AM EDT May 29, 2023:

Henry Kaiser -   "Needle And The Damage DoneTonight's The Night" From the tribute album   The Bridge: A Tribute to Neil Young (July 28, 1989)

Last song scrobbled from iTunes at Last.fm

The first of the tribute albums. So old now that at least one of the artists doing the tributing now has a tribute album or two of their own

[carbone14]

Liberty Ship SS Jeremiah O'Brien – Pier 45 – San-Francisco – Californie – Etats-Unis – 8 mars 2008

Photographe : Mike Hofmann

Les Liberty Ship sont des cargos produits en très grande série à partir d'éléments préfabriqués soudés à l'arc électrique et destinés à ravitailler les forces alliées. La technique de fabrication imaginée par l'industriel Henri Kaiser permit d'obtenir des cadences de production qui compensaient les pertes occasionnées par les sous-marins allemands dans l'Atlantique. La durée moyenne de fabrication était de 42 jours avec un record établi à 4 jours au lieu de 12 mois environ pour une fabrication classique. La rapidité de construction et le faible coût de production permirent d'en construire 2 710, ce qui fit de ce navire le modèle le plus construit dans le monde.

Seuls deux cargos sont encore en état de naviguer : ils ont été transformés en navires musées aux États-Unis dans les années 2000, le SS John W. Brown à Baltimore et le SS Jeremiah O'Brien à San Francisco.