Henry Kaiser Solo Guitar 2009: Where Endless Meets Disappearing

January 30, 2014

Bay Area creative music-meister Henry Kaiser recorded most of the improvised pieces on this solo guitar outing in a few hours back in May of 2009, using a very old school Lexicon Super Prime Time digital delay that had been languishing under his mixer for 16 years. Playing a Strat equipped with a true temperament Thidell Formula 1 neck, and setting up long delays processed with square wave modulation to mirror the instrument’s tempered intervals, Kaiser conjures up an amazing variety of interesting and mostly very musical harmonies and textures. For example, on “Feel You Contact Everything,” notes and chords played on the guitar generate accompanying percolating arpeggios that create a trance-inducing flow. Kaiser gets his Fripp on while soloing over “A Precise Kind of Infinity, a Sliver of Clarity Nestled,” and “A Bloom of Tiny Suns,” two of the few pieces that were overdubbed. There are also purely acoustic pieces, such as “Topic A,” “Regarding Proximity,” and “Wet Behind the Ears,” on which he employs some interesting right-hand techniques derived from other cultures and the influence of his hero Derek Bailey. Fans of Kaiser’s classic early-'80s It’s a Wonderful Life album will enjoy this, as will anyone looking to expand their concept of solo guitar improvisation. Balance Point Acoustics.

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