Widely recognized as one of the most creative and innovative guitarists, improvisers, and producers in the fields of rock, jazz and experimental music, California-based musician Henry Kaiser is one of the most extensively recorded as well, having appeared on more than 140 different albums. A restless collaborator who constantly seeks the most diverse and personally challenging contexts for his music, Mr. Kaiser not only produces and contributes to a staggering number of recorded projects, he performs frequently throughout the USA, Europe and Japan, with several regular groupings as well as solo guitar concerts and concerts of freely improvised music with a host of diverse instrumentalists.

Vancouver-based pianist Paul Plimley studied European classical music with various teachers from the University of British Columbia, but in his own musical pursuits has remained firmly ensconced in the world of avant jazz and creative improvisation. Plimley has been active as a pianist, composer, and improviser for two decades but first gained significant attention from audiences and the media after an acclaimed performance with bassist Lisle Ellis at the 1989 {~Festival de Musique Actuelle de Victoriaville} in Quebec. With a stylistic range that recalls the explosiveness and tonal freedom of Cecil Taylor as well as the introspection of Paul Bley, Plimley integrates his many influences into an original and compelling voice. He has performed in a wide variety of settings, from solo appearances to concerts by large ensembles such as Vancouver's NOW Orchestra. In addition to Ellis, with whom he has had a longstanding musical relationship, Plimley's collaborators have included multi-instrumentalist Joe McPhee; guitarist Derek Bailey; saxophonist Glenn Spearman; trombonist George Lewis; bassists Mark Dresser and Barry Guy; and drummers Andrew Cyrille, Hamid Drake and Han Bennink.

Line 3:::

Passwords
   Paul Plimley (piano)
   Henry Kaiser (guitar)
   Danielle DeGruttola (cello)

On Passwords, two masters of improvisation unfold a melange of musical wonderment. They are joined on several tracks by the rich, sonorous sounds of Danielle DeGruttola's cello.  By turns, whimsical, contemplative, rhythmical and open-ended; always thoughtful, understated and engaging.  It all unfolds in a manner which suggests that no other unfolding would do.

"In an inspired pairing, Kaiser joins B.C. pianist extraordinaire Paul Plimley. As an added bonus, and this disc is significantly better as a result, Plimley and Kaiser are complimented by Danielle DeGruttola on cello. She is the least known player here, but her contributions are uniformly excellent; she seems to inspire Kaiser and Plimley to their most intense passages." -- David Dacks, Exclaim

"Using electric, acoustic and bass guitars, Kaiser smears chords and bends notes to meet Plimley's clusters and flurries. On some tracks, DeGruttola's cello acts as an effective binding agent." -- Julain Cowley, The Wire

5 tracks in 67:25 minutes.

More SPOOL

If you missed this cd, you might enjoy:

No Such Thing  (Vandermark, Karayorgis, McBride)

Southern Extreme (Futterman, Jordan, Fielder)

Stable Chaos (Rosco Blur Quartet)

Chamber Music (DeChellis)

Shapes (Dan DeChellis)

ALOGOS (music of Bradshaw Pack)

Schizosphere (Houle, Wilson, van der Schyff)

Four In the Afternoon (Wren, Stabbins, Riley, Sanders)