Otomo Yoshihide - Guitar Solo 2015: Right '2015

Tracks list

Tracklist

01. GuitarSoloRight2015_0712_9pm (62:26)

personnel : 

Otomo Yoshihide - Gibson ES-175 guitar that Takayanagi Masayuki used in life on
this recording.

Last year Otomo Yoshihide released Guitar Solo 2015 LEFT, in which he paid
tribute to his former teacher Masayuki Takayanagi, one of the most important
figures of the Japanese free music scene from the Sixties onward. In that album,
among original compositions and improvisations, Otomo revisited two free jazz
classics closely related to Takayanagi (“Song for Che” and
“Lonely Woman”), and played the very same guitar, a 1963 Gibson
ES-175, that his teacher used for a large part of his career, and with which he
recorded such masterpieces as the album “Lonely Woman” in 1982.
Guitar Solo 2015 RIGHT can be considered a sort of a twin release, with an
almost identical title and cover art, in which Otomo uses the same guitar, even
if the material is totally different.
In this case we have a “reconstruction” of a piece that was
originally created for the exhibition Otomo Yoshihide: Between MUSIC and ART,
that was held in Tokyo between 2014 and 2015. For that occasion, the musician
recorded a total of 123 takes ranging in length from a few seconds to a minute.
After the recording the material was given to Akihito Matsumoto, that used it to
feed the sound system at the exhibition, controlling the output through a
computer program that mixed the fragments in always changing configurations.
Even in this aspect the connection with Takayanagi is strong, with a work that
has a deep resonance of the automated experiments that the guitarist explored in
his later years, as in Action Direct. The strategies employed here, and the
resulting sounds, are very different, though.
Consisting of a single piece over sixty minutes in length, this record has no
defined identity. The opening is reminiscent of the free improvisation language
pioneered by Derek Bailey, with short bursts of sound intersecting and
overlapping through the sound field. Soon the atmosphere changes and ghosts of
melodies emerge, in contrast to the previous samples. This dialogue continues
throughout the entire track, with ever-changing patterns and sounds, but always
keeping a relaxed approach that creates an apparently static, hypnotic
environment, even if the music is in a flux of continuous transformation and the
guitar is explored in all its sonic possibilities.
The absence of any real development may well be the defining trait of this
record, but the end result is far from boring, and demonstrates once again
Otomos ability in creating a rich structural arc through seemingly distant
musical fragments, and his mastery in using both a vast vocabulary of extended
techniques and more traditional approaches on the guitar.
A fascinating blend of improvisation, randomness and precise compositional
logic, this record is a major addition to Otomos discography.
Highly recommended.~Nicola Negri
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