Reflecting on his studies with guitarist Masayuki Takayanagi, Otomo Yoshihide plays one of Takayanagi's favorite electric guitars, a 1963 Gibson-175, to record 6 extended and informed free improvisations, including Ornette's "Lonely Woman" and "Song for Che".
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Catalog ID: dms-155
Squidco Product Code: 20976
Recorded at ICC, Tokyo, Japan on Janurary 24th, 2015 by Seya Masao.
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• Show Bio for Otomo Yoshihide
Otomo Yoshihide - born in 1959 in Yokohama, Japan. As a teenager, he spent time in Fukushima. Staying independent, he has consistently composed a wide range of music from improvisation to noise music and pop, and his music talent has spread all over the world. He has a successful career as a film score composer and has produced more than 70 movie soundtracks. In recent years, he has produced special type of concerts and musical works in collaboration with other various artists under the name of "ensembles". In addition, one of his priorities is,producing musical workshop projects involving handicapped children. In 2011, after the Great East Japan Earthquake , he started "PROJECT FUKUSHIMA!" along with people in various sectors. He has been active beyond the music scene and this is the reason that he has attracted a great deal of attention. In 2012, he received the Minister of Education Award for Fine Arts in the category of Promotion for "PROJECT FUKUSHIMA!". In 2013, he received various prizes including the Japan Record Award for his accomplishments, such as composing the theme music for the TV drama "Amachan".
"I use my real name "Otomo Yoshihide" as my stage name. When you write your Japanese name in English alphabet, many people often write their given names first, then their family names, following in the Western traditional culture. But originally, some Asian countries, including Japan, write their family names first, and then their given names follow after that. In my opinion, there is not only one standard for people's names and we should respect the values each person attaches to their name. Calling someone by his first name is a wonderful custom in Western culture to express familiarity with each other but that custom is not necessary in Japan because nobody has ever called me by my first name. It does not mean that people are unlikely to become close friends with me. It is just that calling me "Otomo" seems easier. There are some places with such customs in the world; where people friendlily call you by your family name. I am definitely not a nationalist but I have a feeling that something is wrong with those people who do not only disregard the tradition I am familiar with, but would rather follow Western standards.
For this reason, I would like to continue using the notation "Otomo Yoshihide" as before. When you call me, please call me "Otomo" as before. This will not cause any problems in its use. Until now, many people have written my name "Yoshihide Ōtomo" or "Yoshihide Otomo" but please understand those notations are not my intention. I am sincerely grateful for your consideration."-Otomo Yoshihide Website (http://otomoyoshihide.com/en/?page_id=4)
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1. Song for Che 13:03
2. Lonely Women 15:25
3. The Blue Kite 15:50
4. (Characters) 2:15
5. (Characters) I 6:47
6. 2020 Tokyo 1:01
sample the album:
"It's been a quarter-century since I broke away from my teacher, Masayuki Takayanagi. In recording this album, I used a 1963 Gibson-175 electric guitar that had been one of Takayanagi-san's favorites. The occasion that led to this guitar coming into my possession was the funeral of Teruto Soejima. Soejima-san, a music critic who had been introducing free jazz and improvised music to people in Japan since the late 1960s, passed away in July of last year (2014).
As is the case with most of the improvisers in Japan, it's impossible to convey in words how much he helped me from the time I was in my teens. During his life Soejima-san had always been concerned about my ungracious leave-taking from Takayanagi-san. At Soejima-san's funeral I met Takayanagi-san's wife, Michiko-san, for the first time in 23 years. I was truly happy to see her. Ginparis Session, Kaitaiteki Kokan, Lonely Woman, Meta Improvisation . . . This instrument was used in the creation of so many works that I love. It was already covered in scratches from many years of use, and more scratches have been added in the six months since I acquired it. I'm sure there will be more scratches to come. This album is the first vestige of those scratches. Soejima-san, Takayanagi-san, Michiko-san--thank you."-Otomo Yoshihide, 2015See also Guitar Solo 2015 RIGHT
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