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Otomo Yoshihide's New Jazz Quintet, "Tails Out"
DIW
Sitting down to listen to this disc for the first time, I figured that I was going to get something along the lines of Loveman Plays Psychedelic Swing(three-fourths of Emergency! is also in the Quintet, the discs wererecorded nine months apart, etc.), and instead, I got a trip back toGround-Zero's Plays Standards, courtesy of, of all things,Kikuchi Naruyoshi's sax playing. Seven very long and productive yearsago, it grated on my nerves with its schmaltzy tenor intensity, and itstill does, only now it's rounded out by another guy on alto andsoprano. Thankfully, just when the two of them threaten to drag theshoulder-scrunching out a bit too long on "Song for Che", they'reslapped aside by the wailing guitar and thudding drums of Otomo's own"Reducing Agent" in one of the most welcome transitions I've heard inmonths. The original tunes aren't especially brilliant, and they lackeasy hooks that they can be identified by, but they also give the albumand ensemble the feeling of being defined by more than just somebody'srecord collection. Similarly, while I'm not wild about Sachiko M'scontribution of sine waves to a Mingus tune, her involvement in thelast two tracks clearly shows off how her repertoire has grown sinceher sample-triggering days. (Mind you, any one of two dozen otherrecordings from the last couple of years would do this just as well.)Yoshigaki Yasuhiro's drumming leans towards the energetic and heavymost of the time, but it's never distracting, and it's even downrightpretty when he scales it back to brushed cymbals. Aside from the saxbits that get my hackles up, then, this is the kind of revisitingproject that I wish more artists would tackle: instead of just remixingtwenty-year-old tapes and grinding out some 12"s for the hell of it,ONJQ have gone back to old notions and produced an album that reflectshow they've changed as musicians. If we're lucky, things will be justas fresh in 2011.
Sitting down to listen to this disc for the first time, I figured that I was going to get something along the lines of Loveman Plays Psychedelic Swing(three-fourths of Emergency! is also in the Quintet, the discs wererecorded nine months apart, etc.), and instead, I got a trip back toGround-Zero's Plays Standards, courtesy of, of all things,Kikuchi Naruyoshi's sax playing. Seven very long and productive yearsago, it grated on my nerves with its schmaltzy tenor intensity, and itstill does, only now it's rounded out by another guy on alto andsoprano. Thankfully, just when the two of them threaten to drag theshoulder-scrunching out a bit too long on "Song for Che", they'reslapped aside by the wailing guitar and thudding drums of Otomo's own"Reducing Agent" in one of the most welcome transitions I've heard inmonths. The original tunes aren't especially brilliant, and they lackeasy hooks that they can be identified by, but they also give the albumand ensemble the feeling of being defined by more than just somebody'srecord collection. Similarly, while I'm not wild about Sachiko M'scontribution of sine waves to a Mingus tune, her involvement in thelast two tracks clearly shows off how her repertoire has grown sinceher sample-triggering days. (Mind you, any one of two dozen otherrecordings from the last couple of years would do this just as well.)Yoshigaki Yasuhiro's drumming leans towards the energetic and heavymost of the time, but it's never distracting, and it's even downrightpretty when he scales it back to brushed cymbals. Aside from the saxbits that get my hackles up, then, this is the kind of revisitingproject that I wish more artists would tackle: instead of just remixingtwenty-year-old tapes and grinding out some 12"s for the hell of it,ONJQ have gone back to old notions and produced an album that reflectshow they've changed as musicians. If we're lucky, things will be justas fresh in 2011.
