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| 1. | Anode 1
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| 2. | Anode 2
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| 3. | Anode 3
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| 4. | Anode 1 Variation
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Jazz
Otomo Yoshihide: Electric-feedback Guitar
Itoken: Drums, Crotales, Percussion
Annette Krebs: Electro-acoustic Guitar
Takara Kumiko: Tympani, Vibraphone, Percussion
Sachiko M: Contact Microphone, Sine Waves
Furuta Mari: Crotales, Percussion
Uemura Masahiro: Drums, Percussion
Sugimoto Taku: Electric Guitar
Akiyama Tetsuji: Contact Microphone, Turntable Without Records
Yoshigaki Yasuhiro: Drums, Percussion
Nishi Yoko: Prepared 17-string Koto
Ichiraku Yoshimitsu: Percussion, Drums
Four new compositions exploring free jazz, Cagean dialectics and noise improvisation by one of Japan's most versatile composer/performers. Beginning and ending with two of the most intense recordings Otomo has ever done, the centerpieces of this remarkable CD join the Cagean aesthetics of randomness and delicacy with Japanese noise into two Zen koans. As perplexing as it is exhilarating.
Experimental composer/improvisers have long had a fascination with developing systems that manage to combine the two. For example, a system of rules might be applied which constrains players within certain guidelines where, as long as they don't exceed certain boundaries, they are free to improvise. John Zorn' s game pieces such as Cobra come to mind, which he likened to a baseball game where, despite fairly rigid rules being in effect, the outcome is uncertain, although it will always retain the character of baseball. Otomo Yoshihide had a long history of brilliant work in improvised ensembles (as well as rock and jazz groups) and had been devoting much of his time prior to this recording investigating ultra-quiet free improvisation utilizing sine waves and extremely abstract electronics, resulting in delicate music at the very edge of hearing. His previous recording for Tzadik, Cathode, was very much in this area. The listener is quite taken aback, therefore, at the sheer volume and ferocity of the initial composition here, a virtual onslaught of percussion and electronic noise. The instructions to the musicians were to "play loudly and create new sounds before the previous sounds disappear." There is no real chance to listen to the fellow performers, much less react to what they are playing. The result is a giddy, almost neurotic welter of harsh banging whose purpose, contrary to most free improvisation, is not to cohere but to open up a new and difficult space when free improv gets too comfortable. The music thus becomes difficult on a whole other level than normally difficult music. One cannot give Yoshihide too much credit for refusing to play by the rules, even if those rules are supposedly infinitely flexible. Similarly on the two relatively quieter pieces, "Anode 2" and "Anode 3," he instructs his players, "Do not respond to the sound of others," asking for the near-impossible. The works have something in common with the music of groups like AMM, but there is a subtle difference, as if by setting up roadblocks Yoshihide has forced his participants into new and unexplored territory. Anode is a fascinating album and perhaps will be regarded as a major signpost in the continuing history of creative music.
---Brian Olewnick, All Music Guide
Otomo Yoshihide
Active Decades: '70s, '80s, '90s and '00s
Born: Aug 01, 1959 in Yokohama, Japan
Genre: Avntg
Styles: Ambient, Avant-Garde, Avant-Garde Jazz, Electronica, Experimental, Free Improvisation, Japanese Rock, Microsound, Noise, Sound Art, Structured Improvisation
Improvisational guitarist, turntablist and composer Otomo Yoshihide was born August 1, 1959 in Yokohama, Japan; the son of an engineer, as a child he built his own radio and electronic oscillator, and as a teen began creating sound collages by means of open-reel tape recorders. During high school, Yoshihide performed in a local rock band before moving on to free jazz, influenced primarily by saxophonist Kaoru Abe and guitarist Masayuki Takayanagi; while a university student, he also became fascinated with ethnic music, and in 1981 traveled to Hainan, China to research the area's musical culture. Upon returning to Tokyo, Yoshihide began regularly performing free improvisation sets at the local Goodman club, although he maintained a relatively low profile until 1987, when he appeared in a duo with saxophonist Junji Hirose in addition to concurrent stints in the bands No Problem and ORT. In 1990, Yoshihide joined bassist Kato Hideki's group Player Piano and also formed his own noise rock group, Ground Zero. From 1992 to 1994, he also led the Double Unit Orchestra. Other Yoshihide-helmed groups of the period included Mosquito Paper and Sampling Virus Project; following the 1998 dissolution of Ground Zero, his work moved increasingly towards minimalism in projects including I.S.O. and Filament.
---Jason Ankeny, All Music Guide |
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