#Review of Otomo Yoshihide, Guitar Solo 2015 RIGHT, DoubtMusic Records, 2015 on #neuguitars #blog

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Review of Otomo Yoshihide, Guitar Solo 2015 RIGHT, DoubtMusic Records, 2015

With this new cd Guitar Solo 2015 RIGHT, Otomo Yoshihide creates the “right side” of his CD Guitar Solo LEFT 2015: almost the same title and an almost identical cover, that shows the same guitar. Are we going to listen to another concerts? Are we going to listen to new versions of jazz standards?
No. The music is completely different. This is a new record. This cd shows a “new configuration” of the music that was originally created for the artistic installation “Otomo Yoshihide: Between MUSIC and ART”, held in Tokyo between 2014 and 2015. Originally for this exibition Yoshihide created 123 different traces,giving them to Akihito Matsumoto, who, using the show’s sound system and computer programs, was able to mix all these different traces creating always different configurations.
This cd shows a different strategy and idea, making a single track more than sixty minutes long: a short of a frozen image of his Tokyo’s artistic installation. It’s a fascinating mix based on improvisation, in which the randomness becomes a precise compositional logic.
But this I think this cd is interesting also in another respect: since it is the computer that eventually assembles Yoshihide’s sonic mosaics, shall we can still consider this record a product of improvisation? And if so then even computers can improvise? Perhaps we should not take back, from another point of view, to the Alea’s concept introduced by Boulez? In any case this is a cd that I can highly recommend.

This record consists of a single piece more than sixty minutes long, with a particular and definite identity. The opening reminiscent of the free improvisation language introduced by Derek Bailey, with short sequences of sounds that intersect and overlap through the sound field. Soon the atmosphere changes and ghosts of melodies emerges, in contrast to previous samples. This dialogue continues throughout the entire track, creating fascinating mix based on improvisation, in which the randomness becomes a precise compositional logic.
But this I think this cd is interesting also in another respect: since it is the computer that eventually assembles Yoshihide’s sonic mosaics, shall we can still consider this record a product of improvisation? And if so then even computers can improvise? Perhaps we should not take back, from another point of view, to the Alea’s concept introduced by Boulez? In any case this is a cd that I can highly recommend.

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