Yoshihide Otomo



For some reasons, I really think that it’s Jazz, that it’s new and not precisely a 5tet. I haven’t heard in a long time the sound, or rather a Jazz sound, of Jazz , taken as an entity, a starting point, an idea to live with. So: simply a frame ? Certainly not! It is easy on an electric guitar, as Otomo plays here, to lock the tone button to a full zero and have the feel of playing like Herb Ellis or more like a muffin in a dark room. However, this will never end up being anything close to what Jazz has been crying, suttering, or just explored. A way to move, one could say. It is probably also »new«, here, in the sense of: again, profound, urgent, now … right now. One should listen to the whole record from the line drawn by Sachiko M and her tiny, strident electronic dots or pathways. The focus of the ears is precisely altered by her presence, her distance and closeness. As the almost non-progressive playing of the group allows the listener to free himself from any soloistic expectation or duty. Looking back, a moment, Jazz has never been such an instrument form as in the past decade. Just as a little reminder: cello, tenor saxophone nor laptop invent music (although they generate sounds, failures or perspectives, to speak about music requires, still, someone to take or express something slightly further on, and of course not the opposite …). Here, the guitar »solos« (they are non, actually!)are overdubbed with reason while saxophones, guitar, bass, drums stands for The Quintet. I think that if I was to be the producer of a serie I would have asked more artists to express their own »new Jazz group« (I can easily be excited by thinking of Fred Frith, Brian Ferry; Evan Parker or Alan Vega … ). Yes, it is always difficult to speak of a music that speaks so much for itself. Listen or don’t, it’s also new as it just came out!

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Noël Akchoté




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