{"product_id":"otomo-yoshihides-new-jazz-orchestra-out-to-lunch-2xlp","title":"Otomo Yoshihide's New Jazz Orchestra \/\/ Out To Lunch 2xLP","description":"\u003cp\u003eベルギー・ルーヴェンの老舗実験レーベルAguirre Records諸作を入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、日本のギタリストOtomo Yoshihide率いるOtomo Yoshihide's New Jazz Orchestra'が2026年9月にリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ATQ4qouk6ig?si=GDu_yEbBh1aB7TnR\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eAguirre \/ Eremite Records releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e2 x 12\" black vinyl in gatefold sleeve. \u003cbr\u003e2026 reissue, available on vinyl for the first time - originally released on CD in 2005 via Doubtmusic. \u003c\/p\u003e\n\u003cp\u003eAsk us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eA1        Hat And Beard 6:08 \u003cbr\u003eA2        Something Sweet, Something Tender    9:20 \u003cbr\u003eB1        Gazelloni    4:17 \u003cbr\u003eB2        Out To Lunch    9:38 \u003cbr\u003eC        Straight Up And Down — Will Be Back Part I 16:00 \u003cbr\u003eD        Straight Up And Down — Will Be Back Part II 11:45\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFrom the label:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cspan\u003eEric Dolphy'\u003c\/span\u003es final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and\u003cspan class=\"\"\u003e his all-too-brief life ended\u003c\/span\u003e less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThough Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final \"Straight Up and Down, extending the piece to almost thirty minutes). \u003cspan class=\"\"\u003eAll five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by \u003cspan\u003eDaidō\u003c\/span\u003e\u003cb class=\"\"\u003e \u003c\/b\u003e\u003cspan\u003eMoriyama\u003c\/span\u003e inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's\u003c\/span\u003e\u003cspan class=\"\"\u003e album's enigmatic \"Will Be Back\" sign, whose clock hands indicated no conventional time of expected return.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eOtomo\u003cstrong\u003e \u003c\/strong\u003eYoshihide first came to international prominence in the 1990s as the leader of the experimental rock group\u003cstrong\u003e \u003c\/strong\u003eGround\u003cstrong\u003e \u003c\/strong\u003eZero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organized in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognizable themes (\"Hat and Beard,\" \"Out to Lunch,\" \"Straight Up and Down\") don't appear, or that individual players -- including Alfred\u003cstrong\u003e \u003c\/strong\u003eHarth\u003cstrong\u003e \u003c\/strong\u003eon bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHowever, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara\u003cstrong\u003e \u003c\/strong\u003eKumiko in far less prominent role than that of Bobby\u003cstrong\u003e \u003c\/strong\u003eHutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, \"computer.\" (Otomo himself plays skronky electric guitar.) From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter\u003cstrong\u003e \u003c\/strong\u003eBrötzmann\u003cstrong\u003e \u003c\/strong\u003eTentet, an impression reinforced by the presence of spluttering wildman Mats\u003cstrong\u003e \u003c\/strong\u003eGustafsson\u003cstrong\u003e \u003c\/strong\u003eon baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of \"Something Sweet, Something Tender\" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following \"Gazzelloni\" is a startling contrast.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAt times, the feeling is that of listening to the original Out To Lunch while a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Otomo Yoshihide's New Jazz Orchestra\u003c\/p\u003e\n\u003cp\u003eLabel : Aguirre \u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eZORN65\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRelease date : 2026 (reissue)\u003c\/span\u003e\u003c\/p\u003e","brand":"Tobira Records","offers":[{"title":"Default Title","offer_id":67843105947898,"sku":null,"price":6450.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/files\/ScreenShot2026-10-23at8.41.47am.png?v=1792712590","url":"https:\/\/tobirarecords.com\/zh-hant\/products\/otomo-yoshihides-new-jazz-orchestra-out-to-lunch-2xlp","provider":"Tobira Records","version":"1.0","type":"link"}