Tails Out [Import]

Otomo Yoshimide, ?????????????????? | Format: Audio CD

Product Details

• Audio CD (December 22, 2003)
• Original Release Date: 2003
• Number of Discs: 1
• Format: Import
• Label: Disk Union
• ASIN: B0000TCLC6
• Also Available in: Audio CD
• Average Customer Review: 3.7 out of 5 stars  See all reviews (3 customer reviews)
• Amazon Best Sellers Rank: #634,844 in Music (See Top 100 in Music)

Track Listings

1. Song for Che

2. Reducing Agent

3. Solvent Waltz

4. Moons Shine

5. Strawberry Fields Forever

6. Orange Was the Color of Her Dress, Then Blue Silk

7. Tails Out

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

5.0 out of 5 stars Musical bliss, April 22, 2008

By 

greg taylor (Portland, Oregon United States) - See all my reviews
(VINE VOICE)    (TOP 1000 REVIEWER)   

This review is from: Tails Out (Audio CD)

First some data. This 2003 recording was mostly the work of Otomo Yoshihide New Jazz Quintet- Otomo on guitar, Kikuchi Naruyoshi on tenor, Tsugami Kenta on alto and soprano sax, Mizutani Hiroaki on bass and Yoshigaki Yasuhiro on drums and trumpet. They are joined by Kondo Yoshiaki on echo machine on Strawberry Fields, Sachiko M on sine waves and Taka Kumiko on the vibraphone on the last two compositions.
There are many ways and degrees to be musically outrageous. My guess is that Otomo has tried out most of them. I find his music from the last few years to be just brilliant. Both his own tendencies toward noise jazz and Sachiko M's sine wave creations are very restrained on this album. Unlike the first reviewer I find the music to be searchingly melodic. It can be dreamy as in the title cut, both drunken and orchestral as on Strawberry Fields or just plain lovely as on the Mingus tune. While I sympathize with the first reviewer (one person's bliss is another's screech), I cannot agree with his remarks on the saxophone technique. On the Mingus tune, Kikuchi and Tsugami demonstrate an deep schooling in the great Mingus horn men of the sixties. Their sound is sweet. On other tunes, they are outre allright but they are far from the radicalism of a Butcher or a Brotzman as Butcher and Brotzman are from each other. As I said, there are a lot of ways to be outrageous.
Finally, it must be said that Otomo as a guitarist is revealed on this CD perhaps better than on any other of his of which I know. He is brilliant and his knowledge of the tradition is complete. Listen to the way he introduces Strawberry Fields or any of his solos.
So, in spite of the first reviewer, this is a great, nay, an important CD. Yes, Otomo lives on the borders of melody versus texture, music versus noise, jazz versus everybody. If you are musically adventurous, you should definitely give him a listen. And look for his recent Orchestra CDs. His genius continues to bloom.

1 of 2 people found the following review helpful:

5.0 out of 5 stars STRAWBERRY FIELDS FOREVER, May 8, 2006

By 

James Wood - See all my reviews

This review is from: Tails Out (Audio CD)

3 ORIGINALS AND 4 COVERS: MINGUS, BLOOD, HADEN AND THE BEATLES.
OTOMO'S BRUTAL AND DAUNTING TRIBUTE TO THE BEATLES AND THE COVERS EXPLORED SERVE AS AN INTRIGING PRELUDE TO THE NEWLY FORMED ONJO, OTOMO'S NEW JAZZ ORCHESTRA, COMPLETE COVER OF ERIC DOLPHY'S 'OUT TO LUNCH' ON DOUBT(JAPAN).
OTOMO'S GUITAR RIPS THRU THE DENSE TEXTURES CREATED BY THIS 5 PIECE BAND. 2 TRACKS INCLUDE SINE WAVES AND VIBRAPHONE, WHILE THE BEATLES STRAWBERRY FIELDS FOREVER UTILIZES AN ECHO MACHINE.
I REALLY ENJOY HEARING ONJQ'S STRAWBERRY FIELDS FOREVER FOLLOWED BY THE 2 RECORDED VERSIONS OF ALVIN LUCIER'S HAUNTIG 'NOTHING IS REAL' (STRAWBERRY FIELDS FOREVER) PLAYED BY BOTH MARINO FORMENTI AND MATHIUS KAUL.
STRAWBERRY FIELDS FOREVER... STRAWBERRY FIELDS FOREVER...

0 of 18 people found the following review helpful:

1.0 out of 5 stars Unmitigated Noise, December 14, 2004

By 

G. Schulz (Northern Virginia USA) - See all my reviews
(REAL NAME)   

This review is from: Tails Out (Audio CD)

This album is nothing but unrelenting noise that grates on the senses. I can't believe an online "professional" reviewer gave it 4-1/2 stars. An aspiring horn player on acid might like it for its offbeat technique, but otherwise it has absolutely nothing musically to recommend it. Some may call it improvisational jazz; I call it unlistenable trash.