"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers.
For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings
Kan Mikami / vocals, guitar
John Edwards / bass
Alex Neilson / percussion
Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi
Kan Mikami / John Edwards / Alex Neilson - Live at Cafe OTO
Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback.
Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London.
Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey.
Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip.
Keiji Haino / vocal, guitar, flutes
John Butcher / saxophones and feedback
Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN.
HAINO KEIJI / JOHN BUTCHER - LIGHT NEVER BRIGHT ENOUGH
We're very pleased to announce Pat Thomas's ‘The Elephant Clock of Al Jazari’ on our in-house OTOROKU label.
Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists.
In Pat's own words:
The title for this Album, was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven metres high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this muslim genius is found in his remarkable water raising devices, particularly water raising device number 4 where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by 3 centuries.
'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well known standard.
- Pat Thomas 26TH May 2017
Pat Thomas began playing piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979). Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake.
Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014.
Pat Thomas / piano
Recorded live at Cafe OTO on the 4th May 2015 b Mark Jasper. Mastered by Giuseppe Ielasi. Photo by fabio Lugaro. Design by Maja Larsson.
Pat Thomas - The Elephant Clock of Al Jazari
NOTE: The LP And CD have different audio from the same recordings.
Outside of the 2CD release ‘Never Too Late But Always Too Early’ (Eremite, 2003) there has been scant documentation of one of the most dynamic pairings in all free jazz. Featuring unique material on each format Song Sentimentale rectifies this anomaly with a full blown audio account of the breathtaking communicative heights obtained by these three legends of the living.
Over 3 nights in January 2015 the trio seduced a winter worn crowd with the kind of organic interplay only these three can conjure. Warm and urgent the material that covers both formats unveils a wide range of techniques and emotions. This is music on the edge of itself; a living, breathing and existing force documented for repeated visits.
PETER BROETZMANN - TENOR SAX, B-FLAT-CL, TAROGATOWILLIAM PARKER - DOUBLE-BASS, GUEMBRI, SHAKUHACHI, SHENAIHAMID DRAKE - DRUMS, FRAME-DRUM, VOICE
Recorded Live at Cafe Oto on the 27th, 28th and 29th January 2015
Recorded by James Dunn
Mixed by John Chantler
Mastered by Andreas (Lupo) Lubich at Calax
Photocollage by Dawid Laskowski
Artwork by bro
Design by Uniet/bro
BROETZMANN / PARKER / DRAKE - SONG SENTIMENTALE
2016 Re-Press. Pre-orders taken now. Shipping 4.7.16.
Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together.
Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin.
"On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic
"These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music
"Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE
BROETZMANN / EDWARDS / NOBLE - THE WORSE THE BETTER
Born in Tbilisi, Nargilə Mehtiyeva aka Aşıq Nargilə has been playing saz (long-neck lute) and singing since the age of 15. Fluent in Azerbaijani, Georgian, and Russian, Nargilə represents the cosmopolitan heritage of old Tbilisi, a city once known as a meeting point for multilingual aşıq bards who would travel through the region serving as conduits for news, ideas, music and culture. Nargilə is currently the only female aşıq living and performing in the ethnic Azeri region of Georgia, and has been teaching the art to new generations.
This is a recording of Aşıq Nargilə's first concert in the UK. Recorded live at Cafe Oto on the 18th October 2014 by James Dunn. The pieces performed are named after the traditional saz aşıq havası (melodies) they are based on. Lyrics are taken from destan epics, regional poetry and Nargile’s own lyrics to match the rhyming patterns of these melodies. Yanıq Kerem (1) and Ruhani (7) are both instrumental pieces which depict their own stories without words. Ay Ceyranım (5) is a popular song performed at weddings across Azerbaijan.
Aşıq Nargilə Mehtiyeva: Saz (long-necked lute) and Söz (vocals)
1. Yaniq Keremi
2. Yurt Yeri
5. Ay Ceyrani
6. Bas Saritel
8. Orta Saritel
Asiq Nargile - Yurt Yeri
Yukihiro Isso: Nohkan (noh-flute), shinobue, dengakubue, gemshorn and recorder.
Roger Turner: percussion
Born in 1964, Yukihiro Isso is a Japanese Noh flutist (hayashi-kata fue-kata) from a family that has been playing this instrument since the 16th century. He received his initial instruction in flute playing from his father Yukimasa Isso and performed on the Noh stage for the first time at the age of nine. From his middle school years he began to listen to a variety of different kinds of music and studying new instruments including the recorder, flute and piano. An acclaimed performer of classical Noh repertoire, Isso is also an accomplished improviser and has performed with the likes of Cecil Taylor, Peter Brötzmann and John Zorn..
Born 1946, Roger Turner grew up amongst the Canterbury musical life of the 1960’s with a strong jazz foundation. Since 1974 work has been concentrated on exploring a more personal percussion language through the processes of improvisation. Solo work, collaborations with experimental rock musics & open - form song, extensive work with dance, film and visual art, involvements in numerous jazz-based ensembles, & workshop residencies have formed part of that development.
Takanehishigu is the audio documentation of the first time these artists played together. The results are a breathtaking new music which remains respectful to the individual traditions whilst simultaneously subverting them.
Takanehishigu was recorded live at Cafe Oto on 23rd Sep 2015 by Shaun Crook
Mixed by John Chantler.
Mastered by Giuseppe Ielasi.
Artwork by Paul Abbott.
Edition of 500 copies.
Roger Turner / Yukihiro Isso: Takanehishigu LP
Otoroku is proud to present the full recording of the first meeting between Bill Orcutt (USA) and Okkyung Lee (South Korea). Individually these players have focussed on an idiosyncratic approach to their chosen instruments and technique. Okkyung is one of the most singular voices to compromise the cello’s ‘classical’ origin, whilst Orcutt has spent many years developing a unique abstraction of traditional guitar blues. Live at Cafe Oto is an uncompromising combination of these individual elements and an ecstatic improvised assault of mind and sense.
Okkyung Lee / cello
Bill Orcutt / guitar
180 gram vinyl. Matte sleeve with artwork by Bill Orcutt. Limited edition of 700 copies.
Okkyung Lee / Bill Orcutt - Live at Cafe Oto LP
Limited edition of 100 LPs pressed as a fundraiser for Cafe OTO to acquire some new equipment.
Thurston Moore / GuitarAlex Ward / Clarinet, Amplifier
Recorded 20 March 2012 at Cafe OTO by John Chantler & Jonny McHugh.Mixed by Alex Ward, Vinyl cut by Nick @ Curved.
Cover image courtesy of Matti Braun.
All proceeds from this LP go towards Cafe OTO's equipment fund thanks to the kind generosity of Thurston, Alex and Matti. Price includes international shipping.
100 copies pressed via Curved - who use MPO in France. Two colour silkscreen print sleeves on 380gsm acid-free archival quality card stock, printed by Pat at Heavyrock, Brighton.
Thurston Moore & Alex Ward - Live at Cafe OTO (LP)
Limited edition of 100 LPs pressed as a fundraiser for Cafe OTO to acquire some new equipment.
Fred Frith - Guitar, Piano Christian Marclay - Records and Turntables
Recorded 7 July 2012 at Cafe OTO by John Chantler & James Dunn. Mixed and mastered by Myles Boysen at Headless Buddha Mastering Labs.
Design by Laurent Benner, Collages by Christian Marclay.
All proceeds from this LP go towards Cafe OTO's equipment fund. Thanks to Fred, Christian and Laurent for generously making this possible!
100 copies + 10 Artist Proofs. Two colour screenprint sleeves on 380gsm acid-free archive quality card stock, printed by Pat at Heavyrock, Brighton. Centre labels hand-stamped (Black on Black). Vinyl pressed at MPO (via Curved, London).
Fred Frith & Christian Marclay - Live at Cafe OTO - 2012
NB: very limited vinyl copies remaining!!!
Dedicated to the memory of Tony Marsh
The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012 and his first time playing with drummer Tony Marsh and double bassist John Edwards.
It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities.
Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist.
Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the 1960s as a bandleader, mentor, collaborator and teacher. Mitchell was a founding member of Chicago's Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique (check the lengthy stretch of sustained circular breathing on SIDE C) and an arresting, fractured melodic sensibility.
On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts.
John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role.
No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed (no kick or hi-hats) he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass. You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later.
"Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward – that's why Tony was hip in the most meaningful sense … And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." - Evan Parker
(Quoted in John Fordham's Obituary for Marsh)
Roscoe Mitchell / Tony Marsh / John Edwards - Improvisations
Vi Är Alla Guds Slavar is the latest missive from the long-running duo pairing of Mats Gustafsson (The Thing, Peter Brötzmann Chicago Tentet, etc) and Thurston Moore (Sonic Youth, Chelsea Light Moving, Dream/Aktion Unit, etc).
Thurston had first come across Mats' playing on a duo disc with Barry Guy and had assumed he was one of those older beardy European improv guys - Remember this was before the internet and everyone knew everything. Their first actual meeting goes back to the early 90s at Blue Tower Records in Stockholm (now Andra Jazz - arguably the greatest jazz record store in the world) on one of Thurston's frequent soundcheck-skipping discaholic binges. The young guy behind the counter was blowing his mind with side after side of crazy rare jazz, test pressings, acetates and more. Running late, he offered Thurston a lift to the gig and en route asked if there was any particular records he was looking for. "There is this sax player - Mats Gustafsson - I'm looking for some of his stuff"
"That's me" says the young guy - and there started an intense friendship that has manifested intself in music through their discaholics anonymous trio (with Jim O'Rourke), Gustafsson's large scale HIDROS 3 composition for Sonic Youth and much more besides…
You can watch a video interview with Thurston where he tells the story of their first meeting here:
Mats Gustafsson & Thurston Moore – Vi Är Alla Guds Slavar
Alexander Hawkins / Hammond B3 John Edwards / Double Bass Steve Noble / Drums Joe McPhee / Pocket Trumpet, Alto Sax
New 2CD version of Spontaneous Combustion - the second meeting of UK organ/bass/drums trio DECOY with sax legend Joe McPhee - Here with an extra 78 minutes of music added to the original LP material.
The original LP (now out of print) was listed in The WIRE magazine's top Jazz & Improv releases of 2013!
"a show that surpassed all expectations to become one of the very best things I’ve seen this year." The Liminal
Disc One recorded 29 October 2011, Cafe OTO by Mick Ritchie. Mix by Ritchie/Noble. Mastered by Andreas [LUPO] Lubich @ Dubplates & Mastering, Berlin. Disc Two recorded 30 October 2011, Cafe OTO by Mick Ritchie. Mixed by Ritchie/Noble and mastered by Mick Ritchie.
Sleeve design by Oliver Pitt.
Decoy with Joe McPhee - Spontaneous Combustion
Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism.
The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.
Broetzmann / Adasiewicz / Edwards / Noble – MENTAL SHAKE (LP)
From subterranea, sweat, haze and dedication emerging out of intimate and intense weekly meetings begun in 2009 – their first, 2012 public performance, squeezed into a London basement was a sheer, vexed and exhilarating smack of organic, heterodyning ideas, and taut, lowbeating lumps.
With the economy of familiar/traditional raw tools feedback, drumkit, altosaxophone, time, space and emotion lll人 move from molten musical pasts to grow future pleasures in sound.
The ingredients are familiar, but the listening is not.
At its heart is a still, undecorated concentration fuelling an extreme testing of limbs, language and order. This has no concern with collapsing difference into a vogueish flattened mass froth, but searches – forensically, ceaselessly – for something to chew, in the challenge of discretion and integrity or asylum in the body of its instruments.
Akilsakilan learning, Doughnut.
Finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll人 have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out.
[The second side was recorded at a summer fundraiser concert for Project Fukushima (This followed a solo performance by Evan Parker who later joined the group for a quartet) and the first as part of the inaugural INTERSECT festival four months later.]
Recorded at Cafe OTO on 28 August 2013 (Fukshima) by Stuart Bannister and 7 December 2013 (Intersect) by Kate Arnold. Mixed by Paul Abbott. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin.
Design by Paul Abbott. Inner sleeve by Paul Abbott, Cara Tolmie and Conal Mcstravick
lll人 – gjērhan
This recording gathers all of the music from the final night of Otomo and Sachiko's first residency in 2009 which saw the pair joined by the long running trio of Evan Parker, John Edwards and Tony Marsh and special guest John Butcher. Butcher played duos with both Otomo and Sachiko and joined the quintet for a rousing sextet: stunning twin saxophone interplay, the unparalleled open-ness of the Marsh/Edwards rhythm pairing, Sachiko's deft high frequency interventions and Otomo's guitar at the centre - moving between abrasive textural invention and suggestive single note runs of ever-shifting melody.
"As for indicating a place in the curiously sculpted bridges between improvised music and sound art, well, the simple singularity of these daring and committed performances should bear out their significance." Clifford Allen, Tiny Mix Tapes
"This Quintet/Sextet album is recorded beautifully and it needed to be to capture all the nuance involved ... These are musicians at the top of their craft." Free Jazz Blog
"...fresh and inspired. The recording stands as a finely-honed classic of classically approached free improvisation: the players dance and flow smoothly and effortlessly with and around the sounds of their partners." - Henry Kuntz
Point of Departure Review
Otomo Yoshihide / Sachiko M / Evan Parker / Tony Marsh / John Edwards / John Butcher - Quintet / Sextet / Duos
Otoroku is proud to present the second recorded outing from the universe shifting free jazz trio of Evan Parker, John Edwards and Chris Corsano. This trio have been playing together for 9 years, sometimes expanding into quartets with the like of Noah Howard, John Russell, Joe McPhee, John Coxon & Paul Dunmall.
The material on this LP was recorded during a 4 night residency by Corsano at Cafe Oto in August 2014. All material recorded live, no editing or post production. As raw and liberating as it was on the evening.
All compositions Evan Parker - John Edwards - Chris Corsano
Artwork by Dennis TyfusRecorded by James Dunn at Cafe Oto on 22nd August 2014Mixed by Rupert Clervaux at Grays Inn Road, LondonMastered by Andreas (LUPO) Lubich at Calyx, Berlin
Limited Edition vinyl in an edition of 500 copies. First 100 copies come with limited 11"x11" risograph print designed by Dennis Tyfus
Evan Parker / John Edwards / Chris Corsano - The Hurrah LP
Recorded live at Cafe OTO in March 2009 during Otomo Yoshihide's first residency here. This was one of only a handful of solo piano performances Otomo has given where he uses the instrument as a control matrix for harmonically rich feedback tones and devastating clusters of complex noise. Beautifully rendered with maximum dynamic range by LUPO's 45rpm cut!
"For Otomo, the piano is a big box of potential sound. But since he’s an obsessive sort, he really digs into certain of its corners, and dig he does; when this record doesn’t sound like a gonzo feedback extravaganza, it sounds like he’s cutting through the side of the instrument with a hand-held saw. Whatever the means he used to make the piano sound like that, he’s laid utter waste to the instrument’s conventional sonic associations. There are plenty of people out there making pianos sound like something other than pianos, but I can’t think of anyone else doing it with so much punk spirit and so little reference to any familiar piano vocabulary." - Bill Meyer, Still Single
Vinyl Pressing Information
First pressing of 500.
Three colour screenprint sleeve designed by Paul Abbott and printed by Pat @ Heavyrock Screenprinting on archival quality card.
Mastered and cut by Andreas [LUPO] Lubich at 45rpm and pressed at Record Industry in The Netherlands on high quality heavyweight vinyl.
Otomo Yoshihide – Piano Solo LP