FESTIVAL INTERFACE : 5/ OTOMO YOSHIHIDE en streaming depuis le Japon// HIROMICHI SAKAMOTO // "We Don't Care About Music Anyway"

ANNONCE EXCEPTIONNELLE

Les livres d'Akira en avaient esquissé la prophétie : le Japon, arrivé à l'apogée de son industrialisation, devait (lui aussi) être victime de son avidité énergétique, ce qui prend aujourd'hui la forme d'une nouvelle catastrophe nucléaire.
Otomo doit demeurer sur la terre des siens, assistant au réveil des forces millénaires dans leur oeuvre implacable.

Mais l'Embobineuse devrait aussi trouver sa place dans cet événement et fera résonner à Marseille vers 21h, si tout se passe comme prévu, la grande tribulation d'Otomo (un concert en live streaming vidéo) et plus largement la voix de son peuple.
Depuis son Levant (Tokyo, 4h du matin), Otomo sera donc le véhicule astral par lequel nous vivrons cette réalité tragique.

Un saut à travers le temps, l'espace et la conscience pour embrasser ce poème paradoxal submergé par ses protubérances qu'est le Japon.

Avec le soutien de la Japan Foundation, dans le cadre du programme Performing Art Japan for Europe


En partenariat avec All Nippon Airways


A PROPOS D’OTOMO YOSHIHIDE "Fondateur du groupe historique Ground Zero, Otomo Yoshihide est l’artiste le plus reconnu du réseau japonais des musiques expérimentales.
Guitariste, platiniste, compositeur et improvisateur, sa musique dépasse les cadres et catégories prévues pour que tout soit rangé à sa place. Avec plus de 150 références discographiques, Otomo est un workhaholic infatigable et s’impose en fer de lance de toute une génération de défricheurs de sons.
”Je suis toujours à mi-chemin entre le cinéma et la musique, entre la musique et le bruit, entre la composition et l’improvisation. Je flotte quelque part au milieu de tout cela, sans jamais savoir où me situer exactement. C’est peut-être ce qui me définit le mieux” (Otomo Yoshihide)
Qu'il joue de la guitare dans un groupe de jazz moderne ou qu'il manie des platines au sein de collectifs bruitistes versés dans l'improvisation totale, la démarche du Japonais Otomo Yoshihide fascine.”

(Source : Philippe Robert)



« Otomo Yoshihide est un sacré bonhomme... Après avoir joué du Jazz et du Punk à l'Université, notre ami nippon s'est intéressé à l'histoire de "l'ethnomusique", l'évolution des instruments chinois et de la musique populaire japonaise. En résulte un goût prononcé pour le bidouillage multi-instrumental traditionnel, que l'on retrouvera dans bon nombre de ses projets futurs. Tout en se passionnant pour l'improvisation et les nouvelles technologies, et accompagné de son ami Hirose Junji (tout aussi barge, cela va de soi), l'ami Otomo va commencer à se forger un style unique, dont la meilleure ébauche est Silangan Ingay (1989), assurément le plus beau prémisse à ce que sera l'incroyable et l'inimitable Ground Zero. Les samples fusent déjà de partout, des instruments incongrus apparaissent ici et là, entre deux passages stridents et bruitistes, James Brown fait même une apparition onirique le temps d'un "Sex machine" torturé et mixé à grand coup de scie sauteuse. (…) »

(Source : saïmone@Guts of Darkness, à propos de l’album Silangan Ingay)

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About Otomo Yoshihide (bless you !)

Turntable and guitar player

Otomo Yoshihide was born on August 1, 1959 in Yokohama, Japan. He spent his teenage years in Fukushima, about 300 kilometers north of Tokyo. Influenced by his father, an engineer, Otomo began making electrical devices such as a radio and an electronic oscillator. In junior high school, his hobby was making sound collages using open-reel tape recorders. This was his first experience creating music. Soon after entering high school he formed a band which played rock and jazz, with Otomo on guitar. It wasn't long, however, before he became a free jazz aficionado, listening to artists like Ornette Coleman, Erick Dolphy and Derek Bailey; and hearing music, both on disk and at concerts, by Japanese free jazz artists. The musician who influenced him most at that time was alto sax player Kaoru Abe (two of whose concerts he went to hear) and guitarist Masayuki Takayanagi. For Otomo, this was a turning point--the point at which he decided to play free jazz.
In 1979 Otomo moved to Tokyo to attend university. While continuing to play jazz and punk rock, in his third and fourth years of university he took part in an ethnomusicology seminar directed by professor Akira Ebato. Otomo became increasingly involved in the study of ethnomusical history, and of two subjects in particular: Japanese popular music during World War II, and the evolution of Chinese musical instruments during the Cultural Revolution. In 1981 he went to Hainan, China with a group led by Ebato, to research ethnic music. In the same year he began playing free improvisation professionally--using guitars, tapes, radios, etc.--at Goodman, a live music club in Ogikubo, Tokyo, where he continued to play for about a year.
Otomo became very active in live performance in 1987. Until about 1990 he often played duo concerts with Junji Hirose (on sax and an original self-made instrument). In that period he also played in a band called No Problem, with Lim Soowoong (junk), Jun Numata (electric bass), Kenichi Saitoh (guitar) and Hirose; performed with Kan Mikami (vocals); and was a member of pianist Kyoko Kuroda's group ORT. Starting in 1990 Otomo collaborated extensively with other musicians, in a wide range of styles. He joined bassist Hideki Kato's group Player Piano ('90-'91), and organized a Japan tour with Hirose and percussionist David Moss ('90). That year, he also started his own band, Ground-0 (later Ground Zero). Until it disbanded in March 1998, the band was always at the core of his musical creativity, while it underwent several changes in style and membership.
Otomo first played outside Japan in 1991. In April of that year he took Ground-0 to Hong Kong to play with two local musicians (bass and drums) in the "Best of Indies" concert; and in December he played in Berlin with Koichi Makigami (vocals), Yuji Katsui (violin), Hiroshi Higo (bass), David Moss (percussion), and Frank Schulte (turntables). Since then, Otomo has played overseas every year.
Otomo has created and organized various bands and projects in addition to Ground Zero. He had two bands between '92 and '94: the Double Unit Orchestra, comprised of two groups which he conducted simultaneously; and Celluloid Machine Gun, which he described as the Hong Kong movie-style music world. Otomo also formed Mosquito Paper, which was active from December '93 to late '94. The name came from the slang term for Shanghai tabloid newspapers filled with gossip and fake news stories. In their performances, Otomo set to music not songs but text readings, seeking to bring about the emergence of something between music and speech. He has had many connections with the Hong Kong/Chinese music and movie scenes, especially in the early and middle '90s. Both the Celluloid Machine Gun and Mosquito Paper projects were eventually absorbed by Ground Zero, when the band launched its monumental work Revolutionary Pekinese Opera. Another of Otomo's major projects at that time was the Sampling Virus Project ('92 to '98), in which sampling processes were applied to musical works which were "passed around" among musicians. In this way, the sampling acted in much the same way computer viruses do--invading, multiplying in and transforming the works --thus bringing new works into being. Otomo developed the project through his various musical activities--solo work, collaborations with other musicians, his bands, etc. One example is Ground Zero/Project: Consume.
Since the disbanding of Ground Zero, Otomo's sound has changed greatly. The difference can be heard especially well in his current major projects: I.S.O., his trio with Yoshimitsu Ichiraku (drums, electronics) and Sachiko M (sampler); and Filament, his duo with Sachiko M. The sound, which tends to embrace simplicity, minimalism, and texture much more than dynamism and instrumental performance, contrasts sharply with the extreme chopping and plunderphonics ("plagiaristic" sampling) which used to characterize Otomo's style. In another departure, in July '99 he started a new jazz project based on his own concepts--a jazz quartet with Naruyoshi Kikuchi (saxes), Kenta Tsugami (saxes), Hiroaki Mizutani (bass) and Yasuhiro Yoshigaki (drums). (Half of the compositions played are those of jazz giants such as Charles Mingus, and the rest are Otomo's). He plans to keep the quartet together at least until the band has made a CD and appeared at the Music Unlimited festival in Wels, Austria, in November 1999.
In addition, Otomo has been very active as a co-founder and a side member of other groups and projects, the major ones being drummer Tony Buck's Peril ('92-'95); Hoppy Kamiyama's Optical*8 (March '93-late '94); violinist Jon Rose's Shopping project ('93-); vocalist Tenko's Dragon Blue ('92-); drummer Chris Cutler's P53 ('94-); vocalist Phew's Novo Tono ('94-); Les sculpteurs de vinyl with Sachiko M and French DJs ('96-); and his duo with Tenko, MicroCosmos ('98-).
Otomo has demonstrated an exceptional talent as a composer of movie/TV/video sound tracks. He has in particular enjoyed an excellent relationship with creators in the Chinese and Hong Kong film worlds (See Major Movie/TV/Video Sound Tracks). He also served as music director of the theater group Rinkogun from '92 to '95, creating the music for such works as Bird Man, Inu no Seikatsu, Hamlet Symbol, and Picnic Conductor.
Finally, mention should be made of Otomo's vital and wide-ranging writing activity. Since the eighties he has presented his ideas on music--from distribution problems in the music industry to sociocultural considerations of such topics as sampling and free improvisation--in his articles and essays for various magazines and books in Japan.

(Source : Japanimprov.com)


A PROPOS DE HIROMICHI SAKAMOTO Sakamoto Hiromichi (né en 1962, à Hiroshima, Japon) est un violoncelliste qui ne joue pas que du violoncelle, mais utilise également des voix, des scies musicales, parmi d’autres choses. De manière à poursuivre et à élargir les possibilités du violoncelle, il tente l’utilisation d’effets variés, cognant et étouffant, brossant, et va même jusqu'à utiliser une perceuse électrique ou un broyeur, produisant des étincelles. Sa performance, radicale bien que lyrique, est bien une expérience. Outre l'exécution des improvisations en solo, il collabore avec de nombreux autres musiciens aussi bien qu’avec des praticiens d'autres disciplines, telles que le cinéma, le théâtre, l'art, la photographie, le butoh, ou encore l’art de rue. Ses activités sont éclectiques, franchissant les barrières que les autres se mettent. Le CD qui réunit ses œuvres en solo zero-shiki a été édité en 1999. Les groupes auxquels il participe sont les suivants : Pascals et Shibusa Shirazu. Les musiciens avec lesquels il a joué par le passé sont : UA, Otomo Yoshihide, Uchihashi Kazuhisa, Keiji Haino, Lars Hollmer (Suède), et bien d'autres.





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About Sakamoto Hiromichi

Sakamoto Hiromichi (b. 1962, Hiroshima, Japan) is a cellist who plays not only the cello, but also performs using voices, musical saws, among other things. In order to pursue and broaden the possibilities of the cello, he dares to use various effects, bumping and thumping, scrubbing, and goes so far as to use an electric drill or a grinder, producing sparks. His radical yet lyrical performance are indeed an experience. Besides performing solo improvisations, he collaborates with many other musician as well as people from other genres of art, such as movie, theater, the fine art, photography, butoh, and street performance. His activities are eclectic, crossing over other boundaries. 1999, his solo works CD zero-shiki has been released. The groups he take part--->Pascals, Shibusa-shirazu. The musicians he played together at the past--->UA, Otomo Yoshihide, Uchihashi Kazuhisa, Haino Keiji, Lars Hollmer(from Sweden), and many others.

(Source : http://home.catv.ne.jp/dd/piromiti/etop.htm)


A PROPOS DE "WE DON’T CARE ABOUT MUSIC ANYWAY"

Projection du Film "We Don't Care About Music Anyway" (HDV/80'/2009/Réalisation : Cédric Dupire / Gaspard Kuentz)
Avec Sakamoto Hiromichi, Otomo Yoshihide, Yamakawa Fuyuki, L?K?O, Numb, Saidrum, Takehisa Ken, Shimazaki Tomoko.

Le trailer du film :



Un live de 15 minutes :



Une interview à propos du film : http://www.sancho-asia.com/spip.php?page=print&id_article=1949

Otomo Yoshihide
Base de données Japanimprov - - - http://www.japanimprov.com/yotomo/

Hiromichi Sakamoto
Site officiel - - - - - http://home.catv.ne.jp/dd/piromiti/etop.htm

Film "We Don't Care About Music Anyway"
Site officiel - - - - - - - - - http://www.studio-shaiprod.com/wdcama.php
Dossier de presse - - - - http://www.studio-shaiprod.com/docs/minipresskitWDCAMA.pdf

Des mirettes

  • affiche We don't care about music anyway
  • HIROMICHI SAKAMOTO 3
  • HIROMICHI SAKAMOTO 1
  • HIROMICHI SAKAMOTO 2
  • Otomo Yoshihide 1
  • Otomo Yoshihide 2
  • Otomo Yoshihide 3
  • HIROMICHI SAKAMOTO 4

Fichiers