(V/A) Ongaku 70: Vintage Psychedelia in Japan

"Ongaku 70 is the ultimate beginners guide to the Japanese psychedelia era. A incredible set of 13 tunes released between 1969 and 1978 including Osamu Kitajima, Stomu Yamashtas Red Buddha Theatre, Akiko Yano, Sadistic Mika Band, Harry Hosono & The Yellow Magic Band, The Apryl Fool, Rabi Nakayama, Karuna Khyal, Kuni Kawachi & His Group, Toshiaki Tsushima, J.A. Caesar & Shirubu, Maki Asakawa and Les Rallizes Denudes. Neither group sounds nor hard rock here, only deep psychedelic rock with local instruments and native language. Be sure to hear the finest hours of Japanese 1970s music." - Hiruko.

Tracklist:
A1 Osamu Kitajima – Tengu
A2 Stomu Yamash'Ta'S Red Buddha Theatre – Awa Odori
A3 Akiko Yano – Tsugaru Tour
A4 Sadistic Mika Band – Nanika Ga Umi Wo Yatte Kuru
A5 Harry Hosono* & Yellow Magic Band, The – Shambhala Signal
A6 Apryl Fool, The* – The Lost Mother Land (Part 1)
B1 Rabi Nakayama – Good Night!
B2 Karuna Khyal – Alomoni 1985 (Edited Version)
B3 Kuni Kawachi & His Group – The Cat
B4 Toshiaki Tsushima – Ape Society
B5 J.A. Caesar* & Shirubu – Jigoku No Orufe
B6 Maki Asakawa – Govinda
B7 Les Rallizes Denudes – Strong Out Deeper Than The Night (Edited Version)

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Otomo Yoshihide - Plays Eric Dolphy's Out to Lunch

Eric Dolphy’s 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 was dead 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.

Though 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 thus far 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) through the lens of fifteen Japanese and European musicians.

The New Jazz Orchestra is not a big band, but a loose amalgamation of distinct voices. This distinction is important, since a big band arrangement of Dolphy would sap the life out of his quirky, almost inconoclastic music. Here the intent is to bring a new meaning to the music, much like Warhol’s soup cans. Though the instrumentation of the original is represented (bass clarinet courtesy of Alfred Harth, one of the Europeans possibly influenced during Dolphy’s trip), also added are guitar, baritone sax (by the inimitable Mats Gustafsson), sho (a rare Japanese reed instrument played by international virtuoso Ko Ishikawa), electronic devices and piano. So while the melodies and spirit are in full attendance, there are often disturbing subtexts.

At 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. allaboutjazz

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