21 febbraio 2014

Dopo Magaibutsu, anche Skin Graft Records pubblica il secondo album dell'inarrivabile duo Sax Ruins, Blimmguass, in una doppia versione in vinile (salmonato) e in cd. Su richiesta procura anche una copia in dvd di un concerto di un altro celebrato progetto di Tatsuya Yoshida, il quintetto Koenjihyakkei: Live at Koenji High.

Though he's renowned for his roles in Acid Mother's Temple and Zeni Geva and for leading the bands Koenjhyakkei and Koekyojinn, Tatsuya Yoshida always comes back to Ruins. Since 1985, Ruins has been Yoshida's primary musical outlet – always minimalist in instrumentation, but maximalist in compositional complexity. Ruins' first two decades were defined by it's drum / bass line-up, with Yoshida remaining as the band's constant, while Ruins' bass duties would change hands four times. The last, Sasashi Hisaki, departed in 2004. Since then, Ruins has evolved into a one-man show, with Yoshida doing what at first seemed impossible, playing it all himself - as documented on Skin Graft's 100th release “Ruins Alone”.
Beginning in 2006, Yoshida would occasionally fill the vacant second slot not with a bassist, but with alto saxophonist Ono Ryoko. Ono has become one of Japan's most in demand studio musicians, performing jazz, rock, funk, rhythm & blues and hip hop, as well as leading her own band, Ryorchestra. Like Yoshida, she has created her a musical language all her own, using a "non-breath" circulation technique and multi-phonics to pursue endless, rich and complex sounds in a progressive and classical tradition.
In 2009, Ipecac label issued Sax Ruins' debut recording “Yawiquo”, which found Tatsuya and Ono reinterpreting many of Ruins classics with brass in place of bass. Their new album “Blimmguass” is highlighted by an all-new composition commissioned by New York's brass band Asphalt Orchestra which premiered at the Lincoln Center in April of 2012. Where the Sax Ruins' first outing focused on short pieces, “Blimmguass” expands its reach to lengthier, meticulously orchestrated compositions, including Ruins' classics like Vrresto and Bighead, as well as improvised pieces which reflect the Sax Ruins Live experience. Sax Ruins transforms Yoshida's compositions from heavy, nimble prog to dense, hyper-kinetic big band jazz, not entirely unlike Sonny Rollins sitting in with Magma and Carl Stalling on the Warner Bros. lot or Borbetomagus calculating a perfectly timed collision with Naked City.