Otomo Yoshihide PIT INN Year-End 4DAYS w/ 8 Consecutive Performances「Improvisation! 」
ONJQ
12/26（Sat）
Open19:00 /
Start19:30
Ticket on the day:5,500 yen 5,000 yen + tax (one drink included)
Advance ticket:4,950 yen 4,500 yen + tax (one drink included)
Advance ticket:4,950 yen 4,500 yen + tax (one drink included)
*Advance tickets will start selling at the Shinjuku Pit Inn at 11:00AM on
November 1,Sunday (we accept reservations).
MEMBERS
Otomo Yoshihide (g), Shinpei Ruike (tp), Osamu Imagome (tb), Hiroaki Mizutani (b), Yasuhiro Yoshigaki (ds)
TOPICS
*Advance tickets (reservations accepted) will be available from 11:00 AM on November 1 (sun) by phone (03-3354-2024), at the reception desk of Pit Inn Shinjuku, or through the online ticket reservation form for each concert date on our website. A priority entrance number is given at the time of reservation.
*Admission to the ' Otomo Yoshihide PIT INN Year-End 4DAYS ' concert will be in the order of ticket number, so if you have already made a reservation for a ticket, please be sure to purchase your reserved ticket at the Pit Inn reception desk.
*Numbers are assigned at the time of reservation.
*Tickets are available for purchase prior to the performance date.
Requests to Our Customers
Please be aware that the venue will be very crowded if you try to purchase your ticket reservations shortly before the opening time of 【Evening Show】19:00 . In order to avoid the congestion and ensure a smooth opening, we will start accepting reserved ticket purchases at the reception desk starting at 【Evening Show】18:00 . We apologize for the inconvenience, but we would like to ask for your cooperation in purchasing tickets early in the time difference. After purchase, you will be able to enter the venue in numerical order upon your return at Evening Show】19:00 when the venue opens. Thank you for your cooperation.
It’s been two years since our last “Year-End 4 Days, 8 Consecutive Performances” series. This year’s theme is “Improvisation!” I know—I’m probably going to get called out for saying this, since people will likely point out that I’m always improvising anyway. Of course, that’s true, but this year, as I’ve been creating a large-scale installation centered on the theme of improvisation at YCAM in Yamaguchi, I’ve found myself constantly reflecting on what “improvisation”—which could be called the very foundation of my creative work—actually is. It’s also been a year in which I’ve been unable to avoid asking myself why I continue to be so committed to “improvisation.”
The first day kicks off with an improvisational set featuring Gozo Yoshimasu, an 87-year-old poet and performer who introduced me to the depths of improvisation. That evening marks ONJQ’s triumphant return to Japan—their first performance here in a very long time—following their appearance at the Berlin Jazz Festival.
On the second day, there will be an improvisational set at noon with Masaki Hayashi, Japan’s top pianist. That evening, I’ll make my debut at PITINN with MITAMURAKANDADAN? from Kobe—a miraculous ensemble that seems to bring everyday life directly onto the stage—for our first-ever improvisational collaboration.
On the third day at noon, I’ll perform an improvisational trio with vocalist Ami Yamasaki and dancer Kaho Kogure, with whom I’ve recently been collaborating on numerous improvisational performances in various venues. In the evening, we’ll hold a release concert for the duo album "Shutsumin", which was recorded during an improvised performance with saxophonist Kaho Kogure and released in Europe.
On the fourth day, it’s our traditional special big band concert. For the matinee, in addition to our usual repertoire, we’ll present a chaotic, improvised mix of what are, for me, deeply personal standard tunes. In the evening, we plan a stage where laughter and the inexplicable coexist, featuring a mix of various songs and improvisations centered around Bon Odori dance tunes.
Improvisation, I’ve come to feel lately, is about creating something of your own volition while at the same time accepting situations that are beyond your control...
*Admission to the ' Otomo Yoshihide PIT INN Year-End 4DAYS ' concert will be in the order of ticket number, so if you have already made a reservation for a ticket, please be sure to purchase your reserved ticket at the Pit Inn reception desk.
*Numbers are assigned at the time of reservation.
*Tickets are available for purchase prior to the performance date.
Requests to Our Customers
Please be aware that the venue will be very crowded if you try to purchase your ticket reservations shortly before the opening time of 【Evening Show】19:00 . In order to avoid the congestion and ensure a smooth opening, we will start accepting reserved ticket purchases at the reception desk starting at 【Evening Show】18:00 . We apologize for the inconvenience, but we would like to ask for your cooperation in purchasing tickets early in the time difference. After purchase, you will be able to enter the venue in numerical order upon your return at Evening Show】19:00 when the venue opens. Thank you for your cooperation.
It’s been two years since our last “Year-End 4 Days, 8 Consecutive Performances” series. This year’s theme is “Improvisation!” I know—I’m probably going to get called out for saying this, since people will likely point out that I’m always improvising anyway. Of course, that’s true, but this year, as I’ve been creating a large-scale installation centered on the theme of improvisation at YCAM in Yamaguchi, I’ve found myself constantly reflecting on what “improvisation”—which could be called the very foundation of my creative work—actually is. It’s also been a year in which I’ve been unable to avoid asking myself why I continue to be so committed to “improvisation.”
The first day kicks off with an improvisational set featuring Gozo Yoshimasu, an 87-year-old poet and performer who introduced me to the depths of improvisation. That evening marks ONJQ’s triumphant return to Japan—their first performance here in a very long time—following their appearance at the Berlin Jazz Festival.
On the second day, there will be an improvisational set at noon with Masaki Hayashi, Japan’s top pianist. That evening, I’ll make my debut at PITINN with MITAMURAKANDADAN? from Kobe—a miraculous ensemble that seems to bring everyday life directly onto the stage—for our first-ever improvisational collaboration.
On the third day at noon, I’ll perform an improvisational trio with vocalist Ami Yamasaki and dancer Kaho Kogure, with whom I’ve recently been collaborating on numerous improvisational performances in various venues. In the evening, we’ll hold a release concert for the duo album "Shutsumin", which was recorded during an improvised performance with saxophonist Kaho Kogure and released in Europe.
On the fourth day, it’s our traditional special big band concert. For the matinee, in addition to our usual repertoire, we’ll present a chaotic, improvised mix of what are, for me, deeply personal standard tunes. In the evening, we plan a stage where laughter and the inexplicable coexist, featuring a mix of various songs and improvisations centered around Bon Odori dance tunes.
Improvisation, I’ve come to feel lately, is about creating something of your own volition while at the same time accepting situations that are beyond your control...
