(Avant-Garde Jazz, Free Jazz) [CD] Myra Melford & Satoko Fujii - Katarahi - 2026, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.8 from 15. July 2024
EAC extraction logfile from 20. July 2026, 22:49
Myra Melford & Satoko Fujii / Katarahi
Used drive  : ASUS    SDRW-08U9M-U   Adapter: 1  ID: 0
Read mode               : Secure
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Defeat audio cache      : Yes
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Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
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        2  |  4:03.50 |  6:25.67 |     18275    |    47216
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End of status report
---- AcoustID Plugin V1.2.0
Submitting 7 results to AcoustID
AcoustID successfully submitted
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[CTDB TOCID: PAToiPnQBSDSlsNrwn1Vwhw54as-] found
Submit result: PAToiPnQBSDSlsNrwn1Vwhw54as- has been confirmed
Track | CTDB Status
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  2   | (1/1) Accurately ripped
  3   | (1/1) Accurately ripped
  4   | (1/1) Accurately ripped
  5   | (1/1) Accurately ripped
  6   | (1/1) Accurately ripped
  7   | (1/1) Accurately ripped
==== Log checksum BA2AD8F77904F81B43064A8B0EE3ECD6F599C9BDA93262D625E89FD8A3821FD9 ====

REM GENRE Jazz
REM DATE 2026
REM DISCID 4D0C1907
REM COMMENT "ExactAudioCopy v1.8"
CATALOG 3760131271492
PERFORMER "Myra Melford & Satoko Fujii"
TITLE "Katarahi"
FILE "01 - Interlude I.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Interlude I"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400064
    INDEX 01 00:00:00
FILE "02 - Signpost.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Signpost"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400065
    INDEX 01 00:00:00
FILE "03 - Pairs.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Pairs"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400066
    INDEX 01 00:00:00
FILE "04 - Chalk.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Chalk"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400067
    INDEX 01 00:00:00
FILE "05 - Kaiwa.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Kaiwa"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400068
    INDEX 01 00:00:00
FILE "06 - IV.wav" WAVE
  TRACK 06 AUDIO
    TITLE "IV"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400069
    INDEX 01 00:00:00
FILE "07 - From Sometime.wav" WAVE
  TRACK 07 AUDIO
    TITLE "From Sometime"
    PERFORMER "Myra Melford & Satoko Fujii"
    ISRC FRZEX2400070
    INDEX 01 00:00:00

foobar2000 1.6.18 / Dynamic Range Meter 1.1.1
log date: 2026-07-21 18:18:21
--------------------------------------------------------------------------------
Analyzed: Myra Melford & Satoko Fujii / Katarahi
--------------------------------------------------------------------------------
DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR13      -5.27 dB   -25.43 dB      4:04 01-Interlude I
DR14      -1.32 dB   -19.92 dB      6:26 02-Signpost
DR13      -0.33 dB   -18.46 dB      7:31 03-Pairs
DR12      -1.09 dB   -17.27 dB      5:15 04-Chalk
DR12      -0.62 dB   -17.35 dB     10:35 05-Kaiwa
DR12      -1.52 dB   -19.84 dB      7:33 06-IV
DR12      -0.89 dB   -17.22 dB     10:14 07-From Sometime
--------------------------------------------------------------------------------
Number of tracks:  7
Official DR value: DR13
Samplerate:        44100 Hz
Channels:          2
Bits per sample:   16
Bitrate:           646 kbps
Codec:             FLAC
================================================================================

The connection(s) between pianist-composers Satoko Fujii and Myra Melford transcend the usual truisms. Not kindred spirits in creativity or even mirror images in technique, the pair are more like twin sisters of different artistic mothers, distinctly their own individuals in style yet complementary as such in almost ineffable ways. Hence this album title, a Japanese term referring to a heart-to-heart conversation between intimate friends, fittingly suggests a deep, meaningful dialogue.
Katarahi is the duo's second collaboration, but as noted by discerning essayist Ed Hazell, it has been two decades since the performance captured on Under The Water (Libra, 2009). Unlike the wholly improvised predecessor, the second enterprise consists of the two playing each other's original compositions, having mutually agreed designated material furthers the instrumental vocabulary they can bring into play.
"Interlude I" thus acts as a gateway into this slightly more than 51 minutes from a September 2024 performance at Jazzfestival Liebnitz, Austria. As recorded by Norbert Stadlhofer, then mixed and mastered by Maikol Seminatore, the music ebbs and flows from ghostly rounds of notes to ringing lines, then back again, during which developments none touch in overlay (much less collide). Approaching each extremely cautiously, Fujii and Melford consciously or unconsciously reveal the magnificent potential of the piano as a musical instrument; in so doing, they stipulate its attraction to such great minds as theirs to devote a life's work to its exploration.
Perhaps that is why a piece of Fujii's titled "Signpost" shows up early in the song sequence. Or, more appropriately, why temperance and patience earmarks both musicians' approach throughout: on "Pairs," rumbles from deep within echo around strings plucked and tweaked amidst emphatic strikes to the keys. And the track immediately following, "Chalk," reiterates the reality these two are utilizing a percussion device, as the roiling swirls of impacted notes span the dynamic register.
The slow motion conclusion of that piece suggests the instinctual pacing Fujii and Melford apply during Katarahi. The selection to follow, "Kaiwa," is the longest of the seven at 10 minutes, 35 seconds, its placement ratifying that the pair are all warmed up and ready for some rollicking fun. Indeed, there is a palpable joy emanating from this dual action proceeding up and down the ivories before more contemplative interludes commence.
Here is where the dialogue redefines the vaunted trope about telepathy between like-minded musicians deep in the midst of performance, particularly when it is occurring on the stage. The rise and fall in intensity there turns into a microcosm of this entire program as it enters the homestretch via "IV"; repetition such as this has its purpose, arising only from elliptical afterthoughts to exchanges seconds prior. In this nuanced approach, Fujii and Melford are, in effect, tying together the loose ends from the otherwise densely embroidered threads they have sewn together to this point.
It is a supreme statement of the logic inherent in this collaboration, thus rendering "From Sometime" an objective observation on the chemistry these musicians have just demonstrated so fully. The exultation Fujii and Melford display in the rousing finish compels the audience to respond in kind and rightly so.