Satoko Fujii/Myra Melford: Katarahi

ROGUE ART 0149 (RELEASED MAY 8. 2026)

The title of this recording says it all — Katarahi, the Japanese word for a heart-to-heart conversation with a friend. This conversation is made up of notes and rhythms, and the friends are pianists Myra Melford and Satoko Fujii. Although they met through Paul Bley in 1994, their first musical conversation took place in 2007 on the album Under the Water, a completely improvised session. They take a slightly different approach on Katarahi, a collection of seven pieces based on predetermined material that provides the pianists with ample freedom to do what they do best — explore the sonic possibilities of duo piano. Recorded live at Jazzfestival Leibnitz in Austria, the audience was given a rare opportunity to eavesdrop on the conversation. On the opening “Interlude I” the conversation is congenial with Melford and Fujii’s delicate interplay over a hypnotic repeating phrase. At times, the conversation becomes playful, like on “Signpost,” with its sly reference to Thelonious Monk’s “Misterioso” and clever call and response section. Although the tune “Pairs” begins with a thoughtful dialogue, the discussion becomes heated with chord clusters and powerful cascading passages. There are moments, like on “Kaiwa,” when one pianist seems to dominate the conversation while the other listens intently and responds appropriately. There are other moments, like on “IV” and the end of “From Sometime,” when both pianists try to make their points at the same time. The result in those moments is cacophonous chatter. Whether they are exchanging notes or rhythms, playing on or in the piano, listening or responding, whispering or shouting, Melford and Fujii demonstrate their skills at being respectful, mindful and thoughtful musical conversationalists. Feel free to eavesdrop on this heart-to-heart conversation called Katarahi and hear what they have to say!

BOTTOM LINE: The music of Katarahi is packed with emotion. It’s graceful, playful, powerful, forceful, joyful and mournful, and often all at the same time! Pianists Myra Melford and Satoko Fujii engage in a musical conversation that is thoughtful and meaningful, and something of which fans of modern jazz piano can be thankful!

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Welcome to Papatamus Redux

I started reading Cadence in the early 1980s. Since that time, I have come to respect editor and jazz critic Robert Rusch for his intelligent, succinct and unbiased reviews. Over the past twenty years, it has been my pleasure to get to know Robert and his family, making frequent trips from our home in Iowa to New York’s North Country. Several years ago, I was honored to be asked to help edit Robert’s Papatamus column.
I was equally honored to be asked by his family to keep Robert’s legacy of intelligent, succinct and unbiased jazz reviews alive with Papatamus Redux. You can view older editions of Papatamus at papatamus.com.