(Free Improvisation) [CD] Masahiko Satoh & Sabu Toyozumi - The Aiki - 2019, FLAC (tracks+.cue), lossless

X Lossless Decoder version 20211018 (154.0)
XLD extraction logfile from 2022-03-21 09:57:55 +0100
Masahiko Satoh / Sabu Toyozumi / The Aiki
Used drive : HL-DT-ST DVDRW  GX50N (revision RR06)
Media type : Pressed CD
Ripper mode             : XLD Secure Ripper
Disable audio cache     : OK for the drive with a cache less than 1375KiB
Make use of C2 pointers : NO
Read offset correction  : 6
Max retry count         : 100
Gap status              : Analyzed, Appended (except HTOA)
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  | 00:00:00 | 37:24:61 |         0    |   168360
        2  | 37:24:61 | 19:51:47 |    168361    |   257732
AccurateRip Summary (DiscID: 0006806e-0010efa2-100d6c02)
    Track 01 : OK (v1, confidence 1/1)
    Track 02 : OK (v1, confidence 1/1)
        ->All tracks accurately ripped.
All Tracks
    Album gain               : -0.79 dB
    Peak                     : 0.966034
    Statistics
        Read error                           : 0
        Jitter error (maybe fixed)           : 0
        Retry sector count                   : 0
        Damaged sector count                 : 0
Track 01
    Filename : /Users/xld/Masahiko Satoh - Sabu Toyozumi (2019) The Aiki [FLAC]/01. The Move for Quiet .flac
    Pre-gap length : 00:02:00
    Track gain               : -0.44 dB
    Peak                     : 0.966034
    CRC32 hash (test run)    : E0DC200B
    CRC32 hash               : E0DC200B
    CRC32 hash (skip zero)   : D253D90E
    AccurateRip v1 signature : 9219E7AC
    AccurateRip v2 signature : 49456EBD
        ->Accurately ripped (v1, confidence 1/1)
    Statistics
        Read error                           : 0
        Jitter error (maybe fixed)           : 0
        Retry sector count                   : 0
        Damaged sector count                 : 0
Track 02
    Filename : /Users/xld/Masahiko Satoh - Sabu Toyozumi (2019) The Aiki [FLAC]/02. The Quiet for the Move.flac
    Pre-gap length : 00:03:00
    Track gain               : -1.36 dB
    Peak                     : 0.966034
    CRC32 hash (test run)    : DA737F3F
    CRC32 hash               : DA737F3F
    CRC32 hash (skip zero)   : BBFEAD15
    AccurateRip v1 signature : 9EA71D4E
    AccurateRip v2 signature : 7C8C586E
        ->Accurately ripped (v1, confidence 1/1)
    Statistics
        Read error                           : 0
        Jitter error (maybe fixed)           : 0
        Retry sector count                   : 0
        Damaged sector count                 : 0
No errors occurred
End of status report
-----BEGIN XLD SIGNATURE-----
e2iXo.StZrjgrrXndT5mpKmxNDZCeSoIZunVgx1Mu13NdsBSW_PP1PaRYSy3MHYcm6CRrvb5.f17jKmDP93_Nydx8beH8yC4ocONPQO
-----END XLD SIGNATURE-----

TITLE "The Aiki"
PERFORMER "Masahiko Satoh & Sabu Toyozumi"
REM GENRE "Jazz"
REM DATE "2019"
REM DISCID 100D6C02
REM REPLAYGAIN_ALBUM_GAIN -0.79 dB
REM REPLAYGAIN_ALBUM_PEAK 0.966034
FILE "01 - The Move for the Quiet.flac" WAVE
  TRACK 01 AUDIO
    TITLE "The Move for the Quiet"
    REM REPLAYGAIN_TRACK_GAIN -0.44 dB
    REM REPLAYGAIN_TRACK_PEAK 0.966034
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "The Quiet for the Move"
    REM REPLAYGAIN_TRACK_GAIN -1.36 dB
    REM REPLAYGAIN_TRACK_PEAK 0.966034
    INDEX 00 37:21:61
FILE "02 - The Quiet for the Move.flac" WAVE
    INDEX 01 00:00:00

The Lithuanian NoBusiness label’s licensing deal with the Japanese Chap Chap imprint has mined a rich seam of 1990s Japanese free music, and in The Aiki, has unearthed another glistening nugget. It presents an exciting encounter between pianist Masahiko Satoh and drummer Sabu Toyozumi, two improvisers of the first rank. Although both have been active exponents of the scene since its inception, their tandem appearances remain limited, and never before available on record. This unissued recording in crystal clear fidelity of a 1997 concert in Yamaguchi now sits alongside several other contemporaneous performances from each man made accessible through the project in recent years.
Through the light and shade of two epic improvs, both principals unleash the tools of their trade: unfettered imagination; an innate sense of form; and playful animation. Part of the success surely derives from the fact that they draw on such wide hinterlands. Satoh’s untethered playing is informed by both his classical composition and swing and modern jazz exploits. His stylistically promiscuous flow periodically encompasses a bluesy right-hand embroidery, galloping classical formalism, and torrents of clipped notes which recall Cecil Taylor, all distilled into a unique personal amalgam. Only a brief pentatonic melody suggests any remotely Japanese flavor.
Toyozumi calls upon his experience with like-minded spirits across the globe, and his notable sojourn in Chicago where he became the only non-American member of the AACM, to forge unusual textures into a dynamic and vibrant contrapuntal stream. Through a shifting focus on distinct elements of his kit he demarcates and orders. Even when he co-opts march cadences into a solo, it convinces as integral rather than intrusive, while in another feature he evokes the tuneful percussiveness of a Roach or Blackwell.
Each feeds off the other in spontaneous syncopation. There’s an electrifying moment early on when Toyozumi suddenly accentuates a Satoh flourish on his rims. Later delicate piano prompts Toyozumi to accompany with hollow slaps on his body. Although “The Move For The Quiet” begins with unhurried quiet toms, inducing a ritual feel, it continues full of dramatic gushing rhythmically aligned unisons. “The Quiet For The Move” seems more conversational, with a stately character, at least to start, but quickly becomes wayward. Though there are tinkling and tapping downtimes in both cuts, it’s the thrill of the flailing full spate dash which proves irresistible.
Happily rescued from the vaults, for those in the know this session will affirm the significance of its two sparring partners, while for those unfamiliar it argues a forceful case.