6/4/2023 0 Comments Minitune bass![]() Leaving North America for Europe, Gallio is someone who says he’s more comfortable in the art scene than the music scene and has close affinity for Continental literature. Over the past 15 years the soprano and alto saxophonist has worked with various rhythm teams and PRIVATE is the first CD featuring new partners, bassist Daniel Studer and drummer Marco Käppeli…. Guiding force behind Day & Taxi - which despite the name always has three members - is Swiss saxophonist Christoph Gallio, who composed the 13 pieces here. the pronounced freeform dissertations of this trio, while having stark density, resolve into a unified mass displaying an unpredictable element of warmth.Cadence, Frank Rubolinoĭifferences that existbetween these two saxophone-bass-and-drums sessions hinge less on the fact that one trio is Swiss and one American (Bassist Mark Helias’ Open Loose trio), than the comparisons extant from a working group and a newly constituted one. The selections are not overly long, but Gallio and the trio transdform each piece into a fully developed movement of an elongated suite. Gallio remains true to his improvising muse with this version of DAY & TAXI. His short, unstructured drum sequences are repeated to become the jet fuel for orbiting. He gives pronounced emphasis to the session by jabbing and sparring with the other two. Similarly, Käppeli sets up a foundation of regulated drum cadence in contrast to the flights of fancy taken by Gallio. In the arco mode, such as on “Laetitia Pop-Corn”, Studer adopts the obliquity that characterizes Gallio’s playing in opposition with his more fluid pizzicato playing. Studer typically constructs a minitune on bass to give the spacecraft stability on its long flights into the unknown. Studer sets up a rhythmic fabric around which Gallio carves his thick slices of meaty improvisations. Studer and Käppeli aid and abet this push to the extremes. ![]() After short introductory theme statements, he reaches liftoff and spews out barbed phrases that mesh into a unified freeform statement. The upper register is used extensively to cite his case. On alto, Gallio takes a similar approach. The strident voice of the soprano dominates the soundscape with the eerie tonality. Gallio burrows deeply into the marrow of the compositions and rattles around the bone to produce music with chilling vibratos. The soprano selections are marked with acuteness. He barks out sharp retorts on the stright horn and than glides easely into longer- formed lines of unstructured speech. Gallio alternates between connected phraseology and abrupt terseness, keeping the music in an ever-changing mode. The music of this version of DAY & TAXI is dotted with angularity and keen incisiveness. In 2001, Gallio rekindled the concepts of the trio, which now features bassist Studer and drummer Käppeli. Cover Art: Christopher WoolĭAY & TAXIhas been a distinguished improvising unit for over 15 years, and for most of that time, soprano and alto saxophonist Gallio was joined by drummer Dieter Ulrich and either bassist Lindsay L. Liner notes by André Behr and Christoph Gallio. Edited and mixed at Elephant Château Studio Basel by Max Spielmann.Mastered at Gallus Tonstudio St. Recorded at Radiostudio Zürich, 2001 December 15 & 16 by Andy Neresheimer. ![]() Christoph Gallio: soprano & altosaxophone / Daniel Studer: double bass / Marco Käppeli: drumsĬomposed by Christoph Gallio. ![]()
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