2023 clean feed CD CF615CD // 9 tracks // 45:08
Musicians Christoph Gallio alto, soprano & C-merlody // Silvan Jeger double bass, voice, sequencer // Gerry Hemingway drums & percussion // Production notes All compositions by Christoph Gallio // Recorded live at Stadtbistro Isebähnli, 2021 November 29 and mixed by Felix Wolf in Berne // Mastered by Michael Brändli at Hard Studios in Winterthur // Produced by Christoph Gallio // Executive production by Pedro Costa for Trem Azul // Liner  notes by Steve Beresford // Photos inside by Palma Fiacco // Graphic design by Travassos // Cover art by Beat Zoderer


You can download single tracks from bandcamp 

  1. TALL GUY BLUES Tall Guy Blues
  2. FACES Faces
  3. KOPFNUSS Kopfnuss
  4. JIMMY Jimmy
  5. MARINA and the lucky pop song transformation Marina ...

Liner Notes

Liner Notes by Steve Beresford

Walking up the Edgware Road in London a while back, I was tempted into a middle eastern shop by a scent. I had a strong memory of the scent from my childhood, but could not for the life of me work out where the memory came from. I still can’t. DAY & TAXI’s music is like that. Hard to pin down phrases, rhythms, timbres, keep attracting my ears and memories just like the shop attracted my nose. Their playing touches on music histories with the delicacy of a dragon fly, and the references are gone before you know it, if that’s what they are. Maybe the C-melody saxophone - I knew this rare instrument from my parent’s 78s of Frankie Trumbauer - encouraged that process, with its tone sometimes suggesting but not imitating other members of the saxophone family. No genre of music can guarantee complete success, but improvised music seems to succeed more often than you’d deem it possible. Why that is, we may never fully know, but I’m pretty sure that intuition and empathy play a part. DAY & TAXI (I visualise the wonderful drummer Terry Day intently playing a large drum-kit on the set of the US ‘70s/80s sitcom ‘Taxi’) know all this, whether they know they know it or not. And along with the endlessly fascinating improvising, they have some nifty written bits, too. Steve Beresford, London, September 2022



Letos slaví švýcarská kapela DAY & TAXI pozoruhodných 35 let svého trvání. Založil ji saxofonista a skladatel Christoph Gallio, který žije v Badenu u Curychu, kde se v roce 1957 narodil. Basák Silvan Jeger je v kapele 10 let a původem americký bubeník Gerry Hemingway v ní působí pět let. Dostatečný důvod k vydání živého alba po onom čínském před 18 lety (Live In Shenzhen, Shanghai And Taipei, vydal Percaso Production‎)! Lídr Gallio je samoukem, ale nakonec se dostal na basilejskou konzervatoř a v Paříži byl žákem legendárního Steva Lacyho. Hrál a nahrával kupříkladu s Peterem Kowaldem, Fredem Frithem, Philem Mintonem, Williamem Parkerem, Rashiedem Alim, Svenem-Åke Johanssonem či Markem Sandersem. Jeho spoluhráči také nejsou žádná ořezávátka! Čtenáři mohou kontrabasistu Silvana Jegera znát z tria UASSYN a věhlasného amerického bubeníka Gerryho Hemingwaye, který žije nyní ve Švýcarsku (proslavil se mimo jiné jako člen průkopnického kvarteta Anthonyho Braxtona v letech 1983-1994), z kvarteta Ralph Alessio. Novinka, mimochodem pouhé osmé album za tolik let (!), byla nahrána na koncertě v domovském Badenu. Povšimněte si stylu saxofonové hry Christopha Gallio; emotivností evokuje tu Olivera Lakea, onde Erica Dolphyho. A ve skladbě Faces je patrný vliv někdejšího učitele Steva Lacyho. Bubeník Hemingway má pak jedinečnou schopnost posouvat skladby zevnitř ven, aniž to posluchač postřehne, a spoluhráči pak mají možnost se vracet, takže vzniká hutné napětí. Největší předností tria je tedy sice uvolněná, ale nesmírně poutavá souhra, a svěží využití kontrapunktu a celé řady dalších podpůrných nápadů.



... Despite the dual moniker, the band consists of Swiss multi-reedist Christoph Gallio, who has been leading the group for 35 years, fellow Swiss, bassist Silvan Jeger now with D&T for a decade, and American drummer Gerry Hemingway a recruit of five years. The members of the trio have extensive experience playing creative music.

... all nine tracks on Live in Baden were composed by Gallio. But that doesn’t prevent the others from settling on their share of musical real estate. Hemingway, whose recorded history goes back a decade before DAY & TAXI was formed, creates a subtle solo of nerve beats and rim shots on “Faces”. It soon dovetails into Jeger’s bass string shuffles and Gallio’s split tone bites and tongue stops. Surrounding it are other tracks where his expression ricochets from rifle-shot-like cracks, drum top hammering, hi-hat slaps and steel-pan-like clanks. Besides integrated bass-reed harmonies and a brief recitation of a poem in German, the buzzing of Jeger’s sequencer manipulation distinguishes “Too Much Nothing” from the other tracks. It also demonstrates the saxophonist’s dexterity in breaking away from straight-line melodicism back by drum clips and a walking bass line, to doits, smears, growls and other irregular tones, but never allowing the multiphonics to get out of control. Among the extensions, emotions and established timbral patterns evoked throughout with R&B-like honks, squeaky intensity and bridging honks, Gallio’s playing is commanding on all his reeds. Nasal squalls from the antique C-melody sax distinguish “Jimmy”, for instance, which otherwise is taken up by terse high-pitched tonal examination, paced by a euphonious bass solo and suddenly termination after bass drum pops. Three may be a crowd in certain circumstances. But as these disc prove three players can provide all the textures needed for free-wheeling sound projects.


Live in Baden (released on CD and as a download) is a lively set by Day & Taxi. The Swiss outfit had already been in operation for some 30 years when Hemingway—who relocated to Switzerland in 2009—joined the group five years ago. Swiss saxophonist Christoph Gallio has been the only constant member of the band, with bassist Silvan Jeger marking a decade in the lineup. They make a fairly traditional, free-flowing sax trio, and Hemingway here is on point, playing around the time and never repeating himself. The three work together with ease, moving ably within Gallio’s compositions between swing-leaning and hard bop–adjacent passages in the largely improvised set, recorded in November 2021. It’s a fun ride with plenty of unexpected, though not quite sudden, turns in the road.


With only seven releases over its 30 plus year history, the Swiss band Day & Taxi, led by saxophonist and composer Christoph Gallio, is not exactly over documented. That is a shame as it has been a consistently stimulating outfit which takes an expansive view of the free jazz tradition. Gallio has been the only constant of the group's existence, but the current incarnation since 2018 comprising bassist Silvan Jeger and celebrated American drummer, now residing in Switzerland, Gerry Hemingway persuades as one of the finest.

Gallio has developed his own distinctive voice in which his convoluted lines curl back on themselves and fragment in emotive frayed cries, at times bringing to mind Oliver Lake of World Saxophone Quartet fame with his angular leaps and, at yet one further remove, his inspiration Eric Dolphy. On "Faces" his soprano saxophone stutters occasionally recall his onetime teacher Steve Lacy.

Gallio wrote all the numbers on this album recorded in his hometown; these transport the trio to unfamiliar locales. Or is it the trio taking the tunes to pastures new? Probably a bit of both. Two of the nine cuts clock in below the one-minute mark, while only four run over six. While it is not surprising that the longer tracks put the improvisatory meat on the compositional bones, the shorter pieces nonetheless add both variety and novelty to the three-quarter hour program, notably on "Dieses Gedicht Erinnert Sich," where Jeger recites/sings over a jerky unison.

Of the longer selections, the opening "Tall Guy Blues" reveals the unit's appealing modus operandi. Jeger's carefree bass vamp first establishes the mood, before Hemingway tumbles in behind before Gallio layers a simple earthy saxophone motif, which gets stretched, compressed, twisted and finally left behind in the creation of the middle of a swirling vortex. It is a wonderful effect, made possible by Hemingway's peerless ability to shift from in to out so imperceptibly, and one they return to again, this time executed in microcosm, on the pithy "Kopfnuss."

While it may not break new ground, the threesome thrives on relaxed yet gripping interplay which is contrapuntal, supportive and most importantly, well worth hearing.


A well-done live set by a group who always seem to be shifting up their sound and energy – sometimes swinging loosely, at a level that allows leader Christoph Gallio to take off on a saxophone solo – sometimes more tightly tied together, so that his reed work is making a resonant sound with the bass of Silvan Jeger and drums and percussion of Gerry Hemingway!


It is crucial for this writer to keep in mind an idea of reliability when discussing modern jazz. We've seen it happen far too often: rising talents who, despite promising beginnings in research and experimentation, subsequently reveal their true colors, preferring to stick rigidly to the rules that guarantee them popularity and fat grants while disposing of the original purity.

Other performers manage to develop distinctive styles of expression and communication that, while generally not excluding any potential listeners, preserve the ideal balance of difficulty and accessibility. This is typical of open-minded musicians who, decades of practice notwithstanding, are still eager to collaborate and learn. Christoph Gallio, a Swiss reedist who always seems to have complete control over his compositional and improvisational skills, fits in this category without a doubt.

With Gerry Hemingway on drums and Silvan Jeger on bass, Day & Taxi — a 35-year-old project whose personnel changes are well known to connoisseurs of Gallio's output — has in recent years acquired a fruitful stability. The group effectively counterbalances the soprano, alto, and C-melody saxes of the nominal boss, becoming "equal on-the-spot composers" rather than appearing and sounding like a mere rhythm section, as they seamlessly integrate into the collective phrasing with the right degree of space and freedom to remind everybody of their individual personality within the trio's bigger perspective.

You get the chance to comprehend and celebrate Day & Taxi's unwavering persistence in defying any simple stylistic categorization in this recording, which took place at Stadtbistro Isebähnli, Baden in November 2021. When switching between straightforward but effective vamps, cues of even quite complex free, and then back to contrapuntal passages at once intelligible and refined, Gallio, Jeger and Hemingway continue to delight us as they have done since we were a little younger. As they understand each other instantly after having sussed reciprocal intentions with eyes closed, the inner security transmitted by someone who can be trusted to produce intelligent, vibrant sound also reaches those who listen intently. In an era of pale looks, shrinking minds, and shallow music most everywhere, it is not a small amount of health.


DAY and TAXI est devenu un trio incontournable depuis des … décennies. Initié il y a fort longtemps par le saxophoniste Christoph Gallio (soprano, alto et c-melody saxophones), le compositeur leader est aujourd’hui brillamment secondé par le batteur Gerry Hemingway, lui-même basé en Suisse et par le contrebassiste Silvan Jeger. L’inspiration des neuf compositions de ce live attachant et le feeling ou ressenti de leurs interprétations est aussi changeant que le climat alpin où l’orage cataclysmique d’une sombre soirée et sa masse épaisse de nuages noirs striés et illuminés par les éclairs est balayé par le Föhn pour laisser place à un ciel radieux et ensoleillé. Des fins de printemps enneigés sont monnaie courante. Sa version du free-jazz passe de l’empoignade avec force morsures véhémentes du bec et des volées de baguettes sur tous les recoins des fûts à un souffle pastoral apaisé. Sautillement caractéristique d’une comptine endiablée ou thème précieux alternant avec de courts solos de batterie (Faces). Morceaux très courts ou nettement plus longs. On entend que Gallio a bien déchiffré des pièces de Steve Lacy, mais ne craint pas les embardées. Suave ou acide, emporté ou rêveur. Et de l’humour ! La contrebasse marque le tempo de manière ouverte ou menaçante et répétitive dans Too Much Nothing. Le souffleur s’y fait sage, jouant sommairement la ligne mélodique et ses curieux intervalles avant de dériver avec des growls désarticulés sous la férule du batteur qui souligne le beat intermédiaire. Et quel distingué batteur, ce Gerry Hemingway qui joue au mieux avec quiconque fait appel à ses services avec des solutions rythmiques superbes et des roulements enchaînés et polyrythmiques époustouflants et une sonorité admirable. (Marina and the lucky pop transformation) ! Bref, la variété du matériau et cette absence totale de prétention tout à fait ludique et enjouée, nous rend ce Christoph Gallio éminemment sympathique, tout à sa joie de jouer avec un style singulièrement différent d’un instrument à l’autre.


Live in Baden, genauer: im Stadtbistro Isebähnli, entstand am 29.11.2021 dieser Konzertmitschnitt von DAY & TAXI - Christoph Gallio an Soprano-, Alto- & C-Melody-Saxofon, Silvan Jeger am Kontrabass & Gerry Hemingway an den Drums. Mit 'Infinite Sadness (To Jack Bruce)', 'Too Much Nothing' und 'Dieses Gedicht erinnert sich' (mit Poesie von Thorsten Krämer) spielten sie drei Stücke von ihrer da noch gar nicht erschienenen neuen Studioscheibe „Run, The Darkness Will Come!“, dazu 'Tall Guy Blues (to Christian Weber)', 'Mare' und 'Faces' von „Devotion“ sowie 'Kopfnuss (For Guido Nussbaum)' und 'Marina and the lucky pop song transformation' von „Way“. Mit 'Jimmy (For Jimmy Giuffre)' greift Gallio sogar bis „Artists“ zurück, unter seinen vielen Widmungen, Hommagen und Grüßen besonders bezeichnend. Sogar Steve Beresford bekam zu dieser Musik Anwandlungen an seine Kindheit – durch das C-Melody? Aber auch direkt durch die unüberhörbar em­pathische und intuitive Überzeugungskraft des improvisierten Einklangs seiner Kollegen. Gleich schon den Lobgesang für Weber, den in jeder Hinsicht 'großen' Basstausendsassa, röhren und krabbeln sie mit kernigem Feeling und umeinander purzelnden Beats, das Andenken an Bruce zeitigt eine triste Miniatur, doch 'Mare' kostet als Memorial für Kaissa Camara, (weiblich, 20, Herkunft unbekannt, ertrunken) den noch weit bitteren Salz­geschmack des Mittelmeers als nassem Grab. Jeger erinnert sich als Gedicht an die Ära der Unbestimmtheit, als es noch kein Gedicht war. Erst mit 'Kopfnuss' kommt zu kecken Staccatokürzeln Rappellaune auf. 'Faces' zeigt Gallios Bewunde­rung für den Foto- & Installationskünstler Beat Streuli in sopranoluftiger Sophistication zu perkussiv verspielter Bruitistik. Der schleppende Bassloop und die kleinlaute Melodik von 'Too Much Nothing' sind mit Sequenzer getönt, Gallio steigert sich in ein atemberaubend expressives Statement, Nichts ist keine Option. Die Verbeugung vor Giuffre – und Steve Swallow – wird zum allergallioeskesten Highlight, als zartbitterer Kuss mit Lerchenzunge. Und 'Marina' kann zuletzt mit den spektakulären Solos dieses 12 ¾-min. Freispiels selbst die fesseln, die 1959/60 Kind gewesen sind und daher Marina Marina pawlowen. [BA 118 rbd]




Es gibt keinen überflüssigen Ton auf dieser Platte. Die Musik ist kommunikativ und anspruchsvoll zugleich, nicht ohne Tiefe und Komplexität, kombiniert verschiedene Stile, Genres und Techniken und ist dabei angenehm zu hören. Ein weiteres Juwel und ein absolutes Muss für alle, die sich für gute Musik begeistern können!


Refreshing first of all to hear such a loose stripped back sound again. Avant delights are always welcome. Readers will be familiar most here with the drummer in the long running DAY & TAXI, Gerry Hemingway, the 67-year-old New Haven born player known for his work with above all Anthony Braxton and Marilyn Crispell. Swiss saxist Christoph Gallio and double bassist Silvan Jeger, also from the land of the Toblerone, are less familiar. The method is simple enough, provide acres of space given there isn’t a piano or guitar to fatten the harmonic bird in the pot Gallio choosing the unusual C-melody saxophone at times among his arsenal of horns that results in a piquant tonal growl and earthy rumble at times. Tunes are Gallio’s who is viscerally scalding and compelling on the quirkily entitled ‘Marina and the Lucky Pop Song Transformation’. Steve Beresford in the liner notes muses appreciatively how he recalls the C melody sax from his parents’ Frankie Trumbauer 78s. The poetry on ‘Dieses Gedicht Erinnert Sich’ is a surprise (it’s less memorable than it says on the tin – hey ho). Avant certainly but an easy listen full of poise, a certain insouciance and even a meaty groove on ‘Tall Guy Blues’ at the beginning among the sudden flashes of inspiration. A long version of ‘Infinite Sadness’ would be great – but a band to go hear live of course some day given the fidelity of performance here that transports you somehow into their very individual world.

TOKYOJAZZ, Yoshiaki Kinno aka ONNYK


JTにおいて私が何度か紹介しているクリストフ・ガリオ(Christoph Gallio)と彼の率いるトリオDAY & TAXI が2021年9月録音のライブ・アルバムを新作として発表した。リスボンのジャズ、即興系レーベルClean feedからのリリースである。
DAY & TAXIは90年代後半に、ガリオがパーマネントなトリオとして結成したが、紆余曲折は常のこと、メンバーは、ほとんどアルバム毎に変遷した。
今回のベーシストは、最期に来日した際のメンバー、ジルヴァン・イェーガー(Silvan Jeger)である。彼は歌手でもあり、今回はシーケンサーも操作している。
そしてドラマーには名手ジェリー・ヘミングウェイ(Gerry Hemingway)。2005年からClean feedでのリリース作品が何枚かある、これがレーベルとの縁だろう。彼はブラクストンのコンボで長く活躍して広く知られたが、共演者を眺めると実に広く名人、達人の名前がリストアップされる。TZADIK, ENJAからのリリースもあるが自己のレーベルも持っている。
彼のキャリアを振り返ると、初期には実験的かつ、即興演奏を聴かせるための曲という方策だったが、次第に作曲家としての意識が強まり、ピアノのための曲集を映像付きで出したり、非常にスタティックな作風となった。DAY & TAXIのライブでも一分もしないような曲が続き、一曲毎にガリオが「サンキュー」というので「あ、今ので終わり?」と、私も含め聴衆が呆気にとられるような場合もままあった。それは逆に曲そのものの複雑さと、演奏の難しさが伴っていたのだが。これを私は「ガリオのヴェーベルン時代」と呼んでいる。つまり欧州的洗練を経た室内楽としてのジャズの、微小形式の完成ということだ。それはしかし同時に、生き生きとした即興音楽としてのジャズの後退に他ならなかった。

DAY & TAXI 『DEVOTION』(2019) から、ヘミングウェイという名手が参加した事も、ガリオの歌心を促進していると感じる。ヘミングウェイは決して派手な妙技や、パワフルなところを見せる人ではない。むしろ作曲家志向だとすれば、ガリオに近いだろう。今回のライブでは、非常に繊細な、そして不思議な音色の、アブストラクトなパーカッション・ソロを披露している。同時に、パートによっては分かりやすく安定した、ブルーズやロックに近いビートを叩いている。