CD ECM Records Michael Galasso: High Lines
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Michael Galasso - vioara
Terje Rypdal - chitara electrica
Frank Coln - percutie
Marc Marder - contrabas
Classically-trained violinist/composer Galasso’s first ECM release in 20 years is a mix of influences from jazz and classical music to – probably – idioms from the near, middle and far east he has encountered in his ceaseless wandering around the world. … Galasso, who composed all these, mostly short, pieces, is a virtuoso of breathtaking quality, and Rypdal fills the performances in which he takes part with some compelling texture. Whether or not it may be considered jazz doesn’t really matter; it remains one of the more unusual releases of the year.
Ray Comiskey, Irish Times
Prezentare generala CD ECM Records Michael Galasso: High Lines
2002
Michael Galasso - vioara
Terje Rypdal - chitara electrica
Frank Coln - percutie
Marc Marder - contrabas
Violinist Michael Galasso has been a valued creator of film and theatre music, acclaimed for his work with Wong Kar-wai ('In The Mood for Love', Robert Wilson (for whom he has written many scores) and others. Now he steps to the fore to play exciting, outgoing music, between all the genres, with a hot band including Terje Rypdal in fiery form.
* * *
His striking violin is the primary voice in the ensemble dialogue, although Terje Rypdal does exert a dominating presence when he cuts loose on tracks such as ‘Spheric’ and ‘Fog and After’, or the inverted solo on ‘Gorge Green’. Marder and Colón make full contributions to the music, which is wide-ranging in style and mood, from peaceful and reflective through to edgy and raucous. Despite that diversity, it hangs together well as a whole.
Kenny Mathieson, Jazzwise
Classically-trained violinist/composer Galasso’s first ECM release in 20 years is a mix of influences from jazz and classical music to – probably – idioms from the near, middle and far east he has encountered in his ceaseless wandering around the world. … Galasso, who composed all these, mostly short, pieces, is a virtuoso of breathtaking quality, and Rypdal fills the performances in which he takes part with some compelling texture. Whether or not it may be considered jazz doesn’t really matter; it remains one of the more unusual releases of the year.
Ray Comiskey, Irish Times
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