Christophe is a French singer and songwriter. He was born Daniel Bevilacqua on October 13, 1945 in the Parisian suburb Juvisy-sur-Orge, to Italian parents. During his career Christophe has collaborated with diverse artistically celebrated artists such as Jean Michel Jarre, Alan Vega, Murcof, Eumir Deodato, Isabelle Adjani, Erik Truffaz, Florian Zeller, Carmine Appice, Daniel Filipacchi, Alain Bashung, Jac Berrocal and Elisa Point. Christophe's first hit was Aline, in 1965. He is famous for his eternal song "Oh!… Mon Amour" that he sang in French and Italian. From a young age, he was fascinated by the "American way of life". more…
Dans un disque précédent, Exploration (2006), Dal Sasso, qui appartient à cette génération bénie née autour de 1968, exploitait l'héritage de Gil Evans et invitait en soliste un aîné, modèle légendaire d'intransigeance, le saxophoniste américain David Liebman. Créer des textures nouvelles qui jouent avec chaleur tantôt de dissonances doucement agressives (ainsi Morning Sound, où les flûtes ne craignent pas d'expressives faussetés), tantôt harmoniquement confortables (Rondo et Prétextes), où les cuivres et les anches enveloppent, telle est son ambition dans Prétextes.
Christophe Dal Sasso's fifth album as a leader opens an ambitious and original musical adventure in the form of three cycles of compositions inspired by the infinity of the cosmos and the different components of the universe. Devoted to the nebulae, this recording presents itself as the first part of a trilogy with evolutionary orchestration. At the frontiers of classical writing and the soul of jazz, this first cycle is based on the association of a jazz quintet and a string trio (violin, viola and cello).
The story goes that flautist/bandleader Christophe dal Sasso, in his tireless quest for new sonorities for his arranging tasks, absorbed the lessons of saxophonist Dave Liebman's treatise A Chromatic Approach to Jazz Harmony and Melody. Onstage some time later with a big band at Paris's Sunset nightclub, he applied those lessons to an arrangement of Woody Shaw's "Little Red Fantasy ; and who should be in the audience but Liebman himself, who hears something oddly familiar in the group's sound. Liebman would sit in with the band, thus beginning a collaboration whose fullest fruition is this disc.