The second production, “Saxotonics” contains music for saxophone quartet and is closely linked to my work as a professor for saxophone at the University of Music (KUG) in Graz, Austria. Over the years I had composed quite a few works for this format. While working with these incredibly talented young musicians I really enjoyed my dual function as ensemble leader and ensemble member. Additionally I invited my decades-long musical partner, keyboardist and composer Uli Rennert to perform with us, which made it quite an unusual line-up! On top of this he provided a fantastic original composition.

Album „Möbius Strip“combines two very diverse productions, which compliment each other nicely. On both the saxophone plays the lead.

El que fan les coses quan no les mires és el resultat d’anar pel món amb ulls i orelles ben obertes. La fascinació de Dani López per la realitat quan l’observa de prop, ha fet que coses aparentment ordinàries com el so d’una cafetera, o l’àvia de l’artista rondinant, s’hagin transformat en el material des del qual ha teixit les cançons. La manera com es tracten els instruments, així com el so propi de cadascun dels components, i una metodologia de treball en grup concreta, busca una nova forma d’enforcar les possibilitats del quartet, obtenint una gran riquesa, entre l’experimentació i la tradició. El resultat és una sonoritat que navega entre el jazz, la música de cambra contemporània, la música d’arrel i el pop.

Carlo Maria Giulini was born in Barletta, Southern Italy in May 1914 with what appears to have been an instinctive love of music. As the town band rehearsed he could be seen peering through the ironwork of the balcony of his parents’ home, immovable and intent. The itinerant fiddlers who roamed the countryside during the lean years of the First World War also caught his ear. In 1919, the family moved to the South Tyrol, where the five-year-old Carlo asked his parents for "one of those things the street musicians play". Signor Giulini acquired a three-quarter size violin, setting in train a process which would take his son from private lessons with a kindly nun to violin studies with Remy Principe at Rome’s Academy of St Cecilia at the age of 16.