Day & Taxi: All

Though clearly situated in a jazz/improvised music milieu characterized by formal structures (tunes), lyricism, swing-to-free rhythmic underpinning, solos, trades and the like, a refreshing inferential quality pervades DAY & TAXI‘s program....the music, imbued with an open breathing quality, strikes an admirable unselfconscious balance between the cerebral and the visceral, the direct and the oblique.
Cadence, Milo Fine

DAY & TAXI plays an appealing brand of post-modern jazz. Original compositions –primarily by Gallio and bassist Lindsay L. Cooper–have an abstract angularity and coolness often regarded as an European style........On the average, the pieces on this CD are between three and seven minutes, so while there is room for some free blowing and extended techniques from Gallio, the general mood is one of control and economy if not actual restraint. The three group members are nicely attuned to each other, and while the distinctiveness of Gallio‘s reeds usually place him front and center, Cooper and Ulrich have a substantial amount of solo space. Even when they aren‘t soloing, the nature of the music and the group dynamic allow them to be much more than a “rhythm section,“ and they take full advantage of their opportunities.
OPTION, Bill Tilland

.......Then they offer a version of Noel Coward‘s „Mad About The Boy“ which is one of the best decomposing jobs I‘v heard since Sunny Murray‘s Paris band did „The Nearly Was Mine“ back in 1969. It serves to emphasize the point.
THE WIRE, Jack Cooke

DAY & TAXI is a Swiss jazz trio whose music is an inventive and engaging balance between the seemingly abstract avant-garde (how long does avant-ness last, anyway?) and the necessities of swing and rhythmic impetus. Most European jazz/improv performers get stuck with the „too cerebral/can‘t swing“ tag, but DAY & TAXI avoid this, while still maintaining their „Euro“ sound and tradition – as opposed to merely emulating what they perceive to be an „American“ sound.........and Ulrich‘s crisp playing maintain the the supple and elastic forward-motion of swing, even at the more abstract moments. It‘s this quality that separates DAY & TAXI from the many squeak-and-doodle outfits that couldn‘t swing if you spotted them a trapeze. D & T play appealing, challenging and accessible compositions and improvisations, a singular combination.
Pittsburgh City Paper, Mark Keresman

DAY & TAXI hails from Switzerland, though the bassist Lindsay Cooper is originally from Scotland. With Gallio and Ulrich, this group‘s release is yet another indicator of a very vibrant improvised music scene in that landlocked European fiefdom. Of all discs reviewed here, the recording quality of this one is nothing short of magnificent, the bass fully resonant, the reeds vibrant in all registers and the drum alive without being overbearing in the mix. (Audiophiles take note!) Of greater concern here, the music enclosed in this is lively indeed and all musicians are well attuned to each other, whether they be playing with a beat or working out a collective improvisation. Even if this isn‘t music to rattle windows by (exept if you boost your bass level knob), this release is a highly enjoyable one.
Coda Magazine, Marc Chenard