One Way Ticket is far from being a collection of tracks, it is a concept of transit, of movement, of the nomadism of thoughts, of the impossibility of settling, and of our belonging to a journey.
The music and words of this work are photograms of different weaves, angles and colours, drawn from a journey taken with a One Way Ticket (direction unknown).
Stylistically it is contemporary, but indirectly it relates to chamber music both in its quotations and in its tonal colour. However, acquaintance with certain composers will reveal a love for certain forefathers, whose styles free-wheel through the present work. The coming together of charles mingus with anton webern, and roscoe mitchell with a very young author/composer, federico cumar, make the musical path of this work the occasion for truly stimulating listening.
Two original compositions, taken from the immense “interludes catalogue” by the author, appear, two sound tales, very acid blues. The pieces are like places to visit, to recognise and to lose oneself in.
The work opens and closes with two short readings from T.S.Eliot and T. Scialoja.
One way ticket is a compendium of Gianni’s quest on the soprano sax. Besides those already mentioned, there are compositions by Monk, S.Lacy, and D.Ellington. A varied and unusual repertory tackled with innovativeness and inventiveness. The use of extended techniques, the result of intense hard work on the instrument, is never “encyclopaedic”, but a function of an aesthetics that looks carefully at the relationship between monodic sound and silence.