daniel schläppi «forces»

narratives in music



1 force quatre (d. schläppi) 7.17
2 the water is wide (traditional) 8.51
3 far out blues (d. schläppi) 6.07)
4 undersea 1 (n. wogram, c. vallon, d. schläppi, s. rohrer) 2.32
5 nine (d. schläppi) 5.08
6 low (c. vallon) 6.20
7 playground (c. vallon, d. schläppi, s. rohrer) 3.37
8 toys and details (s. rohrer) 4.49
9 higher reaches (d. schläppi) 3.19
10 undersea 2 (c. vallon, d. schläppi, s. rohrer) 3.44
11 eldridge old men (d. schläppi) 3.19
12 undersea 3 (n. wogram, d. schläppi) 3.04
13 une année après (c. vallon) 9.51
14 catwalk (d. schläppi) 3.30

total time 71.28

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Daniel Schläppi (b, comp)

Colin Vallon (p)

Samuel Rohrer (dr)

Nils Wogram (tb)






Press release




«narratives in music»






Press reviews




Highest degree of creativity, generating excitement and fun at the same time

Budd Kopman, All about Jazz / US, 19.08.2007


«Bassist Daniel Schläppi, whose previous release was ‹Indian Summer› with guitarist Tomas Sauter, establishes himself as both a composer of note and someone who can bring together fine players and get the best from them with Forces.

The quartet, led by Schläppi consists of virtuoso trombonist Nils Wogram, also heard on ‹The Move›, pianist Colin Vallon from ‹Ailleurs›, and drummer Samuel Rohrer, who also played on Sauter’s ‹Magic Carpet›.

Wogram is a master of such techniques as talking through his instrument, getting split harmonics and many other sounds, both high and low. Vallon is a very exciting player who injects much forward energy into every note and phrase that he plays, whether he’s soloing or accompanying.

Rohrer is an inventive drummer who is very attentive to detail, working well with Schläppi as the rhythm section. A very secure player, Schläppi does not play many long solos but is clearly the leader, and is solid throughout.

In a sense, Vallon steals the record. He is a stylistic chameleon, which, with a lesser player, might diffuse his impact. Here, however, this means that the core that is Vallon – the energy, clarity, wit and depth – comes through, regardless of the kind of music he is playing.

His two compositions, ‹Low› and ‹Une Année Après›, could not be more different. The former has the feel of group improvisation as its introduction floats along with many different piano sounds, squealing cymbals and ponderous bass notes. The main motive is played with the odd sound of a detuned piano, and this is followed with low trombone moans and soft percussion. The latter is a rather large scale, very beautiful work that builds relentlessly into an intensely romantic piece that will completely fill your room at its peak.

None of this is meant to demean the compositional contributions of Rohrer or Schläppi. Each piece is unique and demonstrates compositional prowess, the ability of the players to adjust to a piece’s personality and, through it all, the group’s cohesiveness. ‹Far Out Blues› is just that, and might remind some of Charles Mingus’ ‹Goodbye Pork Pie Hat› in that it has a blues feel, but cannot be called a blues. […]

From the traditional ‹The Water Is Wide› to the lighter ‹Playground› and the improvisational ‹Underseas›, Schläppi and the band display the highest degree of creativity, generating excitement while having fun at the same time.»




Siggi Loch, CEO von ACT Music

«This is great music indeed …»




Nils Wogram


«The CD is beautiful! I am happy about having played on this session.»






Buoyant and engrossing – very interesting improvisations, full of mystery

Budd Kopman, Jazzpublisher, spontaneaous statement / US, 01.06.2007


«Tomas Sauter and Daniel Schlaeppi, the musicians behind the Catwalk label and collaborators on the wonderfully introspective and inviting disc ‹Indian Summer› have each put out albums that allow their individuality to come to the fore. Both Magic Carpet and Forces contain music that is simultaneously accessible and yet edgy enough to pique the ear and the mind. Their physical sound is superb and kudos must go out to the respective recording engineers (Daniel Dettwiler and Benoît Piccand) and Jan Erik Kongshaug (of ECM fame).

Schläppi’s compositions are featured on ‹forces›, but Vallon and Rohrer contribute one apiece, along with a few group improvisations. Buoyant and engrossing, the album treads the line between composition and improvisation which gives it a very alive and spontaneous feel.

Schläppi does not force himself into the foreground here but lets his deep, full bass and close work with Rohrer support the music and let it take off. Wogram will be recognizable by anyone familiar with The Move (Between The Lines, 2005), especially when he uses his split-tone technique. Vallon, who is new to me, is a very strong player with in incisive and adaptable musical mind.

The three ‹Undersea› tracks are all very interesting improvisations, full of mystery, while the theme from ‹Higher Reaches›, which makes a hidden reappearance in ‹Eldridge Old Men› brought Trygve Seim’s The Source (ECM, 2006) immediately to mind.

‹Forces› provides much for the ears and the mind to celebrate as it returns to the player again and again.»

«Very exciting music. Vallon and Wogram are fantastic.»