// biography Born in Napoli (Italy) in 1978. Mostly self-taught. He has collaborated with several musicians such as Giancarlo Schiaffini, Eugenio Colombo, Zeduardo Martins, Francesco Cusa, Paolo Sorge, Alvin Curran, Tristan Hosinger, Fabrizio Puglisi, Vincenzo Vasi, Antonio Coatti, Federico Squassabia, Alma Jazz Orchestra, Arthur Miles, Roberto Bartoli, Mirko Sabatini, Lullo Mosso, Marco Dal Pane, Luisa Cottifogli, Vonn Washington, Maisha Grant, April Randall, Roberto Rossi, Fernando Tchika, Steve De Swath and others. He has played at several jazz festivals well known in the international jazz scene like the Jazzy Jam, Cassero Jazz Festival, Dozza Jazz, Crossroads, Angelica Festival, Trentennale del Treno di Cage, Festival Brasiliano, Avantgarde Jazz to quote some of the most famous. He has played with various bands as leader and sessionman in Italy, Germany, Spain, France, Finland, Sweden, Estonia. // discography 1990 - AA.VV. - Romagna Posse 2000 - Gaspare De Vito Trio - Armageddon 2005 - AA.VV. - Italian Street Blooze Caravan 2007 - Gaspare De Vito Solo - 5 songs and 1 story 2008 - AA.VV. - Antivatican coalition against the hippies resistance 2008 - Gaspare De Vito Passing Notes //review Making a debut as a solo artist is not for everyone. Saxophonist and flautist, Gaspare De Vito, has expressive honesty and courage and uses five songs and a story to show it: a musician with a varied background - ranging from collaboration with Giancarlo Schiaffini to overseas experience with several African musicians – De Vito seems to have “metabolized” the different languages into a single instrumental sound which is, at once, disturbing and inquiring. The first song “Looking for the Climax”, in which the lyrics owe much to a lesson from Evan Parker, begins submissive but as it moves on and the other four songs develop (one of which is openly dedicated to Anthony Braxton), the words open up to reveal a multitude of timbres and expressive strategies. The breathing is an integral part of the sound, as are the percussion possibilities of parts of the instrument. Overall the music generates a profound lyrical sense. This is sometimes tormenting - as in “City Flag” which leads into the conclusive “The Sea and the Man”; an imaginative exploration of the environment during which the saxophone dialogues with natural elements, especially the sea, introducing a slow and inexorable swing. Let yourself be carried away!