ABE GOLSTIEN INTERVIEWS ROBERTO MAGRIS ON THE “IT COULD HAPPEN TO SWING” SESSION

The early 1980s to mid 1990s were an exciting time for jazz musicians and fans in Trieste, Italy. The Circolo Triestino del Jazz presented several memorable jazz concerts at various venues throughout the city during that time. As a result, American jazz artists were making a stop in this northeastern Italian city and finding more than capable local players to accompany them as well as receptive and passionate jazz fans. Pianist Roberto Magris was one of those musicians who had an opportunity to share the stage with these jazz legends. Saxophonist Eddie “Lockjaw” Davis appeared at Ananian Theater, one of those Trieste venues, on February 16, 1984. We asked Magris to share some of his memories about this performance which he is now making available as part of the JMood archival recording series.

How did Eddie “Lockjaw” Davis end up in Trieste?

I remember getting a call from Circolo Triestino del Jazz to accompany Eddie “Lockjaw” Davis at Ananian Theatre. Davis was making the rounds of clubs in Genoa, Turin, Milan, Bologna, and one of his last stops was going to be in Trieste. What a thrill for me, the rest of the band and local fans!

Were you familiar with the rhythm section players?

Yes! Mauro Periotto from Venice was my regular partner on bass in those years. We often played together in duo and trio settings, so when I started my own quartet in 1987, he was the obvious choice for bass. Periotto was a key musician in the 1970’s and 80’s in Italy, performing in some of the best avant-garde Italian groups such as OMCI before he embraced mainstream jazz. Sadly, he was involved in an bizzare car accident with a wild animal and spent the rest of his life in a wheelchair until his death in 2010. A well-respected drummer, Gabriele Centis is an educator and artistic director of the “Trieste Loves Jazz” festival. We’ve performed together countless times over the years.

Who chose the tunes?

I remember that Davis simply gave us a list of songs that he wanted to play that evening. He chose some classics mainly from the swing period. Some were performed with the backing of trumpet and sax (local musicians hired and available at that time) and others played with the trio.  

What did you like most about playing with Eddie “Lockjaw” Davis?

I knew some of his recordings and his style, but I was shocked when he took his first solo. He had such a wild and aggressive voice! My first thought was that his approach to swing and mainstream jazz was as bold as the best free jazz names that were popular in Europe and Italy in those years. What a sound! His straight-to-the point phrasing brought the essence of swing in such a direct way, like a cutting knife.

Did you grow up listening to Eddie “Lockjaw” Davis recordings?

I was focused on a different style of jazz as a young pianist in the 1980’s, but I had a couple of records on the Pablo label with Dizzy Gillespie, Milt Jackson, Harry “Sweets” Edison and Davis. I also had his “Afro-Jaws” record on the Riverside label, mostly because of its evocative cover.

What is your favorite tune from this session?

I love the way Davis swings and shouts on “It Could Happen to You”. For that reason, It Could Happen to Swing is an appropriate title for this session. 

Any final thoughts?

We tend forget how swing music sounded – the glorious big band era with Duke Ellington, Count Basie, Coleman Hawkins, Lester Young, Benny Carter, Ben Webster and other greats. Eddie “Lockjaw“ Davis was one of the tenor sax masters of that era with his own signature sound. Since I had the opportunity of playing with him I can immediately recognize his sound —  it’s unforgettable and unmistakable!

I hope you enjoy this session. The recording quality may be a little rough, but the music is
full of passion and energy. It was my honor to perform with Eddie “Lockjaw” Davis, and it’s a joy that the JMood label, thanks to Paul Collins, is sharing this music with you four decades later.