ABE GOLSTIEN INTERVIEWS ROBERTO MAGRIS ON THE “THE SWINGING VIBES OF B.P.” 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. Many visiting artists not only came from America, but some came from neighboring countries. Such was the case on July 17, 1985, when Croatian vibraphonist Boško Petrović came to Trieste for a session at Jazz at Jordan’s Club. 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.

Had you performed before with Petrović prior to this date?

Although I played a few gigs with Petrović in those years, this was our first gig at Jazz at Jordan’s Club. Later we moved to L’Antro del Jazz, a larger venue where I enjoyed playing more evenings with Petrović.

Was this your working trio at the time?

Bassist Max Sornig managed the club, and he often invited me to sit at the piano chair. Drummer Gabriele Centis, who today is more known as an educator and  artistic director of the “Trieste Loves Jazz” festival was another regular on the bandstand. Max organized hundreds of jazz sessions over several decades. He was so devoted to his own jazz-club that he hardly played concerts around and never entered a recording studio. He passed away in 2025 at age 91. 

Who chose the tunes?

Petrović loved bebop and swing. Needless to say, his music was influenced by of Milt Jackson and the MJQ, but his repertoire also included some surprising jazz treatments of Balkan folk songs. This session presents his classic program with tunes such as “Bags’ Groove” and “My Funny Valentine.” He was a witty guy with a typical Slavic humor and would always introduce “My Funny Valentine” as My Funny Ballantyne!”

What did you like most about playing with Petrović?

Petrović furthered my appreciation for the essence of swing and bebop. Even if he was Croatian, he had all the typical licks and patterns of the genuine American jazz musicians of those genres. He played the vibes in a very elegant and swinging way, so I felt like being a member of a classic jazz combo from the 1950’s.

Did you and Petrovic cross paths again after this session?

In addition to playing again in various Trieste clubs, Petrović invited me to play a gig at his B.P. Jazz Club”in Zagreb. We would often connect at European festivals as well.  He was always very nice and friendly to me. I aactually have an old record of his entitled Zeleno Raspolozenje that he autographed to “his private John Lewis from Trieste!” 

Tell me more about Jazz at Jordan’s Club? 

Jazz at Jordan’s Club was inside an old house in the countryside of Trieste. The house was surrounded by vineyards and once a scorpion fell down from straight on my keyboard. Mr. Jordan was the old owner of that house and after he passed away, the jazz club moved to a new location in downtown Trieste and was renamed “L’Antro del Jazz.” A countless number of local, national and international jazz musicians appeared in those clubs including Ernie Wilkins, Franco Ambrosetti, Lee Harper, Erich Kleinschuster, Carlo Bagnoli, Bruno Longhi — all the best Slovenians, Austrians, Croatians and Italians, of course.

Any final thoughts?

Petrović was a typical musician’s musician and was respected not only in Europe but also in the U.S. I always remember of him with a smile on his face and ready to laugh. He would joke about using his vibraphone for cooking some Balkan sausages.

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 Boško Petrović, and it’s a joy that the JMood label, thanks to Paul Collins, is sharing this music with you four decades later.