ABE GOLSTIEN INTERVIEWS ROBERTO MAGRIS ON THE “TREE OF TEMPTATIONS” SESSION

In January 1995, Italian pianist Roberto Magris performed three concerts with trumpeter Lee Harper in Italy and Slovenia. The group also included Italian based Canadian saxophonist Robert Bonisolo and an Italian rhythm section of Max Sornig on bass and Gabriele Centis on drums. The program was mainly based on originals by Harper and Magris. The two wanted to experience their new collaboration by avoiding the typical clichés of some informal jazz sessions based on standards picked on the spot.

Lee Harper is one of the many relatively obscure jazz players from the past.  Can you shed any light on his background?

Although Harper began his career in the US, he moved to Europe at a fairly young age. He had a reputation as a renowned jazz musician, especially in Central-Eastern Europe. Salzburg, Austria became Harper’s home where he remained until his sudden passing in his 60’s. He was a sought after educator as well, forming several groups with the best musicians from Austria.

Did you know anything about Lee Harper or his music prior to this session?

From some records I had at the time, I knew that Harper played in the hard-bop style. Those albums were recorded in Eastern European countries. One was recorded in Hungary at the time of the Iron Curtain. 

How did it come about that you had the opportunity to perform with Lee Harper?

Bassist Max Sornig, who was the owner and promoter of the jazz club L’Antro del Jazz in Trieste invited Harper to play three concerts in consecutive days. I was honored that Soring called me to be the piano player on those dates along with Centis on drums and Bonisolo on tenor.

Tell us a bit more about the other players on this session?

Robert Bonisolo is a Canadian saxophonist who graduated from Berklee College of Music and eventually moved to Vicenza, Italy, where he lives today. He seemed to me very fond of Michael Brecker and Joe Henderson at the time. Strangely enough, our paths never crossed again. Bassist Max Sornig, who passed away at age 91 in 2025, ran his own jazz club in Trieste for several decades. Drummer Gabriele Centis is a well-respected drummer and educator as well as the artistic director of the Trieste Loves Jazz festival. 

What was your reaction to Harper’s playing?

I was surprised that Lee focused on the fluegelhorn which is a sound I love. He had his own swinging approach, in the style of Art Farmer to my ears. Like his playing, his compositions were beautiful, too.

Rather than standards, you are playing originals on this set. Tell us something about those tunes. 

Lee brought a few originals to the session most of which were still in a typical hard-bop style. I brought three compositions to the session that had a dark tone and recall the classic hard-bop period of the Art Blakey’s Jazz Messengers and Horace Silver. 

What did you learn playing with Harper on this date?

This was one of the rare chances I had to enjoy a top-class fluegelhorn player. I’ve read that the fluegelhorn has a beautiful sound if used from time to time, but it can become boring because of the lack of some flexibility and range. That certainly was not the case with Harper who taught me that the  fluegelhorn has a beautiful and evocative sound that can swing in the right hands.

How did Lee react to playing with a group of Italian musicians?

Harper was very glad to play in Trieste, which is an Italian city with deep roots in the old Austrian Empire. Harper was used to collaborating with the jazz musicians in Central Europe,
As you can hear, we certainly clicked in Trieste, the historical bottom of Central Europe with its port.

Did you ever get a chance to meet up with Lee again?

We remained in touch, but we never reconnected in person in Trieste or Austria, even though I played there quite often in the 1990’s. 

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