RECORDA-ME
MAGRIS MEETS NISTICO
JMood 032
Roberto Magris & Sal Nistico
Archival Recordings 1983
Tracks:
1. Recorda-me (Joe Henderson) 13:33
2. Just Friends (Klemmer/Lewis) 3:32
3. But Beautiful (Van Heusen) 6:43
4. Softly As In A Morning Sunrise (Hammerstein II/Romberg) 12:01
Total Time: 35:57
SAL NISTICO – tenor sax
FULVIO SISTI – alto sax
ROBERTO MAGRIS - piano
MAX SORNIG - bass
GABRIELE CENTIS – drums
unknown – congas
Recorded live at the Cappella Underground, Trieste, Italy, on 27th March 1983
Recording and Mixing Engineer: Sergio Portaleoni
Courtesy of Circolo Triestino del Jazz
Cover by Abe Goldstien
ABE GOLSTIEN INTERVIEWS ROBERTO MAGRIS ON THE “RECORDA-ME” 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 Sal Nistico appeared at Cappella Underground, one of those Trieste venues, on March 27, 1983. 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.
Do you remember how this session came about?
The staff of the Circolo Triestino del Jazz was in touch with other jazz clubs that operated at those times in northern Italy. Visiting jazz musicians from the U.S. would make stops in Genoa, Turin, Milan, Bologna, often ending in Trieste. When Circolo Triestino del Jazz heard that Nistico was on tour they asked him to perform here and asked me to play piano for the concert.
Tell me more about some of the Italians musicians who joined you for that session?
At that time. Nistico was touring with Fulvio Sisti, an alto player he had met in the U.S. Sisti was a little older than me and was from the generation of “boppers” like Massimo Urbani who were trying to emulate the music and lifestyle of Charlie Parker. In the 1980s, Sisti was a well-known name in the Italian jazz community, but serious health troubles affected his career, and he passed away in 1998 at 43. The rhythm section, including me on piano, were all local musicians. Bassist Max Sornig, who passed away at age 91 in 2025, ran his own jazz club in Trieste named L’Antro del Jazz 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 do you remember most about the session?
I remember it being quite cold outside that night and especially cold inside the concert hall. We look quite funny and ordinary in the photos wearing red, grey and blue/white striped pullovers, but they kept us warm. Apart from the chilly atmosphere, the concert was packed and the two horns had a very impactful sound. After the first set everybody was anxious for the second set to begin, but Nistico and Sisti vanished and didn’t return for 30 minutes. When they did return, they were “up” and looked a little “different.” The promoters were quite concerned; however, they managed to play fine all the same, and the concert was a success. Looking back, that was simply the kind of thing that could happen while playing jazz with musicians from the older, troubled generation.
Were you familiar with Nistico’s work prior to playing with him in 1983?
Not much, honestly speaking. When I was told I would be playing with Nistico I checked out his playing but all I could find were his solos with the Woody Herman big band. I got the impression that he was very much a bebop player. I was quite surprised to find him more influenced by Coltrane and Joe Henderson.
What lessons did you learn from playing with Nistico?
I was a young newcomer (24 in 1983) there to learn and enjoy playing with an international master like Nistico and a skilled Italian player. I was focused on comping, choosing the best chords and working with the rhythm section, trying to add something valuable to the session.
What impressed you most about Nistico?
Musically, he was very fast and felt comfortable doubling his phrasing with his smooth tenor tone. We talked briefly backstage before the concert about the music we would be playing, and I found him to be nice and friendly with little ego. He had Italian origins but, from my recollection, he could only speak some Southern Italian dialect.
Did you ever get a chance to play with or meet Nistico again?
Although he was often back to Europe and Italy during the 1980s, our paths never crossed after this performance. I did hear a recording he made with pianist Walter Davis Jr. somewhere in Southern Italy. I think Nistico deserved much more praise and critical acclaim during his too short career. For me, he’s remained a musician for musicians.
What is your favorite tune from this session?
The title-track “Recorda-me”, not only because of the performance but also because the title itself sounds so appropriate.
Any final thoughts?
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 Sal Nistico, and it’s a joy that the JMood label, thanks to Paul Collins, is sharing this music with you four decades later.
