Jazz Italia Pt II: Roberto Magris with Herb Geller

It was inevitable that we'd hear more from the meeting between pianist Roberto Magris and the late Herb Geller - the first recorded collaboration was 2009's "Il Bello Di Jazz" on Soul Note.

Now, through his American-based label JMood Records, the ever-resourceful Magris has released a continuation of that delightful output

American-born and coming of age just at the time when bebop  was reaching its peak, Geller not only beat the "Bird trap"(he admits to being influenced, but not a copy of, alto sax great Benny Carter) but also, partly by virtue of moving to Germany, managed to developed a wholly personal sound not beholden to any of the US titans who would star on the alto horn during the post-War period


Its a sinuous yet sturdy sound, neatly modulated, but without being clinical, essentially capable of anything  Magris' lush, ebullient yet  similarly well-ordered pianisms

The supporting cast definitely makes their presence felt on this record, especially drummer Enzo Carpentieri who alternate scorches and soothes with tremendous gusto throughout the disc. Prie examples: the Zoot Sims classic, "The Red Door"  and a staple pf the Basie Orchestra "9:20 Special"


The high point comes fairly early on with "Lonely Woman" (the Benny Carter tune, not the Ornette Coleman nor the Horace Silver tunes of the same title), although the Sondheim piece, "Pretty Woman", which closes the disc also comes close in terms of effect.

I guess one can never underestimate the power of a woman to move the energies of men.

Whatever their muse, this is a first-class session that only stands as a worthy tribute to an unsung jazz titan, but pretty much makes a statement on its own musical merits. If you want jazz that stirs, seduces, skips and kicks in equal good measure, this is your ticket.

Herb Geller, rest well. Magris & Co, - onward to greater.

Magris x three: the latest offerings

Even by jazz standards (no pun intended), piano man Roberto Magris' creativity knows almost no bounds judging from his prolific output to date. Scarcely had I digested the last two, the consummately excellent "Alien on a BeBop Planet"
, and "One Night in With Hope and More, Vol.1", when Magris and his varied, ever-changing list of collaborators has sprung forth not two, but three new discs. The discs continue thematically in veins similar to that which he has previously mined; there is, instead of the Lee Morgan Tribute (which has so far taken up two full-lengths) a Cannonball Adderly tribute disc, and instead of Kansas City (though that storied jazz locale still features indirectly) there's a Philly exploration, aided by the Philly alto master (and Odean Pope Saxophone Choir alum) Sam Reed.

Of the trio, my favourite is in fact the Reed disc, titled  "Ready for Reed". For fans of straight-up post-bop with appropriate and finely balanced twists, this is an essential addition to your collection. Reed is in great form, and the simpatico between himself, the leader and the band as a whole shines through - almost to the point where it seems, only seems, mind you, that there is no leader. But of course, this is a Magris disc.

There's also - wait for it! - a follow-up

 to the One Night in with Hope project. Through out all these musical explorations, Magris not only keeps it fresh with the compositions and expositions, but manages, as always, to get maximum commitment and verve out of his musical cohorts. It begins in bouncy style with Herbie Nichols' "Third World" and runs through selections from Mal Waldron, Elmo Hope, of course, and -as to be expected - a couple of originals from Magris himself.


Music aficionados can continue in gratitude to the Italian-born instrumentalist as he mines the great troves of bop and post-bop tradition and takes them out for some fresh spins. Hail Magris!