Roberto Magris/Denis Razz Quartet on "In Action": Music that Delights and Suprises

 

Roberto Magris Denis Razz Quartet- In Action- JMood Records

At the end of 2025, pianist Roberto Magris, who resides in the northeastern Italian seaport city of Trieste, released a wonderful quartet collaboration with the Croatian based saxophonist Denis Razumovic. The album is a two-disc release titled In Action on J Mood records. This adventurous collection of well-curated music features compositions from masters like John Coltrane, Wayne Shorter, McCoy Tyner, Yusef Lateef, Mal Waldron and Sun Ra, in addition to several promising works by Razumovic and Magris and a Blues by B3 master Jimmy Smith, where Magris shows his Hammond organ skills.

I became a fan and ardent follower of Magris for quite some time. I first came upon some his work with his Europlane orchestra with the cooking album Check In from 2005. Since then, I have followed this pianist’s growth as found him collaborating with both top-tier European musicians as well as some established ex-patriot American jazz artists that still had something to say. In the subsequent years, I’ve listened to and sometimes reviewed some of Magris’ releases that found the pianist working with such notable musicians as saxophonists Tony Lakatos and Herb Geller, multi-reed and trumpeter Ira Sullivan, French guitarist master Philip Catherine, bassists Art Davis and Eric Hochenberg, drummers Albert “Tootie” Heath and Idris Muhammad, and trumpeter Brian Lynch to to name a few.

Magris has said “I am an Italian of non-Italian culture…so I am an expert at looking ahead to tradition.” This skilled pianist has absorbed some of the music’s traditions before pushing forward. As a player, Magris has developed a wide range of colors on his pianistic palette. He can pull from skills like the bebopper fluidity that recalls Powell; the melodicism from Flanagan and Evans; the rhythmic drive and aggressive attack from Tyner and Pullen, and the harmonic and rhythmic adventurism of Hill and Bley. This makes Magris’ music a bit like a wrapped gift box; you never precisely know what you are getting until you open it.

On In Action, Magris is joined by three talented Croatian musicians Dennis Razz (Razumovic) on alto and soprano saxophones and flute; Karlo Ilić on acoustic bass electric guitar and oud; and Rajko Ergić on drums, percussion and soprano saxophone on two cuts. Magris uses both acoustic and electric pianos, keyboards, Hammond organ, and Mexican whistles to complete the instrumentation. When the listener opens this gift, you get a potpourri of music that delights and surprises.

Magris mentions that vibrant saxophonist Dennis Razz, who is a local Croatian hero with limited exposure to the world of global jazz, “…is a passionate jazz musician with a big heart and soul.” That same heart, passion and soul are the common qualities that all these musicians possess; the secret sauce they bring out in each other when they operate together as a very intuitive, expressive group. This group was originally thought of as an informal and temporary band formed post COVID, but if this album is any indication, these guys have many more inventive roads to travel.

There are eighteen cuts on the album, close to two hours of music, that offers something for almost everyone-inventive, energetic, soulful, swinging, melodic, avant-garde leaning or blues based and unpredictable music.

You can groove to John Coltrane’s “Some Other Blues” with Razz’s fluid alto and Magris’ Wynton Kelly-like piano solo and a nice pizzicato solo by bassist Ilić. Dennis Razz’s “In Umbria” a promising two chord-based piece. It reveals a compositional skill allowing the altoist to show his melodic side as Magris’ electric piano floats in the background with aplomb, and Ergić’s intuitive drum work adds to the mix. Wayne Shorter’s composition “Blue Nile” is another favorite, as Magris and Razz raise the temperature of the set with driving kineticism driven by the potent rhythm section and Razz alto searing and soaring with authority. Ergić’s polyrhythmic solo is another treat.

Magris and Ilić is an avant-garde original “Double Helix” which finds the bassist picking up his electric guitar and having what feels like a spontaneous atonal interaction.

“Il Mare a Fiume,” another Magris original, opens with a synth-driven keyboard setting the stratospheric opening before the music morphs into a soulful shuffle. Magris is on electric piano, Ilić on electric bass, and Ergić’s provides the sauntering drums, as Razz’s soprano soars in the clouds like a falcon.

McCoy Tyner’s “You Taught My Heart To Sing” is a beautiful ballad that brings great melodicism to the set. Magris’ piano lines are liquid and heartfelt, offering a tip of his hat to Tyner, and Razz’s alto evokes a sweet sound that reminds me of Johnny Hodges.

Yusef Lateef’s Middle Eastern inspired “The Plum Blossom” is a trip into another world. To create this world the group uses the unique instrumentation of Ilić’s oud playing sinewy lines against Magris’ acoustic piano probing, Ergić’s tambourine and Razz’s drone-like soprano saxophone work.

The second disc has its own highlights. The free form “Spirits of the Wild” with Razz’s flute work, Ilić’s bowed bass and Magris on Mexican whistles. A swinging version of Sun Ra’s “Discipline 27-11” that shows off Razz’s expressive dynamism on the alto.

The title track, Magris’ “In Action” is a Coltrane inspired composition that opens with a driving ostinato line that is the perfect vehicle for this group to let loose. Magris’ piano lines are very reminiscent of Tyner’s aggressive keyboard attack; percussive and stabing. Razz’s alto ignites the music further like a splash of gasoline on a raging fire. His horn is taking no prisoners as Ergić’s drum work propels the music and offers a dynamic solo of his own.

Sun Ra’s “Lanquidity,” opens with Magris’ dissonant acoustic piano countered by Ilić’s electric guitar probing before Razz’s soprano enters.

Mal Waldron’s “Left Alone” is played with great feeling by Razz and Magris that it just sweeps you away with the song’s inherent pathos; just beautiful. Magris’s piano solo explores the edges of the tune, as Ilić’s bass maintains the pulse with Ergić’s brush work and Razz’s alto states the theme with an open heart.

Razz’s composition for his daughter, “‘A’ Means Antonia” has a bright feeling and finds the altoist in top form. Magris adds some tasty electric piano that reminds me a little of the work of Jeff Lorber.

The album follows with Magris using his Hammond organ chops on the Jimmy Smith blues “You’ll See” and then the classic “My Foolish Heart” ends the set with a familiar, slow shuffling feeling good coda. 

  

"Shuffling Ivories" Musical Magic by Roberto Magris and Eric Hochberg

Roberto Magris & Eric Hochberg Shuffling Ivories JMood 021

The accomplished and swinging jazz pianist Roberto Magris has created a discography that many would consider diverse and impressive. Born in Trieste, Italy in 1959, the now sixty-two-year-old musician started playing at the age of four. It was a classical education before in 1977, the then eighteen-year-old pianist was exposed to  The Way I Play by the pianist Oscar Peterson and his infatuation with jazz would start and never release its grip on this pianist.

Living in Trieste, a city that is often referred to as a link to the Mitteleuropa or Middle Europe, Magris was exposed to a diverse cornucopia of ethnicities and cultures. The Italian port city is bordered by mainland Italy on its North and West, Slovenia on its Northeast and Croatia on its Southern border. Besides Italian links, the area boasts diversity, melding Latin, Slavic, Germanic and Greek cultural roots to the city’s historical fabric. 

Along the way, this artist has assimilated influences from a variety of pianistic sources. In addition to Peterson, Magris was touched by the works of Eubie Blake, Bud Powell, Bobby Timmons, Elmo Hope, Thelonious Monk, Bill Evans, McCoy Tyner, Paul Bley, and Andrew Hill. With these varied influences being absorbed into the man’s playing DNA, his playing is always his own and can always be counted on to swing and often evoke an emotional connection with the listener. 

Roberto Magris, a bit of a one-man historian of the music, has recorded over thirty albums to date. This pianist/composer always sought out collaborations with other notable, although somewhat obscure artists, using the chance to document these legend’s work with his own. He organized, played, arranged, and managed to record: Check-In 2005 with Hungarian saxophone talent Tony Lakatos; Kansas City Outbound 2006 with bassist Art Davis and drummer Jimmy “Junebug” Jackson; Il Bello del Jazz 2006 with saxophonist Herb Geller; Mating Call 2010 with the drummer Idris Muhammad; tributes to trumpeter Lee Morgan and pianist Elmo Hope with drummer legend Albert “Tootie” Heath and Sun Stone 2019 with trumpeter Ira Sullivan to name just a few.

Magris met the accomplished bassist Eric Hochberg at the Jazz Showcase in Chicago and later recorded Suite with him in 2019. Hochberg’s name is not known to everyone, an under-the-radar talent whose work with one-time Pat Metheny drummer Paul Wertico and Bella Fleck harmonica master/pianist Howard Levy speaks for itself. Hochberg is the perfect foil for Magris. The Italian pianist finds bright possibilities in working with artists like Hochberg who have all the talent and little chance to shine in the spotlight. The latest release, Shuffling Ivories, is a beautiful matching of these two artists in an intimate duo setting.

There is a noticeable simpatico between these two and together they create a delightful record that is easy to sit back with, listen to and enjoy. Magris records eleven songs and they include tributes to some of his pianistic heroes. The opening and title cut “Shuffling Ivories” is a homage-like reference to Eubie Blake who with Noble Sissel wrote “Shuffle Along” in the twenties. Magris is joyous on this blues-tinged swinger as Hochberg walks defiantly and then produces a rousing bass solo that punctuates things. There is fun in the air. 

Mining Clarence Williams 1926 “I’ve Found a New Baby,” Magris opens with some jaunty piano work and Hochberg’s playful response. Magris' piano is minimal at times to let Hochberg’s responses be the more featured. 

Magris’s “Clef Club Club,” a reference to a Harlem Social club for black Americans from back in 1910, opens up with a boisterous piano and some urgent bow work by Hochberg. These two create a sense of cinematic urgency.

Eubie Blake’s “Memories of You” is given a more embellished treatment by the talented Magris. You can hear the reverence in Magris’ playing and Hochberg offers a deep-toned pizzicato bass solo that emphasizes the moving melody with some fluttering accents. Despite being faithful to Blake’s sensibilities the pianist often embroiders the music with more modern approaches. Later in the album Blake’s The Chevy Chase” is played by the duet and the tact here is more stride-like by Magris. There is a bouncy buoyancy, a ragtime tradition seeping into the music and Hochberg follows suit. The music reminds me of music played in old silent music as accompaniment.

One of my favorites from the album is from the obscure pianist Billy Gault titled “The Time of this World Is at Hand.” Magris revels in this minor-keyed, dark but surprisingly moving melody. The music hooks you in its sway and Magris captures it wonderfully with a fluid verve and poignancy. Hochberg lays down the solid beat and offers some creative counterpoint.

The saxophonist Archie Shepp’s 1972 Attica Blues album featured the song “Quiet Dawn” from Cal Massey and here Magris and Hochberg do a moving rendition of this melancholic composition. Hochberg’s emotive bowing in the opening is a sonic treat. Magris’s superb accompaniment is subtle and tight. The pianist is most animated in his playing which he gets modernistic here when they expand the melody and Hochberg reverts to his astute plucking. Listen closely as Magris inserts a reference in his playing from Charlie Parker’s “Cool Blues” and as Hochberg’s impressive pizzicato soloing is featured around the 5:31 mark.

Just marvel at how much musical magic two instruments under the control of two talented players can produce.

In keeping with a dedication to his influences, Magris chooses one of Andrew Hills' more sensitive tunes “La Verne.” The slow-paced ballad features some of Magris’ most aggressive embellishments and Hochberg’s bass work compliments with aplomb. The duet has included two versions of this song. The reprise that closes the album is more romantic in its approach and Magris and Hochberg enjoyed rethinking this originally angular song into a 4/4 ballad that feels more true to the pianist’s idea of being a love song that Hill dedicated to his first wife. Magris’s piano work is splendid and Hochberg’s solo is pointedly clear and moving.

“Anysha” is a composition by Philadelphia soul and jazz keyboard artist Trudy Pitts and was first heard by Magris on Rahsaan Roland Kirk’s album Other Folks Music. Magris and Hochberg set the music to a light bounce that has a nice flow to it. Hochberg offers an agile solo that dances along with the music like a wood sprite in a magical forest. Magris subtly accompanies leaving some marvelous space to allow the bassist to shine. 

“Italy” is a tribute to Magris’ birth country and at the same time is a musical memorial to Italian American musicians that have one way or another influenced or touched the pianist. In the liner notes Magris mentions Lennie Tristano, George Wallington, Vido Musso, The Candoli Brothers, Sal Mosca Carl Fontana and singer Tony Bennett all as having impacted the music he loves. The music has been compared as a musical “postcard from Italy” to the audiences who hear it. I’ll leave you to experience this for yourselves.

A Taste of Italy: Review of Roberto Magris & the Europlane Orchestra' s "Current Views"

CD: Current Views
(Soul Note 121425-OD)

Italian Pianist Roberto Magris has established a floating, predominantly eastern European based orchestra that goes under the title Europlane. The elastic nature of this group allows him to interchange various talented musicians as time and their scheduling availability allow. Make no mistake; it is Magris that is the driving force behind this endeavor. He has a passion for large group, big band arrangements where the multi-instrument format allows him a huge palette on which to paint his musical visions. Magris has consistently offered high quality productions, often times with surprisingly emotive veteran collaborators like, altoist Herb Geller, drummer Jimmy “Junebug” Jackson and bassist Art Davis. My favorite iteration of his Europlane format to date has been his previously released “Check-In”,with the smoking Tony Lakatos on saxophone.
On this compilation of his music, recorded live at three different venues, Magris has assembled an enjoyable representation of some of these memorable performances. It is refreshing to get a chance to hear some fine European musicians
; many whom I have never had the pleasure of hearing before, playing behind the inspirational force that is Roberto Magris.
On “The Story Teller” Magris uses a beautiful Italian folk song as the basis for his melody. He expands from this theme with a dynamic horn section, and the guitar styling of the great Philip Catherine’s gently wailing electric guitar. Catherine is an impressionistic player of top order. His recent collaboration with the recently passed saxophonist Charlie Mariano on The Great Concert, a fine example of this talented musician's breath. For his part, Magris’s percussive piano solos have a strong McCoy Tyner influence, with a driven approach that envelopes the music in a warm, blanket of sound. These two artists make this one special .The song also features a Shorter-esque soprano solo by Marco Castelli that sails above the pulsing horn and rhythm sections.

“Dukish Interlude” starts out with an impressionistic introduction that is seemingly inspired by Duke Ellington. It nonetheless reminds me of Milton Nasciemento’s “Ponta De Areia” from Wayne Shorter’s fine album Native Dancer
. The hauntingly beautiful combination of the arco playing of Vitold Rek on bass along with the tubular sound of Molenhof’s vibes demonstrates Magris’ strong arrangement and his compositional talent. The song settles into a nice groove featuring a serpentine sounding alto solo by Kyrstof Bacso. The song reprises to the vibes/ arco bass duo that bookends the piece back to its original exotic sound.

The only standard on the album is Jerome Kern’s “Love in Vain” which gets a boisterous, swinging horn section intro before yielding to Molenhof’s vibes and a tenor solo by Muenchinger.

“Hombres” is a Latin inspired tune that features a facile bass solo by Rek, leaving no doubt that the man can play. Drummer Gabrielle Centis anchors the song with his effective sense of Latin rhythms.

“React” is a hard driving modal piece inspired by what Magris calls “the Black Stream” of the 70’s jazz music coming from America. Here Magris shows his capacity to play with great kinetics; in the modal, rhythmic style reminiscent of such artist’s as Tyner and Mingus’ pianist Don Pullen. Ottaviano sends the song into the stratosphere with a spirited soprano solo that reminds me of a young Dave Liebman on fire. This one cooks.

“Steady Mood” has the predictably languishing sound of the theme to a detective movie. Basco’s particularly silky solo on alto builds on the sultry mood that Magris is setting. Molenhof’s vibes rounds the edges, with a smooth cool sound, as Magris and his rhythm section bring the song though its paces.


“For Naima” is actually a dedication, but not to John Coltrane’s wife of the same name. It is instead dedicated to Magris’s daughter whose name was inspired by the Coltrane composition. It has a straightforward swinging vibe where Magris plays Fender Rhodes, with its distinctive 70’s sound, and is joined by soloists Lackner on alto, Schreck on rousing trombone and a swinging Darko Jurovic on guitar.

While not as powerful for me as “Check-In”
the live performance captured on Roberto Magris & the Europlane Orchestra’s "Current Views""is a worthy addition to any big band music collection.

All Recorded Live: #1 September 20, 2002 Casa della Musica,Trieste, Italy) #2,34,5,&6 July 21, 2003, Italy Cassa della Musica, Trieste, Italy #7 recorded November 23, 2001, Teatro Gustavo da Modena, Palmanova, Italy

Musicians: Roberto Magris (piano and arranger); Gabriele Centis (drums); Kristof Basco ( alto on 2,3,4,5& 6); Roberto Ottaviano ( tenor & soprano sax on 2, 3,4, 5&6); Vitold Rek ( bass on 2,3, 4, 5 & 6); Christian Muenschinger (tenor sax 2,3,4,5& 6) ; Bill Molenhof (vibes on 2,3,4, &6); Philip Catherine (guitar on 1); Julius Baros ( trumpet on #7); Rado Tariska (alto on 1); Marko Lacker (alto sax on 7); Marco Castelli (soprano on 1 & tenor sax on 7);Loje Krajncan (trombone on #1); Ferenc Schrek (trombone on #7);Darko Jurovic (guitar on 7);Frantisek Uhlir ( bass on 1 & 7).

All compositions and arrangements by Roberto Magris except In Love in Vain composed by L. Robin & J. Kern arranged by Roberto Magris