I am pleased to present this previously unreleased recording, whose story dates back to 1989. During a conversation with pianist Frank Strazzeri, the name of Sal Nistico came up—a tenor saxophonist I had long admired and whom Frank knew well. He told me it wouldn’t be difficult to involve him, since Sal was living in Bern, Switzerland, and that he could call him and explain that if Sal decided to come to Barcelona, he himself would also come so they could record together.

Frank and I had developed a close friendship after meeting in Los Angeles in 1986, a bond that lasted until his passing in 1994. During those years, Frank visited Barcelona on several occasions to record for Fresh Sound Records, always surrounded by extraordinary musicians such as Don Menza, Joe Romano, or Bill Perkins. Those experiences remain deeply vivid in my memory.

Once Frank and Sal had confirmed their participation, I suggested to Frank that Charlie Mariano—who was living in Germany at the time might also join the project. Charlie had recently been in Barcelona recording with Tete Montoliu’s trio, and Frank thought it was an excellent idea. I called Charlie to tell him about the session, and his response was immediate and enthusiastic. Within a few days he confirmed his availability, which filled me with joy at the prospect of bringing together three musicians of such stature in Barcelona.

Sal said he would travel with bassist Isla Eckinger, his preferred musical partner. As for the drummer, we all agreed that Peer Wyboris—then a member of Tete Montoliu’s trio and already familiar with Charlie—was the ideal choice. With the group complete, all that remained was to wait for their arrival. Frank and Charlie flew in, while Sal and Isla arrived by train. As was customary, we shared a meal together to establish a first contact. It was already clear then how different Charlie and Sal were in temperament: Charlie was warm and calm, while Sal was more impulsive and visibly restless. I shared my impressions with Frank, who reassured me, explaining that it was a personal matter and that it would not affect the recording session.

The following day we met at Gema Studios, already familiar to Frank and Charlie. The session began smoothly, with numerous takes recorded, alternating between quartet and quintet formats. However, during Charlie’s turn, Sal left the studio for a long period, returning without explanation. When he resumed playing, he did so with the same intensity and commitment, but something had changed, and he chose not to continue recording alongside Charlie—something that disappointed me, as their collaboration was one of the central ideas behind the project.

Even so, the musical outcome was highly positive. Charlie was impeccable and thoroughly professional throughout, playing with eagerness, clarity, and considerable depth. Frank, as always, was completely devoted to the music, contributing four of his own original compositions—tunes musicians always loved to play, as was once again evident here—and performing with his characteristic sensitivity and dedication. Together with Isla Eckinger and Peer Wyboris, he formed a solid and cohesive rhythm section that anchored the session throughout the day. The result was an intense recording session and a substantial body of material, from which a representative selection is presented on this CD.

Later that evening, Frank explained that Sal’s absence had been related to his search for drugs—a painful circumstance, but one inseparable from his personal history.

The following day I accompanied Sal and Isla to the train station. Before leaving, Sal approached me to apologize for the tension he had caused and offered to return at another time to record at no cost if I were not satisfied. A few days later he called to ask whether I was happy with what we had recorded. I told him that I was, and that there was even enough material for two albums. There was, on both sides, a calm exchange of gratitude and sincerity.

Over the years I have returned to these recordings many times. The initial idea of releasing two albums gradually lost its appeal, until I finally decided to bring together the best takes into a single CD. More than thirty-five years after that November 17, 1989, I now listen to these performances with a sense of nostalgia and deep pleasure that I wished to share.

I speak of nostalgia because between 1987 and 1990 there was a period when it was possible to bring musicians to Barcelona such as Frank Strazzeri, Don Menza, Claude Williamson, Joe Romano, Bill Perkins, Charlie Mariano, Mundell Lowe, Herb Geller, Sal Nistico, and JR Monterose. Today, with the exception of Don Menza, they are all gone, but their music and their memory remain alive among many jazz enthusiasts.

—Jordi Pujol (From the inside liner notes of "Barcelona Meeting" FSRCD 5071)