Nunzio Rotondo was a trumpeter and composer, considered one of Italy’s most important jazz musicians. Born in Palestrina, Rome, on December 11, 1924, he studied trumpet and piano at the Santa Cecilia Conservatory in Rome and emerged as a leading figure in the Italian jazz scene during and after World War II. In 1949, he formed the Hot Club Rome sextet with Marcello Boschi (alto sax), Gino Marinacci (tenor sax), Bruno Campili (piano), Carlo Loffredo (bass), and Roberto Zappulla (drums).

That same year, he gained recognition performing in jam session with Louis Armstrong and, in 1950, with Benny Goodman and Duke Ellington’s orchestras. Rotondo, inspired by Miles Davis, played a crucial role in introducing the new trend of cool jazz to Italy, and his quintet’s success at a major concert in Florence on May 30, 1950, showcased his early artistic maturity.

On March 29, 1952, Nunzio Rotondo’s Coolette di Roma was invited to perform at the prestigious Salon du Jazz in Paris, introduced by Charles Delaunay at the Salle Pleyel, a stage that had hosted jazz greats like Duke Ellington, Charlie Parker, Dizzy Gillespie, and Miles Davis. Rotondo’s six-piece group included Franco Raffaelli (alto sax), Ettore Crisostomi (piano), Carlo Pes (guitar), Carletto Loffredo (bass), and Gilberto “Gil” Cuppini (drums). They performed two of Rotondo’s compositions, Stelle filanti and Coolish Things, along with Denzil Best’s Move, earning widespread acclaim. Later, he joined the ranks of Italian jazz musicians whose work was released on the Columbia label in the U.S. That same year, Musica Jazz named him Italy’s most popular jazz musician, and he became the only Italian jazz artist to appear on the cover of Radio Corriere.

Between 1952 and 1954, Rotondo was involved in some of Italy’s first cool jazz recordings, collaborating with musicians such as Gino Marinacci, Aurelio Ciarallo, Romano Mussolini, Roberto Nicolosi, Giancarlo Barigozzi, Gilberto Cuppini, and Berto Pisano. Despite his growing reputation, Rotondo’s discography remained relatively limited, though consistently of high artistic quality. He preferred to stay in Rome, where he worked extensively with RAI, rather than pursue an international career. From 1957, he hosted the radio program Ballate con Nunzio Rotondo, featuring guest musicians such as Bill Smith and Jula de Palma.

He was a featured artist at all Sanremo Jazz Festivals, but on many occasions, it was difficult to present him in a fitting frame, as his aspirations often clashed with the limitations of the Italian jazz scene. In 1958, Rotondo managed—despite numerous obstacles—to assemble ten musicians from various bands. With his Ten-tette, he presented two original compositions that not only showcased his talents as a soloist (already well-established through his previous work with his quartet) but also highlighted his skill as an arranger. That year, he was awarded the title of Best Italian Soloist in Modern Jazz.

In the 1960s, he took a break from performing and recording to focus on his work at Radio RAI, collaborating with Franco D’Andrea, Mal Waldron, Gato Barbieri, Maurizio Majorana, Dodo Goya, Roberto Podio, Pierre Favre, and Franco Tonani. He also composed soundtracks with Piero Piccioni for films and TV documentaries.

In the early 1970s, Rotondo returned to live performances, forming a new quintet with Enzo Scoppa (tenor saxophone), Franco D’Andrea (piano), Bruno Tommaso (bass), and Franco Mondini (drums). However, in his later years, his live appearances became increasingly rare, focusing primarily on radio performances. He continued contributing to television, composing music for programs such as Nero Wolfe (1969) and Ai confini della vita (1975). After retiring from RAI, he made occasional live appearances in the 1980s and 1990s, mostly in Rome.

In the 2000s, some of his rare radio recordings were released on CD. Nunzio Rotondo passed away in Rome on September 15, 2009. While almost unknown today outside Italy, he is remembered as one of the country’s most important jazz trumpeters, alongside such iconic figures as Enrico Rava and Paolo Fresu.

—Jordi Pujol (From the inside liner notes of FSRCD 1160)