The long-belated 1998 release of Paniots Nine (recorded, for the most part, in 1963), showed that multi-reedist Joe Maneri was anticipating today's "new music" by nearly 40 years, synthesizing jazz, classical, and ethnic influences. Maneri's influence has yet to have been felt to its full extent, however, as many of the musicians he has been teaching at the New England Conservatory, such as keyboardist Jamie Saft and trumpeter Cuong Vu, are just beginning to come into prominence. Seven of the eight tracks on Paniots Nine were cut in 1963 with Maneri on clarinet and tenor sax plus pianist Don Burns, bassist John Beal, and drummer Pete Dolger. On the final track, Maneri plays clarinet with Greg Silberman in 1981 at a concert of Jewish music. Some elements of his music that you'll likely hear even more of in the new millennium are his employment of microtones (the notes between the notes recognized in a Western scale) and his blending of jazz, free improvisation, modern classical, Greek, and klezmer sources. Combine this with Maneri's use of multiphonics, odd time signatures, 12-tone composition strategies, and atonal improvisation and you've got a complete package like no other. Maneri's still at least 10 years ahead of his time.
REVIEWER: Harvey Pekar, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.
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