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| 4.250 Ft
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| 1. | Rohnlief
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| 2. | A Long Way from Home
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| 3. | Sunned
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| 4. | When the Ship Went Down
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| 5. | The Aftermath
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| 6. | BoneWith
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| 7. | Flaull Clon Sleare
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| 8. | Hold the Tiger
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| 9. | Canzone Di Peppe
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| 10. | The Field
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| 11. | Nelgat
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| 12. | Elma My Dear
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| 13. | Third Hand
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| 14. | Pilvetslednah
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Jazz / Modern Creative, Avant-Garde Jazz, Free Improvisation
Saxophonist, clarinetist, and pianist Joe Maneri engages here in a set of spirited improvisational dialogues with son Mat on electric six-string and baritone violin and Barre Phillips on five-string double bass. The two elder statesmen and the relative youngster are highly empathetic collaborators on these excursions, which fall somewhere between free jazz and experimental chamber music. While all three musicians are given equal prominence in the mix, Joe usually leads the way, with the violin and bass used to comment on or embellish the reedman's liquid phrases. Much of the improvisation floats freely in space, as slippery sax or clarinet lines intertwine with the moody arco of the unconventional strings. There is considerable variety as well, with squawks, smears, overtones, and percussive bowing all part of the expressive palette. At several points in the CD, Joe, the former street preacher, steps out with vocal recitations that flirt with the Phil Minton school of Dadaist absurdism. Joe's private language, delivered with disarming emotional directness, actually conceals allusions to artistic pioneers both musical and literary. Joe's piano ranges from Misha Mengelberg-styled fractured Monk-isms to (usually) a sparser and more atmospheric playing. "The Aftermath" features Phillips and Mat in a spacious duet, while "Elma My Dear," finds the bassist with Joe on tenor, a duet which begins calmly enough but moves through tension-filled episodes to a tentative reconciliation. Tales of Rohnlief is music for the adventurous listener with time to savor its subtleties. But those with ears tuned to more conventional musical rules should still find plenty of beauty, warmth, and even humor in this recording. ~ Dave Lynch, All Music Guide
Joe Maneri
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: 1927 in Brooklyn, NY
Died: Aug 24, 2009
Genre: Jazz
Styles: Avant-Garde Jazz, Free Improvisation, Free Jazz, Jazz Instrument, Microtonal, Saxophone Jazz
Microtonal innovator Joe Maneri was born in Brooklyn, NY, in 1927, learning to play clarinet from a neighborhood shoemaker and making his professional debut on the Catskills society-band circuit at age 17. Three years later, he was introduced to the work of Arnold Schoenberg, the famed inventor of the 12-tone system, and immediately thereafter formed his own 12-tone jazz ensemble, additionally performing in a number of ethnic music combos. A decade of study under composer Joseph Schmidt (himself a former Schoenberg student) followed, before Maneri came to the attention of conductor Eric Leinsdorf, who commissioned him to compose a piano concerto. He made his first recordings for Atlantic in 1962; after the session went unreleased, Maneri was largely silent for the remainder of the decade, finally resurfacing in 1970 teaching theory and composition at the New England Conservatory of Music. Exploring microtones in his subsequent compositions and improvisations alike, Maneri's first officially released recording, 1991's Kavalinka, found him joined by his violinist son Mat and percussionist Masashi Harada. Two more efforts -- the Leo Lab session Get Ready to Receive Yourself, and Three Men Walking, an ECM date featuring guitarist Joe Morris -- followed in 1995. Bassist Barre Phillips joined the Maneris for Tales of Rohnlief.
---Jason Ankeny, All Music Guide |
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