You don’t have to be a jazz fan to appreciate that picture. But it helps.
Most people have never heard of Joe Maneri, so not too many folks are mourning the August 24 passing of this great musician. In addition to being a beloved teacher and father of jazz violinist Mat Maneri, he is rightly considered a pioneering figure in music. His inclusion of Turkish and Klezmer music into a more free jazz (think Ornette Coleman playing with one of Sun Ra’s bands covering traditional European music at a Greek orthodox wedding and you begin to get the picture) helped liberate and expand the possibilities of jazz improvisation. Like Coleman and Sun Ra, Maneri was an astute and original composer: his work is not immediately accessible, but patient ears quickly identify a very consistent logic and style.
Anyone who has seen the excellent American Splendor (a film celebrating the life of curmudgeonly comic book artist Harvey Pekar) has heard Maneri: his impossibly cool ”Paniots Nine” accompanies the opening credits. Pekar allegedly insisted that Maneri’s music be used, and this stands to reason as Pekar (himself a jazz critic) championed a largely obscure Maneri back in the ’90s. Indeed, it was John Zorn who helped release Paniots Nine (the title of the first track is also the title of the album), which makes all the sense in the world considering Zorn effectively took up Maneri’s baton in the ’80s and began cleverly integrating traditional Jewish music into his own compositions. It’s fair to say that Maneri, though lamentably overlooked for entirely too long, was the first major composer to actively bring those disparate elements and influences into free (but still swinging) jazz.