Joe Magnarelli - Persistence

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 57:16
Size: 132,2 MB
Art: Front

(6:06)  1. Presistence
(7:59)  2. the Village
(7:01)  3. I Had the Craziest Dream
(6:10)  4. D Train Boogaloo
(9:36)  5. Haunted Heart
(6:34)  6. You and the Night and the Music
(5:41)  7. Ballad for Barretto
(8:06)  8. Soul Sister

The stark black and white cover photo of trumpeter Joe Magnarelli peering out at you from the cover of Persistence emits a brooding and a blandness that is light years away from the robust, enjoyable musical experience offered by the music on the disc itself. Magnarelli, a first-call trumpeter among first-callers, leads an exciting group of other New York musicians (stars all) in eight selections originals and standards that are both intriguing and satisfying. There is such a sense of spontaneity and excitement in this recording that it gives the impression of being recorded live: each tune has that wonderful on-the-edge sense to it. "Persistence," the first cut (and one of five Magnarelli originals), sends you back in jazz time to a smoke-filled, excitement-laden, 1960s Blue Note session. After a hip intro and a Kenny Washington drum fill with echoes of Max Roach, the quintet steams ahead on the head. Heavenly shades of Art Blakey and the Jazz Messengers inspire the team as they roll it out for hard bop at its hottest. It's clear, as he fires away on his tasteful solos, that Magnarelli has regularly visited the jazz trumpet pantheon and tuned his ear to the greats. He is a player of excitement, inspiration, fire and control. The band is impeccable too. 

Baritone saxophonist Gary Smulyan shines throughout the session; his bellowing sound is never too heavy to swing. Washington's cymbal work is fireworks, worthy of Tony Williams. Pianist David Hazeltine fits in beautifully, both when comping and playing some marvellously engineered solos. Bassist Peter Washington is supremely solid always right there. "The Village" lays down an easy bossa nova groove under a lazy, carefree melodic line. Hazeltine builds a tasteful solo. No dragging here, only sway. Magnarelli cascades over the horn and constantly surprises the listener, never falling into cliche or hollow pyrotechnics in lieu of inspiration. Reaching into the Great American Songbook, "I Had the Craziest Dream" spotlights Magnarelli's beautiful soft swing approach. There's no hokey here, no schmaltzy vibrato or syrupy swinging. This track is on a par with a classic version by trumpeter Jack Sheldon. Magnarelli is pure taste. He uses rhythm and melody to construct his solos. Hazeltine's solo is a gem (catch the "Stella By Starlight"-copped cliche: cute!) There's a nice Washington solo too. "D Train Boogaloo," a funky blues head, sidewinders over a go-go beat and a Lee Morgan quote, spectacularly so. 

You can bet there are aspiring trumpeters out there who right now are transcribing, copping and wood-shedding Magnarelli licks. The Dietz-Schwartz standard "Haunted Heart" is given a bluesy feel. Magnarelli carries the lead with Smulyan haunting us with a second melodic take and a marvelously lyrical solo. The extended lines intrigue. Hazeltine's comps and interplay with the soloists are perfection before he goes tasteful on his own. The non-related Washingtons capitalize here together. "You and the Night and the Music"and the race flag! Magnarelli's Dizzy Gillespie ish Harmon mute work fires at a tempo reminiscent of Clifford Brown's "Cherokee" he even throws in a Brown lick drawn from that classic's intro. Magnarelli spent many years performing with the great bandleader Ray Barretto. His "Ballad for Barretto" has such a beautifully classic melodic approach similar to Benny Golson's "I Remember Clifford" that other instrumentalists will probably embrace this tune down the jazz road. 

Triple-metered over "Body and Soul" chord changes, "Soul Sister" opens with Magnarelli and Smulyan lightly carrying the melody. The superimposition of new melodic material over standard harmonic changes is as old as jazz. For Magnarelli to use his marvelous compositional chops to take such a standard and turn it into a hip waltz is slick genius. There are no gimmicks in Persistence. Magnarelli and his colleagues sound comfortably secure in themselves. All have paid dues in the shed, studios and pits, on the road and wherever. It's that persistence that results in performance perfection. Magnarelli presents us with an honest, no frills attempt at that goal. And, yes, he does indeed come close. Very, very close. A terrific, persistently satisfying disc. ~ Nicholas F.Mondello https://www.allaboutjazz.com/joe-magnarelli-persistence-by-nicholas-f-mondello.php

Personnel: Joe Magnarelli: trumpet; Gary Smulyan: baritone saxophone; David Hazeltine: piano; Peter Washington: bass; Kenny Washington: drums.

Persistence

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Robert Edwards - Up Swing

Styles: Trombone Jazz
Year: 2023
File: MP3@320K/s
Time: 56:42
Size: 131,0 MB
Art: Front

(5:58) 1. Edges
(3:38) 2. Baubles, Bangles, And Beads
(5:52) 3. Stand Up!
(4:14) 4. Time To Shine
(6:22) 5. Groundwork
(4:31) 6. Healing The Heart
(3:48) 7. Don't Blame Me
(5:39) 8. The Manhattaners
(3:26) 9. My Way
(6:10) 10. Rocks, Lime
(6:58) 11. Cupbearers

Veteran trombonist, educator and bandleader Robert Edwards is a fixture of New York City jazz scene, performing in many of the jazz venues in the city and, as of this writing, becoming the newest member of the famed Vanguard Jazz Orchestra. Edwards fronts a marvelous quintet that has been performing regularly at Smalls Jazz Club for many years now. Up Swing celebrates the post-bop sounds the group is known for and covers many of the ensemble's "greatest hits from over the years."

Joining the leader on his fifth recording to date is a star-studded group of players including trumpeter Joe Magnarelli, pianist Adam Birnbaum, bassist Mike Karn and drummer Aaron Kimmel. Singer Vanessa Perea provides her luscious vocals on the Jimmy McHugh and Dorothy Fields standard "Don't Blame Me," the only vocal tune of the session and one of five covers in an eleven-piece repertoire that features six originals.

Opening up the music is the Edwards original "Edges," a sprawling up-tempo bebop-dominant number quickly establishing the exciting sounds one is in for throughout this album with the trombonist featured prominently. The Robert Wright classic "Baubles, Bangles and Beads," a favorite of the leader, takes off with some splendid solo moments from Magnarelli accompanying the trombonist on a delicious and fresh treatment of an old beautiful standard. The leader's original "Stand Up!" is all Edwards making that trombone sing and dance all over the place, a blues-styled tune and tip of the hat to pianist Horace Silver with pianist Birnbaum weighing in on Silver-like solos of his own.

The leader does some quick work on Cedar Walton's "Groundwork" followed by Magnarelli the pianist and drummer Kimmel all delivering aggressive solos on another outstanding interpretation of a terrific jazz number. The band steps back and plays it warm and mellow on the session's soft spot, "Healing the Heart," featuring bassist Karn on light fingerplay on a beautiful light tune worth repeated spins.

The classic pop tune "My Way," made famous by Frank Sinatra, sounds splendid here with Edwards doing things on the trombone his way, while his last original, "Rocks, Lime," a "shuffle that harkens the sound of Art Blakey and the Jazz Messengers." The album closes with "Cupbearers," a tune that has served as the band's opening number for many years, a burner for sure whether in the beginning or the end.

There's truly no downside to the remarkable Up Swing, as trombonist Robert Edwards crafts an album that appeals to everyone but, in particular, to jazz audiences that prefer the straight-ahead, bebop-infused style of jazz that remains so popular today. To swing is the thing and this album does it well. By Edward Blanco https://www.allaboutjazz.com/up-swing-robert-edwards-self-produced

Personnel:Robert Edwards – Trombone; Joe Magnarelli – Trumpet; Adam Birnbaum – Piano; Mike Karn – Bass; Aaron Kimmel – Drums; Vanessa Perea – Vocals

Upswing

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Akiko Tsuruga - Beyond Nostalgia

Styles: Jazz, Hard Bop
Year: 2024
File: MP3@320K/s
Time: 65:53
Size: 151,5 MB
Art: Front

( 8:47) 1.Tiger
( 6:31) 2.Happy Blues
( 8:35) 3.Middle Somewhere
(10:38) 4.Back Track
( 6:29) 5.I'll Close My Eyes
( 4:54) 6.Beyond Nostalgia
( 6:13) 7.Mack The Knife
( 6:48) 8.Dancing Cats
( 6:54) 9.What A Diff'rence A Day Makes

Another SteepleChase debut album here by Japanese-born B-3 organist Akiko Tsuruga who hails from Osaka, Japan's second largest city brimming with vitality and keen sense of good life. With her working group including husband trumpeter Joe Magnarelli Akiko leaps out with electrifying energy and at the same time displays her knack for elegant phrasing.

"Tsuruga wraps her own personality around our expectations, bringing out signature ideals of her instrument." - Dan Bilawsky, All About Jazz
https://propermusic.com/products/akikotsuruga-beyondnostalgia

Personnel: Akiko Tsuruga: B3 Hammond organ; Joe Magnarelli: trumpet; Jerry Weldon: tenor saxophone; Byron Landham: drums; Ed Cherry: guitar

Beyond Nostalgia

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Mike Melito - To Swing is the Thing

Styles: Jazz, Swing
Year: 2023
File: MP3@320K/s
Time: 63:01
Size: 146,7 MB
Art: Front

(6:27) 1. You Said It
(4:57) 2. Big Red
(7:10) 3. A Bee Has Two Brains
(6:53) 4. Blue Key
(6:27) 5. Lush Life
(4:55) 6. Make Believe
(6:38) 7. Ruby My Dear
(7:57) 8. Straight Street
(5:52) 9. Three For Carson
(5:40) 10. Locke Bop

Twenty-eight years ago, in March 1994, Mike Melito's fellow Rochesterian, Chuck Mangione, presented a traveling festival in upstate New York. He hired Roy McCurdy to play with Nat Adderley - with whom McCurdy had played on 7 leaders, plus another 19 with Cannonball Adderley, between 1966 and 1979 - in a band that included pianist Don Menza and Rochester guitar stalwart Bob Sneider. He assigned Melito to the other act, James Moody, in a unit including then up-and-coming pianist Danilo Pérez.

Roy and I hit it off right away, Melito says. I'd obviously been checking him out for years. We played the same set of drums, same cymbals and I learned a lot about sound. He didn't talk to me about anything. I watched him, and figured out what he was doing that I wasn't. I believe you're a student forever. I work a lot on my sound, on my hands, on my cymbal beat. My goal has always been to sound as authentic as possible as a player and strive for the same sound as my heroes.

Melito offered this self-assessment after relating an encounter some thirty years ago with iconic drum conceptualist Max Roach, whom he'd studied closely since age 12, when Melito heard the 1947 Charlie Parker-Miles Davis-Roach classic Dewey Square on the first jazz record I ever bought on my own. Another Rochester friend, trumpeter John Sneider, had played Roach some tapes featuring Melito, and the maestro noticed.

I met Max and he gave me one of the greatest compliments I've ever received, Melito recounts. He said, 'You really know how to phrase; the snare drum...' and gave me a big hug. The 56-year-old master offers a highly personalized refraction of Roach's late 1950s investigations of the possibilities of 3/4 waltz time towards the end of his eighth self-released album, To Swing Is The Thing, a title that efficiently encapsulates the imperatives that have driven him through 40 years as a professional drummer.By Editorial Reviewshttps://www.amazon.com/Swing-Thing-Mike-Melito/dp/B0BVSDM92R

Personnel: Mike Melito- drums; Grant Stewart- tenor saxophone; Joe Magnarelli - trumpet and flugelhorn; Jeb Patton- piano; Neal Miner - bass

To Swing is the Thing

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New York Blue Note Quintet - A Weekend At Le Vauban Feat. Joe Magnarelli

Styles: Jazz, Post Bop
Year: 2021
File: MP3@320K/s
Time: 71:14
Size: 168,0 MB
Art: Front

( 9:23) 1. 81 Points
( 9:31) 2. Crystalline
( 8:44) 3. Turquoise Twice
( 7:41) 4. Ballad from Leadership Suite
( 7:03) 5. Minority
( 7:21) 6. The Last Time I Saw Paris
( 8:43) 7. All God's Children Got Rhythm
(11:40) 8. Star Eyes
( 1:04) 9. Cherokee

In February and March 2020, just before the pandemic, we did the second European tour with this quintet, for me truly a dream-team on and off the bandstand, bringing together five musicians from different parts of the world who share the same love: classic swinging “New York Blue Note Jazz.” New York has been the world capital of jazz since decades, I still remember the last days of August 2007 when I first got there and had the chance to listen to my idols such as Cedar Walton, Jimmy Cobb, Louis Hayes, and many more. One of them was Joe Magnarelli who I first heard with the Vanguard Jazz Orchestra on a Monday night, back then I never thought that I would play music with him more than 10 years later.

Joe Magnarelli has been one of the world’s leading trumpeters for three decades. He moved to New York in 1986 and has worked since then with the Lionel Hampton Big Band, Toshiko Akiyoshi, the Buddy Rich Band, Maria Schneider, the Vanguard Jazz Orchestra, and many more. Born in St. Petersburg, Dmitry Baevsky moved to New York in 1996 to study at the famous New School and has since become an integral part of the New York jazz scene. Jeb Patton is one of the outstanding pianists of the younger generation. He studied with Sir Roland Hanna and Jimmy Heath and is a permanent member of the “Heath Brothers” and the “Jimmy Heath Generations Quintet” since then. Further, he worked with Etta Jones, Peter Washington, Lewis Nash, Steve Nelson, Jimmy Cobb, Jackie McLean, Frank Wess, James Moody... His personal, swinging style, presents the entire history of jazz piano from Art Tatum through Phineas Newborn to Cedar Walton. I met Fabien Marcoz when I moved to Paris in 2012, he is one of the finest bassists in Europe and has accompanied many international jazz soloists including true giants such as Harold Mabern.

In the middle of our 2020-tour we got the real gift of doing a recording like in the old days. Jacques Person, organizer of the “Jazz at Le Vauban”-concerts, invited us to stay in Brest for two days to do a studio/live-album under the direction of our mutual friend Jordi Pujol, producer and owner of the internationally well-known jazz label “Fresh Sound Records” in Barcelona. The circumstances were perfect, we spent a wonderful weekend at “Le Vauban”; the concert venue was in the basement, the restaurant/bar on the ground floor and the hotel rooms just upstairs. Besides, Jacques Person took us to great restaurants in the area, so we could really enjoy, relax, have a good time and then focus on the music. We took a very early flight from Copenhagen to arrive in Brest on Saturday by noon, in the afternoon we already recorded a whole set of music under studio conditions without audience. On Sunday evening we did the sold-out concert for a wonderful and warm public, a memorable experience for all of us! What you hear on this release is the result of this “Weekend At Le Vauban”, our selection of two Saturday-no audience and seven Sunday-live tracks from these two days in Brest!

The repertoire of the band follows the timeless “Blue Note” recordings, including a nice variety of classics by masters such as Cedar Walton and Jimmy Heath, well-known standards and standard-arrangements (Minority, arranged by Jeb Patton) and two originals by Joe Magnarelli (81 Points, dedicated to Kobe Bryant) and Jeb Patton (Crystalline). All compositions require strong section playing on the melodies by Joe and Dmitry, supported by an active rhythm-section, and provide the perfect ground for extensive soloing for all the band members.

It was a great pleasure to be part of this, thanks to Jacques and Jordi for making it happen and to Mags, Dmitry, Jeb and Fabien for great playing and wonderful moments on the road! Very much looking forward to seeing you all again, having a glass of wine and of course playing music together!!! By Bernd Reiter https://www.freshsoundrecords.com/new-york-blue-note-quintet-albums/53681-a-weekend-at-le-vauban.html

The New York Blue Note Quintet are: Joe Magnarelli (trumpet), Dmitry Baevsky (alto sax), Jeb Patton (piano), Fabien Marcoz (bass), Bernd Reiter (drums).

A Weekend At Le Vauban Feat. Joe Magnarelli

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Joe Magnarelli - New York Osaka Junction

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 63:13
Size: 145,2 MB
Art: Front

(7:27) 1. New York Osaka Junction
(5:58) 2. Lament For Lorraine
(8:29) 3. What's New
(5:22) 4. Cousin Joanne
(8:39) 5. These Foolish Things
(6:19) 6. Reverend Tsuruga
(6:42) 7. Emily
(6:09) 8. The Wedding
(8:04) 9. The End Of A Love Affair

NYC is one of the most vibrant cities in the world, Osaka will arguably make the second place in that category.

Joe Magnarelli in the past made a couple "junction" albums but this could be the ultimate junction connecting the NY trumpeter with dynamic Osaka-born B-3 player Tsuruga. They are joined by the ace baritone player Gary Smulyan, sharing front line that will make it probably the first trumpet-baritone-organ band.

"Joe is known for his engaging, melodically-rich lines, and his powerhouse rhythm." - Zan Stewart https://www.prestomusic.com/jazz/products/9384822--new-york-osaka-junction

Personnel: Joe Magnarelli - Trumpet, Flugelhorn; Gary Smulyan - Baritone Saxophone; Akiko Tsuruga - Hammond B3 Organ; Rudy Royston Music - Drums

New York Osaka Junction

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Gary Smulyan - High Noon - The Jazz Soul Of Frankie Laine

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 70:50
Size: 165,1 MB
Art: Front

(6:17)  1. I'd Give My Life
(8:32)  2. High Noon
(7:21)  3. Torchin'
(6:51)  4. It Only Happens Once
(7:54)  5. Baby, Baby All The Time
(8:21)  6. When You're In Love
(6:28)  7. Put Yourself IN My Place, Baby
(6:38)  8. A Man Ain't Supposed To Cry
(6:31)  9. That Lucky Old Son
(5:52) 10. We'll Be Together Again

This tribute album by baritone saxophonist Gary Smulyan features his bebop-based nonet pulling inspiration from a 1956 album by pop singer Frankie Laine (1913-2007) and trumpeter Buck Clayton. As Laine's foray into jazz's '50s mainstream, Jazz Spectacular (Columbia) represented a piece of the singer's repertoire not as well-known as his pop music. It allowed him to interact with instrumentalists of the era who represented jazz authority and had little to do with themes such as "High Noon," "Mule Train," "Cool Water," "Rawhide," "Gunfight at the O.K. Corral" and the more recent "Blazing Saddles" and "3:10 to Yuma." Laine did not sing on the soundtrack for High Noon, but did record it as another of his Western-based hits.

On Smulyan's album, "High Noon" is hardly recognizable. While the ten songs come from a broad spectrum of Laine's career, each has been rearranged by Mark Masters to fit a nonet akin to that found on Miles Davis' The Birth of the Cool (Capitol, 1949), with similar instrumentation, a pervading blues quality and soulful soloing. Here, "High Noon"'s theme dances in and out of dense harmony and "gunfight" choruses traded between French horn and trombone, and alto sax and trumpet. On bass clarinet, Scott Robinson's lengthy intro clears the main street of town while Smulyan closes the piece with one big booming chorus after another. Laine wrote the lyrics for "A Man Ain't Supposed to Cry," "Torchin'" and "We'll Be Together Again," all which come with heavy blues overtones. Smulyan's horn sings like the original, his nonet providing plenty of jazz atmosphere, affixing a balance to the eclectic quality of Laine's emotional Italian-American crooning melded with whiplash cowboy stories. ~ Jim Santella  http://www.allaboutjazz.com/high-noon-the-jazz-soul-of-frankie-laine-gary-smulyan-reservoir-music-review-by-jim-santella.php
 

Personnel: Gary Smulyan: baritone saxophone; Mark Masters: arranger; Joe Magnarelli: trumpet; John Clark: French horn; Dick Oatts: alto saxophone; Scott Robinson: tenor saxophone, soprano saxophone, bass clarinet; John Fedchock: trombone; Pete Malinverni: piano; Andy McKee: bass; Steve Johns: drums.

High Noon: The Jazz Soul Of Frankie Laine

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Andy Fusco - Remembrance

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 68:59
Size: 159,3 MB
Art: Front

(8:41)  1. Conception
(6:55)  2. It's A Blue World
(7:53)  3. Good Morning Heartache
(6:55)  4. Tchau
(5:01)  5. Limehouse Blues
(4:41)  6. Remembrance
(8:55)  7. Blues For Baileys
(7:13)  8. All American
(7:16)  9. I'm A Fool To Want You
(5:26) 10. Navan's Apple

New York City-based alto saxophonist Andy Fusco first earned notice for his 1978-1983 stint with the Buddy Rich Big Band, also touring with Gerry Mulligan and Mel Lewis. He made his headlining debut in 1996 with Big Man's Blues; Out of the Dark followed three years later. ~ Jason Ankeny https://www.allmusic.com/artist/andy-fusco-mn0000027675/biography

Personnel: Andy Fusco (alto saxophone); Joe Magnarelli (trumpet); Peter Zak (piano); David Wong (bass); Jason Tiemann (drums)

Remembrance

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Stephen Riley - Oleo

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:58
Size: 154,1 MB
Art: Front

( 7:36)  1. Ornithology
( 9:10)  2. Doxy
( 6:56)  3. St. Thomas
( 7:06)  4. Valse Hot
( 8:23)  5. On Green Dolphin Street
( 6:10)  6. Minority
( 6:20)  7. Oleo
( 3:59)  8. Lazy Bird
(11:14)  9. Don't Get Around Much Anymore

Magnificent long-blown solos from tenorist Stephen Riley  on an album named after a Sonny Rollins tune, and which definitely carries a bit of the Rollins approach in its sound! Yet the album's also got plenty of Riley's strengths in the mix, too  that great raspy sound he can get on the tenor, which also echoes a bit of Ben Webster, but with more contemporary phrasing  matched in the frontline by the trumpet of Joe Magnarelli, who we always love in an open date like this  with just the bass of Jay Anderson and drums of Adam Nussbaum for support. The lack of piano allows for plenty of structural freedom on the tunes and titles include "Oleo", "Minority", "Doxy", "Valse Hot", "Lazy Bird", "On Green Dolphin Street", and "St Thomas".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/928719/Stephen-Riley:Oleo

Personnel: Stephen Riley - tenor saxophone; Joe Magnarelli - trumpet; Jay Anderson - bass; Adam Nussbaum - drums

Oleo

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Andy Fusco - Vortex

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 61:03
Size: 140,9 MB
Art: Front

(6:00)  1. Vortex
(5:21)  2. Friends and Neighbors
(8:06)  3. Spring Can Really Hang You up the Most
(5:13)  4. Matador
(6:19)  5. When Lights Are Low
(5:56)  6. Desperado
(6:18)  7. In Your Own Sweet Way
(6:37)  8. All or Nothing at All
(4:36)  9. Tailspin
(6:32) 10. Windows

Vortex, Andy Fusco's fourth release on the SteepleChase imprint in as many years, is cause for celebration. Until recently, recordings by the veteran alto saxophonist as a leader have been few and far between. The date reunites Fusco with tenor saxophonist Walt Weiskopf, who composed four of the selections and arranged nine of the ten tracks. The Fusco/Weiskopf association began decades ago in the sax section of the Buddy Rich Big Band and eventually resulted in a number of noteworthy discs, mostly under Weiskopf's name, for Criss Cross Jazz. Weiskopf is a master at fashioning charts for small-to-mid-sized ensembles. His arrangements for Vortex radiate enthusiasm as well as the wisdom of decades of experience. Weiskopf finds ingenious ways of voicing four horns (his tenor, Fusco's alto, Joe Magnarelli's trumpet and John Mosca's trombone) on the core material, as well as deftly integrating riffs and longer written figures into some of the improvised solos. Part of the fun of listening to the record is discovering the placement and the degrees of emphasis in the lines he writes for the soloists or when he chooses to leave the players to an exemplary rhythm section comprised of pianist Peter Zak, bassist Mike Karn and drummer Jason Tiemann. Weiskopf's treatments of jazz standards by Dave Brubeck, Chick Corea and Grant Green, a couple of Great American Songbook favorites and his own compositions are novel yet never twist the songs beyond recognition. There's an impressive synergy between Fusco's alto and Weiskopf's arrangement on the head of the ballad "Spring Can Really Hang You Up The Most." 

As a whole the record is well organized and rich in detail, yet each track retains some the loose-limbed quality of a combo playing a late-night club set for themselves and a few aficionados. Apart from shining a spotlight on Fusco, an extended analysis of the soloists' virtues is beyond the scope of this review. Suffice it to say that each man has a distinct voice and makes essential contributions to the record. Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section. Portions of "Matador" and "All Or Nothing At All" are good examples of him laying back a bit, each note firmly in place and joined to Zak, Karn and Tiemann. Is it too much to ask that Fusco and this group make an appearance outside of the confines of the recording studio? Probably. From start to finish, Vortex is an exhilarating record. 

~ David A.Orthmann https://www.allaboutjazz.com/vortex-andy-fusco-steeplechase-records-review-by-david-a-orthmann.php

Personnel: Andy Fusco: alto saxophone; Walt Weiskopf: tenor saxophone; Joe Magnarelli: trumpet; John Mosca: trombone; Peter Zak: piano; Mike Karn: bass; Jason Tiemann: drums.

Vortex

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Joe Magnarelli, Perico Sambeat - Pórtico

Styles: Trumpet Jazz
Year: 2017
File: MP3@320K/s
Time: 56:05
Size: 129,3 MB
Art: Front

(7:02)  1. Brooklyn
(6:04)  2. Pórtico
(8:14)  3. Little Bandit
(6:31)  4. Compersion
(6:31)  5. Inner Beauty Outer Struggle
(6:44)  6. Transición
(7:03)  7. Mag's Groove
(7:52)  8. We'll Be Together Again

"Joe Magnarelli has been on our radar screen for some time. This is his 4th CD release weve covered since 2011. Beginning with his with strings CD in 2011, and following up with a live Smalls session in 2013 (with the late pianist Mulgrew Miller), Joe then signed with Posi-Tone for last years Lookin Up smoking release." "Top to bottom, Magnarellis Three on Two CD release is a slam dunk issue highlighted by Joe making all the right moves on the jazz court..." http://www.joemagnarelli.com/

In 1980 he began playing sax self-taught. He moved to Barcelona in 1982, where he ended his flute classical studies. At the same time he started attending Taller de Mùsics, where he studied harmony and arrangements with Zé Eduardo. In 1991 he moved to New York, where he attended New School. There he had the chance to play with great musicians such as Lee Konitz, Jimmy Cobb, Joe Chambers, etc. He also worked professionally with Steve Lacy, Daniel Humair, Fred Hersch, Bob Moses, Louis Bellson, Michael Brecker, Bob Mintzer, Maria Schneider, Pat Metheny, Kenny Wheeler, etc. He has been tecahing in some of the most important jazz schools in Spain: Taller de Músics, Musikene, ESMUC, etc, and has been doing workshops all around the world. He has played in festivals and jazz clubs all around the world. Nowadays he combines teaching in Berklee College of Music Valencia Campus with his activity as a jazz performer and Big Band conductor. https://musicians.allaboutjazz.com/pericosambeat

Personnel:  Joe Magnarelli (tp), Perico Sambeat (as), Fabio Miano (p), Ignasi González (b), Andrea Michelutti (d)

Pórtico

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Ken Fowser - Right on Time

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 56:03
Size: 129,5 MB
Art: Front

(3:53)  1. Stand Clear Of The Closing Doors
(3:39)  2. Samba for Joe Bim
(4:21)  3. Duck And Cover
(6:59)  4. No Filter
(5:46)  5. Don't Let Life Pass You By
(4:36)  6. On My Way
(6:40)  7. Keep Doing What You're Doing
(7:22)  8. Fowser Time
(5:44)  9. A Poem For Elaine
(6:59) 10. Knights Of The Round

With the release earlier this year of Right On Time, sax specialist Ken Fowser has now put out as many solo albums as he’s made with former musical partner and vibes ace Kehn Gillece. The last time a Fowser-led work was examined in this space, the tenor man was just stepping out onto his own and it was noted then in this classic, acoustic quintet setting that “Fowser’s tone and delivery is a big bag of soul.” Sax players with those qualities always thrive in an organ and guitar combo where the higher grease quotient fits right in with their diction, and at the urging of producer Marc Free, that’s just what Ken Fowser does for Right On Time. Wisely choosing guitarist Ed Cherry and organist Brian Charette to literally provide electricity to the sessions along with Willie Jones III on drums, it might be the first time most people are hearing Fowser in this type of soul-jazz environment, but it seems as if he’s done this thing all along. Tone and feel is everything here, and this crew consistently delivers. “Samba For Joe Bim” is as advertised, and the low, single lines from Cherry following the higher octave notes from Ken Fowser is one of the little arrangement touches that elevates the quality of these sessions above the crowd of very competent jazz recordings that are still made today. “Duck And Cover” swings authoritatively in the proud tradition of a Posi-Tone recording date, and listeners are treated with Fowser sharing solo duties with trombonist Steve Davis and trumpeter Joe Magnarelli. An imaginative arrangement on another swinger “Knights Of The Round” has the horn players playing a pattern at slightly different spots a la “Row Row Row Your Boat” and Magnarelli later blows a smoldering aside. With the three-man horn front line, a blues-based strain and a steady shuffle, “Keep Doing What You’re Doing” sounds like an electrified Art Blakey tune. “Fowser Time” continues along that same vibe but with a tauter rhythm, and the song’s namesake solos unhurriedly and confidently like a seasoned vet. “No Filter” is a great groove mated to a fetching melody, with another Davis/Magnarelli appearance and further boosted by Cherry’s Montgomery mannerisms. Jones shows a knack for locking down the pulse with taste but for “On My Way,” his refinement is a bit more out front, with multiple fills and a lively trading of fours. Great organ/guitar combos can deliver the coolness as effectively as they bring the heat, and this one makes good on the cool side with the down tempo “Don’t Let Life Pass You By.” Ken Fowser’s pleadings convince and Charette knows just how much emotion to put into his spotlight. https://somethingelsereviews.com/2019/07/13/ken-fowser-right-on-time-2019/

Personnel: Ken Fowser, tenor saxophone; Steve Davis, trombone; Joe Magnarelli, trumpet; Brian Charette, organ; Ed Cherry, guitar; Willie Jones III, drums.

Right on Time

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Gary Smulyan - The Real Deal

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 67:41
Size: 156,1 MB
Art: Front

(8:36)  1. Cindy's Tune
(7:46)  2. Evol Deklaw Ni
(5:36)  3. Satan
(8:25)  4. Palomino Pal
(6:25)  5. Young Afro Brown
(8:36)  6. All My Life
(5:45)  7. Our Love is Here to Stay
(7:46)  8. Follow Me
(8:43)  9. Sassy Missy

Gary Smulyan, a passionate baritone saxophonist whose main inspiration is Pepper Adams, sounds at his best on this quintet set with trumpeter Joe Magnarelli, pianist Mike LeDonne, bassist Dennis Irwin, and drummer Kenny Washington. 

The music includes some hard-swinging straight-ahead romps and warm ballads. Among the highlights are Pepper Adams' "Cindy's Tune" (a tricky line written over the chord changes of "Honeysuckle Rose"), the obscure "Satan (Wears a Satin Gown)," "Young Afro Brown" (based on "Sweet Georgia Brown"), "All My Life," and the slow blues "Sassy Missy." This superior hard bop set serves as a perfect introduction to the playing of Gary Smulyan. ~ Scott Yanow https://www.allmusic.com/album/the-real-deal-mw0000026776

Personnel:   Gary Smulyan - baritone saxophone; Joe Magnarelli - trumpet, flugelhorn;  Mike LeDonne - piano; Dennis Irwin - bass; Kenny Washington - drums

The Real Deal

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Joe Magnarelli - Lookin' Up!

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 55:38
Size: 127,8 MB
Art: Front

(4:55)  1. 44
(4:58)  2. Third Set
(5:33)  3. Inner Beauty
(5:58)  4. You Go To My Head
(6:41)  5. Blue Key
(6:23)  6. Easy Transition
(5:24)  7. Suddenly It's Spring
(2:57)  8. Mile's Mode
(6:51)  9. Darn That Dream
(5:54) 10. In Walked Lila

Trumpeter Joe Magnarelli has been a jazz scene stalwart for 30 years. Based in New York since 1986 he's worked with a broad range of musicians including Lionel Hampton, Jimmy Cobb and Michael Feinstein and has released a series of albums as leader. Lookin' Up! is his first recording for the Posi-Tone label and it proves to be a fine addition to that label's roster of top-flight straight-ahead jazz. Lookin' Up! is a quintet outing, with trombonist and fellow Posi-Tone artist Steve Davis sharing the front line with Magnarelli. The album has a full, rich, sound courtesy of producer Marc Free and engineer Nick O'Toole. It showcases the five musicians as a group and the result is powerfully seductive. Magnarelli and Davis form a strong front line punchy and tough on Magnarelli's "44" and John Handy's "In Walked Lila"; swinging on "You Go To My Head" and "Suddenly It's Spring." 

The rhythm section pianist Anthony Wonsey, bassist Mike Karn and drummer Jason Brown provides the expert support that ensures the lead players shine as brightly as they can. Brown is the driving force, Karn's cool and reliable, Wonsey is a master of comping. Even without Magnarelli or Davis the three men hold the attention, establishing a groove or a mood with ease on their brief but cool intro to the leader's "Blue Key" for example, or during Karn's energetic solo on "Suddenly It's Spring." Magnarelli takes on the leader's role with aplomb. His playing is consistently superb. On his own "Inner Beauty" he's controlled yet romantic, characteristics that also define Wonsey's solo: on John Coltrane's "Miles' Mode" his muted trumpet flies over Karn and Brown's rhythmic foundation, the whole tune full of exuberant joy. Jimmy Van Heusen's "Darn That Dream" starts as a trumpet/piano duet then adds bass and drums from start to finish it's a graceful and lyrical reading of the old standard. Lookin' Up! closes with a fiery rendition of "In Walked Lila" which gives each musician a chance to loosen up and let rip. Five masterful talents, ten great tunes, that's Lookin' Up!. ~ Bruce Lindsay https://www.allaboutjazz.com/lookin-up-joe-magnarelli-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Joe Magnarelli: trumpet, flugelhorn; Steve Davis: trombone; Anthony Wonsey: piano; Mike Karn: bass; Jason Brown: drums.

Lookin' Up!

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Joe Magnarelli - Why Not

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 64:12
Size: 148,3 MB
Art: Front

( 8:46)  1. Cup Bearers
(10:02)  2. How Deep is The Ocean
( 9:34)  3. Bella Carolina
( 6:41)  4. After You've Gone
( 8:32)  5. When Your Lover Has Gone
( 5:02)  6. Storyteller
( 6:26)  7. Y-Not
( 9:05)  8. Blues for B.G.

Trumpeter Joe Magnarelli's debut as a leader features the boppish trumpeter in a straight-ahead setting. His quintet, which is augmented by percussionist Daniel Sadownick on "Bella Carolina," also features spirited solos from tenor-saxophonist Eric Alexander and pianist Renee Rosnes. Every selections works well during the mixture of standards and originals. 

Among the more memorable performances are a revival of Tom McIntosh's "Cupbearers," an up-tempo "After You've Gone," Magnarelli's "Y-Not" (which is based on "The More I See You") and the trumpeter's sensitive ballad feature on a slow version of "When Your Lover Has Gone." Why Not is easily recommended to fans of straight-ahead jazz. ~ Scott Yanow https://www.allmusic.com/album/why-not-mw0000236455

Personnel: Trumpet – Joe Magnarelli;   Bass – Peter Washington; Drums – Kenny Washington; Piano – Renee Rosnes; Tenor Saxophone – Eric Alexander

Why Not

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Joe Magnarelli - If You Could See Me Now

Styles: Trumpet Jazz
Year: 2018
File: MP3@224K/s
Time: 62:08
Size: 101,8 MB
Art: Front

(6:33)  1. Lady Bird
(5:59)  2. On A Misty Night
(6:48)  3. Bula Beige
(6:12)  4. TheTadd Walk
(7:25)  5. If You Could See Me Now
(6:59)  6. The Dream Is You
(7:37)  7. I Think I'll Go Away
(8:59)  8. Sando Latino
(5:31)  9. Super Jet

This all-star band of trumpeter Joe Magnarelli, tenor saxophonist Ralph Moore, pianist Anthony Wonsey, bassist Dezron Douglas and drummer George Fludas breath new life into the compositions of the great Tadd Dameron. A supremely swinging affair, If You Could See Me Now includes two never before recorded Tadd Dameron tunes: The Dream Is You and Sando Latino. ~ Editorial Reviews https://www.amazon.com/If-You-Could-See-Now/dp/B07GGCZF5N

Personnel:  Joe Magnarelli on trumpet, Ralph Moore on tenor saxophone, Anthony Wonsey on piano, Dezron Douglas on bass and George Fludas on drums

If You Could See Me Now

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Joe Magnarelli & John Swana - New York Philly Junction

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 59:50
Size: 137,3 MB
Art: Front

( 6:36)  1. New York-Philly Junction
( 6:33)  2. Giants
( 7:24)  3. My Old Flame
( 7:02)  4. Lou Ann
( 7:20)  5. From Now On
( 7:50)  6. Eagles
( 6:25)  7. They Say It's Wonderful
(10:39)  8. If Ever I Would Leave You

During the course of nearly twenty-five years, the Criss Cross imprint has sustained an enviable reputation for recording promising talent from the East Coast (particularly New York City) jazz mainstream. Some of the music's rising stars, such as Chris Potter and Seamus Blake, made their debuts as leaders for Gerry Teekens' venerable Holland-based label. Even more impressive is Teekens' willingness to document the progress of some of the artists on a continuing basis, from their days as young lions and into middle age, when the years of persistence and hard work begin to pay off in significant artistic dividends.  New York-Philly Junction is co-led by trumpeters Joe Magnarelli and John Swana, both of whom have recorded as leaders and sidemen for Criss Cross since the early nineteen-nineties. The session is a reprise of a 1998 date (released as Philly-New York Junction ) that included four other of the label's regulars, pianist Joel Weiskopf, tenor saxophonist Eric Alexander, bassist Peter Washington, and drummer Kenny Washington. The material is well chosen, the ensemble playing leaves nothing to be desired, and the rhythm section stays alert and unobtrusive; however, it's the four primary soloists (three horns and piano) that makes the new recording top drawer. The three choruses he takes on the title track are quintessential Magnarelli. The trumpeter moves from one short segment to another, occasionally emitting sounds like long sighs. He frequently starts to develop a line, goes off on a convoluted tangent, and then comes back as if suddenly remembering to finish the original thought. Though the first three notes coming out of his horn are plump and certain, his ballad rendition of the standard "My Old Flame" sounds emotionally vulnerable. He's played the tune countless times, yet Magnarelli remains enamored of Johnson and Coslow's ode to a lost love, and takes liberties without violating its essence. During the eight measures preceding the bridge, he flashes a number of brief, pointed asides before once again finding the heart of the song. Magnarelli's solo on "Eagles" is firmly based in a recognizable, bebop-oriented vocabulary, but is nonetheless very personal. Listen closely and he gets under your skin. As the solo progresses changes in emphasis and direction are constant; however, he's very organized, the ideas fit, and he leaves nothing to question. In an instant, lines move from skittering this way and that to sounding decidedly pronounced. The rhythm section wisely stays out of his way. Weiskopf, in particular, comps sparsely and lays out altogether for a long stretch.

John Swana's solo on his spry, medium tempo composition "Eagles" is one of those marvelous instances in which everything coming out of the horn makes perfect sense and feels just right. The path of the solo is so clear that it almost doesn't sound improvised. Spinning witty and inventive melodies, Swana's totally at ease with the horn, the tune's changes, and the rhythm section. Spurred by Kenny Washington's snare drum accents and varied cymbal textures, his forward drive never sounds forced or labored. Even several sixteenth-note runs (something that, in his earlier work, Swana often overused) come off as playful instead of contrived. The first seven bars of Swana's wistful improvisation during Tom Harrell's "From Now On" are blissfully devoid of any tension. Working different registers of the horn, he juxtaposes long tones and pregnant pauses. Just when it seems as if Swana is simply going to fade away, he begins a series of winding lines (none of which last very long) that all gradually slow down to a standstill. In addition to his sensitivity as an accompanist, Weiskopf is a confident, orderly soloist who never sounds rushed or labored. During "New York-Philly Junction" the pianist has something different to say on each of three choruses. 

He begins by gracefully sliding from phrase to phrase, evoking blues locutions without becoming excessive. During the second chorus persistent clumps of chords jounce against Peter Washington's irregular bass line and Kenny Washington's patchwork of beats. In the last chorus, Weiskopf unleashes a whirlwind of precisely executed single note lines that wind down, as if he's trying to reverse direction and back out of the solo. His wonderful introduction to "My Old Flame" doesn't contain any hint of the melody; he nonetheless graciously guides us to the song. Melding single notes and chords into a dreamy perfection, the four measures are both purposeful and timeless. The chords ring a little; there's a brief, telling silence after the second bar; and despite the brevity Weiskopf's around long enough to allow us to admire his firm touch. The four choruses he takes during "Eagles" constitute an extended burst of creativity in an unassuming guise. Weiskopf refrains from pounding the keyboard; his changes in dynamics are both subtle and effective. He becomes marginally more assertive as the solo progresses, but the degrees of emphasis aren't dramatic. As he knits together themes with ease, the pianist is clearly interested in the solo as a whole rather than reaching for affected climaxes. The performance comes off as one continuous chain of thought. He strays briefly from Peter Washington's stalwart pulse, and then comes back into the fold without any loss of continuity. There's an epic quality to Alexander's seven choruses of saxophone athleticism on "Giants," Swana's variant of John Coltrane's "Giant Steps." It's good to hear him temper a tendency to squeeze too much information in a single presentation. In this case he's a methodical thinker, in complete control of his emotions as well as the instrument. Tightly woven variations of a handful of motifs display a balance between rigid discipline and finesse. Alexander pauses a few times in the first chorus, then stays in constant forward motion. His eighth-note lines become increasingly dense in texture despite their rapidity. By the sixth chorus the grand sweep of his blowing is nearly overwhelming; he then downshifts and concludes with a quote from "Giant Steps."~ David A.Orthmann https://www.allaboutjazz.com/joe-magnarelli-and-john-swana-new-york-philly-junction-by-david-a-orthmann.php

Personnel: Joe Magnarelli—trumpet; John Swana—trumpet; Eric Alexander—tenor sax; Joel Weiskopf—piano; Peter Washington—bass; Kenny Washington—drums.

New York Philly Junction

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Dick Oatts - Use Your Imagination

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 61:01
Size: 140,4 MB
Art: Front

(8:24)  1. Yesteryear
(8:39)  2. Do Da Day
(7:18)  3. Speaking Relative
(7:28)  4. Como Uno
(7:04)  5. Lossofyou
(7:07)  6. Use Your Imagination
(9:34)  7. Mideast Midwest
(5:23)  8. Game Show

Dick Oatts has a wonderful group here  a well-chosen quintet of musicians who really seem to open up the possibilities in each others' sound, especially when it comes to tone, texture, and color! Oatts is always great his raspy alto is deft, but always very personal too and it's offset here by the sparkling trumpet of Joe Magnarelli, who seems to be exploring a lot of fresh territory on the mostly-original tunes provided for the album by Dick. 

Pianist Anthony Wonsey blocks things out strongly with his work on the keys bringing in a soulful, stepping vibe that's mighty nice  before soaring out on his own solos too. And bassist Ugonna Okegwo rounds out the snapping rhythms provided by drummer Chris Smith making for a pair who's sense of timing really inspires the others. Titles include "Como Uno", "Speaking Relative", "Do Da Day", "Yesteryear", "Lossofyou", and "Midwest Mideast".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/861588

Personnel:  Dick Oatts - alto saxophone;  Joe Magnarelli - trumpet;  Anthony Wonsey - piano;  Ugonna Okegwo - bass;  Chris Smith - drums.

Use Your Imagination

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LaVerne Butler - No Looking Back

Styles: Vocal Jazz
Year: 1992
File: MP3@320K/s
Time: 48:34
Size: 112,2 MB
Art: Front

(4:35)  1. The Song Is You
(6:13)  2. I Cover the Waterfront
(4:10)  3. Sunday in New York
(5:29)  4. Speak Low
(2:50)  5. It's Alright with Me
(6:10)  6. Easy to Love
(4:18)  7. Isn't It a Pity?
(4:20)  8. Make Me Rainbows
(6:28)  9. Ballad Medley
(3:57) 10. Come Fly with Me

If justice had prevailed, No Looking Back would have made LaVerne Butler well known in jazz circles, but this fine debut was more of an artistic success than a commercial one. In contrast to the laidback, relaxed mood and pop influences that defined the singer's sophomore effort, Day Dreamin', No Looking Back is very much a hardcore bop effort. Butler's impressive phrasing sounds like a combination of Nancy Wilson, Sarah Vaughan and Ella Fitzgerald, but when she passionately tears into hard-swinging, high-energy interpretations of "It's Alright With Me," "Sunday In New York" and "The Song Is You," it's clear that Butler is very much her own person. Equally captivating are a sensuous bossa nova take on "Speak Low" and an unexpected version of "Come Fly With Me," which was defined by Frank Sinatra but also fares quite well in Butler's capable hands. Guest Joe Henderson (tenor sax) is in excellent form on "I Cover the Waterfront," "Easy to Love" and "The Song Is You," all of which prove that the ton of favorable publicity he was receiving in the early to mid-1990s was well deserved. This is a CD that fans of straight-ahead jazz singing should make a point of searching for. ~ Alex Henderson http://www.allmusic.com/album/no-looking-back-mw0000121830

Personnel:  Vocal - Laverne Butler; Acoustic Guitar – Romero Lubambo;  Bass – Chip Jackson;  Drums – Klaus Sounsaari;  Piano, Arranged By – Mike Renzi;  Tenor Saxophone – Chris Potter (2), Joe Henderson;  Trumpet – Joe Magnarelli, Jon Faddis

No Looking Back

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Ari Ambrose - On Another Day

Styles: Saxophone Jazz
Year: 2005
File: MP3@224K/s
Time: 68:52
Size: 110,4 MB
Art: Front

(7:23)  1. Bang
(7:53)  2. Who Can I Turn To?
(9:16)  3. Clueless
(7:45)  4. I Fall in Love Too Easily
(7:53)  5. Samsara
(5:47)  6. Never Let Me Go
(6:09)  7. Vai Chegar
(6:45)  8. On Another Day
(9:56)  9. If I Had You

Ari Ambrose ( 1974 ) is an American jazz tenor saxophonist and bandleader. Ambrose studied in Washington, DC and played there with local bands. From 1991 he continued his studies at the Manhattan School of Music and played with musicians like the trumpeter Ryan Kisor . At the end of the 1990s, he became known for his own band projects; The trio album " Introducing Ari Ambrose" was composed for SteepleChase Records with bassist Dennis Irwin and drummer Billy Hart in 1998. It is based on the trio session of Sonny Rollins (1957) or Joe Henderson's Village Vanguard concert in 1985 .  Subsequently, he presented five other albums for the label, created with musicians such as pianist George Colligan , bassist Jay Anderson, or drummer Billy Drummond .  According to the critic C. Hovan, Ambrose is based on models like Ben Webster , Sonny Rollins, Archie Shepp and Joe Henderson. 

Personnel:  Ari Ambrose (tenor sax);  Joe Magnarelli (trumpet);  Gary Versace (Hammond B-3 organ);  Mark Ferber (drums).

On An Other Day

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