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New York - Philly Junction: "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."
All About Jazz, David A. Orthmann, June 30, 2004
Mr. Mags: "At the risk of gushing like Niagara Falls, Mr. Mags is what jazz should sound like. And if you don't trust the New Times on this one, consider that Syracuse Jazz Fest executive director Frank Malfitano repeatedly invites Magnarelli home to perform at the festival; fans raved about his performance this year. Magnarelli's most recent work also tickled the ear of WAER-FM 88.3 music director Eric Cohen. 'Every cut on the record is one that we are programming, and that doesn't happen on every record we get,' Cohen notes, ' This record, top to bottom, is very radio-friendly. I don't want to feel like I like everything, but on this record, there's not a track that I couldn't clear. It's just that it's that good of a record.'"
Syracuse New Times, Allen Czelusniak, July 18-25, 2001
Why
Not: "There's no question that with this fine debut, Joe Magnarelli
has officially arrived. He can deservedly look forward to new musical
associations, new bandstands, new recordings. He's a very talented
artist who's worked hard to get where he is. Others will surely
take notice."
Los Angeles Times, Zan Stewart
Always There: "The current document shows how far Magnarelli's
come in the past few years to finding a personal voice within his
influences. He projects a golden tone at every tempo, eats up challenging
chord progressions with legato elegance, swings unfailingly. His
innate melodicism, lyric sensibility, and impressive musicality
shine throughout this beautifully paced session."
Ted Pankin WKCR-FM, NYC Jan. 1998
Other Press
Mark Sherman - One Step Closer: "The real ear puller here is trumpeter Joe Magnarelli. The trumpeter has a pure tone and great articulation, and his rhythmic, lyrical lines recall hard-boppers Lee Morgan and Woody Shaw."
Downbeat, James Hale, December 2005
"But not just a big name like McCoy [Tyner] pulled out the fans that night. Down in Greenwich Village at Smalls (the literally underground cavern club that features many of NYC's up-and-comers and vets, too), trumpeter Joe Magnarelli's quartet also drew a packed house. Working with organist Sam Yahel, guitarist Peter Bernstein and drummer Joe Farnsworth, Magnarelli enthralled the audience with sweet-noted, rhythmically punchy improvs on "This Could Be the Start of Something", "I Wish I Knew" and others.
Jazziz Magazine March 2003
"The bebop-based trumpeter Joe Magnarelli has it all: a warm, friendly sound, a splendid melodic imagination, a knack for writing memorable themes and for picking the best works by others, and a no-nonsense swing feel."
The Star-Ledger March 6, 2003
"Joe Magnarelli exemplifies what can happen when you follow through on commitment. Though he started playing trumpet at age 6, adding piano at 7, he didn't make music his life's focus until he was 21. Now, 20 years later, he's one of the most in-demand jazzmen in New York City, where he's lived since 1986... " Read full article
Downbeat Magazine August 2001
"Joe's
music and performance definitely deserves much wider recognition
and publicity"
Jon Hendricks Jazz Notes Nov. 2000 (Toledo Jazz Society)
"Joe
Magnarelli is one of the top five over 30 post be-bop trumpet players
today."
Downbeat Magazine March 2000
"A
staple on the club scene, he's honed his chops by never taking his
trumpet from his lips...except to sleep that is. The regimen's effects
are obvious. Magnarelli's assurance has become equal to his ideas,
so be prepared for his hard bop swagger and strut-which is exactly
as it should be."
Village Voice Aug. 11, 1998
"He
has a mellifluous, almost flugelhorn-like tone and an effortless
soloing style. Joe embraces straight-ahead jazz and bossa nova,
and displays mature, thoughtful playing on ballads."
The Oregonian Jan. 31, 1997
"PR0PULSIVE
IMPROVISATIONS". "Joe Magnarelli has all the essentials one looks
for in the best jazz musicians. There's his unshakeable time feel
that makes his work vigorous and forward moving. His tone is bold
yet breathy, and while it recalls Kenny Dorham's or Donald Byrd's,
it's more his own than anyone else's. And he crafts captivating,
propulsive improvisations, taking fluid bits of sumpuous melody
and edgy statements from the jazz lore and ties them together into
long enchanting chains of musical thought."
Los Angeles Times, Zan Stewart
"Trumpeter
Joe Magnarelli (best known for his work with in Toshiko Akioshi's
band) is a fleet and fiery trumpeter."
Leonard Feather, L.A. Times Feb. 1994
"Joe
Magnarelli's graceful trumpet playing was like finding water in
the desert."
Jazz Review New York Post...August 2, 1991
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