Joe Magnarelli: Decidedly so

The front-line alliance of trumpeter Joe Magnarelli and trombonist Steve Davis is one of the distinguishing features of Decidedly So, Magnarelli's 2026 release in an impressive string of releases as a leader. Magnarelli and Davis interact in ways that reflect decades of experience in playing modern, straight-ahead jazz. The two brass instruments work together and respond to one another during eight tracks that include Latin-tinged hard bop, moderate and up-tempo swingers, a couple of ballads, and a brisk blues. Their treatments of the heads of four of the leader's originals—one (the title track) by Davis, and three choice selections from the Great American Songbook—feel spontaneous as opposed to overly-arranged, and brief infusions by each of the horns never blemish the material.

An intriguing contrast between Magnarelli's and Davis's improvisational styles contributes to the record's appeal. The more expansive of the two, Magnarelli frequently integrates longish, rapid-fire passages and more deliberate, pensive musings without tipping his hand or sounding overly patterned. The title track finds him in an uncharacteristically impatient state of mind, executing chockablock lines that somehow stay in touch with a rhythm section comprising pianist Jeremy Manasia, bassist Clovis Nicolas, and drummer Rodney Green. The straightforward, middling-tempo swing of the standard "When I Grow Too Old To Dream" inspires Magnarelli to take a more measured approach, connecting phrases in a balanced, lucid manner that incorporates subtle shifts in dynamics and emphasis.

Davis's calling card is a weighty tone devoid of rough, brittle edges. He devises passages that are easy to follow but not simplistic. Regardless of the tempo, Davis is never at a loss for a new phrase and is not in a hurry to get anywhere. Relatively brief, consonant, melodic locutions are united into a reassuring whole.  Buoyed by Manasia's piquant comping, his turn on the standard "This Nearly Was Mine" is both speech-like and sturdy. Magnarelli's "Jimmy's Blues" contains Davis's best up-tempo work of the set. As he deftly fuses a series of short and medium-length phrases, Green shrewdly threads snare drum accents between them and Manasia's chords.

In a record filled with memorable performances, Magnarelli's wistful, heart-on-his-sleeve interpretation of "When I Fall In Love" occupies a class by itself. While Davis lays out, Magnarelli plants himself deep inside of Victor Young's melody, takes his sweet time, carefully weighs every note, and keeps embellishments to a bare minimum.  The result is an emotionally direct tale that never turns cloying or melodramatic.

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