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Joseph Gabriel Esther "Joe" Maneri (February 9, 1927 – August 24, 2009), was an American jazz composer, saxophone and clarinet player. Violinist Mat Maneri is his son.

After decades of obscurity, Maneri's distinctive saxophone and clarinet works gained praise and relative fame in the 1990s. To conventional Western sensibilities, some of his passages may sound 'out-of-tune'- but there is a consistent, internal logic to his unorthodox playing; critic Charlie Wilmoth describes Maneri's playing as "a slippery, space-filled alien blues".

An Italian-American born and raised in Brooklyn, Maneri played clarinet and saxophone in various dance bands and on the Catskill circuit as a teenager, often performing traditional Greek, Turkish, and Syrian music or Klezmer at weddings and other gatherings. He would later incorporate some elements of such music in his own compositions. He studied with Josef Schmid (not the tenor but a conductor and student of Alban Berg) for a decade before being commissioned by conductor Erich Leinsdorf to write a piano concerto for the Boston Symphony Orchestra, which was rehearsed but never performed in concert.

Maneri was impressed by the music of Arnold Schoenberg and organized a jazz ensemble that performed some twelve tone music. (His later music is, however, not in the twelve-tone technique.) In 1963, this quartet recorded a demo for Atlantic Records, due in part to Gunther Schuller's interest in Maneri. The recording was not released until 1998, when American Splendor writer Harvey Pekar — who had obtained a copy of the demo — played the music for composer John Zorn, who released the music on his Avant Records as Paniots Nine. The recording shows a synthesis of Maneri's experience with vernacular musics of American immigrants and his understanding of twelve-tone composition along with a developed style of "free" improvisation, analogous to the contemporaneous innovations by Sun Ra and Ornette Coleman. In 1965, he performed, as soloist, a piece composed by David Reck. dedicated to Coleman and conducted by Schuller at Carnegie Hall. Little else was heard from him until he was hired, at the behest of Schuller, to teach at the New England Conservatory of Music in 1970. He led one of the few microtonal composition courses in the United States (Jamie Saft, Cuong Vu, Judith Berkson, Noah Kaplan, Bhob Rainey, Katt Hernandez, Tim Crofts, composer Randall Woolf and Matthew Shipp have been among his students). In 1985 he co-wrote (along with Scott Van Duyne) and published the workbook Preliminary Studies in the Virtual Pitch Continuum. He was also part of the 80s klezmer revival in New England.

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