I was first exposed to GERI ALLEN on a documentary called Robert Altman’s Jazz ‘34: Remembrances of Kansas City Swing. The film was a tribute to “cutting contests” and jam sessions in Kansas City Jazz clubs in the 30s. The scene was set in what would be described as a juke joint and all the artists were dressed in 30s attire. The players included such giants as Ron Carter, David “Fathead” Newman all the way to young lions – at the time, but much seasoned now - like Christian McBride and Nicolas Payton.
Of course, what caught my attention first was Geri is a woman. It can’t be denied that the tradition didn’t boast many women as players. Mary Lou Williams was one of the few exceptions. In my opinion, swing, in the south, from the 30s, was very physical. It took a lot of agility, especially for rhythm section artists. So my quest began to find out who this woman was banging away with the big boys.
Shortly after seeing the documentary (I’m sure I didn’t see the first airing), I ran across my first Allen recording, THE GATHERING, Verve, 1998. I didn’t stop listening to this record for at least a month. I took it from my car to the office to the car to the house – and back again.
THE GATHERING takes on a dark, soulful, emotional, all-encompassing tone. Allen is one of those musicians who tend to describe sound in terms of color palates, a synesthete. I won’t pretend that I always understand or see what one sees when describing sound as color. However, with this record, I can see vivid colors of beautiful sunsets, clear starry nighttime skies and full moons on ocean vistas. While classic in nature, this record is an exercise in post-bop progressivism. An example of my characterization is the tune DARK PRINCE. This tune juxtaposes a classic jazz trio ensemble (piano, drums & bass) with an electric lead guitar accompaniment from VERNON REID of LIVING COLOUR. As Allen leads the ensemble through the funk filled, infectious groove, you can hear Reid compliment it with an unobtrusive wailing that lends itself to a soulful mystery. This song alone will make you understand why it was so difficult to put this record away for such a long time. Allen’s chops are phenomenal. I love her most because she’s an ensemble-ist. When it’s time to groove, she grooves. When it’s time to accompany, she accompanies. When it’s time to shine, she takes over. Without a doubt, she’s equally comfortable in all three arenas.
I started thinking about how much I liked THE GATHERING and Allen when I ran across an interview on Marian McPartland’s Piano Jazz on NPR. Her virtuosity was put on display in the studio in a solo format. She performed several pieces. Most of the compositions were her own; however, she blessed the listeners with a luscious version of Billy Strayhorn’s LUSH LIFE. Allen and McPartland also jammed a little while on two pieces including Charlie Parker's ANOTHER HAIRDO.
Allen's latest project is entitled, GERI ALLEN AND TIMELINE - LIVE, Motemaa, 2010. TIMELINE features KENNY DAVIS on Bass, KASSA OVERALL on drums and features MAURICE CHESTNUT, a tap dancer as part of the rhythm section.
Allen is married to trumpeter WALLACE RONEY. I have got to find my tape of Roney playing optional lead to Miles Davis at the Montreaux Jazz Festival the last time Davis ever performed any of his Cool Bop music. Allen is also busy teaching Jazz at the University of Michigan.
I’ve not heard this new recording in its entirety...I can't wait...
