In Praise of Geri Allen

The honorable tradition of surreal jazz pianists was furthered in the 1980’s by Geri Allen.  She showed up on a lot of different types of gigs and was always an x-factor; unafraid of  straight-ahead jazz but committed to playing her own concept.

This was a message I took to heart as a teenager.  Looking over her website’s discography I am surprised to see how many of those albums I have at least heard (if not always owned) and in many cases her presence was the main reason for my interest.  My peers Craig Taborn and Jason Moran also consider her work in this era to be really important.

A terrific example of her “x-factor quality” is on YouTube, performing at Newport with the Ralph Peterson quintet.  She is the only musician onstage who plays with a surreal edge.  Her approach here is connected to her avowed influence Eric Dolphy. 

This video reminds me of my serious adolescent crush on her back then, too.  I used to moon over her photo on the above Peterson disc Triangular quite a bit.  When I saw her gig at the Walker Art Center in Minneapolis with Anthony Cox and Pheeroan Aklaff I quit my crush; the gig was too revelatory for me to continuing to relate to her in any but the most serious way. 

I am playing with two of my greatest heroes, Charlie Haden and Paul Motian, next week at the Village Vanguard.  One of my main influences is Keith Jarrett, especially the Jarrett quartet with Haden, Motian, and Dewey Redman, which in turn is one of the main influences on TBP.  There are no musicians who understand Charlie and Paul better than Reid Anderson and David King, and there can be no better preparation to working with Charlie and Paul than playing 150 gigs a year with Reid and Dave.

Just like Reid and Dave, I have been careful to pare away all but vestigial elements of Jarrett-quartet influences in my playing.  Next week, though, it might be tougher than usual not to senselessly “Jarrett-out” except for Geri Allen, who made several terrific albums with Haden and Motian herself. She is inspired by pianists like Thelonious Monk and Herbie Nichols, pianists Jarrett has almost nothing to do with; his inspirations are Bill Evans and Paul Bley. 

Of course, both Allen and Jarrett are inspired by many more pianists, especially Bud Powell.  But I don’t think it is too reductionist to say that

Thelonious Monk - Herbie Nichols - Geri Allen

is one stream in the music and that

Bill Evans - Paul Bley - Keith Jarrett

is another.   

At any rate, when I get onstage with Haden and Motian, I know, thanks to records like Etudes, that all my options are open.

I have paid attention to all six of those pianists; Paul Motian can boast of having played with every one.  I’m really looking forward to next week.