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| 5.241 Ft
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| 1. | Message to Love
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| 2. | Cherokee Mist
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| 3. | Manic Depression
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| 4. | The Wind Cries Mary
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| 5. | Land of the New Rising Sun
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| 6. | Love or Confusion
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| 7. | 1983 (A Merman I Shall Be)
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Jazz
Geri Allen, Mark Ratson, Scott Batson-pianos
The idea of recording Jimi Hendrix music exclusively with pianos dates back to a 1988 "Not Just Jazz" Town Hall series. Producer Craig Street presented an evening of Hendrix compositions for an orchestra that included some of the finest talents in New York's avant-garde musical scene. A long-time Hendrix buff, Street took the opportunity to present Hendrix the songwriter in a new light. Triad's interpretation of the Hendrix compositions confirms that there are no musically exclusive territories. What is basic is the need for artists to communicate ideas and feelings by whatever musical system is appropriate, forging new aesthetics that allow a break from the conventions that previously governed them. Re-interpreting, presenting alternative routes, embellishing the structure, Triad's artistic vision is carefully wrought, compelling, bold and confrontational.
Craig Street Producer
Joe Gastwirt Mastering
Peter Denenberg Engineer
Robert Stanley Gardner Text
Geri Allen
Active Decades: '80s, '90s and '00s
Born: Jun 12, 1957 in Pontiac, MI
Genre: Jazz
Styles: Modern Creative, Post-Bop, M-Base, Progressive Jazz
Geri Allen is the quintessence of what a late-'90s mainstream jazz musician should be. Well versed in a variety of modern jazz styles, from bop to free, Allen steers a middle course in her own music, speaking in a cultivated and moderately distinctive voice, respectful of, but not overly impressed with the doctrine of conservatism that rules the scene at the end of jazz's first century. There is little conceptually that separates her from her most obvious models -- Keith Jarrett, Herbie Hancock and Bill Evans primary among them -- yet Allen plays with a spontaneity and melodic gift that greatly transcends rote imitation. Her improvisational style is at various times both spacious and dense, rubato and swinging, blithe and percussive. It's a genuinely expressive, personal voice; her music is an amalgam -- honestly conceived, intelligently accessible, and well within the bounds of what is popularly expected from a jazz musician of her generation.
Allen received her early jazz education at the famed Cass Technical High School in Detroit, where her mentor was the highly regarded trumpeter/teacher Marcus Belgrave. In 1979, Allen earned her bachelor's degree in jazz studies from Howard University in Washington, D.C. After graduation, she moved to New York City, where she studied with the veteran bop pianist Kenny Barron. From there, at the behest of the jazz educator Nathan Davis, Allen attended the University of Pittsburgh, earning a master's degree in ethnomusicology, returning to New York in 1982. In the mid-'80s, Allen formed an association with the Brooklyn "MBase" crowd that surrounded alto saxophonist Steve Coleman. Allen played on several of Coleman's albums, including his first, 1985's Motherland Pulse. Allen's own first album, The Printmakers, with Anthony Cox and Andrew Cyrille, from a year earlier, showcased the pianist's more avant-garde tendencies. In 1988 came perhaps her first mature group statement, Etude, a cooperative trio effort with Charlie Haden and Paul Motian. Allen's loose-limbed lyricism and off-center linearity are perfectly complemented by the innate tunefulness of bassist Haden and the unerring timbral sense of drummer Motian. In the '90s, Allen signed first with Blue Note, then Verve. Her subsequent records placed her in ever more conventional contexts, supported by the cream of the mainstream "young lion" crop. As a soloist, however, Allen continued to push the improvisational envelope, as evidenced by Sound Museum, a 1996 recording made under the leadership of Ornette Coleman. The solo Gathering followed in 1998. Allen was named the top Talent Deserving Wider Recognition among pianists in the 1993 and 1994 Down Beat magazine Critics' Polls. Her significant collaborators have included saxophonists Oliver Lake, Arthur Blythe, and Julius Hemphill, trumpeter Lester Bowie, and singer Betty Carter.
---Chris Kelsey, All Music Guide |
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