A great musician has passed. Allison's was a name that flew below the radar when one started counting influential singer/songwriters. It's in retrospect that you realize his style , his originality in an African American art form, were the epicentre of whatever legitimate caucasian version of "cool" might have developed during his prime period. He didn't attempt to sound or act black in music or manner, and he didn't hide from his white, Southern background. His singing remains a godsend in an area of blues, the sort played by well intentioned white players , who mostly sounding like rude noises from an garbled idea of American culture. Allison's voice was cool, reserved, talk-sung with the barest hint of blues inflection; where others got loud and raspy when the emotions poured down thickly, Allison remained calm, his voice hanging as far to the edge of musical phrase while still remaining , in some way, on , before or just after the beat. This was he subtle insinuation of scepticism, reserve, of keeping a center amid the chaos of events and conflicts and contradictions around him. Part Southern Gentleman and part Sonny Boy Williams, it was a style of singing that was clear and articulate but still made you think that was the voice of a man heavily marked by experience. Like wise his lyrics, which were cool, ironic, sardonic, spare but full of implication. I don't there have been many other songwriters who displayed as much wit with so much rhyming brevity. He was, of course, a unique pianist, cross referencing classical and hard bop with a seamless elegance and energy.
I was lucky enuff to see him several times , in the 70's , at a small club called the Main Point outside Philadelphia. Just a super cool, witty performer -kinda of a jazzier Tom Waits Here is an Allison song with quite a different delivery
Inside stories are fun. Lucky to see him at a small club is great. I was lucky enough to be his piano tech at a small club in Detroit - "The Soup Kitchen", of all places.
He used to drive around the country in a small station wagon type vehicle and pick up gigs in major cities by hiring rhythm section from the local AFM and/or musicians he's worked with in the past.
At that time, (late 80's, early 90's), rental piano of choice was often a Yamaha CP-70 Electric Grand, and my personal one was used in many many small/medium/big events around Detroit. So, here I was with my CP-70 hangin' out with Mose before the gig. I can say that he was friendly enough, but not a real social butterfly. Definitely quirky in nature. He was mostly concerned that his back up musicians were somewhat familiar with his style of playing and could also pick up on stage cues quickly. Mose was not too critical of the piano rented for him, so was not a prima donna type regarding the instrument.
He just wanted to play the gig, get paid (cash), head for his car and off to the next town/next gig. ---------- The Iceman
