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In conjunction with the exhibition, "Mary Lou Williams In Her Own Right," (Flushing Town Hall, Flushing, N.Y. through Dec. 31, 2000), the Flushing Council on Culture and the Arts presented on Oct. 6, 2000, a concert by Geri Allen with Mark Johnson on bass and Billy Johnson on drums of the music of Mary Lou Williams. For the first time in fifty-five years, the full Zodiac Suite was performed in its piano version Ms. Allen's interpretation of William's twelve "tone poems" was nothing short of rapturous. She managed to light up the stage with her pyrotechnic fingering of those wonderful ivories! Ms. Allen demonstrated her extraordinary sensitivity to the subtle shadings of this wonderful music. She approaches each piece with great intelligence and skillful technical nuance. In preparation for this performance, Ms. Allen spent well over a year studying the scoring and transcribing the original recordings. Her hard work paid off. She delivered a terrific performance. Not to be forgotten, her two sidemen, Billy Johnson on drums and Mark Johnson on bass helped to make the evening almost memorable one. Mark Johnson pushed his instrument to the limit with style and grace. Billy Johnson kept the beat going with masterly verve.
Geri Allen has a unique blend of "studied musicality" mixed with one helleva swing sound. She makes her jazz piano sound like there is an entire Ravelian orchestra hiding somewhere within the depths.
In 1996, she played the role of Mary Lou Williams, one of her idols, in the film Kansas City by Robert Altman. She was terrific then as now. Like Williams, Geri Allen performs best when challenged by deeply felt complexities.
Years ago, Mary Lou Williams wrote, "from Zodiac I received the name musician's musician instead of "Boogie Woogie Queens." After Ms. Allen's sensitive interpretation of Zodiac Suite there can be no doubt that this is the tribute of one musician's musician to another.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.