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From Tippo, Mississippi to the tip of jazz’s pantheon, Mose Allison has had one of the genre’s most enduring and beloved careers. Now well into his golden years, the honey and chickoree-voiced storyteller continues to reminisce about his beloved South. Among the prevalent themes on this gently sparkling collection are the infamous 12-foot cotton sack and other elements of life on the plantation (including life on the penal farm for spousal homicide). It was a different place and a different age, but Allison sing-songs about it as if he lived it himself. And when he’s not singing about a life not lived, Allison offers equally personalized renditions of the greats, from Ellington to Williamson and Ray Charles to Willie Dixon. Though his Chet Baker-y vocals are occassionally under-propped, Allison’s jaunty keywork is impressive and fun on its own. His pianistic take on "Blueberry Hill" gets up there a bit faster than Fats Domino, but the svelte Allison is in better shape anyhow. While waiting for one or the other of his musical skills to take shape on "Trouble in Mind," the Baker comparison takes on more weight as Allison reveals himself as a capable horn man as well. So many skills over so many years make this collection and this man a treasure for Rebel and Yankee alike.
Track Listing: 1. Seventh Son
2. Eyesight to the Blind
3. Do Nothin' Till You Hear from Me
4. Lost Mind
5. I've Got a Right to Cry
6. Baby, Let Me Hold Your Hand
7. Parchman Farm
8. If You Live
9. Don't Get Around Much Anymore
10. One Room Country Shack
11. I Hadn't Anyone Till You
12. Young Man's Blues
13. That's All Right
14. Blueberry Hill [*]
15. Trouble in Mind [*]
16. Creek Bank [*]
Personnel: Mose Allison, Addison Farmer, Ronnie Free, Nick Stabulas, Taylor La
Fargue, Frank Isola
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...