feature photo: Anna Yatskevich
When I think of the name “Luther Allison,” the late blues great comes to mind, but now, it’s also a signifier for quality mainstream jazz. That’s because another Luther Allison, a pianist and composer, is making his first splash as a leader with his introductory album I Owe It All to You.
Interestingly, Allison’s recording career began behind the drum kit instead of in front of eighty-eight keys. While still in undergraduate studies, Michael Dease tabbed him to play drums on his 2015 Father Figure album and from there, other sideman opportunities came both as a drummer and pianist. But Allison is clearly favoring the chordal instrument now, which he sticks with for his debut release.
A traditional piano trio format is employed for I Owe It All to You, with seasoned warhorse Boris Kozlov handling the double bass and Zach Adleman on drums. As a drummer himself, it’s safe to assume that Allison is going to make the right choice for that instrument and Adleman, who I hadn’t been previously familiar with, is impressive throughout. He’s got the energy that propels these songs, but has the thoughtfulness of keeping that juice in check.
Allison doesn’t make it a mystery of where his piano style is derived from; he cites the ‘Memphis Mafia’ cadre of jazz piano greats that includes James Williams, Mulgrew Miller, Harold Mabern and Donald Brown. He goes further in his tribute to these four influences by covering a song a piece by them, and these choices for interpretations are all thoughtful; Allison picks non-standards that leaves you wondering why they aren’t standards.
Williams’ blues shuffle “Say Dr. J” sounded great with the Jazz Messengers in the late 70’s and Allison makes it vital again in his trio version, starting out by playing the bass figure on piano and his rhythm section sparkles for this latter-day rendition. Allison adds flair to Mabern’s “There But For The Grace Of…” with his tight pairing with Kozlov and then going off on sprightly right hand excursions.
Like Allison, Donald Brown also started out on drums and his hard swinging “New York” with its soulful, intricate head is handled crisply by Allison. And then there’s Miller graceful waltz, “From Day To Day,” for which Allison does great justice, illuminating Miller’s sophisticated patterns. Kozlov’s solo turn on bass is a charmer, too.
R&B icons also figure heavily into the music that Allison loves. For that side of him, he chose a tune from Stevie Wonder, not a hit but a deep cut from the Songs In The Key of Life masterpiece. The evergreen strain of “Knocks Me Off My Feet” makes it very suitable for jazz interpretation and the pianist is reveling in that melody, tracing the lyrical lines with sensitivity and passion.
Turning to the four originals, it’s clear Allison absorbed good things from the Memphis Mafia and flashes some composing prowess of his own. For “I Owe It All to You,” his full development as a song crafter is on full display, layering together harmonic shards in full communication with the bass, changing tempos and slipping in tempting glimpses of his gospel roots.
“Until I See You Again” was inspired by his fiancée, a lithe but engaging number served with a large helping of refinement, and “The Things We Used To Say” shows how Allison can transform a bit of blues into an advanced harmonic form. That’s also the basic idea behind “Lu’s Blues,” with its blues foundation further out front and a spirited backing from Kozlov and Adleman.
Oh, and Allison does play one standard, Richard Rogers’ “I Didn’t Know What Time It Was,” making it the funkiest, most contemporary sounding track on the whole album, with an imaginative arrangement.
I Owe It All to You is out now, courtesy of Posi-Tone Records. You can get your copy from Bandcamp or Amazon.
* Mulgrew Miller CD’s and vinyl on Amazon *
* Harold Mabern CD’s and vinyl on Amazon *
* James Williams CD’s and vinyl on Amazon *
* Donald Brown CD’s and vinyl on Amazon *
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