Only Dave Frishberg and possibly Mark Murphy can rival Mose Allison when it comes to creative use of irony in lyric writing, and neither compares as an instrumentalist. He's a fine bop pianist able to play challenging instrumentals and eclectic enough to integrate country blues and gospel elements into his style. Allison's unique mix of down-home and uptown styles has made him a standout since the '50s. He's one of the few jazz musicians on Atlantic's roster ideally suited for Rhino's two-disc anthology format. Allison ...
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Only Dave Frishberg and possibly Mark Murphy can rival Mose Allison when it comes to creative use of irony in lyric writing, and neither compares as an instrumentalist. He's a fine bop pianist able to play challenging instrumentals and eclectic enough to integrate country blues and gospel elements into his style. Allison's unique mix of down-home and uptown styles has made him a standout since the '50s. He's one of the few jazz musicians on Atlantic's roster ideally suited for Rhino's two-disc anthology format. Allison recorded many different kinds of songs and was always as much, if not more, a singles than an album artist. In addition, Rhino thankfully sequenced the selected songs -- which span over 40 years, from 1957 to 1989, and include all of his best-known songs -- chronologically. Allison does reflective duo and trio pieces, moves into up-tempo combo numbers with a jump beat, then returns to the intimate small-group sound. His ability to highlight key lyrics, delivery, timing, and pacing is superb. The set includes such classics as "Back Country Blues," "Parchman Farm," "Western Man," and "Ever Since the World Ended," plus definitive covers of Willie Dixon's "The Seventh Son" and Sonny Boy Williamson II's "Eyesight to the Blind." It's an essential introduction to Allison's catalog. ~ Ron Wynn, Rovi
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