R.I.P.: Sonny Burgess

He outlasted the scene, the studio, and about everybody else. (As always, there is the apparently immortal Mr. Lewis.)

Burgesss

Start of tonight’s soundtrack. It’s all nonfanatics would need. But you must have it if you are serious about (Sun) (rockabilly) (rock and roll), hell, popular music of the 20th century. Adam Komorowski’s vivid, informative liner notes are a serious bonus. Noted: “Truckin’ Down the Avenue” and the killah, “Mama Loochie.” Guy’s got a yowl that perfectly evokes a Raven at sunset in the South.

Albums Bought in Missoula and the Stores That Nourished Them

(In rough order of preference.)

Jason Isbell and the 400 Unity, The Nashville Sound (Thirty Tigers)

Isbell and his group deliver their strongest outing with songwriting and ensemble work riding the same wire from start to finish. Particularly potent, never-falter trio of songs in the middle: “White Man’s World” (highlights the state of a cluster of incredibly difficult issues), “If We were Vampires” (death like they don’t hardly ever write about it no more), “Anxiety” (ordinary confessional numbers can just get off the psyche couch and go home).

Neil Young, Bottom Line 1974 (Coffee Tea or Me)

I bought this as a good gamble (see comments on Rockin’ Rudy’s below) but then read online that it was a huge fan favorite and about four tracks in you have to hear and agree. First, Young is in as relaxed and ebullient a mood as i can recall and slips from fun to scorching passion without a blink. Ten of the 11 songs from the show were unreleased at the time of the performance (the bonus tracks are a meh demo of “For the Turnstiles” and a superb “Flying on the Ground Is Wrong” from another show). Young’s explanation for how to cook pot and honey and why he gets tired of doing the same numbers night after night are stone classics.

Blondie, Pollinator (BMG)

A virtuoso display of making the old new and interweaving change and continuity. Harry and Stein are as smart, resourceful and literate as anyone to work in rock and roll and their funhouse-mirror eroticism is a treat and a tingle. Also, Harry don’t sound like any 72-year-old I’ve ever heard.

Old 97’s, Graveyard Whistling (ATO)

Timely reminder that “veteran act” is a neutral term unless you earn its implied honors. Push your established sounds and words, show frequent flashes of casual mastery. “Bad Luck Charm,” “She Hates Everybody,” “Turns Out I’m Trouble.”

Roscoe Mitchell & the Note Factory, Song for My Sister (Pi, 2002)

Another vet making the most of extended experience and wisdom. There were some noises back in the day that the lack of all-out free jazzing on this was some sort of surrender. Piffle. Just (“just”) proves Mitchell can write in more styles and with more emotions than you knew before.

Arcade Fire, Everything Now (in partnership with …)

Yeah, yeah — the complaints stick to some degree. You have fun until you look deeper and there’s no there there. But at least two cheers are deserved and that title track is an instant best-of number.

Extra Golden, Hera Ma Nono (Thrill Jockey, 2007)

Unusual band I enjoy a lot whenever I get around to them. Know how to do laid-back and alert and sturdy threads of percussion in pop-song structures. Worth getting to know if you don’t.

Yothu Yindi, Tribal Voice (New Management, 1992)

I sought this out because I knew it was the first outlet for Geoffrey Yunupingu , who recently passed and was noted as the best-selling Aboriginal musician of all time. I was underwhelmed because he seemed to belong to a bland trans-cultural category: mild and MOR with some touches of exotic spice. This is more uptempo and funky and how I will remember the performers. Still doesn’t belong in the same boundary-skipping paragraph as Tanya Tagaq and Hun Huur-Tuu.

THE STORES:

Even if you are not a music fan, you have to check out Rockin’ Rudy’s when you are in town. (I did not visit the related vinyl store because I am firmly in the business of not acquiring any more LPs.) For a number of years, my visits to RR were bring-downs because the music department kept shrinking as the other goodies took up more and more space. It was all but an announcement that physical recorded music was on its way out. Much to the store’s credit, RR has now taken a stance that physical music is here to stay — expanding both the vinyl and CD floor space.

My favorite section is simply marked “Imports” (code for “Bootlegs”). I know that founder Bruce Micklus is a firm Neil Young booster — Rockin’ Rudy’s is the only place I ran across a copy of Young’s Rock’n’Roll Cowboy, one of the most incredible bootlegs ever made — so I felt very confident picking up Bottom Line 1974. Also, I was wowed that Isabell’s The Nashville Sound was a freakin’ Best Seller. Place attracts a good-taste clientele.

I had been gone from Missoula for 20 years when Ear Candy was started, but lemme tell ya, if it had been around in my campus days I would have been in three or four times every week. And now, a trip to town is not complete without a visit. I won’t call the decor a throwback, but rather, timeless — heaps and piles and hyper-full rows and shelves and … every music nut visits such a place in dreams. And you realize how much it takes sharp ears and taste to keep proper exotic stocks (they ain’t big on Top 40 at Ear Candy). I had forgotten about the Roscoe Mitchell — there it was to correct my mistake. Thrill Jockey had sent me Extra Golden back in the day, but had somehow missed Hera Ma Nono and I could not imagine a better place to run across it. Often I take a shot on inviting comp or single-artist ambient/dub because they have such ace selections. But this time I lacked the guts.

PS: I had the urge to buy the new Lindsey Buckingham/Christine McVie, not least since latter-day Fleetwood Mac was one of MB’s all-time faves. But then I couldn’t deal with the fact that this would be the first album with these players that she would never hear.

[This post is finished.  My gout is better.]

The MB (Mary Beth Percival) Memorial Remarks

We just got back from a trip to Montana which centered on a Memorial Day for long-time dear friend and lovely artist of print and soul, Mary Beth Percival, known as MB to intimates. Her brother Mark Graesser gave the clear winner address which brought you into her family and her formation in ways the utterly frank and shy MB never would have. It was the perfect time to love and understand her more. But I had a moment I felt I had to add to the ceremonies and I’m including it here.

Milo Miles “Story of Remembrance” of Mary Beth Percival, July 29, 2017

So many treasured memories of MB. One of the most vivid comes from when she and Monte went with Donna and me to Monhegan Island off the Maine coast. I see her sitting in sun hat and sun glasses on a shoreline rock, sketching and writing in her notebook. [See below.]

But the event I will recall here involved just the two of us. It was in the summer of 1977, right before I left Missoula for Cambridge Mass. As the late, great Doug Bieri told me, “Milo we’ve had so many farewell parties for you, you have to go away for at least a little while!”

One afternoon I encountered Mary Beth near the Top Hat and she asked me for a ride to the Broadway Market since she didn’t have a car and needed to pick up some specialty groceries. As soon as we pulled into one of the parking slots, she declared, “I have to tell you something,” and I knew groceries were at best a secondary reason for this trip.

MB looked right in my face and said she wanted me to know that the most insidious aspects of growing up isolated in small-town Montana were low ambitions and restricted dreams. Thinking that you were no more than a tiny guy in a tiny town. And worst, that was all you deserved to be. Other people became writers and artists and actors. The few exceptions from Montana only proved the rule.

Immediately I knew how right she was. I had gone to college in Bozeman and Missoula because I cherished my Montana identity and did not want it to become merely my pre-adult nature. Just how long could I stay away from Livingston, one of the most beautiful spreads of scenery in the world? Yet I knew the time to leave had come. I had to expand my work and culture options or I would more and more feel my life was wasted.

“Look at me,” said MB with her radiant smile, “I grew up in a smaller town than you did, and I’m making it as an artist!” Could not deny that.

So Back East I went. I knew exactly one person and had one professional contact.  In the first couple of years especially the whole project felt crazy hopeless many days of the week. I cannot think how often I was back in that Chevy sitting next to MB, re-listening to her pep talk. She offered me some of the most valuable insights of my life. She gave me the faith in myself to keep at it.

I know I recalled that encounter the last time I saw MB – at a big house party, aptly enough.  She wasn’t talking but she puckered her lips at me until I came close enough for a sweet kiss that said “I love you, friend” plain and clear. Of course, I now realize it was also a kiss goodbye.

MB in Monhegan

 

 

 

Sweat Soundtrack #3

This is at least a couple weeks, since some of the discs lasted more than one session.

Various, Free Creek (Lake Eerie, 1973 — 2006 reissue)

Sonny Sharrock, Ask the Ages (MOD Technologies, 2015)

Various, Arab Spring (homemade compilation, 2011)*

  1. Amina Alaoui, “Hado”
  2. Zorah Lajnef, “Tounis Hurra!” (Free Tunisia)
  3. Shusmo, “Longa Nakreez”
  4. Pietra Montecorvino, “Dove sta Zaza”
  5. Arif Lohar & Meesha Shafti, “Alif Allah Chambey Di Booty”
  6. Okay Temiz, “Dokuz Sekiz”
  7. Natacha Atlas, “Batkallim: the Sun of Egypt”
  8. Velha Guarda de Portela, “Nascer e Florescer”
  9. Sao Paulo Underground, “Jagoda’s Dream”
  10. Matuto, “Retrato de um Forro”
  11. Cimmarron, “El Cimmarron” (the Wild Bull)
  12. Queen Ifrica, “Pot Still Haffi Bubble”
  13. Etara, “People Talk”
  14. Tiken Jah Fakoly, “African Revolution”

Various, Electrorganism 2010 (homemade, 2011)

  1. Leimer, “Aerial” (1980)
  2. Supernatural Hot Rug and Not Used, “Spa World”
  3. Earthmonkey, “the Breeder Belt Tar Hogs”
  4. Ghost, “Motherly Bluster”
  5. Giant Squid, “Megaptera in the Delta”
  6. Zodiak, “Sermons”
  7. Nels Cline, “Dirty Baby, Pt. 3”
  8. Mofongo, “Tumbao”
  9. Miridor, “La Roche”
  10. F/I, “Observation (The Eye on Top of the Pyramid)” (1986)
  11. Bola, “Versivo”

Various, Raucous Roll 2011 (you know the drill)

  1. Low Cut Connie, “Rio”
  2. Teddybears, “Rocket Scientist” (feat. Eve)
  3. Archie Bronson Outfit, “Magnetic Warrior”
  4. Yuck “The Wall”
  5. Old 97’s “I’m a Trainwreck”
  6. Cage the Elephant, “2024”
  7. Thee Of Sees, “Contraption/Soul Desert”
  8. The Kills, “Satellite”
  9. Gang of Four, “Who Am I”
  10. Ice Age, “Broken Bone”
  11. Middle Brother, “Middle Brother”
  12. The Rolling Stones, “Tallahassee Lassie”
  13. Wild Flag, “Racehorse”
  14. Neil Young & the International Harvesters, “Grey Riders”

Various, Offbeaten 2011

  1. Rainbow Arabia, “Boys and Diamonds”
  2. Ponytail, “Easy Peasy”
  3. Cheer-Accident, “Empthy Province”
  4. Red Eye Fugu, “Prophecies (I Don’t Mind)”
  5. Infantree, “Speak Up”
  6. Gang Gang Dance, “Romance Layers”
  7. Hazmat Modine, “Child of a Blind Man”
  8. Led Bib, “Winter”
  9. Adam Rudolph’s Moving Pictures, “Return of the Magnificent Spirits”
  10. John Hollenback/Orchestra National de Jazz, “Boom/Bob Walk”
  11. Jason Miles/DJ Logic/Falu, “Viva la Femme”
  12. Medeski Scofield Martin & Wood, “Tootie Ma Is a Big Fine Thing”

Slobberbone, Slippage (New West, 2012)

tUne-yArDs, Whokill (4AD, 2011)

Kinsky, Down Below It’s Chaos (Sub Pop, 2007)

Parquet Courts, Content Nausea (What’s Your Rupture?, 2014)

Various, World Music 2008: All Over the Map (another homemade)

  1. Jeff Stott, “Sono”
  2. Nguyen Le Duos, “Byzance”
  3. Alex Cuba, “Agua Del Pozo”
  4. Ervena Orgaeva, “Kotush”
  5. Golem, “Train Across Ukraine”
  6. Fanfare Ciocarlia, “Kan Marau La”
  7. Nawal, “Kweli II”
  8. Eljuri, “Jaula”
  9. Beto Villares, “Icerteza”
  10. “Excelentes Lugares Bonitos”
  11. Colomriafrica, “Mystic Sound System”
  12. “Mama Africa”
  13. Afroreggae, “Benidito”
  14. Choro Ensemble, “Gostozinhi (Tasty)”

 

*Obviously I ran across a stash of old year-end CDs that I hadn’t checked out in several years. What stuck me most is that I’ve had a change of mind regarding such collections. Back in 2011 I still believed I had to include what amounted to all the new releases I intended to keep. So the flow is often flawed — goes well for four-five tracks, then a jolt. My reasoning was “well, you gotta work with what ya got.” Trouble is, I discovered that I didn’t return to these retrospectives very often, didn’t even put them on for guests. Even though I still cheered every single track included. So my newer collections don’t include all the goodies, but are selective and designed for flow. After all, I want the less-fanatic people on my list to play them on occasion.

 

 

R.I.P.: Geri Allen, Pt. Two

We saw Geri Allen perform more than a dozen times, particularly during her tenure teaching at New England Conservatory. 

She was a jazz mind-melder of unsurpassed quality: the ensemble, whatever and however, fused into a single entity that made music without a moment of tedium. And you sensed the piano was leading the way, every time. Teacher. Inspiration. Master.

Here’s the albums I was able to pull together to remember her, and some comments.

Open on All Sides  In the Middle (Minor Music, 1987) (Never bothered me that this was quite song-oriented. Thought it was a strength. Brilliance is that the free-form passages fit in sensually.)

Geri Allen/Charlie Haden/Paul Motian, In the Year of the Dragon (JMT, 1989) (My pick from the earlier years as an introduction. You wanna hear that mind-melding, here it is.)

Twylight (Verve, 1989). (Fun, pretty, smart, songs again.)

Maroons (Blue Note, 1992) (Very thoughtful record that underscores relation to Eric Dolphy, always a huge plus for me when it’s this successful.)

The Nurturer, (Blue Note, 1991) (Emphasis on variety, with a climatic reading of Kenny Garrett’s “Lullaby of Isfahn,” which is preceded by my favorite Allen original novelty (?) “Le Goo Wop.”)

Twenty One (Blue Note, 1994) (With Ron Carter and Tony Williams — makes originals and covers fit with these guys like, uh, giant stars they’ve played with.)

The Gathering (Blue Note, 1998) (A prime example of her next-to-ultimate-style, a flow of form and reflections, from “Dark Prince” to “Daybreak and Dreams”.)

Allen/Haden/Motian, Segments (DIW, 1989) (I know, way out of chronological order, but not in my ears.)

Some Aspects of Water,(Storyville, 1997) (Live in Europe with minimal information, but it does include Trio and Nonet and as always she pulls everybody together.)

The Life of a Song (Telarc, 2004) (Her most wonderful outing with Dave Holland and Jack DeJohnette.)

Geri Allen & Timeline Live (Motema, 2013) (The start of her final phase — she’s broken into the open field where all songs and style can be done.)

Flying Toward the Sound (Motema, 2012) (Solo versions of the same magic circle of Cecil Taylor, McCoy Tyner and Herbie Hancock.)

Grand River Crossings: Motown & Motor City Inspirations ( Motema, 2013) (This is the one I had to wait to hear before doing this and it is an absolute stone beauty. ) The exploration and celebrations of numbers like “Tears of a Clown” and “Stoned Love” blend affection and insight like you can’t believe. Allen throws in originals that match perfectly, winds up with Marvin Gaye’s  “Inner City Blues” and “Save the Children” (the latter can make you cry) and the perfect wink-and-nod finale, a sassy reading of “Nancy Joe” by LA big band master Gerald Wilson.

The most heartbreaking conclusion you cannot avoid is that Geri Allen went out at the peak of her powers.

 

 

 

R.I.P.: Geri Allen, Pt. One

I’m going to begin by posting tributes from fellow artists. If you’ve listened to anything and esp. if you heard her perform, you will immediately understand the profound outpouring of respect, honor and admiration.

“Geri was and is a divine prism of pure heart and artistry. She conjured sonic rainbows, beaming new color spectrums out of plain black and white keys, and perpetually revealed new aspects of that constant creative sun at the center of her mighty musical orbit. Geri tirelessly spread that wondrous multi-faceted light to audiences, band-mates and students around the world. I feel so fortunate to have had the opportunity to bask and share in her glow. Far sooner than we ever imagined, she has moved on, to merge — I’m sure in her own original way — with the eternal source of all art and light. Though her departure has left a gaping absence in the music, and the hearts of everyone who knew her, Geri’s life-sound will emanate forever… increasing and enlightening the musical expanse of our shared humanity.” — Esperanza Spalding

“Geri, I have no words. You have rendered me speechless once again. Your wisdom and grace in life and death have touched me more than you’ll ever know. You are a sage, a truly special spirit, now happily soaring freely. In reflection, I can’t help but wishing I had been even more present, even more loving and even more patient while in your presence. You are an inspiring maverick and an exemplary creator that I’m proud to have been able to call my friend and bandmate. You’ve positively touched so many and my life and art will always reflect your vision and influence. I wish we had more time together to discover and explore, or chat and laugh, but I am the better for having already basked in your brilliance. Thank you for your AMAZING gifts. I am comforted in knowing that we all have an abiding journey and I am confident that we will re-encounter. I love you, Sis. Peace and eternal light, always…” — Terri Lyne Carrington

“I first met Geri when she was a student at Howard. She would take the train up to my house in Brooklyn for lessons. Even then it was apparent that Geri heard some things musically that others did not. In 1994 we performed a duo piano concert at the Caramoor Festival in New York and I realized how fearless she was and at the same time how focused she was. It was a lesson that I took to heart. Geri is not only a great musician, composer and pianist, she is a giant and will be sorely missed.” — Kenny Barron

“It was a pleasure and an honor to know Ms. Geri Allen. A wonderful musician, educator, and beautiful spirit. I felt very grateful to work with her during the recent performances that we had together. She will be greatly missed but her spirit and legacy will live on forever.” — McCoy Tyner

“I remember the first time I heard a Geri Allen phrase. She was in the piano chair on a recording, and early into the first track there was an 8 bar piano solo before the melody returned. In a flash, she played the most amazing free wheeling 8 bars full of gesture and nuance. I had never heard anything like it before, and therefore Geri became the pianist I would copy incessantly. There has not been a pianist like Geri Allen in the Pantheon of Jazz. She was the one that pulled together all of the histories, from Mary Lou Williams and Erroll Garner to Cecil Taylor and M-Base. She made the newest language on the piano. It was the sound that attracted so many of my peers. She could turn a corner with a phrase and make the car feel like it was balancing on two wheels. She could whip up energy while comping for someone that I’m sure made the soloist feel like they were levitating. And most of all, as a loving colleague, she nurtured so many of us. Gently urging us towards our destiny meanwhile being the best example we had for ‘how to do it.’ She is a God.” — Jason Moran

“You moved me with your gentle yet precise touch on the piano, I could feel your sensitivity, your grace. Yes Geri, your grace. You ARE Grace itself. I’m with you Geri, sitting beside you, holding your hand. Can you feel it? And I know that you are wrapped in the grace of God and all His heavenly Angels. I know that LOVE surrounds you, and that you are filled with a wondrous PEACE through the presence of your children, your babies, your warrior sister Ora, and a multitude of family and friends. The world has been blessed because of you, I have been blessed because of you. Know that I love you deeply dearest Geri! Thank you for the opportunity to stand in your light, to see the world through your musical eyes.

Thank you for connecting ‘A Child is Born’ with ‘Silent Night.’

Thank you Geri Allen. I love you.” — Dee Dee Bridgewater

“We are all in shock, as Geri and I had many conversations upon her return from Italy. I asked her was she tired, had she rested enough to write the preface to my Transcription Book, Marseille. Not a word from her about her illness. She spent some of her last strength writing the preface. This act of hers will remain with me forever. May The Almighty Creator bestow on her the Ultimate Peace.” — Ahmad Jamal

“Many will speak of her music, her fierceness on the piano, her work as an educator but I will always remember this; the last we met we talked of many things, we laughed, enjoyed a meal together it was a beautiful day. When it was time for me to head home we hugged and said, “l love you.” That is what I will keep with me.” — S. Epatha Merkerson

“Geri Allen was a wonderful human being…an elegant quiet, private, unassuming powerhouse. Her way was peaceful and patient; her spirit was committed to mentoring, teaching and exploring possibilities. Geri was authentic and her artistry impeccably refined and defined. May my friend who embraced tranquility throughout life rest in divine peace…she will be greatly missed.” — Dianne Reeves

“Geri was one of the great contributors to jazz, a jazz master. I feel blessed to have had the opportunity to create music together with her. She touched a lot of people with her distinctive voice on piano and as a person. She will be missed but her legacy will continue. Love you Geri.” — Jack DeJohnette

“There has been a definable language for all styles of jazz. Geri Allen gained respect and influenced generations of musicians across all styles with a style that was never able to be defined as anything but singular. She funneled every nuance of jazz history in her playing and was able to always sound completely fresh.” — Christian McBride

“As Geri Allen’s life continues to unfold, her eternal journey will be a constant act of indestructible creativity… We’ll be with her all the way!” — Wayne Shorter

“Geri Allen’s music will always remind us that we do not have to relinquish our cultural anchors in order to engage in courageous explorations. Her brilliance will inspire generations to come. Deepest condolences to Geri’s father, brother, and children. ¡Geri Allen Presente!” — Angela Davis

“Geri Allen always gave me the greatest joy in performance. Her subtle, yet powerfully transformative energies stirred my soul. She had the extraordinary ability to dig deep and navigate the hidden harmonic undercurrents of the music while simultaneously delivering the sweet spots. Calling her gifts genius is an understatement.” — Cassandra Wilson

“Geri Allen was all music — she transcended labels and gender. Her respect for the tradition and history of our music was immense. She was a poet on the keyboard and brought a purity of intent, focus and fierce determination to the music she played. Geri’s palate and harmonic concept was very beautiful, elevated. Her playing was peerless on the two albums we made together; ‘Lift Every Voice’ and ‘Jumping the Creek.’ On stage, she played facing the drums and bass, and could look into their eyes to communicate. Since my back was to her, I once asked her how she and I communicated. She said, ‘sonically.’ It was my honor to have had that sacred, sonic communication with her.” — Charles Lloyd

“‘Eternity is in Love with the creations of time,’ said William Blake. Geri is one of eternities special creations. Throughout her life, she was able to deliver the all-encompassing reach of eternities passion, power, grace and evolution with stunning poise. She is now delivered back to eternity and we are forever grateful for her gifts in our time.” — Sean Jones

“30 years ago, Charlie Haden introduced me to the music of Geri Allen. I still recall the mutual excitement and enthusiasm in the room as we listened to Geri’s incredible piano solos. When I arrived in New York in ’91, Geri was one of the first to embrace me, calling me for gigs, taking me under her wing, so to speak. There were others who filled a similar role but none quite like Geri. She was kind and dignified, with a quiet strength that often reminded me of my mother Alice. I’ll never forget the first times performing with her and feeling elevated by her accompaniment, like my feet were literally rising off the stage a little. I could play one or two notes and her musical response could evoke all the answers to the universe. And she did it all with such ease, grace and strength. I am forever grateful for the many years and many opportunities I had to know and work with Geri. She was a beautiful, warm, and soulful friend. Her music, her sound, her approach to the piano and improvisation was completely and totally her own. The love and enthusiasm and excitement I felt for Geri from day one will continue on throughout my entire life.” — Ravi Coltrane

“The music of Geri Allen flows freely from her heart with an unmeasurable amount of love. I can remember Geri being at a sound check attending to her motherly duties while checking the sound of the piano. That’s a lot of love. She is simply an amazing spiritual being. Her love will continue in all of our hearts forever! God Bless You!!” — Charnett Moffett

“Geri Allen was a great musician and great person. I’m honored to have known her about 30 years and honored to perform with her in various bands. Geri, you’re truly missed.” — Kenny Davis

“Geri Allen existed in her absolute truth for her entire life. In leading by example, she continuously inspired her fellow creative spirits to work towards authenticity and excellence. Her legacy as an artist and educator will surely live on in the classroom, on the stage, and beyond. I am eternally grateful for my lifelong friendship with Geri Allen and all of the time that we shared.” — Robert Hurst

“Geri was a powerful innovator in modern music and a visionary pianist. She was also a scholar and historian of African American music, a community organizer, an institution builder, a feminist, a deeply committed and big-hearted educator, and a quietly determined leader. As a musician she was a conduit for spiritual truths and healing energies. This is a tremendous loss for all of us, and we will strive to uphold & honor her legacy.” — Vijay Iyer

“Geri Allen was one of the greatest most influential pianist of the 80’s Renaissance and in all the history of our music. She influenced several subsequent generations of pianist, composers and forward thinkers of music. I was blessed to have her on several of my recordings and her playing on V and Triangular help set, maintain and raise the standard for the music that followed. She was a gentle, peaceful loving spirit, a dutiful mother and the world is a better place because of her. Long live the music and Legacy of Geri Allen: Jazz Warrior Queen” —  Ralph Peterson, Jr.

“Geri Allen and I have been friends and colleagues for 30 years. We met in the mid-80’s when we were forming and developing the M-Base Collective with several other musicians in Brooklyn. Her voice was so very unique. She was a very sensitive person and that sensitivity came through her music in shimmering waves of brilliance.” — Robin Eubanks