Mose Allison - Mose Alive! (1965) [vinyl]

One of Mose's mid 60s albums for Atlantic - recorded live, with a bit more of a hip flair than some of his earlier work for Prestige and Columbia, but still with those great vocals that went onto influence a generation of beatnik jazz singers. Mose has more than a bit of New Orleans in his tone – but he's also got some northern distance from his material, bringing a nice bit of wit into the recordings. There's a total of 11 tracks including "Parchman Farm", "Smashed", "Seventh Son", "Fool's Paradise", "Baby Please Don't Go", and "The Chaser". ~ Dusty Groove, Inc.

Atlantic Records, SD 1450, 1966

Recorded 22^nd-31^st October, 1965 Live At The "Lighthouse Café",
Hermosa Beach, California

Musicians:

Mose Allison - Piano, Vocals

Stan Gilbert - Bass

Mel Lee - Drums

Tracks:

A1. Smashed {Mose Allison} (2:26)

A2. Seventh Son {Willie Dixon} (2:35)

A3. Fool's Paradise {Jesse Fuller} (3:44)

A4. I Love The Life I Live {Willie Dixon} (2:32)

A5. Since I Fell For You {Buddy Johnson} (2:54)

A6. Love For Sale {Cole Porter} (5:23)

B1. Baby Please Don't Go {Joe Williams} (2:44)

B2. That's Alright {Jimmy Rogers} (2:32)

B3. Parchman Farm {Mose Allison} (3:17)

B4. Tell Me Somethin' {Mose Allison} (2:34)

B5. The Chaser {Mose Allison} (6:52)

Credits:

Supervision - Nesuhi Ertegun

Recording Engineer - Wally Heider

Cover Design - Haig Adishian

Cover Photo - Nick Samardge

Liner Notes - John Tynan

Mose Allison - Greatest Hits (1957-59)

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 occasionally 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. ~ AAJ.

OJC Records, OJCCD-6004-2, 1988

Recorded 7^th March, 1957 (#19,12,14);

Recorded 8^th November, 1957 (#4,7,15);

Recorded 24^th January, 1958 (#6,9,11);

Recorded 18^th April, 1958 (#5);

Recorded 15^th August, 1958 (#1,8,16);

Recorded 13^th February, 1959 (#2,3,13)

At Van Gelder Studio, Hackensack, New Jersey

Musicians:

Mose Allison - Piano, Vocals

Addison Farmer - Bass (#1-9,11,13,15,16)

Taylor La Fargue - Bass (#10,12,14)

Ronnie Free - Drums (#1-3,5,8,13,16)

Nick Stabulas - Drums (#4,6,7,9,11,15)

Frank Isola - Drums (#10,12,14)

Tracks:

01. The Seventh Son {Willie Dixon} (2:41)

02. Eyesight To The Blind {Sonny Boy Williamson} (1:44)

03. Do Nothin' 'Till You Hear From Me {Ellington, Russell} (3:14)

04. Lost Mind {Percy Mayfield} (3:34)

05. I've Got A Right To Cry {Joe Liggins} (2:52)

06. Baby, Let Me Hold Your Hand {Ray Charles} (3:18)

07. Parchman Farm {Mose Allison} (3:21)

08. If You Live {Mose Allison} (2:35)

09. Don't Get Around Much Anymore {Ellington, Russell} (2:50)

10. One Room Country Shack {Mary Dee Walton} (3:04)

11. I Hadn't Anyone 'Till You {Ray Noble} (2:34)

12. Young Man's Blues {Mose Allison} (1:27)

13. That's All Right {Jimmie Rogers} (2:29)

14. Blueberry Hill {Lewis, Stock, Rose} (2:59)

15. Trouble In Mind {Richard Jones} (3:15)

16. Creek Bank {Mose Allison} (4:36)

Credits:

Supervision - Bob Weinstock (#1,4-12,14-16), Esmond Edwards (#2,3,13)

Recording Engineer - Rudy van Gelder

Remastering - Phil De Lancie, 1988 (Fantasy Studios, Berkeley)

Art Direction - Phil Carroll

Photography - Lee Tanner

Liner Notes - Pete Townshend

Mose Allison - Ever Since The World Ended

When I stop and think about it, Mose Allison records were rarely something that I consciously pursued...they just kind of showed up on my shelves in all kinds of ways not normal for a collector; found in closets, left by roommates, random garage sale purchases, equally random gifts...you get it. Each one became a 'certain niche' favorite. I always felt just a little hipper when I'd finished listening to something from my Mose stash. The funny thing is...I snatched this one the moment I saw it, the only Mose thing I ever did that with. For whatever the reason, I knew it was meant for my ears...What's your movie?

Mose Allison - Your Mind is on Vacation

Dedicated to our new Potus and Vice-Potus elect. I don't believe any explanation is needed.

AllMusic Review by Scott Yanow

"It seems strange to realize that this was Mose Allison's only recording during the 1973-1981 period. In addition to his trio with bassist Jack Hannah and drummer Jerry Granelli, such guests as altoist David Sanborn, Al Cohn, and Joe Farrell on tenors and trumpeter Al Porcino pop up on a few selections. However, Mose Allison is easily the main star, performing ten of his originals (including a remake of the famous title cut, "What Do You Do After You Ruin Your Life," and "Swingin' Machine") plus renditions of the standards "Foolin' Myself" and "I Can't See for Lookin'."

I just noticed while listening that there is a lovely Monkish bounce to this Mississippi Be-Bop!

Mose Allison - I Love The Life I Live (1960) [vinyl, mono>flac]

Here’s my tribute to a great musician, singer & composer.

Recorded In the mid-1960, this Mose's second album with Columbia Records, captures the artist and his trio as he develops as a pianist, vocalist and composer. With signature passion and prowess, Mose Allison has created another ripe with personality. Known for his work on the trumpet as well as the piano Mose has played with the likes of Stan Getz and Zoot Sims among others as he has spread his own version of blues inflected jazz across the land. Sticking to the piano on this outing Mose sings and plays a few of his own compositions and a nice selection of other works. His piano presence is light and tasty and the blend of the trio sounds just right ever changing directions from song to song as Mose follows his muse.

When this album was recorded in 1960, this laconic Mississippian wasn't the brilliant lyricist he would later become. But he had great taste. The title track, written by Willie Dixon, sure sounds like a Mose song; "Fool's Paradise" is another gem. Mose's four tunes are instrumentals. The production by Teo Macero makes it feel like you're perched on one end of the piano bench. ~ by Mark Allan, AMG.

Columbia Records, CL 1565 [Mono], 1960

Recorded 28^th June, 1960 - 9^th September, 1960

Personnel:

Mose Allison - Piano, Vocals

Henry Grimes - Bass (#A1,A2,B4)

Addison Farmer - Bass (#A3,A4,B1,B3)

Bill Crow - Bass (#A5,B5,B6)

Paul Motian - Drums (#A1,A2,B4)

Jerry Segal - Drums (#A3,A4,B1,B3)

Gus Johnson - Drums (#A5,B5,B6)

Tracks:

A1. I Love The Life I Live, I Live The Life I Love {Willie Dixon} (2:29)

A2. News {Mose Allison} (3:21)

A3. Fool's Paradise {Jerry Fuller, Robert Geddins, Dan Rosenbaum} (3:39)

A4. You Turned The Tables On Me {Louis Alter, Sidney Mitchell} (4:01)

A5. Isobel {Al Cohn} (4:09)

A6. You're A Sweetheart {Harold Adamson, Jimmy McHugh} (2:18)

B1. Night Ride {Mose Allison} (3:16)

B2. Path {Mose Allison} (3:37)

B3. Mad With You {Lightnin' Hopkins} (2:12)

B4. Hittin' On One {Mose Allison} (3:36)

B5. I Ain't Got Nobody {Roger Graham, Don Peyton, Spencer Williams} (1:53)

B6. Can't We Be Friends {Paul James, Kay Swift} (4:31)

Credits:

Producer - Teo Macero

Cover Photo - Bernie Friedman (Columbia Records Studio)

Liner Notes - Mose Allison

Mose Allison - My Backyard

By special request: Mose checks out his 'backyard' by coming to New Orleans and recording with most of Astral Project.

AllMusic Review by Michael G. Nastos
Mose Allison's career in his golden and quite fruitful years has yielded many surprises and challenges, not the least of which is this delightful offering. He continues to write attractive, bouncy, and fun tunes carried by his signature roiling piano style and sly lyrics. For this effort, producer and Allison disciple Ben Sidran hooked him up with musicians from the modern New Orleans jazz scene, including Astral Project members -- the extraordinary drummer John Vidacovich, tenor saxophonist Tony Dagradi, and guitarist Steve Masakowski. Veteran bassist Bill Huntington rounds out this very talented ensemble that happily works with Allison step by step to produce some of the singer/songwriter/instrumentalist's most enjoyable music, a tall order but easily recognizable once the listening commences. John D. Loudermilk's "You Call It Joggin'," with the retort "but I call it runnin' around," is one of the all-time classic skeptical lyric lines, as applicable to contemporary lifestyles as anything in the urban lexicon. His revisit of "That's Your Red Wagon" is another timeless tale of emotional baggage; Percy Mayfield's "Stranger In My Own Hometown" is purely autobiographical; while "Sleepy Lagoon" is an easygoing, romantic fantasy theme. Of the eight Allison originals, "The Getting Paid Waltz" depicts every musician's nightmare playing in a nightclub, impatiently waiting for the cheapskate owner eventually to pay up. "Was" is a light waltz for has-beens; "Sentimental Fool" talks about the paradox that he "messed around and got humanized"; and the New Orleans shuffle "Big Brother" -- including smart tradeoffs with Dagradi -- is a post-technology cautionary tale, even more relevant in modern times with the advent of Skype, Twitter, and Facebook. A statement on the music industry and jazz in particular, the slinky "Long Song" delineates in four minutes what need and not need be present in popular commercial or creative progressive music, and is a perfect companion to his song "My Top 40 Hit Record." Allison is always a delight to hear, a consistently marvelous piano player, and in very good company with this expert band that suits his style and personality perfectly. My Backyard is one of the best records of his career.

Mose Allison - Autumn Song

A lesser known light amongst the Prestige albums, but it showcases Moses' personal brand of Missisippi BeBop.

AllMusic Review by Scott Yanow

Mose Allison recorded six albums as a leader for Prestige between 1957 and 1959, an era when he was better known as a jazz pianist than a folk/country blues vocalist and masterful lyricist. On his final Prestige date, Allison (in a trio with bassist Addison Farmer and drummer Ronnie Free) performs seven instrumentals (including "It's Crazy," "Autumn Song," and "Groovin' High") but it's the three vocals ("Eyesight to the Blind," "That's All Right," and Duke Ellington's "Do Nothin' 'til You Hear from Me") that are most memorable. One realizes why Allison was soon emphasizing his vocals; he was a much more distinctive singer than pianist, although his piano playing was actually pretty inventive. This is an excellent all-around set.

Mose Allison - Local Color and Down Home Piano

And now a world without Mose Allison...sigh...Cool takes a huge hit. Privileged to have seen him a few times. A unique and remarkable pianist as well as song writer/humorist/philosopher and political commentator. I miss him already...