By Marilyn Lester***Celebrating Geri Allen and Mary Lou Williams at 92NY’s Jazz in July was a concert with delicious subtext: not only did it pay homage to two women who are titans of jazz piano, but it was a genius idea set up so that one genius, Geri Allen (1957-2017), was presented essentially in the light of saluting the other, Mary Lou Williams (1910-1981). 
The program also was a shout-out to women in jazz. The fact is, jazz hasn’t always been open-armed about female players in the ranks. Over the decades it’s been a difficult road to conquer. Williams was acknowledged in her lifetime but it wasn’t easy. Allen, of the next generation, didn’t face such struggles and became a strong champion of Williams, with whom she was able to eventually perform and record. Allen also had the honor of portraying Williams in the 1996 Robert Altman film, Kansas City.
The lineup for the evening was a concordance of amazing first-call, A-list players: the rhythm section of Jazz in July Artistic Director, Aaron Diehl (piano, organ), Yusushi Nakamura (bass) and NEA Jazz Master and four-time GRAMMY-winning drummer, composer and producer 
Terri Lyne Carrington (who worked with Allen), plus Nicole Glover (tenor and soprano saxophones) and Vanisha Gould (vocals). The music was curated by Carrington and Nakamura. Leading was Allen’s “Kool/Dolphy’s Dance” (a reference to multi-reed and wind instrument giant, Eric Dolphy, 1928-64). Beginning with a contemplative piano intro by Diehl, the number moved into a bopish mode with Glover featured, and then into a bluesy statement, with Diehl switching to organ and Gould supplying vocals. Making inroads on the scene lately, Gould has developed her own very unique style of delivery, with a vocal tone reminiscent of Alberta Hunter and a demeanor akin to other blues singers of early jazz.
Moving into “Ghost of Love,” Carrington offered assertive drumming for a tune written by Williams and featured on Allen’s 2010 album Celebrating Mary Lou Williams–Live at Birdland New York. That album also featured Williams’ “What’s Your Story Morning Glory?”, presented la
ter in the program with Gould’s bluesy vocal effectively accompanied by bass only. Carrington introduced Allen’s “RTG,” a balladic piece calling for Glover’s switch to the softer, more fluid sound of the soprano saxophone. Closing out the more Allen-focused section of the program, the ensemble played “For Fr. Peter O’Brien.” Williams famously converted to Roman Catholicism in 1954, and Father Peter became her friend and manager. The song was written by Allen and appears on her album Perfection with saxophonist David Murray and Carrington, plus guest musicians. Released in 2016, the album was Allen’s last, before her 2017 death from cancer.
Williams’ “Lazarus” featured Gould front and center, accompanied by piano and bass only, a combination of instruments well-suited to the number and Gould’s 
interpretation of it as a fusion of hymn-gospel-spiritual. That piece was followed by “I Have a Dream,” sung by Gould almost as a recitative, but squarely in a blues groove. A welcome highlight of the program saw the exit of all personnel from the stage to leave Diehl in a literal spotlight. During a trip to Chicago in 1930, twenty-year-old Williams recorded “Night Life” (which made its way in 2008 into the Library of Congress registry as one of the most notable recordings of the 20th century). Diehl, one of the most gifted pianists on the planet, played a showstopper, infusing the onomatopoeic number with a raggy swing and plenty of creative ideas. To top off a superb evening of tribute to the enormous talents of Allen and Williams, the group performed a swinging “Feed the Fire” by Allen, with Gould scatting as the music powered on to a sudden stop outro—a dramatic ending to a thrilling program.
Photos by Richard Temine
