Karrin (CAR-in) Allyson Story

By Bob PROTZMAN

In an era when it seems that every woman who can speak also believes she can sing jazz, and wants to record an album to prove her point, the CD bins are jammed with new releases from vocalists.

The competition is ferocious for the attention of record labels, critics, broadcasters, and of course, buyers.

So what does it take a singer to separate herself from the pack and establish herself as the real thing?

For double Grammy Award nominee Karrin (CAR-in) Allyson, who has managed to do just that, the most important thing is “You have to be yourself.’’ She says, “To me, it’s important to take a natural approach. But in the end,  you have to love the music, work hard at it, and be fair to the people you work with.’’

That approach—along with a host of exceptional qualities that critics fall all over themselves to describe--has worked for 43-year-old Ms. Allyson, who since 1992 has recorded nine albums for Concord Records and just finished her 10th which is scheduled to be in stores April 25.

Also, as someone who’s on the road 75 per cent of the time, she has performed in nearly all the clubs, prominent concert halls, and jazz festivals in the U.S. and around the world.

She’s also been a guest on several occasions on Garrison Keillor’s public radio show “A Prairie Home Companion’’ (6 p.m. Saturday and noon Sunday on WQLN-FM, 91.3 in Erie).

The result is that she clearly has established herself as one of jazz’s premier singers.

The New York Times calls her “one of the most charismatic figures on tour today.’’ An AP writer said, “Allyson knows what jazz singing is all about—sometimes tender, sometimes tough, (she) always strikes the right chord.’’ The Washington Post describes her singing as “the stuff that shivers are made of…innocent, sexy and world weary.’’

Speaking of her versatility, a Los Angeles Times critic said, “Name your singing style and there’s a pretty good chance that Karrin Allyson can handle it.’’

Critics talk about her distinctive voice, which they struggle mightily to describe. “Subtly husky,’’ said one; “part ice and part grain,’’ said another. They also praise her heart, intelligence, musical sophistication, emotional range, and the fact that she sings in French and Portuguese (check out the CD “From Paris to Rio’’ among others).

When reached by phone in her New York apartment, Ms. Allyson was still flush with the excitement and satisfaction of having just finished a new studio album, and eager to talk about it.

“It’s titled ‘Footprints’ (a critically acclaimed Wayne Shorter composition), and features that and other classic jazz instrumental songs from the 1950s and ‘60s with lyrics,’’ she explained.

Fans who cut their jazz teeth in those decades will recognize just about all the songs on “Footprints’’: John Coltrane’s “Equinox’’ and “Lazy Bird,’’ Nat Adderley’s “Never Say Yes’’ and “Teaneck,’’ and Cannonball Adderley’s bassist Sam Jones’ “Unit 7.’’ The latter three instrumentals are from the highly prized 1962 album featuring singer Nancy Wilson with Cannonball’s quintet.

“Footprints’’ also includes tunes with lyrics by vocalese pioneer Jon Hendricks, who is a guest on the album. There is  “Everybody’s Boppin,’’ made famous by the vocal trio (Dave) Lambert, Hendricks and (Annie) Ross; “Strollin’ ‘’ by pianist Horace Silver, one of jazz’s most talented and prolific composers, as well as pianist Duke Jordan’s “Jordu’’ (to which Allyson has written words), and two songs by vocalist/songwriter Oscar Brown Jr., who died May 29, 2005 at age 78.

“He was one of my heroes. I was so sad when he died,’’ says Allyson. “We’re going to honor him with ‘But I Was Cool’ and ‘A Tree and Me.’ ‘’

“But I Was Cool’’ is about someone who undergoes a series of mishaps, but tries to remain calm. He does so by presumably getting relief from his stress by screaming like a maniac. “You WILL hear me scream,’’ promises Allyson.

As we’ll discover later, the too little known singer Nancy King is another of Ms. Allyson’s vocal heroes and major influences, thus Allyson also has invited her to join the cast of “Footprints.’’ Oh, there’s one more guest—83-year-old saxophonist/flutist Frank Wess. “In fact, he plays flute on ‘But I Was Cool,’ ’’ reports Allyson.

“Footprints’’ may earn Allyson another visit to Grammy land, since the concept seems potentially as exciting and satisfying as the album “Ballads: Remembering John Coltrane,’’ which earned Allyson two 2002 Grammy nominations—best jazz vocal and best engineered non-classical recording. Alas, Allyson lost out to Dianne Reeves.

“The idea came from Chris Caswell,’’ says Allyson,.  “He was a fan first, then I went to hear him with Melissa Manchester (he’s her musical director), and we went on to become best friends and colleagues. He’s an avid songwriter, and thought it would be cool to write lyrics to these great instrumental classics, and I agreed. He ends up writing words for most of the songs, and now I’m hoping this is just the first of several projects that we do together.’’

Allyson decided in college (University of Nebraska at Omaha) that she wanted to be a jazz singer. A classical piano major, she did some weekend singing and playing in Omaha clubs, doing mostly pop and folk songs. She discovered jazz through some of her classmates, and began adding jazz tunes to her repertoire. The next thing she knew, she had formed and co-led a jazz combo. “Things just went from there,’’ she says.

She gigged in the Twin Cities of Minneapolis/St. Paul for a while, then moved to Kansas City, where she encountered some simpatico musicians who proved to be just the tonic she needed to give her the drive and confidence to push her art.

That was about 15 years ago and guitarist Rod Fleeman, bassist Bob Bowman and drummer Todd Strait still are with her, a rather unusual circumstance in the ever-changing world of jazz sidemen.

In fact, Allyson is the rare jazz artist allowed by her record label to select her musicians. Usually, the label likes to use its other artists, especially its stars, to back singers, as well as solo instrumentalists.

Her “Kansas City guys’’ will be with her for her Erie gig, with Karrin playing piano when the spirit moves her or the song calls for it.

Allyson agreed to a bit of Q&A, but didn’t always play fair, instead naming two or even three people when asked for just one.

Q. Who was your single biggest singing influence?

A. I’ve got to say two. Carmen McRae who covered so much ground. She could sing a beautiful ballad, tell a story, could improvise, and was funny. But Nancy King, who’s based in Portland and has been around for about 40 years, has many of the same qualities.

Q. If you could get your choice of one musician, past or present, to appear on an album, who would it be?

A. (Trumpeter) Clifford Brown (pause). Or (alto saxophonist) Cannonball Adderley (pause again) and (pianist) Bill Evans. Clifford for his beautiful singing sound, Cannonball for his heart and soulfulness; Evans for his harmonies and great sense of time.

Q. What was the most inspiring vocal performance you ever saw by a singer?

A. Betty Carter when I watched her at the Dakota (a jazz club formerly in St. Paul, now in Minneapolis). She was such a great bandleader. And Rosa Passos, a beautiful Brazilian singer. Nancy King’s also wonderful live.

Q. Singers seem to be turning away from standards and adopting other kinds of material. Are albums of standards passé?

A. No. It depends upon who does them and how they do them, although if you have  any creative force, you’re always looking for something new to sing, as well as new ways to express yourself.

Q. What’s the life of a jazz singer like?

A. It’s a very gratifying experience when you’re reaching people and being interactive with your players, and when you’re studying and learning material. Hanging around with other musicians is a lot of fun. We travel 75 per cent of the time, and although I enjoy travel, things can be difficult at the airport and make it a drag. Sleep is almost never guaranteed. The business end of the music also can be a big problem, unless you have some help. And there’s no money (laughing). Otherwise, it’s just one big party. Actually, I do make a nice living. I’m lucky that way.

JazzErie Presents the Karrin Allyson Quartet

7:30 p.m. Feb. 21

Avalon Hotel, 10th and Peach (16 W. 10th), downtown Erie

Tickets: $15, JazzErie and Erie Art Museum members; $20, public; $5, students.

Information and credit card ticket purchases: Avalon Hotel at (814)-459-2220

Ticket Outlets: Glass Growers Gallery, 10 E. 5th St., (814)-453-3758; Romolo Chocolates, 1525 W. 8th St., (814)-452-1933; Erie Book Store, 137 E. 13th St., (814)-480-5671; World of Music, 1355 W. 25th St., (814)-459-2585; Lynch Music, Rtes. 9 and 20, Fairview, (814)-474-2047 or 474-2970; Grasshopper, 2518 Peach, (814)-454-9545; Osiecki Brothers Music Center, 2426 Parade St., (814)-453-6565; Mary D’Angelo Performing Arts Center Boxoffice, Mercyhurst College, 501 E. 38th St., (814)-824-3000; Colao Ristorante, 2826 Plum St., (814)-866-9621.

Bob PROTZMAN writes about jazz for Down Beat and other publications, and hosts “Everything Jazz,’’ 9 to midnight Sundays on WQLN-FM, 91.3. E-mail him at protz@verizon.net

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