Aging is one of Mose Allison’s great topics, particularly now that he is, as he puts it, a “certified senior citizen,” so it’s fitting that I was introduced to his music by his daughter Amy, a post-feminist-Long-Island-hillbilly-country-singer who likes her booze. There’s no doubt the guy’s logged a lot of miles—he was born in Mississippi when the Delta blues was still modern and cut his teeth as a sideman to Stan Getz and Gerry Mulligan in the ’50s—but there’s still plenty of oom-pa-pa in the iconoclastic songsmith’s piano playing, not to mention his loins. (‘I don’t even mess with checkers and chess, just take me to the place where they bump and grind.’) No one word (save for maybe American) aptly describes all the musical styles Allison’s internalized, and he can still attract the type of session help that would cause any young jazzbo to drool. But his singularity is in his singing—imagine Nat “King” Cole trying to hustle cards without raising his voice—his off-kilter sense of rhythm, and his gift for turning the deepest concerns into laughing matters. Allison’s most recognizable tune is his ’57 chestnut ‘Blues (A Young Man),’ which the Who immortalized as ‘Young Man Blues’ in 1970. But on his latest, Gimcracks and Gewgaws, Allison does Townshend and Daltrey one better with ‘Old Man Blues’ —a fitting update that’s even angrier than the original. At 8 & 10 p.m. Thursday-Sunday, Sept. 3-6, at Blues Alley, 1073 Rear Wisconsin Ave. NW. $16. (202) 337-4141. (Brett Anderson)