Red Allen Chapter 8 - The Jazz Archive Site

THE
HENRY“RED“ALLEN
& J.C. HIGGINGBOTHAM
COLLECTION
=================================================
a bio-disco-documentation
part
–
3:
1954-1967/73
==================================================
compiled by Franz Hoffmann
JAZZ AT THE METROPOLE
THE HENRY“RED“ ALLEN – COLLECTION
========================================================================
a non commercial
bio-disco-documentation
part – 3: 1954-1967
=====================
with almost all the original sources:
reviews, previews, record-reviews through the years by controverse critics,
advertisements and photographs compiled out of
periodicals, newspapers, jazzbooks, LP-/CD-cover-notes
--------------------------------------------------------------------------------------------------------
HENRY“RED“ ALLEN
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Jan., 7th, 1906 – Apr., 17th , 1967
a trumpeter between styles and generations
with an impression about the surrounding conditions and collegial performers ;
also about the most fascinating world of the black show-business and its social background
reported by the weekly black news-press papers –
and about the rather different jazz magazines and jazz critics in course of time and jazz styles
wikipedia: Red Allen's trumpet style has been said by some critics to be the first to fully incorporate
the innovations of Louis Armstrong and to develop an emphasis on phrasing. Allen's recordings
received much favourable attention. His versatility is shown by his winning of Down Beat awards in
both the traditional jazz and the modern jazz categories.
and his closest man,
J.C.
HIGGINBOTHAM
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------May, 11th , 1906 – May, 26th , 1973
by
Franz Hoffmann
Kortumstr.27, D-44787 Bochum; Tel.:(0049)234-51621961
-----------------------------------------------------------------
May 2002 /with additions on pdf-DVD-ROM 2011/13
II
BACK TO THE ORIGINAL SOURCES:
Born 1942 in Germany, grown up in an international publicity and with a father who had lived from 1924-39 in Middle
America and the USA and with his enthusiastically memories of jazz life with all his facettes - working bands, gospels
and black & white night club bands – my interests aroused going back to the original sources, musically (in contrast to
my friends I never have been a fan of the “Dixie-revival” but of the old and new styles ) and literary. I was fascinated
by the early dicographies by Dr.H.Lange, Delauney then: Rust and Godrich & Dixon and such deep researched books
of W.C. Allen´s HENDERSONIA, Tom Lord´s Clarence WILLIAMS and Chilton´s WHO´S WHO, Al McCarthy´s
BIG BAND JAZZ e.t.c. They brought me to step into the fascinating world of the weekly negro-press papers, which
showed also the social backgrounds of jazz life and in contrast to the relatively fixed history of jazz performers and
bands that there was a big personnel fluctuation between the bands, shows & venues, unknown for us in Europe and
often neglected by magazines and jazzcritics.
I hope this work is able to bring over some of this flair of those vivid-jazz-life reported by the negro-presspapers and of
the jazz magazines with their different opinions through the years.
The biographical part lists
- all known engagement dates, if known: details of additional shows, previews, reviews, advertisements, benefits;
I am rather incomplete for stuff out of newspapers of San Francisco, St.Louis, New Orleans, Boston, Philadelphia,
- all known photos ; record-advertisements
- as far as available all known critical record-reviews through the years and if of interest – the cover notes
This disco-part lists
- all known recordings for commercial record and transcription companies (including unissued titles and alternate takes)
with the original 78" releases. Not mentioned are other 78" & Ep issues and for lack of place often not single
reissues on Lp samplers whereas I tried to listen all known Lp, CD & video issues. But I fear I am not up to date in
the complete US CD/video-field. I let out CD-issues of samplers or when they do not bring the complete sessions
- all known recordings for non-commercial record and transcription companies as AFRS, Music Branch of Special
Services Division (V-Disc) including unissued titles and alternate takes. Especially in the 40's and early 50´s several
club- and concert-jamsessions have been transcribed for broadcasts one or several weeks and occasionally even years
later (a special list is available).
- all known taped broadcasts (air-checks and air-shots) of TV and radio shows all known taped soundtracks from films
and telecasts (video-tapes with special marks). For research of more anywhere existing film & TV stuff ,a special list
is available.
- all known taped concerts and other life appearances (often only of poor quality but of historical interest).
I would like to encourage everybody who is able to make any corrections or addition or remarc, especially details about
engagements in New Orleans, Los Angeles, San Francisco and Boston.
For better legible-quality I had scanned a lot of stuff out of old papers into the PC. Unfortunately the text-recognitionprogramme made so many mistakes, that it was impossible for me to correct all. Forgive me when I have overlooked
several faults.
unissued RED ALLEN broadcasts, TVs and live-concerts on non-commercial series
RA-CD-1-41 & JCH-CD-1-12 & RA-DVD-1 & RA-DVD-2 (look own pdf-data)
other non-commercial books available in small xeroxeditions, now available on pdf-DVD:
HENRY”RED”ALLEN COLLECTION – A RED ALLEN BIO DISCO COMPILATION
of engagement dates and all stuff (photos, advertisements, previews, reviews, record reviews, notes out of the press
papers (N.Y.Amsterdam News, N.Y.Age, Pittsburgh Courier, Baltimore Afro Am., Chicago Defender, N.Y.Times) and
nearly all periodicals and jazz magazines. A survey about the world of jazz with his different facettes of music and
styles as also the different & controverse opinions by critics in the publications through the years.
1.
2.
3.
4.
5.
part.1a: chapters 1 - 3 (1906-1934), Index in part 1b
196pp, 10 Euro
part.1b: chapters 4 - 5 (1934-1940), w.Index for 1a & 1b
192pp, 10 Euro “
part.2: chapters 6 - 7 (1940-1954), with Index
156pp, 0 Euro
part.3: chapters 8 - 10 (1954-1967) with Index
200pp, 10 Euro “
-----------------------------------------------150pp, 10 Euro
RED ALLEN – J.C.Higginbotham DISCO, 1927 – 1971
incl.a lot of unissued bcs/TVs/films/concert-tapes; photos, advertisements; non-commercial series RA-CD ? JCH-CD
---------------------------------------------6.. "Jazz Advertised in the US-negro press 1910-67 & New York Times 1922-50" a documentation of about
21.300 advertisements and 3.000 photos (often of poor quality out of old microfilmed papers) on 2.700 pp in
seven volumes plus index-book
30,00 Euro each one, 10,00 Euro for the Index .
7. “Jazz Reviewed” – Working Book Addition to JAZZ AD. with press clips (*incl. Louis Armstrong 1935-37/40-42)
Vol.1: New England 1910-49 + specials of L.Russell*/ Baron Lee- L.Millinder-E.Hayes; 396 A4pp incl.Index ; 30 Euro
III
HENRY RED ALLEN DOCUMENTATION - Contents:
BIO-DISCO part-1a: New Orleans / Luis Russell / different orchestras / Fletcher Henderson
253 pages
II
IV-V
VI
VII
VIII
1
10
14.1-14.8
15
19
26
32
36
39a-39f
40
43
55
60
66-70
109
114
114
133
138
145
148
184
BIO-DISCO part-1b: Mills Blue Rhythm Band 1934-36 / Day By Day Louis Armstrong 1937-40 301 pages
Chapter-4: 1934-1937 THE MILLS BLUE RHYTHM BAND & pick-up-bands
185
Ewin Hinchcliffe in Swing Music 5/35: RedAlllen – his records
202
Chapter-5: 1937-1940 LOUIS ARMSTRONG & LUIS RUSSELL & Bluesrecords
239
L.Armstrong: “Artists and Models”-247; “Every Day's A Holiday”-253; “Dr.Rhythm”-254/255/269;
“Going Places”-271/272; ”Swingin' The Dream”-300-302; different Fleischmann Yeast NBC-bcs
Jam-sessions, benefits: “Swing to Opera”-265; “Randall Islands”-273; Carnegie Hall-Oct.38:-289;
Jelly Roll Morton sessions - 264,306-311 ; Red Allen articles 286/287/311
ADDENDA: The Time Life article 1981 by Dick Sudhalter & John Chilton, incl. record reviews & photos,
336-360
INDEX for part-1a & -1b
361-366
ADDENDA: J.C.Higginbotham´s 1943 - “Warm Up” book for trombone –1 & -2 (solos to p-acc.) 27 pages
J.C.Higginbotham –solos 1928-41 transcribed by Ulrich Bela in 2001
64 pages
BIO-DISCO part-2 : 1940 –1953
173 pages
J.C. HIGGINBOTHAM - by John Chilton
IV
HENRY”RED”ALLEN - by John Chilton
V
Chapter-6: 1940-1947 OWN ORCHESTRA & avantgarde sessions
1
Articles by Rex Stewart `68, Red Allen`40, L.Feather, George Hoefer`42; CD.`44; Pat Harper `46;
Bill Kinnell `44-“HIGGY; Johnny Simmen `76; Red Allen `46; DB-Jan.47; J.C.Higginbotham`47;
Chapter-7: 1947-1954 REVIVAL BANDS
103
Articles by Herb Friedwald – G.Lewis on AMCD; G.Hoefer `52; Gus Kuhlman- Rustic Lodge
Ron Stayley `53-Higgy went Home; Thurman & Mary Grove `54; Douglas Hague `55;
INDEX for part-2
147
BIO-DISCO part-3 : 1954-1967/73
236 pages
Chapter-8: 1954-1961 THE METROPOLE ALL STARS part-1
1
“Metropole” by John Chilton: -2/-41; by Mc Carthy: -64-65;
map of 52nd St.: -5
NPT-57: 29-35; Dec.57 Sound of Jazz: 36-39; Aug.58: A Great Day In Harlem:
54-55
1958 on ART FORD JAZZ PARTIES-WNTA-TV
46-59
Red Allen by G.Hoefer-1959: -60; Higginbotham by DB-59: -61; by G.Hoefer 1964: - 62
1959 with KID ORY on record session & Europa-Tour
71-85
Red Allen by W.Balliett –73; Kid Ory by J.Cooke -79; by G.Boatfield –80; by T.Standish - 82
Chapter-9: 1961-1965 OWN QUARTET - at the Metropole part-2, Embers, London House, e.t.c.
93
Martin Williams article - 97 &104; Chicago & All That Jazz -98; 1963 Louisville WHAS-TV -109.1
Don Ellis article - 111; 1964 with LOCAL BANDS on Tours through England
113-134
Chapter-10: 1965-67 The Avangarde Quartets, Monterey-65 on p142; Newport-66 on pp152-154;
138
“Higgy Comes Home” 1966-WAGA-TV & article by Dan Havens; 159-164
1966/67 with LOCAL BANDS on Tours through England 146-151/166-168
Final Days: funerals of Buster Bailey & Red Allen; Red Allen benefit; obituraries;
169-178
J.C.Higginbotham – last TV-69, article by B.Haughton 1970; obituary 1973; & addenda
179-181
INDEX for part-3
182-186
Survey about JAZZ ADVERTISED 1910-1967
187-190
---------------------------------------------------------------------------------------------------------------------------------------------------Survey about non-commercial audio-CD- series RA-CD-1-41 & JCH-CD-1-11 incl. many unissued sides
24 pages
Introduction & other available books
References and book reviews
Credits, Instrumental abbreviations
Label Abbreviations
Survey about clubs / venues in Harlem and Brooklyn
INTRODUCTION: Martin Williams - “Henry Red”
Witney Balliett - “THE BUES IS A SLOW STORY”
Mississippi Rag Nov.93 – J. Lee Anderson – Henry Red Allen
Other general articles about Red Allen by Chilton, Goffin, M.Boujut
Chapter-1a: The Early Days 1906-27 in Algiers, New Orleans, gigs on the Mississippi
-1b: The Early Days 1927-29, first trip to New York then on the Riverboats
Albert McCarthy: Red Allen-Autobiography - The Early Days
Other articles by Pearlie Mae to P.Carr; Allen to John Lucas; & WYES-TV-1966
Algiers walking tour -by K.Herridge / Best of West - by K.Reckdahl / Jazzwalk´s lamppost
Chapter-2: 29-33 with the LUIS RUSSELL ORCHESTRA & first mixed bands
Longer articles by Pops Foster, Frank Driggs, Al Mc Carthy, Johnny Simmen,
Swing Music-36; Henk Niesen; Harald Grut, David Ives,
J.R.T.Davies & L.Wright Andrew Sylvester, Harry Walton, Barry McRae;
Keith Nichols – J.C.Higginbotham; Eddie Lambert; Jean Pierre Daubresse,
& Michel Andrico about L.Russell (p106-107); Al Nicholas about Jelly Roll
Chapter-3: Sept.31-May 1933 intermission with different orchestras incl.Charlie Johnson
Don Redman: Albert Mc Carthy
Rhythmakers: E.Lambert, Ch.Fox (p121); H.Panassié (p130-132); Peter Kunst
Articles by Spike Hughes, Ray Horricks, Nank Niesen, Max Harrison,
H.Panassié Peter Tanner, Stanley dance, BarrenMcRae, John Hammond
June`33-Oct.`34 with FLETCHER HENDERSON´s ORCH. & studio bands
Articles by: GEMS OF JAZZ (p156-157);W.C.A.:HENDERSONIA (p183-184)
IV
CREDITS
Allen, Dan"W.C." (Can)
Allen, Dick (USA)
Allen, P.Henry III (USA)
Allen, Pearlie Mae (USA)
Allen, Josephine (USA)
Armstrong House, Queens (USA)
Barker, Danny (USA)
Bärnheim, Björn (Swe)
Bastide, Michel, MD (F)
Benandrini, G. (Queen-I)
Beranger, Philippe (F)
Borthen, Per (Norway)
Boughton, Joe (USA)
Brooks, Michael (CBS-USA)
Buckley, Ian (UK)
Burke, Ed (Fanfare-USA)
Cantor, Mark (USA)
Carr, Peter (UK)
Chertok, David (USA)
Chilton, John (UK)
Clayton, Buck (USA)
Clement, John (USA)
Cole, 'Dr."Cozy" (USA)
Collier, James L. (USA)
Coller, Derek (UK)
Coverdale, Bill (UK)
Daubresse, Jean Pierre (F)
Driggs, Frank (USA)
Elleson, George H. (UK)
Erzinger, Frank (Ch)
Esposito, Bill (USA)
Fell, John (USA)
Fellers, Christer (S)
Flakser, Harold (RRA-USA)
Flückinger, Otto (Ch)
Friedwald, Herb (USA) (Jazz-USA)
Friedwald, Will
Goodsell, Syd (UK)
Griffiths, David (UK)
Gross, Kenneth N. (USA)
Hägglöf, Gösta (Amb.Rec.Swe)
Hällstrom, Carl (Swe)
Haesler, Bill(Saggie-Austr.)
Herling, Horst (G)
Herridge,Kevin (USA)
Higginbotham, Margaret (USA)
Hilbert, Bob (Pumpkin-USA)
Hippenmeyer, Jean R. (Ch)
Holmes, Charlie (USA)
Hustad, Thomas P. (USA)
Inman, Robert (USA)
Jenkins, L.C. (M.S.G.-UK)
Kellam, Colin A. (UK)
Kuhlman, Gus (WCTC-bc, USA)
Knudsen, K.E. (CC-Rec.Dan)
Kumm, Robert (USA)
Lasker, Steven (USA)
Lefevre, Claude (F)
Lucie, Lawrence (USA)
Mackenzie, Harry (UK)
MacKinney, Jack (USA)
Marschall, Frank (G)
Metzger, David"Red"(USA)
Mikell, Gene (USA)
Mohaupt, Wolfgang (G)
Nathan, David, N.J.F. (UK)
Nowakowski, Dr.Konrad(A)
Peerless Brian (UK)
Persson, Bent (S)
Pointon, Michael (UK)
Polomsky, Lothar (G)
Porter, Bob (Savoy/Phoenix)
Richards, Trevor (G/UK
Risch, Robert (USA)
Rose, Boris (USA)
Salemann, Dieter (G)
Schiedt, Duncan ( USA)
Schlitten, Don (Xanadu-USA)
Schmidt, Rolf (G)
Schonfield, Victor (UK)
Schröder, Harry (G)
Segami, Yasuo (Japan)
Selchow, Manfred (G)
Shera, Michael (UK)
Simmen, Johnny (Ch)
Singer, Hal (F)
Singleton, Marge (USA)
Smith, Hal (UK)
Smith, Keith (Flutegr.-UK)
Stumpf, Axel (G)
Tanner, Frank (UK)
Taylor, James 0. (USA)
Terjanian, Leon (F)
Teubig, Klaus (G)
Trolle, Frank (USA)
Tulane University-(USA)
Valburn,
Jerry (JA/Meritt-USA)
Vernhettes, Dan (F)
Vinding, Terkild MD (USA)
Voce, Steve (UK)
Vollmer, Al MD (USA)
Von Rijn, Guido (NL)
Warner, Will (USA)
Weir, Bob (UK)
Wessells, Robert (USA)
Wethington, Crawford (USA)
Willems, Jos (Belg)
Williams, Johnny (USA)
Williams, Martin (USA)
Williams, Mary Lou (USA)
Zeiger, Les (USA)
zur Heide, Karl Gert (G)
Zwicky, Theo (IRC-Ch)
REFERENCES
discos & books:
Brian Rust: Jazz Records 1897-1942; 1969/1978
Codrich & Dixon: Blues & Gospel Records, 1969
Grunnet Jepsen: Jazz Records 1942-1962
Walter C.Allen: Hendersonia, 1973
Tom Bethell: Ceorge Lewis
Egino Biagioni: Herb Flemming, 1977
J. Chilton: Ride, Red, Ride, 1999
J. Chilton: Who´s Who Of Jazz, 1972;- S.Bechet, `87;
Ride, Red, Ride, 2000; Time Life article;
Eddie Condon: Scrapbook of Jazz
Driggs & Lewine: Black Beauty,White Heat; 1982
Robert Goffin: Histoire Du Jazz p266-268
William Gottlieb: Golden Age Of Jazz, 1979
Keepnews + Grauer: Pictorial History of Jazz `69;
Tom Lord: Clarence Williams, 1976
Albert McCarthy: Big Band Jazz, 1974
David Meeker: Jazz In The Moovies, 1977
Jack Millar: Billie Holiday, 1979
Rose + Souchon: New Orleans Jazz 1967
M.Selchow: Edmond Hall; 1988; Vic Dickenson;`98
Johnny Simmen: Le Point du Jazz no.13, 1977
Tom Stoddard: Autobiography-Pos Foster; 1971
Dr.Klaus Stratemann: Negro Bands On Film, 1981
dito: Duke Ellington-day by day,film by film, 1992
Ken Vail: The Life Of Billie Holiday, 1996
“ “ : Jazz Milestones, 1993
Bozy White: Eddie Condon Town Hall Concerts
Laurie Wright: Mr.Jelly Lord; 1980
press papers 1910-1967
BAA=Baltimore Afro American(weekly)
CD= Chicago Defender (weekly)
LAT=Los Angeles Times (daily)
NYA=New York Age Defender (weekly)
NYAN=New York Amsterdam News (weekly)
NYT=New York Times (daily)
PC =Pittsburgh Courier (weekly)
VV = New York Village VOICE (weekly)
record-magazins:
Micrography (Dick Backer-NL)
Collector´s Items (John Holley)
Meritt Society (Jerry Valburn)
jazz magazines:
Down Beat; Ballroom & Band(UK); Bulletin DHCDF(F); Coda
(Can); Cadence; Discophile (UK); Footnote(UK) Hot Revue
(Ch); IAJRC; Jazz & Blues(UK); Jazz(USA) Jazz(Ch.) Jazz(G1949;) Jazz Beat(UK); Jazz Forum(UK); Jazz Information;
Jazz Hot (Delauney); J. Journal Intern (UK); Jazz Monthly(UK);
Jazz Music(UK); Jazz Notes; Jazzology(UK) J.Podium(G);
Jazz Quarterly; Jazz Records (Art Hodes); Jazz Tango(F); Jazz
News(UK) Jazz Times(UK); Jersey Jazz; Melody Maker (UK);
Mississippi Rag; orkestra journalien; Pick-up; Playback;
Record Changer; Record Research; Rhythm (UK); Storyville
(Laurie Wright, J.R.T.Davies, Howard Rye); Swing Music
(UK); Tempo (USA); Tune Times (UK)
VI
Label Abbrevations
ABS-LP
Aff.
AFRS
AM-Lp/CD
Ambas.CLA
Antip
AofH
A.o.J.
ASV-CDAJA
ARCD
ASV
Atl
BDCD
Ban
BB
BBC
B.of J.
B&W
BMCD
BN
Br
Cam
Cap
CBS
CC/ColClas
Charl.CDAFS
CDS Rec.
Class.
Clif.CARCD
Coll´s
Coll´s Must
Co/Col
Com-LP/CMD
Cor
CurcioG.del J.
De/Dec
Dej.Rec.
DOCD
Epic
Esq
EvB
Fam
FlapPAST-CD
Frem.
Fon
Gen
G.o.J.
GRP-CD
Hal.
Har
HEP
Hist
HistRec
HMV
H&R
HRS
Jass
JazzAnth
JA/JazzArch
JazzArch.CD
J.Averty
JazzCr.JCCD
JazzDoc
JazzPan
JazzRec
JazzSoc
Jazztime
Jazzt
JazzologyJCD
CBS-Records
Affinity-CD (IJK.)
Armed Forces Radio Service
American Music (USA)
Ambassador-CD(Swe)
Antipodisc Australia
Ace Of Hearts
Archives Of Jazz(Du)
ASV-Living ERA
Arbors (USA)
ASV-CD (UK)
Atlantic
Bandstand CD (USA)
Banner (78")
RCA-Bluebird
BBC-Enterprises (UK)
Best of Jazz CD (F)
Black and White
Blue Moon CD
Blue Note
Brunswick
Camden-RCA
Capitol
Columbia Broadc.Systems
Collectors Classics
Charly Rec. (UK)
CDS-Records-CD (UK)
Classics-CD (F)
Clifford
Collector´s
Collector´s Must
Columbia 78"/Lp
Commodore
MCA-Coral
Curcio Giganti del Jazz(I)
Decca 78"/LP
Dejavu Records-CD(It)
Document Rec.CD(Austria)
Epic Records Lp/CD(USA)
Esquire
Everybody Lp/CD (Swe)
Family (Italy)
FLAPPER-CD
Fremeaux Rec. CD(F)
Fontana
General
Giants of Jazz CD(I)
GRP-CD-Records
Halcyon CD (UK)
Harmony
HEP-Records Lp/CD(UK)
Historia
Historical Records
His Masters Voice
Hot & Rare CD (F)
Hot Record Society
Jass Lp/Cas./CD (USA)
Jazz Anthology
Jazz Archives(USA)
Jazz Archives(F)
Jazz Averty Video
Jazz Crusade (USA)
Jazz Document (Sweden)
Jazz Panorama
Jazz Records CD (USA)
Jazz Society
Jazztime Records CD(USA)
Jazztone
Jazzology CD (USA)
Nationality Of Labels:
A Austria
Arg Argentinia
Aus Australia
Ch Swiss
JSP-CD
Jub.
King AKWA
K.J.
Landsc.
Largo
LeJ
Lon
LVA
Mainstr
MCA
MCD
Me
MJCD
MemMJCD
Mid.CD
Mil.CD
MGM
MosaicLp/CD
MusMem-CD
NAT
NoJ-No.
Obj.JD
Od
OFC
OK
Parl
Per
Phoenix-LP
Phon
Phi
PhonCD
Prest
Pump-Lp
Queen
Rar
Raret
RCA
RST-JPCD
RTR-Lp/CD
Riv
Roul
RST-JPCD
Sony-WNR
Story-CD
StoryvSTCD
SZCD
Swag
Swingf
Swingv
Tax
TL
TICBCD
TOM
TPZ CD
Var
VidSoundie
Vid.VVD
VidJazz
Vg
Vi/Vic
Vo
VOA
VJM
VJC-CD/vid.
VSP
WR
WRC
XTRA
Du Netherlands
Eu European
Continent
F
G
I
JSP-CD-Rec.(UK)
AFRS-Jubilee Records
King AKWA Rec. (G)
King Jazz KJCD-FS (I)
Landscape Rec.LSCD(
Largo Rec.CD (G)
LeJazz CD (F)
London
LVA-Records
Mainstream
Decca Group
Moon MCD (UK)
Br.Melotone 78"
Media 7 Masters o.J.(F)
Memoir Records CD
Midget Rec.CD
Milan Rec. CD (F)
Metro Goldwyn Mayer
Mosaic Rec. (USA)
Music Memoria
National
Notes on Jazz (USA)
Object Rec.CD
Odeon
Only for Collectors
Okeh (78")
Parlophone
Perfect
Phoenix (USA)
Phonstatic
Philips
Phonstatic Rec.CD(Swe)
Prestige
Pumpkin (USA)
Queen-Lps (It)
Rarities
Raretone
RCA Victor
RST-J.Perspectives(A)
Retrieval RTR (UK)
Riverside
Roulette
RST-Records (Austria)
Sony-Video-Wienerworld
Story of Blues (Austria)
Storyville Rec.(Dan)
Suisa Records (I)
Swaggie (Australia)
Swingfan
Swingville
Tax Records Lp/CD(Swe)
Time Life Records
Timeless CD (Du)
The Old Master
Topaz Records (GB)
Varsity
Video-Soundie
Video Storyville(Dan)
VidJazz Video
Vogue
Victor 78"/LP
Vocalion 78"
Voice Of America
Vintage Jazz Music
Vintage Jazz Classics(USA)
VSP-Verve
World Records (CD)
World Record Club (UK)
XTRA = RCA
France
Germany
Italy
J
Japan
S Sweden
UK Great Britain
V
NEW ORLEANS MUSIC
The Henry 'Red' Allen
& J.C. Higginbotham
Collection - a bio-discodocumentation.
by Franz Hoffmann ,
It's refreshing to find in this age, when many a book
about jazz that has clearly been thrown together with a
view to making money out of a likely 'market', to find a
work by those who treat detailed research as a labour of
love. Such a person is Franz Hoffmann who has already
gained acclaim from such authorities as John Chilton for
his series of books entitled, “Jazz Advertised”, a
remarkable series of press advertisements reproduced
from black newspapers between 1910 and 1967.
One of Hoffmann's passions is the life and work of Red
Allen and some time ago he compiled and published a
definitive discography of Red Allen and J.C. Higginbotham in one paperback volume. Now he has reprinted his
discography which is a “must” for anyone who does not
possess the first edition. Apart from much detail of each
session Red ever recorded commercially, including
photos and press ads from each period. there is a section
dealing with tapes of unissued broadcasts and recording
sessions plus one for film and TV appearances. This, in
itself, is a major reference source but now the industrious
Hoffmann has come up with a three-part (at present) work
entitled: The Henry 'Red' Allen & J.C. Higginbotham
Collection - a bio-disco-documentation. The first
volume (Part 1a: 1906-1934) runs to 184 pages in A5
September 2001
format and is an enthralling compilation of material
elating to both ,musicians' long careers, taken from the
Harlem press and including many reviews from all sources
over the years, much of it reprinted from obscure magazines,
accompanied by numerous rare photos. Part 2 (1940-1954)
follows a similar format and covers over 150 pages. Part lb
(1934-1940) I haven't caught sight of yet but it should be
available by now and I'm sure will be equally meticulous,
together with two final sections covering 1954-1959 and.
1959-1967.
These compilations will provide an ideal companion to
John Chilton's “Ride Red Ride” and delight lovers of Red
and Higgy's work. The original Discography is available
direct from Franz Hoffmann at 15DM and the 'Bio-Discos'
cost, respectively: Part la: 20D M, Part 2: 15 DM. Other
volumes will be quoted pro rata.
Hoffmann's remarkable series “Jazz Advertised in the US
Negro Press 1910-67 and New York Times 1922-50”, a
compilation of some 21.300 press ads and photos taken from
microfilm, in seven A4 volumes, costs 60 DM per volume
and is great value. There are also three similar volumes
entitled “Jazz ,Reviewed” covering New England 191049: 60 DM, Chicago 1910-49 and New England 1950-67
due soon. Hoffmann refers to his publications as “noncommercial small xerox editions” but they are wellproduced research tools nevertheless and open up a new
perspective on many facets of jazz that have never been
fully covered. For this invaluable work Franz Hoffmann
deserves our gratitude.
Mike Pointon
Privately published:
Franz Hoffmann can be contacted ….
Jazz Journal International August 2002 p14
THE HENRY 'RED' ALLEN & J.C.HIGGINBOTHAM COLLECTION. Part 1b (1934-1940) &
Part 3 (1954-1967). Compiled and published by Franz
Hoffmann, …
, Germany, PB. A5. 196 & 194 pp.
Franz made his considerable reputation with his seven
large volumes of Jazz Advertised In The US Negro Press;
essential source material for anyone involved in jazz and
black showbusiness research. Alongside this painsticking project, Franz has published several editions of
Red and J.C.'s bio-discography. That work has now been
revised and extended for a superb four volume set of
which the above two books have come my way.
As well as conventional and comprehensive discographical information on Red and JC, separately and
together, he includes a wealth of articles, reviews,
advertisements and photographs from periodicals, jazz
books and record albums. These combine to provide a
fascinating critical commentary and an in-dept narrative on
the working lives and musical achievements of his subjects.
He draws his material from such a wide variety of printed
sources that I can guarantee that even those with large jazz
literature collections will be surprised at the extent of
previously undiscovered gems.
The books are clearly printed, nicely designed and
indexed. Each book costs a bargain 10 Euros and can be
obtained, together with volumes 1a and 2, from Franz at the
above address.
Bob Weir
Instrumental abbreviations
a/arr
acc
as
b
bb
bs
bars
bj
c
cel
cl
arranger
accompanied by
alto saxophone
string bass
tuba
bass saxophone
baritone saxophone
banjo
cornet
celeste
clarinet
cond
comp
d
dir
el-g
fl
fh
g
ld
mc
narr
conductor
composer
drums
director
electro-guitar
flute
french horn
guitar
band leader
master of ceremonies
narrator
org
p
ss
t
tb
ts
v
valve-t
vib
vln
wb
organ
piano
soprano saxophone
trumpet
trombone
tenor saxophone
vocal
valve trumpet
vibraphone
violine
washboard
for many performances there are solo-routines with following abbreviations:
-ann = announcement ,b = bars ; brk = break ; brd = bridge ; ens = ensemble work ; intro = introduction;
-Allen in ens = the musician is clearly audible; growl = growl-t / mute = muted trumpet or muted trombone;
-(obligato work) indicates that the musician is improvising behind a vocalist; e.g: -vRA (ens-Higginbotham) 20bmeans 20 bars vocal by Red Allen with obligato work first by the ensemble then by Higginbotham
-1-
ST.JAMES INFIRMARY
&
KISS THE BABY
Chapter-8: Red Allen & All Stars at the METROPOLE part-1: April '54–March '61;
at several US & Canadian Jazz festivals as Newport 1957-66, TV-sessions as CBS-1957 & WNTA-1958;
socially & musically he became a prominent figure at countless benefit- & welfare fund sessions;
1959 first visit to Europe on Tour with KID ORY
ca.1955/56, The Metropole - HENRY RED ALLEN'S NATURAL GIANTS (THE METROPOLE ALL STARS) :
Claude Hopkins-Eddie”Mole”Bourne-Red Allen-Buster Bailey-Herb Flemming (courtesy-E.Biagioni & Herb Flemming)
April 54-July 65, NYC., Metropole – Red Allen All Stars: with following members 1954-65: Red Allen(t,v) tb: Herb
Flemming ('53-Jan.57, & again '58, '60); J.C.Higginbotham (Jan.57-59); Tyree Glenn (occasional); Vic Dickenson(58); Benny
Morton (60); Buster Bailey(54-64); Boomie Richards(ts-50s); Tony Parenti & Sol Yaged (occasional when opposite at the
Metropole in the '50s); Sam Taylor (late '50s); piano: Claude Hopkins (54-64); Ken Kersey (55) Marty Napoleon (late'50s);
The Lion Smith(occasional); Sammy Price (late 50s-67); Al Williams(late '50s); Bob Hamner(late 50s-60s); Lannie Scott;
rhythm: Danny Barker(occasional); Lloyd Trottman(until Nov.54 & 59), Bennie Moten (Nov.54-6os); Milt Hinton(50s&60s);
Arvell Shaw, Eugene Ramey(50s), Frank Skeete(6os); Cozy Cole(54-Sept.55,Feb.57-mid.57,occasionally until 58), Stick
Evans (Sept. 55-56), Eddie Bourne (56-Jan.57, & again 58), Rufus Jones, Osie Johnson, Sol Hall(late 50s-1960); Jerry
Potter(60s), Ronnie Cole (63);
----------------------------------------------------------------------------------------------------------------------------------------------------Cozy Cole in letter to the author (1978):..As you may not not mistaken I first met "Red" on the Putney Dandridge
know, I am living in Columbus now going to school at dates, which goes back to 1930 or '31 - which is a beautiful
Capital University which is a great musical Conservatory - time to remember. (Cozy has known my Allen-disco 1907I'm studying Arranging, Piano, Tympani & Marimba. This 66 and a tape with all Allen- and Dandridge sessions in the
is my junior year, one more to go. ... Henry Red Allen was 30's. It seems he means here earlier unrecorded sessions!).
also a friend of mine and a very dear one I might add. He ... After that period (1954-59) I organized my group which
was a great musician and also a charming individual. Thank where TOPSY PART II became popular; I continued to
you very much for the broadcasts and pictures 1954-57, it work with Red occasional until 1964. I didn't play with Red
brought back many ,fond-memories. We worked together on Bluessingers acc. 1937-40, but I did do a show with him
with Red's band at the Metropole for years starting it 1954 on Art Ford's Jazz Parties on WNTA 1958, (unknown
and continuing thru 1964. He & I had the band together session probably in May-58).
from 1954 thru 1959, that was a great band I thought, The session we did with Red in 1957 was the greatest. I
Claude Hopkins, Buster Bailey, Lloyd Trotman, Herb thought we had superb musicians, J.C.Higginbotham,
Flemming, me and of course "Red". On that job I got to Buster Bailey, Coleman Hawkins, Marty Napoleon, Lloyd
know "Red" better than any during his career. I first met Trotman, Everett Barksdale. You wouldn't want a better
him in the early '3o's. He was not only a great musician, he group such as this one !
was also a great man, and a marvellous person to know. If...
-2John Chilton: “Ride, Red, Ride” pp142-147(shortened):
the use of substitute musicians; they were not paying the
Ben Harriman, manager of the Metropole, a large bar top rate and were willing to grant 'leave' so that musicians
situated on Seventh Avenue (close to Times Square) had could play important gigs or go on overseas tours. The
watched with interest the growing audiences at various wage scale differed considerably but the average would be
New York venues that featured quasi Dixieland and main- about $100 a week with double for the leader - not a great
stream small groups. The Metropole, which had existed as a deal but the regularity and frequency of the bookings com'Gay '90s' bar on the northeast corner of 48th St. and 7th pensated. Because drinks were expensive in the Metropole,
Ave., moved a couple of doors along and began functioning most of the musicians spent their intervals across the street
as a live music bar. Harriman got advice from Joe Glaser's in the Copper Rail, where drinks were cheaper and the
Associated Booking Corporation on the availability and regulars were granted a weekly 'tab' by the owner, Fred
fees for various jazz musicians. Trumpeter Jimmy McPart- Infield. The atmosphere there was friendly and the soul
land was one of the first approached, and he quickly roun- food (cooked by Della) was said to be the best in town. …
ded up a small group which began playing at the Metropole Business boomed at the Metropole, and dozens of musicians
in April 1954. Red Allen was offered the chance to lead a were employed during the course of a week, to play in afterband that alternated with McPartland's group, and he ac- noon and evening shifts; the doors were left open so that
cepted, with alacrity, the five-nights-a-week schedule.
the music would draw in casual customers and passing touMcPartland, about to leave for a trip to Europe, soon rists. The star of the evening presentations was undoubtedly
handed over the reins of his group to Bud Freeman, who in Henry'Red'Allen, whose group, originally billed as the Giants,
turn was replaced by Wingy Manone. Red's group held became known as the Metropole All Stars. A dozen or more
steady and it was soon obvious to the management that years of tavern work throughout the USA had honed Red's
Allen's presentation, his appealing vocals and his outgoing showmanship and developed his adroit gift of coaxing an
stage personality were exactly what the customers wanted. audience into accepting and enjoying a blend of honest-toAs writer Sinclair Traill summed it up (in J.J.I.6-64), 'He goodness jazz. participation songs and flag-wavers.
makes it his business to see that his audience are having a Ben Harriman, a short figure who always walked with his
good time, but never lets them lose sight of the fact that it is hands behind his back, supervised the Metropole, sometimes
jazz they are listening to'. …
assisted by his son, Lonnie. Harriman left the musical
Something special was needed to fill clubs during an era organization to the leaders of the various groups, and it was
that marked a mushrooming of growth in the ownership of up to the bandleaders to make sure that standards remained
television sets - in the USA sales rose from 3 million to 20 high, and up to each musician to fix his own substitutes million sets during the period 1950 to 1954.
all the musicians and the leaders were paid direct by the
The success of the Metropole's new policy was instant, Metropole. Later, trumpeter Pee Wee Erwin became the
and soon the management decided to increase its live music official contractor for the Metropole, responsible for booking
schedule to include afternoon sessions. A large pool of musicians and collecting the Musicians' Union tax. The two
freelance jazz musicians began working there, and regular long-serving bartenders were Sol and Morty Dacks, who
trios and quartets took shape to fill the demand. Among later went off to run their own club. Another bartender was
those who worked there regularly were: Tony Parenti, Big Otto, whose huge presence ensured that the customers
Chief Russell Moore, Pee Wee Erwin, Tony Scott, Zutty never caused trouble. jack, the floor manager, saw to it that
Singleton, Louis Metcalf, Marty Napoleon, Cliff Jackson, the sets ran on time, and upstairs in the office the secretary
Oliver Jackson, Charlie Shavers, Joe Thomas and Dick Geraldine did the administration and kept the accounts. …
Wellstood. Wellstood only worked occasionally with Red The music created (on Beth.-21&JT-1215) is a memento
Allen, but he enjoyed the experience immensely; he was of the Metropole's 'house-style' There were no rules that
once asked how backing Red compared to working with the last chorus of any up-tempo number had to be loudly
cornettist Bobby Hackett, and replied (sleeve-note by Marty played, complete with a bewildering surfeit of notes, but
Grosz, ARCD 1988:) 'Bobby is like a watchmaker who these tactics soon became the standard procedure for
positions every screw, every ratchet, every jewel, perfectly; Red's band; it was like a musical equivalent of Gresham's
but' (and here came a pregnant pause) 'to tell the truth, I'd Law where good money is chased out by bad. Soon the
rather play with Red Allen.'
Metropole's audiences and its management seemed to feel
Red tried whenever possible to use the same line-up short-changed if the decibels (and the front-line's blood
during his early days at the Metropole … Red enjoyed an pressure) did not rise dramatically during the final stages
especially happy social relationship with Buster Bailey, a of any fast numbers. Even so, it was the position of the
delightful man, who was blessed with an outstanding tech- Metropole's stage that caused the musicians more woe
nique on clarinet. Buster was never a jazz giant, but he was than any other aspect of the venue, situated as it was, up
always musically correct, and had the gift of following a behind the bar. The steep elevation posed its own problems
pianist's wrong chords so skilfully that the audience remained but in the narrowness of the bandstand area the musicians
totally unaware that a musical disaster had been averted. He had to play spread out in a line, making it difficult to
modestly summarized this accomplishment by saying (in achieve an internal balance. For Red Allen it was a hark
Coda 9/67):'I can't whip 'em so I joins 'em."' Red was always back to his early days in New Orleans where it was comloyal to his musician friends, and regarded recordings he mon for bands to play in a single line when working in
made with them in the same way he might have treasured a dance halls. At the Metropole, eye contact between the
snapshot of them. (In Jazz Monthly 6/64) he said, 'I never musicians was a problem, though it could be achieved by
think in terms of great players. Some guys can play an reflections from the large mirror opposite the bandstand;
awful lot and others play less but are friends of mine, which unfortunately a time-lag often occurred as the sound echoed
evens things up.' It was a theme he returned to again and off the walls and the mirror. but the old professionals
again, particularly if he was asked to compile a merit devised their own methods of combating the difficulties.
league of great jazz musicians. One such question brought The Metropole soon established itself as a rendezvous for
the reply, 'A certain trumpeter may not be the greatest, but white-collar workers who wanted to take a few drinks
there's something there I like. Another trumpeter is good, but before going home, and for out-of-town conventioners
I just don't like his personality.' Red summed up his attitude who wanted an hour of two in the lively, convivial atmoswhen he told (in conversation with John Chilton) 'My favourite phere. Hard-core jazz fans were in the minority but the
records feature my favourite people'.
number of converts grew, initially drawn in by the ampliThe Metropole's management took a tolerant attitude to fied sounds that bombarded part of Seventh Avenue. (cont.
---------------------------------------------------------------------------------------------------------------------------------------Stanley Dance about the Metropole years in a letter to the author:
Red Allen and I were good friends and something we had in what some regarded as a deterioration in his playing was
common was that we were both catholics. I think I told in partly due to his experience there. The musicians of this
Jazz Journal the story of meeting him late at night at Small's generation were forced into a kind of desperate Dixieland
during Lent. When I asked what he wanted to drink he showmanship as a result of the prevailing vogue for modern
ordered a coke, saying "I'm making the forty days on Coca or progressive jazz, but Red could still play when the opporCola!" I saw him often when he was at the Metropole, and tunities were right.
- 3DB-6/16/54p4: CAUGHT IN THE ACT – JIMMY McPARTLAND, RED ALLEN; METROPOLE, NEW YORK
There's happy jazz renaissance taking informal tavern (no cover, no minimum, they were trading one for a beer.
place on Seventh avenue, near Times no reservation for bar stools) are occa- And as a final indication of how successSquare. On most of these late spring sionally trying. The musicians are ful a draw the Metropole has found jazz
nights, the sidewalk outside the large, strung out along a long, narrow stand to be, there's even a young woman
long Metropole bar is crowded with directly over the bar. A false step, and hovering around these nights with the
the curious, attracted by such casual a valuable supply of liquid assets can picture-taking concession. No cigaret
preludes and fugues as When the Saints become fruitless liabilities.
girl yet, but all things come to those who
Go Marching In, St.James Infirmary, When both bands combine their forces hunger.
–Nat Hentoff
and Fidgety Feet. Inside, the bar is for an end-of-the-set jam session, the
filled with alequaffers of all varieties, dais becomes rather overextended, and
many of them new to jazz and all there are times when the only quick
seemingly pleased to further their communication
possible
between
budding knowledge of the art.
Wettling at one end and Big Chief at
It all started in March when the Metro- the other would be by semaphore. The
pole imported Jimmy McPartland's men work from 8:30 p.m. until 4 a.m.,
band, which now contains Bud Free- and there's no letting down before this
man, Big Chief Russell Moore, George audience. Both band project at full
Wettling, Milt Hinton, and Charlie fervor all through the unquiet night.
Queener. Observing that the clientele's The music is never very subtle, but it's
taste for this exotic music was appa- driving, honest jazz. All the band memrently more than one band could fully bers are long-term professionals, and
satiate, the management then added a many have contributed greatly to jazz
troupe of unfettered serenaders led by over the years. These nights, they
Red Allen and Cozy Cole with Buster sound almost as young as ever – tired
Bailey, Herb Fleming, Claude Hopkins, sometimes, but stimulated by the
and Lloyd Trotman.
enthusiasm of the audience, most of
The working conditions in this highly whom wouldn't know a discography if
-------------------------------------------------------------------------------------------------------------------------------
Martin Williams: HENRY RED in “JAZZ MASTERS OF NEW ORLEANS”pp251-274:
By the late Fifties, after stays in Minneapolis and Chicago, of the club. The performer, even on the most crowded and
Red Allen had become a fixture at a New York “show” bar noisy of nights, hears his every note (even his every breath)
bouncing back and forth across the narrow distance from
called the Metropole.
The Metropole is another New York phenomenon. It juts one side wall to another. And if he looks up he will find
onto Seventh Avenue just off Times Square. Its wide front himself staring into his own face, constantly reflected from
is almost all glass floor and windows which reveal the long a few feet away. At the Metropole a hornman is apt to find
narrow interior to a passer by in the street. It is a brassy, bold his bass player or his drummer or his pianist (who strikes a
presence, and one of its aims is to attract and pack in just as tinny and frequently out-of-tune spinet) several yards away
many strolling tourists as it can. Before the Metropole took from him, and all but inaudible over the din.
up jazz, it featured stout, aging females with whisky With the dixieland revival, the Metropole put in dixieland.
contraltos. dressed in costumes with lots of feathers and Then it put in Red Allen. Things continued to catch up, and
sequins and boas, belting out She´s Only a Bird in a Gilded the Metropole put in other swing period players like Charlie
Cage, Mother Machree, or Melancholy Baby with every Shavers, Roy Eldridge, and Coleman Hawkins. For a while
ounce of strength they had left.
the management opened up a separate room upstairs for moFor the performer, the Metropole takes a lot of strength. dernists and hired Dizzy Gillespie, Horace Silver, and others.
The stage is a high, narrow platform, above and behind the By the Sixties, the downstairs Metropole had rock-and-roll
bar and running almost the entire length of the place. twist bands in the afternoon, and in the evening might feaDirectly across the narrow width of the room is a huge ture Woody Herman´s big band strung out along the bandmirror, which again runs almost from the front to the back stand, or Gillespie, or (more often than not) Red Allen.
----------------------------------------------------------------------------------------------------------------------------------------------late April or early May 54; 9 p.m.- 4 a.m., N.Y.C., Basin Street, Local 8o2; FRANKIE NEWTON MEMORIAL CONCERT:
L.Feather's N.Y.Diary, Melody Maker 5/15/54 - "THEY PLAYED FOR FRANKIE'S WIDOW"..
Monday - One of the most music-heavy Pete Brown had the rest of the late 1921, strode vigorously-across the keys
evenings I've spent in years. Basin Frankie Newton's short-lived group with that unique left hand., and Eubie
Street held a memorial concert for the with him and played a set in which his Blake introduced by his old partner
financial aid of Frankie Newton's widow, own alto work shone as brightly as it Noble Sissle, provided the most
and in the course of the night (9 p.m.to 4 used to back in 1940, when he worked nostalgic note of the night.
a.m.) there must have been a hundred with Frankie's band at Kelly's Stable Tony Scott (the second most ubiquitous
clarinettist in town) played everything
on 52nd St.
name jazzmen on the bandstand.
Most New York night clubs don't fil up Flip Phillips-clarinettist in Newton's from two-beat to bop with Ruby Braff,
until around midnight. When I arrived a 1940 combo-played with pianist Urbie Green, Marty Napoleon, Buck
little after nine, Jimmy McPartland's Mickey Crane and the first drummer Clayton, et all. Marian McPartland's
band had already played a set and the they could find, Jo Jones, a couple of fugue-like "How High The Moon" was
big room (about 4oo capacity) was numbers to rousing applause. It was a musical peak of the evening. Buster
already completely filled.
mostly a Dixieland evening, though, Bailey (the clarinettist with the most
Every disc jockey in the jazz field had with men like Hot Lips Page and Bob- grandchildren in town-six of 'em) played with a young man's fire and fluency.
helped to plug this affair into the big by Hackett getting the biggest band.
success it turned out to be. Jack Crystal, Red Allen, Miff Mole, Pee Wee Rus- All these and many more appeared for
of the Commodore Music Shop, helped sell, Dick Carey, and drummer Arthur free, through special permission granted
to make order out of chaos by deciding Herbert played one set together; Tyree by Local 802. ...
in what order the musicians would Glenn, Sol Yaged (the most ubiquitous Mrs. Newton was later reported to
appear. The first set I heard was played clarinettist in town), Kenny Kersey have benefited to the extent of almost
$1.500. And everyone else there
by Joe Sullivan, looking his best and and Carl Kiffe took over for a while.
sounding his Wallerest, with Cozy Cole Willie The Lion Smith, apparently deco- benefited, too, to the extent of an
rated with the same cigar he smoked in extraordinary night of music.
at
the drums.
-----------------------------------------------------------------------------------------------------------------------------------------------------------between 1952-54, NYC., Central Plaza bc; ....-TVs - JAM SESSIONS - with Red Allen, Jimmy McPartland, Wild Bill Davison,
Rex Stewart, Wingie Manone, Roy Eldridge; Big Chief Russell Moore, Conrad Janis, Herb Flemming; Buster Bailey, Cecil
Scott; Willie "The Lion"Smith; Pops Foster; Baby Dodds, Sonny Greer; Victoria Spivey; (source Douglas Hague J.Journal 8/55)
part w. Allen:
……………….
asssistance for detailed research wanted
- 46/29/54 NYC., studio - "THE FOX IN HI-FI" - GEORGE WILLIAMS & HIS ORCH. : Chris Griffin, Ernie Royal, Taft
Jordan, Red Allen (t) Urbie Green, Eddie Bert, Bart Varsalona, Chuck Evans (tb) Joe Park (bb) Lenny Hambro, Ed
Scalzi (cl,as) Sam Taylor, Bobby Trock Trocario (ts) Ernie Caceras (bars) Stewart McKay (bs) Buddy Sarvise (p)
George Barnes (g) Eddie Safranski (b) Cozy Cole (d) Cathy Ryan, Mary Knolles (v) (label copy of Corral see Addenda)
/Brunsw.-/
(G.Williams) –Taft Jordan muted solo
Cor.61242/BL54020/RA-CD-16/
-saxes&Sarvice-Jordan muted-brass & saxes-Barnes-brass- ..ts.. – Caceras-Sarvice- ..cl … Barnes&brass(G.Williams)
Cor.61401/ --/
--/RA-CD-12/
86482 2:25 BLOCK BUSTER
-Cole & brass intro brass-Barnes-..ts.. –brass- ..cl.. -Allen muted-saxes-..tb..-Cole &brass-trumpets--/
--/
86483 2:37 YOU CAN´T STOP LOVE -vMK (L.Coleman-F.Ebb-P.Klein) a mambo-number
-rhythm&brass-vMK(weak ens)-brass-Caceras-brass-.. as .. - ..brass&flute-vMK weak Allen brk-vMK (weak ens)Cor.61242/ --/
--/
86484 3:09 SATURDAY NIGHT FUNCTION -vCR (A.Shaftel-C.Vansickler-T.Tyler)
-brass-saxes-brass-saxes-trumpets-vCR (Sarvise & rhythm-handclapping) -saxes-…ts over brass-vCR(reeds-handclappings)-brass86481 3:07
SOFT TOUCH
Burt Koral covernotes on THE FOX IN HI-FI ,
Br.BL 54020: Experience is the best teacher .. Just about
everybody has heard that declaration at one time or
another, and though there is a tendency to dismiss it as a
cliche, its truth is corroborated by everyday living. For
the potential band-leader there is no substitution for the
grist mill of experience.
George Williams has been on the scene for quite a few
years, and wears the vestments of his wide experience
well. Born in the cradle of jazz, New Orleans, he spent
his formative years in California. The main center of his
musical training was at Chico State College in the
northern portion of California. His initial impulse was to
teach music. Proceeding on this bent he spent four years
preparing,himself for this vocation. In the process, he
became intimately acquainted with all the instruments of
an orchestra and prodigiously studied the many aspects of
composition and orchestration (1934-1937). In 1939, in
Los Angeles, George made his first major band affiliation: the swingin' Bob Astor band (as pianist and arranger). One good thing most usually leads to another, and
through the efforts of Astor, George. came, to write for
the top drawer Jimmy Lunceford aggregation.
In early
1940, George left Lunceford to write the entire library
for Lionel Hampton's first big band, and followed that
with, a stint as pianist with Sonny Dunham's orchestra.
In 1947, he put his pen to work for Glenn Miller, and
remained on his arranging stuff until the band broke up
and Glenn went into the service. George soon followed
suite, and the years between 1943 and 1946 found him
doing his bit in the Maritime Service.
After discharge, Gene Krupa obtained his services, and
he wrote for the band for nearly four years. This is a
period on which George looks with special fondness. "It
was during my association with Gene that I started to
write longer, more serious things for dance band
instrumentation. The one that sticks in my memory is my
arrangement on themes from 'Scheherazade' for the
Krupa band.
Ray Anthony's name appears
next on the Williams resume. When Gene broke up the
band Ray beckoned, and George became his chief
arranger, a job he held for two years between 1951 and
1953. It could very easily be said that George's
arrangements for Anthony were a definite factor in the
rising public acceptance of that band.
It follows that working at length for others,
successfully, breeds a growing desire for independence.
Though still taking many free-lance arranging projects in
1953, George's thoughts were veering toward plans for
the organization of his own band. After noticing.an
extreme-ly positive interest on the part of young people
in the music of small groups who played with the heavy
rhythm and somewhat exaggerated emotional blues
quality now associated with R&B, the 'Fox' formulated a
plan: to adapt this sort of music to a big band.
Brunswick liked the idea, but for the sake of latitude,
the company also encouraged playing and recording
music not so definitely in the R&B vein ... however, the
basic Williams formula would be given marked emphasis.
In general, the idea behind this LP: to familiarize the
public with the band's style that emphasizes the 'big beat'
... George kept a good deal of the music pretty basic;
favoring the brass, heavy ensembles and rhythm, and
using the blues as the main material source. But in the
more specific sense, the music and treatment, thereof, in
this collection, breaks down into four separate categories.
The first category which includes: Whamboogie, Block Buster,
and The Rompin' Stomper aims for the powerhouse, flagwaver
effect ... (somewhat reminiscent of the hard hitting bands of the
swing era). These selections are typified by the contrary motion of
the sections (e.g. high swinging brass and saxes playing, against
each other) and pulsating steady rhythm. There is a liberal sprinkling of solos to create balance and give added sparkle. Punch is the
keynote here.
In the second category, (Soft Touch, Rockin' The Blues and The
Knocked Out Choo-Choo), there is more form, to the arrangements, more dynamics and necessarily, a higher level of finesse in
the playing, The riff construction plays a definite role in these
arrangements which are all based on the blues ... Generally, this
grouping is a little more subdued than the first, places more
emphasis on ensemble and section work (less on solos) and the
creation of a certain kind of pulse. (after-beat ... closely related to
the R&B rhythmic feeling). Creole and Too Much Moon are
illustrative of the band's approach to ballads. George tried to bring
into being the feeling of ad-lib looseness and freedom though everything was writ-ten out, to have the elements (orchestra, soloists)
meld and make for an integrated impression of the essential color
of the music. "I utilized different types of chords, sub chords and
passing tones in order to create melodious color interest, I really
tried for a distinctive sound on these two selections.
The last category is a potpourri: Saturday Night Function ,
Jackhammer Drill and are novelty vocals with the basic style of
the band utilized; Tiger Rag Mambo is a punching arrangement of
the old tune in mambo tempo highlighted by the strength and
facility of the brass and rhythm sections; and The Song From
Desiree is a waltz arrangement where George's use of his
orchestra is decidedly tasteful and appropriate. In essence,
absolute attempts in the pop area
Though this LP gives us a varied program, it basically fullfills
today's demand for the 'big beat'. It brings the elements of R&B to
us in a new guise ... the big band . . . In George Williams' transfer
of this music to a medium where it is a relative stranger, it becomes
just a bit more musical for these ears, and I hope for yours.
- 5Hoffmann: This is a very powerful big band orchestration with excellent fluid swinging arrangements. A well muted solo by
Taft Jordan on “Soft Touch“. The rolling background drums by Cozy Cole and a fresh sounding George Barnes on “Block
Buster“ with a typical fine Red Allen solo that remembers to the Fletcher Henderson years. It's a pity that there is no trumpet
solo on the impressive stomping and swinging “Saturday Night Function“ with a metallic voice of Cathy Ryan. “You Can't
Stop Love“ brings an unexpexted vocal mambo number with a short Red Allen break in this unusual Latin-American
orchestration. THIS is the last big band date of Red – and a good one. Only the 8/7/54 orchestration – a combination of the
Dorsey Brothers and the Metropole All Stars - will bring back this full swinging sound of the old big band era.
Clubs at 52nd Street and Broadway & 7th Avenue
DB 7/14/54 :Red Norvo recently played a gig at the Metropole opposite the Jimmy Mc Partland and Red Allen-Cozy Cole
combos;
Rec.Changer 7/54p14: Metropole – Red Allen All Stars: known lineup ,
late July 54, N.Y.C.: Metropole - Red Allen and Wingy Mannone sharing the stand at the Metropole. When they do
"SAINTS" together, Armageddon sounds almost here. (DB 7/28p ); DB 8/25: Cozy Cole is co-leader with Red Allen of
one of the Metropole bands.
mid.54, NYC., Metropole – Red Allen All Stars: known line-up, J.J.9/54p2; AJQ 23p21;
Jazz Music Aug. 54, Vol 5/6 : Air Mail from N.Y.: ... The Metropole Cafe, located in the heart of Time Square, is
featuring two good bands each evening. The newly-formed Jimmy Mc Partland's All-Stars along with Red Allen's
combo. Personnel shows Buster Bailey and Herb Flemming with Red in the front line, while Claude Hopkins, Lloyd
Trotman and Cozy Cole hold the piano, bass and drum chairs. With Mc Partland are "Big Chief" Russell Moore, Bud
Freeman...........
AT THE METROPOLE
NYAN-8/7/54p17: Red Allen, Buster Cozy Cole is absolutely out of this on bass, make for some of the most
Bailey, Cozy Cole, Claude Hopkins, world. Solid Man! You sent me last stimulating jazz that's been played in this
sector of the country in many a moon.
Herb Flemming and Lloyd Trotman is Friday night.
***
about the greatest jazz group you will NO PEER – Buster Bailey, probably Ben Harriman's young son, Lon, showed
ever hear, unless of course, you have the world's greatest clarinetist, is always us around the old Metropole and all I can
“cool papa,”Louis(Satchmo)Armstrong supremely musical, yet hot with his jazz say is that you ought to dig Red Allen
on the scene with his All Stars.. Red licks. I have never seen him give a bad and his boys before they close their
Allen's hot trumpet along with that performance, not even when we used to engagement there next month. Don't say
sensational ivory tickling of Claude stay up all night. Herb Fleming, an out- that I didn't tip you off to some mellow
Hopkins, backed by the solid drums of standing trombonist, and Lloyd Trotman stuff which you will enjoy.
***
- 6a - Addenda
- 6b - Addenda
-68/7/54 NYC., Sat.8:00-9:00 pm, CBS-TV Stage Show- TOMMY & JIMMY DORSEY & THEIR ORCH.& guest stars:
*HENRY RED ALLEN & HIS METROPOLE ALL STARS: Red Allen (t,v) Herb Flemming (tb) Buster Bailey (cl)
Claude Hopkins (p) Lloyd Trotman (b) Cozy Cole (d) & members of the DORSEY BROTHERS´ ORCH. incl. Tommy
Dorsey(tb) Jimmy Dorsey(cl) Bud Freeman(ts)
part-1: 0:09 ann.by J.& T.Dorsey
RA-CD-11b/
2:40 Who -v Chuck Forsythe & ch
--/
4:34 Medley from South Pacific: Bali Hai-This Nearly Was Mine-Some Enchanted Evening
--/
1:16 In The Still Of The Night
-v?
--/
3:33 Medley: All Of Me-Green Eyes-Tangerine -v Helen O'Connell
--/
0:28 ann. Red Allen & Cozy Cole & band from Metropole
--/RA-CD-16/
vRA&ch
--/
6:28 *WHEN THE SAINTS
part-2:
closing film: Big Chief Moore, Bud Freeman, Chuck Forsythe, etc.
not on tape
part-3? In Biagioni´s book about Herb Flemming other sides of this one hour show or of a 2nd show are mentioned:
*STARDUST feat.H.Flemming
not on tape / Sleep - Dorsey Brothers not on tape
not on tape
*BASIN STREET BLUES feat.H.Flemming not on tape / Lover - Dorsey Brothers
DB-8/25/54: Cozy Cole has joined Jerry Jerome's orchestra for the two-hour Bob Kennedy show on WPIX-TV. Cozy is also the
co-leader with Red Allen on one of the Metropole bands and teaches all day at the Krupa-Cole studios.
DB-9/8/54: N.Y. – The Metropole, the flourishing 7th Ave. bar near Times Square, has become a jazz department store. Five
nights a week, Wed. to Sun., the Red Allen-Cozy Cole band plays on the long stand over the bar. Opposite them is a unit
headed by Big Chief Russell Moore and containing Tony Parenti, who recently replaced Bud Freeman
CD-9/18/54p14: Harlem To Broadway – by Guyon Madison
- NEW YORK - Broadway will never rank with Rampart
an elevated platform behind it from which are heard the
performance of such distinguished exponents of the hot
lick as Charles Shavers and Red Allen, trumpet; Big Chief
Russell Moore and Herb Fleming, trombone; Cozy Cole
and Kenny St.John, drums; Buster Bailey and Sol Yaged,
clarinet; Milt Hinton and Lloyd Trotman, bass; and
Charlie Queener and Claude Hopkins, piano.
or Basin Sts. in the annals of jazz but the corner of
Seventh Avenue and 49th at. now boosts a popular priced.
Street level storefront emporium of jazz in the New
Orleans and Chicago tradition that draws thousands of
listeners weekly.
Place, called Metropole, has tiny tables, a long bar and
Jazz Hot. Oct.1954 “RED” ALLEN AT THE METROPOLE (short article about his life from 1924 with the Excelsior band in
N.O., 1926 Fate Marable, … until 1940 Café Society without of deeper interest, including a wellknown 1946 portrait-photo)
10/2/54 Sat.afternoon, NYC., Rockland Palace – Teen-Age Dance with RED ALLEN & BAND, Machito, Buddy Tate;
OCTOBER 2ND SEEN BIG DAY FOR TEEN-AGERS OUR TEEN-AGE BALL TO BE BITTERED END
Elmo Garcia
Benny Moten
NYAN-9/18/54p4: Hey, you teenage
hep-cats and hep kittens-dig this!
No less than four, frolic-filled hours
of dancing to the scintillating music
for four star bands is on tap for you
the Saturday afternoon of Oct.2nd at
Rockland Palace. And take the word
of the Amsterdam News, which will
be plumb crazy.
Officially the Teen-Age Fall Ball,
the shinding is under personal
direction of the old maestro, Lucky
Millinder.
For it, he has corralled some of the
biggest names in the band business,
with a neat balance thrown in between
the new sounds and dixieland stuff for
good measure.
Cozy Cole
Red Allen
Herb Flemming
Claude Hopkins
Get a load of this talent. There's no
less than the slightly fabulous Tito
Puente and Elmo Garcia, gentlemen
with a way with the mambo beat; Buddy
Tate, the frantic tenor saxo-phone player
who makes everything sound like it was
written just for him, and the swinging,
rocking Dixieland All Stars.
There will also be a plentitude of top
singing groups and radio personalities
Sat.Oct.2, from 2p.m.-6p.m., a good
time to be at Rockland Palace. The
Amsterdam News, knowing how you
like top notch entertainment is looking
forward to seeing you there.
Watch the Amsterdam News for
details about tickets and where to get
them.
Machito
Buddy Tate
-7NYAN-9/25/54p1&3: TEEN-AGE BALL SET FOR OCT.2
TO BE CHAPERONED
and his 16-piece Mambo orchestra, the
Four hours of dancing to four big-name
bands will kick-off the “Teen-Age Fall A feature of the “Fall-Ball” will be Dixieland All-Stars featuring Henry
Lamont”Benny”Moten,
Ball” Sat., Oct.2, at Rockland Palace, reserved boxes at Rockland Palace ”Red”Allen,
155th St. and 8th Ave.
for parents who will act as Buster Bailey, Herb Flemming, Claude
An ideal way for teen-agers to spend chaperones to the group. Youth clubs Hopkins and CozyCole.
their leisure hours, the “Fall-Ball” is of 8 or more will also have the use of Buddy Tate and his rhythm and blues
band will be the third attraction. Elmo
being sponsered by the Amsterdam the boxes.
News with the cooperation of youth Recreation directors from Manhattan, Garcia,”The Mambo King,” and his
leaders of the five boroughs.
Brookly, Queens, East Harlem, the band will be complete the four aggreIn an effort to curb juvenile delinquen-cy, New York City Youth Board and the gations. (See pictures on Front Page).
the Amsterdam News has come to the Harlem YMCA will be on hand to Mr.Millinder has also announced that a
number of New York's leading disc
forefront
in
providing
wholsome assist the director, Lucky Millinder.
entertainment for youths who otherwise The Oct.2nd dance will start at 2 p.m. jockeys, TV stars and singing groups
would be engaged in activities without and end at 6 p.m. Four top name bands will be present to greet the teen-agers.
Tickets, priced at $1
prooper supervision of trained adults.
appearing at the affair will be Machito
------------------------------------------------------------------------------------------------------------------------------------------The lineup of great performers include: NYAN-9/25/54p9: ... We're going to
NYAN-9/25/54p25: TEEN-AGERS
READY FOR DANCE OCT.2 – Machito and his orchestra, Buddy learn to mambo next Saturday afterThe city's teen-agers are readying their Tate's jump band, Elmo Garcia and his noon, Oct.2, when our Amsterdam
best bibs and tuckers for the initial Mambo outfit and the Dixieland All- News' teen-age friends promise to teach
presentation of the Amsterdam News Stars featuring Red Allen, Buster us to toss a hip at Rockland Palace when
Boosters Teen-Age Dance at Rock-land Bailey, CozyCole, Herb Fleming, our first Teen-Age Boosters' Dance
Claude Hopkins and Benny Moten.
brings Machito, Buddy Tate, Elmo
Palace on Oct.2nd.
The affair will be directed by band- Tickets for the big matinee affair may Garcia, Red Allen, Cozy Cole, Buster
leader Lucky Millinder who has lined up be purchased at the N.Y.Amsterdam Bailey, Herb Flemming, Claude
an imposing array of talent desig-ned to News office at 2340 8th Ave. in Hopkins and Benny Moten together for
please the musical tastes of all Manhattan or at 1680 Fulton St. in a real "jump"session.
Brooklyn.
youngsters.
10/24/54 Su., 2:30-6:30 p.m., Cedar Grove , NJ. – Meadowbrook - Jimmy McPartland's band and the Red Allen-Cozy Cole
group; DB-12/1/54: New York – Jazz sessions have been reinstated at Frank Dailey's Meadowbrook in cedar
Grove, NJ, after an absence of almost 14 years. The Meadowbrook is presenting a regular series jazz concerts on
Sundays from 2:30 to 6:30 p.m.
The first Sunday date was held with Jimmy McPartland's band and the Red Allen-Cozy Cole group (probably October
24th) Jack Teagarden and Marian McPartland appeared on October 31.
Oct.54-1957; DB10/20/54:-Jimmy McPartland is again heading one of the regular bands of the Metropole, Red Allen has
the houseband. DB-11/17/54: Bennie Moten (bass) is in Red Allen's Band at Metropole (for Lloyd Trotman)
11/8/54 Mo. NYC., St.Marks Methodist Church. Funeral services for Hot Lips Page; 11/9/54 Tu. “Farewell”at Railroad station:
The pall bearers were Roy Eldridge, Emmett Berry, Louis Metcalf, Ed Lewis, Red Allen and Jimmy McPartland.
HOT LIPS PAGE DIES - Mourn Trumpet Ace At Funeral by Edward Murrain, NYAN-11/27/54p1
“I was in the Spirit on the Lord's day, music halls all over the world
Among the mourners were Noble Sissle
and heard behind me a great voice, as of Even as the notes of Snub Moseley's (who read a resolution of the Negro Aca trumpet.”(Revelation 1:10)
trombone drifted through the high-cei- tors Guild), Buster Bailey, Mr. and Mrs.
it was almost mandatory that the Rev. linged church, others heard the echo of Pete Robertson, Leigh Whipper, Tina
Samuel H. Sweeney should draw his Page's trumpet, offering the jazz themes Walters, Ida Forsyne, Boots Marshall,
lesson from the above verse, while of “The St. James Infirmary Blues,” Clark Monroe, Billy Fitzgerald, Loyd
eulogizing the late trumpet star, Oran which earned him immortality as a Mitchell, Big Nick Thompson, Rubel
”Hot Lips”Page at St. Mark's Methodist member of the Artie Shaw sextet. Blakely, Don Redman,Charley Johnson,
church Monday morning.
heard his rapsy voice between Eddie Bonnemere and Myra Johnson.
Before a modest gathering of relatives, Others
the
muffled
notes to Hazel Scott's song BENEFIT AFFAIRS: Also Big George
close friends and admirers of the popular
of
tribute.
LAST 'GOODBYE': Callious, Jimmy Mordecai, John Brown,
Dallas-born musician, who succumbed
Clarence Williams, Claude Hopkins,
to a heart attack at Harlem's hospital The stars of the music world , old and Buddy
Tate, Tyree Glenn, Cozy Cole,
new,
were
visibly
shaken
by
the
selecearly Friday morning. Rev. Sweeney
Willie
(The
Lion) Smith, Wilbur De
tion
of
”Auld
Lang
Syne”
to
close
the
conducted a funeral service which left
service; and many promised the berea- Paris, Babs Gonzales, Bobby Johnson,
few dry eyes in the audience.
Smith, Lucky Roberts, Jimmy
LEFT MARK: “In every man's heart ved Mrs. Elizabeth Page, Oran, jr., and Stuff
George Wiltshire, Connie
there is a theme,“ the pastor declared. other kin that they would be at the rail- Rushing,
Hazel,
Ann
Lewis, Caleb Peterson,
road
station
Tuesday
to
say
a
last
“It is in some men's heart to entertain; in
Jimmy
Evans,
Norma Miller, Honi
others to be entertained. Through Oran “goodbye” to “Lips” before his body Coles, Sam Walker,
Page's lifetime, he shared this theme was shipped back to Dallas. It was Chauncey Westbrook.Scobie Brown and
with thousands of fans and admirers; fitting that the pallbearers given the task Later Monday night, many of the same
how many, only God knows.”
of helping “Lips” on his final journey, staers of the music world assembled at
There were many murmurs of assent should have been trumpet men. They the Stuyvesant Casino, to play a benefit
from the assembly. Few were not aware were: Jimmy Mc Partland, Henry(Red) performance and launch a fund for
of the mark “Hot Lips”Page made on Allen, Roy Eldridge, Emmett Berry, Page's widow and son. On Wednesday
the music world from his birth in Dallas, Louis Metcalf, and Ed Lewis. Serving as night, Nov.17, a similar affair is shedu46 years ago. This included years as a laison between the funeral directors, J.L. led at Connie's Five Star Musical
bandleader, top sideman and composer, Perkins and the public was a lifelong cabaret, Seventh Ave.
and night- clubs sought after by theatres, friend of Page, Sam Price.
-811/11/54 Thu. NYC., Stuyvesant Casino; ....-TV&....-bc 8:00 pm – 1st HOT LIPS PAGE MEMIORIAL CONCERT: prom. Bob
Maltz; Jack Teagarden's band / Bobby Hackett / Conrad Janis band / band of at least eight trumpeters led by Jonah Jones & the
pallbearers:Roy Eldridge, Red Allen, Emmett Berry, Louis Metcalf, Ed Lewis, Jimmy McPartland; followed by Herman Autrey,
Henry Goodwin and a flock of others, tearing into: "Royal Garden Blues". Alongside them half a dozen clarinet players among
them Pee Wee Russell, Garvin Bushell, Heywood Henry and Bob Wilber. Modern notes were provided by the work of Eddie
Shu with Gene Krupa trio, and by the presence of Tony Scott and several other younger musicians. promoter Bob Maltz! Jack
Crystal has announced a second benefit at the Central Plaza on 11/22/54; source: Leonard Feather in Melody Maker 11/20/54 6 TRUMPET MEN CARRY LIPS TO REST
11/22/54 Mo. NYC., Central Plaza: ....-bc - 2nd HOT LIPS PAGE BENEFIT CONCERT: with Benny Goodman, Gene
Krupa, Jack Teagarden, Roy Eldridge; Pee Wee Erwin's Dixielanders; Wilbur deParis band; Metropole bands: Red Allen,
Jimmy Mc Partland, Cozy Cole, Charlie Shavers; Conrad Janis' Tailgaters; Billy Taylor Trio; prom.Jack Crystal
NYAN-11/27/54p20: "TOP JAZZ GREATS IN PAGE TRIBUTE"
A jazz tribute and memorial concert to the late Oran "Hot
in the Village, Wilbur de Paris aggregation from Ryan's appeaLips" Page took place at the Central Plaza, 111 2nd Ave. (7th red, together with bands from the Metropole headed by such
St.), Monday. Practically every famous jazz musician in town Dixieland stalwarts as Henry "Red" Allen, Jimmy McPartappeared at the concert through the courtesy of Local 802, AF land, Cozy Cole, and Charley Shavers, Conrad Janis' Tailgaof M, as well as the various clubs where they play. The entire ters from Childs, and Billy Taylor Trio will also be featured.
This tribute to a great trumpet player turned out to be one of
door proceeds will go to Page's widow and son, with nothing
the biggest of all testimonial jazz concerts yet held in New
taken off for expenses. Gene Krupa, Benny Goodman, Jack
Teagarden, Roy Eldridge, and other jazz notables were featured York. (nearly the same reported by PC-11/27/54p14 & NYANduring the concert. Pee Wee Erwin's Dixielanders from Nick's 11/27/54p22)
------------------------------------------------------------------------------------------------------------------------------------------DB-12/29/54: Two unprecedently huge Hot Lips Page memorial, which was attended by 1,500 with again, hundred
memorial sessions have raised almost $5000 in two weeks for turned away. There was some 150 musicians present. …
the family of the late jazz trumpet great … the second Funeral services had been held for Oran Page on the
(Nov.22) was produced at Central Plaza by Jack Crystal …
morning of November 8 at St.Marks Methodist Church. …
… Jack Crystall went ahead, with the aid of Red Allen, who The pall bearers were Roy Eldridge, Emmett Berry, Louis
took a night off from the Metropole to aid Crystal … an Metcalf, Ed Lewis, Red Allen and Jimmy McPartland.
estimated $3000 was raised for the Page family at the second
NYAN-12/18/54p27:”Footlights”-Miss McNeil's comment to the late Bill Robinson: … I tell him (Bill) it was fun working with
CozyCole, 'Hot Lips'Page, Ralph Cooper, Eddie Rector, Duke Ellington and Bill's old friend, Ed Sullivan; Red Allen, Art
Tatum, Billie Daniels and Pearl Bailey. Several of them passed on, but many remain and are “tops” today.
12/20/54 Mo,, NYC - La Mar Cheri - Camp Fund Benefit with RED ALLEN's ALL STARS;
NYAN-12/18/54p26: A galaxy of musicians have volunteered to appear at our get-together and camp fund benefit in the La
Mar Cheri, 739 St.Nicholas Ave. on Monday night, Dec.20th - such great musicians as Henry "Red" Allen, Buster Bailey,
Cozy Cole, Claude Hopkins, Herb Flemming and Benny Moten - the lucky ticket holder will have a chance to win a turkey
for Christmas - don't miss it. (George Palmer)
NYAN-12/25/54p11: “MUSICIANS NIGHT” AT THE GET-TOGETHER - Who's who of the entertainment
world turned out Monday night at the La Mar Cheri to make our Camp Fund Affair the most dazzling in the
old year. In the parade of headliners in front are the prize recipients. L. to r., Mae Arthur, Brad Griffith, M.C.;
Zelma Yates and Edith Shaw. Back row, L.to r., Linda Reed Coleman, Buster Bailey, Henry Stitt, John Watts,
Herb Flemming, Rock”Sax”Jackson, Henry”Red”Allen and Benny Moten.
- 91/3/55 Mo. NYC., Goodson's Bar: Camp Fund session
with Red Allen as guest.
THEY HAD WINNING TICKETS
NYAN-1/8/55p11: This group leaves no doubt of their
appreciation as prize rezipients at the Monday night gettogether camp fund affair held at Goodson's Bar. L. to
r., Red Allen, Corrine Jackson, R.Goodson, Gloria
Wright and Linda Reed Coleman.
1/17/55; Farmington, the Bagdad: Red Allen, Dave
Mc Kae, Dick Cary(p) John Giuffrida, Johnny Vine (rhythm)
2/7,/55, Farmington, the Bagdad - Red Allen was present at Dick Cary´s jam Session (Red Allen-scrapbook)
Feb.birthday party of Allen Jr.
2/10/55 Thu.(or one week later), NYC., funeral services for Buck Washington incl.Red Allen
PC-2/12/55p14: BUCK OF FABLED BUCK AND BUBBLES TEAM IS BURIED IN NEW YORK
N.Y.-Much of the noise of the roaring
twenties was caused by the standing
applause which greeted the fabled
comedy-dance duo of Buck and Bubbles
wherever the spotlight found them on
the big-time of the vaudeville circuit.
In those days, before TV, and not too
much radio, Buck and Bubbles played
every where. Their theatre bookings
were as fantastic as their night club
engagements and even bigots among the
footlights they managed to do a picture
now and then, and were sought for every
Broadway legit show with a colored
cast. Here last week that team was split
forever as Ford Washington Buck
bowed offstage for that final curtain.
Buck, who died Monday after a short
illness in Sydenham Hospital was mourned by a host of old-timers of the lighted circuit. Among those at his funeral
services Thursday at the Circle Funeral
Parlor were Noble Sissle, Henry (Red)
Allen, Leigh Whipper, Bessie Dudley,
Ann Lewis, Apus and Estrelita, Nat
Nazzaro, Bud Harris, Paul Black, Stuff
Smith, Hazel Scott, Mary Lou Williams
and Sam Wooding among others.
Pallbearers were Slim Thompson,
Phace Roberts, Dewey Weinglass,
Andrew Jackson, Zutty Singleton and
Charlie Davis. Buck is survived by his
widow.
Feb.55, 3p.m. to 3 a.m. NYC., Metropole – five bands: – collective pers.: Red Allen, Charlie Shavers (t) Buster Bailey, Sol
Yaged (cl) Art Magyar, Steven Lacy, Leonard Gaskin ( ) Charlie Queener, Ken Kersey (p) Cozy Cole (d) & others
New Yorker
2/12 & 2/19/55
DownBeat 3/23/55p3: ...Jimmy McPartland had left the Metropole. The leaders there now are Red Allen-Cozy Cole,
Charlie Shavers, Sol Yages, and Louis Metcalf.
CD:3/26/55p17: RED ALLEN COMBO SOCKO WITH NEW FACES, VOCALS
N.Y.- Red Allen, combo leader and one of the nation's
top trumpet men is hitting the high notes and laying 'em in
the aisles as usual. Dropped in on Red at Metropole and what a
treat. His combo includes Cozy Cole, Charlie Shavers, Sol Yaged
and Louis Metcalf, all stars on their particular instruments.
Two things have stood out in the career of Red Allen
as a band leader. He has been known to feature most
original and tuneful arrangements. He is also credited
with having a keen brain for selecting the men who
could handle his arrangements best.
2/21/55 Mo.,.N.Y.C.: Bowman's Bar: Camp-fund session
with Red Allen as guest NYAN-2/26/55p29
2/28/55 Mo., N.Y.C.; Billy Covan's Renny: Camp Fund
Session with Red Allen as guest & player NYAN-3/5/55p18
3/7/1955, Farmington, the Bagdad - Red Allen had crowd
really going tonite. (But then the union stepped in and that
was the end of Dick Cary's Monday night sessions at the
Bagdad. The Bagdad was a restaurant in Farmington. John
Giuffrida and Johnny Vine were the regular rhythm section.
(John Coller suggests that this was where the photograph of
Red and Dick was taken.) (Taken from Cary's diaries)
3/14/55 Mo., N.Y.C., Ebony Lounge – Camp-Fund session
with Red Allen as guest NYAN-3/19/55p25
very probably from.3/7/55 at the Bagdad: Dick Cary & Red Allen;
photo Gene Marchand, Bristol, Conn.; court. Derek Coller, D.Cary Archive
- 10 4/2-4/3/55 NYC., Carnegie Hall 0:00-3:40 am.- CHARLIE PARKER MEMORIAL CONCERT: prom. Mary Lou Williams
& Hazel Scott; masters of ceremonies: Barry Ulanov, Stan Kenton, Nat Hentoff, Al Jazzbo Collins, Leonard Feather, Barry
Gray, Dizzy Gillespie, Thelonious Monk; music by: Lester Younq, Horace Silver, Art Blakey; Kenny Dorham, Sonny Stitt;
Bernard Pfeiffer; Josh White; Billy Taylor Trio; Hazel Scott, John Ore; Pearl Bailey; Herb Jeffries; Mary Lou Williams; Stan
Getz, Bob Brookmeyer, Phil Sunkel, Johnny Williams, Teddy Kotik, Frank Isola; Jack Ackermann & Stan Getz Group;
Sammy Davis Jr.; Billie Holiday; Dan Terry Orch., Al Cohn, Osie Johnson, Quincy Jones, George Handy, Eddie Bert, Sal
Schlinger; Barry Gray; Dinah Washington, Hazel Scott; Lennie Tristano, Lee Konitz, Billy Bauer, Jeff Morton, Charlie
Mingus; several acc.by Oscar Pettiford & Kenny Clarke;
3:20-3:40 am. JAM SESSION: Dizzy Gillespie, Red Allen, Charlie Shavers(t) Kai Winding, J.J. Johnson(tb) Buster
Bailey, Tony Scott(c1) Gerry Mulligan(bars) Julius Watkins(horn) Thelonious Monk(p) Charlie Mingus(b) Teddy
Charles(vib) & others
( parts of this concert were recorded by Norman Granz but according Mary Lou Williams he did not
received permission for release).
JAM SESSION FOR"BIRD"
information wanted
Martin Williams “Henry Red": Allen is generous to a fault in his viewpoint of others-“Better not ask me what trumpeters I like.
It would be easier to name those I don´t like. I know them all and I go around with them for pleasure. Different styles and
schools and that sort of thing don´t mean much to me. After Charlie Parker died I went to pay my respects at the benefit
concert for his children that was held in Carnegie Hall.” It was Allen who broke through a long stage wait toward the end of
the concert, while Thelonious Monk and Dizzy Gillespie were verbally and musically sifting through old numbers to pick one
to finish off the evening. Allen picked the slow blues and started to play. “We made it. It turned out all right,” he says.
Ch.Parker died Sat.3/12; PC:3/26/55p1&5: …announcing the above Concert, …An ironic touch is the tribute paid Parker from the
stage of Carnegie Hall the night he died by Carmen McRae, rising young singer. Miss McRae dedicated one of her numbers to
Parker, calling him “the greatest of them all.” She did not know that he was dead or neath death at that moment.
"BENEFIT JAM SESSION TO AID PARKER´S TOTS"-SHOW WORLD GREATS TO PRESENT GIGANTIC CARNEGIE
BAA-4/2/55p7:
New York-The biggest musical A partial list-who will appear and perform include Pearl
HALL,
benefit show that Carnegie Hall's rafters have ever rung to will Bailey, Louis Bellson, Cliff Brown, Kenny Clark, Dizzy
take place midnight Saturday, April 2, when friends of the late Gillespie, Benny Green, Billie Holliday, Herb Jeffries,
Charlie (Yardbird) Parker assemble for a jam session.
J.J.Johnson, Max Roach, Baby Lawrence, Oscar Pettiford,
All proceeds for the event will be used to aid his two Charlie Shavers, Billy Taylor, Lucky Thompson, Dinah
children. A committee of three formed by Hazel Scott (wife Washington, Roy Haynes.
of the black N,Y. politician Powell), Dizzy Gillespie and Oscar Goodstein, co-owner of the Broadway jazz place,
Mary Lou Williams set up the Charlie Parker Memorial Bird-land, which was named after Parker, said that he was
Foundation, Inc., immediately after his funeral last week. calling off the benefit concert that was due to be held there
Miss Scott, the chairman of the group, said that the funds Sunday, April 3, and cooperating with the Committee of
from the concert will be .used for medical and educational Three to make their affair a complete success.
Tickets for the affair are on sale at the Palm Cafe and Flap's
purpose of his offspring only.
SHE ADDED that she was deluged with request from Record shop in Harlem and at the boxoffice at Carnegie Hall.
They range in price from $1.50 to $5.
musicians and performers to perform on the program.
------------------------------------------------------------------------------------------------------------------------------------------------------PC-9.4.55p14: Musical Greats in Two Cities Pay Homage To more than twelve hours, starred Dizzy Gillespie, Ben Webster,
Charlie Parker: New York – With Philadelphia leading the Stan Getz, Billie Holiday, Coleman Hawkins, Joe Jones, May
way musical greats here also got on the sound wagon to pay Lou Williams, Mary Ann McCall, Leonard Feather, Hazel
tribute to the late Charlie (Yardbird) Parker whose untimely Scott, Ray Bryant and Chet Baker among others.
At press-time Saturday night another great crew of top musideath highlighted his great contribution to the profession.
The affair in the city of brotherly love for tire dean of the cians were standing before the spotlight at Carnegie Hall awaimodern jazz school took place at the Blue Note musical bar In ting curtain time to repeat the Philly performance. Among
North Philly. A marathon jazz memorial, it was staged by Jack them were Kenny Clarke, Charlie Shavers, Henry (Red) Allen,
Fields, owner of the bistro. The proceeds from the affair will Lucky Thompson and Max Roach. With boxes being sold for
be turned over to the committee of three, Hazel Scott, Mary $100 it appeared that the fund would get started in a high
Lou Williams and Dizzy Gillespie, who have established a fashion. However, no report of the attendance was available at
trust fund for the "Bird's" children. The affair which lasted press-time.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------THE PARKER MEMORIAL CONCERT ; by Leonard Feather in Melody Maker 5/7/1955 P.5:
THE Charlie Parker Memorial Concert at Carnegie Hall, which wonderful comedy routine, as well as dancing and singing, of
took place last week, will not easily be forgotten by the 2,8oo all things, 'Melancholy Baby', accompanied by Hazel.
fans lucky enough to get into the packed hall. The affair, which Sammy Davis, rushing in between shows at the Copacabana,
was sold out 24 hours in advance, netted around $8,000 for the scored so heavily with his vocal imitations that the audience
memorial fund established recently for Charlie's two sons.
wouldn't let him go-so he stayed on to sit in on drums for a
"A MEMORABLE START" - The most memorable
surprisingly good solo. Sammy was still wearing a black
moments came at the start of the show. Hazel Scott, who had patch, as a consequence of the accident in which he lost his
been one of the most effective workers on the com-mittee that left eye a few months ago.
organized the fund and the concert appeared on-stage (looking There were many other vocal hits: Billie Holiday and Herb
exceptionally beautiful), and asked for-and received-complete Jeffries sang; Dinah Washington and Hazel Scott coincidentally
silence while she read an appropriate poem, by the Negro both did "A Foggy Day In London Town"; and Hazel offered
writer Countee Cullen in memory of Bird. She then asked the some of the best piano we have ever heard her play. Josh
entire audience to stand, and announced: "Charlie Parker will White beginning off because of a thumb injury turned the
now play 'Now's The Time."' And so Charlie Parker himself stage over to the guitar and the voice of his talented son.
started the concert, as his immortal record of that name was "CORNET AGAIN!" Instrumentally, the concert was no less
relayed allay through the Carnegie Hall loudspeakers.
successful. The long set by Stan Getz was notable for the cornet
To sustain the mood achieved by this idea, Lester Young came solos of Phil Sunkel, who may well start a fashion for this
on and played the first live performance of the evening, a slow instrument in modern jazz. Pettiford and Kenny Clarke provided
and subdued solo that showed him at his greatest.
the accompaniment for Mary Lou Williams and others. Every
From then on, the entire night was filled with great outfit that played from Billy Taylor's trio to Dan Terry's big
performances by just about every major artist within reach of band, seemed to be at peak form.
Carnegie. All of them donated their services as a contribution Masters of ceremonies for the show included Barry Ulanov,
to the fund. The biggest hits of the night with the audience Barry Gray, Al "Jazzbo" Collins and this writer. Stan Kenton
were scored by Pearl Bailey and Sammy Davis Jr. Pearl appeared briefly to pay verbal tribute to Bird.
coming on ostensibly just to take a bow, wound up doing a The concert was supposed to last from midnight till three a.m.,
20:00
- 11 on his own or other labels according to the contractual
availabilities of the artists. The whole proceeds from the sale
of these albums would have been turned over to the fund and
might have amounted to a couple of thousand dollars.
But Lennie Tristano, though he had worked on the committee,
went to the Union and objected to Grant's participation, as a
result of which all recording was banned.
At the end of the night, Dizzy Gillespie officially
presented Hazel with a cheque for a thousand dollars for the
fund, the proceeds of a previous benefit held at the Blue
Note in Philadelphia under his auspices.
Chan Parker was in the audience at Carnegie Hall. She must
have been as touched by the extraordinary results of the night's
performance as were the rest of the 2.8oo jazz lovers present
on this unforgettable occasion.
=========================================================================================================
but by 3.20, when a flock of musicians were still waiting backstage to get on, it was decided to throw all the leftovers into a
giant jam session, which found out such veterans as RED
ALLEN and BUSTER BAILEY in the same ensemble with
THELONTUS MONK, GERRY MULLIGAN and DIZZY
GILLESPIE, who had just hurried in from Philadelphia,
where he had worked till one a.m.!
By the time the last notes were sounded at 3.40 (at the insistence
of the Carnegie managers and the Fire Department), Chet
Baker and a couple of others were vainly hanging on the local
doors backstage, trying to get in to pay their respects to
Charlie's memory. "A COMPLAINT" - This amazing concert
might have been preserved for posterity on LP records. Norman
Granz, who had footed the big bill for the funeral expenses,
had volunteered to have the whole show recorded, for release
Pearlie Mae and Red – two happy people
- 12 4/4/55 Mo., NYC., Bali Bar - Camp Fund
Session with Red Allen as guest player
NYAN-4/9/55p25
4/11/55 Easter Mo., 10 p.m.-3 a.m. ,NYC.,
Renaissance Ballroom - DANCE - Johnny
Felton & All Stars, Danny Barrajanos & His
Mambo Band - Honored guests: Louis
Armstrong & Red Allen NYAN:4/9/55p13
4/11/55 Mo., NYC., Red Randolph's Shalimar Camp Fund Session with Red Allen as guest
probably after the above event;
NYAN-4/16/55p25
4/18/55 Mo. NYC., Brown Twins Bar - Camp
Fund session with Red Allen & Buster Bailey Jr.
NYAN-4/23/55p25
4/30/55, Mo.,NYC: La Mar Cheri; - Camp
Fund session with Red Allen as guest
NYAN-5/7/55p25
NYAN-4/9/55p25: “SOME FUN”- Timmie Rogers, Eunice Hart, David D.Ehrlich, Heineken's Beer;
Vivian Brown, Bali Bar; Red Allen and Elaine Ellis got quite a kick out of the going-on during the
Monday night get-together and camp fund benefit held in the Bali Bar last Monday Night.
NYAN-5/7/55p25: “GET-TOGETHER” FRIENDS – This group of smiling folk were the door prize winners at the
camp fund benefit, Monday night in the beautiful La Mar Cheri. Front (l. to r.) Cherry Coleman, O.F.Cherry, Ruth
Wallace, Gloria Dixon and Donald Grasty. Back row(l. to r.) Kathleen McGrane, Red Allen and Kenneth Murphy.
DB-5/18/55: Free-wheeling jazz still on at The Metropole every night with Red Allen, Buster Bailey, Charlie Shavers,
Cozy Cole, and their tireless cohorts …
- 13 5/ /55 NYC., life session at THE METROPOLE - HENRY"RED"ALLEN & HIS ORCH. : Red Allen (t,v) Herb Flemming
(tb) Buster Bailey (cl) Claude Hopkins (p) Benny Moten (b) Cozy Cole (d) Al"Jazzbo" Collins (narr)
part-1
2:02
5:30
intro: BUDDY BOLDEN SAID -vRA to ann.AC (J.R.Morton)
KISS THE BABY
-vRA&ch (0.Barker-H.Allen)
Bethlehem/Lon.LTZ/
BFC-21 / N-1501 /RA-CD-16/
--- /
--- /
--- /
CHARLIE SHAVERS´ ORCH.: Ch.Shavers (t) Frank Rehak(tb) Ed Barefield(cl,as) Ken Kersey (p) Milt Hinton (b) P.Francis (d)
--- /
--- /
--- /
part-2
8:50 intro band to ann. AC segue to- Cotton Tail
JAM SESSION AT THE METROPOLE - HENRY RED ALLEN & CHARLIE SHAVERS AND THEIR ORCHs. :
Red Allen, Charlie Shavers (t,v) Herb Flemming (tb,v) Frank Rehak (tb) Buster Bailey (cl,v) Eddie Barefield (as)
Claude Hopkins, Ken Kersey (p) Benny Moten, Milt Hinton (b) Cozy Cole, Panama,Francis (d)
part-3
13:20 WHEN THE SAINTS GO MARCHING IN -vEns. (trad.)
--- /
--/
--- /
-intro-ann.-Francis&Cole-Allen in Orch.-vHF&ch-Flemming-vHF&ch-BarefieldvCS&ch-Shavers-Rehak-Allen (ens.shouts"Ridel Redl Ridet)-vRA-vEns,-vRA-Bailey-vB8- Allen &
-Shavers in ens.-coda-encore: Francis&Cole intro-Allen intro-Shavers & Allen-Allen in ens.-
TRUMET SESSION: Red Allen, Charlie Shavers (t) Cozy Cole (d) Al"Jazzbo"Collins(narr.)
2:26 TRUMPET CONVERSATION -narrAC (Allen-Shavers)
--- / --- /
part-4
---
/RA-CD-12/
-annAC-Cole intro-vAC-Allen-vAC-Shavers-vAC-Allen-vAC-Shavers-vAC-Allen-vAC-Shavers-vAC-Allen & Shavers with some breaks of each one-
Al"JAZZBO"Collins on Bethl.BCP-21: For the last two
years or so there has been a very un-New Yorkish sort of
Chicago-ish sort of place called the Metropole operating a
series of Jazz Type concerts almost daily ... some of them
starting as early as three o'clock in the afternoon and all of
them featuring a line up of stars and attractions that would
make any promoter lick his chops in anticipation of box
office receipts and sounds to come.
The Metropole didn't always swing. That is not quite in
the manner it does today ... but that's another story. Actually the music and entertainment policy of the Metropole
up until two years ago was a revival of Gay Nineties type
songs, with Lillian-Russell-type hour glass figures and
Beatrice Key facsimiles bird-in-a-gilded-cageing it up ...
with even mustachined piano (upright) players complete
with elastic sleeve garters and the beer stein a top. One
dark (so they tell me) Tuesday night around 11:30 P.M.
when the musical excitement was running high, a musician,
itinerant, who shall remain unknown, calmy and without
asking anyone if they were interested, removed from a
brown paper bag, (wouldn't you know it) a rusty-type
cornet and proceeded to make history of one sort or
another. Actually he played the worst and it was pretty bad
... but the spark was set off ... the idea of Jazz was planted
because as bad as he happened to be, the people responded
warmly and not only applause ensued but a few coins
made their way into his paper bag ... Later that week say
Lon Harriman, who buys talent for Metropole, purchasing
a few name musicians for a trial run ... a trial run ... that
has up to this writing never stopped. The parade of Jazz
names has been almost like a cavalcade of Dixie-land,
although the music is not limited to that era or style ... At
the Metropole, the musicians play from a parapet built
over the bar, with huge pictures of the musicians hung up
and mirrors on the wall. A tremendous amount of visual
excitements is generated ... to say nothing of the music.
The idea of this album was born out of customer
demand. Customers attending a night at the Metropole
would ask if records of the stars appearing were available
... Pointing up the fact, too, that the passers-by that came
in to listen, the transients attracted by-the sound wafting
out the door onto Seventh Avenue were not the usual jazz
devotee, not the record collector, but a new audience
beeing created from the stream of humanity passing by.
I was delighted to participate in the preparation of this
album, and especially so when I found out that RED
ALLEN and CHARLIE SHAVERS and their respective
orchestras were to be on the same stand. We recorded on a
Friday night close to midnight with the place packed and
everyone in a rather high spirit. BETHLEHEM was
fortunate in being able to secure the engineering services
of RUDY VAN GELDER of Hackensack, New Jersey, a
rather legendary-type audio man who has the reputation
of being a JAZZ ENGINEER. That night Rudy was
playing his big AMPEX tuned especially for the
occasion.
Opening with a formal broadcast-type thing Red Allen
comes on and sings a few bars of I THOUGHT I HEARD
BUDDY BOLDEN SAY. Immediately after, Red introuces one of the Metropole house specialities, KISS THE
BABY (Barker-Allen). This is a jam-session type number
where everybody gets a chorus, and sometimes two, In
addition to a few unison rounds. KISS THE BABY is
also an audience-participation number, where even the
waiters, bartender and bouncers joined in. Although Red
Allen is the leader of this orchestra, you can easily see it
is an all-star group. with wonderful tasty drums by Cozy
Cole, some fine Buster Bailey clarinet, and a few youngters who are just coming up in the business (smiles) like
Benny Moten on bass, Claude Hopkins on piano, and
Herb Fleming on trombone. If you should ever be lucky
enough to visit the Metropole when Red Allen is there,
and he does perform “Kiss The Baby”, it is apt to last a
full hour or maybe more.
Side two has always got to be WHEN THE SAINTS
GO MARCHING IN. So. you have not one superb
musical aggregation. but two - Count 'em! Two big,
powerful swinging, spirited Dixieland bands with no
mutes being used, and everybody fired to a full frenzy,
and in some cases, as you will hear, being carried away.
This is the full treatment and as many times as you
probably have heard The Saints, I believe this recording
will reach out through the material in your loud speaker,
grab you by the earlobes and shake you up! There are
vocals by Herb Fleming, Red Allen, Buster Bailey, and
even duets, trios and quartets. The arrangement was
definitely not pre-conceived, and even after the date was
over several of the musicians, including Red Allen. were
surprised when they heard the play-back. This is the
way the Saints should be delivered; with all stops out
and some of the stops so far out that they can never be
put back in again. As you will notice, we had a little tape
left at he end of the evening and I've always had the idea
that musicians can carry on complete conversations with
their instruments. If you're not a musician you need an
interpreter. I'm not a musician, so I wrote the script, and
CHARLIE and RED translated it into musical short hand
- TRUMPET CONVERSATION (Shavers-Allen). It was
like the rest of the session - just for fun and just for few
laughs. I hope that when you're In New York you will
visit the Metropole and hear in person first-hand what
you're about to hear on record.
DownBeat 6/29/55: Bethlehem cut an album at the Metropole with …(lineup & m.c.)
- 14 -
- 15 DownBeat 22/22, 11/2/55 - Beth.BCP-21: Rating: **
- The Metropole is a large, long, exuberantly full bar
on Seventh Ave. in the Times Square district that
has been booking Dixieland bands with noisy
success more than a year. This is an accurate record
of a crowded night at the Metropole. After Red
Allen's Buddy Bolden theme, the opening number
features Red's band with … Cotton Tail involves a
Charlie Shavers unit with …
Both bands combine on a long Saints that also
features several vocals. Again, the best soloist is
Rehak. The set ends in an amusing trumpet dialogue
between Shavers and Allen, with Cozy on drums
and Jazzbo as interpreter. Aside from Rehak, the
musical level in less than optimum, mainly because
the soloists are generally aiming at exciting the
audience by force rather than invention. They
succeed. Narration and notes by Al Collins. This is a
good souvenir if you've visited the Metropole.
Otherwise, there are much better Dixieland sets.
------------------------------------------------------------Peter Tanner Jazz Journal Sept.56: This LP takes the
form of a commentated programme from the Metropole, The proceedings start off mildly enough with a
nice, vocal by Red Allen on "...BUDDY BOLDEN
SAID", but the following track is a horrible riffy
ersatz blues called "KISS THE BABY", in which
the audience join with shouts of uninhibited something or other surely it can't be joy! "Cotton Tail" introduces Charlie Shavers in a long, loud and boisterous
performance which combines the worst aspects of
JAPT with that of the average jam session . To be
fair, I should say that Shavers' first solo chorus,
before he goes into histrionics, is a neat piece of
work, but it doesn't excuse the rest of this performance.
The reverse is almost entirely taken up with an interminable and vulgar version of "THE SAINTS",
which is presented as a short of prize fight between
Allen and Shavers. The record ends with a corny
gimmick routing between the two trumpets. I had to
get out my copy of Red Allen's "Biffly Blues" to
take the taste of this so-called jazz out of my mouth.
H.Panassie to LondonLTZ-N5010 in Bul.hcf-No.68/5-57:
Ces interprétations ont été enregistrées récemment (en 1956, je crois)
ou « Metropole », une des rares boites de New-York où l'on entende
encore beaucoup de jazz. Dans la première face, on entend tout
d'abord l'orchestre Henry Allen-Cozy Cole ainsi composé : Henry
Allen (trompette), Herb Flemming (trombone), Buster Bailey (clarinette), Claude Hopkins (piano), Benny Moten (bosse), Cozy Cole (batterie). Cotton Tail, par contre, est joué par l'orchestre de Charlie Shavers
comprenant Shavers lui-même (trompette), Frank Rehak (trombone),
Eddie Barefield (clarinette), Kenny Kersey (piano), Milton Hinton (basse),
Panama Francis (batterie). Au verso, When the Saints go marching in est
interprété par les deux orchestres réunis, tandis que Trumpet Conversation est un bref duo de trompettes par Henry Allen et Charlie Shavers
accompagnés par Cozy Cole et quelques autres musiciens.
Passons sur Buddy Bolden said, qui n'est joué que brièvement, en
guise d'introduction. Kiss the babie, est la meilleure interprétation du
disque, en bonne partie grâce à Cozy Cole dont le tempo implacable
engendre un swing formidable. Le meilleur soliste est nettement Claude
Hopkins (pas très bien enregistré, malheureusement) qui joue dans un
style de piano mi-Basie mi-Ellington et qui swingue énormément lui
aussi. Puis vient Buster Bailey, toujours grand clarinettiste, mais pas «
at his best ». Herb Flemming ne casse rien. Henry Allen, pour ne pas
changer, joue de façon quelque peu désordonnée, surtout vers la fin de
son solo (c'est également Henry Allen l'auteur des chorus vocaux).
L'interprétation de Charlie Shavers commence par un chorus
d'Undecided (l´indicatif de Shavers) joliment swingué. Hélas, le
morceau est vite abandonné pour un Cotton Taie pris dans un tempo
casse-cou qui met les musiciens dans l'impossibilité de bien swinguer.
Cependant, seul Frank Rehak (un progressiste) est franchement
ennuyeux. Kenny Kersey au piano (mal enregistré), Eddie Barefield à la
clarinette et surtout Charlie Shavers à la trompette réussissent à jouer
parfois de façon intéressante. La virtuosité de Shavers est, une fois de
plus, renversante, Et l'on entend vers la fin un pittoresque dialogue
batterie-contrebasse entre Panama Francis et Milton Hinton.
Le verso est bien inférieur. When the Saints, pris dans un tempo
beaucoup trop vif, dégénère en pétaudière. Il n'y a pas un seul solo
vraiment bon. ici, Eddie Barefield joue du saxo alita ou lieu de clarinette. Quant à la conversation-trompette entre Henry Allen et Charlie
Shavers, elle est amusante puis swinguante ; aussi estil dommage que
cette interprétation soit très brève (à peine la durée d'un disque 78 tours)
7/4/55, Basin Street, NYC., Red Allen was present for Louis Armstrong's 55th birthday celebration
ca.Aug.1955, prob.NYC., Vaughan Monroe-TV
featuring : HENRY"RED"ALLEN & HIS METROPOLE ALL STARS:
8/29/55 NYC., TONY PARENTI ALL STARS: Red Allen (t) Tyree Glenn (tb) Tony Parenti (cl) Hanc Duncan (p) Milt Hinton
(b) George Wettling (d) (Pearlie Mae Allen had sent a Cartridge cassette with “alternate takes“ from the sides with Red Allen
except OLD SUMMERTIME from test-records; but in fact they are recorded from the same takes but obviously from another studio
corner – possibly an early try of stereo effects which had dropped on issued records)
“HAPPY JAZZ”
all with Red Allen on RA-CD-20a / Jazzt. /Jazzt. /Jazzt. /GDE./Membran(Ger)OLP/
a
b
c
d
e
f
g
h
i
j
k
J-1215/J-1030/J1273/...
/ #26-223221-203
7:23 IN THE GOOD OLD SUMMERTIME (trad.)
4:08 FRANKIE AND JOHNNY
(trad.)
also on RA-CD-16/ --- / --- / --- / --- /
--/
--- /
/
--/
3:11 Tony's Rag (Parenti) by The Tony Parenti Trio: without Allen, Glenn, Hinton
4:34 Maple Leaf Rag (Parenti) by The Tony Parenti Trio
--- /
/
--/
--- / --- / --- / --- /
--/
6:09 MARYLAND, MY MARYLAND (trad.)
4:21 BILL BAILEY, WON´T YOU PLEASE COME HOME (Cannon)
--- / --- / --- / --- /
--/
3:37 THE BLUES (fault on cover, not *"City Of Blues" by the trio)
--- / *--- /
/ --- /
--/
3:39 Vieux Carre (Parenti) by Tony Parenti & Hanc Duncan
--- /
/
--/
--- /
/
/ --- /
--/
4:27 City Of The Blues (Parenti) by Tony Parenti & Hanc Duncan
5:32 CARELESS LOVE BLUES (trad.)
--- / --- /
/ --- /
--/
4:29 I´VE BEEN WORKING ON THE RAILROAD (trad)
/ --- / --- / --- /
--/
Conte Candoli Blindful Test in DownBeat 23/1o, 5/16/56: FRANKIE AND JOHNNY on Jazztone: It sounds like one of
those early Louis recordings, but I know it isn't. This thing must have been done about 3 or 4 years ago, and it was
made to sound like it was recorded 20 years ago. I don't know who the trombone player is. I don't particularly care for
the record because its an imitation. I won't give it any stars at all.
DB 10/5/55: Allen, Glenn, Parenti - from the Metropole – cut sides for Jazztone Society label.
DB 1/11/56: details of the Red Allen-Tony Parenti session 9/7/55 (source: J.Chilton letter without a copied note)
Daily News NYC.2/25/56p18, Dream Street by Robert Sylvester, … Some of our older gentlemen – Tony Parenti,
Henry Red Allen, Tyree Glenn, Hank Duncan, Milt Hinton and George Wettling, suh – have banded together for some
upbeat two-beat Dixie called “Jazz That´s All” for a recording by the Concert Hall Society. Ty Glenn´s comic invention
is evident and Red Allen´s horn soars happily.
- 16 Paul Shapler covernotes on J-1030: "Happy Jazz"by Red Allen's All Stars.
There's a fair amount of jazz being produced today that cannot both as a jazzman and as a more than competent commercial
be categorized as "Modern, ""progressive,""West Coast,""tradi- musician. In 1927 he moved to New York. Then for nearly
tional,""Dixieland,""Kansas City-,""Chicago-," "New Orleans twenty years, aside from a few odd jazz jobs, he buried
style," or by any other regional, temporal or directional classi- himself in the comfortable obscurity of society bands, radio
fycation. After listening to and enjoying this recording, we tried network staff work, in the pit orchestra of the Radio City
to come forth with some all-embracing title sufficiently, descrip- Music Hall and, for six years, with the Ted Lewis band. With
tive for the jazz neophyte but accurate enough to satisfy the acade- the end of World War II came Tony's return to the fold. He
micians. No such luck. But of course, the solution was obvious. began by forming and leading his own small band at the last
What kind of music was this and how did it make us feel? Well, remaining haven of traditional jazz on New York's 52nd Street
Jimmy Ryan's. Soon afterwards, he moved down-town for a
it was jazz, and it made us feel good. So, Happy Jazz it is.
The musicians you will meet here are veterans. They're neither two year stint at Eddie Condon's, and then, for four years, he
"cool" nor "mouldy" - just good They've been living jazz all worked in Miami Beach with Preacher Rollo's Five Saints, a
their lives: working in the creative and fertile atmospheres of New popular Dixieland group. Now back In New York, Tony is a
Orleans, Chicago and New York, and playing with just every steady hand at such lively jazz haunt as the Metropole,
great names known to jazz. To put it simply, these are musicians, Central Plaza and the Stuyvesant Casino.
For the past two years, New Yorkers have been fortunate
who love to play, and, given the opportunity to play freely, they,
enough to be able to both hear and see TYREE GLENN every
make some of the happiest and swingin'-est you've ever heard.
HENRY RED ALLEN ... Since 1940, Red has led and weekday afternoon on a local afternoon WPIX-TV show.
recorded with his own groups. A stylist of great force and vigor, Tyree, as proficient with the vibraphone as he is with the slide
Red Allen has often had to sacrifice his superb lyrical qualities trombone, has a long and distinguished , jazz career both in
for the brash, loud and entertaining horn work demanded. of the United States and abroad. Born in Corsicana, Texas, on
him by many of his less discriminating fans. This recording, November 23, 1912, he has worked with Benny Carter, Cab
however, the first in many years on which he has been given Calloway, Don Redman, and, for five years, Duke Ellington.
both the opportunity, the time and the freedom to play as he Both he and the others on this date feel that his chorusses on
"Frankie and Johnnie" equal anything he has ever done.
feels, presents the real Red Allen
TONY PARENTI was born in New Orleans on August 6, Two members of our rhythm section are familiar to all:
1900, just two months, two days and less than two miles apart MILT HINTON, the busiest, the happiest and the most bass
from Louis Armstrong. As a youngster, Tony played "legit" player i the business, and drummer GEORGE WETTLING,
clarinet in a large orchestrated by his teacher, Prof. Joseph who not only was in on the beginnings of Chicago style jazz,
Taberno. It was in 1914, in the halcyon days of Storyville, birth- but was also a vital part of the great swing surge as a member
place of jazz, that Tony began to listen to and play the new music. of the Tommy Dorsey and Bunny Berigan bands of the late
He did a tour of duty on the riverboats, end then settled down to '30s and early , '40s. Finally, on piano is HANK DUNCAN,
whose first recordings were with King Oliver and Sidney
a. round of jobs in Crescent City clubs, theaters and hotels.
Long after the major exodus of New Orleans musicians to the Bechet, and who, as intermission piano at Nick's in
green pastures of the newly jazz-conscious North, Tony stayed Greenwich Village for the last ten years, has endeared
on in his home town and built a strong reputation for himself himself to many thousands of jazz lovers.
------------------------------------------------------------------------------------------------------------------------------------------------NAT SHAPIRO - "Paul Shapler"(from Col.Rec.) - session organizer for Concert Hall Soc. - in J.J.7/59: ... After that came my
fafourite session of all, "Happy Jazz" under Tony Parenti's leadership but featuring the best Red Allen I had heard in years. I'm
still convinced that this is Red's best work on records since the Jack Bland days.
-----------------------------------------------------------------------------------------------------------------------------------------------PETER RUSSELL about Jazztone-series incl. JT-1215; Jazz Journal 6-59:
Tony Parenti is a backtoom boy of jazz who has been quietly under his own name, recorded for Black and White in the
parading his brand of music all over America for many years. A early 'forties. His work on such titles here as "Frankie and
solid New Orleans background gave him considerable technical Johnny" or "Careless Love" mark him immediately as a
fluency on the clarinet and an insight into the Creole style of play- significant talent. In the ten years he spent as intermission
ing which has been the dominant factor in his particular style. pianist at Nick's in Greenwich Village it might have been
He is closer to the Creole style in his playing than any other white expected that at least one A & R man might have recognised
clarinettist. One of Parenti's particular interests has always been his potential. Duncan comes clearly from the Harlem school,
ragtime music, in which he has done much to recreate an interest and plays with an individual touch,. some attention to modern
by transcribing and arranging this music for band playing, and trends. and the authority of thirty years experience. He manages
by writing many rags of his own. A combination of these two to extract that indefinably 'mellow' tone from the piano that
influences has given an original and interesting quality to much only the most well-seasoned performers seem able to produce.
of his recorded work. Parenti did not leave New Orleans until The full group tracks seem, on the face of it, to be aggres1927, by which time he had acquired a solid jazz background sively traditional. Like the 'Dixiecats' album, however, the
which even close on two decades of New York studio work tradition is more in evidence in the choice of tunes than in any
could not eradicate (though no doubt it caused some modifica- technique concerning their execution. The overworked
tions). Returning to jazz at the end of the war, Parenti played at "Careless Love , must be one of the most threadbare themes in
Jimmy Ryan's with his own band, at Eddie Condon's, and for the book. but this is by far and away the best track. The solo
four years at Miami Beach in Florida with Preacher Rollo's strength makes the theme secondary to the originality of the
Five Saints. This last group is well represented over here on improvisations, and this is the only justification for the
record. His eventual return to New York was marked with much continued playing of themes already familiar from a hundred
free-lancing activity, and this record is the product of one such other performances. Glenn solos extremely well over a
rocking rhythm, while Allen gives a superb demonstration of
pick-up group formed for the Jazztone recording dates.
The Jazztone issue also features the two stalwarts from the his highly developed style. Those who maintain that the long
Roulette 'Dixiecats' session, Henry Allen and Tyree Glenn, both Metropole stint have affected his playing adversely would be
of whom enhance their reputations by their work with Parenti. well advised to hear his solo here and reconsider their verdict.
Though they are not present on all tracks, it is true to say that Hank Duncan demonstrates that bouncing, on-beat chord style
they, and Hank Duncan, are the dominant attractions. Duncan that distinguishes such white pianists as Stanley Mendelsson
has been out of the recording studios for a long, long time, to the and Art Hodes, and which is an immense help to NOT
best of my belief, and the evidence here suggests that he is clogging up a rhythm section or upsetting a front line.
another sadly misused musician. Duncan is well remembered for "Maryland" has rather tiresome march-time opening and
his work on the 1932 session by the New Orleans Feetwarmers, closing choruses, but the filling is pure delight. Parenti takes
with Ladnier and Bechet. He has also been heard on two King his best solo on this. and Hinton takes a hilarious and
Oliver titles from 1930; with Gene Sedric and his Honeybears quotations solo which nevertheless states the theme in no
in 1938; with Snub Mosely in 1941-42 ("Blues at High Noon" uncertain terms. "Frankie and Johnny" has excellent solos all
and "Snub's Blues" were issued here), and on some trio sides round, notably from Glenn who plays with a simulated Tricky
- 17 Sam growl that is no doubt one of the tricks learnt during
wards and enjoys himself immensely playing a complex
his stay with Ellington. On "Bill Bailey", conversely, Glenn
counterpoint to Allen's often complex lead.
plays a staccato, nuanced solo more reminiscent of an up-toParenti, we find, has a limited appeal. and so too may this
date Miff Mole. In the ensembles Glenn is completely at a
record. But while nothing in the album approaches classic
loss, and throughout the disc the ensemble work is virtually
jazz, the entertainment value is likely to remain considerable
two-part. Parenti, of course, knows ensemble work backover extended hearings.
-------------------------------------------------------------------------------------------------------------------------------------------------------Martin Richards about Red Allen/Tony Parenti All Stars 1955/57 on Jazz Connoisseur Cassette JCC71 - Jazz Journal July-88:
(a) Good Old Summertime; Frankie And Johnny; Bill
antecedents, his skill, polish and above all, versatility, cannot be
Bailey; R And T Blues; Careless Love; Maryland My
doubted. His lengthy solo on Good Old Summertime is a knockout.
Maryland (30.06) - (b) Tony's Rag; Vieux Carre; Maple
The rhythm section is exemplary and these tracks will serve to
Leaf Rag; City Of The Blues; (c) Memphis Blues;
remind
us what an underrated] pianist Hank Duncan was. If you like
Yellow Dog Blues; Cherry; Fidgety Feet (30.07); (a)
New Orleans jazz with an authentic sound, then this is for you.
Red Allen, Tony Parenti, Tyree Glenn, Hank Duncan,
----------------------------------------------------------------------------------Milt Hinton, George Wettling, (b) same as (a) but minus
H.Pannassie. bul.h.c.f. No.67/4-57
Allen and Glenn. (c) Same as (a) except Cutty Cutshall
(tb) for Glenn and Ralph Sutton (p) for Duncan.
La section rythmique est supérieure à la section mélodique. Cette
This cassette is notable for the generous playing time dernière comprend en Tony Parenti un clarinettiste extrèmement.
and the near-revelation of Tony Parenti's clarinet faible, dépourvu d'invention et de swing. Henry Allen est très
playing. With the exception of R And T Blues, the (a) irrégulier. Dons certains passages (par exemple le 1st chorus
and (b) tracks appear to have been previously issued d'ensemble de Frankie and Johnny et son solo de Bill Bailey), il
on Jazztone J 1215, and some of them on Guilde Du joua de façon assez plaisante, mais le plus souvent il est désor-donné
Jazz J 1030, although both of these had I've Been et sans grand u feeling » l'rnvraisemblable solo de trompette de
Working On The Railroad which isn't here, Careless Love est typique du plus mouvais Henry Allen. Tyree
Bruyninckx shows August 29th 1955 as the recording Glenn, le meilleur membre de la section mélodique, a mieux joué en
date, under Parenti's name.
d'autres circonstances, mais on l'entend avec un certain plaisir. Hank
Disregarding his pre 1940 work, this is some of the Duncan se montre un solide pianiste d'accom-pagnement et certains
nicest Red Allen that I've heard. His playing is power- de ses solos (celui de I've been working on the railroad) sont d'une
ful and care-fully structured. It's also mercifully free excellente venue, si quelques autres (celui de Careless Love princiof the extravagant excesses which sometimes marred palement) contiennent quelques cafouilla-ges. En fin de compte,
his performances, although you can't blame Red for c'est Milton Hinton le meilleur des solistes. Si son solo de I've been
giving his audiences what they wanted. I've always working on the railroad est très amusant, celui da Maryland et
enjoyed Tony Parenti and admired his pioneer New celui de ln the good old summertime (sans accompagnement) sont
Orleans role, but if this was his only recorded work, tout bonnement formidables. Quelle netteté de phrasé ! Les
on its evidence, you would have to place him with the adversaires les plus acharnés du solo de contrebasse (genre de
clarinet giants. The quartet sides are particularly musique extrêmement fastidieux neuf fois sur dix, il faut en
attractive, having a lovely ragtimey sound which is convenir) ne peuvent qu'être désarmés devant un pareil talent ! Et
full of joy. I would go a long way, if necessary, to hear quel excellent enregistrement !
Tony's version here of Maple LeafRag.
Milton Hinton joue aussi de façon remarquable dans la section
Tyree Glenn's trombone sound is also well worth rythmique, convenablement épaulé par George Wettling.
listening to. Noting his birthplace, I wonder if we might
Je ne recommande ce disque qu'aux grands amateurs de contredescribe him as a 'Texas Trombone', but regardless of
basse.
NYAN-10/8/55p19: SHAKE – ROCK 'N' ROLL – sounds a little unusual for the Monday Night Camp
Fund affair, but this is what happened up at Bowman's Monday night. This aggregation of guest musicians
along with the current band here put on a “Rolling Jam Session.” L.to r.: Red Allen, trumpet; Comanche,
exotic dancing “flame,” Ram Ramirez, organist; Jimmy Smith, drums, and Wally Richardson, guitar.
- 17 a- Addenda
out of Red Allen´s photo collection, courtesy Josephine Allen (Red Allen´s daugter in law),
Metropole 54/55?:unknown-Red Allen-Harry Lim -Cozy Cole
at the Metropole 1954/55
unknown date, location, persons; top right poss.Buster Bailey;
Metropole date?: Bailey-unknown-unknown-Red-Herb Flemming;
unknown date, location, persons; right front poss. Claude Hopkins
at right poss.Herb Flemming
with unknown person
- 17 b- Addenda
Allen graces a 1955 New York radio show with the voice
that won him acclaim as one of the best of the jazz singers.
at the Metropole possibly with guests & poss. Henry P.Allen III
unknown place, backrow: poss. Moule Bourne & Buster Bailey
-------------------------------------------------------------------------------------------------------------------------------------DAILY NEWS, Sat. 11/12/55 p20
Dream Street - All Night . . .
by Robert Sylvester:
In recent years a lot of semi-serious people ranging from real authorities to the dedicated and raucous
Eddie Condon have had a hand in
the popularizing of jazz music as a
true American art form. The list of
these benefactors is long and every
name on it deserves credit, from the
editors of Down Beat to the New
School of Social Research. But as so
often happens in such art crusades,
the best thing that has happened to
jazz and jazz musicians is, possibly,
an accident. The accident was that a
Seventh Ave. saloon called the
Metropole was staggering at the
cash register and threw in some jazz
guys as a last resort.
This was 19 months ago and
today Henry (Red) Allen is
still up there behind the bar
blowing off the roof and a
long list of fine cats have
found what looks to be a
permanent home.
Jazz goes there all the time.
The joint rocks in the
afternoon and continuously
until closing. Buster Bailey is
there with his clarinet and
Cozy Cole presides over one
set of drums. Sol Yaged is
back for another repeat and
Claude Hopkins does those
solid piano breaks. Sonny
Greer, the old Ellington
stalwart, does afternoons
there and happily reports his
emergence as "a matinee
idol." The saloon is jammed
at night with screaming jazz
buffs and it has become such
a temple of the art that the
Copper Rail, a saloon across the street, has
become the off-hour hang-out of the talent.
The best thing about the whole idea is that
you don't actually have to go in the Metropole.
You can hear the music just as well on the
sidewalk. Matter of fact, you can hear it just as
well 10 blocks away.
------------------------------------------------------------------------------------------------------------------------------------
- 18 Stick Evans now drumming with Red Allen's band at Metropole;
by DB 9/7/55
9/26/55, Mo., NYC: Frazier's Restaurant: Camp Fund session with Red
Allen as guest
NYAN-l0/1/55p19
10/3/55, Mo., NYC: Bowman's Bar - Camp Fund session with Red
Allen, Ram Ramirez, Jimmy Smith;Wally Richardson;
photo - NYAN-10/8/55p19
NYC., The Metropole, Times Square is getting a taste of Dixieland music
via a combo comprised of Red Allen(t,v) Claude Hopkins & Luther
Henderson(p) Cozy Cole (d)
BAA-11/5/55p7
12/19/55, Mo., NYC: Wells' Music Bar - Camp Fund session with Red
Allen as guest(player)
NYAN-12/24/55p17
Starkaste jazzen I stan …
Orkester Journalen(Sweden) Oct.1955:
Pa, väg till mina dagliga besök pa Claes
Dahlgrens kontor pa 48:de gatan passerar jag det stället, som antaglien bjuder
pa det starkaste jazzen genom tidera, Jag
talar om Cafe Metropole,som har full
skjuts pa underhallningen fran klockan 3
pa em. till fyra-snaret pa mor-gonem.
Företrädesvis
anlistar
man
äldre
musikanter och därför är det som att se
en god bit av Hot Discography i aktion,
när man släntrar fram till baren för att ta
sig en stilla öl. Sade jag släntra-anej, det
är inte rätta intrycket. Trottoaren framför
Metropole är packad med folk och först
kunde jag inte begripa varför, men sa
snart jag satte fotsulan pa trös-keln till
baren klarnade det. Metropole har det
mest effektiva försäljare jag nagonsin
haft det tvivelaktiga nöjet att komma i
kontakt med. Bartendrarna (som
använder teckensprak eftersom ingen
människa kan göra sig hörd i lokalen)
formlignen drar en fram till disken och
antigen beställer man nagon-ting med en
förfärlig fart eller ocksa befinner man sig
i en handvändning ute pa trottoaren igen.
Ovanför baren pa Metropole, som väl är
bortat en 30 meter lang, löper en
teterbred hylla och där häller musiken
till. För säkerhets skull har man präktiga
föörstärkare ocksä och trumpetarna
spelar rakt in i mikrofonen och – tro mig
– de skulle kumma görna sig hörda utan.
När Timme Rosenkrantz berättade att
musiken pa Me-tropole kan
höras i Europa en klar
dag överdrev han inte. Pa
Metropole spelar för jäm-nan
Henry Red Allen och hans
grupp samt Cozy Coles All
Stars och da och da Sol
Yagedes kvintet. Ibland är
alla banden pa estraden samtidigt för en s.k. jam session det händer tre ganger varje
kväll och hela New York vet
om det. De kan inte undga det.
Favorit-melodin pa Metropole är When
The Saints Go Marching In. Det är
förva-nande hur mycket vitalitet dessa
oldti-mers besitter. Red Allen som verklingen ser ut som om han da och da tagit sig
en magborstare men är värdig som en
präst, skulle kunna göra succé fortfarande, om han presenterades pa en
europeisk konsertestrad. Än mer förvanad blev jag över gamle Fats Wallertrumpetaren Herman Autrey - jag trodde
han var död för länge sedan - som spelar
alldeles ypper-ligst. Buster Bailey är
husklarinettist och Kenny Kersey dito
pianist. Tro nu inte att man spelar bara
dixieland pa Metropole – där förekommer allt. Ena minutes kan Sol Yaged
med trio spela Goodmansk kammarjazz,
för att följas av den all-deles utomordentlige moderne trombonisten Sonny Russo
- fran Sauter-Finnegans band - som levererar hetsiga modernistiska ongangar tal
la Woody Hermans trombone-solister.
Sol Yaged förtjänar nagra egna rader –
han är nämligen den mest fulländade
Goodmankopia jag hört. Inte nog med att
att han later som BG, han ser ut som
Goodman (fast en fot kortare) och har
t.o.m. lagt sig till med Bennys benlyftningar och andra gymnastiska tilltag när
inspirationen faller pa. Att han sedan mest
fastnat för de goodmanska fraser, som i
viss
man
berättigar
Panassies
karaktäristik av fagelkvitter, ligger i
begreppet att han är en kopia och inte en
skapandes musiker.
Vill ni alltsa fa bekräftat att de gamla
gudarna inte lagt näsan i vädret utan
fortfarande lever och har hälsan, vare sig
de heter Cozy Cole, Buster Bailey eller
Red Allen, sa gör för all del ett besök pa
Metropole – det är em upple-velse även
om det nära nog kostar en hörseln för
manga timmar framööver.
PC 1/21/56p22 - Ted Watson-Chicago: HENRY RED ALLEN and his wife, Pearl, who reside in the Bronx, are now
grandparents … Their son, Henry Jr., and his wife are now fondling baby Alconette Allen. … By the way, Red and his allstars are still scoring at the Metropole in Manhattan … Bennie Moten, Eddie (Moe) Boyd and Claude Hopkins.
Claude Hopkins- Jersey Jazz ca.1975p10: … Next I accepted an offer to join Doc Cheatham, Vic Dickenson, Al and
Buzzy Drootin, and Jimmy Woods at the Mahagony Hall in Boston, a fine little band, and we worked there fore about tree
years from 1951 to 1953. When this broke up, we all went separate ways, and I wound up back in New York with Red
Allen's bunch at the Metropole Café, where I stayed until 1960. Then I took a trio to the Nevele Country Club in the
Catskills for a stint that lasted six years – well into 1966.
NYA-3/17/56p20: Herb Flemming, the famed trombonist, held over at the Metropole for another six weeks. Downbeat acclaims
him as one of the greatest jazz men in the business. Ditto: Red Allen, Cozy Cole, Buster Bailey and Claude Hopkins. .
3/2 & 3/3/56, Fr.& Sat. NYC., Central Plaza – Phil Napoleon & his Memphis Five, Buck Clayton & the Plaza All Stars,
guest:J.C.Higginbotham;
advert.in Village Voice:3/4/56p6
3/5/56 NYC., Col.Records 30th St.studio – BUCK CLAYTON JAM SESSION: Buck Clayton, Billy Butterfield, Ruby Braff (t)
J.C.Higginbotham (tb) Tyree Glenn (tb,vib) Coleman Hawkins, Julian Dash (ts) Ken Kersey (p) Steve Jordan (g) Walter Page
(b) Bobby Donaldson (d) Jimmy Russing (v)
Co 55544-1 7:24 All the Cats Join In
/JCH-CD-4/
-1B 4:03 All the Cats Join In
/
--- /
-5 9:40 All The Cats Join In
Col.CJ44291/Mosaic MB8-144/
--- /
Co 55545-4 8:44 After Hours
/
--- /
--- /Meritt-10/
--- /
--- /
-5 9:44 After Hours
Co 55546-4 6:30 Don´t You Miss Your Baby -vJR (omit Glenn) Col.CL882/Phi.BBL7129/ --- /
--- /
-5 5:45 Don´t You Miss Your Baby –vJR (omit Glenn) Col.CJ44291/
--- /JCH-CD-9/
- 19 DB 3/21/56: J.C.Higginbotham back in town, he has been playing weekends at the Central Plaza, N.Y.
3/23 & 3/24/56, F.& Sat., same place – Phil Napoleon & His Memphis Five, Roy Eldridge & The Plaza All Stars, guest:
J.C.Higginbotham, advert.Village Voice:3/21/56p6
4/9/56 Mo. NYC., Place Pigalle - Camp Fund
Affair;
guests Red Allen, Billy Valentine Trio
NYAN-4/14/56p17
4/30/56 Mo.,NYC., Frazier's Restaurant - Camp
Fund session; Red Allen, Sarah Vaughn, Mary
Archer, Bobbie Clark, guests NYAN-5/5/56p17
5/4 & 5/5/56, Fr.& Sat. NYC., Central Plaza –
Wild Bill Davison, Henry Goodwin, Andy
Russo, J.C.Higginbotham, Tony Parenti,
Panama Francis, Zutty Singleton, Arville Shaw
& others
advert.in Village Voice:5/2/56p10
5/7/56 Mo.,NYC.; Brown Twins Cafe - Camp
Fund session, Red & Pearlie Mae Allen guests
NYAN-5/12/56p19
NYA-5/12/56p23: Trumpet player Henry "Red"
Allen gifted his charming wife with 1956 caddy
for her birthday last Saturday. Just a little trinket for her to do the grocery shopping with. ...
DB 23/11, 5/30/56: Red Allen has celebrated his
2nd full year at the Metropole.
5/18 & 5/19/56, Fr.& Sat. NYC., Central Plaza –
Roy Eldridge, Henry Goodwin, Andy Russo,
J.C. Higginbotham, Tony Parenti, Zutty Singleton, Panama Francis, Arville Shaw & others
advert.in Village Voice:5/16/56p3
5/21,/56 Mo. NYC., La Mar Cheri - Camp Fund
session, Red Allen guest NYAN-5/26p17
since early June 56, NYC, Metropole:
DB 6/27/56p6: … Marty Napoleon heads a trio
Saturday and Sunday afternoons. Louis Metcalf,
Hank Duncan, Zutty Singleton, and tenor Bob
McCain play there Monday and Tuesday nights.
Regular bands are Red Allen's and Sol
Yaged-Cozy Cole … ;
… Cozy Cole resumes his original drumming
role in the City Center revival of Carmen Jones,
running until June 17. Muriel Smith, also of the
original cast is in this one too. Show may also
play Washington July 19. …
mid 56, NYC., Metropole: Henry Red Allen (t) Herb Flemming, Buster Bailey, Claude Hopkins, Eddie Bourne vs. Louis
Metcalf (t) Bob McKain (ts) Hank Duncan (p) Zutty Singleton (d) ; & Cozy Cole Trio: Sol Yaged (cl) Marty Napoleon (p)
O.Keller & J.Cosson in Bull.HCF No.58, May 56p5: Au
“Café Metropole” 7 Ave., près de Times Square –
L'orchestre de Charlie Shavers n'y joue plus depuis l'entrée
de ce musicien chez les frères Dorsey. A signaler, un
remarquable petit quatuor dirigé par Louis Metcalf
(trompette) entouré de Zutty (batterie), Hanc Duncan
(piano), et d'un trés jeune saxo ténor jouant dans la plus
pure tradition swing. Son nom: Bob Mc Kain (orthographe
donnée par Hank Duncan). – Il y a aussi un trio composé de
Marty Napoleon (piano), Sol Yaged (clarinette), et Cozy
Cole (batterie). Esprit plus moderne, jazz de qualité
médiocre, surtout à cause du clarinettiste, très insuffisant.
Pauvre Cozy !
Avant de quitter «Cafe Metropole», nous vous dirons quelques
mots sur le pilier du lieu, Red Allen, accompagné par Herb
Flemming (trombone), Buster Bailey (clarinette), Claude
Hopkins (piano) et Eddie Bourne (batterie). Musique assez
désordonnée (présence d'Henry Allen) mais moments assez
intéressants avec Flemming et surtout Buster Bailey et Claude
Hopkins. Mais ne jetons pas la pierre aux musiciens, car
travailler dans une telle ambiance n'est pas une sinécure
(atmosphère bruyante de cafe concert). Toutefois, depuis
l'heure d'ouverture jusqu'à huit heures, il n'y aque très peu de
monde et les musiciens jouent pour eux-mêmes et pour les
quelques amis présents.
6/1 & 6/2/56, Fr.& Sat. NYC., Central Plaza – Phil Napoleon, Eddie Barefield, Roy Eldridge, Henry Goodwin,
J.C.Higginbotham, Tony Parenti, Panama Francis, Zutty Singleton, Arville Shaw & others advert.in VV-5/30/56p6
6/15 & 6/16/56, Fr.& Sat. NYC., Central Plaza – Phil Napoleon, Willie”The Lion”Smith, Roy Eldridge, Danny Barker,
J.C.Higginbotham, Tony Parenti, Panama Francis, Zutty Singleton, Arville Shaw & others advert.in VV-6/13/56p8
Aug.55, Vaughan Monroe TV - Red Allen; NYA-8/20/55p9: Henry Red Allen a solid-sender on the Vaughan Monroe TV opus
- 20 9/25/(or18?)/56 NYC., NBC-TV, “Steve
Allen´s - TONIGHT SHOW” - HENRY"RED"ALLEN & HIS NATURAL GIANTS:
Red Allen (t,ann) Herb Flemming( tb) Buster Bailey (cl) Claude Hopkins (p) "Fats"?Morell(poss.Benny Moten) (b) Eddie
"Moule"Bourne(d) Skitch Henderson(cod) Tony Randall (guest host)
(according Doug Hague's note in JJ-Jan.57 Red Allen was against at Steve Allen's TV late Dec.56/ early Jan.
only a poor tape fragment exists/RA-CD-16/
(1:28) intro: PRETTY BABY ( I miss the first part)
--/
--/
2:40 SQUEEZE ME (Williams-Waller)
(0:43) HIGH SOCIETY /cut (Melrose-Steele)
--/
ST.JAMES INFIRMARY -vRA (not on this tape, if this is the session mentioned by Doug Hague in JJ-Jan.57
10/2/56, Tu. NYC., Rockland Palace - bandwagon "Musical Salute To
"IKE"" with Maynard Ferguson ork.; Terry Gibbs Quartet; RED
ALLEN'S DIXIELAND BAND: Red Allen, C.Higginbotham, Buster
Bailey, Coleman Hawkins, Claude Hopkins.... NYA:9/29p22
NYAN-9/29/56p16: The Youth For Eisenhower Bandwagon's
"MUSICAL SALUTE TO IKE" will be a real jamming session.
MAYNARD FERGUSON and his orchestra along with the TERRY
GIBBS QUARTET, RED ALLEN and his Dixieland Band featuring
COLEMAN HAWKINS and J.C.HIGGINBOTHAM- But the big
attraction is the fact that the admission is absolutely free. It's a
Rockland Palace, Oct.2 with an 8:30(pm) downbeat.
NYAN-9/29/56p35: MUSICAL SALUTE FOR IKE PLANNED
BY YOUTH GROUPS
A mammoth Musical Salute to Terry Gibbs and his Quintet
Ike has been planned by the featuring Terri Pollard on Piano
Uptown Young Republicans to and Vibes; and Henry “Red”
take place Tuesday evening, Allen and his Dixieland band,
direct from the Café Metropole on
Oct. 2nd, at Rockland Palace.
The program will include two the great white way.
speeches by nationally famed
Admission to Salute is free.
persons with entertainment spot- Tickets may be secured at any of
lighting Maynard Ferguson, the Citizens for Ike Headquarters.
Down Beat's Poll winner and his Uptown headquarters are located
brand new big orchestra coming to at 747 St.Nicholas Ave., and at
the Salute direct from Birdland. 2230 Seventh ave. …
DB 12/12/56: Nov. 56, NYC., Neapolitan City, a huge restaurant near Birdland tries jazz: Zutty Singleton, Tony Parenti,
J.C.Higginbotham, Sammy Price and Louis Metcalfe.
Bul.H.C.F.No.168/May-67: undated poss. around this time: Louis Metcalf-Taft Jordan-Joe Thomas-Red Allen; (c.Jack Bradley)
- 21 Louis Metcalf as told to Derrick Stewart-Baxter in
from the Luis Russell days, resulted in Red recommending him
J.J.J in 1967: … He had married a charming Canadian girl
for a stint at the then up and coming Metropole. At this period
and felt it was time he had a permanent home of his own.
the Metropole featuring an all jazz policy. Louis' engagement
He therefore formed a new group, returned to New York,
was most successful and lasted four years. From the Metropole
and opened at Lou Terrasi's Jazz Club. The job lasted three
Louis moved to another famous jazz spot, The Embers, leading
months, during which time many famous jazzmen sat in
a quartet with Clarence Johnson on piano.
with the band. A meeting with Red Allen, his old colleague
Doc Cheatham about Louis Metcalfe and Red Allen to Richard Rains, Storyville-14, Dec.67:
... When I spoke of Louis Metcalfe Doc said how well he on his return from a tour (remark: July-65 Roslyn-Blue
was playing these days and then related sadly how, having Spruce Inn)) in favour of a succession of rock-and-roll bands.
made the Metropole what it was, Red Allen was rejected
11/25/56 NYC., Central Plaza..... TV&....-bc - WILLIE "THE LION" SMITH CONCERT: Herman Autrey, Arvell Shaw, Arthur
Trappier, Dizzy Gillespie, Cliff Jackson, Red Allen, Vic Dickenson, Eddie Barefield, Herbert Hall, Jimmy McPartland, Zutty
Singleton, Hank Duncan, Meade Lux Lewis, Bobby Hackett, Louis Metcalf, Jo Jones, Panama Francis, Red Richards, Sam
”The Man” Taylor, Wilbur & Sidney DeParis, Omer Simeon, Gene Sedric, Tony Parenti, Fess Williams, Wingy Manone,
(transcriptions were made for broadcasts - Jean Failows, Bul.H.C.F.No.64; Jan.57)
part. incl. Red Allen (t): ...................…..
..........................
NYAN-11/24/56p13: 40 YEARS IN SHOW BUSINESS FOR WILLIE
At the recent Canadian, over 400 phone calls to the radio
station followed Willie”The Lion”Smith's appearance on Red Allen, Bert Parks, Howard Smith, Wilber de Paris,
the air; all wanted more. And the Lion did a second show, Dizzy Gillespie, etc.
repeating a successful pattern the fabulous pianist and INFLUENCED MANY: Lion's records are avidly collected
pioneer of jazz got accustomed to, here and abroad, for no by jazz connoisseurs and affectionate fans all over the world
less than 40 years now.
and his fellow musicians respect him as one of the most
On Nov.25, many of the top names of jazz and entertainment influential jazzmen.
will be present at the Central Plaza, 111, 2nd Ave., to play Willie's recent activities include this week's release of an
tribute to Willie Smith, in a celebration that marks his birth- LP titled “Willie The Lion Smith, Accent On
day and 40th year in show business.
Piano”(Urania), current appearances at the Central Plaza
Expected are: Duke Ellington, Count Basie, Ethel Waters, each week-end, his recent successes at the Fairfield Jazz
Will Maston Trio, Buck Clayton, Roy Eldridge, Tommy Festival, his participation as an authority and artist at the
Dorsey, Russ Morgan, Bobby Sherwood, Bobby Hackett, Lenox, Mass., Jazz Forum.
DB 1/9/57: NewYork – Willie (The Lion) Smith's 40th year in music celebrated at a Central Plaza concert recently. Red
Allen was present.
11/56 – RedAllen at the Metropole; by Johnny Simmen in
Bul.hcf-No.64; Jan.57: C'est au < Metropole > que le
public est le plus mauvais, ce qui empéche les musiciens de
jouer avec abandon et détente. Dans l'orchestre de Red Allen
(Herb Flemming tb, Buster Bailey cl, Claude Hopkins p et
Ed Bourne d), il y a un musicien à demi-oublié et qui fait
pourtant swinguer son piano d'une manière qui est un régal :
Claude Hopkins. Je l'ai entendu improviser sur Three Little
Words, accompagne seulement par la batterie, pendant plus
d'un quart d'heure et les quelques musiciens qui se trouvaient
lá ne se tenaient plus,et pour cause! Le danseur <Honey
Boy>Thompson et sa femme, qui étaient présents au
Métropole ce soir-là ne cachaient pas leur enthousiasme.
<Honey Boy> jeta une poignée de dollars sur l'estrade en
criant: < C'est pour toi, Claude, mais je t'en prie, continue, ne WON´T LET HIM GO – Henry Spot, gets everyone in the mood
t'arréte surtour pas, JE T'EN PRIE ! >
with his torrid trumpet tooting
“Red” Allen now entering his
Dans l'autre qroupement, celui de Sol Yaged, j'ai surtout third year at the Metropole café and singing. His quintet
aimé le jeu de ces superbes musicien que sont Cozy Cole et on Seventh ave., has become a
includes Claude Hopkins, Herb
Kenny Kersey. Quant à Sol Yaged, le chef, il sonne exac- permanent fixture. Henry, who
Flemming, Buster Bailey and
serves as master of ceremonies
tement comme Benny Goodman il y a quelques années.
Eddie Burns.
CD-12/22/56:
in the New Orleans type jazz
prob.late Dec.56 NYC., NBC-TV, “Steve Allen´s - TONIGHT SHOW” - HENRY"RED"ALLEN & HIS NATURAL GIANTS vs.
Maynard Ferguson Orchestra:
ST. JAMES INFIRMARY
HIGH SOCIETY
Doug Hague - Jazz on TV - Jazz Journal Jan.57: ... The Steve Allen show continues to be one of the biggest promoters of jazz
with the presentation of the Maynard Ferguson orchestra end Henry"Red"Allen's Natural Giants, with ... and an unknown
bass. "Red" was in rare form on ST.JAMES INFIRMARY whilst the band's rendition of "HIGH SOCIETY", with solo by
Bailey, made a terrific hit with the studio audience. Buster's hair is now quite white but he still retains that well known boyish
face...
(It might be possible that Doug meant the 9/25/56 session with an existing tape fragment,
but without the above mentioned ST.JAMES INFIRMARY and without the Maynard Ferguson sides. The last one played
along with Allen on different sessions, for example at 10/2/56).
trombonist J.C.Higginbothem weds childhood Sweetheart Margaret Stratton on Dec.27 in New Haven, Conn. NYAN12/29/56p11
- 22 -
1954-56, NYC., METROPOLE ALL STARS: front l.to r.: Eddie“Mole“Bourne, Claude Hopkins 2nd, Red Allen
4th, Herb Flemming; seated: Cozy Cole
(E.Biagioni: Herb Flemming)
1956-57, Metropole: unknown woman-Becki Harding - Red Allen - Luis Russell - Bill Eagan (winner of $54,000 and
$32,000 lottery) - Herb Flemming
(E.Biagioni: Herb Flemming
23 -
Red and his musician buddies at the Metropole; Cozy Cole, Buster Bailey, Herb Flemming, ….
J.C.Higginbotham back with Henry "Red"
Allen and Buster Bailey romping nightly at
Metropole. NYAN-2/2/57p11
Spring-57, Higginbotham replaced Herb
Fleming;
Bul.H.C.F.-4/57
Feb.1957, Ed (Mole) Bourne has left Red Allen;
DownBeat 2/20/57;
Eddie Bourne decided to stay with Allen;
J.C.Higginbotham is now with Red's band!
Down Beat 3/6/57
At this time, at the Metropole 1957-59, different
musicians played with Red on different days:
Herb Flemming, J.C.Higginbotham, Vic
Dickenson, later Benny Morton(tb.), Buster
Bailey(regular), Tony Parenti & Sol Yaged (from
opposite bands), Claude Hopkins (regular), Marty
Napoleon, W. Lion Smith, later Sammy Price &
Bob Hamner; Eddie Bourne & Cozy Cole !
2/25/57 Mo.,NYC., Mike Hedley's Lounge -
Camp Fund session; Red Allen guest
MAKE CAMP FUND GIFT - (l. to r.) Charles Banks, Mike Hedley, proprietor, Royce Wallace Outerbridge and
Red Allen make donations at Mike Hedley's Lounge Monday night at the get-together. These charitable minded
friends help make it possible for some deserving child to go to summer camp.
NYAN-3/2/57p15
DownBeat 4/16/57: “Victor To Wax Allen” ( with Buster Bailey,
J.C.Higginbotham, Cozy Cole, etc)
DownBeat 11/12/57p31: Jack Tracy about RCA-LPM~1509:
Rating***:I am most happy to see one of the grand veterans get a
chance to record under good surroundings before the chop are
entirely gone. Allen's companions here make up a congenial
bunch, and that's the type of jazz that results. There's no earthshaking music to be heard here, but there is the constant reminder of
the fire that was once Red's before the years of working set after
set at the many Cafe Metropoles he has played took their toll.
Especially on the ballads like WORLD ON A STRING and
SWEET LORREINE does he sound at ease and unstrained.
Hawkins fits in well, playing sympathetically and with firm
control and knowledge that is his hallmark. Higginbotham, THE
man on trombone for years when he was winning polls, has
slipped badly and now sounds almost like a caricature of himself.
The rhythm section and the rest of the soloists come through well,
with Marty Napoleon's Hines-like piano gleaming in spots. From
these quarters, at least, a hearty thanks to Fred Reynolds for
offering Red the chance to wax this one
- 24 HENRY"RED"ALLEN & HIS ALL STARS: Red Allen (t,v) J.C.Higginbotham (tb, not on -2816/-3383/-85)
Buster Bailey (cl, not on 2816) Coleman Hawkins (ts) Marty Napoleon (p) Lloyd Trottman (b) Everett Barksdale (g) Cozy
Cole (d) Whitney Balliet, Martin Williams (v) among the –vch (P.Mae Allen had sent a cartridge cassette from Red Allen with
3/21/57 NYC.,
several alternate takes 1933-57, but 2698-#2? Is 100% -#1; for 3385-#2? I am unable to get them 100% simultan but nearly identically at all)
H2JB2698-1 5:47
2699
2700
3/27/57
2815
2816
2817
2818
4/10/57
3382
3383
3384
3385-1
LOVE IS JUST AROUND THE CORNER
/RCA LP/RCA RD/RCA FX/ RCA /Rarities/RCA CD/
M-1509/ 27045 /M1-7285/430256 / No-24 /-36404 2/RA-CD-C9/
(I.Robin-L.Gensler)
5:3o LET ME MISS YOU, BABY (L.Russell-H.Allen) RCA1644/RCA FXM1 7326/& -7014/ --- /-36402-2/
--- /
--- /
4:4o RIDE! RED! RIDE! -vch (Millinder) Lps as 2698-1:RCA1509/-27045/FX-7285/ -430256/ --- /-36404 2/
same:
--- / --- /FX-7326/
-/ --- /
--- /
--- /
5:28 'S WONDERFUL (G.&I.Gershwin)
/
/ --- / --/
--- /
8:25 I COVER THE WATERFRONT - (J.Green-E.Heyman) --- / --- / --3:45 ST. JAMES INFIRMARY (J.Primrose)
--- / --- / --/ --/ --- / --/
--- /
--- / --- / --/ --/ --- / --/
--- /
6:52 ALGIERS´ BOUNCE (H.Allen)
same:
5:12 LOVE ME OR LEAVE ME (Donaldson-Kahn)
RCA 1644/
/ --- /FXM17014/
/-36402-2/
--- /
/ --- /-36404-2/
--- /
5:34 I'VE GOT THE WORLD ON A STRING (Koehler-Arlen) RCA 1505/-27045/ --- /
4:08 AIN'T SHE SWEET (Yellen-Ager)
--- / --- / --- /RCA430256/ --- / --/
--- /
--- / --- / --/
--- / --- / --/
--- /
5:32 SWEET LORREINE (Mitchell-Parish-Burwell)
all sides on CDs of RCA-Bluebird-ND82497-2/BMG(D)82497/ Bluebird 2497 2RB (the 2-cartridge tape sides on RA-CD-c10)
Marian McPartland in Down Beat 1/9/58 - the blindfold test about "S WONDERFUL":
I think I've been at the Metropole enough to know that's player was laying down a beat that was the end all the way
Henry Red Allen. It was really swinging. Sounded like Buster through. It is a little wild at times, but that's the way those
Bailey and Coleman Hawkins. The rhythm was going like New Orleans boys are. I liked it very much. It had a lot of
mad but the recording sounds a little funny at times. The bass spirit and I'll give it four stars..
---------------------------------------------------------------------------------------------------------------------------------------------------------Stanley Dance; Jazz Journal 2-58: The years of over- good to hear Lloyd Trotman's fine bass again, and Everett Barksdale
blowing and crowd-pleasing antics at places like the proves that Freddie is not the only rhythm guitarist - and Everett
Metropole have done Red no good, but if his tone has solos, too. COZY exercises his usual command, but I wonder why
spread, it is really surprising how much is left. His there is so much more off-beat emphasis than there used to be. Odd
vocals on "St. James Infirmary" and "Ain't She Sweet" man out is pianist Marry Napoleon.
are warmly evocative of the great yesterday, full of Steve Race's "hopeless bigot" doesn't want to offend with a "tetchy"
personality, and endearingly sung. On the horn, be can remark about "modern", recognises Napoleon to be a good pianist, but
still play prettily and imaginatively, and he achieves suggests his style was ill-suited to this group. Hearing Napoleon on
some effective music here in the low register. He this record during one of Leonard Feather's blindfold tests, Marian
swings, of course, but there is at times a dismaying McPartland remarked that "he sounded very beboppy." people do
inconsistency, or unpredictabilitv, in taste. Thus, he say such awful things about other people, don't they?
will execute a different riff perfectly and then follow it Note the long long-playing time. Good cover and studio shots on the
with an entirely inappropriate flutter.
back make this add up to value for money. But is the peculiar
"Ride, Red, Ride", the first track, and the one by which recording
balance due to one of those crazy stereophonic deals?
the LP is named, is the worst. Skip it, and try the last. -----------------------------------------------------------------------------------H.Panassié to RCA 430259 in Bul.hcf-No.83/12-58:
and best - "Algiers Bounce". Here the group really falls Les interprétations consistent en une suite de solos, parfois encadrés
in a groove and rocks all the way. In fact, if you, play d'rmprovisations collectives. La valeur de ces solos est très variable.
this you are unlikely to be able to resist buying the Ceux d'Higginbotham sont généralement les meilleurs. Sa puissance„
record. After the introduction, Higginbotham takes off impressionnante, est mise en valeur par une excellente prise de son.
on a long solo that builds well and recaptures much of Hawkins est peut-être aussi bon, mais l'enregistrement durcit et
his old glory. Hawk follows smoothly, not really exten- appauvrit so sonorité de telle manière qu'il est difficile d'en bien juger.
ding himself, but just surging along with exciting Buster Bailey est loin de sa meilleure forme; sa sonorité à lui aussi est
suggestions of plenteous reserve power. I can't decide durcle par l'enregistrement. La sonorité d'Henry Allen, au contraire, a
whether it is due to the reed or the recording, but his été favorisée par la prise de son, mais il y o toujours dans son jeu ce
tone seems more wiry on this record. Next is Henry côté désordonné qui gâche ses meilleurs chorus : chaque fois qu'on
Allen in a solo that is, by his standard. relatively rela- croit qu'il est parti pour bien jouer, il détruit tout par un de ces effets
xed and simple, and much the better for it. Last soloist emphatiques ou vulgaires dont il était déjà coutumier il y a près de 30
is veteran Buster Bailey, 55 years old, and he puts ans. On entend également en solo (mais brièvement) Everett Barksdale
down an extremely ingenious and attractive clarinet à la guitare (excellent) et Marty Napoleon au piano (fastidreux). Le jeu
improvisation that steals, for me, the whole record.
de contrebasse de Lloyd Trotman « sort » très mal. Le swing de Cozy
Most of the "Down Beat" readers who voted Jimmy Cole à la batterie est la qualité principale de ce recuell, la plus constanGiuffre top clarinet for 1957-to the sound of ironic te surtout. Cozy fait des choses fantastiques dans 'S wonderful et Love
laughter around the world-have probably never heard is just around the corner, et frappe implacablement le contretemps
Buster Bailey. Buster, of course, has been playing his avec une précision extraordinaire tout ou long (ou presque) d'Algiers
lacy clarinet style for a long, long time, and here he is Bounce.Cette dernière interprétation, prise dans un idéal tempo moyen
proving that he still has something fresh and rather est nettement la meilleure du recueil. C'est là que Higginbotham et
elegant to offer. The secret of "Algiers Bounce" is its Hawkins prennent leur meilleur solo, toute une série de chorus sur le
fine, medium tempo. and Buster begins wailing and blues; au cours des siens, Higginbotham - casse tout.
then building on it like all the others. He finds a La plus mauvaise interprétation du recueil, par contre, est Sweet Lorfetching, rocking phrase and, as he comes to what you raine, où Henry Allen fait preuve d'un mouvais goût invraisemblable,
think is a climax with it, he suddenly goes into the Notons encore que Ride Red Ride (variations sur le thème principal
lower register for the last twelve bars. The effect is de Tiger Rag) est loin de valoir la version 1941 de Lucky .Millinder
quite delightful. All those who have been disturbed by qu'elle suit parfois d'assez près; que Buster Bailey prend un solo d'une
the clarinet trends in jazz of the last two decades ought belle virtuosité dans ce dernier morceau; que Higginbotham est
to get a special lift from this solo.
particulièrement bon dans St James Infirmary et Ain't she sweet; que
Throughout the record it is Buster who gives me the Hawkins brille surtout dans Love is just around the corner (et pendant
most pleasure (dig him behind the vocal on "Ain't She le vocal de Red Allen dans St James Infirmary) et que la guitare
Sweet?"), but there is naturally a great deal of fine d'Everett Barksdale est parfois enregistrée beaucoup trop fort à
music from Hawk, I was going to describe him as l'accompagnement, ce qui rend désagréable l'audition de certains
"ever-reliable", but he does excusably sound a bit passages.
disgusted with the tiger-riding in the first number. It is
Bref, un disque très inégal...
- 25 -
Cozy Cole-Lloyd Trotman-Buster Bailey-J.C.Higginbotham-Red Allen-Coleman Hawkins-Marty Napoleon-Everett Barksdale
Keith Smith about ALGIERS BOUNCE in Jazz Journal 8-69: bone is fine, what a player he has been through the years!
Really I must tell you that above all Red Allen is my favourite Again that huge, fantastically large tone. Coleman Hawkins
trumpet player. When I think about the many trumpet players is superb, I can't say anything else; but it is a beautiful record
I think, Red comes out on top because to me he seems to all the way through both sides. The only comment I have to
have all the qualities. By that I mean that although He is make that is not the highest praise is that, try as I may, I
closely linked with the New Orleans men. by reason of his have never been able to become really fond of the playing
timing, big tone, and all the best qualities of the New Orleans of Buster Bailey. I have listened a lot and maybe am
men, he also has the musical ability, control and technique missing something, but have never been able to see what
to make him the best. This particular record is a really fine people rave over. It makes me wonder, as I know he has
one that funnily enough I have been listening to quite a lot always been used by all the very best musicians; so it seems
lately. The rhythm section is lovely, swings freely - this is in as if they must like him. But to me his tone is too thin and
fact my type of rhythm section. I don't mind listening to the his timing is, well just ordinary, a bit metric if you like. I like
old type rhythm section, but I don't care to play with them the off-beat merchants, like Barney Bigard or Ed Hall or
the banjos and things tie down the beat too hard, it never George Lewis who all have that kind of off-beat timing.
becomes flexible enough. I like something looser; not too Finally I would like to say that in addition to being the
keen on guitars to be honest, much prefer piano, bass and governor trumpet player, Red Allen was from all the
drums, but this is wonderfully loose. Higginbotham on trom- musicians I have ever met the governor bloke.
John McDonough cont. about RCA-556 (7/15/30; 3/6/34) in Down Beat 5/1/69: A lot had happened to Allen by 1957,
where the LP ends. Like Buck Clayton, he came to give much attention to volume and dynamics (he sounds very
much like Clayton on LOVE IS JUST …, also his conception was more asymmetric). Stylistically, he went
perhaps farther than any other direct descendant of Armstrong.
- 26 UK-trumpeter Bob Wallis, J.J.I.Sept.6o; IN MY OPINION - St.James Infirmary, RCA-RD-27o45:
Well, I'd rather talk about this band in general, as that track New Orleans stuff.
is one I like least on the on the whole LP. Red Allen, he's Red also plays beautifully in the lower register, a thing
the ultimate to me. He's the boss, the gov'nor. He's got which not many trumpet players do - or can do-nowadays.
everything: heat, immense feeling, VERY good technique, In fact, he's good in any range, but especially in that
and he SAYS something all the time. He is, of course, lower register. Bunk used to do it a bit-on "Franklin St."
similar to Louis in many respects, and is often dismissed and the American Music "Careless Love". Allen might
on that account, but I don't agree. There are a lot of play in New York, and I know he's got Hawk there, but
trumpet players who sound like Louis, but I think that this is a New Orleans style of playing. As for the rest of
there was a school of trumpet players - Lee Collins, the band, they're great. I'm not too keen on Buster Bailey,
Punch Miller, Louis and Red Allen - and that the others though he doesn't ever get in they way, and Higgy is not
don't just copy Louis. Red's just similar, that's all. Some- particularly inspired here, but Hawk and the entire rhythm
times, I'll admit, his playing is a little vulgar, but I can section are magnificent. Hawk is especially fine on
excuse that-he's such an exuberant bloke.
WONDERFUL - he just takes off. Lloyd Trotman is an
Yes, Red is the boss. He's like Lewis in many ways-George excellent bass player, and Marty Napoleon follows Red
Lewis, that is. You know the stuff Lewis does on very expertly on the slow stuff.
"Jerusalem Blues" or "Burgundy St."! Well, Red does the I've played two copies of this record completely out. First
same things on this album -- the same mood, the same class.
-------------------------------------------------------------------------------------------------------------------------------------------John Forrester about RCA-RD-27045,in Jazz Monthly,1/58: home in a big all-out effort.
This is exceedingly good jazz and most enjoyable music. It is All the numbers are performed with precision and that
always pleasant to see this type of group being put on record unmistakable air of spontaneous fun; recording sessions such
and it is to be hoped that 1958 will enable us to hear far as these make it evident that "dead pan" seriousness is not
more of it than has been possible during the year just passed. necessarily a, prerequisite of good music. All through, the
It will be seen by the line-up that little less than very fine can playing by Coleman Hawkins is exemplary and makes him
be expected, and this definitely proves to be a fact. All the in his rightful place as a front rank tenor player. It is good to
titles are well known standards and are played with that total hear again J.C.Higginbotham whose big gutty tone is al-ways
exuberance which goes towards keeping them in that an asset to any group. Buster Bailey's clarinet is capable of the
most intricate weaving patterns and when needed can also
category.
Side 1 commences in stirring fashion with the title number, produce an extremely hot low register. Drumming by Cozy
RIDE,RED,RIDE, being sung by leader and trumpeter Red Cole is a byword for some of the most simulating and solid
Allen, very ably helped out by the full group. J.C.Higginbo- rhythm work in jazz. Lloyd Trotman, bass, Marty Napoleon,
tham swings in to take up a chorus in wonderful big-toned piano, end Everett Barksdale on guitar, back up the group
trombone style, handing over to Marty Napoleon's powerfully with mastery. Leading the band, Red Allen plays very spirited
swinging piano which then gives way to the melodic trumpet, alternating powerful drive with delicate variations of
chordings of Everett Barksdale's guitar. Buster Bailey takes tone, this being heard to particular advantage on I COVER
I feel this complete
off on two extremely good choruses, vocal again, then THE WATERFRONT.
Coleman Hawkins produces, with his usual apparent ease, a session is summed up most adequately by Buster Bailey
when he says "Man, it's been a wonderful time!"
very fine chorus. The end comes with Red leading the group
-------------------------------------------------------------------------------------------------------------------------------------------Don Locke about RCA-RD-8o49 in Jazz Monthly 3/1970 (the reviews of 1929-30 were not included in the bio-disco-part-1a, p99):
7/16/29 IT SHOULD BE YOU -3/BIFFLY BLUES -2; FEELING DROWSY-2/ SWING OUT-3; 2/28/30: DANCING DAVE;
7/15/30: ROAMIN'-2 /SINGING PRETTY SONGS -2/ PATROL WAGON -2/ I FELL IN LOVE -2; King Oliver 30: STINGAREE ;
Fl.Henderson 1934: HOCUS POCUS -2; Allen 46: THE CRAWL; 57: Let Me Miss You/ Love Is Just …/I Cover the Waterfront;
This let me say it loud and clear, is jazz of the very highest
quality, with one of the masters of the music at the height of
his considerable powers. Heaven knows what Allen's
standing would be if, especially in the 50s, he had more of
the recording opportunities he deserved. As it is, it was only
around 1930 that he had anything like full exposure, mainly
in the ranks of the Luis Russell band, as in the first nine
tracks here. They tell a fascinating story of how Allen's own
highly individual style developed from his original role as
Victor's Louis Armstrong. At first the Armstrong influence
is plain for all to hear, but although the delivery and the
decorative touches are pure Louis, Allen's phrasing is rather
more oblique, in place of Armstrong's majestic inevitability,
and his tone has more rasp to it. Then, in ROAMIN' and
PRETTY SONGS, though hinted at in the impressive
DROWSY, we note the important stylistic differences, the
tendency to delay accents and spread phrases across the
beat, to drag the music out where Louis pushed it foreward.
In this, as in his way of turning the phrases away from the
theme rather than moulding elegant paraphrases in the
classic Armstrong manner, Allen anticipates Lester Young.
Indeed it is only since Prez that we can fully appreciate the
strength of these early Allen sides; and we can also
understand how, despite the power of his tone, Red may
have seemed slightly hesitant and unforceful along-side
Louis, just as Young at first seemed weak and pallid
alongside Hawkins. I think it no accident that PATROL
WAGON, probably Allen's most popular record from this
period, is also the closest to Armstrong in inspiration and
execution.
By the time we come to Fletcher Henderson in 1934 Allen is
very much an individual voice, with his solos beginning to
break up into the constantly shifting patterns and textures of
his later work.
We then jump - and jump is the word - twelve years to a
rocking small group, with Red's growling trumpet and Don
Stovall's Hodges-flavoured alto riding powerfully over a
rolling Tympany Five-type beat.
And finally there are three tracks from the 1957 RIDE RED
RIDE LP. The music here is so exceptionally fine that one
hesitates to complain, but complain I must. Two of the
selections, good though they are, were overshadowed on the
original LP by even more striking examples of Allen's
mature style. The third, WATERFRONT, has an astonishing
trumpet solo, so fascinating and varied that I could devote
this whole review to it alone, but just when Allen has
brought things to this pitch and Hawkins comes storming in
to take up the challenge, the track is faded out (I am afraid I
cannot remember whether the other tracks are edited also). I
knows it is all a question of time - and this record lasts 53
minutes as it is - but if it was necessary to butcher the music
in this way, surely we could rather have done without
Napoleon's bland piano solo! And although it is worth
having some of the music from RIDE RED RIDE in
whatever form, the greater shame is that this will inevitably
delay the reissue of the original record. In fact I should have
thought there was a strong case here for two Allen LPs, an
early Red and a late Red(*). The former might have covered
more of Allen's Henderson records, for example, or have
included all the Luis Russell Victors. The second LP might
have replaced the one or two dispensible tracks on RIDE
RED RIDE by some more examples of that 4o's jump band,
for which my appetite is now well and truly whetted. But
however one carps at the production, the music on this
release is such that there is only one possible verdict: go out
and buy it. And what without considering other fine
contributions: the Henderson band's delicately floating
swing; Hawkins in top form, both in the gentle whispy mood
he favoured in the early 30s, and in his tougher style of the
50s; first class solos from Holmes and Higginbotham; and a
characteristic muted moment from King Joe on
STINGAREE.
- 27 Down,Beat 1/22/59: "Bread, Butter & Jam in HI-Fi"RCA-1644 :(M.Williams): "Let Me Miss You" & "Love Me Or Leave
Me" - ...The ease with which Allen handles rhythms, time, and space (you never hear him having to state his own beat), the
way he uses dynamics and the range of his horn, and his originality seem to me just about exemplary. And his conception
has had a lot more influence than anyone acknowledges. Granted
that he may introduce an idea in bar nine that doesn't immediately follow on those in his first eight, such is not the
compulsion of unsureness nor is it bluff. Would that this LOVE ME had been included in his own often excellent LP
(Victor
1509) rather than the nonsense of RIDE, RED, RIDE that did get included.
-------------------------------------------------------------------------------------------------------------------------------------------------J.P.Daubresse, translated by Don Waterhouse on RCA 7326: "What other trumpet player plays such asymmetrical rhythms
The Dixieland Revival enjoyed such a tremendous vogue- and manages to make them swing besides. What other trumwith Red Allen playing a central role - that the Metropole peter plays ideas that may begin with a whisper, rise to a
management cast its net a little wider and began to feature brassy shout, and suddenly become a whisper again, with no
soloists from the thirties such as Coleman Hawkins, Charlie discernible predictability. Who else has the amazing variety
Shavers and Roy Eldridge. It even opened its first-floor to of tonal colors, bends, smears, half-valve effects, rips,
moderns of the ilk of Dizzy Gillespie and Horace Silver. glissandos, flutter-tonguing (a favourite on a high D), all
During the sixties the basement housed Rock or Twist combined with iron chops and complete control of even
groups in the afternoon, whilst at nights Woody Herman, softest, most subtle, tone production. ... No one has a wider
Gillespie and, of course, the ever faithful Red Allen were scope of effects to draw upon, and no one is more subtle
rhythmically and in the use of dynamics and asymmetrical
the featured attractions.
The band played nightly and the alcohol flowed liberally; phrases than Henry (Red)Allen."
much too liberally, unfortunately, for the music to be of Some people have accused Red of being unduly adventurous,
anything like consistent quality. An unkind story recounts even to the point of untidiness, but this view seems to
that some of the clienté1e used to turn up not for the music neglect the true quality of the musician, especially in his
but to hear Red Allen's ineffable reminiscences of New pre-1940 output. His melodic explorations and rhythmic
Orleans, and then to watch the musicians fall off their chairs flexibility enabled him to forge a thoroughly personal style
as the alcohol began to strike home. It is from this period which allied the wailing lament of the blues to the delicate
(1957) that the recordings in this final Volume 5 of the Red- lyricism of the ballad. In practice, no musician between the
Allen Victor "integrale" originate. Luckily, the musicians Louis Armstrong-Coleman Hawkins and Roy EldridgeLester Young eras has proved to be such an outstanding
seem to have laid off the bottle for the occasion.
Because of his New Orleans origins there has been a frequent innovator as Henry Allen.
tendecy to associate Red Allen with the typical Louisiana Indeed, it is in the company of a still highly inspired, masterly
school and even out-and-out Dixielanders and Revivalists. Coleman Hawkins, that Allen made these famous 1957
In fact, the so-called New Orleans and Dixieland styles are recordings. We also find J.C.Higginbotham providing
based principally on the element of collective improvisation; ample evidence of his solo prowess, although he was no
Allen, on the other hand, despite having played a purely longer a young man by the time these sides were cut. We
collective role in his days with Fletcher Henderson, the Blue should not forget that Higginbotham, along with Jimmy
Rhythm Band and Louis Armstrong, was undeniably an Harrison, made a vital contribution to the evolution of the
individualist. Eight years Armstrong's junior, he belonged to jazz trombone. The rhythm section on these sessions
the same third generation of New Orleans musicians, the era provides adequate support, but Buster Bailey's clarinet is
of the soloists. It is quite apparent that his conception and somewhat disappointing.
approach were much closer to those of a Coleman Hawkins It is interesting to note that, although Red Allen was for the
than of a Freddie Keppard and that a good number of his American public the epitome of revivalist jazz, few of the
phrases were much too advanced and complex to fit into the themes used here have anything to do with the revivalist
collective ensembles of the New Orleans style. Although repertoire. On the contrary, these are some interesting
without doubt capable of expressing himself in the originals (LET ME MISS'YOU and ALGIERS BOUNCE),
Dixieland idiom, his preferences nonetheless urged him to pleasing ballads (I COVER THE WATERFRONT and I
take on a melodically and harmonically more complicated GOT THE RIGHT TO SING THE BLUES) and unashamed
repertoire. He attacked the melody with a relaxed sense of standards (AIN'T SHE SWEET and ST.JAMES INFIRMARY).
phrasing and a very sure sense of tempo, without needing to The high spots of the album are a sensitive version of
SWEET LORREINE and a IS WONDERFUL; this latter
resort to any of the usual Dixieland clichés.
In 1965 young trumpeter Don Ellis, who had made a name number is more than a little evocative of the atmosphere in
for himself in avantgardiste George Russell's outfit, confessed Nice during the summer "Grande Parade du Jazz". Allen's
his admiration for Red Allen in a Down-Beat interview: hit RIDE RED RIDE is to be heard on Vol.4 RCA-7285.
---------------------------------------------------------------------------------------------------------------------------------------------------------THE RESURGENCE OF RED ALLEN - Whitney Balliett modern jazz. The unsteady, staccato blare that has characin "The Sound of Surprise": IT HAS BEEN nearly thirty terized his work now frequently gives wav to a thoughtful,
years since Red Allen, the tireless, sad-faced trumpeter, more generous tone and a myriad of soft glancing notes that
became one of the first practitioners of the instrument to resemble nothing so much as a nervous, vigorous Miles
move away from the blanketing influence of Louis Arm- Davis.
strong. Today, at the age of forty-nine, he is an unspoiled, Allen's rejuvenation is apparent in the recent “Ride, Red,
non-repetitive musician who, astonishingly, is still widening Ride in Hi-Fi” (Victor), which contains nine numbers. Also
his style. Allen left an identifiable mark on the early work on hand, among other are Buster Bailey, J.C.Higginbotham,
of Roy Eldridge, who, in turn, influenced Dizzy Gillespie, Coleman Hawkins, and Cozv Cole. The recording is exasthe present champion of modern jazz trumpeters. Allen is peratingly uneven. The barely skeletal arrangements are
erratic, restless, and highly lyrical. Sustained legato phrases climaxed a couple of times by meaningless grandstand
that undulate like a calming sea are linked by jumpy con- codas, and a desperate, semi-burlesque number, "Ride, Red,
nective passages - full of seven-league intervals and slightly Ride," is done at a flag-waving tempo full of boiling
flatted notes - that may or may not land on their feet. His trumpet and a chorus of voices that chants the title. Both
thin, coppery tone occasionally softens, but more often it Bailey and Higginbotham are in uncertain form, and Cole,
pierces straight to the bone. Once in a while, too, he ascends who usually combines a faultless technique with sensitive
wildly into the upper register or relies on technical tricks, support, indulges in a door-slamming after-beat that contisuch as a rapid, birdlike tremolo, achieved by fluttering two nually joggles the melodic flow. Nonetheless, in "Sweet
valves up and down, that sound more difficult than they are. Lorraine," "I've got the World on a String," and "I Cover the
At his best, Allen is one of the most eloquent of jazz Waterfront, " all taken at slow speeds, Allen produces long
musicians. His melodic feeling is governed almost and memorable solos, in which he alternates judicious high
completely by the blues; he infuses just about every tune notes with lush, booming, trombone-like phrases. He does
with broadly played blue notes. In the past few years, a not, however, top Hawkins, who has recently abandoned the
remarkable thing has happened to Allen's playing. Unlike cool, precise museum of tenor saxophonology that he had
many of his contemporaries, who tend to ignore what become ten years ago for a heated, angry style that suggests
has come after them, he appears to have been listening to the work of a young, uninhibited imitator.
- 27a - Addenda
JOHNNY SIMMEN July 1976 about RCA-Black & White series with 4-Red Allen volumes in Le Point Du Jazz no.13:
… In 1957, when the two last tracks on this album were and for all puts the hierarchy matter in correct perspective.
recorded, Red's use of dynamics (see also 1946 review) was Coleman Hawkins, when he was in Europe (1934-39) the first
even more amazing than ten years earlier. For this I regret that time, mentioned Red Allen frequently and he seemed to like
neither I COVER THE WATERFRONT, SWEET LOR- his playing very much. When Harry Pfister once asked him
RAINE nor I'VE GOT THE WORLD ON A STRING from how he explained the radical changes in Red's playing in the
the same date (or just a bit later,) are included because they years between Russell and Henderson, Hawk replied that Red
show Red Allen's amazing development in this direction much had copied Louis Armstrong in the 20s and until about 1933
better than LOVE IS JUST AROUND THE CORNER and but that at that time he started listening to him (Hawk) and
especially RIDE RED RIDE which are to be found on his that he tried to play some of the things Hawk did on the
album. Red's ballad playing became a thing of plain beauty as saxophone, on the trumpet. Hawkins referred Harry to both
the years went by. The two tracks have good playing by Red, versions of QUEER NOTIONS (Fletcher Henderson) and we
Hawkins and Everett Barksdale but this was one of those listened to the one available (Columbia) right there with Hawk.
many dates (too many) when a few of the older musicians not He added that he found Red's playing "even more interesting
together and too many drinks were taken. some musicians did than before" but expressed doubts that "Red could go far with
so because they were heavy drinkers, others "had a few" that style because a saxophone is a saxophone and a trumpet
because they were happy to meet their old pals whom they is a trumpet. The saxophone allows a lot of flexibility while a
met rarely (so some "celebrating" seemed to be appropriate) trumpet doesn't give you the same possibilities."
Recently at the wish of P.W. Erwin I had put the five interpreand still others who played rarely overindulged because they
were nervous and hoped to find the necessary relaxation by tations which Pee Wee Erwin recorded with Red - under the
taking a few drinks. An uncalculable number of concerts and latter's name - for Vocalion in January 1935 on a cassette for
recording sessions got spoilt this way, from the late fifties to him. In his following letter Pee Wee wrote: "I liked everythis day. I'm surprised how few jazzfans are hearing what thing Red played. He was a great musician. The 5 numbers I
happened. Most of the time they just conclude that "the had the honour of making with him, are from his Henderson
musician is finished" and that's all to the question as far as period, perhaps his happiest musically and personally."
IN 1959 Red Allen recorded two albums with Kid Ory and
they are concerned. But, as mentioned, it is a much more
complexe matter to those who really care and who are not just also came to Europe (for the first time) on tour. These two
Lps (made for Verve) and the concerts made me realize that
"record collectors".
The rhythm-section with the quasi-infallible Cozy Cole(s) Red was an even more versatile and adaptable player than I
and Bostonian Lloyd Trotman on bass is one of the strong thought. I went to the Zurich concert with them and, in the
points of the two interpretations at hand. Buster Bailey plays in taxi, Ory said: "That's the best trumpet-player I played with
a strange way - as he sometimes do - and I'm afraid that many since the old days with King Oliver and Louis Armstrong.
jazzfans think that THIS is the typical Bailey. Fortunately this Red is one of the few who still can lead a New Orleans jazz
is not so : Buster was one of the most irregularly inspired ensemble. I know." Mr. Ory sure was the man to know (Red
musicians but when he felt right - and there are about 100 was beaming with joy at Kid Ory's comment since he had
tremendous respect for him and considered it an honour to
records on which he did - he was a great, admirable musician.
One of the most often printed clichés in literature about jazz is have been invited to make this tour with the great trombonist)
the following: Jazz trumpet playing developed like this: King and the records are lasting proof of what Ory said! I think in
Bolden to King Oliver to Louis Armstrong to Red Allen to 1959 Red played better lead than on any of the records he
Roy Eldridge to Dizzy Gillespie to Miles Davis. One American made with Jelly-Roll Morton. Don't ask me how he could do
critic - I don't remember which there are so many - brought it it after all these years … He could and that's all that matters.
I have nothingpersonal against J.P. Daubresse but I have to
up and since then most everybody has accepted the hierarchy
correct
another statement he made (on Vol.IV): "La fâcheuse
mentioned as gospel truth. Well, I could not comment on Buddy
habitude
de boire inconsidérément qu'avaient prise Red
Bolden-King Oliver because I have never heard the first-named
(and neither have the writers who insert that list in their writings) ALLEN et J.C. HIGGINBOTHAM rend ses interprétations
and I don't know enough about Dizzy-Miles-to give an opinion bien souvent inégales." I have spoken of Higgy's drinking and
of any value. However, I always found the inclusion of Red don't add anything about it. However, where Red Allen is
Allen strange, not to say downright wrong. As much as I concerned, the statement is a pure invention. Red was not the
admire him I did never feel that he was an "influence" on a man to refuse a drink but he always had control over himself. If
really big scale. Sure there were a few trumpet-players that Red was drinking inconsidérément, 80% of the musicians are
tried to copy him at one time or another: Harry James and in the same boat. I have not only met Red 16 times in those
Ziggy Elman with Good-man in the 30s, Rex Stewart on Duke's years I had mentioned, but I know from what many musicians
initial IN A SENTIMENTAL MOOD, Irving "Mouse" Randolph told me that these 16 nights were not exceptional but the rule
when he was sitting side by side with Red in Fletcher Hender- where Red's drinking was concerned. I'm also interested in
son's orchestra in 1934. But Rex - as he told me himself - did these questiones where jazz musicians are dealt with because
it just "because I wanted to prove that I could emulate him - he I have always wished to know as much as possible about
had been offered Posey Jenkins' chair in Ellington's band but them. If Red Allen had been an excessive drinker, I would
Red refused and I got the job - and that solo proves I could. I say.so because that would not have been a crime but an
always liked Red Allen's playing but I never was influenced illness. In those years, I used to drink a lot myself - wishing to
by him." As for Randolph, he was another who almost made it have a ball - and I told Red. However, he just smiled and we
his specialty to play like other trumpet players. Later with Cab drank - but reasonably! HE wanted it that way. I think all.this
Calloway, he took pleasure in sounding like Doc Cheat-ham, largely proves that Mr. Daubresse's statement is untrue. Why
much to the despair of those who are trying to find out who's did he write - on an album cover! something utterly wrong?
who ! - But why go further without getting the opinion from Something Mr. Daubresse oviously has no knowledge of? I'm
the very trumpet-player who is said "to have got it from Red sorry this is not at all the way how somebody who admires
Allen", namely Roy Eldridge ? The book: THE JAZZ MAKERS. and respects great jazz artists speaks or writes about them. I
The chapter: ROY ELDRIDGE. The writer: NAT HENTOFF. can tell from the way Mrs Daubresse writes about the music
Page: 310. "Was Red Allen one of your influences?" Roy: "I on these four LPs that he is a rather young man. That's OK
like Red, but, oh God, no ! When I first came to New York I 'cause nobody can be accused of being young or being old,
used to wonder why people were saying he was playing such but I can also tell that Mr. Daubresse has no real feeling for
wonderful chords. But I wan't the type of cat that would say a the music and the artists he writes about. Since I have lived
cat wasn't playing until I heard what he was doing and felt I with this music and have a personal and deep relationship and
understood. red used to come in and sit in with Teddy Hill, and involvement for what's on these records, I deplore the tenor of
I felt something was wrong. I didn't know exactly what it was Mr. Daubresse's writing. It's not modest and not repectful
until I went with Fletcher, and from the experience I got there, I enough for someone who has so little knowledge of it. Hope
knew he had often been playing the wrong chords". I think he will learn ...
that about settles that question. Roy Eldridge not only did not Henry "Red" Allen was a proud and an impressive man. He,
be influenced by Red Allen but, at the same time, he is was one of the great figures of and in jazz history. As long as
criticizing him more severly than anyone. Despite this there are people who listen to the music with a heart and an
negative judgement, I wished to quote Roy because it once open mind, these facts will keep their full validity.
- 28 GIANTS OF JAZZ – HENRY RED ALLEN – 1981 Time Life records ; notes on music by John Chilton:
Mx H2JB2699 - I Cover the Waterfront: Henry "Red" Allen's All Stars Henry Allen, trumpet; Coleman Hawkins,
tenor saxophone; Marty Napoleon, piano; Everett Barksdale, guitar,. Lloyd Trotman, bass; Cozy Cole, drums. Rec. for
Victor, May 27, 1957, New York. Courtesy of RCA Records, Inc. Victor LPM1509. .
This reunion between Allen and Coleman Hawkins shows with brilliant ideas. Here he really develops his excursions
that neither musician had lost his powers of improvisation into the low register. Very few jazz trumpeters have ever
almost 25 years after they first recorded together.
utilized low notes as Allen does here; the stratospheric flights of
In the intervening time, Allen's trumpet style had changed trumpeters are now commonplace, but the beauties of the
considerably. Surveying his career on record, one can hear him lowest register are much less frequently explored. On each of the
continually adding accessories to this technique. In the early bridges in his solos Allen deliberately takes a bold line. On the
1950s he also developed a new tonal approach to his low second of them, he becomes almost brash, grow-ling his way
notes, consistently exploring the trumpet's hot-tom register. through a maze of daring phrases that leads to a last eight
Allen had never been afraid to dive suddenly to a low note and where he seems to be shouting out his solo.
then to surface quickly to the middle register, but in his latter days Only a master jazz musician could successfully follow such a
he developed a sort of aqualung technique that allowed him to barrage. of musical ideas, but Coleman Hawkins proves
stay down among the lowest notes for a long time. His tone himself equal to the task with an exquisite, force-fully blown
had changed too: It became more cloudy and husky, which chorus. It is full of inimitable touches: the long, majestic
gave a wistful, melancholic edge to his playing at slow tempo. phrases projected with an awesome energy, the astute use of
This expressiveness, coupled with the freedom that extended harmonies and the huge tone.
microgroove timing allowed, produced a tour de force of
Allen's low-note playing had taken no toll of his range in the
ballad playing on I Cover the Waterfront. After an elegant top register, as he proves by blowing high and handsomely in
four-bar guitar introduction by Everett Barksdale, Allen plays the last bridge. The last eight bars are punched out
the first chorus close to the melody, but embellished with dramatically, and this ride out leads to a showy finale, typical
subtle paraphrases, daring time lags and full-toned low notes, of the sort of arrangement that Allen was playing then at the
one of which, slotted into the end of the first eight bars, Metropole, with drummer Cozy Cole pounding out the beat
provides an ingenious, husky-sounding link with the next skillfully and energetically. This example of Allen's latter-day
burst of phrasing. A dramatic flurry of notes introduces the ballad playing-and particularly the sound and expressiveness
bridge, and in the last eight bars Allen invokes an effect from of his sonorous low notes-is music to be treasured.
his salad days by trilling at considerable speed.
After a tasteful piano chorus - neatly phrased but lightweight-Allen re-enters to play two amazing choruses packed
-----------------------------------------------------------------------------------------------------------------------------------------------------------C.H. about RCA-7326, in J.J.I. 4/77: This volume finds Red
Allen among erstwhile friends during the Metropole era. Allen
during this period established a reputation, at least among those
who particularly enjoyed his earlier exploits, for waywardness
and aggressiveness. The passing of further years has allowed us
to realise that this was a natural development of his style, and
although the music here lacks the youthful grandeur of his
playing with Luis Russell he still contains many of his earlier
qualities along with a good deal of sophistication. Red here is
still recognisably a New Orleans trumpet player, but also a man
supremely at ease with the music of the time. His work is
always worth studying closely, as complex as it is logical aware
of the tenets of Bunk as well as the innovations of Eldridge and
even Gillespie. As one would expect, all of his colleagues are
equally expert in making full use of their instruments and also
in maintaining a full swinging sound. The result is robust but
not indelicate music which gives me a good deal of pleasure,
enhanced by the singing of the leader, a jazz vocalist whose
vast talent is perhaps too much obscured by his prowess on the
trumpet. I shall still go back to the Russells for the best of Red
Allen, but those whose tastes are more advanced may well find
this record as well rewarding as anything he ever did.
==========================================================================================================
4/30 & 5/7/57 NYC., COOTIE
WILLIAMS –“COOTIE & REX IN THE BIG CHALLENGE”: Cootie Williams (t)
Rex Stewart (c) J.C. Higginbotham, Lawrence Brown (tb) Coleman Hawkins, Bud Freeman (ts) Hank Jones (p)
Billy Bauer (g) Milt Hinton (b) Gus Johnson (d)
6.03 I´m Beginning To See The Light
Jazzt.J1268/
4.07 Do Nothing Till You Hear From Me
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9.20 Alphonse And Gaston
--/
4.04 I Got A Right To Sing The Blues
--/
4.35 Walkin´ My Baby Back Home
--/
5.05 When Your Lover Has Gone
--/
4.50 I Knew You When
--/
Jazztone J1268-THE BIG CHALLENGE - COOTIE AND REX: … April and May-57.
It has been encouraging recently to notice that some recording
studios, influenced by some of the discerning jazz writers and
by such executives as Avakian, Hammond, and Dance, and
beginning to amend their long-standing policy of recording only
the progressive 'new star' names of the jazz world. These current
pets of cultural improvement, whose claim to distinction is
frequently no more than an honours degree from Juillard, have
held sway for far too long. Through the post-war period many
of the outstanding jazzmen of the pre-war period, though still
active and in most cases playing better than ever, have been
driven out of the music altogether, or else have had to content
themselves with playing occasional jazz for fun and other music
for a living-music which, in most cases, has given no outlet to
their creative abilities. Such musicians as Cootie Williams,
28b - Addenda
Rex Stewart, and J.C. Higinbotham, all famous jazzmen in
their prime and featured on countless pre-war recordings, had
not, until recently, been heard on record dates for years. These
three, with the more fortunate Lawrence Brown, Coleman
Hawkins and Milt Hinton, make this release not only a
welcome return but an outstanding record by any standards.
This should make us even more concerned about what we
have been missing, and doubtless are still missing in the cases
of many still 'un-rediscovered' jazzmen. After a decade of
vibratoless, thin-toned trumpet players, would-be valve
trombonists still unaccountably using a slide, and saxophonists
all dragging their feet in Parker's footsteps but so painfully far
behind, this is a hot-blooded, exuberant sound to blow through
your loudspeaker like the proverbial breath of fresh air.
The outstanding title is "Alphonse and Gaston", which
displays all the attributes of the individual members of the
group, and throws the horns together in pairs for some
uninhibited chasing of a very high calibre. This is a long blues,
written and arranged by Ernie Wilkins, and taken at a
bouncing tempo. An electric atmosphere is established
immediately by the opening ensemble, and is maintained right
to the end. (The nearest thing available in this country is the
fine "Algiers Bounce" from the Henry Allen "Ride Red Ride"
LP on R.C.A.) The trumpets, trombones, and finally the tenors
engage in battle successively, the challenge producing some
spectacular results. Even Bud Freeman. outclassed though he
is by Hawkins, manages to exceed his previous best.
Of the other titles, the only unfamiliar theme is "I Knew You
When", a Rex Stewart original that I would commend to any
swing group in search of material. This closes the record and,
according to George Simon's sleeve note, the sessions also.
Of basically 32-bar form, the opening chorus contains fortyfour bars, of AABA form with the A section having twelve
bars, the B being of normal middle-eight form. Rex and Cootie
are subsequently featured, and at what was supposed to be the
end Hawkins appears to have been reluctant to finish, and
returns with a strongly blowing chorus before the closing
ensemble is repeated. Even then, presumably, the number did
not close, for the track fades away with no sign of the music
flagging.
"Do Nothing Till You Hear From Me" and "I Gotta Right to
Sing the Blues" are made without Rex, and both feature
Cootie. The arrangements for these are done by Joe Thomas,
while the scores of all the other tracks were mapped out, by
Ernie Wilkins. Under the original title "Concerto for Cootie",
the first of these was written with Cootie in mind and recorded
by him with the Ellington band in 1940. Not surprisingly, he
turns in a faultless performance. On "I Gotta Right" Cootie
lays down the theme against an elaborate obbligato from
Hawkins. Brown and Higginbotham split the second chorus,
before Cootie returns. "When Your Lover Has Gone"features
the tenors and trumpets in a chorus each. Hawkins plays an
exceptionally well-developed solo, and finishes the piece off
with a virtuoso cadenza. "Walkin' My Baby" swings intensely,
and again omits /cut
===============================================================================================
April/May-57, Bronx: Stardust Room, Boston Road - Sunday afternoon Dixieland sessions with the Sol Yaged and Red Allen combos
-alternating. (DB 24/1o, 5/16/57)
- 29 DIXIELAND ALL STARS / THE DIXIECATS: Red Allen (t) Tyree Glenn (tb) Buster
Bailey (cl) Boomie Richman (ts) Willie"The Lion"Smith (p) Arvell Shaw (b) Zutty Singleton (d)
5/8/57 NYC., RED ALLEN & HIS
3:42 THAT´S A PLENTY
(Gilbert-Pollack)
(N.O.R.K.)
5:22 TIN ROOF BLUES
3.25 ROYAL GARDEN BLUES (C.&5.Williams)
2:46 MUSKRAT RAMBLE
(Gilbert-Kid Ory)
5/15/57 NYC.,-same but Milt Hinton (b) for Shaw
2:14 WOLVERINE BLUES
(Spikes Craemer-Layton)
6:36 BASIN STREET BLUES
(S.Williams)
(Palmer-Williams)
5:36 I FOUND A NEW BABY
3:04 BEALE STREET BLUES
(W.C.Handy)
Roul. /Roul.LDM/Col 33SX/Storyv./Jazz React./RA-CD-18/
25015/ -30143 / -1580 /SLP-104/ JR-161 /
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on WOLVERINE and is still a uniquely individual musician.
Paul Rossiter about Co.33SX1o8o, in Jazz Monthly 5/58: This
LP is drawn from the Roulette label. While glad to see
TIN ROOF has excellent Glenn in stop-time, very good
musicians of this type recording again, it is a pity that they
Smith, and professional solos from the rest of the front line.
The rhythm section is very fine, and is far superior to those
were confined, in this instance, to somewhat hackneyed
usually heard on records of this kind, with Zutty Singleton
Dixieland numbers.
The record as a whole is pleasant without being outstanding.
showing once again that he is in the top rank of drummers.
There is no attempt at ensemble playing, but the solos are
These musicians can turn out good performances at will, and
generally of a high order. BASIN STREET is the outstanding
show here that they can cut most of the Dixieland musicians at
track, with a fine contribution by Allen in a sober style, and
their own game, but with less rigid supervision and more
excellent choruses by Glenn and Smith. The latter is featured
stimulating material I am sure that they would do better.
---------------------------------------------------------------------------------------------------------------------------------------------------S.Traill about Col.33SX 1080; in Jazz Journal 5-58:This is in old fire, and his lead of the final all-in choruses is exemplary.
The anonymous sleeve notes are informative and the pretty
some ways a strange record. for although I would be the first to
admit there is quite a lot of good jazz here, I feel. that the cover picture of three kittens should please everyone - always
music doesn't suit the musicians. Red Allen's trumpet lead is excepting that monstrous 'Lord Rochester' of course.
much too flashy for a so called Dixieland band and much of --------------------------------------------------------------------------the time he sounds as if he were playing with his tongue in Olaf Hudtwalker about Storyville SLP-104: Jazz Podium-12/59:
his cheek. Every track contains really excellent solos, but Eine in ihrer Seltenheit pompös kostbare Besetzung allgemein
there is little cohesion in the ensembles which are in the main unterschätzter Harlem-Musiker! Leider verschweigt die
Platten-tasche, wie diese Aufnahmen zustande kamen und wer
very untidy. The rhythm throughout is very strong.
Willie The Lion (a strange choice for such a party) provides auf die grandiose Idee kam, Willie, den Löwen (er kämpfte wie
some nice snatches of good old fashioned stride piano, particu- ein solcher im Weltkrieg Nr.1), - einer der großen Harlemlarly on the swingy "Wolverine" and the slower "Tin Roof", Pianisten! - mit New Orleans' letztem Trompeter-König Henry
and Tyree Glenn (another strange choice) plays excellently Red Allen, Oldtimer Bailey, Zutty Singleton und den anderen
throughout. He plays a beautifully balanced solo on "Tin Roof" zusammenzuführen. In jedem Fall gebührt ihm Dank und Ehre,
and embellishes such good melodies as "Way Down Yonder" denn ihre Musik schwingt mit Fülle und Persönlichkeiten, sie
and "Basin Street" with telling improvisations. The two reeds hat ihre Gesichter und bereichert die Dixie-Discothek um eine
also make interesting music. Boornie Richman plays an easy LP, die “anders“ ist. Allen scheint bei Zutty's Beat ganz zu
paced tenor, which swings more than one realises at first Hause und demonstriert sein Format - als sanfter Riese der
hearing - he is at his best on "Royal Garden" and "Tin Roof". Vitalität und Technik, auf der Grenze zwischen Armstrong und
Buster Bailey has a rather spikey tone which may worry you Eldridge. Lediglich das Alt von Boomie wirkt bei der Session
at first, but he gets around his instrument and shows an ability deplaciert. Sagte Allen kürzlich bei einem Interview in
to create a really hot solo. I like him best on "That's A Plenty" Frankfurt über das europäische Publikum: “they make you feel
and "New Baby", two quick ones, and the slower and more like you are doing something“ und auf die Frage, ob er wieder
thoughtful "Tin Roof". Henry Allen's best solo work is reserved kommen würde: “can't be fast enough“! Herzlich Willkommen,
for the last track, "New Baby". Here he shows some of his Henry Red Allen!!
Newport 1957: Arvell Shaw-Jack Teagarden-Kid Ory-Higginbotham-Red Allen-Buster Bailey;
Jazz Journal 6-68
- 30 -
above photo from cover Verve-8233
Teagarden-Ory-Higginbotham-Bailey
above right, out of Jazz Monthly July-59p7:
Red Allen- B.Bailey-J.C.Higginbotham
advertisement Village Voice 6/5/57p9--Jazz Festival Set July 4-7
NYAN:5/11/57p15:–
A mammoth concert, they will have an
additional day with two extra concerts this
year, keyed to celebrate the birthday of
Louis Armstrong, will kick off the three-day
Festival.
This year the Festival directors have
persuaded the owners of some of the large
mansions in Newport to take in “guests”,
thus eliminating the ever increasing lodging
problem. A tentative schedule of the
concerts is as follows:
Thursday evening, July 4:
Louis Armstrong Band, Sidney Bechet
Quartet, Ella Fitzgerald, Edmund Hall, Earl
Hines, Jack Tagarden, Kid Ory, Red Allen,
Cozy Cole, Buster Bailey, and J.C.
Higginbotham
with a long list of the program (see the advert.)
DB 5/30/57: Red Allen scheduled to appear
July 4 at Newport Festival.
Village Voice 7/10/57p8: Eartha Kitt gives her
all at the 4th annual Newport Jazz Festival last
week-end at Newport, R.I. The greatest of all
American jazz events filled the air over
Newport for four days and four nights with
hot and cool sounds of every variety in the
jazz spectrum. The series of concerts was
kicked off on the evening of July 4 with a
salute to Louis Armstrong on his birthday by
such greats as ELLA FITZGERALD, KID
ORY, JACK TEAGARDEN and HENRY
”RED” ALLEN.
- 31 least, and Jack Willi's trumpet lead, although
not lacking in facility, was a trifle weak - at
least for a band of this kind. Nevertheless,
playing for the most part in the ensemble
style (as, after all, is fitting for a New
Orleans group) the band generated terrific
rhythmics excitement. Lewis's recent bands.
as Dick Freniere has pointed out, are really
rhythm bands; which, in these days, is
something to he thankful for.
Bobby Henderson, a pianist recently rediscovered by John Hammond, followed with a
group of Waller tunes: "Jitterbug Waltz",
"Keeping Out Of Mischief Now", "Honeysuckle Rose". and a number dedicated, for
some strange reason to Louis Armstrong
entitled "Blues For Fats". Henderson is
supposed to have been one of the Harlem
stride pianists of the '30s (under the name of
Jody Bolden, if my notes can he believed)
who sank into obscurity. I can only admire a
pianist who can play, in this day and age,
without bass and drum accompaniment, hut I
cannot feel that his disappearance from the
jazz scene was any great loss.
Claude Hopkins, Arvell Shaw, Red Allen, Cozy Cole and Buster Bailey
discussion of the-performances I might as
THE NEWPORT JAZZ FESTIVAL well admit right now that I did not attend
all the programmes (1 blush to admit how
by Jerome Shipman-J.J, Oct.57;
many I actually did go to), but I was
pict. by Dr.H. Fine
Freebody Park, which appears to be present at both the best and worst of the
Newport´s municipal base-ball stadium. sessions, which I propose to talk about in
would seem to be a ridiculous place to hold some detail. For reports on some of the
a jazz festival. But then jazz festivals others, I am indebted to Art Goldwyn and
themselves are pretty ridiculous. The place Dick Frenière any of you malcontents out
- Freebody Park, that is - has no acoustics there who are grumbling because you are
to speak of; when the public address getting a third-hand, rather than a secondsystem broke down, as it did twice during hand, account of Newport should know that
Louis Armstrong's set, not even those of us both of these guys are true eclectics; I hate
in the press section could hear the music. everything). There were also two panel
Indeed, even with the amplifying system discussions, one on "Music, and the Use of
working, the music in certain sections of Habituation and Addicting Drugs", the
the bleachers is scarcely audible; the other on "Working Conditions of Jazz
audience there sits around drinking beer Musicians. Present and Possible", I never
from paper cups. talks. and generally did run across anybody who had been to
enjoys itself as it would at a baseball either discussion, so I still do not know
match. The whole affair, in fact, reminds whether it was possible musicians or
me of a baseball match or, if that image is possible working conditions which were
too recondite. a circus, rather than any discussed.
The concert on the opening night of the
presentation of Art. Vast hordes of people
mill about. hawkers sell official program- festival. July 4, was without doubt the
mes (pie-pared, as if you didn't know, by low point of the whole affair. Billed as a
Downbeat) and funny hats, fireworks go "Louis Armstrong Birthday Celebration",
off in the distance. planes roar overhead, the idea was to present musicians ;with
and at least! twice during each performance whom Armstrong had been associated at
your neighbour is sure to squeeze by you various stages of his career and we were
(hipping cold beer and mustard on your
led to believe by the advance publicity
freshly laundered linen.
In the face of such surroundings it is almost that grand reunions would be the order of
beside the point to speak of music. but the evening, and that he would play with
music, or at least jazz, there was. Days of his old friends, notably Sidney Bechet,
jazz, nights of jazz, hour after hour of jazz, who was being flown in from Paris for
big bands, small hands, old bands, new the occasion. Kid Ory, and Jack
bands, singers. dancers - enough jazz to Teagarden. I must confess that I was
last an ordinary mortal a lifetime. Provi- looking forward to the program-me with
ding he could hear any of it in all that keen anticipation ("the hope that springs
hubbub, and providing any of it was any
good. Good, did I say? Whether the music eternal within the human breast" as ;hat
was good or had is completely it relevant great poet Ernest L. Thoyer said), and I
in view of the hard facts that more than 50 was bitterly disappointed.
George Lewis's current band opened the
thousand people paid hundreds of thousands
of dollars to cheer madly Ella Fitzgerald's concert, and played well, if not in a partiimitations of Rose Murphy and Louis cularly inspired manner. This group, with
Armstrong. Jazz is America's Native Art Rob Thomas. trombone: Joe Robichaux,
piano; Alcide Pavageau. Bass; Joe Watkins,
Form: what could be more American than
to present more of it than anyone could drums; and a fairly young trumpet player
possibly enjoy, to more people than could new to me. Jack Willis, is not one of
Lewis's best bands. Joe Watkins played
possible understand it?
The above observations will please nobody. I much too loudly although this may have
imagine (least of all our editor), so I sup- beers the fault of bad microphone placement:
Robinchaux's solos were peculiar, to say the
pose I will have to get down to a concrete
Red Allen's Metropole band
Buster Bailey, J. C. Higginbotham, Claude
Hopkins, Arvell Shaw, and Cozy Cole rounded out the first half of the programme. Their first two numbers were totally,
excruciatingly, unbelievably bad, but
when they were joined by Jack Teagarden,
who did "China Boy" and his "Basin
Street" routine, things picked up considerably. Teagarden seemed to he on top
of the world, and his playing reflected it,
being as fresh, as brash, and as selfassured as ever it was. Teagarden retired
after introducing Kid Ory, himself as
spry and as vigorous, despite his 72
years, as anybody around. Ory was
allowed to display his marvellous tailgate
style, at once simple and, like so much of
New Orleans music, deep and satisfying
only with "Muskrat Ramble" before he
was joined by Teagarden and a rather
glum (with good reason) Higginbotham
for a three trombone version of "High
Society". The trombonists, as Henry Fine
observed. competed more than cooperated, but it was all amiable. and harmless
enough. Besides, Willis Conover (who
runs the jazz programmes for the Voice
of America, a fact which goes a long
way toward explaining why we are
losing the Cold War) who acted as
compare explained that both Ory and
Teagarden would be back to play with
Armstrong.
Ella Fitzgerald, tastefully dressed in dyed
red hair and a lime-green gown, began the
second. and presumably climacteric, half of
the show. Being, alas, completely immune to
whatever charms her art may have I can say
nothing about her performance save to
remark that most people who praise her scatsinging extravagantly have obviously never
heard the late Leo Watson. For my part. she
was on much too long, but the audience,
clearly one on which good jazz would have
been wasted. would hardly let her leave the
stand.
Finally, Louis and the All Stars - Edmund
Hall. Trummy Young, Billy Kyle, Barrett
Deems, and on bass. Squire Girsh, one-time
tuba player with Lu Watters (as Squire Girsback), a point a few people may wish to
brood overfiled on stage, and I waited expectantly for things to happen. But .nothing ever
did. Bechet didn't show up at all. Armstrong
never did play with either Ory or Teagarden.
- 32 and all we got was the current repertory "Now
You Has Jazz", "Moritat", and, for
God's
sake "Stomping At The Savoy-- played
utterly without warmth or conviction.
Readers of this magazine, and of Mr. Stanley
Dance's column in particular, need hardly
he reminded that Armstrong has been made
the focus of all the hatred the International
Jazz Press and assorted other smart money
boys feel toward traditional jazz and the
values it represents. Yes, painful as it is, I
must agree with a local pundit (who never
misses a chance. and he has plenty of them,
to discredit traditional jazz) that Armstrong's
performance left a bad taste in the mouth.
It isn't that he doesn't play jazz this music
is jazz fully as much as Ella Fitzgerald's),
or that he clowns. (surely no more than
Dizzy Gillespie). but that his music has
grown increasingly empty. One feels more
and more that he simply does care about,
not his audience. which would make not a
particle of difference, but his art.
One of the curses of jazz, in some respects,
is the gramophone record. but not for the
reason usually advanced. The trouble with the
gramophone record, all too often, is that it
preserves, for eternity as it were, an impossibly high level of performance, so that all the
time one is listening to George Lewis one is
comparing his playing with the 1943 Climax
sides: listening to Red Allen one is
comparing hint with his 1929 Victors (there
is, in Allen's case, not a tragedy - it wasn't
hubris that brought him down - but a story of
real pathos, and I wish someone more
sensitive, shrewder, and with more psychological insight than myself would dig it out),
With Louis it would be cruel (or idiotic) to
insist he reach the heights, or plumb the
depths if you prefer, of his 1925 blues
accompaniments. but surely we have the right
to expect he maintain the standards set in the
W.C. Handy LP of a few years back: his
playing at the Festival made a mockery of
even that.
As to why Bechet never showed up. no
explanation was offered. I heard that he
never got on the plane at Paris, which
leaves us still in the dark. I did hear a story,
unconfirmed (as such stories always are),
that Louis absolutely refused to play with
Ory and Teagarden, and that two hours of
pleading with him before and during the
concert were fruitless. This particular tale
may apocryphal, but it has a symbolic
truth. I am not the only one who left
Freebody Park that night disappointed.
distressed, and not a little hurt.
After the Armstrong fiasco, it is a pleasure
to he able to report cut the thrilling Gospel
concert given Sunday afternoon. A relatively
small audience. quite different in make-up
front the usual one at Newport (there were a
considerable number of older Negroes) sat for
almost three hours under a pitiless sun and felt
better and more refreshed after it was all over
than they had at the beginning, such was the
extraordinary impact of The Ward Singers.
The Drinkard Singers. The Back Home
Choir, and Mahalia Jackson. The idea for the
concert was John Hammond´s; my debt to
him would have been greater and my
enjoyment even more intense had he not,
characteristically, also inflicted an unctuous,
patronizing and thoroughly annoying
compare named Joe Bostic on us. But when
Mahalia Jackson starts singing. the Joe
Bostics of this world are quickly forgotten.
Everybody. I trust, knows what Gospel
singing is. and all about its relation to jazz. I
thought I did. until it suddenly struck me - in
the midst of tapping my feet and clapping my
hands - that I hardly knew the first thing about
this music. For what we heard seemed a long
way from Mitchell's Christian Singers and
Mind Willie John-son. I would not be at all
surprised, for example; if modern Gospel
singing were more strongly influenced by
jazz than the other way around. Certainly the
accompanying pianists Sylvester Dean for
most of the groups, Mildred Falls for Mahalia played the stompingest piano I have ever
heard "live" on the faster numbers• and what
can only he described as pure blues piano on
the slow ones. I believe that the Gospel audience. and indeed the musicians (singers and
instrumentalists) themselves, do not pay any
attention to what, for want of a better name, I
call revivalist jazz except as in the case of
Mahalia Jackson, to ignore it pointedly. This
is really a pity, for the two styles. if that is the
proper term. have a lot in common. as such
records as Madame Ernestine Washing-ton
with Bunk Johnson band. Sister Lottie Peavey
with the Yerba Buena Band (Bunk on
trumpet!, and Ann Cook with Wooden Joe
Nicholas' Band amply demonstrate the
Gospel field could furnish the broader base,
both in audience and in performers, today's
traditional jazz so surely needs. It seems to
me (although I could, of course, he completely wrong) that many of the young Gospel
musicians are those who would have bean
playing (or singing) jazz twenty or so years
ago; why they do no: now, and why the gulf
between Gospel and jazz (the myth that the
Young modern jazz-men arc deeply influenced by Negro religious music I take to be just
that - a myth) I would dearly like to know.
One thing is certain; not :all young Negroes
want to play, or hear hard bop.
But the concert itself: Clara Ward and her
Ward Singers and the Drinkard Singers. both
groups accompanied by Professor Herman
Stevens, organ. and Sylvester Dean. piano
seemed to have a similar approach to the
material such songs as "All God's Chillun
Got Shoes" (if I am reading my -notes right).
"Packing, Getting Ready to Go", and "Somebody Bigger than You and I" - and both
generated the most fantastic rhythmic
excitement I have ever heard, outside of
New Orleans music. I am not sure this effect
is what is meant by swing, and I certainly
could not speak of its superstructure,
infrastructure, or its tension-relaxation
dichotomy, I only know I simply could not
stop tapping stomping would he a better
word - my feet, and I had all I could do to
slop from shouting. Most of :he songs were
begun in ensemble- with the "barber-shop"
harmonies much in evidence: then there
would he solos by one or two of the singers,
often quite long and always rising to heights
of emotional intensive backed up by riffs- in
the form of short phrases by the other
singers. It seemed to me. Incidentally, that
:here was a good deal of improvisation on
the part of the soloists. Both the Ward
Singers and the Drinkards were compelling
and quite marvellous: when one of those
groups got to rocking, the whole atmosphere
was electric.
The Back Dome Choir, a group of fifty
mixed voices from Newark. New Jersey as
were the Drinkards, although they originally were from Savannah) were something
else again. Obviously the interplav among
the voices and the improvisation possibly
with a group of five are no longer possibly
with one of fifty; consequently the Back
Home Choir sounded much more arranged.
What Jeff Banks, the organiser and leader
of the choir has done, for the most part, is
to set Joe Deloach a remarkable singer,
against the massed voices (learned readers
of Prof. Stearns' book will need their heads
salegy and repeat the shibboleth "antiphony"). The overall effect was somewhat
lacking in spontaneity, but Mr Beloach was
as impassioned and as convincing as say,
the reverends Gates and McGhee.
And then there was Mahalia Jackson. Her
appearance was without doubt the high point
of the 1957 festival, let alone the afternoon's
concert. With her glorious voice (not
entirely untrained. I would imagine) and her
majestic stage presence she captivated the
audience completely; she left the stage, at
the end of her performance,. to a standing
ovation. There is little I need say Mahalia;
superlatives, at any rate, get :boring very
rapidly. … I was particularly pleased to
note that Mahalia "sang one for Mr.
Russell (William Russell, the doyen and. to
my mind. the best. of critics of New
Orleans jazz)". The afternoon was a
triumph for Miss Jackson and she. alone
with the other Gospel groups and one or
two others. are what made the Festival
worth while. I have two reservations to set
against what seems to have become a
paean of praise: Some of the Gospel
singers did seem theatrical at times, and :he
sentiments expressed in some of the songs.
particularly the slow ones, where banal at
best.
The myriad others who rounded out the
Festival were, almost without exception,
very much like their recorded selves. The
Ruby Braff Octet, featuring Pee Wee:
Russell, went over big; Eartha Kitt danced
with the Gillespie band and got everybody
mad at her: the Basie Band sounded tired:
Sonny Stitt carved Roy Eldridge to
ribbons: Turk Murphy s new group was
tremendous; Dave Brubeck swung like
mad - for him; the Jimmy Giuffre Thee
exploited the full dynamic range from pp to
pp; Pete Brown is sick; Bobby Hackett's
Sextet. exploiting the versatility of the likes
of Dick Cary was intriguing. if you like
that sort of thing; Stan Kenton wasn't, even
if you do; etc.. etc. If there were any
Moment of Truth such as folklore attributes to previous Newport Festivals, they
escaped my notice. I suppose. finally. I will
have to say something about the
Wunderkinder from Farming dale High
School and their gigantic (well 28 piece)
dance hand which made the pages of Life.
Time, and for all I know Armstrong's Little
Green Sheet. These apple-checked youngsters, whose average age, we ate told. is 14
years (I'd like to see the arithmetic which
led to that results play well-known arrangements (as for example Basie's "It´s Sand.
Man") and have an altoist who sounds just
like of course- (Charlie Parker. The attention they received was all out of proportion
to what they deserved. Having myself
played in just such band (in an otherwise
misspent youth). I Was not impressed.
By the time this note appears in print, there
will have been in addition to Newport
several other jazz festivals, including the
Great South Bay (Long Island) Festival,
the Randall Island Festival, and the festival
at a spot hitherto not known for its jazz
activity, Lynn, Massachusetts. Where will
it all end? After Newport our little group
swore we wouldn't go again (we are going
to have an opportunity to hear Mahalia
Jackson under more favourable condition
soon). But some time has passed. and
already there are rumors that John Hammond is going to round up all the back
country jug and skiffle bands in the South,
which means we'll all be back next year to
hear even more jazz amid even more
confusion. America. America.
- 33 7/4/57 Newport-life; HENRY"RED"ALLEN COMBO & guests: Red Allen (t,v) +Kid Ory (v,tb) *Jack Teagarden,
J.C.Higginbotham (tb) Buster Bailey (cl) Claude Hopkins (p) Arvell Shaw (b) Cozy Cole (d)
Verve MHV/Verve(G)/Verve(F)/Col.33CX/Am.Rec.- /
3:48 intro-ann. by Willis Conover (narr)
8233/MV-2624/817792-1/ -10106 /Soc-G-436/RA-CD-18/
/
--/ --/
--- /
--- /
8:04 STRUTTIN´ WITH SOME BARBECUE (Armstrong-Raye) --- / --4:50 ST.JAMES INFIRMARY -vRA (Primrose)
--- / --/
--/ --/
--- /
--- /
(Winfred-Boutelje)
--- / --/
--/ --/
--- /
--- /
2:52 *CHINA BOY -vJT
4:50 *BASIN STREET BLUES -vJT
(Williams)
--- / --/
--/ --/
--- /
--- /
--- / --/
--/ --/
--- /
--- /
3.12 +MUSKRAT RAMBLE -vK0 without JCH (Gilbert-Ory)
(Melrose-Steele)
--- / --/
--/ --/
--- /
--- /
4:25*+HIGH SOCIETY
CHINA BOY on Phil.(Eu)838347-2/ ST.JAMES on Verve(G)845144-2/ + on Mosaic189-2(CD X 8set) & on RA-CD-21&RA-CD-43b
covernotes Bill Simon on Verve 8233: JULY 4, 1957 WAS WILLIAM "BUSTER"BAILEY is believed to have been
THE DATE OF THE OPENING CONCERT AT THE the first legitimately trained clarinetist to make it big as a
FOURTH ANNUAL 'NEWPORT JAZZ FESTIVAL. And jazzman. He was born in Memphis in 1902, but studied in
it also was Louis Armstrong's 57th. birthday. On hand to Chicago with Franz Schoepp, who also taught Benny Goodhelp him,celebrate, and to pay tribute to the all-time great man the fundamentals. Bailey was on the scene as early as
jazzman, were some of his old cronies, going all the way 1917, with W.C. Handy's band,.and worked with most of
back to the New Orleans days, which Satchmo himself has the big-game colored bands of the '20's and '30's. He was a
recalled so colorfully in his book, "Satchmo-My Life In mainstay of the popular John Kirby crew from '37-'46, and
New Orleans." The fact that Louis himself did not cotton to has worked with Allen off and on since '51.
the celebration did not prevent a lot of good music from JACK TEAGARDEN... There were just a few significant
trombonists in early jazz: Kid Ory, tailgate king from New
being blown before his appearance, by those old friends.
Following the turn by the George Lewis band from New Orleans; lucid Jimmy Harrison from New York; and the
Orleans, and pianist Bobby Henderson (who, incidentally, is first real jazz virtuoso on the horn - Miff Mole. It was
a nephew of the legendary pioneer New Orleans trumpeter, Teagarden, a Texas boy (born 191 1 ) who translated
Buddy Bolden), master of ceremonies Willis Conover Louis Armstrong's brand of expressive jazz to the slide
brought on the Red Allen combo, fresh from the daily horn, and he has taken his place alongside Louis as one of
Broadway battles at the Metropole, a midtown New York the timeless, sanguine heroes of jazz.
bar which features "wall-to-wall" jazz, virtually around the He played as a youngster around home, usually with the
clock. Most of the men in this band are veterans of the early legendary pianist Peck Kelly. He left for New Orleans, and
big jazz bands - of Fletcher Henderson's, McKinney's and of latched on with an important group of white musicians, those
Louis' own bands. Even Arvell Shaw, the junior member, identified with the illustrious New Orleans Rhythm KingsLeon Rapollo and such. In '27, he hit New York and the
played with Louis' combo for some times in the 50s.
The music they played was high-decibel, boisterous following year joined Benny Pollack's band, which also had
Dixieland, blasted out with maximum showmanly verve. brought Benny Goodman to New York. Jack began to
Then Jack Teagarden joined the group and provided one of record with Pollack, and with the Red Nichols groups.
the high spots of the Festival with his warm, red-blooded, Harlem musicians remember Jack's nightly excursions to
lucid and lyrical tromboning of CHINA BOY. Then, of their part of town, and how he jammed with them into the
course, there was his lithesome, lazy singing of his early hours. Jim Crow customs at the time. forbade
inevitable BASIN STREET BLUES. Then Jack introduced professional engagements with his Negro confreres.
the daddy of tailgate trombonists, Edward "Kid" Ory. This During much of the '30's, he was featured with Paul Whiteseptuagenarian strolled on stage looking exceedingly dapper man, as vocalist and jazz trombonist, then for About eight
in his white jacket and performed as though he might have years, struggled with his own band. In '47 he threw in the
been a "kid" for real. His featured number was the great old towel and joined Armstrong's combo, staying until '51.
standard he himself wrote about 4o years ago-MUSKRAT Since, he has had his own small combos, and currently is
RAMBLE-and just to show he was riding with the times, he being "rediscovered" he did some of the best playing of his
even shouted out a vocal, using the lyrics written just a few career at Newport.
years ago by Hollywood writer, Ray Gilbert. Then Teagar- EDWARD "KID" ORY was born in the vicinity of New
den and Higginbotham joined Ory for a three-'bone blast at Orleans on Christmas Day, 1886. Buddy Bolden, legendary trumpeter-leader of what is believed to have been the
that other New Orleans perennial, HIGH SOCIETY.
THE CAST: HENRY"RED" ALLEN, JR., is the son of a first jazz band, was still active at the time Ory turned pro,
New Orleans brass band pioneer, and he was born in nearby and Kid is supposed to have sat in with him. Later he had
Algiers, La., in 1908. Although he began his career in the his own band, with such men as King Oliver, Armstrong,
New Orleans street bands, most of his professional activity Bechet and the Dodds brothers. He pioneered jazz on the
was with the big Northern bands, and much of his career Coast in 1919, then joined Oliver in Chicago in '24.
was spent in the shadow of his idol, Louis Armstrong. He He was with Louis on the monumental Hot Five discs of
followed Louis into King Oliver's band in '27, and in '29 he '25-'27, then returned to Los Angeles. He virtually retired
joined Luis Russell's band, which in several periods was from music during the depression, to run a chicken farm.
fronted by Louis. He also was with Henderson in 33. During By the '40's, he was back in the swim. Orson Welles tapped
the '40's, together with his sidekick J. C. Higginbotham he him for several radio shows and he was involved in a few
film tracks. In '57, he toured Europe with his own band,
was a familiar attraction on 52nd Street.
JACK (JAY C.) HIGGINBOTHAM, was born in Atlanta, Ga., most successfully, returning just in time to make Newport.
in 1908. He was a protegé of the late great Jimmy Harrison WILLIS CONOVER, master of ceremonies at the Newport
in the '20's. He has played with Russell, Chick Webb and Jazz Festival, is the jazz voice of "Voice of America" His
Henderson, and was with Red Allen in the Armstrong band erudite, illuminating commentary is heard every week in
just about every country in the world..
of '37'40. He and Red have been together ever since.
-----------------------------------------------------------------------------------------------------------------------------------------------------NEWPORT FESTIVAL, THURSDAY NIGHT – Barry Ulanow in DownBeat 8/8/57: A Night at NY's Metropole Cafe
was created on stage by the Henry Red Allen group. Their set, STRUTTIN' WITH SOME BARBECUE and ST.JAMES
INFIRMARY BLUES, embodied most of the noisier elements of Dixieland, although Buster Bailey's clarinet work was
impressive and Allen's big toned trumpet, when edited, proved exciting. Jack Teagarden joined the group for a
percussively tongued CHINA BOY, which he closed with a dazzling cadenza. Jack sang BASIN STREET BLUES and
blow a handsome solo which apparently spuned Allen into a clean, precise chorus and Bailey into one delicate and aimy.
Kid Ory replaced Teagarden for a raucious MUSKRAT RAMBIE which he sang. Then Teagarden teamed with Ory and
Higginbotham to blow with Allen's group, including Claude Hopkins, Arvell Shaw and Cozy Cole. They united in three
part harmony on HIGH SOCIETY.
- 34 O.Keller-NPT-1957; Bul.hcf-No.70/Sept-57:
Nous eûmes ensuite un groupe de musiciens jouant réguliè- Jack Teagarden vint se joindre à l'orchestre et ce furent
rement au « Métropole » de New York et ayant à peu près Basin Street Blues et China Boy. Kid Ory, également en
tous joué une fois ou l'autre avec Pops: Red Allen, J.C.Hig- vedette. interpréta Muskrat Ramble sur lequel il prit un
ginbotham, Buster Bailey, Claude Hopkins, Arvell Shaw et vocal désopilant. Buster Bailey prit un formidable solo sur
Cozy Cole. Musique très soignée, que ces musiciens durent ce morceau et j'avoue n'avoir jamais entendu Buster jouer
aimer jouer dans une ambiance pour une fois farvo-rable. aussi bien. Pour terminer 1eur programme, tous ces
Buster Bailey et Higginbotham brillèrent tout spécia-lement musiciens jouèrent High Society, avec des ensembles exédans Struttin' with some Barbecue et St James Infirmary, cutés à l'unisson par les trois trombones Kid. Higgy et Mr. T.
-----------------------------------------------------------------------------------------------------------------------------------------------------H. Panassiè about Barclay 5oo5 in Bul.H.C.F.,No.93,Dec.59:
La face s'ouvre sur une présentation de l'orchestre par cette avec lui), suivi de Buster qui jouerait très bien s'il ne se
immnense andouille de Willis Conover (quelle que soit la croyait pas obligé de faire plusieurs incursions dans 1e
couleur) qui énumère interminablement entre quelle et suroigu de la clarinette à chaque solo. Enfin, bon « iff »
quelle année chacun des membres de l'orchestre a joué amorcé et mené par Red Allen, et coda grandiloquente par
Teagarden.
avec Louis Armstrong.
Struttin' with some Barbecue commence par une impro- Teagarden annonce ensuite Kid Ory au trombone, « the
visation collective d'assez bonne qualité et se poursuit par daddy of all tailgate trombones, the famous boy from New
deux brillants chorus de piano de Claude Hopkins, qui Orleans, that started all this noise in jazz… Kid Ory » (le
emploie par moments le « stride » aveç un swing considé- père de tous les trombones d'ochestres de parades, le
rable et joue aussi quelques phrases d'une fraicheur mélo- fameux enfant de La Nouvelle Orléans, celui qui a créé ce
dique rappelant Willie Smith « Le Lion »; c'est un des genre de bruits dans le jazz ... Kid Ory).
meilleurs solos de tout le disque. Vient ensuite Higginbo- Avec Kid Ory au trombone, à la place de Teagarden, l'orchetham, qui ne trouve pas sa meilleure inspiration mais qui stre attaque alors Muskrat Ramble. Àh, mes amis, quelle
est soutenu par Cozy Cole avec un swing fabuleux; Cozy révélation ! L'orchestre est transformé, transfiguré ! Red
se déchaine à fond pendant le second chorus de trombone. Allen est méconnaissable: plus de surcharges, de fantaisies
Red Allen suit (joliment accompagné par Claude Hopkins douteuses, de notes en l'air. Son jeu devient très proche de
au piano); les phrases qu'il joue sont meilleures que la celui des grande trompettes Nouvelle Orléans. Il s'appuie
manière dont il les joue, qui n'est pas terriblement swingu- sur le temps, joue des phrases bien découpées dans la tradiante; mais Cozy, lui, fournit constamment un swing à vous tion Armstrong, en un mot il mène excellemment les copieurendre dingo. Puis c'est le tour de Buster Bailey à la clari- ses improvisations collectives de ce Muskrat Ramble,
nette, dont le solo est inégal mais contient quelques superbes swinguant bien plus que dans les outres morceaux et faisant
passages dont un d'une étincelante virtuosité, un peu avant preuve, pour une fois, d'une inspiration régulière, constante.
le milieu de son second chorus. Enfin vient Arvel Shaw, Dans l'ensemble ce Muskrat Ramble est la meilleure
dont les deux chorus de contrebasse sont formidablement interprétation que nous ayons de Red Allen en disque.
accompagnés par la batterie de Cozy. Une improvisation Buster Bailey, lui aussi, fournit une bien meilleure partie
collective quelque peu brouillonne termine l'interprétation de clarinette dans les ensembles de ce Muskrat Ramble
... du moins on le croit, mais il y a une « reprise » un peu (une partie appropriée à l'improvisation collective, non.
déconcertante car une coupure dans la bande en a supprimé plus une partie de soliste). Il n'est jusqu'à son solo qui soit
le début. Nous devons cependant nous féliciter qu'on nous mieux développé que dans les autres morceaux du recueil;
ait donné cette « rallonge » car elle se termine par une partie on le sent beaucoup plus à l'aise. Le tempo, qui a dû être ici
de batterie de Cozy (d'abord seul puis soutenant trompette donné par Kid Ory, est du reste le meilleur de tout le
et autres) d'un swing tellement HALLUCINANT qu'on ép- recueil.
rouve le besoin de rejouer plusieurs fois ce passage avant Mais le plus étonnant de tout, c'est le contraste entre le jeu
d'en croire ses oreilles. Un sommet, un monument de swing ! de Kid Ory lui-même et celui de Teagarden et même
! ! Et une technique non moins stupéfiante ! On aurait voulu d'Higginbotham. En entendant Kid Ory aussitôt après les
deux autres et avec le même orchestre, on s'apercoit non
que Cozy joue ainsi pendant au moins 5 minutes!
St James Infirmary, après uns improvisation collective seulement qu'il sait jouer infiniment mieux en improvisation
plaisamment menée par Henry Allen, fait entendre un collective mais encore que sa sonorité, ou plutôt ses intoexcellent solo de piano de Claude Hopkins, merveilleuse- nations ont un accent rugueux, « méchant », plus exactement soutenu par Cozy Cole (cette sonorité qu'il tire des ment « gutty », comme d'sent les Noirs (c'est-à-dire, pour
cymbales ! Inouï !), puis c'est le tour de Buster, qui a l'air appeler les choses par leur nom, « qui a de la tripe »), qui
de bien jouer, mais à chaque audition la partie de batterie est beaucoup plus « jazz » que celui des autres trombones,
me captive à tel point que je ne sois pas si j'ai réussi une qui est, en fait, LA sonorité jazz par excellence. Et l'on
seule fois à écouter ce solo de clarinette de bout en bout ! jouit avec une intensité extraordinaire de chaque note
Viennent ensuite d'exubérants chorus vocaux par Red que joue Kid Ory dans ce Muskrat Ramble, d'autant plus
Allen, puis un solo d'Higginbotham (avec Cozy toujours que la prise de son met le trombone très en relief.
renversant !), puis d'Arvell Shaw à la basse (employant Oui, vraiment une des choses les plus purement JAZZ qui
l'archet); et l'interprétation se termine par une improvisa- existent au monde, c'est le jeu de Kid Ory tout au long de
ce Muskrat Ramble.
tion collective confuse et désordonnée.
Au début du verso, Red Allen annonce Jack Teagarden, C'est également Kid Ory qui chante un instant dans ce
qui remplace Higgy au trombone, et c'est un China Boy en Muskrat Ramble (entre parenthèse, ce n'est qu'e 1950 que
grande partie joué en solo par Teagarden, ni meilleur ni des paroles furent ajoutées sur ce morceau).
pire que de coutume, c'est-à-dire bon technicien mais Enfin, vient High Society, morceau pour lequel Teagarden
médiocre swingman. Heureusement que Cozy Cole fournit et Higginbotham se joignent à Kid Ory, et c'est le désordré
un swing à tout casser derrière lui, et qui ne cesse de croître habituel à ces « jam sessions » finales : des interludes
pendant lesquels 1es instrumentistes se courent les uns
jusqu'à la fin.
Puis c'est le sempiternel, l'inévitable Basin Street Blues après les autres, des passages faux etc. Dommage, car le
annoncé par Teagarden qui tient à préciser que ce sont tempo adopté est bon et Buster Bailey joue si excellemGlenn Miller et lui les responsables de l'affreux couplet et ment de la clarinette qu'on aurait aimé l'entendre plus
des paroles « corny » qui furent ajoutées ou morceau en longuement sur ce morceau ...mais l'interprétation est
1931. Teagarden chante et joue ce morceau que je l'ai courte, étonnamment courte, au point qu'on se demande si
entendu interpréter, en disque ou en « direct », des dizaines plusieurs chorus n'ont pas été purement et simplement
(peutétre même des centaines) de fois, puis Red Allen supprimés.
prend un chorus de trompette à peu près satisfaisant, où Bref, un disque fort inégal, comme vous le voyez, mais
l'on ne compte qu'une ou deux surcharges (ce qui est rare extrément intéressant par certain, côtés.
------------------------------------------------------------------------------------------------------------------------------------------------------
- 35 Albert McCarthy about NPT-1957, in Jazz Monthly 7/58: The Red Allen Group (Co.33CXlolo6) is exhibitionistic, but
there are occasional solos in the two lengthy tracks on side one that are passable. Higginbotham seems a shadow of
himself and his tone has deteriorated unbelievably; Hopkins and Bailey are adequate; Allen is quite exciting, but
given to the now inevitable lapses in taste. Teagarden is as assured as ever on the two numbers on which he plays,
and Allen is in much better form behind the vocal on BASIN STREET. Ory joins in on the last two numbers and is
quite as expected. Bailey takes the traditional solo on HIGH SOCIETY very competently. The rating for this would
be fair to good.
-----------------------------------------------------------------------------------------------------------------------------------------------------Sinclair Traill about Col33CX10106 in Jazz Journal 5/58: blues, but I am not over impressed by his singing.
Best things on Side 1 for me are the piano solos by that for- The second side is also too full of gallery fetching gimmicks.
gotten man of jazz Claude Hopkins. On both tracks his play- Mr.T. is at his best on the nicely swinging version of “China
ing is neat and effective, his second chorus on “Barbecue” Boy”, the rhythm section really gets working here, and
being particularly good. Allen also takes a good solo on this “Bain Street” is exactly as you have come to expect.
track, but the performance as a whole degenerates into a “Muskrat” has Ory introduced as a singer – Bailey takes a
noisy crowd-fetching turmoil. “St.James Infirmary” is a good chorus here – and the final all-in swings to some
little better, the rhythm being nice and jumpy. Bailey starts extent. The last track features the three trombones to not
his solo with a nice descending phrase and builds up a well very good advantage, and the ensemble playing is unbeliebalanced solo. Allen always sounds good when playing the vedly untidy.
-----------------------------------------------------------------------------------------------------------------------------------------------------7/20/57 Sat. L.I., bc VoA No.? Great South Bay Jazz Festival - FLETCHER HENDERSON REUNION: Rex Stewart
(c,dir) Bobby Williams, Joe Thomas, Paul Webster, Emmett Berry (t) Alton Moore, J.C.Higginbotham, Fernando
Arbello, Benny Morton (tb) Garvin Bushell, Hilton Jefferson, Jimmy Wright, Edgar Sampson, Haywood Henry,
Coleman Hawkins, Buster Bailey, Gerry Mulligan (reeds) Don Redman (as,v,arr,cond) Red Richards (p) Bernard
Addison (g) Hayes Alvis (b) Jimmy Crawford (d) John Nesbit (arr)
(two hours session with below on broadcast)
tape poss.exists
Down South Camp Meeting -aFH, -feat.Rex Stewart, cl-trio,
Chinatown, My Chinatown -aJN
Honeysuckle Rose
-feat.Higginbotham,Berry
Sophisticated Lady
-feat.Jimmy Wright(ts)
Wrappin' It Up
-feat.Jefferson,Higginbotham,Thomas, -aFH
Talk Of The Town
-feat.Hawkins
Shanghai Shuffle
-feat.Bailey, Berry
Memphis Blues
-feat.Bailey
Blue And Groovy
-feat.Higginbotham, Berry
Chaos
-Teo Macero score
Gee, Baby, Ain't I Cood To You -vOR
Nagasaki
-Redman, Hawkins,Bailey,Higginbotham,Mulligan
I´ve Found A New Baby
-Mulligan, Higginbotham
King Porter Stomp
-Joe Thomas
PC-8/17/57p23: CAFÉ METROPOLE FOR DIXIELAND JAZZ
N.Y. - Broadway's Café Metropole, which features Among the regulars who have had a long stand at the Metropole
music to be listened to on Times Square sidewalks, is are Henry (Red)Allen, Buster Bailey, J.C.Higginbotham, Claude
demonstrating that there is still much interest in Hopkins and Eddie Bourne in one combo. There is another
Dixieland despite the recent emphasis on the cooler group headed by clarinettist Sol Yaged whose crew includes
versions of jazz.
Cozy Cole, Bob Hammer, Pete Comp and Harry Sheppard.
-----------------------------------------------------------------------------------------------------------------------------------------------------DB 9/19/57p9: MUSIC NEWS: Meanwhile, around the corner in Times Square, the Metropole stepped up its torrid
wall-to-wall jazz pace. In addition to the regular roster of jazzmen, including Henry Red Allen, Charlie Shavers,
Coleman Hawkins, Zutty Singleton, Claude Hopkins, Buster Bailey, J.C.Higginbotham, Marty Napoleon, Tony
Parenti, Cozy Cole, Arvell Shaw, and others, something new was added – The Metropole hired a press agent.
-----------------------------------------------------------------------------------------------------------------------------------------------------JOHN POSTGATE in Jazz Monthly, 5/58: "THE METROPOLE" in Nov.1957
HENRY ALLEN's home. Forbiddingly dark, with two ends with a jam session number, Allen's group being joined
characters out of Damon Runyon guarding the glass doors by Sol Yaged (cl), Dave Sheppard (vib) and Gene Ramey (b).
and keeping back the permanent small crowd of rubbernecks Uproar, solos all round, uproar and Allen's group retires.
in the street outside. Inside is a long bar behind which, on a Ken Kersey (p) and one Alexander(ds; unknown to me)
narrow strip, the band plays in single file. Two drum kite mount the strip and we have the Sol Yaged quintet for 45
and two pianos are permanently set up. Allen, a great giant minutes. Yaged's lot are much swingier than Allen's, mainly
of a fellow with a drooping face, plays as recognizably as he because of Ramey, but the group differs little from a hundred
did with Luis Russell, Billy Banks and under his own name, other clarinet-vibraphone followers of Goodman except that it
but louder than any recording can convey. J.C.Hig- is extraordinarily loud. Yaged's clarinet playing is fluent and
ginbotham I find quite unrecognizable, contributing to the satisfying. Kersey, the only soloist familiar to me from
uproar with solos that seem little more than R and B licks. records, plays nothing memorable and spends most of the
Buster Bailey is, by contrast, dignified and musicianly, but time with his head turned sideways looking out of the door.
again I should not have recognized him from what I know This, incidentally, is a chronic state of the METROPOLE
of his records. Claude Hopkins might have been anyone; musicians; they are always looking to see whole coming in,
Eddie Bourne on drums unexpectedly produced one of the and must develop permanent twists in their necks after a
few drum solos I have ever enjoyed. This personnel differs prolonged stint there. They were all doing it on each of my
from that stuck up on the window (as always at the Metro- four visits; whoever they expected, hoped for, or just wished
pole) but may be taken as more nearly correct-nobody for, did not come while I was around.
In all, the Metropole of an evening was very, very loud. But,
seems really certain who's playing.
At first one will take anything from so distinguished a in contrast to very loud jazz haunts in Britain, the musicians
galaxy of names, but one soon realizes that Allen's group is, are supremely competent. This, and the fact that no
in fact, an unqualified rabble rouser. Allen even calls for musician was on the stand for more than 45 minutes at a
applause during numbers - "Let's make him happy! really stretch, are probably the features .that prevent the proceehappy!" - a practice that causes in me an acute attack of dings from becoming boring. Competence and variety is
English reserve. A set lasts three-quarters of an hour and provided in plenty, if little originality.
- 36 J.J.10/57/57p5 (& with photo without of interest on p7): Metropole - Red Allen Band: Red Allen, J.C.Higginbotham,
Buster Bailey, Claude Hopkins, Eddie Bourne & Cozy Cole
11/1/57 NYC........ bc "Jazz From New York": Joe Thomas (t) J.C.Higginbotham (tb) Buster Bailey (cl) Coleman Hawkins
(ts) Al Williams (p) Benny Moten (b) Eddie"Moule"Bourne (d)
6:07 J.C. Jumps
JCH-CD-5/ illustrated on RA-DVD-1b
--- /
9:59 Bill Bailey, Won't You Please Come Home
11/late & 29/57 NYC., FLETCHER HENDERSON ALL STARS- Rex Stewart (c,dir): Taft Jordan, Joe Thomas, Emmett
Berry or *Dick Vance (t) J.C.Higginbotham, Dickie Wells, Benny Morton (tb) Garvin Bushell, Hilton Jefferson
(cl,as) Buster Bailey (cl) Coleman Hawkins, Ben Webster (ts) Haywood Henry or *Norman Thornton (bars) Red
Richards (p) Al Casey (g) Bill Pemberton (b) Jim Crawford (d)
4:13 Sugar Foot Stomp (Oliver-Melrose)
Jazzt.J 1285/JCH-CD-5/
--/
--- /
6:56 King Porter Stomp (Morton-Burke-Rubin)
(Waller-Razaf)
--/
--- /
7:24 *Honeysuckle Rose
6:32 *Wrappin´ It Up (Henderson)
--/
--- /
(Rex Stewart) -without Webster
--/
--- /
4:10 *The Way She Walks
12/2/57: Rex
Stewart (c) J.C.Higginbotham, Dickie Wells, Benny Morton (tb) Hilton Jefferson (as) Coleman Hawkins
(ts) Red Richards (p) Al Casey (g) Bill Pemberton(b) Jimmy Crawford(d)
4:52 Casey Stew
Jazzt.J 1285/JCH-CD-5/
--/
--- /
4:10 A Hundred Years From Today
4:32 Three Thieves
--/
--- /
--/
--- /
3:23 ' Round About Midnight
12/4 & 12/5/57 NYC., "GOIN' TO KANSAS CITY" - JIMMY WITHERSPOON (v) & Ray Copeland(t at 12/4) Emmett
Berry (t at12/5) J.C.Higginbotham(tb) Haywood Henry or *Al Sears(bars) Jay Mc Shann(p) Kenny Burrell(g) Gene
Ramey(b) Mousey Alexander(d)
/ Mosaic /
RCA LPM 1639/MCD-1011/
H2JB8195 3:06 Jumpin´ The Blues
-8196 3:20 Hootie Blues
NYAN-l0/26/57p15:
--/
--/
LADY
--/
--/
-8197 5:31 Piney Brown Blues
DAY TO BE ON TV JAZZ
-8198 4:16 Confessin' The Blues
SALUTE - “The Sound of
--/
--/
--/
--/
Jazz,” a musical salute to the
-8199 3:42 Blue Monday Blues
--/
--/
blues as the roots of jazz, and
-8200 3:16 Rain Is Such A Lonesome Sound
-8201 2:56 Ooo Wee, When The Light Go Out
--/
--/
featuring today's leading jazz
-8202 3:20 *Cee Baby, Ain't I Good To You
--/
--/
performers, will be presented
-8203 2:38 *Froggy Bottom
on CBS Television's “The
--/
--/
Seven Lively Arts” Sun.Dec.8
--/
--/
-8204 2:48 Until The Real Thing Comes Along
(5.00-6:00 p.m. EST), it was
--/
3:14 Cloudy
announced this week by John
3:30 Fare Thee, Honey, Fare Thee Wel
--/l
Houseman, executive producer
--/
3:30 Ride On
of the new entertainment series.
In 1957 Vic Dickenson returned to New York and once more took J.C.Higginbotham's
The major forms of jazz through
chair, this time with Red Allen and Buster Bailey at the Metropole.
which the blues find expression-Dixieland, swing, modern
and experimental-will be interpreted by such artists as Billie
Holiday, Count Basie, Pee Wee
Russell, Coleman Hawkins,Jimmy Giuffre trio, Roy Eldridge,
Red Allen and Broonzy.
Approximately 30 musicians
will appear on the program,
which is produced by Robert
Herridge.
No hard and fast format is
being set by writer John
McGiffert for “The Sound of
Jazz,” which will originate 'life'
from New York. Producer
Herridge and director Sidney
Lumet hope to create the
atmosphere of spontaneity in
which jazz musicians work
best.
A representative of each of the
major forms of jazz will tell in
his own words how he became
a jazz musician, and will illustrate, musically, his particular
style.
Sound of Jazz: Vic Dickenson - Red Allen - Rex Stewart
--------------------------------------------------------------------------------------------------------------------DB 11/14/57: NEW ITEM – Nat Hentoff and Whitney Balliett picked the talent for
CBS-TV Sound of Jazz show, due Dec.8.
- 36a -
rehearsal- - Sound Of Jazz
(court. Milt + Mona Hilton)
Vic Dickenson & Red Allen – Sound Of Jazz TV-1957 (courtesy D.Schiedt) L.Feather: „New Encyclopedia of Jazz“: Sound Of Jazz
- 37 12/5/57 NYC., rehearsal
& rec.session for CBS-TV serie "Seven Lively Arts" - SOUND OF JAZZ; prod.: Robert Herridge,
dir.: Jack Smight, musical advisors: Nat Hentoff, Whitney Balliett, musical dir.: Nat Pierce (arr), Host: John Crosby;
part-1: HENRY"RED"ALLEN ALL STARS: Red Allen (t,v) Rex Stewart (c) Vic Dickenson (tb) Pee Wee Russell (cl)
Coleman Hawkins (ts) Nat Pierce (p) Milt Hinton (b)Jo Jones (d)
WILD MAN BLUES (L. Armstrong-J.R .Morton) Col.CD-CK66082 also the two below sides/RA-CD-16/RA-DVD-2/
WILD MAN BLUES (L. Armstrong-J.R .Morton) Col.JCL 1098/Font.TFL 5025/SONY(J)503420NP/
RA-DVD-2/
Co59469-1 8:45
Co59469-2 4:55
Co59470-1 5:01
-Allen-Hawkins-Dickenson-Russell-Stewart-ens.-vRA (W.H.Woods-Earl Hines)
ROSETTA
Col.CS 8040 /Font.TL682015/CBS 57036 /
--- / --- / --- / --- /
--/
/RA-CD-16/
--- /
--/
-Allen-vRA (Stewart-Hawk)-Hawk-Dickenson-Stewart-Russell-Jones-Allen-ens.-Pierce-ens.12/8/57 NYC., CBS-TV/film "Seven Lifely Arts"- SOUND OF JAZZ part-1: same with Danny Barker (g) (several videos exist)
/PAL video/
2:32 intro to Count Basie´s piano by W.Balliett 013-KayJ./
/Bandstand /Landscape/RACD-12/RA-DVD-1/
part-1:
6:45 WILD MAN BLUES -soloing as 12/5
--/Phoenix-24/Pumpkin-116/BDCD1517/ LS2-912 /
--- /
--/
4:45 ROSETTA
-vRA -soloing as 12/5
--/
--/
--/
---/
--/
--- /
--/
Douglas Hague - A SALUTE TO THE BLUES (about the complete TV) - J.J.2-58: ... After this fine jump blues (played by
the Count Basie Band), came a. group led by Red Allen, .... Their first number WILD MAN BLUES had particularly fine
work by Rex, and again on ROSETTA behind Red's vocal, more exuberant sounds from Rex over a really cookin' rhythm
section. Hawk, Red and Pee Wee (What a pleasure to hear him again!) all turned in fine solos and the session brought
strongly to mind the old Rhythmakers and Chicago Rhythm Kings discs that Red cut many years ago - real happy jazz! ...
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Trevor Tolley about Phoenix-24 (1944/1957/1963),in CODA-2-79: ...(1963/1944) ... The faster ROSETTA does not come
off very well, but on WILD MAN BLUES Allen shows some of his old power to move us with his daring plangency, to be
at once natural and surprising. It is a track that unfortunately shows up the rest of the record ...
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------John Chilton: “Ride, Red, Ride” p156: RedAllen and Rex Stewart were good friends but this did not eliminate an air
of competition between them. Each man stirs the other into producing dramatic solos, with Rex summoning up
reserves of energy and daring to blow a series of fierce, high notes on his cornet. Vic Dickenson, Coleman Hawkins
and Pee Wee Russell all parade their unique sounds on both numbers, but despite each of these musicians having a
markedly individual tone the overall sound makes an eminently satisfying blend. …
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
IAJRC-… Jack Sohmer about PHOENIX 24: (A=1944) THE
THEME; RED JUMP; RIDE, RED, RIDE; DARK EYES; DEAR
OLD SOUTHLAND; GET THE MOP; JUST A FEELING;
(B=Dec.57) WILD MAN BLUES; ROSETTA (C=Feb.63)
MEMPHIS BLUES; YELLOW DOG ; CHERRY; FIDGETY FEET.
For Side B, we leap ahead fifteen years, or so, to find Red
assurtling leadership of a specially assembled crew of jazz
greats. The occasion was CBS-TV's "The Sound Of Jazz"
and the selections included here are those taken from the
telecast; they do not duplicate the studio-recorded
performances released on Columbia. "Wild Man" has Red
playing with Armstrong-inspired authenticity, but equal kudos
must go to the others, as well. Hawk, who is in top form
throughout, charges in like a tiger and registers some of the
most fantastic breaks of his career. Vic and Pee Wee are
characteristically personal, with Rex culminating bit puckish
entry with some seldom heard high note work Red leads them
out, but wisely cautions them not to lot the tempo drag on the
next tune, "Rosetta." Here, Red sings to Rex' accompaniment
but when Hawk comes in, it's like "Hello Lola" all over again.
His driving staccato solo, a model of the arpeggiated style,
rivals even that earlier masterpiece for its sustained
inventiveness and swing. Rex follows him with a phrase
recalled from the first chorus and even Pee Wee seems
undaunted by the tempo, his superb sense of rhythm coming to
his aid at each turn. (cont.1963)
Covernotes by ERIC LARRABEE on Co.JCL-1098: The
best thing that ever happened to television happened on
CBS between five and six in the afternoon on Sunday,
Dec.8. At least that was where and when it happened first;
the program may have been run at a different hour and
date in your part of the country, and-if there is any justiceit will be repeated, the more often the better. It was an
installment in "The Seven Lively Arts" series cal-led "The
Sound of Jazz," and as far as I'm concerned you can throw
away all previous standards of comparison. This is where
live television began to amount to something.
It was opened and closed, and from time to time interrupted, by John Crosby as "host," but mostly it was
musicians playing jazz-in a bare studio, dressed in whatever they liked (hats, sweat shirts, it didn't matter),
smoking, talking to one another, or just walking around.
Each group was introduced and then away it went, with
time enough (in nearly all cases) to get the music going,
while the camera roamed over the faces of participants
and spectators. There were no phony or elaborate explanations. As the executive producer, Jack Houseman, remarked approvingly to the music critic Virgil Thomson,
during the dress-rehearsal: "This is the first program about
jazz that doesn't say it started in New Orleans and then
went up the river."
Technically "The Sound of Jazz" gave the appearance of
being very (as they say on the Avenue) "primitive." You
knew that you were in a studio and that these people were
being televised. If it sounded better to have a micro-phone
right in front of a man's face , there the microphone
would be; and if one cameraman got in another's way he
didn't scurry ashamedly out of it. But this impromptu effect, of
course, took a deal of contriving. The musicians couldn't
believe at first that hats were really okay, and Billie Holiday had
to be persuaded to appear in slacks and pony-tail instead of the
gown she had specially planned on. The air of casualness was
in fact the end product of months of work.
THIS milestone was primarily made possible by House-man,
his assistant Robert Goldman, and the producer for this show,
Robert Herridge, who had the unbelievable courage and good
sense to hire good taste and turn it loose. They found two jazz
critics with some ideas, Whitney Balliett and Nat Hentoff, and
after the usual round of conferences and memos, gave them
complete artistic control. Balliet and Hentoff, from the start,
had the kind of program in mind that they eventually producedone that would concentrate on music. When I asked Balliett at
what point they had decided in favour of visual realism and
informality, he thought a moment and said, "I don't think it
ever occurred to us to do it any other way." They got the
musicians they wanted, whether currently well known or not
and whether or not "485" (the address on Madison of the
Columbia front office) would have made the same choice.
They were able to assemble combinations of musicians whose
booking arrangements usually keep them apart, and also let an
old-timer like Pee Wee Russell play side by side with a
modernist like Jimmy Giuffre. The name of one performer
made "485" nervous, but Balliett and Hentoff put their feet
down-and they won. Let it be written that as of 1957 there was
still some decency left, and somebody willing to fight for it.
As "The Sound of Jazz" came into the final weeks before airtime, it began to make other people uneasy, and for better
reasons. Since there was so little of the normal panic on the
Composed in equal parts of transcription material and
airchecks, this release from Phoenix looms as one of that
label's most faultless products to date. (review about Side A
see RA-bio-disco-part-2,p59)
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
- 38 surface, everybody panicked inside. The director, Jack
Smight, found that he was twice as jumpy without actors
around to worry about; and when "485" found out in the
last few days that there really wasn't any script to speak of
it began to emit angry noises: "What are you doing down
there?" Balliett and Hentoff could only answer that everything was going to be fine, the musicians would turn up,
and there would be some music. They hoped this was true.
THEY needn't have worried. If you were lucky enough
to have seen "The Sound of Jazz" I don't have to tell you
how great it was and, even if you weren't, what I'd want to
do anyway is sell you an explanation of why it was great.
The cornerstone of live television, class will please now
repeat, is the human face-with its spontaneity and tension,
its halo of contradictions, its hints of life lived and life to
come. Of course the TV camera is merciless; it draws on
the person behind the face for all the resources that it can
find there. It is not one eye but millions of eyes; it has
high expectations and asks that the person before it be
poised in the balance, somehow challenged or tested, so
as to bring forth the most meanings from the everchanging interplay of expressions in the face.
What made the jazz musicians extraordinary, when the
camera put their features through its harsh examination,
was how much it found there. Children and animals make
the best movie actors, as Douglas Fairbanks said, because
they are unself-conscious and unable to fake. No more
could these musicians be anything but them-selves, for
they are committed to independence and to a headlong
attack on the cosmos. It showed; here and no kiddingwere individuals of stature and profundity, of flesh and
substance, of warmth and bite. The music was good,
yes, but what lifted "The Sound of Jazz" to a level hitherto
unattained was the sight of it being made. As a lady in White
Plains sat down and wrote CBS as soon as the show was over,
one so seldom has the chance "to see real people doing
something that really matters to them."
Neither Balliett nor Hentoff expected the visual effect to be as
sensational as it was. They knew that director Jack Smight
"dug" jazz, but they would never have dared anticipate the deft
and intricate camera work that enabled him to cut from one
shot to another as skillfully as though he were a movie editor,
working with developed film instead of a live show. The
cameramen simply out did themselves (for the record, and
giving them a credit line they should have had on the air they
were Bob Heller, Harold Classen, Joe Sokota, Jack Brown, and
Marty Tuck). Balliett and Hentoff's long and careful planning
had made it possible for the musicians to extemporize; now the
cameramen and director could extemporize too, with the
freedom to smudge the edges-leave that head half in the way-of
practised talent, the artistic intelligence that dares to risk a
blunder because it knows precisely what it is doing. Jazz is like
that, and as a result the two effects of "The Sound of Jazz"-on
the eye and on the ear-were miraculously in tune with each
other.
NOW there is talk not only of a repeat but of a series, and no
one could better deserve it than this new-found team. But one
wonders if the miracle can happen twice. Part of the reason
that Balliett and Hentoff were let alone was that no one in high
authority really understood what they were up to. Now the
secret is out and there will be many hazards. As I sat with them
in producer Robert Herridge's office, going over the first day´s
mail, the phone rang and Herridge answered it. He listened,
laughed explosively, and hung up. "Lawrence Welk," he said,
"demands equal time." - Copyright, 1958, by Harper & Brothers,
Reprinted by permission from Harper's Magazine. York, N.Y
Irving Townsend on same cover: Eric Larrabee's hymn of
praise to CBS' "The Sound of Jazz," reproduced here by
courtesy of Harper's Magazine, omits one important
reason for the brilliant success of the show. Four days
before the show went on the air, during a driving blizzard,
all the jazzmen on the show appeared at Columbia's 30th
Street studios to record the show for this album. They
wore the usual recording uniforms, hats, sport shirts,
snow-drenched shoes, and they played up a storm of their
own that day. What you saw on television looked like the
recording session; what you hear now is the sound of
jazz. Credit for this remarkable event belongs to a number
of people, including the show's producer Robert Herridge, its
director Jack Smight, associate producer Charles H. Schultz, and
musical advisors Nat Hentoff and Whitney Balliett. Also
responsible for this album are the executives of the various
record labels who graciously allowed their exclusive artists to
participate in the recording. And finally, and of course most
important, credit goes to the real pros of the show, the musicians,
who worked quickly and flawlessly to blend their highly individual styles of jazz into a single swinging performance. To all
of these we express our thanks that what they contributed is
here forever to be enjoyed. To help you enjoy the music more,
the following is a summary of solos by each of the all-stars.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Side 1
Wild Man Blues-Henry "Red"
Allen All Stars including:
Henry "Red" Allen and Rex
Stewart, trumpet; Pee Wee
Russell, cla-rinet; Coleman
Hawkins, tenor sax; Nat
Pierce, piano; Jo Jones, drums;
Milt Hinton, bass; Vic
Dickenson, trombone.
lst chorus: Allen
2nd chorus: Coleman Hawkins and Vic Dickenson
3rd chorus: Pee Wee Russell
and Rex Stewart
4th chorus: Ensemble
Rosetta-"Red" Allen All-Stars
lst chorus: Allen
2nd chorus: Allen (vocal)
3rd chorus: Hawkins
4th chorus: Dickenson
5th chorus: Stewart
6th chorus: Russell
7th chorus: Allen
8th chorus: Ens.& Pierce
Fine and Mellow-Billie
Holiday with Mal Waldron
All-Stars including: Lester
Young, Coleman Hawkins,
Ben Webster, tenor sax; Doc
Cheatham, trumpet; Vic
Dickenson trombone; Mal
Waldron, piano; Jo Jones
drums; Danny Barker, guitar;
Jim Atlas bass.
lst chorus: Holiday
2nd chorus: Young
3rd chorus: Webster
4th chorus: Holiday
5th chorus: Cheatham 6th
chorus: Hawkins
7th chorus: Holiday
8th chorus: Dickenson
9th chorus: Holiday
10th chorus: Holiday
Blues -Jimmy Giuffre, Pee
Wee Russell, clarinet; Jo
Jones, drums; Danny Baker,
guitar.
Side II
I Left My Baby-Count Basie
All-Stars featuring Jimmy
Rushing, incl.: Lester Young,
Coleman Hawkins, Harry
Carney, Earl Warren, saxophone; Roy Eldridge, Joe
Newman, Doc Cheatham,
Emmett Berry, trumpet; Vic
Dickenson, Dickie Wells,
Frank Rehak, trombone;
Count Basic, piano; Eddie
Jones, bass, Jo Jones, drums;
Freddy Green, guitar.
lst and 2nd chorus:
Rushing with Young
3rd chorus: Ensemble
4th chorus: Basie
5th chorus: Hawkins
6th and 7th chorus: Rushing
with Wells
sax, and clarinet; Jim Hall,
guitar; Jim Atlas, bass. The
Jimmy Giuffre Trio appears
through the courtesy of
Atlantic Records.
Nervous-piano solo by Mal
Waldron.
Dickie's Dream-Count Basie
All-Stars (same band as for
I Left My Baby)
lst chorus: Young, Wells,
Newman
2nd chorus: Young
3rd chorus: Rehak
4th chorus: Newman
5th chorus: Carney
6th chorus: Dickenson
7th chorus: Berry
8th chorus: Hawkins
9th chorus: Wells
10th chorus: Eldridge
The Train and the River-The 11th chorus: Basie
Jimmy Giuffre Trio including: 12th chorus: Ensemble
Jimmy Giuffre, baritone, tenor
The Sound of Jazz was presented by "The Seven Lively Arts" over CBS Television Sunday, December 8,1957.
Note: One member of this great assemblage of jazz immortals did not appear on the show or on these recorded performances. Walter Page, one of the greatest of all bass players and an alumnus of the Basic rhythm section, could not leave
his bed to join the others. Walter Page died of pneumonia Friday morning, December 20, 1957. Columbia and the
musicians appearing on this album dedicate it to his memory.
- 39 -
Mouldy Rigg-Red Allen+P.W.Russell-Count Basie-Freddie Green-Lester Young(at rehearsal session)-Ed Jones-Rex Stewart-Jo Jones
- 40 H.Panassié about Phil.Réalites V13
"Panorama Du Jazz"(LP) in Bul.hcf-No.91
/Oct.59: Les deux autres inter-prétations
orchestrales, Wild man blues et Rosetta,
ont été enregistrées par un orchestre de
circonstance com-posé d'Henry Allen et
… /line-up). Elles ne sont pas
désagréables mais pas transcendantes non
plus. Hawkins et, à un moindre degré, Vic
Dickenson sont les seu's solistes vraiment
inspirés. Les chorus d'Henry Allen sont,
comme d'habitude, un mélange de bonnes
et de mauvaises choses (c'est lui qui joue
tous les solos sauf celui, avec sourdine, de
Rosetta, qui suit le trombone, solo joué
par Rex, assez bon). Quant aux solos de
clarinette de PeeWee, ils sont aussi
pleurnichards que d'habitude.
----------------------------------------------------Articles about “Sound of Jazz” in the
Chicago Def. 12/7/57p14 & 12/21/57p15
(without of detailed interest for this book) are
reprinted in JAZZ AD.Vol.6.
-----------------------------------------------------
photos from cover Jass-Ten: 12/16/57session
12/14/57 NYC., Cafe Metropole, AFRS No….-bandstand-USA, METROPOLE ALL STARS: Red Allen (t,v)
J.C.Higginbotham (tb) Buster Bailey (cl) Claude Hopkins (p) Eugene Ramey (b) Eddie"Moule"Bourne (d)
0:28
intro ann. by Leonard Feather and Willis Conover (narr)
RA-CD-17(poor quality)/
1:45 BEALE STREET BLUES (W.C.Handy)
--- /
4:45 MUSKRAT RAMBLE
(Kid Ory)
--- /
4:54 ST. JAMES INFIRMARY
(J.Primrose)
--- /
3:15 HIGH SOCIETY
(Melrose-Steele)
--- /
2:45 MARIE (...........)
--- /
0:37
leave ann.
--- /
12/16/57 NYC., Reeves Soundcraft broadcast; DIXIELAND JAMFEST: Red Allen (t) J.C.Higginbotham (tb) Sol Yaged
(cl) Coleman Hawkins (ts) Lou Stein (p) Milt Hinton (b) Cozy Cole (d)
0:58
3:02
5:07
4:32
6:32
3:01
4:25
3:57
intro-ann
only on 21 min.tape/RA-CD-c10/
BATTLE HYMN OF THE REPUBLIC (trad.)
Jazz Groove 002/Jass-10/Stash JCD-2/
BLUES
(William Grant Still)
--- / --- /
--/
WON'T YOU COME HOME, BILL BAILEY (Camon)
--- / --- /
--/
SOUTH (TODDLE)
--- / --- /
--/
WHEN THE SAINTS GO MARCHING IN
--- / --- /
--/
FRANKIE AND JOHNNY
Meritt-26/ --- /
--/
MARYLAND, MY MARYLAND
--- / --- /
--/
---------------
/
/
/
/
/
/
/
- 41 EDDIE LAMBERT covernotes Jazz Groove 002: During the improvisation and the slow-medium tempo 'South'. Coleman
late fifties Henry Allen was frequently to be found sha-ring Hawkins again sets a high standard, while another long-term
the bandstand in New York's Metropole with clarinetist Sol associate of Henry Allen's trombonist J. C. Higginbotham,
Yaged. The fast numbers from this 1957 session are typical plays with typical drive and individuality. Again the rhythm
of the kind of music most favoured by the Metropole clientele. section is a distinguished gathering which blends well as a
The solo standard is very high on these tracks, but the team; and again the bassist - in this instance Milt Hinton - is
musicians are heard to even better effect on the long blues outstanding.
-----------------------------------------------------------------------------------------------------------------------------------------Howard Melton and Ralph G. Ferguson cover-notes on Jass-CD-2(& 8/7/58): COLEMAN HAWKINS and RED ALLEN
Art and technology resemble and dissemble each other in year of this century and earlier, being art of the most basic
surprising ways. You wouldn't be caught flying a Wright repertoire of dixieland jazz. Most are by authors whose
Brothers airplane in the '60s, yet Coleman Hawkins (1904- names were either never known or have long since been
1969), the Wilber ad Orville of the tenor sax, could hold forgotten. Neither Allen nor Hawkins were strictly
his own against any streamlined or jet propelled newcomer thought of as traditional players, though they each worked
and Red Allen (1908-1967), the last great New Orleans at New York's Metropole where this style set the norm,
trumpet-player in between Louis Armstrong and Wynton and each was a total jazzman who could sound at home in
Marsalis, could be declared the "most avantgarde trumpet- any genre. Perhaps its because they didn't play "Bill
player in town" in his mid-'50s.
Bailey" and "The Saints" night after night that they're able
If the '60s were to be a period of avant-gardism for both to approach these tunes with such refreshing candor - i.e.,
Hawkins and Allen, the late '50s, as you can hear on these Red tearing the head off "Battle Hymn" and Hawk casting
two Jass albums, would be a time for looking back. Hawk himself as the vengeful lover in "Frankie and Johnny".
and Red, of course, went way back together. Both had The seven remaining songs (available on LP as High
been band mates in Fletcher Henderson's greatest Standards, which, like this compact disc, contains two
Orchestra, and at the same time co-led a series of albums worth of music) may also seem ancient in the late
remarkable sessions released as by "Henry Allen, '80s, but they come from a full generation later. Taken
Coleman Hawkins and their Orchestra." 1957 and 1958 together, they form a valuable document of the rise of Tin
saw a burst of renewed and reunited activity by the team Pan Alley, from the beginning up through to the'30s that
of Hawkins and Allen, most notably on Allen's Ride, Red, Alley intersected with 52nd Street. Most of these songs
Ride ! in HiFi album for Victor, CBS-TV's The Sound of gradually fell out of favour; certainly by the war they had
Jazz and various Henderson reunion projects. All three of been replaced by a growing body of jazz's own standards
the above also captured Allen and Hawkins in moments of as well as the more modern pop tunes of Berlin, Porter and
retrospective contemplation. On Standards and Rodgers, as well as two composers represented here,
Warhorses, two great jazzmen fully exploit a rare Harold Arlen and George Gershwin.
opportunity to reinterpret the past - both their own and When Larry Clinton and Dewey Bregman put together the
that of the music in toto.
arrangements and musicians for these sessions they must
Speaking of art and technology, one of the best uses for have experienced something similar to what the producers
the latter is, obviously, the preservation of the former. of The Sound of Jazz went through: total surprise that so
The four albums in the Jasstereo series this compact disc many of the greatest musicians in jazz history were not
of Hawkins and Alien (issued on two long-playing albums), only all available on the same date, but really needed the
The Zoot Sims-Al Cohn Septet is Happy Over Hoagy work. Today, we treasure every little scrap of music that
Carmichael (Jass Twelve) and Charlie Shavers, Sam the Coleman Hawkins, Red Allen and their colleagues have
Man Taylor and Urble Green "We Dig Cole" (Jass-13) all left us, in spite of the gatekeepers to the major media who
feature the finest jazz musicians of an era rich with great still prefer to think that they never existed ' and that their
jazz musicians playing some of the greatest songs ever modern day equivalents should be similarly ignored. Even
written, recorded in brilliant stereo sound.
if the contemporaneous generation of jazz lovers were
The first songs on this CD (issued on LP as Warhorses cheated out of the chance to hear this beautiful music, it
Jass Ten, and cassette as J10/11C) come from the first belongs to us and to the future.
-----------------------------------------------------------------------------------------------------------------------------------------John Chilton: “Ride, Red, Ride” pp147-149(shortened):
you've got on Sol?' he signified, peering at Sol's tuxedo with
Business at the Metropole thrived. An upstairs section was exaggerated disdain, 'You look like a waiter'. 'What do you
opened, and jazz giants such as Lionel Hampton. Gene Krupa want to play?' Red demanded. Sol suggested a tune we all
and Illinois Jacquet were featured as special attractions. Woody knew, 'After You've Gone'. 'Okay, "After You've Gone" in B
Herman's big band played several residencies at the natural' Red snapped, calling a key he hoped Sol would find
Metropole, the musicians achieving a swinging cohesion by uncomfortable. He stomped it off quickly, before any-one
watching drummer Jake Hanna's hi-hat cymbal in the could demur. After an ensemble led by Red's exuberant
mirror(the leader of the Band by Gene Lees 1995). The musici- melody line, we all played choruses, fee-ling our way through
ans' working hours at the Metropole were long, usually from the unusual key. Red waited to solo last and was ready for us.
8 or 9 p.m. until around 3 a.m. (later on Fridays). Bands Standing with his shoulder blades pressed against the back
alternated by playing sets lasting 30 or 45 minutes, usually wall of the narrow bandstand, he pumped a continuous stream
changing over on the same number, with the oncoming of swinging, belligerent jazz through his horn. As he played
musicians replacing the incumbents by joining them in a jam he began marching in place. As he continued shifting his
session. Red Allen was not above employing gamesmanship weight from one foot to the other, his sizable shoes began to
in this changing-of-the-guard routine. He would choose a carry him forward, an inch at a time, so that by the end of his
well-known num-ber, but he would play it in a very unusual last chorus his feet protruded halfway over the edge of the
key, making the musicians who were about to take over stage. With his mouthpiece jammed against his leathery
struggle to find appropriate notes as they joined in. This ploy embouchure Red pointed his trumpet over the customers'
did not endear him to the musicians in the other group. heads and bounced the last notes of his chorus off the mirrors
Bassist Bill Crow was part of one of these uneasy on the back wall, winding up with a screaming high B.
changeovers. (In Allegro Nov.87 he said):
Dripping with sweat he accepted his applause like a fighter
Henry'Red'Allen was a powerful trumpet player, a member of who had just KO'ed his opponent."
the old New Orleans school of combative jazzmen. He The Metropole crowd responded to Red's personality
challenged all corners, not content until he had established almost as much as to his playing and singing. As one visitor
his supremacy. I got to watch him at close quarters while observed, (MM-Nov.87:)'They either applaud or drink up and
working at the Metropole with Sol Yaged, opposite Red's go'. At the Metropole Red introduced the old New Orleans
band. Sol and Red played alternate sets, and twice during the tactic of repeating a number (or part of it) when he felt the
night we had to play a 'jam session' set combining both crowd's applause justified a reprise - and sometimes as a ploy
bands, with a double rhythm section. On the first of these to whip up what had been a sporadic response. Red's excellent
Red immediately threw down the gauntlet. 'What is that memory, and his friendly manner toward the
- 42 customers, soon built him a coterie of new fans, many of
whom became personal friends. Some were locals, but
many were out-of-town people who began making the
Metropole an automatic port-of-call whenever they returned to
New York. Red made it his business to wave at them from
his vantage point on the bandstand, greeting them
individually during his intermission, asking about their
families, the new house or the new job, enquiries based on the
vast amount of information he had stored away in his mind.
Dan Morgenstern felt (in a letter to J.Chilton 1998) that Red's
public relations exercises sometimes interfered with his
music-making: 'He'd start a solo and get a groove going, and
then abruptly jerk the horn away from his chops to yell "Hey,
good my man!" to greet a fan who'd just walked in'.
Red's arrival at the Metropole was usually spectacular. He
drove up in his Cadillac, parked it temporarily outside the
Metropole, then flamboyantly threw the keys to an attendant
who went off to park the vehicle for the duration of Red's gig.
Then, weather permitting, Red would don a maroon dinner
jacket on the sidewalk and stride into the club. The Cadillac
was still religiously replaced by a new model every other
year.
12/14/57 NYC., Cafe Metropole, AFRS-bandstand-USA, METROPOLE ALL STARS: same as 12/14/57 but Claude Hopkins
(organ), Willis Conover, Leonard Feather (narr)
4:55 intro: BUGLE CALL RAG (Pettis-Meyer-Schoebel)
4:22 SQUEEZE ME (Williams-Waller)
4:06 THREE LITTLE WORDS (Ruby-Kalmar)
6:03 INDIANA (J.F.Hanley)
1:45 leave out: ST. LOUIS BLUES -spLF (W.C.Handy)
RA-CD-17(poor quality)/
---------
/
/
/
/
late 1957 & early-58, at first Vic Dickenson(tb), replaced Higgy, then Freddy Bonito(d) for Eddie Bourne (Bul.HCF-3/58)
NYAN 1/18/58: J.C.Higginbotham has broken off his longtime association with Red Allen at the Metropole and isn't too happy
about it although he needed the rest. … Mole, the drummer also left Red's Natural Giants to go with Dorothy Donegan. …
1/11/58 NYC., Cafe Metropole, AFRS-Bandstand USA-METROPOLE ALL STARS: Red Allen (t,v,ann) Jay C. Higginbotham, Vic Dickenson (tb) Buster Bailey (cl) Coleman Hawkins (ts) Claude Hopkins (organ) Eugene Ramey (b) Eddie
"Moule" Bourne (d)
0:32
3:28
5:00
4:30
3:24
3:08
ann.
I WOULD DO ANYTHING FOR
BASIN STREET BLUES
RIDE! RED! RIDE!
SONG OF THE ISLAND
CLARINET MARMELADE
YOU
(poor quality)AFRS-END- on RA-CD-17/.
-feat. Hopkins (Hill-Williams-Hopkins)
--- /
-feat.Dickenson (S.Williams)
--- /
-w.Vic & Higgy (Millinder-Allen)
--- /
-feat.Hawkins
(King)
--- /
-feat.Bailey
(Shields-Ragas)
--- /
CD-1/18/58p16: RED ALLEN RADIO STAR - An all-star line-up of jazz instrumentalists plus Johnny Richard's orchestra
was heard on Mutual's jazz festival Bandstand, U.S.A. broadcast Saturday. Bobby Hackett and his trumpet were heard from
New York's Voyager Room, while alto sax specialist Donald Byrd and the Lou Donaldson Quintet featured from Cafe
Bohemia. Also from New York were the Richards unit, headlining the show at Birdland.
Six jazz favorites were heard from New York's Metropole. Trumpeter Red Allen. clarinetist Buster Bailey, trombonist
J.C.Higgenbotham, pianist Claude Hopkins, bass Gene Ramey and drummer Eddie Bourne were heard also.
Henry Allen Part-1 by Albert McCarthy Jazz Monthly 2-58p29:
The last decade and a half has been a difficult time for most reality, has tended to give up hope. From the strength and
of the jazz stars of the 'thirties. Regular groups of these musi- emotional intensity of a record like Feeling Drowsy (1929) to
cians have been almost non-existent and the men themselves the vulgarity and empty clichés of When the saints go
have eked out a parlous living by means of part-time studio marching in (1955) is a creative decline almost without
work, odd gigs and appearances at the jam sessions at such parallel in jazz, and the latter is by no means an isolated
venues as the Metropole. Some have become embittered and example. Even if one considers the economic and other factors
retired from music, others have taken a daytime job and played which would react unfavourably on a musician of Allen's
on occasional gigs, white a few like Roy Eldridge and Lester background in the 'forties, there is no reason to anticipate quite
Young have been saved by the paternalism of Norman such a lessening of value in his work (Coleman Hawkins also
Granz. It is possible that there is a trend towards recording went through a period of neglect but is today playing as well
these musicians more frequently, but whether that will lead as ever). I personally believe that Allen was unfortunate in as
to the building up of a sufficient audience for this type of far as he might have brought about a great change in trumpet
music is problematical. It would appear that the jazz follower playing, but was not able to follow through the logic of his
in the States is swayed excessively by prevailing fashion or, own development. It was left to Roy Eldridge and others to
alternatively, is rigidly split into modernist or traditionalist take advantage of the pointers which Allen seemed to be
factions neither of which have much time for the swing giving and they did it with a success that he missed. I also
period performers. Recently, in Down Beat, Ralph Gleason believe that the seeds of the vulgarity which has marred so
commented on the fact that the younger modernists seem much of Allen's later recorded work were present from the
unable to appreciate any jazz made prior to Lester Young, beginning and that they only needed a certain set of conditions
while it is also true, that the revivalist followers are quite as for them to become uppermost in his playing. These views will
intolerant of other styles. The subject of this article, Henry be dealt with in the second part of this article, but for the
"Red" Allen, is a trumpeter who was highly regarded by jazz moment it is necessary to start from the beginning.
fans in the 'thirties but who today is hardly known to a large Allen was born in Algiers, Louisiana, on Jan.7, 1908. His
percentage of record buyers and those who support live jazz. father was a well known musician who led a brass band in
Allen is of more than usual interest, for at one time he which the son played when a youngster. In 1924 he joined the
seemed set to influence a great many other trumpet players, Excelsior band and two years later he took a job with. the !ate
and his exuberant, if erratic. playing was highly regarded by Fate Marable on the riverboats. In 1927 he had his first big
fellow musicians. Yet, within a few years of the period when chance when King Oliver called him … When Oliver left for
he seemed likely, to develop into a man whose work would New York City Allen remained with him. ind he made his first
have far reaching implications he was a spent force creatively record with Oliver on July 8, 1927, when still only twenty
(or so it seemed) and exuberance had been replaced by a years of age. This was an unissued side of Aunt Jemina.
vulgarity and frenetic quality that made his recorded work
… it follows a list of available records 1929- 1930 …
dreary in the extreme. Throughout his life Allen seems to be (The second part of this article will appear in the March or
a man who has just missed great success at a time when it April issue.)
could reasonably be expected, and one who, faced with this
- 43 New Yorker 1/18/58: Metropole 7th Ave. at 48th St. – Shooting gallery from the word go, go, go. Mid shot and shell are
visible Red Allen, Sol Yaged, Roy Eldridge, Cozy Cole, Buster Bailey, Marty Napoleon, Tony Parenti, Claude Hopkins,
and Vic Dickenson. The cannonade is just about continuous from 3 p.m. to 3 a.m. Monday through Fridays. Saturdays and
Sundays from 1:30 p.m. on, the Messrs. Parenti, Napoleon, and Eldridge hold a group discussion with Zutty Singleton,
Coleman Hawkins, Pee Wee Erwin, Charlie Shavers, and Russell Moore. Very warm, all in all, even for Dixie.
(nearly all above took part at the 2/1/58 Carnegie Hall concert).
DB-1/23/58p15 "THE TRUMPET IN JAZZ" by Leonard Feather, ... … Red Allen, playing in 1929-'34 with the Luis
Russell and Fletcher Henderson bands, was probably the first trumpet player to escape from the sometimes stultifying
effects of symmetry, of phrasing in terms of one or two bars at a time. Allen's longer melodic lines, mosquito-like tone,
and narrower vibrato opened up a new road, one that was followed during the 1930s by such bearers of even newer tidings
as Roy Eldridge, Buck Clayton, and Charlie Shavers.
Eldridge, whose primary era of influence was 1935-42 (in person with
Teddy Hill, Fletcher Henderson, his own band and Gene Krupa: on
records with Teddy Wilson, Billie Holiday, and Mildred Bailey)
brought to jazz a quixotic, loosely-phrased style: a tone that might be
called bright gray, a little akin to Allen's: and an approach that showed,
especially at slower tempos, the ubiquitous imprint of Armstrong. ...
1/27/58, Mo., NYC., Palm Cafe - Camp Fund Affair; jam sessions with Red
Allen, Illinois Jacquet, Al Hibbler, The Cadillacs, The Drifters, Moohn
Glows, Don & Lee, Timmie Rogers, Jimmy”Baby Face”Lewis, Sam Cooke,
Jack Walker, Johnny Brantley, Mickey and Sylvia, Johnny & Joe, Jocko
Henderson.; The amount taken in was making the grand total in the Camp
Fund $1,505.05
(NYAN-2/1/58p22)
2/1/58 Sat. NYC., Carnegie Hall, 8:30-12:00 p.m. - "DODY IN DIXIELAND" - Robert Sylvester (narr) with Henry Red Allen,
Cozy Cole, Wild Bill Davison, Roy Eldridge, Pee Wee Erwin, Bud Freeman, Bobby Hackett, Max Kamisnky, Jimmy
Partland, Miff Mole, Ricky Nelson, Tony Parenti, Stan Rubin and Tigertown Five, Pee Wee Russell, Charlie Shavers,
Zutty Singleton, Willie Lion Smith, George Wettling, and many others;
The whole concert or its rehearsal at the same date was recorded but only parts were issued on several LPs:
Pee Wee Ervin & members of the Allen band (they met again at 10/23/58 and recorded Design DLP-39)
Stan Rubin & his Tigertown Five
Coral CRL-57185
DIXIELAND AT CARNEGIE HALL:
Roul.R-25038/Col.(E)33SX-1122
-McPartland, Dickenson, P.W.Russell, Freeman, Schroeder, Tomy Potter(b) Mouse Alexander(d)
Royal Garden Blues / Basin Street Blues
-Joe Barufaldi, Parenti, P.W.Russell & same rhvthm
Tin Roof Blues
-Mc Partland, Freeman, prob.Dickenson, Z.Sinqleton & same as last)
High Society / When The Saints
Rosetta
-Dickenson, Tyree Glenn, Miff Mole, Schroeder or Al Hall (d)
-Dickenson & Mole out
Sidewalks Of New York
-W.B.Davison, Ricky Nelson, Bob Wilber, Sam Price, Al Hall, Drootin(d) Riverboat Shuffle
-Tyree Glenn (vib) Zutty Singleton & Cozy Cole(d)
Drums vs. Vibes (Just Blues Harmony)
-McPartland & unidentified group
That´s A Plenty
part-1:
-2:
-3:
part-4:
RED ALLEN´S METROPOLE ALL STARS: Red Allen (t) Vic Dickenson (tb) Tony Parenti (cl) Sammy
Price or Willie The Lion Smith (p) Cozy Cole & Zutty Singleton(d) tape said to exist as confirmed by Cozy Cole
………..............…..
/ ………………………..
part-5: Roy Eldridge; part-6: Charlie Shavers; part-7: Bobby Hackett; part-8: Max Kaminski
NYAN-1/25/58p11: "DODY IN DIXIELAND" CARNEGIE HALL FEB.1
Dody Goodman, television star of the Stan Rubin and Tigertown Five, Pee
Jack Paar “Tonight” Show, will make her Wee Russell, Charlie Shavers, Zutty
Carnegie Hall debut as commentator of a Singleton, Willie The Lion Smith,
Dixieland Jazz show, entitled "Dody in George Wettling and many other outDixtieland," which will be given on standing jazz musicians.
Saturday evening, Feb. 1, for two perfor"Dody in Dixieland" will mark Miss
mances only at 8:30 p.m. and midnight.
Goodman's first public appearance
The musical show will feature 40 top since she became a television
Dixieland instrumentalists and four jazz personality via the Jack Paar show.
bands. Robert Sylvester, author and
As a nightclub and stag performer,
columnist for the New York Daily News. Miss Goodman has appeared at the
will write the narration.
Village Vanguard and Four Below,
Appearing on the all-star program will and in the musicals "Call Me
be Henry "Red" Allen, Cozy Cole, Wild Madam,"
"Miss
Liberty"
and
Bill Davison, Roy Eldridge, Pee Wee "Wonderful Town" on Broadway, and
Erwin, Bud Freeman, Bobby Hackett. in two Ben Bagley "Shoestring
Max Kaminswky, Jimmy McPartland, Revues" off Broadway.
Milf Mole, Ricky Nelson, Tony Parenti,
--------------------------------------------------------------------------------------------------Douglas Hague, Jazz Journal 4-58p5: Carnegie Hall again rang to the strains of good
old Dixieland in a concert called "Dody in Dixieland", Dody let me explain is
comedienne Dody Goodman (no relation to Benny Goodman) who presided over
the affair. Heard on stage were cornetists Jimmy McPartland, Bobby Hackett, end
Wild Bill Davison, trumpeter Max Kaminsky; trombonists Miff Mole and Vic
Dickenson; tenor saxist Bud Freeman; clarinettist Pee Wee Russell; pianist Willie
"The Lion" Smith; and drummer George Wettling. A touch of New Orleans was
supplied by Tony Parenti, "Red"Allen, and Zutty Singleton, with the "Swing Era"
touch given by trumpeters Roy Eldridge, PeeWee Erwin, and Charlie Shavers. Allin-all it was a pleasure to bear again some wild swinging jazz.
Tickets for the two performance are
now on sale at Carnegie Hall.
- 43a - Addenda
Jimmy McPartland, Red Allen
and Will Bill Davidson are three of
the top Dixieland jazz instrumentalists who will appear with Dody
Good-man in "Dody in Dixieland"
at Carnegie Hall for two performances, 8:30 p. m. and midnight, on,
Saturday, Feb. 1. Dody will make
her Carnegie Hall debut as commentator of the jazz show which
will feature 40 Dixieland star
instrumentalists and four bands.
DODY "DIGS" DIXIELAND —(unknown source poss. Daily Press)
--------------------------------------------------------------------------------------------DAILY NEWS, Thu.1/23/58p47
Dream Street - The Big Bash . . .
by Rober Sylvester
A week from Saturday night, Feb. 1,
there will arrive at Carnegie Hall something call a Dixieland Jazz Concert. It
will utilize musicians ranging, alphabetically, from Henry Red Allen to
Zutty Singleton and including Willie
The Lion Smith and Wide, Wild Bill
Davison. We haven't had a Dixieland
bash like this in years and one hopes
that this one will hold to tradition. It
will have for its conferencier Miss
Dody Goodman. This week's TV joke
has it that a guy sends out for a TV
repairman because, on his set, he is
beginning to understand Miss
Goodman. Since the keynote of all
jazz bashes is lunacy, she may take
her place in a glorious and fabled
company.
The first real jazz concert at Carnegie Hall was back before the war
when Eddie Condon and Ernie
Anderson put Fats Waller up on that
hallowed stage. Fats did some great
piano work and then cut out for the
intermission. Back-stage he attacked a
gin bottle and decided to change from
tails to tuxedo. Also from piano to
organ. He played "Summertime." It
seemed to fascinate him. He played
several other organ solos, including
classics, and they all came out like
"Summertime."
"I never knew," Oscar Levant said
afterward, "how much Tchaikovsky
was influenced by Gershwin." …
The coming Carnegie bash has all the
old boys who were around when the
early concerts were put on. This bash
lists 40 of them and all of them are now
famous and fabled. It is interesting to
note that every one of them is steadily
employed and must "double" to the
concert. Years ago, hardly any jazzman
was working steady. Today jazz is
everywhere and, indeed, the stage of
Carnegie Hall can be credited for much
of the current general acceptance of
the music.
I don't know where you're going a
week from Saturday, but I'm going to
Carnegie Hall.
===============================================================================================
undated photo out of Red Allen´s scrapbook :
probably at the Metropole 1959/60
-----------------------------------------------------------
photo at the left and also that of p-46 (in better
quality than in NYAN:6/7/58p15) are out of
to p-46 6//2/58 Palm Café: Lionel Hampton, Ruth Brown, Curley Hamner. Red Allen, Ted Smith. Red Allen´s scrapbook without any notes
- 44 Feb./March 58, NYC., Minton's; Billie Holiday and Red Allen were among recent sitters-in at Minton's, where Tony
Scott has added baritone sax to his clarinet sound.
There was another session at Minton's reported by John Chilton: “Ride, Red, Ride” p150: (to: Feb/March-58)
The young Davern, Lacy and trumpeter Dick Schwartz were listening to the music at Minton's Club, when, to their
amazement, Red made a bold entry into this bastion of jazz experimentation. The trio on the bandstand were an avant-garde
threesome, with the pianist performing with his head only four inches away from the keyboard. Red jumped up onto the
small stage, slammed down his alligator-skin case, pulled his trumpet out and began playing 'Rosetta'. The trio changed step
and began backing Red, who followed his trumpet solo with an exuberant vocal chorus. The place erupted, everybody
cheered and yelled, Red smiled, put his trumpet away and marched out. It was, as Kenny Davern said: 'A Red Allen
happening'. (conversation with John Chilton)
3/8/58 NYC., Cafe Metropole, AFRS-END-585, Bandstand USA - METROPOLE ALL STARS: Red Allen (t,v) Vic Dickenson
(tb) Buster Bailey (cl) Claude Hopkins (p,organ) Eugene Ramey (b) poss. Freddy Bonito (d)
5:30 INDIANA
(J.F.Hanley)
AFRS-END-585/RA-CD-17/
--/
--- /
3:53 YELLOW DOG BLUES (Handy-Pace)
5:07 MARIE and encore
-feat.Hopkins
--/
--- /
(0:42) RIDE! RED! RIDE!
(Millinder-Allen)
--/
--- /
/transcription cut after a very fast intro by Dickenson
around 1958 commercials for “Ballentine Ale” – JERRY JEROME (speech,v,ts) & Red Allen (vocal-only)
0:08 intro J.J.-speech
ARBORS-AR(2)CD-19168/RA-CD-16/
2:35 JINGLES “BALLENTINE ALE”-3 items in medley - vRA, ts&v JJ
--/
--/
ARBORS: Like his New Orleans compatriot Louis Armstrong, Red Allen was both a great trumpet player and a great
entertainer. Jerry had jammed with him frequently at Kelly's Stables and knew that Red's irrepressible personality made him
perfect choice to sing these blues-based commercials for Ballentine Ale. Jerry's booting tenor work would have fit in perfectly
with that jump band Red led in the 1940s that included J.C.Higginbotham and Don Stovall.
3/17/58, NYC., “THE WEARY BLUES"- poetry-with-Jazz recital by LANGSTON HUGHES (reader) & ALL STAR SEXTET : Red Allen (t) Vic Dickinson (tb) Sam Taylor (c1,ts) Al Williams (p,arr) Milt Hinton (b) Osie Johnson (d) Leonard Feather (comp., arr., cond.) L.Hughes toured w.Red Allen´s A.St. incl.C.Hawkins in summer & they played at Stratford Ontario 7/23
text:
music (in medleys):
3:11
BLUES MONTAGE -part-1
6:50
7:40
-part-2
-part-3
OFENING BLUES
excerpted clip 3:49f rom THE WEARY BLUES was uploaded
BLUES MONTAGE
compiled with info, labelscan, film-fragments on RA-DVD-5
COMMERCIAL THEATRE
MORNING AFTER
COULD BE
TESTAMENT
side-1:
MGM E-3697/VSP-S-36/Verve 841660-2/RA-CD-19/
5:50 TESTAMENT
3/18/58 side two by: LANGSTON HUGHES (reader) & HORACE PARLAN QUINTET: Jimmy Knepper (tb) Shafi Hadi (ts) HoMGM E-3697/VSP-S-36/Verve 841660-2/
race Parlan (p) Charles Mingus (b, arr., comp., cond.) Kenny Dennis (d)
side-2:
text: Consider Me :
music: The Stranger
- Midnight Stroll - Backstage
Dream Montage:
Weird Night Mare - Double C Train - Jump Monk
DownBeat 8/7/58p37.: M-G-M's just recorded Lp of Langston Hughes reading poetry to Henry Red Allen's jazz will be
released in conjunction with the opening of the 1958 event at Stratford ... (see 7/23/58 Toronto)
LEONARD FEATHER covernotes on VSPS-36: The conjunction of jazz and poetry represents a concept that goes
back to the mid-1950's. Possibly there were earlier examples,
but it was not until then that pure jazz, belatedly accepted by
the intelligentsia as a legitimate art form, was recognized in
turn by the poets.
Though Vachel Linday in the 1920's wrote "jazz poetry,"
some of which is said to have been read to a pseudo-jazz
background, the movement got under way in earnest a generation later in San Francisco, where Laurence Ferlinghetti,
Kenneth Rexroth, Kenneth Patchen and others read their
works to an in-group audience, accompanied by a jazz combo,
at a club called The Cellar. Ken Nordine tried some experiments in Chicago; the Half Note and the Five Spot held
poetry nights in Greenwich Village. This was all around 1957.
For at least a year, while this trend assumed fad proportions, nobody approached the one poet for whom an alliance
with jazz was perfectly logical: Langston Hughes.
Born Feb. 1, 1902 in Joplin, Mo., Hughes went to high
school in Cleveland and later attended Columbia U. and
Lincoln U., though it has been said that his best school has
been the world. He has had homes in Mexico City, Topeka,
Colorado Springs, Buffalo, Paris and Kansas City, but for
decades he has kept an apartment in Harlem. In his formative
years he was surrounded by jazz-the apocalyptic jazz of
Louis Armstrong, Fletcher Henderson and Duke Ellington;
and of course the blues of Bessie Smith. The social conditions
that were part of the birth struggle of jazz were also the
forces that helped to shape much of Langston's poetry. Some
of his poems, as this album illustrates, were even structured
on the 12-bar blues pattern.
The Weary Blues, the title poem of this album, won first
prize in a contest held in 1925 by a magazine called Opportunity. Opportunities for a Negro poet during the Jazz Age
were not exactly limitless. Curiously enough it was Vachel
Lindsay who was responsible for bringing Langston Hughes to
national attention. During a lecture in Washington he read
three Hughes poems. A year later, in 1927, Hughes received
the Palms Intercollegiate Poetry Award.
His career from that point on was a mosaic of every
conceivable type of writing, poetry and prose, fiction and nonfiction, light and heavy, plays and radio scripts, and musical
shows; and in whatever spare time remained, he gave speeches
and lectures by the hundreds.
Throughout his adult life, Hughes has been fascinated by
jazz and the men and women who have made it. In 1955 he
wrote a short, basic work for children called The First Book of
Jazz. Written from the viewpoint of an interested layman with
a great love for his subject, it concluded with the words: "...
people all over the world are enjoying it. Jazz, America's
music, is fun."
When we began selecting and sequencing material for this
album, it became clear to Hughes and to me that some of his
poems called for a background reflecting this "jazz-is-fun"
spirit, while others required a more sophisticated setting. Most
of the blues-directed material and all the gospel-related poems
were assigned to a traditional-style group, for which I wrote a
few 12, 16 and 8-bar blues themes or patterns, a couple of
gospel-type numbers for Testament, and coordinated solos by
the sidemen.
For the second side, Charles Mingus wrote or improvised suitable
material, always with a sensitive ear to the content and meaning of
Hughes' statements and questions. For contractual reasons Mingus's
pianist, Horace Parlan, was made nominal leader of the quintet,
- 45 though the personnel was exactly that of the
group Mingus was then leading at the Village
Vanguard. Mingus's genius for controlling a
group of men was never clearer than on this
session, as he set changes of mood , tempo
and theme, often quite spontaneously.
Some of Hughes' poems evoke Zeitgeist of
another age, but many are as timely today as
when they were written. As recently as the
summer of 1966 I heard Commercial Theatre
and a couple of other poems from this album
used at a Los Angeles poetry-with-jazz recital
by Jayne Cortez (Mrs.Ornette Coleman). She
had selected them with no knowledge of this
record. In the Dream Montage can be found
a line that provided the title for a celebrated
play and movie: "What happens to a dream
deferred? Does it dry up, like a raisin in the sun?"
says, "when I am dead." Since he read
his works in a New York studio in
March 1958, the Civil Rights revolution has drastically altered the state of
our society. Those who would defer
Langston Hughes's dream are encountering more and more opposition. It
cannot be deferred too much longer.
The reasons are implicit in many of the
words he speaks so eloquently here.
Many of the 33 poems read by him on
this LP were reproduced in The
Langston Hughes Reader (Geo.Braziller
Inc.), an anthology of Mr. Hughes's
short stories, poems, song lyrics, novels,
humorous fiction, plays, autobiography,
articles and speeches. This record has
been engineered and manufactured in
accordance with standards developed by
the Record Indus-try Association of
America, Inc., a non-profit organization
dedicited to she betterment of recorded
music and literature..
In this album, in the often gentle but
sometimes urgent manner that reflects the
soulful, kindly yet always-committed
personality of this gifted and generous
man, Langston Hughes tells it like it was and still is. Four decades after he wrote
The Weary Blues, his dream is still
deferred. "I do not want my freedom," he
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------New Album Features Hughes' Poetry, Jazz Background. NYA-8/20/58p23:
If there are any squares around who have The fact that this has been done is not Hughes has often brought to his writing
failed to recognize the dominant position onlya tribute to the well-established ta- of the troubles of the Negro, his sorrows,
of Langston Hughes as the “people's lents of the lyricist but also to the directi- his exuberances, his religion, his love
poet,” it is to be recommended that they pick onal genius of Leornard Feather,MGM and work. But there is a wide base of
up a copy of MGM's “The Weary Blues” executive who conceived the idea of the concept and understanding of all
album on which Hughes reads his poetry waxing Hughes with the collaboration human beings and what makes them
with some superbly blended jazzground and of such artists as trumpeter Red Allen, tick underlying all the work.
accompaniment by some fine and sensitive … All these musicians are featured on Hughes–with similar music background
Side A of “Weary Blues” which is a – has done night club stints (PC-8/2:
musicians.
blues
montage assembled from many like Village Vanguard, downtown, and
Mr.Hughes as recorded some of his Hughes'
volumes, notably Brankers, uptown) projecting this same
interesting work before but mainly on from his published
recent important Langston kind of performance. His recorded work
labels which appeal to folk already com- Hughes Reader (George Braziller,Inc.). on this area should meet healthy popular
mitted to a live interest in poetry. On this The “B” side, equally as fascinating as acceptance and increase the audience
album, however, he proves without a doubt its companion is illuminated by … for all poets.
that poetry is for people and can be so Mingus and Feather did arrangements Negro people, hearing this album will
projected that the most prosaic individual – and conducting.
be able to affiliate, to be proud, to
even those whose prejudice against or lack Because his deep roots are in the tradi- agree, to say “Yes, Lord, that's right.”
of appreciation for this art form – can get a tion of the Negro, there is much of the But all people with any humor or any
tremendous bang out of it.
incisive, deftly humorous touch which memories should enjoy it tremendously.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------BAA:9/27/58p15: Hughes jazz LP lauded by critics; (ANP) – and the instrumentation are blues oriented.” CASH BOX,
The entrance of Langston Hughes into the ranks of jazz with another top trade magazine, called the LP “a formidable issue
poetry recording artists with his album entitled “The Weary for the jazz-poetry following,” white Variety admired the
Blues” on MGM LP E3697, has met with immediate critical album's musical and poetie honesty saying, “There's nothing
enthusiasm in leading music trade publications. In a review self-consciously precious about it; it hits straight from the
describing the album as “ a bright and very palatable fusion of shoulder.” “The Weary Blues” features on one side, such
jazz and poetry readings,” Billboard pointed out that “what veteran jazzmen as RedAllen,… with music composed by
makes it come off well is that both elements have a common Leonard Feather. The other side features the H.Parlan Quintet
denominator-the blues; that is, both Langston Hughes' lyrics … and music composed and conducted by Charles Mingus.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------PC-8/2/58p22 with another longer review about this session. the reproduction is of poor quality and it does not include further
informations and opinions. (reprinted in JAZZ AD Vol.3p1005)
NYA-9/6/58p35: Langston Hughes, MGM Lp"The Weary Blues"-the jazz with poetry recordings-is on its way to top sales.
DB 4/17/58-announcement: Stratford, Ontario Music Festival, July 23. Red Allen, Buster Bailey, Coleman Hawkins, Cozy
Cole, J.C.Higginbotham, Claude Hopkins and Langston Hughes reading poetry. (see also 7/23/58 session)
Douglas Hague,J.J.4-58: Wild Bill Davison have joined the mob at Cafe Metropole with Vic Dickenson replacing
J.C.Higginbotham in the "Red"Allen band. Bassist Henry Turner replacing "Little Bennie" Moten with the Wilbur
DeParis
combo still et Jimmy Ryan's.
------------------------------------------------------------------------------------------------------------------------------------------------------------Dan Morgenstern, Jazz Journal 5-58:
The Metropole recently(April) celebrated its arrangement of Jelly Roll's SWEET Perhaps the best proof of the Metropole's
fourth anniversary. The club continues to SUBSTITUDE. Recent guest artists have musical eminence is the number of
present the most virile, free-swinging jazz included Budd Johnson, Charlie Ventura, musicians who drop in to listen on their
in New York, in spite of noise, acoustical Hal Singer, and Sammy Margolis on night off. In the past few months Miles
short
comings,
and
occasional tenor; Wild Bill Davison, Rudy Powell Davis, Ben Webster, Lucky Thompson,
concessions to musically infantile custo- and clarinettists Tony Scott and Rolf Harry Edison, Don Redman, Snooky
mers. A list of musicians who have Kühn. One memorable night had Dizzy Young, Gigi Gryce, Earl Bostic, Joe
played there would cover pages and Gillespie substituting for Charlie Wilder, Lucky Millinder and even Dinah
include many of the greatest names in Shavers. Playing with Hawk and Tony Shore have dropped in to lend an ear.
jazz. Although the silly "Dixieland" label Parenti, Dizzy cut loose on a twenty- "Down Beat" and "Metronome",
remains, the musical fare is more likely to minute ride on Royal Garden Blues however, find the Metro-pole slightly
consist of Cottontail, Yacht Club Swing, which, had it been recorded, would have vulgar ... perhaps it is, but so were
Bernie's Tune, or Red Allen's pretty ranked with his greatest performances. Chicago and 52nd street.
- 46 4/2/58, 11 a.m. NYC., W.C.Handy Wednesday-funeral services, by congressman Adam
Clayton Powell jr., Cootie Williams played “The holy City”, Lonnie Satin sang “Lord´s
Prayer, Margaret Tynes, Porgy & Bess star, sang “They That Sow In Tears Shall reap In
Joy”; including thousand people including top show business personalities, composers,
writers, entertainers - Red Allen was present among others: John Hammond, Noble Sissle,
Eubie Blake, Spencer Williams, Wilbur Sweatman, Clarence Williams, Langston Hughes,
Count Basie, Ed Smalls, Oscar Hamerstein II, Frank Schiffman, Fritz Pollard, Billy Butler,
Walter Bishop, Perry Bradford, Walter Richardson, Charles Lucky Roberts, Buster Bailey,
Don Redman, Cab Calloway, Claude Hopkins, Donald Hayward, etc. (articles by
NYAN:4/5/58p1&9 and BAA:4/12/58p1&2
CD:4/12/58p15 in Vol.6 p826).
reprinted
in
JAZZ
AD.Vol.3
p995;
4/6/58, Easter Sunday, 3-7 p.m. NYC., MAX-The Mayor ´s Place – Red Allen & All Stars
7-11:30 p.m. Conrad Janis;
advertised VV:4/2/58p16
4/21/58, Mo., NYC., Keitt's Bar - Camp
Fund session with Red Allen as guest
(NYAN-4/26/58p31)
4/30/58, NYC. CBS-TV TIMEX SHOW No.2
(without Red Allen, who was announced and
replaced by Ruby Braff in Jack Teagarden's
Orch.); “JAZZ GREATS ON TV SPEC.”
BAA:3/29/58p7: N.Y.- A heavy of jazz stars
will participate in a huge television spectacular on the CBS-network April 30. Included in
the assortment are Louis Armstrong, Lionel
Hampton, Erroll Garner, Red Allen, Cozy
Cole,Gene Krupa, Gerry Mulligan and the
Dukes of Dixieland. The show will be emceed
by Garry Moore, and the times slot is 10 p.m.
NYAN 4/12/58p12: CBS-TV, not to be out
done is presenting another “Timex Show”
on Wed.4/30. Erroll Garner, previously announced for this show has been forced to
with draw because of a conflicting commitment. He is been replaced by George
Lewis & his Quintet which will join host
Garry Moore, Louis Armstrong, Lionel
Hampton Orch., Chet Baker, Jack
Teagarden's Jazz Band with Red Allen,
Tony Parenti, Marty Napoleon, Chubby
Jackson, Cozy Cole, and Gene Krupa.
The BAA-5/3/58p8 brings a photo from the rehearsal session, still including Red Allen on the program:
Host and Drummer Garry Moore(center) joins Gerry Mulligan
(left) and Lionel Hampton(right) in rehearsal for the Timex
All Star Jazz Show, presented on CBS-TV Wednesday.
During the special hour-long program, Moore introduces
fourteen of the World's top jazz stars, including, in addition to
Mulligan and Hampton, Louis Armstrong, Jaye P.Morgan,
Gene Krupa, George Shearing, Jack Teagarden,Chet Baker,
Cozy Cole, Marty Napoleon, Henry (Red) Allen, Tony
Parenti, Chubby Jackson and the Dukes of Dixieland.
1958 several ”ART FORD & HIS JAZZ PARTIES” on WNTA-TV/FM-stereo (now WNET)
The most sessions, directed by Don Luftig, featured one band with single guest performers. In late 1958 different
groups and guests appeared. Not all sessions with Red Allen are known. Cozy Cole confirmed two sessions with him and
Zutty Singleton but possibly this was in 1957 when Art Ford made fore-runner TV-shows similar to WNTA.
I know only one video tape with Red Allen of the 6/26/58 date.
Jazz Music May-Jun 58/ Vol. 9/3 : Air Mail from N.Y.: Engaged nightly at the Metropole Cafe are Red Allen (as always),
Tony Parenti, Marty Napoleon, Vic Dickenson, Sol Yaged, Buster Bailey, Roy Eldridge, Cozy Cole, Claude Hopkins,
Charlie Shavers, Coleman Hawkins. Russell Moore, Zutty Singleton and Pee Wee Erwin, who generally split into three
combos and blow loud and clear out into the crowded Times Square area ...
6/2/58, Mo., NYC., Palm Cafe - Camp Fund session with Red Allen, Lionel Hampton, Oscar Dennard, Ruth Brown,
Curley Hamner, Ted Smith....
THE JAZZ MASTERS was guest of Honor
– Lionel Hampton and some members of his
band along with other top entertainers were
present at our Monday Night Camp Fund
affair last Monday at the Palm Café: Lionel
Hampton, Ruth Brown, Curley Hamner. Back
row: Red Allen and Ted Smith. NYAN:6/7/58p15
- 47 6/12/58, Newark, N.J., Thurs. WNTA-TV/FM – ART FORD´s JAZZ PARTY: Charlie Shavers (t) J.C.Higginbotham (tb) Pee
Wee Russell (cl) Hal Singer (ts) Marty Napoleon (p) Harry Sheppard (vib) Ham Jackson (e-g) Vinnie Burke (b) Panama Francis
(d) Beulah Bryant, Ham Jackson (v) added * Bill Graham (as) (The tape was lost after the death of Jean Claude Lefevre(F)
perhaps anybody can find another copy)
Basin Street Blues
Indiana
Blues -vBB
You´ve Changed
-Shavers
Limehouse Blues
Fascinatin´Rhythm
-Sheppard
Nobody Knows You … -vHJ
Cottontail
-Singer
Please Don´t Talk About Me -Napoleon
Stompin´At The Savoy
I Would Do Anything For You -Russell
St. Louis Blues -vBB
When You´re Smiling
-Higginbotham
What A Difference A Day Made * -Graham
I´ve Found A New Baby *
Theme: Basin Street Blues
VV:7/9/58p4
6/19/58 Thurs., WNTA-TV channel-1 3, stereo-bc-Westinghouse -ART FORD' S FAMOUS JAZZ PARTY: Red Allen (t,v)
J.C.Higginbotham (tb) Peanuts Hucko (cl) Georgie Auld (ts) Marty Napoleon (p) Harry Shepherd (vib) Dick Thompson
(g) unknown (b) Cliff Leeman,or *Jackie Cooper (d) Big Miller (d)
83 min.tape
*Art Ford talks between the items on music by Marty Napoleon or Dick Thompson.
*0:41 3:30 BASIN STREET BLUES (Williams)
RA-CD-30/
-Higgy in ens intro-Allen'in ens-Auld-Higgy-Allen brd-Hucko-Allen & Hucko*1:00 6:02 LOVE IS JUST AROUND THE CORNER (I.Robin-L.Gensler)
--- /
*1:09
*1:10
*0:23
2:31
2:27
4:01
-rhythm intro-Allen in ens-Napoleon-Higgy-Allen-Hucko-Allen in ens-ens-Shepherd-ensAutumn Leaves (Joseph Cosma) feat.-Hucko (Napoleon & Rhythm)BIG MILLER BLUES (B.Miller) feat. -vBM (ens-Auld-Higgy-ens)-
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/
/
/
ST. JAMES INFIRMARY -vRA (J.Primrose)
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INDIANA
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/
BILL BAILEY. WON'T YOU PLEASE COME HOME (Cannon)
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/
/
/
/
/
theme: BASIN STREET BLUES (Williams)
---
/
BUGLE CALL RAG
(Pettis-Meyer-Schoebel)
-Allen intro-Allen & Higgy-Higgy brk-Hucko & Allen-Auld brks-ens-Shepherd-ens-Thompson-Napoleon-Allen in ens, Leeman brk-
*1:33
2:54
*1:25
*0:49
*0:57
-Napoleon intro-Allen-vRA (rhythm-Hucko-ens)-Allen in ens2:57 *This Can't Be Love (R.Rodgers) -Napoleon & rhythm
RA-CD-32/
3:48 I COVER THE WATERFRONT (J.Green-E.Heyman) -Napoleon intro-Auld (rhythm-ens)RA-CD-30/
3:51 WHAT LOVE MEANS (....……….) -rhythm intro-vBM(ens)-Allen in ens-v8M(ens)--- /
9:14
*0:45 2:22
*0:25 4:26
*0:42 4:04
*1:08 4:00
*0:54 11:52
(J.F.Henley)
-Cooper intro-Allen in ens-Shepherd~Hucko-Allen-Higgy-Allen-Higgy-Allen in ens-Cooper-ensHIGGY'S BLUES (Higginbotham) -Napoleon intro-Higgy(rhythm-weak ens)
AFTER YOU'VE GONE (H.Creamer-L.Layton) _-Dick Thompson(rhythm-weak ens)HELLO, LITTLE GIRL -vBM -(ens)-Allen in ens-vBM(ens)-v8M(Allen)-vBM(ens)-
Where Or When (…....……)
-Shepherd-ens coda-
-Allen intro-Allen in ens-Shepherd-Hucko-Hucko in ens-Higgy-Allen muted-Thompson & Napoleon-Allen muted-Higgy-Allen in ens-Cooper-ens
0:55
Art Ford an ens leave out
6/26/58 Thurs., Newark, WNTA-TV/FM - ART FORD & HIS FAMOUS JAZZ PARTY: Red Allen (t,v) J.C.Higginbotham
(tb) Buster Bailey (c1) Hal Singer (ts) Willie”The Lion” Smith (p) Chuck Wayne(g) Harry Sheppard (vib) Vinnie Burke
(b) Cliff Leeman (d) Anthony Di Girolamo (vln) Connee Boswell (v) & * members of a studio band that was present
duze to demand of the musician union Buddy Iannone(t)(a Newark-trumpeter); Frank Higgins & unknown (tb)
0:39 2:39 Art Ford intro – BASIN STREET BLUES –v CB (Cl.Williams)
RA-CD-31/RA-DVD-1/
-Smith intro-vCB (Allen & ens-Smith-Girolamo&ens-Bailey-Allen & ens)-ens coda4:20
0:55
4:40
THEM THERE EYES (M.Pinkard)
---
/
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/
-Allen in ens-Bailey & Smith-Orland-Higginbotham-Allen-Singer-Allen in ens-..d..-Allen
ST.LOUIS BLUES (W.C.Handy)
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/
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/
AIN´T MISBEHAVIN´ –vCB (Waller-Brooks-Razaf)
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/
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/
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/
-Bailey intro-Bailey & Allen in ens-Bailey(vRA-rhythm-Allen in ens-rhythm)-Bailey & Allen-
1:00
4:22
-vCB(ens-Bailey & Allen-Girolamo)-Singer-Allen-Higgy-Bailey-vCB(ens-Allen & Bailey)0:30 7:30 THAT´S A PLENTY (Gilbert-Pollack) -Allen in ens-Bailey-Allen in ens-Allen-Singer-Allen in ens-Higginbotham-Girolamo-ens-Allen-Allen in ens-..d..-ens coda2:00 3:30 ECHOES OF SPRING (W.Smith) -feat Smith acc.by Thompson-Allen&Bailey coda0:30
2:10
WHEN YOU'RE SMILIN´ (Fisher-Goodwin-Shay)
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/
0:25
4:30
STARDUST -vCB
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0:30
3:40
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/
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/
-Smith intro-Higginbotham (Girolamo in ens with some very weak Allen work)
0:25
8:00
3:04
0:37 3:49
0:36 4:51
0:35 9:40
1:40
(H.Carmichael-M.Parish)
-rhythm-vCB (Girolamo-ens)-Higginbotham & Allen-Higginbotham-Higginbotham & AllenHAL SINGER STOMP (H.Singer)
-Allen & Singer in ens-Singer-Singer in ens-Allen & Singer in ensROSETTA (E.Hines-H.Wood) -ens intro-Allen in ens-Smith-Thompson--/
-..b..-Girolamo-Orland-Allen-Singer-Allen in ens-Bailey-Allen in ensI SURRENDER DEAR
-feat.Girolamo
--/
SAY IT ISN'T SO
-vCB acc.by ens
--/
ALL OF ME -vRA (Simon-Park) -feat.Red Allen (t,v)
--/
WHEN THE SAINTS GO MARCHING IN…(trad.) -..d..-Allen & Higgy in ens-Smith-Higginbotham-Bailey-Allen-Singer-Higginbotham-Girolamo-Allen in ens-..d..brk-ens codatheme- BASIN STREET BLUES (Williams)
--/
-Allen & Higginbotham in ens-leave out ann.Art Ford(ens)-Allen & Girolamo in ens-
- 48 NYAN-6/28/58p16: Red Allen and J.C.Higginbotham on Art Ford's Show on WNTA-TV (the best) last week
7/3/58 Thu.. WNTA-TV/FM ART FORD - Charlie Shavers (t) J.C.Higginbotham (tb) Buster Bailey(c1) Sam Most (cl,fl)
Hal Singer (ts) Marty Napoleon (p) except Wynton Kelly on (4,7,12); Harry Shepherd (vib) Dick Thompson(g) Vinnie
Burke(b) Jackie Cooper (d) Tony Rongo (d on 15) Dinah Washington (v) 78:09 all on Jazz Connoisseur-Cassette AF13-DP
4:22
3:52
5:44
3:42
3:57
6:15
2:22
2:34
6:10
5:57
5:05
4:22
6:35
6:46
9:55
0:24
intro: Basin Street Blues -Higgy intro-full group, Art Ford speech between all items
unidentified tune
feat. Buster Bailey(c1) ensemble parts
I´ll Remember April
“ Sam Most (fl) with rhythm only
Me And My Gin
“ D.Washington & W.Kelly & ensemble parts
Crazy Rhythm
“ Marty Napoleon (p) ensemble parts
Moonlight in Vermont
“ Harry Shepherd (vib) with rhythm only
If You Is Or Is You Ain´t My Baby D.Washington & W.Kelly & ensemble parts
Running Wild
Indiana
Cottontail
unidentified tune
Backwater Blues
J.C.Higginbotham (tb) & full group
Jackie Cooper (d) & full group
“ Charlie Shavers (t) & full group
“ Hal Singer (ts) & full group
“ D.Washington & W.Kelly & full group
I Want To Be Happy
Blues In The Closet
“
“
Limehouse Blues
theme: Basin Street Blues
“
“
“
B.Bailey & Sam Most (c1) ensemble parts
Dick Thompson(g) Vinnie Burke(b) ensemble parts
full group & guest: Tony Rongo (d)
full group to leave out by Art Ford
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
JCH-CD-7
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JCH-CD-7
Amst.News 7/12/58p15: Art Ford continues to have most relaxed jazz show on WNTA each Thursday night. Last week's
show had J.C.Higginbotham (he seems to have found a home there), Sam Most, Dinah Washington, Marty Napoleon,
Harry Sheppard, Jackie Cooper, Hal Singer, Charlie Shavers, Dick Thompson, and Vinnie Burke.
7/3-6/58 Newport Jazz Festival – in contrast to 1957 & '59 & '60, it seems that Red Allen was not present
at 7/5/58 Sat.morning Dr.Marshall Stearns delivered a lecture on “The Jazz Dance” presenting the dancteam Leon James & Al
Minns with huge success. It was a fine job and made a New York Times bravo the next day. Their music accompaniment
was not menti-oned; but obviuosly this was the basic for the folowing note:
NYAN-7/26/58p13: Claude Hopkins is to do an album with Panama Francis,
Milt Hinton, Buster Bailey and T.Glenn...(of course this is those undated session
with Red Allen & Charlie Shavers --- August-58).
7/7/58, Mo., NYC., Spot Lite Bar - Camp Fund session with Red Allen,
Orlando Robinson,..(NYAN-7/12/58p17)
7/?../58, Wallingford, Connecticutt – July Festival with Billie Holiday, Red Allen Group, Buck Clayton Band;
DB 9/4/58
7/13/58 Sun., Stony Brook Festival – Coleman Hawkins, Charlie Shavers, Ben Webster, Marty Napoleon, Benny Moten,
Mickey Sheen; Rex Stewart & his Dixielanders with J.C.Higginbotham, Bobby Haggart, Lou Stein, Cliff Leeman,
only a short note in NYAN-7/19/58p13
Panama Francis, Jimmy Rushing
7/18/58 Hackensack-studio, N.J., "CALLING THE BLUES"-TINY GRIMES (g) & J.C.Higginbotham (tb) Eddie Davis
(ts) Ray Bryant (p) Wendell Marshall (b) Osie Johnson (d)
1551 11:22 Grimes- Times Prest.7144/JCH-CD-9
--- /JCH-CD-9
1552 7:33 Airmail Special
1553 8:41 Callin´ The Blues --- /JCH-CD-9
--- /JCH-CD-9
1554 11:34 Blue Tiny
7/19/58 WOR-bc, “Long John” Nebel program,
“The Party Line” – Langston Hughes reading his
poetry “Weary Blues” and will play his new
recording of same with jazz accompaniment
which includes Red Allen….
NYAN-7/19/58p13: (see JAZZ AD p1005
&PC8/2/58p22 similar thing to the Lp
7/21/58 Mo., NYC., Mike Hedley's - Camp Fund
session with Red Allen as guest;
EveryoneHas Been So Grand – We salute this
gratefull group for outstanding work in
helping to combat juvenil delinquency here.
They helped make the Monday Night Camp Fund the success it was.
In front l-r: Mike Hedley; Virginia Covington, Modern Age, S.C. and
Harry Brown. Standing l-r: Gladys Bryant, Gloria Burton, Red Allen
NYAN-7/26/58p15
and Ann Austin.
----------------------------------------------------------------------------------------------------------------------------------------------------The Following were Donors to the closing
session of the Camp Fund last Monday night
at the Spot Lite Bar. The amount taken in was
$69.50, making the grand total in the camp
fund $3,775.24.
DONORS
Eda. Lloyd, Camp Minisink; Eardlie John,
Christian Bros.; Marvin Riley, Children's Aid
Society; Mairi Colston, Linda Reed Coleman,
Toots Shor; Gloria Burton; Counsellor T. J.
Meacham Jr., Clarke Palmer, E. H. Cusberth,
Major Liquors; Mary Archer, Obera Miles,
Evelyn Davis, Wahnetta San, Keitt's Lounge;
Henry Jenkins, Mary McAdoo, Gladys Bryant,
Mike Hedley's Bar. Rex Dumoret, L. Bar & Grill;
John Young, Ike Smalls, Dots Place; Henry Red
Allen, Ann Austin, O. Glover, Henry Brown, LaModernage; S. C. Johnny Andrews, Orlando
Robinson, Joe Carr Assoc.; Lucille Keitt, Keitt'a
Lounge; Juanita Boisseau. NYAN:7/12/58p17
- 49 7/23/58 Can., Ontario, CBC-TV/-bc "Stratford Shakespeare Festival" Langston Hughes (reading) to Red Allen (t) J.C.Higginbotham (tb) Buster Bailey (cl) Claude Hopkins (p) Cozy Cole was present instead of the announced Ed Bourne(d)
Coleman Hawkins was announced but stayed in NYC.; Cozy Cole wrote that they were broadcasted but Dan W.C. Allen found
only Canadian bands on the CBS-bc; possibly other broaadcasts exist ?;
Toronto Globe and Mail, Sat.7/29/58p16: Jazz Scene …. festivals will be covered on CBS- Radio but not TV – next Sat.
8/5/58 will be the Stratford broadcast, but with an all-Canadian cast (i.e. not with Allen, but this was on some other time)
--------------------------------------------------------------------------------------------------------------------------------------------------------DownBeat 8/7/58p37.: M-G-M's just recorded Lp of Langston Hughes reading poetry to Henry Red Allen's jazz will
be------------------------------------------------------------------------------------------------------------------------------------------------------released in conjunction with the opening of the 1958 event at Stratford ...
CD-6/7/58p14: ZIG & ZAG with Joe'Ziggy'Johnson; long festival. then on Aug.9 Wilbur DeParis, Aug.13 Carmen
Stratford, Ont. – The annual Stratford Music Festival gets McRae in a co-starring role; Aug.15 Dizzy Gillespie. There a
off with a band 7/16 with the famous “little Carib Company,” number of other Sepia greats(Josh White,Maynard Ferguson,
a West Indian dance group. The festival will present a sort of Moe Koffman, Billy Taylor) due here for the festival.
Certainly friends and admirers of such artists as Gillespie,
Harlem-to-Broadway to Canada on 7/23 when Henry”Red”
Allen and his allstars plus Langston Hughes will be featured Erroll Garner, “Red”Allen and other will ge anxious to wit-ness
on the program.
their idols in a concert scene of the Festival's magnitude.
There will be several folk music concerts on the summer
------------------------------------------------------------------------------------------------------------------------------------------------------Toronto Star 7/24/58p16: “Festival Review: poems to jazz rhythm prove simple, touching,” by Hugh Thompson :
Stratford, 7/24 – Langston Hughes, first cycle of poems, his spiritual wonder, effortless style. Claude Hopkins was on
the US-negro poet whose works earlier humility and aspirations in the second. piano, another jazzman of the effortless
this months were branded as 'Blasphe- Far from being blasphemous, they were persuation and in the line of Teddy
mous' and 'garbage' in the Canadian simple and touching, for the most part, Wilson. J.C.Higginbotham played tromSenate made his debut here last night at and Allen and his jazz cohorts admirably bone, a thoroughly knowing improviser,
the Shakespeare Festival, reading supported the folk post.
who can't be bothered resorting to
Basic honesty
poems with the jazz combo called
showmanship antics to win a gallery.
Hughes and his fellow artists on stage
'Henry (Red) Allen and his All-Stars.'
Drum virtuoso
He began by reading poems to Dixie- had one thing in common. All were Cozy Cole was the superlative
land and the blues, then when the jazz technically trained in their respective drummer who took some virtuoso
group struck up the old hymn tune arts, but all displayed a basic simplicity solos but when he was playing
'Rock of Ages' he swung into gospel and honesty that made for a refreshingly ensemble didn't drown the partners
poems of his own devising. At first different entertainment.
as is so often the way of drummers
blush, the thought of a fellow reading Allen, of course, plays trumpet and is in jam sessions. String-bass was
poetry to jazz suggests some unintel- the cheerleader of the group, 'talking it manned by Lloyd Trotman, another
ligible verses spouted in 'progres-sive up' like the coach of a ball team all du- secure rhythm-section man without
jazz.' Nothing proved further from the ring the play, and even urging the audien- showy effects.
case. Allen and his All-Stars eschew ce to cheer on his soloists to greater The redoubtable tenor sax man, Coleprogressive jazz, preferring the traditi- heights of brilliance and excitement. In man Hawkins, was to be with these Allonal style, and Hughes' poetry was fact, this cheerleading of the audience Stars, but something happened to him
wasa disadvantage because many of the between original planning and eventual
thoroughly in keeping.
His verses would better be described solos were lost in the applause generated. festival engagement. (rest of the article
as ballads of the simple Negro, his secu- A heavy favorite was clarinetist Buster on folk-music part of the festival).
lar joys and trials being expressed in the Bailey, with a fluent technique and
----------------------------------------------------------------------------------------------------------------------------------------------------Free Press, 7/24/58, Thurs., “Red Allen All Stars win festival friends,” by Lenore Crawford. London Ontario:
Stratford, 7/23 - Seven men of varying Senator Quinn, of the Maritimes, called There was much more impish wit than
ages from the 30s to when no one dares to his poetry “garbage” and declared the bitterness and his simple, direct lines were
guess as to a man's age, came on stage at Canada Council money should not be issued often with religious fervor. There
was no sign that Langston Hughes was
the Avon Theatre tonight. They were spent by the festival on such rubbish.
dressed in differed colored suits and non Thespotlight definitely was on Hughes presenting the solution to the problem of
of the suits were smart. But the oldish before the concert started and he war- the mystery of life, of poverty and riches,
man put the intrument to his mouth, said ranted the warm welcome he received of good and bad.
Read well
from a smallish but enthusiastic audie“wow” and the audience started yelling.
nce. But something was lacking about His reading was concise and incisive; his
Solid Sending
the performance with the lack to put voice was clear and well modulated. He
The jazz festival in connection with
knows how to read to jazz, that was evident.
hisstint in top category.
the Stratford Shakespearean Festival
But nevertheless, it was the clarinet of
Imagination lacking
was on its way and already sending.
The man with the trumpet whose face Personally the fault to me lay in the Buster Bailey – the thrills, the beautifful
looked like a new born infant, all wrink- music that went with the poetry. There melodic line, the breathtaking length of
led like a soft red blanket, was Henry was not enough inventiveness and ima- tones that seemed effortless for the play-er
”Red”Allen and the other non-descriptly gination, enough of the satire and the which impressed. Top display pieces were
dresse performers were his All-Stars. inference that went into the music of “Ride, Red, Ride” and “Memphis Blues”.
Sometimes Allen screamed and was a numbers played by the band when it was Red Allen is a trumpeter to warrant all
bad, bad man, and then he was sweet – on its own without Hughes. The poetry the yells he got, and pianist Claude
but pretty lowdown. All that shattered the was left to speak for itself, which it was Hopkins is a man to match the beauty of
nerves and he neverlet his audience rest a well able to do if it had been left strictly tone and the subtlety of Bailey, Jay C.
minute. If he wasn't blowing the trumpet alone to do that. But when there was Higginbotham on trombone and Cozy
he was blowing his horn about the supposed to be contribution from the Cole on drums are no squares – particuwonders of the “Giants” he called his music and the sounds came with no larly Cozy who starred in “Basin Street.”
contribution, the lack was all too evident. The seventh man was Lloyd Trotman on
players and the audience agreed.
But one man stole the show. That was Hughes has dry humor and he can pack a bass who had to be reckoned with time
Buster Bailey playing clarinet, who wallop with rhythm and between-the-lines andagain, but hedid not rate the shouts
topped the headliner of the opening meaning. He can be biting and tender, that went to the others.
concert, Langston Hughes, who writes simple and complex in his implications. The whole program was jazz in a rather
poetry and recites it to jazz. Hughes He ranged over a field of fun and serious- old-fashioned manner. It was a perfect start
gained further recognition about a week ness, showing how near in the Negro for the season that will bring all kinds to
ago from the Canadian Senate when temperament are those two basic qualities. the Avon Theatre.
- 50 Duke Ellington, Oscar Peterson Tunes
Spotlight Canadian Fete
by CD-6/14/58p15:
Pick Josh White, Langston Hughes
And Red Allen For Canadian Fetes
by CD-7/5/58p13:
Red Allen Allstars To Open Cana-dian
Fiesta With Jazzy Program
by CD-7/26/58p16: (longer articles
announcing Red Allen amongst others ,
but
without
deeper
informations.
(reprinted in Jazz Ad.Vol.6 p831-832)
7/27/58 Su., East Islip, L.I., Great South
Bay – Jazz Festival (7/26-8/3); Willie
The Lion Smith Septet probably with or
vs. Red Allen
another possibility is that Red Allen &
band backed Al Minns & Leon James
at 7/26, (see the below NYAN-note of the
7/26)
Jazz Music Sept/Oct. 1958, Vol. 9, No.5,
p7 - Air Mail from New York: The
summer jazz festivals, led by the
monmouth event at Newport that drew
55'000 people, are being held each
weekend somewhere in the greater
metropolitan area. The one at Great
South Bay, L.I. drew nicely on two
consecutive week-ends featuring the
Duke Ellington orch., Chris Conners
and two dixieland groups, one led by
Red Allen. .
Red Allen is not mentioned in other
sources, neither on the advertisement of
the whole week´s program nor in
reviews. Chris Connor & trio played at
Su.7/26 alongside with Gerry Mulligan4; Maxine Sullivan(v) & Willie”The
Lion”Smith Septet: Henry Goodwin (t)
J.C.Higginbo-tham
(tb)
Prince
Robinson(cl) Cecil Scott(ts) Benny
Moten(b) Sonny Greer(d). Probably the
other Dixie-land group, the only one
mentioned all the days; Duke Ellington
& orch. played at 8/3 with Mose
Allison trio; Pepper Adams Quintet.
NYAN-7/26/58p13: Claude Hopkins is
to do an album with Panama Francis,
Milt Hinton, Buster Bailey and
T.Glenn. ...
Vic Dickenson returned from his
Euopean Tour after Aug.3, (his first
concert in Europe dated 7/5); he was
present at the “Great Day in Harlem”
at 8/12. Around this time this session
must be dated. Vic soloed on When
You Do The Ragtime Dance and
Messin´ Around. The other solos are
by Tyree Glenn.
- 50a - label scans - 44 -
6/29/54
May-55
3/21/57 LP similar to RCA-EPA1509 Ride Red Ride / World On The String
6/29/54
8/29/55
Aug.58
- 51 prob.Aug.1958, N.Y.C.; CLAUDE
HOPKINS ORCH.: Charlie Shavers, Red Allen (t) Tyree Glenn, Vic Dickenson (tb)
Buster Bailey (cl) Lyle Smith (ts) Claude Hopkins (p) Milt Hinton (b) Panama Francis (d) Julia Steele (v) "MUSIC OF
THE EARLY JAZZ DANCES”(a similary program was featured at NPT 1958 without this band, danced by Al Minns & L.James)
The date must be shortly after Vic Dickenson returned from Europe at 8/3/58
Side-1 is devoted to the jazz dances associated with minstrelsy:
20 th Cent./
2:27 THE ALABAMA WALKAROUND (Monroe H.Rosenfeld 1891) a light and airy tune, Fox 3009/RA-CD-19/
was the basis for a comic version of the Walk Around which preceded the Cakewalk.
2:56 MEDLEY: THE HONOLULU DANCE (Max Hoffmann 1899)
--- /RA-CD-19/
suggests how far the Cakewalk and Ragtime had traveled by 1899.
When You Do THE RAGTIME DANCE (Harry von Tilzer 1897) is one of the --- /RA-CD-19/
very earliest compositions by one of the bright stars of a later era of popular music.
2:22 SCRATCHIN´ THE GRAVEL -vJS (Jack Yellin-P.Bradford 1917)
--- /RA-CD-19/
a title which all but describes the dance, was introduced by the famous Dolly Sisters in 1917.
l:58 MEDLEY: WHEN I DO THE, HOOCHY COOCHY IN THE SKY (G.L.Davis 1896)
--- /RA-CD-19/
shows that outrageous titles are no recent innovation in popular music.
EVERYBODY OUT TONIGHT (Will Marion Cock 1898) a Cakewalk which --- /RA-CD-19/
was heard in a production called "Clorindy, or The Origin of the Cakewalk."
SCUFFLING PETE
(Edwin F.Kendall 1899) is a Cakewalk variation
--- /RA-CD-19/
--- /RA-CD-19/
2:51 WALKIN´ THE DOG -vJS (Shelton Brooks 1916)
he also wrote "Some Of These Days” and "Darktown Strutters BalI". Its instructive-lyrics
relay some of the hip vernacular of that year: "It's there – it´s a bear !"
2:26 THE PIGEONWING (Tony Stanford 1896)
--- /RA-CD-19/
was one of the variations developed from the cakewalk. It was a buck and this version
was introduced with great success by John Lorenze, a very popular dancer, in 1896.
Side-2 focuses on early examples of the modern jazz dance:
2:28 RULES AND REGULATIONS -vJS (Perry Bradford 1911)
--- /RA-CD-19/
is one of many pieces written for jazz dancers by P.Bradford. This includes in Julia
Steele´s vocal an impressive listing of some of the strikingly named dances (Bull Frog
Hop, Georgia Bo Bo) which -followed in the wake of the Cakewalk and its variants.
2:03 CAUGHT IN THE FENCE
(Charles B.Brown 1900) despite the ludicrous picture that
--- /RA-CD-19/
the title conveys, is an unusually lovely melody written as the accompaniment for a stop buck.
--- /RA-CD-19/& -12
2:36 MEDLEY: LEVEE REVELS (Wm. Christopher O´Hare 1898)
MISSISSIPPI SIDESTEP (Leo E.Berliner 1899)
--- /RA-CD-19/& -12
BOOM-E-"RAG" (Warner Crosby 1898) provided the setting for yet
--- /RA-CD-19/& -12
another outgrowth of the Cakewalk-the Afro-American Cane Hop.
2:50 MESSIN´ AROUND -vJS (Perry Bradford 1912) was first introduced by Ethel
--- /RA-CD-19/& -12
Waters. As in most songs of this period which were inspired by jazz dances, the lyrics give
specific instructions for performing the dance. Best do some setting-up exercises first, though.
2:14 WIGGLE-DEE-WOW ! (Perry Bradford 1914) is a rhythmic dance which was
--- /RA-CD-19/
featured in vaudeville in 1914 by the team of Bradford and Jeanette.
--- /RA-CD-19/
2:39 ORIGINAL BLACK BOTTOM DANCE -vJS (P.Bradford) was written almost a
decade before this hip-swinging dance was transferred to the Broadway Stage in Georgia White´s “Scandals”.
from cover 20th Cent.3009: During its four day
gala in the summer of 1958, the Newport Jazz
Festival trotted out a dazzling parade of jazz
musicians of great repute. Yet, in the opinion of
most of the reviewers who covered the Festival,
its most interesting moments were provided by
a pair of dancers, Albert Minns and Leon James.
"Dancers" you may exclaim. “At a jazz festival”
- The answer to both questions is undeniably
"yes". Variety called their presentation "the best
of the Festival" and probably its most concrete
contribution to the art of jazz" while the New
York Times reported that Minns and James
"stole the spotlight from the major programs of
the Festival with an unusual and memorable
survey of the development of jazz dances."
To a certain extent, their success could be
attributed to the fact that the history of jazz
dancing has been almost completely neglected.
As a result, they were able to open their
audiences eyes and ears to something that was,
when presented in this form, fresh and new
even though most of those who saw the dancers
found that the steps were familiar. the Big
Apple, the Lindy, the Charleston-familiar, to be
sure, but not seen in perspective before.
Most of the dances that Minns and James performed were of relatively recent vintage-from the
Twenties, the Thirties, the Forties and even the
Fifties. But the jazz dance goes much farther
back than that. Its development has paralleled the
development of jazz itself and, like jazz, its
origins can be seen quite plainly in the days
before there was such a thing as jazz or jazz
dances.
(continues next page)
- 52 The jazz dance can trace a direct line to Congo Square in
New Orleans in the early 19th Century where the slaves
danced the fierce African-derived Bamboula and the even
fiercer Congo as well as the relatively mild Calinda, Chacta,
Babouille and Counjaille. Meanwhile in the more circumspect surroundings of the plantations, the slaves were also
accustomed to doing a happy dance to banjo music.
"On Sunday, when there was little work to do, the slaves
both young and old would dress up in hand-me-down finery to
do a high-kicking, praneing walk-around," Shephard N.
Edmonds, who was prominent in the Negro entertainment
world at the turn of the century, has told Rudi Blesh (in
THEY ALL PIAYED RAGTIME). "They did a take-off on
the high manners of the white folks in the 'big house,' but
their masters, who gathered around to watch the fun, missed
the point. It's supposed to be that the custom of a prize
started with the master giving a cake to the couple that did
the proudest movement." This was the Cakewalk which
moved from the plantation to the minstrel stage and became
so popular toward the end of the 19th Century that a
Cakewalk Jubilee Spectacle was staged at Madison Square
Garden in New York for three days in April, 1892. The Walk
Around or Cakewalk was for years the standard finale of
minstrel shows. Before 1890 minstrel casts were made up
entirely of men but in that year Sam T. Jack's Creole Company
included women for the first time and their presence inspired
all sorts of improvisations within the traditional Cakewalk-side
steps, cane hops, pigeon wings, bucks and stop bucks.
The popularity of the Cakewalk lasted until l910, paralleling
very closely the popularity of ragtime. Then, as ragtime began
to decline, the Cakewalk also gave way to the modern dances,
many of which had originated in honky tonks, dance halls and
along the levees. These were highly rhythmic and physically
complicated dances, predecessors in a direct line which
includes such more recent favorites as Truckin', the Shag, the
Shim Sham, the Shorty George and, most recently, the Stroll.
On this record the authentic music of the early jazz dances
has been assembled for the first time. It has been drawn from
the celebrated archives of the Colored Performing Rights
Society of America, a treasure trove of manuscripts which has
been combed assiduously by Barney Young and Perry
Bradford for this presentation. The music is played by a group
of musicians who have had long experience with and deep
understanding for jazz dancing.
8/6/58 NYC., TONY SCOTT AND THE ALL STARS: Joe Thomas (t) Wilbur DeParis, J.C.Higginbotham (tb) Pee
Wee Russell, Tony Scott (cl) Sonny White (p)*AI Casey (g) Oscar Pettiford (b) Denzil Best (d)
105428 10:55 *Blues For The Street
Cor.CRL 57239/LVA 9109/JCH-CD-5
--/
--/JCH-CD-5
105431 4:03 Love Is Just Around The Corner
- "SWEET MOODS OF JAZZ"-.COLEMAN HAWKINS' ALL STARS: Red Allen (t) Earl
Warren (cl,as) Coleman Hawkins (ts) Marty Napoleon (p) Chubby Jackson (b) George Wettling (d)
4.02 STORMY WEATHER
(H.Arlen)
Jazz Groove 002/Jazz-10/Stash JCD-2/RA-CD-c10/
3:55 MEAN TO ME
(Fred Ahlert)
--/ --- /
--/
--/
5:57 LONESOME ROAD (G.Austin-N.Shilkret)
--/ --- /
--/
--/
(Lorenzo-Whiting)
--/ --- /
--/
--/
4:34 SLEEPY TIME GAL
5:04 SUMMERTIME
(Du Bose Heyward-G.Gershwin)
--/ --- /
--/
--/
(Simon-Mark)
Meritt-26/ --- /
--/
--/
3:19 ALL OF ME
2:42 TEA FOR TWO
(Youmans)
--/ --- /
--/
--/
8/7/58 NYC.. Reeves Soundcraft
Albert McCarthy - "Jazz Impressions USA"- THE METROPOLE - in Jazz Monthly 4 59 (cont.):
… I do not think he has been well served by records in indeed. The numbers played are of the type of MEAN
the past few years, with the exception of one or two TO ME, SUMMERTIME and LONESOME ROAD and
tracks on the RCA LP of a couple years ago. In the the supporting musicians include Coleman Hawkins and
spring of last year he made a tape for Soundcraft titled George Wettling. It would make a very welcome release
"SWEET MOODS OF JAZZ", and this is very fine in this country. (complete review look 4/59).
-------------------------------------------------------------------------------------------------------------------------------------------------------Howard Melton and Ralph G. Ferguson
cover-notes on run. Warren comes next and Chubby Jackson gets his
second solo of the date, backed by Napoleon's Basieish
Jass-CD-2) Addition by the same on covernotes Jass-11:
Marty Napoleon's piano introduces Hawkins, who states the fingers. Allen comes back to flutter around the edge of
melody of ALL OF ME backed by the rhythm section, there-by the theme, leaving it to the bouncing Bean and then the
setting the mood for both the track and the album. After Hawkins, full band to bring it home. (cont.)
Allen performs an artful paraphrase which he caps with a perfect Armstrongian ending and is followed by a brief turn from
Jackson and the ensemble.
A muted Allen opens TEA FOR TWO, but instead of playing
the well-known melody, it's a variation all the way, his muted
and tight tone bringing to mind Charlie Shavers playing
UNDECIDED. Warren and Hawkins solo next, with Hawk
tearing in a chord-based diatribe with his buzzy, embryonic
tone. Napoleon, in contrast to his usual two handed style, plays
deliberately sparsely here as if to summon up an original distillation of Count Basie and John Lewis.The ensemble doesn't show
up until the out-chorus and again they don't play the tune as
such but a written-out version of Allen's opening paraphrase.
Napoleon makes the 'head' statement on MEAN TO ME, preceeding Earl Warren. Allen follows with an improvisation that
starts out light and dancing but gets progressively more intense
as he continues. Hawkins begins right at the point where Allen
finishes, starting to break up the mood but never going too far
out of line. Allen winds up the piece first by himself, and then
accompanied by a series of well chosen riffs from Hawk and Earl.
The piano prefaces SLEEPY TIME GAL, a tune best performed
instrumentally today as its sextist lyric might offend anyone this
side of Jerry Falwell, with the last four bars of the main theme.
Napoleon returns after Allen's solo, again with a very light,
almost one- fingered solo that works up to a natty little boppish
cover from 7/18/58 session on page 48
- 53 Allen opens STORMY WEATHER with a dramatic open- themselves weren't able to interject. Napoleon backs into the
horned cadenza, vaguely reminiscent of Louis's "West End intro, and after Allen, Warren, and a further eight bars of
Blues" or Bunny's "I Can't Get Started" but with an angrier, Allen, plays a short solo of his own. But all this activity
more hostile sound typical of '50s and '60s Red Allen. His avails them not as Hawkins immediately proceeds to steal the
statement of the melody is certainly one of the more intense show, swooping down on the harmony with a genuinely
renditions of Arlen's oft-performed piece that I've ever heard, hawk-ish (but never mawkish) fury. Allen and Warren then
as is Hawkins' searing solo. Napoleon's piano inter-lude up the next chorus, with Red gettin the three 'A' scions and
comes along as a welcome respite to all this passion, which Earl settling for the 'B' release and a sublime Jackson taking
one more before the horns top it off.
returns when Allen and the ensemble take it out.
Allen's exposition of SUMMERTIME reveals his kinship When Larry Clinton put together the arrangements and
with fellow New Orleanians Sidney Bechet, as he finds in musicians for this album, he must have experienced somethis Gershwin standard a folk-blues drive which made it the thing similar to what the producers of The Sound of jazz went
one completely successful number in all of Porgy and Bess. through: total surprise that so many of the greatest musicians
Warren supposedly leapt at the chance to do a whole date on in jazz history were not only all available on the same date,
clarinet to show what he could do on the instrument - he had but really needed the work. Today, we treasure every little
sat next to Lester Young in the Basie band for so long he scrap of music that Coleman Hawkins, Red Allen and their
figured Prez's subtone clarinet must have rubbed off on him. colleagues have left us, in spite of the gatekeepers to the
Lester's clarinet solos reminded Milt Gabler and John major media who still prefer to think that they never existed Hammond of Pee Wee Russell, and the echoes of both Prez and that their modern day equivalents should be similarly
and Pee Wee come through on Warren's clarinet work here. ignored. Even if the contemporaneous generation of jazz
Hawkins and Napoleon each contribute vital statements as lovers was cheated out of the chance to hear this beautiful
music, it belongs to us and to the future. – H.Melton;
well.
The LONESOME ROAD is one of those songs that so many Special Thanks to Franz Hoffmann, of Berlin, W.Germany
people assume is a folk piece or a spiritual, when in reality and J.-Fr. Villetard of France, whose Henry "Red" Allen
two of the unfolkiest men in history, Nat Shilkret and Gene Discography and Coleman Hawkins: A Documentary are
Austin, authored it. Allen again plays it in such a way as to essential sources of information on these two giants of
stress
an on-the-level authenticity which the com-posers American music.
--------------------------------------------------------------------------------------------------------------------------------------------------------review from MAX JONES Melody Maker 1/3/81 to Jazz Groove 002 -- later on page-70 for lack of place here
--------------------------------------------------------------------------------------------------------------------------------------------------------and his work here confirms that he was the tenor saxophonist.
EDDIE LAMBERT covernotes Jazz Groove 002:
It is ironic that it has taken over twenty years for these Earle Warren appears in the role of a high-class clarinet
recordings, which Henry 'Red' Allen regarded as his finest, to soloist and his contribution will surprise those who think of
be issued on disc. In conversation at the Manchester Sports him as a good craftsman but a creative lightweight. The
Guild in 1963 he was emphatic that the music from the date rhythm section consists of pianist Marty Napoleon, an allwhich produced the first side of this LP plus its title track was rounder who had worked with bands as diverse as Charlie
his favourite from his many recording sessions. It was a Barnet's big band and Louis Armstrong's All Stars; Chubby
session of high-class ballad playing and like the slightly Jackson, a bassist often associated with the more frenetic
earlier recordings also heard here, it enjoyed only a limited aspects of forties jazz; and drummer George Wettling, famed
circulation on tape. Henry Allen's delicate phrasing, his for his playing with Eddie Condon and associates. Despite
mercurial imagination and his melodic sensitivity - the their differing backgrounds these three men blend into a
hallmarks of his very best work - are all present in abundance superb team, with Jackson proving himself to be one of the
here. It is doubtful if Allen was ever captured in such brilliant great jazz bassists and one of the few who can play
form in the recording studios and few listeners will doubt that meaningful solos on the instrument.
The personnels of these two sessions are packed with great
he was right in his assesment of this music.
For all the excellence of Henry Allen's contribution these names. Yet even in this company the work of Henry Allen
performances, like most of the best jazz, are team achieve- and Coleman Hawkins is outstanding. And the music is
ments. And the team on the 1958 recordings is a brilliant dominated by Henry Allen's warm, joyous personality; the
one. The association between Henry Allen and Coleman emphasis on the sensitive side of his artistry on the 1958 date
Hawkins goes back to the early thirties and it is clear that is unusual, but it results in one of the greatest sessions which
they were a highly compatible combination. The late fifties even he ever recorded.
yielded
a rich crop of Coleman Hawkins recorded classics
-------------------------------------------------------------------------------------------------------------------------------------------------------Der Jazzfreund-106, June-82 (Germany) about Jazz Groove-002: Aufgenommen wurden sie 1957 (Seite-B) und 1958 im
Beinah wäre ich beim Abhören dieser Platte nicht über den Studio in zwei Besetzungen, in denen naturgemäß sowohl
ersten Titel (Mean To Me) hinausgekommen, denn der ist bereits Allen wie auch Hawkins dominieren. Beide reißen jedoch
so fesselnd, dass ich ihn wieder und wieder hörte. Wie hier die übrigen Musiker zu Höchstleistungen mit. Diese Platte
nacheinander die Musiker “ins Spiel“ kommen, ist großartig. ist ein Muß.
Nun
die anderen Titel sind von gleicher Qualität.
-----------------------------------------------------------------------------8/12/58 NYC., “A GREAT DAY IN HARLEM” – Esquire
photo set with 57 jazz greats; WNR 2055, 60 min. color,
stereo video Documentary based on Art Kane's photo; Milt
Hinton's 8 mm home movies and stills; interviews, jazz film
clips; Marian McPartland & R.Altschuler speech about “Red”
on screen 1957 WILD MAN BLUES;
The video
includes following clips:
One o'Clock Jump; Open All Night; Carolina Shout; Nothin';
Echoes Of Spring; Blue Monk; The Lady Who Swings The
Band; The Man I Love; Wild Man Blues; Twelfth Street Rag;
Easy Does It; Fine And Mellow; Some Of These Days; I left
My Baby; Dickie's Dream; Rosetta; Every Day(I Have The
Blues); Low Down Dog; Stardust; Sweet Lorraine;
8:24 shortened clips-montage about the photo-arrangements
and the passage about Red Allen on RA-DVD-1a
--------------------------------------------------------------------------undated photo of the late 50s shows: Freddie Moore,
Sonny Greer (who played with Red at the 9/4/58 Art Ford
session), Louis Armstrong and Red Allen
- 54 - / - 55 – photos A great Day In Harlem
8/12/58 NYC., “A GREAT DAY IN HARLEM” – Esquire photo set with 57 jazz greats; WNR 2055, 60 min. color,
stereo video Documentary based on Art Kane's photo; Milt Hinton's 8 mm home movies and stills; interviews, jazz film
clips; Marian McPartland & Robert Altschuler speech about “Red” on screen 1957 WILD MAN BLUES;
- 56 mid.Aug.58 , Wallingford, Conn., Oakdale Musical Theatre – 2nd annual Wallingford Jazz Festival, Billie Holiday, Red Allen
& His Dixieland All Stars, Buck Clayton & His Count Basie Alumni;
CD-8/16/58p15: RED ALLEN, CLAYTON ON ALLSTAR HIT – Wallingford – More than 3,000 jammed the
Oaksdale Musical Theatre for the second annual Wallingford Jazz Festival. The tented 2,200-seater was filled, with
overflow on the grounds outside. Headliners were … (I am not sure whether this source descibed rather late the July
Festival at the same place, reported by DownBeat 9/4/58 – see page-48; in fact there is a further session at 9/26/58 Fr. of a
three days jazz Festival with Billie Holiday backed by The Buck Clayton Trio; Buck Clayton All Star Orch., sponsored by
Ben Segal, Bob Hall, narr. by Leonard Feather.)
9/4/58 Thurs., NYC., WNTA-TV/FM stereo, ART FORD-S FAMOUS JAZZ PARTY: Red Allen (t) J.C.Higginbotham (tb) Ed
Hall (cl) King Curtis (ts) Stan Freed (p) Dick Thompson (g) Vinnie Burke (b) Joe Tarto (bb on (10)) Sonny Greer (d)
Teddy Charles (vib) Chris Connors (v) *Art Ford(narr)
75 min.tape
/RA-CD-32/
1 1:39
intro: WARM UP into OLE MISS into BUGLE CALL RAG
-Curtis-Allen in ens-Greer-Freed & rhythm-Allen in ens-– intro narration (0:27)
2 6:39
SWEET GEORGIA BROWN
(M.Pinkard-B.Bernie-Casey)
Enigma-302/RA-CD-32
-Freed-Allen & Hall in ens-Higgy-Curtis-Allen-Hall-Thompson-Freed-Tarto & Thompson-Greer brd-Allen in ens-Hall-Greer-Allen in ens3 5:05 (0:48) I Won't Cry Anymore (Fred Wise, Al Frisch) -feat.C.Connors(Freed&Thompson)- (0:38) narr to
/RA-CD-32
4 3:01
BASIN STREET BLUES (Williams) -Higgy intro-Higgy & Allen in ensEnigma-302/RA-CD-32
-Allen & Hall-Hall-Higgy-Allen in ens-Higgy in ens-Higgy & Greer-ens5 3:14 (0:24)
6
7
8
9
10
5:01 (1:00)
4:58 (0:34)
3:40 (1:00)
4:40 (0:32)
8:59 (0:10)
I AIN'T GOT NOBODY
(Graham-Williams)
-Allen in ens-Greer-Allen in ens-Greer-Allen in ens-Greer-ens
Night In Tunesia (Gillespie-Paparelli) -feat T.Charles (rhythm)Sweet & Lovely (…………………..) -feat.K.Curtis (rhythm)Hallelujah, I Love You So (Ray Charles) -feat.C.Connor; -Freed&rhythm-vCC (rhythm)You Can't Depend On Me (…………) -feat.-Freed&rhythm-Tarto-Freed&rhythmI FOUND A NEW BABY (Sp.Williams-J.Palmer) -Freed intro-Allen in ens-Hall in ens~Allen-Curtis in ens-Higgy-Curtis-Allen-Allen muted-Charles-Greer-ens-Thompson & Greer- -
S'WONDERFUL (G.& I.Gershwin)
12 5:16 (1:47)
ROSETTA -vRA (Earl Hines-H.Wood)
RA-CD-32
-Freed intro-Allen-vRA (Curtis-Hall)-Hall-Allen & Hall-Allen in ens13 3:08 (1:24) CHINATOWN MY CHINATOWN -vCC (played very fast) (W.Jerome, J.Schwartz)
-Freed-vCC (rhythm-weak ens)-Allen & rhythm-Higgy-vCC (weak eans)-ens coda~
14 3:14 (0:23) Lullaby In Rhythm (……………..)
-Freed-Dick Thompson (rhythm)-
16
0:43
RA-CD-32
RA-CD-32
RA-CD-32
RA-CD-32
RA-CD-32
-Tarto & Greer Allen in ens / cut several bars /-Allen-Greer brks-Greer-Tarto bb-ens-Greer-ensthe speech Art Ford with Ed Hall
RA-CD-32
-Freed intro-Hall (rhythm)-Allen (rhythm)-Allen & Hall-Hall-Hall in ens-
11 5:16 (1:57)
15 10:21(0:42)
RA-CD-32
BALLIN' THE JACK
(Smith-Burris)
-Freed-Allen in ens-Hall in ens-rhythm~Allen-Curtis-ens-Higgy-Freed & Thompson-Tarto-Charles-ens-Thompson-Allen in ens-Art Ford on ens-Greer-enstheme: BUGLE CALL RAG (NORK) -Allen intro-Allen in ens, two Allen brks-Allen /cut
RA-CD-32
RA-CD-32
RA-CD-32
RA-CD-32
J.J.88p32-33, Martin Richards about WNTA-Art Ford sessions
on J.Connoisseur.cas. AFJP-1-9: Sweet Georgia Brown and
Basin Street are by a Red Allen group and are very satisfying,
with some rousing Higgy on the latter, as well as the acrid Ed
Hall.
summer-58, New Orleans, One of Red's long journeys in
summer of 1958 was a drive to New Orleans to visit his
mother, who was then 75 years old. (John Chilton: “Ride, Red,
Ride” p158):
details are not known and will be welcomed
9/13/58 Sat. two shows 8:00 and 11:00 p.m., NYC: Town Hall -
All Star Jazz Show "Farewell Party To Billie Holiday"prior to
European Tour: Eddie Condon; Joe Jones Trio;
J.C.Higginbotham; Buck Clayton, Hal Singer, Conrad Janis,
Max Kaminsky, Freddie Moore; Bobby Hackett; Freddy Price
& l0 Piece J.B.
NYAN-9/6/58p13/VV-9/3/58p7
John Wilson in the New York Times describes
the evening show with Billie's appearance
backed by Buck Clayton & Jo Jones; work of
the All Star Show with Clayton, Max
Kaminsky and Bobby Hacket, but without any
words about J.C.Higginbotham.
NYAN-9/6/58p13
VV-9/10/58p5 advertisement for an undated Program For Carlton Sinclair's All Star Jazz Show with Buck Clayton,
J.C.Higginbotham, Freddie Moore, Max Kaminski Tony Parenti, Hal Singer, Dick Wellstood in one band; Billie Holiday; Jo
Jones, Eddie Condon; Freddie Price and a 10-piece jazz band with some words about the bands and single performers. This is
in fact the above Billie Holiday Farewell Party. (the large advert is included in JAZZ AD.Vol.3 p 1006)
- 57 prob.mid Sept.58; Rendezvous-Red Allen Band with Claude Hopkins,
Sonny Greer (unknown source) (out of Red Allen´s scrapbook)
9/20/58 N.Y., Carnegie Hall - MARY LOU WILLIAMS CONCERT
for the Bel Canto Foundation
Down Beat l0/2/58p12: MUSIC NEWS
- MARY LOU ROLLS 'EM Working virtually single-handed,
Mary Lou Williams built a staggering
roster of talent for her Carnegie Hall
concert Sept.20.... Mary Lou … will
be featured pianist with the 90-piece
Xavier symphony orchestra, under
direction of Vincent La Selva.
Also slated to appear were : Maxine
Sullivan, Sugar Ray Robinson, the
Mose Alllison trio, Henry (Red) Allen,
Roy Eldridge, Reunald Jones (Sn. &
Jr.), new singer Ron Jefferson, Dave
Lambert, John Hendricks, Les Jazz
Modes, Stella Brooks, Marion Bruce,
Ernie Furtado, Gene Ramey, Roy
Haynes, Thelonious Monk, Space
Powell, Lester Young, Chuck Wayne,
Jimmy Jones, Eddie (Lockjaw) Davis,
George Russell, Jerome Richardson,
Ray Copeland, Allan Eager, Charlie
Persip, Osie Johnson, Walter Bishop,
Marian & Jimmy McPartland and
prob.before & around Wed. 9/17/58
many, many more.
--------------------------------------------------------------------------------------------NYAN-9/20p15: Sat.Jazz Concert Will Aid Musicians … Facilities of all kinds will be provided for musicians who for
Bel Canto Foundation has been set up to provide a future reasons of spiritual depression, or, lack of inspiration, will seek
home and place for recuperation of indigent jazz help there. Absent from the jazz scene for the past four years,
musicians. Although the locale has not been designated, Miss Williams has avowed all her time to making this pilot
Mary Lou Williams, its founder, hopes that it will be project a success, and later will go all over the country giving
within a hundred mile radius of Manhattan.
concerts which will benefit Bel Canto.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------PC-8/23/58p19: (announced similar stuff, but added:) The supporters are Lena Horne, King Cole, Sammy Davis, Bob Sylvester,
Duke Ellington, Billy Strayhorn, Mel Helmer, Father O'Connor, Father woods and Father Crowley. On the committee are
John Hammond, Elaine Lorrilard and Willis Conover.
PC:8/30/58p24: “Bel Canto Foundation's Benefit Concert Sep.20” with a long article give no further information
9/25/58 Thu., WNTA-TV/FM -ART
FORD´S JAZZ PARTY (COLEMAN HAWKINS & FRIENDS AT A FAMOUS JAZZ
PARTY: Charlie Shavers (t,v) J.C.Higginbotham (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Lester Young (*ts)
Willie"The Lion"Smith (p) Harry Shepherd (vib) Dick Thompson (g) Vinnie Burke (b) Sonny Greer (d) Mae Barnes (v)
George Wettling (d added on -15), (Art Ford speech were cut between the items)
1
6:10 *When I Grow Too Old To Dream -full group
/JC-AF26/
2
2:58
St.James Infirmary
-v Ch.Shavers & full group
/JC-AF26&27/
3
2:02
Sweet Georgia Brown -vMae Barnes & Ch.Shavers & full group
/JC-AF27/
4
7:36
Runnig Wild
-piano & full group
/JC-AF27/
5
6
7
8
9
10
11
12
13
14
4:08
2:37
4:03
2:17
7:32
3:25
3:59
1:10
3:39
8:25
Indian Summer
I May Be Wrong
Undecided
Somebody´s Wrong
Avalon
I Can´t Get Started
St.Louis Blues
Indiana
*Mean To Me
*Jumpin´ With
-C.Hawkins & ens.parts Enigma-301/J.Anth. 30JA-5217/Queen /BEAN-1-21/JC-AF4/JC-AFJP-6/
-PW.Russell & ens.parts
/video/
-D.Thompson & H.Sheppard & ens.parts
/video/
-vM.Barnes & ens.parts
/video/
-full group
Phoenix-21/
/Queen /BEAN-1-21/video/JC-AFJP-6/
-Ch.Shavers & ens.parts
Enigma-301/J.Anth. 30JA-5217/
JC-AF4/JC-AFJP-6/
-W.L.Smith & ens.parts
-v Mae Barnes& ens.parts
- L.Young & ens.parts
Symphony Sid -full group
#/
#/
#/
#/
#/
/JC-AF27/
/JC-AF27/
Enigma-301/J.Anth. 30JA-5217/
JC-AF4/JC-AFJP-6/ #
--- /
--/ Queen /BEAN-1-21/JC-AF4/JC-AFJP-6/ #
all 14 items on JCH-CD-8 / #video on RA-DVD-1b/
in Oct.58 J.C.Higginbotham visited Europe with Sammy Price and a group consisting of Doc Cheatham (tpt); Elmer Crumbley
(tbn), Eddie Barefield (alt,clt); Jimmy Lewis (bs) and J.C.Heard (dm). After a promising start the tour was cancelled: Eddie
Barefield notes that two factors contributing to the cancellation were the death of Pope Pius XII and the riots which had taken
place at the Bill Hailey concerts that year. (JJ-5-59); see: JJ-4-70: Higginbotham-article on p180 of this book;
10/12/58 Su., Concertgebouw, 22 titles were recorded privately by Lou van Rees, now in the possession of the Netherlands Jazz Archive.
10/13 Hertogenbosch (= also Den Bosch) in the 'Brabant Hal' / Oct. ?: concert in Utrecht / 10/16 club in Scheveningen /
10/18 and other dates in Sheherazade club in Amsterdam / (source Bulletin of the Archive #13 and 15 (Sept. 1994 and March 1995
58/Oct,, Anvers, France, SAMMY PRICE ORCH.: Doc Cheatham (t) J.C.Higginbotham, Elmer Crumbley (tb) Eddie Bare-
field (cl,as) Sammy Price (p) Jimmy Lewis (b) J.C.Heard (d) 33´ tape, but only 2 items are of interest
1:47 Bugle Call Rag
- full band
(band played at Olympia, Paris 10/11)
JCH-CD-8
4:09 Beale Street Blues
- featuring J.C.Higginbotham
JCH-CD-8
10/25/58 Enschede, (NL), on 16mm telerec.for VPRO-TV in 1959, Basin Street Blues / Harlem Nocturne / St. Louis Blues / wanted
6:56 One o´clock Jump
JCH-CD-12/RA-DVD-1b/
- 58 10/5/58 Sun., NYC., Savoy Ballroom, CBS-TV - Bill Leonard´s “EYE ON NEW YORK”: Cab Calloway, Count Basie, Charles Buchanan
(speech); music: METROPOLE ALL STARS: Red Allen (t) Buster Bailey (cl) Claude Hopkins (p) Lloyd Trotman (b) Sonny Greer (d)
1 hour
……………………………….
details & tape wanted
…………………………………
…………………………………
it was the historical closing date of the Savoy Ballroom; All our tries to find a tape have been without success
Bill Leonard's “Eye On New York”
gave a touching Farewell to the
Savoy Ballroom last Sun-day
Morning on CBS-TV with Cab
Calloway, Count Basie and
Charles Buchanan there to
reminisce about the Home of
Happy Feet and a band
composed of Henry "Red"Allen,
Claude Hopkins, Buster Bailey,
Sonny Greer and Lloyd Trotman
to supply the music of days
gone by. Naturally, everyone
agreed Harlem needs another
Savoy.
NYAN-l0/11/58p15:
NYC., Commodore
Music Shop Farewell Session Dan Morgenstern J.Journal Dec58: The Commodore Music
Shop died quietly in October.
Red
Allen
and
Johnny
Windhurst played Taps, and
Eddie Condon was on hand to
deliver a funeral oration.
("Man, this is the end of an
era"). The Commodore started
as a collector's shop, the very
first, in 1931 ...
Oct.58,
There was an alternate photo in Red Allen´s scrapbook – look page 62
NYAN-lo/18/58p17:. JAZZ PARTY-Place Pigalle was the
setting for fabulous TONDALEYO, dancing and singing
star, the Dickie Thompson trio stars of Art Ford's Jazz Party.
This intimate spot is fast becoming one of the area's
favorite dining spots.
Red Allen was guest at Place Pigalle several weeks earlier
before this photo was brought. Dick Thompson played with
Red on several sessions at Art Ford-TV as 6/19&26 and
9/4/58 and with Higginbotham at 7/3 & 9/25:
Albert McCarthy in Down Beat 11/27/58: ...I have also been
unfashionable enough to spent quite a lot of time at the
despised Metropole. Everything that has been written about
the discomforts involved in spending much time at the
Metropole is certainly correct, but the fact remains that there
is some very good music to be heard there if one has the
patience to wait for it. One night Ben Webster sat in with the
band led by Coleman Hawkins, and the music that followed
was amongst the finest I have heard while I have been in the
states (over five weeks with stays in N.Y.C., San Francisco,
Monterey, and Chicago). In spite of the showcasing I have
heard a good deal more music there that was excellent and
have been impressed with Hal Singer, Al Williams and
Gene Ramey in the Cozy Cole group, and with Henry Red
Allen, Buster Bailey, Johnny Lettman, Coleman Hawkins
and Roy Eldridge at various times. ...
DownBeat 11/27/58p52: ... Roy Eldridge and Coleman
Hawkins head combos at the Metropo1e Monday and
Tuesday nights. Cozy Cole and Henry Red Allen share the
wall the rest of the week.
- 59 11/6/58, NYC., WNTA-TV/FM-stereo - ART FORD-S JAZZ PARTY: Red Allen (t,v) Dicky Wells (tb) Buster Bailey (cl)
Coleman Hawkins (ts) Willie"The Lion"Smith (p,v) Danny Barker (g,bj,v) Vinnie Burke (b) Sonny Greer (d,v) Mae Barnes (v)
& *four young modern performers: Buddy Iannone (t) Don Sines (tb) Joe Dean(bars) Rudy DeLuca (d)
75 min.
speech 1:17 *intro: FASCINATING RHYTHM
with announcing the stars by Art Ford
(Smith-Burris)
times 5:48 BALLIN´ THE JACK
-Smith intro-Allen in ens-Wells-Bailey-Allen-Smith-Barker-Hawkins-Burke-Allen&ens,Greer brd-
0:26
0:36
3:08
0:40
0:37
0:46
0:55
1:43 NOBODY´S SWFETHEART –vMB & weak ens obbl. (Kahn-Erdman-Meyers-Schoebel)
0:55 TIN ROOF BLUES (NORK) incomplete
2:54 RUNNING WILD (Gibbs-Grey-Wood) -Bailey-Bailey in ensEnigma302/AFJP-8/
3:09 STOMPIN´AT THE SAVOY (Goodman-Webb-Sampson) -Hawkins-Hawkins in ensJazzAnth.5217/ --- / --- /+
-p&v Smith-Allen in ens-p&v Smith-ens coda/ --- /
2:41 I LOVE YOU (Smith)
/ --- /
4:21 TRUE BLUE LOVE (Coslow-Robin-Whiting)) -vMB(Smith&Greer)-Allen-vMB (Allen-ens)2:17 SOMEBODY LOVES YOU (Gershwin)
-Wells(muted-tb-Wells(open-tb) in ens/ --- / --- /
-Allen-vRA-Allen-vRA&ch-Allen in ens/ --- / --- /
4:16 ST.JAMES INFIRMARY (Primrose)
3:55 CHARLESTON (Johnson-Mark)
-Greer intro-Allen in ens-Greer-band/ --- /
2:47 CHINA BOY (D.Winfree-P.Boutelje) -bjDB-Barker & Allen-Hawkins & ens-Barker-Allen & ens/ --- / --- /
-played by the modern group
/ --- /
6:14 *I Can't Give You Anything But Love
2:52 Ain´t Misbehavin´ (Waller-Brooks-Razaf) -piano solo & vocal W.L.Smith-ens coda
-piano solo & vocal W.L.Smith-ens coda
1:39 Mule Walk (J.P.Johnson)
2:28 MEMPHIS BLUES (Handy)
-Smith intro-Allen/ --- / --- /
-Smith-Hawkins & Smith-Hawkins(ens)-ens coda/ --- / --- /+
4:11 SOLITUDE (DeLange-Mills-Ellington)
/ ---/ --- /
9:45 *LOVE IS JUST AROUND THE CORNER (I.Robin-L.Gensler)
-Greer & Smith intro-Allen(Bailey)-Bailey-Iannone-Sines-Dean-Wells-Allen-Wells-Barker-Burke & Smith-Greer & Smith-Hawkins-Hawkins & ens-ens,Hawkins brd-Allen- fade out
+ on JazzBand EBCD 2117-2/ AFJP-8 on Jazz Connoisseur Cassette / complete on RA-CD-33
J.J.88p32-33, Martin Richards about WNTA-Art Ford sessions on J.Connoisseur.cas. AFJP-1-9- here Vol.8:
this time Harlem 1928-1938, and a return to Red Allen,
joined by some of his colleagues from the Metropole,
where he was playing at the time. This set sounds a little
disorganised and I'm not certain that Wilie The Lion Smith
fits in too well with the rest of the guys, although his solo
items are great. But there is a tremendous vitality and a
wonderfully happyatmosphere, with nice spots from
Hawk and Buster.
J.J. 3-96 – review about C.Hawkins”High School Hawk” on Jazz Band EBCD 2117-2 incl. Stompin' At The Savoy / Solitude
11/20/58 Newark, NJ., WNTA-TV - AT FORD´S JAZZ PARTY: Rex Stewart (c) J.C.Higginbotham (tb,v) Tyree Glenn
(tb) Bob Brookmeyer (vtb) Pee Wee Russell (cl) Paul Quinchette (ts) Nat Pierce (p) Vinnie Burke (b) Elvin Jones (d)
4:42 Jumpin´At The Woodside -full band
JCH-CD-9
5:55 I´ve Found A New Baby
-full band
JCH-CD-9
2:11 When You´re Smiling
-feat.Higginbotham
JCH-CD-9
-vR.St & JCH; feat Stewart & Higginbotham & rhythm only
JCH-CD-9
4:41 Rockin´Chair
(2:46) Swing That Music /cut
-full band
JCH-CD-9
DB-2/5/59 brings a longer article by Dom Cerulli about Art Ford Shows from Oct.- Nov.58 but without exact details.
Down Beat 2/19/59: "chords"-(Robt.L.Solomon): ALL FOR FORD...I think that it's about time, that DownBeat acknowledged
the amazing success of ART FORD'S JAZZ PARTY. I think the New York television show is doing a wonderful job in
bringing jazz to the apprehensive public. After seeing those depressing Timex shows, I appreciate it even more ... I think this
show is something to be proud of. (Croton-on-Hudson, N.Y.) (Ed.Note: ...However, recent reports, which should sadden
reader Solomon and other Ford fans, indicate that the show will go off the air soon.)
12/15/58 Mo., NYC., Ebony Lounge Camp
Fund session with Red Allen, Willie Lewis,
Baldy, Pompey Bobson, (NYAN-12/20p19)
RED ALLEN THRILLS 'EM AT EBONY
Red Allen, that musical man, was our star
attraction at our Camp Fund Affair last Mo. at
Ebony Lounge and he received tumultuous
ovation throughout the evening for his fine
performance, likable, easy-going and a gentleman. Among other guest was Charlie Beal,
Count Basie, …(more in Jazz Ad.Vol.3 p1011)
FOUR IN TUNE-Red Allen, 2nd from left, dropped into the Ebony last Monday night and highlighted the
glittering Monday Night Camp Fund seeking patrons with his sizzling music. L.to r. Baldy at the organ, Red
Allen, Willie Lewis of international fame on sax and Pompey Bobson, drums.
NYAN-12/20p19
- 60 late Dec.58; ART FORD benefit concert for Riverdale House: Jimmy Drew's Trio, with Elvin Jones and Tommy Potter;
Willie The Lion Smith, Buster Bailey, J.C.Higginbotham, Vinnie Burke,
Dec.late l958 or.early Jan.'59 J.C.Higginbotham may rejoin Henry "Red"Allen at the Metropole;
NYA-12/13/58p26
J.C.Higginbotham went back with Red Allen's group at the Metropole. His doctor gave an okay! Downbeat 2/5/59
Jazz Bulletin Oct. 1959: J.C. Higginbotham über seine Mitwirkung im "Hot-Fan Tempel", Metropole, in New York:
Während-50 Wochen arbeitete ich dort, nachher war ich ein Nervenbündel. Man kann nicht immer in einer solchen
Lärmerei spielen. Spielt man leise, so glauben die Zuhörer, man sei "verrückt". Ich musste aufgeben.
Jan.59; Sammy Price is now on piano (and wonderful organ) with Red Allen & Co. Claude Hopkins now takes the bench
with Sol Yaged, currently assisted by Benny Moten and Hal Singer. J.C.Higginbotham has rejoined Red but, he swears,
for two weeks only. (D.Morgenstern J.J.2-59)
Jan-59 until spring-59: Sammy Price with Red Allen's band at Metropole (Bul.H.C.F.-2/59)
spring-59, Ray Bryant(p) Rufus Jones(d) replaced Price & Bonito
RED RIDES AGAIN ! by George Hoefer, in Down Beat 1/8/59:
“It's just giving out ... doing what
"I was travelling down to New the area. They played for all the funcyou've put there to do," Red Allen said Orleans in my car last month, and when tions in Algiers and sometimes took
with a gesture. It was his explanation of I got into Knoxville, I passed a guy in a the ferry over to Canal St. and compewhat he thinks about the music that has car on a street. This cat passed me and ted with the best brass in Orleans. Henry
made him sort of Mr. Jazz to many waved. When we were side by side at a senior played cornet and was a contempersons in the last decade and a half.
stop light, he hollered over, 'Aren't you porary of the fabled Buddy Bolden.
Allen now plays at the Metropole on Red Allen?' He said when I passed him,
"My father had me in his band as
Seventh Ave. in New York City - on the he saw my New York license plates and early as 1916," Red said. "He gave me
platform that holds the greatest side put two and two together. It turned out a peck horn and carried me around
show in jazz. That platform is known by he used to listen to me a lot at Joe with the band. He'd stand me on a
the musicians themselves as the race Sherman's Down Beat room in Chicago street corner, and I'd play. The people
track, where, afternoon and night, there during the war. He teaches at the applauded, so I guess I was doing what
is continuous hard blowing by a University of Tenessee down there. I was supposed to do. Or else the
constantly changing roster of such Man, I didn't remember him, but it, was people were getting a kick out of that
names as Cole-man Hawkins, Roy sure nice seeing him."
perk horn. It was a trick mellophone
Eldridge. Charlie Shavers, Jimmy
Another reason for Allen's long, unin- with the bell sticking straight, up."
McPartland, Parenti, Claude Hopkins, terrupted engagements is his ability to
Allen joined King Olivers Jazz band
Cozy Cole, in fact, almost anyone who get on friendly terms with the operator- in 1927 while the King was in St. Louis.
for the moment hasn't anything better to boss.
He had been playing on the Island
do.
He has an especially kind feeling for Queen riverboat with Fate Marable and
There is usually an alternating Dixie ex-pug Joe Sherman, for whom he decided he would like to travel around
and swing group, hut rarely, if ever. will worked from 1942 to 1945. in a dark on dry land for awhile. Oliver was on
a modern unit be found there: they just basement on Randolph St. in Chicago. the road at the time.
don't play loud enough to suit the When the Down Beat room wasn't
"Many old jazz fans seem to think I
packed tight, Joe would station himself joined Oliver in Chicago because Olivet
owners.
Proof that Red Allen gives out is his at the street door and literally pull in played so long at the Royal Gardens,
four-year tenure as a leader of both customers by the arm until even the Lincoln Gardens, and Plantation," Allen
breathing space was filled.
said. "Man, I never saw Chicago until I
Dixie and swing groups.
Of the band Allen had at the Down went there with Fletcher Henderson in
Allen said he never has signed a
contract for more than two weeks, with a Beat, trombonist J. C. Higginbotham 1933."
At this point an extraneous thought
two-week option, during his career as a and bassist Benny Moten still play with
leader. Yet, he invariably has found him occasionally at the Metropole. came to Red: "Hell, I've never been out
himself spending years at. a time in a Altoist Don Stovall is around New York of the United States, except for Canada.
given spot and has become a landmark but out of the business as a regular. With all the cats that are going to Europe
in jazz for young persons in New York, When asked about the other member of these days, everyone thinks I'm a world
Chicago, Sari Francisco, Boston, and the group, pianist General Morgan, Red traveller."
remarked, "Sad news . . . Just the other
By the time Oliver decided to go to
Los Angeles.
The youngsters who come to see him day Stovall phoned to tell me .. . the New York City, trumpeter Allen was too
lonesome and wanted to go back to New
seldom are the kind who follow jazz to General drowned in Lake Michigan."
Many illustrious single acts worked Orleans. He couldn't resist the urge and
the last note of an esoteric alto in an
obscure corner. Red's followers usually with Allen during the Down Beat days. went back to join Walter (Fats) Pichon's
bring a date, and Red is usually as far as "There were Billie Holiday, Alberta band at the Pelican dance hall.
Even thought Red didn't go to New
they go, or want to go, in the jazz Hunter, and tenor man Ben Webster,
York, his reputation did, and some of
among others.
picture.
Red recalled, "I kept telling Joe his friends saw to it that his name was
Perhaps the key to Allen's success is
that he plays a stirring New Orleans (Sherman) the lady wash room attendant mentioned when a horn man was needed
horn and can make the listener feel it's could sing real good. I called her in a band.
Soon after returning to the delta
being played directly to him. And his Dinahmite, and one night we had her
personality never lets down. His friends sing for Lionel Hampton. Wasn't long country, Allen received offers from
are greeted as soon as they arc seen by, before she didn't show up for work. She Duke Ellington and his old friend from
"My Man," and if he feels especially was over at the Sherman hotel, in the home, pianist Luis Russell, to go to New
warm, this will be followed by a Panther room, featured as Dinah York. Asked why he didn't join
Washington, vocalist with Lionel Ellington, he replied, "In those days
"whamp whamp" or "good deal!"
Duke wasn't so great, and besides I
Red said of his fans, "Sure, they write Hampton's band."
knew more cats in the Russell band."
Allen was born in West New
to me all the time. Even send me
Allen soon was well established in
pictures of their wives and babies … tell Orleans, better known as Algiers, La.,
New York: When Oliver, who had been
me what they are doing. Some of 'em I across the Mississippi from the
having a tough time in the big city, wasn't
remember. Of course, I'm bound to Crescent City, on Jan. 7, 1909.
His father, Henry Allen Sr., led one able to play trumpet on his own record,
forget a lot of them. But lots of 'em I do
of the most esteemed brass bands in because of dental trouble, Red
remember.
- 61 stepped in and played some fine choru- engagement in New York was at Cafe of red beans.
"Man. I bring back as many as I can
ses on the Oliver Victors in 1929-1930. Society Downtown. On the west coast,
Allen also made records under his own his longest stay was at the Hangover in get in the back of my car," he said. "But
San Francisco, where he put in four years. they don't taste the same when I get 'em
name for Victor and teamed up with
Hawkins for the Allen-Hawkins Vocalion Allen said he still gets lonesome for up here ... It's the salt water down there,
I guess, makes 'em taste right."
New Orleans.
sides.
On the subject of the young jazz
"Down there, you're kin for a long
This period in the early 1930s found
him playing with such big groups as time - you've got fourth, little and even musicians, Allen has mixed feelings.
Hen-derson's, Teddy Hill's, and the sixth cousins," he observed. "Lip here, He admires the techniques and ideas of
Mills Blue Rhythm band. The arrangers you're lucky to be a grandfather. I am a the good ones, but finds a great many
for the latter group put together the grandfather. My son, Henry Allen is who make it by learning a 12-bar blues
famous riff tune Ride, Red, Ride, married and lives here in New York and and blasting away on a single note.
"Those cats play what they want,
expressly as an Allen feature. He also works on the police force. He's got a 4was a regular in the Russell band year old daughter named Alcornette. good or bad, and they tell guys like
She's sort of named after my wife, Coleman Hawkins off," Red said.
fronted by Louis Armstrong.
Beginning about 1940. Red started whose name is Alcorn, and my cornet - "Some of them would sound better if
they lay on their backs and played
leading his own small units on 52nd St. good deal."
Red makes regular trips back to Algiers with their toes." January 8, 1959
and spent two years at the Onyx and a
year at Kelly's Stables. Another long to see his cousins and to pick up a load
------------------------------------------------------------------------------------------------------------------------------------------------------------J.C.HIGGINBOTHAM - 'I Make Records And Forgot About Them'; Cross Section in Down Beat 1/8/59
At 52, Jack (J. C.) Higginbotham has had a career in jazz Los ANGELES: "I played there, and how. The first time
surpassed by very few musicians on the scene today. Born in was with Louis (Armstrong) at the Vogue. I remember that
Atlanta, Ga., J. C. was raised in Cincinnati, where his sister we had to open an umbrella in an automobile to keep the rain
Eutris bought him his first trombone, an instrument he had to off us. We stayed out there three months, but I prefer the cast.
have after trying a few tentative notes on one belonging to his It's like another world out there."
older brother.
CIGARS: "Not for me. Chesterfields only."
The lean, soft-spoken jazzman has toured the country and COLEMAN HAWKINS: "Nobody can outplay him. He's
overseas with scores of bands and groups, including Luis my man. One time on the Fletcher Henderson band, he took
Russell, Chick Webb, Fletcher Henderson, Lucky Millinder, on everybody. Five brass and three rhythm couldn't drown
Louis Armstrong, and Henry (Red) Allen. jazz. poll results in him out. He stood up, turned around and faced us, and
the '40s attested to his influence on the trombone, which he nobody could outplay him."
PARIS: "Well, if you can't say something good. You might
helped make a brash, gutty. forceful jazz instrument.
Until recently, Higgy had been working with Allen at the as well keep still. It was something new and exciting, though.
Metropole in New York, but left after 50 weeks on orders But I loved Amsterdam. It was so quiet, and everybody was
from his physician. He lives in Manhattan, where he works cool."
weekend club dates, is available for record sessions, makes MUTES: "Don't believe in them. Don't hide no notes, let
regular appearances on the Art Ford TV Jazz Party, and them come out bad, if they're going to. I never use them."
relaxes by watching TV and giving pointers to many young THE METROPOLE: "I worked there for 50 weeks, and I
was a nervous wreck. My doctor told me I'd better quit. You're
trombonists.
His recollections and comments to a variety-of subjects for not supposed to always play that loud. If you play soft, they
think you're ritzy. But you can do a lot of pretty things, and
this Cross Section follow:
Boston: "I went up there to play two weeks, and I stayed five play better when you play soft. I had to quit; it was too much."
years. It's a good city, but it's kind of drowsy. Everything is DRUMMERS: "I think the three best drummers I ever
quiet. I had money and I wanted to leave many times, but I played with were Sid Catlett, Chick Webb, and Mickey
just didn't do it. Finally, I played up at Dartmouth college, and Sheen. Mickey is quite a drummer; he doesn't lose a beat.
said I was going to leave afterwards. I called. Jack Crystal In Catlett and Webb .. they were just great, that's all."
find out about working in New York, and I came home. TV: "It's fun to do, especially with Art Ford. You don't have
There's no place like New York."
to worry about rehearsals and going against time. If you've
WHEN THE SAINTS Go Marching In: "That was the first got good musicians, you don't need rehearsals. He just gets us
record featuring me on it. I made it with Louis Russell in 1930 together, and we pick out the tunes and play them. It's playing
or '32. I still play it today. You've got to play it!"
and relaxation."
STEREOPHINIC SOUND: "I don't buy records. I make LUIS RUSSELL: ''One of the greatest bandleaders anyone
them and forget about them. I don t like to hear them. They could have. He paid me more money than he got himself. "
don't sound good. They don't have that real sound."
LOUIS ARMSTRONG: "Oh, boy/ I remember we were
THE VALVE TROMBONE: "I played it in the Cotton Club, having a rehearsal this Saturday afternoon, and Louis Metcalf
during the show, Jeepers Creepers, with Louis Armstrong took a piece of pasteboard and made a crown. He put it on his
and Maxine Sullivan We had three trombone players in the head and said he was the king of trumpeters in New York.
band, Wilbur de Paris, George Washington, and myself. On Then Louis Armstrong played, and Metcalf jumped off the
Wilbur's night off, I'd play his valve trombone. I liked it okay, stand. We didn't see him for a while. Armstrong is the greatest
but it doesn't sound like the real trombone. It's an easy way to trumpet player, and the greatest guy to get along with."
work, though."
..January 8, 1959 p13
-------------------------------------------------------------------------------------------------------------------------------------------------------THE EARLY CAREER OF J.C.HIGGINBOTHAM by George Hoefer, in Down Beat 1/30/64 (with a short disco);
THE ORIENTATION Of pre-bop trom- "If a man has technical ability and setting with such natives as trumpeter
bone took a wide range of development, understands harmony (whether through Red Allen, clarinetist Albert Nicholas,
from the percussive tailgate of Kid Ory formal training or sheer intuition), he pianist Russell, bassist Pops Foster, and
to the smooth, melodic playing of should be able to express himself. But drummer Paul Barbarin; and his perforLawrence Brown. Between these two the result still depends on what is going mances fit well into the scheme of
extremes evolved playing styles based on in his mind."
things. His solos at fast tempos were
on the personal creativity of such men as
Higginhotham's most exciting and characterized by his terrific drive, hot
Georg Brunis, Jimmy Harrison, Miff productive period came when he was a brassy tone, and fierce vibrato; and even
Mole, Tricky Sam Nanton, Jack Tea- leading soloist with the late Luis on slow numbers he still played in a
garden, and J. C. Higginbotham„
Russell's Saratoga Club Orchestra shout style.
To quote Higginbotham again, he has
Higginbotham, who has acknowledged between 1928 and '30. He was a blues
the influence of Harrison, once wrote, player established in a New Orleans written, "The important things about a
- 62 jazz musician are how he is thinking,
He was enrolled at a boarding school, Jimmy Harris. Then he went to New
the emotions that compel him to play, connected with Morris Brown, and York City in September, 1928, and
his attitude toward music, musicians, managed to sneak out three nights a joined Luis Russell's band at the Club
and people in general."
week (he was. forced to climb a gate to Harlem on Lenox Ave. For the next two
In his playing. Higginbotham has illu- get hack in) to play on a hotel roof years. the peak period of the Russell
strated many of his personal characteris- garden in Atlanta with the Neal Montgo- crew, they played regularly at the Savoy
tics, but his slap-bang, devil may-care mery Orchestra. The band had two girl Ballroom, the Roseland Ball room on
facade serves to hide from view his deep musicians, pianist Marion Hamilton and Broadway, the Sunday night sessions at
of whom the Next Club uptown, and toured the
and sincere personal attitudes. While he drummer Mae Bates, one
could arrive in New Orleans in 1947 for wanted to marry the, 15-year-old circuit from New York to Washington,
an Esquire concert with two cases - one trombone player. When the girl tried to D.C.,
to
Baltimore,
Md.,
to
holding his trombone, the other contai- make up his mind for him by poking a Philadelphia, Pa. Finally; they settled
ning nine bottles of whiskey - and wind pistol at his stomach, he decided to down at the Saratoga Club, and though
up playing seated on the floor, he could forfeit the sum of $9 that he had been today Higginbotham says, "It was the
write, at the same time, in a national making for the three nights of playing.
swingingest hand I ever played with," he
A short time later, he was sent to began to get restless.
magazine, an article entitled
Some of My
.
Best Friends Are Enemies , illustrating a Cincinnati to study the tailoring busiOne of Higginhotham's favorite bands
sensitive and keen judgment of the racial ness at the Cincinnati Colored Training of all time was the Chick Webb
situation as applying to the Negro School. After finishing the short course, aggregation, and when trombonist
musicians. .
he returned to Atlanta to finish up his Jimmy Harrison's last illness took him
Jack (JAY C.) HIGGINBOTHAM was education at Morris Brown, but he had out of the band, bassist Elmer James
born in Atlanta, Ga., on May 11, 1906. taken to the Ohio city, and it wasn't long recommended Higginbotham to the
His family owned a restaurant and was before he returned to work as a drummer-leader as a replacement.
fairly well-to-do. He had an older brother, mechanic at the Cincinnati plant of
After several months with Webb, the
Garnet, who played trombone and was General Motors. Nights he spent Georgia. trombonist switched to the
the coach of the football team at Morris gigging with Wesley Helvey's band, a Fletcher Henderson Orchestra and
Brown University. He also had a sister local territory outfit that later featured remained until 1933. When Lucky
Millindcr took over the leadership of the
who was interested in his musical incli- trumpeter Jonah Jones.
nations and bought him his first tromboThe young trombonist became a Mills Blue Rhythm Band in 1934,
ne. The other musical Higginbothams regular member of the Helvey band Higginbotham, with his pal from the
included, in later years, his niece, song- during 1924-25 and recalls the stars of early Russell days, Red Allen, went with
writer Irene, now married and living in the group were trumpeters Theodore Millinder for several years. Then, in
Brooklyn.
(Wingie) Carpenter and Steve Dunn. 1937, they both rejoined Russell, whose
Young Higginhotham's first instrument The three brass men hung around band at the time was fronted by Louis
was a bugle he picked up for a dollar together and frequently visited with the Armstrong.
Allen and Higginbotham finally left
and with which he learned to play well- members of the Zack Whyte Orchestra
Russell for good in 1940 and organized
known tunes by ear when 13. On Sundays when the latter was hi town.
he played the Poet and Peasant Overture
One-armed Wingie Carpenter was the a small jazz group. During most of the
on his bugle in the shape of his church.
first to go farther north, and in 1916 he 1940s, some of the '50s (Higginbotham
A couple of years later his sister put sent for Higginbotham to come on up worked with his own group for long
$11 down on an old, caseless trombone and join the Gene Primus Band then periods in both. Cleveland and Boston),
she found in a shop in Decatur, Ga. He playing at the Paradise Ballroom in and occasionally today the brass team of
Allen and Higginbotham has been
was now on his way, and the first tune Buffalo, N. Y.
he learned to play on his new horn was
A short time later Higginbotham went together more often than not.
My Old Kentucky Home.
with another Buffalo band led by pianist
------------------------------------------------------------------------------------------------------------------------------------------------------------
Al Nicholas played w. Red Allen
in 1959 (look another photo p-86a
(Red Allen´s scrapbook)
due to p-58: Oct.58 Commodore Music Shop Farewell; Red Allen, Johnny Windhurst, Eddie Condon
CD-1/17/59p31: “Red” Allen, one
of nation's great orksters will come
to Chicago´s Roberts Show Lounge
- 63 CD-1/17/59p31: Chicago Nightery Hints'Name'Ork Parade - New Plan Would End Floor Show Policy At Café (about Roberts Show
Lounge, reprint in Jazz Ad.Vol.6) photo on p.-62 : “Red” Allen, one of nation's great orkesters, out of Chicago for several seasons
will likely be seen at Roberts Show Lounge in the new policy management is suggesting for its patrons
1/26/59 Mo., NYC., Spot Lite Bar - Camp Fund session with Red Allen as guest (NYAN-l/31/59p17)
UNANIMOUS – A picture of all-around attentiveness as
Red Allen elaborates on one of his after dinner jokes.
This was the scene at the Monday Night Camp Fund affair
held in the Spot Lite Bar. From left: Red Allen, Jean
Anthony, Frank Lezama, Mary Archer, and Frank
Correia, White Horse Scotch Represemntative.
NYA-2/21/59p17: RED ALLEN AT THE METROPOLE
Where ever Henry”Red”Allen appears
an atmosphere of festivy prevails. The
trumpet master was reminiscing , Friday
night, in between shows at the Metropole, the Broadway jazz spot. There was
a time, when he said you did not see an
integrated combo, band or orchestra.
There was a time when musicians,
unlike the keys on the piano, refused to
mix. There were exceptions to the rule,
however. Back in the early '20's Jelly
Roll Morton sat in with the New
Orleans Rhythm Kings, an all white
group. His name did not appear on a
number of records he recorded with the
group, but he was there.
“Mixed groups,”Allen went on
“became common in jazz groups in the
late '20s and early '30s, but a large
number of records they waxed together
were shipped to Europe for distribution.
The Chicago Rhythm Kings invited me
to sit in with them several times and
there were others.”
“Fats Waller sat in with the Eddie
Condon group” he said “but the man
who may be responsible for making
the public accept Negro and white
bands is Benny Goodman. Benny
hired tan musicians and enlisted the
aid of Negro arrangers. Teddy Wilson,
Lionel Hampton, Gene Krupa and
Ben-ny Goodmanplayed together in
Cali-fornia and the guests watched in
awe.”
Stanley Dance-J.J.-3/59: The Red Allen set mostly consisted of warhorses, but Sammy Price plays his sturdy, enduring,
bluesy piano, and Buster Bailey added bass clarinet to excellent effect.
March-59, one Sunday-afternoon a gig at the Glen in Bloomfield, N.J. – Red Allen A.St.;
Jazz Music March-Apr 59/ Vol. 10/2 : Air Mail from N.Y.:........ At the Metropole, a group incl.
Red Allen, J.C.
Higginbotham,. Buster Bailey., Claude Hopkins and Sonny Greer plays evenings with the Tony Parenti trio. Weekends
they're joined by Coleman Hawkins, J.C. Heard, Roy Eldridge and a pianist for afternoons and evenings. The Allen group
does a gig Sunday afernoons at the Glen in Bloomfield N.J too...........
Henry Red Allen and his missus celebrated their 29th anniversary on March 11 and he presented her with a mink stole.
Red's still romping at the Metropole on Broadway, along with Buster Bailey, J.C.Higginbotham and Sam Price. those
are "natural giants."
NYAN-4/4/59p16:
4/6/59 Mo.,NYC., Wells Music Bar Camp
Fund Session with Red Allen (not on
picture) & Dottie Dudley Organ Trio,
Herb Flemning; Red Allen is mentioned
as guest artist and prize winner of a
bottle of Scotch; (NYAN-4/11/59p15)
“CAUGHT IN THE ACT”-The Dottie
Dudley Organ Trio, appearing at Well's
Music Bar, was caught in one of its house
stirring renditions at the Monday Night
Camp Fund Affair last Monday night and
the house guest literally turned out the
place. Left to right are Dorothy Dudley,
on the organ; Map Dudley, trumpetmellophone and fluggelhorn; George
Edmonds, drums, and guest artist Herb
Flemming on the trombone.
Albert J. McCarthy
- 64 JAZZ IMPRESSIONS U.S.A. – PART-2
The Metropole
The Metropole Cafe on Seventh Avenue is the only place in
New York City where one can hear mainstream jazz seven days
a week. Officially, the musicy advertised is "Dixieland", but
while the Red Allen band pla s numbers like the Saints all too
often. both for their own pleasure and this listener's. the music
as a whole is what we would call mainstream in this country.
The area in which the Metropole is situated is fascinating in
a horrible sort of way. It is at 48th Street. and a short walk
downtown
leads one to Times Square, the rough equivalent of
Piccadilly in London. One passes a six foot waterfall
advertising some product, while next to it puffs of smoke
appear from a giant mouth under which the virtues of a certain
brand of cigarette are catalogued. The seeker after the bizarre
can enter a gallery of "curiosities", where torture instruments
are displayed as a warning, the notice tells us, of "man's
inhumanity to man." The notices outside show scantily glad
young ladies in the image of Marilyn Monroe, all writhing in
agony in the torture chairs. Inside, a number of those
absorbing the warning seemed disappointed that this aid to
realism was omitted. Then there are the novelty shops. These
shops were a never failing source of wonder to me, and one
speculates as to how they maintain a sufficient turnover to
remain in business. "Surprise your friends" proclaimed one
notice, and the surprise took the form of artificial excrement
which "is sure to cause merriment at a party". Another notice
advertised a girdle and brassiere set for five year olds—"just
like mother's." The seeker after the unusual could certainly
find much to amuse him, here, although what Mr. Khruschev
would make of it all is best left to the imagination!
From Times Square there are streets which have more
cinemas than I have ever seen in one area before. Brightly lit,
most of them proclaim the merits of dubious continental films
(Brigitte Bardot seems to be enjoying a great vogue in New
York City these days) or of horror epics. One placard tried to
entice the reader
inside by inviting him or her to "see a man
eaten alive by a monster spider." This area is really the centre
of commercial hucksterism and Piccadilly seems dull after it!
One night Ruby Braff drove me around the area and gave an
entertaining running commentary
into the bargain. He pointed
out a cinema that was, if anything, more garishly lit than the
rest. and claimed that rats ran over one's feet inside! Whether
the story was apocryphal or not I lacked the braveness to put
to the test. However, this is departing somewhat from the
Metro-pole. and it may be as well to get back to that subject.
John Postgate has described the interior of the Metropole in
a previous article, but it is simply a long bar with mirrors
down the whole length of each wall. There is seating for those
who want to eat or drink in more comfort than can be gained
from hanging over the bar, but as this costs another fifty cents
I preferred to stand most of the time. The musicians are on a
raised platform behind the bar and spend their playing periods
facing their own images in the mirrors on the opposite walls.
Since I left I understand that the mirrors have been dispensed
with and that the sound has improved considerably as a result.
In his article John Postgate mentioned that the pianists spend a
great deal of time craning their necks looking out of the door,
and Claude Hopkins volunteered the explanation. He said that
the drummers often play so loudly that it hurts his eardrums
and that he adopts a sideways position to avoid getting the
benefit of the full volume.
American bars which feature some sort of entertainment are
not places where clients are looked on with favour if they
linger over their drinks, and the bartenders soon come along
rattling one's glass ominously if hesitation is shown in drinking at the prescribed rate. The visitor, used to the more casual
ways of British bars, is at first intimidated by this. but after a
while finds himself caught between an uneasy awareness of
the burliness of the bartenders and the knowledge that penury
may be just around the corner. A whisky at the Metropole is
7/- a shot and a beer is 5/-. When I became known I was no
longer bothered and was even, on two historic occasions,
given a free drink (on one of these nights the bartender was
himself drunk and had thrown caution to the winds). A
musician passing when I was officially given a free drink was
Jazz Monthly April-1959 p28
heard to mutter "it must be Christmas". In fairness to the
bartenders
it must be said that when one gets to know them
they are both friendly and helpful, but their job is not one in
which generosity is one of the virtues extolled by their employers. One should also add that the cost of maintaining four
bands must be considerable. The musicians, needless to say.
do not drink on the job, but go across the road to the "Copper
N1‘
Rail" where the prices are about half that of the Metropole.
comment that American beer is extremely weak may be taken
as a sign of chauvinism. but
such is the case.
was actually extremely glad that this is so on many
occasions, but ultimately Vic Dickenson showed me how to
mix beers to get an approximation to a strong English brew.
What I had heard about the Metropole from some American
critics caused me to believe that I was going to enter some sort
of musical hades, but quite where they get this impression
cannot say. It is a fairly reasonable generalisation that most
bars and clubs are hardly pleasant places to be in and the
Metropole seems no worse than many others I saw. yThe gloom
of Birdland is hardly any more agreeable and ver often the
music there fits aptly with the surroundings. Whether the
American critics have convinced themselves
that the
Metropole is as bad as some of them say it is I do not know.
but they are certainly not in evidence there. Frank Driggs, Dan
Morgenstern and Olivier Keller are the only people who are
around regularly, although Nat Hentoff does get along when
rigid work schedules permit. In all the time I was present I
never saw any other critic on hand ("They only come down to
see us when they want some information for their latest book"
one disgruntled musician once told me). I am certainly not
suggesting that it would be pleasant to spend a great deal of
one's life at the Metropole, but it is certainly not as bad as
some reports would have one believe.
Music starts on weekdays at 1.30 in the afternoon. There are
two groups working from this time until 7.30 in half hour sets.
Tony Parenti leads the first and his trio is made up of himself.
Charlie Queener on piano, and Freddie Stocks on drums.
Parenti is at his best on ragtime numbers but the job gives him
little opportunity for playing them. Freddie Stocks is an
excellent drummer, somewhat in the Jo Jones tradition, and
should be better known. The other trio has Louis Metcalfe on
trumpet, Fred Washington on piano, and Zutty Singleton on
drums. Metcalfe can still play well, but understandably
enough does not stretch out much on this job. Washington is
good on blues and ragtime numbers, while Zutty remains one
of the finest drummers in jazz. The audiences in the afternoon
are not very concerned with the music and these men must
find the work extremely unrewarding on the whole.
--------------------------******-----------------------The two bands that take over in the evening are led by
Henry “Red” Allen and Cozy Cole and Sol Yaged. There
have been changes since I was in the States, but the basic lineups are unaltered. These bands play from 7.30 to 3 a.m. (4 a.m.
on Fridays), again alternating for half hour sets. Three times a
night there is a jam session when both groups unite and bedlam
is let loose. Each band has a night off on Monday and Tuesday
respectively, and is replaced by the Coleman Hawkins-Roy
Eldridge quintet.
Henry Allen’s band has himself on trumpet, Herb Fleming on
trombone, Buster Bailey on clarinet, Claude Hopkins on piano
and Freddy Bonita on drums. They do, in fact, play many Dixieland numbers and a certain percentage of novelty themes, and
one is never quite sure what one will hear from them. Allen
himself is a natural showman and is extremely adept at handling audiences. His trumpet playing is extraordinarily powerful
and he is something of an enigma-tic musician. Very often he
plays down to the crowd – and who can blame him for this! –
but now and then he will drop the showcasing and one hears
some rewarding music. I must admit that I had never realised
just how brilliantly he can play at present until I caught him in
one or two good sets. His handling of ballads like I COVER
THE WATER-FRONT, SUMMERTIME and SWEET
LORRAINE is exem-plary, and his control of dynamics
exceptional. He is also a very fine blues player and features
numbers like WEST END BLUES and WILD MAN BLUES
quite regulary. I do not think he has been well served by
- 65 records in the past few years, with the exception of one or two
tracks on the RCA LP of a couple years ago. In the spring of
last year he made a tape for Soundcraft titled “SWEET
MOODS OF JAZZ”, and this is very fine indeed. The
numbers played are of the type of SUMMERTIME,MEAN TO
ME and LONESOME ROAD and the supporting musicians
include Coleman Hawkins and George Wettling. It would make
a very welcome release in this country. Mr.Allen told me that
he would enjoy the opportunity of playing in this country, and
if he did come over there would be many critics who would be
forced to re-evaluate their opinions on his playing. It is really
shameful that with so many mediocre trumpeters getting one
LP after another, a company does not give Henry Allen the
opportu-nity of making one without dictating musical policy to
him. Aside from his playing I found Mr.Allen a good source
of information on New Orleans musicians, and it is to be hoped
that it may be possible to get a book out of him one day. Until
I had talked with him I had no idea just how much he had been
around, and he has the advantage oft a very orderly mind
when recollecting past experienced. One unsuspected item of
information mentioned was that he had recorded with the
Rev.J.M.Gates for Victor! And I am now getting full details of
the session. The Metropole job is not one that will encourage
any musician to play of his beet night after night, but given the
right opportunity Henry Allen is one of the most sensitive and
exciting trumpet players around. My stay in New York was
made a great deal pleasanter by many kindness and courtesies
that Mr.Allen extended to me.
Buster Bailey remains one of the most brilliant
technicians on the clarinet. A musician of his merit should
be getting studio and recording work frequently, but the
situation is such that good musicians are often overlooked
for the safe-ly competent in these fields. Mr.Bailey features
MEMPHIS BLUES, much as recorded on Stanley Dance’s
Felsted LP, quite often, and, when the spirit moves him, is
still an out-standing clarinetist. He also happens to be a
very forthright person and I hope on my next visit to get
him to agree to give an interview on many aspects of the
music scene. One night I heard him playing bass clarinet on
the job and he handles this rather clumsy instrument very
well indeed. One would like to hear him record on this
sometime. I shall refer to him again when dealing with the
two recording sessions I was able to supervise.
The quiet-spoken Claude Hopkins is obviously not in his
element at the Metropole, but he plays solos on THREE
LITTLE WORDS, MARIE, and other numbers associated
with him over the years, that are excellent. I did have the
opportunity of interviewing him for this magazine and the
article will be published in a month or two. Mr.Hopkins has
recorded for the United label in the past six months and when
an outlet is available in this country readers will have the
opportunity of hearing the LPs. When I was pre-paring one of
my record dates Mr.Hopkins was extremely helpful over one
matter, and he is yet another musician who helped to make my
visit an enjoyable one. Incidentally, his hobby is woodwork,
and his accomplishments in this sphere are impressive. …
--------------------------******-----------------------The other band varied somewhat while I was in New York
but the basic personnel was Sol Yaged on clarinet. Hal Singer
on tenor, Al Williams on piano, Gene Ramey on bass and
Cozy Cole (replaced by Oliver Jackson when he went on a
tour following the success of Topsy) on drums. I hear that
Claude Hopkins is now appearing with this group and that
Sammy Price is with Allen. but these changes took place after
I left. The two outstanding soloists were unquestionably Hal
Singer and AI Williams. In the January issue Hal Singer's
story was printed and there is little to add to that, but throughout all the time that I listened to him I was considerably
impressed with Hal's excellent tone in the Hawkins-Byas
tradition, his good ideas, and, above all, the manner in which
he always swung. The group, particularly under Yaged's
leadership, features a rather high proportion of Goodman
numbers, but when there was an opportunity to play a ballad
Hal took full advantage of it. His arrangement of Satin Doll
was also very pleasant.
Al Williams, despite two decades of playing. is not as well
known in this country as he should be. He is a very good two-
handed pianist who is versatile enough to cope with a boogie
number without it sounding synthetic, and alternatively is
quite at home in a modernish setting. He has had many jobs
in his time and has recorded with groups as varied as Sonny
Stitt's and rock 'n' roll units. The first impression one has of
his playing is that of immense power allied to great swing. At
a time when two-handed pianists are becoming increasingly
rare it was very refreshing to hear him. He took part in the
Vic Dickenson session which I supervised, but as I intend
printing a full story on him I will leave other details of his
career for another month.
The third impressive member of the band was bassist Gene
Ramey. Ramey is another musician who has had an extraordinarily varied career and for many years he played with
modernist groups. Hey has a fine tone, makes a powerful
contribution to any rh thm section. and is one of the few bass
players who can take interesting solos. Frank Driggs is at
present writing a feature article on Ramey which will appear
in this magazine in due course, but British collectors should,
if all goes well, have the opportunity of hearing Ramey when
he comes across with Buck Clayton's band later this year.
On Sunday afternoons and Monday and Tuesday evenings a
relief band takes over and this was led by Coleman Hawkins
and Roy Eldridge. The rhythm section consisted of Joe Knight
on piano. Jimmy Lewis or Francesco Skeets on bass, and J.
C. Heard on drums. Knight is an excellent pianist whose
unobtrusive work is apt to be overlooked at first hearing. Both
Lewis and Skeets are very good bass players (the number of
outstanding bass players in the States is astounding). while
Heard is an ideal forceful drummer for the group….
One evening at the Metropole Ben Webster came in when
the Hawkins group was playing, and sat in. Eldridge was
away at the time on tour with Ella Fitzgerald. and Charlie
Shavers was on trumpet. The jam session that followed
featured Shavers, Webster, Hawkins. Al Williams. Gene
Ramey and Cozy Cole, and it was memorable. On a blues
number Shavers played better than I have ever heard him on
record.
Another musician who deputised for Eldridge was Johnny
Letman. Letman has had a varied career for two decades.
appearing with Count Basie and Earl Hines at different times,
and is a very good trumpeter. His tone reflects his admiration
for Eldridge. but he can also play very good growl trumpet
somewhat in the manner of the late Hot Lips Page. It is a sad
commentary that such a versatile musician should be virtually
unknown to the public at large, but collectors will have the
opportunity of hearing him on one of the sessions made for
Atlantic in October 1958. Finally a word of praise for Oliver
Jackson, Cole's deputy for some months. Best known as a
modernist drummer (he is on the Yusef Lateef Esquire LP),
Jackson can also fit well into a mainstream group and swings
unobtrusively and without fuss in such company. He is a
young musician who could develop into a first-rate drummer
in the next year or two.
Summing up, it can he said that a great deal of the music at
the Metropole is mediocre, with noisy drum solos and
exhibitionist tricks much in evidence. However, despite the
fact that playing such long hours before completely
unsympathetic audiences (sometimes 1 felt that if they left the
drummers banging away the crowd would hardly nonce the
difference) might well kill am creativity the musicians have,
the fact is that sometimes music of an exceptional quality can
be heard there. The best time is the early hours of the
morning, and it is as well to avoid week-end nights. Eldridge
and Hawkins phi' consistent! brilliantly, and the regulars are
excellent when the spirit moles them. If they coast along as a
rule and sometimes showmanship takes precedence over
musicianship. I can hardly see that anyone is in a position to
castigate them. Playing before audiences who are normally
totally unaware whether the music is good or bath' the only
amazing thing is that the musicians can still play so well
when they feel inclined to do so. Whatever one may privately
feel about certain aspects of the Metropole, the fact is : that
without it there would he nowhere left for these musicians tot
earn a regular living. That they can rise above the
circumstances to sometimes produce very tine music is a
tribute to their integrity and talent.
- 66 unknown dateApril/May-59; NYC., 5th Anniversary Red Allen & His All Stars at the Metropole, (Mamiyaflex pic by J.Lee)
THE NATIONAL FOTO NEWS Vol.V, NO.28; 5/23/59 Sat., 920 Collingwood Blvd., Toledo 2, Ohio;Jerry Lee, NYC.,
A CAKE FOR A KING … A cake baked by Copper Rail Employees that weighed about 100 lbs. is held up by one of the
finests guys in the music business, Henry “Red” Allen. National Foto-News puts him in No.I position for all laurels he has
done for many patrons and lovely and great musicians, who perform nightly at New York's No.I amusement center, The
Metropole All the world loves The Big man of the Trumpet, often called the New Satchmo
Metropole All Stars 1959/69 : Sammy Price - Red Allen - Rufus“Speedy”Jones - Buster Bailey - Herb Flemming
They played together at Newport 1959 but J.C. Higginbotham on trombone, look recorded session on p68
- 67 -
- 68 6/14/59 Sun. NYC., Carnegie Hall: “Sidney Bechet Memorial Concert” with Edith Piaf; Louis Armstrong, Dizzy Gillespie,
Red Allen, J.C. Higginbotham, Buster Bailey, Coleman Hawkins, Claude Hopkins, Zutty Singleton; Charlie Shavers Vic
Dickenson, Sol Yaged, Cecil Scott; Willie”The Lion”Smith, Speedy Jones, Bob Wilbur, Teddy Wilson Trio; J.C. Heard,
Panama Francis, Count Basie, Jo Jones; Charles Delauney guest of honor;
tape was made
BAA-6/20/59p15: JAZZ BASH FOR
SIDNEY BECHET – N.Y.- More than 75
jazz musicians appeared Sunday at
Carnegie Hall in a gigantic memorial jazz
concert to Sidney Bechet, noted sax player
who died of cancer last month in Paris.
Proceeds will go to establish a memorial
cancer fund in Bechet's name.
French chanteuse Edith Piaf was guest
of honor. Among the musicians were Louis
Armstrong, Count Basie, Dizzy Gillespie,
Coleman Hawkins, Zutty Singleton, Sol
Yaged, Henry (Red) Allen, Willie The
Lion Smith, Buster Bailey and Jo Jones.
Down Beat 6/25/59: IN MEMORIAM: It
was to be something unusual in the way of
memorial jazz concerts in New York. For
one thing, when pianist Sam-my Price
finished organizing it, some-thing like 50
jazz musicians had agreed to play the
Sidney Bechet benefit. Among the names
Coleman Hawkins, Vic Dickenson, Henry
(Red) Allen, Wilbur deParis and his band,
Noble Sissle - one of the few leaders who
ever had Bechet as a sideman - and Teddy
Wilson.
But proceeds of the concert will not go
to Bechet’s family, as is usually the case considerable sum of money and two villas in France. They have no need of the
with benefits for dead musicians, who too concert’s proceeds. Instead, the money will be turned over to the Cancer
Control League of France….
often die broke. Bechet left his family a
mid June until 6/30/59 New Orleans - Red Allen vacation; NYAN-6/13/59p14: RED ALLEN & HIS NATURAL GIANTS
finally took a vacation from the Metropole, he going to New Orleans until June 30. Illinois Jacquet replaces Red while
he's away...
7/5/59 Sun., NPT. Jazz Festival, CBS-bc/TV - "RED"ALLEN ALL STARS: Red Allen (t,v) J.C.Higginbotham (tb) Buster
Bailey (cl) Sammy Price (p) Kenny Burrell (g) Lloyd Trottman (b) Rufus Jones (d) added: *JACK TEAGARDEN (tb,v)
*Dan Goldie (t) (look photo on p-66 but there with Herb Flemming(tb)) according the press nine sides were taped; details wanted
0:29 introduction from Newport Jazz Festival
AVID(UK-2CD)AMSC1049/RA-CD-20a/
7:28 BALLIN’ THE JACK (Smith-Burris)
--/
--/
10:48 YELLOW DOG BLUES
(Handy-Pace)
--/
--/
7:38 THE PRICE IS RIGHT (Sammy Price)
--/
--/
RA-CD-12/
--/(look youtube – <hoffmannjazz>)
7:53 *I FOUND A NEW BABY (Sp.Williams-J.Palmer)
--/
4:03 *BUGLE CALL RAG -vRA to leave out (Pettis-Meyers-Schoebel) RA-CD-13/
BAA:8/1/59p15: 63.000 FANS, 900 SCRIBES AT NEWPORT
ON FRIDAY night's program, Johnny Dankworth, of
London, and his full orchestra opened the session.
Louis Armstrong's associates over the years such old time
greats as Jack Teagarden, Bobby Hackett, Red Allen and
J.C.Higginbotham, Buster Bailey, and Claude Hopkins, took
over the spot allotted to Armstrong on the Sunday night
program.
Jack Teagarden's playing of “High Society,” and then Henry
”Red”Allen, Higginbotham Buster Bailey and Claude
Hopkins brought down the house as they all played Louis'
old favorite “Yellow Dog Blues ”
CD-6/13/59p19 (nearly the same 4/7/59p14) :
orchestra; Duke Ellington and orchestra: Days Brubeck
Quartet, featuring Paul Dermond; Dizzy Gillespie Quintet;
Stan Kenton and orchestra; The Modern Jazz Quartet;
Dakota Staton; Jimmy Rushing; Erroll Garner.
Also, The Kingston Trio; the Johnny Dankworth Orchestra
from London, England, The Fur Freshmen; George
Shearing; Ahmed Jamal Trio; Lambert, Hendricks and Ross;
Buck Clayton, Pee Wee Russell and Bud Freeman; Oscar
Peterson Trio; Stab Getz; Phil Napoleon, and the: Newport
Youth Band, under the direction of Marshall Brown,
composing the best teen-age musicians from the Greater
New York area.
(The complete long review about the whole Festival is reprinted
in JAZZ AD. Vol.3 p1022); an interesting addition is to be read
in the Higginbotham-article J.J.Jan.68 on page 180 of this book;
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Count Basie And Duke To Be Aired Over CBS From
Newport Festival For the second consecutive year, the CBS
Radio Network will broadcast exclusively four major
jazz concerts from Newport Jazz Festival in Rhode
Island on July 2,3,4 and 5 at 8:05-9:00 PM; WBBM is the
Chicago outlet.
Mitch Miller will serve as host for these programs which will
emanate directly from Freabody Park, scene of the Festival.
The broadcasts will present climatic performances of the
following orchestras, instrumentalists, singers and
combinations: Louis Armstrong All-Start; Count Basie and
- 69 undated 1959, NYC.; ......-TV-show: Red Allen (t) J.C.Higginbotham (tb) Pee Wee Russell (c1) Willie"The Lion"Srnith (p)
Irv Manning (b) George Wettling (d) the book of Milt Hinton-David Berger-Holly Maxson: "Over time; the jazz photographs of Milt Hinton,"1991 shows a photograph of this TV-studio band without details
...................
...................
details wanted
Irv Manning – George Wettling – Willie The Lion Smith – Pee Wee Russell -Red Allen – J.C.Higginbotham
- 70 George Melly "In my opinion" J.J.-7/59 about "HOW DO THEY DO...": One of the great dangers in absolute jazz
criticism is the part nostalgia plays with the critical faculties. One can not judge sounds as one does a steak-this one is better
than that. Nostalgia always enters into it. That Red Allen record, no one playing very well and that extraordinary vocal
chorus; so terribly period. It has the charm of the "Boy Friend", where one is quite seduced by the cloche hats, or Mr.
Baldwin's bowler and anything that happened around that time. One can't really judge it as music at all-it is merely a part of
life at that time. The whole era brings up nostalgia. I have already got to feel that way about early bop. I hated it when I first
heard it, but somehow one now feels a certain nostalgia for it. It's a sort of comic disease.
-----------------------------------------------------------------------------------------------------------------------------------------------------UK-alto saxophonist Bruce Turner "In My Opinion" J.J.9-59 about "MAKE A COUNTRY BIRD..": Well, I must admit
there's a lot of nostalgia in that for me - which will certainly influence my appreciation. It just brings back the old days - it's
one of the first jazz sounds I heard. I think that this was about the first time you had a mature 'band sound' as distinct
formgoing back to 1926 - people like Louis and Bix being surrounded by people not nearly as good as they were. This
Henry Allen-Luis Russell contingent was a 'complete' band-everyone in it was good. The rhythm section too, for that type of
jazz, is ideal. You couldn't get a better bass player than Pops Foster for that type of music, and I refuse to say that he's dated.
It's a special sort of rhythm and you've got to adjust yourself to that very gutty bass rhythm.
A closing thing I'd like to say is that in my opinion Henry Allen is about the second best trumpeter of all time. Of
course, one gets carried away with enthusiasm and starts raving about things, but I honestly believe that next to Louis
you'd have to go a long way to find a more personable end creative trumpet player than Allen at his very best.
Finally, listening to Charlie Holmes now is not as pleasurable as listening to Hodges or Bechet-, yet he reminds me
of both. He seems to have been the founder of an alto style-a very fine player.
-------------------------------------------------------------------------------------------------------------------------------------------------------------"HENRY 'RED, ALLEN" by Ken Colyer in Jazz Times 3-12/ Dec.66:
I was first introduced to Red Allen outside the 'Metropole' said. "A minor tragedy" I replied, "And two family sized
In New York by his nephew Alvin Alcorn. I was touring bitters for me and Ken" calls out Red.
with the George Lewis Band at the time. "Ken Colyer!" he Always overshadowed by Louis Armstrong, as were many
said, and without thinking I replied, "You don't know me other fine trumpet players, some of whom succumbed, forsurely". With no more ado he went back into the Metropole got about their own styles and decided that if they were to get
and came back with one of my records. "That's you isn't it!" anywhere they would have to play as much like Louis as
he enquired, "Fine, fine".
possible, all the licks and phrases carefully copied.
I had always looked upon Red as one of the giants, some Among these he has retained his own individually. For lyric
people would hang a man for making one bad record or warmth and beauty of phrase as portrayed in his solo on the
playing one bad session, and most good jazz is a thing of a Luis Russell Orchestra's FEELING DROWSY he can't be
moment, is blown into the air and is gone. But Red has put beat. The more one plays this record, the more beautiful it
enough down on record to prove that when he is ticking right becomes, and Red's playing endures and will be great for all
he is one of the masters.
time. This is important because we of our generation are
Red is a genial giant with the open, warm hearted friendly- fortunate enough to be living at the end of an era that will
ness that is common among all New Orleanians.
never be repeated, and we should appreciate men like RedI once asked him why his father's brass band had never been Allen in their own time.
recorded - he was buying bitters all round in a pub in Ham- So, if he is around your way anytime look him up, and to
mersmith during an interval - " Nobody was interested" he quote Withney Balliett,
"Hooray for Red".
7/21/59 Tu. NYC., St.Paul Apostle Roman Catholic Church, Columbus Ave and 59th St. & St.Raymond Cementary, Bronx –
Billie Holiday funeral services incl. Benny Goodman, Gene Krupa, Henry Red Allen, Joe Williams, Roy Eldridge, Tony
Scott, CharlieShavers, Joe Jones, Teddy Wilson, Juanita Hall, Mary Lou Williams, Mal Waldron, Don Shirley, Buddy Rogers,
Frankie Freedom, Leonard Feather, Joe Glaser, her husband Louis McKay, her half-sister, Key Kelly;
NYT: 7/22/59: … The influential jazz singer, known as Lady Day, was mourned at a solemn requiem mass, sung by the
church's choir of ten voices. About 500 of the mourners, who could not be accommodated inside the packed church, stood
on the sidewalks. Six pallbearers carried the body in a heavy bronze coffin into the church. The singer was buried in her
favourite pink lace stage gown and pink gloves. More than 10.000 persons had viewed the body at the Universal Funeral
Chapel, Lexington Avenue and Fifty-second Street. …
PC-8/1/59p24: Billie Holiday Wears Gardenians Into Grave; (two longer articles are reprinted in JAZZ AD.Vol3p1024
week of 8/8/59, N.Y.C., Smalls' Paradise – Bennie Green Group & Red Allen; NYAN-8/15/59p14: … The crowd ate it up
last week at Smalls’ when Red Allen sat in with Bennie Green and his group for some exciting sounds..
-------------------------------------------------------------------------------------------------------------------------------------------------------------------addenda to page 52:
MAX JONES – Melody Maker, 1/3/81 (with photo) – DARING ALLEN 20 YEARS LATER - HENRY RED ALLEN,
COLEMAN HAWKINS - Jazz Groove 002; (A) 1958"Stormy Weather." & (B) 1957 DIXIE JAMFEST
HENRY Red, one of the most important In the later years his playing was often dynamics and the range of his horn, and
trumpet players to come up in New described as uneven, exuberant, lacking his originality seem to me just about
Orleans after Louis Armstrong, continu- in logical continuity and so forth, but on exemplary."
ed to make fine, original-sounding jazz this LP - and especially on the A side - Both sides of this album show these
records from time to time until the Sixties. he is heard in relaxed and extremely virtues convincingly, though Red is less
He, like Lester Young, produced a good form.
subdued on some of the second-side tracks.
smaller proportion of outstanding discs From "Mean To Me," with its restrai- The support, from Hawkins, Warren a
after the Forties (see last week's Young ned but heated trumpet, and the contem- and company; is particularly sympathetic
review), but unlike Lester maintained his plative "Lonesome Road" with most on the first half; and Hawk again blows
physical vigour until quite shortly before imaginative Allen passages, to "All Of beefily (but without great inspiration) on
his death in 1967, as readers who heard Me" and the muted stuff on "Tea", the the '57 set. Yaged is effective in the
him here can confirm. On this LP he trumpet is almost consis-tently gripping. Metropole-stype setting, and both
delivers several enchanting choruses and Allen's harmonic approach, always rhythm sections kick the proceedings
some moving leads.
somewhat daring, still sounds pretty along more than adequately.
These two sessions, said to be issued progressive today and his control of tone The final cut, "Stormy Weather,"
on disc for the first time, go back more was similarly impressive. Hear the returns us to the excellent '58 date and
than 20 years to the period when Red opening of "Summertime" to check this. the cloudy-toned Red with the slightly
Allen was a fixture at New York's Martin Williams once wrote of Red oblique version of Louis Armstrong's old
Metropole, baking lustily if somewhat that "The ease with which Allen handles melodic conception. Certainly this second
too impetuously.
rhythms, time and space, the way he uses in the Jazz Groove series is worth hearing.
- 71 -
Intermission chapter : KID ORY with RED ALLEN 1959
7/19/59 Los Ang., KID ORY'S CREOLE JAZZ BAND / RED ALLEN-KID ORY ORCH. : Red Allen(t, v) Kid Ory (tb,v)
Bob McCracken (cl) Cedric Haywood (p) Frank Haggerty (g) Charles Olden or *Marty Corb (b) Alton Redd (d.v)
26419-1
26420-1
26421-2
26422-2
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8:34
5:10
5:43
5:23
5:25
3:38
4:42
5:18
5:02
5:35
5:02
5:41
5:06
4:50
(Williams)
*TISHOMIINGO BLUES
*I WISH I WAS IN PEORIA (Woods-Rose-Dixon)
*KEEP OFF KATIE'S HEAD -vKO (Ory)
CHRISTOPHER COLUNBUS (Berry-Razaf)
SOME OF THESE DAYS -vAR (S.Brooks)
(Razaf-Garland)
*IN THE MOOD
LAZY RIVER –vAR (Carmichael-Arodin)
COME BACK SWEET PAPA (Bauduc-Haggart)
SAN (McPhail-Michels)
TUXEDO JUNCTION (Dash-Johnson-Hawkins-Feyn)
*AIN'T MISBEHAVIN´ -vAR (Waller-Brooks-Razaf)
*I GOT RHYTHM (G.& I.Gershwin)
(Waller-Razaf)
*HONEYSUCKLE ROSE
*BLUES FOR JIMMY (Ory)
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C.H.Garrigues on Verve-1018: ALLEN meets
ORY ! …With his searing, poignant, sometimes raucous tone, Allen is precisely the sort
of trumpeter with whom Ory likes to work, if
only because it leaves him free to express an
unusual lyricism on his own horn. Once I
asked Ory about his reputation as a cantankerous leader: a man who would sometimes
spoil a side-man's prettiest solo with a blast
from his trombone. The Kid's face crinkled up
into its mass of grinwrinkles. "Oh, no, no,
no," he said deprecatingly. "Sometimes the
band gets a little dead, I just give them a little
boost with my horn." Allen - like Oliver and
Armstrong - will never need a "little boost"
from Ory's horn. Instead, he frees Ory, and the
whole band, to "play pretty," when the time is
ripe. Listen for example, to Ory's "BLUES
FOR JIMMY" on this date.
If Ory ever loved one of his musicians it was
Jimmy Noone, his great clarinetist. On the
night after Jimmy died in 1944, the Kid sat
down and wrote BLUES FOR JIMMY and
played it on his next nationwide broadcast-one
of the series he was doing for Orson Welles.
You may have, heard it many times since but
you have never heard it as it is played here.
Clarinetist MCracken's solo is a panegyric
which Noone himself might have been proud
to play; then comes Allen's trumpet softened
can be:"We were New Orleans revive what other man have made. Ory
in tribute and Ory's trombone , singing its
and Allen, and the other men on this
men, he and I !"
song of sorrow for his friend and giving way
Perhaps the point of it all (and the date have always been too busy to go
to bassist Morty Corb's bowed dirge. And
point of the record) is this: that back and "revive." And that is why
then-perhaps the proudest tribute of them allthe music of the past can only Kid Ory's music is as new, as fresh, as
a double blast on Ory's trombone which, just
become stereotyped or sterile vivid today as it was when King
hinting at the memory of the -----traditional
when men seek to go back and Oliver joined the band in 1914.
"return from cemetery" says as proudly as
------------------------------------------------------------------------------------------------------------------------------------------------------------Albert McCarthy about HKV-CLP1329, in Jazz Monthly 5/60: SISTER KATE. Ory is as expected; his solos predictable but
As with most Ory releases of the past few years, after the apt in this context. McCracken is a competent performer with
opening ensemble theme there are solos by the horn men and a style that owes as much to Benny Goodman as to any
pianist, with a chorus or two of ensemble at the close. The traditional clarinettist. The rhythm section is adequate,
ensemble playing is generally good, despite the tendency for although Redd's off-beat drumming is totally lacking in a
McCracken to be overshadowed, but there is no hiding the variety and at times his tempos are unsteady. Haywood is a
fact that the front line men make somewhat illmatched pleasant if unexceptional soloist, while Haggerty's one solo
on TISHOMINGO is agreeable.
partners.
Allen plays under wraps throughout, seldom venturing the Generally this is a pleasant enough LP, although it lacks any
imaginative flights, that I heard from him at the Metropole. great impact. Readers interested in traditional jazz should
He plays very well despite this and achieves a nice tonal hear it for themselves, but there are superior examples of Ory
in the catalogue.
balance with Ory in ensemble . His best solo as such is on
-------------------------------------------------------------------------------------------------------------------------------------------------------------------Al McCarthy about HMV CLP1422/CSD1342 "WE'VE GOT RHYTHM",in Jazz Monthly 4/61:
The inclusion of Red Allen on an Ory date will obviously first chorus on several tracks - and certainly the whole date
affect the character of the music, for although his New swings more. McCracken is not a particularly original
Orleans background stands him in good stead for such a clarinetist and is by no means the equal of Howard, but one
session, he is, and has been for many years, essentially a must say in fairness that he plays above himself on these
swing musician. The numbers selected by Ory here tracks, contributing very agreeable solos to CHRISTOPHER
presumably were chosen with this fact in mind ... On this date and I GOT RHYTHM in particular. Ory is his usual extrovert
Ory has used riffs more than usual-Haywood's neat, bouncy self and on SAN one realises that his melodic concept,
solos are aided by the horn men moving in behind after the although simple, is based on a sound consideration of the
- 72 nature of the number being performed. Tony Standish - HMV CSD-1342, in Unfortunately, no such high praise can
Haggerty takes a couple of pleasant JazzJournal 3,/61: Although Red Allen be heaped on this rhythm section. They
chorded solos, but the truth is that Allen and Kid Ory share a common New do a workmanlike job (Corb is a vast
it head and shoulders above the other Orleans background, for almost three improvement on Oden) but one cannot
men as a soloist. He plays extremely well decade they have travelled widely diver- help but wonder what kind of job Zutty,
throughout, although under wraps on gent paths - Ory out West, in retirement Al Morgan and Johnny St Cyr would
several tracks, bursting forth to reveal his for a time and then part of the New Orleans have done. Surely such a front line
full range on TUXEDO JUNCTION, "revival", Red in the East, deeply invol- demands an equally talented rhythm
ved in the swing era,. with a name for section to do it full justice?
SAN and LAZY RIVER.
Allen is one of the most imaginative florid and sometimes taste-less playing. The old swing era favourites, "Cristopher
trumpeters in jazz and his neglect in the Because of this, a certain musical incom- Columbus" and "Tuxedo" are the best
past years is astonishing. A master of patibility might have been expected. In tracks - for the intelligent and meaningful
dynamics, he maintains an evenness of fact. nothing is further from the truth. On use of riffs, for really superb solos from
tone in all registers, and his varying of this LP, as in person, they sound like men Ory and Allen, and for the coherency of
phrase length and his ability to constant- who have been together all their lives. the performances as a whole - if this was
ly produce unexpected variations makes Red's playing is again a revelation. The an unrehearsed band it doesn't sound like
all his solos unusually rewarding to hear. disciplines of Ory's New Orleans style it, and we can only guess that the session
At no point on this LP does he resort to seem to have impressed him. Gone are all was done after their European tour. Each
the tricks that can sometimes mar his but a few of his flashy tricks and merely track has mainly similarly rewarding
recorded performances (an excessive use decorative phrases, and without them he moments and only three have serious
of runs is one of his faults), and because is one of the most expressive and truly flaws: Alton Redd is a good blues
he is heard to such advantage the LP is inventive trumpeters playing today. He shouter, but his vocals on the otherwise
recommended. If I have dealt with Allen has everything: jazz tone, technique allied excellent "River" and "Some of These
at length it is because he is so poorly to a vivid imagination, and a natural Days" can only be called grotesque,
represented on record in recent years, but ability to swing. Ory, too. has, these while the closing ensemble on "Rhythm"
it should not be forgot-ten that Ory's qualities, though his imagination are rather messy. But these are
direction is responsible for so much that manifests itself more today in the placing momentary distractions on a record
is good on the record. An enterprising and timing of a set of stock phrases. which pips the "Plays W.C. Handy"
record company should now give Allen Together with clarinettist McCracken - a album as the best Ory has made since he
the chance to make an LP with musicians sympathetic and tasteful player - these two signed with Granz. But it is still not the
veterans make a wellnigh perfect front line. best he could have made. T.S
of his own choice.
--------------------------------------------------------------------------------------------------------------------------------------------------------H.Panassié about Verve-MGV 1018 in Bul.hcf No.102/11-60
his presentation of the first theme on Christopher Columbus,
Kid Ory has once again made an outstanding record. His trom- did you ever hear any musician make more out of these
bone playing and even his presence have a magnetic impact on phrases from Christopher Columbus?
fellow musicians, which gives them an extraordinary strong Red Allen, as always when he plays with Ory, is at his very
foundation to build there playing on. On this record he is best. He is more laid back than usual, and even more tasteful.
wonderfully backed by Alton Redd, whose drumming, free of His sound is perfectly recorded (much better than Louis
any affects, gives an irresistible swing to the whole band. I Armstrong's is on most of his more recent records). He takes
remember people attending the 1960 (sic) Paris concerts and a longer solo on I Got Rhythm, playing three choruses in a
remarking about Redd: "He does nothing for me". (because he row. The first one, muted, is simple and easy, Allen then
did not do any breaks or flourishes). A typical white reaction, takes the mute out and plays in the trumpet's low register
far removed from any "jazz" feeling! "He does nothing for ME" (imitating surprisingly well Kid Ory's sound) on the next
! Always ME! You would never hear a black person speak that eight bars, nicely developing during the next sixteen bars, and
way (except those pseudo-intellectuals that ape the whites). then playing exuberantly for the remainder of his solo. It is a
What really matters to a black is what the drummer brings to fact that Allen is not gifted with the art of developing his
the BAND. If the drummer gives the other musicians the swing ideas as rigorously as great trumpeters like Sidney de Paris,
they need, the black listener would be fully satisfied, having Buck or Jonah. Another fact is that he does not swing as
thus received all he might wish for. It takes the white's intensely, he is as energetic as can be, but his full sound and
misunderstanding, and his obsession to split hairs up to the phrases bring arousing life to the band.
level where he will dissociate things which cannot be regarded In a time of underpowered trumpeters, it is quite gratifying to
as apart from one another. To bear such judgments when rest one's ears listening to Red Allen.
listening to jazz, the black will momentarily forget his own ego The other two soloists, Bob McCracken on clarinet and
and make one with the band, whereas the white will not be able even Cedric Haywood on piano, are not great, but Alton
to rid himself of his ego, he will quibble, and so necessarily Redd's swinging drumming maintains a constant appeal, not
remains on the outside looking in.
to mention the little phrases, riffs and punctuations that Red
Even more than Alton Redd's drumming, Kid Ory's ensemble Allen and Kid Ory play during the clarinet choruses. This is
trombone playing MAKES this record. It's extraordinary the one of the elements that make Ory's playing far superior to
way the Kid makes everyone swing by just laying a few notes most of today's pathetic "Jam Sessions": there is an almost
or pulling a glissando ( the best trombone player is still several constant collective creation. During Alton Redd's enjoyable
thousand miles behind Ory when it comes to making the most vocal chorus on Some of These Days, it is a pleasure to hear
out of a glissando). When one thinks of the incurable idiots who the others swinging like mad behind him. Long lives Kid Ory!
dare print in "Jazz Hot" (No 170):" Almost everyone agrees that ------------------------------------------------------------------------Kid Ory is the worst trombone player in the history of jazz"!!! It Verve-3664 / Bul.hcf No.116/3-62: Four of these numbers
is true that their leader, the intellectually underdeveloped P. Z. have already been issued in France on EPs (See Bulletin No.
No.1 once claimed that Ory did not swing, DID NOT SWING! 96), even so I have to point out that this collection with In
Louis Armstrong had a ball playing with Kid Ory, it's up to you, The Mood and Peoria rank among the best readings in the
series, (Tishomingo Blues, even if it does not lack good
you can make your choice between P. Z. or Louis Armstrong?
And don't you try and tell us that Ory cannot play solos, listen moments, is not as well rounded). This session benefits with a
to his chorus on Some of These Days or on I Got Rhythm, and far better than average recording: Kid Ory's trombone sounds
please let me know whatever could be missing in these superb delightful. It is a fact that Ory has a gift to make Henry Allen
solos. "Ory sticks too close to the theme, repeats the same phrase play on record as he never did before: In the Mood and
too often?" Don't you know what is jazz? If you felt the swing, Peoria may very well be the most swinging and inspired
if you were sensitive to Kid Ory's wide, full, deep sound (one of recordings Allen has ever made. Alton Redd's constant back
the most beautiful, the most characteristic "Jazz" sounds of all beat (so very displeasing to Masters Critics) do wonders on
time), you would just have to hear him play a few notes to be these records. Even Bob McCracken plays his clarinet better
satisfied, and be happily unwilling to hear him play any other than he usually does!
note. Listen to his first muted chorus on Tuxedo Junction, and This record has been issued in Great Britain on Columbia
CLP 132-9, both issues are of the same good quality.
- 73 Cheers for Red Allen , Whitney Balliett: Dinosaurus in the Morning (p.188-192)
THE PRE-EMINENCE of Louis Armstrong from 1925
to 1935 had one unfortunate effect: it tended to blot out
the originality and skill of several contemporary trumpeters who, though they listened to Armstrong, had pretty
much gone their own way by 1930. These included among
others, Bobby Stark, Joe Smith, Jabbo Smith (no relation),
Bill Coleman, and Henry (Red) Allen. Stark and Joe
Smith are dead. Jabbo Smith, a scarifying musician, lives
in Milwaukee and performs rarely. Coleman, in Europe,
still displays much of his grace. But Allen, the most steadfast of the three, and a distinct influence on Roy Eldridge,
who taught Dizzy Gillespie, who taught Miles Davis, and
so forth, is playing (usually in New York) with inure subtlety and warmth than at any other time in his career. This
is abundantly evident in two fairly recent and rather odd
releases, "Red Allen meets Kid Ory" and "We've Got
Rhythm: Kid Ory and Red Allen" (Verve), in which
Allen, lumped with second- and third-class musicians,
plays with a beauty and a let's-get-this-on-the-road obstinacy that transform both records into superior material.
A tall, comfortably oval-shaped man of fiftyfour, with a
deceptively sad basset-hound face, Allen, born in
Algiers, Louisiana, has had a spirited career, despite the
shadows he has been forced to work in. He played briefly
with King Oliver in 1927, and two years later he joined
Luis Russell, another Oliver alumnus. Russell's band was
possibly the sweetest, hottest and most imaginative group
of its time. It was also, thanks to Russell's arrangements
and rhythmic innovations and to Allen's already
exploratory solos, a considerably advanced one. In 1933,
Allen joined Fletcher Henderson, with whom he
continued his avant-garde ways, and after a period with
the Blue Rhythm Band he came face to face in 1937 with
Goliath himself when he become a practically silent
member of Louis Armstrong's you-go-your-way, I'll-gomine big band, a group kept afloat by Sid Catlett, J.C.
Higginbotham, Charlie Holmes, and the leader. Since
1940, Allen has led a succession of often excellent small
groups, which have included Higginbotham, Edmond
Hall, Don Stovall (alto saxophone), and Alvin Burroughs.
Allen's recording activity has been prolific; he was
particularly active during the thirties, when he set down
fifty or sixty numbers with small groups, some of which
were unabashed attempts to make money ("The Miller's
Daughter Marianne," "The Merry-Go-Round Broke
Down, " "When My Dream Boat Comes Home") and.
some of which were, and are, first rate jazz records
("Why Don't You Practice What You Preach," "There's a
House in Harlem for Sale" "Rug Cutter's Swing," "Body
and Soul," and "Rosetta"). Lamentably, only two or three
of these, along with two classic sides made in 1939 with
Lionel Hampton, are now available.
Allen's style had just about set by the time he joined Russell.
There were traces in it of Oliver and Armstrong, but more
apparent were its careless tone, its agility, and a startling
tendency to use unprecedentedly long legato phrases and
strange notes and chords that jazz musicians hadn't, for
the most part, had the technique or courage to use before.
Allen's playing also revealed an emotion and a partiality
to the blues that often seemed to convert everything he
touched into the blues. But his adventurousness and technique weren't always in balance; he hit bad notes, he
blared, and he was ostentatious. Once in a while he
would start a solo commandingly and then, his mind
presumably going blank, would suddenly falter, ending
his statement in a totally different mood and tenor, as if
he were attempting to glue parts of two unmatchable
solos together. By the mid-forties Allen's work had, in
fact, turned increasingly hard and showy - he fluttered his
valves, used meaningless runs, and affected a stony tone and this peculiar shrillness continued into the fifties.
Then, six or so years ago, Allen made a pickup recording
with Tony Parenti, the clarinettist, for Jazztone, and, not
long after, one for Victor with Higginbotham, Coleman
Hawkins, and Cozy Cole, and a remarkable new Allen
broke into view. Perhaps sheer middle-aged physical
wear - a reluctance to blow so hard, a reluctance to try
and prove so much - was the reason. Or perhaps he
had been listening to younger and milder trumpeters
like Miles Davis and Art Farmer. For his tone has
become softer and fuller, he shies away from the upper
register (he spends a good deal of time inflating sumptuous balloons in the lowest register), his customarily
long figures are even longer, his sensuous, mid-thirties
affection for the blues has again become dominant and
he often employs harmonies that would please Thelonious Monk. In short he gives the impression not of
hammering at his materials from the outside but, in
the manner of Lester Young and Pee Wee Russell, of
transforming them insistently if imperceptibly from
the inside, like a mole working just under the grass.
The results, particularly in slower tempos (the old
shrillness sometimes recurs in faster speeds), can be
unbelievably stirring. An Allen solo in a slow blues
may go like this. He will start with a broad, quiet,
shushing note, pause, repeat the note, and, using
almost no vibrato, fasten two more notes onto it, one
slightly higher and one slightly lower, pause again
(Allen's frequent use of silences is another new aspect
of his work, as is his more expert use of dynamics),
repeat and enlarge the second phrase a little way down
the scale, and, without a rest, get off a legato phrase,
with big intervals, that may shatter into a rapid run
and then be reformed into a dissonant blue note, which
he will delightfully hold several beats longer than one
expects; he then finishes this with a full vibrato and
tumbles into a quick, low, almost under-the-breath
flourish of half a dozen notes. Such a solo bears constant re-examination; it is restless, oblique, surprising,
lyrical, and demanding. It seizes the listener's emotions,
recharges them, and sends them fortified on their way.
The painting of Allen with the venetable Kid Ory is
curious, to say the least. Allen is a modernish swing
musician, and Ory is one of the last representatives of
genuine New Orleans style. His solos are gruff
paraphrases of the melody, while Allen's are intricate
temples of sound. Moreover, Allen's leisurely,
independent melodic lines are far too spacious to fit
within the limitations of the New Orleans ensemble. But
perhaps all this is to the good. Ory's sandpaper tone and
elementary patterns tend to set off Allen's housetop-tohousetop swoops, and since Allen can't, or won't, adapt
himself to the ensemble, he simply solos throughout most
of the recordings, which gives us twice as much of him.
By and large, the first of the Verve records is the better.
Of the seven numbers, all standards, three - "Blues for
Jimmy," "Ain't Misbehavin'," and "Tishomingo Blues" present Allen at his peak. In fact, his single-chorus solo
in the slow "Blues for Jimmy" is faultless. This is nearly
true of his work on the Waller tune, which is full of blue
notes and wind-borne figures. (Puzzlingly, neither of the
two vocals is by Allen, who, in addition to his other
merits, is one of the handful of true jazz singers. His
voice is in between Armstrong's and Jelly Roll Morton's,
and because of its almost feline, back-of-the-beat phrasing it has long foretold his playing of today.) The second
session contains seven more standards, which are notable
for Allen's playing in "Some of These Days," in which he
tries a few teetering but generally successful auld-langsyne upper register handstands; for, in "Christopher
Columbus," his muted chorus, which is followed by an
open-horn one that begins in his lowest, or trombone,
register; and for his three remarkably sustained choruses
in the medium-tempo "Lazy River." The rest of the band
stands around and watches, so to speak, and only the
drummer, Alton Redd, gets in the way.
- 74 John S.Wilson about WE'VE GOT RHYTHM Rating**** (Verve 1020) in Down Beat 9/15/60):
This one is rated primarily for the resurgent Allen, who is The rhythm section has that heaviness that is typical of Ory's
magnificent all through these pieces. This is the Allen who bands, but it is a rolling, loping kind of heaviness that serves
plays with an exciting blend of control and fire and with no to give the band a very emphatic propulsion.
suggestion of the flabby excesses of which he has proved The only really weak point in the group (barring Redd's
capable in the last 20 years. There is beauty, shading, crisp-ness, singing, which is just dismal) is the piano solo work of
sensitivity, and sudden spurts of intense drive in all his work Haywood, which is too light and watery for this lusty group.
here, whether he is leading, soloing, or backing.
The numbers follow the pattern of the previous Ory-Allen
The band with which he works is, shall we say, service-able. album on Verve-the emphasis is on tunes from the swing-era
McCracken is a capable and knowledgeable clarinettist, Ory is repertory instead of the battered old traditionals. It works out
Ory (and there are moments of strong merit in his deliberately extremely well, particularly with Allen present, because he is a
overemphatic
way of doing things).
big-voiced swinger. No Dixiecat.
--------------------------------------------------------------------------------------------------------------------------------------------------------Graham Boatfield about HMV CLP-1329(=Verve-1018) in Jazz Journal 4/60:
This is not the best Kid Ory recording. It would be idle, even a But Ory's standard is always high, and this record is good by
trifle idolatrous, to pretend that the presence of Henry Allen - any measure. Definitely one to buy and to play time and again.
flown out by Norman Granz, unused to the band, unpractised Many enthusiasts will get this record for Red Allen's work, they
in the idiom of survivalist jazz - could make all that difference. will not be disappointed. It contains some of his best playing
Kid Ory has a long history of band leadership. He is (part at for years. Considering the fact that there was no rehearsal, it is
least) a Frenchman, and knows the meaning of authority. He a fantastic accomplishment. From the first jaunty impact of "In
has put his own firm stamp on every band which has been The Mood" one gets the impression of the jovial and athletic
assembled in his name.
presence of Allen. Haywood's raggy piano is well in evidence.
We can look on this record as a souvenir of the Ory tour of Ory is his usual self, better in the studio than in the flesh. Bob
Europe, and England in particular, during the latter months of McCracken is certainly not the best clarinet to play with Ory
1959. Fortunately a dividend has been declared, and it is a since the war - Simeon, Howard, Bigard, Darensbourg, Gomez
much better band than the one we heard in person, by reason are all higher in my esteem - but he provides a supple melodic
line which adds to the pleasure of the session, and which
of changes in the rhythm section.
During the British tour there were murmurs about the dullness reminds one of a style of clarinet playing which is seldom
of the rhythm, in particular complaints of the heavy handed-nes heard today - a husky flowing jazz which we sometimes
of drummer Alton Redd. Cedric Haywood is a pianist who mistakenly - think went out with the Bob Crosby band.
belongs more with the front line, and thus the task of covering The one omission is an Allen vocal, but we had the same
the weakness of the bass-player, and of providing the whole complaint during the British tour. Whatever one makes of
support of the band, was thrust unfairly upon Redd's rather Redd's drumming, he is a brutal singer and we could happily
rudimentary drumming. Those of us who recalled his sterling dispense with his mercifully short outburst in "Ain't Misbework on the session of August 1944 were a little disappointed. avin' ". Red Allen's voice could have dealt with that one very
On this session, made in July 1959, he fits into his proper well. "Sister Kate" is taken at an easy tempo: it suits
place with a real bass player and with the aid of a useful guitar, MeCracken well, Allen provides a typical and attractive
and provides an insistent although not over-obtrusive two-beat. chorus, and Ory's wobbly vocal is completely new. "TishoNo, this is not Ory's best band - which group deserves that ingo Blues" is a good track, and in Allen's solo work one can
award is a matter of personal preference, although that which hear his impressive range of tonal variety. This record will
included Mutt Carey and Barney Bigard would rank very high. feature in many lists of the best records of 1960.
--------------------------------------------------------------------------------------------------------------------------------------------------------GIANTS OF JAZZ – HENRY RED ALLEN – 1981 Time Life records ; notes on music by John Chilton:
5. Mx 26430-1 - I Got Rhythm: Kid Ory's Creole Jazz Band HenryAllen, trumpet; Kid Ory, trornbone; Bob
McCracken, clarinet; Cedrick Heywood, piuno; Frank Hoggerty, guitar; Morty Curb, string bciss; Alton Redd, drums. Rec. for
Verve, July 19,1959, Los Angeles. Courtesy of Polygram, Inc. Verve MGC (S6) 1020
At the 1957 Newport Jazz Festival Red Allen shared a set so wide it could be mistaken for the sound of a flugelhorn. The
with another New Orleans notable, Edward (Kid) Ory, then second eight bars of this chorus feature a whole string of pretty
70 years old and still going strong. The en-counter led them note patterns, but the increasing stridency of the bridge and a
to make several albums together and, a few months later, flurry of alternate fingering give a clue that things are about to get
brought about Allen's first trip to Europe, as a guest star hectic. Allen goes on to boot out a tonic note in a way that any
with Ory's band. The Gershwin standard, I Got Rhythm, is a tenor saxophonist might envy, and this culminates in the
marvelous reminder of the happy musical spirit that Ory's explosively growled flatted fifth announcing the final chorus. The
note becomes the central part of the final stages of a solo that has
band generated.
Allen's lead playing provides a pivot that gives the ensemb- gradually unfolded into an uninhibited romp.
le a very relaxed quality, unhampered by the rhythm section, Some jazz listeners rigidly divide Red Allen's work into eras,
which, despite an unrelenting use of offbeats, still laid saying that they like his pre-1940 recordings, but abhor everydown a solid, bouncy sound. Allen's innate musicianship thing thereafter. But no one could dislike a solo such as this, with
told him that a busy lead would sound absurd alongside its many references to his previous achievements (including the
Ory's tailgate style with its rugged, economical use of triple-tongued phrases that start the last eight bars of his improvinotes. He therefore spells out Gershwin's melody in short sations, a resurrection of the startling technica figure that first
phrases, allowing Ory and clarinetist Bob McCracken emerged in the second eight bars of Algiers Stomp, rec.in 1936).
plenty of time to find spaces for their fillins. McCracken, Allen's solo might easily have been used as the climax of the
despite a long career in professional music, had achieved record. Instead, Ory-one of the wiliest bandleaders who ever
recognition only late in life; his solo here is both mellow lived-employs the old New Orleans trick of dropping the musical
and dexterous. Ory's solo is, typically, an extension of his temperature to prepare the listeners for a final ensemble. After a
rocking piano chorus,the front line returns for 16 bars
ensemble playing-sparse, but robust and rhythmic.
Allen's tightly muted solo is played with the sort of of call-and-answer between Allen and McCracken. Ory plays a
simplicity that only a lifetime's experience can achieve. sturdy bridge, then Allen's highly melodic ideas fill out the final
Above all it is a fine example of knowing what to leave eight bars of the chorus. In his last two bars he impishly plays an
out. When the drum-mer obligingly lowers his volume, we ending that has been overworked for many years by jazz-band
are able to follow every nuance of Allen's delicate phrasing, trumpeters all over the world. But Red Allen puts his own stamp
including a nonchalantly inserted flatted fifth in the third on the phrase by fractionally delaying the last notes-a fine
bar of the bridge. But this elegant chorusis onlythe example of his superb sense of timing.
After a sprightly four-bar drum break, Allen energetically blows
firstmovement in an extended work.
At the end of 30 bars, Allen drops out briefly to remove a coda, finishing with a run up to top C. That brave high note
the mute, but he then picks up the solo for another chorus exemplifies the way Allen kept playing to the end of his life,
very skillfully, playing low-register open trumpet in a tone never faltering, never losing that exuberant creativity.
- 75 -
KID ORY - RED ALLEN TOUR IN EUROPE, 9/17- mid Nov.1959,
Martin Williams "Henry Red": In the fall of 1959, Red Allen
took momentary leave of American engagements to tour
Europe with Kid Ory, Red's first trip to the continent. (He had
been supposed to go in 1934 with the Henderson band, but as
things worked out, Coleman Hawkins went alone.) Ory's style
and repertoire are, of course, older than Allen's and European
audiences were apparently expecting a tottering old trumpeter
in Allen. What the got was an energetic and forceful musician,
an individual stylist, and a whose music is still immediate,
personal expression, not-as with many jazz-men of Allen's and
(not all dates known);
subsequent generation - an imitation of glories past.
Allen is proud of the strong impression he made in Europe
on audiences and on European critics. He was also deeply
moved when he walked into Fatty George's club in Vienna
and found the wall decorated with his father's picture.
(What American jazz club would show that sense of
tradition.) He is proud of the letters he still gets from
Europe, and unlike some jazzmen who lack his straight
forward approach to an audience, he is pleased when a fan
or collector wants to talk old, long out-of-print records
9/17/59 Germany start of the KID ORY RED ALLEN TOUR in Europe; 9/19 Kiel; 9/20, afternoon rehearsal; eve-concert at
Hamburg-Musik Halle(now: Laiesz Halle); +day off 9/23 Stuttgart; 9/24 Essen, 9/25 München-Deutsches Museum; 9/26 Wuppertal
9/27 Köln; 9/28 Mo. concert & 9/29 private meeting w. Red Allen & Günther Boas in Dortmund; 9/30 Frankfurt; 10/1&2 Wien+day off
9/22/59 afternnoon &evening, Berlin, Sportpalast; rec. AFN-Berlin - KID ORY-S CREOLE JAZZ BAND feat.RED ALLEN (t,v)
Kid Ory (tb,v) Bob McCracken (cl) Cedric Haywood (p) Squire Gersh (b) Alton Redd (d.v) (41 shorter min.tape existed)
aftern. 7:02 ORIGINAL DIXIELAND ONE-STEP (ODJB)
JCCD-3125/ RA-CD-C42
6:29 [I WISH I WAS IN] PEORIA (Woods-Rose-Dixon)
--/
--/
7:22 CARELESS LOVE -vAR
(trad.)
--/
--/
5:14 HIGH SOCIETY (Melrose-Steele)
--/
--/
4:59 SAVOY BLUES (Kid Ory)
--/
--/
8:24 TIN ROOF BLUES & REPRISE
(N.O.R.K.)
--/RA-CD-C43/
4:48 MUSKRAT RAMBLE -vKO (Ory)
--/RA-CD-C42/
4:58 PANAMA RAG (Tyers)
--/RA-CD-C43/
4:18 WHEN THE SAINTS GO MARCHING IN -vAR&ch (trad.)
--/
--/
even. 5:34 BILL BAILEY -vKO (Cannon)
JCCD-3126/
--/
6:50 ST. JAMES INFIRMARY BLUES -vRA
(J.Primrose)
--/
--/
7:26 WOLVERINE BLUES (Spikes-Morton)
--/
--/
7:21 SISTER KATE -vKO (A.Piron)
--/
--/
3:11 SUGARFOOT STOMP (King Oliver-Walter Melrose)
--/
--/
6:09 AUNT HAGAR'S BLUES (W.C.Handy)
--/
--/
3:55 KID ORY'S BOOGIE WOOGIE (Ory)
--/
--/
--/
--/
3:30 AT THE JAZZ BAND BALL (LaRocca-Shields)
7:24 TUXEDO JUNCTION (Dash-Johnson-Hawkins-Feyne)
--/
--/
1:45 German announcer banter
3:28 TIGER RAG (ODJB)
2:21 WITHOUT YOU FOR AN
INSPIRATION - sign off by Kid Ory
-------
/
/
/
-------
/
/
/
10/4/59 Paris -Salle Pleyel, 18:00 & 21:00 pm; KID ORY & SON ORCHESTRE NOUVELLE ORLEANS avec RED
ALLEN (t,v) Kid Ory(tb,v) Bob McCracken (c1) Cedric Haywood (p) Squire Gersh (b) Alton Redd (d.v): telerec. by ORTF
for mixtures with evening clips on TVs late 1959/60; partly issued in mixture on JAZZ AVERTY-E-video; *on NBC(Europe)-SuperChannel ;
the afternoon concert on FFB-bc-Berlin 10/10/59; also shown to French army in Berlin Quartier Latin; all on RA-DVD-1a & RA-CD-42+42a
/E-video/(*)
01
5:45 DO WHAT ORY SAYS -vKO (Ory)
02
3:48 CLARINET MARMELADE (LaRocca-Shields)
03
7:38 ST.JAMES INFIRMARY -vRA (J.Primrose)
04
6:52 I WISH I COULD SHIMMY LIKE MY SISTER KATE -vKO (A.Piron)
/E-video/
05
5:13 PANAMA
(Tyers)
/E-video/
06
3:42 ROYAL GARDEN BLUES (CI.&Sp.Williams)
07
4:27 TIGER RAG #1 (ODJB)
/E-video/
08
8:16 DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS -vKO
/E-video/(*)
09
5:32 SAVOY BLUES + illustrated french ann.+ encore (Kid Ory)
10
5:14 HIGH SOCIETY #1 (Melrose-Steele) illustrated audio w.2 dr.-solos
11
5:29 BASIN STREET BLUES
(Sp.Williams)
/E-video/
12
3:19 WHEN THE SAINTS GO MARCHING IN -vKD&ch
(trad.)
13
1:52 WITHOUT YOU FOR AN INSPIRATION DEAR - sign off by Kid Ory (curtain)
/E-video/(*)
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------14
4:59 [I WISH I WAS IN] PEORIA Woods-Rose-Dixon)
15
4:19 TAILGATE RAMBLE (Wingy Manone+Johnny Mercer)
.
01
6:30 TIN ROOF BLUES
(NORK)
02
3:42 ORY´s BOOGIE
(Ory-Haywood?)
03
4:04 RAMPART STREET PARADE
04
5:54 SHINE -vKO & AR (longer than on Averty) then intermission
/E-video/ .
05
6:06 WOLVERINE BLUES (Spikes-Morton)
06
5:26 ORIGINAL DIXIELAND ONE-STEP (ODJB)
07
4:41 MUSKRAT RAMBLE -vKO (Ory)
/E-video/
08
4:58 HIGH SOCIETY #2 (Melrose-Steele) (longer than on Averty)
/E-video/(*)
09
6:21 AUNT HAGAR´S BLUES
(W.C.Handy)
/E-video/(*)
10
4:39 TIGER RAG #2 (ODJB) (curtain)
.
.
5:02 Ory interview parts-1& 2 with Sim Copens
part-1 shortened 2:29 from 2:59 on Averty-E /
10/5/59 Mo., Stockholm Konserthuset, two concerts, 19:00 and 21:15 ; 10/6/59 Tu., Gothenburg Konserthuset 19:00 and 21:15 ;
10/7/59 We., Malmö, - MFF-Stadion, 20:00 / 10/8 Copenhagen, KB Hall, 10/ 9 Odense 10/10 Aarhus; ; 10/11-15 days off;
10/16 Fri. Cambridge, Regal
10/17 London, Kilburn, Gaumont State
10/18 Portsmouth, Guildhall
10/19 Mo.. Birmingham, Town Hall
10/20 Newcastle, City Hall
10/21 Sheffield, City Hall
10/22 Thu. Leicester,DeMontfort Hall
10/23 Brighton, Dome
- 76 10/24/59 Sat.afternoon. Manchester-- KID ORY & HIS CREOLE JAZZ BAND: as 9122;
36:20 part of concert
both concerts (afternoon & evening) were complete taped by Tony Adkins and will be possibly issued on UK-label-504
5:08 ORIGINAL DIXIELAND ONE STEP (ODJB)
Queen(I)-052/RA-CD-c42/
--- /
--- /
7:30 I WISH I WAS IN PEORIA (Woods-Rose-Dixon)
7:24 CARELESS LOVE -vAR
(trad.)
--- /
--- /
--- /
7:14 WHY WON'T YOU PLEASE COME HOME BILL BAILEY -vKO (Cannon) --- /
7:02 ST.JAMES INFIRMARY -vRA (Primrose)
--- /
--- /
5:01 THAT'S A PLENTY
(Gilbert-Pollack)
--- /
--- /
DO YOU KNOW WHAT IT MEANS -vKO
not on my tape will be all on UK-labelMARYLAND, MY MARYLAND
SAVOY BLUES
MUSKRAT RAMBLE -vKO
TIGER RAG
THEME
same date & location, evening-concert
ORIGINAL DIXIELAND ONE STEP (ODJB)
all will be on UK-labelAUNT HAGAR'S BLUES (W.C.Handy)
WHY WON'T YOU PLEASE COME HOME BILL BAILEY -vKO (Cannon)
7:09
6:01
6:48
5:32
6:35
3:07
5:44
2:56
CARELESS LOVE -vAR
(trad.)
RA-CD-42a/
BOURBON STREET PARADE -vKO (P.Barbarin)
--- /
ST. JAMES INFIRMARY -vRA (Primrose)
--- /
WOLVERINE BLUES (Spikes-Morton)
RA-CD-43/
BASIN STREET BLUES -vAR (S.Williams)
--- /
MARYLAND, MY MARYLAND (trad.)
--- /
DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS -vKO (Aller-DeLange) --- /
MUSKRAT RAMBLE /cut -vKO (Ory)
RA-CD-c42/
THEME
10/25 Sun. Liverpool, Empire
*10/26 Glasgow, St.Andrews's Hall
10/27 Bradford, St.Gearge's Hall
10/28-29 off days Red Allen visited the Marque club & Ronnnie's Club London, meetings with Ray Nance, Gene Ramey
10/30 Bristol, Calston Hall
10/31 London, New Victoria,Victoria
11/1 London, Hammersmith, Gaumont;
(*Clyde Valley Stompers instead of T.Lightfoot);
11/2 Zürich;
11/3 Tues. Genf;
11/4 day off
11/5 Zürich or Genf
11/6 day off
11/7 Utrecht & Amsterdam two concerts
11/8 Brussels
11/9/59 Basel - Liederhalle, broadcasted concert KID ORY'S CREOLE JAZZ BAND : same as 9/22/59
0:27
7:37
4:18
6:33
5:28
4:32
6:23
5:09
7:34
4:50
3:36
0:27
11/13/59 Fri.,
5:20
7:04
6:43
6:18
7:21
4:02
4:33
5:21
3:52
4:41
4:20
2:47
intro ann.
I WISH I WAS IN PEORIA (Woods-Rose-Dixon)
BASIN STREET BLUES -vKO (S.Williams)
ST. JAMES INFIRMARY -vRA (J.Primrose)
WOLVERINE BLUES (Spikes-J.R.Morton)
SAVOY BLUES (Kid Ory)
TIN ROOF BLUES (N.O.R.K.)
THAT'S A PLENTY (Gilbert-Pollack)
AUNT HAGAR'S BLUES (W.C.Handy)
PANAMA RAG (Tyers)
AT THE JAZZ BAND BALL (LaRocca-Shields)
leave ann.
private tape 60:35
/RA-CD-43 /
Rarities-60/Rhapsody RHA-6034/
--/
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
--- /
--/
--- /
only on tape
/
--- /
Copenhagen, KB Hall, KID ORY - RED ALLEN IN DENMARK : same as 9/22/59
(62:22 tape)
Storyv.(Dan)/
ORIGINAL DIXIELAND ONE STEP (LaRocca-Shields)
STCD-6038/RA-CD-c44/
I WISH I COULD SHIMMY LIKE MY SISTER KATE -vKG (A.Piron)
--- /
--/
WOLVERINE BLUES (Spikes-J.R.Morton)
--- /
--/
ST. JAMES INFIRMARY -vRA (Primrose)
--- /
--/
TIN ROOF BLUES (Brunis-Rappolo)
--- /
--/
CLARINET MARMELADE (LaRocca-Shields)
--- /
--/
MUSKRAT RAMBLE -vKO (Kid Ory-Ray Gilbert)
--- /
--/
DO YOU KNOW WHAT IT MEANS TO MISS N.O. -vKO (Alter-Delange) --- /
--/
AT THE JAZZ BAND BALL (LaRocca-Shields)
--- /
--/
SAVOY BLUES
(Kid Ory)
--- /
--/
INDIANA - SHEIK OF ARABY -vKO (Henley-McDonald)-(Snyder)
--- /
--/
HIGH SOCIETY (Porter Steele)
--- /
--/
10/4/59 Paris -Salle Pleyel,
10/5/59 Stockholm Konserthus
- 76a - Addenda
unknown German (Hamburg) source, 9/18/59 Friday. p7:
“Kid Ory”, der Älteste aus dem alten New Orleans –
Eine Freunde für Jazzfreunde! Am Sonntagabend, 20 Uhr
spielt Kid Ory´s Creole Jazz Band (Bild) in der Ernst-MeckHalle. Edward Ory (zweiter von links) - der Beinahme
„Kid“ wurde ihm von seinen Anhängern gegeben –ist der
älteste noch lebende Musiker aus dem alten New Orleans.
Mit seinen 73 Jahren spielt er auch heute noch die
Posaune so, wie er es vor über 50 Jahren tat: rauh,
kräftig, im Zusammenspiel aber betont harmonisch.
Henry Red Allen (rechts neben Kid Ory) gehört
gleichfalls zu den ganz Alten des New Orleans Jazz.
9/20/59, eve-concert at Hamburg-Musik Halle(now: Laiesz Halle);
.
(photo - Susanne Schapowalow)
“KID ORY & RED ALLEN” John Guy in Footnote 3-5/6.72: …
Remember the band that Ory brought to England in 1959!
In my innocence I thought that Red Allen’s long sojourn at the
Metropole, years of doing his KISS THE BABY routine (not the
one politicians indulge in!) would have inde-libly marked the
playing of the old Luis Russell stalwart.
Not a bit of it !
Here was Henry ‘Red’ Allent upright and craggy, with a stance
like a sporting print prize fighter. Dynamically, and Ory has always
had a feeling for dynamics, they were a revelation. They could crack
it out with gusto but when Ory led the band off-mike on a little
hokum strut round the stage, the music carried to the gallery…
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
9/20/59, probably afternoon - rehearsal & jam session at Hamburg-Musik Halle (c.Susanne Schapowalow)
Zürich-concert 5/11/59:“Red Allen Special” by
Johnny Simmen 1976, in Le Point Du Jazz no-13 :
about RCA-Black & White series with 4-Red Allen volumes
IN 1959 Red Allen recorded two albums with Kid
Ory and also came to Europe (for the first time) on
tour. These two Lps (made for Verve) and the
concerts made me realize that Red was an even
more versatile and adaptable player than I thought. I
went to the Zurich concert with them and, in the
taxi, Ory said: "That's the best trumpet-player I
played with since the old days with King Oliver and
Louis Armstrong. Red is one of the few who still
can lead a New Orleans jazz ensemble. I know."
Mr.Ory sure was the man to know (Red was
beaming with joy at Kid Ory's comment since he
had tremendous respect for him and considered it
an honour to have been invited to make this tour
with the great trombonist) and the records are
lasting proof of what Ory said! I think in 1959 Red
played better lead than on any of the records he
made with Jelly-Roll Morton. Don't ask me how he
could do it after all these years … He could and
that's all that matters.
- 77 -
Red Allen &“Hot Geyer”K.Michaelis,
Frankfurt 9/30
unknown German source - Hamburg - Sept.59:
Offensichtlich zu heiß wurde es dem Erz-vater des Jazz, Kid Ory, bei den Proben in der Musikhalle für sein Konzert am
heutigen Sonntag in der Ernst-Merck-Halle. So ging er mit seinen Solisten in Alt-Hamburg auf Entdeckungsreise. Sind diese
Musiker so sehr mit ihren Instrumen-ten verwachsen, dass sie sie auch dabei nicht missen mochten? Die Kamera traf die Creole
Jazz Band jedenfalls im historischen Bäckerbreitengang, wo sie schnell ein sachverständiges Publikum um sich hatte.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------
H.Panassiè – 10/4/59 KID ORY à PARIS - Bul.H.C.F.,No.92;Nov.-59 (translated by Louis Iosub in 2011)
The Dadaist poet Jean Van Heeckeren once wrote that "Age
does not mean anything". Some musicians regarded as "young",
are really dodderers (Miles Davis) and others are "yet unborn",
as Jo Jones once said about Chet Baker. On the other hand, 73
year old Kid Ory plays the trombone with the same fire, the
same sappiness, the same punch as he did in his prime. Some
fans, seeing him at the Salle Pleyel, have commented on "How
thin he's become. Of course he cannot blow like he did three
years ago." They remind me of those others who complained a
while back that Velma Middleton had put on weight! How
about you, just for once, stop criticizing how an artist looks,
and just judge by what you hear? Does the 30 year old bopper
that called Ory a fossil ever suspect that it's him that's the senile
one, well before he has reached Ory's age?
During the two concerts that he gave on October 4th, Kid Ory
played the trombone just as marvellously as he did three years
ago, and has proved himself to be a bandleader just as punchy
and intelligent as before. One of the reasons that his concerts
rise above the average jazz concert today, is that one does not
have to suffer through an avalanche of "specialties" that force
one to unwillingly swallow, among others, those fastidious
never ending solos, from the bass player, the drummer, even the
flautist or whatever!
With Ory you hear an orchestra, not a collection of
individuals. Even if they were not of the quality of the 1956
one, Ory's group was excellent. Alton Redd, (Whom you may
know through a few recordings he made with Ory in 1944) is a
superb drummer, he played a great part in the concert's success:
few breaks, no frills, but a strong beat with a whole lot of
swing. I heard some complaining about his dreary playing!
Come on! Are they now going to request that the drummer of a
New Orleans outfit should play a soloist's part, like a bop
drummer? You may like Max Roach if you please, but don't go
criticizing drummers that play with a real jazz beat!
The piano player Cedric Haywood, whom we already heard
with Ory back in 1956, was better miked than during the
previous tour. Thus we have been able to fully appreciate his
talents as an accompanist as well as a soloist, his pairing
with Alton Redd made up a perfect whole rhythm section, it
did not matter that the bass player, Squire Gersh was
average. Henry "Red" Allen, after a weak start, (he did not
have his chops during the first part of the matinee concert)
had a lot of good moments. Kid Ory has the knack to get the
best out of Henry Allen, by surrounding him with a band that
makes him play more laid back and with less eccentrically.
Furthermore, Henry Allen is one of those musicians that
sound better live than on record, his inspiration is still
uneven, but when he is hot, one can have a really good time.
He was most inspired on Peoria and Aunt Hagar's Blues,
but then it must be said, such a dull clarinet player as Bob
McCracken unwillingly makes any of his fellow musicians
shine!
Kid Ory on TV. - Thumbs up to the RTF (French
Television Network) for letting us have such a brilliant jazz
programme. Unfortunately, on October 31st, the recording
was so ill balanced that the trombone solos were almost
inaudible (unlike those of Bob McCracken on clarinet) ! We
also had to bear with Simon Copans' long and boring
commentaries, which annoyingly drowned the music, and
they were not that accurate either. Regarding Royal Garden
Blues, Copens said that Ory had played at the Royal Gardens
in Chicago in 1922-1923 in King Oliver's band, along with
Louis Armstrong. Now, as any jazz fan knows, the trombone
player in that famous orchestra was Honore Dutray and not
Kid Ory. Ory did not play with King Oliver at that time. A
later interview that Copans made with Ory that was
broadcast later, unveiled Copans' mistake, as Ory stressed
the fact that he was playing in California all the time
between 1921 and 1925.
- 77a - Addenda
Floyd Levin on STCD 6038:
trombonist in 1927. Over the years, the Hot Five recordings of "Muskrat
I knew Kid Ory very well. Fortunately, McCracken worked with Joe Venuti, Ramble" and "Savoy Blues" were never
I had the opportunity to spend many Wingy Manone, Frankie Traumbauer, altered over the years. When Ray
hours listening to him reminisce about Bud Freeman, and Jimmy Mc Partland. Gilbert added the very appropriate lyrics
his long and interesting career. I have He joined Louis Armstrong's All Stars to "Muskrat Ramble" in 1950, Ory
used a few of Ory's comments to add his shortly after the Ory-Allen tour. For promptly embraced them as part of his
personal views to this foreword.
several years prior to his death in 1972, permanent repertoire. Surprisingly,
Despite our very warm relationship. McCracken was very popular here in during the Copenhagen concert, he
Ory always retained a guarded attitude Southern California.
relinquished his famed "Muskrat
and distrustingly withheld many details
McCracken's playing is noteworthy Ramble" coda to the ensemble. During a
fearing that someone would write a book throughout the program. On "High radio interview in 1949 he told me that
about him. He was probably right. I am Society", the testing ground for all New "Savoy Blues" was inspired by his
tempted to eventually compile the Orleans clarinetist, he rises impressively impression of the famous New York
elaborate data I have accumulated into a to the occasion. He soars with majestic ballroom. He recalled his astonishment
definitive story about this great jazzman. beauty on "St. James Infirmary".
at its size and grandeur when he
Without question, Kid Ory was the most
The individual members of the power- appeared there with Joe Oliver a few
influential trombonist in the history of ful rhythm section had previously month before the Armstrong recordings.
jazz. His timber, attack, and nuance mer- worked with Ory in Los Angeles. Ory was a master with mutes. The
ged into the sweeping tailgate radiance Squire Gersh was also well-established insinuating buzzing and rasping growls
that will always be a vital element in in the San Francisco scene and later heard on "Sister Kate" and "Wolverine
Dixieland jazz. For generations, musicians became a member of Louis Armstrong's Blues", were blown with his long
and fans have savored his rhythmical All Stars. His fine solos on "Wolverine conical mute "....that I made from an old
solos and rousing multi-octave glisses.
Blues" and "High Society" fit well biscuit can I found in an alley behind a
Few jazzmen share Ory's impressive within the Ed Garland groove. While restau-rant," he admitted. After Ory's
background. His characteristic manne- pianist Cedric Haywood always kept the death in 1973, it became my
risms are deeply rooted in the recorded rhythm on a solid footing, he emerges responsibility to fulfil his wish and
legacy of Louis Armstrong's Hot Five, with striding two-fisted solo thrusts donate his trombone to the Louisiana
Jelly Roll Morton's Red Hot Peppers, orchestra, also achieved acclaim as a State Jazz Museum. I have often
King Oliver's Dixie Syncopators, and the blues singer. His stunning performance wondered what happened to that
New Orleans Wanderers.
with this on "Indiana" and "Wolverine battered old mute.
This CD was recorded during a live Blues". Drummer Alton Redd, a veteran On "Tin Roof Blues", Kid Ory and Red
performance when Ory was 69. The of the Les Hite stellar group left many Allen achieved the pure distillation of
tremendous audience response is eviden- fond memories at the various European the blues -as only New Orleans musicice that he had sustained his unique venues they visited.
ans can. Ory's rumbling tones express
musical perception throughout the years.
The accelerated tempos on Ory's doleful levels of despondency. His
The name Henry "Red" Allen Jr., like "show-case" tunes, "Original Dixieland tearful "Wa Wa" ending is echoed
many extremely talented trumpet players One Step", "Wolverine Blues", and "At cogently by Allen whose interpretation
of the Jazz Age, is frequently prefaced The Jazz Band Ball" are examples of his of the blues was extraordinary. The
with the phrase "Had there not been a "concertized"
conception.
Ory abysmal musical story of "St. James
Louis Armstrong..." If such an uncons- established a more lilting pace at club dates Infirmary" is amplified by Allen's plaincionable eventuality had occurred, he and dances. He was a consummate tive vocal and Ory's mournfully muted
conceivably could have succeeded Joe showman, and always knew how to growls -but, this time, the mood is alte"King" Oliver as the regal personage.
please his audiences.
red by Bob McCracken's theatrical
Although his image was always
Apparently Ory felt that European coda.
dimmed by the shadow of Armstrong, fans in 1959 were sufficiently "Do You Know What It Means To Miss
Allen's prodigious contribution to our sophisticated to accept the original New Orleans?" was introduced in 1947
music still shines very brightly. His tour ribald lyrics to "I Wish I Could Shimmy in the film "New Orleans" in which Ory
with Kid Ory in 1959 provided European Like My Sister Kate". During the many appeared with Louis Armstrong, Barney
fans with a rare opportunity to hear the years I knew him, to my knowledge, he Bigard, Charlie Beal, Red Callender,
two New Orleans giants merging their never sang this shocking version in the Bud Scott, and Zutty Singleton. It
considerable talents. On every tune, Red U.S. He often told me that the true title became a standard segment of his
Allen's sparkling inventiveness, his trills was "Keep Off Katie's Head". Ory programs for the balance of his career.
glissan-dos, and genuine eloquence claimed that Louis Armstrong wrote it It is extremely fortunate that Storyville's
corroborate a lofty position among the in New Orleans and sold the song to microphones, by capturing these treasurevered icons of traditional jazz.
Clarence Williams for 25 dollars. In red sounds, have preserved several
Clarinetist Bob McCracken, possibly 1922, when Williams and his partner wonderful moments of jazz history.
being heard for the first time, was one of A.J.Piron published "Sister Kate" with Now, 39 years later, we can share the
jazz's many unsung heros. He emerged revised title and lyrics, Piron was excitement generated on that Winter
from the same Texas roots as Jack credited as composer.
evening at Copenhagen's KB.Hallen.
Teagarden and recorded with the great
The timeless solos Kid Ory created on
=======================================================================================
Kid Ory & Red Allen In Berlin—Jazz Crusade Sets # 1 & 2 JCCD-3125 + JCCD-3126 Notes by Big Bill Bissonnette
Colin Bray is a good friend of mine: a Kid Ory. She had an original concert know of the session.
very Good friend. It was because of him tape of her father and Red Allen recorNow I record "contemporary" New
that we were able to produce our exciting ded professionally and exclusively for Orleans jazz on my Jazz Crusade label
JCCD-3032 Wilbur DeParis In Canada the Kid as part of his European tour and I am a trombone player. So when
album. He also supplied me with the agreement in 1959. The concert was someone says the magic words "Kid
original tapes for our two volume set of recorded in Berlin to a huge and Ory" to me, my eyes light up. Add to
Lee Collins radio masters and the tape enthusiastic audience. She approached that the fact that Red Allen was a friend
for the 1956 Louis Armstrong Basin Colin to see if he might be interested in of mine and occasionally played with
Street radio air-shots. So when Colin purchasing the rights to the concert for my Easy Riders Jazz Band back in the
calls with "something you might be his Jazz Oracle record label. The price 1960s, and you can see the temptation to
interested in," I listen. This time he was a little steep for Colin and his produce
this
session
became
really outdid himself.
label's pervue lie in re-issuing obscure overwhelming for me.
It seems someone gave his name to bands from the 1920s. So, friend that he
I called Babette and introduced myself.
Babette Ory, daughter of the legendary is, he promptly called me and let me To my delight I found her to be an extre-
- 77a - Addenda
mely intelligent and friendly woman. Our sure thou-sands of photos were taken. audience "we're going to slow it down
first couple of conversations dwelled a And I do know lots of jazz fans around about 20 miles per hour!" But the musigreat deal on her dad of course because the globe so I sent out an SOS. But we cianship , or should I say "
he was one of the few truly great must remember this concert happened jazzmanship" here is phenomenal. Allen
jazzmen still alive during my era that I almost a half-century ago. But as good is playing hotter than a pistol and Ory is
was never to meet in person. And of luck would have it the help of people in at his growling, swaggering best. The
course I idoli-zed him above all other France, Germany and Sweden solved music is at a level as high as during the
trombone players save my mentor Big the problem with a couple of nice earlier Good Time Jazz days—which
Jim Robinson. I was delighted when photos of the two jazz legends. For their was not always the case with some of
Babette told me that Big Jim, in fact, help I'm grateful to Dan Vernette, Franz the later personnel. The sidemen do a
was her dad's favourite trombone player Hoffmann, Claes Ringqvist and Christer universally fine job and it s a treat to
hear Alton Redd back on drums again
and that he considered that great George Fellers.
The music you will hear on these two since the long earlier sessions he did
Lewis band of the 1950s to be his major
competition in the traditional jazz field. discs is very exciting stuff. The one back in the 1940s. As usual the band
Babette and I quickly reached slight drawback to jazz concert recor- had a nice mix of black and white
agreement for me to purchase the rights dings is that many jazzmen, Ory included musicians which proves a new that in
I suspect, are of the feeling that tempi jazz there are not now, and never have
to the Berlin concert.
Unfortunately Babette couldn't find should be faster for concert performan- been, racial barriers.
any photos of the Kid and Red together ces than they normally would when So welcome to Cold War Berlin at the
so I started a worldwide hunt for a playing a club or dance. And, therefore, height of tensions between East & West
couple to use on the covers of the two we have several numbers done here at just two years before the infamous wall
CDs. Of course thousands of jazz fans what Kid Thomas would refer to as went up. It went up to keep East Berlins
attended the European concerts "Horserace tempo." Ory even refers to from having the kind of fun you're
featuring this marvellous band and I'm this at one point when he tells the listening to right here!
---------------------------------------------------------------------------------------------------------------------------------------------ORY – ALLEN CONCERT – Red Allen inspiriert Ory ;
by Dieter Zimmerle , Jazz Podium 11-59:
Es begann mit Kid Ory, dem 73jährigen New Orleans – Kollegen, wie er auf seine Trommel einschlug - jedenfalls hat
Posaunisten, der Europa wieder einen Besuch abstattete. Er ihn außer Cedric Haywood niemand darauf aufmerksam
kam mit einer neuen Besetzung, bei der man mit einigem gemacht, daß der Gaul mit ihm durchgehe.
Erstaunen auch auf den Namen Henry Red Allen stieß. Ein Möglich, daß es bei anderen Konzerten besser war,
bedeutender Stilist der 30er Jahre hatte sich also mit einem möglich, daß der eine oder andere Musiker bei dieser oder
Repräsentanten des New Orleans-Jazz der 20er Jahre zusam- jener Veranstaltung nicht in der rechten Stimmung war, dafür
mengetan. Was war damit zu erwarten? Red Allen ist kein vielleicht am nächsten Tag über sich hinauswuchs - das ist bei
lead-Trompeter wie etwa Mutt Carey, .Teddy Buckner oder derartigen Gastspielreisen alles gegeben und zu bedenken.
Alvin Alcorn. Man kennt ihn als hervorragenden Chorus- Eines aber dürfte doch wohl sicher sein: ein persönliches
Bläser, weiß, welchen Glanz er der Trompetenstimme zu Zusammentreffen mit diesen alten, bewährten Musikanten
geben vermag, wird ihn aber von Haus aus nicht als prädes- wird für jeden echten Jazzfreund grundsätzlich ein Erlebnis
tinierten Stimmführer im Dreier-Bläserkollektiv traditioneller sein, für das er dankbar ist. Die Wertschätzung dem Jazz
Art ansprechen. Nun, er wurde in dieser Hinsicht in der Ory- gegenüber kann nicht Halt machen vor dem Menschen, aus
Band nicht sehr beansprucht, denn noch mehr als man es bei dem er kommt, mag dieser bei guter oder schlechter Laune
Kid Ory in den letzten Jahren schon erfahren hat, wurden die sein. Gerade daran, daß diese Musiker Stimmungen
solistischen Alleingänge in den Vordergrund getragen und das unterworfen sind, ihre Eigenheiten haben und sich fixen
traditionelle Kollektivspiel weitgehend reduziert. Tatsächlich Vorstellungen entziehen, sollte man spüren, daß ihre Musik
richtete sich das Interesse Allens auch merklich auf die eigene nicht durch die technisch noch so perfektionierte Aufnahme
Themenauslegung und dabei konnte er seine Trümpfe ihre letzte Erfüllung erfährt, sondern durch die Permanenz
ausspielen. Wenn er sich tonlich auch nicht gerade durch eines Lebensflusses, aus dem heraus sie täglich neu gespeist
absolute Treffsicherheit auszeichnet, so ließen seine oft recht wird und dessen Auf- und Niederwogen in Höhen und Tiefen
ausgefallenen und überraschenden Phrasierungen, seine Art ihrer Erscheinungsform entspricht. Wie oft wird über einen
der Tongebung sowie die Dynamik seines Spiels über diese Musiker der Stab gebrochen, weil er sich nicht als das
kleinen technischen Unsauberkeiten hinwegsehen.
Götzenbild vorstellt, das man sich von ihm aus Plattenrillen
Kid Ory schien sich durch die reizvollen Einfälle seines und
Wunschträumen
gezimmert
hat.
Welche
Kollegen auf der Trompete veranlaßt zu fühlen, seinerseits verschiedenartige Resonanz folgte auf die diversen Kid Ory nicht allzu üppig ins rauhe Glissando-Horn zu stoßen und er Konzerte! Vielleicht entsprach die eine oder andere dem
bemühte sich nicht ohne Erfolg um eine Anpassung an die persönlichen Eindruck, vielleicht keine. Es ist ein Glück —
Allen'sche Konzeption. Das konnte man als Gewinn buchen, so oder so. Für den Jazz und überhaupt. Kid Ory und
zumal sich audi Klarinettist Bob McCracken von der besten seinesgleichen aber sollen uns stets willkommen sein
Seite zeigte und sich eindrucksvoller
als seinerzeit bei Armstrong in diese
„Hard-Dixie"-Vorträge einschaltete.
So wäre trotz der verschiedenen
Herkunft dieser drei Bläser doch noch
das Moment der Einheitlichkeit in die
Musik gekommen, wenn nicht Schlagzeuger Alton Redd in dem Wahn befangen gewesen wäre, sich in einer Powerhouse-Band durchsetzen zu müssen. Er
trommelte aus seinem Schlagzeug, was
Felle und Becken hergaben und hatte
offensichtlich kein Verständnis dafür,
daß man von seinen Kollegen gern
mehr gehört hätte, als er zuließ. Dabei
war sein Großeinsatz in jeder Hinsicht
unnötig, zumal er zusammen mit dem
trefflich swin-genden Pianisten Cedric
Haywood und dem durchaus nicht freudlos marschierenden Baß von Squire
Gersh ohne Anstrengung die rechte
rhythmische Ergänzung für die ohnehin
swingenden Bläser hätte schaffen können..
.
Aber wer weiß: vielleicht gefiel es seinen
Kid Ory - Squire Gersh – Red Allen - Alton Redd - Bob McCracken (Cr.Fellers)
- 78 from the programme "Kid Ory In England" some words for the sidemen by James Asman (jazz-critic):
... Bob McCracken was born in Dallas, Texas. and began a tuba can be beard to very good effect. Now, with the Kid Ory
musical career during the 1920's while still in High School. He band and on string bass instead of the weightier tuba, he is
formed a part of the Louis Armstrong All-Stars in 1952 and well adapted for the rags. marches and stomps which form
toured Europe with the group. He has been featured on clarinet such a prominent feature of the group's repertoire.
with the Benny Goodman Orchestra and worked for a period Drummer Alton Redd is a veteran of the fine Crescent recorwith Jack Teagarden. This is his first professional visit to dings in 1945 when the Ory Creole Jazz Band swung more
magnificently than in any other session. Redd was born in
Britain.
Although the pianist, Cedric Haywood. played during his early Baton Rouge, was a childhood friend of Kid Ory. and is now
days with various groups on the West Coast, he has been acti- one of the greatest drummers in the New Orleans line-age.
vely concerned with Kid Ory's Creole Jazz Band for five years During the early 'forties he is reported to have made several
now. He acts as an unofficial librarian to the band. Remembe- "Race" records as a Blues singer under the pseudonym of "Big
ring all the band's repertoire and communicating this knowledge Red Alton", and, if this is so. his vocal contribution to this
to any newcomers. As the Ory band has rarely remained static tour should be particularly interesting.
The Kid Ory band. from those far-away days in Laplace when
for long, Haywood's position is an essential one.
Squire Gersh, who followed Arvell Shaw into the Armstrong Ory played a cigar-box banjo and led a crude "spasm"-styled
All-Stars and toured South America with them, is another group of enterprising kids to the present when. at the ripe old
musician with an interesting professional history. for he was a age of 72, he is still known as "Kid" Ory. is a vivid flashback
founder-member of the Lu Watters' Yerba Buena Jazz Band, in jazz history.
playing on tuba under his real name, Girsback. In such early As Louis Armstrong once sang of Ory in the film. "New
Watters recordings as Daddy Do, Hot House Rag. Temptation Orleans": "He plays trombone smears a laughin' note No
Rag and Cakewalkin' Babies From Home the Squire Girsback human being ever wrote. …."
------------------------------------------------------------------------------------------------------------------------------------------------------Keith Smith covernotes 1979 on Rarities-60: 11/9/59
in. Quite unaware that we were 'jazzers', Red turned,
Kid Ory and Red Allen are without doubt two of the very great introduced himself, and proceeded entertain us with some
names in jazz. It has always been a joy to me hearing their lovely stories.
beautiful tones and unpretentious music. The additional Several years later, while Red was with the Alex Welsh band
quality that stood them apart from others, however, was in Europe, we met again. At the same time I was in Europe
timing. Kid Ory was able to solo for chorus after chorus when with the "New Orleans All Stars" (Darnell Howard, Jimmy
he so cared - simply by bending the timing of the melody, this Archey, "Pops" Foster, Alton Purnell, "Cie" Frazier, Alvin
way and that, changing the tone colour constantly. He became Alcorn - Red's in-law and like Red, an ex-Kid Ory man, and
the best and also the best known "Tailgate" trombonist as well myself also on trumpet), and during that tour the two bands
as writing several numbers which are today jazz standards; did some concerts together. That was a ball! Red hadn't seen
Muskrat Ramble, Savoy Blues, Ory's Creole Trombone. His most of those guys in that All Star band for years, so these
life in music made him a wealthy man, a comparatively rare concerts were wetter than any army reunion party! During the
thing in the jazz world. During the 1960's I got to know him night too - it didn't stop. With a crate of their favourite brew
well when I was living in California I used to visit him at his on board, "Newcastle Brown Ale', the coach drove off, and
"movie star" home close to Los Angeles, and found him to be within no time the tales were f lowing freely, Red in top form.
a kind and gentle man always. By the way, the tune Muskrat Red learnt that, after that tour, I was coming to the States to
Ramble started its life as Muscat Ramble named after the live, and, on arrival he took me under his wing, chauffering
rambling Muscat grapevines.
me from joint to joint in his proudest possession - his always
A young musician friend of mine who idolised Ory and sought new Cadillac. You'd be riding round, feeling good, with your
the great man's wisdom, plucked up enough courage to ask arm leaning out of the window and taking in the sights, when
"Mr. Ory, have you some advice for a young guy starting out suddenly the windows, powered by some demon hydraulic
as a trombone player", "Sure," said Kid Ory, "Make as much device, shot up - leaving your arm jammed looking like a
money as you can!"
chicken leg! Red would then sing, mischieviously too late,
I first met 'Enery' as Henry Red Allen affectionately became "Mind your arm, my man!"
known, in London when he was touring with Kid Ory's band, He was always the centre of attraction wherever he went. His
some twenty years ago.
personality seemed so powerful - like his horn. When he
So there we were, Pete Dyer and myself, standing in a pub could, he hustled jobs for me, and I adored him.
having a few pints (before going on to one of the Ory band As a musician? Well, apart from Louis, he's the greatest
concerts in town), amidst a mixed herd of street market traders trumpet player to have emerged from New Orleans. Others
reading their damp newspapers and counting up the day's had, and have things going for them. Some were pretty and
takings. Then, 'Enery' Red Allen burst in on the dismal scene - had a good tone, others an incredible drive. Many were
strutting up to the bar, calling upon the barman in true English wonderful blues players while others possessed great range
fashion, "A pint of that bitter beer, my man". After sinking his and technique. Red had all those qualities and more - a
happy face into the glass for a first 'taste', he expressed complete musician, a knock-out singer, incredibly versatile
satisfaction to all around, who appeared stun-ned by the being at home on stage with Kid Ory or Coleman Hawkins,
entrance of this foreigner by exclaiming "Yeah, nice, nice!" George Lewis or Pee Wee Russell, Victoria Spivey or Billie
Stunned was not the word for our reaction. We stood, open- Holiday.
His exuberant personality
mouthed, totally amazed at this entrance, and even more always comes to life in front of the public: - Red Allen was a
amazed that this 'idol' of ours had chosen the me pub to drink
beautiful person - His music remains beautiful.
---------------------------------------------------------------------------------------------------------------------------------------------------------JACK FLORIN in MANCHESTER EVENING NEWS 26th October, 1959.
Veterans all,, the musicians of Kid Ory's many ripe and low-down notes - musical even if the intervening years have
Creole Jazz Band played with. such vulgarities. But his ensemble playing somewhat dimmed his power and
sprightly enthusiasm and obvious enjoy- was superb and he is still the undisputed imagination he is still capable of playing
wonderfully inspired jazz.
ment that in reviewing their con-cert last master of tailgate style.
Saturday one doesn't need to let the usual Clarinetist Bob McCracken, although Not least amongst the delights of a show
sentiment for the pathetic parading of the fluent, relaxed and easy on the ear, is that gave us a lot of nostalgic jazz was
worn-out talent of old-timers temper clearly not at home with a 'trad' band the excellent presentation of the band
with neatly contrived endings to every
such as this one.
one's criticism.
Of course, there were shortcomings in So, of the front-line musicians it was left tune. In a rip-roaring finale, Ory led his
the ideas, technique and general musi- to trumpeter Henry 'Red' Allen to musicians into "Muskrat Ramble" and
provide the fireworks. Here was a superb marched cock-a-hoop around the stage.
cianship of these legendary jazzmen.
Scattered through Ory's solos. which showman and a gifted player. In his
were lacking in inventiveness, were heyday, he was one of the jazz greats and
- 79 KID ORY in England - A Concert Report by Jack Cooke, in Jazz Monthly 12/59:
As time passes, the possibility of being able to see and hear natural showmanship which throws into relief his great
the musicians of New Orleans. who shaped jazz into the form technique and consummate mastery of the style of trumpet
we now recognise grows steadily less and less. George Lewis, playing evolved by the men of the swing era. At the opening
with what must now be the only surviving band playing in the concerts Allen was obviously making an effort to restrain his
New Orleans tradition, visited this country not long ago, and individuality to conform more nearly to Ory's ensemble style;
the latter half of October afforded us the chance of hearing at also the band seemed to be phrasing more on the beat in a
first-hand another musician from that early period of jazz, Kid possible effort to restrain Redd's erratic drumming. After a
Ory. Ory, however, did not attempt to bring with him a group fortnights touring, however, a considerable change was
drawn from the now-thin ranks of his New Orleans discernible. The ensembles had a much looser, even ragged
contemporaries, but assembled a band which contained several sound, in which it could be seen that Allen's timing and attack
different influences. Ory himself and drummer Alton Redd had become much more adventurous. This was the Red Allen
represented the oldest school of jazz musicians; two men were that one might expect from his Metropole reputation, using
largely products of the New Orleans revival of the 'forties, almost every device in the jazz trumpeter's repertoire to sustain
bassist Squire Gersh and clarinetist Bob McCracken; and the a performance that was overwhelming in its completeness. He
group was completed by two musicians who are identified was now the dominating voice in the group, his sweeping
with the post New Orleans period, pianist Cedric Haywood imagination taking him out of the confines of the strict New
and trumpeter Red Allen.
Orleans style, and his tremendous ability to swing freeing him
Due in part of these diverse influences, the band never seemed of the deadening force of the bass and drums. The single vocal
to possess a great deal of group feeling; a grave fault at any he took, on ST.JAMES INFIRMARY, was delivered wittily,
time, and one which can be disastrous in a band attempting the and with a garnishing of topicality.
New Orleans ensemble style. This lack of rapport was even The choice of programme presented by the band was taken
more marked at the end of the groups-tour than in earlier largely from the numbers associated with and expected of Ory;
concerts. The other factor which prevented any great cohesion such warhorses as MUSKRAT RAMBLE, PEORIA and
in the group was the great disparity in their musical abilities. MARYLAND, the last completed by a march around the
Ory and Allen are jazz musicians of such gigantic stature that stage. Ory sang on several numbers in an almost conthey inevitably overwhelm any but the very finest versational style, including BILL BAILEY and DO YOU
accompanists; but even they shows the results of different KNOW WHAT IT MEANS in a manner very reminiscent of
influences and environments when working together. Kid Ory Rabon Tarrant. Taken as a whole the performances, though by
plays in strict New Orleans ensemble style, and shows no means completely satisfactory, were in many ways
relatively little influence from any other source. This is a style enlightening.
which awes a certain amount of freedom to the music, yet The Terry Lightfoot band occupied the first part of the
keeps him within very strict almost formalised limits; though concert, playing in a manner which was shown by succeeding
he is constantly improvising he is dependent upon his front- events to be an utterly lifeless pastiche of New Orleans jazz.
line partners.
There is no more incongruous sight than that of six young men
It is probably due to this factor that many of the New Or-leans strung out in various Dukes of Dixielandish postures before
musicians sound today to be playing as well as ever despite the elaborate draperies of some middle-thirties super-cinema;
their advanced ages. Once grasped, this style of free yet inter- it seems high time that the politics of promoters or the tastes of
pendent improvisation can be constantly polished and audiences ceased to insist on the Roman spectacle of a totally
perfected almost without any reference to outside sources. Red inadequate group of musicians being fed to the lions at every
Allen is the product of a later tradition, on which arose as a performance
result of Louis Armstrong's developing talent and virtuosity.
Armstrong increased the importance of the trumpet in jazz,
jettisoning the strong yet relatively straight lead of the classic
New Orleans ensembles and broadening the style to bring the
trumpet part greater prominence, dominating rather than
merely leading the ensemble.
This was the position in which Ory and Allen found themselves; the ensemble had the traditional weighty trombone
part, and the outstanding trumpet lead of later days. In consequence the band had a very fiercy brassy sound which
rendered McCracken's clarinet almost inaudible at time.
However badly balanced the group was, both Ory and Allen
were continually interesting. The same, unfortunately, can
hardly be said for the rest of the group. McCracken and
Haywood are good musicians, yet side by side with Ory and
Red Allen they completely fail to sustain interest. Haywood is
disconcertingly eclectic in his playing; Waller, Hines and
stride piano following each other in startling profusion, whilst
McCracken's playing is reminiscent of no one more than Artie
Shaw. The basis,of the rhythm section, Gersh and Redd, is
unfortunately the weakest part of the group. Gersh, now
playing bass, was originally a tuba player with Lu Watters, a
band which never distinguished itself by its ability to swing.
Alton Redd is, like Ory, from the genuine New Orleans
school. His playing, however, is not possessed of the brilliance
and subtlety of drummers such as Baby Dodds and Minor
Hall. On both occasions on which I saw the band his
drumming was heavy and lumpy, and his timekeeping
unsteady. Gersh seems not the man to control Redd and, in
addition to swinging hardly at all, was content to follow
Redd´s vagaries of tempo at all times.
Despite all this the concerts cannot be dismissed lightly.
British audiences were given the the opportunity of hearing in
Ory one of the founders of the New Orleans style, and in Red
Allen one of the finest trumpeters to be found anywhere in the
world today. Allen's work throughout each programme I saw
was nothing short of magnificent. He has been for many years
a bandleader in his own right and has developed an easy,
- 80 HENRY ALLEN from New Orleans – Graham
For years there has been - in England at any rate - a sort of
underground movement in favour of Red Allen. The impact
made by the original Luis Russell recordings was so immense and so little supported by reissue in the post-war years - that it
left a sort of vacuum. The type of thing which makes people say
"Whatever became of so-and-so? Fortunately for some of us the
answer was not wholly obscure, and something of a • continuous
line had been obvious, linking the Allen of Feeling Drowsy
(1929). House In Harlem (1934). Truckin' (1935). Canal Street
Blues (1940). The Crawl (1946), and Algiers Bounce (1958).
But for some the alleged descent from the early glories was too
much and there has been something of an air of disinterest.
Thus, when one met a fellow Allen admirer, a spark was apt to
glow and a session of mutual exchanges would ensue.
Meeting Henry Allen in person gave a feeling of satisfaction
rather like that of the cafe conspirators who for years have
been deciding the fate of their far-off land. One day they wake
up and really find that Max is Minister of Culture, Ernest,
Director of Broadcasting, and John. Envoy Plenipotentiary to
Paris. In the case of Henry Allen in October 1959. it was a
pleasure to find him not only a delightful person – courteous,
amusing. and unfailingly dependable – but, as a musician,
worthy of the very greatest respect.
Even for those who thought they knew a little about it before,
his playing with the Kid On• band provided an insight into his
jazz career which no mere study of the records (though they run
from 1928 to the present day) can supply. For the traditionalist
too, here is a man who is genuinely a New Orleans pioneer, who
has never gone far from the real jazz, and whose roots go quite
as deep as any. So much so that when someone started to quote
to him names of men in a current New Orlens band he said at
once - almost impatiently
- "Yeah. yeah. yeah. I know 'em.
That's my home town you know."
Henry Allen is a big man. and that in more than a physical
sense. No natural beauty, he shows clearly beneath his present
hefty form the characteristics of the eager young man of twentyone whose big-lipped face looks out from the picture on the
record cover (7EG 8112 or 8136). In action on the stage he
shows that relaxed yet thrusting vigour, the New Orleans
hokum, and the handsome delight in his own good blowing
which is all part of the performances he has recorded under his
own name. He is a man who lives in a tradition. The name Henry Allen Junior - which he carried so long, was no mere
gesture but a sign of that constantly expressed respect for his
father and for his past. "I was one of the obedient guys." he says
speaking of his late teens when he had already made
a name.
That same family tradition carries on. "I love my son.- he said on
more than one occasion." and I guess my father loved me.
Henry Allen Senior was a foreman longshoreman and a wellknown part-time bandleader for many years (Allen's Brass
Band). His brother George Allen was
also a musician (he is the
seated drummer. labelled "unknown- in the book "Jazzmen- pp.
44/45). Many renowned New Orleans musicians played in
Allen's hand. Mrs. Juretta Allen still lives in Algiers (West New
Orleans) and her son visits her there each summer. It was on one
of these visits - in August, 1951 - that Red recorded the session
with George Lewis for Riverside which was issued here on
London HBU 1045. He recalls having to borrow a trumpet for
the occasion, but had not heard the record (not a very good one
in any case)
Henry James Allen grew up as one of the boys in Algiers
where he says everyone knew him as "Sonny" (later "Son").
Another nickname was "Biffly Bam" which got itself into a
well-known record title (for Victor; July. 1929). The name
"Red" comes from having a very light complexion in his
younger days and the fiery look he took on when blowing hard.
Dicky Wells gave him the name "Blondie" when they were
together in the Fletcher Henderson band and still uses it. Dicky
Wells looked in on him between shows with the Kid Or' hand at
Victoria. London on October 31. 1959. It was on this occasion
that he outlined his career in his own words, having filled in
much of the detail on several other occasions.
"I've been around a good while and I think I've played with
more musicians around New Orleans - or as many as anybody.
My father had a band - Allen's Brass Band - and he probably
with King Oliver because we know how that would have come
Boatfield in Jazz Journal Feb.1960
off - he was one used every outstanding musician around
there. In fact. you don't know if they're outstanding or not until
you've tried them out. but most of them turned out to he great."
(The trumpet players he particularly mentioned were Joe
Oliver, Buddy Petit. Punch Miller. Papa Celestin and Kid
Rena.) "And from the age of eight years on up I had the privilege of working with him somewhere - I don't mean I played the
same amount of value as they did but still I was there. I started
on the alto horn - what we called the peck horny in New
Orleans. When I was a very little boy I went with m father in
the parades - I was along all the way with him. My father
taught me on the peck horn and then I changed to trumpet.
" Yes, my father carried me when I was a small boy. because
the walk was long. Parades used to be a few miles. He would
carry me. and when the band got ready to play then he would
put me down and the band would stop on the different corners
and would play a little; maybe a number like What A Friend We
Have In Jesus or similar other numbers. Who was great in those
days? I was just along and didn't pay it no attention —I loved it.
I didn't have the least idea I would still be in this profession, for
my father and all the others had their jobs - longshoremen.
plasterers, slaters, cigar makers, painters. Sure. most ot the guys
had other trades - the music was mostly for kicks. They played
some of the jobs for benefits such as to get the uniforms for the
parades. You've seen some of the pictures which show the
leader with leaves around his hat.
" My father used three trumpets - himself. Oliver and Papa
Celestin. They were all powerful. You'll notice that most of
the guys from New Orleans have power because we walked on
rugged streets and played and thaty builds up your embouchure.
If you didn't have much power ou were nowhere - so most
guys who hadn't they gave it up. Carving contests? I'm glad I
never met of my idols and he had been a member of my
father's band. I had a carving contest once, with Kid Thomas.
He was a great player for power and I hear that he still is. He
came down to Algiers but it was kind of hard for Kid to win a
contest with me in Algiers because all my playmates that grew
up with me were there. Well. I won it but one of the policemen
came and took the prize from me, so I gave it back to Thomas.
Power in a trumpet player plays a big part - you can't tell how
anything is if you can't hear it."
At a suggestion that some of the early players were corny by
present-day standards. Allen snorted derisively. " There was
Chris Kelly. If you want to know about him he was just like
Cootie Williams, and you don't call him corny." To a question
about Guy Kelly (who recorded with Jimmie Noone and
Albert Ammons) because of a suggested similarity of styles he
said "Guy Kelly was one of those who was along with me "
(the same generation).
" Luis Russell came from Panama some years ago - during
my coming-up days. He was the outstanding pianist around
there - a great musician at reading and everything; he could
outread most of the guys around there and grew up quickly (in
reputation). He left New Orleans to join the King Oliver band.
I grew up in later years and joined King Oliver - he sent for me
in 1927. I was around 19 then, joined him in St. Louis and
went on to New York. I didn't stay long with the band - I
went back home, as they said in those days you had to be
twenty-one before you were on your own. I was one of the
obedient guys - I loved my parents.
" Later on - in a couple of years - Luis Russell formed his own
band (that was the old King Oliver band) and he sent for me
and I joined him. A man named Loran Watson brought me to
New York to record and I used the Luis Russell band since I
was a member. It was a real happy band and we created a lot
of things, I think. We didn't have any manager as other bands
did - we just played and got the jobs as Luis Russell found
them. All of us were around 21, 22, 23 years of age - Charlie
Holmes was younger than anyone in the band. he was around
19 or 20. We had a lot of fire. Everyone was sitting down
around New York and playing. We were standing up with a lot
of creative ideas. And you can notice in those skeleton
arrangements from way back that Luis Russell always loved
the trumpet. When I recorded and we were short of numbers
we just fixed them up - that's the ones we were co-writers on.
- 81 " It was the people over here (in Europe) that really kept us
alive in those days - anyway they bought the records and we
were able to make a living. Since then I can't say that I've done
badly in America because I've always been busy, but you can
notice that ifs sometimes a long while between recording
sessions. I've got no criticisms. They have all been fine to me in
America. But it was most exciting to me when I got here
because I was greeted so and not knowing that anybody knew
me. Many people have let me know that they knew about me."
Like most professional musicians, Allen was very reluctant to
express any opinion on other players, although he constantly
spoke with great respect of the men from the New Orleans past,
and showed a fondness for the men of his own age who had
"come up" and worked with him in the Russell hand and other
pre-war groups. Like many others, he showed some impatience
with any discussion about styles. In the Kid Ory band, he and
Cedric Haywood seemed to have something in common, and he
agreed when Haywood said " There is no such thing as style to a
musician. I play with all sorts of bands - Dixieland, modern,
rock 'n' roll". Allen's career would seem to bear this out, for he
has played in an astonishing variety of groups, and the difference between his playing at the Metropole in New York and on
stage with the Ory band was such as to amaze many listeners. At
times one had to listen a long while before hearing any trace of
what Leonard Feather calls his "mosquito-like tone".
Some musicians are completely indifferent about recordings.
once they have been made. Henry Allen has a considerable
memory and often Quoted complete personnels from more than
25 years ago, but neither he nor Haywood could recall the titles
they recorded in Hollywood with the Ory band recently. He has
apparently kept a fairly complete set of recordings over the
years, but by now many of these have passed on to his son
Henry, a New York City policeman who lives nearby and visits
his father often Apart from the Luis Russell sessions. he showed a
great liking for the Sidney Bechet 1941 recordings (issued here
on HMV) particularly Coal Black Shine and Egyptian Fantasy
(excellent record:: and well worthy of reissue).
Mention of the name Jellyroll in a tune title brought a
spontaneous
comment - "I liked Jelly." and some reminiscences. "
If Jelly Roll Morton said he had the biggest car in New York
who was I to doubt him? He had one about a block and a half
long! If he gsaid he had the biggest diamond in the world in his
tooth he mi ht have been right. It certainly was big! "
Henry Allen went so far as to pick out what he would consider
his own perfect band. Assuming his presence as leader. the rest
would be: J. C. Higginbotham. trombone. Buster Bailey. clarinet.
Coleman Hawkins, tenor. Claude Hopkins or Sam Price,
piano. Wellman Braud or Bennie Moten or Alfonso Skeets.
bass, Sonny Greer or J. C. Heard or Oliver Jackson or Rufus
"Speedy" Jones or Alphonse "Swinging" Steele drums. Allen
and Higginbotham have worked together much of the time
since they met in the Russell band in 1929. and he said they
are often booked together for jobs, in the same way that he and
Coleman Hawkins often go together.
A final word about Henry Allen's playing with the Ory band.
His role has been misinterpreted by some people. Who fail to
appreciate that he was the featured soloist, given prominent
billing and expected to projects his unique personality. In spite
of this, he was very much the bandsman. content to "do what
Ory say". Mr. Ory, as Allen said, was the boss and also earned
his respect as one of an older generation and as a colleague
and contemporary of Henry Allen Senior.
To most people Allen was the outstanding individual on the
stage. Apart from his showmanship - open-hearted and
effective - he displayed in full several of the great gifts which
have always marked his records. His control was absolute from one moment to the next his full-toned trumpet would
throttle down to a throaty confidential mutter. His tonal control is such that he appears to have little need for a mute. and
had not brought one with him. " I love the open horn." he said
There is no doubt at all that he was the best rhythm man in
the whole band - a great and conspicuous change always came
over the group when the trumpet started to speak. This rhythmic dexterity has always been a feature of his playing.
Unfortunately his singing was not featured much - in the six
shows I saw. St. James infirmary - humorously complete with
gestures and local reference - was the only one he did. On the
records his vocal work has its own appealing charm examples include Who Stale The Lock, Sweet Sue, Rosetta,
Truckin', I Found A Dream, Dinah Lou, Get The Mop, and
Kiss The Baby. as well as the classic Patrol Wagon Blues.
We were glad to have Henry Allen. and I know that many of
the jazz-minded would be very happy to see him back again.
perhaps with his own group He was admired just as much, if
not more, as a man rather than a musician. He has his own
special warmth. He left behind him in England many friends
and two special trademarks. "Wamp wamp" is the strange
barking cry with which he leads his band into a noisy number it can he heard clearly at the start of The Crawl or Get The
Mop. His usual greeting is rather more restrained—just "Hey
ma man". We shall he delighted to hear him say it again.
------------------------------------------------------------------------------------------------------------------------------------
J.J. 2-1960:
Henry Red Allen – Kid Ory – Bob McCracken
Red Allen and Gene Ramey, at Airways Manions
Hotel, London, 11/59 courtesy Valerie Wilmer
- 82 "KID ORY & CO"
Tony Standish Jazz Journal Dec.1959:
I first heard Kid Ory's Creole Jazz Band notes. In the ensembles be seemed aware
in San Francisco, in January, 1955. I he of what was going on behind, staying
band at that time included Alvin Alcorn, close to the beat and leaving plenty of
Phil Gomez, Don Ewell, Minor Hall and space for Ory to do his stuff. Wisely, he
Wellman Braud, and I used to think it was waited for his solos to display to the full
the last really good band Ory would ever those unique and unpredictable turns of
have. Right up till the first choruses at the phrase we have come to expect of him. In
first London concert, I still thought so. this respect he has much in common with
There were names in the touring band that the reckless Kid Howard of the early
I mistrusted. And I figured that Ory 'forties, He also showed a penchant for
himself must surely be too old; it was all light and shade, and often cut his solos
of five years since I'd heard him, and a clown to a taut whisper, growling
man's just not supposed to play the throatily through his horn, just off mike.
trombone when he's past seventy. But I Only on a few occasions did he become a
was mistaken. The visiting hand proved to trifle careless, a bit sloppy in his choice of
be one of the finest I have ever heard.
notes; and we did not find it too difficult
The music they played at the five to overlook bad habits that must be
concerts I attended reaffirmed my expected of one who has worked at the
conviction that there is no jazz sound to Metropole for many years. This goes, too,
equal the ensemble one of a New Orleans for the showmanship that offended a few
hand. In all respects it is a more profound fragile souls. A stance like an opening
music, more exciting and more refreshing batsman should hardly embarrass a good
to the spirit than anything that has Englishman, and if playing a couple of
followed. In the bands of New Orleans notes with one hand is in poor taste then
musicians, and a few who have learned there are a few modern pianists whose
well from them, it assumes an added work needs reassessing. Red's showmansignificance - an intangible identity that, ship was inoffensive, even funny. He just
for all we are told by disenchanted critics, looked as if he might he enjoying himself,
has little to do with romantic yearnings for which he was. 1k liked it here - "I figured
far away places with strange sounding I was just about finished, but the way you
names - not for brothels and B-girls in people talk about me I'm good for another
dirty underwear. It is a thing about the four hundred years." And he didn't have to
music - about the way it is played - in the conic down to play with Ory. He is proud,
inflection or tone, the treatment of the as they all are, of his New Orleans
beat, the timing, the feeling of rightness background, and will talk fondly of the
(It's Tight Like This, It's Ton Tight, It's early days, of his father, and Chris Kelly,
Tight, Jim) in both ensemble and solo. and . . . " Why, I remember the time I first
There is an emotional immediacy coupled heard Kid Punch, out at a place called
with a careless melodic and rhythmic Raceland. I was only a youngster then."
complexity, both of which defy mere Red is content to he returning to the
technical analysis. Ory's band had all Metropole, with Buster Bailey, Higgy,
these qualities. Perhaps not to the extent Speedy Jones and Sammy Price, but we
that the band with Mutt and Buster, or the hops that Norman Granz will let him
later group with Alvin and Ewell did, but make more recordings with Ory. It is
it had them. My suspicions melted away always good and often rewarding to see
like late snow. I had a ball.
the New Orleans men together again, and
In the first place, I lost all my long-held with Punch and Lee Collins out of action
reservations about Henry ("If you're in Red is one of the last trumpet players
Algiers just ask for 'Son' ") Allen. Red capable of doing justice to the Ory brand
had never seemed the ideal horn for a of jazz - one of the remaining greats from
New Orleans ensemble. I had always been a tradition that produced many. Judged by
willing to acknowledge him as a fine, his performances in London, Allen is one
inventive trumpet player - one of the best, of the hottest horn men in jazz today, and
on his day, and particularly good on blues possibly the most inventive. And I feel I
and ballads - but could never understand can add that he's one of the most considewhy, with his background, he lacked the rate and kindly men I have ever met.
ability to play a simple New Orleans lead. The Kid from New Orleans, Ory that
On a couple of occasions, with Paul is, needs no assessing. He was, is, and
Banks and with Jelly, he had come close always will he among the greatest jazz
to it, but only after hearing him with Ory trombonists. A slim, dapper man, looking
did I realise that he knows and, given the like a Polynesian elder and moving with a
opportunity, can put it into practice. Creole sweep and elegance, his trombone
Maybe Ory helped (remember Andrew playing has the earthy sound of a backBlakeney and Teddy Buckner?) but country blues singer - evidence of the
whether he did or not, Red always unique background that New Orleans
sounded perfectly logical in what was a gave her musicians. A comparison of
consistently well-integrated front line. He Ory's early recordings with his playing
led with assurance, with the melody kept today shows that he has modified his
well under control. His tone seemed style, yet in changing he has lost little. He
thinner than it does on his records, and not has merely turned the tables on time by
quite as brazen. The notes are hit clear forging out of the limitations imposed by
and hard, and the sound is sizzling hot, the passing years a new and more
the vibrato varying from fast most of the elementary style that is equally effective
time to non-existent on some of the high in the ensembles and just as expressive in
solo. His phrases, mostly good ones tested
by time, are immaculately positioned to
achieve ultimate effectiveness, filling out
the ensembles melodically, rhythmically
and tonally. His vocals, like his playing,
have a whacky rasp, the epitome of the
term "knocked-out". A lightly swinging
job on Bill Bailey and a half-spoken
version of that sentimental but nevertheless aching song, Do You Know What It
Means to bliss New Orleans, punctuated
with expressive movements of the hands,
were particularly memorable.
I don't think anyone expected too mutch
of Bob McCracken: he was just "some
character who was with Louis for a
while." I had dreaded a watery voice, a
sort of fourth-rate Goodman who would
twitter meaninglessly in the ensembles,
climbing all over the trumpet parts. I
apologise. Bob is from Texas, a state
which seems to instil into its musicians a
sympathy with the blues - Jack Teagarden
and Herb Ellis, for instance. He belongs
to an elite of excellent but unsensational
white clarinettists, of whom Rod Cless,
Don Murray, Pee Wee Russell and Mezz
Mezzrow are but four. Lookine the true
Texas, lean and tall, a Wally Fawkes
come upon hard times, Bob was quiet
but effective in the ensembles and on the
blue; he moved like George Lewis, with
a tone-. that contained some of the dusty
dryness of his home state.
The front line was supported by a
rhythm section that would have missed a
guitar badly had it not been for the triphammer drumming of Alton Redd, from
Baton Rouge. Louisiana. Alton has been
accused of lacking imagination, but I
suspect he was merely doing as Ory said.
The Kid knows what is necessary and
what is superfluous. Redd's rhythm-andblues off-beat was effective in 1944, when
he propelled Get Our Of Here to a roaring
climax, and it was equally effective in
1959. He guided the band and at the same
time held them together, which as about
as much as can be asked of any drummer.
But, naturally, we'd have preferred Zutty.
Alton also shouted mean vocals on Basin
Street and Careless Love. He has a
compelling, back-country voice, and
should make some more records like
those he did for Black & White and
Beltone in the 'forties.
Alongside Alton. who might have
doubled for either Baby Dodds or King
Oliver. Squire Gush looked positively
cherubic. He has come a long way since
the Dawn Club days with Lu Watters not
a bad bass player, but I can think of one or
two others who might have done a better
job. Gene Ramey, for instance, might
have been held over to advantage.
Finally Cedric Hayward, who remains
in the memory as a small, dark figure
hunched over the keyboard, long fingers
stabbing out sombre sound clusters on St.
James Infirmary and Aunt Hagar's Blues.
He is an all-style pianist, a Texas swing
man who appears to have found a
permanent niche in the West Coast trad
scene. He will never replace
- 82a - Addenda
young. Perhaps jazz will not be dead
now running to catch up. The tensions
Buster Wilson as an ensemble pianist.
when the last of the veterans has retired,
were breathtaking. Listening to such
but he plays the piano with both hands,
but for some of us, educated on the
music it was easy to understand why
considerable imagination, and a minisounds of folk jazz, the pinnacle will
the revival crusade began, and why
mum of showmanship.
have been reached: the golden age will
those whose jazz appreciation began
The group sound that these men
have passed and all that will remain is
during the revival have found it difficult
achieved was whole and wholesome the style, the memory, and a few thouto accept other forms of jazz which
Ory's skidding, deep-throated commas,
sand wonderful recordings. We'll know
cannot boast those qualities that first
McCracken's wispy -warmth, Red's flat
what it means to miss New Orleans.
aroused their interest.
trajectory notes cutting under and
In the meantime, let us hope that Ory
Today there are less than a dozen
across and through, and beneath it all the
and his friends will continue, on and
groups in the U.S.A. who can make this
heavy, pounding rhythm. In the final
on, to demonstrate the values of truth
sort of noise. Inevitably this number is
choruses they displayed control and
uncluttered by intellectual pretension.
going to dwindle from now on, as the
rapport, and in the whispering passages,
Let us hope that they are, indeed, "good
long years of blowing and scuffling
way down low, they swung
for another four hundred years."
catch up with men who are no longer
tremendously, now behind the beat,
======================================================================================
EXTRABLADET Fredag, Oct. 9. 1959
Tekst: Lone Agersted - Foto: Sperling
Basin street Blues leveres med hele hjertet af
Bob McCracken, Kid Ory, Henry Red Allen og Squire Gersh
UNGDOMMEN ÖVERGAV SIG TIL DET ALDRENDE KID ÖRY-BAND
I KB HALLEN I AFTES
Han er en af de gamle. Men han er en af begejstrede publikum han slog los og
fandt, deres hjerter paa sit tromdem, der bedst forstaas af ungdommen.
Kid Orys koncerter i KB Hallen i gaar var meskind. Bassisten og pianisten slap fra
dundrende sukceser. Det var piftende, tram- koncerten uden at efterlade storre
pende, bragende ungdom, der overwaerede indtryk.
dem. Men desvaerre var der for mange
tomme pladser, - alt for mange.
Kid Ory og hans creoler jazzband forstod
den svaere kunst at fremkalde stemning. Og
de forstod den endnu store kunst at bevare den.
73-aarige Kid Ory forstod tilsyneladen-de
ogsaa at hygge om sine folk. Og sammen fik
de stemningen til at syde og bruse. Og med
mellemrum til at boble og spilkoge.
Det var ufortalsket New Orleans, der blev
serveret. Det var som om 30erne slet ikke
var forbi. Som om der endnu ikke var blevet
brug for det superraffi-nerede, det
ultramodern, det lidt mindre fattelige. Man
behover ikke at vaere gourmet for at kunne
forstaa Kid Ory.
Og der var fin forstaaelse mellem ham og
publikum. Musikerne var i god form og de
spillede for en lydhor skare, som ikke lod sig
gaa paa af den omstaendi-ghed, at
ensemblespillet kunne naerme sig det
kaotiske. Eller at det til tider var som om, de
enkelte musikere var lidt desorienterede med
hensyn til, hvem der skulle folge med hvem.
Ungdommelig begejstring
Henry Red Allen var vital og i maegtigt
humor paa sin trumpet. Og saa er han vist
orkestrets storste personlighed. Han eg
leddet mellem New Orleans og swing.
Ogsaa hans bandfaeller udfoldede al deres
aldrende ener-gi, og det blev til larm – og
larmende sukces.
Alton Redd havde nogle forbavsende trommesoloer. Det var som om det var paa det
Der er lidt vemodigt ved et gense - og here
en musik, der faktisk ikkeer til mere vemodigtfordi den er saa rigtig og saa
oprindelig. Maaske lidt, traettende, men paa
den anden side ogsaa opkvik-kende, fordi
der ikke er noget at tage fejl af. Kid Ory er
aldeles ukompliceret.
Hons og New Orleans
Selv begyndte han sin karrière paa en
hjemmelávet cigaraeskebanjo, men fik i en
alder af 10 aar en rigtig banjo af sin far,
hvilket animerede ham til tre aar senere at
danne sit forste orkester. Og saa gik det slag
i slag. I mange aar var hans orkester det
bedste i New Orleans. Mange af de store
har spillet hos ham, bl. A. King Oliver og
Louis Armstrong, der forsvrigt havde sit
forste professionelle engagement med Ory.
I 1933 syntes tiden ikke mere at have brug
for New Orleans. Kid Ory trak sig tilbage til
en hensefarm I Californien.
Men saa kom 1943 med den traditi-onelle
jazz´ renaessance, og aaret efter blev Kid
Ory engageret af Orson Welles til at samle
et aegte New Orleans band.
Og ingen var i tvivl om, at Kid var
kommet tilbage. Kun faa var i tvivl om
vaerdien af hans come back.
Nu har Norman Granz og Richard
Stangerup faaet dette stykke auten-tisk New
Orleans til Kobenhavn, Den 9, 10 og 11.
oktober spiller han i Odense, Aarhus og
Aalborg. Og som den kuriositet han er, bar
han spille for fulde huse.
Veteran i form
Efter an koncert med Kid Ory´s
veteran-orkaster i Folkoner Centest
gik tredivernes store trompetnavn
Red Allen paa natclub, hvar yar i
dodre form end til koncerten og
vakte berydelig starre begejstring
- 82b - Addenda
Red Allen felplacerad i gubbjazzen
Av Arne Domnérus
Oct.1959
DEN 73-ÅRIGE levande legenden,
trombonisten Kid Ory, och den av honom
anförda lilla grupp som i går afton gästade
vårt Konserthus visade sig vara en samling
veteraner med New Orleans-jazz på repertoaren och en myckenhet av gemyt i scenframträdandet.
RENT MUSIKALISKT hände väl inga
stordåd, snarare fick man en känsla av s. k.
rutinspel. Naturligtvis fullt stilenligt men
ganska andefattigt. Den på pappret mest
intressante trumpetaren Henry "Red" Allen
gav åtminstone denne anmälare intryck av
att vara felplacerad.
Allen torde säkerligen komma bättre till
sin rätt i en liten swinggrupp, exempelvis
tillsammans med gamla skivpartnern
Coleman Hawkins plus några rytmgubbar.
Samarbetet med Ory gav aldrig något av
det vi förut genom flerfaldiga inspelningar
(unfortunately more of this text was cut)
=============================unknown source Oct.59 out of Red Allen´s
scrapbook as several othe articles
Keith Keller: Meningen med musik
Endnu har jeg lidit af varmen i
kroppen, varmen ved glæden over at
have truffet en gammel ven, varmen ved
de gamle minders genopblussen. Jeg
haaber. De var en af de alt for faa, der
ogsaa var til stede derude i aftes - i det
koldeste af kolde steder, i K. B. Hallen,
da der blev fyret op i de glade erindringers kamin.
Maaske er De under de tredive, og saa
husker De vel slet ikke trompetisten og
sangeren Henry "Red" Allen, der sang
After Last Night With You med sit eget
ensemble og blæste paa livet los i Ride,
Red,Ride med Mills Blue Rhythm Band.
Men saa ung er De vel i hvert fald ikke,
at De ikke husker dage, hvor den kolde K.
B. Hal blev röd glödende, glöder paa
tilhörernes kinder, blister paa hælene at at
trampe, snurren i læberne af pift, musikalsk
ild paa tribunen. Saaden har det ikke været
længe. Saadan blev det i gaar aftes, og det
var navnlig Red Allens skyld.
Det var basunisten Kid Ory's til Europaturneen sammensatte orkester, der spillede.
Man havde ventet sig det værste. New
Orleans-musik paa koncerttribuner serveres
efterhaaden kun af N.O.riginaler, undveget
fra deres alderdomshjem, eller af unge
europeiske eftersnakkere, der aldrig har
lært at tale. Kid Ory er langt fra ung, han er
heller ikke synderlig original - spiller en
solid basunstemme - men han og hans folk
præsterede det bedste, der længe er hört
paa Peter Bangsvej.
Ensemblet spillede med inspiration og
aldeles uden foragt for et repetoire, der er
kommet til verden för orkestrets yngste
medlem. Men heller ikke med overdreven
respekt. Det kan stadig bygges söde ny
husepaa de gamle harmonier, og anvendt
rigtigt gaar klunker nu aldrig helt af mode.
Ory, der har sin 5-aarige datter
Barbara med sig paa rejsen, men
overlod pasningen af henne til den
belgiske nurse Lia van Leeuwen, har
ogsaa sund sans nok til at overlade den
indre ledelse af sit orkester til den
forholdsmæssigt meget yngre kraft, Red
Allen. Dette forliger nok Allen, der kun
har afbrudt sit fem aar lange engagement som sit eget bands boss i New
Yorks navnkundige Café Metropole, for
at faa denne Europarejse med, men
stillingen som menig musiker.
Det var i aftes Allen, der skubbede, drev,
piskede og paa sin egen lidt voldsamme
façon charmerede orkestret frem til den
helt ideale stemningspræstaton. Det var paa
den anden side Allen alene, der skabte
musik af den lidt större indsigt i meningen
med musik.
Bob McCracken, hvis sprog stadig er
præget af forældrenes skotske hjemland,
slog triller paa sin klarinet og undgik for
det meste at slaa over i polka. Cedric
Haywwod brugte diskanten af sit flygel til
at fylde könt ud i fællesimprovisationernes
aabninger. Squire Gersh bassede bravt, og
Alton Redd ved trommerne havde heldigvis
en aflaaset dör bag sig, ellers var han helt
löbet sin vej med tempoet i sin almindelige
fryd over foretagendet.
Numrene paa programmet var
selvfölgelig Muskrat Ramble, Tin Roof
Blues, Careless Love, High Society og
Bill Bailey, Won't You Plese Get Back
In Your Own Back Yard. Det ikke spor
selvfölgelige var, at vi denne gang ikke
hörte dem med fortrolighedens foragt,
men med genhörets fulde glæde.
10/5 Stockholm & 10/6 similar Göteborg
- 82c - Addenda
at the left-cover
Red Allen & Ray Nance, at Airways Manions
(UK) His Master´sVoice
Hotel, London, Nov.1959 c.Valerie Wilmer
----------------------------------------------------------------------------------------------------------------------------------------------------------------THIS WORLD OF JAZZ Max Jones, Melody Maker 11/7/1959 p11
Ray Nance here
THESE have been active days at Airways
Mansions, in the West End, where U.S.
jazzmen often reside.
On Friday last, while calling on Messrs.
Wells, Tate, Ramey and Lovelle (of the
Buck Clayton band ), I ran into the unexpected persons of George Duvivier and
Ray Nance. … (shortened)
Clayton, too, has finished his European
tour and is now at Airways. Buddy Tate.
Dicky Wells and Herbie Lovelle enjoyed
themselves here until Sunday, then
caught an evening plane to New York.
Bassist Gene Ramey, who says he
"went crazy and bought up Cecil Gee's
stock," stayed a day longer before
making for Paris.
Blondie
When Dicky Wells heard that his old
friend Henry Allen - who used to be
known as "Red" or "Blondie" in the
Fletcher Henderson band - was in Town,
he made straight for Oxford Street and
Allen's hotel.
He went up and knocked, without
results; so he wrote a note and pushed it
under Red's door.
Allen returned from his walk and was
shaving when the maid came in, picked
up the paper and said: "There's a note
here for you, Mr. Allen."
The trumpeter, with five minutes in
which to catch the band bus, asked her:
"What's it say?" She opened the note:
"Hey, Blondie," she read. "Why the don't you stay home?"
"Here give me that," Red demanded,
"That sounds like a friend of mine."
Afterwards he told me: "I damn near
cut my throat when she read it out."
Trombones for two
Next day, the two former Henderson
and Spike Hughes brassmen got
together when Wells visited London's
New Victoria theatre.
"I went to see Ory's band," said Dicky
Wells. " Man, they did knock me out. I
hung out with Allen and got together
with Ory. Red and I even had some
photos made together."
One of the photographs (adorns this page.
Ory completed his British engagement
at Hammersmith on Sunday, with a
two-band march around the stage on
"Maryland."
Terry Lightfoot presented Ory and
company with silver tankards, and Red
Allen thanked everybody for the warm
reception he had been given.
I think that if Allen has his way, we
shall see him back here before 1960 is out.
Famous U.S. trombonist Dicky Wells,
heading home from the Continent, split
his journey in London last week-end and
saw Kid Ory (see Trombones for Two)
-------------------------------------------------(photos Red Allen with Ray Nance on
p-82a / with Gene Ramey on p81,)
- 83d - Addenda
MELODY MAKER-10/17/59p11
Honestly, I Feel Honoured says
Red Allen - This World of Jazz
by Max Jones
IT is not every day I meet a hero of
my youth, so it was with uncommon
pleasure that I said "Hallo" to Henry
Allen on Monday.
Allen and the rest of Ory's bandsmen
came into London by air—two days
ahead of the trombonist, who travelled
from Denmark by sea with his family.
In my young collecting days, arguments about rival schools of jazz were
endless. But everyone who admired
the Negro bands at all conceded that
Henry Allen Jr. was a trumpet player
in the grandest manner.
Legend
Today, at 51, Henry "Red" Allen
must be considered a living legend.
But he looked a remarkably vigorous
one as he strode about the West End
on Monday evening, trying the British
beer at the " Downbeat " and " Blue
Posts," and the music of Acker Bilk at
the Jazzshows Club.
Allen, a large and amiable man, is
manifestly pleased to be here, and
delighted with everyone he meets.
"This is my first time in England,
though I nearly got here, 25 years ago
when Jack Hylton brought Coleman
Hawkins across. I'm surely enjoying
it" he said. "I didn't realise so many
people would know me, though I
receive letters from several people on
this side.
"It seems that all over Europe they
take to jazz like a kind of religion.
Youngsters have come up with books
full of old pictures of me that I don't
have myself. And they know pretty
well all the records I've made.
"Honestly, I feel honoured. In Vienna,
the other week, I was entering Fatty
George's club and the first thing that
caught my eye was a big picture of my
father. Henry Allen Sr. That was kicks.
Spike Hughes
"Then, in Berlin, I picked up an album
of the records I made with Spike Hughes
in 1933. You know, I never heard
those since the day they were made.
"I believe Hughes was the first to
feature two tenors like that - playing
behind each other - and to record flute
solos."
At New York's Metropole, where he
has led a band since 1954, Red Allen
works some six hours nightly -roughly
45 minutes on, 45 minutes off.
"It's not so long if you like it," he
says with conviction. "Now one hour
can be awful long if you don't enjoy
playing. I do.
"In all my time at the Metropole I´ve
been out twice, a month last year and
a month in June. I went to see my,
mother in West New Orleans—
Algiers, they used to call it, now it's all
New Orleans. My father, he passed in
1952. I spent a fine time with my
mother, though. She's 75, -looks so
sweet.
" A few months ago, Norman Granz
flew me out to Hollywood on my day
off from the Metropole. I left at 9.45
in the morning, was recording with
Kid Ory by 3 o'clock, and in the air
again by 11.30 that night. It was my
first experience of the jet."
Long Playing
The resultant LP, played by substantially the line-up that is here, is the first
recording to team Allen and Ory, though
Red said, he once worked with Ory for
a short time in King Oliver´s band.
Among the titles are "In The Mood,"
"Honeysuckle Rose," "Ain´t Misbehavin´,"
"Sister
Kate"
and
"Tishomingo," and the combination of
Allen´s trumpet, Ory´s trombone and
McCracken´s clarinet is rich and
satisfying.
Encouraging
BROWNIE McGHEE Sonny Terry,
who left London on Tuesday at the
end of their second British tour, gave
an encouraging start to the Jazzshows
Jazz Club's new blues policy.
Business was good for their three- ----------------------------------------day appearance (Saturday to Monday
last) and the pair were very much on
form. …
Red Allen (centre) meets Brownie
McGhee (l) and Sonny Terry at the
Jazzshows Jazz Club, London
=======================
unknown English source
Jazz man Ory gives the legend life JAZZ SHOW - PLACE : Gaumont,
Kilburn. Express Music Reporter
ONE of the veterans of New
Orleans jazz opened his first British
tour at the week-end. During the next
two weeks, trombonist Edward Ory—
still known as Kid Ory despite his 72
years—is taking his six-man Creole
jazz band to more than a dozen cities.
To jazz enthusiasts he has long been
a living legend. Slim, sprightly, with a
leathery terrier face creased by a wide
grin, his roots go back to the nursery
of jazz itself.
His first appearance in the Gaumont
Cinema, Kilburn, on Saturday night
gave a glimpse of the past which had
his audience in a rising crescendo of
excitement. In all fairness. much of the band's
impact was due to the lively trumpeting of bulky Henry "Red" Allen-a
comparative youngster of 56. …
=======================
Shoppers in London's famous Oxford
Street were given a preview of Kid
Ory's British tour on Tuesday when
New Orleans trumpeter Red Allen was
persuaded to blow a chorus for the
MM. (It is not recorded what the
Happy Wanderers had to say on the
subject.) Ory himself arrived on
Wednesday and the rest of the group
on Tuesday following its Continental
tour. The band opens at Cambridge
tonight (Friday) -see pages 2 and d 3.
Melody Maker 10/17/59 p1
=======================
Melody Maker 10/24/59p8
What readers think about Kid Ory
WHEN I attended the Ory concert I
was expecting some good traditional
jazz - and he came right up to expectations. The thrill and excitement of
having seen and heard him still possess
me. Red Allen was terrific! He has
always been a big jazz name, yet we
hear very little of him from the BBC.
=======================
- 82e - Addenda
MELODY MAKER; 10/24/59p9
MAX JONES REPORTS – Red
Allen shines in Ory Band
UNTIL I saw Kid Ory's band at London's Gaumont State last Saturday, I
had almost forgotten how alive and
enjoyable New Orleans jazz could be.
Ory's appearance was long overdue.
Had he been presented even eight years
ago, I expect half the audience would
have dissolved into tears of joy at the
sight of him. As it was, the loudspeaker
announce-ment, followed by the disorganised strains of "Original Dixieland
One-Step," released waves of applause
and emo-tion, in both of which I shared.
The opening was rugged. I began to feel
worried. But Red Allen's intense tone and
behind-the-beat phrasing arrested the
attention. And the actual sound of the
front-line,
authentically
expressive,
excited the ears, despite flaws in the
blending. A quiet, very rhythmic chorus
gave promise of pleasures to come.
"I Wish I Was In Peoria" brought improvements, including an unorthodox
solo from Allen and ripe, "singing" trombone from an unexpectedly agile Ory.
By this time, at least two things were
clear. First, Red Allen was a pillar of
strength; and, second. the drummer was
socking out a loud, unvarying rhythm
which tended to drown softer instruments.
solos, employing a style somewhere
between Goodman and the Bob Crosby
clarinettists, and discerning - almost
discreet - in collective passages.
SOBER LEAD
But he doesn't, I feel, completely fill the
role of New Orleans ensemble player,
and I missed the soaring, swee-ping clarinet of countless Ory finales of the past.
Allen, it is true, is not the sober lead
man of Crescent City theory. He is highly
individual; but he adapts himself
admirably to Ory's methods, and when
he breaks out he offers more, and not
less, than traditional requirements.
Kid Ory, blowing what he has blown
for years, is still a tailgate master. His
presentation gave us pure jazz, a lot of
nostalgia, some powerful stageman-ship,
and three singers.
I wouldn't have asked for more than
that, myself. But we were given more. A
short first half was capably filled by
Terry Lightfoot's six-piece band.
SECOND SHOW
For the second concert, Ory obligingly
changed and improved his programme,
which increased the atmosphere of
spontaneity already created at the first.
"Basin Street," "Do What Ory Say,"
"High Society" and "Aunt Hagar's
Blues" were among the successes.
The band played better than before,
and Red Allen's talent and showmanship again made him the hero of the
event.
Long may Red ride!
ALTON REDD - singing drummer
SQUIRE GERSH - Ory's bassist
--------------------------------------------CRISP PIANO
And so it continued. "Careless Love"
showed that Cedric Haywood played
crisp piano, that Alton Redd was a singing drummer, and that the band could
establish real rapport when it " held back
" in time-honoured Ory fashions.
Ory's " Bill Bailey " vocal jumped as it
does on the record, and his "Savoy Blues"
solo - much the same as 32 years ago
with the Hot Five - was punched out with
the finesse of a shipyard riveter. He also
managed some very rude notes on "St.
James' Infirmary." "Savoy," " Tin Roof "
and "St. James' (which last Allen sang in
a vibrant and humorous manner) were
very impres-sive in the more noncha-lant
band moments and during Allen's original
trumpet excursions. "Muskrat" and
"Maryland" didn't come off unscathed,
and drummer Redd accelerated in "
Wolverine."
During the first concert I much preferred the slow and medium tunes, since at
speed the ensemble work sounds uncertain and the drumming grew louder. In
particular, I delighted in the "whispering "
stuff, the sudden contrasts, the element of
surprise which Red Allen imparted to the
oldest flagwavers, and the across-the-beat
quality achieved in the best contrapuntal choruses.
Bob McCracken is fluent enough in
The band can create real rapport when
it "holds back" in tome-honoured Ory
===========================
unknown source & date
JAZZ - Bone Idol by Benny Green
TERE is something decidedly ungallant
about criticising the playing of a trombonist when he happens to be seventy-twoyears old. When he happens also to be
the New Orleans hero Edward "Kid" Ory,
the critic's position becomes almost untenable. Like Achilles, Ory is only halfhuman, the rest of him being genuine
god whom the audience at his London
debut at the Gaumont State, Kilburn,
last weekend, propiti-ated without the
slightest regard for the possible existence of any clay feet. (shortened)
ORY'S chief support on this tour
comes from Henry " Red " Allen, a
trumpeter who used at one time to play
second to Armstrong. Allen deve-loped
technically and imaginatively far beyond
the point at which Ory came to rest, and
in bis prime was one of the great jazz
artists. Evidently he still retains something of his old power. even though the
clarity of conception has naturally faded
somewhat in the course of twenty-five
years. Every so often at Kilburn, Allen
would brace himself and produce a
single note, clear and loud, with a
genuine rich jazz resonance, a rare plum
from the past, as it were. He Would hold
the note, and then tear the trumpet from
his mouth, swing round and invite
applause like a weightlifter who has just
broken the world record.
Whether the impossible acoustics of
the Gaumont State were too much for
me, or whether Ory's drummer. Alton
Redd, was really as bad as he sounded is
a delicate point, but the effect was one
of Redd striking his cymbal with his
stick at one point in time, and the rest of
the group acting on the assump-tion that
the heat was occurring at quite another.
The result was a kind of rhythmic tugof-war which Ory and Allen blandly
ignored. (shortened)
=======================
MELODY MAKER. 11/7/59p4
KID ORY exposes the revivalists
By Humphrey Lyttelton
Traditionalists have been exulting in
the presence of Ki Ory's Creole Jazz
Band - and quite rightly, too. It is unlikely
that shall ever hear such convincing and
exciting example of "survivalist" New
Orleans jazz. Despite the presence of a
piano (Ory has never been a banjo man),
the group evoked a more authentic
outdoor. streetparade atmos-phere than
any revivalist group I ever heard.
To sit in one of great Gaumont edifices,
and hear the music echoing around the
walls, occasionally changing completely
in quality as the most mobile front-line in
jazz history swung into range of a microphone, was like being suddenly plunged
into the swirling excitement of a carnival.
Never was the fruitlessness of revivalism
more starkly revealed.
New Orleans
For beneath the more obvious New
Orleans allusions - the marching up and
down, the hokum, the nostalgia - one was
strongly aware of mysterious, intan-gible
elements, of attitudes, emotions, and
atmosphere inherent in a way of life
vividly recalled by veterans like Ory and
Allen but far beyond the reach of the
most diligent revivalist's. ( shortened
words about Ory´s former clarinettists).
Bizarre
It can, I think, be taken for granted by
all those who know what New Orleans
jazz is about, that Kid Ory is the best
trombonist in the idiom that has ever
lived. But Ory is more than that.
Next week, I want to talk about the
somewhat bizarre combination of Ory
and Red Allen. (this article is missing)
There is no doubt from the general
reaction to the Ory concerts that Allen
made a very strong impression. Those
who have heard him at the Metropole in
New York, and who were at the last
concert in Hammersmith. are probably
still gasping at the incredible contrast. It
can be confidently predicted that in the
next MM International Poll, Allen will be
highly placed - having not been
mentioned at all in recent years!
Did Allen dominate the Ory band.
putting the leader in the shade? Or did
Ory act as a kind of Svengali? ******
- 83 Dicky Wells -who saw Red in UK-1959- In a letter to Steve Voce 11/15/6a
...THE GANG CAME BY WIVES AND ALL WE WENT TO CATCH RED
THEY KNOCKED US OUT SOME CUTE BAND I REALLY DIG THAT
DIXIE AS I SAID BEFORE IF ITS GOOD REGARDLESS OF WHAT KIND
OF MUSIC IT IS I DIG IT BECAUSE THERES A PLACE IN LIFE FOR IT.
RED ALLEN AND KID ORY AND THE MEMBERS OF THE NEW
'CREOLE' BAND; Jazz News 10/9/59p7
FOR the second time this year brilliant trombonist but he has
a giant of jazz from New Orleans always played correctly and with
is bringing his band to this coun- confidence.
try. Kid Ory, now seventy-three
Bricklaying
years old and recently released He is not a brilliant soloist and
from hospital, begins his first has never aspired to the heights
British tour in seven days time.
of virtuosity. His nature is too
Ory's post-war fame dates from quiet and dignified for that. He RED ALLEN is a New Orleans
a period during the early jazz contents himself by playing a man born and bred. His family
revival when actor Orson Wells near perfect ensemble trombone, were brass band men from way been where Louis is today. Allen
gathered together under Ory's taking a raucous but simple solo back. Had Louis Armstrong not joined the Ory group just for this
name a group of jazz pioneers whenever the mood moves him. become the 'King' of jazz during tour - he is more normally found
at the Metropole cafe in New
from the early days. The group, Instead of starving during the the 30's Allen might well have
York where the management
first formed for broadcasts, stay- depression years he saw the
take advantage of his fame
ed together and was the forerun- writing on the wail and retired to
ner of the 'Creole Band' that we run a chicken farm.
will be hearing. In the post-war Since the days of the Orson
groups were trumpeters Mutt Wells broadcasts Ory has toured
Carey and Teddy Buckner. clari- the world with his band and has
nettists Darnell Howard, Jimmy opened his own club in San FranNoone, Wade Whaley and cisco. The present Creole band
Albert Nicholas, guitarist Bud is a far cry from the "Sunshine
Scott, drummer Minor Hall and Orchestra" and the "Brownskin
Zutty Singleton, pianists Alton Babies", nevertheless it is playPurnell and Don Ewell and bas- ing a traditional jazz which over Kid Ory received a musical welcome to Liverpool Street Station
sist Ed. Garland. The present the years has become identified in London last week. Seen here providing the music are
band contains …
with its leader, and has become trombonists: unknown, Phil Rhodes, Mac Duncan and Terry
The outstanding thing about a. model for the younger genera- Lightford, partially visible is trumpet man Alan Elsdon.
Ory s life is that it has not been tion to follow.
spectacular.
Henry Allen
He stayed with Louis until 1940 times slightly raucous. Recent
He is not a self confessed brag- Henry "Red" Allen is perhaps and since that (late has played in recordings have shown that
gart and "wide boy" like Jelly the only member of the band and around New York, mostly at although age may weary it does
not dim the style of a true master.
Roll Morton. nor is he technical- besides Ory, who has a true New the Metropole Cafe,
Bob McCracken
ly poor but worshipped like Orleans background,
Allen has often been labelled as
Bob McCracken was horn in
George Lewis, Ory is a quiet Born in 1908 he played in the an Armstrong imitator. His enviworking man who enjoys play- Excelsior Brass Band, with ronment has been similar to Louis' Texas. He joined Jack Teagaring jazz.. If domestic troubles Marable, King Oliver and Luis and he has played with many of den in the Doc Ross band in
kept him at home then he was Russell. In 1933 he joined the the same leaders. His technique 1924 and during the 30's played
quite contented to work as a Fletcher Henderson band lea- is good, his tone clean and majes- with Trumbauer, Venuti. Bud
bricklayer. Ory has never been a ving to join Armstrong in 1937. tic, his style attacking and some- Freeman and Jimmy McPartland.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------Tailgate jazz in best tradition Jazz News 10/23/59p8 Patrick Richards
All eyes on this tour are obvi- for everyone to move around.
IF there is one thing that British Bob McCracken stopped playing
It seems probable that this will
ously on Ory and he holds the
jazz audiences cannot be accused to get back into the proper key.
There was less ensemble limelight well, although he did be the first and last tour of
of, that is xenophobia.
The audience at the first Kid playing than I had expected and look tired by the end of the Britain by the Kid and I strongly
Ory concert at the Gaumont the accent lay heavily on solos concert and the impression was urge you not to miss the show.
State, Kilburn. were cheering winch was fortunate as the given that one more /number Apart from the excellent jazz
that the band play, the entertainthe band before they had played soloists were in excellent form. might be too much for him.
ment and showmanship content
their first notes.
Ory played all the obvious (but
Rousing
The applause was really a right) solos, exiting with an
It is in the slower blues that he is very high and may even please
moving tribute to a great legend isolated single note at the shines, muted and open, whereas people who have no predilection
- the personificatior, of the tail- conclusion of each chorus.
Red Allen is better on the up- for traditional jazz.
A word also about the Terry
He is master in the ensembles. tempo tunes, where his crowd
gate trombone, the man who took
the first coloured jazz band into placing his notes judiciously and rousing style is particularly Lightfoot band which shares the
bill with Ory. Entertainment is
a recording studio in 1921, the refusing to dominate.
effective.
man whose life spans the whole
_Red Allen, a surprise choice
Outstanding numbers were the their object and they achieve it
of jazz history, a seventy-three to many. blows well with a fier- lovely 'Careless Love', 'Tin Roof admirably.
This band will succeed because
years young legend - Kid Ory.
ceness that opens up the usual Blues', and 'St. James Infirmary'
traditional sound and spurs the in which Ory's growing horn the leader is determined to succeed.
Technical
Their programme was balanconveyed a sombre atmosphere.
Technical faults the band may other soloists to greater effort.
Bob McCracken has a fine The dynamics in these numbers ced and thoughtful and the musihave had but for sheer enthusiasm and spirit this band cannot conception of his place in the are an object lesson in how to cians are all good showmen.
ensembles and his playing is play the New Orleans style with- Solo honours must go to Alan
bettered.
Elsdon with Jerry Lightfoot not
The deficiencies I will dispose particularly attractive for his low out trying to blow the roof off.
The band also played 'Savoy far behind.
of first because they in no way register solos.
Eighteen-year-old Jimmy Gardetract from the entertainment
Cedric Heywood on piano Blues', 'Bill Bailey', 'Muskrat
value of the band's performance. played capably as did Squire Ramble', 'Do What Ory Said', forth was featured on an interesThe drumming was unbelievably Gersh, when the effect of his and requests from the audience. ting drum solo and should do
For fans who have heard recent well once he has mastered his
stodgy and unvaried and the bass was not being nullified by
Ory bands on record. this group tendency to drag the beat.
band appeared to have some the heavy handed drumming.
The band played well above
difficulties over which keys they
The band generate a happy will be no disappointment - an
were playing in.
sound and they show a genuine excellent band. strong in soloists their club standard and had the
At one point in 'Maryland' the delight when the audience and with the ensembles freely audience on their side from the
swinging and loose with room start.
front line with the exception of applaud their efforts.
- 84 HENRY “RED” ALLEN - The happy musician from New Orleans by John Martin in Jazz News 11/6/59p9:
HENRY ALLEN Jnr. - Henry Allen Snr. play at the Metropole. And I generally Red was persuaded to go on stage by
- Red Allen, sat back jacketless in his chair sit in with Wilbur DeParis in NewYork." Wally Fawkes.
and talked about the many records that he At the Metropole Red has been He did not have his horn with him but
has made in the course of his long career. resident on and off for thepast eight he sang three numbers with style and
"Yeah, I guess I've been known by all of years and if he plays there the way he voice that would'have done credit to
Rushing.
those names on my records at one tune or has been playing on the Ory tour, then Jimmy
another and maybe a few more, too" he I predict that he will be resident at that -------------------------------------------------Within sound of ..
said. "Red is a real friendly person who venue for many years to come.
RONNIE SCOTT'S Club opened in
loves to laugh and enjoys talking. Facts -----------------------------------------------London last week. What this club lacks in
Jazz
News
11/6/59p12:
Quieter?
and dates are no problem for him." …
ALLEN arrived at the Marquee area it will obviously make up for in
Red picked up his trumpet which was RED
club not altogether unexpectedly on quality of groups and atmosphere.
lying across a chair. "It's a King,' he said, his
two nights off and practically bodily On the opening date musicians far out"but I don't know what make the mouth- carried
me into the adjoining pub. I had numbered the Press which is how it
piece is. A guy just asked if he could make two beers
down my throat before I had should be. Ellington virtuoso Ray
me one so I said go ahead. It's probably fully recovered
(as had just about Nance, just completed a European tour,
the same as the one I had. It suits me."
everyone
else
in
sight).
came by dropped in to meet old friends and all
He blew air through the instrument air to Britain and he toldRed
the
assemb- Ronnie's past musica1 associates were
without producing a sound.
why. "Listen. When 1 was a kid I there-Tubby Hayes, Terry Shannon, Bill
"No. I never play scales ... gave them up lage
had to cross the river to my school in le Sage, Benny Green and Harry Klein years ago. " "This is all I do now … makes New
Orleans. When I started work, I were among the many.
my embouchure more flexible.
had
to
cross the river every day. When Ronnie has been contemplating a club of
This is my first time out of the States and I worked
with Fate Marable I was on his own for some time. Re deserves
I'm enjoying it all the way. I like playing the riverboats.
I've seen enough water success. I think he will find It.
with Ory. It's no so different from what we to last me the rest
of my life."
--------------------------------------------------------------------------------------------------------------------------------------------------------------------THE KID ORY CREOLE JAZZ BAND – JAZZ – VAN
Rhythm Dec.1959p14
– GISTEREN
Een tegen veler verwachtingen
in redelijk gevulde Concertgebouwzaal werd zaterdagnacht 7
november j.l. overspoeld met
enthousieste, ongekompliceerde
New Orleans Jazz.
Het was Kid Ory wat de klok
sloeg en geassisteerd door trompettist Red Allen, klarinettist Bob
McCracken, pia-nist Cedric Haywood, bassist Squire Gersh en
drummer Alton Redd demonstreerde deze 'eeuwig-jonge', bijna 73jarige jazzveteraan een welhaast
overrompelende vitaliteit.
ROUTINE
Natuurlijk was het gehele
programma getint door een
nauwelijks verholen routine, die
het
als-maar-weer-afdra-aien
van 'vergeelde' classics uiteraard
met zich meebrengt.
En, er waren nog wel meer
bedenkingen, zoals drummer
Alton Redd, die zich de gehele
avond onderscheidde door een
konstant doorgevoerd wood-
blocritme, zó ongenadig hard
en voluminous, dat 'papa' Ory
hem soms tot minder luidruchtigheit moest manen. Zijn
breaks waren van een stereotiepe eentonigheid, om van
swing maar niet te reppen!
Bob MacCracken zagen we
jaren geleden reeds bij Armstrong. We kunnen ons nauwelijks aan de indruk onttrekken, dat hij voor Ory's
muzikale gedachtensfeer wat
té 'glad' is. Alhoewel zuiver
intonerend, ontbrak het hem
aan het ware vuur, de grillige,
juichende fantasie van de
New Orleans klarinet.
BEPROEFDE SUKSESSEN
Red Allen was beslist de man
met de meeste 'power', een
bruisende lead, vooral in Carelesslove. Ory zelf was nog
altijd de 'tailgate-master' bij
uitstek, waarbij hij voluit
beter uit de voeten kwam, dan
wanneer hij met plunger werkte.
Ory's repertoire bestond, zoals
trouwens bij de meeste oude stijlsessions, uit vertrouwde, beproefde suksessen. Via de Original
Dixieland Onestep, Basin Street, Wolverine- en Tin Roof Blues,
naar de 'marching-parades'-ophet-podium met Maryland, High
Society en de geestige Allenvocal in St. James Infirmary.
MEER
FOLKLORE
DAN
MUZIEK Dit was meer folklore
dan muziek. Het riep visioenen
CONCERT KID ORY and his Creole Jazz Band starring:
Henry „Red" Allen (1959) VERVE MGV 3001
Das Phänomen Kid Ory besuchte unser gutes, altes Europa jetzt zum
zweiten Mal, und dürfte nun allgemein als einer der Großen des
traditionellen Ja« entdeckt worden sein, - größer, echter, vitaler und
überzeugender als die meisten schwerverdienenden Stars der RevivalScene. Phänomen ist das einzige Wort, mit dem ich einen Musiker zu
belegen weiß, der die Posaune ,erfand' (wie Hawkins das Tenorsaxophon), sein Format über eine Berufskarriere von co. 60 Jahren
bewahrte, und heute als 73jähriger souveräner, flüssiger und
stwingender spielt, als je zuvor. Erwies er sich bisher vor allem als
meisterlicher Ensembleleiter, der seinen Gruppen stets jene dichte,
heitere Spielatmosphäre der Kreolen verlieh, die er als einziger in
dieser Form bewahrt zu haben scheint, so zeigt er sich mit seiner neuen
Band nun plötzlich auch als überlegener Chorus-Spieler in einem
gelockerten, mehr zur Solistik tendierenden Combo-Stil. Die erste der
vorliegenden Bands (1945, kurz nach seiner Entdeckung durch Orson
Welles) enthält Bud Scott g und Mutt Carey tp, älteste New OrleansVeteranen, die Ory genau ihrer Art und ihrem Können entsprechend
einsetzte, Naivität mit Charme vermischend - das Ergebnis war eine der
beglückendsten Revival-Bands, die es gegeben hat. Auch die Band, mit
der Ory das erste Mal Europa besuchte, war auf gleichem Rezept
aufgebaut -stilechte, aber nicht überragende Solistik, die ganz aus dem
Rahmen lebte, den Ory ihr gab, - lebendiges, vielleicht darf man sagen:
liebevolles Kollektivmusizieren, das einen Charme ausstrahlte, wie
man ihn bis dato bei uns noch nicht erlebt hatte. Keine Interpretationen
von New Orleans Musik, sondern New Orleans Musik schlechthin.
op aan voorbije dagen, met een
aparte, lokale kleur. En romantiek,
gelardeerd ook met weemoed en
droefgeestigheid. De nuchterheid
gebiedt ons te bedenken, dat dit
'past time' is, doch in feite was en
is het deze jazz, deze pijler,
waarop de huidige modernen zich
grondvesten.
Er was niemand, die zei dat hij het
'mooi' vond, dit konsert. Maar wel
was iedereen tevreden.
RUD NIEMANS
O.Hudtwalker in Jazz Podium 11/59:
Die letzte Platte, die soeben zu Ory's zweiter Europatournee
erschien (das Platten-Cover korrespondiert graphisch mit dem
Plakat und dem Programmheft - einmal wieder ein Novum zur
künstlerischen Bereicherung der internationalen Jazz-Scene
aus der Werkstatt Michel-Kieser-Lippmann!), präsentiert die
neue Ory-Band, wie wir sie erlebten. Man hatte sich vorher
gefragt, wie Ory wohl den _"wilden" Henry Allen, den letzten
Trompeten-König aus New Orleans (King Oliver holte ihn
1928 aus der Jazzwiege nach New York) und stilistisches
Zwischenstück von Armstrong zu Eldridge, in das Konzept
seiner Band einpassen würde. Und war überrascht, mit
welchem Geschmack und welcher Intelligenz Ory dieses
Konzept für Allen soweit gelockert hatte, daß Allen's
bravouröse Solistik Platz fand, ohne daß der Charme des
Kollektivspiels á la Ory verloren ging. Das Ergebnis war eine
Ory-Band, die nicht nur spannungs-reicher, sondern auch
vitaler und swingender als die vorangegangenen war. Man
hätte sich an Stelle des durchaus achtbaren McCracken wohl
nur noch den kürzlich unerwartet verstorbenen Omer Simeon
als Klarinettisten wünschen mögen, um eine vollendete
Traumband zu erleben. Daß auch Ory neben dem „jungen" Allen (51) solistisch stärker hervortrat und, obgleich die Welt
von seinen Klischees lebt, völlig unklischiert wirkende,
frische Chorusse von klassischem Format spielt, gehört zum
‚Phänomen' und beweist, daß der 73jährige Ory seinen
Vornamen Kid zurecht beibehalten hat. Lang Live The Kid!
- 85 David Griffiths for a UK-newspaper 1959: KID ORY'S CONCERT AT THE, VICTORIA CINEMA
On October 31st., I went to New Victoria Cinema, to see
and hear Kid Ory's Creole Jazz Band. For the first thirty five
minutes of the show the audience were warmed up to the
music of Terry Lightfoot's Jazzmen, This is about the best
group Terry has led, with Alan Elsdon on trumpet being a
stand-out member. On drums is an eighteen year old boy,
by the name of Jimmy Garforth, he played a drum solo
lasting about five minutes which pleased most of the
audience. Completing the Group are Terry's brother Paddy
Lightfoot on banjo, Phil Rhodes on trombone, Vic Barton
on bass and of course as most of you know, Terry on
clarinet. I am afraid that it was a great pity that this Group
had to play on the same bill as the Kid Ory Band, for
immediately Ory's Band came on, the shortcomings of the
Lightfoot Band were revealed.
Following the Lightfoot Band we had a short inter-val
and then on came the Kid Ory Creole Band. We were very
lucky in the fact that all the members of the band were on
their best form. Reports f'rom other concerts complained
of the noisy drumming, but at this concert the mikes had
been placed just right. The first three numbers played were
quite good, but then they continued with "Careless Love"
and from then on the Band played brilliantly. In particular,
Henry Red Allen, his solos I thought were magnificent
and I regard him as the most underrated trumpeter ever. I
have seen many American trumpet players over here, but
never have I been so much impressed as I was by Red
Allen's playing
Kid Ory, well everything has been said about him, how at
72 he can still play so great is just one of those mysteries.
Bob McCracken on clarinet also had one of his good nights
and played excellently. The rhythm section of Cedric
Hayward (Pno), Squire Gersh (Bass) and Alton Redd
(Drums) really swung. Cedric Hayward's playing was
really good, I had never heard him before and he certainly
surprised me with his playing. Alton Redd's vocal effords
brought forth some well deserved applause. The highlight
of the evening was when the Band played “Maryland, My
Maryland”.It opened with Ory leading the introduction, then
came Red Allen's trumpet call and they swung into the
chorus with the whole of the front line of Ory, Allen and
McCracken marching around the Stage. This number
Ory-Allen at the Free Trade Hall, Manchester 1959
received so much applause that the Band replied with an
Allen is also a singerof some repute, and particularly shines
encore. This time, just the trumpet call and straight into
Focus, March 1964p3
the chorus, as they marched again Squire Gersh came
forward with his Bass and stumbled along after them. Other
outstanding numbers were “Bill Bailey”, “Muskrat Ramble”
(with Kid Ory singing) and “St.James Infirmary (with Red
Allen doing the vocal). Truly a memorable evening and the
best jazz concert I have ever attended yet. There will
shortly be issued a L,P. by H.M.V., on which most of this
Band may be heard, if it is anything like the concert I saw,
it will be really worth getting. I only hope we will hear
Red Allen over here again perhaps with a group from the
Metropole
and Kid Ory can come back anytime he likes.
---------------------------------------------------------------------Zürich-concert 5/11/59:“Red Allen Special” by Johnny
Simmen, Le Point Du Jazz
1976– look page-76a:
out of Red Allen´s scrapbook
RED ALLEN is a New Orleans
man born and bred. His family were
brass band men from way back. Had
Louis Armstrong not become the
'King' of jazz during the 30's Allen
might well have been where Louis
is today. Allen joined the Ory group
just for this tour - he is more
normally found at the Metropole
cafe in New York where the
management take advantage of his
fame Jazz News 10/9/59p7
- 85a -
9/27 Köln, same photo-advert was used for 9/25 Munich
11/9/59 Basel – Liederhalle
.
courtesy Christer Fellers & his kidory.com
85b
10/6/59 Göteborg
10/6/59 Göteborg
10/19/59 Birmingham
10/8/59 Copenhagen
10/15 until 11/1 UK-tour
10/15 until 11/1 UK-tour
10/17/59 Gaumont
10/22/59 Leicester
10/23/59 Brighton-afternoon 10/23/59 Brighton-evening
10/8/59 Copenhagen..
10/27/59 Bradford
10/24/59 Manchester
11/13/59 Copenhagen
10/23/59 Brighton -advert
- 86a THE NATIONAL FOTO-NEWS, Toledo-2, Ohio, Sat., 10/17/59
AVALUABLE LIGHT CANDIDS OF TWO GREATS
Speedie Jones and the pops of New Orleans, Blues Henry
Red Allen! Mr. Allen went to a great expense to have Speedie
Jones shipped up from his home in Florida. Mr. Jones was a
sensation in the U.S. Army Band. 'Red' heard about him,
caught his fine percussion and coordination on the beat and
hired him at once for his Broadway All Star Band. Now
Speedie is a top bracket man getting more pay than any
Ammer in the Metro-pole due tohis drawing power over the
many fans, who come to watch and hear Speedie with his
speed licks on the sticks.
pic by Jerome Lee
Three Kings Of The Drum World … Often you can see many
all star attractions bigger than the Met at Jazz palace the Metropole, NYC...Here is Cozy Cole, Buddy Rich and J.C. Heard,
often a sensation as names for all star billing at many all star
Jazz events. They have come to the Metropole to dig the tremendous maneuvers of 'Speedie' Jones, the new sensation of
Broadway montaged in this picture. Tho Speed got Lionel
Hampton crazy with his fast drumming, Speed is a feature
with the Henry 'Red' Allen Band. Most of the world's greatest
drummer men have been treking to the Metropole to dig this
little man's perfect precussionality. Benny Goodman, Stan
Kenton, Perez Prado and Louis Armstrong have been watching
this little man of the pig-skins to try to bid high for his services.
Autor Visits Copper Rail … left to right: Assistant for Author
Langston Hughes, who was a guest at the NAACP convention
here in New York visiting an old friend of his, the smiling
gent in the center, Sammy Price, Jr., New Orleans and Paris
piano man, now the rhythm with Henry Red Allen. Sammy is
one of Langston Hughes´ favorite characters used in many of
his popular books
DRUM STARS MAKING FAME … Speedie Jones, the newest
sensation to break up all sessions now with the famed All Star
Henry 'Red' Allen band at Metropole Care, a saloon on Seventh
Ave. and 48th St., NYC where they blast out Dixieland music.
'Speed', has the most wonderful hands and precussion rhythm
with these golden paws, that patrons and passersby when they
hear these machine-gun blasts of the Man-Jones, flock in to
see what's happening in this double decked beer parlor. Here's
Cozy Cole, who has made several hit records top one "Topsy"
that was No. 1 position on the Juke Boxes for a long time. This
little man of the fast and furious beating of the pig-skin is a
big favorite with Cozy, "Who wants to steal him away for an
extra attraction on his one night stands throughout the country.
==============================================-
- 86b 59/11/26, NYC., Hotel Astor on Times Square, personnel: Irvin Markowitz; Jack Honywill, Joe Shepley, Ike Iacometta (t) Ben
Long (tb) Stan Rubin (cl,ld,v) Bob Wilber (cl,ts) Bill Cooper (ts) Danny Derasmo (lead-as) Vinnie Riccitelli (as) Kenny
Arzberger (bars) Marty Napoleon (p) Mel Rose (b) Gary Chester (d) Harry Sheppard (vib) Jack Lewis (producer);
added in big band: Wild Bill Davison, Pee Wee Erwin, Max Kaminsky (t) J.C. Higginbotham (tb) only on two sides: Pee
Wee Russell, Tony Parenti (cl)
all on JCH-CD-12b
01 5;35 HINDUSTAN (Harold Weeks-Oliver G. Wallace) big band feat. Higgy., W.B.Davison, P.W.Russell, Tony Parenti JCH-CD-12
02 4:57 BEALE STREET BLUES (W. C. Handy) -big band
JCH-CD-12
03
04
05
06
07
08
09
4:17
2:51
4:04
5:01
3:03
3:12
2:50
TIGER RAG (ODJB) –feat. Stan Rubin Sextet
HIGH SOCIETY (C. Williams-A. J. Piron) feat. Bob Wilbur & Stan Rubin
SLIPPED DISC (Benny Goodman) –Stan Rubin Sextet w.H.Sheppard
LIMEHOUSE BLUES (Braham-Furber)-big band incl. P.W.Russell & Tony Parenti / P.W.Erwin out
8-.9-10 (I'll Never Get Mad Again) -vStR (Stan Rubin)
SWEET GEORGIA BROWN (Casey-Bernie-Pinkand) -big band
IVY JAZZ BAND BALL (Stan Rubin-Bill Yensky-Sam Denng)
JCH-CD-12
JCH-CD-12
STAN RUBIN PLAYS THE IVY LEAGUE JAZZ BAND BALL
UAL 3085 / UAS 6085/
Ivy League slogans do not change radically. Right before twist by Bob Wilber's writing.
the Thanksgiving holiday college kids used to whisper to
Wilber, clarinetist-tenor saxophonist with the band, scored
each other, "I'll meet you under the clock at the Biltmore," the famed Alphonse Picou chorus for two clarinets playing in
while today, the 1960 co-ed croons to her swain, "I'll lose my harmony against a vibe background. The reason for so doing
heart to you at the Astor."
was to tone down the brash Dixieland sound to take more
When the leaves are off the trees and the snow starts to fall advantage of the melodic content of the tune. The clarinet
on the eastern college campuses the collegiate mind dreams duo, made up of Wilber and Stan Rubin, effectively
of the concrete canyons and plush cocktail lounges of accomplish the desired result.
Manhattan. It's traditional - the Thanksgiving long week-end
Another number where Wilber's clarinet is featured, Slipped
in New York.
Disc, is reminiscent of the classic Benny Goodman recording
Stan Rubin, a Princetonian golfer from New Rochelle, N. of the tune. It is performed here by the Rubin sextet with
Y., has been following an extracurricular muse since 1951, Harry Sheppard on vibes.
his freshman year at Princeton, when he organized a
Most of the Friedlander arrangements are taken at upDixieland jazz band called the Tiger Town Five.
tempos and feature chording backgrounds front the sax
Two degrees later, Princeton '55 and Fordham Law School section during solos. This gives a rich sound and is used
'59, Rubin finds himself firmly established in the music busi- behind Dixieland solos from the sextet to offer a bit of
ness. The young leader, who plays clarinet himself, has noti- modernity for dancing. …
ced business opportunities involved with college traditions.
The big band versions of standards like Hindustan, Beale
In fact, he looks upon the entertainment of youth in the big St. Blues, Limehouse Blues and Sweet Georgia Brown all
city at Thanksgiving time as a social obligation. Many of the offer danceable ensembles and a series of round robin solos
students making the four-day scene live out West and there from trumpet, trombone, piano and drums.
isn't time for them to make the festive-laden table at home,
Rubin's playing of Tiger Rag is another example of subdued
Where there's a need, there's a Stan Rubin. His contribution Dixieland. The tiger wails softly and politely in comparison
to the holiday welfare of the happily stranded students is an to the usual interpretations of this tune.
annual Ivy Jazz Band Ball.
The set includes two original songs by Rubin. A novelty
This album takes you inside the Ivy ball that took place last entitled 8-9-10 was a big favorite at the wedding of Princess
Thanksgiving night (November 26, 1959) in the Grand Grace in Monaco. It is a ditty based on counting to ten before
Ballroom of the Hotel Astor on Times Square.
you get mad. Rubin sings the vocal, counting off in both
The young collegiate Meyer Davis has a definite concept English and French, in a Phil Harris style.
regarding his functions. Musically, he believes in a well
Rubin wrote Ivy Jazz Band Ball especially for the occasion.
balanced night of joy, and offers three requisites there must It is taken at a march tempo and features Rubin's clarinet.
be good danceable tunes; there must be entertainment, maybe
If the listener to this album would like to play a game it can
a little hokum, and above all there must be jazz. The Tiger be done. Rubin invited a long list of famous name jazz men
Town Sextet, a jazz combo, is carried within the fold of the to be guests during the evening. They brought their
Stan Rubin Dance Orchestra in deference to the last named instruments and sot in for one or may be two numbers.
requirement.
The guest list included trum-eters Wild Bill Davison, Pee
The excitement, the hand clapping, the leader's announce- Wee Irwin, and Max Kaminsky; trombonist J.C.
ments and the danceable tempos are all heard on this record Higginbotham; and clarinetists Pee Wee Russell and Tony
as they happened.
Parenti.
All of the arrangements but one were furnished by
This listener heard Davison and Higginbotham on
freelancer Bob Friedlander. The one exception is the Hindustan.
Maybe listeners can
hear some of the name
guest stars playing solo
or in the ensembles of
other renditions.
The second annual Ivy
Jazz Band Ball with almost
two thousand students
jammed into the Astor
ballroom is herewith put on
the record for posterity.
GEORGE HOEFER New
York Editor, Down Beat
marching jazz tune, High Society, which was given a new
- 86 -
CD-1/16/60p13: TRUMPET star Henry”Red”Allen receives his
“Playboy” Certificate of Merit from coleagues Dizzy Gillespie
(left) and Cozy Cole (right) at New York's Metropole Café.
Magazine named “Red” one of the year's outstanding jazzmen.
Veteran trumpeter, now in his sixth consecutive year at the
Metropole, recently returned from a smash European tour with Kid
Ory. (alternate text and photo, of poor quality in NYAN:1/16p13)
TOGETHERNES – And for a worthy cause is
demonstrated at our Monday Night Camp Fund
held at the Midway Lounge. From left: Red Allen,
Louise Speller, Dawn Café; Ernie Cobb, American
Tobacco Co., Selbra Hayes, Midway Lounge and
Dan Arrindell, Cutty Sark, all smile pretty.
NYAN-1/23/60p14
(due to 1/18/60 date)
60 N.Y.C. Metropole:
Downstairs - Red Allen All Stars:
J.C.Higginbotham (Dec-Jan.), Ricky
Nelson (Feb.-March), Keg Johnson (mid
March-April) then Jimmy Buxton (tb)
Buster Bailey (cl) Sam Price (since
Dec.)(p)
unknown
(b)
Zutty
Singleton(d) / vs. Sol Yaged Quartet,
occasionally Charlie Shavers Sextet
added; in May Turk Murphy for
Shavers;
Upstairs: Cozy Cole 1/11/15/60, in May: Chico Hamilton; June:
Louis Jordan ; July: Gene Krupa 4 &
Turk Murphy band; Aug.: Jack
Teagarden; Sept.: Gene Krupa; Tony
Parenti Trio; Nov.16-Dec.13: Lionel
Hampton Big Band; Dec.: Sol Yaged;
Dec.59-June
NYAN-12/26/59p13: Red Allen & his
Gang back at the Metropole including
Sam Price piano.
Dan Morgenstern, Jazz Journal Jan. 6o;
NEW YORK SCENE: ... Buster Bailey
rejoined Red Allen at the Metropole
upon Red's return, ditto Higgy, Sam
Price and Speedy Jones
Jazz Monthly Jan.1960 shows a
portrait of Red Allen in action
Louis Armstrong, ”Red”Allen, Sammy Price, unknown , Lucille Armstrong, 1960,
perhaps from the “Playboy”date;out of the “Sammy Price”- book / poss. by Milt Hinton
1/18/60 Mo.,, NYC., Midway Lounge
– Night-Camp-Fund with Red Allen as guest (photo)
2/8/60 Mo., NYC., Lundy's Paree – Red Allen
NYAN-2/6/60p14
NYA-2/6/60p12: portrait of Charlie Shavers – METROPOLE STAR. Charley Shavers, the great trumpeter, is wailing at the
Metropole these nights with his new quintet. Riding high in a 3 week engagement, Charley's torrid group share the spot light
with the rhythm-packed Dixieland combos led by Red Allen and Sol Yaged, with Chubby Jackson's quartet joining the fold
every Friday and Saturday night at the Metropole's special added attraction for the week-ends.
Bul.H.C.F. 3-196o:Metropole-RED ALLEN BAND: with Keg Johnson, Buster Bailey, Sammy Price, Zutty Singleton,
- 86cundated & without details out of Red Allen´s photo-collection
Red Allen & Albert Nicholas on his visit in the USA in 1959 1960 Metropole; Red Allen & Buster Bailey, unknown (d) unknown (tb)
at the Metropole: unknown
Metropole unknown date, musicians; poss. Henry P.Allen III
at the Metropole, unknown; probably Pearlie Mae; the white
woman seems to be of interest because also on the following photo
Metropole; unknown;Higgy, same white woman; Pearlie Mae
- 86dundated without notes from Red Allen´s photo collection
w.Gene Krupa in July-60 at Metropole upstairs; unknown
other persons cut on the same photo in Chilton´s Red Allen book
with Gene Krupa at the Metropole-upstairs in July-Sept.1960:
other persons unknown
surely in the `60s; unknown location, unknown persons;
possibly out of interest if not it’s a jazz-critic
unknown date, location, persons; top right poss.B.Bailey;
right poss.Herb Flemming
unknown date, location, musicians; probably on tour
possibly: Willie Humphrey, Allen, Paul Barbarin (leaning)
surely in the `60s; unknown location, unknown persons;
possibly out of interest if not it’s a jazz-critic or organisators
- 87 Jack Bradley, Jazz Journal April.60-New York Scene: The
Metropole is still jumping with the groups of Red Allen and
Sol Yaged. At the beginning of the year trombonist Ricky
Nelson replaced J.C.Higginbotham with Red's group. Nelson
remained with Red only five weeks, then left to join Bob
Scobey in Chicago. Keg Johnson replaced Nelson but this too
was for only a few weeks.
The present trombonist with Red is Jimmy Buxton.
At various time's during the past few months the groups of
Chubby Jackson, Bobby Hackett, Charlie Shavers and
Dizzy Gillespie have appeared at the Metropolesometimes upstairs, sometimes down, sometimes weekends, and sometimes not, depending upon the whims of
the management.
Jazz Music March 60; Vol. 11/3 : Air Mail from
N.Y.: To keep up to date on the current lineup
at the Metropole requires a scorecard
or'program of some type. Red Allen and
Charlie Shavers both lead a sextet six nights a
week, along with Sol Yaged and his quintet.
?March/April?/60, trip to New Orleans, Ricard
"Ricky" Alexis died; (Jack Bradley, J.J.I.5/60) ...
Henry "Red"Allen & Danny Barker are but two
among hundreds who mourn the passing of Ricard
Alexis. (note: usually Red Allen made his trips to
New Orleans about Mardi Gras)
4/11/60 Mo., NYC., Spot Lite Bar –Camp-Fundsession; Red Allen guest;
NYAN4/9/60p14
5/9/60 Mo., NYC., Renny Bar – Camp-Fund-
session; Red Allen guest
ALL FOR THE CAMP FUND – When the crowd overflowed last week Monday Night Get Together held at the Renny Bar,
the manager showed her appreciation with a donation to the Fund Shown at left is Rose Yuen, manager, deposting check with
the approving smiles of Doris Anderson, Red Allen, and Frieda Harris. NYAN:5/14/60p16
5/16/60 Mo., NYC. at Brown Bomber – Camp-Fund-session; Red Allen guest with Sammy Price;
NYAN.5/21/60p16
Jazz Music - May 60/ Vol. 11/5 : Air Mail from N.Y.: Bobby Hackett and his quartet has for the past two weeks, been
helping out the regulars being at the Metropole: the regulars being the groups of Red Allen, Sol Yaged, Tony Parenti
and Johnny Lettman. Later this week, Turk Murphy and very solid jazz band replaces the Hackett group as featured
attraction...............
Central Plaza, NYC., Oct.1961: Lee Blair (g) Red Allen (t) Kenny
Davern (cl) Jimmy Buxton (tb) Buxton replaced Keg Johnson in Red
Allen's band in April-59; see page-97; (court.Teresa Chilton)
(court.Teresa Chilton)
- 88 Red Allen Band vs. /& Turk Murphy Band – Dr.Al Vollmer in a letter: “It coincided with the week that the Turk Murphy
band was added featured attraction there. I recall the Murphy's last set as Henry Allen sat in with them and played
wonderfully. They did a CHIMES BLUES with Henry Allen taking the traditional trumpet solo remembering it note for
note. It was a real joy as his own style of playing at that time was no longer in the traditional mold.”
7/3/60, Sun-, prob.WCTC-bc/ CBS-bc”World Jazz Series” ; NPT. Jazz Festival , HENRY”RED”ALL STARS: Red Allen(t,v)
other unknown (In the 6/30-7/4/60 program of Down Beat 7/7/6o; Red is not mentioned, as also not some other performers in
"Newport Festival" Down Beat, 8/18/6o) (tape: WCTC-program F.Bruce Parson Jr.-New Brunswick, N.J.)
………....... with the Red Allen group
Newport tape is said to exist (WCTC-bc)
Neville Dickie stride-piano & boogie woogie, July 2002: MIFFED: ‘Sadly, by 1960 Miff’ Mole´s health had deteriorated and
he was walking with a stick, the result of several hip operations. He was also destitute. … That same year, he was invited to
play at the Newport Jazz Festival alongside Henry ‘Red’ Allen. This would have helped him financially, and put him in
the public eye again but it wasn’t to be – the concert was cancelled at the last minute and ‘Miff’ had to borrow his fare
home. That winter he was seen selling pretzels in a New York subway. He died in 1961 aged 63. …
CBS Radio to Broadcast Top Jazz Stars From Newport Festival
N.Y.-CBS Radio's “World Jazz Gerry Mulligan's Big Band with
Series,” which last week broadcast Bobby Brookmeyer, the Dizzy
two New York News jazz concerts Gillespie Quintet, Sarah Vaughn,
from Madison Square Garden, will Oscar Peterson Trio, Ray Charles,
next originate from Newport, R.I. to The Lambert Hendrickson and
present hour-long concerts from the Ross Trio, Tyree Glenn, Harry
Newport Jazz Festival for four Edison, Georgie Auld and Ben
consecutive
nights,
beginning Webster.
Friday, July 1 and ending Monday, Also Dinah Washington, Jonah
July 4. The programs will be heard at Jones Quartet, Horace Silver
9:05-10 p.m.
Quintet, Bill Evans Trio, Shorty
The broadcasts will draw on talents of Rogers Quintet, the Henry Red
the following jazz greats sche-duled Allen All Stars.
to participate 1960 Newport Jazz Also Count Basie and orchestra,
Ray Bryant Trio, Dakota Staton,
Festival:
Dave Brubeck Quintet, Cannonball Thelonious Monk Quartet, the
Adderley Quintet, Nina Simone, Art Buck Clayton All Stars, Jimmy
Farmer-Benny
Golson
Jazztet; Rushing and others.
Ornette Coleman Quartet; Charlie Mitch Miller is the host of “World
Mingus Quintet; Marshall Browe & Jazz Series” which is sponsored by
Studebaker Packard Corp.
the Newport Youth Band.
PC-6/18/60p20:
Also the Louis Armstrong All-Stars,
BAA-6/4/60p15: Newport Jazz bill list top artists
NEWPORT, R.I., The following
Program for the seventh annual
New-port Jazz Festival (June 30-July
4) has been announced by George
Wein, fete musical director: Thursday night, June 30: an evening of
modern jazz to be announced;
Friday. night, July 1: Louis
Armstrong All Stars with Trummy
Young and Barney Bigarde;
Gerry Mulligan's Big Band with
Bob Brookmeyer and Zoot Sims;
Dizzy Gillespie Quintet; Saturday
afternoon. July 2: Rudi Blesh, narrator, "The Stride Piano"; Dom Cerulli
narrator, Marshall Brown and
Newport Youth Band; Saturday
night, July 2: Dave Brubeck Quartet;
Sarah Vaughan; Oscar Peterson
Trio; Lambert-Hendricks-Ross;
Tyree Glenn; Harry Edison;
Georgie Auld; Ben Webster; Stan
Getz; Cannonball Quintet;
Sunday
afternoon. July 3; -Langston
Hughes, narrator, "The Blues;"
Sunday night. July 3: Dinah
Washington; Jonah Jones Quartet;
Horace Silver Quintet; Sonny
Stitt; Shorty Rodgers Quintet;
Red Allen All Stars;
Monday afternoon. July 4:
Gunther Schuller, narrator,
Ornett Coleman Quartet; Bill
Evans Trio; John Coltrane; Dave
Baker Orch.;
Monday night. July 5: Count
Baste Orch.; Ray Bryant Trio;
Nina Simone; Jimmy Rushing;
Buck Clayton; Earl Warren;
Buddy Tate; Emmett Berry;
Dickie Wells; Anita O´Day.
VV-6/30/60p8: Leonard Feather – NEWPORT – Its Impact on Jazz – and
on America ; a longer article together with “Newport Sets Afternoon
Programs” (same source) & “The Newport Blues” in VV-7/7/60p2, without
of interest for this book , reprinted in JAZZ AD Vol.3 p1041
DB-1960-Combo Directory listed: RED ALLEN QUINTET: Red Allen,
Jimmy Buxton, Buster Bailey, Sammy Price; Solomon Hall (d)
… Red Allen and Sammy Price still having fun
at Metropole and greeting friends with “Happy Birthday,” no matter
when your birthday….
NYAN-8/20/60p..:
VV:6/23/60p7
- 89 8/6/60 Sat., NYC., Roof Garden at Museum of Modern Art, -"SUMMER CONCERT”: BUD FREEMAN–SHORTY BAKER
ALL STARS:- Shorty Baker (t) & guest Red Allen (*t,v) Tyree Glenn (tb) Bud Freemen (ts) Gene Schroeder (p) Bob
(date & location in NYAN: 8/6/6op15)
Haggart (b) George Wettling (d) unknown (narr)
Perdito
S' Wonderful
Dinah
Big Noise From Winnetka
3:16 *ST.JAMS
Jazz Arch.JA-38/
--/
INFIRMARY -vRA (J. Primrose)
-----
/
/
---
/ RA-CD-13
-Wettling & Schroeder & Allen-vRA (Glenn)-Allen in ens9:51 *EDDIE CONDON BLUES ( ALGIERS' BOUNCE) (Allen)
--/ RA-CD-13
-Schroeder-Allen in ens-Schroeder-Glenn-Glenn in ens-Baker-Freeman-Freeman in ens-Haggart-Allen-Allen in ens-ens-Wettling-Allen in ens-Glenn in ens-Wettling brk3:45 *CRAZY
RHYTHM
(J.Meyer-R.W.Kahn)
---
/ RA-CD-13
-Schroeder intro-ens-Glenn-Baker & AIlen-ens-Allen in ens-Freeman-ens,Wettling brkLonesome Road
--/
Frank S. Driggs, 1977, covernotes on Jazz Archive-38: Bud
Freeman needs little introduction. He has been a moving and
influential figure in jazz since the late twenties. He was one of
the first and one of the best tenor sax men. He's been with
many bands, big and small, from Ben Pollack, Roger Wolfe
Kahn, Red Nichols, Joe Haymes and Ray Noble to Tommy
Dorsey and Benny Goodman. As leader of his own units for
well over thirty years, everything from trios to big bands, he
has played in such far away places as the Aleutian Islands,
Chile, Peru, Brazil and throughout Europe.
One of his better attributes was his ability to choose side-men,
and then give those men the widest latitude in solo expression.
On this session he gave rare solo opportunity to
Harold"Shorty"Baker, who was a talent known primarily to
other musicians, with a beautiful tone particularly admired by
the late Bobby Hackett. He came out of territorial groups
around St. Louis and was featured with Don Redman, Teddy
Wilson and Andy Kirk prior to his years of section work with
Duke Ellington. He also chose Tyree Glenn from Co-sicana,
Texas and a dozen territory and name bands, who made his
mark with Benny Carter, Cab Calloway and Duke Ellington,
before settling into commercial broadcasting on the Jack
Sterling show. Therefore, his voice was not often heard in jazz
settings at this time. With Bud-that's the front line on this
session.
The rhythm section has old friends in pianist Gene Schroeder, a
long-time Condonite; bassist Bobby Haggart, also in those days
a studio player, but well remembered for his days with the old
Bob Crosby big band; and drummer George Wettling, heard
here in very good form. George and Bud go back together to
the twenties in Chicago.
The album opens with the long-time Ellington standard
Perdido justifying their existence and making sure the
audience is properly warmed up. Dinah, the great standard
originally written for Ethel Waters back in the twenties has
exemplary Bud and some fine muted Baker to recommend it.
After this try George Gershwin's S' Wonderful which has some
good playing by Tyree to take note of. The first side is closed
out by a rousing version of Bobby Haggart's classic Big Noise
From Winnetka, and this gives George Wettling plenty of
latitude to show his years of experience and solo abilities.
Turning over to side two, we are greeted with the arrival of
that master brass and showman Henry "Red" Allen, Junior.
Red was then in the middle of one of the longest running jobs
at the unlamented Cafe Metropole on Seventh Avenue, which
has long since cast out its jazzman and turned to top-less. Red
has a way of dominating nearly everything he is part of and
this session is no exception. Bud, true gentleman that he is, let's
Red pick his own tunes and they roll into one of his time-tested
crowd pleasers, St. James Infirmary.
Next is a patented Red Allen blues, which he aptly calls Eddie
Condon Blues, and everybody shows off here, but honors must
go to Red himself. He shares his highlights with Shorty, who
is equal to the task, while Bud and George take care of their
end in top form.
Crazy Rhythm, the wonderful Joe Meyer-Roger Wolfe Kahn
collaboration of 1928 follows, and is given a fine workout,
with some excellent work by Tyree and the two trumpet men.
With this, Red is given a fond farewell and he takes off for the
Metropole on Seventh Avenue and another night's work.
The final number is the memorable Nat Shilkret melody
Lonesome Road. Bud gives this over entirely to Tyree, who
fashions a Tricky Sam-styled wah-wah solo that is worth
hearing a second time.
Tape is a miracle. We can be thankful that this one was
preserved. It helps balance the books in the post-1950 years, a
time when melodic players such as those heard here, were not
earning a top living nor being show-cased the way they
deserved. I can only think of three times when I had a chance
to hear Harold Baker play at length, through an evening. To
hear Red Allen properly in those years one had to put up with
an awful lot of insensitivity on the part of the Metropole
management and patrons. Red could carry it all off, but I
imagine he held that job for so long, because of his carefully
developed act, not because of his superb musicianship. Tyree,
as I said earlier, was mostly in the studios or else playing lowkey jobs like the Embers, where he had to play muted horn.
Bud Freeman moved around a lot and was not exactly over
recorded in the LP years, but he probably fared the best of the
men heard here, in that he rarely had to compromise his
playing or record unduly commercial albums. I doubt that
Gene Schroeder ever made a solo album, and I can only recall
one done under George Wettling's name.
That's not a lot for several lifetimes of good music.
It is important to consider that we no longer have the presence
of Red Allen, Harold Baker, Gene Schroeder, Tyree Glenn or
George Wettling, and that, jazz lovers, is some-thing to think
over. Harold Baker died in New York in 1966. Red Allen died
in New York in 1967. George Wettling died in New York in
1968. Tyree Glenn died in New Jersey in 1974. Gene
Schroeder died in Wisconsin in 1975.
Down Beat- 9/15/60: Metropole- Krupa / Allen's Giants/ Yaged's Quintet until 9/18 see photo for July-60 on p87
11/14/60 Mo. NYC., Renny Hall – Red Allen
NYAN.11/19/60p15
11/16/60 N.Y.C., Metropole - Lionel Hampton Big Band - Cozy Cole & Buck Clayton Orch. - Red Allen Band
Jack Bradley, Bul.H.C.F.Dec.60: ... Red Allen est toujours l'orchestre-maison, et Red maintient a son repertoire de bons
morceaux tels que SNOWY MORNING BLUES, JUST A CLOSER WALK WITH THEE, et TISHOMINGO BLUES
- 90 11/21/60 NYC., Nola-studios - "ALLEN
PLAYS KING OLIVER" - RED ALLEN & HIS ORCH. : Red Allen (t, v) Herb
Flemming (tb) Buster Bailey (cl) *Sammy Price or Bob Hammer (p) Milt Hinton (b) Sol Hall (d)
all sides on RA-CD-20 // Verve- /VerveMGV1025/WRC(S)T567/MetroRec./
845149-1/HMV-CLP1483/Verve533263-2/2356016/
/ --- / --- / --- / --- / --- /
/ --- / --- / --- / --- /
/ --- / --- / --- / --- /
- MARCHING THROUGH GEORGIA (P.D.)
- BATTLE HYMN OF THE REPUBLIC -vRA (P.D.)
- BOURBON STREET PARADE (P.Barbarin)
/ --- / --- / --- / --- /
3:11 *HOW LONG BLUES -vRA&ch (Carr)
/ --- / --- / --- / --- /
3:20 JUST A CLOSER WALK WITH THEE (P.D.)
6:10 BILL BAILEY, WON´T YOU PLEASE COME HOME (Cannon)
/ --- / --- / --- / --- /
/ --- / --- / --- / --- /
3:16 *SNOWY MORNING BLUES (J.P.Johnson)
3:07 *BABY, WON´T YOU PLEASE COME HOME -vRA (Williams-Warfield) / --- / --- / --- / --- / --- /
4:35 FIDGETY FEET (LaRocca-Shields-Ragas)
/ --- / --- / --- / --- / --- /
Verve 845149-1/ --- / --- / --- / --- /
4:14 *YELLOW DOG BLUES (Handy-Pace)
-vRA (Simon-Mark)
/ --- / --- / --- / --- /
3:50 *ALL OF ME
…………………..
uniss.
…………………..
uniss.
…………………..
uniss.
3:16
3:41
3:55
6:24
BALLIN´ THE JACK (Smith-Burris)
CANAL STREET BLUES (King Oliver)
SOMEDAY SWEETHEART (Ben&John Spikes) -Allen muted-tDIXIE MEDLEY:- DIXIE (P.D.)
Dom Cerulli covernotes on Verve V-1025: There is a tradition
of jazz in New Orleans, and a part of it concerns the brass men
who went out from that city to change the face of music.
Louis Armstrong, of course, comes first to mind as the leading
former citizen of New Orleans. But there was a long list of
others, including Bunk Johnson, the legendary Buddy Bolden
(he never left the city, but his fame and notoriety did), Mutt
Carey, Buddy Petit, Punch Miller, Kid Rena, Freddie Keppard,
and the two principals involved in this record, Joe "King"
Oliver and Henry "Red" Allen.
Each belonged to the tradition of jazz in New Orleans. Each
came under the sphere of influence of Louis Armstrong. But
each contributed something lasting of his own to jazz.
Legend has it that Oliver started studying trombone as a child,
but played the horn too loud and was switched to cornet by his
teacher. While still in his youth he played with the Melrose
Brass Band. Later he was installed in the "25" Cabaret as
leader and was playing with his chair tilted against the wall
and with a derby cocked over his forehead. When he joined
Kid Ory's band, Ory began calling him "King" Oliver, and the
name stuck. In 1918 he went to Chicago where, by 1920, he
was leading his own band and building the unit which was
soon to set musical Chicago on its car. That turmoil began
when Louis Armstrong joined Oliver at the Lincoln Gardens
and musicians began stopping by to hear the two brassmen
leading their cohorts through this new, exciting music. It was
with Oliver's band that Armstrong cut his first recording,
Chimes Blues on Gennett Records.
Oliver's great band included himself and Armstrong on first
and second cornets, continuing the style popularized by Buddy
Bolden with Bunk Johnson, and by Manuel Perez with Oliver.
Honore Dutrey played trombone, Johnny Dodds, clarinet;
Baby Dodds, drums; Bill Johnson, bass; and Lil Hardin, piano.
Bix Beiderbecke was among the scores of musicians who
stopped by to hear the band and went away with a headful of
new musical ideas.
Oliver led a succession of bands through the 1920's, but none
so great as that 1923 crew, the one which laid much of the
foundation of jazz. Through the chairs of his bands passed
many of the great musicians of the day, including a young
trumpet player, like Armstrong, who came from New Orleans
with the tradition of jazz deeply instilled in him. He was
Henry Allen Jr., son of a cornetist and brass band leader.
Red learned the horn under his father, and marched with his
father's band while still wearing short pants. He played with
such bands as those headed by George Lewis, Eddie Jackson,
Fats Pichon, and Fate Marable. In 1927, he stepped into the
second cornet position in King Oliver's band.
During the 1930's, while Oliver's star declined, Allen's rose
continuously. His style was lyrical and not bound so strictly to
the beat. He forged a style of his own which was unlike that of
Armstrong, and which was reflected in the later work of such
stalwarts as Roy Eldridge and Dizzy Gillespie. He still plays a
personal, fiercely blue trumpet, as evidenced on this album.
And, while his vehicles are the standards of Dixieland, his
trumpet work in the frames of these tunes is rarely bounded by
the usual rules governing improvisation in this area.
Just as there are jazz- critics and writers who credit Oliver's
main contribution as that of bringing Louis Armstrong out of
New Orleans, there are those who, feel that had Louis not come
along, Allen would have been a primary influence on trumpet
in that generation. But despite the if's and all the conjecture,
what remains is that King Oliver did contribute to the
establishment of jazz with his band and with his cornet, shaded
and colored by a variety of mutes. And Red Allen, by his
ringing trumpet and his warm and friendly personality, also
contributed to the advancement of the art that Oliver had
established.
On this set, Red pays homage to his one-time leader,
accompanied by Herb Fleming, tb; Buster Bailey (also an
Oliver alumnus of note), clt; Milt Hinton, bass; Sol Hal1,
drums; and Sammy Price (on How Long Blues and Snowy
Morning Blues only) or Bob Hamner on piano.
The format is simple and easy. Red usually leads the way after
a brief piano introduction, driving the ensemble and setting the
mood of the piece. His range of cotion is wide. Muted, he
growls and snarls on Canal Street Blues and Someday
Sweetheart. On Snowy Morning Blues, he makes his horn play
down and dirty. On Yellow Dog Blues, he sounds low and
mournful. But on How Lonq Blues, there is genuine hope in
the clean, ringing open horn declaration he plays on the out
chorus.
Red has been a fixture for years at New York's Metropole, a
club on Times Square where; the musicians are perched over
the bar and strung out, single-file, against the wall. At least
once a night some flannel-clad wag will glance up at the
players and utter some variation on a crack dealing with "wallto-wall musicians." But despite the raucous atmosphere and the
echoing and re-echoing sound and the clumps of curious outof-towners peering in the always-open doorway, there is often a
feeling of history around the place. Legend has it that when
Buddy Bolden wanted to fill-up his New Orleans hall, he'd just
open a window and blow a little, and they'd come running
from all over the city.
That scene isn't hard to believe on nights when the crowds are
really thick outside the Metropole and Red Allen is on the
stand, blowing his horn and calling all the children home.
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Down Beat's Annual Combo Directory 6/21/62:: “Henry Red Allen” - In recent years Allen has been rediscovered by critics and
praised as the best of the last of the red-hot trumpeters. When he is good, he's very very good, even if some of his groups are
horrid. representative recording: Verve 1025, Red Allen Plays King Oliver
- 91 "
Al McCarthy covernotes on WRC T567, 1966:
The present LP features one of the groups he led at the
Henry 'Red' Allen is the most avant-garde trumpet, player in Metropole in 1960. This includes the Moroccan trombonist
New York." This rather startling statement was recently made Nicolaiih El-Michelle, better known by his adopted name of
by trumpeter Don Ellis, himself a member of the avant-garde, Herb Flemming, and an old associate from the Henderson band
and it must have astonished many readers of Down Beat who in William Buster" Bailey. The programme selected for this
would never consider Allen in such a connection. Fanciful record is fairly typical of what Allen plays in clubs ranging
though the comment might seem one knows what Ellis meant, from the boisterous medley to standards performed with great
for the fact is that Allen has developed an expressive range on sensitivity. It is worth noting the poised solo on Someday
his instrument equalled by few other trumpeters. He has Sweetheart as an example of Allen at his best and there is also
always been noted for his rhythmic flexibility, but to this he some beautiful playing on How long, how long blues, Just a
adds a tonal variety that is unique,, alternating passages of closer walk, Yellow dog blues and All of me. Allen can at
great power with those played at little above a whisper and times be a maddening musician, switching from marvellously
producing a series of growls, slurs and inflections, that make conceived solos to roaring showmanship all in the space of one
his solos remarkable in their diversity. The surprising thing is number, but at his finest he is undoubtedly one of the great
that Allen will use all these effects in the course of one solo, figures of jazz. His strengths and weaknesses are all of a piece
yet that solo will have its own logic and will not sound like a and this LP is representative of his contemporary examples of
string of disparate phrases.
both sides of his personality. Despite the fact that Allen has a
Allen, now a man close to sixty, is amiable, raucous and considerable following it is probably still true to say that he is
assured on stage, never treating his audience in an off-hand an underrated musician, for the surface dazzle of his more
manner but using tricks of showmanship learnt in over forty flamboyant work has led many people to ignore the fact that he
years of professional playing to hold their attention. Yet it is a creative performer whose playing has evolved over the
would be false to deduce from this that Allen takes his years while retaining its very personal flavour. Henry Allen
musicianship lightly, for he is offstage a quiet, sensitive man remains today a unique and totally dedicated artist and it is
very proud of his place in jazz and well aware of the role he pleasant to know that as the years go by more and more jazz
has played since the early days in his father's band. …
listeners are beginning to realise this fact.
-------------------------------------------------------------------------------------------------------------------------------------------------------John S.Wilson "Allen Plays Oliver"-DB.8/31/61 Rating ****: adventurous bit, of programming by the way), and flaring with
Allen seems to be in the process of making a new and electricity on Yellow Dog.
successful claim for serious recognition as one of the major He sings, too, with a sincerity that is very effective. In
jazz trumpeters. Thirty years ago he had that claim sewed up, addition, there are some good glimpses of Bailey and a pair of
but he has spent much of the past quarter century vitiating it excellent piano solos by Price.
with his tawdry and tasteless catering to the tourist trade.
There is, however, one track on this disc to which none of
On his recent records he has played with steadily increasing the above applies. It is called Dixie Medley, and it is a witherin
validity and honesty. This is the best he has turned out yet a summation of Allen at his abymal worst. It's all very well to
set that is full of splendid Allen solos in a variety of moods, try to give a rounded picture of a musician but surely no
crisp and lazily edgy on Canal Street, muted amusing on picture has to be this round. (J.S.W.)
Sweetheart,
crackling an brassy on Snowy Morning (an
-------------------------------------------------------------------------------------------------------------------------------------------------------Tony Standish about HMV CLP1483, Jazz Journal Int., 1-62: control as he demonstrates that the glories of "Patrol Wagon
When Red Allen toured here with the Ory band he left no Blues" and "Feeling Drowsy" are by no means things of the
doubt in anyone's mind that he is still one of the great jazz past. His playing on "How Long", "Closer Walk", "Someday",
horns, as good now as he was during the 'twenties and 'thir- "Snowy Morning" and "All Of Me" is so excellent that it more
ties. But only when he wishes to be. On the recent LPs with than makes up for the occasional boorishness, Sol Hall's bad
Ory, for instance, Red showed his respect for the veteran drumming, the ineffective piano playing. of Bob Hammer and
trombonist's wishes by playing serious and exciting trumpet. On the complete lack of conviction in Buster Bailey's work.
this album, with no Ory to restrain.-him, he shows a tendency Keg Johnson(?), whose style is a pleasing mixture of Ory and
to revert to the valve-fanning antics that have marred his Benny Morton, plays extremely well throughout. Had all the.
playing for the past twenty-odd years. Fortunately, these sidemen been up to his, Sammy Price's and Milt Hinton's
lapses are mainly concentrated in the appalling "Dixie standard-and had the "medley" been omitted-this might easily
Medley", although "Bill Bailey" and "Fidgety Feet" also have have been a great record, instead of one which fluctuates
their bad moments. On the remaining tracks the good Red between the very good and the abysmal.
Allen flares and crackles, his jumping-jack style well under
--------------------------------------------------------------------------------------------------------------------------------------------------------Charles Fox in Jazz Monthly 4/62 about HMV-CLP1483:
THERE HAS always been a certain waywardness about Red is typical of the juvenile antics that Allen has always got up to
Allen's playing, a disruptive quality that could, on the wrong from time to time. On the other hand, there is a beautifully
occasion, result in downright bad and tasteless music. On the sensitive muted solo on Someday sweetheart, and more good
whole he kept the wilder side of his lyricism fairly under playing on How long blues, Bill Bailey, Just a closer walk,
control during the Twenties and Thirties, but the Forties and Yellow dog blues and All of me. On the last-named track
Fifties have heard some embarrassingly rowdy jazz emerge Allen's singing sounds oddly like Louis Prima's-or should it be
from his trumpet. A long period spent amid the hub-bub of the the other way round? The supporting musicians perform with
Metropole can't have helped either. And yet Allen has always variable success. The rhythm section is all right, especially
been capable of presenting the listener with a sudden revelation, Sammy Price when he takes his solos, but Buster Bailey plays
a solo where everything falls exquisitely into place. Both the clarinet as if he were knitting a Fair Isle sweater. Herb
aspects of Red Allen, the buffoon and the artist, are displayed Fleming, although unremarkable as a soloist, fits reasonably
on this LP, a record, by the way, that has-whatever the title well into the ensemble, playing. as it were, a refined variant of
may suggest-scarcely any connection with King Oliver. The tailgate trombone. C.F
Dixie medley, for instance, a part from Bourbon street parade,
Max Harrison WRC T/ST-567, in Jazz Monthly 2/67: Like the and one is made to realise that he has avoided the traps of
last Henry Allen disc I reviewed here, this appears to be typical pseudo-dixieland into which others of his generation have from
of his current output. He sounds gay and uninhibited yet his time to time fallen. Allen dominates amiably here and the rest
involvement in the music is always genuine. That music seems of the band have little more than a supporting role. Yet Buster
simple and merely entertaining much of the while but every so Bailey reminds us of his superb technical equipment while, in
often we find a hint of the real depth, and complexity, of the sleeve note, the Editor reminds us of Herb Fleming's
Allen's gifts. Such hints are often to be found in his fascinating real name: Nicolaiih El-Michelle. The sole
surprisingly free placing of accents. HOW LONG and objection is to this LP's title-King Oliver recorded no more
CANAL STREET give an indication of his power in the blues, than two of these items.
- 91a Sinclair Traill about WRC T/ST-567 in Jazz Journal I., Jan.67:
Although this contains some good trumpet playing from and the tasteless Fidgety Feet and Bill Bailey.
Allen it also includes some of his most ostentatious blowing. But all the faults don't lie at Henry's door. Hall is a shocking
When he wishes he can be one of the great trumpet masters, drummer, Hammner no great pianist, and I have heard Buster
but like others I could mention, he is often apt to show off. Bailey play much better than he does here. Hinton does his
His playing on How Long Blues, Someday Sweetheart, All best to keep a beat going, but except for on How Long and
Of Me and Snowy Morning (I wonder where King Oliver is Snowy Morning, the rhythm is rather pedestrian.
supposed to have heard that one?) is excellent. His tone has Herb Fleming, (seldom heard on record) plays some good
that cavernous bite and his rhythmic phrasing, particularly trombone, rather in the Benny Morton tradition, and on certain
on Someday is as good and hot as it was in the early '30s. tracks, such as Closer Walk, the front line gain that affinity
Splendid stuff. What a pity therefore that he has to give way and integration of timing, which one would expect from a
to exhibitionism as he does on the appaling Dixie Medley band carrying these famous names. A disappointment.
-------------------------------------------------------------------------------------------------------------------------------------------------solo work. But at a certain point he seems to throw taste to the
Max Jones in undated Melody Maker
It is possible that "RED ALLEN PLAYS KING OLIVER" winds, which is a pity in view of the lyricism of the best
(World Record Club T567) captures the musical taste of the playing. Aside from these up-and-down numbers there are the
New York Metropole, where Allen led the band featured on Metropole flagwavers - "Bill Bailey" and a "Dixie Medley"
this LP (during 1960), but it scarcely does justice to his prominent among them - which bring out the worst in most of
with Allen are Herb Flemming (tmb),
imaginative trumpet playing. Except, that is, on the slower the musicians. Working
.
"How Long, How Long", which also boasts one of his fine Buster Bailey (cit ), Bob Hammer (pno), Milt Hinton (bass)
gruff vocals, "Someday Sweetheart", on which his solo is and Sol Hall (drs). Pianist Sammy Price replaces Hammer on
filled with contrast. Others such as "Canal Street", "Ballin' "How Long" and "Snowy Morning". This is not a poor record,
The Jack" and "Snowy Morning", are acceptable, even because of the authority of Red's conception in his more
exciting, For the intense, driving quality of Red's lead and inspired moments. — (M.J.)
-------------------------------------------------------------------------------------------------------------------------------------------------MAX JONES about "Red Allen Plays King Oliver." in undated Melody Maker
RED ALLEN is no ordinary trumpet notion encouraged him to loose off some blues soberly before singing - for all the
player, and so this is no ordinary record of his freshest, most engaging variations. world like Wingy Manone. (On other
of traditional jazz.
His trumpet has retained its restless vocals, he sounds more like Louis Prima;
Still original and articulate, Allen can fervour, and the tone, despite occasional all three stern from the same source.)
be relied upon - when not trotting out a bizarre extremes, still boasts a cutting edge.
On "Canal Street," Red tends to overdo
Showman
potboiler - to breathe life into the
the growling, but his long solo is full of
Allen can be cool - ultra-relaxed, unexpected ideas. He is rather flambohairiest old standards.
This he does here, most of the way, subdued, and oblique in his melodic yant on "Snowy Morning," very fine on
and to excellent effect. Ostensibly, Red approach - but he is never cold or aloof. " Yellow Dog" (listen to the loosepays tribute to his one-time friend and He is first and foremost a jazz musician, swinging ensemble, " Bill Bailey,"
"Baby" and " All of Me."
a vital showman, too.
leader, King Oliver.
In contrast, the Medley - misprinted
Now and then, his playing on this
From that point-of view, the choice of
tunes is odd. I don't think ,Oliver album holds echoes of Oliver. Passages "Dixie Melody" on the sleeve - is minor
recorded more than four of them, and I on Someday Sweetheart," muted and stuff, conventional and boring.
The group performs confidently and
doubt very much if he knew several of rather pinched in tone. are clearly
slanted at the King.
with style so that there is generally
the others.
This is a good track. and so is "How something worthwhile going on.Never mind: Red was always an
individualist, and the "Plays Oliver" Long," on which Red introduces the
-------------------------------------------------------------------------------------------------------------------------------------------------HOT TRUMPET COLOSSUS - Jack Hutton in New Jazz Records in Melody Maker 11/22/69 (RCA RD 8049).
HENRY RED ALLEN: It Should Be You; Biff´ly Blues; Feeling Drowsy; Swing Out; Dancing Dave; Roamin'; Singing Pretty Songs;
Patrol Wagon Blues; I Fell In Love With You; Stingaree Blues; Hocus Pocus; The Crawl; Let Me Miss You, Baby; I Cover The
Waterfront; Love Is Just Around The Corner.
photo RED ALLEN: big man in every sense
RCA VICTOR deserve the biggest
medal ever devised for issuing these
wonderful Vintage Series albums. It
seemed nothing could eclipse their
current Jelly Roll Morton album " I
Thought I Heard Buddy Bolden Say "
(RD 8048). But I am now listening to it.
Please don't write to disagree (or
agree) because when you're comparing
golden vintage jazz of this quality who
cares about personal preferences?
This features the colossus the hot
trumpet, Red Allen, with Luis Russell,
King Oliver and Fletcher Henderson
musicians between 1929-1934 and his
own groups between 1946 and 1957.
Involved are such swingers is J. C.
Higginbotham,
Albert
Nicholas,
Charles Holmes, Hilton Jefferson,
Hank Duncan, Coleman Hawkins,
Cozy Cole and Marty Napoleon.
Red was a remarkable man and
musician. He was a big man in every
sense, ebullient, a lover of fife. And he
played like every solo was his last.
On the early sides on this album he
was supposed to be presented as an
"answer " to the acclaimed Louis
Armstrong. And certainly the Armstrong influence is clearly visible as it
is on every trumpet man of the time.
But Red stood firmly on his own feet.
His style is intensely personal, his
tone hot and driving and his timing
way ahead of his contemporaries.
Red has been called the first
avantgarde trumpeter. It was meant
as a compli-ment, but he started no
fashionable schools of playing.
He played Red Allen and his style
was so much his own, so melodically unusual, so rhythmically stimulating and yet so individual that, like
Louis, he could never really be
emulated. His musk beats my words
- try "Feeling Drowsy" (a new take,
by the way) and "Swing Out." No
further explanations are necessary.
This album is crammed with gems
- altoist Charlie Holmes burbles
away in a manner that must have
blown 1929 minds, J. C. Higginbotham is ridiculous all the way from
'29 to '57 with a burnished tone and a
rhythmic fluency that roars, and Coleman
Hawkins proves, once again, that the
tenor was made with him in mind.
The most frustrating thing in the world is
to try to write about an album like this.
Please, just get it. — J.H
- 92 mid.Dec.60, NYC., Birdland – Klaus “Oscar”Doldinger & His Trio vs. Feetwarmers; Red Allen among the guests;
CD-12/17/60p19: Top Jazzmen Greet German Hornmen, Drummers In Café – by Doug Quigg
N.Y.-Birdland, a jazz emportum of
note, got invaded by a German band but
not an oopah was burted. This was not
a hot combo, the first German jazz band
ever to hit this country, and a group of
American jazz great men called it
“Bedient” and “Dufte.” Them is words
that the cats in Germany use when they
mean cool, man – very good, excellent.
Like when a drummer goes out of his
mind-then according to the German
teenage idiom he's “eine schaffe,”
which, according to the visitors means
“he's working with all his heart.
The group of eight young (average
age 24) German amateur jazz musicians
entertained at a reception for prominent
Ameri-can jazzmen before the regular
evening's program of band music began.
They were given a two-week trip to the
United States by virtue of winning both
the traditional and modern style
competitions in the annual German
amateur jazz festival.
They're surprisingly good,” said Eddie
Condon, the American jazz gauleiter,
listening to the best of “the Feetwarmers,”
a seven-piece traditional style group.
Among the great men sitting as an
audience were Condon, Bud Freeman,
Red Allen, Buck Clayton, Hucko,
Zutty Singleton, J.C.Higginbotham,
Sammy Price, Sonny Greer, Herbie
Mann, Tony Parenti, Miff Mole,
Buddy Rich, Marshal Royal.
The modern group, known as “Oscar's
Trio,” was so named because his leader,
Klaus Doldinger 24, is nicknamed
Oscar due to his admiration for jazz
Pianist Oscar Peterson. It did not get so
much applause because it playedsecond,
and by that time most of the giants had
retired to the bar. …
late Dec.1960 trombonist Benny Morton has joined Red Allen's band at the Metropole (until 2/27) Upstairs: Feb.: Roy Liberto's
Bourbon Street Six; Cozy Cole Quintet; Sol Yaged-Group (until 2/27) Cozy Cole, Salt City Six (March/...) Salt City Six (4/25-6/4);
Benny Morton - Melody Maker 10/21/1967:
Red would arouse them those six with chatter and so on
“A point I want to emphasise is that Red Allen made the before we started playing even.
Metropole job. The whole jazz life of the place, such as it Yes, Red made it possible for all who came after: Krupa,
was, was owed to him. He stayed seven years and that Hampton, Herman, Cannon-ball Adderley all the rest. They've
speaks for itself.
had all sorts of groups since, some of them making three times
He had such an entertaining personality, going along with the money that he got, but if his music hadn't been successfull
his music that he created audience participation. And, of there wouldn't have been a job. He made all that big money
course, he worked hard. I've seen time, of at one o'clock possible. If he hadn't done what he did Hamp would never
Sunday lunchtime, when there's been six men at the bar. But have looked inside the place.”
------------------------------------------------------------------------------------------------------------------------------------------------Jan.61 - Metropole - "Jazz Skyline" by Ray Norman in J.J.61:
It is a couple of decades since Henry "Red Allen was proIndeed, the closer Allen came to the Luis Russell-Henderson
perly recorded. Yet he plays as excellently as ever. January vintage, the stronger the audiences enthusiasm. Yet, mulishly,
saw the termination of his seemingly endless residency at the Red persists in foolery-Buster Bailey almost fainted when, on
Metropole. Now that unhappy saloon is really desolate, nearly Labour Day, Red announced DIXIE - I mean, from a Negro
ruined by its manager's idiotic policy of "showman-ship", band! Recently, though, his pianist has been a white guy, Bob
drink-hustling, and the squeezing out of Negro groups custom Hammer -whose light, Zurke-Stacy oriented style was
has melted away. Let us hope Allen's temporary exodus preferable to Sam Price's angry thunderings. Benny Morton,
will give Red some pause for thought, anyway. His misgui- too, took over from Henderson Chambers, but had little
ded tendency towards the Dixieland or antic was, I noted, opportunity to display the elegance and inventiveness that
opposed to the tastes of the customers-for their interest typify his work. Some-body should record Allen immediately
quickened enormously when he began to swing out on such with Bailey, Jeff, Charlie Holmes, Sidney Grant, Gene Sedric,
Benny, Sonny White, Hayes Alvis and Slick Jones.
classics as YELLOW DOG and WILD MAN, and others.
Jan-61, two weeks single egangement of Red Allen at Boston – Savoy Ballroom - Red took time off from the Metropole
prob.Jan.61, Central Plaza – sessions incl. Red Allen & Band
Nouvelles de New York by Jack Bradley, Bul.HCF. 3-61:
METROPOLE: 1'etablissement est devenu assez morne
depuis qu'il ne peut plus s'offrir Red Allen, 1'homme qui a
fait le prospérité du Club en l'organisant tel qu'il est maintenant. Red Allen a terminé son engagement au Metropole le
22 janvier dernier, et les musiciens de son orchestra (Buster
Bailey, Benny Morton, Bob Hammer et Jerry Potter) sont
également en chómage. Le club semble d'ailleurs avoir
décide de n'engager que des musicians
blancs, et l'orchestre-maison est maintenant celui de Sol
Yaged, avec Roy Liberto and His Bourbon Street Six qui sont
engages pour 5 semaines. Quelle injustice!
CENTRAL PLAZA: des iausiciens remarquables y défilé
durant ces derniers mois: Buck Clayton, Roy Eldridge, Johnny
Letman, Charlie Shavers, Ruby Braff, Red Allen, Gene
Sedric, Vic Dickenson, Herb Fleming, Russell Moore, Ralph
Sutton, Sammy Price, Dick Wellstood, Zutty Singleton, Eddie
Locke, Jo Jones, …
prob.2/1 or one week before, Wed., NYC., Renny – Jimmie Jones with
Red Allen & J.C.Higginbotham;
NYAN-2/4/61p9: Bandleader Jimmie Jones had the Renny swinging
Wednesday Night with Henry Red Allen & J.C.Higginbotham
sitting in at the Ladies of Distinction dance.
prob.mid Feb.61, N.Y.C.Centra1 Plaza - again a concert with: Red
Allen, Johnny Letman, Herman Autrey, Gene Sedric, Buster Bailey,
J.C.Higginbotham, Vic Dickenson, Red Richards, Sammy Price,
Panama Francis, etc.
(Jack Bradley, Bul.H.C.F.-April-61)