Red Allen Chapters 9 - The Jazz Archive Site
Transcription
Red Allen Chapters 9 - The Jazz Archive Site
- 93 - “HENRY"RED"ALLEN IS THE MOST AVANTGARDE TRUMPET PLAYER IN NEW YORK CITY” by Don Ellis ALGIERS BOUNCE ; LOVER COME BACK Chapter-9: Red Allen Quartet at the Metropole part-2: April '61- July '65; & at the Embers 1961-62, London House, Chicago 1961-62, e.t.c. 1961 NBC-Chicago & All That Jazz ; April 1964 England – TOUR with local bands 2/21/61 N.Y.C. VELMA MIDDLETON BENEFIT(died Feb.10) (a longer article about Velma in NYAN-2/25/61p13 reprinted in JAZZ AD. Vol.3p1051). Jack Bradley Bul.H.C.F.No.107-April-61: Un service funèbre ci été célébré pour Velma à l'Eglise Baptiste de Harlem (Convent Avenue) le 21 février dernier. La journée était chaude et pleine de soleil, et le trottoir devant le temple plein de monde, cor Velma avait beaucop d'amis et d'admirateurs. Quel-que chose de très solennel et recueilli flot-tait parmi ces petits groupes qui attendaient le moment d'entrer dans le temple. Il y avait Henry Allen, Cozy Cole, Peanuts Hucko d'un côté; puis Higginbotham, Danny Barker, et Sam Theard (l'auteur de Spo-De-O-De, You rascal you, Let the good time roll). Il y avait aussi un très cher ami de Louis Armstrong, Slim Thomson, qu'on repérait facilement dans la foule car il est très grand et il dépassait tout le monde d'une tête. Dans le cortège funèbre, on remarquait Beulah Bryant, Slim et Timmie Rodgers; et, assis dans les tout premiers rangs, Milton Gabler et Joe Glaser. Le temple, très grand, était comble et rempli de fleurs. Un choeur chanta. « Abide with Me » et « Just a closer walk with Thee », cet hymne étant, nous fut-il dit, un des airs favoris de Velma. Dons l'éloge funèbre, il fut mentionné le fait que Velma avait trava il dans l'orchestre Armstrong pendant 18 ans. Et le cercueil fut enlevé et posé sur le corbillard. La cérémonie était terminée. DIED IN AFRICA - Velma Middleton, singer with Louis Armstrong´s jazz band, died in a hospital last week in Sierra Leone. The 45-year-old vocalist, a native of Oklahoma, grew up in St.Louis. She collapsed on Jan.16 and had been ill since. NYAN:6/18/61p14 3/18/61 Cedar Hill Country Club, Livingston, 3rd annual "Pace Setters" dinner, Henry "Red" Allen and his all star jazz band; unknown source and date; prob. 3/18/61 Sat., before he started with his Quartet; (undated souirce out of Red Allen´s scrapbook - another possibly date would be only 3/18/50 Sat. when Red Allen played in Minneapolis-The Dome 3/11-4/1/50) Will Entertain For 'Pace Setters' - Dancing and entertainment will be featured at the third annual "Pace Setters" dinner, Young Men's Division, United Jewish Appeal of Essex County, on Saturday, March 18, at 6:30 P.M. at the Cedar Hill Country Club, Livingston, it was announced by Harold H. Goldberg, Jr. "Pace Setters" chairman, Henry "Red" Allen and his all star jazz band. HENRY "RED" ALLEN, Goldberg urged all those invited to respond prom-ptly by mailing in their paid reservations to him at the office of the UJA Young Men's Division, 32 Central Ave., Newark 2. April-61, N.Y.C.-Embers - Red Allen Quartet - Sammy Price, Franklin Skeete, Jerry Potter. Will be followed by the Erskine Hawkins Quartet and the Eddie Heywood Trio on April 24th. Coda 5/61) 4/14/61 NYC., THE SWINGVILLE ALL STARS: Joe Newman (t) J.C.Higginbotham (tb) Jimmy Hamilton (cl) Hilton Jefferson (as) Coleman Hawkins (ts) Claude Hopkins (p) Lloyd"Tiny"Grimes (g) Wendell Marshall (b) Billy English(d) 9:32 Jammin´ In Swingville Swingv.2025/Swingv.4001/Prestige 4051/-P-24051/JCH-CD-10 10:45 Spring´s Swing Swingv.2024/ --/ --/ --- /JCH-CD-09 7:56 Love Me Or Leave Me --- / --/ --/ --- /JCH-CD-10 Swingv.2025/ --/ --/ --- /JCH-CD-10 7:18 Cool Sunrise - 93a - Addenda 4/28-4/30/61, N.Y.C. at the 143rd St.Armory "Indoor Jazz Festival for the benefit of the NAACP Freedom Fund" – NYAN-3/11/61p17: The N.Y. Branch NAACP's Down Beat 4/13/6l: ... A brainchild of pianist Sammy Price, it will benefit Fund Raising Committee is behind Harlem's first Jazz Festival, set for April 28, 29 and 30 at the 369th Armory. Tentative lineup is as follows: First night – Dinah Washington, Gerry Mulligan, Henry”Red”Allen and the Modern Jazz Quartet. Second night-Duke Ellington (it's his birthday, too), Dave Brubeck, Sarah Vaughan and Sonny Stitt. Third night-Louis Armstrong, Cannonball Adderley, Horace Silver, Jimmy Giuffre and Oscar Brown Jr. There'll be more on this. from his long experience in almost every field of entertainment. In five or six different locations in the armory, Sammy plans what he calls "side shows," featuring small groups playing prior to the main program. (These musicians will eventually join the mammoth "forty-man jam session" which will end each concert.) More than loo musicians are scheduled to perform, among them Louis Armstrong, Gerry Mulligan, Duke Ellington, Cannonball Adderley, Charles Mingus, Red Allen, the Modern Jazz Quartet, and Horace Silver. A Cadillac will serve as a door price, and other prices will awarded to the winners of an international jazz competition in which at least eight countries will have entries. 5/26/61 Fr., NYC., Apollo Theatre – Mammoth Midnight Show – Red Allen & his Combo, Buddy Allen & His Combo, Dizzy Gillespie , Sarah Vaughan, Thelma Carpenter, Nipsey Russell, The Drifters, Noble Sissle, Eubie Blake,etc. NYAN-5/27p19: Huge Midnight Show To Benefit Church A huge Midnite Show, for the benefit (88) Keya, Steve Pulliams Jazz of the Abyssinian Baptist Church quartet, Buddy Allen and Faye building program, is being held at the Adams. Also Red Allen & his Combo, Apollo Theatre on Friday, May 26. Among the top stars scheduled in Jackie (Moms) Mabley, Sonny appear are Nipsey Russell, Ed Sulli- Greer, the Copasetics and Dottie van, Jackie Wilson, Sarah Vaughan, Salters. Abyssinian has recently purchaThe Drifters, Ruby Dee and Ossie Davis, Timmie Rogers, John Bubbles, sed the YWCA building which is George Wilshire, Bo Didley, Noble adjacent to the church at a cost of $450.000. The building will be used Sissle, and Eubie Blake. Senior Also Dizzy Gillespie, Sugar Ray to house the church´s Robinson, Roy smeck, Lord West- Citizens. It will also be used as a brook, Thelma Carpenter, Bennie recreational and educational center for the young members. Benjamin, Mortin Dalton, Laurence above due to p89 (60/8/6) & p90 (60/11/21) 5/30 – 6/18/61, Chicago, London House – Red Allen & his Quartet; also recorded - 94 between 5/30 -6/18 or 7/1-7/15/61 Chic.-London House; 9/15/61 WBBM "THE BEST BANDS IN THE LAND ON ONE NIGHT STAND" - HENRY RED ALLEN QUARTET: Red Allen (t,v) Sammy Price(p) Frank Skeete (b) Jerry Potter (d) ONS-5433 1:04 3:58 3:54 4:22 5:51 6:41 2:06 0:36 /Fanfare Rec./ / No.24-124 /RA-CD-22 LOVER COME BACK TO ME (S.Romberg) --- /RA-CD-22/ DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS (L.Alter) --/RA-CD-22 TENDERLY (W.Gross) --/RA-CD-22 BILL BAILEY, WON´T YOU PLEASE COME HOME (Cannon) --/RA-CD-22 ROSETTA (E.Hines-H.Wood) --/RA-CD-22 ALL OF ME (Simon-Mark) --/RA-CD-22 theme: ALGIERS BOUNCE -ann.by --/RA-CD-22 theme: ALGIERS BOUNCE -ann.by ……. (H.Allen) same date & location; 9/22/61 WBBM-ONS: same as above ONS-5438 0:24 theme: ALGIERS BOUNCE -ann.by …...... 3:23 4.16 4:41 7:30 6:52 1:26 BALLIN´ THE JACK (Smith-Burris) SNOWY MORNING BLUES (James P.Johnson) AUTUMN LEAVES (J.Kosma) LOVE IS JUST AROUND THE CORNER (L.Robin-L.Gensler) BASIN STREET BLUES (Spencer Williams) theme.- ALGIERS BOUNCE (H.Allen) --------------- / RA-CD-22 / RA-CD-22 / RA-CD-22 / RA-CD-22 / RA-CD-22 / RA-CD-22 / RA-CD-22 Gilbert M.Erskine - "RED ALLEN AT LONDON HOUSE, Chicago" in Down Beat 8/3/61: Chicago's London House is, like the Embers or with mute, are warm, flowing, and tasty. and the Round-table in New York, one of He restricts himself almost entirely to the those places where the talk is usually louder middle and low registers; his trumpet than the music. Most musicians react to such conception, in fact, may be described as the surroundings with different degrees of antithesis of his flamboyant stage manner. detachment. But Allen, somewhere along the Price was an excellent choice for this group. way, has learned to cope successfully with Whether he is soloing or accompanying, he this, and he does so without compromising plays in a remarkable chordal style: thick his music and without going into a gaudy clusters of notes bolting up in his swinging, almost stomplike, approach to the piano. vaudeville act. Physically, Allen is a massive man. On the One of the numbers the group features is The bandstand, towering over everyone, he leans Price Is Right (recorded 1/9/62), a tune with a over and pelts the audience with rhythmic Tin Pan Alley title, but which is really an shouts and roars, compelling attention and old Kansas City boogie woogie. In Price's making conversation all but impossible. The hands it became something of a tour de force net effect is that the crowd is drawn into each that transformed the room into a down-home The quartet features a variety of tunes from the back years performance and is constrained to make a camp meeting. Skeete and Potter are strong and alert rhythm of jazz and will play almost response. Of all the recent trumpet quartets, this is men, and both solo with good sense and anything from traditional and easily the most interesting. Allen's trumpet good taste. Skeete has a big, vibrant sound mainstream schools. A lot of it is swinging fun. lines, played usually with cloth-draped bell that cuts through everything. -------------------------------------------------------------------------------------------------------------------------------------------------------------Bill Esposito on Fanfare 24-124: (incl. also session at 9/22): To begin with, Chicago's London House is a great spot, whether or not you want a drink or a steak, and when Henry "Red" Allen played there, as this recording captured, it was, you could say, a few steps in the general direction of heaven. "Red"Allen is one of the distinct and deft voices in jazz, a man whose trumpet stylings crossed over several lines and many territories. Unfortunately for him, such a "catholic" approach, and mind that small "c" for a full understanding, lent him to considerable criticism over the years. He was stamped as a New Orleans man, a Dixieland man, a traditionalist and while he was at home in these waters, he could and did swim swiftly and successfully in other ponds. Indeed, I recall a well known critic and author, Rudi Blesh, once describing Red's efforts as "the S.S,52nd St.," meaning that Red, appearing at a Dixieland concert or some such bash, was out of place. Just looming into 52nd St., or Swing Street at the time Blesh wrote that, were Charlie Parker and Dizzy Gillespie and the beboppers and other citizens such as Coleman Hawkins, Don Byas, Art Tatum, Tiny Grimes, et al. Allen thus suffered the slings and arrows of outrageous critics and more outrageous critique. He was dammed with faint praise (or is that praised with faint damns) by both sides of jazz's famous war, which bounced up on the pages of on firm ground, man") and the entrance into jazz of the far-out music magazins and in various books, pamphlets and thinker, the poet and the revolutionary whose contribution was publications as World War II ended. The intellectual had a flock of four letter obsceneties met with gushing approval by discovered jazz, had read into a social message and had the guilt ridden gaggle ... and we had the mouldy fugges, those injected into it something that was never there, a racial who thought jazz ended somewhere before the stock market overtone. The egghead discussed it by tapping his shell in crash, people who would not listen to a record made after deep thought and not just tapping his toe and ordering 1930 unless it was a Bunk Johnson revivel or Turk Murphy playing note for note something like "Snake Rag." another beer. Thus we had the progressive colony, the first elements of No one paid attention to the great music of the time and the avantegarde jazz (“I play shoes, Daddy, my solo work is even today you'll hear jazz buffs say that jazz was on the - 95 downward slide in the late 1940's and through the fifties and into the early 1960's ... The solid and reputable jazz of those years, bereft of the publicity attendant to the Big Band Era, was buried deep, drowned by the flowing prose of the intellectual who kept saying jazz was an art form. To which an old friend of Red Allen's, Eddie Condon, once snapped, "canning peaches is an art form!" Here we have "Red" in two performances at the London House, with the venerable Sammy Price on piano, Franklin Skeete on bass and Jerry Potter on drums. The boys play some evergreens, like "DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS," but they do not type-cast themselfes. All right, I know Allen was born in New Orleans but so was Lester Young. Must “Red” always remain in Louis Armstrong's shadow, as did another stand-out horn, that of Oran "Hot Lips" Page! You want to dig “Red” when he was young and hungry! Trot out the Fletcher Henderson version of QUEER NOTIONS and listen in. Or, better yet, play this one ... listen to "Red" on such things as TENDERLY, and AUTUMN LEAVES and in a more finger snapping mood, ALL OF ME and LOVE IS JUST AROUND THE CORNER. You get the point... here was one great jazzman, adept in all ways, articulate on his instrument and most liberal in his ideas, his creativity, his attitude. To go further on this "type-casting" aura that has chocked many musicians, pay some attention to Sam Price ... come on , listen up there ... follow "Red's" instruction at the end of the number to "play it again, Sam." I guess he saw that movie, too. Price, born in Honey Grove, Texas and there's a name for you, is a sound and tested music , yet he's locked into the barrelhouse and boogie woogie syndrome. He plays excellently in those areas, rollicking, rocking piano, but that's not his entire bag and it never was. As a young man he pursued classical piano (studied with Booker T.Washington's daughter) and he knows his way up and down the keyboard ... dig him on those ballads ... a nice touch, a gentle swing, a relaxed approach. Try him and Allen on the old Earl Hines standby, ROSETTA, and then move along faster with BILL Jack Sohmer about FANFARE-24-124 in IAJRC-?p25: It may come as somewhat of a shock to newer devotees of our music, but the fact is that there is as much prejudicial thinking within the world of jazz as there is outside of it. I do not refer necessarily to racial or religious prejudice, but to a sort equally frustrating to the artist. This is aesthetic or stylistic prejudice, a form of bigotry so pernicious that at one time it threatened to split the jazz world in two. Happily most of us have come of age in the ensuing years. We have learned that different types of jazz can coexist peacefully, each pursuing its own aesthetic goals, each a dominant source of enlightenment and pleasure within its own milieu. But there are still the victims to care for, those who served no king but themselves, who claimed no allegiance to any doctrine save their own, yet who remain exiled in a no man's land of jazz, forever disowned, forever rejected - and simply because of critical myopia. Henry "Red" Allen was undeniably a major casualty of jazz' internecine struggles. A far-seeking visionary at a time when dance bands were still using banjos, he lived to find himself degraded as a cheapened sideshow minstrel playing noisy, caricatured dixieland in a sleazy New York tourist trap to an audience of drunken servicemen, dissolute prodigals, and world-weary street-walkers. Red may have hated the Metropole and everything it stood for, but he also had to earn a living. True, he played to the crowds in order to survive but spiritually, as well as physically, he loomed far above them. He had long before learned that the creative artist must find his own way In a hostile, uncaring environment, and if it meant public submission of his own interests for a few hours a night, so be it. Every now and then, though, he simply had to break loose. He had to play what he wanted to play. When Red was fortunate enough to find respite from the Metropole and Central Plaza - that even more depressing Philistine fortress hidden in the bowels of Manhattan – he BAILEY COMING HOME. Here is a master of piano, much more a musician in depth than the one dimensional player the jazz media has made him out to be. Price is a pianist whom any style of jazz can turn to and if I almost ended a sentence with a preposition I at least was working on a sound proposition. The September 22 date opens with a blast as you spread your living arms out into space, do the eagle rock with style and grace, put your both feet out and swing them back, 'cause that's what they call BALLIN' THE JACK. Too bad Red didn't sing this one, its five meaning lyrics always graceful to the ear and Red's gutteral growl had the gumption this one requires. Red and the boys came to play this night, and you can hear the audience sound off their appreciation. Better, you can hear the boys urge each other along and that's the best praise for a jazzman, to be appreciated by another jazzmen. If what I said about Price a few lines back didn't sink in, well it ought to if you listen to SNOWY MORNING BLUES. Sammy handles Jame P.Johnson's standard in grand style. He's still active as this is written and frequently is heard on the jazz shows produced by WKCR, Columbia University's student station, run by young men who have a good feeling for jazz and a fine manner of presenting it. BASIN STREET BLUES, a jazz anthem to many although that's stretching the point about 64 bars (how about HOW HIGH THE MOON, ONE O'CLOCK JUMP, BODY AND SOUL, send in your choice of jazz´s anthem with the cover of an Ornette Coleman LP... ) typifies the Allen quartet and showcases this grand old-timer, who had the face of a sad, sad bloodhound but the heart of a happy child and the soul of a man that made him credit to his Creator. The old chest-nut gets into a deep water groove, swings mightily (the audience joins in with handclapping, on the wrong beat as usual) and Red has a field day, as do Skeete Potter and particulary Price. If this doesn't get to you then go to jail, do not pass "Go," do not collect the $200. My favourite Red Allen offering asks WHO STOLE THE LOCK! and details how he was down in the henhouse on his knees, thought he heard a chicken sneeze. But this will do for my tastes ... this will do fine, indeed. literally plunged into the rejuvenating waters of selffullfillment. Reveling in the luxury of artistic independence, he was free to indulge himself in all manner of musical subtleties and especially in that form he had helped father the jazz ballad. His requirements for such brief psychic retreats were really quite modest. All he needed was a compatible rhythm section. The knowledge that he did not have to play “The Saints” every set made everything that much nicer. Once of the several far-removed havens in which Red found periodic relief, Chicago London House, afforded the trumpet player not only for musical freedom, but peace of mind as well. And probably not since his classic small band recording dates of the thirties did he sound as relaxed as when ensconced in his polite eatery. He was able to give free rein to his customarily submerged inventiveness, and, because the acoustics of the room obviated the need for excessive volume, he could devote his full attention to tonal nuance. … The proof is all here. With the masterful stride piano of Sammy Price sharing the honors, and the yeomanly rhythm team of Skeete and Potter providing the right balance of urgency and restraint, Red sounds more at home than he ever did on his own turf, that mixed metaphor of security and frustration that constituted his gigs in New York. The sound quality of the London House remotes was remarkably realistic, as those familiar with the 1963 Coleman Hawkins airchecks will already know. But only close Allen aticionados will recognize that Price was his pianist on the long deleted Columbia quartet album ("Feeling Good", CL 2447) and that Skeete and Potter were his choices for the equally elusive Swingville set ("Mr. Allen", SV-2034), testimonial enough to indicate their familiarity with the highly personal and unpredictable style that has yet, even today, to receive its proper recognition. - 96 6/17-6/29/61, N.Y.C., Embers - Henry Red Allen, 6/26-7/1: Jonah Jones, Cecil Lloyd; 7/1-7/15: Peter Nero; 7/15-7/29/61, N.Y.C. Embers - Henry Red Allen; Village Voice-June-66; Down Beat 6/22/61: Down Beat's Combo Directory: “Red Allen Combo” Martin Williams “HENRY RED”: … By the Sixties, the downstairs Metropole had rock-and-roll twist bands in the afternoon, and in the evening might feature Woody Herman´s big band strung out along the bandstand, or Gillespie, or (more often than not) Red Allen. Red Allen Jr. meanwhile had also moved on to a different milieu, and there he was plaving a somewhat different and sometimes more appropriate repertory. He began at first at the Embers in New York, where he appeared with piano, bass, and drums, in a repertory of standards, ballads. and blues. in slow medium, and occasionally fast tempos. The Embers was still another phenomenon in the presentation of jazz in night clubs, a relatively posh East Side club which began as a result of the early popularization of modern jazz (or sometimes "almost modern" jazz) in the groups of George Shearing, Oscar Peterson, etc. But the Embers achieved its greatest success when it put in swing-style trumpeter Jonah Jones, with his horn always muted (it´s in the club contracts) to accommodate the sometimes high-pitched buzz of animated after-theatre conversation from the customers. To spell off Jones´ successful engagements, the club used swing-era trumpeters like Charlie Shavers, Cootie Williams, Erskine Hawkins, Rex Stewart, trombonist Tyree Glenn , and Red Allen . As a result, Allen has also played what might be called the Embers circuit of similar clubs in Chicago. Cleveland, Toronto, etc. mid Aug.61, New Orleans & Algiers , Red Allen - vaccation 8/19 until 9/2, Cleveland, Ohio – Hickory Grill , Henry Red Allen Quartet (for Peter Nero until 8/19) sources : Jazz Report Vol.2 No.1 (Sept.61) / according to the below article he used his own quartet but at least Sammy Price, and not those local rhythm group described by John Chilton in “Ride, Red, Ride” p169 about Red's problems with this group; JAZZ SCENE – HE HAD IT ONCE, BUT IT´S ALL GONE NOW who once had it, and has it no more? -I was any better, and is not much worse By PATRICIK SCOTT: tink I would rather see or hear the bum now, than such faded contemporaries as Globe Mail, Toronto, 8/19/61p95 J.C.Higginbotham, Dicky Wells, Partly because we have the same birth-day who never had it, and never will. (give or take a year or two), partly because What has happened, somewhere along Coleman Hawkins, Jonah Jones, Muggsy he is so obviously trying his damnedest to the line, to the Henry (Red) Allen who Spanier, Rex Stewart, Benny Goodman please. and mainly because I'regard him as once made recordings like Heartbreak (and, on the really dark nights, Daniel having been one of the 10 or 12 best Blues and There's a House in Harlem Joseph Louis Amstrong). trumpeters in jazz, it grieves me to have to for Sale and I'm on My Way From You? He is 53 - which is old for a jazzman report that the sort of jazz Henry (Red) It could be, I suppose, a severe case, of but if the aging process is the whole Allen has been playing this week at the shell-shock, from all those years in the answer, how am I to account for such Town comes perilously close to being jazz Metropole trenches; or it could be other greybeards as Vic Dickenson, related, somehow, to the same relentless Edmond Hall, Wild Bill Davison, Bud at its worst. Is there anything more distressing, in any deterioration in the work of other aging, Freeman and Pee Wee Russell, who sound better every time I hear them? I field of endeavor, than the spectacle of one once-great jazzmen: Mr. Allen never wish I knew. And I wish I knew why Mr. Allen has not been singing this week. He is (or was) one of the great jazz singers. His 1935 rendition of Body And Soul is the best, bar none, of this number on record, and as recently as a couple of years ago his reading of Rosetta on The Sound of Jazz, was almost as good. Anyway - his pianist, Sammy Price; is well worth a listen. especially when imitating a man with four. hands, but I would rather have heard him without Mr. Allen, whom I would rather, quite frankly, not have heard at all. -------------------------------------------------HIGGINBOTHAM IS MUGGED J.C.Higginbotham, well-known trombonist, was mugged in the . elevator of his home at 152 W. 118th Moday afternoon. The popular musician, who had 8/16/61 NYC., ALBERTA HUNTER (v) & VICTORIA SPIVEY (v,p) acc.by played a date in Providence, R.I. J.C.Higginbotham (tb) Buster Bailey (cl) Cliff Jackson (p) Sidney De Paris(bb) Monday night, told police, he entered Zutty Singleton(d) the elevator around 5 P.M.-and the male occupant applied some kind of 3:14 I Got Myself A Workin' Man -vAH (A.Hunter) Prest. 1 052/ JCH-CD-10 pressure on his throat causing him to --/ JCH-CD-10 4:06 Black Snake Blues -v&pVS (V. Spivey) pass out. 2:40 I Got A Mind To Ramble -vAH (A.Hunter) --/ JCH-CD-10 Although he had two checks worth 4:45 Going Blues v&pVS (V.Spivey) --/ JCH-CD-10 over $300 in one pocket, the assailant 2:40 You Gotta Reap Just What You Sow -vAH (A.Hunter) --/ JCH-CD-10 only got 25 in cash which Higginbo3:07 I Got The Blues So Bad -vVS (V. Spivey) --/ JCH-CD-10 tham was carrying in another pocket. 3:30 Chirpin' The Blues -vAH (A.Hunter) --/ JCH-CD-10 NYAN-8/5/61p16 2:58 Let Him Beat Me -vVS (V.Spivey) --/ JCH-CD-10 - 97- SOME WORDS FOR ALLEN by Martin Williams, Metronome 10-61p30 Reactions to the idea of New Orleans as "the cradle of jazz" till have begun to set in - inevitably, I suppose. It has even been said that the whole idea is built on the towering status of Louis Armstrong, and little else, an attitude which leaves the reputation of such men as King Oliver, Freddy Keppard, Jelly Roll Morton, Kid Ory, Tommy Ladnier, Johnny and Baby Dodds, Jimmy Noone, Sidney Bechet, Barney Bigard, Zutty Singleton, and Wellman Braud unaccounted for. It also leaves out a trumpeter of a generation and a style a bit later than Armstrong's: Henry "Red" Allen, Jr. New Orleans also gave jazz a durable style which was popularized as "Dixieland," and especially since he is from New Orleans, Red Allen has become more and more associated with contemporary quasi-Dixieland playing - as have most trumpeters of the 30's. But good New Orleans-Dixieland jazz is primarily an ensemble style, and Red Allen is not really an ensemble player. He is a soloist, and the differences between Red Allen's style and Freddy Keppard's are much greater than the differences between Red Allen's style and, say, Lester Young's. Allen's best melodic lines are much too active and exploratory to be lead parts in an ensemble polyphony. He can play the Dixieland repertory, of course, and play it well; one of his best solos of recent years was on a recording of Frankie and Johnny. But he also finds, and meets, a challenge in tunes of more complexity, in all sorts of medium and slow ballads, in their melodies, in their harmonies. In fact, when Louis Armstrong began to turn away from the then standard jazz repertory of the 20's and improvise on popular songs and ballads of the 30's, he laid down a kind of challenge to other jazz musicians, by implication at least. Red Allen was one of the first players to meet that challenge successfully, and his 1935 Body and Soul still seems an exceptional performance. For just such reasons of tunes and repertory, it is encouraging musically (as well as encouraging to his continuing career) to see Allen recently moving, with a quartet, into The Embers in New York and The Palmer House in Chicago, for programs of medium end slow ballads and pop tunes are called for in those clubs. Of course the chatty inattention of the crowds there has encouraged some players into certain forms of calculated coasting, and pleasant trickery, but I doubt if Red Allen, with his very special hard working but modest approach to an audience, will merely coast. Of course he does have to pray with felts and mutes in such places, and Red Allen likes open horn, so perhaps that's one drawback. Another apparent drawback may actually be an advantage - there can be few uptempo grandstanders in such clubs. Those flashy pieces do rouse certain audiences on occasion, but they seem to me to show the least interesting and inventive side of Allen's talent, … In style at least, Red Allen is a kind of link between Armstrong and Roy Eldridge. (Eldridge has denied any actual influence from Allen, however). His work was certainly a guide for many trumpeters during the 30's, and Harry James, while with Benny Goodman, paid Allen the high compliment of basing his solos on Wrappin' It Up, Down South Camp Meetin', and Big John's Special directly on the ones Allen had recorded with Fletcher Henderson. I have a friend who calls Allen's episode on Wrappin' It Up, which includes both solo and call-and-response patterns with the group, one of the most perfect trumpet passages in recorded jazz. But of course there is more to Red Allen than his historical position or his influence. For one thing he has continued to develop, and he plays today perhaps better than he ever has. He has also obviously listened sympathetically to everyone around, through Miles Davis. But he uses all that he has heard with a real integrity and dedication, in expanding a style that is his own. Red Allen might give almost anyone lessons in an adventurous use of dynamics. Within the same phrase, he may begin with the merest whisper and then spiral up to a shout, always with his own spontaneous kind of musical logic. In that very same phrase, he is also likely to have slithered through the whole usable range of his horn - as a part of that same adventurously sought musical logic. About four years ago he made recordings of I've Got The World on a String and I Cover The Waterfront (both also featuring Coleman Hawkins) which show this capacity strikingly. Like Lester Young's and like Thelonious Monk's. Red Allen's Music depends on discoveries and surprises. And besides the thrusts of dynamics and range. His use of the unexpected includes rhythm. His rhythmic sureness is exceptional at times. There are many players of his own and later generations who still use repeated notes and phrases with the more or less mechanical function of rhythmic reminders maintaining or reestablishing the basic pulse. Allen goes directly to the melody he is improvising with an easy phrasing that doesn't need such signposts. His relaxed sense of the time and his dynamics and range break his lines up provocatively. I don't imagine that an horn man who arrived between Armstrong and Lester Young sounds less mechanical in his phrasing or has developed more rhythmic flexibility and variety than Red Allen. But the real pleasure of listening to Red Allen is melodic and it is to the line he is improvising that he is always committed. His contemporaries used to complain that he was rather freehanded with the harmony thereby. But I expect that there might have been some notes considered proper or "blue" in New Orleans and not elsewhere. And subsequent jazz history might be said to vindicate Allen too, because Monk sometimes overrides the changes in the interests of melody, and so, of course, do the atonal players of "the new thing." Perhaps, some people say, his melodies get too adventurous; they are undisciplined and become disorderly. I think such people may be hearing him the wrong way. For me. his playing often creates a special aura that unites the plaintiveness of the blues and the lyricism of good ballad playing, and is often far less exuberantly extroverted than his stage manner. And his happy surprise twists of melodic line and sound are often personal enough to establish standards of their own. Order and symmetry are deeper pleasures only when one has dared and won them. and Red Allen sometimes shows a daring that may turn up a kind of order not known before him. Certainly one of the major achievements of jazz improvisors has been to show that melody need not obey traditional classical or romantic notions of order, that it need not use traditional echoes or repeats but can be a continuous linear invention, and still be a complete and satisfying aesthetic entity. It is for that kind of order that Red Allen modestly searches. And for that reason, a program of medium and slow ballads and blues by Red Allen can be one of the superior musical pleasures in jazz. - Discography – - 98a - Addenda Obviously Red played at the Embers already in Sept.61: NYAN-9/2361p19: Trumpeter Red Allen flashing he´s a member of the Press Club of Cleveland, Ohio, and allowed privileges of Overseas Press Club here and national Press Club in D.C. His Quartet now at Embers with Sammy Price on piano, Jerry Potter on drums and Franklin Skeete on bass. Group is also featured in fashion layout in September True Story Magazine. early Oct. to l0/14/61, N.Y.C. Embers - Joe Bushkin, Henry Red Allen-/(Jonah Jones 10/15-11/15 (J.Bradley, Bul.D.H.C.F., Nov.61); Jazz Report Vol.2 No3(11.61) -Notes on New York: Mainstreamers have been in considerable evidence lately: Jimmy McPartland at the Roundtable; the Red Allen and Joe Bushkin combos together at the Embers; and several concerts at the Museum of Modern Art, one featuring Bud Freeman, another starring Coleman Hawkins with Roy Eldridge on fluegelhorn as well as tpt, and a third highlighting Wallerish Dick Wellstood whose group also included ex-Waller sidemen Herman Autrey and Gene Sedric. prob.mid Oct.61, four days at Willie Ruff´s Playback Restaurant, New Haven (he´d played in Cleveland 8/19-2/9/61 A SECOND SATCHMO unknown source, unknown date) His style of playing in the Russell band THE JAZZ BEAT- “Ride, Red, Ride” At a fraternity house party during Prom was likened to Louis Armstrong's by all who weekend some 30 years ago, Yale heard the group. And what an inspiring students and their dates thrilled to the hot group it was, boasting such men as J. C. rhythms of what was probably the Higginbotham on trombone; Albert Nichogreatest jazz band ever to appear in New las, clarinet; Charlie Holmes, alto sax; Haven. It was Luis Russell's Saratoga Teddy Hill, tenor - and a rhythm section Club band, and the lead trumpeter was a that has never been equalled, except tall young lad from New Orleans named perhaps by Basie. Paul Barbarin was on Henry Allen Jr. Better known today as drums; Willie Johnson, banjo and guitar; Red Allen, that same fiery trumpet man Pops Foster, bass; and Russell on piano. returns to New Haven this week as leader No wonder that, in 1931 when Louis of his own combo to play a four-day Armstrong was seeking a large jazz band engagement at Willie Ruff's Playback to work with, he chose this very group. When he plays blues, there's a Restaurant, starting Thursday night. It And no better an understudy (and second warmth and beauty to Allen's tone that can hardly be rivalled. will be the Playback's first departure horn) could he have found than Allen. Two years later Allen left the group to When he beats out a fast number, from a strictly modern jazz policy. Allen today doesn't restrict himself to become lead trumpeter in the famous there's excitement a plenty. the same New Orleans style jazz that he Fletcher Henderson band. Next he joined Earlier this year, he paid tribute grew up to learn in his home city. Far the Mills Blue Rhythm Band with whom to his old boss by recording a from it. He has ventured into the various he made his most famous record, "Ride, Verve album, "Red Allen Plays styles of jazz that have come along Red, Ride," a real swinger that he still King Oliver." On Nov. 26, at 10 through the years. When Dizzy Gillespie enjoys playing. p.m., he is to be featured with 20 was introducing bop on 52nd Street, During the 40s, Allen gave up big band other jazz artists on NBC's TV Allen was playing his own brand of it in work and formed his own small combo Show of the Week, "Chicago was featured at Kelly's Stables on 52nd and All That Jazz." R.C. a rival spot.. But New Orleans is still his favorite Street and other jazz 'spots. In the 50s he style, and he returns to his native city moved to Broad-way's famous Metropole whenever possible to visit his dear old where he remained until early this year. mother. His father, the late Henry Allen Certain jazz purists became critical of Sr., was leader of one of the early New Allen during his Metropole stint because of Orleans marching bands and taught Red his refusal to confine himself to playing standard jazz tunes. Red has always how to play. Red's career parallels the story of jazz. enjoyed pleasing the crowd - he's a born He began by playing in Sid Desvigne's comedian as well as a jazzman - and if Southern Syncopators, worked on the the customers wanted a novelty like famous Mississippi riverboats, emigrated "Kiss the Baby," he'd give it to them. RED ALLEN, New Orleansto Chicago and joined the famous King Two months ago, this writer heard Red and born trumpeter, played a Yale Oliver band, and finally moved to New his group in a Cleveland restau-rant. The house party 30 years ago with one York where he became trumpet star of audience wanted jazz, and Red really of the greatest jazz bands of the the Russell band that made such a dished it out, with strong support from era. This week he returns to New sensation in 1930 at Yale´s Alpha'Chi pianist Sammy Price, bassist Bus Haven with his own combo to play Moten and drummer Sol Hall. Rho house. at the Playback. Oct.61, beween 2nd and 15th one night at NYC., Central Plaza – Red Allen, Jimmy Buxton, Kenny Davern, Lee Blair source, Teresa Chilton, who photographed the band, see p87 10/30 & 10/31/61 NBC-TV - CHICAGO AND ALL THAT JAZZ Cozy Cole in a letter to the author 1978: .."You asked about Mae Barnes. She visited our school when she started drumming. I didn't know her too well, only thru her reputation, however she was a very nice person. " Bill Bissonnette covernotes of (*): Next is a television-airshot from half a century ago of a few jam session cuts featuring some of the best people of the period including Henry Red Allen, the only duo recordings of Jack Teagarden and Kid Ory swapping breaks on Tiger Rag and some wonderful drumming by the fabulous Gene Krupa. 98 - Addenda 10/30 & 10/31/61 rehearsal & filmed sessions for the 11/26/61 Sun.10-11 p.m. CBS/NBC-TV - CHICAGO AND ALL THAT JAZZ "Dupont Show Of The Week"; producers: William Nichols, Donald B.Hyatt; 60 min.-kinescope, 51'tape cut commercials; Story about Jazz in Chicago. The live-TV portions are interpersed with occasional film clips and commentary by Garry Moore, frequently backed up by an off screen orchestra, specially recorded for the show. (1) ORIGINAL DIXIELAND JAZZ BAND: Yank Lawson (t) Roland DuPont (tb) Paul Ricci (cl) Johnny Guarnieri (p) Cliff Leeman (d) (2) NEW ORLEANS BAND: Henry"Red"Allen (t) Kid Ory (tb) Buster Bailey (cl) Lil Hardin-Armstrong (p,v) Johnny St.Cyr (bj) Milt Hinton (b) Zutty Singleton (d) Mae Barnes (v,d) (3) CHICAGOANS: Jimmy McPartland (t) Jack Teagarden (tb,v) Pee Wee Russell (c1) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon(g) Bob Haggart (b) Gene Krupa (d) - Blossom Seeley (v); Meade Lux Lewis (p); Al Minns & Leon James (dancing) (4) off screen band - EDDIE CONDON & THE NBC-ORCHESTRA: Tony"Spargo"Sbarbaro (d, kazoo) John Piazarelli (t) Al Chernet (tb) Hymnie Schertzer (as) Julie Schechter (vln) Bill Gussack (d) & possibly others from above groups (5) studio orchestra composed by various combinations of the above groups, mainly from (3) and (4) *parts on Jazz Crusade-JCCD3066/all complete on /Sounds Great/Vintage-Jazz-Video/ on Allen-collection Hoffmann-DVD-12/ music on-/off-screen / Lp-SG-8007/ VHS-VJC-2002 / excerpt with Red Allen on RA-DVD-1a& CD-42 introduction by Garry Moore 0:45 0:28 (5) Take Me To The Land Of Jazz -vBS,vMB,vJT acc.by band (5) showing all performers incl.Red Allen on screen/ 1:09 (5) Take Me To The Land Of Jazz -slow instrumental reprise 0:13 Garry Moore about 1916 with the Original Dixieland Jazz Band 1:40 (1) Original Dixieland One Step 0:33 Garry Moore about the Victor Talking Machine and first jazz 0:40 (5) Jazz Me Blues 1:30 (5) musical montage incl."Pretty Baby"-"Shim Me Sha Wabble" to G.Moore on pianists & early negro bands 1:54 (1) Toddlin' The Toddle-O -vBS 3:15 (5) background Medley to Garry Moore: When Johnny Comes Marching Home – Dardanella - Some Of These Days Basin Street Blues - Clarinet Marmelade - Baby, Won't You Pleae Come Home - I've Found A New Baby 0:31 (2) BACK O' TOWN BLUES fragment -band introduced by Garry Moore ( not on CD*)/RA-CD-42/RA-DVD-1a/ 2:29 1:45 0:37 1:00 1:35 2:00 1:25 1:15 0:24 1:31 0:16 3:10 0:20 0:45 2:10 0:20 2:47 1:21 0:38 0:42 1:30 1:18 1:03 1:22 1:oo 1:48 1:00 (2) (2) JELLY ROLL BLUES DOCTOR JAZZ Westend Blues Dippermouth Blues Singing The Blues In A Mist Jailhouse Blues St.Louis Blues Honky Tonk Train Blues (5) (3) (3) (5) (5) (2) (5) (5) (4) (5) (5) -vMB (*)/ (*)/ ----- / / ----- / / -6/28/28 L.Armstrong recording, background to Garry Moore -L.Armstrong band, clip from 1946 film "New Orleans" -2/4/27 Bix Beiderbecke recording; -a private movie of Bix on screen -p solo by Johnny Guarnieri -short film 1929 Mamie Smith acc.by P.Grainger & unknown band -clip from short film 1929 Bessie Smith acc.by J.P. Johnson's band -v&p M.L.Lewis & vLouis Armstrong, clip from 1946 film "New Orleans" Honky Tonk Train Blues -p-solo by Meade Lux Lewis on TV Garry Moore speech Chicago -white bands incl.vBS,v&pLHA,St.Cyr,kazoo,vln,dancers,tbJT,tJP,& others Garry Moore speech Blues For Gene -during introduction of the "Chicagoans" by Garry Moore China Boy Garry Moore about the “roaring '20s'” Medley: Fidgety Feet-Tin Roof Blues-Fidgety Feet -dancing Al Minns & Leon James Ostrich Walk -to Garry Moore on early orchestras "CHICAGO FREE FOR ALL": CORNET CHOP SUEY segue to (*)/ --After You've Gone segue to -vJT (on screen) acc.by (4) & (3) (not on screen) (*) The Pearls -v&d Mae Barnes, v&p Lil Hardin-Armstrong (*)/ --HEEBIE JEEBIES segue to -v&d Mß, v&p LH, t Red Allen, c1Buster Bailey (*)/ --Wolverine Blues segue to -combination by the white bands (*) Way Down Yonder segue to -vBS Pine Top's Boogie segue to -Krupa intro-p solo Meade Lux Lewis (*)/ --TIGER RAG -Krupa intro-all bands incl.Ory & Allen (*)/ --Take Me To The Land Of Jazz -vBS,vMB,vJT & mixed band to leave out by Sidney S.Bushman / --- / / / ----- / / / / ----- / / - 99 Covernotes- SOUNDS GREAT SG-8007: The TV program represented on this LP, "Chicago And All That Jazz," was one of the few sponsored TV specials of hour length which attempted a serious portrayal of earlier jazz styles. The justly famous CBS program, "The Sound Of Jazz," (1957) was a presentation of informally played music by representatives from the swing era, while the four Timex "All Star Jazz" shows of the late 1950s were potpourris of jazz from many stylistic periods, with no discernible purpose but to provide entertainment. By contrast, "Chicago And All That Jazz," as part of a series with fairly exacting standards, was conceived with much higher aspirations. It came during the early run of "The Dupont Show Of The Week," a CBS program telecast on Sundays at 10 pm from Sept.17,1961 to Sept.6,1964. Over the years, the series presented a kaleidoscope of various types of entertainment and informational programs, ranging from dramatic plays and documentaries to light comedies and musical revues. It was stated that one of the series' aims was to show the latitude and potential of the television medium as a means of communication and instruction. In this context, jazz or Afro-American music as one of the major cultural phenomena of the 20th Century could not be neglected. Rather than produce a light musical variety program, it was decided that an instructive one focusing on the early development of jazz should be arranged. Towards that end, writerproducer William Nichols produced a script that attempted to trace all the facets of the Chicago music scene in the 1920s, and how the conflux of musical influences led to the formation of the so-called "Chicago style." The playing conditions, the locations, the dance styles, and the milieu (i.e., underworld influence), were all taken into account to describe the culmination in the later 1920s, when Chicago was the jazz center of North America, and its eventual decline around 1930, when most of the Chicago musicians gravitated towards New York and the big bands such as Jean Goldkette, Paul Whiteman and Ben Pollack, where the uninhibited spirit of their music was all but drowned. It was a long and fairly demanding script, and commentator Gary Moore tended to be a bit pompous, especially during the early chapters of the program. This is less obtrusive in the Kinescope with its visual distraction, but well-educated jazz buffs find it rather overbearing, and even more so when left alone with the soundtrack, as on this LP. But it must be understood that an educational rather than merely entertaining commentary was certainly in keeping with the series' high standards. And what seems so disturbing at the onset of the program, when the scene is set, becomes more and more oblivious as some marvellous music unwinds. A track-by-track description of the many musical performances would exceed our space limits, and a good deal of information is already provided,in the title rundown, sufficiently detailed to facilitate an understanding of the musical proceedings. However, a few annotations on the performers and some of the program's highlights seem appropriate. The title, "Chicago And All That Jazz," reminds oldtime jazz enthusiasts of a Verve album released under that title. It was cut during the show's early rehearsals, on Oct.30 and 31, 1961, by some of the performers (without Red Allen) assembled for the TV program. To re-create the music of the first group that made records in what came to be termed "Chicago style," guitarist/organizer Eddie Condon had been called upon to try and reassemble those McKenzie-Condon Chicagoans. Jimmy McPartland, Gene Krupa, Joe Sullivan, Bud Freeman and Condon himself were still active after all those years and easily gathered. For the late Frank Teschemacher on clarinet, the logical replacement was Pee Wee Russell, then playing in the band at Condon's New York club. The part of bassist Jim Lanigan, retired after many years with the Chicago Symphony, was played by Bob Haggart, "a Chicagoan by association," to quote Gary Moore. The same could be said of trombonist / singer, Jack Teagarden, who had not been a member of the original group (there had been no trombonist then). An aside to the unitiated: Red McKenzie, whose name appears in the "Chicagoans" title, had not then recorded with them. He only insisted on the use of his name because he organized that 1927 date. Two other participants in the TV show were also recorded for the Verve album: Lil Hardin-Armstrong, as a solo pianist and singer, and white veteran Vaudeville "shouter" Blossom Seeley. In the TV program on Saturday, Nov.26,1961, Lil HardinArmstrong appeared also in her original role as the pianist with Louis Armstrong's 1927 recording unit, the Hot Seven. Armstrong's part was admirably played by New Orleansian Henry"Red"Allen, and the two late Dodds Brothers, Johnny and Warren "Baby," were replaced by two Armstrong associates of later years, Buster Bailey and Zutty Singleton, on clarinet and drums, respectively. Bassist Milt Hinton, in place of tubist Cyrus St. Clair, completed the group in their recreation of "New Orleans style" jazz, playing such numbers as Armstrong's Cornet Chop Suey and two of Jelly Roll Morton's famous compositions, Jelly Roll Blues and Doctor Jazz This last number had a vocal by veteran entertainer Mae Barnes, who also proved to be an adept drummer in a duet with Lil Hardin-Armstrong on The Pearls, another Morton piece. For their next number, Heebie Jeebies, they were lent additional support by trumpeter Allen and clarinetist Bailey. Blossom Seeley had two solo vocals in the TV program. With Toddlin' The Toledo, she re-created a song and dance number that had gained her fame and a certain notoriety back in 1908. Her accompaniment in this performance came from a quintet representing The Original Dixieland Jazz Band, the group which cut the first jazz record in 1917. Outstanding in this illustrious enough assembly (see per-former listing) was Johnny Guarnieri, a vastly underrated versatile pianist who, later in the program, excelled in a sensitive rendition of the late Bix Beiderbecke's piano composition, In A Mist. Blossom Seeley, in her second song (Way Down Yonder In New Orleans) was supported by a rather undistinguished NBC studio group under the nominal leadership of Eddie Condon, a band that was never seen on screen. This band and a larger stud unit which provided most of the period music and the background to commentary were the least satisfying groups of the program, though they were occasionally supplemented with men from the Chicagoans or the ODJB. They were a necessity, though, because if their music contained little jazz quality, it served well in recreating the varied musical atmosphere of Chicago in the 1920s. In her rendition of Way Down Yonder In New Orleans, by the way, Blossom Seeley makes use of a part of this number that hardly any jazz fan has ever heard, as it is never played in jazz performances: a Latin-tinged verse reminiscent of the flavor in some Jelly Roll Morton pieces. To demonstrate early boogie woogie piano playing, Meade Lux Lewis was on hand, soloing on the Honky Tonk Train Blues, and with brief support by Gene Krupa in Pine-top's Boogie Woogie, the first known composition in this style. In an imaginative piece of editing that comes through on the soundtrack as well, Lewis' live rendition of Honky Tonk Train Blues was picked up from a recital of that number in the 1946 film "New Orleans," wherein Lewis meets Louis Armstrong during the film's Chicago chapter. To TV viewers, and the lucky ones possessing one of the rare Kinescopes remaining as testimony of the visual qualities of this show, such film clips, chosen by jazz film collector and historian Ernest R.Smith, may well appear to be the true mementos of those good old days." However, the feeling of those times is just as admirably conveyed by much of the music on this LP, beyond the instrumental numbers by the three small groups and the soloists. And for a striking example of the "Chicago style," there is nothing better than Chinaboy, played by some of the stalwarts of that era. In its first releases (8001, 8003) containing music from TV shows reliving the big band era (as well as a jam session sampling of various jazz styles-8005), SOUNDS GREAT set out to provide modern era collectors with a means to assess the treatment that jazz in its various incarnations has received on TV over the years. This LP is yet another valuable instaliment in that historical collection. Dr. K. Stratemann (Author: "Buddy Rich and Gene Krupa, A Filmo-Discography;" "Negro Bands On Film/Big Bands 19281950, An Exploratory Filmo-Discography"). We are indebted to "Red"Allen biographer Franz Hoffmann for assistance in the preparation of these notes - 100 "CHICAGO AND ALL THAT JAZZ" - New York Scene, by Jack Bradley, J.J. Dec.1961: (photo with Red & Buster) NBC-TV is producing a jazz show titled "Chicago And All brought applause from all in the house. Everyone in this band That Jazz" which will be shown on Nov.26th. Rehearsals and is a star in their own right. It is regretful that no record tapings began a month prior and gathered some of the greatest company in N.Y.C. had the sense to record them while they jazz talent of all time. Featured were three full jazz bands, 1/2 were together. Meade Lux Lewis, big and round, should have been allotted dozen soloists and close to 20 numbers. Yank Lawson, Roland DuPont(tb),Paul Ricci(cl),Johnny more time. However, his talents shone on HONKY TONK Guarnieri and Cliff Leeman recreated the O.D.J.B. Their TRAIN and PINE TOP'S BOOGIE. Johnny Guarnieri, who arrangement of ORIGINAL DIXIELAND ONE STEP was worked hard as house pianist backing almost everyone, soloed identical to the original. Old time vaudevillian Blossom Seeley on Bix's IN A MIST. Mae Barnes proved her versatility by playing drums behind Lil Armstrong's piano interpretation on joined the group to sing TODDLING TODALO. A recreation of Chicago jazz was expertly handled by Jimmy Jelly Roll's THE PEARLS. Dancers Al Minns and Leon James McPartland, Jack Teagarden, Pee Wee Russell, Bud Freeman, strutted their stuff to the tune of FIDGETY FEET. Blossom Eddie Condon, Joe Sullivan, Bob Hagart and Gene Krupa. Seeley was backed by Eddie Condon and the NBC-orchestra Their CHINA BOY and WOLVERINE BLUES were typical on WAYS DOWN YONDER IN N.Y. Teagarden was backed by the same orchestra for his vocal on AFTER YOU'VE Condon fare. But the greatest thrills of all were presented by the New GONE. Orleans band, with Red Allen, Kid Ory, Buster Bailey, Johnny Also Involved in the above proceedings were Tony Spargo St.Cyr, Lil Armstrong, Milt Hinton and Zutty Singleton. They and studio musicians John Piazarelli, Al Chernet, Julie rendered JELLY ROLL BLUES, CORNET CHOP SUEY, Schechter(vln) Hymie Schertzer(s) and Bill Gussack(dm). DR.JAZZ (which spirited vocal by Mae Barnes and Lil The rousing finale was TIGER RAG, with everybody joining Armstrong). This band swung from the ground up, with Red in and, naturally enough, a Krupa drum solo. This show, with Allen's trumpet providing the driving. Impetus. No one but the possible exception of Blossom Seeley, was l00 per cent Louis could top his work on CORNET CHOP SUEY. At jazz and can be favourably compared to the memorable CBS rehearsal Kid Ory's gut bucket solo on JELLY ROLL BLUES "Sound Of Jazz" programme of 1957 --------------------------------------------------------------------------------------------------------------------------------------------------------CRITICS, VIEWERS ADMIT FINDING TV's 'ALL THAT CHICAGO JAZZ' ENTERTAINING by Fred Danzig CD-12/2/61p12: N.Y.(UPI)-Some weathe- gaga put out their cigars and cigarettes, ment of the night's jazzmen was more red whippersnappers from the land of lined up on each side of the stage with- impressive. jazz stormed into a TV studio and mana- out complaint and went along, as jazz- Those cats have the hot art down cold ged to sweep aside some uncongenial men always seem to go along, with the and can hypnotize us into playing attenproduction barricades with their rousing production presumptions. And despite tion, digging their sounds, by virtue of everything, the message came through, their professional ease and stylish heasounds and styles last week. albeit in bits and pieces. “Chicago and All That Jazz” was the rings, not to mention the legends that are For that reason, I was sorry the show kept alive by their hands, horns and special; NBC-TV's “Du Pont Show of wasn't aired at an earlier time so that the hearts. The Week” was the slot. Garry Moore, possibly TV's most commercially accepta- youngsters could get an earful. A little I also enjoyed the pre-twist jazz dances by ble jazz buff, spoke producer-writer Wil- history lesson wouldn't hurt. And there the team of Minns and James and the were some priceless old, crowded- raucous, roly-poly shouting by those girl liams Nichols' words about the history and meaning of Chicago and all that jazz. bandstand film clips showing Mamie and singers. I thought an opportunity was Garry was surrounded by such warm- Bessie Smith, Louis Arm-strong, Meade missed by not letting the old-timers tell blooded jazz animals as RedAllen, Lil Lux Lewis and even a jet of Bix some stories about jazz, Chicago and the Armstrong, Buster Bailey, Gene Krupa, Beiderbecke, in action. 20's, in their own words. They might Kid Ory, Pee Wee Russell, Johnny St. Perhaps the performers have grown a bit have rammed the forms into sharper Cyr, Meade Lux Lewis, Jimmy McPart- short-winded after 30 or 40 years. But perspective more effectively. land, Joe Sullivan and Mae Barnes. With their rhythms though repetitive and, by The script wasn't intended to be a that kind of company going for him, the modern standards primitive retain a scholary history of jazz –I hope-but it script and Gary had the good sense to remarkable vitality and Joie De Vivre. could serve the unimitiated as a rather keep out of the act as much as possible. No, they don't, a Garry suggested,“blow antiseptic primer. After all, there's a little Oh yes, the jazzmen wore the silly hats you right out of your living room.” That more to jazz, or jass, then you'll find that some clown decided were required. feat probably could be left to the youn- O'Garry telling you on your TV, buster. They took part in some cornhalt sight ger cats who play louder. The achieve------------------------------------------------------------------------------------------------------------------------------------------CD-11/11/61p12: CHICAGO'S 'ALL NYAN-11/18/61p19: NBC'S “SHOW OF CD-11/25/p13: KID ORY, MAE BARNES THAT JAZZ' 'SHOW OF THE WEEK' THE WEEK” on TV, Sun.Nov.26 is a full- AND MEADE LUX LEWIS FOR TV NOV.26 – A full-hour showcase of the hour special called “Chicago and All That In memory of the golden age of jazz, some most American of all modern music, and Jazz”. Such old timers as … and others are of the most eminent performers will sound how it spread from its Midwestern cradle to seen and heard. off fresh what one of them calls the “glorithe entire world, “Chicago and All That WE CAUGHT A SCREENING OF THE ous finale of a Chicago free-for-all.” Jazz,” will be produced by NBC Special show on Monday. One of the best features is This will come at the close of “Chicago and Projects for broadcast in color on “DuPont the synchronizing of old film clips of such as All That Jazz,” the “DuPont Show of the Show of the Week” Sun., 11/26, 9 to 10 p.m. Mamie Smith, Bessie Smith and others with Week” in color on NBC-TV, Su.,Nov.26. Garry Moore will star as narrator, both on the life portions of the show. Garry Moore “In the Chicago of the Twenties,” says and off-camera. And an all-star cast of 20 narrates this show which reunites a lot of William Nichols, producer and writer of distinguished contempoprary jazz musicians musicians for the first time in 27 years. the NBC Special Projects program, “from and performers will participate, it was an- ONE OF THE BEST FEATURES is the time to time they would assemble all the nounced by Donald B.Hyatt, the executive great bands are entertainers for a jazz freeproducer.“With the guidance of Gary Moo- dancing of Al Minns and Leon James in a for-all that would blow the roof off the sequence called “Fidgety Feet” in which they re as story-teller, the program promises to mammoth dance-hall or armory where it show how the infusion of jazz into the body demonstrate such once popular dances as the took place.” For the TV-show, of American popular music took place Shimmey, Charleston, Snake Hips,Black Nichols has assembled 20 of the most Bottom and Lindy Hop. This, alone, should largely in the Twenties, and how that music celebrated jazz performers including … was ever present in American life during take some folks' minds off The Twist. The free-for-all finale, with the entire comthose rebellious and uninhibited times. It is WILLIAM NICHOLS wrote and produced pany participating, will include “After You fortunate that so many of the great mu- this show about the Jazz Age and which 've Gone,””Heebee Jeebies,” “Wolverine sicians and performers of this period are features some 20 giants of jazz. It's a show Blues,” “Way Down Yonder in New Orwhich might make some of our contem- leans,” “Pinetop Boogie” and “Tiger Rag.” still active and blowing as hot as ever.” The 20 guest performers, arranged in porary modernists all up and take notice-if Garry Moore is the narrator, Donald B. alphabetically, include … Hyatt, Director of NBC Special Projects, is they pay attention. listing only 20 members of (2) and (3). executive producer. ------------------------------------------------------------------------------------------------------------------------------------------------------NYAN-11/25/61p17: WHAT'S ON TV? – detailed note about the Nov.26 show, calling 20 performers. - 101 CD-11/25/61p12: MAE BARNES, KID ORY, LIL ARMSTRONG ON “CHICAGO, ALL THAT JAZZ”NOV.26 According to the 12th edition of the Encyclopedia Britannica, the most important development of the Chicago musical scene after 1910 was the establishment of the Chicago Opera Association. “We humbly disagree,” says TV producer-writer William Nichols, “and we call our dissenting opinion 'Chicago and all That Jazz'.” A “DuPont Show of the Week,” this NBC Special Projects program will be broadcast in color Sunday, 10-11 p.m. EST. The all-star show tells the story of how jazz spread through the Middle West. Twenty giants of contemporary jazz are featured and Garry Moore is narrator. “It's high time that we recognize that the VV-1/28-24/62 see p101 secondcity is maybe the first city in the spread of this great American music,” says Nichols. “This music that was cradled in Chicago from 1917 to 1920 gave its name to the whole American scene in the Twen-ties, and it has since been recognized as America's great contribution to the art of music.” Why Chicago?“There are a lot of reasons,” Nichols says.”Take the name 'Chicago. It's an old Indian word that means 'wild onions.' Doesn't that sound like the name of a jazz band or the title of a jazz piece?” But there were more substantial reasons. “For one thing.” Nichols notes, “there had been awar. American life was never the same after World War I, and the change was most noticeable in the cities of the Middle West. There were plenty of jobs and more freedom for the Negro, so he headed North, bringing his music with him. When Johnny came marching home to Chicago he was different , and so was his home town. He heard a new kind of music called jazz, and it seemed to express what he was feeling.” For the TV show, Nichols hasassembled many of the leading jazz performerswho were flourishing in the Chicago of the Twenties andare still flourishing today. Among them are: (listing only members of the “New Orleans Band” and the Chicagoans”. “Chicago and All That Jazz”: Mae Barnes - Red Allen - Lil Armstrong - Buster Bailey ca.mid Nov.61, NYC., Basie's club – party of Count Basie with RedAllen and singer Tony Lawrence PC-11/25/61p17: TOAST – Three luminaries of the entertainment world toasts each other at a party at Basie's in New York. Left to right: jazzmen Henry (Red) Allen, Count Basie and singer Tony Lawrence. CD: 1/13/62p14 early Dec.61, Toronto, Can. -"Recent Town Tavern attractions were Henry (Red) Allen, Joe Williame and Harry Edison, Oscar Peterson, and Buck Clayton..." (Down Beat 12/21/61) - 101a - Addenda 11/27 Mo. - 12/10/61 Su. Columbus, Benny Klein´s – Red Allen Quartet w. Sammy Price &/or Lannie Scott, Franklin Skeete, Jerry Potter Columbus Dispatch Tu., 11/28/61p12B “Red” Allen Combo Is Hit at Benny Klein's by William Fulwider Henry "Red" Allen is one of the old gang; those of the 1920s and 30s, who brought Jazz to peak popularity during Prohibition and who are continuing their artistry. Allen is a trumpeter par exellence and is mostly the whole show when his band sets up on Benny Kline's bandstand. No doubt his listeners will detect a similarity between Allen and Louis Armstrong in instrumental technique and in gravel voice, the brief times Allen turns to vocalizing. THIS IS not unusual since Allen used to play with Louis. But "Red" says he plays now the way he's always played. No explanation needed, how-ever - he's good. Allen's group may be somewhat singular the pianist, Sammy Price, does do some solo work - since he has no trombone or clarinet as most jazz bands do, but he pretty well makes up for that with his own enthusiasm. The group plays a wide range of numbers, from "Hindustan" and "Birth of the Blues," which are mostly underplay-ed and muted. to wide-open renditions_ of "Come Home Bill Bailey," "St. James Infirmary" and "Chicago." ALLEN loves to flutter-tongue, but says he does only because that's the way he feels like playing. His version of "St. Louis Blues" sounded almost original to this reviewer because of a similarity first to a mambo beat and then boogie woogie, but "Red" explained that's the way the music was written. And "is boogie woogie `really new," he asked? - Drummer Jerry Potter and bassist Franklin Skette don't get much chance to go it on their own, but they afford the balance needed for a good band. Citizen-Journal, Columbus, Ohio; Wed., 11/29/61p17: Music And Theater 'Nice, Man, Nice' Password This week At Benny Klein's , by Ron Pataky Henry "Red" Allen climbs onto the bandstand at Benny Klein's, caresses his horn with his massive hands and, in a croaking, Armstrong - like voice, says ". . . nice, man, nice." Then he begins to play. A CRITIQUE of the handiwork of jazz greats - men such as Louis Armstrong, Jack Teagarden and the like – inevitably results in an academic discussion. What's to be said that hasn't been said time and time before? In addition to blowing the original New Orleans sound, Red is a first-rate show-man. He knows how to help an audience experience the gamut of emotion which jazz and the blues offer. To love jazz, you have but to listen. To understand, you need to think. JAZZ WAS born as a result of suffering. The real thing has always been played from the heart and the soul. From the pick-up notes of "Snowy Mornin' Blues," you can detect a mood of that which is the blues - the sorrow of a people being expressed in the only universal language. With a little imagination, you can see a lonesome fellow huddling in the door-way of a dirty market . . . perhaps in a bleak alley . . . or crouched in the corner of a cold freight car goin' no-where but nowhere. HE BEGINS to sing – almost a moan - and a new blues is born. The real greats understand this feeling. They understand the message of the blues. When NBC was selecting the musicians for its "Chicago and All That Jazz" program of last Sunday, Red Allen was one of the men chosen. THE NETWORK wanted to tell the story of Chicago and its influence on jazz during the 1920's. They told the story with the help of Red and others like him. A hulk of a man, Red off-stage is a quiet, unassuming gentleman. Onstage, he's an entertainer who wins an audience quickly and expertly with his gruffnesss, his contortions and his feeling for the music he plays. I'm betting he'll win you over too. ======================= Columbus-Star, 12/2/61, p14a&15a Red Allen Packs Horn personality By John Bohannan If Henry "Red" Allen never put a trumpet to his lips he would be a great entertainer. The top jazz man now playing at Benny Klein's is a crowd pleaser with an intious way of getting everybody into the act. He claps hands on the up-at. The audi-ence joins in. Then he yells "Double up." The message gets through. It's clap, clap, clap-clap. Clap, clap, clap-clap. But when he picks up the trumpet all hell breaks loose in fascinating free-style sasheys, building up to solid holds, only to break dramatically into a guttural tone in the last few bars, lingering on the seventh note, then climbing to a high sixth. He has an infinite variety of climactic configurations, achieving the impossible with the ease of a golfer downing a scotch and soda at the nineteenth hole. HE TOYS with the instrument like a cat playing with a mouse. No other horn man we ever have heard has so much volume control. He can play with a mute, take it off and the open horn is no louder. At first we thought Red had cotton stuffed 'way down inside. But no. When we asked him he said, "I just don't blow so hard." But don't kid yourself into thinking he can't blast off. We heard him tee off with "Hindustan," a fluid, muted version. You had to imagine the melody - "where I met you annd the world began" —while Red indulged in soft fanciful flights. Pianist Sam Price was coming through with an occasional fast run. Drummer Jerry Potter and Franklin Skeete on the string bass fit into the rhythm picture like "a long pair of milady's formal gloves reserved, quiet, yet potentially dynamic. Red rested his horn on the piano so he could snap his fingers, and clap his hands. "Hey!" "Hey-ay-yay!" And all down the tables, up on the balcony, out among the waiting line of customers, hands began clapping on the up-beat. When Red picked up the horn again he leaned into it. Every bar was a bit wilder than the preceeding, ending in a note higher than the ceiling. EVEN IN REPOSE between numbers, Allen was a St. Vitus with a beat: He twitched with rhythm before it started; he fingered the valves as his sidemen musically held the audience in tense anticipation of Red's next outburst. There were "St. Louis Blues," "Birth of the Blues." "Bye, Bye Blackbird" with the whole crowd singing. "Let it roll!" Red grinned. In "Come Home Bill Bailey" Sam Price gathered up two big mits full of keys and spread them out like they came from a full band; Potter made like a supah Krupa. Even in off-the-cuff requests like "Up the Lazy River" and "Mack, the Knife," Allen and his combo were casually yet completely big time. IN "SUGAR BLUES" we first noticed Red's generous habit of leading up to an introductory bar, then cutting out to give his sidemen the breaks. He got in some subtle licks of high temperature in "People Will Say We're in Love," but the one we liked best was Red's version of "Basin Street Blues." So you're out for a quiet evening. So you want to drink espresso and read poetry. Get with it, man! Check this Red Allen. You can't relax when he's around. Your feet move. You quit beating your gums and beat your hands. He'll get through to you. ======================== unknown date & source, : (continued from-p6: You have only until Sat.Dec.8 to catch the trumpet sound of Henry “Red”Allen at Benny Klein´s Steak House. Considered one of the jazz immortals, Allen shows tremendous depth, warmth and beauty in his work. Since his early recordings in 1929 with King Oliver and later Louis Armstrong, to his present-day recordings on Vervelabel, Allen´s jazz concepts and tastes have varied. But throughout, his dynamic personality has prevailed to the delight of his audiences everywhere. - 101b - ADDENDA Citizen-Journal, Columbus, Ohio; Mo.12/4/61 Music And Theater : Proud Moments Followed Lean Years For New Orleans Lad by Ron Pataky Early on a January morning in 1908, Orleans - to Chicago - to New York - Red called her from the club that day a son was born to Henry and Juretta always playing with the men who were wish her a happy one. Just a little side story, a jazzman who Allen in Algiers, West New Orleans. to become the biggest names in the has watch them come and go for the past The address was 414 Newton-st. The surge of jazz on, the America scene. Henry Sr. died in 1952 but not until his 40 years - who started .with his father's proud parents decided to name their boy son had given him some proud moments. marching band and went on to becme Henry Jr. In 1950, Henry Jr. returned to his home one of the country's finest horn men. The elder Henry had been blowing a THE PROUDEST moment of Red's lot of horn for years around the city. with his own son, Henry III, where his life? It occurred during his first Like him, Henry Jr. developed an early father was to march in a parade. TAKING THE elder Allen's horn, European grip in 1959. ear for music. By the age of eight, Playing in Vienna, Red was invited young Henry was playing in his Henry Jr. walked that day in the parade father's marching band in the streets of while Henry III drove his grandfather to go to a small caberet called Fatty George's after the show. Walking into in the car. New Orleans. WHEN HE WAS about 14, he and "I think that was the proudest day of the place, he glanced at some pictures another fellow formed their own band. my father's life," Henry Jr. said. "You've behind the long, wooden bar. One caught his eye. There, in a called Allen and Casimir and booked never seen a bigger water. melon smile. their first engagement - at the Friends Henry Allen, Jr., now known by jazz- picture yellow with age but still of Honor Hall there. lovers the world over as "Red" Allen, recognizable, was Red's father, horn in From halls and basement clubs at the enters the second of a two• week stint hand, with members of his early mouth of the Mississippi, Henry went on at Benny Klein's supper club Monday. group. "If I, live to be 100;" Red said, "I'll to join groups playing the riverboats His mother still lives in the little house between New Orleans and St. Louis. at 414 Newton-st where, last Thurs- never forget that night .. . I wish he And from there it was back to New day, she celebrated her 78th birthday. could have seen it." ================================================================================================ 1/8-27/62 Chic., London House, Red Allen 12/11/61-1/7/62 Cleveland, Hickory Chicago Courier 12/29/62p9 Grill, replacing Charlie Shavers MUSIC AND COMEDY EXPERTS – Sheraton-Cleveland Hotel-Where To Go 12/9/61pp4 & 7: "Red" Allen at Hickory Fun and games -also known as Henry "Red" Allen - return to the Hickory Grill for four weeks, beginning Monday, December 11. The legendary Allen, a product of New Orleans' fabled jazz environs, proved a showman of the first order, when he brought his quartet into the Hickory for its first appearance in Cleveland last summer, and his long return appearance is something of a command performance for patrons of Jules Weinberger's plush downtown nightery. Allen's trumpet, one of the most forceful and dynamic in the jazz world, brings forth at various times the sounds of traditional jazz, Dixieland, and the warm and beautiful notes of traditional standards. It's a repertoire which made him one of the most talked about acts ever to appear at the Hickory - a fitting tribute to a man recognized in jazz circles as one of jazzdom's all-time greats. The forceful trumpet of Henry (Red) Allen once again will be heard at London House, beginning Tuesday, Jan. 8. Red and his famous group will appear at that famous musical restaurant for three weeks, through Sunday, Jan. 27. Alluring Gerri Oliver,"Queen of the Disc Jockeys," will be much in evidence during the holidays, spinning latest records and jamming at her Palm Tavern on East 47th St. Allen Drew, local comedian, will be missed during the holiday season in the city, but his witty sayings and walking cane twir-ling will captivate the nightlifers at the Pink Poodle in Indiana-polis. Dick Gregory, ace satirist, currently is wowing at Mr. Kelly's on Rush St. His rib-cracking jokes are something else. ============================================================================================== - 102 1/9-1/28/62, Chic. - London House - Red Allen Quartet, (housebands: Eddie Higgins/Larry Novak); between 1/9 - 28/62 Chic., London House; 3/23/62 - WBBM-“Best Band on One Night Stand” - HENRY RED ALLEN QUARTET: Red Allen (t,v) Sammy Price (p) Frank Skeete (b) Jerry Potter (d) tape 26:33 ONS-5567 1:03 theme: ALGIERS BOUNCE (H.Allen) on tape only/ RA-CD-22 Flutegrove FL6/ RA-CD-22 5:37 LOVER COME BACK TO ME (S.Romberg) --/ RA-CD-22 6:13 ST.LOUIS BLUES (W.C.Handy) --/ RA-CD-22 5:29 THAT'S A PLENTY (Gilbert-Pollack) 2:40 MEDLEY: - I'VE GROM ACCUSTOWD TO HER FACE --/ RA-CD-22 --/ RA-CD-22 - AUTUMN LEAVES 2:51 BIFFLY BLUES (H.Allen) --/ RA-CD-23 4:15 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) --/ RA-CD-23 0:34 leave out to ONS-theme and announcement RA-CD-23 same date & loc.; 3/30/62 - WBBM-ONST: same as above ONS-5576 0:21 intro: ONST-theme only tape 30:00 LADY BE GOOD (Gershwin) AUNT HAGAR'S BLUES (Handy) PRICE IS RIGHT (Sammy Price) MEDLEY: - VOLARE - BYE BYE BLACKBIRD - THE MUSIC GOES ROUND AND ROUND 3:54 JELLY ROLL BLUES (J.R.Morton) 6:53 MEDLEY: - IT'S ALLRIGHT WITH ME - HAVA NEGUILA 0:48 theme: ALGIERS BOUNCE (H.Allen) 4.33 3:22 3:06 6:36 John Chilton in “Ride, Red, Ride” p172: … Although the Allen-Price musical partnership was very success-ful, socially they shared a love-hate relationship. … In his autobiography Price spoke of their association: “I was working with someone who understood me and knew that I kidded a lot but most of the time I meant what I said... I stayed with Red eight years... Red was my best friend and I considered myself his best friend. He was hell to get along with musically because he was so sensitive, but I got along with him by telling him I made him sound good. Sammy Price's multifarious business interests combined with his political activities often curtailed his availability to play musical dates, and as a result pianist Lannie Scott began doing some of Red Allen's work…. Lannie Scott and Sammy Price continued sharing Red's work, and each made separate trips to Chicago for the quartet's London House residencies. the group was featured on various broadcasts from that club, some of which were later issued on albums. The balance is indifferent on most of these 'airshots', Franklin Skeete's double bass playing is almost inaudible and the sound of Jerry Potter's cymbals adds an obtrusive 'sound-wash' to the proceedings. There is also some 'wow' on the piano and Red occasionally steps 'off-mike'; nevertheless it is a fair portrait of the quartet at work in a club that did not cater exclusively for jazz fans. Red encourages the crowd and often uses his trade-mark exhortation 'Make him happy!' to get them applauding the solos. He also generously sprinkles the word 'Nice' throughout the programme. The material used by the quartet covered a wide area. Following his appearance in the Chicago and All That Yazz TV show, Red took to using a neat arrangement of Morton's 'Jelly Roll Blues', which was issued on the 'airshots' album. Sammy Price wisely makes no attempt to copy Jelly Roll Morton, creating instead some fine rolling piano playing that demonstrates his skilful, sturdy lefthand work. Red does not blast his way to a climax here and is similarly restrained on a tight arrangement of 'Aunt Hagar's Blues' (to which Red had been reintroduced during his European tour with Kid Ory); however his playing exuberance is unchecked on an imaginative version of 'Lover, Come Back to Me'. Lannie Scott was RA-CD-23 RA-CD-23 Flutegrove FL6/RA-CD-23 --/RA-CD-23 RA-CD-23 RA-CD-23 RA-CD-23 RA-CD-23 RA-CD-23 --/RA-CD-23 RA also featured on some of the Chicago broadcasts (see Jan.1963) and plays well on a faster than usual version of 'Satin Doll', on which Red's solo is full of interesting gaps where he deliberately pauses for dramatic effect. The quartet's version of 'I Want a Little Girl' is a little too ornamental. but Lannie Scott shows that he, like Sammy Price, was a versatile pianist. Some of these Chicago performances are run-of-the-mill (by Red's standards) but it must be remembered that, for the musicians, this was an ordinary working night, which to their surprise was later issued on record. Had Red known this in advance he would not, one feels, have included the inappropriate and showy version of 'Hava Neguila'. In contrast, the material recorded by Red's quartet (Scott, Potter and Skeete) for a Prestige-Swingville session in June 1962 was carefully selected. … 1/29-2/24/62, N.Y.C., Embers - Meade Lux Lewis, Henry Red Allen (see advertisement on page 100) New Yorker magazine 2/10/62: THE EMBERS, 161 E. 54th St.(PL 9-3228): Unusually there are a couple of conventions down front, but Red Allen's horn defies them as best it can. His quartet of traditionalists will be reinforced on Moday, Feb.12, by Meade Lux Lewis's trio. Sundays offer potluck bouts between extra bands. .METROPOLE, 7th Ave, at 48th St.: The teeth of the gale are operated by the band of Gene Krupa and Charlie Shavers' quartet. Guests work this street on Sundays. Friday and Saturday nights, there's Twist music, and the tribal rites that go with it, upstairs in the haymow. - 103 Easter Sunday 1962 closing date of Jimmy Ryan's with a jam session Reflections on THE DEATH OF 52nd STREET by Dan Morgenstern in Jazz Journal July 1963, Vol. 16, No. 7, p. 8: 52nd Street – “Jazz Street” - died at 3 a.m on Easter Sunday morning in New York City in 1962, with the closing of Jimmy Ryan's. …. One night there was a jam session which developed into a trombone battle between J.C.Higginbotham, Jack Teagarden, and Vic Dickenson. I think Red Allen was on trumpet and Big Sid Catlett was on drums, and I know that Vic took it but it was close. 4/early/62 Can.,Toronto, Colonial Tavern, Henry Red Allen Quintet feat. Bud Freeman (DB4/26/02) April-2nd week, Cleveland-Theatrical Restaurant, Red Allen acc.by the Ellie Frankel Trio; Jazz Report Vol.2No.9, 5-62: Henry Red Allen, accompanied by the Ellie Frankel Trio, appeared on one of Mike's April shows. Believe it would be 'nice' as Red would say, to see him recorded with the old veterans of New Orleans in a new album. Allen returned to the Theatrical Restaurant the second week of April (perhaps this was the rhythm group about which John Chilton reported on p169 in his book, see also the other Aug.61 Cleveland date on page 95.) 4/16-4/29/62, Detroit - Baker's Keyboard, Red Allen; (the above photos were made by Duncan Schiedt); 3/1/62 Copenhagen, DAN-bc-Corp.studio-10; J.C.Higginbotham(tb) & ARNVID MEYER & HIS ORCH.: Arnvid Meyer (t) John Darville (tb) Jesper Thilo (ts) Jörn Jensen (p) Ole Christiansen (b) Hans Nymand (d) prod. Torben Ulrich, Erik Wiedemann 3:19 After You´ve Gone “Right Out Of Kansas City”-SundanceMusicApS-STUCD(5BOX-CD1)-08102 / JCH-CD-12 other sides unknown 4/16/62, Copenhagen (DAN); recording studio: same as above Stompy Jones Sonet SXP-2026/ JCH-CD-12 Confessin' --/ JCH-CD-12 C-Jam Blues --/ JCH-CD-12 Basin Street Blues --/ JCH-CD-12 Lazy River / Blue Light / unissued; wanted; possibly in Arnvid Meyer -collection NYAN-5/12/62p16: Trombonist J.C.Higginbotham back in New York after swing through the Scandinavian countries and excited over how the young Europeans are playing jazz. Higgy also says he was knocked out when he heard some of his solos played note for note, tunes even he had forgotten. … 2:41 3:46 3:57 2:23 6/5/62 Englewood Cliffs, N.J., Hackensack studio – HENRY”RED”ALLEN QUARTET: Red Allen (t,v) Lannie Scott (p) Frank Skeete (b) Jerry Potter (d) (Martin Williams-“Henry Red” gives takes & order) Prestige / Swingv. /Xtra / Prestige USA / 3530-3 3531-3 3532-2 3533-2 3534-3 3535-1 3536-2 3537-1 3:00 3:46 3:05 3:45 3:15 3:02 4:50 4:10 CHERRY -vRA (Don Redman) PRT-7755/SV-2034/5032/PRCD 24232-2/RA-CD-23/ SLEEPY TIME GAL (Lorenzo-kbiting) --- / --/ --- / --/ --/ I AIN' T COT NOBODY -vRA (S.Williams) --- / --/ --- / --/ --/ THERE'S A HOUSE IN HARLEM (Arien-Van Heusen) --- / --- / --- / --/ --/ JUST IN TIME (Comden-Green-Styne) --- / --/ --- / --/ --/ NICE WORK IF YOU CAN GET IT (Gershwin) --- / --/ --- / --/ --/ BIFFLY BLUES (H.Allen) --- / --/ --- / --/ --/ ST.LOUIS BLUES (W.C.Handy) --- / --/ --- / --/ --/ Don DeMichael in Down Beat 2/28/63-Swingville 2634****: This is the session described so well by Martin Williams in the Aug.30/62, Down Beat. And a warm, swinging session it was. It serves to remind the listener-if he needs remindingthat Allen is among the finest New Orleans-mainstream trumpeters. His solos on this album are models of melodic improvisation. They are like well-constructed short stories, especially when compared. with the long-winded, rambling novels of younger players of more "modern" persuasion. Even at that, some of Allen's solos are three choruses long, but what he plays makes so much sense he never bores the listener. For instance, his ideas on Just flow together like tributaries producing a fresh stream un-hurrying to its-destination. The bite he gets into parts of his solos gives the proper amount of tension needed; his wit adds leavening throughout. His tone is particularly warm when he dips down into his horn's lower register, as on Biffly, a fine track. On Nobody the poignancy in Allen's playing rises to the surface in the opening chorus, during which Allen implies as much of the melody as he states, a trick that he uses to good advantage on other tracks also. His vocals on this track and Cherry are as much jazz as his horn work. When the crucial question of what constitutes a jazz singer arises I wonder why so few mention Allen? There are a few brief solos by pianist Scott that are tasteful if not particularly inventive. The rhythm section, except for some shakiness behind Allen's Nobody vocal (and it might be the result of a tape splice) and a lack of relaxation throughout Cherry (the weakest track), does a good job. This, by the way, is the group Allen usually works with nowadays; it's generally tightly knit. It's Allen's show, though, and a very good show it is. - 104 Martin Williams “JAZZ MASTERS OF NEW ORLEANS”pp251-274 - HENRY RED: ...At least he was very early for some recording he did in Edwards laughed. "They don´t play like that any more!” "Can the summer of 1962. Allen had been using a quartet for we hear that back?" Red asked-“How. do we sound in here?" A bit later they began running through Sleepy Time Gal, successful appearances in such semi-posh lounges as the Embers in New York, the London House in Chicago, the Allen´s lines were weaving in unexpected directions and he Theatrical Grill in Cleveland, and on college tours with was beginning to show his command of the full range of his comedians Shelley Berman and Bob Newhart, and he was horn, with the perfectly played low notes that are almost his asked by Prestige Records to make an LP with the group. exclusive property. His melodies were still gli-ding over the Prestige, like several New York jazz record companies, uses rhythm section and basic time, with sureness and inner drive, the studios of an ex-optometrist named Rudy Van Gelder, and no excess notes. The first take of Sleepy Time Gal was much simpler than the who began high-fidelity recording as a hobby and ended up with a successful business on his hands. Van Gelder´s run-through, and there was some trouble with the studios are located just across the George Washington introduction. Allen is still more used to recording for the old Bridge from Manhattan Island in the New-Jersey suburbs, flat acetate record blanks rather than tape, and he had been and Red Allen pulled up his shiny black Cadillac in front of counting off the tempos to the group at a whisper. But with Van Gelder´s large, backyard brick building early-almost tape it´s easy to cut splice, and remove a downbeat or a countforty-five minutes before the date was to begin. Van Gelder off. “You can count it off out loud, Red,” Edwards reminded is more used to show-business lateness than earliness, and him. he was not only surprised but dismayed at the arrival of At the end of another take, Edwards apparently saw Allen and his quartet. However, once he had made the firm something was about to happen, and he reached for his mike announcement that recording would not begin until the to say over the studio loudspeakers, “ How are the chops? scheduled 1 p.m. he opened the studio door and let the Can we do one more right away?” players wait inside. "Yeah, sure, my man!” immediately from Allen. And then Allen soon regained the composure he was so determined to they did the best Sleepy Time Gal yet. preserve, and inside the high-ceilinged, wooden beamed This time Allen came into the engineering booth to hear the studio he found of time to prepare. "Early?"muttered Jerry playback and sat beside Van Gelder´s elaborate array of dials Potter setting up his drums, "This group is always early!" and knobs. He raised and curved his eyebrows at a It was better to be inside. The day was overcast; there was a particularly lyric turn of phrase in his own improvising, pretty drizzle which turned into a heavy rain by late afternoon. much the way any listener would in following the music. Allen donned a pair of classes that gave him a studious air, By 2 p.m. they were into I Ain't Got Nobody; on his vocal an air that few people who have watched the exuberant and Red was gliding through as many as six notes in singing just powerful Red Allen on a night club bandstand would the opening word “I.” After the run-through, Edwards recognize. He leaned over the back of the studio piano, suggested that Allen blow another trumpet chorus on the final studying his list of repertory with the quartet and going some take. Again, Allen´s ideas were fresh and different each time of his lyrics. they ran the piece down, and he still glided over the basic Before long there was a casual exchange of players at the one-two-three-four of the rhythm with perfect poise. His piano bench-first the group´s bass player, Frank Skeete, and trumpet alone might make the whole group swing. He then Allen. Lanny Scott, the quartet´s pianist, is the counted them off loudly now for the final take, “ONE! professional, of course, so it would not behoove him to play TWO!” And at the end, after the reverberations had settled, for such casual amusement. Musicians take this sort of thing there was the inevitable Red Allen genial cry of "Nice!” for granted-nearly everyone plays a little piano and enjoys it, Almost his trademark. but it is often surprising to outsiders. Then, a short break as some visitors arrived, Van Gelder (*) A little before 1 p.m. Esmond Edwards arrived. immediately gave them a firm invitation to sit quietly in the Edwards had set the date up and he was to supervise it for studio and stay out of the booth. Jerry Potter came in to ask Prestige. (In other fields of endeavour he would be called a for a little more mike on his bass drum. “Can you bring it up a producer; in recording, he is called an A & R man-meaning little?” Then I can relax. I have to keep leaning on it artists and repertory.) He was frankly surprised to find the otherwise.” musicians all present and ready to go. He took his place “Okay, we´ll try. It´s not easy to do.” inside Van Gelder´s control booth, behind the large glass In the studio designer and photographer Don Schlitten, there panel which is broad and high enough to take in the whole to get a picture for the LP album cover. had his lights and barn-like studio at a glance. Van Gelder soon had his machi- shutters going. Allen wasn´t bothered. Nervous or not, Red nes threaded with tape and was seated behind his complex Allen had been strictly business from the beginning. And he control panel. The date was officially ready to begin. was obviously impatient to get back to work. On the other side of the glass the musicians began running Later, they were well into a new version of one of Allen´s through the first piece, Cherry, to warm up and to cheek the early recordings, There´s a House in Harlem, and Red was placement of the microphones. Red Allen was swinging getting deep growl effects the way he does on his open horn, from the first bar, and his very personal, often complex a plunger. Again, every version was different. Van phrases rolled off his horn with an apparent, almost casual without remarked for about the third time that they should be ease. He was also showing his fine control of the horn; he Gelder recording everything including the warm-ups and runwould begin with an idea at a mere whisper of trumpet throughs. And again, he shook his head in appreciation of sound, and develop it to a powerful shout at the end of his how well Red was playing. phrase-the kind of dynamics that few other trumpeters know Edwards stopped the take, remarking on the intro, and how to employ. After the run-through, Edwards suggested that drummer drummer Lannie Scott and bassist Frank Skeete worked it out Jerry Potter try sticks instead of brushes. Everyone agreed. together before the tape was rolled again. They began Just in Time, a more recent show tune, from Then Cherry was going onto the tape, take-1 -an inventive opening by Red, but he stopped after his vocal. "I goofed the Bells Are Ringing. “Everybody plays that thing now,” a words all up." Another take, but the bass wasn´t balanced. visitor remarked. “I guess it´s become a jazz standard already. I heard Art Farmer do it the other day.” There was some First numbers on a record date usually go this way. Then, Cherry –3. Everyone was working; the group was trouble again with the intro so Red took it himself concertedly alive. Allen was truly inventive, for he used only unaccompanied. They went through the piece once and Allen one brief phrase that he had played in any previous version was after Jerry Potter again. “Let me hear a little more of that of Cherry so far. "That man really improvises,” someone in bass drum, please." The ending was “up,” loudly and broadly the booth said, as Edwards and Van Gelder nodded. "I signaling the finish of the piece, just as the group does to a wonder if he could himself, even if he wanted to.” As the club audience. Another break, this one officially called by Edwards. Red ending rang out through the wooden rafters and across the was still anxious to get back to work and he toyed around on mikes, echoing the power and drive of the performance. - 105 choruses on this,” he said into the studio mike. “We will his horn, playing the next piece he wanted to do, Nice Work have enough time for it on the LP.” While the tapes were if You Can Get It. “Johnny Hodges has a record of that,” rolling, Allen suddenly went down very low on his horn remarked Lannie Scott. “Did you hear it?” again, growling out notes for almost two choruses. One take, By the time Edwards suggested they go back to work, Red as usual, did the blues. had relaxed at least long enough to be showing a visitor a The date was nearly over now. Edwards made more color picture he has of his mother, himself, and his calculations on timing, and then stepped into the studio to granddaughter-his “gran” as he calls her-four generations of suggest to Allen they do a longer version of Biffly Blues. the Allen family. But he broke off abruptly and was back at Agreed. “What does that title mean, Red?” a visitor asked his mike at the suggestion they resume playing. hurriedly, hoping to get his question in before the tapes On the take of Nice Work, Edwards encouraged, “Make it rolled again, “My nickname-when I was a kid,” he smiled. clean.” Red´s variations rolled off easily and with a rare and “My folks used to call me Biffly Bam when I wanted to be a very personal asymmetry. baseball player. You know-biff, bam-hit. Wham!” In the studio, the quartet then began to run down a piece After a rough start-Red had placed his horn and chops in that seemed both familiar and not familiar, a piece that too much of a hurry-they got though a long taping on Biffly sounded like the blues, and was not exactly the blues, and Blues with Edwards conducting and encouraging through was thirty-two bars long. When they get the routine set, the glass of the booth-waving his arms emphatically at the Edwards asked for the title. Biffly Blues said Allen-a new rhythm section, as Allen concentrated on his solo choruses. version of the first record he ever did under his own name. (Creative A & R work, it´s called.) One take and for the time being everyone agreed with “You know,” offered Potter at the end, "that Biffly Blues is Edward´s comment, “That´s it. It won´t go down any better the kind of piece that could hit.” than that.” “Maybe,” said a visitor. “You can never tell about those As they were running through St Louis Blues in the studio. things. Anyway, it sounds just as fresh as when he first did it there was talk in the booth about “still another record of that thirty years ago.” one,” but Edwards decided that if they did something different with it, then it should be recorded. They did, of “No. Fresher. Because Red is fresher,” said another course. onlooker softly. “You can´t date that kind of talent. And It was getting late, nearly 4 p.m., and Edwards did some he´s himself, and that means he´s got things nobody else quick calculations from the timings recorded in his notes on could pick up on.” the session. “Red, why not stretch out with a few more --------------------------------------------------------------------------------------------------------------------------------------------------------Martin Williams"Condition Red (Allen, That is)" in Down Beat 8/30/62: (same as on covernotes of Prestige-LP: Heny"Red"Allen,Jr. belonged to an illustrious line of 1929, but like many a veteran professional he still approached jazz trumpeters from New Orleans,a line which began with a record date with a kind of sound apprehension and a slightly Buddy Bolden (to many people, the first jazz musician), nervous determination that everything shall go well. and which included King Oliver and Louis Armstrong. The session represented on this LP, as I described it in After 1929, Allen was a member of the Luis Russell band, Down Beat in the issue of August 30, 1962, had been set well remembered for its drive, its swing, and its solos by Red up by Esmond Edwards for one o'clock on June 5, 1962, Allen. In the early thirties he joined Fletcher Henderson, and at the New Jersey studios of Rudy Van Gelder, just across his solos with that bands seemed so much a part of the the George Washington Bridge from Manhattan, and was to celebrated Hen-derson arrangements that when other bands feature the quartet Red Allen had recently been working played those scores, other trumpeters usually followed the with in clubs like the Embers in New York and the Palmer outlines of Henry Allen's recorded improvisations. It was House in Chicago. evident that Allen had develo-ped one of the most personal Allen, with his group, pulled up his car in front of Van trumpet styles after Armstrong. Gelder's early-almost forty-five minutes early in fact. He In the mid-thirties, Allen joined Louis Armstrong, and wanted everything to be relaxed and easy. So there was received the singular honor of being a featured soloist, with plenty of time to set up the drums, plenty of time to get billing, in the band led by the most celebrated jazz trumpeter. acquainted with the room. Allen leaned over on the back of As a sideman on record dates, Allen also recorded with some the studio piano and studied his papers, wearing a pair of of the most illustrious names and popular figures of the jazz of glasses that gave him a studied air, an air that few who have two eras-and beyond-King Oliver, Jelly Roll Morton, Sidney watched the exuberantly powerful Red Allen on the Bechet, the "Chicagoans," Lionel Hampton, Fats Waller, Don bandstand would recognize. Redman, Billie Holiday, Artie Shaw-the list goes on. (continues almost the same as above “HENRY RED” from By 1940, after a stay with Benny Goodman, Allen had his (*)A little before 1 PM…). (then added): Indeed, they don't play own group-one of the most advanced small ensembles of the like that any more; with Red Allen gone, they shall not play time, incidentally-and he was on his own from that time on. that way again. But the memorial he would like most, I think, One of the outstanding characteristics of Allen's playing is not for us to lament the loss so much but to hear what he was the freedom with which he phrased-probably no jazz left us, feel it, and enjoy. soloist between Armstrong and Lester Young played with (Martin Williams is the author of Where's the Melody? A greater rhythmic ease and natural swing than Red Allen. For Listener's Introduction to Jazz and Jazz Masters of New me, a program of ballads and blues by Red Allen held Orleans, and is a regular contributor on jazz to the New York promise of being one of the superior pleasures in jazz. Times and Down Beat). Allen had been recording as a leader of his own group since --------------------------------------------------------------------------------------------------------------------------------------------------------Michael Shera about Xtra 5o32, In Jazz Journal 8-67: This is predictable about his work was its unpredictability! His arguably the best record Henry Allen made in the period singing, too, has the same rhythmic subtlety and relaxation between the end of the war and his recent untimely death. as his playing. He can also be extremely funny, too, as He had not made many records in his last few years, anyone who had heard Let Me Misss You Baby from a which is a great pity, because up until immediately before long-deleted American Victor album called 'Bread, Butter he died he was playing more inventively than in any And Jam in Hi-Fi', will testify. (I was most surprised by previous part of his career. the omission of any mention of his singing in Barry Perhaps the most remarkable thing about his work at this McRae's recent short article). time, considering that he had been recording for over On this record, he is beard with his regular quartet, and thirty years, was a new rhythmic subtlety which is apparent this is probably the best way to hear him. The programme in his pre-war work, but which he developed to a much includes old Allen favourites, most notably Biffly Blues greater degree in his latter years. He was a master of and House In Harlem. However, like all forward-thinking dynamics, and could produce the widest range of different musicians, he does not rely solely on his old repertoire, tones of any trumpeter. His playing was always beautifully and so we find him playing a fairly modern standard, Just relaxed, but never lazy. In fact there is always a hint of In Time. Every track, however, is extremely successful, tension, which adds a subtle bite. The only thing that was and the record is unreservedly recommended. - 106 Dover Lake Land News, Thu. 9/27/62p22 Music Makers - News And Views About Music And The People Who Make It by Harold Plartey (Swingsville 2034) "Mr. Allen" - Henry "Red" Allen is all the way through. His low register of the eight slices in the album. Mr. one of the real giants of jazz. Nobody playing is beau-tiful to hear, and there's Allen sings a couple (in his own inimiplays a trumpet just like Red Allen and plenty of it. table style) with "I Ain't Got Nobody" his new "Swingsville" album proves it. The group has been playing such plush and "Cherry" as pace breakers on The New Orleans trumpet ace plays establishments as The Embers in NYC opposite sides. There's the ever popular with a natural swing and rhythmic and The Palmer House in Chicago. "St. Louis Blues" and "Biffly Blues" in ease. and his control and dynamics The rhythm section plays with a loose, the blues department and "Nice Work If point up his individual style. swinging beat with Lannie Scott, piano: You Can Get It" and "Just In Time" in The album should have been called Jerry Potter, bass, and Frank Skeete, the popuöar category. "The Amazing Mr. Allen," for Red drums, and it's the best rhythm section I You pay your money and you take plays a program of ballads and blues, have ever heard Red play with. your pick, but you'll find that Red Allen he swings, he sings and he entertains Take your pick as to which is the best was never better than he is in this album. ============================================================================= John Postgate about XTRA 5032, in Jazz Monthly lo/67-, The more I hear of TRUMPET MAN – Henry”Red the late Henry Allen's recordings, the more convinced I become that he was one of the few really great jazz musicians. His style was set in broad outline as long ago as 1930, but it did not remain static and indeed, improved gradually throughout his life. Both he and Roy Eldridge regarded any suggestion of mutual influence as risible, but they do have certain resemblances. On this issue, for example, the analogy between the two musicians is quite striking on THERE'S A HOUSE IN HARLEM: here Allen uses a strained tone very typical of Eldridge might have slipped into a "buzz" tone, Allen makes use of an open rasp. But the resemblance between the two is fairly superficial, arising from their common debt to Armstrong, and the fact that both are what one might call "coarse" trumpeters. Allen's style was in fact highly original, and its most pronounced characteristic was its wide ranging quality: to enjoy Allen one must accept that the music will move from delicacy to stridency in a matter of bare; it will not, generally speaking, build to a climax, but will rather occupy the ears continuously by setting up musical patterns and dislocating them. This manner of playing can be ineffably tedious in the hand of untalented: The post-Parker practice of saxophonists of keeping on blowing in the hope that something interesting might happen underlies much of my lack of sympathy for hard bop and its off-shoots. Allen's approach is perfectly illustrated in the to me-absolutely brilliant performance of JUST IN TIME on this issue: the theme is stated, idiosyncratically, over the first sixteen bars, then a protracted phrase of remarkable melodic delicacy takes care of the repetition. Two choruses of fertile, somewhat understated variations and contrasts follow, switching from light suggestion to coarse growl as bar follows bar; no climax is reached so, characteristically, a show-biz type is used to bring the performance to an end. A capsule of the essential Allen: a sophisticated primitive, who developed an untutored style into something that had a rare consistency and logic, even at a cerebral level. The jagged quality of his music-jagged both in mood and in melodic struc- TRUMPET MAN – Henry”Red Allen, the ture-often caused Allen's playing to conflict with established canons of jazz New Orleans-born trumpet man whose horn taste, which is why, I think, so many jazz fans have tended to dismiss him. has made him one of the most popular jazz Yet once one gets into rapport with him, even his beloved tear-up of musicians around, is going home to visit CHERRY takes on a wayward kind of beauty. This record has many delights his 78-year old mother, Mrs.Juretta Allen, from his Douanier Rousseau of the jazz trumpet - SLEEPY TIME GIRL and who still lives in the little Newton Street BIFFLY blues (a 32-bar blues in a minor key) are particularly notable house where “Red” was born in January, performances - but I think he was not retirely relaxed at the session. The 1908. CD:6/30/62p16 (in larger size the same proceedings lack, some of the ebullience of the rather similar "FEELING photo was used by Jan Evensmo in his book). GOOD",.(CBS-624oo) recorded a few years later; the rhythm section is rather too formal and Allen fluffs once or twice. At 30 minutes playing-time the record is also rather short, but it is acoustically much better and its average jazz quality is only marginally below that of the later recording. The economics of the record business caused Allen's latter-day music to be rather poorly represented on record; as an example of his real genius, away from a rabble-rousing context, this issue is strongly recommended. ----------------------------------------------------------------------------------------------------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 VV:6/28/62p7 (shortened) prob mid-late June 62, New Orleans, vacation of Red Allen, CD:6/30/62p17 with photo on the right side; (compare it with June-59 on page 68) 7/4/62 NBC Today Tv-show,- - HENRY"RED"ALLEN QUARTET: - as 6/5/62 pos. another (d = ?Ronnie Cole as 1/8/63) 9:30 tape, which was; a little bit too fast , female narr. 0:23 2:52 1:03 CHERRY -vRA 0:36 2:53 1:41 LOVER COME BACK TO ME (S.Romberg) JUST IN TIME /cut (Comden-Green-Styne) RA-CD-23 RA-CD-23 VV:6/28/62p7 (shortened) speech by female interviewer with Red Allen about his recently recording session RA-CD-23 and dates in Cleveland, Embers, Indianapolis; Chicago London House ; male narr. RA-CD-23 (Don Redman) RA-CD-23 RA-CD-23 - 107 7/7/62 NPT, VoA-bc-No….. “Newport Jazz Festival”- Concert LOUIS ARMSTRONG AND THE ALL STARS: Louis Armstrong (t,v) Trummy Young (tb,v) Joe Darensbourg (cl) Billy Kyle (p) Bill Cronk (b) Danny Barcelona (d) Jewel Brown (v) Yank Lawson (t*), J. C. Higginbotham (tb**) added (complete session on transcription with 15 sides is unissued) 3:22 ** DEAR OLD SOUTHLAND / JCH-CD-10 3:49 * ** WHEN THE SAINTS GO MARCHING IN –vJB & band & audience / JCH-CD-10 3:08 * ** STRUTTIN’ WITH SOME BARBECUE / JCH-CD-10 1962 by Dan /Morgenstern in Jazz Journal Oct. 1962, Vol.15, No 10p4: Only in the case of Louis Armstrong, who was saddled with the well-meant but unconstructive presence of Yank Lawson and J.C. Higginbotham, .… late Juli-until mid Aug.62, several weeks in Columbus, Benny Klein´s – Red Allen Quartet w. Lannie Scott, Franklin Skeete, Jerry Potter THE BIG JAZZMAN with the quiet, Manhattan Twisters, two shapely Citizen-Journal, Columbus, Ohio, without date Red Allen Quartet Keeps Emergency Squad Alert - by Abe Zajdan At first glance, the situaion at Benny Klein's, which always seems just a moment away from the emergency squad, appears to be well in hand for the next couple of weeks Henry (Red) Allen has moved his quartet into the Broad – and - High tinderbox for a couple of weeks and the after-hours voluptuaries who call Klein's "home" were happily in town by Allen's showmanship and music. gravel-voiced trumpet swings the familiar standards with an easy gait without quite beating them to a frenetic death. His sidemen - Lannie Scott, the pianist, Franklin Skeets, bass, and Jerry Potter, drums - are careful to sustain the Allen touch. Allen is a veteran who has made the grand tour of the nation's niteries since leaving his New Orleans home and the Mississippi riverboats. He hasn't left his savoir-faire behind. THE SHOWBILL also includes the young ladies accompanied by a male partner who do the twist with the enthusiasm of one who is trying to disengage himself from an octopus. Some of the spectators also join in. So does Benny Klein's blonde hostess. After the first set, they rolled back the deep-pile carpeting, so I presume a stand-by emergency squad wouldn't he a bad idea after all. (in the same source Louis Armstrong & his All Stars was announced for one week starting Mo.8/6/62 at The Maramor ================================================================================================ ca. Aug.62, N.Y.C.-CENTRAL PLAZA- Red Allen band & Ed Hall Trio; Jack Bradley & Jeann Failow in Bul.H.C.F.Sept.62: Avent la fermeture annuelle, le Central Plaza a terminé la saison en beauté, avec un orchestre comprenant Red Allen(t) Eddie Barefield(cl) J.C.Higginbothen(tb) Lanny Scott et Zutty Singleton, auquel le Trio d'Edmund Hall avec Don Frye au piano et Jo Jones á la batterie, a fait une sévére concurrence... 9/7/62 Erie, Pa., Rainbow Gardens, Waldameer Park – Red Allen; (Jazz Report) Sept.62, West Hampton, N.Y. - Dune Deck Hotel - Red Allen (Down Beat 9/27/62) last week of Dec.62, Cleveland, poss. Theatrical Grill – with at least two telecasts – Red Allen Quartet (Jazz Report) "Trumpeter Red Allen celebrated his 55th birthday on his opening night at London House, though his actual birthday was the day before" (Down Beat.2/14/63) 1/8-1/27/63, Chic., London House; from this time recorded for 3/15/63 WBBM-ONS - RED ALLEN QUARTET; Red Allen (t,v) Lannie Scott (p) Frank Skeete (b) Ronnie Cole (d) ONS-5828 ………………………. tape wanted ……………………… ……………………… ……………………… ……………………… same date & loc.; 3/22/63 WBBM-ONS: same as above 30 min.tape ONS-5831 0:22 theme: ALGIERS BOUNCE - ann. on ens. (H.Allen) RA-CD-23/ --- / 2:45 IT'S ALLRIGHT WITH ME (Cole Porter) 7:22 SATIN DOLL (Ellington-Strayhorn) Flutegrove FL6/ --- / --/ --- / 6:00 I WANT A LITTLE GIRL (Murray-Mencher) --- / 5:13 MEDLEY: - BYE BYE BLACKBIRD - MUSIC GOES ROUND AND ROUND --- / 3:30 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) --- / John Chilton in “Ride, Red, Ride” p172: … Lannie Scott was also featured on some of the Chicago broadcasts and plays well on a faster than usual version of 'Satin Doll', on which Red's solo is full of interesting gaps where he deliberately pauses for dramatic effect. The quartet's version of 'I Want a Little Girl' is a little too ornamental. but Lannie Scott shows that he, like Sammy Price, was a versatile pianist. 1/14/63 Chic., WBBM-bc or -Tv, “Herb Lyon Show” – HENRY “RED” ALLEN QUARTET: same as above ………………………… tape wanted CHERRY feat. fast – Skeete (Don Redman) tape wanted ………………………… 1/26/63 Chic., ..….-TV, “THE MARTIN FAYE SHOW” – HENRY”RED”ALLEN QUARTET: same as above 3:00 YOU'D BE SO NICE TO COME HOME -ann. by Allen RA-CD-23 3:56 ST.JAMES INFIRMARY -vRA (J.Primrose) RA-CD-24 Coda Feb.63: Red is at London House, Chicago for two, maybe three weeks. His accompaniment - … He guestes on the Herb Lyon show on Jan.14th, he mostly just played, keeping the trumpet tricks to a minimum. Skeete was featured on a very fast CHERRY. - 108 - Chicago Daily News Sat. 1/5/63 OPENINGS THIS WEEK (with photo), Tuesday: Trumpeter Henry “Red” Allen and his quartet at London House. It´s Allen´s birthday, too Chicago Sun Times-Tu., 1/8/63p44 Tuesday Night it´s Red Allen and his jazz combo at the London House. Next Monday it´ll be Steve Allen on Ch.7. Chicago unknown undated 1963 press clip: Tower Ticker by Herb Lyon (look also in the disco: 1/14/63 WBBM-Herb Lyon Show with red Allen): … Best Bet for Tonight Ol´pro, Henry (Red) Allen and his quiet jazz, moving into the London House. … PC-2/9/63p13: Henry (Red) Allen's soft-toned King trumpet will be missed at the London House where he and his sharpely rehearsed group including Lannie Scott, piano; Ronnie Coles, drums, and Frank Skeete, bass … 1/28 – first week in Feb.63; one week engagement at Dayton, Ohio, Kenkel´s (2/7/63 NYC- recorded concert “Musicians Aid Society) Journal Herald, Dayton, Ohio; Wed. 1/31/63 Jazz Great “Red” Allen Sparks Solid Quartet Now At Kenkel By Brainard Platt - "Nice, man, nice." This is the best way to sum up the performance of Henry "Red" Allen and his quartet at Kenkel's this week, in his own words. Allen, one of the jazz greats, plays the softest trumpet ever, but when he takes off he can tear your heart out. He gives every number his own touch, like "Ride, Red, Ride" and his own "Rag Mop," for instance. He will take the lead with a number of soft choruses. break out with a few hot licks and rest his trumpet on the piano or mid his arm, while he boats out the rhythm with his hands.. Or he may take off through the audience, playing so softly with what he calls his "controlled trumpet" that it is a delight to hear. He is so good that Jack Kenkel feels this is the greatest group ever booked into the restaurant, hopes to get him back after his next month-long run at the Embers in New York. Allen has been playing with the best since he started at the age of 8 with his father's band in his native New Orleans. He took off at the age of 21, playing on the riverboats, and has performed with all of the best, Louis Armstrong, King Oliver, Fate Marble, Walter Pichon. And just recently, he was selected to lead a band of the greatest on the TV spectacular, "Chicago and All that Jazz." -------------------------------------------------------------------------------------------------------------------------------------------------------------------Jack Bradley, Bul.H.C.F. March-63: N.Y.C.-Willie Smith"The Lion" ne se produit que rarement. Meis nous fúmes invités á une PARTY qu'il donna en l'honneur de Jane (sa compagne), oú nous retrouvámes Red Allen et son drummer Ronnie Cole (le fils de Rupert Cole), qui firent un peu de musique. Willie Smith joua AIN'T MISBERAVIN' et son ECHOES OF SPRING. Les meilleurs moments de Red Allen: ALL OF ME et MACK THE KNIFE Down Beat 3/28/63: Radio Station WNEW has begun a series called "Music Spectacular", 30-minute jazz shows emceed by Bob Landers on alternate Saturday at 2 p.m. First in the series was by a group of ex-Count Basies sidemen including Buddy Tate, Earl Warren, Buck Clayton, and Jo Jones. The second features Henry Red Allen with Tony Parenti, Cutty Cutshall, Ralph Sutton, Benny Moten, and Mickey Sheen … 2/7/63 NYC., Program for “Musicians Aid Society” recorded for 2/16/63 Sat. 2 p.m. WNEW-“Music Spectacular” – JAM SESSION: Red Allen (t,v) Tony Parenti (cl) Cutty Cutshall (tb) Ralph Sutton (p) Benny Moten (b) Mickey Sheen (d) 2:30 4:27 3:03 4:15 MEMPHIS BLUES (fast played) (Cl.& Sp.Williams) YELLOW DOG BLUES (Handy-Pace) CHERRY -vRA (Don Redman) FIDGETY FEET (LaRocca-Shields-Sigman) Honky Tonk Train p solo RS (M.L.Lewis) theme: ALGIERS BOUNCE (H.Allen) Phoenix-24/RA-CD-19/ --- / --- / --- / --- / --- / --- / tape wanted (detailed source Boris Rose-collection) tape wanted (detailed source B.R.-collection) 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 BLUES; CHERRY; FIDGETY FEET: The final cuts seem of Metropolitan origin, with the curiously antiquated Parenti clarinet dominating in all areas but imagination. Though locked into a way of playing that had become dated by the late 20's, through sheer persistence he had turned this Shieldsian rigidity into a tool of immeasurable satisfaction to all but fellow musicians. By contrast, Red and the others sound like modernists, in a more traditional setting, one faithful to the legacy of the ODJB, Parenti would have felt more at home. But here. despite his obvious fluency, the effect is that of disconcerting obtrusion. Trevor Tolley about Phoenix-24 in an undated Jazz Journal: The last four tracks on the record are from 1963 by a group that included ex-Condonites Cutty Cutshall, Tony Parenti and Ralph Sutton. They play Cherry and Fidgety Feet nicely enough, but there is nothing out of the ordinary. ---------------------------------------------------------------------------------------- MUSICIANS AID SOCIETY IS JUST THAT NYAN-6/1/63p15: Musicians and performers are the first to give - and they give the commodity of their talent. This has been the case recently when an all star group led by Count Basie performed for a radio program on behalf of the Musicians Aid Society. MC was Billy Taylor and the show was aired over Station WNEW with cooperation of Local 802 of the American Federation of Musicians Musicians Aid Society is not a new organization but Jack Crystal has been busily reactivating it lately. (cont.on next page - 109 - Crystal, of Commodore Record Co., a long-time friend of jazz and the men who make it has given employment to many at Central Plaza in lower Manhattan, where there are jazz sessions each weekend. He has also organized benefits for the individual musicians when needed. He doesn't stop there. He brings music to shut-ins at Kingsbridge Veterans Hospital in the Bronx and has been so doing for fifteen years. A recent benefit concert for thrailing clarinetist raised over $2,000. Trumpeter Louis Metcalf, also active in the Musicians Aid Society, personally sold 135 tickets. Over 100 musicians turned out, to give of their time and talent. On Broadway The purpose of the organization is to help the senior citizens of music who have become, because of illness or age, unable to work. Crystal has offices of the Musicians Aid Society at 1697 Broadway. Among the musicians who have played to aid the Society are the following: On Feb.7: Red Allen, Cutty Cutshall, Tony Parenti, Ralph Sutton, Benny Moten and Mickey Sheen. A second program featured Count Basie, Buck Clayton, Dicky Wells, Earl warren, Buddy Tate, Rodney Richardson, Gene Ramey and Jo Jones. A third program combined the talents of the Clara Ward Singers and the Dukes of Dixieland. 3/11/63 Mo., NYC., Palm Café – Camp Fund Affair with Red Allen as guest THE MEN OF THE HOUR - This group was snapped at the Palm Café last Monday Night at the Camp Fund affair enjoying the company of each other for a few moments, with no females allowed. From left: Bow Williams, Ralph Bastone, George Williams, Red Allen and Marty Liss. NYAN:3/16/63p15 Down Beat 5/9/63: Red Allen's group at the Metropole included Lannie Scott, Franklin Skeete, Ronnie Cole (d), ... poss.Aug.63, NYC., Bourbon Street; guests: Louis Armstrong , Max Kaminsky, Red Allen; VV:8/15&22/63p9: house band for two weeks Marlow Morris Duo; VV:8/29/63p10: Dick Wellstood & Hayes Alvis for two weeks; Louis, Max, and Red at the short-lived Bourbon Street on Forty-Eighth Street. It looks as though they are watching the club close. (Eddie Condon-Scrapbook); (an alternate photo “Red & Louis” is in Chilton´s “Ride Red Ride”,p121) - 109.1 9/21/63 Louisville, KY opening day at WHAS-TV Crusade For Children; Henry Red Allen (t,v) & Quartet: Lannie Scott (p) Frank Skeete (b) poss. Ronnie Cole (d) to be seen on you-tube from www.youtu.be/Hu11zq68ly8 5:48 CHERRY -vRA (Don Redman) RA-DVD-1/RA-CD-24/ ................... ................... more wanted from WHAS-TV-archive www.whascrusade.org more wanted ======================================================================================== Scrapbook from HENRY „RED“ ALLEN About his appearance at 10th annual WHAS Crusade For Children Sept. 21 & 22, 1963 remark: The original scrapbook is in B4 format with clips out of newspapers and programmes in original. Josephine Allen, Red´s daughter in law, gave it to the Red Allen collection of Franz Hoffmann, for a reduced A4 compilation with scanned text and reduced photos. ============================================== 1963 Crusade Signs Jazzman Red' Allen 10th WHAS event set for September 21-22 pay attention on one photo with the band of Cozy Cole by LOGAN POPE, CourierJournal Staff Writer clip-9/1/63 NEW ORLEANS jazzman Henry"Red" Allen and his quartet are to appear on the 10th annual WHAS-TV Crusade For Children September 21 and 22. Allen is the first entertainer that WHAS has announced as a headliner for its 161/2-hour telethon to benefit mentally and physically handicapped children in the Kentuckiana area. As in the past nine years, the Crusade will run from 10 p.m. Saturday (September 21) through 2:30 p.m. Sunday, carried simultaneously on WHAS radio and television. Allen is one of the "old-time" brass men who took the jazz traditions of New Orleans into the rest of the country during the 1920's and 1930's. He learned the trumpet from his father, a brass-band leader, and marched with his father's band while still in short pants. He played with bands headed by George Lewis, Eddie Jackson, Fats Pichon, Fate Marable, and Joe "King" Oliver. Jazz historian Dom Cerulli writes: "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 Louis Armstrong, and which was reflected in the later works of such stalwarts as Roy Eldridge and Dizzy Gillespie. "He still plays a personal, fiercely blue trumpet … 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." Last year's Crusade For Children raised a record-breaking $256,649, of which $242,231 was available for grants to handicapped-children's agencies in Kentucky and Southern Indiana. The money contributed in Indiana goes back to agencies in that state, and contributions in Kentucky remain for Kentucky agencies cont.: - 109.2 - Red Allen Ork. On Crusade continue from last page: Expenses for the 1962 Crusade were kept to a record low of THE LOUISVILLE DEFENDER Thu.9/5/63 $17,555, or 6.8 percent of funds with the same photo as on the above article collected. Henry "Red" Allen - one of the jazz immortals - is Of the 45 grants made from the destined to be one of this year's top attractions. He 1962 funds, seven totaling $37,458 plays his trumpet in a style that is at the same time went to Hoosier organizations, while $199.499 was divided dynamic and forceful while lyrical and to not bound among 38 Kentucky groups. strictly to the beat. He plays the jazz and Dixieland Allocations of the Crusade funds that is fast beco-ming hard to come by and is often are made by members of the panel described as "precious" and "rare". of the WHAS radio show "The Two singing groups have been announced. The 45 Moral Side of The News"-Rabbi J. voice Thorobred Chorus, 1962 International J. Gittleman, Temple Adath Barbershop Champions and the Motet Singers, one of Jeshurun; Dr. Duke K. McCall, the top choral organizations in the South. This will be president of Southern Baptist New Orleans jazzman the seventh Crusade for the Motet Singers. Theological Seminary: the Rt. Rev. Henry "Red" Allen and Monsignor Felix N. Pitt. executive quartet will appear on this Three lovely vocalist are slated for duty during this secretary of the Catholic School year's Crusade for Children, year's Crusade. They are WHAS' Jo Ann Hale., 1961 Board, and Dr. Paul Stauffer, First which is scheduled for Crusade Queen Sherry Sizemore and Kentucky Opera Christian Church September 21-22 Association star Carol Sladen ==================================================================== Week of September 29, 1963 firemen's collections being personally poured into the fish bowl by the men who bring in many thousands of dollars each year. Not until all have reported does the Crusade close with the singing of "Cod Bless America Eighteen hours after the show opened on Saturday evening with local and When the curtain carne down on the national stars headlining the first few 10th annual Crusade for Children, new hours of entertainment, the last fireman chapters in the lives of mentally and physi- walked onto the stage with his bag full of money. TV-in the BLUE CRASS cally handicapped children of Kentucky ======================= and Southern Indiana started being written. A highlight this time of year is the Individuals and organizations of the area WHAS Crusade for Children scheduled to contributed $260,948 when the 18-hour start at 10:00 p. m. this Saturday. Crusade seen over WHAS-TV, Chan- Name stars will be on hand to entertain but nel (11) and heard over WHAS radio the success depends on you and your came to its climax, This is the largest contributions received to carry an WHAS CRUSADE FOR CHILDREN amount ever shown on the giant tote work for the physically handicap-ped Pope-Russell Dancers! Repertoire board when the last volunteer firemen children of the Kentucky and Sou-thern The ranges from jazz to musical comedy and marched across the stage. One of the Indiana area. Week of Sept.15, 63 from tap to ballet. many traditions with the Crusade is the ============================================================= WHAS Crusade For Children's Marathon' Week of September 15, 1963 A decade is a long time. As the tenth At 10 p. m. on Sat., Sept.21, (11), the WHAS Crusade For Children approa- curtain in Louisville's giant Memorial ches, this fact is clearly demonstrated Auditorium will rise on the 1983 by infants, handicapped at birth, who "WHAS Crusade For Children." For 16 1/2 hours national and local have grown to a normal, healthy childhood through the help of Crusade funds; stars, technicians, musicians, and by dreams that have materialized into literally hundreds of volunteer workers clinics and hospitals for handicapped from every walk of life will do their children in this span of time; and by a dead level best to raise cold, hard cash re-education of thousands who held for the handicapped children of misconceptions about the mentally Kentucky and Southern Indiana. sick. Ten years is a long time, but a lot has been done in these years. TV in the Blue Grass Henry"Red"Allen June Valli . The star line up this year reads like a major television network special. First of the national stars announced by Crusade officials was jazz trumpetplaying immortal Henry "Red" Allen. The only nationally known act to return to the Crusade static will be Homer and Jethro, the "oooh that's corny" duo. The corn pone wit of Henry (Homer) Doyle and Kenneth (Jethro) Burns is now legendary. Randy Atcher Johnny Johnston - 109.3 Romantic singer Johnnie Johnston, June Valli, one of America's top vocalists. "Stephen Foster Story" star Jay Willoughby will make his fourth appearance on the Crusade this year. Other local performers include Randy Atelier, Cactus Tom Brooks, Phyllis Knight and Ray Shelton, Jay Crouse and Fred Wiche, the Red River Ramblers, the Patsy Bloor Dancers, the Hayloft Hoedowncrs, & others. The entire Crusade will be carried on WHAS-TV. Stars Ready To Shine In Crusade For Children Tonight S e ve ra l o f th e1 sta rs o f th e WHAS Crusade For Children, which starts its 16 /2-hour run at 10 tonight on Channel 11, are shown "warming up" their vocal cords for the big telethon. They are (standing) Larry Donoho, King of the 1963 Crusade, Kenneth Burns ("Jethro" of "Homer and Jethro"), and jazzman Henry "Red" Allen. Seated are Henry Doyle ("Homer") and June Valli of "Crying In The Chapel" fame. Singer Johnny Johnston didn't arrive in time for last night's "warm-up." SEP 21, 1963 Crusade's Host—Jim Walton Week of September 15, 1963 ================================================================================ Go Without Sleep For Fun Tonight This is the night the stars go sleepless—because they'll be wide awake singing, dancing, joking, and asking for contri-butions to the 10th annual WHAS Crusade For Children. The Crusade, WHAS's annual plea for aid for handicapped children of Kentucky and Sou-thern Indiana, will begin its 16 1/2-hour reign on Channel 11 at 10 tonight. And it'll be after 2:30 tomorrow afternoon before most of the stars get to sleep. Last year's Crusade netted $256,649 for 45 agencies in Kentucky and Southern Indiana. All of the money went to agencies in the area. None of it was sent to national headquarters of any of the aid groups. This year's Crusade is prob-ably the biggest collection of stage, screen, and recording stars ever assembled on a single stage in Kentucky. Television viewers will be able to watch the likes of Johnny Johnston, June Valli, Homer and Jethro, jazzman Henry "Red" Allen, the PopeRussell Dancers, featuring Mareni di Napoli, current dan-cing sensations of the East Coast nightclub circuit, and the Motet Singers and cartoon star Mighty Mouse and scores of others. Johnston is currently master of ceremonies of A.B.C.-TV's "Make That Spare," seen here on Channel 32. He has starred on Broadway and in numerous movies and his recordings include some of the all-time best-sellers. He introduced such hits as "Old Black Magic,". "Laura." and '"I Dori´t Want To Walk Without You." He makes frequent guest appearances on television and appears in the nation's leading nightclubs. SEP 21 1963 Emcee on A.B.C.-TV Miss Valli's career started booming from the night she won on Arthur Godfrey's Talent Scouts TV Show. Since then, she has starred in "The Hit Parade," "Stop The Music," and "The June Valli Show," all on TV. nation's top clubs and theaters, and to guest spots on such TV shows as Jack Paar, Steve Allen, Perry Como, Tennessee Ernie Ford, and others. The local and regional stars also appearing on the Crusade include Jay Willoughby, star of "The Stephen Foster Story," the Thorobred Chorus, opera singer Carole Sladen, Randy Ateher, Phyllis Knight, "Cactus" Tom Brooks, the Irvin twins of "Grand Ole Opry" fame, singers Janet Brooks and Sherry Sizemore, and a host of others. Also appearing will be the king and queen of this year's Crusade, singer Larry Donoho and accordionist Linda Graham, who'll be crowned by Johnston and Miss Valli. Dudley Saunders MARENI DI NAPOLI _________Crusade Dancer____ . She's an international star at the box office, attracting record throngs to numerous nightclubs and theaters in the United States and Europe. Her recordings, including such hits as "Crying In The Chapel," "Unchained Melody," and "Young and Foolish," are international hits. The story of Homer and Jethro, who set a new style in cornpone singing, is legend. They were discovered singing on a Knoxville radio station. From there, their career zoomed to recording stardom, appearances in the ----------------------------------------- - 109.4 - THE KICKOFF . . . The Patsy Bloor dancers took the stage at Memorial Auditorium last night to start the 10th annual WHAS Crusade for Children, which will continue until 2:30 p.m. today. 'Ring Our Little Bell' 9/22/63: WHAS Crusade Under Way With Lots Of Talent, Coffee By PHIL NORMAN A team of schoolgirls, dancing to the tune of "Love Is Sweeping The Country," helped open the 1963 WHAS Crusade for Children last night in Memorial Auditorium. The girls, members of the Patsy Bloor dancers, shared the opening spot with Jay Willoughby and the motet singers, who presented a special version of "Give A Little Whistle." A New Version The lyrics sung by Willoughby, star of Bardstown 's "Stephen Foster Story," went like this: "Just dial our little number, "Ring our little bell, "Call and pledge your help with mousy, "Then we'll give a little yell." - The Crusade began at 10 p.m. In the first 2 hours and 25 minutes $28,090 was pledged. The 161-hour radio and television marathon, marking the Crusade's 10th annual plea for money to help children with afflictions of all kinds, will end at 2:30 p.m. today. Last year's Crusade brought donations of $256.649 but Vie. tor A. Sholis, vicepresident and director of WHAS, said no specific goal is ever set because "the need is limitless." Always Need More He said available funds are never sufficient to meet the needs of the 45 Kentucky and Southern Indiana children's agencies that were served list year. In a statement near the begin-ning of the show, Barry Bingham, Jr., assistant to the president of WHAS, Inc., called the project "a triumph beyond the highest hopes of those who gathered here for the first Crusade in 1954.” A lineup of well-rehearsed entertainment was scheduled to run into the wee hours. The bill included such performers as Homer and Jethro. singers June Valli and Johnny Johnston, jazzman Henry "Red" Allen, and the Pope-Russell Dancers. Crusade personalities from this area include master of ceremonies Jim Walton, Bobby Lewis and Janet Brooks, Jo Ann Hale and Sherry Size. more, Phyllis Knight and Carole Slayden, the Thorobred Chorus, Randy Atcher, "Cactus" Tom Brooks, and the Red River Ramblers. The Crusade queen, Linda Graham, 14, was determined to remain in the show despite an attack of flu that sidelined her Friday. "I just had to come out for this," said Linda as she rehear-sed her accor-dian act. Linda and the Crusade king, singer Larry Donoho, 16, won their titles in talent competition. As usual, however, the real stars of the Crusade were the crippled, blind, deaf, and other handicapped children who came on the stage on behalf of the Crusade's cause. Others will be introdu- ced this morning in a segment dramatizing the work being done with children who have physical and mental handicaps. Up All Night Hundreds of volunteer work-ers were staying up all night to man about 50 telephones and several adding machines, and perform countless other chores behind the scenes. Among the paraphenalia in the basement of the auditorium were two large coffee machines to keep all awake PASSING THE BOOT ... Helping collect contributions to the WHAS Crusade for Children yesterday was Donald Adcock, Mockingbird Valley Road. Adcock, representing the St. Matthews Fire Department, received donations from motorists on Shelbyville Road at St. Matthews Avenue - 109.5 SEP 22, 1963: It's Miracle Time By BILL LADD, Courier-Journal TV Editor Torrents of money, floods of love . . . that is the '63 Crusade For Children knew we had listeners and viewers. I THE ANNUAL miracle is about to from you and me. Some will come from the clenched hands knew that the people of this area must happen. This minute, as you read this have more feeling of responsi-bility for over your coffee, the people of of handicapped children themselves. On the stage at Memorial Auditorium, our cause than they had shown. Kentuckiana are bringing it to pass. "I was very heart-sick and bone-weary. Thousands of men, women and children the huge tote board wilt record the in their homes, their Sunday schools, their extent of our care for those less fortu- "Then, with the morning, a crowd began to form. You could feel the change in churches and on the streets and roads nate than ourselves. In a few days, when you have mailed the atmosphere backstage. People too are being touched by the magic of the 10th annual WHAS Crusade for Children, in your pledge, a group of ministers will tired to move of their own free effort Within the next few hours, a year of parcel out the money to dedicated groups came alive! Children began to file past, dropping planning and work and 16 1/2 hours of in the two-state area which have worththeir savings into our goldfish bowls. intensive campai-gning will surge to its while projects but no other source of funds. And even as they hand out the money, People stopped by on their way to climax. Into glass fishbowls on the stage at men and woman will be planning the church to leave with us concrete evidence that they believed that which they Memorial Auditorium will pour a torrent 11th Crusade. On the stage, the smallest group of any were on their way to hear. of pennies. nickles, dimes, bills and "In those last few hours, we more than checks to ease the way and improve the of those participating—the performers— made our goal. lot of handicapped children throughout will marvel at the annual miracle. "That, I sincerely believe, was the finest Through the years, almost every perforKentuckiana. The torrent will gush from the gigantic mer who has taken part has wiped away hour I have ever spent in show business." And that was before the days when 100 boots of 100 volunteer fire chiefs, and sweat and tears and tried to express his sensations as the magic began to work. volunteer fire depart-ments took part! from the hands of children. When the show ends this after-noon, It will flow from the church collection Perhaps none has done it better than plate, and from the pickle jars into Garry Moore, star of very first radio- the cast will move to the footlights and take a collective bow. If they bow extra which barten-ders have been stuffing TV marathon on WHAS. This is what he said on C.B.S., coast- low, it will be because the bow they take their customers' change. is for you. In these last hours, you are It will be In the form of checks from to-coast, about the 1954 program: the show, and on you rests its success. "We had slaved all night. businessmen and from union treasuries. "There was about $25,000 on the Hurry with that second cup. It will come from clubs and bowling scoreboard for about 10 hours of work. I You can still make these exciting hours! leagues, and from lonely old ladies, and ======================================================================================================== SEP 23, 1963: Crusade Puts On By DUDLEY SAUNDERS • WHAS and Channel 11 could have taught Alfred Hitchcock a thing or two about suspense yesterday. The 10th annual WHAS Crusade for Children was easily the best thriller of the new television season. The 18-hour-and-5-minute telethon was a real nail-biter during the last few hours when a lot of us - especially the newcomers - were beginning to wonder when and if the money was ever going to arrive. To those of us who had not seen any of the previous tele-thons, the suspense started building about breakfast time when we realized the Crusade was more than $200,000 shy of last year's receipts. Stars Were Worried It looked to us newcomers that, despite all the careful plan-ning and hard work and talent of about 1.200 volunteer workers at Memorial Auditorium, this year's venture would fall horribly shy of the $256,649 collected last. year. You could almost tell the new people from the veterans back-stage yesterday morning. The new people were beginning to chain-smoke and look forlorn. The suspense was so great that June Valli, Johnny John-ston, Henry "Red" Allen, and Homer and Jethro risked miss-ing their planes by sticking around long after they had made their final appearances. They wanted to see whether the Crusade would "make it." But the old pros didn't seem overly worried. just tired. They knew from experience that the Crusade is a suspense show. A Thriller With Cavalry-Style Finish "Don't sweat it," the old pros comforted the likes of me. "'It'll come. It'll come." And it did, like a snowball turning into an avalanche, or a truck careening down Pike's Peak without brakes. By the time the show went off the air at the steaming, noisy old audi-torium, the tote board read $260.-948, well over last year's record. Jerry Hall, 12, of Clarksville, Ind., with cash-filled firemen's boots. ----------------------------------------- The big "suspense" show also had some of the elements of a big budget horse opera, with the cavalry riding to the rescue in the nick of time. The cavalry in this case was several thousand volunteer firemen who started pouring in about noon, their fire-fighting boots and flashy helmets over-flowing with money. And just as in the horse operas, the cavalry - firemen sounded their charge to the rescue - not with trumpets but blaring sirens. Those sirens probably sounded as good to the Crusade workers as the cavalry charge ever sounded to beleaguered pioneers. But the firemen weren't alone. It seemed as though just about every church, civic group, and Boy Scout troop in Kentucki-ana showed up, too. And so did a lot of just plain folks who canvassed their neighborhoods and kids who emptied their piggy banks. A veteran of several previous Crusades said it for me: "I knew they would come. But, man, I just wish they wouldn't wait so long. My heart can't stand it. I knew they would come, but I was beginning to be afraid maybe they wouldn't this year." Ditto! Incidentally, the Crusade came on strong Saturday night with a sort of Jackie Gleason opener — a big singing and dancing chorus, a quick parade of stars and real light. timing. Singer Jay Willoughby set a fast opening pace and high standard for all the national and regional talent which followed him. ====================== - 109.6 - RECORD SIGN-OFF . . . The tote board registered a record $260,948 in donations and pledges as volunteers of the 1963 WHAS "Crusade For Children" signed off the radio-television appeal at 4:05 p.m. yesterday with a chorus of "God Bless America." Crusade may Over Top 18-Hour Telethon Nets $260,948 For Children By DEAN DUNCAN A longer-than-ever WHAS "Crusades For Children" went off the air yesterday with a record $260,948 pledged and donated for the benefit of handicapped children in Kentucky and Southern Indiana. Drums rolled, trumpets wailed, and weary volunteers crowded onto the stage in Memorial Auditorium at 4:05 p.m. to end the 10th annual fundraising telethon with a rousing version of "God Bless America." The $260.948 shown by tote-board was unofficial. The figure was expected to go higher. Even as the nonstop television-radio appeal signed off, WHAS entertainer Randy Atcher was announcing the receipt of an additional $1,558.44 in collec-tions from the Corydon, Ind.. Fire Department. Records Tumble Records tumbled like acrobats at this year's Crusade. The $260,948 replaced last year's $227.554 as the largest amount pledged or contributed while the telethon was still on thee air. In fact, the sign-off figure topped 1962's record total collection of $256,649. The 1963 telethon also was the longest. It started at 10 p.m. Saturday and lasted 18 hours, 5 minutes. The old record was last year's 17 1/2 hours. After the curtain rang down, one of the biggest smiles on the stage was worn by Victor A. Sholis, WHAS vice-president and director. Of the public response to the appeal, he said: "It shows what a magnificent community we live in." As he spoke, entertainers and behindthe-scene volunteers exchanged hearty congratulations on jobs well done. Many had been on the go since the tele-thon starter, refueling themselves periodically with coffee and food donated by merchants and served free of charge in the auditorium basement. Many Stay All Night Lured by the attraction of an entertainment bill beyond the price of many a major television producer, a sizable crowd kept an overnight vigil in the auditorium. There were songs by such national entertainment personalities as June Valli, Johnny Johnston, and Homer and Jethro. The all-star lineup also included jazzman Henry "Red" Allen and the Pope-Russell Dancers. Regional and local talent included Jay Willoughby, Etcher, "Cactus" Tom Brooks, Phyllis Knight, Carole Slayden, the Tho-robred Chorus, the Red River Ramblers, Bobby Lewis, Janet Brooks, Jo Ann Hale, Sherry Sizemore, the Irvin Twins. Crusade Queen Linda Graham, and Crusade King Larry Donoho. ======================= SEP 23, 1963 TINY CRUSADER . . . Three-year-old Jeffery Tanselle, Pewee Valley, crou-ched among money-filled boots for a bit of rest yesterday after helping the Pewee Valley Fire Department lug the donations to the stage of Memorial Audi-torium for presentation to the 1963 WHAS "Crusade For Children.": - 109.7 RECORD $260,948 PLEDGED SEP 23/19/63 City Stays Up All Night - And Gives-For Handicapped All through the night, people gave. The next day, they kept giving. And when the WHAS Crusade for Children signed off the air yesterday after-noon, a record $260,948 had been donated or pledged for the benefit of handi-capped children in Kentucky and Southern Indiana. The 10th annual Crusade was not only the biggest money raiser ever, but also the longest. It began at 10 p.m. Saturday at Memorial Auditorium and didn't stop until 18 hours and 5 minutes later, at 4:05 p.m. Last year's Crusade, which set a duration record, was 17 1/2 hours long. The amount rolling into the till this year compared with the $227,554 record amount contributed or donated last year while the Crusade was still on the air. The amount at sign-off time even surpassed the total record collection of last year when all figures were tallied. This was $256,649. Commented Victor A.Sholls, WHAS vice.president and di-rector: "It shows what a magnificent community we live in." This yeear's record amount was still an unofficial figure and it is expected that the total will be higher. The marathon television and radio appeal got sparkle from the appearances of national and local entertainment personalities. The talent covered the gamut from pop singer June Valli to jazzman Henry "Red" Allen. The rolling of drums, the blast of trumpets, songs, and patter kept the show moving until the end. Then bleary-eyed volunteers crowded onto the stage of the auditorium to sing a fervent "God Bless America." At noon yesterday the $61,-000 mark was reached. After that, donations seemed to cascade into the coffers as collection teams from fire departments arrived. By 1:30 the $100,000 mark was reached. It was signaled with the release of balloons from stage rafters. There was more fanfare when the an- nouncement of $200,000 donated was made at 3:10. The biggest gift-$32,587-came from 126 churches and missions of the Louisville Catholic Archdiocese. The Rev. R. E. Dentinger took 5 minutes to read the list of donors. Other denominations also back the Crusade and this year conti-nued their practice of making individual contributions. The "parade of children" yesterday included many youngsters who brought contributions from their Sunday-School classmates. Some Still To Report Jim Walton of WHAS, who for the 10th straight year was master of ceremonies, said pledges and donations came in at about the same rate as last year. The 35 minutes of extra time made the difference, he said. As the appeal was closing, WHAS star Randy Atcher was announcing the receipt of an additional $1.558.44 from the Corydon, Ind., Fire Department. And about 10 fire department were still unreported at sign-off time. About 70 fire department representatives dumped boot-fuls of money in fishbowls at Walton's feet. The St. Matthews Volunteer Fire Department scored highest, with $12.878 in collections. Second-best collec-tors reported were the members of the Pleasure Ridge Volunteer Fire Department with $10,758 Stars Helped Show Among the national stars len-ding their time and talent to the Crusade were June Valli, Johnny Johnston, Homer and Jethro, the Pope-Russell Dancers, and Henry "Red" Russell. Regional and local talent included Archer, Jay Willoughby, "Cactus" Tom Brooks, Phyllis Knight, Carole Slayden, the Thorobred Chorus, the Red River Ramblers, Bobby Lewis, Janet Brooks, Jo Ann Hale, Sherry Sizemore, the Irvin Twins, Crusade Queen Linda Graham, and Crusade King Larry Donoho. Jo-Ann Mattingly, 6, clung tightly to the jar of money she brought to the Crusade For Children. Phyllis Knight offered help -but Jo-Ann had to be sure some-one "more official" took it. WHAS announcer Jim Walton began winning her confidence as she shyly reached his micro-phone. Capitulation! Walton was official enough. She collected the $3.55 on her street. (Weller) ===================================================================================================== The Louisville Defender, Thursday, September 26, 1963 VETERAN DISCUSSION - Jazz immortal Henry "Red" Allen and Marine Reserve Staff Sergeant Willis S. Evans, Jr., 3600 Montclair Ave., swap stories about the "Good old days." Allen talks jazzland music as he has known it and played it since he got his start years ago in New Orleans, and Sgt. Evans talks of his ten years helping with the WHAS Crusade For Children. The picture was made on the giant stage of Louisville's Memo-rial Auditorium this past weekend during the annual drive to raise funds for the handicapped children of Kentucky and Southern Indiana. An all-time high record has been set again this year with some $260,948 pledged and donated to the community effort. Crusade officials are urging persons to fulfill their pledges as soon as possible so that the task of allocating the funds may be started as soon as possible. ================================================================ END of the collected clips about the Sep.1963 LOUISVILLE WHAS Crusade appearance - 109a - Addenda Henry “Red” Allen – Jazz As Rejuvenating Joy by Nat Hentoff in International Musician June-63 pp22-23 One of the most persistently buoyant phenomena in jazz is trumpeter Henry "Red" Allen. At fifty-five, he still performs with the zest and obvious delight in improvisation of men thirty years younger. On the stand, Allen is an exuberant extrovert in his determination to sustain the excitement of his audiences. Privately, Allen is a shy, soft-spoken man who combines pride in his accomplishMents and heritage with an amiability of temperamnent which has made him an exceedingly popular musician among jazzmen of widely varying ages and styles. The enveloping warmth which Allen generates has been a major factor in his having enjoyed a number of exceptionally long engagements throughout the country. In 1954, he went into the Metropole in New York for two weeks, and stayed for seven years. In previous years, he had stretched a two-week date at the Down Beat in Chicago to six years, and another fortnight at New York's Cafe Society to a two-year stand. Red has the capacity not only to attract sizable audiences, but to draw them back again and again. Aside from his ebullient, after - dark personality, Red's power comes from his impressively resourceful command of the trumpet. His melodic sense is particularly arresting and persistently fresh. As critic Martin Williams has observed, "One of the outstanding characteristics of Allen's playing is the freedom with which he phrases. Probably no jazz soloist between Armstrong and Lester Young plays with greater rhythmic ease and natural swing than Red Allen." He is also an affectingly personal singer, particularly on ballads which he illuminates with husky poignancy and the same kind of irresistible swing which characterizes his playing. The gentleness and sensitivity of Allen at home and with his friends make him so tenderly effective as a ballad interpreter. When his high good humor and gusto are added to that kind of lyricism, the result is one of the most diversified stylists in jazz. Henry "Red" Allen comes of a distinguished jazz lineage. He was born in Algiers, Louisiana, on January 7, 1908. His father, Henry Allen, Sr., led a notable brass band which was part of the New Orleans scene for more than forty years. The young Allen was passing out music to the band members almost as soon as he could walk, and he was playing and marching by the age of eight. Many of his first influences were trumpeters who played in the senior Allen's band: Kid Rena, Buddy Petit and Chris Kelly. Later there were the recordings of Louis Armstrong, who had left New Orleans by the time Allen was a full-time professional player. By 1926,Allen was playing on the riverboats with Fate Marable's bands, and he went further away from home when he joined King Oliver in St. Louis in 1927. Red had two chances to come to New York by the end of the 1920's - offers from both Duke Ellington and Luis Russell. Since the Russell band had more of his home-town friends than the Ellington unit, Red chose Russell. Once in New York, Red's reputation among musicians began to increase precipitously. During one session at the Rhythm Club in Harlem, the visiting Fletcher Henderson heard Allen demonstrate that he could impovise in any key - a feat which 'was comparatively rare among hornmen at the time. Henderson remembered the experience and hired Allen in 1933. Allen was then featured in the Blue Rhythm Band from 1934 to 1936, and joined Louis Armstrong's orchestra from 1937-1940. During the 1930's, Allen became a potent influence on the jazz scene. As Leonard Feather observes in his Encyclopedia of Jazz, "More than any other hot jazz trumpet artist before him he seemed to think in terms of long, flowing melodic lines and to play with a sense of continuity." Allen had full freedom to expand his singular style when he became a leader of his own combos in 1940. During the next decade, his small units produced consistently stimulating, searingly explosive jazz. With such sidemen as J. C. Higginbotham, Edmond Hall, pianist Ken Kersey and the neglected altoist, Don Stovall, Allen's units focused on the essence of driving, spontaneous, careeningly unpredictable jazz. Since leaving the Metropole in 1961, Allen had been leading a successful quartet in such regular locations for him as the Embers in New York, the London House in Chicago, the Theatrical Grill in Cleveland, and on college tours with comedians Shelley Berman and Bob Newhart. Allen has so extensive a repertory and so resilient a style that he fits easily into a wide gamut of musical contexts. He is a total professional, and yet he alsoretains the irrepressible thrust of a man who is committed to jazz because he enjoys it so much. "To this day," says Allen, "I get a little more enthusiastic after each chorus. I'm never tired of playing because I never know exactly what's going to happen next. This music can really keep you young." Allen is both respectful of the jazz tradition and also eager to keep informed of new developments in the music. The world - wide spread of that tradition was impressed on him in 1959 when, during a European tour, he went to visit Fatty George's jazz club in Vienna. There, at the entrance, was a huge picture of one of his father's marching bands. "It was one of the biggest surprises of my life," Allen recalls, "and a very moving experience." At the same time, Allen also appreciates the fact that many of the younger players know and respect his work. "You know," he grins, "I made a record a few years ago, and one of the critics wrote that I sounded as if I'd been listening to Miles Davis. The fact is that Miles used to come around to hear me during his first years in New York. I like Miles' work very much, but I'd been playing the way I did on the record for a long time before I ever heard Miles." In whatever city he appears, Allen takes the time to hear the other visiting musicians in town—men like Miles Davis, Max Roach, Gerry Mulligan, and another favorite, Dizzy Gillespie. "That's one of the reasons jazz stays so absorbing," Red explains. "It's always changing, and I like to hear those changes. I've changed some myself. And that's why I have no fear about the future of jazz. This music can't die out while there are always new generations of musicians trying new things. I only hope that they also combine their inno-vations with listening to some of the players who have gone before them." When not on the road, Red lives in the Bronx with his wife, Pearly May. His son, Henry Allen, III, studied trumpet, but is now a policeman. Red also delights in his two grandchildren, eight-yeas Alcornette and three-year-old Juretta. The latter is named after his mother; now seventy-nine, and still living in New Orleans. This reporter has been stening to Red Allen for more than twenty years. I first encountered his music in Boston where, characteristically, Red had come for a short engagement and had remained well over a year. Then, as now, I was compelled to frequent wherever he played the unflagging inventiveness and scope of the man's music. He can transmute a popular song into an intimately personal story, and in the next number, he can galvanize his audience into feet-stamping exultancy - often spurred by his own exclamatory asides ("Nice! V-e-r-y Nice!"). And then he can settle into a blues that distills centuries of AfroAmerican musical experiences and is at the same time penetratingly contemporary. As one of Allen's admirers, Clark Terry says, "Whenever I think of the real blues, I think automatically of Red." For all the spontaneity of his playing, Red is also an uncommonly conscientious craftsman. He balances his sets with care, and, as I've seen at television shows and rehearsals for other occasions, he has a superior sense of organization. Without raising his voice or seeming in the least flurried, he is able to draw the maximum capacity from whatever musicians are working with him His own love and respect for jazz is contagious; and the reason for the durability of his appeal is that Red, like jazz, has never been content to settle into comfortably familiar patterns. Each night, Red Allen is rejuvenated - rejuvenated by the challenges and substantial pleasures of making his living by communicating to others his spontaneous emotions and the accumulated experience of fifty years of making his horn a natural extension of his own ardent self. - 109b Down Beat 8/29/63 Red At Metropole till further notice John Chilton in Ride, Red, Ride, p176: Throughout 1963 Red's quartet played further bookings at the Metropole (with Ronnie Cole in place of Jerry Potter). The management were not slow to observe that Red's return brought back cus-tomers who had not visited the bar in a long time, and accordingly they gave Allen a series of dates that stretched into spring 1964. Drummer Barry Martyn visited the Metropole during this period (in conversation with John Chilton): In 1964 I was on tour with Kid Thomas. We had a night off in Bridgeport, Connecticut, so I suggested to Tom that we go into New York. He was pleased with the idea and got all dressed up. We caught the train in and decided we'd go to the Metropole to see Red Allen. Someone must have told Red that Kid Thomas was in the house because he made a big shebang about it from the stage and when the intermission came he sat down with us and he and Kid Thomas began talking about the old days. But neither of them mentioned the celebrated occasion when they had battled against each other for the prize of a leather satchel. I thought how much I'd like to hear them talk about that so I brought the subject up by saying 'Is this the first time you've met since you had that cutting contest?' Red affected not to remember anything about this, but Kid Thomas said he didn't think they had met since then, but neither of them elaborated and the conversation went on to other things. By then about ten people had gathered around to hear what these old were talking about, so Red became expansive while old Tom guys just sat listening; then Red said something to one of the crowd about his father having the greatest brass band in New Orleans. Suddenly Tom piped up, 'I worked in your daddy's band and it wasn't too good. 'Well, I thought that Red might explode, but actually he sat there calmly and then said 'Maybe it wasn't that good, but it was history', and both men chuckled. Barry Martyn soon returned to the Metropole and saw Red working there with his quartet, which had Sammy Price on piano and a young bassist and drummer. Red was playing opposite Woody Herman's Big Band, who were on stage when Martyn arrived (in conversation with John Chilton): I think this must have been one of Woody's noisiest bands. They finished their set and on came Red and the rhythm section. He absolutely took the place over and in no time at all he had all the people hollering and cheering, and the crowd let it be known they didn't want Woody Herman's Band to go back on. It was just about the most remarkable scene I've ever witnessed in my years as a musician. It was a perfect example of showmanship and New Orleans jazz winning over audience. ------------------------------------------------------------------------------------------------------------------------------------- 9/28/63 Sat., 9 p.m., Central Plaza – 2nd Benefit concert For Musicians Aid Society: bands of Vic Dickenson and Louis Metcalf; guests artists include the following: Henry”Red”Allen, Herman Autrey, Buck Clayton, Wild Bill Davison, Louis Metcalf, Pee Wee Erwin (t) Tyree Glenn, Jimmy Archey, Herb Flemming, Conrad Janis, Vic Dickenson (tb) Buster Bailey, Tony Parenti, Garvin Bushell, Eddie Barefield (cl) Cliff Jackson, Marty Napoleon, Red Richards, Hank Duncan, Sammy Price, Clarence Johnson (p) Panama Francis, Jimmy Crawford, Joe Jones, Herb Cowens, Hap Gormley (d) NYAN:9/28/63p16; In M.Selchow´s book “Vic Dickenson” is a photo of Herb Flemming & Vic Dickenson from this concert. 10/28-11/9/63, Can., Toronto - Colonial Tavern: Henry Red Allen / prob.at the same time J.C.Higginbotham, Hank DeAmico (cl) George Wettling played also Red Allen´s manager Jack Bradley obviously accompanmied the band and listed in his notebook special band features: Tuesday October 29, Jack wrote, "Ride Red Ride," "I Ain't Got Nobody" and "How Long Blues." Sunday, November 3, Jack wrote that Red performed the following numbers: A "swinging 'Cherry,'" "St. Louis Blues," "How Long Blues," "Begin the Beguine," "Bye Bye Blues" and "Just a Closer Walk with Thee." mid Nov.63, Metropole ; RED ALLEN TRIO: Sammy Price, Eddie Locke vs. JACK TEAGARDEN BAND: Sol Yaged, Barrett Deems; Heiner Mückenburger “Meet Me Where they Play the Blues” about Verve 8465: Mitte November 1963 erlebte der Kritiker Whitney Balliett im »Metropole« in New York die Gruppen von Jack Teagarden und dem Trompeter Henry »Red« Allen im Wechselspiel. Ballietts Rezension dürfte eine der letzten eingehenderen Würdigungen der Wirkung und Spielweise unseres Meisters sein. Nur zwei Monate später war Teagarden tot. Balliett notierte damals: »Es wurde schnell klar, nicht nur in ihrem Spiel, sondern auch in ihrem Verhalten, daß es für das Geheimnis ihrer Ausstrahlung keine einheitliche Erklärung gibt. Genau genommen gehen Teagarden und Allen sogar in vollkommen gegensätzlicher Weise zu Werke - Teagarden hält zurück, während Allen in herausfordernder Weise austeilt. Teagardens Stil ist seit 1927, als er zum ersten Mal voll entfaltet nach New York kam und anfing, die geistigen Grundvorstellungen für das zu bilden, was er mit jedem Stück anfangen wollte, immer ein Muster an Sauberkeit gewesen. Das geht so: er nimmt ein neues Stück in Angriff, indem er sich im Kopf das bestmögliche Solo ausmalt und das im Gedächtnis behält; was dann aus seiner Posaune kommt, ist die größte Annäherung an sein Gedächtnis, die er eben schafft. So gibt es keinen Griff ins Leere, kein In-Eine-Sackgasse-Geraten, wenig Verschwendung. Diese Arbeitsweise, verbunden mit einer erstaunlich unverminderten Technik, machte die bestehende Gleichmäßigkeit seines Werkes aus. Allerdings, bei genauem Hinhören entdeckt man todsicher in jedem Chorus wenigstens eine Überraschung. So war das letzte Woche bei Teagarden-Hymnen wie St.James Infirmary, A Hundred Years From Today, Basin Street Blues, Stars Fell On Alabama und Muskrat Ramble. Bei vielen Nummern blieb Teagarden, der nie mehr als einen improvisierten Chorus auf einmal spielte, aber auch ganz einfach still und überließ das Geschehen seinen Kollegen. Er hat seine Inspiration in Kaffeelöffeln gemessen, und vom Grunde der Tasse ist bislang nichts zu sehen.. Allen, auf der anderen Seite, schwimmt manchmal hin und her zwischen großer Schönheit und dem Gemeinplatz einer einzigen Phrase. Vergraben in seine Trompete in dieser Nacht schreit er, knurrt er, gellt er, tanzt dabei herum (Teagarden's Bewegungen beschränken sich darauf, daß er zum Mikrofon und von dort zurücktritt) und schwenkt er Schlußtöne wie Fahnen, oft acht oder zehn Takte lang ausgehalten, und dann plötzlich sanfte Folgen zusammengesetzt aus tiefen, dunklen Phasen, versprühenden Läufen und diesen großen, rund-buckligen blue notes, die immer sein Spiel geprägt haben. Aber diese nachdenklichen Zusammenspiele, wenn man sie überhaupt mitbekam, verflogen so schnell, daß es schwer fiel zu glauben, daß sie sich jemals ereignet hatten. Kurz gesagt, Allen spielte und spielte und spielte laut, leise, glänzend, schwach - als ob sein Non-Stop-Verbrauch von Energie nur noch mehr Energie erzeugen würde. Alles, was über Teagardens und Allens Begleiter (bei Teagarden war u.a. Barrett Deams und Sol Yaged, bei Allen Eddie Locke und Sammy Price) zu sagen ist, ist, daß sie für einen gehörigen Rückhalt für ihre Leader sorgten. Auch zeigten sie, versteckt zwar nur, die Unterschiede zwischen ihren Chefs auf: von der Bühne aus prüften sich Allens Leute sorgfältig und mit Vergnügen in dem großen Spiegel, der die Wand gegenüber der Metropole-Bühne bildet. Als Teagardens Musiker zufällig ihre eigenen Blicke einfingen, wendeten sie schnell und wie Schafe die Augen ab.« - 110 12/11/63, N.Y.C. - LUIS RUSSELL died."His funeral was attended by many of his old band, Henry 'Red' Allen, Charlie Holmes, J.C. Higginbotham, Greely Walton, Bingie Madison and Howard Johnson, all being present. It is a happy thought that he left behind him such a fine selection of recordings which will serve as an everlasting memorial to the LUIS RUSSELL ORCHESTRA." by Harald Grut, J.J.3-64, complete article see RA bio-disco-part-1a, p58 VICTORIA SPIVEY “BLUES IS MY BUSINESS” – LUIS RUSSELL in Rec.Research 4-1967 (complete in part-1a, p76): … After this date (10/1/29) I did not see Luis again until 1937 1963, Len Kunstadt, J. C. Higginbotham, and myself went to when he was the pianist with Pops Armstrong swingin´ band at Luis' home where we enjoyed a friendly chat with him and his New York City's Paramount Theatre. My husband Billy lovely wife, Carline who we understand is a talented guitarist Adams, thanks to Joe Glaser, was placed in Pops' show. Billy, and opera singer. The gravely ill Luis was indeed jolly and he who was a wonderful tap dancer, liked only the piano and had high hopes to recover. A few days after the delightful drummer to accompany him. Luis went out of his way to give meeting with Luis and his wife I called them to find out how Billy the most splendid type of piano accompaniment and everything was - and I was so happy to hear how he sounded certainly helped to make Billy even more sensational than so at ease. Sadly, about 10 days later Luis Russell was gone ever. As the years passed on I just seemed to miss meeting and I lost another great pal. There are so many wonderful Luis time after time. Just a few months ago I made a things I can say about him as a musician and as a person. Just determined effort to find Luis here in New York City. Finally ask all that knew him, and you will find out that he was tops. Red Allen gave me his address and I learned that Luis had My best to his little family and keep them safe and sound. And been remanied and was living up in Washington Heights in long live the memory of King Luis. NYC, and also that Luis was very ill. On Wednesday, Nov. 24, late Dec.63, N.Y.C., Central Plaza, - JACK CRYSTAL-BENEFIT CONCERT personnel: see below,including the Red Allen Quartet: Sammy Price, Frank Skeete, Eddie Locke; J.C.Higginbotham & Dickie Wells with Buddy Blacklock, Eddie Condon, Benny Moten, George Wettling; IRA GITLER in Down Beat 1/30/64: The Central Plaza, where the late Jack Crystal had run countless sessions, was the scene of a huge, benefit for his family last month. Crystal's great popularity' among Dixie-land and mainstream musicians was attested to by the large number of men who showed up to donate their services. Many played, but the confusion that usually reigns at events of this kind kept others from performing. The paying audience was tremendous. The benefit was supposed to start at 7 p.m. By 6:30 there was a huge line on Second Ave., outside the entrance to the hall. In no time, all the space in the huge, fifth-floor ballroom was taken, and the overflow was directed to a. smaller room on the third floor. Bands shuttled back and forth between the floors, playing for both gatherings. One of the hits of the evening was the opening trombone duo of J.C.Higginbotham and Dickie Wells, backed by Buddy Blacklock, piano; Benny Moten, bass; and George Wettling, drums. The veteran trombonists, who did My Buddy and I May Be Wrong, had not rehearsed, but they spontaneously developed their unison and harmony and played four- and eight-bar exchanges. Their individual styles were highly complementary. Another spirited set featured tenor saxophonists Bud Freeman and Bob Wilber, trumpeter Max Kaminsky, trombonist Cutty Cutshall, bassist John Giuffrida, and drummer Morey Feld. Eddie Condon was on stage for this one, "conducting" the group. Then he left the stand, and clarinetist Peanuts Hucko and bassist Bob Haggart replaced Freeman and Giuffrida. Dave McKenna was added on piano. While Condon was on, the group played 1 Found a New Baby and Fats Waller's Squeeze Me. Freeman was fine and Wilber outstanding in a Lester Youngish attitude. Kaminsky's horn had plenty of punch and virility. When Hucko and Haggart appeared, the group did South Rampart Street Parade. Between Higginbotham-Wells and Condon, there was a succession of combos beginning with trumpeter Henry (Red) Allen, (Sammy Price, piano; Frank Skeete,bass; Eddie Locke, drums), continuing with the Village Stom-pers (including Joe Muranyi, clarinet), the Fingerlake Five (trombonist Herb Flemming and drummer ,Manzie Johnson added), and ending with clarinetist Sol Yaged (Warren Chiasson, vibraharp; Marty Napoleon, piano; Johnson, drums), who broke it up with After You've Gone, and trumpeter Pee Wee Erwin (Tony Parenti, clarinet; Tyree Glenn, Miff Synes, trombones; Hank Duncan, piano; Les Demerle, drums). Singer Beulah Bryant appeared with the Erwin group. After Hucko's set, things degenerated with two "amateur" groups, the Easy Riders from Bridgeport, Conn., whose car had broken down four times en route to New York, and the Southampton Dixie, Racing & Clambake Society Jazz Band. The former group, led by trombonist Bill Bissonette, at least had a spirited feel, as rough around the edges as it was. The Southampton crew was typical of the showy, soul-less, young Dixie revivalist groups that seem to per-petuate themselves in collegiate circles. The drummer was one of the worst I have ever heard. A metronome, put in his place, would have played with more heart. It would be unfair to say the crowd did not love the Southampton aggregation, but it is also pertinent to point out that the same audience would not be quiet when trumpeter Joe Thomas began the next set with a heartfelt version of I'm in the Mood for Love. With Thomas were Cozy Cole, drums; Rudy Rutherford, alto saxophone, clarinet, flute; Steve Benoric, clarinet; and Duncan, piano. Later in the set, George Wein sat in on piano, Russell (Big Chief) Moore vigorously played trombone, Victoria Spivey sang, and Jimmy McPartland blew big cornet in a fine version of When the .Saints Go Marching In. McPartland, who served as emcee through most of the evening, announced that approximately $3,000 had been collected. The long evening, which started well, ended up in a kind of hodge-podge. Both Benoric and Miss Spivey were guilty of some untimely mugging and body gyrations, though Miss Spivey did sing what seemed to be (the public-address system was not faithfully reproducing her words) a worthy blues tribute to Crystal. As someone ironically said, "If Jack had been here, there wouldn't have been all this confusion. He knew how to make these benefits run smoothly.,, 1/8/64, N.Y.C. - CECIL SCOTT FUNERAL (died 1/6) Jeann Failows & Jack Bradley in Bul.H.C.F.Feb.64: Le foule était si dense á l'lenterrement de Cecil Scott qu'il nous fut impossible d'entrer. Parmi ceux qui restèrent dehors avec nous, citons Dicky Wells, Sandy Williams, J.C.Higginbotham, Edgar Currence, Willie Smith"Le Lion", Red Allen, Sammy Price, Noble Sissle, Eubie Blake, Victoria Spivey, Don Redman, Sonny Greer, Wingie Carpenter, etc ... Nous n'oublierons jamais notre cher ami disparu: Cecil Scott. - 111 1964 throughout at the Metropole, houseband: HENRY "RED" ALLEN Quartet incl.Sammy Price or His All Stars except when on his tour through England 4/16-ca.5/7/64 "HENRY "RED" ALLEN IS THE MOST AVANTGARDE TRUMPET PLAYER IN NEW YORK CITY" CITY by Don Ellis in Down Beat 1/28/64: Every time I have gone to the Metropole to see Henry (Red) Allen during the last two or three years, I have said to myself, "It can't be true. He must just be having a very good night. All those wild things he is doing must just be lucky accidents! After all, he's been around almost as long as Louis, and it is simply impossible that he could be playing that modern." Well, a few weeks ago, after hearing Red on a slow Tuesday night with only a handful of people in the club-the type of night that would be very uninspiring to most artists -I became convinced that Red Allen is the most creative and avantgarde trumpet player in New York. What other trumpet player plays such asymetrical rhythms and manages to make them swing besides? What other trumpeter plays ideas that may begin as a whisper, rise to a brassy shout, and suddenly become a whisper again, with no discernable predictability? Who else has the amazing variety of tonal colors, bends, smears, half-valve effects, rips, glissandos, flutter-tonguing (a favorite on a high D), all combined with iron chops and complete control of even the softest, most subtle, tone production? What makes all this even more incredible is the fact that he does all this within a "mainstream" context and with a flair for showmanship that appears to keep the squarest entertained. The arrangements the group plays are consistently interesting: no overlong solos, imaginative balancing of ensembles and solos, tasteful featuring of the other members of the band. His patter between sets is hilarious and, again, never quite predictable - as drummer Jake Hanna (a wit in his own right), who was working opposite him and has heard him hundreds of times, pointed out to me that Tuesday. Henry Allen Jr. was born in Algiers, La., in 1908. He was playing with clarinetist George Lewis in 1923 and worked on the river boats with Fate Marable. About 1927 he was with King Oliver in Chicago; 1933 found him with Fletcher Henderson, and in the period of 1937 to 1940 he played with Louis Armstrong's big band. This means he was in on almost the very beginnings of jazz and has been in there ever since. It is phenomenal that he is still one of the most exciting, creative jazz players of all time. I am reminded of a couple years ago when I was on vacation in New Orleans and had the opportunity to hear a band that had George Lewis and Slow Drag Pavageau among its members. None of the personnel in the band looked younger than 60, and Slow Drag was about 74 (some of them might have been older than that). They played in a place that looked like an old barn, and the only remuneration they received was that dropped into a hat by the few customers who sat on the floor and benches. Nevertheless, this was one of my most memorable and exciting jazz listening experiences. These men played with more fire, feeling, and swing than almost anything I had ever heard before. Slow Drag played the bass with unbelievable drive, never once letting up. And they played long sets. At the same time their music was, in its way, creative. That is, within the limits they had set for themselves, each appeared to be creating fresh ideas. I noticed how greatly this contrasted with some other players of "older" styles (and even new ones) whom I had heard, the ones who are much too prevalent, who seem merely to repeat in a rather lackadaisical way the same things they have been doing, or heard others do, thousands of times before. I was astonished, because these men were different. One of the reasons is probably that they forged the style they are still playing today, and the framework is broad enough for them still to create within it. Which brings me back to Red Allen. There are countless "influences" on Red's style no doubt, but he is able to use these in a completely original way and still create within the style. He is one of the major jazz improvisers, in the truest sense of the word. Other trumpeters may be able to play faster or higher than Red (al-though his facility and range are remarkable), but no one has a wider scope of effects to draw upon, and no one is more subtle rhythmically and in the use of dynamics and asymetrical phrases than Henry (Red) Allen. These things make him the most avantgarde trumpet player in New York, and if one thinks this is exaggerated, he had better go and listen to Red again - closely. Another admirer of Red Allen's playing was Miles Davis, who guested the Metropole regularly and stated that “Red Allen was a musicians' musician.” below due to the 62/6/5 session on p103 - 112 - Jan.1964, NYC., HERB FLEMMING'S STATLER HOTEL ORCH. & Red Allen as guest (E.Biagioni: Herb Flemming) Harry Sheppard-Fred Martin-Dave Albittini-Joe Wilder-Marty Napoleon-Red Allen-Herb Flemming-Mme Sheppard(bass-g) early Feb.64-N.Y.C.-Metropole - JAM SESSION - RED ALLEN BAND versus MARTY NAPOLEON QUINTET: Stanley Dance in J.J. 3-64 p17. ..at the Metropole, Shorty Baker was playing opposite Red Allen as part of Marty Napoleon's quintet. Shorty was on the wagon and sounding great. (The past month, you gather, has been a superior one for trumpet.) The two groups got together for a jam session and there were interesting happenings. One night we heard them start off with a very, very slow SWEET GEORGIA BROWN, Shorty playing melody and Red noodling behind. Maybe Red was encouraged by Shorty's presence, but we heard several sets from him barely marred by the extravagance the joint demands. His fierce instructions to the males to KISS THE BABY (their female companion) are often very funny. One guy was unsuspectingly sitting there with a couple of women, when he was ordered to kiss the baby. He complied, kissed the better-looking one, but then Red called,"Kiss your spare!" The spare never was any bargain, but Red insisted and won. NYAN-2/29/64p15: Our old friend and longtime supporter, Henry “Red”Allen, is trumpeting Dixie and the Blues to the foot- stamping delight of SRO buffs at the Metropole, 49th St. and 7th Ave. His accomplices in merriment are Sammy Price, piano, Jerry Potter, tubs, and FranklinSkeete on a big bad bass. … same source: ?Dan Burley & Billy Rowe – NYAN-2/29/64p17: AFTER LISTENING TO Sam Price, Red Allen, Jerry Potter and Franklin Skeete at the Metropole, we walked across the street with Sam to enjoy the soul food of the Copper Rail where Rose, Mickey and Della make everyone happy with their recipes. 3/23/64 Mo., NYC., Metropole - opening date Lionel Hampton Band vs. Red Allen Quartet; NYAN-3/28/64p18: Lionel Hampton's big band introduced a new tune “Compilcity” at its Metropole opening Monday night – a number one usually hears played by such modern small groups as the Modern Jazz Quartet. It went over big. … … Jay C.Higginbotham's band at the Room at the Bottom should be playing “Doctor, Doctor” instead of Dixieland. Last week Higgy was suffering pleurisy, trumpet player had the flu and drummer George Wettling was ill with diabetis. Still they played the only examplary advert. of alto-sax-player “Red Allen” which I have found in the press-papers: VV-12/5/63p18 - 112a - Addenda THE FANTASTIC RED ALLEN New Jazz Records - Max Jones in Melody Maker 8/19/67p27 about Xtra-5032 (1962) DON ELLIS wrote earlier this year: " Red Allen is a fantastic trumpet player and reveals an incredible imagination. He makes use of almost every device mechanically and physically possible on the trumpet." He was talking about Allen's quartet album, "Feeling Good," with Sammy Price on piano, but most of his comments would apply to this set, made a few years before. The instrumentation is the same in each case, and routines and approaches are similar though Red sang more vocals on the later recording. Here he sings only on "I Ain't Got" and that excellent Don Redman number, "Cherry" (the only tune common to both sets). The singing, as always, is gruff and gutty, full of punched out phrases alive with the swing, humour and peculiar tone qualities which mark much of his trumpet work. As for the blowing, he produces something unexpected on every track and works hard to keep the music sounding fresh and stimulating. He is particularly fine and fanciful at the beginning of "Ain't Got" and "Sleepy Time," and all through the old " House In Harlem." Much commanding blues playing can be heard on "St Louis," also some of the flutter-growl effects which Red used extensively in his later years. I am not too partial to this kind of tonal harshness, but it is one of the ways Red used to increase tension or give variety to a longish solo outing, and it occurs quite a few times in the set. He was always an innovator, with an audacious outlook on harmony, tone and phrasing; his liking for dry, even waspish sounds, not really pleasing to the ear, can perhaps be seen as another of his before-his-time stylisms. Very good performances in respect of tonal manipulation are "Just In Time" and "Biffly Blues," the latter an original recorded by Allen on the first session made under his name. And remarkable ideas lie thick on "Nice Work." But all those devices mentioned by Don Ellis are on display somewhere, and at Xtra's low price the album should be snapped up by trumpet lovers and users. As Ellis says, again: " Most other trumpeters of any era, with their relatively limited scope, seem very tame and pale in comparison to Red Allen." --------------------------------------------------------------------------------------------------------------------------------------------- JAZZ DYING? RED STILL DRIVES A CAD MM Editor Jack Hutton calls it at the Metropole, New York, to talk to veteran New Orleans trumpeter RED ALLEN – due in Britain next month to tour with some of our top bands. Melody Maker 3/14/64 Classic: On the night I was there he plugged Melody Maker over the mike, insisted He raved about Louis Armstrong, who on a hand for the paper from bewildered often turns up at his house unexpectedly, barflies and played "A closer walk with and Coleman Hawkins, with whom he plays weekend gigs. thee" - presumably for me. With hardly a pause he switched into He is a great admirer of Pee Wee and says: "I've known Pee Wee "Lover come back" and then dug up Russell and played with him most of my life. "Pleasin' Paul". And believe me, I don't play with people His playing packs pulsating vitality, his I don't like." tone crackles and his fiery approach is ; Red paused to growl "Nice. My Man!" charged with excitement. and wave to some of the customer from The set over, Red slung a massive arm the Metropole who seem to have RED ALLEN'S face looks as though it round my shoulders, growled "Nice!" followed him across Seventh Avenue. were hewn out of teak. Especially when and steered me across Seventh Avenue to Red has been a New Yorker for years he's blasting away on his King trumpet a bar across the street. I wondered how and has a good • gig connection which on the bandstand of New York's Metro- the guvnor of the Metropole took that. makes him far more fortunate than most pole, above and behind the bar. On the way Red stopped at a 1964 of the city's jazzmen. Few run Cadillacs. Red and his quartet - bassist Franklin Cadillac and opened the boot. Somehow Or cars - period. Skeet s, drummer Gerry Potter and pianist it seemed incongruous to see pictures of He does the odd TV spot and a few Sammy Price -have a lot of opposition. record dates. But he doesn't own one of The roar of traffic on Seventh Avenue, Henry Allen Snr. and his New Orleans the many classic sides he played on. the thing of the bar tills and the indiffe- Brass Band coming out of the glossy "Well, you know how it is man," he Cadillac. grunted. "You loan them out over the rence of much of the audience. In the bar Red waved to Coleman years ' . and that's the end." Red takes them all on and wins. He has a curious style of showmanship Hawkins and Big Chief Russell Moore, Red downed the sherry and headed which consists mainly of bending and who happened to be there (New York's back f or the Metropole for another set. He felt like singing and out came "How swooping, physically following his like that) and settled in a booth. The scrapbook was produced and Brian long" and 'St. Louis Blues". Although playing, removing one hand from his horn and shouting "Nice" and "My Man!" Rust would have gone potty as the pic- only ten people or so were present the tures of early New Orleans musicians excitement came back with Allen. in his gruff New Orleans accent. were uncovered. Oscar Celestin, Alphonse One senses he's having a ball and the Gusto feeling comes across. He hits high ones with ease ("I can Picou, Bunk, - they were all there. Just as the bar was closing-at 2.30 am Drinking sherry he'd given up Scotch usually git what I go for") plays those and we were saying goodnight, Red lost odd intervals which has earned him the for Lent - Red told me he's been at the a cuff link when he gave one of his Metropole for ten years off and on, was tag of the first bop trumpet player, and flourishes. Staff and customers 56, and was gassed at the thought of stylish growls on his instrument with gusto. searched the Metropole without success. He attacks individuals at the bar with coming to Britain next month to guest "Never mind," growled Red, "I'll send stabbing staccato notes until they either with Alex Welsh, Sandy Brown, Bruce this one to Wingie Manone." Turner and Humphrey Lyttelton. applaud or drink up and go. Most stay. -------------------------------------------------------------------------------------------------------------------------------------------------------------- - 113- intermission chapter: 16th April - 5th May 1964 RED ALLEN TOUR IN ENGLAND WITH LOCAL BANDS 4/16 4/17 4/19 4/23 4/24 4/25 Manchester, Sports Guild - Art Taylor All Stars; & others same - Alex Welsh B. ; 4/18 same - Sandy Brown Band; same - Bruce Turner B.; 4/20 same - Humphrey Lyttelton B. Bath, Regency, Ballroom, - Alex Welsh Band; Stoke-On-Trent, Pavillon, - Alex Welsh Band; Nottingham, Dancing Slipper, - Alex Welsh Band; 4/25 evening., London, Mardon, - Alex Welsh Band; 4/26 London, Marquee Club - H.Lyttelton Band; 4/27-30 unknown engagements in and around London; 5/1 Westminster Central Hal1, - Red Allen All Stars; 5/2 or 5/3 Manchester, MSG, - Alex Welsh Band; 5/5 Shepherds Bush-BBC-2 TV - Alex Welsh Band, 2 parts; FOREWORDS: - Red Allen Introductions for UK-Audiences & about the Manchester Sports Guild M.Williams,"Henry Red": In early 1964, Allen made it overseas on his own, and, according to the reviews he received, "made it" is putting it mildly. In Manchester, England, he appeared in a most remarkable, complex establishment called The Manchester Sports Guild, a threefloor building, with "live" mainstream jazz by a big band in residence in a large hall-there is even a "folk"lounge. One reviewer declared that Allen, working singly with local musicians, had done more to revitalize British jazz in his brief stay than several touring American big bands. At Manchester, Allen received the citation for his contribution to jazz, an event which he numbers among the three things in his life that he will always remember. "It has nothing to do with finance. It is a feeling that you're wanted. That helps a guy very much." … -------------------------------------------------------------------------------------------------------------------------------------------------------Red Allen for Britain ALBERT MC CARTHY Jazz Monthly, April 1964 Henry "Red" Allen will be appearing in this country during followers seem unable to form an organisation that would, as one part of its activities, introduce American musicians to this April, definite dates already being:-… This tour is unusual in as far as it is being sponsored, on a country who would not otherwise appear. The Manchester non-commercial basis, by the Manchester Sports Guild in Sports Guild has taken up the idea in a very practical fashion connection with their 10th anniversary. This organisation has and one hopes that the support it receives will be sufficient for sponsored jazz clubs and activities since its inception, but their it to feel encouraged to go ahead with the sponsoring of other latest venture is one which deserves the support of every jazz visits. follower able to get to the concerts. It may well be that if this Readers can obtain any further details from J. Swinnerton, tour is successful the idea may be extended to bring other Jazz Organiser, The Manchester Sports Guild, Sports and Social Centre, 8-10 Long Millgate, Manchester, 3 ('phone American musicians to this country. For years many readers have shared my regret that jazz DEAnsgate 2964 and 4668). -------------------------------------------------------------------------------------------------------------------------------------------------------“COOL BLUES RED - The Night “VISION” Joins The Jazzmen; by Gibbs McCall & Clarence Henley, Daily Mail … JAZZ trumpeter Henry”Red”Allen had Henry, born the son of a brass bands- backing him included Humphrey Lytteltto leave New Orleans, his birthplace and man in 1908-in the raw years of jazz- on (above, left)-at Manchester Sports Guild cradle of the Blues, to find true lovers of grew up alongside the legendary names: and Social Centre, in Long Millgate. Kid Ory, Jelly Roll Morton and Louis Fans came from all over the country to his kind of music. hear – but the guild lost money. His search ended in a smoke-hazed Armstrong. Now he is 56, and a legend himself. A spokesman said: “We were not out cellar-under an office block in Manchester. “After the fantastic welcome I've had I Some experts say he plays a “bluer” to make a profit. We just wanted to hear a great jazz musician. realise that jazz appreciation here is far blues than Armstrong. He played four nights-British jazzmen (with single photos of Lyttelton / Allen) higher than in America,” he said. -------------------------------------------------------------------------------------------------------------------------------------------------------A KID WHO PLAYED HORN IN STREET PARADES by Jack Swinnerton, in Focus Feb.64, No.1 become well known to jazz lovers Henry "Red" Allen was born in the that must have been; Algiers district of New Orleans on the Henry, Snr., marching along playing throughout the world, with records such 7th January, 1908. His father, Henry comet and carrying his young son (lustily as, "It Should Be You" (1929); "Rosetta" Allen, Snr., as many jazz sages will blowing alto horn), in his arms. Later (1935), "Canal St. Blues" (1940); "The know, was the leader of the legendary "Red" switched to trumpet and became a Crawl" (1946); "Algiers Bounce" (1958), Allens' Brass Band of New Orleans, very powerful musician, as did so many and many others. He has been a member which, during its lifetime, could boast of the New Orleans musicians who of, or recorded with. bands led by Jelly Roll Morton, King Oliver, Louis Armsuch well-known New Orleans musicians played a lot of music in the open air. as King Oliyer (then known less regally "Red" Allen came to the attention of strong, Sidney Bechet, Luis Russell, James as Joe), Buddy Petit, Papa Celestin and jazz enthusiasts outside New Orleans in P.Johnson, George Lewis, Fats Waller, 1927 when Je "King"Oliver brought him Billy Banks and Kid Ory. "Red's" numePunch Miller. Henry James Allen, Jnr., like one of his to St. Louis to join his band there. rous appearances at New York's "Metrocontemporaries, Louis Armstrong, had However "Red" didn't stay long with the pole" have increased his reputation even many affectionate nicknames bestowed "King" - as he said -in his own words, more'. KID ORY TOUR upon him in his time. In his home town “… in those days you had to be twentythen and now, he is. known simply as one before you were on your own . . . I Some members may have been lucky Sonny." But he also acquired the rather was one of the obedient guys - I loved enough to see "Red" at Manchester's Free Trade Hall some four years ago when he bizarre nickname of "Biffly Bam," coined my parents!" was touring with the Kid Ory band. At JAZZ MASTERPIECES from one of his recordings, although for many years he was known as Henry Two years later pianist Luis Russell that time "Red" said, "… Kid was a Allen, Jnr., as a mark of respect to his formed his own group and' "Red" was colleague and contemporary of my father father. He is now usually referred to as once more sent for. The recordings this … so that makes him boss …" Due to this "Red" Allen due to his ruddy countena- band cut have rightly taken their place as "Red's" own strong personality tended to masterpieces of jazz music. As a group be somewhat stifled. However, in April, tice during solo. their fire and inspiration have seldom we shall have a wonderful opportunity of STREET PARADES At the early age of eight years "Red" been equalled. Unfortunately, British seeing, and bearing, Henry "Red" Allen played alto horn in his father's band, recording companies neglected these in the role of musical leader, a position taking part in numerous street parades - waxings to an unbelievable extent, so that which will allow his ideas and technique unfortunately, young Henry's leg were so anyone wishing to obtain them must to flow to the fullest. short at that time that his father had to peruse the Continental record catalogues. Next issue: A discussion of "Red" Since this time "Red's" name has Allen's musical role in jazz carry him most of the way. What a sight - 114- Red Allen's'Story: Part Two - THE MAN AND HIS MUSIC Focus March l964, No.2 During Red Allen's only previous British tour in 1959, he was approached by a leading critic between concerts with the Kid Ory band, and, knowing Red's reputation as a colourful talkative personality, the critic cheeerfully anticipated being swamped with Red's opinion on jazz, musicians, the Ory band, and all manner of subjects. However, although Red was clearly interested in the questions put to him, the critic received merely a polite, matter-of-fact and unembroidered answer to his every question. Imagine that critic's surprise then, when, on meeting up with Allen a couple of days later, he spent a most absorbing couple of hours hearing Red's reminiscences and views on jazz in general. This little story serves to illustrate that the personality of the man is strongly reflected, as with all good jazz musicians, in his music. One moment he will play most subdued and melodic phrases, his control delicate but absolute; then his full toned trumpet will glide down to a throaty mutter, his control being such that he has little need of a mute, and, in fact, rarely uses one, then he will break into a breathtaking musical flight, staggering in its portrayal of inventiveness excitement, drive and power. The influence of Louis Armstrong is strong in many jazz trumpet players, and certainly it is in Red Allen; at least in so far as approach, power, phrasing and the particular jazz language used are concerned. Allen, however, is too much of an individualist to sound exactly like Armstrong in the way that. for example, Jabbo Smith sometimes did. Red's power comes from his remarkable command of his instrument, his melodic sense is particularly arresting and perennially fresh. As one noted critic has observed, "One of the out-standing characteristics of Allen's playing is the freedom with which he phrases. Probably no jazz soloist between Armstrong and Lester Young plays with greater rhythmic ease and natural swing . . ." Allen is also a singer of some repute, and particularly shines with ballad, which he illuminates with the same kind of irrestistable swing which characterises his playing. With such an extensive repertoire, and so resilient a style, Allen fits easily into a wide range of musical contexts. For the traditionalists here is a man who has never gone far from the real roots of jazz. and roots go as deep as any - so much so that when quoted names of men in a current New Orleans band he is known to have said, a little impatiently,"… yeah, yeah, I .know 'em. That's my home town you know During the thirties Allen became an important figure on the American jazz scene. Thinking, as he does, in long, flowing melodic lines, and with his ability to play with a sense of continuity, he was a natural for the swing music of that era. When he started his own small group in the 40's, the pre-requisite was always for stimulating, similary exuberant musicians like himself. and in the company of such men as Sidney Bechet, Edmond Hall and J.C.Higginbottom he could hardly have been disappointed. Whenever possible Red takes the opportunitv of listening to modern jazz musicians - men like Mile Davis, Max Roach, Gerry Mulligan, and, a big favourite of his, Dizzy Gillespie. "That's one of the reasons jazz stays so absorbing," says Red, "it's always changing, and I like to hear these changes." For all his spontanaiety, Red remains a conscientious craftsman, he balances his programme carefully, and has a good sense of organisation. Without seeming in the least bit flurried he drawn the maximum capacity from whichever musicians are playing with him, and every time he plays he is rejuvenated by the challenges and pleasures of communicating his feelings to others. Not only will April be a memorable month in the history of the Guild, when Red's four-night stand here forms part of our tenth anniversary celebrations, but it will also be a time which jazz enthusiats will remember for the rest of' their lives. J.Sw. COMING SOON - Jack Swinnerton in Focus - April 64, No.3: In just a few days Henry 'Red' Allen will be here at'the M.S.G. Centr'e and the plans and preparations of months past will culminate in JAZZ - AS YOU WANT TO HEAR IT PLAYED. It would he both foolish and inaccurate alongside Red Allen at this centre were like, Earl Hines, Buck Clayton and to claim that all of Red's recordings are chosen with care. It was fat from a case Henry Allen?" was Bruce Turner's query superb. The jazz musician without an of merely grouping four of the leading in die February issue of this magazine. "off day" just does not exist. It can be British jazz groups and saying, "Red Whether we agree with Bruce or not, fairly stated, though, that much of Red's should be happy enough there." we will soon have the opportunity of work has maintained the very high Red Allen has always been particu- hearing him play with one of his idols - a standard set by his earliest recordings. larly fond of Dixieland jazz and many of prospect which I know Bruce to be The role of musicians he has both led his best recordings have featured. him extremely thrilled about. and played for (as mentioned in parts 1 alongside America's finest exponents in "… We applaud Red Allen for a perforand 2 of this series) is both extensive and the field. What more natural, then, than to mance right up in the majestic class" impressive, each recording, or group of open our series of concerts with Alex wrote Humphrey Lyttleton after Allen's recordings, revealing just a little more of Welsh and his band, Britain's best group last visit to this country. Having always the many outstanding features of the playing in this style? As well as the considered Humph's own play-ing not to playing of this great musician. complementary sounds we shall hear be lacking in this quality, the combinaFor example, the never-bettered from the two different musicians, other tion of these musicians should provide a recording of "Swing Out" by Red Allen's' interesting comparisons spring to mind. particularly exciting evening of jazz. New York Orchestra in 1929, shows his Red Allen and trombonist Roy next issue: reviews about the MSG-sessions considerable technique both in the Crimmins, for example. ensemble passages and in the now classic When discussing jazz clarinetists, most Allen solo. In direct contrast, his later discerning fans will rate Sandy Brown recording of "Canal Street Blues" very highly in the world class. Sandy has portrays him at his most subdued. also been fortunate in maintaining an The recordings of Red Allen are often excellent small group which, including featured over our cellar loud-speakers as it does, men like Al Fairweather and prior to the start of, and during the Danny Moss, is a combination which will intervals of our regular jazz sessions and, bring out the most lyrical side of Red. as you will realise these will be more Most of our regular visitors will know of concentrated during the two weeks the recent personnel changes in the before the arrival of Allen. Thus, the Bruce Turner Jump Band. Bruce has few people not already very familiar with been heard to say that he felt he was his past work will have the opportunity of being drawn away from his chosen style, hearing some of this super jazz. and that his music was suffering. in But what of his actual appearances at consequence – hence the group changes. the M.S.G. itself ? "Do we see the last traces of the The four bands selected to appear legitimate approach to jazz by men … Red Allen in UK-1964 (issued 1966) - 114a - Addenda RED ALLEN IN MANCHESTER HENRY RED ALLEN sat in a firstclass compartment on the way to Manchester last Thursday morning. Opposite sat two bowler-hatted gentlemen reading The Times. Without a word of warning Red unzipped his trumpet valise, produced his horn and started to blow. The two copies of The Times were gently lowered. Two pairs of astonished eyes under two bowlers beheld Red. Then slowly, and without a word being said, the two copies of The Times were raised again. And Red blew on. It was a hilarious start to a thrilling occasion. A glorious event which opened a lot of jazz eyes in this country. There was the quality of Red's playing for example. Superb control and searing excitement. There was the tremendous improvement of the Alex Welsh band. A great sound built on what must be the best rhythm section of its kind in the country. HEALTHY And there was the startling achievement of the Manchester Sports Guild who had actually imported a real, live American jazz star and managed to get a sell-out. Hats off to these mighty Mancunians. At a time when many jazz sounds are going to the wall and people who profess love of the music are sheepishly shuffling their feet, these Manchester fans are showing the country the way. Two people are largely responsible for this healthy state of affairs - the Guild's jazz organiser, Jack Swinnerton and the general secretary, L. C. Jenkins. Jenks, as he insists on being called, has been running the Guild's affairs for over ten years. Jazz is only one of the activities of the Social Centre. You can have a go at fencing, for instance, or tackle a Japanese judo instructor brought over JACK HUTTON in Melody Maker 4/25/64 from Japan to be resident teacher. Presenting Red Allen to their members was a dream that came true for Jenks and Jack Swinnerton. A dream made possible by the members who turn up at the rate of 1,250 a week for six nights of jazz while the folk and country-andwestern "rooms" on the same premises are also crowded. These Manchester jazz fans paid 10s. each to hear the Dutch Swing College. "London fans gloomily ask what can be done," says Jenks. "Tell them to pay 13s. 6d. to hear Red Allen. That's what we've done." And it was worth it. When the hastily rigged up pots picked out Red in his blue jacket making his entry to the jazz club on Friday night, the capacity crowd jumped to welcome him with pre-sold enthusiasm gleaming on every face. FINEST The Alex Welsh boys on the stand beamed seven warm welcomes. Middleaged addicts up from London fidgeted in anticipation. Schoolmaster enthu-siasts adjusted their woollen ties. And rip-roaring Red, the showman jazzman from New Orleans via New York, muttered "Nice! Nice!" and blew his way in tentatively on "Jazz Band Ball", warmed up further on "Yellow Dog" and was wailing with "Rosetta". "Indiana", "Canal Street" and "Spider Crawl". The Welsh band took fire. Drummer Lennie Hastings played one of his finest sessions. New men Jim Douglas, guitar, and Ron Mathewson, bass, fitted like kid gloves. Pianist Fred Hunt looked delighted to have just rejoined his mates, and frontliners Roy Crimmins, Al Gay and Alex seemed six feet in this air Red crackled out the thick brassy tone. He whispered and shouted, slipped daringly across the pinnacles of far-out phrases, and stated good old standbys with solidity and simplicity. While the Welshmen were soloing, he strode about the back of the stand as though looking over distant hills. Then he'd urge the crowd: "Make him happy, make him happy. My man." His own playing is full of constant surprises - tenderness and tearing toughness. Odd intervals, dirty growls and bell-like high notes with a milewide streak of the blues throbbing through everything he plays.. He had the crowd shrieking back "Oh Yeah" in answer to his urgent pleas on "St. James", and knocking themselves out with his throaty vocals. And as Lennie Hastings emphatically thundered out the final four bars of the night, Red was nearly mobbed on the stand. What else could any self-respecting jazz fan do after such a performance? The day before, at a musical press conference in the social centre, we'd had tantalising glimpses of the genial giant as he jammed away on Count Basie numbers with the Don Mitchell Big Band. COBWEBS And again when he mixed it up with the Art Taylor All-Stars and guest enthusiast Ernie Tomasso on clarinet. But, naturally, it was the opening show with the swinging Welsh band that climaxed this great jazz occasion. Henry Red Allen blew away all the jazz cobwebs with dignified showmanship and pure playing ability. In connection with the north you keep hearing the phrase "Where there's muck there's brass." Well, in Manchester last Friday there was no muck but a hell of a lot of brass. ------------------------------------------------------------------------------------------------------------------------------------ - 115- 'TO ABSENT FRIENDS': - THE A.G.M. REPORT. For those Members who could not (or could not bothered) to attend the Centre's annual general meeting on June 18th, here is the report which the secretary presented at the meeting: 'Because of certain later references to Manchester Sports Guild promotions and responsibility I feel that first a few words should be said regarding the dividing line between the Guild and the Sports and Social Centre. Originally the Centre was brought into existence as a subsidiary of the Guild, but, with the passing of the 1961 Licensing Act, it was essential that the Centre be given its own constitution, elected committee and its members have full voting rights, etc. From then the Centre has been divorced from the Guild insofar as accounts, activities, etc., are concerned though occasions do arise whereby the Centre shares in and profits by certain Guild activities. Broadly speaking the Guild is concerned with the sports and other activities OUTSIDE the Centre whereas, of course, the Centre Committee is responsible only for the activities taking place here at 8/10, Long Millgate. "The year just ended has been a memorable one largely because of the part which the Centre has played in celebrating the tenth anniversary of the inception of the Guild. The outstanding event was, of course, the visit of Henry "Red" Allen, as a result of which the Centre jazz section has become probably the best known club in Great Britain - and certainly one of the most praised,. for the publicity obtained from this visit cannot be under-estimated. Already it has brought wholehearted co-operation for all future plans from many of the country's leading jazz writers - and from one of the two most important writers and critics of jazz in America. It brought us, too, very many new members of the real jazz enthusiastic type, though it was disappointing to find that many of our normal regulars were missing from these sessions. In case it was the price, let me add that, though the Centre did not bear the brunt of the cost of "Red's" tour, it was called upon to pay an average of £180 per night for the cost of Red plus band and thus an admission of 13/6d. was justified. Even this is small compared with charges for concerts made locally and here one had the blessing of some good ale and "club atmosphere." Focus Juni 1964 JAZZ POLICY "During the year, also, we have seen a continuation of policy which has brought the jazz fans most of the top British and European bands. "We have pioneered a few more ideas some of which have not been successful but this is inevitable if we are to maintain our standard and scope of jazz attraction. "In the world of folk music, we have seen a big change of policy for, instead of a resident group, we have switched to a policy similar to that employed in the jazz and this has resulted in visits of some of the best British artistes and groups plus a couple of American visitors. All in all reasonable progress is being made with Frank Duffy doing a good job as resident singing host. "Due to more attention being given to the planning of the centre, and in part to its greater use by members for private functions such as birthday and wedding parties, the bar takings have increased by almost £2,000 and- we have had a third bar installed in the ballroom. This, of course, has meant increased staff with the usual increase in staff problems but here I must pay tribute to the stalwarts who are still with us at the end of another year and whose work has been greatly appreciated, namely, Lil, Betty, Vi, David, Jim and Ted (though the latter now only helps out in emergencies for he has since become our very excellent and conscientious part time accountant). Others have come and gone, flourished for a moment and then faded into the night - could it be that you don't tip enough? During the year,. too, we investigated the possibility of transferring to tank beer but action was suspended. "One or two slight improvements in the facilities have been achieved too, notably the installation of an urinal in the first floor gents' and the addition of an extra washbasin in the ground floor ladies' toilet. Slight changes have taken place in the decor and the visit of "Red" Allen inspired two new murals in the lounge. Changes have been made in the games in the lounge though the chief pastime is still talking and drinking. "The year has brought a few setbacks as one might expect. The Performing Rights' Society, realising that we were paying more for the bands we employ to entertain, found some sort of logic which justifies their demanding an in creased rental. … ---------------------------------------------------------------------------------------------------------------------------------------------------------------- Sinclair Trail EDITORIAL in Jazz Journal, April 1964 It is with the keenest appreciation of his Ben Webster and Muggsy Spanier. More Play me one of those good old slow talents, that we warmly welcome to this power to their elbow! blues, please Henry, and I will go away country Henry 'Red' Allen. This is the The last time I beard Henry 'Red' Allen, happy. second time Mr. Allen has been here, the he was leading a band 'at the Metropole The dates of the tour are from … last time being in company with Kid Ory in New York. Not all the drinkers who Further bookings are being arranged; all and his Band. On this present tour he frequent that famous bar quite dig the enquiries to the Manchester Sports will be accompanied by bands of Alex jazz as she-should-be-dug, but Henry Guild. The other jazz package to be touWelsh, Sandy Brown, the Bruce Turner went on every night and trotted out his ring here is that featuring Ella Fitzgerald, and Humphrey Lyttelton. special brand of hot New Orleans horn Roy Eldridge and Oscar Peterson. Their The tour is being arranged and spon- with very few, if any, bows towards April dates are: 2nd City Hall, Newcastle; sored by the Manchester Sports Guild to commercialism. His trumpet tone was as 3rd Odeon, Glasgow; 4th Odeon, Nottingcommemorate their 10th anniversary and brassy and humid as ever, his singing as ham; 5th Odeon, Leeds; 6th Fairfield Hall, it is to be hoped that their courage-ous guttural and swinging as in his heyday. Croydon; 8th Free Trade Hall, venture into the realms of promotion will As with most New Orleans musicians, Manchester; 9th Guildhall, Portsmouth; be an outstanding success. If this is the Henry is also quite a bit of an entertai- 10th Colston Hall, Bristol; 11th Odeon, case, and surely every jazz lover worthy ner, for he was taught as a young musi- Lewisham; I2th Odeon, Hammersmith. of the name will want to catch the cian that in addition to mastering your Another distinguished visitor is that playing of this great trumpet player, the instrument it was also necessary to sell- lyricist of the tenor saxophone, Stan Sports Guild. have it in mind to bring that-stuff. As a blues player there is Getz, who has a month's engagement at over such figures as Pee Wee Russell, probably no better man playing today. Ronnie Scott's Club. ---------------------------------------------------------------------------------------------------------------------------------------------Sinclair Trail: EDITORIAL in Jazz Journal, June 1964, p5 I had always been led to believe that up mediocre, but I don't think I have ever Manchester Sports Guild was under the North, the British people are even less witnessed such whole-sale jollification as expert guidance of the Guild's Secretary, emotional and given to display than we that which took place in Manchester on the resolute Mr. Jenkins. It says much for of the South. It isn't true! In my time I the opening night of Henry'Red'Allen's 'Jenks' organising capabilities and have witnessed a great number of jazz recent tour. To say that the evening went persuasive tongue that although the events, all over the world - from the gay with a swing, would be nothing short of refreshments were as liberal as manna abandon of the Nice Festival about which the understatement of the year. To recap. from above (and much stronger), I wrote last month, to the ugly scenes The night previous to Henry's opening everyone appeared to retire in excellent which occurred at Newport, America and had been the occasion of a spirituous order - if full of bonhomie and good Beaulieu, Hants a few unhappy summers clambake, more rightly called a Press spirits. Music had been provided by ago. I have heard a lot of good jazz at Reception. various Mancunian groups, and Henry such places, mixed inevitably with the The whole, good affair, sponsored by the played with all of them. No matter what - 116their musical denominations were, Henry blew along with them all. In actual fact leaving nothing to chance and making sure that his chops were in perfect working order, Henry had even played a little music on the train journey from London to Manchester - much to the bewilderment, - I am told, of a small but select group of fellow passengers. The Manchester Sports Guild concerts have been dealt with elsewhere in this issue, but I feel I must be allowed to make a comment or two on Henry 'Red's' musicianship. When I stated in the April editorial that Master Allen was an entertainer, I was guilty of an understatement, he is more than that. Here is a musician of the old school who pulls out all the stops all the time he is working. He makes it his business to see that his audience are having a good time, but never lets them lose sight of the fact that it is jazz they are listening to. I recently read somewhere that at some conference of critics in America, it was bemoaned that jazz was dying. One of the reasons pointing to its death was what was called the 'total lack of audience participation' in jazz concerts today: Well, otherwise than jazz has been on the way out for thirty years or more to my knowledge, I have never seen more active audience participation than that I witnessed on Friday. 17th April at the Manchester Sports Guild. Before jazz became too pretentious, it was a musician's job to see that the paying customers were having a good time. Henry Allen, that expert old jongleur, does just that and with the biggest will in the world. He gets them singing, he makes them clap on the beat, he directs his accompanying band with a series of cunning flicks of the elbows, and at one and the same time finds time to play a considerable amount of hot horn. His control is quite fantastic. Without the aid of a mute, he can play a solo within an inch of your eardrum. No one in the audience will miss a single cadence and the recipient of the musical gesture gains nothing but pleasure from the doing of it. Indeed one bearded Lancastrian publicly stated that be would never wash his right ear again, after Henry had dictated a whole chorus of St. Louis Blues into his orifice. Needless to say the applause at the end of Allen's opening concert was loud, long and rapturous. It was deserved, for Henry 'Red' Allen is a doer, a right willing worker in the cause for jazz! How I wish there were many more like him around today. -------------------------------------------------------------------------------------------------------------------------------------------------------------- HENRY "RED" ALLEN to Valeric Wilmer Jazz Monthly, June 1964 THE JAZZ AUDIENCE falls roughly personality and most of them copied through the changes, there was Body and into two categories: those who stay home from him so why didn't they find out Soul, but I do listen to everybody, you with their records and those who prefer about it? know. their music 'live'. Both kinds of "If you want to compare things, though "Bop didn't bother me. This was just enthusiast are equally important to the all the older guys continue to work, so another style. It's all kind of new chords, jazz musician for he must have someone that's all I can say. I never did bother to but all of them wind up with the same to buy his records just as he must have find out why one went one way and one spark-plug." I asked Henry why so many people to snap their fingers and buy the the other. I couldn't put anybody down trumpet players double on vocals and drinks in clubs where he works. There for the way they play. But I don't go for received the characteristic answer that has been a lot of controversy lately about putting people in different categories like "The only difference is that they also the entertainment content of a jazz Dixieland, Chicago, West Coast and so play the trumpet! A lot of people sing but performance. Some musicians feel that on. I played with the Chicago Rhythm they can't play nothing else, there's no the music itself should be enough, and Kings, with Eddie Condon and all those real reason. I got a record of me singing quite rightly, too. Why should they make boys and I'd never been to Chicago in my back in 1929. Patrol Wagon Blues, so I concessions to the audience? But lis- life! Look at Coleman Hawkins - play must have been doing a little singing tening to jazz should be synonymous with everybody. before that!" with enjoyment, and for those who like "I have played a number in a more We talked about his association on to pat their feet and shout their encou- modern vein, Queer Notions, way back several recording dates with Jelly Roll ragement, there is something a trifle with Fletcher Henderson. When you're Morton. "He sure wrote some pretty inhibitory about a musician who makes out there playing those horns you don't tunes. Sweet Substitute stands out in my no announcements and looks as gloomy have time to analyse those things, else mind because I use the number a lot. I as a pall-bearer. That's why musicians you turn out to be a frustrated musician. made a lot of sides with him before that like Henry Allen are a god-send to the As long as anyone's playing music it's date with the Red Hot Peppers. Jelly raving section of the audience. When he alright with me because I love it." always spoke his mind, but he was doing was here recently everyone who came Henry, who was born in 1908 in no more than Cassius Clay. Clay did into contact with him had a ball. Each Algiers, Louisiana, played alongside what he said he was going to do and number was announced, the musicians Louis Armstrong in Henry Allen Snr's that's just what Jelly did. He had a pretty swung like never before, and after every brass band in New Orleans. Growing up voice too, so really he had it going for solo Henry admonished the crowd to at the same time as Louis, he was him. It's just like another trumpet player; "make him happy!" Faces you thought naturally influenced by the older man's he may not be the greatest but there's could never show emotion beamed at you work, but still emerged with an extremely something there that I like. Then another every-where, much liquor was consumed, personal style. "I suppose all of the New trumpet player is good but you just don't and a good time was had by all. Listening Orleans trumpet players impressed me, like his personality." to Henry blow was my idea of what jazz guys like King Oliver, Chris Kelly, Punch I carefully suggested that some people is all about. Miller and Kid Rena, and I sup-pose I felt Morton's piano was lacking in swing And so was talking to the man. No listened to Louis, too. But I can't explain and was rebutted by "I couldn't say what question was too much of a drag to who was the cause of me playing the way swing is. I only play from my feelings. answer, and he even patiently reiterated I do. I didn't pay it too much mind, I was But as a pianist there's many people his New Orleans story for the millionth just playing like I felt, but I like anything haven't played The Pearls as yet-maybe time. I asked him about this business of Louis did and still do, you know what I after Jelly they just don't wanna try. All I showmanship. After his decade at the mean." know is that they're still using his "Metropole". he should know. EVEN so, Red displayed a relatively numbers to swing by." "All the early musicians had it, you had advanced approach on some of his And that was that. I interviewed the to, but the ones who came on the scene records made with Fletcher Henderson man backstage at the BBC TV Theatre late had nothing. I think it's odd, too. I and others in the 'thirties, things like and the place was rapidly filling up with don't think you should have the Body and Soul and Queer Notions. "I Allen admirers. Everyone, Henry expression like you're doing a dare-devil used to drift off a bit, I suppose, but I included, was more intent on drinking stunt but maybe for some guys that's the didn't really have any conscious thought in before the final telerecording, so leaving way they feel it and want to express mind of modernising anything. May-be behind such touchy points as trying to themselves. I wouldn't want to interfere; some things rubbed off. I played fast, define 'swing'. we breezed round to the to each his own, I suppose. But the though. One of the fastest things I ever local. Come back soon, Henry, we need funny thing is that Dizzy has that did was Ride Red Ride, and as for going you here. - 117IT DON'T MEAN A THING - Steve Voce in Jazz Journal, June 1964, p.14-15 The First jazz Critic? 'Fate Marable? He couldn't hit a piano with a brickt !' - -Jelly Roll Morton. Own Up – After my rather gloomy last band) and Danny Moss on tenors, Fred Perhaps the finest new acquaintance was paragraph in the May issue, things took a Hunt on piano and the drumming of G.E.Lambert, whom I had always rum on the up-grade, so that in one Johnny Armitage and Lennie Hastings. visualised as a rather dignified and staid I've left out Bruce Turner? Deliberately, jazz chronicler (a lot of them are, you fortnight I heard in more or less ideal surroun- for Bruce in his own way topped them all. know). However, his real name is Eddie dings the music of Red Allen, the Folk It was obvious that he and Allen had an and he turned out to be a magnificent Blues Caravan, Champion Jack Dupree, immediate and instinctive fusion of fall-about specialist who goes off like a Alex Welsh, Bruce Turner, Humphrey styles, reacting upon each other to cuckoo clock after a fixed number of Lyttelton, Sandy Brown and Al Fair- produce a remarkable series of what I pints. We got on well. weather and a very good Manchester can only describe as jazz orgasms. (One The emotional scenes at Red's last date band called the Art Taylor All Stars. In has to find some alternative to 'empathy'). over here (at the Guild) didn't seem a bit addition there were sundry revivalist Really it is invidious to choose between out of place, and he seemed sincere when bands. I missed Stan Getz in London by the accompanying bands, because they he said that it was the greatest night of two days, the Modern Jazz Quartet by a all played so far above them-selves that his life since he joined Luis Russell in long hangover, and a cursory search of on each evening one found oneself the 'twenties. Jenks made a short and well thought out speech and on behalf of the capital failed to unearth Mark thinking well this must be it Murphy - still, they were all around and Things which hit me from a personal the club presented the trumpet player performing in their various ways, point of view were the stimulating with an elegant tea ser-vice suitably and providing us with a brilliant, if tempo- comparisons between Alex's and Red's thoughtfully inscribed to Red's wife. Then playing (Alex is badly underrated), the Alex, on behalf of the band, came rary, jazz scene. As if all this wasn't enough, I managed to remarkable way in which Roy Crimmins through with an engraved silver tankard. engage our founder Mr. Traill in three always manages to blow his hat exactly Red was quite overcome, and it was one boozing fixtures, one home and two when one would expect him to, the of those nights when Dorothy Kilgallen beautiful accompaniments to Allen's would have said there was a lot of love away. He. kept his unbeaten record. Rolling Stoned - I was very interested in vocals from Al Gay, and the way in flying around. I hate to join such mawthe Melody Maker report that the Sport which Red responded when Danny Moss kish ranks, but I think that there was. And yet the tour wasn't a complete club was negotiating to bring over Ameri- apparently hit a Chu Berry groove. can tenorist Zoot Finster. Particularly And the realisation that, after Dave success. At one large ballroom where since Finster was invented by George Tough, Don Lamond and Buddy Rich, Red played during the tour with Alex, Crater of Down-beat. Some kind of mass Johnny Armitage is the drummer I most Jack Swinnerton was disturbed by the fact that there were only a handful of like to listen to. hallucination, maybe. I suppose it was the chap who writes the Which brings me to Red Allen. Here is a people present, most of whom obviously bits about the Beatles and Rolling Stones man who played 100 per cent jazz, who didn't realise that Red was supposed to who did the Jazz Beat review of the latest obviously lives jazz and who was so be a special attraction. good that one feels lost for words to He went over and asked the promoter if Roland Kirk LP with Benny Golson: 'I must confess I have no idea what it is describe his playing. Certainly he more there would be more people in later. 'Oh all about. If I were asked to pick a than fulfilled every expectation and not no,' said the promoter rather vaguely, subtitle I'd call it music for a nervous one of his listeners could com-plain of not "we never get more than this unless we advertise." getting their money's worth. breakdown.' In addition to the normal crop of printer's I wish that Stanley Dance could have In retrospect one realises that there are errors (nobody's infallible) George Ellis been present on these nights to see how going to be a lot of Red Allen quotes in manages to get my name down as Vosene. well British bands can play. I'll lay odds the future. Peter Clayton has already But the best piece in the May issue deals that wherever he was at that time he bagged a couple that I was going to use, with Red Allen's visit to Manchester wasn't listening to anything half as good but there were so many that it doesn't as this. He should advise Mad Dan from seem to matter. during the early part of April: 'Red Allen, according to that dicky bird, is Beccles to join the M.S.G. without delay, Asked why he was called 'Red', Allen to play four days at the Manchester because it looks like he missed the most said that it was because it was easier to Sports Guild. ... If the dates come off, entirely satisfying international jazz spell than Henry. He almost gave some integration since Rex played with Django. technical advice to Alan Littlejohn of they'll be worth making a note of.' This issue of Yazz Beat appeared on the Perhaps the ideal surroundings of the Record Specialities. Alan has been news stand the day Red flew back to the Manchester Sports Guild had a lot to do playing flugelhom lately and asked Red States. Still, there's nothing like waiting with the phenomenon. Allen was brought for his opinion. 'Don't mess with that, over (with shrewd musical judgement) man. All anybody ever got from one of and being sure. We Found Out Who Stole Gabriel's on the basis of his playing, and not with them things was round shoulders.' Horn – If Red Allen ever does sell that a view to how much profit could be And there was all the new stuff about house for sale in Harlem, I'm sure he'll made out of him - was this the most Jelly Roll Morton. Red was in Jelly's have no trouble finding permanent glorious of all jazz financial failures? band for some time and, at a late period in accommodation in Manchester. Apart Everyone who heard Red should face the the 'thirties, went out on a road tour of from his musical qualities, Red is one of direction of L.C Jenkins and Jack some of the more obscure American those men one occasionally meets and Swinnerton and bow low. The informal towns. At each town they came to, Jelly respects on sight. Somebody remarked attitude of the club (with Jenks roaming would boast about his alleged acquainthat we haven't had anyone over here round in carpet slippers and open-necked tanceship with anyone of any importance with such a nice personality since Jack shirt) belies the enormous organisational in the community. Teagarden came, and I think that this is true. capacity which automatically and One right they were driving through this At the Manchester Sports Guild we had efficiently drains teds and potential tank town with Jelly at the wheel and, as this unbelievable feast - the chance to troublemakers politely off into the night usual, he began his recital of all the local absorb a total of five nights' sessions by before they actually put foot across the notables who were proud to know the one great jazz musician, and also to door step. I also met several people for great Jelly Roll. As usual the musicians watch the enormous effect that his the first time, including George Ellis (I in the car ignored all this and, didn't know about the 'Vosene' bit then) - interrupting him, Red said 'Watch it, playing had or our leading bands. Apart from Red's horn, the highlights although I was naturally rather upset to Jelly baby, you're way over the speed came from Welsh's trumpet, Roy Crim- find out that Peter Clayton and Gerald limit.' Jelly continued to talk and to mins and Pete Strange on trombones, Al Lascelles had left town when they heard speed, telling Red not to worry because he knew everybody that mattered around Gay (unfortunately leaving the Welsh that my arrival was imminent. - 118here, anyway. Sure enough, just through the centre of the town came the police siren and the patrol car waved Jelly over to the kerb. Jelly got out and walked forward to the police car. Red couldn't hear his excuses, and finally Morton returned to his car with one of the policemen. Jelly got in, closed the door and switched on the engine. The cop leaned in through the window. He spoke. 'It's been great to meet you, Jelly. And I'll tell Uncle George you sent your regards ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Jenks' piece - Focus Juni 1964 p2 "It will never quite be the same," is a comment which was heard often in early May and, of course, it referred to the visit of Henry 'Red' Allen and to the five superb sessions he played in the Jazz Cellar. No, that is not quite right, for in addition to the five scheduled sessions, he played, too, on the night of the Press Conference, with the Don Mitchell Big Band, with the Art Taylor All-Stars and even with the modern quartet which was "got up' on the spot. He provided a breath of wonderful jazz air and it and it was interesting to note the large numbers of members who, though originally planning to come for one session only, returned again and again. Henry had captivated them not only by his playing but by his personally and drive and by being such a 'damned nice guy.' Of course, there will be others to follow but that first experience will probably remain with us for as long as our memories still function and perhaps it is best described by Henry's own word "N I C E." Thanks Henry, and may you have a happy and successful time until we see you again coming out with that wide grin and flourish of trumpet to excite us once more. Whilst I am about it, let me tell you,, too, that the outcome of visits from many press and T.V. critics, etc., to these sessions was or us to learn that we are, in fact (which supports our belief) about the best jazz club in Great Britain. And when you get that stated, in writing, by people who have travelled over 200 miles to be present and whose experience covers a large part of the U.K. jazz scene, even a cynic like me must believe it. We are, in fact, the only jazz club with so many sessions per week, who stick strictly to JAZZ – a fact which is a source of amazement to many folk from other parts. So it is worth while patting ourselves on the back for once. For those of you who are regular jazz attenders and missed these sessions I can only say I'm sorry for you and hope that next time you will think twice about absenting your-selves from such a treat. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- From JACK FLORIN'S JAZZ ROUNDABOUT in MANCHESTER EVENING NEWS 24 April 1964 I hope none of you missed Henry 'Red' Allen's four appearances at the Manchester Sports Guild last week-end. What a character and what a musician! He blows loud and hot, soft and sweet, but we knew this from his records, many of which. of course, are now collectors' items and real gems of jazz. To see him 'in the flesh' is a revelation. He has one of the strongest personalities I have ever seen and he is a superb player and a wonderful showman. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- JAZZBEAT EXCLUSIVE – HENRY “RED” ALLEN talks to Peter Clayton, Jazzbeat , May-64 I'VE always suspected that Red Allen's way back'. Well. after a while I did find the John Mitchell band (a made-up magnificent face might have served as a Jelly, and I told him what Marable said, name, I gather, to avoid the embarrassmodel for the lemon in the Idris ad. including that bit about working for him. ments of nominal leadership) playing Crumpled and scored, it's smiled at me 'Work for him', says Jelly; 'I didn't work in London in public. With four reeds, for years from photographs. But because I for him. I just let him use my name when three trumpets, one trombone and a three piece rhythm section, it makes a missed him when he was over here last things was tough for him," (with Kid Ory), it never occurred to me "Later on I saw Fate Marable again, and I huge sound. I believe the arranged pasthat it would ever smile at me in the told him what Jelly had told me, just to sages and mainly transcribed from flesh; certainly not on Manchester see what he'd do. 'Wasn't like that at all', existing Quincy Jones, Basie and similar Central Station, at any rate. Mar'ble says. 'I used to give Jelly a few recordings, but the band has good solo strength and an absolutely ferocious MSG CELEBRATES gigs when he wasn't working'." I'd reckoned without a remarkable Red laughed with huge relish. Then he attack. it is semi-pro, I'm told. NO ART organization called the Manchester Sports added: "For years I tried to get those two Guild. Precisely the Guild is, and how it to meet up. I wanted to see how they'd The Art Taylor All-Stars is a good band with an unfortunate name. There's comes to embrace an enchanting mixture tell that story to each other." nobody called Art Taylor in it, I gather, of drinking, judo and jazz, is beyond the RED RECEPTION scope of this piece. What does matter is There were some other gems. I used to and, as Alan Stephens points out (Alan that Henry Alien Jr's presence in this hold the bottle in the Luis Russell band, does a lot of writing about the Manchescountry in 1964 is due to the fact that this because I was the only one who didn't ter scene) "All-Stars" is a bit strong, no is how the Guild chooses to celebrate its drink." And another one about Marable: matter how good they are. But they are tenth anniversary. That's the sort of "He didn't like anyone to give him good. They play a very openhearted institution it is. notice. Preferred the other ways round. Dixieland-onwards kind of music, with a Anyhow, on an unbright but unwet So once when I told I was going up to powerful, shapely lead from trumpeter afternoon in April, there he was, coming New York to make some records, he Doug Whaley. up the platform between Phil Robertson points to me and says to the rest of the At one point they were joined not only of the Davison office and Jack band: 'Now he's got to be real good, so by Red Allen but also by Ernie Tomaso, Swinnerton of the Sports Guild. Meeting I'm sending him up to New York to make who was once with Harry Gold and him were the MSG's General Secretary, records. You work hard, maybe I'll send played in New York for a short time with Jack Teagarden and others four or five L, C. Jenkins (who has dispensed with you'." actual names in favour of simply In the evening the Guild put on a recep- years ago. A fluent player in the clean"Jenks") and myself. tion in Henry Allen's honour. Now the toned, Goodman tradition. he added that TALKIN' TO YA MSG is almost the only stronghold of final dash of professional confidence to The first chance to become involved in a jazz still left in Manchester, and most of the session. proper conversation with Henry Allen the city's jazz activities are concentrated Allen seemed to be playing as well as came soon after lunch. It was a little like there. Red sat in with three of the four ever. The long, thoughtful phrases, that opening a pop-up edition of "Hear Me groups which played during the course of controlled, sometimes almost impercepTalkin' To Ya" to be able to actually the evening. He joined the John Mitchell tible growl, those sudden flashes of great watch rambling stories of Fate Marable orchestra. a sort of Basie-esque outfit, for heat, like the opening of a furnace door, and Jelly Roll Morton being recounted Splanky and a couple more, and did were all there. And this, mark you, was across the table. several numbers, among them splendid only at a reception. I'll leave George “When I left Marable to go to New York, versions of Tin Roof and St. James Ellis, who was able to stay for some of he says to me, 'If you see Jelly, tell him Infirmary, with the Art Taylor All-Stars. the concerts, to comment on the public hello from me. He used to work for me, As far as I know there's no equivalent of Red Allen. (Next month Ed.). - 11916th April - 5th May 1964 RED ALLEN TOUR IN ENGLAND WITH LOCAL BANDS 4/16/64, Manchester, Sports Guild, Sports & Social Center: guest parts with some local bands like with John Mitchell orchestra lead from trumpeter Doug Whaley, added oldtime Ernie Tomaso; Art Taylor All Stars, 4/17/64 Fri., same location – Red Allen (t,v) & ALEX WELSH BAND (personnel see 5/5/64) – standard program: Yellow Dog Blues; Rosetta; Just A Closer Walk With Thee; St.James Infirmary; Patrol Wagon Blues; Canal Street Blues; St.Louis Blues; The Saints; - & At Jazz Band Ball; Indiana; Sweet Georgia Brown; Basin Street Blues; Spider Crawl; How Long Blues; Bugle Call Rag; Who Stole The Lock; I Ain't Got Nobody; 4/18/64 Sat., same location – Red Allen (t,v) & SANDY BROWN BAND: Al Fairweather (t) Sandy Brown (cl) Danny Moss (ts) Keith Ingham (p) Colin Bates (rhythm): - standard program & Jazz Me Blues; Rag Mop; Creole Love Call; Do Not Nothing 'Til …; High Society; Cherry; Biffly Blues; House In Harlem; Sweet Substitute; Muskrate Ramble; 4/19/64 Sun., same location - Red Allen (t,v) & BRUCE TURNER JUMP BAND: Ray Crane (t) Pete Strange (tb) Bruce Turner (cl,as) unknown (p) Jim Bray (b) John Armitage(d) – standard program & West End Blues; Tishomingo Blues; Cherry Red; How Long Blues; All Of Me; Snowy Morning Blues; … 4/20/64 Mo., same location – Red Allen (t,v) & HUMPHREY LYTTELTON BAND: Humphrey Lyttelton (t) Tony Coe (cl,ts) Joe Temperley (bars) Eddie Harvey (p,tb) Pete Blannin (b) Eddie Taylor (d) – standard program & … 4/20-4/21, days off; unknown date, one short news-reel for TV with music and interviews was made in Southhampton 4/23/64 Thur., Bath, Regency, Ballroom, - Red Allen (t,v) & Alex Welsh Band 4/24/64 Fri., Stoke-On-Trent, Trentham Gardens Pavillon, same as above 4/25/64 Sat. afternoon, Nottingham, Dancing Slipper, -same as above Sat. evening, London, Mordon,at the Crown, same as above , Archie Semple (cl) added on five sides incl. Sweet Lorreine; 4/26/64 Sun., London, Marquee Club – Red Allen (t,v) & HUMPHREY LYTTELTON BAND: same as 4/20; Shiny Stocking; Swingin' The Blues; (both without Allen); Struttin' With Some Barbecue; St.Louis Blues; Rosetta; Patrol Wagon Blues; Indiana; Sweet Substitute; St.James Infirmary; Sweet Lorreine; Just A Closer Walk; & Lennie Felix (p) Red Price (ts): When The Saints; 4/27-30 unknown engagements around London between 4/27-4/30 or 5/4 Carmel Court, London, Doug Dobell´s party – Red Allen played solos to old records ; ( there's no balance between the rather quiet records and the loud RedAllen trumpet in the foreground.) John Chilton in “Ride Red Ride” p181: „During his brief stay in London, Red attended a party given by some of his most dedicated fans, icluding record-shop owner Doug Dobell, John Kendall, Eric Saunders and Ray Bolden. Some-one surreptitiously recorded part of his happy gathering and Red can be heard blowing his trumpet in tandem with the sound of some of his most celebrated recordings, proving that he had remembered arrangements recorded thirty years before (0:21 Mike Pointon BBC-1996-intro about the following Party (private taped with cassette faults)) RA-CD-41 3:33 Jersey Lightning - Luis Russell ; RA(t) from 0:20-0:31; 1:05-1:17; 3:13-3:31 --4/5/58 NYC, Johnny Hodges (as) Billy Strayhorn (p) Jimmy Woode (b), Sam Woodyard (d) (from Verve-8358) 3:23 I Didn’t Know About You ( Ellington-B. Russell) RA(t) from 0:46-1:04; 2:36-2:49; --3:48 Gone With The Wind ) RA(t) from 0:00-1:07; 1:46-2:27; 3:03-3:20; 3:30-3:48 --4:02 Honey Hill plus Roy Eldridge (t) Vic Dickenson(tb) Ben Webster(ts) 0:24-2:20, 2:33; 2:44-2:46; 3:01-3:40 RA-CD-27 RA-CD-41 2:01 Donegal Cradle - Spike Hughes: RA(t) from 0:24-1:13; 1:43-2:00 2:39 Limehouse Blues - Fl.Henderson RA(t) from 0:00-0:37; 1:52-2:39 --3:11 Shanghai Shuffle - Fl.Henderson RA(t) from 0:33-1:00; 2:23-2:53; 3:09-3:11; --3:10 Big John Special by Fl.Henderson RA(t) at all RA-CD-26 RA-CD-41 2:54 Happy As The Day Fl.Henderson RA(t) from 0:31-0:32; 0:55-1:03; 2:02-2:24; 2:51-2:53 2:25 Happy Feet - Horace Henderson RA(t) from 1:30-2:06; 2:19-2:24 --3:36 Rhythm Crazy - H. Henderson: RA(t) from 2:00-2:14; 2:41-2:51; --3:05 Mahogany Hall Stomp by 3/5/29 L.Armstrong RA(t) at all RA-CD-27/ --- / 5/1/64 Fri., Westminster Central Hall - HENRY"RED"ALLEN & HIS ALL STARS: Red Allen (t,v) Mac Duncan (tb) Sandy Brown (cl) Johnny Parker (p) Diz Disley (g) Jim Bray (b) Terry Cox (d) 53:23 private tape; poor quality RA-CD-27/ -intro Parker-vRA(Brow&Parker)-Allen-Parker-vRA(Brown&Parker)-Disley *intermissions-narration 4:57 HOW LONG BLUES -vRA (L.Carr) *1:15 *0:20 1:59 4:45 JUST A CLOSER WALK WITH THEE (trad.) -intro Parker-Allen&Brown CANAL STREET BLUES (King Oliver) --/ --- / *0:50 5:23 WHEN THE SAINTS GO MARCHING IN -vRA&ch (trad.) --- / ----- / / ----- / / --- / --- / ----- / / -intro Parker-ens.-Duncan-Allen-Brown-ens. -intro Cox-ens.-Brown-Cox brk-Duncan-Allen-vRA&ch-Parker-Bray-Cox-ens. 4:10 encores -THE SAINTS -intro Cox-vRA&ch-Brown-Allen-Disley~Cox-ens.-Brown code*1:05 2:30 JELLY ROLL BLUES (Jelly Roll Morton) -Parker-Allen in ens.-Parker-ens.-Allen-ens.- /cut *0:25 5:02 PATROL WAGON BLUES -vRA (P.Grainger) *0:19 4:32 HONEYSUCKLE ROSE (Razaf-Waller) *0:24 3:16 BIFFLY BLUES (Red Allen) -Parker-Allen&Brown-vRA(Brown)-Allen-vRA-Allen RA-CD-26/ -Parker-Allen-Brown-Duncan-Allen-Allen in ens.- -intro speech RA(Parker)-Allen in ens.-Parker--Allen in ens.- *0:16 RIDE! RED! RIDE! -vRA&ch (Millinder-Allen) -intro Parker-vRA&ch-Duncan~vRA&ch-grown-Allen in ens.-vRA(ens)-Allen in ens.2:10 encore: RIDE! RED! RIDE! -vRA&ch-ens.-Allen in ens.6:26 ST. JAMES INFIRAMRY -vRA&ch (J.Primrose) 3:30 --- / -intro Parker-vRA-Allen in ens.-vRA-Allen-Brown-vRA&ch-Allen a fine relaxed session with another UK-band; I do not know the tape owner for a better quality and perhaps some more of the reviewed sides were taped like: Sweet Substitute; Rosetta; Wild Man Blues; Indiana; - 1205/2 or 5/3 Manchester, MSG, - Red Allen ( t,v) & Alex Welsh Band – Farewell concert; 5/5/64 Shepherds Bush. telerec.for BBC-2TV-Iazz 625; (part-1 on film-reel without ROSETTA) - RED ALLEN (t,v) & THE ALEX WELSH BAND: Alex Welsh (*t) Roy Crimmins(tb) Al Gay (cl,ts) Fred Hunt (p) Jim Douglas (g) Ronnie Mathewson (b) Lennie Hastings (d) Steve Race (narr.); Humphrey Lyttelton (introducing the TV-show) part-l: transmitted 7/21/64 BBC-2, jazz 625; repeated ca.1986; & 1990 w. intro of Slim Gaillard; also on film-reel but without Rosetta; *Beale Street Blues (without Allen) video-tape from 1986/RA-DVD-1/ *New Orleans {without Allen} --- /RA-DVD-1/ 0:40 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) --- /RA-DVD-1/RA-CD-26 6:05 ROSETTA & encore -vRA (Earl Hines-H.Wood) --- /RA-DVD-1/RA-CD-26 --- /RA-DVD-1/RA-CD-26 7:30 ST. JAMES INFIRMARY & encore -vRA (J.Primrose) 2:00 JUST A CLOSER WALK WITH THEE (trad.) --- /RA-DVD-1/RA-CD-26 4:00 *WHEN THE SAINTS GO MARCHING IN -vRA -AW in ens.lead & lst solo (trad.) --- /RA-DVD-1/RA-CD-26 part-2: same date & loc., after change of clothes - see photo; transmitted on US-TV poor tape quality, not of deeper interest 0:45 7:20 3:25 3:15 5:00 Dippermouth Blues (Oliver-Armstrong) (poss. only the A.Welsh Band-not on tape) listed in D.Meeker-2005 theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) RA-CD-27 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) RA-CD-27 CANAL STREET BLUES (King Oliver) RA-CD-27 PATROL WAGON BLUES -vRA (P.Grainger) RA-CD-27 AT THE JAZZ BAND BALL & encore (LaRocca-Shields) / cut leave out RA-CD-27 PLEASE (L.Robin-R.Rainger) (not on tape, listed in D.Meeker-2005) ST.JAMES INFIRMARY -vRA (J.Primrose) (not on tape, listed in D.Meeker-2005) ONE OF the things which make the study of jazz so absorbing is the fact that the first jazz record was made only forty-five years ago. Into that first half-century has been crammed a whole history-book of campaigns and triumphs. In fact the jazz student feels towards Jelly Roll Morton and King Oliver much as the general historian feels towards William Rufus or Richard I. Just a few of the legendary early jazzmen are still alive, and one of them Henry 'Red' Allen - is the guest in Jazz 625 tonight. He was born in 1908, comparatively late for a jazz veteran. But his father led one of the first brass bands in New Orleans, and as a boy, Henry marched with the band on its street parades. Later he worked on the Mississippi riverboats. Between 1929 and the outbreak of war with the bands of Louis Armstrong, Luis Russell, and Fletcher Henderson, he played his trumpet on many of the most important classic jazz recordings ever made. He created much jazz history, and observed even more. To the jazz enthusiast, seeing Henry Allen in the flesh is like meeting a soldier who served successively at Crecy, Waterloo and Ladysmith. He even looks like an old soldier. Perhaps the assault courses of the jazz modernists are beyond him now. But his rifle-drill is impeccable. And he makes a fine standard-bearer. STEVE RACE BBC-TV, Jazz 625, 5/5/1964 London, Theater Shepherd's part-1 : Fred Hunt (p) Roy Crimmins (tb) Alex Welsh (tp) Red Allen (tp) Al Gay (cl) Ron Matthewson (sb) Lennie Hastings (d) (courtesy Valerie Wilmer) - 121- BBC-TV, Jazz 625, 5/5/1964 London, Theater Shepherd's part-2 : Roy Crimmins (tb) Ron Matthewson (sb) Alex Welsh (tp) Red Allen (tp) Lennie Hastings (d) (a change of clothings between the two parts) (courtesy Valerie Wilmer) NICE !' Red Allen at the MSG-bar (Focus-6-64) Red Allen & Ernie Tomaso at MSG 1964; (court.J.Jenkins); - 122 - - 123 - Henry'Red'Allen at The Manchester Sports Guild By G.E. LAMBERT in Jazz Journal, June 1964, p11-13 The Manchester Sports Guild is an organisation to which amateur sports clubs in the area are affiliated. It was formed ten years ago with the primary aim of raising funds at a time when the impact of the television age was really beginning to make itself felt in club attendances and finances. To most people in the Manchester area the Guild is best known for its fine Sports and Social Centre in Long Millgate, where- the facilities include a spacious lounge/ bar, a ballroom – and more to the point here - a jazz cellar. In April of this year the Guild celebrated its tenth anniversary by presenting for four consecutive evenings the great New Orleans trumpeter Henry 'Red' Allen. The choice of Henry and of the four bands which accompanied him was typical of the enlightened approach to jazz exhibited by the Guild. The jazz cellar is a long room with a small bandstand and a copiously stocked bar. The acoustics are good but not exceptional and the piano is no better than the average jazz club standard - i.e. pretty poor. The audience was attractive and appreciative and one could understand why so many well known jazz personalities from London were envious of the Mancunians and their fine jazz room. After four numbers by the Alex Welsh band on the Friday evening Henry Allen made his appearance and it soon became apparent that he was playing superbly, maintaining the standard he set with the Kid Ory band of 1959. He now seems to be playing better trumpet than at any time in his long and distinguished career, that is if records are a true reflection of his earlier work. The erratic, rather sloppy manner of some of his playing has been replaced by a command of the horn which seems enhanced by the passing of the years. Although an angular or asymmetrical phrase some-times gave the music a quite dramatic effect there was never any trace of the seemingly deliberate vulgarity of A Sheridan Square, while his runs were as unique as ever without the sourness which was often evident in his playing. His repertoire over the four evenings was extensive-really an amalgam of standards along with numbers associated with his own career, including Indiana, Rosetta, Cherry, Yellow Dog Blues, St. Louis Blues, Biffly Blues, Patrol Wagon Blues, Spider Crawl, How Long Blues, Who Stole The Lock?, All Of Me, Tishomingo Blues, Snowy Morning Blues and a surprising Sweet Substitute, requested by the indefatigable Doug Dobell. The vocal choruses were full of personality and swing, while in his direction of the various bands Henry revealed a capacity for leadership of a rare order. To avoid the clash of two trumpets Alex Welsh left the stand for long periods on the opening night and was able to observe how well his band responded to the inspiration and example of the guest. The rhythm section played well, although not altogether without the stodginess which used to be the defining quality of local rhythm teams. Fred Hunt, a most excellent pianist, fought manfully with the piano while guitarist Jim Douglas provided some pleasant choruses, particularly on the blues. Al Gay played good clarinet and better tenor, his solos on the latter raising quite a few eyebrows among jazz critics pre-sent, the Freemanlike buoyancy of his playing being particularly pleasing. In combination with Roy Crimmins on trombone Gay was fine backing Red on the long blues numbers, their riffing having a swing which obviously inspired the trumpeter. Roy was in particularly good form on this evening and there were moments in the solos of all the players, including those of Alex when he returned to the stand, when the rhythm section eased off a little and a degree of musical excellence was reached which was quite beyond the modest scale of British jazz a few years ago. The more variable standards prevai-ling in the Sandy Brown Band were obvious the following evening by the end of the opening set. The rhythm section had a less organised and alltogether heavier sound, while Sandy had contributed a series of solos - including a real gem in Creole Love Call - which had an individuality beyond anything heard in the music of the more consistent Welsh band. Sandy's solos were equalled in jazzcraft and intelligence, if not in sheer personality, by those of Danny Moss. His inclusion in this unit has been criticised by some writers but his presence appears to have encouraged a more free type of ensemble as well as providing a solo voice in the same class as Brown. To play a tenor solo with rhythm in the middle of a set by a musician of Henry Allen's stature is to invite the most rigorous standard of comparison, but Do Nothing 'Til You Hear From Me was superb, admirable in construction and execution and a refreshing contrast to the more torrid sounds heard before and after. These two evenings had demonstrated the advantages of presenting quality jazz in a club setting and had revealed that Henry Allen remains, for all his current neglect, a very great jazz trumpeter. Yet on the Sunday evening with Bruce Turner's jump Band even this standard of excellence was surpassed. It was frankly the sort of jazz session which one never really expected to hear in England, an evening of easy, relaxed musicmaking reminiscent of the HarIem small group jazz of the 'thirties in which the music had a casual ease, a consistency of quality and a wide variety of mood. The rhythm section played throughout with a swing, a perfectly judged sense of dynamics and a relaxation which never wavered during a long evening's music. The hero of the session was unquestionably Red Allen, who played trumpet which surpassed even his finest recorded performances, but close behind - and to insert even so slight a reservation seems ungrateful were Bruce Turner and drummer Johnny Armitage. The way in which the latter attended closely to the playing of the group and of each soloist and in which his alert playing responded to every shift of emphasis in the music were a constant delight to the ear. One may have beard drumming superior to this but never drumming which was more devoted to the music as a whole. The three piece section of unamplified guitar, bass and drums made a well-knit unit while the front line of Bruce, Ray Crane and Pete Strange produced a full and swinging ensemble. In solo, trumpeter Crane essayed an Eldridge inclined style while Strange blew an exciting amalgam of Matthew Gee, Booty Wood, Al Grey and Lawrence Brown which was bonded by his own interesting and developing musical personality. For years one has admired Bruce Turner's playing and to hear him follow an excellent Henry Allen solo in, say, Rosetta underlined the high standard he has established. Although one can detect echoes of the past in Bruce's work - Pete Brown, Hodges and Parker being the most prominent - his alto solos have a very distinct and very appealing personality, while on clarinet he plays with a jazz sound which is fast disappearing on this instrument. The form and jazz-craft, the fire and swing of his solos place him very high on any list of current altoists – his understanding of the jazz idiom certainly surpasses that of most of the current public idols and he uses the language with an ease rare in a non-American. To such a backing Henry Allen responded by playing at his best. The dynamic range used was far wider than that of any other jazz trumpeter I have heard; he is capable of a clear, ringing brass tone which projects itself with Armstrong-like majesty and power, while at times he played so quietly that the tone almost disappeared, yet so much is this man at one with his music that this tiny strand of sound was recognisably Henry Allen. The elaborate codas bedecked with unexpected intervals, the unusual growl effects and very individual rhythmic approach were contrasting aspects of a style which was unified by the intensely personal message of Henry's music. And message there was, for through-out this evening the music 'talked', the wonderful sounds emerging from the bandstand were a warm, living reflection of life. The music was wonderfully flexible in its emotional range: it had angry moments, still moments, it reflected joy, tenderness and a whole host of other things that one can put names to but which names never quite express. It was jazz which was unmistakably honest and which was unfailingly musical. On the blues - West End Blues, How Long, Tishomingo, Patrol Wagon, St. James Infirmary, - Henry told a story in a way that is almost wholly lost among musicians of later generations. On West End the long note - 124was growled on G in contrast to Louis' good solos from Humph and Joe POSTSCRIPT: At the end of his tour clear high C, but the cascading phrases Temperley. One wonders if the band is Henry Allen returned to the Mancheswhich followed had a majesty similar running into the same sort of impasse ter Sports Guild for a fare-well to Louis' yet all his own with a tone which they faced in more traditional appearance with the Alex Welsh band. and attack reminiscent of his Luis fields prior to Bruce Turner joining the He again played beautifully, evoking the group in the early 'fifties. At that time very spirit of jazz and reminding us that Russell days. When writers speak of jazz as a minor Humph's taste, intelligence and musical he is an even greater player today than art one doubts if they have experienced courage prevented the band from he was in the Luis Russell days. Towards foundering in the morass of mechanical the end of the evening L.C. Jenkins, evenings like this. One hardly dared to hope that the final 'trad'. Let us hope that he sees any secretary of the Sports Guild, presented evening of this four day festival would dangers in his present situation with the Red with a silver tea set for Mrs. Allen, be of similar quality-and it was not. same clarity. inscribed To Pearly Mae from the Humphrey Lyttelton has done so much A final word of thanks is due to the Manchester Sports Guild in appreciation for jazz in this country (and I don't just people who made it possible for jazz to of the great pleasure which your mean for,British jazz) that one hates to come alive in such a remarkable way in husband gave to us when he played here report the fact that his band gave much an English club. To L.C. Jenkins and in April 1964. Henry was visibly moved the poorest support to Red. For all the Jack Swinnerton of the Manchester and when Alex Welsh made a further frequent grumbles there was nothing Sports Guild who organised Red's visit presentation of a pewter tankard-on wrong with the instrumentation - so we owe a great deal; out of pure love of behalf of the band Henry looked indeed often a sore point among Lyttelton the music they devoted immense effort a proud and happy man. In London the listeners although one fails to see why-or into organising the weekend, and it is following day he told Sinclair Traill that with the standard of musicianship. their taste and know how which Basically thin trouble resolves into a provided such fine surroundings for Red, this was the most moving thing that had question of style, for the modified Basie musically and otherwise. But most of all ever happened to him. The real human small group manner of the Lyttelton our thanks are due to Henry Allen communication and affection which have band, which suits a man like Buck himself, who at the age of 54 spared no been present on these evenings between Clayton so well, is quite the wrong effort in playing, singing or band Henry, the bands and the audience is backing for a player of Henry Allen's direction. Towards the end of Sunday's something unique in my jazz experience. environment and methods. The modem wonderful session he spoke of his style of the band's soloists other than the father and of the old days in New leader sounded mecha-nical when placed Orleans and then played just one against the more personal methods of chorus-all melody of Just A Closer their guest. The Lyttelton sidemen produced a well engineered, rather brash Walk With Thee in slow tempo. It had a sound and seemed to regard this as beauty which could only have been enough in itself; there was more manifest on an evening when the spirit formality in the music and less smiling of jazz was abroad - it was a piece of on the bandstand on this evening, and music which could only have been the players showed little disposition to played by a man who was delighted and adapt their music to the needs of their moved by the response of both musicians eminent guest. Indeed Eddie Harvey and audience. To see a man of Allen's persistently refused to follow Red's musical stature - and one who has known directions regarding the chords and so much neglect in recent years - so seemed quite indifferent to the whole happy and so obviously enjoying his affair. All this obviously affected Red music was very pleasing in these rather and although he played fine trumpet sad days for the jazz veteran. The there was a lack of ease about his work Manchester Sports Guild's first essay in which was in great contrast to what had jazz importation has succeeded beyond been heard twenty four hours before. anyone's wildest dreams. This is the sort Apart from the pianist and the general of jazz club we have always cried out for lack of under-standing of Red's music and which without doubt deserves our the band played quite well, with especially fullest support. -------------------------------------------------------------------------------------------------------------------------------------------------------------Red Allen - Manchester Sports Guild, Manchester, England –by Steve Voce in Down Beat 6/18/64: Allen, trumpet accompanied by the Alex 'Welsh Band, the Fairweather-Brown All-Stars, and the Bruce Turner Band. The Manchester Sports Guild -is a remarkable -club. Its three floors include a basement devoted to live mainstream jazz, a bar those good nights. where one drinks to a background of jazz records, a modern- Inspired by a very with-it audience (in addition to the staffs of jazz hall with a resident big band and obscurely titled most of the country's jazz magazines, the listeners were fans phenomena of the current -British scene - a folk lounge where who had travelled from points as much as 200 miles. away), variously bearded gentlemen, who a few years ago -would the Welsh band opened alone and played a set that reached have been jazz banjo players, mouth tuneless lyrics over the peaks not normally scaled by such groups. Welsh's trumpet was old three-chord trick. particularly good, and the rhythm section was much improved To celebrate the club's 10th anniversary, the two managers, L.C. by the presence of pianist Fred Hunt, who had rejoined the Jenkins and Jack Swinnerton, decided to import an American band that day after a year's absence. musician, and. apparently simultaneous with the original idea The opening At the Jazz Band Ball, with Allen's spotlighted Red Allen's was the first name mentioned. The choice was a and blue-jacketed entry, was a little obvious, and it was not wise one, for it is difficult to think of another musician who until he bit down into Yellow Dog Blues and Rosetta that the could have brought so much to the musicians and audiences. full significance of what was happening became obvious . At Allen's first night was in company with the Welsh band, a the rehearsal Allen had gained the band's confidence, and polished group of advanced Condonites. From the two-hour now. the band was responding to him and, like a cup-final rehearsal in the afternoon, it was obvious that no mere blowing football team, was pulling out unknown reserves. Allen, session was to follow. A thorough professional, who knows playing with that reedy, almost sax-like tone of his, led the exactly what he wants, Allen struck up an immediate ensembles, prompted the soloists, and played like an angel understanding with Welsh's men, who were quicker on the Roy Crimmins.a trombonist based in -Bill Harris and Urbie uptake than anyone had anticipated. Allen's eccentric codas and Green, reacted most forcefully to the Allen stimulant and took changes of key soon were mastered, and by the end of the off into a series of solos that softened some of the awe with rehearsal, everyone felt confident that this would be one of which the audience was regarding the trumpet player. Another liaison was set up between Allen and drummer Lennie Hastings, who, with the others, showed that English rhythm sections are not nearly as bad as –some Englishmen like to think. The second night brought Allen into the challenging company of the Fairweather-Brown All-Stars, an unorthodox group fronted by clarinetist Sandy,Brown and featuring trumpeter Al Fairweather .and tenorist Danny Moss. Brown plays in an angular and original way, somewhat like Pee Wee Russell in a Viking hat. On this night it was everybody paddle his own longboat, for Brown's men made no -concessions to the additional horn.Again, because of Allen's subtlety, a buoyant band sound and beautifully instinctive backings to soloists would have given the casual listener the impression that the personnel had been together for 20 years. The Ben Webster-like tenor of Moss was particularly potent in solo, but, after Allen, the honors went to Brown, an original and brilliant creator. As on the two previous evenings, such Allen standards as Biffly Blues, Patrol Wagon Blues, and House in Harlem for Sale were given extended workouts when Allen played the third night with the Turner band. Here the pianoless rhythm section, pinned by the sensitive drumming of Johnny Armitage. provided a beautiful montage for free-blown jazz. Turner, an altoist of world class, matched Allen's solos with his own, and the two inspired each other to jazz consummations that overshadowed everything-else that had happened. Trombonist Pete Strange, very much in Allen's idiom, also played above himself. This was the finest session of the .three. Throughout his stay, Allen played with remarkable consistency and tastefulness. His eccentric style, which was ahead of its time 30 years ago, is still gilded with modernity, and it is obvious that he belongs, not in the shade of Louis Armstrong, but out front with Roy Eldridge and Buck Clayton. Some of his extraordinary effects were on display - the heavyvibrato growl, the muted effects without a mute, and the intricate precision of his rapid-fire fingering. Without pandering to his audiences, Allen involved them in his vocals and created the highly volatile atmospheres that built up at each session. It can be said that he has done more constructive work for British jazz in his short stay than several 16-man groups have done during more intensive tours. The Sports Guild is working on the idea of bringing more musicians over. As far as this reviewer is concerned, they can keep bringing Red Allen. He's one of the timeless ones. THE VERDICT: GREAT by E. LAMBERT – MSG-Journal, Focus June-64 No.4.p7 (cont.series from p 114) True appreciation of Henry 'Red' Allen's April visit to the M.S.G. centre was felt by all who came to see this inspiring personality. Here are appreciations from two men who really know what they're talking about - the first from Eddie Lambert, 'Jazz Journal' and 'Jazz Monthly,' correspondent, the second from Steve Voce, 'Jazz Journal' and 'Down Beat.' In the entire history of jazz in this country it is difficult to find a parallel to the achievement of the Sports Guild in bringing a jazz musician of Henry Allen's calibre to England for a series of club sessions. We are so used to hearing the great trumpeters trying to kid us that they are spot is the piano, which should be musicians of jazz on record or in the operating on French horn. But to attempt replaced at once. concert hall that it is easy to overlook the to write a critique of Henry's performan- One could not have elected four better fact that neither the studio nor the ces would be to step beyond the scope of bands than those of Alex Welsh, Sandy concert stage is the natural habitat of the this article. Let us just repeat again that Brown, Bruce Turner and Humphrey music. While we can hear many fine this was jazz trumpet playing of superb Lyttleton to play with Red and in the British groups in club conditions, for us quality, equal at least to the very greatest event only Lyttleton's group was a the music of the great figures of jazz of Henry's recordings. disappointment. The band's modernised FINE SURROUNDINGS seems far removed from such surrounBasie style was unsuitable for a man of dings. Yet, in fact, the reverse is true, as The Guild deserves praise also for the greatly differing manner and methods, but can be seen from the best commentators surroundings in which they presented even so it was regrettable that some of on the American jazz scene, such as Henry Allen. It is doubtful if there is a Humph's musicians could not be Stanley Dance and Dan Morgenstern finer jazz room in the country than the bothered to even attempt to adapt their who report frequently on jazz sessions of M.S.G. cellar - certainly our London music to Allen's requirements. the highest quality heard in clubs. The visitors were very envious. The room By contrast the Brown and Welsh bands achievement of the Guild is that they can get uncomfortable when crowded fitted Henry's style naturally, but best of brought one of the great musicians of and perhaps the stage could be extended all was the Turner band. So impressed and jazz to Manchester to take part in with advantage but the only real weak- inspired was Red by their playing that sessions of a quality which would have brought forth the plaudits of Dance and Morgenstern had they occurred in New York City. FINEST SESSION The finest of the Henry Allen sessions I have attended at the time of writing was that with Bruce Turner's band, an evening of memorable jazz by any standard. To an even greater extent than on the other evenings Henry Allen demonstrated his continuing greatness as a jazz musician. These are sad days for the jazz veteran, with so many prominent writers seeing to consider that one new trumpeter is worth ten old ones and who regard the ability to play runs of harmonic complexity more praise-worthy than the ability to make music of character and distinction. 'But make no mistake about Red Allen's stature - his music has a mastery, a personality and a richness of expression which is only equalled by a handful of jazz trumpeters. On the night with Bruce, he played with an amazing variety of tone ranging from a mere whisper to a ringing, proud brass sound most refreshing in these days of Pete Strange (tb) Roy Crane (t) Red Allen (t) Bruce Turner (as) (court. Jenks Jenkins) - 126he called for their arrangement of "Cherry Red" three times during the evening and played music of a quality scarcely ever beard at a jazz event in this country. To single out individual musicians from these three bands is, perhaps, invidious, but some mention must be made of the superb playing of Roy Crimmins, Al Gay, Fred Hunt, Danny Moss and the entire Turner band, especially drummer Johnny Armitage who was constantly alert to the needs of the music. So far as Bruce and Sandy are concerned their very high standing in jazz was more than confirmed by hearing them play alongside Henry Allen. Over the four days of the Guild's tenth birthday celebrations one heard a feast of fine jazz. Our thanks are due especially to the two men whose hard work, enthusiasm and excellent taste made the weekend possible - Guild secretary Jenks and jazz organiser Jack Swinnerton. But most of all our thanks must go to Henry "Red" Allen who, by his playing singing and almost impromptu band leading has made a host of friends and admirers in the Manchester area and beyond. Whatever the Sports Guild we planning next, and there are more first-magnitude jazz events in prospect, Henry Allen must Pete Strange (tb) Roy Crane (t) Red Allen (t) Bruce Turner (as) (court. Jenks Jenkins) surely be invited over again - and soon. Red Allen with the Alex Welsh Band RIDE, RED, RIDE - AND HE DID ! (MSG-Journal-Focus June-64) BY STEVE VOCE MSG-Journal, Focus June-64 No.4.p8 (cont.series) It was my tenuous reputation as All-England Champion Barbed Wire Hurdler (a title which I held until my tragic accident in 1961) which got me my membership of the Manchester Sorts Guild. To hear another set of sessions like the one in April I would gladly strike out for the broken-glass-swallowed title. Somehow the sense that jazz history was heavily strewn with the jazz bodies who THE WORKER about to be made hung about the Guild so nobly support the brewers at any great If you could have seen that rehearsal for weeks before Red Allen arrived. There occasion: Sinclair Traill, editor of Jazz with the Welsh band, you would know was never any doubt in anyone's mind Journal; Jack Hutton, editor of the Melody that Red worked hard for his money. The (least of all in the minds of Jenks and Maker; Eddie Lambert of Jazz Journal; technical standards of the musicians in the Jack Swinnerton) that this experiment George Ellis of Jazz Beat; Jerry Dawson four accompanying bands left no room was going to be a resounding success. of the Melody Maker and Doug Dobell for criticism, and Red found that they But nobody thought that it would turn and Johnny Kendall of Dobell's Record were able to grasp the many innovations out to be the jazz idyll that it did. Unfortunately, I couldn't make the press Shop. Gerald Lascelles (Jazz Journal) which he wanted to use. These bands reception on the Thursday, but when I and Peter Clayton (B.B.C.'s Jazz Scene) must be given much credit for the did arrive in the middle of Friday after- had been on the Thursday, but had left masterful way in which they learned noon's rehearsal, the ground was already when they heard of my impending arrival. so much from him so - 127quickly - particularly in the case of the Welsh and Turner bands, where the various musicians fitted in as though they had been led by Red for twenty years. Once Red took the stage it became obvious that he is a thorough professional as well as one of the most telling weapons in the jazz armoury. It is possible that there are better jazz trumpeters than Red, but I can think of none, traditional or modern, who can play such an unwavering stream of tasteful and apparently limitless jazz. For there is no question that Mr. Allen is one hundred per cent a jazz musician. AUDIENCE REACTION It was remarkable also to watch the way in which Red handled his audience. Hardened jazz fans usually sit stonyfaced and glassy-eyed with awe in the face of one of their idols, but on these nights Red had everyone involved and singing to his requirements with no trouble at all. I don't believe I have seen any artiste give such a concentrated and yet relaxed performance - and I don't think any one member of the audience would have thought for one second of asking for a penny of their money back. Red mixed with his audience, too. He is one of the most likeable and appreciative Americans - his only worry during his stay was that no one would let him buy drinks for anyone. His delightful asides (for instance, his repeated yells to Jack Swinnerton in mid-number - "How's my man Jack") and his immediate compliance with any requests for numbers or auto-graphs endeared him in a way which will never be forgotten. ("He just sat there and talked to me!" said someone in ecstatic delight after Red had signed his shirt during the interval. What were the highlights ? It was ALL highlights, but my own personal thermometer blew over on hearing the Alex Welsh band entirely integrated behind Allen's lead - Roy Crimmins always amazes on these occasions, and other outstanding individual performances came from Alex, Lennie Hastings and Ronnie Mathieson. But the Welsh band succeeded as a group, and were probably the ideal European group for the job. A CHALLENGE Saturday brought Red the challenge of Sandy Brown's very creative and unorthodox settings. In this group, Red's pithy and sometimes almost saxlike tone stood out very clearly. Danny Moss, for me our finest tenorist, reverted subconsciously to early Ben Webster sounds and blew with great heart and taste-shades of the late 'thirties and memories of Chuck Berry's records with Red in all this. But the individual who reacted most of all to the Allen stimulus was predic-tably Bruce Turner. After due thought, I am convinced that this was Bruce's finest hour and the way in which Red enthused over him had no basis in flattery. Suddenly the scene was 52nd Street in 1940, and one found that Red, whose musical associates over the years have Jack Swinnerton-Red Allen-“Jenks“ Jenkins, at the MSG Red Allen with a tankward from the Welsh band and a silver tea set for Pearlie Mae from the MSG usually been Coleman Hawkins, Jay C. Higginbotham and Buster Bailey, was suddenly home. Pete Strange, already a convincing threat to Roy Crimmins as a trombonist, followed through as indeed did Ray Crane and the superb rhythm section led by Johnny Armitage and Jim Bray. Jenks and Jack Swinnerton are already discussing who to bring over next. As far as I'm concerned they can keep on bringing Red Allen. At the moment I don't really think I want to hear anyone else - unless they have Red Allen with them ! This has been a brave experiment which has been an enor-mous success in jazz terms. But the real honours must go to Jenks, one of the most talented organisers I have encountered; to Jack Swinnerton, who is one of the people who really likes jazz; to Betty, who debts for Jenks and who did such a good job in washing Red's shirts, and to the staff who pulled God knows how many different kinds of muscles in keeping us all supplied by the finest bar service in many miles. I think it is true to say that everyone involved in the operation was in it for the sake of jazz and not for financial gain. When you think about that, you will realise that this is something remarkable. It is only right that such efforts should be tnet with a success which will stay, in my memory at least, for ever. ===========================0 - 128- Recollection of a Great Occasion - By George Ellis Jazz Writer in MSG-Journal-Focus June-64 (series cont.); ( There were several occasions used by jazz researchers to speak with Red Allen about his wellknown and unknown record sessions; see also the record party on page-119; another article by Alun Morgan in J.Monthly 11/66 is reprinted in the Red Allen-Disco pVIII;) I wondered if "Red" would remember me, for since the Kid Ory tour we had only exchanged short notes and the inevitable Christmas cards. I need not have worried, he remembered me, no, I'm not being big-headed, here's a man who remembers the exact personnels of records he made in 1929. In fact, at one time during that fantastic week-end, he spent some time with me sorting out his own and Irving Randolph's solos on the 1934 Fletcher Henderson sessions. He not only played his own solos, tightly muted - it was 12:45 a.m. and "we don't want to disturb anyone" he played Randolph's too. I mumbled something completely inadequate about him being fantastic. He's a modest man, but he wasn't embarrassed for long. "Man, wat a fertile brain, I'm telling ya" was all he said. Musically, the performances with the Alex Welsh and Sandy Brown bands were just about perfect, and another thing that was just about perfect, and I don't know whether you regular visitors to the Guild realise this, was the layout of the cellar, and the tremendous atmosphere and enthusiasm which prevailed throughout. "Another thing - a bar on the premises must help. I have been to many clubs where coke and coffee are the only beverages served, and one has to go out for anything stronger. Sometimes this means leaving a good session still swinging, and, in the winter, it can be plain murder. "Yes, those sessions in April will live with me for a long time, and my thanks, on your behalf as well as mine, to all who made them possible. "May I add that having seen Manchester in the daylight, my opinions of your city have changed very much for the better. And I don't think I have ever been anywhere in the world where so much is going on. Dance clubs, beat clubs, and everyone really looking as if they have somewhere to go. I was in the street at around 7:30 p.m. on my first evening, and suddenly all these teenagers appeared almost from nowhere, to find their delights in cinema, theatre club, or what have you. It was all rather like the old Pied Piper stuff in modern dress. "In addition to the music, there were many other memories. Henry's adaptability to Northern beer, for one: 'We'll be back in ten minutes - just enough time for a Number 3.' Also, having breakfast at the hotel with Enie Sharples sitting at the next table, and getting roped in for a party given by Barry Ansell at Barry's Record Rendezvous. His charming assistant told me, when I noted the amount of pop material around, that 80 per cent of their sales consist of jazz records. I don't know how good business is at the moment, but the hospitality is beyond question. And that goes for all your organisers at the Sports Guild, too. I hope I shall be able to return before very long." Red Allen & Alan Elsdon (t) at MSG-64 (court.J.Jenkins) ------------------------------------------------------------------------------------------------------------------------------------------------------------ HENRY 'RED' ALLEN a report from George Ellis in Jazzbeat June-64p12 INVITATIONS to press receptions seldom come my way, and even if they did, it would be difficult for me to accept most of them. The position of the part time jazz writer who is also a family man is a precarious one to say the least, particularly when long travel-ling schedules are also involved. However, I was asked to attend the reception for Henry "Red" Allen at the Manchester Sport Guild's tenth anniversary celebrations, and accepted gladly. A wise decision too, because the experience proved to be, to coin a new phrase, something else. One of the finest jazz weekends I have ever attended possibly because of my lack of exposure to this kind of situation. I am not so accustomed to visiting American jazzmen that there are no kicks anymore, and yet - I'm sure even the most hardened old jazz critic would have found much to delight him at Manchester. The word fantastic has become very overworked in jazz writing, but to use it to describe "Red" Allen seems an inadequate way co convey the impact of the man and his music. His opening dates, with Alex Welsh on the first night, Sandy Brown on the second, were so diverse in character and programme that - but let's start at the beginning, By now the circumstances leading up to the tour and the connection with the Manchester Sports Guild .should be well known. The Guild, always an enthusiastic supporter of jazz clubs and activities, has sponsored Allen's visit on a non-commercial basis to mark their first ten years of life. If it proves successful, and I cannot see at this stage how it can be otherwise, further visits by American jazz stars may be forthcoming. The names of Pee Wee Russell and Muggsy Spanier have already been mentioned in connection with guest appearances later in the year, a major project .which I hope will eventually become a realityL.C. Jenkins, or "Jenks", the General Secretary, and Jack Swinnerton, the jazz Organiser for the Guild, spent most of the weekend going round on a cloud looking very happy, as did most of us. The press reception was an enormous, success, and in addition to our own Peter Clayton, I spotted Sinclair Traill, Gerald Lascelles, Eddy Lambert, all of "Jazz Journal", Frank Dixon of BBC Manchester, Jack Hutton, MM Editor, together with Northern corespondent Jerry Dawson. Jack Swinnerton lost no time in mentioning that my dear friend Steve Voce would be along for the first concerts, and it was obvious that a good punch up was expected by one and all. It didn't happen, but that's another story. Allowing us all time to sample the wines and spirits, Henry arrived in excellent shape in the middle of a very entertaining set by a local piano, bass and drums trio. Next to a take the stand were another local group, this time an eleven piece Basie styled outfit. Although they used all Count's material, the soloists all had something new to say, and I was particularly impressed by the alto, tenor and trombone. "Red" sat listening intently to two numbers, and then quite suddenly took his trumpet from the leather case, assembled it, and joined the band during the middle of "Peace Pipe", a number he has probably never attempted before. After several staggering solo choruses, he roared into the final ensemble, playing along with the trumpet section. Sinclair Traill was the first to offer, congratulations. Henry's reply was a classic. "Oh, man, we play 'em all, we play 'em all". Later the Art Taylor All Stars played several numbers and again Henry was there joining in. The style, closely modelled on the Louis Armstrong group, was interpreted with enthusiasm, and I really enjoyed the showing of the local trumpet man, who played with spirit and good taste in what must have - 129. been very nerve racking circumstances. The two evenings that followed were preceded in each case by short after-noon rehearsals with each group, and Henry varied his programme according-ly. So the only numbers common to both nightswere Yellow Dog /Rosetta/ Just A Closer Walk/St.James Infirmary/ Patrol Wagon Blues/Canal Street Blues/ St. Louis Blues / The Saints. Even the last named, which has been run into the ground in no uncertain manner, took on a new magic with "Red" directing the marching. The Alex Welsh band, obviously happy about the return of pianist Fred Hunt, now has a new look rhythm section, Jim Douglas(g) Ronnie Mathewson(b) Lennie Hastings (d). They were on top form for their num-bers with "Red", "Jazz Band Ball", "Indiana", "Sweet Georgia Brown", "Basin Street Blues", "Spider Crawl", "How Long Blues", "Bugle Call Rag", "Who Stole The Lock" and "I Ain't Got Nobody". A pity perhaps that Archie Semple was not around, he and "Red" on "Spider" would have been a knock-out. But I must not detract from the great showing of the Welsh band. If I were asked to single out one player from the first session, I think Roy Crimmins would be that man, with a special word for that great rhythm section. Watch Ronnie Mathewson too, he looks even younger than Tony Coe, but he knows what it's all about! The Sandy Brown session contained much vintage Allen material, "Jazz Me Blues", "High Society", "Cherry","Biffly Blues", "House In Harlem", "Sweet Substitute", "Rag Mop" and "Muskrat Ramble". "Harlem", "Substitute" and "Rag Mop" played in quick succession, took in about twelve year span of Allen recordings in as many minutes, with Henry's vocal on "Substitute" a moving tribute to Jelly Roll Morton, Honours inside the Sandy Brown Band were fairly evenly divided, Al Fairweather and Danny Moss both played well. Sandy, never less than excellent, played some magnificent solos, and "Red" was very impressed with pianist Keith Ingham, who joined the band some three weeks ago. I agree, Keith is undoubtedly on his way. NEXT MONTH. "Red" Allen's later appearances, more experiences in Manchester, and an exclusive discussion with "Red" which reveals valuable information abouthis early recordings --------------------------------------------------------------------------------------------------------------------------------------------------------------------- THE HENRY “RED” ALLEN TOUR PART-2 "RED" Allen sat astride a bar stool in the Manchester Sports Guild. It was 12.30 a.m. and the first great session with the Alex Welsh Band was over. The customers had left the club premises over an hour before, most of them reluctantly. But as Henry had pointed out after rounding the whole evening off with a roof-raising "St.Louis Blues" "We have three more nights to go, and we don't want to blow the licence!" So there we were, discussing the old sessions, and Henry was really in there. The truth is, you don't have to talk records to "Red" he will talk records to by George Ellis, Jazzbeat July-64 p22 you, and there is not a chance of guess- "Now Leonard Davis was a fine player, work. If he was on a record date, he but he didn't sound anything like me. I remembers, studio, company, personnels, made that date, and I can tell you all the the lot! Mention of the Lionel Hampton boys on it". And he did. "Jack Teagarsession of October 1939 had Henry remi- den played a few, notes on vibes too !" niscing right away. "There was Higgy, The famous Rhythmakers sides came in Earl Bostic, Charlie Christian, Big Sid, for some comment. "The loot was short Clyde Hart and old Artie Bernstein. on that session. They told Billy Banks Hamp and Big Sid took the vocal on they paid us. They told us they paid 'Heebie Jeebies'." We got round to the Billy Banks. I don't recall that we ever Waller Buddies of 1929. Even now, did get our cheques !" Of course, money doubt exists in print concerning Allen's was hard to come by in those days. presence on some of these. "Lookin' Henry remembered a recording of "The Good But Feelin' Bad"/"I Need Someone Gold Diggers Song" with Benny Morton in 1934. This number was full of the Like You"' for example. Henry again. - 130Henry is very conscious of past the end of the set for "Clarinet Archie". achievements, and spoke with obvious Roy Crimmins again excelled. The Sunday date at the Marquee pride of his father, Henry Allen Senior, and the band he led. He talked fondly of with the Humphrey Lyttelton Band his mother, now well over eighty years was another exciting occasion, culmiof age, and his son, who is a member of nating in an extended "Saints" with the New York police force. "I've two Lennie Felix and Red Price added to an grandchildren, you know" he said, and already crowded stage. The much publicised concert at the then, changing the subject suddenly, "Say, did I ever tell you about Marty Central Hall, Westminster, was in the Napoleon's pants?". I shook my head. main musically satisfying, although the "Well, you see, one night at the hall was totally unsuitable for this kind Metropole, I lost one of my cufflinks. of shindig. Allen was accompanied by Couldn't find it anywhere, I was upset, Sandy Brown, Mac Duncan, Johnny and the boys were sympathetic. But Parker, Diz Disley, Jim Bray and Terry Marty just laughed, and said I should Cox. Although individual honours, after send the one I had left to Wingy Manone. "Red", went to Brown and Parker, the some days later Marty's pants split right little group played well, with the excepdown the seam just about five minutes tion of trombonist Duncan, who must before we were to take the stand. stand. have been joking. I understand he was He was in a panic. 'What shall I do, Red' second choice only second? I heard he asked. I told him to send 'em to Peg many criticisms, my own view is that he played like a Pee Wee Hunt all night! Leg Bates !" During the first weekend in Manches- Again "Red" treated us to some new ter, many people spoke. to "Red", and I material during this value for money two never saw him less than politely atten- hour concert - "Honeysuckle Rose" tive throughout it all. He has perhaps the (remarkable!), "Jelly Roll Blues", "Ride most bendable ear in- jazz, and it Red Ride" and "Wild Man Blues". On the night prior to his departure for certainly took a pounding on this tour. the USA, "Red" telerecorded two ABOUT THE LONDON SESSIONS When he arrived in London for his first shows for BBC-2 at Shepherds Bush. date (at the Crown, Morden) "Red" Once again backed by the Welsh boys, told me how much he had enjoyed he offered one new performance in "Bill playing with "so many fine musicians" at Bailey Won't You Please Come Home" Manchester. I think he was surprised and But his diverse treatments of even the delighted by the Bruce Turner Jump most played tunes was at all times a Band, and I regret I could not stay for delight. Doug Dobell summed it up very what observers tell me was a great night. neatly after Red's second night at The Morden session was memorable, Manchester when confronted by an with both "Red" and the Alex Welsh analytical type who insisted that Allen Band consolidating their Northern suc- had played better than on the previous cess. Archie Semple guested for five night. "You must realise" said Doug numbers, including "Sweet Lorraine", not "Red is always better!" Looking back, it was a tremendous featured in earlier appearances as far as I know. Allen, impressed by Semple, three weeks. Come back soon, "Red" requested an extra round of applause at and "make us happy". ------------------------------------------------------------------------------------------------------------------------------------------------------------------ "Blue Skies Are Round The Corner" kind of philosophy so typical of the years immediately following the depression. "We're in the money, we've got a lot of what it takes to get along" was a part of the lyric. On the session "Red" sang his own version - "I got myself some money, the skies are so sunny". "Two days after the record was issued, the land-lord came round to say how glad he was, to hear the good news" "Red" chuckled at the recollection. I asked about the Armstrong/ Russell Okeh sessions of 1929. "Red" agreed that it was possible he played some of the solo trumpet on "Bessie Couldn't Help It". Tapes of these doubtful items will soon be en route to him in New York, and I'm sure his findings will be most helpful. On the subject of the 1934 Henderson sessions he was most enlightening. Both Peter Clayton and myself found it difficult to recognise with certainty Allen and Irving Randolph when the records were re-issued here recently, but "Red" had no such trouble. "Will we disturb anyone". He glanced around and slid the mute into place. The only time I saw him use one during the tour, incidentally. " 'Rug Cutters Swing' was me it was my number anyway" he said. " 'Limehouse Blues' was me too, but now, you take 'Big john's Special'. Remember this solo?" He played note for note f'rom the record. "That was Randolph, but later after the ensemble" - he broke, off again to illustrate musically - "that was me". What do you say to a man with a memory sharp enough to remember not only his own solos, but the next man's too? I mumbled something incoherent about the incredibility of the situation. "Red" leaned across to confide. "Man, what a fertile brain, I'm tellin' you!" HENRY RED' ALLEN and the HUMPHREY LYTTELTON BAND 1964; A comment on the Henry 'Red' Allen session from Humphrey Lyttelton in Jazz Journal, July 1964,p.27 I have thought twice before commenting on Allen is some worthy but unfortunate Henry were emphatically turned down. G.E.Lambert's review (p124)of my band old character from the past who has 'Just you play your way, and I'll be with with Red Allen. Red's visit gene-rated 'known so much neglect in recent years'. you'. It was all the more surprising, such high-voltage emotion that to barge in Throughout the 'fifties Red fronted the therefore, when shortly after the start of with mundane observations is rather like house-band at the Metropole - second his first set, Red took violent exception crashing into a cathedral on roller-skates. only to Birdland as a New York jazz to the expression on the back of Eddie Furthermore, the name 'G.E.Lambert' Mecca. Since then he has fulfilled Harvey's head - an area which I have like H.G.Wells, G.K.Chesterton or H.M. regular engagements at The Embers, the hitherto regarded as just about as Customs - exudes an authority which one much-sought-after venue from which scrutable as a coconut. It became hesitates to challenge. I am grateful to Jonah Jones was launched to his pop obvious that something was wrong when Steve Voce for telling me that 'G.E.Lam- success. Only the grossest kind of Red began interrupting all the piano bert' really answers to the name of Eddie sentimentalising can equate The Embers solos by calling in another soloist and and that he is 'a magnificent fall-about with the rice-fields of New Iberia or Red shouting for chords which Eddie was specialist who goes off like a cuckoo- Allen with a sort of latter-day Bunk actually playing at the time. It's ironical clock after a fixed number of pints'. Johnson. Looking round at the fate of that this fate should have befallen Eddie Reassured that he is really just like you some of his contemporaries, Red may Harvey, who was drum-med out of and me (well, you anyway), I charge well count himself a persistent success, George Webb's Dixielanders seventeen fall-about Eddie with gross unfairness to and expressions of saccharine sympathy years ago for copying J.C. Higginbotham Henry Allen. To suggest that a man who about his 'neglect' are hardly flattering, if and who knew the chords of Patrol Wagon Blues when G. E. Lambert was was born just one year before fellow- well-meant. New-Orleanian Lester Young is unable Having said this, let me agree with falling about on ginger pop at to settle into 'modified Basie small group' G.E.Lambert that our session with Henry Chadderton Grammar school. It was an surroundings, what-ever they may be, is Allen was not a happy one. Indeed, it odd accident that brought things to a surely a gross libel on his musicianship. was probably my least-enjoy-able head. All bands have standing jokes, and We heard him five years ago in New experience in fifteen years of band one of ours is that record by Willie 'The York sit-ting in with .'Sir Charles' leading. The reason for this may well Lion' Smith in which he purports to give Thompson's Trio - and we didn't notice make Fallabout Eddie go off like Big a history of piano styles - '1926 - we're that 'Sir Charles' insulted his guest by Ben, but it must be stated. The afternoon movin' up!' Red referred in an announrehearsal went off smoothly, and our cement to a recording session '1929', and switching on a special style for him. offers to adapt our instrumentation to suit Joe Temperley, partly by reflex action Worse still is the suggestion that Henry - 131and partly to relieve the tension on the stand, murmured 'We're movin' up!' Overhearing this, Red misinterpreted it as a dig at himself and, momentarily losing his temper, started to harangue the band over the microphone, starting 'I can move up on you guys any time!' For the rest of the set, the startled musicians were disturbed by a persistent rumbling of angry asides. It is a tribute to their respect for Red that they kept plugging on regardless instead of calling it a day and hot-footing it to the bar. From this point on it was an occasion, not for beaming smiles or expressions of ecstasy, but for concentrating grimly on making the best of the session. Fallabout Eddie heard 'more formality' in the music than on previous nights, and seems to amibute this to rigidness on the part of the band. But with the inclusion for nine-tenths of the session of clarinettist Ernie Tomasso - a genial and meritorious character who, within minutes of his demise, will undoubtedly be sitting-in with the Almighty-there was little chance for the band to assert itself at all. Fortunately, Red recovered before the end of the night and most of the audience, barring one man who informed me at every opportunity that 'he comes from New Orleans' and offered to teach me Muskrat Ramble, seemed to be quite happy about it all. At the end of the session, a man who might well have been G.E.Lambert himself, except that he was vertical and seemed quite steady on his feet, asked me why 'it hadn't happened tonight'. Well, now he knows. Up against the bar afterwards, we asked Red what seemed to be the trouble. He said 'I thought your piano-player was putting me down'. Luckily, a long hard look at the front of Eddie Harvey's head convinced him that he had been wrong, and the whole affair ended, as these little upsets so often do, with the principle characters draped round each other in an attitude of eternal friendship. The following Sunday at The Marquee, it was as if the misunderstanding had never taken place, and a roaring time was had by all-although one critic couldn't refrain from cashing in on the gossip which had filtered south by claiming that two or three of my musicians 'didn't look congenial'. At the end of the evening, 'Red' and Eddie Harvey exchanged addresses and I have no doubt that Ed's name will be added to Henry's meticulous Christmas card list. And when it's all over and done with, in comes Fall-about Eddie, guessing, speculating, putting two and two together to make five-in fact, falling about. The moral of this story is that critics who succumb to emotion, who make deductions from musicians' expressions and who skimp the painstaking fact-finding which good journalism demands, invariably end up on their backsides, with or without the aid of a fixed number of pints. HENRY 'RED' ALLEN and the Humphrey Lyttelton Band - by Peter Vacher in Jazz Monthly, July 1964 RED ALLEN was last in England in 1959 as a member of Kid Ory's Creole Jazz Band. His playing then was a surprise to many, even though he subordinated his powerful personality in his position as sideman to Ory. The current opportunity to hear Allen working with the best British bands as featured soloist was one to be valued. His presence in England was due to the enterprise of the Manchester Sports Guild, an organization sponsoring many sporting and other activities, who brought him over to mark their tenth anniversary. On the Sunday night of April 26th, Red was working with the Humphrey Lyttelton Band, quite the best of the British groups following the mainstream persuasion. The band's own opening set included Shiny Stockings and Swin-gin' the blues and really their sound is not unlike the groups of ex-Basie men led, all too infrequently, by Buck Clayton. The leader's trumpet combines the influences of Buck and Louis Armstrong to most exciting effect - always a jazz-man in his every turn of phrase, Humph builds fine solos, complemented by firm, riffed backings from his frontliners. The drumming of Eddie Taylor, exact and incisive, underpins the band in exciting style. This band can offer a range of excellent, often underrated, soloists with voices of their own, working from neat, direct, arranged settings. With the entrance of Allen, the band reverted to something nearer the true New Orleans sound, with Coe switching to clarinet and Harvey playing more trombone than piano. Henry Allen is a natural, a jazz original. His compelling stage presence, stature and effortless command of his horn immediately held the attention of an audience including many musicians and jazz commentators. His previous visit and recordings had not fully prepared us for his quixotic, fast-moving and alltogether fresh methods of solo construction. The range of numbers; Struttin' with some barbecue, St. Louis blues, Rosetta, Patrol wagon blues, Indiana, Sweet substitute, St. James Infirmary, Sweet Lorraine, Just a closer walk and The Saints, do not necessarily suggest the likelihood of original treatment but each was given as thorough a baring open as it will ever receive. The Lyttelton band was put through its paces by this veteran; there being no arrangements or preconceived structure to the tunes, the band had to allow for key changes, codas and extended variations, each depending on the inspiration of the moment. They came out with great credit with only an occasional chaotic moment. Allen is, of course, a consummate showman. His Marquee audience responded enthusiastically to all the element of showmanship; the cries of 'Make him happy!' as a solo finished, the hand raised to further dramatise a final note, the ebullient stage movements and gesticulated emphasis throughout a solo. Much has been written about Red Allen's trumpet style and much can still be said. The typical structure to a solo fascinated, with usually a whispered opening involving a repeated phrase; as though settling into position and then a real exploration. The extraordinary intervals and unexpected turns of attack compelled one's attention since each was done with facile confidence and case. No mistimed or misplaced note. At times, lagging behind the beat, at others, percussively on the beat, growling. muttering through the horn, scarcely making a sound above the shaft of air whistling through, bending a note, blasting a riff two or three times over, a stark high note followed by a low moan, Red Allen was a revelation to his listeners. His subdued openings had the bell-like stillness of tone of Shorty Baker; while when playing to blues, the direct quality of early Louis Armstrong was often to be heard. A fascinating complex man, this Red Allen, capable of the most sensitive music and the brashest of overtures; a style mixing the traditional with frequent suggestions or the modern. His codas to a tune, torn off with tremendous technique, using multiple sequences of notes, invariably brought the audience to their feet to salute this giant. He sang on nearly all the numbers. Sometimes subtle, at times strident, his vocal work was more straight-forward but no less swinging than his trumpeting.. Towards the end of the evening, a jam session started with additional musicians. The Saints was chosen - and transformed by tempo changes, key changes and a whole variety of treatments. As a preliminary, in time-honou-red style, Red played Just a closer walk very slowly, very quietly and then led the band into jammed choruses of The Saints, exchanging solos with Humph, and completely overthrowing one's concept of this traditionalist anthem as an item gutted of all meaning. A great evening. As Red said, after generous tributes to band and audience: 'We'll leave you now with one word-nice!' And so it was. --------------------------------------------------------------------------------------------------------------------------------------- HENRY "RED" ALLEN in J.J.9-64:(letter): "I heard Humphrey Lyttelton in London five years ago using Luis Russell's arrangement and my solo as recorded. I suggest Humphrey stop gorillaing jobs and let his superiors Bob Wallis and Ken Colyer have a chance. Old Humph should spend some time with great musicians as Sandy Brown and Bruce Turner or at least spend a week with Alex Welsh's full band (contact manager Phil Robertson). If Humph should reorganise, get ideas from my man Diz (Guitar) Disley, John (Dobell) Kendall, Jack (MSG) Swinnerton or Alan (Coloroll) Gatward. We movin' up my man Humph. I may move to England. ("Cheers for G.E.Lambert") - 132My Involvement - Jack Swinnerton in Jazz Times July-1982 Ron Mathieson, Fred Hunt, Henry Red Allen holding the presentation tankard, Alex Welsh, Jim Douglas./ Jack Swinnerton+”Jenks”Jenkins Whichever way I juggled the names, the choice came up between two, Jack Teagarden and Henry 'Red' Allen - as a bonus, both excellent singers too! This was in about Oct. 1963, and the decision had to be made quickly for the April 1964 event. Both Teagarden and Allen had played in Manchester before, the former jointly leading a group with Earl Hines and Allen as a member of Kid Ory's band. Apart from countless times on record, of course, these were the only occasions I had heard them. Whilst Allen was the lesser known, he seemed to be going through a more creative phase, and was the more exciting personality - would certainly win over an audience with his exuberance and showmanship alone, and so the decision was made. In the event, Jack had only a couple of months to live and he died the following January, knowing nothing of these deliberations. Next would come the problem of maknig some financial sense out of what could scarely fail to lose some money - not really that important because the event was the thing - but naturally, one tries to lose as little as possible. The jazz cellar, with its relatively small capacity, could scarcely hope to cover the total costs without an absolutely astronomical admission price. We had to set about doing a national promotion, and attempt to persuade other clubs into taking this fairly expensive package, sold as 'Henry 'Red' Allen' with the Alex Welsh Band'. Bill Kinnell, promoter and iazz enthusiast needed no persuading and eagerly booked one night, and one Gerald Bright at Trentham Gardens, Stoke-on-Trent took another - he surprisingly turned out to be ex-dance band leader Geraldo operating under his real name in a new job. In the London area, the Crown Morden was interested and businessman Alan Gatward booked a special at the Central Hall, Westminster insisting on a totally different accompanying personnel of his own choice. The Marquee also booked Allen, but this time along with Humph and not Alex. We managed to negotiate Radio and TV interviews in the regions, and I recall going to Southampton with Red for a five minute TV appearance. I would now be necessary to begin some intensive prepublicity amongst our members and the public in general. It must he appreciated that only a small proportion of people would have even heard of Allen before 1964 - we were far from being the large crowd of knowledgeable enthusiasts that that the passing of time and nostalgia tends to suggest. The general members had to realize just what a musical treat lay in store, only the dedicated knew and they would not fill the cellar. Firstly, I played my collection of Red Allen records dating from all periods of his career, on our internal system regularly and interest was quickly stimulated. Next came our own magazine. This had been an office duplicated series of news sheets about our various activities, stapled together and given out at the door. We decided to go into print in the run-up to Red Allen, and in our first issue - I had come up with the name 'Focus' – appeared in Feb.1964. UP until the appearance of Allen, all jazz articles were my contribution, barring welcome guest articles from such as Ken Colyer and Bruce Turner, (two of the more reticent people around writing for us must say something about their confidence in our aims) which is not a boast, because I was the only one around at first prepared to attempt it. Immeasurably more experienced and talented writers - such as Eddie Lambert or Steve Voce were not yet around to contribute. In the February issue, I tried to draw attention to Allen's background, recordings and previous concert appearances, whilst part 2 would be about the man and his musical style. The third and final part of this serialisation was largely a speculation on the type of music we should expect from Allen and his four accompanying groups. Nationally, people began to sit up and take notice, and -there was some initial but understandable scepticism e.g. "Should be good, if it comes off" etc., and Melody Maker on 23rd Nov., 1963 pondered "Red Allen here on solo tour?" Nearer the time it began to build into a positive furore of anticipation. The usually cynical Albert McCarthy of Jazz Monthly was moved to say ... "for years many readers have shared my regret that jazz followers seem unable to form an organisation that would introduce American musicians to this country - - - the Manchester Sports Guild has taken up the idea in a very practical fashion - - - ". Early in March and following a Duke Ellington concert at the Free Trade Hall Steve Voce paid us the first of many welcome visits, "we can only urge you to join - - - this is jazz in ideal surroundings" he enthused. We held our press reception on Thursday 16th April 1964. After meeting Red Allen at London Airport the night before, we returned by train to Manchester Central, and were joined for lunch by Peter Clayton and Jenks. Much has been written about Red's charm and easy manner, and we were entertained by stories of his New Orleans youth, and touring with Jelly Roll Morten in the thirties and I became aware of just what a personality I had booked at that point. George Ellis would later write about Allen's incredible memory - he would not only remember and play his own solos from the 1934 Fletcher Henderson set, for example, but also those of other trumpeters in the same band, and to sort out the confusion, would play their solos tool as George said, "How can you make adequate to that?" We had confidence and pride in our local musicians and had gladly given the Don Mitchell Orchestra, who played for us every Tuesday evening, and the Art Taylor All Stars the opportunity to play with Red Allen and the Welsh band at the press reception. The room was teaming with specially invited members, and numerous guests from far and wide. The Daily Express even mentioned on its society page that the Hon. Gerald Lascelles had cancelled engagements to be with us, and he had arrived with Sinclair Traill. Up from Dobell's Record Shop on Charing Cross Road were Doug Dobbell and John Kendall whilst George Ellis, Steve Voce, Peter Clayton, G.E.'Eddie' Lambert were there from the specialist jazz press. Too numerous to mention everyone, local writers, friends and rnembers with special contributions to some aspect or other of the Guild were there to enjoy an introduction to the coming weekend. Playing with their customary ferocious attack, the Don Mitchell - 133orchestra were eventually joined by Allen. It is between Jenks and I, and then it was back to the various impossible now to describe the moment that we heard those guests. The whole four day weekend, still one of the best first dynamic notes. We had worked so very hard over six remembered jazz occasions we have had in this country, lay in months or more to bring this whole thing off, enduring many front of us to bring who knows what. (Next Month: The frustrations, irritations and frayed tempers. Now, impossibly, weekend and the aftermath. he was amongst us. A fleeting smile of satisfaction passed --------------------------------------------------------------------------------------------------------------------------------------------My Involvement - Jack Swinnerton in Jazz Times Aug.1982 On the Friday night, Alex Welsh and the band supported The press reception was over, and the anticipation of the Allen. This was the post Archie Semple group and featured weekend of jazz was reinforced. Henry 'Red' Allen, our first Roy Crimmins, Al Gay, Fred Hunt Jim Douglas, Rom import of a top American musician, was now installed in the Mathewson and Lennie Hastings. Welsh stepped down for Millgate Hotel, next door but one. The Thursday evening had lengthy periods to allow Allen to lead, able to observe along been a foretaste, and Red was apparently playing as well as with the rest of us how well his band responded to a comever. Backing from the local groups, the Don Mitchell pletely different style of trumpet. Anticipating the first Orchestra and the Art Taylor All Stars (as a coincidence appearance of Allen through the door at the bottom of the neither group had anyone of that name in it) plus the Alex cellar steps, the crowd, with half an eye at that end of the Welsh Band, none of whom had had even a moments chance room, could suddenly hear the first notes from the connecting of rehearsal, was pretty good in the circumstances. Alan Hare yard of the Millgate Hotel as Allen leaped through the fire has just reminded me of those first notes of Allen with the door, trumpet brandished. An absurd gimmick on paper, it was Don Mitchell Orchestra, riding along with the group before quite an effective introduction to the evening's jazz, as I recall. feeling his way into the number, as one of those rare electric Saturday brought the Sandy, Brown/Al Fairweather band, a moments that jazz can throw up but neither of us, at this late much more loosely constructed sound than the Welsh band. As date, can now remember the number being played. In you would expect, stand-out support for Allen came from the consulting Peter Clayton's review of the evening in "Jazz late Sandy Brown, closely followed by Danny Moss on tenor. Beat", I note that local trumpet player Doug Whaley gets an (One of the many people we have lost in the intervening years, honourable mention for a fine performance that night. Sandy's brilliance well merited the ovations on his many The first of the four nights of the tour were all held at the M.S.G. appearances.) M.S.G., an extended weekend, and what we then thought Usually regarded as the finest night of the tour was the Sunday would be a once-in-a-lifetime opportunity - I think we claimed session accompanying Bruce Turner's Jump Band. The superb in the press that this would be a weekend to tell your way in which Allen and Turner were immediately on the same grandchildren about. (After twenty eight years many of you wavelength is still a vivid memory. Writing in Jazz Journal, will now have grandchildren - have you told them yet?). G.E. Lambert stated "When writers speak of jazz as a minor Whilst some criticism was later raised at my selection of art one doubts if they have experienced evenings like this." accompanying groups, one in particular, I would still stand by (The late Eddie Lambert was one of the staunchest supporters them today from 1964 availabilities. We had somehow to back of jazz at the M.S.G., although never failing to criticise us if Allen with the famous, yet musically correct bands in the land, he thought it necessary. One of the best dozen or so writers on and appeal to as many of our members as possible. Henry jazz that this country ever produced, his joyful enthusiasm and Allen, if you think about it for a moment, was an obvious well nigh incredible knowledge of music will not be forgotten. choice to attract various tastes - a faultless New Orleans It was sad that he died at such a relatively young age.) pedigree, with his Luis Russell / Fletcher Henderson 'middle Work behind the scenes would sometimes keep me away from period' fans, and celebrated for his Metropole showmanship he the music for lengthy periods, and the Monday evening session could also claim the respect of the modernists. To quote "New with Humphrey Lyttelton, or at least the celebrated on stand Grove Dictionary" ,in the 1960s, he drew the attention of free disagreement escaped me. Apparently, a real or imagined jazz players'. I had selected the bands of Alex Welsh, Sandy incident sparked a quarrel between Allen and Brown / Al Fairweather, Bruce Turner, and Humphrey Eddie Harvey, much reported upon and it seems blown out of Lyttelton to play successive nights in that sequence. All the all proportion, which has tended to overshadow the musical leaders were very familiar with the traditional forms of jazz qualities of the evening. Whilst Eddie Lambert eventually and were all how eagerly exploring somewhat wider fields, as clashed in the press with Lyttelton himself , he reported that Allen himself had done years before. Humph and Joe Temperley were playing particularly well To my later surprise, a private criticism of my selection came certainly I detected no lack of harmony during 'staff drinks' from Allen himself. He was quite happy by then, late in the after the session. This incident has attained such notoriety, that tour, with all the bands he had played with, but I apparently Jim Gobolt saw fit to ignore most of the Guild's efforts in the made a mistake in omitting his friend Ken Colyer from the 1960's, but cover this occasion in great detail in his recent schedules – thinking about it today, it is still difficult to book "A History of Jazz In Britain 1950 - 1970". imagine that one working, great fan as I was and am of Ken's Having booked some of my annual holiday from work, music. I was quite taken aback when, on the next of his following the Monday session, I went on tour with Red Allen frequent visits, a slighted Ken quietly criticised me for the travelling mainly by train and meeting the Welsh Band at the same thing. (it's much too late to find out now - did they get various destinations. I was probably foolish not to have attempted to record some of the conversations on these long together in anticipation of a second tour?) The atmosphere of those four days was new to me and, I journeys, but it may well have put a strain on the natural flow imagine, seldom experienced since. They were not the usual to some extent. Allen seemed happier talking about his earlier concert or club sessions at all, but rather a complete days in New Orleans, of his father's band and the men who experience. Members were wandering in and out all day and played in it, and was as much in awe of the generation of New musicians who preceded him as we were. Grateful for could be seen chatting to Red Allen at the bar over lunch. Orleans the opportunity to play in this country, he said he would like Later in the afternoon, hearing his first strains of rehearsal for me to write a book, with his assistance, on his life and music the evening performance, they would happily wander it didn't come to anything of course, and I had no intention of downstairs, drinks in hand, to unobtrusively absorb pursuing something I could not do justice to - but it was a the atmosphere, to this 'behind-the-scenes' look at how it was memorable and flattering occasion for a young enthusiast. going to happen. It was moving to see Allen relishing the Commuters on these sometimes crowded rush hour journeys attention of us considerably (in the main) younger fans, and he would often be surprised as Allen, keeping his embouchure seemed quite sincere when he told me that the whole thing had ship shape, would remove his mouthpiece from his pocket and been the most satisfying of his musical career. This is not the blow soundlessly at regular intervals, whilst I would contrive place to have a detailed account of the music to to look as if it were a mere every day event so as not to excite be heard on those four nights - written about at length at the curiosity or explanations. time (almost half of Jazz Journal June 1964 was a review of Besides the four nights at the M.S.G., we had now successfully the weekend), after such a passage of time I would only be negotiated Morden, Brighton, Bath, Trentham Gardens, Nottingconsulting contemporary reviews to remember all the details. ham and Red-car with the Welsh Band. I have previously - 134mentioned the special at Westminster Hall, and the Marquee Eddie Lambert, all came out with tremendous acclaim - I think session with Humphrey (all reports say no lack of harmony there, I can read between the lines now and see a great big thank you, but carry on with the good work if you want some of the although I was not present at that one). At the end of the tour, Henry & Alex Welsh returned to the MSG. level of publicity again. Lambert's review, of course, contained for one final farewell appearance. On behalf of the M.S.G. he his criticism of the Lyttelton Band. As a true advertising man was presented with a silver tea set for Mrs Allen, inscribed "To all my working life, I could have jumped for joy when the Pearly May From the Manchester Sports Guild in appreciation following month Humph blasted into Eddie in response of the great pleasure which your husband gave to us when he there's nothing like publicity, and it was now certain that we played here in April 1964." Alex Welsh then made a further would bridge the six months gap between Allen and our next presentation of a pewter tankard on behalf of the band. (I had promotion in the full glare of attention. got Henry hooked on Youngers No.3 by then - he would even Unfortunately, Red Allen was reading all this back home and shout to passing waiters in mid-number, "a pint of No.3 for my took great exception Although I never did get around to asking man Jack and I" - and so he immediately filled up his tankard.) him, and as he seemed to be the best of friends with Humphrey He told Sinclair Traill that the evening had been the most Lyttelton and his band in the end, something else must have moving thing to have ever happened to him and, to quote been the cause of his anger. Today, I suspect that the title and Lambert again, "The real human communication and affection accornpanying photo to Humph's article was the offence. Only which has been present on these evenings between Henry, the the length of a long letter really, editor Traill had blown up bands and the audience is something unique in my experience." Humph's piece into a double page spread, including a two The occasionally resurrected Jazz 625 programme, bye the way, third page squared up half-tone photograph of the back of does not do justice to Allen's work on this tour, and is of more Allen's head, and a one third page title cried out, "The back of interest today as a recording of the 1964 Welsh Band just prior his head". It seemed likely that Allen translated this into a criticism of himself, e.g. "glad to see the back of you", when to Barnes and Williams. Everyone now sat up and took notice. Somewhat overwhelmed the content quite clearly refers to the back of Ed Harvey's by all the clamour and publicity, we needed a breathing space to head. Allen's stung response to Jazz Journal, a hasty and ill take stock, but the jazz press had other ideas. Suspecting that considered effort, (also reproduced in full in Jim Godbolt's we might regard the Allen tour as just a one-off (and we let book) suggested that Humph be wise enough to disband and them drink that briefly, until the strain became too much) out consult various people - including an excruciatingly embarrascame a deluge of comprehensive reviews and glowing tributes. sed Jack Swinnerton - about a suitable replacement personnel. Jazz Beat (a sign of the times, grown out of Jazz News and, as Eddie Lambert and I were enjoying a quick but uneasy drink as the title suggests, now featuring articles an such as The Rolling Humphrey Lyttelton, on his next M.S.G. engagement, came Stones) gave reviews by both Peter Clayton and George Ellis, rushing through the door. Kind enough not to immediately whilst Jazz Journal really went to town with no less than three probe me for any tips about replacement musicians, a quick reviews in one single issue. Sinclair Traill, Steve Voce and smile to a hesitant Eddie, and it was back to business as usual. -------------------------------------------------------------------------------------------------------------------------------------------------------------- BETWEEN YOU & ME - RED ALLEN & SANDY BROWN BAND AT CENTRAL HALL, 5/1/64 by John Postgate in J.Monthly,9-64, p.6 I think the clue to Red Allen’s playing lies in the fact that he switches from good to bad so rapidly that the incautious listener becomes quite deluded. In numbers such as Ride Red Ride or Indiana, there can be little doubt that Red Allen’s customary performances are frightful. Certainly, at the Central Hall concert in May this year, the only interest of these particular numbers was in guessing how soon the uproar would floor the accompanying group. (Parenthetically, why were we privileged to bear such a lousy accompanying group? Britain can do so much better than that these days.) But despite a halfempty house. had acoustics and an altogether deterrent atmosphere, Allen’s London concert provided for me, some of the best moments of beauty I have experienced in many years of listening to jazz. They were always quite unforeseeable : where another trumpeter might play a whole number well or badly, Allen would produce an arresting and sensitive phrase which might then lead to a series of tasteless shrieks, or, conversely, use a rabble-rousing rasp to introduce a phrase of rare delicacy and taste. I particularly recall his version of St. James Infirmary which, after a good start, seemed to degenerate during his vocal, despite audience participation. Then, quite suddenly, Allen initiated his solo with a curious, twisted phrase that quite made up for everything. I cannot remember it precisely (unfortunately), but only Allen could have produced it, and I can record that the two hardened jazz fans that were with me that evening spotted it quite independently. And there were many moments like this, in Sweet Substitute, Yellow Dog Blues, Rosetta and the magnificent Wild Man Blues. Allen, as Sinclair Traill has written is at MSG-1964: Pete Strange-Bruce Turner-Red Allen-Jim Bray; one of the disappearing generation of jazz showmen, capable of turning a potential shambles into a memorable evening’s entertainment. This he did in London on the first of May, against every obstacle. But he did more than that; at intervals during the effervescent uproar he lifted the curtain and gave us a glimpse of the very essence of jazz John Armitage-Pete Strange-Red Allen-Bruce Turner - 134a - =========================================================================================== SANDY BROWN SOCIETY NEWSLETTER 148 APRIL 2009 by John Latham (UK); President: Stan Greig Re. Sandy and Red Allen (No.142), Keith Ingham writes stage connected to each other by a long curly cable. The music from New York 'As regards the Red Allen-Sandy Brown date was fairly unmemorable, the three front men seemed very (Manchester Sports Guild 18th April 1964), I don't really have detached from each other. It struck me – ardent Sandy fan anything specific to say. (ed. Keith was pianist on the gig). All though I was – that Sandy was particularly out of touch & I remember is that Red really liked the band and Sandy who Duncan's playing was largely irrelevant. Being close up to the he felt was an adventurous musician who could play with enormous mahogany chops of Henry Allen, though, was anyone regardless of styles. I do remember Red asking me to unforgettable. Sandy had a most untypically fancy shirt on I accom-pany him on several of his appearances with other remember. After the show we all reconvened in Ward's Irish bands, which was a little awkward - to replace the regular House (well, it was the nearest) & in due course I found piano player! I knew a lot of Red's repertoire but at the time he had a big myself next to Sandy at the bar. He looked very dubious. I selling LP out on American Columbia and was playing selections thanked him for the music – as you do –and he said "It'd have from that – apart from standard jazz tunes like Cherry and been a lot better if I wasn't so fucking pissed!" That explained Sweet Substitute. Red loved to play Feeling Good from the a lot – he'd been at some lunchtime party I think which had Broadway hit show The Roar Of The Greasepaint by Tony compromised his condition somewhat (or more than). Red Newley and Leslie Bricasse, which I happened to know. I do was magnificent in the pub, standing & taking on all converknow that Red felt that some of the musicians thought he was sational corners with a constantly replenished (by others) halfjust a showman with an act instead of the great musician he pint glass of Scotch, and there were plenty of luminaries was. After all Don Ellis had famously called him "the most present. John (downstairs at Dobells') Kendall was at his avantgarde trumpet player in New York." I remember he felt elbow & I remember Diz Disley was there, tho' whether he particularly slighted by some of Humph's band and all this led was part of the band I can't say (Ed He was!); so were Kay to some acrimonious correspondence in the Melody Maker Bolden & Brian Peerless. I never saw the pictures we took, which was a shame, especially for Humph who loved Red's but if John Anfill's portfolio still exists...? playing. Anyhow, it is all so long ago, but he was very happy with Sandy's band and of course with Alex Welsh. Naturally there was an element of "showmanship" in Red's playing, but he was leading a successful quartet at the time in the USA with Sammy Price on piano and gigging at the famous Metropole in New York's Times Square area, where the band played above the bar. On a visit to New York I recall seeing the Woody Herman band all in a line up above the bar, with Woody conducting thanks to a long mirror on the opposite wall. Of course it would have helped if Red had brought some lead sheets of his repertoire with him, but there it was! Ted Percy writes 'About three letters ago (No.142), mention was made of the concert at the Central Hall Westminster which teamed Sandy with Red Allen. I were, there, and have been trying to assemble my somewhat obfuscated memories of it. It happened at a somewhat unlikely time of day -- Sunday afternoon? The gig was put on by a man whose name was I think Jim Gatward who was ' something in T.V' – tall, slim, good looking & well spoken as I recall, and with plenty of lipstick (applied by ecstatic female admirers to his cheeks – well, you know what I mean). The band was of his assembling, I think. In front there were Red, Sandy and Ken Colyer's trombonist Mac Duncan. Not so sure about the others. (Ed. 1st May 1964. Red, Sandy, Mac, Johnny Parker (p), Diz Disley (g) Jim Bray (b), M.S.G.1964: Red Allen (t) Diz Disley (g) unknown Terry Cox (d)). I was there helping photographer John Anfill by holding his mammoth flash apparatus & directing it at his chosen subject. This meant we were hopping about on the - 135 - May 1964, back to the Metropole, with a short date in Detroit Sammy Price & Red Allen, Detroit May-1964 (photo from this date- courtesy Duncan Schiedt) “What Do They Want?”-Sammy Price Autobio1989p70: Then I went and joined Henry Red Allen at the Metropole. The band played five nights a week. This was a turning point because I was working with someone who understood me and knew that I kidded a lot but most of the time I meant what I said. I stayed with red eight Years, until he got sick. Red was my best friend and I considered myself his best friend. He was hell to get along with musically because he was so sensitive, but I got along with him by telling him I made him sound good. And it was true. I knew the main ingredients of that particular pie. (cont.on p.138) S.P. in conversation with Peter Clayton on BBC Radio2; 11/2/79: … I worked with Red for eight years and in all that time I do not remember having one rehearsal. … some words about Jam-sessions by Buck Clayton (DownBeat interview 6/4/64): ...Looking back on his formative years, Clayton fondly remembered the jam ses-sions in Kansas City, "Just three hours away from Parson." "We used to have jam sessions every day," he said. ",There were so many bands to hear, and we idolized them. There were so many clubs, so many musicians, and we were like brothers." He said he feels fortunate that he grew up in the time of the jam sessions. "We always used to try and practice end improve," he said and then added ruefully, "until the union banned all sessions. I think that's another thing that has hurt young musicians.No more free playing. "I remember sessions in N.Y. with Hawk, Lester and Don Byas, who sit for hours and battle each other. And ROY ELDRIDGE and HENRY (RED) ALLEN, who would just sit and drink and "blow. "... 6/8/64 Mo., NYC., Dawn Café , guest Red Allen MONDAY NIGHTING – Frieda Harris, hostess at the recent Monday Night Get-together at the Dawn Café which aided the Amsterdam News Camp Fund, beams in the admiring attention of. From left: Ted Green, Bill Betcher (Four Roses), Frank Correy(White Horse Scotch) and Henry Red Allen, famed trumpeter now appearing at the Metropole. NYAN-6/13/64p18 7/2/64, NPT.,R.I. - NEWPORT JAZZ FESTIVAL: Joe Thomas (t) ?J.C.Higginbotham (tb) George Wein or ?Billy Taylor (p) Slam Stewart (b) Jo Jones (d) life rec. 4:42 I'm In The Mood For Love RCA-LPM 3369/RCA RD 7755/JCH-CD-10/ 7/2/64 same loc.: Joe Thomas, Muggsy Spanier, Wingy Manone (t) Lou McCarity, J.C.Higginbotham (tb) Ed Hall, Peanuts Hucko (cl) Bud Freeman (ts) George Wein (p) Slam Stewart (b) Jo Jones (d) 8:19 That's A Plenty from VoA-… /JCH-CD-10/ 4:42 Dear Old Southland -feat. J.C.Higginbotham (tb) from VoA-… / --/ GREAT MOMENTS OF JAZZ - GEORGE WEIN on RCA-1965: I'm in the Mood for Love - This belongs to Joe Thomas, with an assist by J.C. Higginbotham. Thomas is one of the most underrated musicians in jazz history. Always a favorite of critics, he has never received the public acclaim he deserves. Here is a beautiful example of his sensitive approach to improvisation in a style that is all but lost to jazz. Higgy is, of course, the man who has led the way for the technical approach to the modern jazz trombone. --------------------------------------------------------------------------------------------------------------------------------------------------------------------------BAA-7/11/64p11: SATCHMO GETS JAZZ FEST OFF WINGING - Newport, R.I. (UPI) Rain couldn't dampen the spirits of jazz Only a few hundred left their seats bring the wild applause, the whistles, enthusiasts Thursday night once Louis for shelter, when the rain came down shouts and spontaneous dancing in the Satchmo Armstrong began giving them a as Satchmo sang, trumpeted, stomped aisles so well known to the jazz festival. Satchmo came back for six encores as and grinned through “Hello Dolly.” bit of “Hello Dolly.” A beefed up squad of200 policemen APPLAUSE for such greats as he stomped and sang. Armstrong kept reported no trouble as about 5,000 persons Wingy Manone, J.C.Higginbotham, Jo the pace of the great moments of jazz were on hand at Free body Park for the Jones and Slam Stewart was theme with his well known “Blueberry opening of the 11th annual Newport Jazz responsive, but it took Satchmo and his Hill,” “Sleepy Time Down South,” and Festival despite gloomy weather forecasts. special version of “Hello Dolly” to “Mack The Knife.” - 136 7/20/64 NYC., Carnegie Hall -"SALUTE TO EDDIE CONDON"- telerec.by Charles Arden for Chandell Prod./WABC-TV; lst concert of a series put together by writer Richard Gehman; another one was on WABC-TV 3/27/65; personnel see on the advertisement NYAN:7/18/64p18; the late Bob Hilbert had found only a poor tape fragment from repeated broadcast 7/20/65; tape-part-3: Red Allen (t,v) Pee Wee Russell (c1) unknown rhythm poss. Joe Bushkin (p) Zutty.Singleton (d) tape part-5: Bobby Hackett, Yank Lawson (t) J.C.Higginbotham (tb) Pee Wee Russell, Bob Wilber (cl) Willie"The Lion"Smith (p) Zutty Singleton (d) part-1: Jazz Band Ball feat.poss. J.McPartland, C.Cutshall, Bud Freeman, Pee Wee Russell part-2: Tailgate Ramble feat. Wingy Manone, poss.Bob Wilber, v-Johnny Mercer part-3: I AIN´T GOT NOBODY -vRA with a wonderful Pee Wee solo cassette wanted part-4: part-5: Jazz Me Blues Royal Garden Blues feat. Yank Lawson, Pee Wee Russell, poss.Dick Hyman “Pee Wee Russell – The Life of a Jazzman” by Bob Hilbert 1993, p261: There was a "Tribute to Eddie Condon" held however, including Johnny Mercer, Bud Freeat Carnegie Hall shortly after midnight, July man, Wingy Manone, J.C.Higginbotham, 21, with Sammy Davis, Jr., scheduled to he Cutty Cutshall, Willie "the Lion" Smith, Jack the master of ceremonies. But Davis, who was Lesberg,. Gene Schroeder, Bobby Hackett, appearing in Philadelphia in Golden Boy, said Peanuts Hucko, George Wettling and Billy he was too fatigued to make the trip to New Butterfield. The high point of the concert York and cancelled at the last minute. The was when Henry "Red" Allen sang and affair was staged to help pay for the three played "I Ain't Got Nobody" with a prostate operations Condon had undergone particularly effective backing by Pee Wee. since his return from the Asian tour. Condon "What Eddie proved," Pee Wee told was not happy with the event, which featured Newsweek at the concert, "is that our music Bob Crosby's band and Woody Herman's has vitality - it's alive. I've played both; this Thundering Herd. For a man who had spent has more feeling." Clearly, following the his career in opposition to the big bands, the Marshall Brown episode, Pee Wee was choices were not appropriate and put Condon, rethinking his antagonism to dixieland.The who had been drinking heavily, into a surly concert formed the basis for a television mood. "tribute" which was recorded several months Some of the figures Condon had been later with Davis as master of ceremonies, but associated with through the years were on hand, without Pee Wee (& without Allen) ----------------------------------------------------------- ------------------------------------------------------------at Carnegie Hall. Sammy Davis Jr. is HONOR EDDIE CONDON MON. CD-7/18/64p16: – Many leading Negro stars taking a helicopter from Philadelphia to be will take part in the “Salute To Eddie Condon” there. ZuttySingleton, J.C.Higginbotham, honoring his more than 40 years in show Red Allen and Billy Butterfield are among business to be held Monday, July 20 at 11 p.m. the other artists who will perform. advert.NYAN:7/18/64p18--Sept.-Dec.64, Red & Sammy Price at Metropole; Down Beat: 9/11&9/24, l0/8&10/22 same; 11/5&11/19 same; l2/2&17 same Art Hodes' Keyboard Reflections (Down Beat l0/22/64):. JIMMY RYAN'S ON 52nd St. was the kind of night spot best described as a tavern-club. Occupancy by more than 120 persons was not only unlawful, it was also downright uncomfortable. Yet we packed them in on Sunday afternoons - a buck admission and "hear the jazz greats." Milt Gabler originated the sessions, but Jack Crystal gathered the talent. On any given Sunday afternoon you could see and hear such stalwarts as Pee Wee Russell, Eddie Condon, Mezz Mezzrow, Sidney Bechet, Max Kaminsky, Wild Bill Davison, George Brunis, Joe Sullivan, J.C.Higginbotham, Rod Cless, Hot Lips Page, Fats Waller, Earl Hines, James P.Johnson, Red Allen, etc. And on the last chorus of the last number (which would usually be Bugle Call Rag), the entire ensemble would blow. Man, that was something. During the week, Ryan's featured a trio. I'd worked there with Baby Dodds and Cecil Scott (& Chippie Hill) and with Mezz Mezzrow and Danny Alvin. Ryan's was a haven, though hardly the place you'd expect to meet Thelonious Monk, but that's where it happened. He was looking for a piano to play ... just “to play,” not a job, not pay. He asked, "You mind if I play while you guys are off, during intermission." GUTTY MAN CITED – J.C.Higginbotham, popular trombonist, was cited recently by the Hancock, N.Y. Rotary Club for his 40 years of playing trombone. The citation marked that Higgy is one of the “all time great trombonists”, has won more Downbeats awards that any other trombone player and his stylist of the gutty school of the The answer was "go ahead." The jukebox was disconnected, and Monk, with his dark glasses on, made it to the stand and played, all by himself and, I'd venture a guess, to himself. This we understood; he was welcome.... 1930's. In addition to the signature of George H. Elwood, president of the Rotary Club, the citation also bore the signatures of the top jazz musicians who were appearing at the time with Higgy, Sammy Price, Benny Moten, George Reed, Herbert Hale, Jean Stevens and Doc Cheatham. (with portrait of Higgy) NYAN-10/31/64p19: "JAZZ TROMBONE-FIVE VIEWS" - J.C.Higginbotham – a longer article by Don Heckman in Down Beat 11/28,/64: early Dec.64 - Don Redman (died 11/30/64) Funeral with Red Allen,J.C.Higginbothen, Sandy Williams, Dicky Wells, Tyree Glenn, Red Richards, Herman Autrey, Joe Thomas, Honi Coles, Slim Thompson, Sam Theard, Buster Bailey, Major Holley, Keg Johnson, Zutty Singleton, Wingie Carpenter, Jimmy Crawford, Eddie Barefield, Harold Baker, Sonny Greer, Joe Glaser, Len Kunstadt, Dan Morgenstern, Stanley Dance, etc. (Jack Bradley,Bul.h.c.f.-Jan-1965 Dec.64-July 65, N.Y.C., Metropole - Red Allen (House band) / & Max Kaminsky (to Feb.65); Gene Krupa 2/19-3/5; Roy Liberto April-5/17; Village Stompers 5/18-5/30; Gene Krupa to 6/12; Gillespie quintet 5/31-6/28; - 137 Feb.65, Conrad Janis took a band to the Metropole while Henry Red Allen took his group to Cleveland (for a brief season) (Down Beat 2/25/65) Feb until 3/4/65,-Cleveland , Ohio – Mushy Wexler's Theatrical Grill has been presenting Who's Who lately, with Henry Red Allen, Bill Maxted, Roy Liberto, Jonah Jones, and Jimmy and Marian McPartland. Teddy Wilson is to appear with his trio for two weeks ending March 6 at the downtown restaurant-nitery... (Down Beat 3/11/65) possibly this is the date or an unknown date 1964 after his Europe tour mentioned by John Chilton in “Ride Red Ride” p183: … where a hugh blow-up of the Don Ellis article was put on dispay … 3/5/65 NYC., Metropole – return of Henry Red Allen as house band for longer times; Veteran drummer Sonny Greer did a week in March with Red's Allen Quartet; John Chilton names also Chuck Folds, piano temporarly for Sammy Price; Down Beat 3/11-3/25; 4/8-4/22; 5/6-5/20; 6/3-6/17/65 NEW YORK JAZZ – Monday, March, 8th, 1965 by Don Brown in Coda 4/65: ... The following night being Monday, exciting music in the most unlikely traditional night off for musicians in surroundings imaginable. Henry Red New York, we moved from the sub- Allen never fails to amaze the way he lime to the ridiculous and visited the can combine out-and-out showman-ship Metropole (evidently Sunday it the off- with taste and imagination. We heard night there) where Gene Krupa's one full set and every tune but one was Quartet was appearing. Fortunately, ways up-tempo with shouts of "Nice" the evening was saved by the house and "Make him happy! Make him band. Henry Red Allen's Quartet happy!" after every solo, humourous (Allen, Sammy Price, Bennie Moten patter with members of the audience and a drummer whose name escapes crowded up against the bar, and a me) managed to play some warm and general air of rowdiness. Yet Allen's solos were models of thoughtful improvisation. An amazing man. After about half of a Gene Krupa "BENNY GOODMAN MEDLEY" we left the Metropole. I had hoped to hear Charlie Ventura but he has been replaced by a clarinetist (possibly Sol Yaged - we didn't stay long enough to find out) who plays Goodman's solos note for note including the clichés! Very original .... NYAN-3/13/65p16: Gene Krupa , and Red Allen continue swinging nightly at the Metropole. Leonard Feather wrote an article about Red Allen in Down Beat 4/8/65: (surely used in earlier parts of this bio-disco) 3/27/65, N.Y.C., Carnegie Hall – l0th Charlie Parker Memorial Concert (Red Allen is not mentioned in press-reports) 4/9/65 Blue Lu Barker Farewell Party with Red Allen; Blue Lu and Danny moved to New Orleans in May-65; 5/7/65 Fr. 8:30, New York School of Jazz - Benefit JAZZ PANORAMA, Part.III: Trombones and Part.IV: Strings; trombones: J.C.Higginbotham, Grachan Moncur III, Benny Powell; strings & rhythm: Hugh Lawson(p) Calo Scott (cello), William Blank(vln) Art Davis(b) Charlie Jackson(g) Art Davis(b) Frankie Dunlop(d) and at each concert New York School Jazz Ensemble; (short note in NYAN-5/1/65p23); advertised in NYAN-4/24/65p2------- a larger advert of the Village Voice 4/1/65p14 (reprint in Jazz Ad.Vol.3p1123) gives the complete programm: 4/2 Fr. Part.1 – Trumpet: Johnny Windhurst; Bill Hardman, Richard Williams; 4/9 Fr., Part.2 - Reeds: Bob Wilber, Jerome Richardson, Roland Alexander; 4/30 the above part 3 but was def.at 5/7; 5/7 part-4, see above; 5/14 part-5: drums: Zutty Singleton, Frankie Dunlop, Clifford Jarvis; 5/21 part-6 – piano, vibes: Jaki Byard, Roland Hanna, Hank Edmonds, Bobby Hutcherson; Concert Rhythm section for entire series: Roland Hanna(p) Art Davis(b) Frankie Dunlop(d) unknown engagement of Red Allen in mid June-65; he returned to the Metropole for the last June week; NYAN-6/19/65p22: Dizzy Gillespie's at the Metropole (opened 5/31), along with a group called the Watusi Girls, but the place doesn't seem right without Red Allen. … NYC., Metropole - The long-time house band, led by trumpeter Henry (Red) Allen, is out at 7/1/65; Down Beat 7/1/65: The latest New York Club to go discotheque is the Metropole. However the Times Square jazz landmark will continue to book name jazz attractions to work opposite live rock-and-roll groups and a line of frugging girls. The Village Stompers initiated the new policy 5/18, with trumpeter Dizzy Gillespie's quintet scheduled to open 5/31. Conversatiom with Doc Cheatham by Richard Rains, Storyville-14, Dec.67: When I spoke of Louis Metcalfe Doc said how well he was playing these days and then related sadly how, having made the Metropole what it was, Red Allen was rejected on his return from a *tour in favour of a succession of rock-and-roll bands. (*poss. this was the Blue Spruce Inn dates?); “What Do They Want?”-Sammy Price Autobio-1989p70: (cont.from p135 to the Aug.65 rec.session): ...When I quit the band, it was out at the Blue Spruce Inn on Long Island. That where we made the record Feeling Good. Now let me tell you about that record. The Saturday night before the record date I said, "Red, I'm getting sick and tired of you again, so I gotta go." He said, "Bye." So on Sunday we were off. And *Monday he had this recording engagements with John Hammond for Feeling Good. And I knew that he would get Lannie Scott to go in as substitute. But I also knew that Lannie didn't know the tunes: he hadn't been playing with Red for eight(?) years. So this Monday night I went out. I got in my car and said, "Well, I might as well go help this turkey out," meaning Red. So I got in the car and drove all the way out to Long Island. When I walked in, John Hammond and Frank Driggs were there with Red. And Red said to John Hammond, "Here's this politician now." And I said, "Well, red. Come on man, I came out to make your sound good." So we made Feeling Good, Cherry, and all those other things. And that was the last time I played with Red, August 1965. (cont.a few months later when Red told him that he had cancer.) (*remark: the known alternate dates were 8/18 a Wed. and 6/30 a Tu.) - 138 - Avantgarde Days: vs. Revival Days: BLUE MON K & SUMMERTIME THE SAINTS – DIDN´T HE RAMBLE Chapter-10: Red Allen Quartet & with the Alex Welsh Band in UK 1966/67 Blue Spuce Inn 7/1/65-….; e.t.c.; Monterey-65; Newport-66; Final Days NYC., Metropole - The long-time house band, led by trumpeter Henry (Red) Allen, is out at 7/1/65; DB 7/1/65 7/1-7/31/65; Roslyn - Blue Spruce Inn , Henry Red Allen Quartet; Red Allen left the Metropole for his last session at 6/30/65. and followed Marian & Jimmy McPartland; in July 65 Blue Spruce Inn, Roslyn during the first engagement from 7/1-31/65 – HENRY”RED”ALLEN QUARTET: Red Allen (t,v) Lannie Scott (*p) Bennie Moten (b) George Reed (d) /Storyville-/ -1 7:22 *ST. LOUIS BLUES -vRA (W.C.Handy (not on my tape, but issued) Meritt-27/STCD-8290/RACD25c -1 3:49 *ST. JAMES INFIRMARY -vRA (J.Primrose) RACD24/ --/ Meritt-27/STCD-8290/ --/ -1 3:07 *CARAVAN (Ellington-Mills-Tizal) -1 4:03 *LOVER COME BACK TO ME (S.Romberg) Meritt-27/STCO 8290/ --/ / --/ -2 3:28 *ST. JAMES INFIRMARY -vRA (J.Primrose) at the end announcing “Never On Sunday” -1 2:38 *NEVER ON SUNDAY (G.Moustaki) (it was played after ST JAMES) Meritt-27/STCD 8290/ --/ Meritt-27/STCD 8290/ --/ -1 2:57 *SATIN DOLL (Ellington-Strayhorn) Meritt-27/STCD 8290/ --/ -1 4:45 *MUSKRAT RAMBLE (Kid Ory) NYAN-8/7/65p22: … Red Allen was appearing at the Blue Spruce Inn in Roslyn, L.I. while his wife Pearly May was visiting in Michigan. … unknown engagements in early August 64; 8/18 & 8/19/65 , same location; Sammy Price (p) for L.Scott; - dated by Frank Driggs, it was the day when Red Allen informed Sammy Price about his cancer. A wrong source gives 6/29&30/65, possibly due to Red Allen fan “Red” Metzger, who had mannaged the first engagement. The tape includes also the Lannie Scott session and was clued together by Will Warner from a lot of single tape clips given by Frank Driggs. -1 -1 4:21 8:30 -1 -1 -1 -2 -1 -1 -1 -1 -1 -1 -1 -3 -1 -1 -1 -1 -1 -2 -1 -2 -1 -2 -3 -2 -1 -1 -2 -4 -2 -2 -2 -2 4:38 2:42 3:00 4:51 3:22 3:52 2:32 4:34 2:58 3:51 3:02 4:28 3:10 8:14 3:31 3:02 3:48 3:25 3:13 4:24 3:21 2:36 3:31 3:00 2:40 1:42 2:41 3:52 2:34 2:22 4:34 6:28 -1 -1 3:40 1:53 ALL OF ME -vRA (Simon-Mark) MEDLEY: - DIDN'T'HE RAMBLE -vRA (Handy-Randall) - /RACD25c/ Meritt-27/STCO 8290/ --/ - JUST A CLOSER WALK WITH THEE -vRA (trad.) - WHEN THE SAINTS -vRA (trad.) --- / --/ --/ HELLO DOLLY -vRA (Herman) --- / --/ --/ I'VE GROWN ACCUSTOMED TO HER FACE from "M Fair Lady" --/ YELLOW DOG BLUES -vRA, (without:"How Long Blues) (Handy-Pace/Carr) RA-CD-24 YELLOW DOG BLUES -vRA, interpolation"HOW LONG BLUES" (Handy-Pace/Carr) RA-CD-25 MEMPHIS STREET BLUES (W.C.Handy) Meritt-27/ STCD 8290/RACD25c BLUE SPRUCE BOOGIE (Allen) Meritt-27/ STCD 8290/ RACD25c GEE BABY, AIN'T I GOOD TO YOU -vRA (D.Redman-A.Razaf) CBS-62400/Col.2447/RA-CD-25 YOU'RE NOBODY TILL SOMEBODY LOVES YOU (Morgen-Stock-Cavanaugh) CBS 62400/Col.2447/ RA-CD-25 SWEET SUBSTITUTE -vRA (J.R.Morton) CBS 62400/Col.2447/ RA-CD-25 FEELING GOOD -vRA from"The Roar of the Greasepaint' (L.Bricusse-A.Newley) CBS 62400/Col.2447/ RA-CD-25 PATROL WAGON BLUES -vRA (P.Grainger) CBS 62400/Col.2447/ RA-CD-25 YELLOW DOG BLUES -vRA interpol."HOW LONG BLUES" (Handy-Pace; L.Carr) CBS 62400/Col.2447/ RA-CD-25 CRAZY BLUES (Mamie Srnith) Meritt-27/ ST CD8290/ RACD25c I'M COMING VIRGINIA (W.M.Cook-D.Heywood) CBS 62400/Col.2447/ RA-CD-25 TRAV'LIN' ALL ALONE -vRA (J.C.Johnson) CBS 62400/Col.2447/ RA-CD-25 RAG MOP -vRA (J.L.Wills-0.Anderson -Allen) announcing the end of the 1st evening CBS 62400/Col.2447/ RA-CD-25 CHERRY -vRA (Don Redman) CBS 63742/CBS 62400/Col.2447/ RA-CD-25 FEELING GOOD -vRA (L.Bricusse-A.Newley) RA-CD-25 SIESTA AT THE FIESTA (H.Allen 1941) CBS 62400/Col.2447/ RA-CD-25 CHERRY -vRA (Don Redman) RA-CD-25 CANAL STREET BLUES (King Oliver) Meritt-27/STCD 8290/RA-CD-25c GEE BABY, AIN'T I GOOD TO YOU -vRA (Don Redman-D.Anderson) RA-CD-25 FEELING GOOD -vRA (L.Bricusse-A.Newley) RA-CD-24 SIESTA AT THE FIESTA (H.Allen) RA-CD-24 PLEASIN' PAUL (H.Allen-P.Barbarin) Meritt-27/STCD 8290/RA-CD-25c MACK THE KNIFE (Kurt Weil) Meritt-27/STCD 8290/RA-CD-25c SWEET SUBSTITUTE -vRA (J.R.Morton RA-CD-25 YELLOW DOG BLUES -vRA interpol."HOW LONG BLUES" (Pace-Handy/Carr) RA-CD-24 PATROL WAGON BLUES -vRA (P.Grainger) RA-CD-25 TRAV'LIN' ALL ALONE -vRA (J.C.Johnson) RA-CD-25 YOU'RE NOBODY TILL SOMEBODY LOVES YOU (Morgen-Stock-Cavanaugh) RA-CD-25 MEDLEY: - DIDN'T'HE RAMBLE -vRA (Handy-Randall) RA-CD-25 - JUST A CLOSER WALK -vRA (trad.) - WHEN THE SAINTS -vRA (trad.) RA-CD-25 2nd Time Around - only piano & rhythm RACD25c Fly Me To The Moon -only piano & rhythm uniss.item on G.Wilson´s tape; RACD25c - 139 according Sammy Price this was the last session in August-1965 he had played with Red Allen. On Merritt, Jerry Valburn gave the impression that only one life session were taped on two days in June-65 before the recording session. But on my tape all above tunes are in chronological order with partly up to three alternate takes. ================================================================================ THE SUN, BALTIMORE. Sun., 4/17/66 - Allen Calls Children Home by John Goodspeed IT'S , good to hear Red Allen call his even though Armstrong at the time (the phrasing and improvised dynamics, children home again on the new Colum- 1930s) had begun to contaminate his aspects of jazz that have always been bia album, "Henry'Red'Allen / Feeling own supreme musical genius with a lot done best by New Orleans instrumentaGood." It's probably true, as the liner of vaudeville shenanigans. Allen himself lists. Sammy Price, on piano, plays part notes say, that Allen is the last New tended to overdo things with scat "stride," part "barrelhouse," part "boogieOrleans trumpeter in the Buddy Bolden- singing, finishing high notes, smears, woogie" - all in almost flawless taste. King Oliver-Louis Armstrong tradition half-valve effects and general clowning. Benny Moten swings hard and stays out which insists that Bolden (who never At the time of the last previ-ous first- of the way on bass violin. George Reed, recorded) could summon his fans a mile class jazz recordings that included him - anticipating Allen's every nuance and away, so loud and clear was his cornet those made around 1940 with Jelly Roll Price's every sound level, beats his drums tone. Morton leading his last session -Allen to create great excitement through It's true, too, that Allen (recorded here was not highly regarded by fastidious restraint - a technique that all but elion a recent job in a Long Island restau- aficionados. Yet what sounded like hot minates the monotonous and hysterical rant) is playing better than ever - better, cliches and second-rate Armstrong off-beat cymbal work that has dominafor example, than he played during his imitations then, sounds refreshing today. ted jazz since the Swing Era. last previous heyday when he led a New The Red Allen style of trumpeting has They are best on "Sweet Substitute," a York band that usually included J. C. been buried for 25 years in a sea of number Jelly Roll Morton Composed Higginbotham on trombone. Also true, joyless, angular, cool jazz. "Fealing during his twilight in Washington and although too heretical for mention on Good" presents a classical master of one which Allen (correctly) feels is the album liner, is the fact that Red New Orleans style, which is still the beautiful. They are fine on "Yellow Dog Allen plays better trumpet today than finest style ever developed (and which is Blues," "Cherry," "Trav'lin' All Alone, " Louis Armstrong has played for years, not "Dixieland," the commercialized "Rag Mop," "Patrol Wagor Blues," even though the Allen style derives from version that often passes for it). "Siesta at the Fiesta," "I'm Coming the style that Armstrong made great 35 Only A Quartet Virginia." ''Gee Baby, Ain't I Good to years ago. Allen leads only a quartet on the new You" is happy but of fair quality. But Allen, whose age is given as "In his album, but even though the trombone Allen and company fail only on "Feeling late fifties," was once a featured trum- and clarinet of the classical New Good" (from a recent musical) and peter in a band led by Louis Armstrong. Orleans "line" are missing the group "You're Nobody Somebody Loves You." That was no mean tribute to his talent, produces some marvelous ( ensembel The lyrics are too silly. ------------------------------------------------------------------------------------------------------------------------------------------------------------This album is a good example of Red VIRGINIA. There is a great groove and Don Ellis about Co.2447,in JAZZ, 4/67: This album should be required listening Allen's "average" current playing and Red sounds more and more inspired as for all bebop and avant-garde trumpeters. singing, and it is delightful. I say the track goes on. He uses one of his Red Allen is a fantastic trumpet player average because I have heard him play favorite devices here: that of the false and reveals an incredible imagination. more inspired at times (the audience ending-counting off a new version while He makes use of almost every device does not seem to be completely with the band is holding the last note of the mechanically and physically possible him), but even under the most unenthu- preceding. Each repeat seems to get on the trumpet. Most other trumpeters siastic circumstances Red comes out more intense. This is a magnificent of any era with their relatively limited shining, and he does so here. performance by one of the greatest jazz scope seem very tame and pale in All the tracks are of interest, but musician of all time. comparation to Red Allen. my favorite by far is I'M COMING As I said before: required listening ... --------------------------------------------------------------------------------------------------------------------------------------------------------------REMEMBERING RED ALLEN TWENTY YEARS LATER – Meritt-27, RED ALLEN & HIS QUARTET LIVE 1965 Jerry Valburn Toward the end of the Spring of 1965 titles found on the commercial twenty years later. Henry "Red" Allen was booked into album release were on our tapes the beautiful Blue Spruce Inn in Roslyn (different versions). It was our Long Island. The original booking was feeling that collectors of Red for a two week period. Red was so Allen's work would prefer and popular with the audience that he was enjoy hearing numbers that did not held over for two full months ! Early duplicate those made around the during this stand arrangements were same time. There is over twentymade to make some test recordings. eight minutes of musical exciThe acoustics and sound of a tement and beauty on each side of restaurant/club leave a lot to be desired. this Meritt record release. Along These tapes survived and were found with the record you will find an recently in the basement (not mine) of insert sheet with some background a collector on Long Island. It should be on Red Allen and the Blue Spruce noted here that the results of two nights Inn from an interview I did with of recording at the Blue Spruce Inn David "Red" Metzger while this encouraged a major record company to album was going into production. It come in later and record. The album is a happy celebration for us all was released in 1966. Many of the remembers Henry "Red"Allen ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Jerry Valburn on cover notes of Meritt: The following is an interview I conducted with David G. Metzger in the Spring of 1987. David, whose nickname is "Red" for both his red hair and his love of Red Allen, is a warm and friendly record collector living in Locust Valley (on Long Island) not too far from the location of the Blue Spruce Inn. As the story unfolds you will see that he was instrumental in getting Henry "Red" Allen booked into the inn and he spent a great deal of time there while the Allen group was performing. JV: Red can you give us a little history, a little background, on DM: The Blue Spruce Inn was located on Northern Boulethe Blue Spruce Inn. The location and when it opened.. How vard at the east end of the Roslyn bridge. It started back in the long you've been going there? 1930's and was one of the most popular restaurants on Long (cont. on the next page) - 140 Island at that time. I began going there after World War II would stop playing. They played in the bar area of the Inn when I started my career in the liquor business as a salesman. which didn't help the acoustics too much. I think they The owners of the Blue Spruce Inn were customers of mine. I finished up around midnight. used to go upstairs to their office to pick up my orders. By JV: How did the musicians get to the club? the 1960's they had a good music policy at the club DM: Well, Sammy and Red would come in Red's Cadillac. I booking in such artists as Teddy Wilson and Jimmy and remember the license plate "H.R.A." 1 don't know how the Marion McPartland and their groups. Gene Ramey played others got there, probably on the railroad and someone from with Teddy, I believe it was a quartet. As a matter of fact I had the club picked them up at the station. Red had auto-graphed a drink with Teddy and Ramey joined us at my table. I was all my records. I brought them over to the club. By the end of his stand there I was so broke, being there almost all the time, amazed to learn that he had been Charlie Parker's guardian! One day I went up to the office as usual. The two owners were that Red was buying me drinks! talking about who they were going to book into the Inn as the JV: Did you find the music as exciting at the Blue Spruce next musical attraction. I more or less said, "How about Henry Inn as when you heard Red playing with such men as Higgy, "Red" Allen." One of them turned around to the other and Hawk, PeeWee, and Claude Hopkins at the Metropole? said, "Gee, that's a great idea. See if we can get hold of Red DM: Red's playing was always top quality whether he was playing with larger groups or with a quartet. I always enjoyed Allen." I went back a few weeks later to pick up my orders and they him. Speaking of the Metropole I remember that Red was said to me, "Guess who's coming, we got Henry "Red" Allen." playing opposite Maynard Ferguson. A young bunch of guys were sitting their not paying much attention to Ferguson. I was very pleased. When Red came on they all rushed up to speak to him and JV: Were you there an his opening night ? DM: The first night he was there I showed up and it got to be shake his hand. This "bunch" turned out to be the British rock that we renewed acquaintances. (I had previously spoken with group "The Animals". When I told my son Ronnie about this him at the old Metropole when I was selling in New York and he was impressed but also disappointed that I didn't get their would stay in town to catch some good music. When I talked autograph. My boss was a jazz fan and told me if I were with him them I recall saying, "When are you going to come willing to work in New York he would give me all the jazz out and play a gig on Long Island?" He said, "Well "Red Man" joints as customers, but, the Metropole was always C.O.D. when you get me that gig." Frankly, I had never expected him to JV: Did Red play any differently at the Blue Spruce Inn then play on Long Island.) he had when you heard him at the Metropole? I remember showing up one night and there were two engineers When he first came to the Blue Spruce Inn he played slightly setting up microphones. They had their tape equipment set up in softened versions of his numbers and he played and sang alot the hat cheek room. Both Lannie Scott and Sam-my Price were of pop tunes. But at the time they made these test recordings talking with Red. Red had had air argument with Sammy over he must have planned in advance to include many of his a HARLOU button Sammy was wearing. I heard Red asking classic numbers. I remember seeing a lot of arrangements and him to take it off saying that they were musicians and not scores spread out near the piano when they were recording. politicians. Red was quite annoyed and when they started in to JV: Did you stay in touch with Red after he left the Blue record the first set Lannie was at the piano and not Sammy. Spruce Inn? Later Red relented and used him in either the second or third DM: Red always sent me postcards from wherever he was sets. playing both here and abroad. I called him at his home a JV: How many sets did they play each night? How late did couple of times. Red was such a nice guy. I remember one they play? night bringing in a 78 album for him to autograph. When we DM: They started at the dinner hour about seven o'clock. I discovered one of the records was broken, Red said nothing. don't recall how many sets they played. I remember the he next night he brought me his copy of the original Vocalion firehouse next door. When the sirens went off the musicians as a gift! ----------------------------------------------------------------------------------------------------------------------------------------------------------.-Martin Williams covernotes on CO.CL 2447: Henry "Red" Allen, Jr., represents the final development of one of the great traditions in American music. The tradition, of course, is that of New Orleans' cornet and trumpet men. It begins with Buddy Bolden, the man who (at least to New Orleans musicians) first played jazz. It includes Freddie Keppard and King Oliver and Tommy Ladnier and Louis Armstrong. And it includes Red Allen, who had already begun to develop a personal style by the late Twenties, when he was a featured soloist with the Luis Russell orchestra. With Fletcher Henderson in the early Thirties, Allen helped set that archetypal group's classic swing-band style, and his solos were widely imitated by other trumpeters. Meanwhile, he had a separate and long-standing career as leader on his own recording dates. He worked with Benny Goodman. And for a while, Red Allen was a featured soloist, with billing, in Louis Armstrong's orchestra-perhaps the supreme compliment for any trumpeter or any jazzman. Henry Allen, Jr., now in his late fifties, has not settled into a complacent music which only occasionally recaptures former glories. He does not play "as well" as he ever played, either. In many ways he plays better. His trumpet techniques are so inventive, resourceful and personal that a younger brassman, Don Ellis, recently called him the most avant-garde trumpet player in New York. If this album were nothing else (and it is a great deal else) it would be a document of how this deceptively casual musician sounds before an audience, something which has never been captured on records before. For the audience here is decidedly amiable raucousness that titillates his listeners. At least, that is Red Allen's kind of audience. The numbers were recorded at Red Allen on the surface. Under the surface, however, the the Blue Spruce Inn, a suburban New York restaurant in entertainer is also an artist. Roslyn, Long Island. The Inn is not a jazz club, but its To another professional, Allen's trumpet playing is a customers have been receptive to pianist Teddy Wilson, and frequently astonishing array of bent notes; smeared notes; Allen's quartet has become something of a fixture there. choked, half-valve notes; rips; glissandos; flutters; growls, and asymmetrical rhythms that somehow come out right. They are Before such an audience, Allen is genial and full of a kind of - 140a delivered by a trumpeter with excellent control over the lowest group to continue after a couple of "false" endings. and the most intimately whispered tones as well as over This somewhat ornate version of Sweet Substitute returns piercing, high-noted shouts. But the effects are not there for Allen to the Jelly Roll Morton work he first recorded with the their own sake. They are parts of a sustained musical tissue composer in 1940. Allen considers it one of the most beautiful held together by the force of Allen's personality and his innate songs ever written. gifts as an improviser - an aesthetic fact that can be readily Patrol Wagon Blues, signaled by Allen's fine, mockserious appreciated and enjoyed by the squarest head in the house. "Oh my goodness!" is another revisit to a piece Allen first Cherry , a tune from the late Twenties that was a standard recorded in 1930. by the time of the swing era, sets the tone of this collection In Yellow Dog Blues and the interpolated How Long, How well. It includes the first of the album's several instances of Long Blues, we again hear Allen's slow blues in both its Sammy Price's repeated, informal piano introductions. There is traditional twelve- and eight-bar structures. a good-timely quality in Allen's playing and in Price's striding Rag Mop is a faster, lighter blues; it, too, is a new version. solo. Listen to Allen in his last chorus, making that horn growl (For the true story on this one, consult the amiable nonsense of expressively without a mute. And listen to h is voice. It is Allen's piece "Get the Mop," first recorded in 1946.) usually said that horn players in jazz imitate the human voice; Trav'lin' All Alone, probably best remembered in Billie here, it's perfectly clear that Allen's voice imitates his horn Holiday's version, is a piece also well suited to Allen's kind of style. Listen to that repeated "CHE-erry," for instance. Or hear, performer's irony. Its words say one thing, but its melody and on the boisterous but sincere reading of You're Nobody 'Til tempo seem to be conveying another. Its counterpart is the Somebody Loves You, how Allen handles the words "You'll more recent Feeling Good, a nearly ideal Allen vehicle with never change it" in a trumpet-like burst of sounds. its optimistic lyric, but with its undertone of deep melancholy. To come closer to the heart of the matter, perhaps, listen to Above, I said something about "the squarest head," but to Red I'm Coming Virginia. Allen's opening statement is a free Allen, there are no squares. There are only the members of an rewriting of the melody, apparently made up of fragments and audience whom he seeks to entertain with his music. The fact bits of the tune, interpolated embellishments, plus assorted that Red Allen cuts deep enough as an entertainer to move and licks and traditional jazz riffs. Yet it all hangs together with its enlighten his hearers only means that Red Allen is a gifted own kind of emotional and melodic logic. And note that in man. Red Allen knows that he is gifted, and he uses his gifts Allen's second solo, he hardly touches the written melody at with a kind of natural charity that should be the envy of all. all. The piece was going well, evidently, for he encourages the -------------------------------------------------------------------------------------------------------------------------------------------------------------------Doug Murray about FEELING GOOD-CBS SBPG-62400 in Storyville-4, Apr.66p31:RED ALLEN is one of the most unusual of jazz trumpet players. Much has been written about his unorthodox timing and his use of odd musical intervals. Unlike most jazzmen, he manages to steer clear of clichés and has even avoided, somehow, the trap of creating a set of clichés of his own. This is a live session. Allen plays and sings with a trio which includes Sammy Price, another musician unjustly neglected of late by the record companies. The music is typical of Allen's current playing, and anyone who was impressed by his recent tour of this country won't be disappointed. Material is well chosen and varied. Highlights of the set include 'Sweet Substitute' – he always did play this one well – a romping piano solo from Price on 'Siesta at the fiesta', some of the vocals, notably 'How long' and an especially fascinating trumpet solo on 'You're nobody 'til somebody loves you'. But the standard, making a small allowance for the very occasional bit of audience-baiting, is pretty consistent throughout; good-humoured swinging jazz by people who really know what they're doing. The recording quality leaves nothing to be desired and the audience is unobtrusive. --------------------------------------------------------------------------------Kenny Dorham about, Col.2447 in DB-5/5/66; Rating ****: After the eight-bar introduction, to Cherry, Allen asks pianist Price for another, and he plays an additional eight. Red plays one 32-bar chorus and then sings a spirited chorus. The last Feeling Good has the trumpet up front with growls, shakes, eight remind me of Eddie (Cleanhead) Vinson. Price has a the whole works in the gifnmick-expression department. This chorus, and then Red follows. He sings the last chorus, guy has excellent delivery when he sing - showy. Patrol followed by an exchange of fours between Allen's trumpet and Wagon develops a grooving groove with a lot of heavy bass. They do quite a bit of juggling. The vocal is nice, dynamics in the right places. You can still bear the music. fashioned from the era from which it came. It still is old-time. On Virginia Price takes care of business. Drummer Reed is On Substitute a chorus by the trumpeter is followed by one by in there. They go out shouting. Price. Papa Red really "chirps" this one with a lot of feeling. Gee, Baby is more or less a segue into the next tune, time One chorus out with a bird's eye - pause - stop-and-go being short. Rag Mop is a closer with vocals and excitement. cadenza. Comments: This makes me want to hear some freedom All Alone is entertaining in general, with instrumental solos. music-avant-garde. I find it hard to give this a rating in accord An old-time blues, Yellow Dog, with heavy sock cymbal with the standards of this magazine - that is, how records are accenting the second and fourth beats, is played well tradi- rated - and still do justice to an artist who has paid some dues tionally. After the trumpet solo, they go to C for Red's vocal of for quite a while and is a fine person. How Long' followed by some juggling of solos and out, plus With the avant-garde musicians being such as they are and the usual cadenza. with Don Ellis' statement "Henry (Red) Allen is the most The order on You're Nobody is a boogie introduction by avant-garde trumpet player in New York," I am confused. But pianist Price, the melody, a vocal chorus, a piano chorus, and Allen is still very modern, considering his time in the then some juggling. Red cooks on the vocal; I've never heard business. And most of his contemporaries are finished so moving an application of this song. musically. So four stars for Red Allen. Fiesta is a swinger, kind of hot for these times, but a swinger. The format is very much the same as that for the other tunes. - 141 Sinclair Traill about CBS-624oo,In Jazz Journal 4-66: With only one hour employed the leader had to be in very melodic expression. The same can be said for his most unusual good form to put over an album such as this. Happily he was playing of Coming Virginia, where his second solo is played equal to the occasion, and the record is a decided success. with growling intensity. But despite Allen's good trumpet Although Henry's trumpet playing is not perhaps quite so form, the show comes near to being stolen by pianist Sammy potent and flowing as it used to be in the old Luis Russell Price. As accompanist to the lead horn, Sammy's work is days, his tone was never better than on these tracks, a good hot beyond praise-feeding, interpolating, keeping the swing going jazz tone, still with the suggestion of plenty of reserve power. and playing with an eloquence and earnestness which could His singing, and he sings plenty on this album, is really aimed hardly be bettered. He also solos with wonderful at the listener. The lyrics to Henry mean something, and as a inventiveness, some of his stride work coming through with a true entertainer, he makes sure that you also will get the real swinging impact. The work of Moten and Reed shows message. Sweet Substitute is a case in point. This is not just commendable spirit, and they lay down just that kind of beat another Jelly Poll Morton tune to the trumpeter - it is a Allen likes to rely on. beautiful tune, with extraordinary lyrics, and that is the way he Feeling Good was a good title for the album, as Henry was plays and sings it. His choruses on the blues, Yellow Dog (How obviously feeling just that way, but the playing on this Long interpolated) are beautifully timed, and he and Sammy particular track is going to surprise quite a few people. When Price feed one another with the practised hands of long jazz Don Ellis recently called Allen the most avant-garde trumpet experience. Allen's beautifully phrased solo on his favourite player in New York, this is the track he must have been Patrol Wagon is a splendid example of his unique method of listening to. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------George Ellis about Record of The Month: CBS-BPG 62400 in JazzBeat April 1966p8: THOSE of us lucky enough to catch any of Henry Allen's "The Roar Of The Greasepaint," with a lyric that suits Allen's recent appearances know only too well that he has lost none of laconic vocal artistry as few contemporary songs do, or some his forward looking approach to the jazz trumpet and how it new ideas on established favourites such as "Cherry" and should be played. This new LP, well publicised by Henry "Trav'lin' All Alone." The long "I'm Coming Virginia," with a during the tour ("Pick upon it, and help an old guy out!") only couple of "false" endings, is almost three separate versions of serves to make this fact more apparent. Recorded before an the same theme. All the unexpected twists are there, and the audience at the Blue Spruce Inn, a suburban New York long and varied programme provides Allen with a chance to restaurant in Roslyn, Long Island, this presents Allen in a display just about every facet of his style. Although it is quartet setting, with … .Price, a fine pianist in his own right, perhaps misleading to connect this very style with the avant plays several excellent solos, and provides a sensitive backing garde, it cannot be denied that Henry is one of the most advanced musical thinkers, at fifty eight years of age, in jazz to the surprises and exuberance displayed by Allen. Most of the numbers were not played by Henry on the today. The many admirers of "Red" will buy this anyway, but I London dates, in fact only "Sweet Substitute" and "Patrol like to think it will reach some of those who bracket Allen Waggon" were featured. So we have the opportunity to sit with the Bunk Johnson, George Lewis and Kid Ory school. back and enjoy some new material, like "Feeling Good" from ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- and rather Fats-like vocal and some trumpet solo and bright keyboard Max Jones in undated Melody Maker stomping piano which Red says is striding up front and behind - also a little RED ALLEN: "Feeling Good" of the old fluttering to close MOST people who saw Red Allen on Lannie Scott. .The Newly-Bricusse title song, from Next comes "Substitute" (without the his recent visit would agree that he was playing well, with a nice balance "s" so far as Henry is concerned), an the "Greasepaint" show, makes an apt between the hot and cool, and that his intriguing Jelly Roll song which Red vehicle for Red; and "Yellow Dog" and performance today shows only traces of performs, vocally and instrumentally, "Patrol Wagon" confirm the bluesy strength of his slow-tempo playing with the somewhat frantic period he passed with pronounced individuality. Like all great jazzmen, Allen is its always individual choice of notes. through in the late Forties. Two or three tracks hold soft passages "Feeling Good" is a fairly powerful challenged by quality tunes. He ripples reminder of Red's nimble trumpet and obliquely over the melodies of reminiscent of Eldridge in tone and swingy, spluttery singing. As Allen said "Substitute", "All Alone", "You're approach; no doubt the course of modern himself, it might have been improved by Nobody" and "Gee Baby", loosing a trumpet was charted from Louis by one or two extra horns, but as it is the couple of good, growly vocals on Don Allen, then Roy and Dizzy. Anyway, album presents a set of good tunes put Redman's "Gee" and J. C. Johnson's from track one to twelve Red strikes out warmly, hitting his notes like a true "Alone". over with originality. "Siesta", a brisk stomp which calls to jazzman. M.J. "Cherry", the opener, is distinguished by fast, light trumpet flights, a humorous mind the 1930's jam-ups, has very alert -------------------------------------------------------------------------------------------------------------------------------------------------------------Laurie Wright about Red Allen Vol.2: Meritt 27 in Storyville-134, June-88p78: The second of a pair of Henry Allen releases submitted by parade his credentials to an audience and was fond of telling Jazz Music of Manchester and, even more than the one I of his part in his father's band and in trotting out a list of covered in the last issue, this is one for the dedicated Allen famous names with whom he'd worked, and a little of that enthusiast. Recorded privately during Allen's extended, creeps'in here. The final 8,5 minutes of the album are given engagement at the Blue Spruce Inn on Long Island, it features over to a New Orleans Medley which starts beautifully with Red in a quartet setting and the selection here gives a pretty some of his most sensitive playing leading into a slow, but good idea of the wealth of material that he included in his act. jaunty Saints. Just as I was settling down to enjoy what To be sure, there would be the odd standard, but this would be seemed like the best version since the de Paris Brothers, the set against something like Crazy Blues or Pleasin' Paul that tempo is doubled and we get about six minutes of tear-up, hadn't been played for years, or by something that was which no doubt pleased the audience, but sounds a little currently popular like Never On Sunday or Hello Dolly - here contrived on record, particularly with Allen shouting given a vastly different treatment to that offered by Louis. "Hallelujah" a couple of times! Red's playing here is mostly in his more flamboyant style The backing group is Lannie Scott or Sammy Price on piano; with, for my taste, too little attention given to ballad playing at Bennie Moten on bass and drummer George Reed, and they which he excelled in the right company and before the right provide entirely suitable and sympathetic accompaniment. audience. And it may be that the nightly audience at the Blue Recording quality, given the circumstances is surprisingly Spruce expected and got the up-tempo and tearaway Allen, for good. Not perhaps Red at his best, but still one for the Allen he was always sensitive to his audiences. He also liked to fan to watch out for. -------------------------------------------------------------------------------------------------------------------------------------------------------- - 142 unknown date at Princeton University – Red Allen with a pick-up band incl. J.C.Higginbotham and Kenny Davern; Kenny Davern in conversation with John Chilton Aug.97- “Ride, Red, Ride” p188: “I was working at the Cindarella Club in New York and Red kindly called there to pay me for the Princeton gig. Now, the Cinderella was in a very narrow thoroughfare. Red turned up in his Cadillac and left it outside while . he came in to pay me. Nothing could get past and hell was let loose, but Red remained totally relaxed and cheerful and nonchalant got into the Cadillac and drove off Monterey-65: Chris White-Rex Stewart-Clark Terry-John Hendricks-Dizzy Gillespie-Red Allen 9/19/65 Sun. afternoon, Monterey Festival; VoA-.... from Tangier , taped in Spain - "Tribute to individual TRUMPET KINGS": Dizzy Gillespie (t,p,v,ann) Red Allen (t,v) Clark Terry (fl-h,v) Rex Stewart (c) & from DIZZY GILESPIE QUINTET: Christopher White (p on -3 & -7,b on -4-6) Kenny Barron(b on -3 & -7) Rudy Collins (d) & Jon Hendricks (v) part-1: 37:26 min. part-1: 4:14 intro words by Willis Connover about individual musicians 0:37 ann. by Dizzy Gillespie 10:07 SOMETIMES I´M HAPPY -vDG&JH (Caesar-Youmans) RA-CD-13a Curcio: Giganti del Jazz-22(I)/RA-CD-13a/RA-CD-13 -ens-Allen-Terry-White brd-Dizzy-Dizzy in ens-vDG-vDG&JH3:33 Stardust (H.Carmichael-M.Parish) -feat. C.Terry RA-CD-13a -feat.Red Allen-t-vRA(Stewart obl.)-Allen-piano by Dizzy RA-CD-13a/RA-CD-13 4:32 SLOW BLUES -vRApDG 4:17 Don't Get Around Much More -feat.Rex Stewart, -vJH, piano by Dizzy Giganti del Jazz-22(I)/ RA-CD-13a RA-CD-13a/RA-CD-13 10:28 NIGHT IN TUNESIA -vDG&JH (Gillespie-Paparelli) -White intro-scatDG in ens-Terry -scatDG in ens-Allen-ens-Dizzy-ens-Stewart-ens-scat DG in ens-ens-scat DG in ens coda0:14 ens-ann. RA-CD-13a part-2: -Mary Lou Williams, White, Collins & 8 singers: St.Martin de Porres; My Blue Heaven; Yestersay -Dizzy Gillespie & Festival Orch.: Birk´s Works; Dizzy´s Business; Angel City Suite; Road of Monterey unfortunately since 1978 I ve tried to find a better tape quality without result; this source was taped from an unballanced broadcast. 9/17-9/19/65 Monterey - Jazz Festival - by Don DeMicheal in Down Beat 11/4/65 ANY WAY One cares to look at the attractive festival site in this country. 1965 Monterey Jan Festival, it made it. There is something Lyons and the other Not that all the music performed was Monterey officials might watch however: of particularly high quality, but enough beware giving the festival a theme. This of it was to case any numbness brought year it was a "tribute to the trumpet," on by sitting on those hard, narrow supposedly to trace the history of the chairs that go cheek to cheek with instrument in jazz. It's fine if a. festival outdoor musical events. hires a gaggle of trumpet players and Financially, general manager Jimmy merely announces that an extraordinary Lyons and his staff celebrated the largest number of them will perform. But stop turnout in the festival's eight-year history there, please. For if the words "tribute" - more than 30,000 paid attendance and a and "history" are bandied about, questions ticket-sale gross of better than $130,000, such as "where's & Lee Morgan?" (as which does not include the percentage one record company official asked), the festival got from parking and sales of "where's Kenny Dorham?" (as Dorham's food and of alcoholic beverages (even at brother asked). or "where's Roy $1 a shot, much booze was poured). Eldridge?" (as a magazine editor asked) If one is concerned with the social may be raised. ("Where's Miles Davis?" aspects, it was a warm and relaxed He was in New York with a broken leg.) milieu (see last line of' above paragraph). So all considered, perhaps it's best to And scenically, the Monterey County forget grand-sounding themes-what is Fairgrounds, where the five concerts played at a festival is always the imporwere staged Sept. 17-19, is the most tant thing, not what kind of fence is put around it (fences develop holes). … (shortened) … AN INTERESTING GROUPING; Of Stylists began the Sunday afternoon concert. Gillespie, Terry (playing fluegelhorn), and New Orleans-born trumpeter Henry (Red) Allen did a set that, while not outstanding, offered a good opportunity to compare three approaches to jazz. A unique fourth voice was added when Rex Stewart, with a borrowed trumpet, bounced on stage late in the set. Gillespie also played piano, and White and Collins from his quintet completed the group. Allen, Gillespie, and Terry exchanged choruses on Sometimes I´m Happy; Terry did a mellow Stardust, verse and chorus; Allen sang and played beautifully on a slow blues, his rough voice matching his rawedged, hot trumpeting; Stewart did his best playing of the weekend on Don't Get Around Much - 143 Anymore. The final number, A Night in Tunisia, brought all four brass men together, but Allen and Stewart seemed unfamiliar with the changes (which is understandable, since it is doubtful that it is a part of their usual repertoires). chord structure (as do all Miss Williams' originals), and the singers, led by Tom Kenny, did a professional job on it, but it was not too moving emotionally. Not so with the trio's version of My Blue Heaven, Yesterdays, and a minor-key original. Miss Williams was at her most imaginative on Yesterdays and the original. So bright was her playing and so clever her chord voicing that Yesterdays did not sound as it were in a minor key, which it was. On the original, her lines snapped like bullwhipsand seemingly moved White to play a bass solo different in concept from those he plays with the Gillespie quintet. The most ambitious portion of the Sunday afternoon event was disappointing. Gillespie was featured with thefestival orchestra in Birk's Works, Dizzy's Business, two movements of Fuller's Angel City Suite, and On the Road to Monterey, also composed by Fuller. Much of the writing sounded dated and, in some cases, hackneyed (the kind of music played for those big-city-rain-swept-streets scenes on television and in movies). The band played soggily, and more often than not the music came out heavy. Gillespie, who seemed distraced bysome of the playing behind him, performed com-petently but without the inspiration he brings to his music when he is at his best. The best part of Mary Lou Williams' performance Sunday afternoon was not her St. Martin de Porres - a "serious" work performed by eight voices and an instrumental trio, dedicated to the first Negro saint - but the portion that featured Miss Williams' piano, White's bass, and Collins' drums. The Porres composition has interesting -------------------------------------------------------------------------------------------Whitney Balliett in The New Yorker 6/25/66: … (Red Allen's) technically perfect Terry number, he suddenly became himself. his solo was strained and his generally ebullient almost His characteristic long melodic lines had become airborne and vaudeville stage manner was distracted and uncertain. The next his tone had taken on its usual crackle. It was a slow blues and numbers was even less complimentary. In the middle of it, in it he constructed three august chorusaes, sang as many more Gillespie and Terry, joined by the singer Jon Hendricks, broke in a soft, husky high voice, then closed the number with a into some nonsense singing; Allen, who is one of the climatic, high-noted chorus. That night, Allen, who had arrived redoubtable jazz singers, was unaccountably left at the back of from New York just the day before, flew home. Little else in the the stage, his trumpet swinging idly from crossed hands, a bleak weekend matched him. … smile on his face. When Allen played again, after a slick, -------------------------------------------------------------------------------MONTEREY SIGNS ARTISTS FOR JAZZ FESTIVAL: CD- Theme for this year's festival is “The Tribute To The 9/4/65p14: Artists signed to date for the Eighth Annual Trumpet” according to Jimmy Lyons, Festival General Monterey Jazz Festival, Sep.17,18,19, are Louis Armstrong, Manager. Lions pointed out that the weekend festival will Dizzy Gillespie, Miles Davis, Henry James & his orchestra, feature the history of the trumpet in jazz, but will be Duke Ellington & his orchestra, Red Allen, Rex Stewart, musically balanced with a great variety of soloists, groups Harry”Sweets”Edison, and Muggsy Spanier. and orchestras featuring other instruments and vocalists.” occasionally fall-65, Blue Spruce Inn – Red Allen continued to work at several dates; occasionally Red Allen played together with his old Luis Russell friends on private meetings between his gigs: Higginbotham, Al Nicholas, Charlie Holmes, GreelyWalton, Pops Foster, Paul Barbarin; Unfortunately a plan of Richard B.Allen for a Luis Russell Band reunion never achieved fruition; “Red was was not bothered about the style of the resident group.” (source: John Chilton´s “Ride, Red, Ride” p191, as for the following information. late 1965, NYC., The Dom, a couple of set with Tony Scott Quartet (TonyScott & Quintet had played until late Sept. at the “Slugs”,242 East, 3rd St., then for several months at the Dom – often advertised, see JAZZ AD. Vol.3) VV-11/18/65p22 VV-11/4/65p12 &11/18p14 & 12/18p12 & many more Nov.65, first two weeks at NYC., L'Intrigue, a new club on W 56th St., Red Allen Quartet with ?Lannie Scott, ?Benny Moten, ?George Reed; … Trombonist J.C.Higginbotham back from Denmark gig. … NYAN-11/20p22; Another source: Red Allen joined pianist Ronnie Ball and bassist Jimmy Rowser for two weeks. The club also features owner-singer Nancy Steele. Coda Dec/Jan-65/6: Red Allen had played two weeks at the L'Intrigue Club. Red signed for UK-tour commencing mid Feb. and lasting 3 weeks. Original idea was for Red to have Budd Johnson , Dicky Wells , Sir Charles Thompson, Gene Ramey and Cozy Cole, but Allen was signed to come alone. 11/21/65 Sun. Groton, Holiday Inn Jazz Festival part-5 with Red Allen the below source or any other of the above clips is very probably out of: THE DAY, NEW LONDON, Conn., Fr. 11/19/65 unknown source & date: (surely not: 11/21/54 Billy Fellows a Smash! - Henry Red Allen Jazz Star Sun; by Eve Holiday HOLIDAY INN, GROTON - One of the giants of American jazz, none other than HENRY RED ALLEN, stars in the Holiday Inn Fall Festival of Jazz, Part Five, this Sunday, Nov. 21, from 5 to 9:00 P.M. in the Quarter Deck Lounge. The man whose trumpet virtuosity is ranked right up there with Satchmo himself, the grand old pro of the Fletcher Henderson, Artie Shaw, Lucky Millinder and Webb bands, trumpet spark of the legendary house band at that hallowed capital of jazz, New York s Metropole – HENRY RED ALLEN - here at the Inn this Sunday! The venerable horn man, by the way, was the arranger for the big hit of several years back, "Ragmop", and wrote both music and lyrics for the classic "Ride, Red, Ride!" Come on over to the Inn this, Sunday, friends, for the great Henry Red Allen and his storied horn as they swing in Part Five of the Festival of, Jazz. …(Su.11/28 Carmen McRae at Holiday Inn) ============================================================================================= - 144 12/5/65, 3 p.m.-4 a.m, N.Y.C., Luigi's, Greenwich Village - lst SHORTY BAKER BENEFIT CONCERT; - for Shorty serious ill in the Veteran's Hospital. It began at 3 in the afternoon and ran full blast until 2 in the morning; Duke (p) Aaron Bell (b) Frankie Dunlap (d):Satin Doll / same & Max Kaminsky & Sol Yaged: … / Duke (p) Al Lucas (b) Hamilton (cl): C Jam / Clark Terry (p-t) Ram Ramirez (p)Herbie Lovelle (d) Aaron Bell (bb): Mubles / ... / Dicky Wells(tb) & Johnny Hodges & Son: Things Ain't … / Wells, Matthew Gee, Quentin Jackson, Benny Powell: ... / Roland Kirk & Aaron Bell (bb): ... / etc. among others were Sonny Greer, Red Allen, Howard McGhee, Jimmy Jones, Babs Gonzales, Big Nick Nicholas, Joe Newman, Tommy Flanagan, Marian McPartland, Bill Pemberton, Bobby Donaldson, Tony Scott, Jerome Richardson, Illinois Jacquet, Russell Procope, Harry Carney, Tom Whaley, Kenny Davern, ... (Stanley Dance, Jazz Journal 1/1966) ( l0-nights later was a 2nd Baker benefit at Embers West, but without Red Allen) 12/22/65, N.Y.C., Palm Gardens - PETE JOHNSON BENEFIT CONCERT - organised by Jack Bradley Bul.H.C.F.No.155/Feb.66: Huit orchestras se sont succédé (nous écrit Konrad Korsunsky) au concert organisé le 22 Dec. dernier per Jack Bradley et Jeann Failows au "Palm Gardens" de New York pour venir en aide a Pete Johnson. Participérent notamment á cette soirée: Max Kaminsky, Zutty Singleton, Cliff Jackson, Eddie Dougherty, Maxine Sullivan, Ruby Braff, Herman Autrey, Vic Dickenson, Red Richards, Red Allen, Milton Hinton, Jo Jones, Clerk Terry, Buddy Tate, Rudy Rutherford, Big Nick Nicholas, Jack Bradley va pouvoir adresser á Pete Johnson quelques centaines de dollars ... THE NEW YORK JAZZ BENEFIT SCENE by Dan Morgenstern, in Down Beat 3/1o/1966 (shortened): THE FIVE MAJOR jazz benefits held in New York during December differed in setting, turn , out, and atmosphere. There were two for trumpeter Harold (Shorty) Baker, AT THE BENEFIT FOR Pete Johnson, held a ?week stricken with a throat tumor, and one for long ailing pianist later at the Palm Gardens, a dance hall on W.52nd St. (but Pete Johnson, plus the afore-mentioned benefit for the family much farther west than the old jazz block), the musicians of the late Frank Haynes. The fifth had a more cheerful basis: turned out in strength, but a sizable audience failed to materiit was held to raise funds for WBAI, a noncommercial, liste- alize. After deduction of expenses, only $180 was left for ner-suported FM station that devotes considerable time to jazz. Johnson, proof that a jazz benefit, if not properly promoted, is The first Baker benefit was organized by Fred Profilio, a not a built-in success. Brooklyn trucker and devoted jazz fan, and held at Luigi's, a Musically, however, the event was gratifying, and a number long, narrow, low-ceilinged establishment in Greenwich of veteran and younger mainstreamers and traditionalists too seldom heard in New York had a chance to show their stuff. Village. It was perhaps the longest jazz benefit on record, running Two organized bands - Cliff Jackson's group from Jirnmy without interruption from 3 p.m. to 4 a.m. There were 117 Ryan's, and Peanuts Hucko's quintet from Eddie Condon's musicians, plus numerous singers, taking part. Baker has club - started things. been with Duke Ellington for several long stretches, and A highlight of the Ryanite's set (with pianist Dill Jones, of Ellington and several of his men dropped in after taping a the Condon bunch, subbing for the delayed leader) was the television show in Brooklyn. The maestro himself offered splendid drumming of Zutty Singleton. Though he will Satin Doll to cheers and cries of "more" and retired gracefully. celebrate his 68th birthday in May, Singleton plays with the Johnny Hodges, a man who always takes his time, resisted vigor of a young man, and few drummers have so invigorating all requests to play, contenting himself instead with several a beat and so much joy and spirit in their playing. Veteran relaxed tastes at the bar. But he had brought his alto. New Orleans clarinetist Tony Parenti, Max Kaminsky Meanwhile, a trombone party was in progression the band- (subbing for Wild Bill Davison), and Herb Gardner, a stand; the party participants were Dickie Wells, Quentin young Boston trombonist, also did well. Gardner, who has a Jackson, Benny Powell, and Matthew Gee. Since all hands big sound, guts and flexibility, had a chance to display his are seasoned section men, there was no problem with voicing mastery of plunger trombone in the Tricky Sam Nanton vein riffs and other backgrounds as the solos progressed. There with a group including Jackson (a man with his own brand of was a blues, with Wells' potent preaching outstanding (he also Harlem piano), Joe Muranyi (the leader of the successful was responsible for most of the on-the-spot arran-ging), and Village Stompers and a fine clarinetist), and the little-known there was a ballad medley, during which Powell scored with a trumpeter Leon Eason, a player with a strongly Armstrongmoving I Left My Heart in San Francisco that might have tinged conception. They followed the well-organized Hucko gladdened Tony Bennett's heart. At least it warmed Hodges' group, in which trumpeter Yank Lawson and trombonist heart enough to make him unpack his horn. (He was perhaps Cutty Cutshall stood out. additionally warmed by the sure, steady drumming of his son, There followed a rare treat-a set by Maxine Sullivan. Johnny Hodges Jr., who was backing the trombonists. Though her hair is now gray, Miss Sullivan's voice has lost In front of the trombone choir, the alto saxophonist none of its youthful charm, and her relaxed, understated launched one of those blues-with-bridge originals of which he delivery was a welcome contrast to the histrionics of most has a vast supply, and soon the impromptu group sounded current girl singers. like a welloiled Ellington unit of long standing. The evening's two best instrumental sets came next. First, a What followed was mostly anticlimactic - until the arrival of delightful impromptu band headed by Ruby Braff, who Roland Kirk. the amazing Kirk soon set sparks flying with also performed yeoman service as the evening's music cohis several instruments. He was backed by a group including ordinator. It included saxophonists Bob Wilber (curved Aaron Bell on tuba, who subsequently joined Kirk in an soprano) and Eddie Barefield (alto), pianist Chuck Foldes exchange of musical comments running the gamut from (a young man with two good hands), bassist Bill Crow, and upper-register reed cries to gruff brass growls. drummer Eddie Dougherty, one of the few musicians Abandoning his other horns, Kirk next concentrated on present who had worked with Johnson. tenor for a rousing rendition of I Found a New Baby, during With Braffs pungent, singing cornet at the helm, the band which he and pianist Marty Napoleon generated tremen- hit anything but a Dixielandish groove. It offered subtle, dous swing. swinging sounds on Sometimes I'm Happy, a medium blues, There were other good things: Red Allen playing and Take the A Train, Undecided, and Between the Devil and the swinging in a relaxed mood, Ray Bryant's solid piano, the Deep Blue Sea. trumpets of Ruby Braff and Max Kaminsky, and a rare It was music of a kind all too rarely heard these days-and appearance by pianist Eddie Heywood. more's the pity. Most of the time, the place was packed, and it was clear that In addition to sterling work by Braff, there was Wilber, Harold Baker had made many friends in his profession: joyous and imaginative; Barefield, whose real horn is the nearly everybody in the house seemed to know and care alto, though he more often is heard on clarinet, and whose about the reason for his benefit. style destills the best of the Hodges-Benny Carter and Charlie (without of interest: – 2nd Baker benefit concert ) Parker traditions; and a flowing, tasteful rhythm section. (cont. on the next page) - 145 Next came the long overdue New York debut of the Saints his own brand of scat singing, fun only for a while. and Sinners, perhaps the best organized group of its kind The next set held promise-what with trumpeter Clark around today. Led by pianist Red Richards, this splendid Terry, tenorist Buddy Tate, Crow Wilber, Foldes, and little band has ensemble unity, solo strength, a fine rhythm French drummer Dave Pochonet. Terry had planned to section, and a repertoire from traditional to mainstream. introduce his old friend and fellow St. Louis trumpeter, Joe The group's opener was But Not for Me, played in an easy- Thomas, after the first number, but that one number was all swinging tempo, followed by Benny Carter's seldom-heard the group played. While all was going well, Big Nick Blues in My Heart. Then came the solo showcases-Please emerged from backstage, barely gave Tate a chance to play, Don't Talk About Me When I'm Gone for Vic Dickenson's and attempted to challenge Terry to a scat duel. The trumpeter brilliant, sly trombone; Blueberry Hill for Herman Autrey's didn't lose his poise but was understandably irritated and bright, steady trumpet and good-natured singing; I've Got a brought the number to a fast conclusion. Right to Cry for Rudy Powell's clarinet, which was Thomas thus was forced to work with trombonist Snub especially affective in the lower register, and Sleep, Mosley, who had made plans for his own set. featuring Richards' deft piano in a trio setting (Frank Mosley, who was one of the stars of Alphonse Trent's Skeete, a strong bassist, sitting in for regular Danny Mastri, legendary big band of the late '20s, has a unique and and Jackie Williams' steady, tasteful drums) explosive style, a big sound, and considerable showmanship. After a brisk Lonesome Road, singer Jimmy Rushing He also plays an instrument of his own devising-the slide joined the band, and as is his wont, broke up the place. The saxophone, with a reed mouthpiece and trombone slide, Saints and Sinners provided expert backing, with Vic emitting a sound like a soprano. Dickenson particularly fetching. Thomas' golden, lyrical sound and relaxed approach hadn't It was hard to follow this strong performance, but Red much chance in all this, but his wife, Babe Matthews, a fine Allen tried hard, aided by bassist Milt Hinton, drummer singer with a style reminiscent of the late Ivie Anderson, Jo Jones, and pianist Marty Napoleon. The trumpeter scored with I Got It Bad. Since 1 a.m. was curfew for this event, the evening ended and the rhythm section were fine, but not much help was provided by Big Nick Nicholas, who played some good, abruptly with Mosley's rendition of Red Top, Thomas managing to squeeze in a perfectly constructed solo pungent tenor, but for too long, and indulged himself in ------------------------------------------------------------------------------------------------------------------------------------------------------------ BENEFIT CONCERT HELD TO HELP PETE JOHNSON NYAN:12/25/65p18 A giant jazz concert to aid pianist Pete Johnson, who has been inactive since 1958 and who is badly in need of financial aid, was held Wednesday night at the Palm Gardens Ballroom on W.52nd St. at Eighth Ave. The affair was held under the auspices of Local 602 of the American Federation of Musicians. At press time the following musicians have offered to appear at this benefit: Blues shouter Jimmy Rushing and trumpeters Roy Eldridge and Clark Terry. This occasion will also mark the New York debut of the Saints and Sinners All Star Band. This local based band has toured the U.S. and Canada for the past five years but, surprisingly, has never appeared in New York City. The band features Red Richards, Herman Autrey, Vic Dickenson, Rudy Powell and Jackie Williams. Others Playing Also on the bill are pianists Marty Napoleon, Ray Bryant, Cliff Jackson, Eddie Wilcox, Dill Jones, Tony Aless; trumpeters Ruby Braff, Joe Thomas, Red Allen, Max Kaminsky, Leon Eason, Yank Lawson; trombonists Cutty Cutshall, Snub Mosely, Jimmy Cheatham, Herb Gardner; clarinets Peanuts Hucko, Tony Parenti, Joe Muranyi; saxophonists: Buddy Tate, Eddie Barefield, Big Nick Nicholas; bassists Milt Hinton, Gene Ramey, Arvell Shaw; drummers Sonny Greer, Zutty Singleton, Morey Feld, Eddie Dougherty, Marcus Foster. This concert will be the second work of the U.S. and Europe Fund Raising Project for Pete Johnson – the first being “The Pete Johnson Story,” a book about Pete edited by Hans J.Mauerer. In 1958 the pianist was felled by a stroke, complicated by heart trouble and diabetis. since then he has been in and out of hospitals and barely able to sustain himself on a small government disability allotment. The Kansas City pianist first gained fame at the renowned 1938 Spirituals to Swing concert at Carnegie Hall and soon became largely responsible for the term boogie woogie becoming a household name. For many years he was featured at Café Society along with pianists Meade Lux Lewis and Albert Ammons and blues shouter Joe Turner. In 1952 he toured with the Piano Parade which also headlined Art Tatum, Erroll Garner and Meade Lux Lewis. His last big year was 1958 when he toured Europe and appeared at the Newport Jazz Festival. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------early until late Feb.66, N.Y.C., Jimmy Ryan's longer engagement of Red Allen Trio (return after the UK-tour in April): Jimmy Ryan's is placking them nightly. This club really does phenomenal business, thanks to Red Allen, Tony Parenti, Cliff Jackson, Zutty Singleton, Marshall Brown. At the end of Feb., Red left for a 16 day tour of England with the Alex Welsh band. While he was out, he was ably replaced by Max Kaminsky. Coda April/May-66 - 146 - 18th Feb.- 6th March 1966 UK "Red"Allen on a 17 days cross country tour with Alex,Welsh & his Band, the Bruce Turner Jump Band and jam sessions including one with the New Orleans All Stars 2/18 2/19 2/20 2/21 2/22 2/23 2/24 2/25 2/26 2/27 Osterley, Rugby Football Club Birmingham, Digbeth Institute London, BBC-2 TV - 'JAZZ 625" Bexley,_Kent, Black Prince Stafford, Staffordshire Yeoman Southhampton, Concord Jazz Club London. National Film Theatre Lincoln, Co-Op Hall Nottingham, Dancing Slipper Redcar, Coatham Hotel (AW) (AW) (AW) (AW) (AW) (AW) (BT) (AW) (AW) (AQ) 2/28 Sunderland, Empire Theatre (AW&NOAS) 3/1 afternoon: Liverpool, University (AW) 3/1 evening: London-Chelsea, Six Bells (BT&Mixed band) 3/2 Norwich, Stuart Hall , advert on p 168 (AW) 3/3 Bath, Regency Ballroom (AW) 3/4 afternoon: Crawley, Starlight Ballroom (AW) evening: London, Ronnie Scott Club (Quartet) 3/5 Manchester, Sports Guide (AW) 3/6 afternoon: London, Douglas House (AW) 3/6 evening: London, 100 Club-Oxford Str. (AW) New Orleans All Stars: Alvin Alcorn, Keith Smith(t) Jimmy Archey(tb) Darnell Howard (cl) Alton Purnell(p) Pops Quartet: Stan Tracey(p) Jeff Clyne(b) Bill Eyden(d) Foster(b) Cie Frazier(d); Tour form 2/4 until 3/1/66 2/20/66 Sun., London Marquee Club, telerecorded BBC-2TV-"JAZZ 625", transmitted 8/24/66 Red Allen (t,v) ALEX WELSH & HIS BAND: Alex Welsh (t) Roy Williams (tb) Johnny Barnes (cl,ts) Fred Hunt (p) Jim Douglas (g) Ron Mathewson (b) Lennie Hastings (d) *intermission narr. by Humphrey Lyttelton video tape wanted)/ 30:24 tape *0:08 *0:33 *0:20 *0:15 *0:15 Stan´s Dance (Buck Clayton) possibly without Red Allen , not on my tape, listed in David Meeker-2005) 1:04 intro: music & announcement probably by Humphrey Lyttelton RA-CD-26 RA-CD-26 0:41 theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) 3:16 AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-26 RA-CD-26 2:07 SWEET SUBSTITUTE -vRA (Jelly Roll Morton) 4:18 CANAL STREET BLUES (King Oliver RA-CD-26 RA-CD-26 4:35 ST.LOUIS BLUES -vRA (W.C.Handy) ROSETTA -vRA (Earl Hines) not on my tape, listed in David Meeker-2005) ALL OF ME -vRA (Seymour Simons-Gerald Marks) not on my tape, listed in David Meeker-2005) 4:51 MEDLEY: - JUST A CLOSER WALK WITH THEE -spRA (trad.) RA-CD-26 - DIDN'T HE RAMBLE -sp&vRA (Handy-Randall) RA-CD-26 RA-CD-26 - WHEN THE SAINTS GO MARCHING IN -spRA about N.O.men (trad.) 5:30 WHEN THE SAINTS GO MARCHIN IN -vRA&ch (trad.) RA-CD-26 RA-CD-26 1:03 leave out announcement by the narrator & Red Allen 1:27 leave out: encore - WHEN THE SAINTS /cut RA-CD-26 2/21/66 Mon., Bexley, Kent, Black Prince, "Red"Allen(t,v) & Alex Welsh & His Band: as above; private tape no longer exists DIDN'T HE RAMBLE ; WHEN THE SAINTS; NIGHT TRAIN; ST.LOUIS BLUES; HELLO DOLLY; ST. JAMES INFIRMARY & encore MUSKRAT RAMBLE; ALL OF ME; BILL BAILEY; 2/24/66 London, National Film Theatre, HENRY"RED"ALLEN (t,v) & BRUCE TURNER JUMP BAND: Ray Crane(t) Pete Strange(tb) Bruce Turner(as,cl) Ronnie Gleaves(vib) Fred Hunt(p) Ron Rubens(b) Doug Higgins(d) unfortunately the private tape no longer exists BALLIN' THE JACK; SWEET SUBSTITUDE; CHERRY RED; ALL OF ME & encore ROSETTA; ST.JAMES INFIRMARY & encore JUST A CLOSER WALK DID'NT HE RAMBLE; WHEN THE SAINTS; 3/1/66 Tue. evening, Chelsea. London, Six Bells, Red Allen (t.v) & A MIXED BAND: Sandy Brown (cl) Tony Coe (ts) Bruce Turner (as) Ronnie Gleaves (vib) Fred Hunt (p) Ron Rubens (b) Doug Higgins(d) session although the musicians have not found together, an interesting jumping session unfortunately private taped by the band boy in very poor sound quality, it’s a pity STRUTTIN' WITH SOME BARBECUE (Armstrong-Raye) RA-CD-29 ST.LOUIS BLUES -vRA (W.C.Handy) RA-CD-29 INDIANA (J.F.Henley) RA-CD-29 ALL OF ME -vRA (Simon-Mark) RA-CD-29 encore: ALL OF ME -vRA RA-CD-29 PATROL WAGON BLUES -RA (P.Grainger) RA-CD-29 WON'T YOU COME HOME BILL BAILEY -vRA (Cannon) RA-CD-29 CANAL STREET BLUES (King Oliver) RA-CD-29 SWEET LORRAINE (C.Burwell-M.Parish) RA-CD-29 encore: SWEET LORRAINE RA-CD-29 RAG MOP -vRA (J.L.Wills-D.Anderson-H.Allen) RA-CD-29/RA-CD-26 ST.JAMS INFIRMRY -vRA (J.Primrose) RA-CD-29 TIN ROOF BLUES (N.O.R.K.) /RA-CD-26 MEDLEY: DIDN'T HE RAMBLE - WHEN THE SAINTS -vRA (trad.) RA-CD-29 3/4/66 Fri.afternoon, Crawley, Starlight Ballroom; Red Allen(t,v) & ALEX WELSH BAND: same as 2/20: 1:57 JUST A CLOSER WALK WITH THEE -vRA (trad) private taped of very poor quality RA-CD-36/& -34 1:01 DIDN'T HE RAMBLE -vRA (Handy-Randall) RA-CD-36/& -34 RA-CD-36/& -34 8:19 WHEN THE SAINTS GO MARCHING IN & encore -vRA (trad.), 1:41 10:30 7:39 3:55 5:01 4:39 6:44 10:00 8:35 2:10 5:27 6:11 5:25 6:02 3/4/66 Fri. evening , London, Ronnie Scott's club RedAllen (t,v) guest appearance with Stan Tracey (p), Jeff Clyne (b) Bill Eyden(d) for three numbers - Summertime, a blues and Love Me Or Leave Me. (not taped) - 147 3/6/66 Sun.afternoon, London, Douglas House; Red Allen(t.v) & same as 2/20: private taped of poor quality, not of interest BODY AND SOUL -vRA (J.Green-E.Heyman-R.Sour) ST. JAMES INFIRMRY -vRA (J.Primrose) BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) AT THE JAZZ BAND BALL (LaRocca-Shields) CANAL STREET BLUES (King Oliver) SWEET SUBSTITUTE -vRA (Jelly Roll Morton) ROSETTA -vRA (W.H.Woods-Earl Hines) BASIN STREET BLUES (Williams) MEDLEY: - JUST A CLOSER WALK WITH THEE -spRA (trad.) - DIDN'T HE RAMBLE (Handy-Randall) - WHEN THE SAINTS with encore -sp&vRA (trad) 5:18 ST.LOUIS BLUES -vRA (W.C.Handy) (J.L.Willis-D.Anderson-H.Allen) 4:48 RAG MOP -vRA 4:35 6:55 8:28 0:18 3:18 5:37 2:34 5:25 6.35 9:34 RA-CD-36/& -34 RA-CD-36/& -34 RA-CD-36/& -34 RA-CD-36/& -34 RA-CD-36 RA-CD-36 RA-CD-36 RA-CD-36/& -34 RA-CD-36/& -34 RA-CD-36 RA-CD-36 RA-CD-37/& -34 3/6/66 Sun.evening, London - 100 Club Oxford Street; same as above private taped of poor quality, not of much interest 3:26 4:32 3:09 6:41 4:44 5:57 5:19 2:01 4:40 4:44 10:41 AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-37 CANAL STREET BLUES (King Oliver) RA-CD-37 SWEET SUBSTITUTE -vRA (Jelly Roll Morton) RA-CD-37 ROSETTA -vRA (W.H.Woods-Earl Hines) RA-CD-37 PATROL WAGON BLUES -vRA (Porter Grainger) RA-CD-37/& -34 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA (trad.) RA-CD-37 - DIDN'T HE RAMBLE - I THOUGHT I HEARD BUDDY BOLDEN SAY -vRA (J.R. Morton) RA-CD-37//& -34 WHEN THE SAINTS GO MARCHING IN -vRA (trad.) RA-CD-37 encore: WHEN THE SAINTS GO MARCHING IN -vRA (trad.) RA-CD-37 ST.LOUIS BLUES -vRA (W.C.Handy) RA-CD-37 SWEET LORRAINE (Mitchell-Parish-Burwell) RA-CD-37/& -34 ST.JAMES INFIRMARY -vRA (J.Primrose) RA-CD-37 RA-CD-37 into leave out: BILL BAILEY, WON'T YOU PLEASE (Canon) Dear Franz, Many thanks for the book, and I assure you it was of great interest to me. I learned about jazz, back in 1935, with the Spike Hughes and Fletcher Henderson records with Red and Higgy. So sorry I was not able to help you. My band played with Henry Allen about twice - and I think there were tape recordings but they have disappeared off the face of the earth. Where are the great performers now? Only Benny Carter remains from the classic period. Someone should do a Carter discography soon ! Best wishes, I hope we will meet again soon, Bruce Turner 17/9/83 37a High Street, Toddington, Beds, England Manchester 1964: Ray Crane-Pete Strange-Bruce Turner-Red Allen "RED'S BLUES" by Charles Fox in Jazz Times 3-4/4.66; "The Guardian"...: 2/18 Osterley: up Louis Armstrong's INFIRMARY, complete with lip-thrills and Far too many modern Jazz players neg- loosened lect dynamics. Their solos are often too symmetrical style, who fashioned a more audience-participation. long and too much on one level, techni- romantic approach, flaring across the bar- Somehow Allen contrives to be brash cally immaculate but lacking drama. lines, foreshadowing (along with Roy and sensitive almost simultaneously, his Henry'Red'Allen belongs to an earlier Eldridge) the innovations of Dizzy tone brassy and bold at one moment, cloudy and expressive the next. Yet his breed. He known that vigour must be Gillespie. balanced by restraint, that contrast is the On Friday evening the 58-year-old identity remains distinct, and he always secret that really matters. Certainly his trumpeter threw in a bit of rabble- sounds amazingly modern. No wonder methods paid off last Friday, when he rousing, including a treatment of that Don Ellis, 27 years his junior, completely captivated the very youthful "WHEN THE SAINTS" that made this recently called Allen the most avantaudience which crushed into the Osterley well-thumbed number sound surprisingly garde trumpet player in New York. Club for the first performance in Allen's fresh. But he also produced the ravishing Excellent support was given by the Alex PATROL WAGON BLUES, where his Welsh band, a group which grows more 17-day tour of Britain. Showmanship, of course, is one of the singing achieves the same kind of ragged and more electric as the years roll by. Its crafts that Henry Allen has learnt over lyricism as his trumpet playing. There star soloist is Johnny Barnes, a unlike the years. His father was a band-master was a leisurely SWEET LORREINE either Harry Carney or Gerry Mulligan, a in New Orleans, and Allen worked with (melting into JUST A CLOSER WALK rare feat in itself. His playing has a King Oliver in the twenties, and with the WITH THEE, a version of BALLIN' flexibilty which must ,be hard to achieve Luis Russell and Fletcher Henderson THE JACK which made forget that on an instrument which has, as it where, bands in the thirties. Historically he is an Danny Kaye ever tempered with the song, a built-in time-lag. a melodramatic ST.JAMES important musician, the man who and --------------------------------------------------------------------------------------------------------------------------------------------------------------- - 148 Sinclair Traill in Jazz Journal 3/66:When Red Allen left here in and in Johnny Barnes the band have one of the best jazz the summer of 1964, after what had been a most successful tour, musicians in the country today. As usual Alex himself is as he told-me that he would be living for the day when he returned a sound as a –bell, and the rhythm section have with time, to once again blow his horn for British audiences. Henry's first learnt that it is not always necessary to play loudly to play visit to these shores, was to understate the case, a happy one. good. drums. I think Henry was a little surprised at his Outside jazz, and Red to me always evokes the very essence of opening at Osterley, but that he was happy with what he the music , Henry built up a very real human bond of affection heard there. was not the slightest doubt. He led the band with all (well, nearly all) the bands with whom he played. Now with power packed phrasing that had them all swinging, back again, once more in harness with Alex Welsh, Red on his and his solos were played with that clean, open brass tone. opening night, pulled out all the stops. And let's face it, the Now and again he unleashed his own individual growl Welsh Band have improved enormously since, Henry played effects, his playing and singing being an intensely personal with them last. They were good then, now I should say they are jazz message from one of the last of the truly great New remarkable. Roy Williams has become an exiting trombonist, Orleans jazz trumpeters. -----------------------------------------------------------------------------------------------------------------------------------------------------------------HENRY RED ALLEN by Albert McCarthy in Jazz Monthly 4/66: I heard Henry Allen on five occasions soloed very well indeed, including here a fine solos that it is perhaps invidious to after his opening at the Osterley Jazz version of Buddy Boden's Blues that was single out particular ones, but I recall in Club on 2/18. the venues being the "Six extremely striking. Later that night he particular Bruce Turner's on Patrol Wagon Bells" at Chelsea (3/1), a dance Hall at visited Ronnie Scott's club and sat in and Sweet Lorraine, Sandy Brown's on Crawley followed by an informal sitting with Stan Tracey(piano), Jeff Clyne Canal Streeet Blues and Tony Coe's on, at Ronnie Scott's Club (3/4) and during (bass) and Bill Eyden (drms) for three of all numbers, The Saints. In retrospect I his final engagements of the tour on 3/6 numbers - Summertime, a blues and would say that this was one of the most at Douglas House and loo Oxford Love Me Or Leave Me. His version of stimulating jazz performances that I Street. It is clear from a reasonably Summertime was very fine, bringing out have heard in this country and it is adequate opportunity to listen to him a the full range of his dynamic contrasts fitting that the "Six Bells", saluted many different surroundings that reports based and the obliqueness of his melodic years ago by Spike Hughes in his Six on a single performance can be and often variations, the trio, who had never Bells Stampede, should now, under its are misleading. played with him before, providing a very jazz loving land-lord, Bill Nicholls On the 6th I left Douglas House after professional and apt backing. It was another great dispenser of hospitality the first set and am told that the second amusing to hear his success with what incidentally-be one of' London's leading one was superior, but .this U.S.service must have been a predominantly jazz centres. men's club had an audience who seemed modernist audience in drawing the Henry Allen is a showman who belierather disinterested in the music, apart required responses to his "oh,yeh" ves in entertaining his audience, yet his from a small minority, and significantly routine! It may be that Henry play at the raucous amiability on stand, to use the loudest request was for The Saints. Scott club in future though he genially William's apt phrase, should not The later show at loo Oxford Street assured the audience that "I'm not giving Martin disguise the fact that he is a musician brought forth some fine playing from an audition you know. " proud of his background and his contriHenry, notably so when one bears in During all but about two engagements bution to jazz and one, above all, who at mind that he was struggling to overcome the accompanying band was Alex Welsh's his best is one of the most creative a bout of influenza at the time, and he and the praise which this group has was particularly delighted with the pre- received is merited. The rhythm section performers in the history of the music. sensation, in the course of the evening, of Fred Hunt (p), Jim Douglas g) Ron The amazing diversity of his playing is of a scroll from the West London Jazz Matthewson (b) and Lennie Hastings(d) fascinating, for the interperses passages Club Association in recognition of his is an integrated one and Hunt's sensitive of great power and volume with others acceptance of the presidency of that support was much appreciated by Henry. of extreme delicacy and makes the organisation. However, the oxygen Jim Douglas took a number of whole seem entirely logical. His control content at l00 Oxford Street was rather interesting solos, only once reverting to of dynamics can be equalled by few below what I find tolerable and I was the dreaded banjo on a burlesque version others and the tonal range he employs is forced to seek air during parts of his by the band of When The Midnight Choo considerable, including growl effects sets. In view of this my impressions are Choo Leaves For Alabam. Roy Wiliams achieved without the aid of a plunger taken from the four other engagements is an excellent trombone soloist and that are highly personal. The melodic mentioned. Johnny Barnes reveals an individual style variations on such numbers as Sweet Osterley Jazz Club, whose premises on baritone sax which I prefer to his Lorraine, Rosetta and Body And Soul often oblique; sometimes are the clubhouse of the rugby team admittedly very proficient clarinet are which sponsors it, is not easy to reach playing. Alex Welsh himself did pot extraordinarily imaginative, and he can and it says a great deal for the enterprise play with Henry Allen on any date at sustain lengthy solos without becoming of the founders that they run into own which I was present but prior to his repetitious. It is no accident that bus service from Osterley station and guest taking the stand was heard in a musicians as diverse in style as Miles other points to the club. In addition one number of well constructed and Davis, Don Ellis, Dizzy Gillespie and must add that very few clubs are as balanced solos. The present success of Louis Arm-strong are admirers of Allenhospitable to visiting jazz journalists. It the Welsh band is heartening in as far as he was the only musician ever to get now seems a tradition that tours of it seems to prove that an adherence to a featured billing in Armstrong's big bandvisiting soloists commence at Osterley policy of good music can ultimately be for these men have assessed his worth and arriving after Henry Red Allen had rewarded. rather better than many critics. Henry commenced his first set it was immediThe 'Six Bells' session was with a Allen played some of the finest jazz I ately apparent that he was in good form pick-up group which included Fred have heard during this tour-his vocals both musically and personally. The Hunt - at Henry Allen's request - from are an extension of his trumpet playing familiar cries of "make him happy" and the Welsh band and a frontline of Bruce in every sense-and when he returns to "nice" brought back memories of the Turner(alto) Tony Coe(tenor) and this country any jazz lover, irrespective of Metropole where I heard Henry a great Sandy Brown(clarinet). This was an stylistic inclinations, should make every deal in 1958 and his repertoire was a uneven session but although there were effort to hear him. balanced mixture of standards and rough spots these were more than offset To close on a personal note I might numbers like Patrol Wagon Blues with by the brilliance of many of the solos mention that while he was in this country which he is associated. and on this occasion Henry Allen played I had the pleasure of tape recording his The dance hall at Crawley was a less so superbly on many numbers, including autobiography for future publication by suitable venue and frankly one a marvellous version of Sweet Lorraine, Cassell's. The choice of a title came wondered why they bothered to book that the other musicians, including naturally - MAKE THEM HAPPY ! him to play a single set. Fortunately Ronnie Greaves(vibes), played well there were some jazz fans present and he above themselves. There were so many ================================================================================= - 149a - Addenda Jazz Beat (UK) March-1966 p24 have been overlooked for a while too long; you can trace a line through Henry Allen with, say, Bill Coleman, Roy by Anthony Barnet Bill Dillard, Charlie Shavers, HENRY RED ALLEN is one of the Eldridge, with Louis Armstrong at one end and most rewarding trumpet players to listen Dizzy Gilles-pie at the other. to. His February/March tour is the third In January 1965 trumpeter Don Ellis welcomed opportunity we have had in took the trouble to write for Down Beat England in recent years to confirm the an appreciation of Henry Allen and referbrilliance of his personality as an enter- red to him as "the most avant-garde tainer and a creative musician. player in New York City." Well, Henry Allen was born in Algiers, Loui- trumpet maybe there are people who like Henry siana in 1908. He worked on the river Allen who took to that obserboats with Fate Marable and later with vation but there isexception a good measure of truth King Oliver in Chicago, and Luis Russell. in it and Henry Allen's associa-tes on His emergence in the early 1930's as a recordings over the last few years -Kid major jazz soloist was assured by the time Ory included - haven't necessarily indicahe joined Fletcher Henderson - though ted the way of his playing. Instead it Whitney Balliett, in a fine chap-ter on illustrates his standing as an essential-ly Henry Allen in Dinosaurs in the Morning, individual musician. The authority of his notes well that the preeminence of Louis music is not questioned and he gives Armstrong during these years was value to sessions which otherwise might unfortunate in as much as it helped to be pointless. obscure the efforts and achieve-ments of Henry Allen displays an exceptional other trumpet players some of whom, sense dynamics and rhythmical control. Henry Allen for example, had developed With of his fine feeling for the blues this their own originality. During the late enables him to draw upon a remarkable 1930's Henry Allen was a member of the range of effects sustains in the big band led by Louis Armstrong and listener a high levelwhich of interest. Instead of from the 1940's onwards he prefer-red to time-proven phrases he is happy play mostly in small groups with fine repeating search for fresh ideas, to take risks. But musicians such as J.C.Higginbotham and to his ability is such that what first appears Buster Bailey. into an imaginatively Perhaps the most interesting aspect of as a risk develops musical statement. If he is Henry Allen's work of the last decade is constructed erratic then, in the face of his his assimilation of modern trumpet tech- occasionally succes-ses, he is all the more niques and ideas which he has remodel- frequent led for his own purpose within the broad interesting. If any one doubts the value of hearing pattern he has used his life. His role as a Henry Red Allen in person "he had", as link in the development of jazz trumpet Don Ellis advised, "better go and listen to style is hardly disputable though it may Red—closely". ===================================================================================== REFLECTIONS ON "RED" George Ellis discusses the recent Henry Allen tour in Jazzbeat 4-1966 THE task of covering several of Henry faces of the critical fraternity always the fire, invention and unexpected "Red" Allen's appearances in the South present. embellishments so typical of the man - in was one that I awaited with eager anti- Certainly, the atmosphere on the fact Henry was playing better than ever. cipation. I remembered Henry's last opening night at the Osterley Rugby Obviously the audience thought so too, appearance here, and that mammoth Football Club premises was electric. for when I returned after a little liquid Mancunian weekend in April, 1964, an From the first bars of "Louisiana," the refreshment, the house had just about event from which I recovered very slowly. Welsh boys showed just why they are doubled, or so it seemed. I spent the rest This time there were to be several orga- the automatic choice for the big occasion. of the evening squatting on the stage edge, nisational changes. Almost the whole of Their stage presence, relaxed and yet moving to the right when necessary to the tour was pencilled in with the Alex confident, their good taste, in both solo avoid Roy Williams' trombone slide. Welsh Band. In the event, they were and ensemble - all these things were After the band had prepared the way always in close and sparkling attendance, apparent at once, There are no passen- with Dicky Well's arrangement of "Devil and this I think made for a closer liason gers in the Welsh band, every man is a And The Deep Blue Sea" (a great between Allen and his accompanying star performer. Johnny Barnes, multiinstru- success throughout the tour incidentally) musicians, if accompanying is indeed the mentalist supreme, went from baritone in and the "Midnight Choo Choo" had right word. This Welsh Band, going the opening number to clarinet on a fast left for Alabam, Allen returned to a from strength to strength these days, are "Indiana," and then to alto for the band's tremendous ovation. "St.Louis Blues," more than just a good backing for an celebrated version of "My Man." "St. James Infirmary," "Ballin The Jack," American star - they are also one of the A strange coincidence indeed that this "Patrol Wagon Blues," "Sweet Lorraine" finest jazz groups playing anywhere today. number was chosen to precede the star and a reprise of "Closer Walk" (both The tour was a strenuous one. Nineteen guest's appearance. Allen knows all expertly lyrical), a fast "Bill Bailey," and consecutive evenings of one nighters, about "My Man" but uses it purely as a it was all over. Clearly, a first night of Southampton, Nottingham, Norwich, greeting when spotting a familiar face in some consequence. and so on. "Man, we covered some the audience. The inevitable "What ya Many of the same numbers were territory," said Henry. The fact that he, say there, John" (to Kendall of Dobell's) played on the Marquee BBC 2 outing at fifty eight, took everything in his and we were swept into a fast "Jazz two nights later. Henry was superb on stride was indicative of his tremendous Band Ball," followed in quick "Rosetta," and "All Of Me" provided a energy, but more than this, never once succession by "Hindustan," "Sweet change from the established repertoire, did his remarkable improvisational Substitute" (Red's vocal still recalls Jelly with Red's laconic vocalising recalling ability show any signs of weakening. Roll Morton), "Rosetta," "Canal Street his work with the pick-up groups on all Although his repertoire varied little, the Blues" and "Just A Closer Walk With those fine records during the mid-thir-ties. astonishing burst of extemporisation, that Thee," culminating in an extended slow Definitely, a performance not to be little something new when you were least and fast work-out on what Henry refers missed when the show is televised. prepared for it, were sufficient to bring a to as "The Saints Marchin' In." No lack The following evening, at "The Black smile of pleasure to the many familiar of ideas even on this old war-horse - all Prince," Bexley, although the atmos- henry allen now - 149 phere of the Osterley opener was mis- although it was good to see the Rex of the night. So on to the "Closer sing, and a ghastly selection of "pop" Stewart - Slim Gaillard - Slam Stewart Walk"/"Saints" feature ("like you dug in records were played at full volume for sequence from "Hellzapoppin" again in the film," said Henry. refer-ring to the half an hour during the interval, the spite of the poor quality. This was the graveyard sequence shown earlier, the playing by "Red" and the band hit the only date that "Red" played away from opening scene from "Pete Kelly's highest peak of all the performances I the Alex Welsh Band. On this occasion, Blues") which by now was incorporating attended. Although Alex and the boys the Bruce Turner jump Band, with "Oh, Didn't He Ramble." A couple of changed much of their programme - Fred Hunt guesting on piano, turned in a good alto choruses from Bruce on this notable examples were a rocking "Night sound performance, but battled in vain one. Train" and a "Stardust" for Roy to surmount the complete lack of Allen's final appearance of the tour Williams almost ruined by bad atmosphere. It has to be admitted that took place at jazzshows in Oxford amplification - Henry kept his standard the NFT is not a good place for jazz, and Street on a very warm Sunday evening. material (never the same solos anywayl) why, oh why, doesn't Bruce Turner do Henry included "I Thought 1 Heard with two brilliant exceptions. Firstly, a something about his announcing? After Buddy Bolden Say" with more of that Morton like vocal and a great trumpet "Hello Dolly" with a new dress, and then all, there's only one Spike Milligan! "Muskrat Ramble," on which the most "Red" displayed all his fleet lyricism on chorus. He satisfied requests for "Canal incredible things happened. Like "The "All Of Me" enhanced by the Turner alto, Street" and "Sweet Lorraine" and played Saints" " Muskrat" may have been done tried a new set of variations of "Rosetta," so well that it was almost impossible to to death, but it's a great number, and and interrupted his vocal on "St. James" believe that he had just completed "Red's" treatment was astounding. I to make way for some reflective piano nineteen consecutive appearances. It is cannot put this over on paper. You variations from Hunt ("My man Fred"). said that when Vic Dickenson toured "Cherry Red" featured Ronnie Gleaves here recently he remarked "I wish I had simply had to be there. The evening at the National Film on vibes, Pete Strange roaring away to Rockerfeller's money and Henry Allen's Theatre was only partially successful, in little effect on trombone, Turner in a memory I " Speaking for myself I wish I spite of the sell-out house. I don't succession of brilliant choruses, before had his stamina (and I don't mean dog particularly enjoy all those film snippets, "Red" took over and played his best solo food!). with below photo: ------------------------------------------------------------------------------------------------------------------------------------------------------Max Jones in Melody Maker 2/26/66. - RED ALLEN AT OSTERLEY HENRY ALLEN has been playing Jack" and "Bill Bailey", but those with Williams and • Johnny Barnes weighed trumpet for some forty-five years, but ears for what he's playing on his best in with good solos then and later. Red Allen hounded out and seized the still retains his enthusiasm and indivi- choruses will nevertheless leave Red's crowd at once with a shout of "Look recital with just that impression. dual touch. His tone, fluctuating between whisper out! St Louis," with a fast first chorus He Is, today, a remarkable figure in trumpet Jazz: a sort of traditional super- and blast, between the cool and the and tempo break-back for his vocal, and man whose wayward improvisations are vibrant, is not akin to those of most with a typical flutter-tongued ending. Throughout the show, Red never let repeatedly surprising on account of their modernists - for which I am grateful. modern character. On Friday's tour opening at Osterley, go of his grip on the audience. And the It may not he easy to create an impress- Allen took the stand after the Welsh band Welsh-men, joined again by Alex for sion of up-to-dateness via such ever- had warmed the crowd. Welsh was play- the finale, supplied the kind of support greens as "St Louis Blues", "Ballin The ing as well as I have heard him, and Roy that can best be called princely.—M.J. -----------------------------------------------------------------------------------------------------------------------------------------------Max Jones in Melody Maker about the 6/24/66 concert w.Bruce Turner Turner's band, tentative at times HENRY ALLEN with Bruce Turner's Rex Stewart and Duke Ellington. Red's playing had the expected through rehearsal shortage, was well Jump Band at London's National Film Theatre on Thursday was a different contrasts of tone and volume plus many blessed with solo talent. Lined up for the proposition from Allen with Alex Welsh; unexpected twists, and relaxed s1ow - occasion were Turner (alto, clt), Ray but still a satisfying one. He came on for tempo choruses on "Closer Walk", Crane (tpt), Pete Strange (tmb), Ron the second half - after a programme of "Saints" and "Rambly" were bonus Ruben (bass), Fred Hunt (pno), Ronnie film excerpts which featured Oscar pleasures. So were his casual vocals on Gleaves (vibes), and Doug Higgins (drs). — MJ Peterson, Bessie Smith, Ella Fitzgerald, three or four songs. --------------------------------------------------------------------------------------------------------------------------------------------------------------John Chilton in Storyville-June 1966p7(complete article in Long after that excellent but exhausting session had finished, part-1a, p9): Red' s entry to his session at the 'Six Bells', in an overcoated Red Allen heard of a fan who had travelled Chelsea provided a memorable moment. He waited in the along way to hear him, but through train delays had arrived shadows at the back of the hall, listening appreciatively to an too late. Henry promptly unzipped his case, muted his trumpet, all-star band's rendering of 'Strutting with some barbecue', then, and played a request for an ever-gratefull fan. Such is the the restless urge to join in proved too much - from a distance of warmth and kindliness of Henry 'Red' Allen, a big-framed, bigfully sixty feet Red swung along with the band for three of the hearted personality who has won life-long friends everywhere most exciting choruses that I've ever heard. from New Orleans to Newcastle. -----------------------------------------------------------------------------------------------------------JAZZ TIMES 3-4 (4.66)-WLJS-NEWS: Henry'Red'Allen was officially 'inducted' as Honorary President of the West London Jazz Society on March 6th 1966, being presented with a certificate of office by Committee man John Boddy during a session at London's loo Club. Red subsequently enshrined you editor's name (Steve Lane) in song. I aim to return the compliment by adding a suitable verse to my band's version of "Oh Red". ------------------------------------------------------------------------------------------------------------------------------------------------------PC-2/19/66p13: … According to A.D.Smith, cousin of Henry”Red”Allen, the tall trumpeter will have done a series of concerts in London by the time this drive hits the newsstands. He´ll return in March. PC-3/15/66p13: By this drivel hits the newsstands in foreign lands, Henry ”Red”Allen will be “Feeling Good” after doing an afternoon and evening at the Douglas House and Jazz House respectively in London. Don Locke in Jazz Monthly 7/66: So Far an I can tell the Sunderland Empire must have been packed with the deaf on the night of 2/28th. The New Orleans All Stars shared the bill with Red Allen and the Alex Welsh Band, and I think most of us feared an anti-climax when Allen was used to open the concert. He didn't feel any happier after the opening number in the second half ("Not only are they all so old," someone whispered in my ear, "They are all so small") , but Red Allen – Jazzbeat 4-1966, but from 1964 once they settled down they played excellently. ... ------------------------------------------------------------------------------------------------------------------------------------------------ - 150 - so these concerts were wetter than any army reunion party! During the night too - it didn't stop - with a crate of their favourite brew on board, "Newcastle Brown Ale", the coach drove off, and within no time the tales were flowing freely, Red in top form. Red learnt that, after that tour, I was coming to the States to live, and, on arrival he took me under his wing, chauffe-ring me from joint to joint in his proudest possession - his always new Cadillac. … His exuberant personality always comes to life in front of the public: - Red Allen was a beautiful person - His music remains beautiful. UK-77: Keith Smith(t) Ian Wheeler(cl,as) Dick Wellstood (p) Peter Ind (b) Barry Nicholls(d) SOME HEFTY CATS –Hefty "New Orleans All Stars" back row from left: Jimmy Archey, J.HJ100: Red Rides Again; Sweet Lorraine, Don't Get Around; Darnell Howard, "Cie" Frazier, front row from left: Alton 'S Wonderful; Blues At The Copley; Beale Street Blues/ China Purnell, Alvin Alcorn, "Pops" Foster; Boy; Save it Pretty Mama; ... Keith Smith covernotes 1974 on Rarities-60(complete article to JACK STINE: … in “Red Rides Again,” the secret is Kid Ory-1959 on p78):… I first met 'Energy' as Henry Red Allen finally let out. Keith Smith is the closest thing to Red affectionately became known, in London when he was touring Allen, you´re ever likely to hear. Despite the advance notice with Kid Ory's band, some twenty years ago. … that compares his playing to Eldridge and Armstrong, on this Several years later, while Red was with the Alex Welsh band record it is all Red Allen and for me it is time that some in Europe, we met again. At the same time I was in Europe with such acknowledgement be made for this great trumpeter. In the "New Orleans All Stars" (see above) incl. Alvin Alcorn - my book, no one played with such apparent ease and Red's in-law and like Red, an ex-Kid Ory man, and myself also fluidity. He deserves some sort of ongoing testimony to his on trumpet), and during that tour the two bands did some playing and it is no criticism to Keith Smith's originality to concerts together. That was a ball! Red hadn't seen most of cite this kind of reference. You´ll hear what I mean when you hear the record. … those guys in that All Star band for years, -------------------------------------------------------------------------------------------------------------------------------------------------------------"RED ALLEN IN ENGLAND - THE PRESIDENT PLAYS" by John Wurr - Jazz Times 3-4/Apr.66: (3/6-100 Club session): The l00 Club on Sunday, 6th March, was the scene of Henry money we also had some fine solos from Johnny Barnes, Roy 'Red' Allen's last appearance of his latest British tour with the Williams, Fred Hunt and Jim Douglas, and throughout the Alex Welsh band. I had not heard Red Allen since the 1959 night the Welsh band played with their now customary Ory tour and was anxious to renew my acquaintance with his excellence. It was good to see Henry so obviously happy with scintillating trumpet sound. I was not disappointed. The evening his supporting musicians. had a further significance for WLJS members, for during the We also had John Boddy's little speech, valiantly spoken session John Boddy presented Mr. Allen with a scroll despite mutterings of "Shut up an' go wiv it" etc, and if commemorating this eminent jazzman's acceptance of the Henry's reply "I'M PRES" caused Mr.Lester Young to turn in Hon.Presidency of the Society. his grave, the enthusiasm with which it was said left us in no For a man of his age, Red Allen still has remarkable techni- doubt that he was pleased with the honour bestowed upon him. que, power and range, and he can also play quietly while still The Club was well filled (apparently a standard occurrence on retaining a beautiful fullness of sound. His tone runs the whole this most successful tour) and the audience loved every gamut - restrained and sweet in the melodic statements of slow moment. Henry's talent as an entertainer counted for much ballads, growling and melancholy in the blues, bright and (memo. to certain jazz musicians, who shall remain name-less: piercing in the climaxes of the up-tempo numbers. Add these as Red Allen, Earl Hines, Willie the Lion, and they'll tell you qualities to a happy vocal style (latter-day champions of the the audience does matter). 'coloured sound' really should look further than the Supremes It was good to see such a cross-section of musicians - the and James Brown) and his entertaining personality and we black countenances of Alton Purnell, Kid Sheik,and Capt. have - well, just Henry 'Red' Allen, jazz trumpeter, living John Handy were much in evidence and among the British legend and now President of the WLJS. contingent I noticed Wally Fawkes, Johnny Parker and Keith As well as the expected (but never boring) standards - Christie. Some well-known supporters were there as well; but DINAH, ST.JAMES INFIRMARY, ST.LOUIS BLUES, there was a lack of young faces (more of this in a later article). JAZZ BAND BALL, SWEET LORREINE - we heard verbal Listening to Red Allen I felt a pervading sense of history, Here and musical tributes to many of the old-timers whom he had was a man who grew up alongside King Oliver, Jelly Roll known and worked with - King Oliver (CANAL STREET Morton and all the others who are, to us, just names in BLUES), Jelly Roll Morton (SWEET SUBSTITUDE), Luis discographies and impersonal images on faded photographs. It Russell (PATROL WAGON BLUES) and an anthalogical is sad to think that there will come a day when men like Louis, reminiscense of New Orleans (CLOSER WALK, RAMBLE, Kid Ory, George Lewis - and Red Allen - will no longer be SAINTS, BUDDY BOLDEN'S BLUES), which reminded us with us and the umbilical cord that connects us with the birth where he was born and that his father was one of the Crescent of our favourite music will be severed for all time. Long live City's first and most famous brass band musicians. For our the President ! (Red died one year later!) --------------------------------------------------------------------------------------------------------------------------------------------------------- 150.1 Addenda (special UK-booklet of 3 pages) remarks by Franz Hoffmann, Red Allen Collection: The following copy of the original booklet in 2007 reduced the text on a smaller layout, changed and completed the list of the tour dates according to the RED ALLEN BIO-DISCO pp146-151 ; ; and let out one W.Balliettarticle to be found in the BioDisco-parts 3 p73 -------------------------------------------------------------------------------------------in the programme follow the tour dates, listed more complete and detailed in the bio-disco-part-3p146 RED ALLEN with ALEX WELSH & HIS BAND UK on a 17 days cross country tour 18th Feb.- 6th March 1966 HENRY 'RED' ALLEN first made his debut in this country when he toured with the Kid Ory Band some years ago. He later made a highly successful tour accompanied by the Alex We1sh Band and now he makes a welcome return visit to.Great Britain once again accompanied by . Alex Welsh and his Band. ------------------------------------------------------------------------------------On the following pages .of t h i s booklet you will find details of the tour together with biographical details of HENRY 'RED' ALLEN. -------------------------------------------------------------------------------------------------========================================================================= THE CRITICS.SAY …….. "NICE MAN, NICE" (Lester A.Schonberg) Henry 'Red' Allen climbs on to the playing with a mouse. Few other horn Blues, Body and Soul, Ride, Red, bandstand ... he caresses his horn men have so much volume control. He Ride, Jelly Roll Blues, Biff'ly Blues with his massive hands .... and in a can play with a mute .. or toss it away and 'Red's' own famous composition croaking. voice, says " .... nice, man, ... and the open horn is no louder than 'Rag Mop', flow unfalteringly from his before. Nor has he stuffed cotton way horn. And the evening should last for nice". Then he begins to play. And people discover that a programme down inside, out of sight, to muffle ever .... and it can't. But everyone has of medium and slow ballads and blues the sound and confuse the listeners. 'I experienced a new birth of hope, of by 'Red' Allen can be one of the supe- just don't blow so hard', he says in all inspiration, of peaceful repose from a honesty. But don't kid yourself into maddening world. rior musical pleasures in jazz. And you have never been to the kind Henry knows how to help an audience thinking that Henry Jr. can't blast off experience the gamut of emotion which when he feels the need. 'Red' Allen of funeral 'Red' Allen directs when he jazz and the blues offer.. To understand might give almost anyone lessons in conducts his own inimitable mourners' service with his rendition of 'When the jazz is to love it. To love jazz you have an adventurous use of dynamics. Listen to him tee off on "Hindustan" Saints Come Marchin' in'. but to listen to men like Louis Armstrong .... or Henry 'Red' Allen. The real thing in his own fluid, muted version. You Harry James, while with Benny Goodcan only be played from the heart and almost have to imagine the melody ... the soul by great musicians. Henry he indulges in such soft, fanciful flights. man, paid Allen the high compliment Then his pianist, his drummer, and the of basing his solos on 'Wrappin' it Up', Allen is one of the great ones. When 'Red' plays the pick-up notes of man on the string bass join the group, 'Down South Camp Meeting', and 'Big Snowy Mornin' Bluer you can detect a and they fit into the rhythm picture John's Special' directly on the ones mood which is the blues .... the sorrow like a long pair of milady´s gloves … Allen had recorded with Fletcher Henof. people being expressed in the only reserved, quiet, yet potentially dynamic. derson. Experts consider Allen's episode Then 'Red' rests his horn on the piano, on 'Wrapping' It Up' which includes universal language … music. They know Henry in Europe .... even the new citi- and snaps his fingers, and claps his both solo, and call and response patzens of the infant African nations un- hands. The audience comes alive.... terns with the group, one of the most derstand him and his musical message they clap their hands as they join him perfect trumpet passages in recorded … and nowhere In the world do people on the upbeat. When 'Red' returns that jazz. beautiful horn to his sensitive lips he call 'Red' an ugly American. (The following addition to the same Allen's trumpet, one of the foremost leans into it gradually. Every bar horns in the musical world began its becomes a little wider than its prede- article written by Lester A.Schonberg legendary career. in his home-town .... cessor and you get with it because was found in Red Allen´s scrapbook): the fabled jazz environs of New Or- he'll get through to you ... and everyGet with it … and quickly. Man you leans ('Red' first began playing with one else in the room including the the Mississippi. Riverboats with Fate hired help. Allen is 'St. Vitus with a just can´t relax when you´re around Marable) And with his horn, he .brings beat'. He twitches in rhythm before the that nice man, Henry Allen. Your feet forth the sounds of jazz, and the warm music starts. He fingers that vibrant, move. You stop complaining about and beautiful notes of traditional straining horn as his sidemen musi- your shoes and just beat your feet. cally hold the audience in anxious And you stop beating your gums and standards. instead you beat your hands. And old A hulk of a man, 'Red' offstage is a anticipation of 'Red's next outburst. And soon the whole:crowd is swa- “Red” chases the blues away with his quiet, unassuming gentleman who is completely at ease with all people of ying, the room becomes alive, and wonderful therapeutic rhythm. And if all lands. On stage he's an entertainer 'Red' says "Let it roll". St. Louis any one man can do it, Henry Red who winsan audience over quickly, Blues,. Birth of the Blues, Bye Bye Allen can restore peace and harmony expertly, completely, with his gruff- Blackbird, Up the Lazy River, Mack to a troubled world. He´ll get through to you. And it´s ness, his movements, his honesty, and the Knife, and the wonderful Basin his sincere feelings for the music he Street Blues. And then everyone starts nice, man, mighty nice ! calling for other favourites, and 'Red' plays. He toys with the horn like a cat reacts to every request. Tishomingo ========================================================================= - 150.2 In another-book by Whitney Balliett, Roy Eldridge, who, in turn, influenced of the most eloquent of jazz musicians. "The Sound of Surprise", first published Dizzy Gillespie, the present champion His melodic feeling is governed in 1979 and subsequently published in of modern jazz trumpeters. Allen is almost completely by the blues; he Great Britain by the Jazz Book Club in erratic, restless, and highly lyrical. infuses just about every tune with 1961, the author devotes another chapter Sustained legato phrases that undulate broadly played blue notes. In the past to 'Red' Allen under the title "The like a calming sea are linked by jumpy few years, a remarkable thing has Resurgence of Red Allen". The connective passages - full of seven- happened to Allen's playing. alike following is an extract from this chapter. league intervals and slightly flatted many of his contemporaries, who tend "It has been nearly thirty years since notes - that may or may not land on to ignore what has come after them, he 'Red' Allen, the tireless, sad-faced their feet. His thin, coppery tone, appears to have been listening to modern trumpeter, became one of the first occasionally softens, but more often it jazz. The unsteady staccato blare that practitioners of the instrument to move pierces straight to the bone. Once in a has characterised his work now away from the blanketing influence of while, too, he ascends wildly into the frequently gives way to a thoughtful, Louis Armstrong. Today, at the age of upper register or relies on technical more generous tone and a myriad of forty-nine, he is an unspoiled, non- tricks, such as a rapid, birdlike tremolo, soft glancing notes that resemble repetitive musician who, astonishingly, achieved by fluttering two valves up nothing so much as a nervous, is still widening his style. Allen left an and down, that sound more difficult vigorous Miles Davis”. identifiable mark on the early work of than they are. At his best, Allen is one =========================================================================== 17th Feb.- 5th March 1967, UK - 17 days RED ALLEN & ALEX WELSH AND HIS BAND - 150.3 Exciting Start to Sixty Sivin Livin The Sad Basset Hound 1Face of Henry Red Allen, Giant Genius IT HAS NOT TAKEN THE 100 CLUB LONG to ZING into 1967. Bingo — it's only February and already Roger Manager Horton has two all-time greats lined up for you hot-diggity cats (hey bab a reebab) . IS THERE A MORE EXCITING TRUMPETER ALIVE THAN This is Albert HENRY RED ALLEN ? This genial giant of a man (his publicity Nicholas, one of the material describes him as "St. Vitus with a beat", which conveys the message great New Orleans though not, perhaps, in the best of taste) is our first resident of the year clarinet kings, one of (Feb. 28th, March 1st, 2nd). Here's what American jazz-writer Whitney King Oliver's men, Balliett says about him: appearing for one "The pre-eminence of Louis Armstrong from 1925 to 1935 had one night only (Feb. 3rd, unfortunate effect: It tended to blot out the originality and skill of several a Friday) at the 100, contemporary trumpeters who, although they listened to Armstrong, had accompanied by pretty much gone their own way by 1930. Allen, the most steadfast, and a distinct influence on Roy Eldridge, who Alan Elsdon's band. taught Dizzy Gillespie, who taught Miles Davis and so forth, is still Take an analogy with playing (usually in New York) with more subtlety and warmth than at any pain-ting. Guys like time in his career. . . . A tall oval-faced man with a deceptively sad basset Red Allen and hound face, Allen, born in Algiers, Louisiana, had a spirited career ... he Nicholas are like played briefly with King Oliver in 1927 and two years later he joined Luis Van Gogh and Russell — possibly the neatest, hottest and most imaginative group of its Renoir. Would you time.... Allen's style ... its careless tone, its agility and a startling tendency not flock in your to use unprecedentedly long legato phrases and strange notes and chords thousands to dance that jazz musicians hadn't, for the most part, had the technique or courage to use before ... seizes the listener's emotions, recharges them, and sends to the music of Van them fortified on their way ...." Gogh and Renoir? Yes, well, American jazz writers are like that, but no doubt about it, Just because you're Henry Red Allen (accompanied, of course, by Alex Mauve Welsh) has young there's no proved a knock-out on previous visits and his three-night residency need to be ignorant should be a highlight of the year. A HIGHLIGHT ! COME ON, YOU DECEPTIVELY SAD BASSET HOUNDS, OUT OF YOUR STYGIAN GLOOM AND INTO THE GREAT CARNIVAL OF LIFE ! ========================================================================== The Dancing Slipper Ballroom presents Henry “Red” Allen with The Alex Welsh Band by John Chilton In 1959, Red made his first trip to In the "Pictorial History of Jazz" there before accepting an offer to return to Europe (as guest star with Kid Ory's appears an early pictures of a New New York to join Luis Russell's Band. From 1929, Red made his permanent Band). Since then, Red has enjoyed two Orleans Marching Band, in the corner of the fading print a very young `second-liner home in New York and in that year enormously successful tours of Britain, is seen peeping admiringly at the ten began recording under his own name. In the first of which was when, in April senior musicians. Many years later, (at a great demand, Red also recorded with 1964, The Manchester Sports Guild recent Monterey Jazz Festival), the Jelly Roll Morton, Fats Waller, The brought him over to play five memo'second- liner', by now well-and-truly in Rhythmakers, Spike Hughes, King Oliver rable sessions in their club and then sent the front line of jazz giants, was photo- and Don Redman before joining Fletcher him on tour with the Alex Welsh Band graphed playing alongside Dizzy Gillespie Henderson in 1931. With Henderson the band with whom you will be hearing and other star moder-nists. The two Red's approach to big band solo work him play on this tour. British jazz fans, for many years aware of pictures reveal the tremendously wide became the model for many latter-day Red Allen's greatness on record, were experience of the musician concerned - swing stars. After starring with the Mills Blue delighted with his in-person performanin at the birth of jazz and still contributing to to-day's developments - the Rhythm Band, Henry joined Louis ces. His warmth and friendliness are Armstrong's Orchestra leaving in instant, his vocals beautifully phrased musician is HENRY 'RED' ALLEN. and full of expression, his broad-toned Henry 'Red' Allen was born in Algiers, September 1940 to form his own band. This sextet was one of the busiest and technique remains unimpaired by time. Louisiana on 7th January, 1908. At the age of 8, he was playing alto-horn in his most popular groups on the American Above all, he retains his zest for playfather's famous marching band. After Jazz Scene during the 40's and 50's. Its ing great jazz trumpet. Someone once asked Henry 'Red' Allen graduating to trumpet, Red spent his personnel included, at various times, teens developinga reputation as an such stars as: J. C. Higginbotham, Ed. how he manages to give out such a great Hall, Buster Bailey, Sidney Bechet, Ben feeling of happiness. Red explained, outstanding improviser. In 1927, Red accepted King Oliver's Webster and Cozy Cole. For many years, "I've been a little fortunate in loving to offer of two months' work in New York. Red's regular appearances at "The play so much". We, the listeners, are He returned South for a spell with Fate Metropole" helped to revitalise live Jazz doubly fortunate in being able to hear the great man once again in person. Marable's legendary riverboat band in New York. *********************************************************************************************** RED: financially quartets are good, but a couple more horns would help; by Max Jones in Melody Maker 2/26/66: IT is pleasant indeed to see once more friends as Pops Foster, Jimmy Archey Theatrical Restaurant in Cleveland. the tall bulky figure of Henry Red Allen, and Alvin Alcorn. "Of course I've known "Quartets are pretty good for travelstriding the streets and i hotel corridors of George Foster and his brother since they ling use; " he explains. "You have your Kensington, sampling the bitter and were longshoremen in New Orleans. I regular rhythm section, and you can play passing his customary verdict: "Nice, nice." left home with Foster the first time in along with them without offending Allen, now a fit and fighting fifty- 1927. We. went to meet King Oliver in anyone. Then they're good for finaneight, is here on his second tour as a St. Louis. I didn't like it away from. cial reasons. "single". -Before the '64 visit, he came home too well at first, so I came back "Clubs won't pay for bigger bands over with Kid Ory's band in '59. and left again in '29." if they could cut you down to a single As usual, he sounds delighted to be in At most of his jobs these days Red works they'd be happy. Musically, a couple Britain. And this time he looks forward with a quartet. When he's completed his more horns would help. You know, with keen pleasure to meeting such old British tour, he takes one into the someone like Buster Bailey - we, - 151 understand each other - would make it of information to the legends of Crescent City history. Recently, I more of a band. "But you have to study the financial talked to Pops Foster about Buddy side. When I was coming up, it didn't Bolden, and now I was interested to matter; I didn't mind if I didn't get paid. see what Red knew of him. "Well, I never heard him, of course. When I began in New Orleans, I didn't think it would ever be my living. To He blew his top just before I was born, my way of thinking, If I was a millio- according to my dad. I knew about him, though, because he'd played with naire I'd still be playing. "And I guess I would at that. I can my father's brass band. see the point of people like Louis who "And I met him once - at the Louisianawant to go on playing. My father, State Hospital where he was detained. I Henry Allen Snr, used to play a few wanted to go and see him, and I went parades right up until a little bit before after I'd been In New York a while. I left he passed, in 1952, at the age of New Orleans for the second time in '29, seventyfive. so I guess it was between 1930 and 1931. "Of course, 'I was in my dad's band "I went into a, kind of yard where from eight years old, ever since I was there were a lot of people talking or old enough to march, and I used to walking about, and asked someone for pass the music out on parades. We Charles Bolden. They said he was over used to carry the parts in little sacks, there and I went up and spoke to him. and I had those on my shoulder. "Aside from Bolden, I heard most of "In those days, bands kept the names the old bands like Jack Carey. And I of the tunes they played secret, and had a chance to play with a great many my father cut the titles off all the of them. "I was considered to have a music and numbered it instead. keen ear and flexible It is always tempting, in conversation mind, and I kept up with a New Orleans jazzman of Allen's with what was happeexperience, to try and add fragments ning. Great trumpet ----------------------------------------------------------------------------------------------------- players like Guy Kelly and Kid Rena, they didn't need me to play, but they used to add me to the band sometimes because I knew what was popular on records, and they weren't interested in it. They played the way they played. But I' listened to everyone." Another temptation for interviewers is to find out which musician, past or present, is held in highest esteem by the man being interviewed. I put the "greatest ever" question to Allen. "I never think in terms of great players," he said after a while. I have different feelings for different players. Some guys can play an awful lot, and other play less but are friends of mine, which evens things up. "But I must say that when he's in shape, a guy like J.C.Higginbotham is a rough man to beat. Higgy, in his form, he's a most flexible player. He had everything; power, excitement, flexibility." =================================================================================== "BIRMINGHAM NEWS ROUND-UP" by Les Page in Jazz Times April-66: 2/12,Birmingham session ... Lucky WLJS to get "Red" Allen as President. (Will U.S.A. imitate!). After the gala night at Midland Jazz Club with the Alex Welsh band, fiery, dynamic, swinging "Red"Allen remains, "My man." … ------------------------------------------------------- Red back next February US trumpeter-bandleader Henry Red Allen was present with a scroll commemorating his many years' service to jazz when he played his final date of the 66 tour at London's 100 Club on Sunday. The scroll was presented by the West London Jazz Society. With it, Allen accepted the society's Honorary Presidency. Before he left London for New York on Monday, 'Allen' told the MM: "It as certainly been a fine tour for me. and I enjoyed working with Alex and the boys. In fact, everything was real wonderful." The Davison Agency reports that Red wlll return next February to make a similar tour. Melody Maker 3/12/66 MSG-1964 , Focus J une-64: Lennie Hastings-Ronnie Mathewson-Red-Fred Hunt-Al Gay ===================================================================================== - 152 1966, UK BBC-bc Red Allen speech to records; (shortened music examples from 20 min. to 11:30) 01 0:43 1935 Body And Soul by Red Allen in 1935; RA-CD-41/illustrated on RA-DVD-2 02 2:38 Red Allen about New Orleans 1966 and the early days with his father; 1930: Panama RA-CD-41/ --- / 03 2:56 about the Street Parades in New Orleans; unknown item by N.O.Revival Band RA-CD-41/ --- / 04 3:12 about Fate Marable; then Jelly Roll Morton in N.Y.C.; J.R.Morton p-solo-piece RA-CD-41/ --- / 05 1:51 about Eddie Condon & mixed bands; unknown Chicago band piece; close RA-CD-41/ --- / 1966-UK unfortunately the long taped Red Allen-Autography in speech with Albert Mc Carthy is lost after McCarthy´s death; only the first part about his years in New Orleans 1906-29 was issued in Jazz Montly (look Red Allen bio-disco-part 1a) HENRY ALLEN – Discographical points in conversation with Alun Morgan-Feb.66, in Jazz Monthly 11/66 detailed additions and correction by Red Allen of discographical points - reprinted in the RED ALLEN DISCO pVIII ************************************* mid.March-66, NYC., for a longer engagement, Jimmy-Ryan's return of Red Allen, Red Allen has joined the house band – Red Allen, Max Kaminsky(t) Marshall Brown(tb) Tony Parenti(cl) Cliff Jackson, Don Frye (p) Zutty Singleton(d), (DownBeat 5/5/66 & Jack Bradley in Bul.h.c.f.-May-66) 3/? /66, Sun., NYC., Shore Cafe, Brooklyn, Red Allen, Roy Eldridge, Ray Nance were among the guest-stars of Sunday Jamsessions (Down Beat, 4/17/66) March or April – engagement in Cleveland, theatrical Restaurant; (see above article) “… When he's completed his British tour, he takes one (quartet) into the Theatrical Restaurant in Cleveland.” Richard B. Allen Notes, dated April 18 1966: Richard B.Allen took Whitney and Nancy Balliet over to meet Professor Manetta with the thought that Manetta could show them many of the old buildings to Whitney. Whitney was especially interested in the Red Light District. We arrived at approximately 2.15 PM and had a long talk with Manetta about Red Allen, Emmett Hardy, Wingy Manone and, many other people and things. Freddy Kohlman, who was visiting New Orleans from Chicago came by to give a record to his old teacher, Manual Manetta. On the previous day, Manuel Manetta had discussed Emmett Hardy at length with, Dill Jones (A pianist from Wales, then resident in the USA), describing how he wrote out a variation on "Panama" for Emmett Hardy. This part was overheard by Red Allen and at Allen's request, Manetta wrote out the part for him. To Dill Jones he also gave more details ..... prob.5/15/66 Sun., Hunter College – Jazz Jamboree – Andy Kirk All Stars and others incl. J.C.Higginbotham NYAN-5/14/66p21: … Trombonist J.C.Higginbotham marked his ??? birthday on Wedenesday, 5/11. Higgy along with Joe Thomas, Eddy Barefield, Sonny Greer, Don Frye, Bill Pemberton and others appear with the Andy Kirk's All Stars at Jazz Jamboree at Hunter College on Sunday. … Henry “Red” Allen has his new Caddy, plus a hit Columbia record, “Feeling Good” … NYAN-7/1/66p20: … Vet trumpeter Red Allen is profiled in the current New Yorker; (see page 143 review from 6/25/66 about Monterey 1965 & on page-10 of the bio-disco-part-1a, “Such Sweet Thunder” 7/8/66) 7/4/66 Mo. afternoon, NPT-Festival - "TUMPET WORKSHOP”- several bcs & TVs: telerec. by WGBH-TV Boston “NPT-Festival” NET-TV; repeated on 8/7/67 Chic.WITW-TV 10:30 p.m; also:”NPT-J.Fest.” WJAR-TV 1966-Outlet Broadc.Co., Providence, R.I.; all below sides are on VoA-13('66) or MUSA-4292B at Library of Congress number 196632p+1X, shelf number RGA 0105—0106 (RWD 6105 A1. 6106 A1—B1); tape from Michael Steinman many years ago ( ) sides and order on tape/non-commercial RA-CD-13a from broadcast on NET as "Jazz from Newport" Billy Taylor MC, part-1: Bag's Groove -feat.Kenny Dorham,Thad Jones, Howard McGhee(t) My One and Only Love -feat.Kenny Dorham I Can't Get Started -feat.Thad Jones I Remember April -feat.Howard McGhee Wee Dot -feat.Kenny Dorham, Thad Jones, Howard McGhee part-2: Red Allen (t,v) Clark Terrry (fl-h) Ruby Braff (c) George Wein (p) & ) Gene Taylor(b) in change: Vince Schaeffer or Billy Kay or Mike de Loise(d) (video/DVD wanted) (1) 2:15 words about Terry, Braff, Allen, to George Wein(p) (1) 6:25 LOVER COME BACK TO ME (S.Romberg) also on RA-CD-13 -ens-Braff-Allen-Terry-Allen in ens-ens-Braff-Allen-Terry-Allen in ens(2) 0:41 talk about Allen & Higginbotham at the Ken club, & Balliett's Allen review (2) 2:51 SUMMERTIME (Gershwin) -feat.Allen acc.by rhythm RA-CD-13 private 4:35 ALL OF ME (Simon-Park) -feat.v&t Allen w.rhythm RA-CD-13 -Ruby Braff(c) Ross Tompkins(p) Gene Taylor(b) Mike Deluse(dm) Teddi King(v) Our Love Is Here to Stay Keeping Out Of Mischief -same as above (3) 0:14+4:00 The Days Of Wine & Roses Rhythm-a-ning -Clark Terry (flgn, pocket trumpet) and Billy Taylor(p) replace Braff and Tompkins -same as above -Dizzy Gillespie & Bobby Hackett for Terry; Gig.DelJazz(I)GJ30/Europa Jazz(I) EJ1024 -feat.Hackett -feat.Hackett -feat.Hackett(c) & Gillespie (start was cut) -feat.Dizzy Gillespie & Kenny Burrell(g) acc. by rhythm as above -feat.the same & Sid Shaefer(d) -JAM SESSION: Dizzy Gillespie, Kenny Dorham, Thad Jones, Howard McGhee(t) Bobby Hackett, Ruby Braff(c), Clark Terry, Jimmy Owens(fl-h) Billy Taylor (p) Kenny Burrell (g) Gene Taylor(b) Vince Schaeffer (d) part-4: nightly guitar-workshop: (following sides were part of the above (7) 7:15 C.C.Rider -feat. Ronnie Cuber (ts) George Beson (g) Lannie Smith (org) B.Kay (d) RA-CD-51a (8) 2:20 Michelle -feat. Charlie Byrd (g) RA-CD-51a (9) 3:50 Nuages -feat.-Charlie Byrd (g) RA-CD-51a part-3: 'S Wonderful On Green Dolphin Street I Got It Back & That Ain´t Good (4) 2:18 Struttin'With Some Barbecue (5) 1:37+4:10 Siboney What´s New (6) 0:24+13:49 Disorder At The Border Who is able to help to find a video-tape from this WGBH-TV production or WJAR-TV 1966 Outlet Broadcast Co. ??? - 153 NEWPORT 1966 JAZZ FESTIVAL - "Trumpet Workshop by.Dan Morgenstern in Down Beat 8/11/66. MONDAY AFTERNOON'S trumpet characteristic phrases, and a Braff led off. Owens brought on the first workshop-was one of the high points of medium-tempo All of Me, on which climax with a rousing solo, followed by a the festival. It began with a trio of he sang captivatingingly. fiery McGhee and a perfectly poised compatible stylists from what has been The afternoon continued in a vocal Hackett. And then it was time for the called the modern school: Kenny Dor- groove, with singer Teddi King, backed champ. Gillespie, egged on by spontaneous ham, Thad Jones, and Howard McGhee. by Braff in a telling demonstration, of riffs, constructed a series of phenomenal They played together on Bags' Groove, the trumpet's potential as an accom- choruses, swinging, leaping, and getting off Dorham warm and melodic, Jones panying instrument. Miss King sang some runs that seemed to defy the laws of brighter and more abstract, McGhee pleasantly and with good time, doing gravity and human breath, control. It was a bold, brassy, and less complex. the rarely heard verse to Keeping Out performance that brought a standing ovation For their solo stints, Dorham and Jones of Mischief. Braff's solo on this Fats and afterwards back-stage, hugs, kisses, and chose ballads. My One and Only Love Wafler tune was delectable. compliments from all the other players. was movingly played by Dorham, who Terry did his two-horn bit on The has of late become a master of lyrical Days of Wine and Roses, alternating melodic exposition and improvisation. four-bar phrases on fluegelhom and Jones' I Can't Get Started, first chorus Harmon-muted trumpet. It's a cute slow, second double-time, and then back turn, but Terry was more substantial to slow for the final eight bars, was the on Lover. kind of performance one would love to The juxtaposition of Bobby Hackett hear again, topped off with a perfect and Dizzy Gillespie, which followed, coda. Jones has his own way. was one of those things that happen McGhee elected to play an up-tempo 1 only at festivals. Despite the marked Remember April, which was an unwise dissimilarity in rhythmic accents and decision. Its unexpectedness jarred the phrasing, the two great trumpeters commood that had been established, and his plemented each other perfectly, perplaying, though competent, failed to prove haps because both are masters of using that there had been any point to his action. chord changes as a basis for improvisation. Playing together on 'S Wonderful, the two made delightful, relaxed music and obviously appreciated each other's work. As his feature, Hackett did On Green Dolphin Street, I Got It Bad, and a joyful Struttin' with Some Barbecue, which Hackett dedicated to Louis Armstrong on his birthday. Gillespie returned, accompanied only by guitarist Kenny Burrell. With Harmon mute, he essayed a remarkably relaxed and The next three trumpeters were less delicate Siboney. Though there was no directly related: Red Allen, Ruby Braff, tempo as such, the trumpeter's every and Clark Terry are three individualists note was loaded with swing. Joined of varied backgrounds. Nonetheless, their by drummer Sid Shaeffer, Gillespie one joint effort, a moderate Lover, Come and Burrell improvised a moving, Back to Me, was a good example of soaring What's New?, with a fine solo spot for the guitarist. musical togetherness. Next it was jam session time, and, Contrasts in style were further emphasized by the fact that Allen played with Billy Taylor at the piano, Giltrumpet, Braff cornet, and Terry lespie was joined by all the participapocket trumpet. In the solos, Allen was ting trumpeters except Allen, and a face, that of fluegelhornist stately and grave, Braff (with bucket new Jimmy Owens. After brief mute) tender and romantic, getting off deliberation, the eight horns burst some startling, saxo-phone-like runs into Disorder at the Border, a and making beauti-ful use of his full vintage Gillespie opus, at racehorse lower register, and Terry (again with tempo. plunger) joyous and declaniatory. The performance shone with NYAN-6/25/66p22 A l l e n o f f e r e d a me a s u r e d fraternal spirit. Terry, Dorham, and Summertime, with fine sound and - 154 - NPT-TRUMPET WORKSHOP: Billy Taylor (p) Jimmy Owens, Clark Terry, Bobby Hackett, Gene Taylor (b) Kenny Dorham, Dizzy Gillespie, Howard McGhee, Ruby Braff, Kenny Burrell (g) prob.in J.J.-Aug-66: photo: J. Wallace, captions by Eliza.McFadden: … Red Allen, Ruby Braff and Clark Terry together and singly. … Red Allen, Terry, Hackett and Gillespie distinguished themselves in their different ways. OVER 54,000 ATTEND NEWPORT JAZZ FESTIVAL PC:7/16/66p13: NPT, R.I.-When the Newport Jazz Festival ended after four days of jazz, jazz, jazz, the records revealed that over 54,000 jazz buffs attended the fete, equaling if not surpassing 1959's high mark. It took place during the hottest season of the year with the temperature soaring well over a hundred degrees. This was the first time in the 13 year history of the big festival that it didn't rain and there were no riots to mar the affair. Jazz about every big name in jazz circles performed with big bands of Duke Elling- ton, Count Basie and Woody Herman Williams also thrilled fans as did Tony setting the pace. Bennett who teamed up with Woody On the opening night when 10,000 fans Herman. jammed the new festival stadium, Nina Dizzy Gillespie, Red Allen, Clark Simone won a standing ovation for her Terry, Ruby Braff, Miles Davis and rendition of the blues. Bobby Hackett were just a few of the Ella Fitzgerald joined Duke Ellington to great trumpeters heard. create some of the same magic that was Howard McGhee and his 16-piece band, done on their Verve recording of “Ella at Billy Taylor and you name the jazz artists Duke's Place.” who performed. The Count brought his one time vocalist, All in all, it was a great festival. George Jimmy Rushing to sing with the Basie Wein was the producer. Band while another ex-Basie vocalist, Joe DUKE, BASIE, ELLA, etc., DRAP TOP NEWPORT CROWD BAA-7/16/66p11: And his real money-maker, the Newport healthy quotient of avantgarde jazz NPT., R.I. - A record - breaking crowd of 60,000 music lovers responded to the 1966 Folk Festival, is scheduled for July 21-24. Saturday afternoon. HORACE SILVER'S Newport Jazz Festival here last week-end. Barbara Streisand will appear for a one- appearance made the Saturday afternoon session understandable. Promoter George Wein put his 13th annual nighter July 30. Each year, the fans seem to be less and John Coltrane, venturing more and more show in a new $200,000 auditorium and was less “far out.” The beer – swinging funny – into the musical unknown, did get some well rewarded for his effort. BY BOOKING jazzdom's three top bands hatted crew was all but missing this year interesting sounds out of his soprano sax - Duke Ellington, Count Basie and Woody and local police, ready for action were on “My favorite Things.” And the Bill Herman - plus Ella Fitzgerald, Joe Williams, relegated largely to controlling traffic. Dixon Quartet played only for itself. Miles Davis, Dizzy Gillespie, John Coltrane Production was superb. JOE WILLIAMS took the honors of the and dozens of other leading jazz artists. THE WEATHER, hot and sunny, was Saturday night concert, but Nina Simone Wein obviously wanted to give his new made to order for the outdoor jazz session. was close behind. festival site a good sendoff. They ranged from a super session Sunday Teddy Wilson, Wein's inspiration on This week, Wein will present his first night featuring Ella Fitzgerald singing piano, kicked off the Sunday night session opera festival, featuring the Metropolitan magnificiently with Ellington, to Sunday after a Dutch group of modern jazzmen Opera company. morning jazz-oriented church services, to a warmed up the audience. JAZZ 'SPECTACULAR' SET MONDAY ON WTTW-TV (a repetition from telerecord-WGBH-TV) CD-8/5/67(!)p24 Some of the world's leading jazz music Gillespie, Bobby Hackett and Jimmy Owens, and guitarists Charlie Byrd, George Benson, and Kenny Burrell will get together for an hour of spon-taneous music making when WTTW channel 11presents “Jazz From Newport,” 1966 on Monday, Aug.7, at 10:30 p.m. The program consists of highlights from the Guitar and Trumpet workshops at the Newport Jazz Festival held in July last year. Other participants include Clark Terry, Ruby Braff, Thad Jones, Kenny Dorham, Howard McGhee, and the late Henry”Red”Allen on trumpet. George Wein, Billy Taylor andRuss Tompkins on piano; Vince Schaeffer, Billy Kaye and Mike de Loise on drums; and Gene Taylor on bass. Host Billy Taylor talks with the musicians about their styles and contributions to jazz music and introduces their numbers which include “St.LouisWoman” with Red Allen. “Days of Wine and Roses” with Clark Terry, “C.C.Rider” with George Benson's quintet, “Michelle” and “Nuage” with Charlie Byrd, and “Siboney” with Dizzy Gillespie and Kenny Burrell. The program ends with a “big bash” featuring all the trumpeters in “All Out Blues.” “Jazz From Newport,” 1966 was produced by WGBH-TV, Boston, for distribution on National Educational Television. - 155 7/31/66 Su., New Orleans, Bourbon Street , Dixieland Hall, Red Allen(t,v) & GEORGE FINOLA AND THE CHOSEN FEW: George Finola (c) Buddy Walton (guest-t) Wendall Eugene (tb) Raymond Burke (cl,tb) Freddie Neumann (p) Danny Barker (6string-bj) and Eugene Jones(d) 8/1/66 Dixieland Hall- WYES-TV – “RedAllen” ; early August several other concerts R.B.Allen notes: The management and crowd were most enthusiastic about the presence of Red Allen. Allen was featured on several numbers. The band played a variety of standard tunes with Allen taking occasional vocals. WDYMINO - JAZZ TIMES 3-9/ Sept.66: Henry Red Allen, trumpet man of fame and Honorary President of the British Jazz Society is in town on vacation, and has played many times at Preservation Hall. The most memorable perhaps was his first session with George Finola's Band with …Eugene Jones is the son of Chester Jones and usually plays with Clarence 'Frogman' Henry's rock n' roll band. New Orleans States Item 7/29/66 - Thomas Griffin notes: ..Trumpeter Henry”red”Allen (a contemporary of Louis Armstrong) checked in from Gotham; he'll sit in at Dixieland Hall for a Sunday matinee; too bad the time will conflict with Sharkey and His Kings of Dixieland (including Chink Martin, Sr. and Jr.) who'll be “jamming” at the Royal Orleans on the Jazz Club's summer series. … Louisiana weekly 8/13/66: The man who plays the supreme high note trumpet, Henry”Red”Allen, was in town last week and we missed him. He hails from the west bank of the river. He came in to takecare of some business and headed right back to the New York scene. … Down Beat 9/22/66: Red-Allen in town last month for a visit with his relations here, ... Coda Oct./Nov.66: Aug.66-New Orleans - Another visitor in Aug.was Red Allen who makes an annual trek to visit his mother in Algiers. 8/1/66 New Orleans, DIXIELAND Hall "Working Press" program on WYES-TV Red Allen is a guest on the program. The panel consists of Bill Madden as m.c., Danny Barker, guitarist and assistant director of the New Orleans Jazz Museum, Richard B.Allen of Tulane University Jazz Archive, and cornet player George Finola. Finola had played with Red Allen at Dixieland Hall on the previous night. ' The program opens with a recent Red Allen LP on Columbia playing "Sweet Substitute". Red Allen was visiting New Orleans. Danny Barker greeted Henry Red Allen warmly, and complimented him. Danny Barker said that Red Allen visits New Orleans every year. Red Allen remarked that he was happy and has enjoyed seeing his friends and family. Richard Allen asked Red Allen about the best cornettists of yore. Red can't name the best. Some of the less good trumpet players were friends of his, so that evened things up (means what?). He remembers Chris Kelly, Kid Rena, Emest 'Punch' Miller, who gave Red a few lessons. And Peter Bocage, (Kid) Shots (Madison), Louis Armstrong and King Oliver. Henry Allen Sr. had all these in his band. From the time he was eight years old, Red knew these men in the band. He mentioned Kid Howard. Danny Barker adds Buddy Petit and Kid Rena (the latter named above). Red heard Emmett Hardy advertising on trucks. Richard Allen asked Finola about Professor Manuel Manetta, a teacher of music. Manetta had told Richard Allen that Emmett Hardy and Red Allen took lessons from him at the same time, (i.e. consecutive-ly.) Emmett Hardy played with George Brunis, the trombonist. There were six Brunies brothers: George, Abbie, Henry, Richard, Merritt and Rudy, and all of them were musical. Red Allen lived at 414 Newton Street, Algiers. The Brunies family lived across the street. One of Red's fondly remembered experiences was his trip to Europe. His first trip.there was with Kid Ory, booked by Norman Granz. He had worked with Kid Ory in King Oliver's band. In Fatty George's Club in Vienna, he saw a picture of his father, though his father had never been out of the United States. He heard Jack Carey , Jack Sims, (Joe) Howard, tp; Papa Celestin (On a JAZZMEN photo of his father's band?) Allen's brass band,was.not the.Paciflc. (Cf. Eddie Garland (?), April 20, 1971). The Pacific Brass Band had Buddy Johnson and Yank Johnson, Harrison Barnes, tb (who were Algieriens.) Red Allen got an offer from King Oliver to join his band. Red went from New Orleans to St. Louis, then to New York City. He met Luis Russell in New Orleans, but only got to know him when he went to New York. He did not go to Chicago, contrary to many people's impressions. After a long stay in New York, he returned to New Orleans, playing at the Pelican, which was then on Rampart Street. Red then joined Fate Marable,on the steamer Capitol. Red Allen received offers from both (Duke) Ellington..and Luis Russell. He accepted that of Luis Russell. (Loren?) Watson of Victor gave him a chance to record. He used Luis Russell's band, including (J. C.) Higginbotham and CharlieHolmes. He had dates with Luis Russell. Then, Louis Armstrong was featured with the band. (i.e. the band was under Louis Armstrong's name (twice?). Red was also featured with Luis Russell's band, and also featured with recordings by Jelly Roll Morton. Red was the house man with the Victor recording company. He didn't know Jelly Roll Morton in New Orleans. Red was on Jelly's last recording date in New York City. (Not so according to Rust. Jelly made a further recording as guest pianist with the NBC Chamber Music Society of Lower Basin Street.) Red was also on some recordings with Louis Armstrong and Luis Russell's band. He played some short solos on some of Louis Armstrong's records. Fletcher Henderson's band included Red Allen, Coleman Hawkins, John Kirby and Buster Bailey. They played numbers like "Nagasaki", "Talk of the Town". Red sang on "Nagasaki". Danny Barker said that Fletcher Henderson had the best band (in the country) at that period. Red thought that Louis Russell's band was the most fiery. On arrangements: there were more soloists with Luis Russell's band, such as J.C.Higginbotham and Albert Nicholas . Luis Russell played one chorus (written?) and then "head rhythm (head arrangements?). Fletcher Henderson used many head arrangements; he wrote many arrangements and had a larger band. Luis Russell was, from Panama, but spent most of his life in the USA. His band was a young one and included J.C.Higginbotham and Charlie Holmes. Its rhythm section was one of the finest, Red Allen thought. Paul Barbarin, the drummer, helped Red to join King Oliver's band. Paul Barbarin, Bill Johnson and Pops Foster, who was one of the first swing bassists around New York City, made up the Russell rhythm section. Simon (Marrero), Wellman Braud (added by Danny Barker) and Al Morgan, were in New York City. Braud was with Ellington's band. Danny Barker said these men caused the tuba men to take up the bass fiddle. (Danny Barker says?) They slapped the bass. On the change in New Orleans jazz: Red liked the music at the Dixieland Hall. George (Finola) was keeping up with the trend of what New Orleans jazz is noted for. Red had not heard many bands during this visit. Some are trying out other things. Red said "To each his own." This is not new to Red; he has probably tried everything. New Orleans audiences have always taken the music for granted, but always have loved it. There are more outstanding names from New Orleans than a any-where else. In Europe, they really go for New Orleans jazz. Red likes Alex Welsh's band. He played with Alex Welsh's and Humphrey Lyttelton's and other bands. "Melody Maker" is an older publication than "Down Beat". "Melody Maker" had an all-star band (poll?) before there was one here. European musicians are now developing their own style. They copied records well. Fate Marable's band was great. His men came from all over. They had to read music, so it was different from a (typical) New Orleans band. Fate Marable was not a jazz man, but he was a great musician. He always had at least two New Orleansians in his band. Red Allen could read before joining Marable, but he then found he had to study further. His father brought him up to read . One of the chief reasons he studied with Manuel Manetta was to learn to read. He was acquainted with marches and playing in various keys. He speeded up the phonograph as he played along with it, forcing him to play in different keys. Fate Marable was advanced, and used unorthodox keys - 156 .Red Allen recorded with Sidney Bechet. Bechet played in Red's father's band, and they both played together. Red played bass drum with the Excelsior and Eureka (brass) bands. Red was also considered to be outstanding on the ukulele. According to Danny Baker, Red, as a teenager, was one of the best bass drummers in his father's band. George Finola asked about outstanding New York trumpet players when Red first arrived there (with the exception of Louis Armstrong and Red himself). Red named Bobby Stark, Rex Stewart, Louis Metcalf, Cootie Williams. Melvin (probably Melvin Herbert), Joe Smith and Jabbo Smith. Cutting contests were discussed. Red Nichols was around. Danny Barker said that Bix is George Finola's favorite. George Finola mentioned a New Yorker article on Red Allen. In Red Allen's opinion, Rex Stewart once cut Bix. He knew them equally well. Red says he was not nervous at cutting contests since he had fans. Besides, he always had enough for a ticket back home.. Clint Bolton (then a Dixieland Hall employee), George Finola and Danny Barker made Red feel at home, so Red played this time. Before, Red felt that he and his father were neglected. He was born in New Orleans, actually in Algiers. He is not actually thinking of returning permanently to New Orleans. He played with Benny Goodman's band, along with various sidemen including Fletcher Henderson, Teddy Wilson and Charlie Christian. He recorded with the vocalist Lena Horne, when he was playing in Artie Shaw's band. Red Allen has played in many different styles. He plans to play in and around New York City. In February he will go to England as a single and he will probably play with Alex Welsh's English band. Danny Barker spoke about Guy Kelly and Red Allen, and how they used to have good battles of the bands. Red had battles against the Kid Thomas band in Algiers. They are good friends. Red saw Kid Sheik Cola and Captain John Handy in England. Red and George Lewis had a band together when George Lewis lived across the lake (Lake Pontchartrain). Red and John Casimir also had a band together. The Young Tuxedo Brass Band was John Casimir's. They spoke about styles and the ability to fit in. Red played with a Chicago style band before he went to Chicago for the first time in 1933. On influences on Red's style: he liked Buddy Petit, Kid Rena, Punch Miller, Louis Armstrong and all trumpet players. Bill Madden thanked Red Allen and the others taking part in the program. The program ended by playing Red's "Sweet Substitute" 9/6/66, Orange, Connecticut - Traditional Jazz Club - Zutty Singleton - J.C. Higginbotham All Stars: Bill Barnes (t) J.C. Higginbotham (tb) Noel Kaletsky (reeds) Bill Sinclair (p) John Toumine (b) Dave Duquette (bj) ZuttySingleton (d) 7:36 Sweet Georgia Brown Connecticut Traditional Jazz Club SLP5/JCH-CD-11 7:57 St. Louis Blues --/JCH-CD-11 9/19-24/66, Boston outside - Lennie's - Red Allen with Herb Gardner(tb) Sammy Price(p) Coda Oct./Nov.66 “What Do They Want?”-Sammy Price Autobio-1989p70: (cont.from p137 to the Aug.65 Blue Spruce Inn rec.session): “… So we made “Feeling Good”… And that was the last time I played with Red, August 1965. …Then a strange thing happened. a few months later (!?) he called me and said, “ You know what? You're losing one of your best friends.” I didn't know what the hell he was talking about. But he had cancer. And I said, “Well, so what?” And this is the way I used to talk to him. “So I'm losing one of my best friends? If you're talking about yourself, you're not my best friend.” Although he was. Shortly after he died , in 1967, I decided I'd had it in music, so then I got out again.” early Oct. 66, Unity Funeral Chapel; funeral services for Lucky Millinder; with Red Allen & J.C.Higginbotham Storyville-8(Jan.-67)p2 – Doug Dobell: While in New York Doug attended the funeral of Lucky Millinder, held at the Unity Funeral Chapel. There were dozens of show business and musical personalities there including J.C.Higginbotham, Red Allen, Pops Foster, Eddie Barefield, Noble Sissle and Lem Jackson to mention only a few. Lucky died on 5th October. In the news-paper cutting I was shown of this event. Doug is in the forefront of a photo taken at the funeral, he feels that this is unique , and since very few English jazz fans are likely to have been at a function of this kind, it probably is. New York had a lot to offer musically, but briefly, they were entertained by Red Allen, who owns the largest bottle of scotch in captivity – and through Victoria Spivey he was able to find many interesting spots and in one Louis Metcalfe was to be heard playing with Sonny White on piano, plus rhythm section. Oct.66, a Friday night jazz policy was initiated at Mike & Dave's Restaurant in downtown Brooklyn with Henry Red Allen, clarinettist Joe Muranyi, pianist Don Coates and drummer Sonny Greer as the first incubents; (Down Beat 11/17/78) Oct. 66, one week again, Boston - Lennie's-on-theTurnpike, Red Allen played one week (DB-11/17/78) 10/late/66 Cambridge, Mass., Institute of Technology (M.I.T.) - “THE COLLEGE CONCERT OF” PEE WEE RUSSELL (cl) & RED ALLEN (t,v) Steve Kuhn (p) Charlie Haden (b) Marty Morell (d) – Whitney Balliett – 5:52 BLUE MONK (T.Monk) Impulse AS-9137/Jasmine JAS-78/RA-CD-20 --/ --/RA-CD-20 6:15 I WANT A LITTLE GIRL (M..Mencher-Be.Moll) 4:17 BODY AND SOUL -vRA (J.Green-E.Heyman-R.Sour) --/ --/RA-CD-20 4:08 4:04 6:57 Pee Wee's Blues (P.W.Russell) without RedA Allen 2° EAST, 3° WEST (John Lewis) GRADUATION BLUES -vRA (P.W.Russell) ------- / / / ------- /RA-CD-20a /RA-CD-20 /RA-CD-20 - 157 George Hoefer-Associate Editor, JAZZ & POP, cover-notes on IMP.-9137: Many jazz concerts have been recorded for posterity since the first in-person jam session -Jazz at the Philharmonic, Volume One- was reproduced on wax and released by Norman Granz in 1944. A good many of these live performances when played-back sound just as the listener would expect them to because artists in public presentations usually offer their best-known and most popular works. This Impulse album, recorded at a concert held at the Massachusetts Institute of Technology in Cambridge in late October 1966, is not a run-of-the-mill production. There are several significant factors that set it apart from the ordinary. One of the most important facets of this particular recorded concert is the basic concept. The music hereon was used to illustrate a lecture on jazz given by the prominent and well-known jazz critic for the New Yorker, Whitney Balliett. In choosing the participating musicians, it was decided to feature two of the most endurable jazz giants, whose careers almost span the history of the music itself. To form a rhythm section for the two great improvisers-the late trumpeter Henry Allen and clarinetist Pee Wee Russell - three outstanding young jazzmen were selected. These players, pianist Kuhn, bassist Haden, and drummer Morell, are of the Sixties and each one has performed an integral part on some of the most musically advanced jazz records being produced today. On the surface this plan for the dual purpose of an illustrative concert and a projected record release would appear to be rather risky; but, both Mr. Balliett and record producer Bob Thiele possess an experienced insight into the creative potential of Mr. Allen and Mr. Russell. As listening to this set will bear out, their confidence was not misplaced. Here we have two veterans finding fresh inspiration evolved by a stimulating rhythmic framework that somehow prevents them from failing into any of their time-worn clichés. Instead, they are challenged, and as a result the listener is treated to fresh ideas from two of jazz music's masters. A few years ago Don Ellis, a prominent trumpeter and band-leader of the modern jazz school, wrote an illuminating evaluation of Red Allen's work. His premise was that Allen was basically an avantgarde horn man. Ellis was not alone in this judgment; throughout the past 20 years there have been periodic articles by critics and musicians pointing out that Allen was not receiving his due credit as an artist. Being a New Orleans trumpeter, born in Algiers, Louisiana, Henry Allen travelled through the jazz world in the shadow of Louis Armstrong -even playing in Armstrong's big band for several years. On this concert performance, improvising in a modern context, trumpeter Allen bears out the fact he had considerably more to offer than a driving Dixieland style, pure showmanship, and an ability to reproduce effectively a popular melodic line. Allen is heard to good advantage on all the tracks except Pee Wee's Blues, which is, of course, Russell's superb specially. Red's featured track in this collection is a marvellously up-dated version of Body and Soul As on most of these tracks, there is an introduction by the. pianist, accompanied by drummer Morell's firm cymbal beat. On his long trumpet solo, using a beautifully toned open-horn (as he does throughout the concert), Allen builds tension as the tempo subtly increases. His phrases are interesting and the performance is flavored with his inherent swing as he returns to the familiar melody. Alternating with his two horn solos, Allen performs two vocal interludes that vividly illustrate the old saw that musicians sing in a manner simulating their instrumental style. To those who are accustomed to Red's "whamp-whamps" and other showmanship vocal phrases, his singing on Body and Soul is somewhat of a revelation. It makes the listener wonder why his vocal talent was not exploited to more advantage through the years. This album had added significance due to the fact it was recorded only a few months before Allen's death on April 17, 1967 at the age of 60. The trumpeter, who played the riverboats with Fats Marable and Fats Pichon, worked long periods with the great pioneer jazz bands of King Oliver and Fletcher Henderson, and led his own sextet for almost 20 years, once said, "When I pass is when I retire I love to play; that horn is good for me." Amen-and this record legacy is good for jazz. Whenever Charles Ellsworth Russell plays these days-concerts, records, festivals, etc. he renders Pee Wee's Blues. Although the tune is a published number, he never plays it the same way twice and it has become a musical interlude wherein the great clarinetist mines the ideas he has stored-up during more than 30 years of jazzplaying. On his latest recordings Russell has show-cased a more musical approach to his improvisations and his former usage of surpri- - 158 sing excursions into the tonal extremities of the clarinet has been replaced by sensitive building phrases, subtle trills, and a more relaxed rendering of his ideas. These recent developments are well-illustrated here. The remaining four numbers on this album highlight another important factor that makes this a worthwhile addition to jazz record libraries. This is the way in which Allen and Russell work together as a duo in musical inter-play. They have occasionally played on the same stage in jam session style, but there has never been, before this concert, a similar situation where they were called upon to complement each other's performance as a unit. On the old composition, I Want A Little Girl c. 1929, Allen plays the melodic line as Russell weaves in and out around the lead. Their ensemble sound as they play along together is noteworthy. Both players delve into hot phrasing that is subtle rather than frantic. The rendition is well-enhanced by a light piano solo that is suggestive of barrel-house style. This is accompanied by a deep-toned bass and the ever-present, but not overbearing drum work. The Pee Wee Russell original, Graduation Blues, is played with Allen offering a strong lead horn and also getting into short conversational bits with Russell. The trumpeter again sings, using traditional blues lyrics, and afterwards sending off Pee Wee with a characteristic "carry, carry on." On this track two of the rhythm trio perform beautiful solos that are highlights of the concert. Pianist Kuhn plays a fascinating solo in the blues idiom. He is followed by a thoughtful and beautifully toned bass solo by Charlie Haden. Those listeners to this album who recall seeing the Newport Jazz Festival movie, Jazz On A Summer's Day, will remember the haunting quality of sound produced by Thelonious Monk and His Quartet as they played pianist Monk's own composition, Blue Monk. The sound, so effective in the movie as a background for showing the sailboats on the water, is faithfully reproduced by concert group. Everyone contributes; with drummer Morell's playing on the cymbals offering inspiration to Russell, whose solo garners a good audience reaction. The most recent jazz composition included in the collection is 20 East, 30 West by John Lewis, the pianist-leader of the Modern Jazz Quartet. Again the group performs as though they were a regularly organized unit. Allen produces notes that are intricate and well played. And especially notable counter-point is contributed by the clarinet during Allen's opening chorus. In the final analysis, this reproduced concert record serves to prove that jazz is a constantly growing and developing art form; but, it also vividly points out that it is worthwhile to keep in mind the jazz talents of the older stars and what they can contribute to the contemporary scene. Eddie Lambert in Jazz Monthly.8/68: It is rather surprising to find so knowledgeable a jazz writer as the late George Hoefer suggesting, as he does on the sleeve here, that there has never before been a situation where Allen and Russell have been "Called upon to complement each other's performance as a unit". Like so many other people George seamed to have forgotten those fine Rhythmakers session of 1932, whereon these two musicians offer some of the keenest and most coheisve two part ensembles on record. The casual ensemble passages on this album are pleasant enough but little more than 'off the cuff' framework for the solos. The idea of the session seems to be prove that musicians of an older school can successfully take part in a concert using a modern jazz format and a modern rhythm section. The point is proved but the question remains as to whether it was worth proving in the first place. At best the rhythm section andthe horns maintain an uneasy alliance, and while compositions by Thelonious Monk and John Lewis may be an improvement on tired dixieland warhorses, they are far from ideal as Russell / Allen vehicles. This rhythm section tends to convince me further in my minority (or one, I think) view that jazz rhythm sections have deteriorated rather than improved. Charlie Haden gives a stunning display of bass playing and the drumming has drive and great discretion in keeping the balance within the section. They provide a sort of rhythmic continuum which is quite useless for musicians of Allen's and Russell's rhythmic approach. The way in which such a section leaves the soloist in isolation is perhaps best seen in the climaxes of Pee Wee's solos, when his increased volume simply sounds perverse, eccentric. Like so many modern rhythm sections this one is supremely efficient, but so far as either swing or band playing is concerned these musicians are thoroughly outpaced on this month's releases by the ill recorded veterans of Kid Ory's band (Voc.LAE605). Not only does this section play in an academic fashion rhythmically, but the choice of chords on the part of the pianist is wayward in relation to the soloist. Haden has two brilliantly inconsequential solos, Kuhn a series of rather bodyless ones. This planist's use of blues devices on Graduation Blues has the sound of the academy in every note and I doubt if I have ever heard a poorer blues performance; by comparasion, an Art Hodes or a Mezz Mezzrow sound positive jazz masters. In such a context neither of the hornmen are at their best. Pee Wee frequently makes an unlikely context the setting for a fine performance, and his work here is good without reaching the heights of his best playing. Henry"Red" Allen, whose last recording this was, sounds ill at ease. The grunts, encouragements and chuckles which were characteristic happy Allen performance are almost wholly absent. His two vocals are strained and unrelaxed, but he gets in some trenchant trumpet choruses from time to time, notably in the blues numbers. A Pee Wee Russell-Henry Allen album could have been something very special, but attempting to prove a theory has rendered the result a jumble of fairly good playing which never really gets anywhere. Henry Allen's final session finds him playing in a curiously restric-ed manner; possibly this may be due to his health, or may be it is the result of a giant paring down his style to fit in with midget music. -----------------------------------------------------------------------------------------------------------------------------------------------------------------weaves an oblique counterpoint to Red's lead. On Body And Michael Shera about Imp.STPL-509, in Jazz Journal 9-68: Henry Red Allen and Pee Wee Russell have recorded together before, but only once since the Rhythmakers sessions of 1932. That was for the 'Seven Lively Arts' TV Show, in December, 1957. The concert under review takes on a further significance since it is ,probably Henry Allen's last record. Perhaps the most obvious aspect of the record is that the coleaders are playing with a modern rhythm section, and two of the tunes are not of the kind that Henry, at least, has been used to. Pee Wee Russell, on the other hand, has used a considerable amount of modern tunes on his recent records, and even once played with the composer of Blue Monk. The rhythm section plays very sympathetically, and there are no problems on that account, but Blue Monk, the opening tune, finds the horns sounding distinctly uncomfortable. Both are past masters of the unexpected, and their styles are better set off by tunes that are reasonably straight-forward. Things improve considerably with Little Girl, where Pee Wee Soul, Allen delivers one of his superb vocals that makes the old standard sound like a completely new tune, and Pee Wee's Blues demonstrates that today, Pee Wee knows no master as a blues clarinet player. The other modern tune, John Lewis' Two Degrees East Three Degrees West, presents much less of a problem than Blue Monk, with excellent counterpoint by Russell to Allen's lead. The programme closes with a Pee Wee Russell original, Graduation Blues, with Allen contributing a further example of his good blues singing, and Russell playing another fine solo. Perhaps Allen's blues vocal style is a spiritual father of Clerk Terry's mumbling. In addition to apt accompaniment Steve Kuhn and Charlie Haden contribute stimulating solo work. A worthy memorial then, to Red Allen, and further testimony of Pee Wee's continuing greatness. Fortunately, the whole proceedings were also extremely well recorded, though I suppose that is almost inevitable with Bob Thiele in charge. - 159Jack Hutton in New Jazz Records in MELODY MAKER, 8/24/68 Page 12 - Subtle, soft jazz from two masters THE COLLEGE CONCERT (1966) - A LIVE concert Blues " is delicate and sensitive - a little gem of a performance. made about six months before the sad death of Red Allen. Red Jazz writer Whitney Balliett arranged the concert and his doesn't sound at his very best. but his thick gutsy tone is idea of using a " modern " rhythm section turned out well. beautiful throughout the record and his singing is poignant. True there are some awkward gaps but the constant feeding by The album at first hearing doesn't sound all that relaxed, but pianist Kuhn brings pleasant results. He is a thoughtful, repeated plays uncover the subtleties of all the musicians and forceful and melodic player. This is subtle, soft jazz and it especially those of Pee Wee. Some of his meanderings seem needs an easy atmosphere to listen to it. Pee Wee and Red to defy all laws of musical logic, other little passages seem the consolidate their positions as two of the most individual definite work of a grand master. His customary "Pee Wee's improvisors in the history of the music. — J.H. --------------------------------------------------------------------------------------------------------------------------------------------------------------late Nov./early Dec.66, unknown location in Connecticut; “REUNION”-RED ALLEN (t) CAPTAIN JOHN HANDY (as) guest artists with BILL BISSONNETTE (tb) & HIS BAND: poss. Clive Wilson (t) Sammy Rimmington (cl) Bill Sinclair (p) Dick Griffith (bj) Dick McCarthy (b) Arthur Pulver (d) Jazz Times Vol.4 No.1, Jan.67: “CAPTAIN” JOHN HANDY has recently returned from New York where he made his first recording session for Victor 11/15-11/18 … He spent a weekend in Connecticut where he played two gigs with Sam Rimmington's band with guest stars H.Goodwin & Jimmy Archey from New York. He also worked one gig with BILL BISSONNETTE with guest star HENRY”RED”ALLEN on trumpet. Nov.&Dec.66, Friday nights at Mike & Dave's Restaurant, Brooklyn - Red Allen & Sonny Greer; (Down Beat-12/1&12/5/66 Dec.66, N.Y.C. Five Spots - WHITNEY BALLIETT's PARTY on his published "SUCH SWEET THUNDER": Buddy Tate Band: Tate (ts) George Wein (p) Tommy Potter (b) Ruby Braff (c) Jo Jones(d) and then Buddy Rich for Jones and “the trumpet-player Henry (Red) Allen also mounted the stand for several numbers and singing and jamming …” (Down Beat 1/12/67) prob.Dec.66, Washington-Betty club, Red Allen followed singer Merge Dodson (Down Beat 1/12/67) l. to r.: “Higgy” – Ken Lowenstine – Dan Mavens – Bud Freeman – Bob Rix – Jimmy Weathers (Jazz Journal 4-70) 12/10/66 Atlanta, Ga., telerec. for WAGA-TV - "HIGGGY COMES HOME" - J.C.HIGGINBOTHAM(tb) BUD FREEMAN (ts) Dan Havens (t) Jimmy Weathers (p) Bob Rix (b) Ken Lowenstine (d) any TV-clip wanted intro: In A Mellow Mood uniss.on LP /WAGA-30 min.telerec./wanted Confessin' --/ --/wanted Rosetta --/ --/wanted Dinah Cable KL-126601/ --/JCH-CD-11 St. James Infirmary --/ /JCH-CD-11 Back Home In Indiana --/ /JCH-CD-11 Blue Jay --/ /JCH-CD-11 Sweet Georgia Brown --/ /JCH-CD-11 Bye 'N' Bye --/ /JCH-CD-11 Way Down Yonder In New Orleans --/ /JCH-CD-11 Jingle Bells --/ /JCH-CD-11 - 160 - HIGGY COMES HOME by Dan Havens Maybe it began in the summer of 1944. Chicago, the Loop, and Red Allen's Sextet. Six nights a week they beat it out in the Down Beat Room in the basement of the old Garrick Building. On the few of those nights a freckled, chubby kid of thirteen sat with his parents and cousin, his eyes smarting from tobacco smoke, cars unaware of the chink of change and click of ice-clubs. I was spellbound by the slide horn of a slender, brown, soft-spoken Negro called Higgy. Or maybe it began even earlier. During the forties J.C. Higginbotham had won first place as hot as hot trombonist in the annual jazz polls for four years running. Long before I ever heard him in person I'd memorized his solos on big band recordings like One O'Clock Jump and Bugle Call Rag by the Metronome All Stars. By the time he recorded those, his work with Louis Armstrong's band on dozens of Decca sides during the late thirties was already legend, and I could whistle most of his choruses by heart. But in the Downbeat Room I first heard live, gutty jazz in person. Listening to my father's collection of 78's since I was eight had taught me good jazz from bad, but it hadn't prepared me for the aliveness, the 'realness' of jazz in person. Hearing Higgy and Red, soaring on top of a chugging rhythm section, was an initiation into ecstasy. That first night I stepped into a world of music I have never really left. One morning last November my cousin Ken Lowentine called me from Atlanta. He'd looked up Higgy in New York during the summer and he said the old man was down and out in Harlem. Ken had taken him to Eddie Condon's and J.C. had made Yank Lawson, Cutty Cutshall and the Condon Mob sit up and listen for two sets. But Higgy was pretty well relegated to the jazz histories and nobody hired him much except for an occasional one-night saloon gig. The steady job at the Metropole had been gone for several years, and what was a trombone player going to do if all he knew was how to play his horn? Ken told me he wanted to do something for Higgy, to bring him back home to Atlanta for a recording. Maybe if he came back to his hometown to cut an album, to start all over again, maybe if some people heard it and the critics liked it, things might go better for him. Nice and sentimental, I said, but where's the money coming from? Who's going to put out the album? It was nice but crazy. Nice and crazy. Ken agreed. But some jazz fans in Atlanta were fired up about the idea arid had come up with the backing already. Paul Hemphill had mentioned it in his column for the Atlanta Journal, and the response in just one week had been heartwarming. Jzz fans were phoning daily, wanting to help in some way. So Atlanta was ready, Ken said. Was I? Play on an album with J.C.Higginbotham! My stomach knotted so hard I could barely mumble a yes. But are you sure you want me? Hell, I haven't worked with a band in more than a year except to sit in some. Ken said he thought I could handle it - he'd never heard me try anything I couldn't play. The phone calls came often those next few weeks. How were the charts coming? Well, I'd have to know some of Higgy's keys. But who was set for clarinet? Maybe Ed Hall, maybe Buster Bailey. Nothing definite yet. Then one day Ken called to say that Bud Freeman was going to do the album with us. The date was finally set for Saturday, December 10th. Ken wanted an in-person sound, so Rod Kinder was going to set up his recording studio like a cafe, with food and drinks. Some ninety jazz fans had been invited to watch the session. And something else had come up. Paul Shields, news director of WAGA-TV, had gotten caught up in the thing, and wanted to film a thirty-minute documentary in colour. Hemphill had done some more column on it in the Journal, and in general there was a in Jazz Journal 4-70pp2-5 good feeling in Atlanta over the coming session. It looked like it really would be a homecoming for Higgy. II Dear Old Southland. I left St. Louis in 25-degree weather, spitting sleet. I'd checked my suitcase, but I was uneasy about letting go of the horn with those arrangements, so I carried the case on the aeroplane and shoved it under my seat. Just over an hour later we touched down at Atlanta and I stepped off the jet, horn case under my arm. I hadn't expected the mild mid-sixties weather and the soft rain. It felt like spring. Ken was there to meet me and asked how I was. I said, fire, but with my mouth puckered, and I told him I'd had all my teeth pulled the day before. I said I could still whistle like hell. Ken said to can the funny stuff - we had to drive downtown to the motel to pick up Higgy and Bud. Higgy was taping the interview portion of the TV docu-mentary that night. After we got my bag and found the car Ken said things were all right for the session. I told him he looked good after seven years, only maybe a little thinner on top, and Ken said the same, only maybe I wasn't any thinner below. I laughed and asked him if he were going to play drums on the date and he said he was. As Ken threaded in and out of traffic heading downtown on the South Expressway I remembered when we had last played together. It was at my wedding reception, and he laughed when I said Ellie was still mad at me for that. I didn't dance much after the first waltz. It was raining harder when we turned off Peachtree Street into the driveway of the Atlanta Cabanna Motel. On one side of the sign out front it said 'Welcome Higgy and Bud,' and on the other, 'Welcome Bud and Higgy.' Ken said that -was real integrations equal time. After he parked we ran up the steps to shelter and then walked down to Higgy's door. When we stepped in I looked at Higgy for the first time in fifteen years. He looked old and hunched, although hardly greying, standing in his undershorts and slippers, one shoulder cocked higher than the other from a lifetime of cradling his trombone up there. His legs were so skinny they made his knees seem knobby. I'd forgotten about his protruding eyes, the one looking off to one side a little. But his voice had the soft, nasal warmth I remembered, and his smile was the same. It always made me think of a schoolboy thanking his favourite teacher. The room was messy, and the bed was littered with the Atlanta papers and a tray of food, half eaten. Higgy said the sleak was too big for him and he'd wrapped up the remains in a napkin for later when he'd watch Tv. He likes to watch old movies. Higginbotham said he remembered me; but I could tell he didn't. He was as warm as ever, and he even got my name right after Ken told him a few times. It was silly - I wanted him to remember me from before, but I knew he wouldn't. I didn't feel hurt or anything. I felt sorry for the old man, standing there in his shorts and slippers and looking tired. And then I felt bad feeling sorry for someone like Higgy who was so good, who had initiated me. After a fast hello Ken asked him to hurry up and get dressed for the interview, and then we went next door to meet Bud Freeman. Bud's room looked as if the maid had just cleaned it – everything neat, nothing unhung, no dirty ashtrays. It suited Bud, who was watching the 'Nutcracker Suite' on television. He was soft-spoken, suave, and polite as he greeted us .and shook hands. He asked me how I was, and I said, 'Fine'. But I saw the Oh-God-an-amateur look break the composure of his face for just an instant, and I was embarrassed. I couldn't blame him. In the car Ken had told me that a lot of Atlanta people kept asking him who was playing trumpet on the album and when he explained it was his cousin, a college professor, well, you know how it was. Bud had that look. After we sat down, Ken and I on the chairs, and Bud erect and poised on the edge of the bed, Bud asked Ken if he enjoyed the ballet. Ken said, 'Not really'. 'Well', Bud said, gesturing urbanely with a manicured hand, 'My wife was in ballet, you know. Oh? She's a child therapist now, you know?' - 161 Oh, Bud thought the ballet was excellent. After all, there was so much . . . Well, you know . . . crap on television these days that the 'Nutcracker Suite' was refreshing. Was 'crap' a good word for Friday night, Professor? I told him it was. Ken said it was a good Sunday morning word too. Then Ken said he didn't mean he disliked ballet. Only it didn't excite him much. Bud sat erect and smiling on the edge of the bed. The polite smile, the London tailormades, the urbane gestures as he spoke - they were all Bud Freeman. I decided he looked more like an investment broker than a tenor man. I liked him. Then Higgy knocked and walked into the room. Hi Bud. Man. Ken, this' jus' wunnerful, jus' wunnerful. Bes' thing ever happen t'me in my whole life, Ken. Ken I lov' ya, man. An' you, Bud - well, you know, man. An' you too, ah ... Ken said, Dan. Yeah, you too, ah, Dan. Les' all have a drink, huh Ken? But Ken said we had to gustle over for the TV interview, so we put on our coats and hurried out to the car in the rain. We headed for Ken's place to drop off Bud and me, and on the way we smoked and talked. All of us but Bud, who doesn't smoke. But he talks. He reads a lot and likes to talk about ideas. We were all thinking about the session the next day and the talk was mostly about jazz. Higgy got to reminiscing about some cats he thought were great, and the rest of us laughed because we had forgotten most of them. Higgy said that Hilton Jefferson was maybe the best alto man he'd ever heard – just as good as Hodges or Carter. Then Bud said Coleman Hawkins swung much more after Louis came along and taught everybody that marvellous gutbucket sound. Technique or even ideas weren't much. Bud said, unless you had that gutbucket sound. The best cats all had it. Higgy said, Amen, and fumbled for another cigarette. It went on like that for awhile, Ken dodging traffic and squinting through the rainy windshield, and all of us talking. When we got to Ken's, Marilyn and their three boys, John, Richard, and Chris, rushed out to greet me and ask a million questions all at once, fighting to carry my horn case in. Was my horn a new one? How could it fit in that little case? Could they blow it? Did I like jet planes? Could they blow it? Did I like jet planes? Was I really their cousin? I looked so much older, old enough to be their Daddy. It was wonderful, those fine boys, and I felt relaxed for the first time all day. Ken and Higgy left almost immediately for the interview and Marilyn got out some ice cream for Bud and the boys. Chocolate mocha something. I begged for a big bourbon, but loves ice cream, and soon he was playing penny ante poker with John and Richard - he provided all the money for the table. But lost $2.75 to the boys, and he grinned when they whooped and counted up their money. After Marilyn marched the boys off to bed the three of us talked about music. Well, really Bud talked about. music, and how it was from the heart, any kind, and how it was love. He said a musician would always play for another musician. It was probably close to 11 pm when Ken and Higgy returned from the interview. Higgy was wearing a cardigan sweater the studio had lent him to make him seem more casual - he'd liked it so much Paul Shields had given it to him. And he had his schoolboy smile and a warm hello for us. As soon as Higgy and Ken sat down with us, Bud started in on Zen Buddhism, about how beautiful it was. You can learn a lot from the East. If you were always humble you never lost pride. He liked that. The trouble with the world today was that people didn't laugh enough. Music could give them love and laughter, didn't we agree? Life is too short to go around worrying, isn't it? He said it earnestly and I knew he meant it. But I also thought it was ironic. I mean, Bud sitting there in his English tailor-mades, and no more night clubs to play, only London, Europe, the Newport Festival, and record dates. But he meant it. I knew he had come down to this session for less than half his usual recording fee as a gesture of affection for Higgy. That was Bud. Music was love. I kept waiting for an opening to bring out my nine arrangements, and when I saw it would never come the way Bud was going, I brought them out anyway. Bud scanned them quickly, and I saw that look again. But Higgy looked over his parts slowly, singing the phrases in a toneless hum. Once when I tried to whistle a passage for him he gave me an angry look, so I kept quiet after that. When he was finished he looked up with that schoolboy smile and said, "They jus' fine, man. You worked hard on these - an' two specials jus' for me. Wunnerful. And then Higgy asked for one more short one before he went back to the motel. He said he'd warm up his chops on the charts in the morning. It was still pouring when we got back to Ken's, and there was Marilyn at the front door. Ken told her Paul Shields had been thinking of dropping the documentary because Higgy had seemed nervous during the interview. But we convinced him that the real film was in the session itself - the goofs, the good tunes, all the interplay in the band. So he said he was going ahead with it. Marilyn said she was glad for Higgy's sake. She was afraid the old man would be hurt if they cancelled the film. Yes, Ken said, we've been so busy worrying about the preliminaries we've kind of forgotten the reason we're doing it all, It's Higgy. I said he seemed in good spirits, only maybe tired-looking. Then we got to reminiscing about J.C. in his prime, with Red Allen at the Downbeat Room in Chicago, and how he could always make that last set, no matter how much whiskey he'd had, as long as he could prop his back against the wall, next to Alvin Burroughs, the drummer. He'd play towards the floor, eyes closed. But he'd play – and at any tempo, loud and clean. He was one hell of a trombonist. And so we talked on, mostly about Higgy, but also about our mortgages, and about baloney, sandwiches and being poor. III In the morning I woke up to the sound of Chris blowing my Reynolds. Cousin Dan, do you like bacon with your eggs? Sure, but stick a mute in that horn, boy. When Ken got up we sat down to eat, and the coffee was hot and the boys talked a lot and it was fine around the breakfast table. After-wards we hurried downtown to the caterer's to pick up the food, and I was thinking I hadn't even practised the horn. We were too late to pick up Bud and Higgy, they'd have to catch a cab to the session. Ken swore at traffic all the way to Kin-Tel Studios, and I kept worrying about no practice, and balancing a big tray of cheeses and shared ham on my knees. But we got there with nothing spilled. It was a big room with all the windows boarded up and baffled for acoustics, maybe 125 feet long and 50 wide. And Rod Kinder, who owned the studio, had really gotten a cafe effect with his checkered tablecloths and candles. There were some twenty tables set up, and even though there weren't many guests yet, the room was filling up with talk and laughter and tobacco smoke. Just right for a session, I thought. Near the entrance, beside the engineering booth, were the bar, tended by a Negro named William, and the buffet table. Down at the far end was the bandstand, and all I could see were microphon'es-mikes, mikes, and more mikes. I felt my stomach knot up, the way it had when Ken first asked me to play the session. This was it, no more preliminaries. Those mikes. There were only six, one per instrument, but with all the wires and TV cables and lights and cameras, it looked like an electronic jungle. We would have to stand pointing a little to the left of the audience, toward the piano. But once we started we just naturally pointed out toward the audience, so they shifted the horn mikes in front of us and forgot all about the acoustical wall. Pretty soon Higgy and Bud arrived. As soon as the audience saw them they applauded. Bud responded by smiling politely and nodding his head, but Higgy made as weeping bow. Then, wearing his schoolboy smile he walked slowly up to the stand, stopping at every table to shake hands and say hello. The two of them began to unpack their horns. Bud looked as - 162 impeccably cool as always, and said hello with his usual politeness, but he still gave me that look. He wanted us to tune up together, so we did. He didn't bother to ask Higgy. I'd been running through some of the tunes with Jimmie Weathers, the pianist. 'Higgy Comes Home' – In A Mellow Tone, Take One, and we kicked it off at 12:30 pm. We ran it all the way through, with solos, and Bud liked it, so he told the engineer we'd do it once more for keeps. It went off fine. Bud was wonderful. He sure had that gutbucket sound. Higgy was strong, and played to his audience, slipping around easily and humorously on his chorus. I played some growly muted stuff behind the sax and bone stuff on the first chorus, and all the solos in the middle swung,. Listening to the playback I decided right off I'd stay in the middle register and get my effects with a mute or from volume contrast and pauses. Nothing fancy for this boy from Edwardsville. Just play it clean and right in the middle. I was in tough company. And I knew it. But my first was good. I'd be all right. IV We sort of tacitly agreed we'd play maybe three or four tunes per set, and then break for a smoke or a drink. Higgy wore the same light-coloured sharkskin suit he'd worn the night before, and he kept his jacket on all afternoon. At first he was pulling and sweating hard. He kept wanting to break after two tunes, but Keith kept on him, telling him we had to get through. Even though nobody said it out loud, we were all scared he might have a heart attack, because in the car the night before, he'd told us about keeling over from one on a gig at Princeton with Jimmie McPartland. So we were all thinking about that. But J.C.Higginbotham is a professional all the way. He knew he had a job to do and he knew he would do it, even if we didn't. I think he enjoyed our nervousness over him. Bud would ask, Can we do one more, Jay? And Higgy would flash that schoolboy smile and say, If you say so, Bud. My Man. The first three or four sets went unevenly - half the session in time. The TV people wanted Higgy to do his old hits like Dear Old Southland, Georgia, 0n My Mind, and Pennies From Heaven. Southland is a very special number for J.C. Like anyone else, he learned it from the beautiful recording by Louis and Buck Washington. But it's a tough number because he takes it in a high key, and has to make it both sweet and hot. Well, he wasn't really up to it because he hadn't been playing for so long. But he did it for the documentary and for his fans. And a funny thing happened during the take. When the TV cameras started rolling, Higgy brought in the rhythm section with his usual Whaamp, whaamp, waving his horn like a baton. The audience loved his clowning. Everybody was doing fine until Higgy got to the minor passage, which Jimmie Weathers didn't know. Jimmie was so intense just following Higgy in the major part he never heard Higgy make the change. And I guess Higgy was minding his own high-note business so hard he didn't notice. It sounded awful and I was embarrassed, so I jumped up from off-camera and yelled, Hold it, hold it! Then I walked over to the piano and showed Jimmie and Bob Rix, the bassist, the minor change. What I didn't know was that Higgy didn't understand what I was doing. He'd been blowing with his eyes shut, and suddenly, just as he was reaching for a high one, his accompaniment quit, and there I was, my back to him, hunched over the piano. He got mad and made as if to hand me his horn, and said, 'Let him play the damn number if he wants to change the arrangement !' Well, Weathers and Rix quickly picked up the minor change, and as soon as I got off-camera they did the number again, this time without trouble. When Your're Smiling went well, with Higgy sounding like he did twenty years ago on the shuffle rhythm chorus. And then we did Confessin', Saint James Infirmary,_and Pennies From Heaven pretty much as J. C. had done them hundreds of times before. On Confessin' Ken played on through Higgy's solo break. Later he told me he knew Higgy's arrangement as well as he knew the Lord's Prayer. But he was sleeping. Higgy got mad and stopped the number. And that was funny. He didn't know whether or not he could get mad at Ken, so he just scowled at the bass drum and said, OPen break, man, OPen break. I looked at Bud and Bud studied his fingernails with a half-smile. Most of these old favourites were for the documentary and for Higgy's fans in the audience. They weren't for the record. Higgy must have known that, must have felt bad inside about the mediocre tunes. But he never let it show. And Bud was a rock. V Playing in front TV cameras was confusing. Those bright, hot lights were everywhere. The engineer in the control booth would remind me not to start before the red light went on, but with the TV lights on.us I couldn't see past the end of my horn. Once I asked him where it was, just before a take. He snapped at me to just watch the light, man, just watch the light. I knew he thought I was being smart, and I must have looked mad because Higgy touched my arm and said, 'Cool it, man, jus' pretend. See? Cool it'. So from then on I pretended I knew where it was and waited a little after he gave us the take signal before I tapped us into the tune. After the session was all over and as I was packing up my horn I discovered a red light near the drums, behind where I stood. I showed it to Higgy, and he shook his head and said. 'Ain't it the way? They usually don't hide red lights ! C'mon, man, les' have a drink on that crazy light'. When they started filming the documentary they turned on all those lights and Paul Shields began reading the opening spot from the idiot box. 'Ladies and Gentlemen, you see before you one of the legendary figures in jazz - J. C. Higginbotham - and like that. One time the lights blew out, and that stopped the number. Another, they had to stop to reload the cameras. Once or twice we got our head arrangements mixed up and had to stop the number to talk it through. During the solos I stood there and tried to look happy. I wondered if we were supposed to jump around and snap our fingers and say, Yeah, yeah man, like the jazz musicians in movies. Once they stopped us and told me. Get that damned can of Busch off the sound box behind you. I did. But nobody ever said anything about the Coke bottle next to it. Higgy grinned, leaned toward me, and whispered, Wonder if they gonna say somethin' 'bout my Chesterfiel's nex'? At 3.30, about halfway through the session, the TV cameras had use up all their film, so we settled down to some serious recording. I suggested another of my arrangements but Bud felt we should go one with head stuff, and Higgy said. 'Aw, man, you ain't gonna make me read NOW?' I knew Bud was right, since we hadn't rehearsed any of the charts. I thought then that I ought to be mad, all the work I'd put in, but I just wanted to blow. With the lights and cameras gone, with the hokey stuff out of the way, we were all relaxed and ready to go - I think for the first time. And all good mainstream jazz. Sometimes we'd have to show Jimmie Weathers the bridge or something, but he'd touch a couple of chords and have it right off. We felt best about the last set. By the time we listened to the playback of it most of the audience had gone. Rod Kinder needled me about what he dubbed The Magnificant Fluff of the day. On Bye And Bye I had planned a spiralling run to open my solo, intending to end up on a high G, but I charged into it so hard I landed on A instead - Rod insisted it was on the crack between A and B flat. When it happened Ken almost fell off his drum-steel, and I pulled my horn away from my chops and stared at the bell for a moment. Rod promised he'd clip that piece of the tape out and make me a 45 rpm of it. Higgy said, 'Boy, you got somethin' for the critics that time!' Rod is as crazy as the rest of us. Right after our 1ast number - 163 Bud said, 'Rod, that was sooo good we'd like to hear it and sentimental moment it was except that Higgy was tight back now please'. So Rod played it for us and when it got and his chops were tired. The notes were strained and a little to the end Bud requested it again. So Rod backed it up sharp. Then I realized that tired chops and strained notes and played it again. Those are things you can't get on an didn't really matter. When Higgy had to do his stuff, he did album when you press it, but they're all a part of it. it, always competently. And at moments on a solo or in the Like Higgy's liquor ration. He'd brought a fresh half-pint ensemble, he did it with a peculiar charm and whimsy - the with him and given it to William at the bar. Ken had brilliance that no other trombonist has ever imitated. And asked William to make sure Higgy drank that and no that's professional, and long way from nostalgic or more, at least until the session was over. But halfway sentimental. through the afternoon the pint was down pretty low, so VI William watered it back up again. Later on he did it once The next morning we went dowtown to the motel to see more, and when that dilution was down near the bottom Higgy and Bud. Higgy asked for a stiff one. Bud was taking the boys to the professional football game William poured the rest of it into a glass with an ice cube after church. I said a fast goodbye to him and stepped next and no water, and Higgy chugged it right down - about door into Higgy's room. He was calling his wife in New five fingers' worth. Higgy smacked his lips and told York, and telling her with tears and laughter all about the William, 'Ya know, man, when you feelin' straight an' day before. When Ken came in Higgy insisted that he say fine, whisky don't hardly 'effect ya'. William answered, hello to Margaret, and while Ken was chatting Higgy poured 'Uh huh' - and kept on wiping glasses. Just before we left me and himself a drink from the half-pint he kept in the I noticed Bob Rix winding up cable from his electronic drawer of the night stand beside his bed. We toasted the bass kind of unsteadily, and I said, It was a pleasure, success of the record and I thanked Higgy for the chance to man, you really dug in. All that vodka and cheese fired play with him. I don't think he understood, or really rememyou up. And he said, Yeah, man, it was a real pleasure, bered me even then, so I said that playing with him was kind of blurry and slow in his deep voice. He hadn't something I had been thinking about since I first heard him smiled all day, except at the cheese buffet, so I told him in the Downbeat Room. I don't think he heard my words, but Ken had said he was a damned good bass man but a he heard my tone, and when I was done, and embarrassed, he sourpuss. Rix leaned back and roared out the best laugh walked over to me in his blue silk bathrobe and slippers, when I told him, and then suddenly he turned all threw his right arm about my shoulders and gave me a hug. sourpuss again and said, still fumbling with the cable, When we left Higgy he was calling his relatives in Social 'You know, Dan, I'm a professional and I hate amateurs. Circle Georgia, arranging for a cousin to pick him up and If there's a phoney in the band, I can bad-eye him into take him out there to see his family and friends. It was his silence. Why, man, l've been known to turn some into first time back in almost thirty years and he was very proud pillars of salt right on a gig'. I 1aughed and he finally got to be home again. He had told us that they'd seen all the his gear picked up. He walked out of the studio with a newspaper write-ups and some had watched him make a kind of unsteady dignity. He had a society gig with Billy personal appearance on a local TV show two days before. Butterfield that night. None of them knew anything about his hard times; they only When I left the studio with Ken, Higgy was playing knew Mrs Higginbotham's boy, Jay, was home. and he was a Georgia On My Mind, all by himself. There was still one famous musician. It was good. table of people listening, and I thought what a nostalgic -------------------------------------------------------------------------------------------------------------------- Higgy Goes Home On a drizzly winter Saturday afternoon in Atlanta, Ga., a group of jazz musicians came together for a recording session with trombonist J.C.Higginbotham. It was a gesture of affection for the 60-year-old jazz great, who has been in relative obscurity in recent years. Tenor saxophonist Bud Freeman came from New York, and several dozen guests were invited to the recording studio, which had been fixed up like a night club with candle-lit tables. Drinks were served. It was a relaxed and amiable occasion that also produced some rich musical moments that will be preserved on an album to be called Higgy Comes Home. "What we went in for was a piece of memorabilia," said Kenneth B.Lowenstine, the man who put it all together, "What we came out with was one hell of an album. Lowenstine is a 37-year-old interior designer working in Atlanta. He has been a friend and admirer of Higginbotham's since he first saw him, playing at the Downbeat Room in Chicago in the early 1940s. A few months ago, when Lowenstine was in New York City on business, he ,looked up old friend Higginbotham, and they spent an evening visiting old haunts - Jimmy Ryan's and Eddie Condon's, where the trombonist sat in for a few numbers, among them. Before the evening was over, Higginbotham asked Lowenstine if there might be some work for him in Atlanta. "That's my home town, you know," the trombonist said. Down Beat 2/9/67p11 Lowenstine had not known that Higginbotham had been born in the little Georgia town of Social Circle, had grown up in Atlanta, and had attended Morris Brown College there. But it gave Lowenstine the idea of a homecoming recording session. Rod Kinder of Kin-Tel Studios offered his recor-ding studio and crew of technicians. Lowenstine called his cousin, Dan Havens, a cornetist who works around St. Louis and teaches American literature it Southern Illinois Univer-sity; got Bud Freeman; picked, up pianist Jimmy Weathers, who has been playing with small groups and as ,a single around Atlanta; and hired local bass player Bob Rix. Lowen-stine himself played drums. The first couple of numbers were taped by station WAGA-TV, which was getting footage for a, 30-minute documen-tary, to be called Higgy Comes Home. After a little get-acquainted noodling, the men kicked off In a Mellow Mood. As the session progressed, Higginbotham flashed his old greatness in such nostalgia as Confessin', Dinah, and Rosestta. When the session broke up, the studio audience rose and applauded a smiling Higginbotham, who responded by lifting his horn from the table and blowing a few bars of Georgia on My Mind and Dear Old Southland. After the session, Higginbotham spent a couple of weeks with relatives in his home town, where he had not visited since 1938. Back in New York City, the trombonist said: "The reception I got in Atlanta was one of the greatest experiences in my musical career. I'll never forget it." ------------------------------------------------------------------------------------------------------------------------------------------ - 164 PAUL HEMPHILL - Replaying Higgy (cont'd) in The Atlanta Journal and Constitution 11/24/66p14-C: 'Higgy Comes Home' Ken Lowenstine did not look as fresh when I leave it won't be there. I'll blow it That, then, is what it will be: "Higgy and alive as he had two weeks earlier. right off the map. He's sitting on go." Comes Home," since Jay C.HigginboThat is easy to understand. Two weeks Instant Reaction before, he had made public his desire to The story on Ken Lowenstine and Jay tham was born and raised in Atlanta and do something for his old friend, Jay C. C.Higginbotham began about 25 years graduated from Morris Brown College Higginbotham. He had found out that ago, when Lowenstine was a kid living before striking out on his own. on Dec. Higgy, one of the great jazz trom-bonists in Valparaiso, Ind., and Jay C. was one 10, a Saturday, 75 or 80 select guests gather In a place called Kin-Tel 20 years ago, was now 60 and living in a of the big names in jazz. Lowenstine will Studio in Atlanta. The spotlight will be bad part of Harlem and having a tough went to Chicago with his parents one on Higgy, who will play the old stantime of it. Not destitute, but not flouri- night and heard Higgy play trombone dards like he used to. Three of these in shing. So Lowenstine, an interior desig- with the Red Allen band, and that was it. the band will be Atlantans, very likely ner in Atlanta now, decided he would try Through the years, especially when including Ken Lowenstine on drums. to either get Higgy a regular job playing Lowenstine fooled around with the The other two will be Lowenstine's the horn here or arrange a recording drums for a while, they came close. cousin, Dan Havens, a college professor session - or both - and the bottom fell out. and jazz buff from Edwardsvill, Ill.; and Then, when he was in New York last "I forgot how much work there signer Bud Freeman, an old friend of Higgy much longer if this keeps up," he was summer, Lowenstine found Higgy's who still plays out of New York. telephone number and called him. Higgy Lowenstine was ecstatic this week. saying this week. was not doing too well. They caught up "What we'll probably do is just turn on "How's that?" "I forgot how much work there is to on each other at Condon's in New York. the tape and let 'em go. Later on we Higgy had to borrow cab fare, but he sat could take out what we want. My cousin something like this," he said. "People started calling, wanting to talk in with the group and he showed he has already written a tune called, 'From Higgy with Love.' but we'll stick with about Higgy or wanting to help. I had to could still play the horn. find a place, a studio. I had to do some- The story came out a little more than tunes called, 'Dear Old Southland' and thing about the money offers. Then there's two weeks ago. There was instant reac- 'Confessin' and 'Pennies from Heaven.' Well the band, I had to get together an outfit. tion. A lot of people remembered Jay C. press 1,000 albums from the tape and see And some arrangements. And now it looks Higginbotham, and some others simply what happens. " like we're going to have to form some liked the idea. A recording studio offered "What do you think?" Lowenstine was kind of company to keep it straight. And its services. Strangers called Lowenstine asked. from what I know about it, the work is to offer everything from financial aid to "Who knows? There ought to be enough yet to come." moral support. One of the wealthiest jazz buffs around to maybe make some"What does Higgy say?" men in Atlanta said he would kick in thing out of it for Higgy. Maybe it'll at "I called him the other night. He's bewil- whatever was needed. The possibility least lead to a job. That's the thing about it. dered by it all. Know what he said? He grew that the whole affair. "Higgy All I was thinking about was maybe finding work for him, now it's grown into this." said, 'Take a good look at Atlanta, because Comes Home," would be put on film. --------------------------------------------------------------------------------------------------------------------------------------------------possibly early Dec.66 (or in Nov.) Washington, DC, Blues Alley jazz club – Red Allen joined Tom Gwaltney (cl,vib) & his wife Betty source : John Chilton – “Ride Red Ride” p198 12/17/66 NYC., NBC-TV "HENRY RED ALLEN - SPEECH AND MUSIC" - HENRY"RED ALLEN (t, v, speech) & QUARTET: Sammy Price (p) unknown (b) unknown (d) Nat Hentoff (interviewer) 26 min.tape/video or DVD wanted 2:00 intro: THERE'S A HOUSE IN HARLEM /cut 1:43 MARYLAND, MY MARYLAND (trad) 6:12 interview with Red Allen 2:57 SWEET SUBSTITUDE -vRA (J.R.Morton) 3:38 CHERRY -vRA (Don Redman) 7:00 interview with Red Allen, (2:13) HOW LONG BLUES /cut (Carr) –speechNH (Arlen-VanHeusen) RA-CD-24 RA-CD-24 RA-CD-24 RA-CD-24 RA-CD-24 RA-CD-24 RA-CD-24 note S.Price specialist K.Nowakowsky 5/06: without any error the pianist on HOW LONG BLUES is obviously Sammy Price OPERATE ON RED ALLEN Henry Red Allen, melodic trumpet player, is recuperating in Sydenham Hospital where he underwent a major operation last week. Allen who lives in the Bronx with his wife became ill three weeks ago and was rushed to room 604 at the hospital. Allen, the New Orleans born composer and musician, who wrote “Ride Red Ride” with the late Lucky Millinder, is in good spirits his wife told the Amsterdam News. NYAN-1/21/67p20 BURY “FATS” PICHON IN NEW ORLEANS – NYAN-3/4/67p17 Walter“Fats”Pichon, the jazz pianist who died Sunday in Chicago, was buried Saturday in his native New Orleans. The 62-year-old pianist and arranger had lost his sight two years ago. Pichon started his music career at the age of 11. As a teenager he played the calliope, a combination piano and organ, on the pleasure boats between New Orleans and St. Paul, with his school chum Henry ”Red” Allen. The two deserted New Orleans and moved to New York. Pichon played in several Manhattan clubs, including the Metropole, Café Society and Carnegie Hall. He also played with and arranged for the Lucky Millinder band. He later returned to New Orleans where he became a fixture at the old Absinthe House on Bourbon St. in the French quarter. Pichon attended the New England Conservatory of Music in Boston at the urging of the late George Gershwin. He is survived by his wife, Marie, a son Walter Jr., his mother, Cecilia, a sister and several grandchildren. - 165 - 17th Feb.-5th March 1967 UK, 17 days cross country tour – HENRY "RED" ALLEN & THE ALEX WELSH BAND: 2/17 2/20 2/23 2/26 3/3 Osterley, Rugby Football Club Bexley, Black Prince Hayward's Heath, Fox & Hounds Redcar, Costham Hotel Blackpool, Casino Ballroom 2/18 2/21 2/24 2/27 3/4 Birmingham, Digbeth Institute; Hitchin, Hermitage Ballroom day off Leicester, Il Rondo Ballroom; Manchester Sports Guild 2/19 Manchester Sports Guild 2/22 Botley, Dolphin Hotel 2/25 Nottingham, Dancing Slipper 2/28-3/1-3/2 London, 100 Club 3/5 Carlisle, The Pheasant Inn 2/19/67 Sun. Manchester - Sports Guild; Red Allen(t.v) & THE ALEX WELSH BAND: Alex Welsh (*t) Roy Williams (tb) Al Gay (cl,ts) Fred Hunt (p) Jim Douglas (g) Ron Rae (b) Lennie Hastings (d) taped by Paul Spinks, Macclesfield,Cheshire, copies to "Jenks"Jenkins, general secretary of the Guild 70 min.tape 3:54 *AT THE JAZZ BAND BALL (LaRocca-Shields) Jazzology JCD-388/RA-CD28 5:02 CANAL STREET BLUES (King Oliver) --- / --- / 10:34 CHERRY & encore -vRA (Don Redman) --- / --- / --- / --- / 4:02 PATROL WAGON BLUES -vRA talk about the Russell band (P.Grainger) --- / --- / 8:50 ROSETTA -vRA (W.H.Woods-Earl Hines) 7:26 YELLOW DOG BLUES (Handy-Pace) --- / --- / --- / --- / 3:20 SWEET SUBSTITUDE -vRA (Jelly Roll Morton) 7:37 BILL BAILEY, WON'T YOU PLEASE COME HOME & encore (Cannon) --- / --- / --- / --- / 7:55 ST. JAMES INFIRMARY -vRA (J.Primrose) 7:10 MEDLEY: - WHEN THE SAINTS -RA talks about New Orleans men & ann.the Welsh band --- / --- / - DIDN'T HE RAMBLE - WHEN THE SAINTS GO MARCHING -vRA (trad.) --- / --- /& -13 --- / --- / 2:27 *BUGLE CALL RAG & encore -leave out ann.by RA (Pettis-Meyer-Schoebel) 2/21/67 Tues. Hitchin, Herts., Hermitage Ballroom, same as above but Gerry Higgins(b) for R.Rae poorly taped , by the bandboy, but better than the 1966 stuff, without of great interest 63min. 0:35 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) 3.15 *AT THE JAZZ BAND BALL (LaRocca-Shields) (King Oliver) 5:00 CANAL STREET BLUES 7:57 CHERRY -vRA (Don Redman) 4:43 PATROL WAGON BLUES -vRA (Porter Grainger) 3:46 ROYAL GARDEN BLUES (Clarence & Spencer Williams) 6:12 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) 2:52 SWEET SUBSTITUDE -vRA (Jelly Roll Morton) 7:02 ROSETTA -vRA (W.R.Woods-Earl Hines) (J.Primrose) 8:37 ST. JAMES INFIRMARY -vRA 4:31 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA (trad.) - DIDN'T RE RAMBLE -vRA (Handy-Randall) 8:15 *WHEN THE SAINTS GO MARCHING IN & encore -vRA (trad.) RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 RA-CD-35 3/2/67 Thu. London, 100 Club Oxford Street, same as above poorly taped , by the bandboy, but better than the 1966 stuff, without of great interest 0:38 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) 4:05 *AT THE JAZZ BAND BALL (LaRocca-Shields) 5:08 CANAL STREET BLUES (King Oliver) 4.08 SWEET SUBSTITUDE -vRA (Jelly Roll Morton) 7:30 CHERRY -vRA (Don Redman) (J.Primrose) 7:44 ST. JAMES INFIRMARY -vRA 7.20 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) 9:06 YELLOW DOG BLUES (Handy-Pace) 1:54 GEORGIA ON MY MIND (Hoagy Carmichael-S.Gorrell) 5:03 TIN ROOF BLUES (NORK) -intro RA-speech 2:44 ROSETTA -vRA (W.R.Woods-Earl Hines) 2:22 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA (trad.) - DIDN'T HE RAMBLE -vRA (Handy-Randall) 7:57 *WHEN THE SAINTS GO MARCHING IN 2:26 *BUGGLE CALL RAG -leave out ann.by RA (Pettis-Meyer-Schoebel) RA-CD-38 RA-CD-38 RA-CD-38 RA-CD-38 RA-CD-38 RA-CD-38 RA-CD-38 RA-CD-38/RA-CD-35 RA-CD-38/RA-CD-35 RA-CD-38/RA-CD-34 RA-CD-38/RA-CD-34 RA-CD-38 RA-CD-38 RA-CD-38 RA-CD-38 3/4/67 Sat. Manchester, Sports Guild; Red Allen(t.v) & THE ALEX WELSH BAND: same as 2/19; masterly taped by P. Spinks; my 70min. mono-tape copy from the Manchester Sp.G.secretary 0.42 4:27 7:50 6:05 7:55 6:05 7:15 3:56 4:13 6:12 2:00 1:49 0:58 5:27 2:53 0:52 /RA-CD-28 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) *AT THE JAZZBAND BALL (ODJB) Jazzology-JCD318/ YELLOW DOG BLUES & encore (Handy-Pace) --- / CANAL STREET BLUES (fast) (King Oliver) --- / CHERRY & encore -vRA (Don Redman) --- / ST. JAMES INFIRMARY -vRA (J.Primrose) --- / BILL BAILEY, WON'T YOU PLEASE COME HOME & encore (Cannon) --- / PATROL WAGON BLUES -vRA & talk about the Russell band (P.Grainger) --- / HONEYSUCKLE ROSE (Razaf-Waller) --- / ROSETTA -vRA (W.R.Woods-Earl Hines) --- / MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA&ch --- / - DIDN'T HE RAMBLE -vRA&ch --- / *WHEN THE SAINTS (slow) -vRA ann.the Welsh men & "Jenks" -vRA&ch (trad) --- /RA-CD-28 * & encore (fast) -vRA&ch (trad) (only partly on -318/RA-CD-28/& -13 * & encore (fast) -vRA&ch after 1:07 onto BUGLE CALL RAG –vRA (Pettis-Meyers-Schoebel) /RA-CD-28/& -13 * & encore leave-ann.RA /RA-CD-28/& -13 it's a pity that Jazzology has not issued the complete 72 min. session with the significant intro-theme, the fast encores of THE SAINTS and the leave out-theme of BUGLE CALL RAG with encore. (for libraries all on RA-CD-C28) - 166 HENRY RED ALLEN will be back on Sunday, 19th Feb. by John Chilton in MSG-programme, Feb-67p2: …Red Allen story)… British jazz fans, for many years aware Someone once asked Henry ”Red” Allen how he manages to of Red Allen's greatness on record, were delighted with his in- give out such a great feeling of happiness. Red explained, person performances. His warmth and friendliness are instant, “I've been a little fortunate in loving to play so much”. We the his vocals beautifully phrased and full expression, his broad- listeners, are doubly fortunate in being able to hear the great toned technique remains unimpaired by time. Above all, he man once again in person. retains his zest for playing great jazz trumpet. ----------------------------------------------------------------------------------------------------------------------------------Eddie Lambert in Jazz Journal 4-67:."HENRY RED ALLEN - JAZZ IN BRITAIN: (about the 2/19 & 3/4/67 sessions) Just prior to his third British tour Henry 'Red' Allen was in a affected by hospitalisation - Johnny Barncs was still away New York hospital for a quite serious stomach operation. The recovering from a broken jaw sustained in a road accident. In weight lost in the process resulted in a slimmer Henry his place we had Al Gay on tenor and clarinet. appearing on the stage, reminiscent of the young man seen on The first of the two evenings at the Manchester Sports Guild photos of the Luis Russell and Fletcher Henderson bands of the found the Welsh band below par, only Al Gay and the ever early 'thirties. This tour was his first serious engage-ment since reliable Fred Hunt providing solos of the expected standard. convalescence and the full power had obviously not yet The music varied between lethargic playing on slow tempo returned to his playing. Yet sheeer volume is by no means numbers to tight, rather frantic ensembles on the stomps. central to the music of this remarkable and admirable mail. The Lennie Hastings was rock steady as usual and like Gay and swinging eccentricities of rhythmic placing, the beautiful Hunt he made a positive contribution throughout. But the melodic conception and the great lyricism of his playing ivere evening was memorable for the music of Henry Allen rather as potent as ever. The Alex Welsh Band too have been than as a band session. (to be continued at 3/4/67) 2/28/67 London, 100 Club Oxford Street - JONNY BARNES BENEFIT CONCERT - Red Allen gave his services for a benefit for Johnny Barnes along with Acker Bilk, Alex Welsh band, Kenny Ball and Chris Barber with their respective bands. CODA 4-67 JOHNNY BARNES BENEFIT CONCERT by John Wurr, Jazz Times Vol.4 No.4, 4/67 Undoubtedly the biggest occasion in london last month was detect little difference except in haircuts. Acker I found the Johnny Barnes Benefit Night at the 100 Club. Johnny was particularly disappointing – with such talent the band should badly injured in the Alex Welsh car crash in January, and we sound so much better. I preferred the bar to Kenny Ball's all hoped that a good crowd would turn out to pay their finan- Band, but whilst there I did hear some nice trumpet phrases cial respects; but nobody, I think expected such a pacjed house floating over the top of the audience. – in fact some 300 pounds was raised. Both the audi-ences and By the time B.S.J.Hon.President Red Allen came on with the appearing bands represented an anachronistic return to the the Alex Welsh band we were all nicely lubricated and in just good old boom days. I arrived at 8.30, unfortuna-tely missing the mood to be ignited by the great man. He played beautifully Ken Colyer's set, and was amazed to almost fight my way in - Canal Street Blues, Rosetta, St.James Infirmary being even at that early hour. The bands of Barber, Bilk and Ball in outstanding and once again giving us an object lesson in how this atmosphere of controlled raving lent an almost nostalgic personality and showmanship can do as much in winning over touch to the evening, whether or not you find much an audience as can musicianship; by the end he had us all convincing jazz content in their music. I realised with surprise eating out his hand. The Welsh band gave enthusiastic (and with an awareness of passing youth) that this was the first support, with Barnes' place taken by Al Gay, who played some time I heard Barber live for about eight years - but I could impressive tenor. ------------------------------------------------------------------------------------------------------------------------------------------player during his previous spell with the band, but he has Eddie Lambert in J.J.4-67 (cont. of 2/19 now to 3/4/ session): Returning thirteen days later Alex and the band not only developed now to a stage where he not only leaves most of the provided quite perfect backing to Henry but were equally local competition out of sight but would offer also.a serious responsible for one of the finest evening's jazz heard at the challenge to many of the established American tenor stars. Guild for some time. Henry Allen's playing was seen even Alex is hoping that Al will be able to stay on with the band more clearly to be that of a jazz master. His beautiful work on when Johnny Barnes returns. Let's hope he does, for jazz the blues, the intense swing of his incisive phrasing and his cannot afford this sort of talent to be hidden away in semiabsolute mastery of playing within a band were most retirement. impressive. And of course the wonderful warmth of Henry's personality is a very real part of his musical presence. The Welsh band were at their most mellow during this session and the rhythm section laid down an easy, swinging beat. Ron Rae is back on bass, and while he is not a virtuose of the Ron Mathewson kind he is a solid and reliable bands-man. The guitar solos of Jim Douglas were excellent, as was his contribution solos which were alert, sparkling and soundly constructed. And of course Fred always pulls his weight in the band. The trumpet/piano duet of Davenport Blues(?remark: never was on program and also not on tape) was given a performance of great skill and resource. Alex's playing, full of fire and imagination, was well matched by that of Roy Williams, who only a fortnight before had sounded as if he was reverting to the trad-ism of his Light-foot days. The new note of mellowness in Roy's playing suggests that before long he will surpass his already consi-derable achievements. The evening was one of those in which the delights of jazz could be savoured in all their fully flavoured richness. Its star was of course the great Henry 'Red' Allen. But it was almost equally memorable for the tenor playing of Al Gay, who was excellent in both solo antd ensemble. On a medium tempo Honeysuckle Rose he played three choruses which will remain last photo of RED ALLEN w. John Chilton (courtesy John Chilton – “Ride Red Ride” p121) one of the treasured jazz memories of 1967. Al was a fine -------------------------------------------------------------------------------------------------------------------------------------------------------------Bob Maltz collection at the New York Public Library: trumpeter Henry (Red) Allen, fully recovered from a recent operation, returned to New York in late March after a three-week tour of England with the Alex Welsh Band" (Down Beat 5/4/67) - 167 Jim Douglas, July-2000, on Jazzolgy JCD-318: no idea that he was in fact dying from pancreatic cancer or Whenever things were not quite up to his musical expectations that we would see such a physical change in him. Gone was or at the first signs of disquiet in the band, Alex Welsh could the well-padded rounded figure. Gone the double-chinned be heard to mutter, “All I ever wanted to do was play 'At the chubby countenance, the broad-beamed posterior and the Jazz Band Ball'.” Here he gets his wish as he kicks off another sparkle in the once mischief-filled amber eyes. fine performance at the Manchester Sports Guild in 1967. He appeared taller than before in clothes that hung from his After an enthusiastic announcement and an exciting drum diminishing frame as the insidious parasitical infestation bit introduction from Lennie Hastings, the band settles into a deep. There was a sadness on his expressive face as this lively version of his favorite tune. Before the number is mouth formed and uttered the customary "Nice!" on joining seventeen bars old a second trumpet can be heard, that, of the band at the bar of the M.S.G. In his hand he grasped the course, of the unmistakable Henry 'Red' Allen. Soaring above silver tankard Alex had presented to him as a memento of our the good solid lead of the band leader, the New Orleans affection after the first tour. Legend seems to ignite the band as first Al Gay, Henry "Number three! Number three! Nice! he expostulated holding the himself and Roy Williams lay down great solos. After a handle towards the as usual grim-faced 'Jenks', the manager couple of roaring riff choruses and a cadenza, a guitarist takes and co-promoter who filled it to the brim with William his turn - you know the rest! As a listener and an appreciative Younger's Scotch Ale. Henry liked British beer, his favorites one I hope, you don't need someone to tell you the tune titles being the foremendoned and Newcastle Brown Ale. or order of solos, let Henry do it for me! From his "very nice, Looking back, thirty three years on, and trying to recall Al" to his "thank you Alex!" he will keep you informed right incidents and anecdotes from that tour, one overpowering through the disc. The performance abounds with his dialogue. feeling keeps forming in my mind - the incredible courage the whether announcing a number, "W C Handy's Yellow Dog man showed night after night, day after day. We were booked Blues", reminiscing about his early days" - all the boys were to play at 'Douglas House', and American Services Club in the there - Zutty Singleton, Albert Nicholas, Louis Armstrong etc. Bayswater Road, London. Hardly an easy audience, easily etc or applauding the soloists 'very nice, brother Ron, I wanna distracted by the bar and gambling facilities available, Henry thank you!", you are invited to take part in what is almost a took them by the scruft of their necks by blowing 'The Saints' private party in his living room. Nevertheless it would be quietly in their individual ears until he had their rapt, undivided sinfully neglectful not to comment on the fine performances of attention. There was no indication of the pain he must have all the musicians involved. Some of you may be surprised to endured and certainly no lack of energy, frail as he was, in his know that the performance was recorded without the performances, which still contained all the vigour and performers knowledge which may explain Henry's occasional excitement he was renowned for. The CD to which you are wanderings 'off mike' as he played to different sections of the listening bears witness to this fact. He must have known this audience. Enough has been captured thankfully to appreciate tour was probably his 'swan song' but never mentioned his the fine solos by Al Gay on clarinet and tenor sax ("Bill problems and anxieties to any of us. On the contrary, he Bailey's" a good example) and Roy Williams on trombone not joined in our fun and games and the usual nonsense associated to mention the solid rhythms section driven by drummer with travelling with all this unusual good-natured enthusiasm. Lennie Hastings and comprising Fred Hunt, piano, Ron Rae, The final 'gig' on the tour and, I believe probably his last on this earth, was played at the 'Pheasant' Inn, Carlisle in the bass and yours truly, guitar. In my humble opinion, Henry is majestic! His playing creates North West of England. The promoter had obtained an a maelstrom of excitement one minute to be followed by the extension to its music license until midnight, which happened to most soulful blues you'll ever hear the next. To me he is also coincide with Henry's scheduled train journey back to London one of the best jazz singers that ever lived, whether shouting at for a flight connect on to the states in the morning. 'Cherry' or bemoaning the 'old police patrol' he makes me Leaving just enough time to get to the station, 'Red' ended his tingle with excitement. performance with a moving version of 'When the Saints Go All in all I am very pleased to have been involved in this fine Marching In'. While the Band continued to play he said performance. 'Goodbye' to each and every one of us individually and then A few weeks prior to Henry 'Red' Allen's fourth and final headed towards the staircase to the exit. As my hero visit to these shores, word spread that the Great Man was descended, tears were rolling down his cheeks. unwell but would, under no circumstances cancel the He knew that we knew we would never meet again. scheduled tour with the Alex Welsh Band. We had, of course, -------------------------------------------------------------------------------------------------------------------------------------------------------Scratchin' The Surface by Steve Voce in J.J.Nov.94: course one has to make the accommodation for the fact that Hotter Than 'Ell - Reading Franz Hoffman's evocative Louis was such a big influence. The Collector's Classics The Henry Red Allen Collection has discography of Henry Allen and J.C. Higginbotham recently prompted me to go back to three definitive bonanzas from reached volume four (COCD-1, COCD-2, COCD-13 and Henry 'Red'-Columbia's newly reissued Fletcher Henderson COCD-15). Like Billie Holiday, Red was enjoined by his Story, the four volumes of The Henry Allen Collection, and record company to record jazz versions of the hits of the day, the tapes of the trumpeter's appearances at the Manchester and the period of Red's career represented by these CDs is every bit as potent as Billie's contemporary work and if Sports Guild during the sixties. Hoffmann's work is comprehensively illustrated with a anything more profuse. John R.T.Davies's restorations have profusion of posters of the day and photographs and its 150 never been more effective than they are here and the work of pages bring home vividly the eclectic nature of Red's intense the Allen small groups is amongst the most vivacious and sensational of the period. recording career. L C Jenkins of blessed memory knew little about jazz but, as The Henderson Study in Frustration (Columbia 57596) is a boxed set of three discs, superseding the long unavailable four organiser at the Manchester Sports Guild he allowed himself LPs. Poverty at the time of the original issue prevented me to be persuaded by most notably Jack Swinnerton, but also by buying the first volume and the re-mastered CDs surprised me the likes of Eddie Lambert and me, to provide the funds and with how much fine gold there is in the earliest tracks, even put in the work to bring people like Red, Ed Hall, Earl Hines, after discounting Louis's presence. Of course the trumpeters Pee Wee, Wingy and all the others to the Manchester Sports here are all in their pomp - Joe Smith, Bobby Stark, Rex Guild. All of the music which resulted was unique and anyone Stewart, Roy Eldridge and an unscheduled Cootie Williams (it who was there will tell you that this was one of the great ages has to be a pre-Duke Cootie on the 1929 Raisin' The Roof of jazz. Allen's performances with the Alex Welsh band were and, as an added eccentricity here, the solos of Buster Bailey definitive and set the whole tone of the Sports Guild series. As and Hawkins very much reflect the clarinet and tenor solos on you know I tend to the cynical view of life, but have to testify Hello Lola by the MCBB). Other often over-looked delights to the unique love between Red and the Manchester audience. You may be able to experience it for yourself. All the are the monster rhythm section with extraordinary drumming, from Walter Johnson, but my purpose here is to remind you of recitals at the Guild were recorded on a Revox in a private the abundance of on-top-of-the-world solos from Henry 'Red'. room at the back of the stage, almost always without the The weight of the heavy manhole cover placed on Red's knowledge of the musicians conconcerned, and I exuberant and ground-breaking career during the thirties by understand that the tapes have now been sold to an the existence of Louis Armstrong is incalculable, but of American record company. - 168 HENRY “RED” ALLEN –obituary - by Alex Welsh , “Crescendo” International Vol.5 No.11, 1967, London, UK He must have known that On this occasion, the raucous chatter he was in no fit state to un- of one particular group of six G.I.s dertake this strenuous tour. disturbed the usual lethargic atmosObviously, he could have phere. We in the band were rather put produced medical evidence out by this, but Henry just got on with to enable him to cancel his the job, apparently quite unconcerned. contract. That he did not - Towards the end of the set, during one despite the possible conse- of his solos, playing continuously, he quences - is an insight to his ambled over to this rowdy table. Very, character. In addition to very quietly, he played three or four being a great trumpet player, choruses straight at them. Their highHenry was a very fine spirited unconcern turned first to embarperson and truly professional rassment, then to interest, then to at all times. admiration. You could have heard a pin Through his long and varied drop. Finally, as he finished his solo, musical career, Henry kept the whole audience - the six G.I.s pace with jazz developments. included - broke into spontaneous To his last days, his playing applause. From then on, after each It was with a deep sense of personal retained its inventive interest. number, Henry received a tremendous loss that my band and I heard the sad I cherish many memories of our tours handt - he whole atmosphere was transnews of the death at the age of 64 of with Henry - the great musical moments, formed. It was the best reception for an Henry 'Red' Allen. the laughs, his uncomplaining accep- American player that I've ever Henry had undergone an abdominal tance of the hardships of being on the witnessed at Douglas House. operation only a few weeks prior to his road. Time and time again, I have seen Henry third and last tour of this country as a *** - by his ever-present, kindly sense of soloist, backed by my band. When we One incident often springs to mind. humour, by his talent and showmanship met Henry, in mid-February, for a pre- We were playing a Sunday afternoon - capture the hearts of his audience. All tour rehearsal, we were quite alarmed by session at Douglas House, the American of us who knew him felt great affection the drastic change in his physical servicemen's recreation centre at Lan- for him as a man, as well as admiring appearance since his 1966 visit. His caster Gate. Not the best time of day to him as a musician. I know that, in rememnormally corpulent figure was 35 pounds perform, and not the most receptive bering him, I shall always feel an inner lighter. Once broad and laughter-creased, audience, either - a few genuine jazz warmth. his face was thin and drawn. He was enthusiasts, but mostly G.I.s sitting Henry 'Red' Allen left us with one obviously a very sick man drinking at tables around the bandstand. word - "nice". -----------------------------------------------------------------------------------------------------------------------------------------------------4/17/67, NYC., Henry "Red" Allen died. Was taken seriously ill in late 1966 (compare his answers n Balliett's interview 1966 - The Blues Is A Slow Story) , shortly after undergoing an operation, Red made his final tour of Britain Feb.-March 1967. He returned to New York City, and died of cancer (of the pancreas) six weeks later. BUSTER BAILEY BURIED - NYAN-4/22/67p1: William C.”Buster”Bailey, 64, was buried in Evergreen Cementery in Brooklyn Monday morning following ser-vices at St.Luke and St.Matthew Episcopal Church at 529 Clinton Ave., Brooklyn. The following J.C,.Higginbotham sessions listed at this place, because otherwise they would be hidden among the text. 9/28/69 WTTW-Chic., JAZZ ALLEY-TV - ART HODES - AFTER HOURS with special quests: J.C.Higginbotham (tb) Tony Parenti (cl) Eddie Condon (g,bj) Smoky Stovert (t) Art Hodes (p) Rail Wilson (b) Harry Hawthrone (d) Bartender: Maury Weil; Audio.. Jack Campbell; Video: Martin Weaver; Lightning: Curt Hunsaker; Setting: Michael Lowenstein; Prod.ass.: Jerry Kreten; Floormanager: Dave Zeeko; Prod. & Dir.: Robert Kaiser; Ex.prod.: John Sommers; 0:39 theme: Squeeze Me 30 min. kinescope / RA-DVD-1b / JCH-CD-12 6:35 7:34 8:58 5:59 1:06 Darktown Strutter's Ball Someday Sweetheart Old Fashioned Love Royal Garden Blues Blues / RA-DVD-1b / JCH-CD-12 / RA-DVD-1b / JCH-CD-12 / RA-DVD-1b / JCH-CD-12 / RA-DVD-1b / JCH-CD-12 / RA-DVD-1b / JCH-CD-12 3/18/70 Vanloese Bio (Dan) rec.session; J.C.Higginbotham (tb) & Arnvid Meyer(t) & his ORCH.: John Darville (tb) Jesper “Right Out Of Kansas City”Thilo (ts) Joern Jensen (p) Hugo Rasmussen (b) Hans Nymand (d) eng. Ivar Rosenberg; 7:35 5:26 Higginbotham Blues (takes-1+2 have been spliced together) Jada SundanceMusic ApS-STUCD(5BOX-CD4)-08102 / JCH-CD-12 “ “ --- / --/ 4/15/70 DANSC JAZZ-Dan.bc-Corp.; same as above ; prod. Poul Clemmensen & Grete Hemmeshoej; other sides unknown 5:09 C Jam Blues (two solo choruses ommitted on CD-issue) “ “ --- / --- / 4/18/70 Lyngby/DK private-rec.by “Polyjoint” Polyteknisk Laereanstalt; Ben Webster (ts) & J.C.Higginbotham (tb) & Arnvid Meyer(t) & his ORCH.: John Darville (tb) Jesper Thilo (ts) Hans Fjeldsted(p) Hugo Rasmussen (b) Thorkild Moeller(d) unissued The Jeep Is Jumpin' Georgia On My Mind Sweet Georgia Brown Old Fashioned Love / I´m Confessin' -feat.Higgy / Hi-Ya / Perdido / Higginbotham Blues / Stardust -feat. Webster / In A Mellotone / C Jam Blues / Basin Street Blues / Baby, Won't You Please Come Home / Indiana / Stompy Jones / / 1970, March 21, Korsør, Denmark, Korsør Jazzklub, Ben Webster, J. C. Higginbotham & Arnvid Meyer’s Orch. (taped by John Darville) 1970 March 27, Lyngby, Denmark, Polyjoint, Ben Webster, J. C. Higginbotham & Arnvid Meyer’s Orchestra (taped by John Darville) 9/21/71. “Jazzhus Montmartre” in Copenhagen, Dicky Harris, J.C. Higginbotham, Tyree Glenn; Lem Davis(as) - 168a - Addenda Ben Webster & J.C.Higginbotham, Copenhagen 1966 J.C.Higginbotham – John Darville – Ben Webster ; Copenhagen 1967 - 169 4/12/67 Brooklyn, N.Y. Buster Bailey died; BUSTER BAILEY by Herb Flemming in Coda 9/67p26/27 During my long years in the music profession I have been Later I suggested he call the Lost and Found Department of associated with many well known musicians in the classics, the IND Subway System. He was reluctant but I gave him a military and jazz. But the close association between myself and dime for the call. He came out of the booth at the Copper Rail the late Buster Bailey has a deeper meaning than "associate". It (our favorite bar) all smiles and remarked, "Herb (or rather was like the late Billy Van Dyke Burns - a brotherly approach. 'Hots') you must have some of that oriental metaphysical stuff I admired Buster not only as a musician but also as a "down or clairvoyant or something! And, by the way, here's your to earth" always smiling personality. And this goes back to the dime." Later, when I asked Fred Infield, the owner of the days when Buster was a member of Noble Sissle's orchestra in Copper Rail, for my weekly tab Fred replied "You don't have Paris. I am positive that all who ever came into contact with one." Later I found out that Buster had paid It. ($14. 00). him felt the warmth and good fellowship that poured out of him. Many who heard the clear tonal quality of his sound were able He created his favorite expression "Pour the whiskey" in to realise that Buster must have studied to be more than a jazz Paris at a function to inaugurate the General Foch Foundation. artist. This is correct. Among his many tutors and teachers was The waiters kept running to fill his glass but it was Gordon Franz Shoepp of the Chicago Symphony Orchestra. This enabled Rouge champagne. Tommy Ladnier remarked "I like that 'pour him to be selected to perform with Dimitri Metroupolos and the whiskey' though". Skitch Henderson's Carnegie Hall Symphony on many occasions. Buster was a member of John Kirby's famous Big Little Buster's sounds were clear, understandable, careful and Band but I didn't have the pleasure of performing with him beautiful to hear. In his music each note was fully rounded, until I left the US Treasury Naval Service in California and cleverly executed and comprehensible to the listener at all came to New York. My first gig was at the Central Plaza and times. He did have a few tricks such as holding a note indeBuster was one of the other musicians. Later, when a trombo- finitely. When he did this the clientele would begin to chant nist was needed at Lou Terrasi's Hickory House, it was Buster "hold it, hold it, hold It Buster." It was a trick but he would who said "get Herb Flemming". On that engagement I knew only laugh when asked "Buster do you hold your breathing all how loyal a friend Buster could be. Working that job were Buck that time?" (sometimes as much as three minutes). Clayton, Buster Bailey, Herb Flemming, Ken Kersey and While the average musician becomes enraged, if in his solo, Arthur Herbert. When the management decided to change the the accompanying musicians foul the chords or harmony, Buster group the new leader didn't have a group so he decided to keep once remarked after one of these occurances "Can't whip 'em the entire band except for me. Buster was not slow to voice so I joins 'em." This mannerism showed him to be ever his resentment and immediately advised Lou Terrasi "well if adjustable and congenial to all the mishaps that per-forming one goes count me out also. "The others refused to remain also. musicians encounter. I do not hesitate to say that Buster Bailey We had barely left the Hickory House when Henry "Red" had reached a pinnacle that few of us can boast. Allen got a job at the Savoy in Boston and took Buster and me I should add that he was one of the most handsome of males with him. When the Henry "Red" All All Stars retuned to New admired by his fellow men and the cause of the opposite sexYork we got an offer from the Metropole, whose business had becoming-starry-eyed. He was six feet plus, with greying gone almost to nil. It was soon known as THE jazz spot on crew-cut hair and the carriage of an accomplished athlete. Not Broadway with the unique stylings of Mr. Allen. The two only was he admired by those he came in contact with but his week engagement had stretched to four years before I left due family adored him. I recall his birthday celebrations held at La to ill health. Mer Cherie. The entire adult Bailey family were on hand to I can only recall one instance when Buster came to work "pour the whiskey" and at times they poured so much Buster with a really glum and gloomy outlook. There was no hilarity. would disappear with "I gotta go now, my Mama wants me." He just appeared saddened. Upon enquiry he said, "Man, I Yes, Buster, you left a host of friends who will ever remember went to sleep on the D train on my way home last night and you. That I can say without a thread of doubt. God rest you forgot my clarinet." I fully realised, as would any other fellah. You liked everybody and everybody liked you. musician. how he felt at the loss of his favorite instrument. -----------------------------------------------------------------------------------------------------------------------------------------------"MY FRIEND BUSTER” by Rex Stewart in Jazz Journal 6-67 (with a photo Red & Buster at NPT-57'): When my friend, Buster Bailey came to Los Angeles recently road , the long bus trips over bad roads, sometimes have, with the Louis Armstrong Sextet, he said something to the sometimes not. effect, 'I hate coming to Los Angeles, lately. Every time I In later years, we played in several other bands together. At arrive in town, another one of my old buddies has just 'died.' one time, we courageously got together a co-operative all-star The old buddy he was referring to in this instance was alto- band, with Sid Catlett, Kenny Kersey, Benny Morton, myself and saxophonist Willie Smith, who had just passed away on the others. This was a fiasco and we each went our separate ways. However, we remained very friendly. over the span of the 30 morning that the Armstrong group came to town. During the time that Buster was here, I invited him to sit in at odd years, always seeking each other out, to get together, the Wit's End one Sunday, where I conduct a jam session every drink together, eat together, and talk about the good old days. week. Buster promised to come. However, he didn't show up As Buster aged, he became even more distinguished looking, and I heard subsequently that he had been taken ill. The next with his snowy white hair and moustache. He looked more like morning I phoned him and he passed the illness off as nothing. a banker than a musician. This handsome man was a But his close friends later reported to me that he had had a mild tremendous human being, always full of fun, warm and kindly. coronary. When I in turn related this to Buster, he again poo- He never held malice toward anyone, .although he certainly poohed the idea that he had been sick. had reason to hold malice toward some individuals. A topBuster and I had several talks, about the good old days, while notch instrumentalist with greater depth than most clarinet he was here in Los Angeles - the days with Fletcher players, Buster possessed a classical background on the Henderson, his years with Kirby. As a matter of fact, he gave instrument, which I suppose is now common knowledge. me a great deal of information to complete an article that I was Now, this beautiful human being has gone, joining so many then doing on John Kirby. Finally, the day before he left, of our jazz greats. The decimation among the ranks of my Buster admitted that it had been a little heart attack. I contemporaries points up very vividly that we, of the golden cautioned him about getting a thourough check-up in New era of jazz, are in much the same age bracket. There is a York, for which the group was headed. tendency to bemoan the passing of the great music and the I first met Buster about 1924, when he came to New York City fellows who made it, meanwhile wondering for whom the bell to play with the Fletcher Henderson band. We were introduced tolls next. None can ever be replaced. by Happy Cauldwell a sideman in the group I was then playing And now, it's Buster's turn. My good buddy, Buster Bailey, with. Buster and Happy were friends from Chicago. Subse- died April 13th in New York City. He went to sleep - and just quently, when I also joined Fletcher, I grew to know Buster didn't wake up. There'll never be another like my friend, well. Together, we weathered those early, rough days on the Buster Bailey. - 170 - BUSTER BAILEY DIES (review in Down Beat 5/18/67): Carinetist Buster Bailey, 64. died in his then with Stuff.Smith's Onyx Club Boys. expert reader, he was at home in any sleep in his home in at 341Washington When Smith left the Onyx Club, Bailey musical environment. Though the clarinet Ave., Brooklyn, NY., April 12. He had remained as a member of the house band, was al-ways his featured solo instrument, just returned from a road tour with the which in 1938 became John Kirby's he doubled on alto saxophone in his bigLouis Armstrong All-Stars and had famous "biggest little band in the land." band jobs. (He also made some impressive planned to go to the hospital for a With the Kirby sextet until it was recordings playing soprano sax in 1924.) checkup the next morning. disban-ded in 1946, Bailey spent the Bailey was one of the most prolific Born William C. Bailey in Memphis, following two decades mainly in New recording artists in jazz. In addition to a Tenn., he studied clarinet with local tea- York, working with Wilbur DeParis, multitude of records with all the bands chers and made his professional debut at Eddie Condon, Wild Bill Davison, and he worked with, he also appeared with 14 as first clarinetist with W.C. Handy's Henry”Red”Allen, his former Henderson numerous studio groups, sometimes orches-tra. Bailey moved to Chicago in colleague. During this period, Bailey made under his own leadership, and backed 1919, where he worked with Erskine many festival and television appearances, many singers, including Bessie Smith, Tate's concert band and studied with the played in the pit band of the New York Billie Holiday, and Mildred Bailey. Chicago Symphony Orchestra's Franz production of Porgy and Bess, was seen His best recorded solos include those on Schoepp, who was also teaching Benny on screen in Splendor in the Grass, and Sensation, Hocus Pocus, and Stealing Goodman at the time. worked with symphony orchestras. Apples (Henderson); Jazzbo Brown from After working briefly with King Oliver's In July, 1965, Bailey left the Saints and Memphis Town (Bessie Smith); Rug Creole Jazz Band, Bailey joined Fletcher Sinners to join the Armstrong All-Stars, Cutter's Swing (Allen); Rhythm, Rhythm Henderson in New York in 1924 and working with the great trumpeter for the and 1 Know That You Know (Lionel remain-ned with him until 1929, when first time since 1925, when they were Hampton); Rose Room and Serenade toured Europe and the United States with both with Henderson. (Kirby); Blues Triste (Tommy Young); Noble Sissle's band. He rejoined Hender- Bailey was one of the first major jazz and a clarinet tour de force with his own son in 1933 but the following year went musicians with a thorough academic group, Man with a Horn Goes Beserk. with the Mills Blue Rhythm Band. In back-ground in music. His clarinet work 1936, he was again with Henderson and was graceful, fluent, and multi-noted. An ---------------------------------------------------------------------------------------------------------------------2 Former Top Negro Band Members Buried; Died 3 Days Apart – PC-4/24/67p2: N.Y.- Funeral services were held here this Red Allen died on April 16 at Syden- In 1929, he again came to New York and joined the Luis Russell band at the week for two well-known musicians, each ham Hospital. He was 60. of whom played at a certain period in his He was born in Algiers just outside of Roseland Ballroom. In 1933, he joined careeer with Louis Armstrong, King Oliver New Orleans and was the son of Henry Fletcher Henderson's aggregation and and Fletcher Henderson bands and who Allen Sr., who also played with King four years afterward became a fullOliver, Louis Armstrong and Sidney fledged member of the Louis Armstrong died in N.Y.City just three days apart. They were Henry”Red”Allen, trumpeter, Bechet. Even as a child, “Red's father Band, with which his father had played and William C.”Buster”Bailey, clarinetist. used to carry him in parades and allow and which at the time was actually an First to die on April 13 was “Buster” the boy to solo for the crowds on his expansion of the old Louis Russell group with which he had played. This was Bailey, 64, first clarinetist with trumpet whenever the parade stopped. Louis Armstrong's Big Band. Armstrong's All-Stars. He had been with In 1927, Red made his initial trip to New the All-Stars for the last two years and York to play with King Oliver. he went In later years, he had his own band and has just returned from Los Vegas where back shortly afterward and played on played most of the better night spots in he was appeaing with Armstrong. Bailey Mississippi riverboats with Fate New York and other cities throughout the country. Marable's band. was 64 at his death. …(shortened) ========================================================================== BUSTER BAILEY BURIED - NYAN-4/22/67p1: William C.”Buster”Bailey, 64, was Vegas. He was to leave with the All- W.C. Handy, Fletcher Henderson, buried in Evergreen Cementery in Brooklyn Stars next month for an engagement in Lucky Millinder, the Red Richards Dixieland band, and John Kirby. He also Mon-day morning following ser-vices at Europe. St.Luke and St.Matthew Episcopal Church His musical career began at the age of appeared with symphony orchestra at 529 Clinton Ave., Brooklyn. Bailey, a 9 while attending school in his native which were directed by Leon Barzin and clarinetist of international fame, died last Memphis, Tenn. He was a accomplished Dimitri Mitropoulos. Bailey is survived by his wife, Mary; Thurs-day night in his home at musician at the age of 14. He studied classical clarinet with Franz Schoepp of two daughters, Mrs. Dorothy Thoma, 341Washington Ave. He suffered a heart attack while the Chicago Symphony orchestra and and Mrs. Barbara Bowen; a son Russell; watching television. He had planned to hoped for a career in classical music but a sister, Maggie Bailey, eight enter a hospital for a check-up the the field was closed to Afro-Americans grandchildren and a daughter-in-law, Mrs. Pearl Bailey, wife of his late son, following day. A member of Louis at that time. Armstrong's All-Stars. Bailey had just Before joining the Louis Armstrong Buster Bailey Jr. returned from an engagement in Las combo Bailey played with Erskine Tate, --------------------------------------------------------------------------------------------------------------------------------------------------------------- JAZZ GREAT DIE - 'RED' ALLEN FUNERAL – NYAN-4/22/67p1: Henry Red Allen, 60, jazz trumpet With Armstrong king, will be buried at St. Raymond's The tall, husky, ruddy face Allen, who Cementary in the Bronx following Mass spoke with a husky voice, joined the Friday at 10 a.m. at St. Anthony of Padua Louis Russell band. He later played with R.C. Church, 166th St. and Prospect Ave. Louis Armstrong and the joined up with The trumpet player checked into Syden- Lucky Millinder whom he teamed up ham Hospital Sunday to undergo tests with to make “Ride Red Ride” a hit song. and died Monday afternoon . Last Febru- He is survived by his wife; Pearly May; ary he was operated on the hospital but a son Ptl. Henry Allen Jr.; two go up in time to keep an engagement in grandchildren, Juretta and Alcornette; his daughter-in-law, Clara, and his mother, Europe last March. A native of New Orleans, Henry“Red” Mrs. Juretta Allen who still lives in New Allen came to New York in 1929 after Orleans and who “Red” used to visit playing with his father's band. His father every year. Allen's death stunned the regulars at was also named Henry. the Metropole Café downtown on 7th Avenue where he was a favorite, Allen and his All-Stars were a favorite at the Dixieland jazz spot. His body will lie in state at McCalls, 984 Prospect Ave., until the services. LAST REFRAIN -NYAN-4/29/p19 We sound a blue note for New Orleans jazz trumpeter Henry (red) Allen, who died last week. His hitting horn burnished many a gig and his husky-throated humor lent a twinkle to many a party. Red was a pal and everybody in night-life admired him as one of the nicest guy you could have known. - 171 4/21/67 Fri., Henry Red Allen, will be buried at St.Raymond's Cementary in the Bronx following Mass Friday at 10 a.m.at St. Anthony of Padua R.C.Church, 166th St. and Prospect Ave.; Charlie Shavers, Emmett Berry, Joe Thomas, Joe Newman, Dicky Wells, Sandy Williams, J.C. Higginbotham, Teddy Hill, Hilton Jefferson, Ornette Coleman, Harold Ashby, Claude Hopkins, Al Hall, Hayes Alvis, Zutty Singleton, Slick Jones; Pearlie Mae followed her husband's wishes, 'I was surprised when he told me not long before he passed that he didn't want any music at his funeral. He said he couldn't take those New Orleans music funeral. I never knew that. He didn't want it for himself, (see p176-Pearlie May interview). LouisArmstrong went to Prospect Avenue to offer his condolences in person to Red's widow. "ART IS LONG, AND TIME IS FLEETING" by Stanley Dance in Jazz Journal 6-67: Buster Bailey´s funeral of the Catholic service expressed a service in Brooklyn was at 9:30 in the morning, a time at which few jazzmen are normally abroad, but Louis Armstrong Benny Goodman, Jo Jones and Jimmie Crawford were among those present. Later the same week Red Allen's funeral service in the Bronx was at 10 a.m. Emmett Berry, Dicky Wells, Sandy Williams, J.C.Higginbotham, Harold Ashby and Ornette Coleman were some of those we saw. There is something distinctly moving about the fraternal feeling and professional solidarity shown at a jazz musician's funeral. It is, of course, the final opportunity to show respect to one with whom you may have had silent and invisible bonds for many years. It is also a brief, comforting gathering of the survivors, who then disperse to their various activities after a toast or two to the departed. There is not a lot of outward gloom, no mock solemnity, but hearts are touched and a good deal of thinking is done. After what amounts to a quiet pause, the order of the day is, 'Straight ahead!' Sometimes the musicians You expect to see are not present, because their gigs have taken them too far away, but Charlie Shavers could drive all night front Cleve-land to say farewell to Buster Bailey. Henry Allen had a full requiem mass, and for many of the four-hundred-or-so people present it was obviously a little mystifying, yet the dignity and the unhurried authority conviction that has consoled for nearly two thousand years. 'It's as though there was a plague or something,' Joe Thomas said on the sidewalk afterwards. Muggsy Spanier, Ed Hall, Willie Smith; Herman Chittison Pete Johnson, and Buster Bailey were being remembered, too. The curtain was coming down on an era and its musicians. Oh, there are still some performances to be played, but the atulience, struggling with its coat and thinking of tomorrow, hardly has time to applaud ! Stanley Dance in a letter to the author: .... "I went to 'Red's funeral in Harlem and it made a big impression on me, because it was a regular funeral mess without any of the awful show business that sometimes mars these occasions." theatricals by Jesse H.Walker - NYAN-4/22/67p19: THE BELL HAS BEEN TOLLING lately for quite a few oldtimers in the jazz world. The youngsters of today's “souns” won't recognise them, but trumpeter “Red” Allen, clarinettist Buster Bailey, and pianists Pete Johnson and Fats Pichon were “giants” in their days - and thinking back on those days brings moments of nostalgia. “RED”ALLEN'S DEATH this week was all the more shocking since we were talking to him recently after he had been --------------------------------------------------------SET MAMMOTH JAZZ TRIBUTE TO ALLEN – A mammoth jazz tribute to benefit the family of the late great trumpeter, Henry Red Allen, Jr. will be held on Sunday, June 4, at the riverboat (Empire State Bldg.) from 7 p.m. to midnight. Many of the greatest names in jazz are scheduled to appear: Earl Hines, Charlie Shavers, Roy Eldridge, Clark Terry, Jonah Jones, Bobby Hackett, Coleman Hawkins, Bud Freeman, Pee Wee Russell, Buddy Tate and Tyree Glenn. Tony Parenti is bringing his band from Jimmy Ryan's Club; Yank Lawson the band from Eddie Condon's; Sol Yaged the band from Gas Light and Louis Metcalf the band from the Ali Baba. Included in these groups are such jazz notables as Zutty Singleton, Max Kaminsky, Cutty Cutshall & Ray Nance. More of Red's friends who will share the stand will be Joe Thomas, J.C. Higginbotham, Benny Morton, Wilbur De Paris, Jo Jones, Sonny Greer plus the Saints and Sinners Band – led by Red Richards, featuring Vic Dickenson. Last January Red Allen fell ill, was hospitalized and underwent surgery. Shortly after, he under-took a tour of England, which turned out to be his last profes-sional engagement . Soon after his return his condition worse-ned, and he returned to the hospital, where he passed away on NYAN-6/3/67p17 April 17. ---------------------------------RED ALLEN BENEFIT NYAN-6/10p20: VIC DICKENSON on trom-bone and Bud Johnson on tenor sax were in the Earl”Father”Hines band that recently played at the Riverboat. But last Sunday night, this place that features big bands really romped with the“Tribute to Henry Red Allen”. Some of those who appeared inclu-ded Wilbur DeParis, Charlie Shavers, Sol Yaged, Jo Jones, Tony Parenti, Zutty Singleton, Sonny Greer, Bud Freeman, Tyree Glenn, “Big Chief” Moore, Lou Metcalfe, Joe Thomas and his wife, Cliff Jackson, Jimmy Rushing and Maxine Sullivan. J.C. Higginbotham, longtime cohort of Red's opened and closed the show that played to a sellout crowd. . ---------------------------------------released from Sydenham Hospital folloreleased Sydenham wing an from operation. He Hospital was a follo-wing an operation. He off wasthea favorite of ours, both on and favorite ofand ours, off out the bandstand, weboth usedontoand hang bandstand, hang out with “Red” and whenweheused andtotrombonist with “Red” when he and trombonist Jay C.Higginbotham were partners way back when 52nd were Streetpartners was Jay C.Higginbotham “swinging,” later52nd whenStreet “Red” was way back and when making the Metropole Café his regular “swinging,” and later when “Red” was home. One our best recollections of making theofMetropole Café his regular “Red” new he'd buy home. was One the of our bestCaddy recollections of every year andthehisnew regular trip he'd homebuy to “Red” was Caddy New Orleans to see “Momma.”! every year and his regular trip home to New Orleans to see “Momma.” RED ALLEN AND ME out “Babs”Gonzales book Red is dead now but he lived like Dinah Washington. He was so good that the big agents kept him out of the big rooms to keep him out from being treat to Louis Armstrong. He had a new Cadillac every year; fed all the hungry cats; and was a name all over the world. As Red would say “My Man.” - 172 6/4/67, N.Y.C.: RIVERBOAT, 34 St&5 Ave, Empire State Bldg.“Tribute to Henry Red Allen”; Concert Comittee: Max 'The Mayor', Jack Bradley, Carl Sinclair; A host of New York's mainstream and traditional musicians are expected to participate; set at presstime were: Jonah Jones, Wilbur DeParis, Bobby Hackett, Charlie Shavers, Sol Yaged, Coleman Hawkins, Tony Parenti, Zutty Singleton, Yank Lawson, Clark Terry, Earl Hines, Roy Eldridge, Jo Jones, Bud Freeman, Big Chief Moore, Tyree Glenn, Pee Wee Russell, Sonny Greer, J.C.Higginbotham, Tom Gwaltney, Louis Metcalfe, Saints and Sinners Band, and many .more. Donation $3.oo, entire proceeds to family. (DB-6/15/67); advertised in Jazz Notes 8-81-J.Failows--- ---------------------------------------------------------------------------------------------------------------- HENRY RED ALLEN - Reminiscences and Memorial Concert by Mike Zaccagnino in Coda 9/67p23/24 Red Allen, who was not only a donated the use of my beautyful true jazz great, but also a respec- drums. Obtaining drums for a ted and much beloved figure, is benefit always presents problems. gone. I for one will miss him I opened with J.C. Higginbotham, very much. He and his horn gave Jack Fine , Joe Muranyi, Charlie Folds and Buck Jones. me a great deal of pleasure. I first heard Red (on record) Next to take the stand was the band doing Sweet Substitute with from Jimmy Ryan's. This consisted Jelly Roll. I loved it then and I of Max Kaminsky, Marshall Brown, love it and play it often today. I Tony Parenti, Zutty Singleton, remember listening to those Bobby, Pratt (piano) and Davie wonderful Vocallon sides he Quinn (banjo). Each was featured on made like The Touch Of Your their spe-cially. Max did a wonderful Hand, I'll Bet You Tell That Dippermouth Blues, Bobby Pratt did To All The Girls (all swinging a great Little Rock. Getaway, but Zutty broke it up with Tiger Rag, things) etc. Our first meeting was at the which really gassed me. (Mattie Stuyvesant Casino in the '40's., Walsh, one of the owners of Ryan's He appeared there regularly and did lots of work plugging this at Central Plaza playing with concert to his patrons for weeks.) Red Richards. This well organized. group is always a greats like George Wettling, The Wilbur de Paris band follo- delight and I wish they'd play in town more often. Cecil Scott, Buster Bailey and wed with Johnny Letman playing The Sol Yaged Quartet was next to appear with Gene Sedric. He was a warm- some tremendous trumpet. The Dave Martin (piano), Frank Skeets (bass) and Sam hearted fellow and always did a mighty Earl Hines was next and Ulano (drums). Sol did the usual Benny Goodman wonderful job. Later, when he was easily the star of the evening. things like Poor Butterfly, etc., but they were well began to work at the Metropole, His playing is as sharp and clean as played. Jimmy Rushing then came up to join the we saw each other very often ever. With Earl were Russ Andrews, group and really woke the joint up as is customary and spent much time at the Eddie Barefield, Hayes Alvis and with Rushing. Though now In his 60's, he can still Copper Rail between shows. He Jo Jones. I particularly enjoyed belt out a song and this wonderful guy makes all the always amused me with his SatinDoll, displaying the talents of benefits and can always be relied upon to do a bang stories of New Orleans and Earl, Hayes Alvis and Jo Jones. up job. He opened with Who's Sorry Now and closed named me Charlie Gang Gang, Louis Metcalf was next on the with a jumping blues and let me tell you the place after a tough bouncer who scene playing Louis Armstrong's was really rocking. worked on the riverboats in Someday, which was appropriate as The Condon gang was the following band and they a telegram from Louis had been read sounded just fine with Yank Lawson, Bud Freeman, those historic days. I was happy to see that the to the audience before Metcalf began. Bob Wilbur, Cutty Cutshall, Jack Lesberg and the benefit concert in his honor at Louis had expressed his heartfelt always fine Cliff Leeman. Because of his bad eyes, the Riverboat on June 4 was wishes, for the success of the Cliff had some trouble finding his way to the stage such a tremendous success. What evening. Metcalf was then joined by and was calling out "Cab-Cab" and I went down and a shame that Red couldn't join Eddie Bare-field, Tom Gwaltney and brought him up to the drums. Once he sat down and in for he would have dug it. The Big Chief Moore and played Lone- made himself comfortable, he played as well as concert will be long remembered some Road (vocal by the Chief) and always. The group opened with Struttin' With Some by those who paid and those who Basin Street Blues. With Joe Thomas Barbecue followed by Jada and was then joined by applauded. Much of the success were Charlie Folds, Al Lucas and Maxine Sullivan who sounded as great as ever. She of the concert has to be credited Sonny Greer. Joe opened up with C opened with I Got The World On A String followed to Jack Bradley and Jeann Roni Jam Blues which was wonderful and by Johnny Mercer's Accentuate The Positive. The Failows for their untiring efforts. showed Joe is great chops to They saw to it that the posters advantage. He's one of the best. He band did an excellent job of backing her with her were distributed in strategic spots. did his usually fine version of I'm In husband Cliff Jackson joining in at the piano. This gal They mailed out hundreds of The Mood For Love. He was joined can still sing a good song. cards, plus releases and photo- by his wife Babe Matthews who walled As usual because of the time element, many of graphs to press and radio people. Pennies From Heaven, I Got It Bad the musicians who had come down to perform had (Need I say that time was short and Babe's Blues. This gal can sing. to be overlooked. The Lion got tired of waiting and and their budget very skimpy - Next in line was Charlie Shavers finally cut out and who could blame him. Also and I'd hate to see their next assisted by Tyree Glenn, Tom waiting to go on were Tommy Benford, Dickle phone bill.) Louis Metcalf, who Gwaltney, Dill Jones, Hayes Alvis Wells, Nat Pierce, Benny Moten, Jackie Williams,. sold about 400 tickets and made and Jo Jones. They played I Found A Norman Lester and many more. However, the many many calls was also an New Baby and Sweet Georgia main thing was that the benefit was a great success though I do hope we don't have to do another one Brown. They, were really swinging. invaluable help. Then The Saints And Sinners led by for a long time. For my part in this endeavour I ---------------------------------------------------------------------------------------------------------------------------------------Louis Armstrong had sent a telegram to Jack Bradley at the Riverboat on June 4, 1967: "Sorry I cannot attend but you know my heart is with you and all the participants paying tribute to my man and home boy the late great Red Allen. Yours, Louis Satchmo Armstrong." (courtesy: Louis Armstrong House Queens) - 173 Stanley Dance in Jazz Journal 7-67: with Ram Ramirez, is now drumming Several times, too, friends insisted on our Earl was back in The Riverboat again with Lionel Hampton.) The Saints and going to the upstairs bar, where service on Sunday, June 4th, when Jack Bradley Sinners scored. with their good tempos, was quicker but where the music could and others organized an enormously but the biggest surprise (to us) was be heard only in fragments. Our successful benefit for Red Allen. We had Charlie Shavers with Tyree Glenn and impressions the next day were inclined to never seen such a crowd in the room Tommy Gwaltney. Charlie's playing was be kaleidoscopic, but among the other before, and the enthusiasm was quite dazzling in its power and brilliance, musicians we remember seeing were.Joe heartening. Earl played with Eddie and the three horns ended with Thomas, Jimrny Rushing, Dicky Wells, Nat Pierce, The Lion, Jimmy Barefield ,(alto), Russ Andrews (tenor), exceptionally exciting riffs. The only unsatisfactory aspects of such McPartland, Tony Parenti, Sonny Greer, Hayes Alvis(bass) and Jo Jones(drums). Wilbur De Paris, with Johnny Letman bashes is that they are in the nature of Sonny Payne, Big Nick Nicholas, Edgar and Rupert Cole, did a pleasing set. social reunions, so that it is not always Battle, Louis Metcalf, Joe Muranyi, Bob (Rupert told us his son Ronnie, formerly possible to concentrate on the music. Wilber and, of course, Sol Yaged. . ----------------------------------------------------------------------------------------------------------------------------------------"HENRY RED ALLEN BENEFIT CONCERT" by Konrad Korsunsky in Bul.H.C.F.No.169/July67: Le concert de bienfaisance donné le 4 Juin Wilbur de Paris, avec Johnny Letman à la desr « Saints and Sinners », avec notamment dernier au profit de la veuve d'Henry Allen a trompette (pour remplacer Sidney de Paris, He rnan Autrey à la trompette, Vic Dickenson remporté un vit succès : Jack Bradley et Jeann malade), toujours aussi puissant et plein au trombone et Red Richards au piano; Big Failows, qui, aidés de quelques amis, s'étaient d'inspiration; Earl Hines, qui tint l'auditoire Nick Nicholas, George Kelly (ts), furent occupés de l'organisation avec beau-coup de sous le charme, par sa musique comme par la également très remarqués. dévouement, ont pu remettre à Mrs Allen une façon dont il parla d'Henry Allen; le trompette Bien d'autres musiciens présents somme de plus de 2.000 dollars (Louis Joe Thomas avec Sonny Greer à la batterie; n'eurent pas le temps de venir sur scène Metcalf avait, à lui seul, vendu pour 600 Charlie Shavers, éblouissant de virtuosité et tel fut le cas, entre autres, de Willie dollars de billets). Parmi les musiciens qui de « gags » musicaux pendant que Tyree Smith «Le Lion», Cliff Jackson, Nat avaient prêté leur concours, citons J. C. Glenn, Hayes Alvis et Jo Jones lui Pierce, Dickie Wells. Quant à Louis Higginbotham ; un groupement comprenant fournissaient un accompagnement de riffs si Armstrong indisponible pour raison de Max Kaminsky à la trompette et le superbe bien trouvés qu'à un moment, il se mit à santé, il envoya un télégramme pour Zutty Singleton à la batterie; l'orchestre de danser tellement il s'amusait; le groupement exprimer son regret de, n'être pas là. ... ----------------------------------------------------------------------------------------------------------------SHE BRINGS HIS HORN HOME by Bettye Anding in N.O.States Item 8/29/68p25 “It's just like him coming back home.“ That's the way Mrs. Pearlie Mae Allen, widow of famed jazzman Henry“Red”Allen Jr., feels about donating her late husband's trumpet to the New Orleans Jazz Museum. „People wanted me to sell the horn after Henry died last year,“ said Mrs. Allen. “But I didn't want to. I said, 'if the museum wants it, I'd like for them to have it.'“ The gentle widow, who left New Orleans almost 40 years ago when Fletcher Henderson asked her husband to come to New York City to join his jazz group, presented the trumpet to the museum at 10017 Dumaine this afternoon. “My husband and I met at a place called the Pelican Dance Hall,” reminisced Mrs. Allen. “It doesn't exist anymore. But back in those days I worked for an insurance company during the days and sold tickets at the Pelican at night. “Henry played jazz on the Steamer Capitol. I think that its now called the Steamer President. “It went up river from New Orleans to St. Louis and back, When Henry got through playing on the steamer, he would come to the Pelican to play. Allen was the son of Henry Allen Sr., who headed a marching band in Algiers. “Henry would practice on his father's trumpet and sometimes borrow it to play when the marches would halt.” *** DURING HER 38 years of marriage to the jazzman, Mrs. Allen met so many of the greats of the musical world that her list of acquaintences reads like a Jazz Hall of Fame;” Luis Russell of the Roseland Ballroom, Louis Armstrong, Eddie Condon, Kid Ory, Jelly Roll Morton, Fate Marable, John Handy and Joe”King” Oliver. “Many musicians came to our home through the years,” recalled Mrs. Allen. “They didn't play there, because we lived in an apartment, of course. But they would spend hours listening to jazz records. “Henry had a large collection of records. I couldn't even begin to number them, but they fill four big racks.” *** Like her late husband, Mrs. Allen was “raised up with jazz.” Her cousin, Alvin Alcorn plays the trumpet in New Orleans jazz circles. “So my family wasn't at all unhappy about my marrying a musician,” she laughed. Mrs. Allen didn't often travel with her husband, but she was with him in Bermuda, in Chicago for seven years, and in San Francisco. “He had been in England the month before his death at 60 in 1967,” she said. “And we were planning a trip to Australia.” *** THE ALLENS' only son, Henry Paul Allen, is a member of the New York City Police Department and plays the trumpet “for his own amusement,” said his mother. Mrs. Allen has two granddaughters and said that “if it weren't them and my son, I would probably come back to New Orleans for good.” During their years in New York and Chicago, the Allens visited their home town every year. “We were all here – Henry and I, my son and daughterin-law and my grandchildren – the August before Henry died,” said Mrs.Allen. “We usually tried to come home for Carnival,” she said. “Whenever Henry saw a marching band pas-sing with a parade he'd just grab his horn and go join them.” Mrs. Pearlie May Allen reminisces about her life with her late husband, jazzman Henry “Red” Allen, as she holds his photograph and trumpet. These legendary jazz Horns (at the Louisiana Jazz Archives): Red Allen – Louis Armstrong – Bix Beiderbecke - 174 Danny Barker, curator of the New Orleans Jazz Museum - Vagabonds Press, P.O.Box 2362 N.O., La. 70116, 1669p4 BARKER: Well, Red Allen used to come in here almost every year. He's one of the few musicians who really loves the town - considers it his home. A lot of them left New Orleans and never wanted to come back. A lot of white musicians left the area and never want to see the place again. But Red always came back. Now Red's passed on. It was real hard to believe that a big, robust guy like him had cancer. But a month ago his wife came here, and she said, "I brought Red's horn." -------------------------------------------------------------------------------------------------------------------------------------HENRY "RED" ALLEN - a note by Albert McCarthy , in Jazz Monthly 6/67... about Don Ellis comment to "Feeling Good" ... Like many collectors I have to admit that my own awareness It was immediately apparent to me when I saw Henry for the of Henry Allen's full stature was slow in developing. I admired first time in February that he was a desperately ill man. In his early Victor recordings but though conscious of his rhyth- retrospect it seems unwise of him to have ever made the tour mic freedom and extreme versatility as a trumpeter, allowed and from odd comments he made to me I suspected that one recognition of his true worth to be obscured for some years by a reason was the need to recoup some of the heavy medical suspicion of the more superficial showbiz aspects of his work. expenses he had incurred. On the other hand it may well be In 1958 I had the opportunity to hear Henry Allen almost that his doctors felt that by allowing him to undertake the tour nightly at the Metropole in New York City and finally realised he could not worsen his position but might gain a psychologyhis greatness. I Also got to know him well as a person and cal boost. The final material was obtained, though as Henry quickly became aware that the on stand personality was deceptive, tired quickly it was done in short sessions, and the title of for away from the public Henry was a rather shy sensitive man. MAKE HIM HAPPY - a phrase that will need no explanation In 1966 I was given the enjoyable assignment of taping Henry's to anyone who ever heard him play - was agreed upon. In autobiography for publication by Cassell's and during a two company with other friends of Henry's I saw him off at the week period spent every afternoon with Henry in his hotel airport on March 6th and within six weeks received the news room working on the book. Henry was keen to work oh the of his death. project and having a phenomenally accurate memory was At this moment I am not concerned with Henry's performances extremely easy to work with. After a few afternoons I realised over here, though there were one or two memorable occasions that he was very anxious to document his early New Orleans which one regrets were never recorded. It is, common place to days, particularly the part that his father had played, and it paint an individual in generous terms for obituaries, but in became obvious that he felt that early New Orleans history had Henry's case there is no need to stretch the facts. As a man he suffered distortion. On several occasions he mentioned to me was naturally generous and warm and quite lacking in spite or that there were photo-graphs and material in the New Orleans pettiness of any kind. I recall one afternoon when he spoke Jazz museum that he could throw light upon, adding "but with an almost embarrassing humility of the friends he had made nobody ever asks me". When talking of other musicians he in this country, mentioning Doug Dobell, John Kendall, Max was quite remarkably free from envy or malice and on no Jones and the Alex Welsh band amongst others, for it seemed to single occasion did I ever hear him ,speak slightingly of me that he gave much more than he ever received and that another performer. He was also devoided of racial attitudes those of us who had become his friends were the fortunate and he related the few incidents in which he had been involved ones. To anyone who knew Henry, even quite casually, the in an entirely objective manner, though it was obvious that he news of his death caused deep personal sorrow, for even one's would stand up for himself if the need arose. After he returned admiration for him as a great musician is unimportant in to the States and the tapes were heard I felt that linking material comparation to the fact that at the last one remembers him as a was needed for some of the later sections and Henry himself human being of great kindness and warmth who, having come also held the same view, so that it was decided to tape the final to terms with life himself, saw no need to be anything other than part when he was in this country during Feb. of this year. tolerant and generous in his relationship with others ---------------------------------------------------------------------------------------------------------------------------------------------------------------RED ALLEN – THE MAN WHO MADE THEM HAPPY by Max Jones, Melody Maker-4/67 NEVER again shall we hear the cry “My out, people began telephoning this paper but not a murmur of com-plaint from Red. Man” or “Make him happy” rapped out and writing in letters. It's happened with And you know the sad: thing was, when in Red Allen's distinctive voice. Never other jazzmen before, of course, but not he said goodbye he gave me a funny look out of the side of his eyes. We all said: again shall we see the tall figure boun- in my experience to this extent. ding on stage and announcing: "Look And a group of jazz lovers based on 'See you next year then,' but we were out, 'St Louis´"' - or what-ever the tune Dobell's Record Shop organi-sed a certain we wouldn't see him here again.” collection for a wreath to be sent to Allen's playing style, though it owed happened to be. No more the drawn-out "Nice" which Red's funeral, and condolences cab-led something to Louis Armstrong was highly original from the first that we was his all-purpose comment and ver- to his widow, Pearlie May. knew of it on record Clarence Williams' dict, even when accompanied by a frown They are all signs of the special esteem “Zulu Wail” according to Red, but for of enormous and rutted proportions. in which Henry Red was held here. Red has died, at the age of 59 or so, and Musicians and fans, even, club owners most of us on the excellent series of it is sad, sad news for the -many people and agents, had an affection for him that Victors by Henry Allen Jr and his New who admired his music-making and beats anything I can recall since poor old York Orchestra. Among these records, made In 1929 perhaps delighted from time to time in Big Bill was alive. Alex Welsh, whose band made three and '30; are such beautiful performances his amiable company. To say that the jazz world will never see tours with Allen and would have looked as "Biffly Blues," "It Should Be You," “Feeling Drowsy” and the with-vocal " his like again is to utter a cliché; but it forward to a fourth, says: expresses the truth. He was one of the "You couldn't help liking him. I don't Patrol Wagon Blues." These were made truly brilliant musicians, one of the think I ever heard anybody say a bad with a section of the Luis Russell band, originals, one of the rapidly diminishing word about him. As for his playing: I with whom Red cut a great many his-toric honestly think he was one of the finest sides. "Jersey Lightning," "Doctor Blues," number of New Orleans treats. This has been a bad year already for trumpet players of all time. - As every- "Saratoga Shout," "Panama" and " New jazz losses, with Edmond Hall, Muggsy one noticed who knew him, Red was Call Of The Freaks " are some of the Spanier, Buster Bailey, Willie Smith,, pretty ill on his visit this year. He must interesting tracks. Pete Johnson and other champions all have known how sick he was, and It's a In New York, Allen was in some degreat tribute to his professionalism that mand. He recorded a driving solo with having died within a few months. Allen adds a regal name to the list, for he should have chosen to fulfil a tour Don Redman´s band on “Shakin' The he was a real dyed-in-the-wool trumpet like that, and done so well. - “And he African" (1931), and was featured with king. And when you come to think of it, was still playing lovely little things, Jelly Roll Morton …(e.t.c. list of other he's the first of his kind to depart in a interesting ideas I assure you. He kept band recorded with Allen.) very long time. Most of the trumpet well up-to-date on happenings and could It can be seen that Allen left behind giants who survived to see the post-war still bring up some surprises for us after plenty of samples of his fiery, often flamboyant but sometimes delicately all the shows we'd done together. period are still with us. As soon as the news of Red´s death was We had some hard journeys that last tour, fanciful trumpet work. His own groups, - 175 after the days of the superlative New Oliver” and his own quartet´s “Feeling worked together at he Metro-pole later Yorkers, produced plenty of worthwhile Good”. Another, with Pee Wee, was on, and never tried to carve each other. I titles from 1933 until the present, and recorded in concert last October by used to listen to Red when I was young, although he was hardly consistent, Red Impulse. we all did, beat didn't try to copy him: he generally imparted to his playing an Buck Clayton, an old friend of Al- played a little too much for me.” urgent jazz feeling. With Zutty, Ed Hall len's, told me: “I was terribly upset at the And Bill Coleman summed up Allen and others he cut four New Orleans style news of his death. He was exceptionally succinctly in these words: “He kept performances in 1940. LPs on which he close to me and I think we really under- going. He played good trumpet, and he led included "Ride Red Ride In HiFi," stood each other. - I met Red around did the best to make everybody happy.” "Dixiecats," “Red Allen Plays King 1950, to know him well, I mean. We ---------------------------------------------------------------------------------------------------------------------------------------------------RED ALLEN DIES Down Beat 6/1/67: Another of the worked another lengthy stint at the Metropole, appeared at vibrant old voices of jazz, trumpeter Henry (Red) Allen, 59, several Newport Jazz Festivals and once at the Monterey Jazz died April 17 in New York City. An outstanding. stylist on the Festival, and toured England in 1964 as a single. In 1966, he horn, Allen underwent surgery in January for a cancerous appeared on the television program Profile of the Arts and was stomach ailment, recovered sufficiently to tour England for the subject of a profile, by Whitney Balliett in The New three weeks in March, but suffered a rapid decline in health Yorker. after his return. Allen was one of the most original and venturesome Allen was born in Algiers, La., near New Orleans, on Jan. 7, trumpeters to follow in the wake of Louis Armstrong, by 1908. His father, Henry Allen Sr., also a trumpeter, was the whom he was strongly influenced. His bold, bright sound and leader of a famous brass band in which most of the legendary strong attack wore in the classic New Orleans tradition, but his New Orleans musicians, including King Oliver, Sidney approach to improvisation, and his advanced harmonic Bechet, and Louis Armstrong, played on occasion. The senior conception, presaged, from as early as 1929, what was to Allen died in 1952. become "modern" years later. When he was 8, Red began studying trumpet with his father Allen was also a gifted jazz vocalist, and his outgoing persoand often participated in the band's parades. In 1923, he had nality made him a natural entertainer. He composed a number his first important job, with clarinetist George Lowis, and then of attractive instrumentals, including Biffly Blues, Pleasing worked with Capt. John Handy, and in 1926 joined Fate Paul, Red Jump, Algiers Stomp, and Siesta at the Fiesta. Marable's famous riverboat orchestra. Following a time with His biggest hits were two novelty numbers, Ride, Red, Ride (his pianist Fats Pichon, Allen was called to Chicago in 1927 by theme song), and Get the Mop, which became famous as Rag King Oliver but soon returned to New Orleans and the Mop and engendered litigation over royalty rights. Allen won. Marable band. From the late '20s on, Allen participated in a vast number of In 1929, Allen went to New York to join pianist Luis recording sessions, including a long series under his own Russell's band, one of the outstanding big bands of the time. name from 1935 to 1938. Among his greatest solos are Mule Allen's reputation was firmly established during his four years Face Blues (King Oliver), It Should Be You, Jersey Lightning. with Russell. Allen became the featured trumpet soloist with Feeling Drowsy, and Panama (Luis Russell), Yeah Man, King Fletcher Henderson's band in 1933. When Henderson Porter Stomp, Wrappin' It Up, Big John Special (Fletcher disbanded the next year, Allen joined the Mills Blue Rhythm Henderson), Heartbreak Blues, Jamaica Shout (Coleman Band, declining an offer to become its leader. In 1937, he Hawkins). Harlem Heat, Red Rhythm (Mills Blue Rhythm returned to Russell, whose band was then fronted by Louis Band), 1 Got Rhythm, Honeysuckle Rose (Kid Ory), and, with Armstrong remaining until 1940, when he formed his own his own groups, Body and Soul, It's Written All over Your small group, which opened at Cafe Society Downtown with Face, Algiers Stomp, When Did You Leave Heaven?, 1 Cover trombonist J.C.Higginbotham, pianist Kenny Kersey, and the Waterfront. clarinetist Edmond Hall in the lineup. In 1965, avant-garde trumpeter Don Ellis wrote a tribute to Allen continued as a combo leader through 1953, playing Allen in Down Beat in which he said, "Red Allen is the most long engagements in Chicago, Boston, and on New York's creative and avant-garde trumpet player in New York. ... No 52nd St. In 1954, his group became the house band at the one is more subtle rhythmically and in the use of dynamics add Metropole in New York, a job that lasted seven years. He took asymmetrical phrases than Henry Red Allen." a leave in 1959 to make his fist visit to Europe, as a member of A requiem high mass was held for Allen April 21 at St. trombonist Kid Ory'& band. During this period, Allen was also Anthony's Roman Catholic Church in the Bronx. Allen's featured in the television specials The Sound of Jazz and survivors include his widow, Pearlie Mae; his mother, Mrs. Chicago and All That Jazz. Juaretta Allen of New Orleans; a son, Henry Allen III and two In recent years, Allen continued to travel with his own group, granddaughters. -----------------------------------------------------------------------------------------------------------------------------------------------"FOR RED" - Feather's Nest - by Leonard Feather in Down Beat 6/1/67: THE DEATH OF RED ALLEN brought back long-dormant recollections of a personal friendship that goes back to the first days I ever spent in New York City, fresh off the boat from England and eager to meet the great men who, until then, had been distant, revered names on record labels. One of the first whose tireless hospitality helped make me feet less of a stranger in town was Red Allen, who suggested that I join him after a record session and spend an evening listening to records in his apartment near Sugar Hill. "My chief surprise at Red´s place," I wrote in the London Melody Maker, "was the huge pile of records he has in which he is featured as bandleader. Under his own name he has made literally scores of titles on Vocalion, Melotone, and other lowprice labels, featuring J.C. Higginbotham, Luis Russell, and Pee Wee Erwin, the little trumpet player from Ray Noble's band." (These pickup combo dates, recorded off and on from 1933 through '37, would make a splendid subject for a Columbia reissue project.) On that night, Red's charming wife showed me his pressclipping books, and I glanced at some of his fan mail. "Most of this comes from Europe," I wrote, "and it is fascinating to study the techniques employed by fans to secure photographs, biographical details, and answers to all sorts of questions concerning records that Red forgot about years ago. "Red Allen is such a fine artist and such an agreeable, gentlemanly fellow that it seems a shame he hasn't yet quite reached the top. The Mills Blue Rhythm Band doesn't really 'send him,' but he has to make money. The other evening he was off to play a one-night engagement with Ellington, filling in for an absentee. I commented that many of us would be delighted if he could fit in permanently with the Duke.' That affiliation, of course, never materialized; had Ellington hired him, the quality and quantity of Allen's recorded legacy would have been immeasurably greater, for he was just the type of individualist for whom Ellington could have designed perfect settings (the rainiature jazz concerto concept was pioneered by Duke in 1936). Allen was never to earn the security of an Ellington setting. For three years he was virtually buried in the big Louis Armstrong band; then his career as a combo leader began, and none of us who heard it will ever forget the "wamp! wamp!" with which he beat off his sextet at Cafe Society Downtown. It was a rough-and-tumble, gutty little band, with Higginbotham and Edmond Hall in the original front line. We all sensed then what Whitney Balliett put into words many years later: that Allen was the first major New Orleans horn man tofollow Armstrong, one of the first to extend the lineare concepts of improvisation, and, in effect, was a prem- - 176 - ature avantgardist. In later years, like many survivors of the swing bands, he was identified with Dixieland, playing at New York City's Metropole in a setting oddly different from that of his own band of the '40s. But this was nothing new for him. I recall another price-less night. It happened during the hottest week in Manhattan's history, with 52nd St. jazz temperatures to match. The Hickory House unveiled a new group billed as Joe Marsala and Eddie Condon's Chicagoans. A brilliant 19-year-old find was playing piano; his name was Joe Bushkin. And on opening night, wearing the same uniform as the white musicians, not just sitting in but an actual member of the band, was Red Allen. Such sights were astonishing in those days of total segregation. But it was only a one-nighter for Red, as things turned out; he was obliged to return to the Blue Rhythm Band. (His replacement was another Negro trumpeter, Otis Johnson. Marsala was the first in his field after Benny Goodman to buck U.S. society.) But Red came back and sat in whenever he could, “creating noises,” I’observed, “the quantity of whose volume is equated and surpassed by the quality and perfection of his style.” When a man of Red Allen’s stature is lost to jazz, one, is tempted to plunge into scholarly analyses of his style and influence, This will no doubt be the course followed by many of us who knew the size of his contribution. But for the moment, all I can recall is that sad smile – Balliett called his face “a study in basset melancholy” – and that friendly arm around my back, and the nights of glory at 1 Sheridan Square and all the other clubs whose gloom he assuaged. It was a joy to hear him as an artist but, more than that, an honor to know hint as a friend . Bourbon Street Parade by Clint Bolton Lester Santiago, Kid Howard, and Joe Robichaux at Dixieland ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ VCC 4/28/67: It has been a time of sorrow for a lot of us who Hall. George Finola and Don Marquis have also suggested learned that Henry "Red" Allen had played his last set. The big Red Allen be saluted at Dixieland and I see no reason fellow whose magnificent trumpet had placed him in the against the idea. It is true that Red only played for kicks a forefront of jazzmen for several decades died in New York, couple or three concerts there but that was the last time his horn was beard on Bourbon and we think he rates the for many years his home. He was, however, a native Orleanian. having been born in tribute. I am checking on the cost of plaques and we will Algiers. While still in knee pants he paraded with his father's work out a uniform design and wording. Anyone wishing to marching band and from there he went on to climb the heights contribute can get In touch with me via die Courier to jazz stardom. He returned to New Orleans annaully to visit his mother who still lives across the river and last year was deservedly featured in local radio, TV and press interviews. A life-long friend and associate of Paul and Louis Barbarin, Danny Barker, Louis Cottrell, and other News Orleans musicians, he enjoyed talking about the old days and the long, long jazz road which had taken him to many parts of the world. He sat in on several occasions with the Dixieland Hall groups and was visibly affected by the ovation he received from audiences and fellow musicians including Ronnie Cole one of his biggest fans. I spent some happy hours with him and cherish one of his records he autographed to me. He told me an anecdote of which the tagline is "You can't play Blue Skies all day long." May the skies ever be blue for him. The foregoing reminds me that the Bourbon St. Landmark idea is shaping up into an actuality. Ronnie Cole and the Moran brothers will install a plaque to "Fats" Pichon at the Absinthe House and Al Clark will do the same in memory of ---------------------------------------------------------------------------------------RANDOM THOUGHTS - A conversation between Pearlie May Allen, Marge Singleton, Peter Carr and Al Volmer. 19 November 1979 Bourbon Street, he couldn't get out of birthday is in July! Red made the Pearl (known as Pretty) came to New one place before the next place wanted Metropole. It was run by a man named York in 1929. Red was with Luis Russell him - I just, had to sit there on my own. Ben Harriman. One time they were then, he'd been with Kingl Oliver before And if a parade happened to pass by remodelling the place to make the that. The first time he came up to New where we were, he would always rush bandstand smaller and Harriman was heard to say 'I don't give a damn about York, King Oliver had sent for him. He out and join in. went back home to New Orleans and then He loved his father very much, they the musicians.'" he came back. The reason he came back were very close. Before we were mar- Pearl: "People used to go to the was because Luis Russell, as there were ried, he used to keep just enough money Metropole to hear Red, not to go to the quite a few New Orleans musicians in to live on, and gave the rest to his family. Metropole." the Russell band. Fletcher Henderson When Red died, he didn't want to be Al Volmer: "Turk Murphy and Red wanted him too, but he preferred to go taken back to New Orleans and he Allen were both at the Metropole. playwhere the New Orleans musicians were. didn't want any music plaved at his ing alternate sets. Red joined Turk in the Russell had gone to New Orleans as a funeral – he was too full of his father's last set; I remember him playing the traditional chorus in 'Chimes Blues' quite young boy. and he began to speak the funeral.". beautifully with Turk's band." (see p88) language. Alvin Alcorn is Pearl's cousin. When she was in New Orleans, Pearl "When we had Henry Jr. used to push Pearl: "Red was an only child. He used had two jobs; she was a secretary by day, the baby carriage, he was so proud of his to play the kettledrum in brass bands and a friend of hers ran the Pelican and baby. Henry Jr. was in the police force, alongside his father.. He enjoyed travelling very much. she sold tickets there at night. That's but now he's retired. where I met Red. He came into New FAMILY TREE: Father - Henry Red, Red idolised and admired Louis ArmOrleans off the S.S. Capitol - my cousin, Wife – Pearl, Son - Henry Junior; strong. He'd often put on Louis' records at Earl Pearson (sax) was in the band too. Grandchildren – Alcornette & Junetta; home and play behind them. We were married in 1930. He loved eating red Marvin Kimball, the guitar player. Great grandchild – Nikita introduced us. I didn't travel about too Marge Singleton: "Red was such a beans, rice and fried shrimp." much with Red, so I can't tell you much showman, he used to put everything into Marge: "Red always greeted anyone he about his travels. We went to New everything he did. Whenever I walked knew, not only me, by saying Happy Orleans often in vacation - Red loved to into the Metropole, he used to play and Birthday. He used to remember play so much that he'd always sit in sing 'Happy Birthday to Marge'. I remember everyone's name. He lovely man." somewhere. When we went down in him doing this in December, and my ----------------------------------------------------------------------------------------------------------- - 177 A-B-BASICS No.7 by Barry McRae in Jazz Journal 7-67 Allen from his contemporaries. Like Ory, he surprised many with the quality of Armstrong, his ability to set his timing at his work. More recent recordings, however, odds with the basic pulse stamped him as have not always upheld this level and his a modern player. Even the most once unpredictable, rhythmic attack outstanding of the swing era trumpeters began to exhibit a certain stiffness. that followed failed to equal this aspect Although no longer the innovator he of his style. Men like Charlie Shavers, had once been, this cannot detract from Harry James, Buck Clayton and Roy his stature as one of the leading trumpeEldridge were far more predictable ters in jazz history. Even his latter day rhythmically than the audacious Allen playing retained his wonderfully brassy and not until the emergence of Harry sound and, despite the occasional tenEdison did another trumpeter display the dency to sharpness in his intonation, he same grasp of linearity. had an ideal tone. It was a superbly full In 1933 Allen joined Fletcher Hender- one and his fierce, staccato attack and son and proved to be the most effective very fast vibrato gave his style great trumpeter for the band since Tommy clarity. Like his long time associate Ladnier. The bouncing riffs of the band Higginbotham, Allen's solos opened with provided an ideal setting for him explosive urgency yet rarely lost impetus although he remained for only one year. as they progressed. There was also a His next two years were spent with the softer side to his musical personality and Blue Rhythm Band. He then joined Louis features such as Patrol Wagon Blues Armstrong who was in the pro-cess of (1930) or You Might Get Better (1930) taking over the Russell band. were essentially lyrical. After leaving Armstrong in 1940, Allen led Allen died in April this year, shortly his own groups for many years and until after his last visit to this country (UK). 1954 had what amounted to resi-dency at Readers who saw how well this sick man the Metropole Club in New York. This could still play will not forget him. To the was a crushing job for such an inventive young modernist unaware of the early improviser and years of playing for the evolution of jazz, his phrasing might seem club's somewhat indif-ferent patrons slightly common place. In the early wore down his creative edge. Fortuna- 'thirties it was revolutionary and at that tely, this was not a permanent state and time Red Allen had only one peer – the during his 1959 tour of Europe with Kid incomparable Louis Armstrong. HENRY ALLEN JNR. Trumpet playing in the 'twenties was dominated by the gigantic talent of Louis Armstrong. From the musical climate that this created, maybe in fact because of it, there emerged another outstanding horn man – Red Allen. That he belonged to the same lineage is beyond question, but he fashioned a highly personal style that in turn had its own followers. He was born in Algiers, Louisiana in 1908 and, since his father was leader of a famous brass band, was quickly attracted to the world of music. He played around New Orleans with leaders such as George Lewis and John Handy and after a spell on the riverboats joined King Oliver in Chicago 1927. Two years later he took a vital step and joined former Oliver alumnus and pianist Luis Russell in New York. The records made by his group were highly exciting and even in the august company of trombonist J.C.Higginbotham and altoist Charlie Holmes, Allen was out-standing. He shone at any tempo and could be blisteringly hot on a rocking stomp such as Swing Out (1929) or strongly introspective on slows such as Biffly Blues (1929). Both approaches were goverened by his timing and his work at this period displayed a flair for unexpected note displacement. This , in fact, is what distinguished -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Patrick Scott in Toronto Daily Star, Sat.4/22/67p30: TWO MORE DOWN: HOW MANY LEFT ? They are dropping like flies. But it was with his own small recording offered, if only a couple of times a night, Last week Buster Bailey, this week Red groups of the middle and late 1930s that a few fleeting, haunting, agonizing Allen. And already this year, Edmond he really left his mark - on indelible per- echoes of at least some of the things that Hall, Muggsy Spanier, Herman Chittison, formances (There's a House in Harlem once made him great. Willie Smith, Pete Johnson. … for Sale, Rosetta, Body and Soul, Dinah And nobody tried harder, right to the Only the other night we were sitting Lou, Lost, Every Minute of the Hour) end, with all the tone and technique and around the Colonial, lamenting the death that constitute, with the Wilson-Holiday lip and heart and everything else that was of Buster Bailey when one of The Saints classics and the Lionel Hampton Victors, needed. But it nearly all came out wrong. and Sinners, with whom Bailey had one of the monumental series in recorded He knew the score played there so often, remarked that small-band jazz. (And it is one of the (Allen, being a proud man, was sensitive Allen was more gravely ill than anyone small ironies of jazz that throughout about this. I know, because I once wrote realized. That- was at 7 p.m. Monday, much of the period he was making these a more-in-sorrow-than-anger lament to which was the time Red Allen died at recordings he was buried in the trumpet his lost powers, and he pinned my ears home in New York, at 59, of cancer. section of Louis Armstrong's big band.) back the next night with a performance Henry (Red)Allen was, for my money, Some of us will remember him most so brilliant it brought the tears to my eyes. the second, best trumpeter that jazz has for these dusty old recordings (especially But the night after that he was worse produced, and one of its handful of best those of us who are lucky enough to have than ever - and trying just as hard. singers. At his peak, from the late `20s to some of them on tape), but to many he (remark: see his note on p96)). the late `30s, he came closer, much closer, will be merely the man in the Metropole Ironically, as Allen's playing grew increathan any other trumpeter ever has to Louis mirth mask. For it was Red Allen's singly erratic he was "rediscovered" by Armstrong; and in his own way he was misfortune (and ours) that he went off certain influential critics (notably the New almost as influential as Armstrong, having the tracks as a performer at a Yorker's Whitney Balliett) who should spawned, with his jagged phrasing and comparatively early age. have known better; and soon the British, eccentric harmonies, the whole Eldridge- His finest work was distinguished by who almost always appreciate the right Gillespie lineage, for better or worse. the spinechilling blend of searing heat musicians for all the wrong reasons and When he was still in his early 20s, with and delicate poignancy that all the great at least 20 years too late, clutched him to the Luis Russell orchestra and his own trumpeters have, and that only the great their bosoms (he had just returned from a New York recording band, he already trumpeters have (Armstrong, of course, tour of Britain when his fatal illness struck had achieved such complete technical had it, and Cootie Williams had it, and him); and he made a couple of records, mastery of his instrument that he was Buck Clayton has it). But somewhere both of them very bad and very sad. able to duplicate (but with his own along the line, around the time he took .But at least he was eating regularly, so peculiar offbeat stamp) all but the most over the house band at the Metropole Bar maybe these well-intentioned people had dazzling of Armstrong's pyrotechnical in New York, Red Allen's beauty gave the right idea, at that. feats. And throughout the early and way largely to bombast, his electricity to The thing Buster Bailey's death underlimiddle 30s his horn ignited the brass raucousness, and for the next 25 years, nes most boldly is the staggering durabisections of so many big bands that many his last 25 years, he became (like Dicky lity of Armstrong himself. Since he of today's reissue recordings devoted to Wells and J. C. Higginbotham) one of formed his Allstars in 1947 their mortality other names - Fletcher Henderson, Mills the most frustrating performers in jazz. rate has been fearful: Teagarden, Sid Blue Rhythm, King Oliver - in reality are But the difference in Red Allen's case Catlett, Velma Middleton, Billy Kyle, Ed showcases for Red Allen's trumpet. was that almost to the end he invariably Hall and now Bailey. - 178 But Louis Armstrong himself, as we all know, goes on forever. Except that he :won't, as recent events should tell us. Well, I hope you caught Buck Clayton on that BBC-telecast from London the other night (the best televised presentation of jazz I have seen), and I hope you catch Herman Autrey and the rest of The Saints and Sinners at the Colonial this trip, because there aren't many of them left. And because-whether you realize it or not, or whether you want to believe it or not - these aren't just jazzmen dying, they are the death throes of jazz. -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- RED ALLEN DEAD; Jazz Trumpeter .New Orleans Musician, 60, Played with Armstrong ; NYT-4/19/67 Henry (Red) Allen, who for many years New Orleans by King Oliver, but he Seventh Avenue and 49th Street and was one of the country's leading Dixieland stayed only about two months before stayed there for seven years. Other places Jazz trumpet players, died Monday night going back to join Fate Marable's band he played included Eddie Con-don's, the at Sydenham Hospital. He was 60 years that worked the Mississippi riverboats Hickory House, the Embers and the old and lived at 1351 Prospect Avenue, and played engagements in St.Louis. Newport jazz festivals. the Bronx. Mr. Allen was summoned back to New “Playing, it's like somebody making Mr. Allen was a native of the New York in 1929 by Luis Russell and played your lip speak, making it say things he Orleans community of Algiers. He once with Mr. Russell's band at the Roseland thinks,” Mr. Allen told Mr. Balliett in described his birthplace as being to New Ballroom. He stayed with the band, until trying to explain how he worked. “I Orleans what the Bronx is to New York. 1933, when he joined Fletcher Henderson. concentrate a couple of bars ahead at all His father, Henry Allen Sr., who died in Four years later he was playing the times. You have to have an idea of where 1952, had led a brass band that included trumpet with Louis Armstrong's big you are going. You have more Joe (King) Oliver, Louis Armstrong and band, which he described as 'like coming expression of feeling in the blues. And Sidney Bechet. home again, because it was still the old you have more time.” The father played the trumpet and Russell band but expanded.” Mr. Allen - his nickname, Red, was wanted his son to do so too, although the Mr. Allen formed his own band in 1940 given him, he explained, because he was a boy's mother preferred the violin. By the and for a year played at the old Greenwich light-skinned Negro and his face got red time young Henry was 8 years old, he Village cellar nightclub, Café Society when he blew his trumpet - had said in was practicing on his father's horn. Downtown, which was the headquarters effect that he would not retire until he Last year, Mr. Allen told a interviewer for such famous musicians as Pete John- died. that his father would carry him in the son, Billie Holiday, Art Tatum, and “When I pass is when I retire,” he said. band's parades “some of the ways and then Hazel Scott. Lena Horne also sang there. “I love to play; that horn is good for me.” put me down on a corner and I'd play and Played all Over Mr. Allen leaves his wife, the former a little crowd would gather and he'd tell From Café Society Downtown, Mr. Pearlie May Alcorn; a son, Henry Allen everybody 'Sonny's got it, sonny's got it'.” Allen moved to the Ken Club in Boston 3d, a patrolman attached to the 32d Obviously, sonny really did have it, and and then the Down Beat Room in Chi- Precinct in Harlem; his mother, Mrs. by the time he was in his early teens he cago. Later he worked in San Francisco Juretta Allen of New Orleans and two was playing trumpet in brass bands and and Salt Lake City and then back to New granddaughters. cabarets. York again to the Onyx, Kelly's Stable A funeral mass will be offered on Friday at In 1927 , Mr. Allen made his first trip and Jimmy Ryan's on 52d Street. 10 A.M. at St. Anthony's Roman to New York, having been called from In 1954 he started at the Metropole Café on Catholic Church, 166th Street. ---------------------------------------------------------------------------------------------------------------------------------------------------------------JAZZ TRUMPET PLAYER IS DEAD - Henry Allen Jr. Famed as Music Stylist ; The Times-Picayune New Orleans, 4/19/67: Henry Allen Jr., 59, famed, jazz stylist who was a band and subsequently played here with George Lewis in 1923, natives of Algiers, died in New York City Monday night after John Handy in '25, and on riverboats with Fate Marable in '26. a long illness. Allen also worked with Fats Pichon, then joined King Oliver The Negro trumpeter and, singer gained recognition while in Chicago in 1927. He went New York in,1929 and joined the performing with such other jazz greats as Louis Armstrong, band led by Luis Russell. John Handy, Kid Ory and Luis Russell. During the 1930s, he also worked with Fletcher Henderson Allen resided In New York with his family for many years. and Louis Armstrong. He, Allen formed his own group in New Since 1954 he was employed at the city's Metropole night club. York, and the band remained together until the early '50s. In 1959, he toured Europe with Kid Ory and later was Funeral arrangements are incomplete, but a spokesman at the featured on television programs about, jazz and in numerous New Orleans Jazz Museum said Tuesday that services probably jazz books and anthologies. Born in Algiers in 1908, Allen will take place in New York. became musically inclined at an early age. His father was the Survivors include his widow, Pearlie May; a son, who is on leader of a brass band that played in and around New Orleans the New York police forces; two granddaughters; and his for more than 40 years. As a child, he marched with his father's mother, Mrs. Juretta Allen who resides in Algiers. ------------------------------------------------------------------------------------------------------------------------------------------------------------ RED ALLEN, FAMED JAZZ MUSICIAN, DIES State Item,N.O., 4/19/67 Red Allen, the famous jazz stylist who with his father's band, whose sidemen began his career playing the trumpet on included Armstrong, King Oliver and New Orleans street corners, will not be Sidney Bechet. home again. The 59-year-old jazz great, In an interview before he died Allen christened Henry Allen Jr., died Monday recalled his father carrying him in night at New York's Sydenham hospital parades then “putting me down on a after a long illness. corner and I'd play and a little crowd Allen's death is the second in two weeks would gather and he'd tell everybody, among musicians who played with Louis 'Sonny's got it, Sonny's got it.” Armstrong. Clarinetist Buster Bailey HE SUBSEQUENTLY played here with died at his Brooklyn home last week George Lewis in 1923, John Handy in BORN IN ALGIERS in 1908, Allen '25 and on the riverboats with Fate became musically inclined at an early Marable in 1928. Allen also worked with age. His father was the leader of a brass Fats Pichon, then joined King Oliver in band that played in and around New Chicago in 1927. He went to New York Orleans for more than 40 years. in 1929 and joined the band led by Luis Re Allen's mother wanted him to play Russell. During the '30s, he worked with the violin, but his father preferred the Fletcher Henderson and Armstrong. trumpet, and it became Red's horn. By He formed his own group in New York, the time he was eight, crowds were which remained together until the early '50s. gathering on the city's street corners to ALLEN HAD BEEN a regular at the Metropole Café in New York since 1954 hear his music. As a child, he marched and at the Newport Jazz Festival. he toured Europe with Kid Ory in 1959 and later was featured on jazz programs and in jazz books and anthologies. Red came home for the last time last summer and thrilled local jazz enthusiasts and young comers with an old time jam session. “Playing,” he once said. “It's like somebody making your lip speak, making it say things he thinks. I concentrate a couple of bars ahead at all times. You have to have an idea of where you are going.” He is survived by his wife, Pearlie May Allen; a son, who is on the New York police force; two granddaughters, and his mother, Mrs. Juretta Allen, who lives in Algiers. Funeral arrangements are incomplete, but services are expected to take place in New York. ------------------------------------------------------------------------------------------------------------------------------------- - 179 OBITUARIES 5/26/73 J.C. Higginbotham died ; J. C. Higginbotham by A.B. in Footnote Aug.73 Vol.4 No.6: The recent death of "Higgy" at the age of 67 deprived us of one of the true originals of jazz trombone. Coming from a musical family, "Higgy" was active in his "teens although until around 1924 he needed to supplement his musical activity with more mundane work as a mechanic at the General Motors Factory in Cincinnati, having moved there from his native Atlanta. It was in 1928 whilst in New York City that JC was hired by Luis Russell and it was the spell with that wonderful band (featured in a recent FOOTNOTE article) that made his name and during which his exciting blues based and individual style developed to maturity. Spells with Fletcher Henderson and Benny Carter preceded three years touring with the Louis Armstrong backing band. A reunion with his Russell bandmate Red Allen took place in 1940 and after a variety of jobs he was at the Metropole in New York in the late 1950s before touring Europe with Sammy Price. Despite bouts of illness he continued to work with regularity into the 60s and recorded with Tiny Grimes and later in his home town under his own name. Whilst it could not be claimed that his "comeback" recordings were a success, at least some of the old hallmarks were there. An important figure in jazz, JC Higginbotham was an influence on later stylists and contributed to the development of the trombone as a solo instrument in jazz. -----------------------------------------------------------------------HIGGINBOTHAM BLUES – by Bernard Houghton in Jazz Journal Vol.21 No.1-Jan.68p4: Maturity came late to the jazz trombone: both trumpet and clarinet, the other front-line instruments, were played with a measure of technical proficiency by the New Orleans jazz men. The trumpet had a lineage of 'kings', each with a more sophisticated technique than his predecessor; the clarinet had a classical background and most of the New Orleans clarinets received formal training from a 'professor' – the trombone had to wait for Jimmy Harrison. In the space of seven years between 1922, when he first heard Louis Armstrong, and 1929 when he recorded his last solo Fletcher Henderson, Harrison took the trombone out of the ensemble, extended its range, and established it as a flexible solo voice. One of the first trombonists to learn from Harrison was J.C.Higginbotham. (Jack Teagarden independently arrived at an articulate trombone style which had much in common with Jimmy Harrison's conception). No other jazz trombonist contributed more to the development of the instrument than J.C. – today he is in eclipse and his key position in the evolution of the jazz trombone is barely recognized. J.C. was born in Atlanta, Georgia on 11th May1906; he attended school in Cincinnati, Ohio and later graduated to the Morris Brown University. He was raised in a musical atmosphere, most of the Higginbotham family played instruments and his sister played trombone. Although originally apprenticed to a tailor, by his eighteenth birthday he had become a professional musician and was playing with the local Wes Helvey band. J.C. left Cincinnati in 1926 for Buffalo where he played with Eugene Price and Jimmy Harris. While on a visit to New York City he sat in with Chick Webb at the Savoy Ballroom; Luis Russell who was listening on that night was immediately impressed by the young trombonist and hired him on the spot. J.C. replaced Harry White in the Russell band and moved into the Savoy with Luis in September 1928. The Luis Russell band played primarily for dancing: drummer Paul Barbarin and bassist 'Pops' Foster generated a rhythmic drive unequalled by any other group of its day. What this band lacked in subtlety of arrangement it gained from its wealth of solo talent; together with Red Allen, Charlie Holmes, and Albert Nicholas, J.C. was heavily featured throughout his three year stay. His long standing association with Red Allen commenced in 1929 when Red joined Luis Russell replacing Louis Metcalfe – the two musicians became practically inseperable during the following fifteen years. J.C. left Luis Russell in 1931, being replaced by Dickie Wells. After spending a few months with Chick Webb he joined the Fletcher Henderson band for a period of two years, and in 1934 he was with the Blue Rhythm Band alongside Red Allen, Wardell Jones, Shelton Hemphill (tpt); George Washington (tbn) Buster Bailey (cl); Crawford Wetherington (alt); Joe Garland (ten); Edgar Hayes (p); Laurence Lucie (gtr); Elmer James (bs) and O'Neil Spencer (dm). He had now established a national reputation and was a much sought-after sideman. George Washington recalls: 'Every time I'd leave one group for another I would get to thinkin', 'oh boy, here's my chance to have something to say', and then boom, there would be Higginbotham. He was the public's boy and he also played a mess of trombone' (Jazz Journal, Nov.1960). In 1935 Louis Armstrong took over the Luis Russell band, retaining Russell as musical director – for the next eight years the band was the background for Louis' massive talents. At Louis' request J.C. joined him in the Summer of 1937 and became reunited with Red Allen. Louis was an ardent admirer of the Higginbotham horn and gave him liberal solo space on most of his recordings. J.C. and Red left Armstrong at the beginning of 1940 to take a sextet completed by Ed Hall (clt); Ken Kersey (p); Billy Taylor (bs) and Jimmy Hoskins (dm) into the Café Society, New York. Lena Horne was also briefly featured with the group. The following year the same sextet played a twelve-month engagement in Boston; in February 1942 J.C. travelled west to Chicago with a group under Red's leadership - 180 to begin a lengthy stay at the Garrick Stage Bar. The line-up was Don Stovall (alt); Alvin Burroughs (dm); Bennie Moten (bs) and Al Williams (p). Ben Webster, who had recently left Duke Ellington, was later featured as an added attraction. For the next few years J.C. remained with Red playing club dates, among them appearances at the Onyx Club and the Apollo Theatre in New York, and in 1946 the two musicians were resident at Kelly's Stables for six months with a group including Hal Singer on tenor. The advent of bop condemmed J.C. and many other midperiod jazzmen to a decade of obscurity. In 1955 he was reported to be leading a small band in the Cleveland area and in May of the same year was playing club dates in Boston. The following July J.C. appeared with a group including buck Clayton and Hayward Henry at the Central Plaza, N.Y. Jack Crystal, who directed this concert, proved to be a staunch ally of the musicians of the 'thirties, presenting a series of concerts at the Central Plaza each Friday and Saturday which helped to bring these men into public view again. Jack Crystal was also responsible for the Lips Page Memorial concert which raised $3,300 for the Page family, and the Miff Mole Benefit in 1961; such altruism is rare among promoters of jazz concerts. Late in 1956 J.C. joined the Red Allen All-Stars at the Metropole, NY. The All-stars were purveying a brand of Dixieland-cum-main-stream music which became particularly identified with that establishment. The musicians were perched on a narrow bandstand immediately above the bar and music was continuous from 3 pm to 3 am, although no band was on the stand for longer than 45 minutes. In such circumstances the quality of the music necessarily fluctuated, nevertheless it was one of the few night-spots providing employment for musicians such as J.C. After an absence of ten years from the recording studios he made a date with Buck Clayton in March 1956, two sessions for the Jazztone label the following year, ('The Big Challenge' with Cootie and Rex Stewart, and the 'Big Reunion' of Fletcher Henderson alumni), and a session with Tiny Grimes and Eddie Davis in August-58. He appeared at the Newport Jazz Festivals of 1957 and '59 each time with the Red Allen All-Stars. At the 1959 Festival the All-Stars appeared last on the programme, after the Kingston Trio, a pseudo-folk group, had received a tumultuous ovation. In an atmosphere of anticlimax most of the audiences made their way out of the Festival ground leaving the All-Stars to play to a handful of devotees. In October 1958 J.C. 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 Haley concerts that year. (Jazz Journal, May 1959). On his return from Europe J.C. rejoined Red Allen at the Metropole leaving in the summer of 1959 to work with a group led by trumpeter Wingie Carpenter, a former colleague of his Wes Helvey days in Cincinnati. In contrast to the rather hap-hazzard proceedings at the Metropole, Wingie's band was a well rehearsed group that featured excellent arrangements. most of their engagements were week-end gigs in the New York area, the personnel completed by Edgar Spider Courance (ten/clt); Dick Bunch (p); George Phillips (bs) and Eddie Roberts (dm). *** On his earliest recorded work with Luis Russell J.C. played with an assurance that belied his lack of years. At the age of twenty two, when most musicians are tentatively feeling their way he was playing with boundless confidence. On Tight Like That (Parl.PCM 7025, 1929), he follows the first ensemble chorus with an intricate, tumbling, two bar break which is almost casually thrown way. Two months later he took a memorable gem of a chorus on Louis Armstrong's Mahogany Hall Stomp (Parl.PMC 7019). Few musicians could have followed Louis, then at the peak of his powers, without an anticlimax, but the young Higginbotham did just that. After repeated listening to this record one still waits for J.C.'s swaggering solo with eager anticipation. The long, loose, phrases acknowledge his debt to Jimmy Harrison and underline the new dimensions these two musicians had given to jazz trombone playing. It is significant that J.C. was featured on seven of the nine sides he recorded with Louis up to February 1930; no other sideman was so consistently featured when Louis was in the studio with a large band at that period. Two titles recorded with Luis Russell in Sept.29, Feelin' The Spirit and Jersey Lightning (both on PCM 7025) find J.C. in superb form; on these tracks his pugnacious solos are delivered with a blistering attack. His remarkable technique enabled him to play with a savage fluency which was completely personal. At this period he had no use for the niceties of light and shade, every solo was a ferocious harangue. Humour he had; not the subtle drollery of Jimmy Harrison, or the urbane irony that Dickie Wells later brought to the instrument, but a Falstaffian jocularity unembarred by a belly laugh. The quality of his early recorded work is consistently high and completely free from cliché or contrivance, the listener's ears are assailed by a torrent of spontaneous, explosive phrases. The ensuing years saw a gradual metamorphosis in his playing and the development of a style which had strong overtones of Lawrence Brown. When he made the session with Mezz .Mezzrow in June 1937 (French RCA 75.384) the change was well-underway. He contributes excellent solos on all four tracks and is the outstanding musician on the date, but his tone has mellowed and the bubbling, audacious phrasing of the Russell days has given way to a more quiescent, legato style. His twelve bars on The Swing Session's Called To Order display much of the old virility, but in his work on That's How I Feel Today and Hot Club Stomp, there is a new suavity detectable that would have been unthinkable seven years earlier. Sides he recorded with Louis in the next two years see the ascendency of Lawrence Brown's influence. J.C.'s solo on Save It Pretty Mama (Ace of Hearts AH 7), recorded in 1939, could easily be mistaken for Brown; the dominating presence has gone, leaving little hint of the brazen grandeur of a decade earlier. If much of J.C.'s presence was effaced by this tonal change the essential quality of his music remained; his choruses on The Saints and Bye And Bye, both recorded with Louis at this period (AH 7), are still wonderfully inventive pieces of jazz. His latter-day recorded work has suffered from the long period of obscurity: on the 1956 session with Buck Clayton (Phi.BBL 7129) he is anonymous and unimaginative. On subsequent dates, the Fletcher Henderson's 'Big Reunion' (Jazztime 1285) and the Tiny Grimes session (Esquire 32-092); he strives to recapture his old assertiveness and the velvet glove approach is abandoned. But although there is ample vigour in his execution, most of his solos lack continuity and consist of a series of trite phrases tenuously hung together. The decline of this once avant-garde musician does not detract from his overall importance. In his early days he consolidated the position that Jimmy Harrison had arrived at: Harrison was no longer active after 1930 when Higginbotham was recording his most significant work which has influenced trombone players from Trummy Young to Bill Harris. If we lament this decline there is consolation in turning to our collections and listening to one of the most majestic, sounds in jazz. - J.C. Higginbotham with Luis Russell. *** =========================================================================== - 181 - INDEX for part-3 not complete for the 2011 Addendas for pdf-datas, you can use your computer-search-programme regularly indexed were life & recording/bc-/Tv sessions & photos ; regularly not indexed: performers mentioned in reviews (…): performers who played on the same programm/Lp but without Allen/Higginbotham; f76 : session on film or kinescope, TV, telerecorded or video-tape p37 : performer to be seen on photostates a34 : advertised performers and bands Ackermann, Jack , group (9) Adams, Pepper, Quintet a50, Adderley, Nat (t) (57), Adderley, Canonball, Quintet a30,a88,(93), Addison, Bernard (g,bj) 35, Albittini, dave (d) p112, Alcorn, Alvin (t) 146,150,p150, Alexander, Mousey(d) 35,36,(43),a50, Alexis, Ricard (d) 87 Allen, Buddy, combo a93 Allen, Henry III & PearlieMay p11,169,170,p172, Allen, Red, band/portrait-photos p1,p6,p8,p9,p11,p12,p14, p17,p20,p21,p22,p23,p25,p29,p30,p31,p36,p39,p40,p46, 48,p52,p53,p54,p55,p58,p59,p62,p63,p66,p67,p69,p70, p71,p77,p79,p80,p81,p83,p85,p86,p87,p94,p96,pf101,p101, p102,p103,p106,p108,p111,p109,p112,pf120,pf121,121,p a122,p124,p125,p126,p127,p128,p132,p135,p139,p142,p 147,p149,p151,p153,p156,p157, R.A.-New Orleans trips: 56,68,87,96,106,155, Allen, Red (as-folk-music) a112, Allen, Steve, "Tonight Show" 20,21, Allison, Mose (p,v) (50),a50,a57, Alvis, Hayes (b,bb) 35,a109,170,171, Apollo Theatre a87,a93 Arbello, Fernando (tb) 35, Archey, James(tb) (109),146,150,p150, Armitage, John (d) 119, Armstrong-Hardin, Lil (p,v) p98,pf101, Armstrong, Louis (t,v) 12,a12,a30,p53,(68),p86,a88,(93), (93),(f98),a106,p109,(135), Atlas, Jim (b) (f38) Auld, Georgie (ts) 47,a88, Autrey, Herman (t) 8,(18),(21),92,(98),(109),(138),(144),(145) Bailey, Buster (cl,as) p1,1,3,5,6,7,p8,9,12,13,18,19,p23,23, 24,p24,29,p29,p30,p31,33,35,36,44,46,47,48,49,50,51,p55, f58,58,59,60,63,64,p66,p67,a68,(68),86,88,90,92,,96,f98, pf101,109,138,168,169, Bailey, Pearl (v) (9) Baker, Shorty (t) 89,143, Baldy, …… (organ) p59 Ball, Kenny (cl,ld) (UK) (166), Ball, Ronnie (p) 143, Balliett, Whitney(m.c.,writer) 24,27,36,f37,73,93,109,120, 143,152,152,156,p158, Barbarin, Paul (d) 143, Barber, Chris (tb,ld) (UK) (166), Barefield, Eddie (cl,as) 13,p14,19,57,(21),107,(109),(136), (144),(145),152,156,171, Barker, Blue Lu (v) 137, Barker, Danny (g,bj) 1,a19,f37,f38,59,87,93,137,155,f155,172, Barksdale, Everett (g) 1,24,p25, Barnes, George (g) 4, Barnes, Johnny (cl,ts) f146,146,147,(166), Barnes, Mae (v,d) 57,59,f98,pf101, Barron, Kenny (b) 142, Barufaldi, Joe (….) (43), Basie, Count (p,ld) (f38),pf39,(46),p55,(56),f58,a30,(68),a88, p101,(108),a153, Bates, Colin (rhythm) (UK) 119, Battle, Edgar (d) 172, Bauer, Billy (g) (9),28, Bechet, Sidney (cl,ss) ,(30),a30,a68,68, Benson, George (g) (152),a152, Berry, Emmett (t) 7,8,35,36,(f38),p55,170, Bert, Eddie (tb) 4,(8),(9) Best, Denzil (d) 52, Bigard, Barney (cl) a88, Bilk, Acker (cl,ld) (166) Birdland, NYC. 92, Bissonnette, Bill (tb) 159, Blacklock, Buddy (p) 110, Blair, Lee (g) p87,98, Blake, Eubie (p) 846),(93),(110), Blakey, Art (d) (9),p54,p55, Blank, William (vl ) a137,137, Bobson, Pompey (d) p59 Bonito, Freddy (d) 1,42,44,64, Bostic, Earl (as) (45), Boswell, Connee (v) f47, Bourne, Eddie"Moule"(d) p1,1,19,20,p22,23,35,36,40,42,(48),. Braff, Ruby (c) 18,a30,144,152,a152,p153,p154,159,a159, Bray, Jim (b) 119,pa122,a134, Brookmeyer, Bob (tb) (9),59,a88,a153, Brown, Lawrence (tb) 28,p55, Brown, Marshall, NPT Youth Band (68),a88,145,152,171, Brown, Scoville p55, Brown, Sandy (cl) 113,119,pa122,a132,a134, Brubeck, Dave (p) a50,(68),a88,a153, Bryant, Beulah (v) 47,93,(110), Bryant, Ray (p) 48,60,a88,144,(145), Buchanan, Charles (m.c. at Savoy) f58, Buck & Bubbles - see Sublett, John & Washington, Buck Buckley, Lord (narr) Burke, Raymond (tb,cl) 155, Burke, Vinnie (b) 47,48,59,60,, Burrell, Kenny (g) 36,a5o,68,(152),a152,p154, Bushell, Garvin (cl) 8,35,36,a50,(109), Bushkin, Joe (p) a98,98,a136,136, Butterbeans & Susie (v) Butterfield, Billy (t) 18,a136,(136), Buxton, Jimmy (tb) 86,87,p87,88,98, Byrd, Charlie (g) (152),a152, Caceres, Ernie (ts) 4, Calloway, Cab (v,ld) (46),f58, Candoli, Conte (t,review) 15, Carnegie Hall Concerts 9,43,a43,57,a57,a68,a136,136 Carney, Harry (bars,s) (f38),a50,(143),(144), Carpenter, Thelma (v) a93, Carpenter, Wingie (t) 110, Carter, Benny (cl,as,t,a) Casey, Al (g) 36,52, Catlett, Sid (d) 103, Central Plaza, N.Y.C. 3,8,18,19,a19,21,92,a92,98,107,109, Charles, Ray (p,v) a88, Charles, Teddy (vib) 9,56,, Cheatham, Doc (t,reviewer) 21,57,(f38),136,137,(144),(145), Chernet, Al (tb) f98, "Chicago & All That Jazz" f98,pf101, Christiansen, Ole (b) 103, Clark, Bill (d) a57, Clarke, Kenny (d) (9), Clayton, Buck (t) 18,a19,(48),p55,(56),(56),a56,(68),a88, (89),(92),101,(108),(109),135, Clyne, Jeff (b) (UK) 146,148, Coates, don (p) 156, Coe, Tony (ts) 146,148, Cohn, Al (ts) (9) Cole, Cozy (d) 1,4,5,6,7,8,9,12,19,p22,p23,24,p25,33,35,p40, 40,a43,43,45,46,49,a57,(58),(64),86,(89),(92),93,(110),(143), Cole, Ronnie (d) 1,?106,107,108, Cole, Rupert (cl,ts) 172 (father of Ronnie) - 182 Coleman, Ornette, 5 a88,170, Collins, AI "Jazzbo"(narr,reviewer) 9,13,13,p14,a56, Collins, Rudy (d) 142Coltrane, John (sax) a153, Colyer, Ken (t,review) 70,a129, Condoli, Conte(reviewer) 15 Condon, Eddie (g,bj) aa56,(56),a57,58,p58,(92),f98,110, a136,136,f178, Connors, Chris (v) a30,(50),56, Connover, Willis (narr) 40,42,142, Cooper, Jackie (d) 47,48, Copeland, Ray (t) 36,a57 Corb, Marty (b) 71, Cox, Terry (d) 119,,pa122,a134, Crane, Ray(t) 119,p125,p126,146,p147,148, Crawford, Jimmy (d) 35,36,(109),(136), Crimmins, Roy (tb) 119,f120,pf120,pf121,p126, Crosby, Bob (v,ld) a136,(136), Crumbley, Elmer (tb) 57, Crump, Bill p55, Crystall, Jack (m.c.) 8,p58,110,136, Cuber, Ronnie (ts) (152), Curtis, King (ts) 56, Cutshall, Bob "Cutty"(tb) a57,108,(110),a136,(136),(144), (145),171, Darville, John (tb) 103, Dash, Julian (ts) 18, Davern, Kenny (cl) 44,p87,98,142,(143),(144), Davis, Art (b) a137,137, Davis- Eddie "Lockjaw" (ts) 48,a57, Davis, Miles (t) (45),,a153, Davis, Sammy Jr. (v) (9),a136,(136), Davison, Wild Bill (t) (3),a19,(109),a434,(43),(45), Dennis, Kenny (d) (44), DeAmico, Hank (cl) (109), DeParis, Sidney (t,bb) (21),96, DeParis, Wilbur (tb) (7),(8),(21),52,a68,(68),171,a171, Dickenson, Vic (tb,v) 1,(21),23,pf36,f37,37,f38,42,43,44, 46,50,51,p55,a68,68,92,103,(109),(144),(145),149,170, 171,a171, DiGirolamo, Anthony (vln) f47, Disley, Diz (g) 119,pa122,a134, "Dixie at Carnegie Hall"=DODY AT DIXIE 43 Dodds, Baby (d) (3), Doldinger, Klaus Trio (G) (92) Donaldson, Bobby (d) 18,a50,(143),(144), Dorham, Kenny (t,writer) (9),141,(152),a152,p154,, Dorsey, Jimmy (cl,as) 6, Dorsey, Tommy (tb) 6, Douglas, Jim (g) 119,f120,f146,146,147,165,166, Drews, Jimmy, Trio (60), Drootin, Buzzy (d) (43), Dudley Dottie, Organ Trio 63,p63, Dudley, Map (t) p63,63, Duncan, Hank (p) ,15,(19)21,(109),(110), Duncan, Mac (tb) 119,pa122,a134, Dunlop, Frankie (d) a137,137,(143),(144), DuPont, Roland (tb) f98, Eager, Allen (ts) a57, Edison, Harry (t) (45),a88,101, Edmonds, George (d) 63,p63, Eldridge, Roy (t) (3),7,8,19a19,a30,(f38),a43,(46),p55, (58),(63),(70),(98),(144),(145),152,a153,171,a171, Ellington, Duke(p) (50),a50,(68),(93),(143),(144),a153, Elliott, Don, Quartet, a30 Ellis, Don (t,writer) 111,140, Elsdon, Alan (t) p83,p128,a129, Embers, 93,a96,a98,98,a101,102, English, Billy (d) 93, Erwin, Pee Wee (t) (8)(a43),(43),(46),(109),(110), Esquire Concert-photos: 53,p54,p55, Eugene, Wendall (tb) 155, Evans, Bill, Trio a88, Evans, Chuck (tb) 4, Evans, Stick (d) 1,18, Eyden, Bill (d) (UK) 146,148, Fairweather, Al (t) (UK) 119, Farmer, Addison (b) a57, Farmer, Art Jazztet a50,p55,a88, Feather, Leonard (narr,comp) 9,40,42,44,56,70,a153,174, Felton, Johnny, band a12, Ferguson, Maynard (t) a20,(21), Fine, Jack ( ) 171, Finola, George (t) 155,f155,175, Fitzgerald, Ella (v) a30a153, Flemming, Herb (tb) p1,1,3,5,6,p8,13,19,20,p22,p23,p63, 63,64,p66,p67,90,109,(110),p112,(168), Folds, Chuck (p) 137,(145), & Charlie ( ) 171, Ford, Art (narr) 46,47,f47,a47,48,56,57,59,60, Forsythe, Chuck (v) (6), Foster, Pops (b,bb) 3,143,146,150,p150,156, Francis, Panama (d) 13,a19,(21),47,48,50,51,p67,(68),a68, 92,(109), Frankel, Ellie, Trio , Cleveland 103 Frazier, Cie (d) 146,150,p150, Free, Bon (d) a57, Freed, Stan (p) a50,56, Freeman, Bud (ts) (5),6,28,a43,(43),p55,a57,(68),89,(92), (98),f98,103,(110),135,a136(136),a153,f159,pf159,160, 171,a171, Frye, Don (p) (107),152, Furtado, Ernie (… ) a57, Gabler, Milt (m.c.) p58,93,136, Gaddison, Fran (… ) a57, Gaillard, Slim (v,g) Gardner, Herb (tb) (144),(145),156, Garner, Erroll (p) a30,(68), Gaskin, Leonard (b) a57, Gay, Al (cl,ts) 119,f120,pf121,p126,165,166, Gersh, Squire (b,v) 75,f75,p85, Getz, Stan (ts) (9),a30,(68),a153, Gibbs, Terry, quartet a20, Gillespie, Dizzy (t,v,p) 9,(21),(68),a30,(45),p55,(68),p86, (87),a88,a93,(136),(137),p142,142,(152),a152,p154, Giuffre, Jimmy (cl,ts) (f38),a88, Gleaves, Ronnie (vib) 146,148, Glenn, Tyree (tb,vib) 1,7,15,18,29,(43),48,50,51,p55,59, a88,89,(109),(110),(138),171,a171, Golson, Benny p54,p55 Gonzales, Babs (v) (7),(143),(144),p170, Goodman, Benny (cl) (8),(70), Goodwin, Henry (t) 8,a19,50,a50,, Gouldie, Dan (t) 68, Graham, Bill /as) 47, Gray, Barry ( ) (9) Green, Bennie, Group 70, Green, Freddie (g) (f38),pf39, Green, Urbie (tb) 4, Greenwood, Lil (v) (57), Greer, Sonny (d) (3),50,a50,p53,pp55,56,57,f58,59,63,p67, (92),93,110,(136),137,(144),(145),152,156,159,171,a171, Griffin, Chris (t) 4, Griffin, John (ts) p54,p55,a57, Griffith, Dick (bj) 159, Grimes, Tiny (g) 48,a50,93, Gryce, Gigi p55, Guarnieri, John (p,v) f98, Gussak, Bill (d) f98 Gwaltney, Tom (tb,ld) & Mrs. Betty (v,p) 164,171, Hackett, Bobby (t,c) (8),(21),a30,a43,(43),a46,(46),a56, (56),(87),136,(152),a152,p154,171,a171, Haden, Charlie (b) 156,p157, Hadi, Shafti (ts) (44),a50, Haggart, Bob (b) 48,89,f98,(110), Haggerty, Frank (g) 70, Hall, Al(b,d) (43),170, Hall, Ed (cl) 56,(107),135, Hall, Herbie (cl) (21),a57, Hall, Jim (g) (f38) Hall, Juanita (v) (70), Hall, Sol (d) 1,88,90, Hambro, Lennie (cl,as) 4, - 183 Hamilton, Chico, Quintet (86) Hamilton, Jimmy (cl) a50,93,(143),(144), Hammer, Bob (p) 1,23,35,a50,90,92, Hampton, Lionel (vib,d,v) a30,p46,(86),(89),(112), Handy, George (p,arr) (9), Handy, W.C. (c,v) funeral: 46, Handy, John, Captain (as) 159, Hanna, Roland (p) 137, Hardy, Emmett (c) 152,155, Hastings, Lennie (d) 119,f120,pf121,f146,146,147,p151,165, Havens, Dan (t,writer) f159,pf159,160, Hawkins, Coleman (ts) 18,24,p25,28,a30,35,36,37,f37,p40,40, 42,45,46,(48),(49),p55,57,f58,(58),59,63,68,93,(98),a106, 106,a153,171,a171,180, Hawkins, Erskine, Orch. (93), Hawthrone, Harry (d) f178, Haywood, Cedric (p) 71,75,f75,76,p77,p85, Heard, J.C. (d) a55,57,(63),a68,(68), Henderson, Fletcher (p,arr) (35),(36),a50,119, Henderson, Luther (p) 18, Hendricks, John (v) a50,a57,(68),a88,p142,142, Henry, Haywood (bars,cl) 8,35,36,a50, Hentoff, Nat (narr.,m.c.) 9,36,f37,f38,a50,f164, Herman, Woody, Orch. (107),a153,, Heywood, Eddie, Trio (93),144, Higginbotham (tb) 1,19,a19,23,24,p25,28,p30,p31,p33,35, 36,40,p40,42,45,47,48,49,50,a50,52,p55,56,57,57,59,60, 61,62,63,(68),a68,p69,86,92,93,93,96,103,103,106,a106, 107,109,110,110,110,112,135,136,137,a137,142,143,143,1 52,156, f159,pf159,160-164,170,171,a171,f178,178,179, Higgins, Doug (d) 146,148, Higgins, Frank (?d) f47, Higgins, Gerry (b) (UK) 165, Hill, Teddy (ts) 170, Hines, Earl (p,speech) a30,(151),171,a171, Hinton, Milt (b) 1,(6),13,15,28,37,f37,p40,40,44,48,50,51, p55,90,f98,144,145, Hodes, Art (p) (136),f178, Holiday, Billie (v) (9),a30,(f38),44,48,56,a56,(56),70, Holmes, Charlie (as) 110,143, Hopkins, Claude (p,arr) p1,1,5,6,7,13,18,19,20,p22,23,p31, 33,35,36,40,42,44,45,46,48,49,50,51,f58,(60),63,(68),93,170, Howard, Darnell (cl) 146,150,p150, Hubbard, Freddie (t,fl-h) a153 Hucko, Peanuts (cl) 47,(92),93,(110),135,(144),(145), Hughes, Langston (poet,read.) 44,45,(46),48,49,50,a88,, Hunt, Fred (p) 119,f120,pf120,f146,146,147,p151,165,166, Hunter, Alberta (v) 96, Ingram, Keith (p) (UK) 119, Isola, Frank (d) (9) Jackson, Charlie (g) a137,137, Jackson, Chubby (b) 52,p54,p55,(87), Jackson, Cliff (p) (21),96,(109),(144),(145),145,152,171, Jackson, Ham (v) 47, Jackson, Mahalia (v) a30, Jackson, Oliver (d) p67, Jackson, Rock”Sax” (sax) p8, Jacquet, Illinois (ts) (68),(143),(144) "Jailbouse Blues"1929 (f98), James, Leon (dance) (50),a50,(51),(f98), Janis, Conrad (tb) (3),(8),a46,(46),(109),(137), Jefferson, Hilton (cl,as) 35,36,a50,p54,p55,93,170, Jefferson, Ron (d) a57, Jeffries, Herb (v) (9), Jensen, Jörn (p) 103, Jerome, Jerry (cl,ts) (6),44, Johnson, Bobby (t) (7) Johnson, Bud, Albert (cl,sax) (143),170,171, Johnson, Charley (p,ld) (7), Johnson, Gus (d) 28, Johnson, Howard (as,cl,p) 110, Johnson, J.J. (7b) 9, Johnson, Keg (d) 86,87,(136), Johnson, Osie (d) 1,(9),44,48,a50,p55, Johnson, Pete (p) 144, Jones, Buck ( ) 171 Jones, Eddie (b) (f38),pf39, Jones, Elvin (d) a50,59,(60), Jones, Eugene (d) 155, Jones, Hank (p) 28,p55, Jones, Jimmy (p) p55,a57,92,(143),(144), Jones, Jo (d) (21),37,f37,f38,pf39,p54,p55,a56,(56)(68), (70),a106, (108),(109),135,144,145,159,171,a171, Jones, Jonah (t) 8,(96),98,(137),171,a171, Jones, Quincy (t,arr) (9). Jones, Reunald Jr.(… ) a57, Jones, Rufus “Speedy” (d) 60,p66,p67,86, Jones, Thad (t) (152),a153, Jordan, Louis (as,ld) (86), Jordan, Steve (g) 18, Jordan, Taft (t) 4,p20,36,a50,p54,p55, Kaminsky, Max (t) a43,(43),p55,a56,(56),p109,(110),(136), (143),(144),(145),152,171, Kay, Connie (d) a50,152), Kenton, Stan (p) (9),(68),a30, Kersey, Ken (p) 1,(9),13,18,(35), Kirk, Andy, orch. 152, King, Tedi (v) (152), Kitt, Eartha (v) (30), Knepper, Jimmy (tb) (44),a50, Knoff, Paul, trio a57, Knolles, Mary (v) 4,r180, Kohlman, Freddy (d) 152, Konitz, Lee (as) (9),a50, Kotik, Teddy (b) (9), Krupa, Gene (d) (8),p54,p55,(70),(86),p87,f98,(102), (136),(137), Kühn, Rolf (cl) 45,(98),a30, Kuhn, Steve (p) a88,156,p157 Lacey, Steve (ss) (9),44, Lambert, Dave (v) a50,a57,(68),a88, Lawson, Hugh (p) a137,137, Lawson, Yank (t) f98,a106,106,136,(144),(145),171,a171, Leeman, Cliff (d) 47,48,f98,171, Lesberg, Jack (b) a136,a159,171, Lettman, Johnny (t,ld) (58),(87),92,171, Lewis, Ed (t) 7,8, Lewis, Jimmy (b) 57 Lewis, Meade Lux (21),f98,a101,102, Lewis, Willie (cl,as,ld) p59 L'Intrigue: a 118 Lightfoot, Terry, N.O.Jazzmen a76,(79),p83,a129, Liston, Melba (tb) a57, Locke, Eddie p55,109,110, London House, Chic. a94,94,a101,102, Lowenstine, Ken (d) f159,pf159,160, Lucie, Lawrence (g,speech) Lyttelton, Humphrey (t,narr) 113,119,f120,a129,130,131,a132, Macero, Theo (ts,comp.) 35, Machito Band (6) Madison, Bingie (sax) 110, Magyar,Art (sax,cl) (9), Maltz, Bob (m.c.) 8, Manetta, Manuel(t-teacher) 152,155, Mann, Herbie (fl,ld) (92),a153, Manning, Irv (b) p69, Manone, Wingy (t) (3),(5),(21),135,(136),a136,152, Marshall, Wendell (b) 48,93, Martin, Dave (p) 171, Martin, Fred (ts) p112, Martyn, Barry (d,review) 107, Mathews, Babe (Mrs.Joe Thomas) (v) 171 Mathewson, Ronnie (b) 119,f120,pf120,pf121,f146,146, 147,p147,(166), McCarthy, Dick (b) 159, McCracken, Bob (cl) 71,75,f75,76,p77,p80, p85 McGarity, Lou (tb) 135, McGhee, Howard (t) (143),(144),(152),a152,p154, McKain, Bob (ts) (19) McKay, Stewart (bs) 4, McPartland, Jimmy (t) (2),(3),(5),7,8,(21),a43,43,(98),(110), (136),(137),(138),172, - 184 McPartland-Page, Marian (p,review) 24,p55,(137),(138), (143),(144), McRae, Carmen (v) a30, McShann, Jay (p) 36, Melly, George (review:) 70, Mercer, Johnny (v) (136),a136,171, Metcalf, Louis (t,v) 7,8,(9),(19),p20,21,(21),(64),(109), (137),(156),171,a171, Meyer, Arnved (t) 103, Middleton, Velma (v) p93, Miles, Barry, group (57) Miller, Big (v) 47,a50,a57, Millinder, Lucky (v,arr) 45,156, Mingus, Charlie (b) 9,(44),a50,p54,p55,(93),a106, Minns, Al (dance) (50),a50,(51),(f98), Minton´s Playhouse 44, Mitchell, John, big band (UK) 118,119, Modern Jazz Quartet a50,(68),(93), Mole, Miff (tb) a43,(43),p54,p55,(92), Moncur III, Grachan (tb) a137,137, Monk, Thelonious (p) 9,p55,a57,a88,a153,(156), Moore, Alton (tb) 35, Moore,"Big Chief"Russell (tb) (3),(5),(46),(110),171,a171, Moore, Fred (d) p53,a56,(56), Moore, Gary (narr) f98, Morell, Marty (d) 156,p157, Morton, Benny (tb) 1,23,35,36,a50,92,92,170,171, Morton, Jeff (d) (9), Moss, Danny (ts) (UK) 119, Most, Sam (cl) 48, Moten, Benny (b) 1,7,p8,13,20,36,48,50,a50,108,110,136, 138,?143,171, Mulligan, Gerry (bars) 9,35,a30,(50),a50,p55,(93),a153, Muranyi, Joe (cl) (110),(144),(145),156,171, Murphy, Turk (tb) a30,(86),(87),88, Nance, Ray (t,vln) a50,p85,152, Napoleon, Marty (p) 1,(19),23,24,p25,(35),43,46,47,48, 52,(109),(110),p112,(112),144,145, Napoleon, Phil (t) a19,19,(68), Nelson, Ricky (tb,ld) a43,(43),86,87, Nero, Peter (p) (96) Nesbit (arr) 35 Neumann, Freddie (p) 155, Newman, Joe (t) (f38),93,(143),(144),170, "New Orleans" 1947-film clip (f98), New Orleans All Stars 1966: 146,150,p150, Newport Fest.p29,p30,a30,p31,33,48,a68,a88,106,a106, 135,152,p152,a153,p154, Newton, Frankie (t) 3, Nicholas, Al (?Big Nick) (cl) 143,(?143),(144),145,172, Norvo, Red (vib) Nymand, Hans (d) 103, O'Connel, Helen (v) (6), Olden, Charles (b) 71, Orland, Chuck (vib) f47, Ory, Edward Kid (tb,v) p29,p30,33,p70,71,p71,a71,75, f75,76,p77,p79,p80,p83,a84,p85,f98 Owens, Jimmy (fl-h) (152),a152,p154, Page, Hot Lips(t) (7),(8), Page, Walter (b) 18,(38) Parenti, Tony (cl) 1,15,a19,(20),(21),23a,(35),43,(43),(45), 46,(63),(64),(86),(92),108,109,(110),(144),(145),145,152, 171,a171,f178, Park, Joe (bb) 4, Parker, Charlie (as) ,(9), Parker, Johnny (p) 119,pa122,a134, Parlan, Horace (p) (44),a50, Pemberton, Bill (b) 36,a50,(143),(144),152, Persip, Charles (d) a57, Peterson, Oscar (p) a30,(50),(68),a88,101, Pettiford, Oscar (b) (9),a30,52,p55, Pfeiffer, Bernard (sax) (9),a30, Piaff, Edith (v) a68,(68), Piazarelli, John (t) (f98), Pichon, Fats (p) 164-obituary Pierce, Nat (p) 37,f37,a50,59,171, Potter, Jerry (d) 1,92,93,94,102,103,?106,112,159, Potter, Tommy (b) (43),(60),98,102, Powell, Benny (tb) a137,137,(143),(144), Powell, Rudy p55,(144),(145), Pratt, Bobby (p) 171 Price, Sammy (p,organ) 1,7,(20),23,43,57,60,63,p66,p67,68, 86,p86,87,88,90,92,93,94,98,109,109,110,110,112,p135, 136,(137),137, 156, Pulham, Steve, Jazz Quartet (93) Pulver, Arthur (d) 159, Purnell, Alton (p) 146,150,p150, Queener, Charlie (p) (6),(9),(64), Quinchette, Paul (ts) 59, Quinn, Davie (bj) 171, Rae, Ron (b) 119,120,165,166, Ramey, Eugene (b) 1,35,36,40,42,44,a57,(58),p81,(108), (143),(144),(145), Ramirez Ram(organ) p17,18,(143),(144), Redd, Alton (d,v) 71,75,f75,76,p76,p85, Redman, Don (cl,as,v,arr) (7),35,(45),(46),110,135,138, Reed, George (d) 136,138,?143, Rehak, Frank (tb) 13,(f38), Rennaissance Casino a12,92, Ricci, Paul (cl) f98, Rich, Buddy (d) (92),a153,159, Richards, Red (p) (21),35,36,a50,92,(108),(109),(138),171, Richardson, Jerome (s,fl) a57,(137),(143),(144), Richardson, Wally (g) p17,18,(46), Richman, Boomie (ts) 1,29, Rimmington, Sammy (cl) 159, Rix, Bob (b) f159,pf159,160, Roach, Max (d) a106, Roberts, Luckey (p,comp) (7),(46),p55, Robinson, Bill (tap-dancer) (8), Robinson, Prince (cl) 50,a50, Rockland Palace a20, Rollins, Sonny (sax) p55, Rongo, Tony (d) 48 Ross, Annie (v) a57,(68),a88, Rouse, Charlie (ts) a57, Rowser, Jimmy (b) 143, Royal, Ernie (t) 4, Rubens, Ron (b) 146,148, Rubenstein, Bill ( ) a57, Rubin, Stan, Tigertown Band a43.(43), Rushing, Jimmy (v) (7),18,a30,(f38),48,p55,(68),a88,(145),171, Russell, Luis (p,arr) p22,110,119,(143), Russell, Pee Wee (cl,ts) 8,f37,37,pf39,a43,(43),47,52,p55, 57,59,(68),p69, a30,f98,a136,136,156,p156,p157,171,a171, Russo, Andy (tb) (18),a19, Ryan, Cathy (v) 4, Ryan's, Jimmy, jam sessions 103,135,145,152, Safranski, Eddie (b) 4, Saint and Sinners Band (=Red Richards) 170,171, Sampson, Edgar (as,cl,vln) 35, Sarvise, Buddy (p) 4, Savoy Ballroom f58, Sbarbaro, Tony (d,kazoo) (f98), Scalzi, Ed (cl,as) 4, Schechter, Julie (vln) (f98), Schertzer, Hymnie (s) (f98), Schlinger, Sol (bars,ts) (9), Schroeder, Gene (p) (43),a57,89, Schwartz, Dick (t) 44, Scott, Calo (cello) a137,137, Scott, Cecil (cl,ts) ,3,50,a50,a68,(68),(96),110, Scott, Hazel (p,arr) (9), Scott, Lannie (p) 1,103,106,107,107,138,?143, Scott, Shirley (organ) a57, Scott, Tony (cl) 9,44,45,52,(70),(87),a30,143,a143,(143), (144), Sears, Al (bars) 36, Sedric, Gene (cl,ts) (21),92,(98), Seeley, Blossom (v) (f98), Semple, Archie (cl) (UK) 119, Shaefer, Sid ( ) 117, - 185 Shavers, Charlie (t,v) 8,9,(12),13,p14,(35),a43,(43),a46,(46), 47,48,50,51,57,a68,(68),(70),86,(87),(102),170,171,a171, Shaw, Arwell (b) 1,a19,(21),29,p29,33,(35),(144),(145), Shearing, George (p) a30,(68), Sheen, Mickey (d) (48),a50,108, Shepherd, Harry (vib) 35,47,48,57,p112, Shepherd, Mme. (bass-g) p112, Shihab, Sahib p55, Shu, Eddie (s) (87),??? Silver, Horace (p) (9),p54,p55,(93),a153, Simeon, Omer (cl) (21), Simone, Nina (v,p) a88,a153, Sims, Zoot (ts) a153, Sims, Viola (p,b) p67, Sinclair, Bill (p) 159, Singer, Hal (ts) (45),f47,48,a56,(56),(58),60,p67, Singleton, Zutty (d) 9,a19,(20),(21),29,(35),a43,(43),p54, p55,(64),(68),a68,86,(92),96,f98,107,136,a136,(136),(137),( 144),(145),145,152,170,171,a171, Marge: 175, Sissle, Noble (cl,ld,m.c.) (7),(9),(46),a68,(93),(110),156 Skeete, Frank (b) 1,93,94,98,102,103,106,107,110,112,171, Small´s Paradise 70, Smith, Bessie (v) (f98), Smith, Jimmy (p) p17,18, Smith, Keith (t,v,writer) 78,146,150,p150, Smith, Lannie (organ) (152), Smith, Lyle (ts) 51, Smith, Mamie (v) (f98), Smith, Stuff (vln) (7),9,p55,a30, Smith, Willie"The Lion"(p) 1,(3),(7),a19,23,29,a43,(43), f48,50,57,59, 60,p69,(108),110,136,(151),172, "Sound Of Jazz" pf36,f37-38,pf39, Spanier, Muggsy (c) 135, Spivey, Victoria (v) 3,96,110,(110),110, St.Cyr, Johnny (bj) f98, St.John, Kenny (d) (6) "St.Louis Blues" film-clip (f98), Steele, Julia (v) 51, Stein, Lou (p) p40,4,48, Stewart, Slam (b) a50,135, Stewart, Rex (c) (3),28,35,36,pf36,f37,37,pf39,48,a50, p55,a57,59,p142,142,(168), Stitt, Sonny (ts) (9),a30, Stovert, Smoky (t) Strange, Pete (tb) 119,p125,p126,146,p147,148, Stuyvesant Casino 8, Sublett,"Bubbles"John W.(p,v,dance) 9,a93, Sullivan, Joe (p) f98, Sullivan, Maxine (v) 50,a50,p55,170,171, Sunkel, Phil (c,t) (9), Sunshine, Monty (cl,ld) a129, Sutton, Ralph (p) 108, "Sylvester, Robert, TV-series" 43, Tate, Buddy, (ts) (p6),(7),a50,(108),(144),(145),159,a159, 170,171, Tarto, Joe (b,bb) 56, Taylor, Art, All Stars 113,118,119, Taylor, Billy (p) (8),(9),(57,),a57,135,(152),a152,p154, Taylor, Cecil, Quintet a50, Taylor, Gene (b) p154, Taylor, Sam (cl,ts) 1,4,(21),44, Teagarden, Jack (tb,v) (8),p29,p30,a30,33,(f46),68,(86), f98,103,(109), Terry, Clark (fl-h) a50,p142,142,(143),(144),(145),152, a152, p153,p154,171,a171, Terry, Dan, orch. (9), Theard, Sam (d) 93,(138), Thilo, Jesper (ts) 103, Thomas, Joe (t) p20,35,36,a50,52,p55,(110),135,(136), (138),(144),(145),152,170, Thomas, Kid (t) 107, Thompson, Sir Charles (p) (143) Thompson, Dick (g) 47,f47,48,57,58,a58,p58 Thornton, Norman (bars) 36, “Timex Show” (f46) Tomaso, Ernie (cl) (UK) 118,119,p121, Town Hall concerts a56 Tracey, Stan (p) (UK) 146,148, Trappier, Art (d) (21), Tristano, Lennie (p) (9), Trocario, Bobby "Trock" (ts) 4, Trotman, Lloyd (b) 1,5,6,24,p25,f58,68, Turner, Henry (b) (45), Turner, Bruce (as) 70,113,119,p125,p126 ,a132,146,147, p147,148, Ulano, Sam (d) 171, Valentine, Billy , Trio (19) Vance, Dick (t) 36, Varsalona, Bert (tb) 4, Vaughn, Sarah (v) 19,a30,a93, Ventura, Charlie (ts) (45) Waldron, Mal (p) (f38),(70), Wallis, Bob (t,UK,review) 26, Walton, Buddy (t) 155, Walton, Greely (ts) 110,143, Ward, Clara, Gospel Singers a30, Ward, Helen (v) a136, Ware, Wilbur p54,p55, Warren, Earl (cl,as) (f38), 52,(108), Warwick, Carl (t) a153, Washington, “Buck” (v) 9, Washington, Dinah (v) (9),48,(93), Waterson, Billy, Trio, a50 Watkins, Julius (horn) 9,a57, Watts, Noble, Trio a57, Wayne, Chuck (g) a57, Weathers, Jimy (p) f159,pf159,160, Webster, Ben (ts) 36,(f38)(45),(48),a50,a57,a88, Webster, Paul (t) 35,a50, Wein, George (p) a30,a88,(110),135,152,a153,159,a159, Wells, Dickie(tb) 36,(f38),a50,p55,59,(108),110,(110),(138), (143),(144),170, Wellstood, Dick ( ) (56),(98),a109, Welsh, Alex (t) 113,119,f120,af120,p120,p121,p126, a129,a132,p132,f146,146,147,p151,165,166,167,p167, Weston, Randy (p) a57, Wettling, George (d) 15,a43,(43),52,p54,p55,a57,p69,89, (109),110,112,a136, Whaley, Doug (t) (UK) 118,119, White, Christopher (b,p) p142,142, White, Josh (g,v) (9),(50), White, Sonny (p) 52,(156), Wilber, Bob (cl) 1,8,,(43),(68),a68,(110),136,(137),171,, Wilder, Joe (c,fl-h) p112, Wilkins, Ernie p55, Williams, Al (p,arr) 1,36,44,a57,(58) Williams, Bobby (t) 35, Williams, Clarence (p) (7),(46), Williams, Cootie (t) 28,(46)(57), Williams, Fess (cl) (21), Williams, George, (ld,arr) 4,?p108,r180, Williams, Joe (v) (70),101,a153,, Williams, Johnny (b) (9), Williams, Mary Lou (p,arr) (9),p55,a57,(70),(142), Williams, Roy (tb) f146,146,147,165,166, Williams, Sandy (tb) 110,(136),170, Wilson, Clive (t) 159, Wilson, Rail (b) 120,f178, Wilson, Teddy (p,arr) a30,a68,(68),(70),a153, Windhurst, Johnny (t) p58,58,(137), Winding, Kai (tb) 9,(57),a30, Witherspoon, Jimmy (v) 36, Wooding, Sam (ld) (9), Wright, Jimmy(sax) 35, Yaged, Sol (cl) 1,(6),(9),(18),19,(28),p40,40,46,(60),(64), a68,(68),(86),(87),(89),(92),(109),(110),(137),(143),(144), 171,a171, Young, Buddy (?d) f47, Young, Lester (ts) (9),(f38),pf39,p55,57, Young, Trummy (tb) a88, 154 HENRY”RED”ALLEN COLLECTION – A RED ALLEN BIO DISCO COMPILATION ) ) ) ) ! @ ** * . @ ** D! ! ! ! ! & " $ &+2 "&+$% ) ' ( & &+ ) &2 ? ! % " 0 &+$%"&+%2 ) ' ( & R& &+ ) &2 ? ! 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