Red Allen Chapters 9 - The Jazz Archive Site



Red Allen Chapters 9 - The Jazz Archive Site
- 93 -
by Don Ellis
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.
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
--- /JCH-CD-09
7:56 Love Me Or Leave Me
--- /
--- /JCH-CD-10
--- /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.
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)
/Fanfare Rec./
/ No.24-124 /RA-CD-22
--- /RA-CD-22/
ROSETTA (E.Hines-H.Wood)
ALL OF ME (Simon-Mark)
theme: ALGIERS BOUNCE ……. (H.Allen)
same date & location; 9/22/61 WBBM-ONS: same as above
ONS-5438 0:24 theme: ALGIERS BOUNCE …......
BALLIN´ THE JACK (Smith-Burris)
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
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
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,
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
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
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;
who once had it, and has it no more? -I was any better, and is not much worse
tink I would rather see or hear the bum now, than such faded contemporaries as
Globe Mail, Toronto, 8/19/61p95
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
of his home at 152 W. 118th
Moday afternoon.
The popular musician, who had
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
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
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
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
0:28 (5) Take Me To The Land Of Jazz -vBS,vMB,vJT band (5) showing all performers incl.Red Allen on screen/
1:09 (5)
Take Me To The Land Of Jazz -slow instrumental reprise
Garry Moore about 1916 with the Original Dixieland Jazz Band
1:40 (1) Original Dixieland One Step
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
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/
Westend Blues
Dippermouth Blues
Singing The Blues
In A Mist
Jailhouse Blues
St.Louis Blues
Honky Tonk Train Blues
-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 P.Grainger & unknown band
-clip from short film 1929 Bessie Smith 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
-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
--After You've Gone
segue to -vJT (on screen) (4) & (3) (not on screen)
The Pearls
-v&d Mae Barnes, v&p Lil Hardin-Armstrong
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
-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
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:
'ALL NYAN-11/18/61p19: NBC'S “SHOW OF CD-11/25/p13: KID ORY, MAE BARNES
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
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
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.
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
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
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
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
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
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
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
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)
--/ RA-CD-22
--/ RA-CD-22
2:51 BIFFLY BLUES (H.Allen)
--/ RA-CD-23
leave out to ONS-theme and announcement
same date & loc.; 3/30/62 - WBBM-ONST: same as above
ONS-5576 0:21 intro: ONST-theme only
tape 30:00
PRICE IS RIGHT (Sammy Price)
3:54 JELLY ROLL BLUES (J.R.Morton)
0:48 theme: ALGIERS BOUNCE (H.Allen)
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
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
Flutegrove FL6/RA-CD-23
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 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,; 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
--/ 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. …
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 /
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)
--- / --/ --- /
--- / --/ --- /
--- / --/ --- /
--- / --/ --- /
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
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
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
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).
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
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.
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.
(Don Redman)
- 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)
/ JCH-CD-10
3:49 * ** WHEN THE SAINTS GO MARCHING IN –vJB & band & audience
/ JCH-CD-10
/ 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)
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)
--- /
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)
--- /
--- /
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
3:56 ST.JAMES INFIRMARY -vRA (J.Primrose)
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)
MEMPHIS BLUES (fast played) (Cl.& Sp.Williams)
CHERRY -vRA (Don Redman)
FIDGETY FEET (LaRocca-Shields-Sigman)
Honky Tonk Train
p solo RS (M.L.Lewis)
--- /
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tape wanted
(detailed source Boris Rose-collection)
tape wanted
(detailed source B.R.-collection)
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.
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
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
5:48 CHERRY -vRA (Don Redman)
more wanted from WHAS-TV-archive
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
- 109.2 -
Red Allen Ork. On Crusade
continue from last page:
Expenses for the 1962 Crusade
were kept to a record low of
$17,555, or 6.8 percent of funds
with the same photo as on the above article
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.
Thorobred Chorus, 1962 International
J. Gittleman, Temple Adath
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.
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
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
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
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
_________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
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
- 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'
WHAS Crusade Under Way With Lots Of Talent, Coffee
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
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
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
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
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."
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
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
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
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
- 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.
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 / 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
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
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
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
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)
Stanley Dance in J.J. 3-64 p17. 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
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."
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
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
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.
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
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
usually git what I go for") plays those
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
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
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'.
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
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
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.
- 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
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.
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
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.
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
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
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
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-
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
"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
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
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.
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?
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
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
getting their money's worth.
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
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.
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
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.
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
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
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.).
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))
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
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
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
-intro Parker-vRA(Brow&Parker)-Allen-Parker-vRA(Brown&Parker)-Disley
4:57 HOW
JUST A CLOSER WALK WITH THEE (trad.) -intro Parker-Allen&Brown
-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
JELLY ROLL BLUES (Jelly Roll Morton)
-Parker-Allen in ens.-Parker-ens.-Allen-ens.- /cut
-Parker-Allen-Brown-Duncan-Allen-Allen in ens.-
-intro speech RA(Parker)-Allen in ens.-Parker--Allen in ens.-
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)
-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)
--- /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
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)
AT THE JAZZ BAND BALL & encore (LaRocca-Shields) / cut leave out
PLEASE (L.Robin-R.Rainger)
(not on tape, listed in D.Meeker-2005)
(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.
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
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
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
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
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.
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
(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
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.
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.
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
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.
- 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
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
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
"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
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!"
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
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
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
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.
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
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.
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"- 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)
Jazz Band Ball
feat.poss. J.McPartland, C.Cutshall, Bud Freeman, Pee Wee Russell
Tailgate Ramble
feat. Wingy Manone, poss.Bob Wilber, v-Johnny Mercer
I AIN´T GOT NOBODY -vRA with a wonderful Pee Wee solo
cassette wanted
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
"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
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
(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 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
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:
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)
(W.C.Handy (not on my tape, but issued)
3:49 *ST. JAMES INFIRMARY -vRA (J.Primrose)
3:07 *CARAVAN (Ellington-Mills-Tizal)
4:03 *LOVER COME BACK TO ME (S.Romberg)
Meritt-27/STCO 8290/
3:28 *ST. JAMES INFIRMARY -vRA (J.Primrose) at the end announcing “Never On Sunday”
2:38 *NEVER ON SUNDAY (G.Moustaki) (it was played after ST JAMES)
Meritt-27/STCD 8290/
Meritt-27/STCD 8290/
2:57 *SATIN DOLL (Ellington-Strayhorn)
Meritt-27/STCD 8290/
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.
ALL OF ME -vRA (Simon-Mark)
MEDLEY: - DIDN'T'HE RAMBLE -vRA (Handy-Randall) -
Meritt-27/STCO 8290/
--- /
--- /
YELLOW DOG BLUES -vRA, (without:"How Long Blues) (Handy-Pace/Carr)
YELLOW DOG BLUES -vRA, interpolation"HOW LONG BLUES" (Handy-Pace/Carr)
Meritt-27/ STCD 8290/RACD25c
Meritt-27/ STCD 8290/ RACD25c
YOU'RE NOBODY TILL SOMEBODY LOVES YOU (Morgen-Stock-Cavanaugh) CBS 62400/Col.2447/ RA-CD-25
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
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
CBS 62400/Col.2447/ RA-CD-25
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)
CBS 62400/Col.2447/ RA-CD-25
CHERRY -vRA (Don Redman)
Meritt-27/STCD 8290/RA-CD-25c
GEE BABY, AIN'T I GOOD TO YOU -vRA (Don Redman-D.Anderson)
FEELING GOOD -vRA (L.Bricusse-A.Newley)
PLEASIN' PAUL (H.Allen-P.Barbarin)
Meritt-27/STCD 8290/RA-CD-25c
(Kurt Weil)
Meritt-27/STCD 8290/RA-CD-25c
YELLOW DOG BLUES -vRA interpol."HOW LONG BLUES" (Pace-Handy/Carr)
MEDLEY: - DIDN'T'HE RAMBLE -vRA (Handy-Randall) RA-CD-25
- JUST A CLOSER WALK -vRA (trad.) - WHEN THE SAINTS -vRA (trad.)
2nd Time Around - only piano & rhythm
Fly Me To The Moon -only piano & rhythm uniss.item on G.Wilson´s tape;
- 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
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,
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
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
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.
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
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
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.
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)
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
-feat. C.Terry
-feat.Red Allen-t-vRA(Stewart obl.)-Allen-piano by Dizzy
4:17 Don't Get Around Much More
-feat.Rex Stewart, -vJH, piano by Dizzy
Giganti del Jazz-22(I)/ RA-CD-13a
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.
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) …
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
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
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-11/4/65p12 &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
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.
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
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
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.
- 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
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
2/28 Sunderland, Empire Theatre
3/1 afternoon: Liverpool, University
3/1 evening: London-Chelsea, Six Bells
(BT&Mixed band)
3/2 Norwich, Stuart Hall , advert on p 168
3/3 Bath, Regency Ballroom
3/4 afternoon: Crawley, Starlight Ballroom (AW)
evening: London, Ronnie Scott Club
3/5 Manchester, Sports Guide
3/6 afternoon: London, Douglas House
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
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
0:41 theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton)
3:16 AT THE JAZZ BAND BALL (LaRocca-Shields)
2:07 SWEET SUBSTITUTE -vRA (Jelly Roll Morton)
4:18 CANAL STREET BLUES (King Oliver
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)
- DIDN'T HE RAMBLE -sp&vRA (Handy-Randall)
1:03 leave out announcement by the narrator & Red Allen
1:27 leave out: encore - WHEN THE SAINTS /cut
2/21/66 Mon., Bexley, Kent, Black Prince, "Red"Allen(t,v) & Alex Welsh & His Band: as above; private tape no longer exists
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
ALL OF ME & encore
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
INDIANA (J.F.Henley)
ALL OF ME -vRA (Simon-Mark)
encore: ALL OF ME -vRA
SWEET LORRAINE (C.Burwell-M.Parish)
RAG MOP -vRA (J.L.Wills-D.Anderson-H.Allen)
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.),
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)
theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton)
SWEET SUBSTITUTE -vRA (Jelly Roll Morton)
ROSETTA -vRA (W.H.Woods-Earl Hines)
- DIDN'T HE RAMBLE (Handy-Randall) - WHEN THE SAINTS with encore -sp&vRA (trad)
5:18 ST.LOUIS BLUES -vRA (W.C.Handy)
4:48 RAG MOP -vRA
RA-CD-36/& -34
RA-CD-36/& -34
RA-CD-36/& -34
RA-CD-36/& -34
RA-CD-36/& -34
RA-CD-36/& -34
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
SWEET SUBSTITUTE -vRA (Jelly Roll Morton)
ROSETTA -vRA (W.H.Woods-Earl Hines)
PATROL WAGON BLUES -vRA (Porter Grainger)
RA-CD-37/& -34
SWEET LORRAINE (Mitchell-Parish-Burwell)
RA-CD-37/& -34
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,
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:
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.
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
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
the fact that he is a musician
brought forth some fine playing from an audition you know. "
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
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
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
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,
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
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
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
of truth
King Oliver in Chicago, and Luis Russell. in it and Henry Allen's associa-tes
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
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
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
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
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
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
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'
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) .
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
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
hound face, Allen, born in Algiers, Louisiana, had a spirited career ... he
played briefly with King Oliver in 1927 and two years later he joined Luis
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.
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,
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,
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,
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
--- /
04 3:12 about Fate Marable; then Jelly Roll Morton in N.Y.C.; J.R.Morton p-solo-piece
--- /
05 1:51 about Eddie Condon & mixed bands; unknown Chicago band piece;
--- /
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,
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)
2:15 words about Terry, Braff, Allen, to George Wein(p)
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
2:51 SUMMERTIME (Gershwin) -feat.Allen rhythm
private 4:35 ALL OF ME (Simon-Park)
-feat.v&t Allen w.rhythm
-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
The Days Of Wine & Roses
-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(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
7:15 C.C.Rider
-feat. Ronnie Cuber (ts) George Beson (g) Lannie Smith (org) B.Kay (d) RA-CD-51a
2:20 Michelle
-feat. Charlie Byrd (g)
3:50 Nuages
-feat.-Charlie Byrd (g)
'S Wonderful
On Green Dolphin Street
I Got It Back & That Ain´t Good
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
As his feature,
Hackett did On
Green Dolphin
Street, I Got It
Bad, and a joyful Struttin' with
Some Barbecue,
which Hackett
Louis Armstrong
on his birthday.
Gillespie returned, accompanied only by
guitarist Kenny
Harmon mute,
he essayed a
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
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
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) J.J.-Aug-66: photo: J. Wallace, captions by Eliza.McFadden: … Red Allen, Ruby Braff and Clark Terry together and
… Red Allen, Terry, Hackett and Gillespie distinguished themselves in their different ways.
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
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
- 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
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
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
(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
6:15 I WANT A LITTLE GIRL (M..Mencher-Be.Moll)
4:17 BODY AND SOUL -vRA (J.Green-E.Heyman-R.Sour)
Pee Wee's Blues (P.W.Russell) without RedA Allen
2° EAST, 3° WEST (John Lewis)
- 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
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
Cable KL-126601/
St. James Infirmary
Back Home In Indiana
Blue Jay
Sweet Georgia Brown
Bye 'N' Bye
Way Down Yonder In New Orleans
Jingle Bells
- 160 -
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.
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
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.
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.
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
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
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 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
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
"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
"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
source : John Chilton – “Ride Red Ride” p198
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
6:12 interview with Red Allen
3:38 CHERRY -vRA (Don Redman)
7:00 interview with Red Allen,
(2:13) HOW LONG BLUES /cut (Carr)
–speechNH (Arlen-VanHeusen)
note S.Price specialist K.Nowakowsky 5/06: without any error the pianist on HOW LONG BLUES is obviously Sammy Price
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
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 –
Osterley, Rugby Football Club
Bexley, Black Prince
Hayward's Heath, Fox & Hounds
Redcar, Costham Hotel
Blackpool, Casino Ballroom
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)
--- / --- /
--- / --- /
7:55 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 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
0:35 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton)
(King Oliver)
7:57 CHERRY -vRA (Don Redman)
4:43 PATROL WAGON BLUES -vRA (Porter Grainger)
3:46 ROYAL GARDEN BLUES (Clarence & Spencer Williams)
2:52 SWEET SUBSTITUDE -vRA (Jelly Roll Morton)
7:02 ROSETTA -vRA (W.R.Woods-Earl Hines)
- DIDN'T RE RAMBLE -vRA (Handy-Randall)
8:15 *WHEN THE SAINTS GO MARCHING IN & encore -vRA (trad.)
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)
(King Oliver)
4.08 SWEET SUBSTITUDE -vRA (Jelly Roll Morton)
7:30 CHERRY -vRA (Don Redman)
1:54 GEORGIA ON MY MIND (Hoagy Carmichael-S.Gorrell)
-intro RA-speech
2:44 ROSETTA -vRA (W.R.Woods-Earl Hines)
- DIDN'T HE RAMBLE -vRA (Handy-Randall)
2:26 *BUGGLE CALL RAG -leave out RA (Pettis-Meyer-Schoebel)
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
*intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton)
YELLOW DOG BLUES & encore (Handy-Pace)
--- /
CANAL STREET BLUES (fast) (King Oliver)
--- /
CHERRY & encore -vRA (Don Redman)
--- /
--- /
--- /
PATROL WAGON BLUES -vRA & talk about the Russell band (P.Grainger)
--- /
--- /
ROSETTA -vRA (W.R.Woods-Earl Hines)
--- /
--- /
--- /
*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
'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; John Sommers;
0:39 theme: Squeeze Me
30 min. kinescope / RA-DVD-1b / JCH-CD-12
Darktown Strutter's Ball
Someday Sweetheart
Old Fashioned Love
Royal Garden 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;
Higginbotham Blues (takes-1+2 have been spliced together)
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
C Jam Blues (two solo choruses ommitted on CD-issue)
4/18/70 Lyngby/DK “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)
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;
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.
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)
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,
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.
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 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.
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."
by Jesse H.Walker - NYAN-4/22/67p19:
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
“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
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
April 17.
---------------------------------RED ALLEN BENEFIT NYAN-6/10p20: VIC DICKENSON
on trom-bone and Bud Johnson on
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
Higginbotham, longtime cohort of
Red's opened and closed the show
that played to a sellout crowd.
---------------------------------------released from Sydenham Hospital folloreleased
an from
He Hospital
was a
an operation.
He off
of ours,
both on and
favorite ofand
off out
hang out
“Red” and
“Red” when he
when 52nd were
Jay C.Higginbotham
“Red” was
way back and
the Metropole
Café his
and later when
our best recollections
Café his regular
he'd buy
home. was
One the
of our
trip he'd
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
who sounded as great as ever. She
of the concert has to be credited Sonny Greer. Joe opened up with C
The World On A String followed
to Jack Bradley and Jeann Roni Jam Blues which was wonderful and
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
Earl played with Eddie and the three horns ended with Thomas, Jimrny Rushing, Dicky Wells,
The Lion,
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
“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
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)
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.
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
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.
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
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, 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
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
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
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
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,
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),
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,
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,
Barbarin, Paul (d) 143,
Barber, Chris (tb,ld) (UK) (166),
Barefield, Eddie (cl,as) 13,p14,19,57,(21),107,(109),(136),
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,
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,
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,
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,
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),
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,
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,
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,
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,
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),
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,
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,
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,
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,
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,
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,
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,
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,
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),
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),
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,
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),
- 184 McPartland-Page, Marian (p,review) 24,p55,(137),(138),
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),
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,
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,
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,
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,
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),
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,
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),
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),
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),
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,
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,
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,
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),
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),
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,
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),
Wellstood, Dick ( ) (56),(98),a109,
Welsh, Alex (t) 113,119,f120,af120,p120,p121,p126,
Weston, Randy (p) a57,
Wettling, George (d) 15,a43,(43),52,p54,p55,a57,p69,89,
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),
Young, Buddy (?d) f47,
Young, Lester (ts) (9),(f38),pf39,p55,57,
Young, Trummy (tb) a88,
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