Red Allen Chapters 9 - The Jazz Archive
Red Allen Chapters 9 - The Jazz Archive
Red Allen Chapters 9 - The Jazz Archive
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- 93 -<br />
“HENRY"RED"ALLEN IS THE MOST AVANTGARDE TRUMPET PLAYER IN NEW YORK CITY”<br />
by Don Ellis<br />
ALGIERS BOUNCE ; LOVER COME BACK<br />
Chapter-9: <strong>Red</strong> <strong>Allen</strong> Quartet at the Metropole part-2: April '61- July '65;<br />
& at the Embers 1961-62, London House, Chicago 1961-62, e.t.c.<br />
1961 NBC-Chicago & All That <strong>Jazz</strong> ; April 1964 England – TOUR with local bands<br />
2/21/61 N.Y.C. VELMA MIDDLETON BENEFIT(died Feb.10)<br />
(a longer article about Velma in NYAN-2/25/61p13 reprinted in JAZZ AD. Vol.3p1051).<br />
Jack Bradley Bul.H.C.F.No.107-April-61:<br />
Un service funèbre ci été célébré pour Velma à<br />
l'Eglise Baptiste de Harlem (Convent Avenue)<br />
le 21 février dernier. La journée était chaude et<br />
pleine de soleil, et le trottoir devant le temple<br />
plein de monde, cor Velma avait beaucop<br />
d'amis et d'admirateurs. Quel-que chose de très<br />
solennel et recueilli flot-tait parmi ces petits<br />
groupes qui attendaient le moment d'entrer dans<br />
le temple. Il y avait Henry <strong>Allen</strong>, Cozy Cole,<br />
Peanuts Hucko d'un côté; puis Higginbotham,<br />
Danny Barker, et Sam <strong>The</strong>ard<br />
(l'auteur de Spo-De-O-De, You rascal you,<br />
Let the good time roll). Il y avait aussi un<br />
très cher ami de Louis Armstrong,<br />
Slim Thomson, qu'on repérait facilement<br />
dans la foule car il est très grand et il<br />
dépassait tout le monde d'une tête. Dans le<br />
cortège funèbre, on remarquait Beulah<br />
Bryant, Slim et Timmie Rodgers; et, assis<br />
dans les tout premiers rangs, Milton Gabler<br />
et Joe Glaser.<br />
Le temple, très grand, était comble et rempli<br />
de fleurs. Un choeur chanta. « Abide with<br />
Me » et « Just a closer walk with <strong>The</strong>e », cet<br />
hymne étant, nous fut-il dit, un des airs favoris<br />
de Velma. Dons l'éloge funèbre, il fut mentionné<br />
le fait que Velma avait trava il dans<br />
l'orchestre Armstrong pendant 18 ans. Et le<br />
cercueil fut enlevé et posé sur le corbillard.<br />
La cérémonie était terminée.<br />
3/18/61 Cedar Hill Country Club, Livingston, 3rd annual "Pace Setters" dinner, Henry "<strong>Red</strong>" <strong>Allen</strong> and<br />
his all star jazz band; unknown source and date; prob. 3/18/61 Sat., before he started with his Quartet;<br />
(undated souirce out of <strong>Red</strong> <strong>Allen</strong>´s scrapbook - another possibly date would be only 3/18/50 Sat. when<br />
<strong>Red</strong> <strong>Allen</strong> played in Minneapolis-<strong>The</strong> Dome 3/11-4/1/50)<br />
Will Entertain For 'Pace Setters' - Dancing and entertainment will be featured at the third<br />
annual "Pace Setters" dinner, Young Men's Division, United Jewish Appeal of Essex County, on<br />
Saturday, March 18, at 6:30 P.M. at the Cedar Hill Country Club, Livingston, it was announced by<br />
Harold H. Goldberg, Jr. "Pace Setters" chairman, Henry "<strong>Red</strong>" <strong>Allen</strong> and his all star jazz band.<br />
HENRY "RED" ALLEN, Goldberg urged all those invited to respond prom-ptly by mailing in their<br />
paid reservations to him at the office of the UJA Young Men's Division, 32 Central Ave., Newark 2.<br />
April-61, N.Y.C.-Embers - <strong>Red</strong> <strong>Allen</strong> Quartet - Sammy Price, Franklin Skeete, Jerry Potter.<br />
Will be followed by the Erskine Hawkins Quartet and the Eddie Heywood Trio on April 24th. Coda 5/61)<br />
DIED IN AFRICA - Velma<br />
Middleton, singer with Louis<br />
Armstrong´s jazz band, died in a<br />
hospital last week in Sierra Leone.<br />
<strong>The</strong> 45-year-old vocalist, a native<br />
of Oklahoma, grew up in St.Louis.<br />
She collapsed on Jan.16 and had<br />
been ill since. NYAN:6/18/61p14<br />
4/14/61 NYC., THE SWINGVILLE ALL STARS: Joe Newman (t) J.C.Higginbotham (tb) Jimmy Hamilton (cl) Hilton<br />
Jefferson (as) Coleman Hawkins (ts) Claude Hopkins (p) Lloyd"Tiny"Grimes (g) Wendell Marshall (b) Billy English(d)<br />
9:32 Jammin´ In Swingville Swingv.2025/Swingv.4001/Prestige 4051/-P-24051/JCH-CD-10<br />
10:45 Spring´s Swing Swingv.2024/ --- / --- / --- /JCH-CD-09<br />
7:56 Love Me Or Leave Me --- / --- / --- / --- /JCH-CD-10<br />
7:18 Cool Sunrise Swingv.2025/ --- / --- / --- /JCH-CD-10
- 93a - Addenda<br />
4/28-4/30/61, N.Y.C. at the 143rd St.Armory "Indoor <strong>Jazz</strong> Festival for the benefit of the NAACP Freedom Fund" –<br />
NYAN-3/11/61p17: <strong>The</strong> N.Y. Branch NAACP's Down Beat 4/13/6l: ... A brainchild of pianist Sammy Price, it will benefit<br />
Fund Raising Committee is behind Harlem's first from his long experience in almost every field of entertainment. In five<br />
<strong>Jazz</strong> Festival, set for April 28, 29 and 30 at the or six different locations in the armory, Sammy plans what he calls "side<br />
369th Armory. Tentative lineup is as follows: First shows," featuring small groups playing prior to the main program. (<strong>The</strong>se<br />
night – Dinah Washington, Gerry Mulligan, musicians will eventually join the mammoth "forty-man jam session"<br />
Henry”<strong>Red</strong>”<strong>Allen</strong> and the Modern <strong>Jazz</strong> Quartet. which will end each concert.) More than loo musicians are scheduled to<br />
Second night-Duke Ellington (it's his birthday, perform, among them Louis Armstrong, Gerry Mulligan, Duke<br />
too), Dave Brubeck, Sarah Vaughan and Sonny Ellington, Cannonball Adderley, Charles Mingus, <strong>Red</strong> <strong>Allen</strong>, the<br />
Stitt. Third night-Louis Armstrong, Cannonball Modern <strong>Jazz</strong> Quartet, and Horace Silver. A Cadillac will serve as a door<br />
Adderley, Horace Silver, Jimmy Giuffre and Oscar price, and other prices will awarded to the winners of an international jazz<br />
Brown Jr. <strong>The</strong>re'll be more on this.<br />
competition in which at least eight countries will have entries.<br />
5/26/61 Fr., NYC., Apollo <strong>The</strong>atre – Mammoth Midnight Show – <strong>Red</strong> <strong>Allen</strong> &<br />
his Combo, Buddy <strong>Allen</strong> & His Combo, Dizzy Gillespie , Sarah Vaughan,<br />
<strong>The</strong>lma Carpenter, Nipsey Russell, <strong>The</strong> Drifters, Noble Sissle, Eubie<br />
Blake,etc. NYAN-5/27p19: Huge Midnight Show To Benefit Church<br />
A huge Midnite Show, for the benefit<br />
of the Abyssinian Baptist Church<br />
building program, is being held at the<br />
Apollo <strong>The</strong>atre on Friday, May 26.<br />
Among the top stars scheduled in<br />
appear are Nipsey Russell, Ed Sullivan,<br />
Jackie Wilson, Sarah Vaughan,<br />
<strong>The</strong> Drifters, Ruby Dee and Ossie<br />
Davis, Timmie Rogers, John Bubbles,<br />
George Wilshire, Bo Didley, Noble<br />
Sissle, and Eubie Blake.<br />
Also Dizzy Gillespie, Sugar Ray<br />
Robinson, Roy smeck, Lord Westbrook,<br />
<strong>The</strong>lma Carpenter, Bennie<br />
Benjamin, Mortin Dalton, Laurence<br />
above due to p89 (60/8/6) & p90 (60/11/21)<br />
5/30 – 6/18/61, Chicago, London House –<br />
<strong>Red</strong> <strong>Allen</strong> & his Quartet; also recorded<br />
(88) Keya, Steve Pulliams <strong>Jazz</strong><br />
quartet, Buddy <strong>Allen</strong> and Faye<br />
Adams.<br />
Also <strong>Red</strong> <strong>Allen</strong> & his Combo,<br />
Jackie (Moms) Mabley, Sonny<br />
Greer, the Copasetics and Dottie<br />
Salters.<br />
Abyssinian has recently purchased<br />
the YWCA building which is<br />
adjacent to the church at a cost of<br />
$450.000. <strong>The</strong> building will be used<br />
to house the church´s Senior<br />
Citizens. It will also be used as a<br />
recreational and educational center<br />
for the young members.
- 94 -<br />
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<br />
STAND" - HENRY RED ALLEN QUARTET: <strong>Red</strong> <strong>Allen</strong> (t,v) Sammy Price(p) Frank Skeete (b) Jerry Potter (d)<br />
/Fanfare Rec./<br />
ONS-5433 1:04 theme: ALGIERS BOUNCE -ann.by ……. (H.<strong>Allen</strong>) / No.24-124 /RA-CD-22<br />
3:58 LOVER COME BACK TO ME (S.Romberg) --- /RA-CD-22/<br />
3:54 DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS (L.Alter) --- /RA-CD-22<br />
4:22 TENDERLY (W.Gross) --- /RA-CD-22<br />
5:51 BILL BAILEY, WON´T YOU PLEASE COME HOME (Cannon) --- /RA-CD-22<br />
6:41 ROSETTA (E.Hines-H.Wood) --- /RA-CD-22<br />
2:06 ALL OF ME (Simon-Mark) --- /RA-CD-22<br />
0:36 theme: ALGIERS BOUNCE -ann.by --- /RA-CD-22<br />
same date & location; 9/22/61 WBBM-ONS: same as above<br />
ONS-5438 0:24 theme: ALGIERS BOUNCE -ann.by …...... --- / RA-CD-22<br />
3:23 BALLIN´ THE JACK (Smith-Burris) --- / RA-CD-22<br />
4.16 SNOWY MORNING BLUES (James P.Johnson) --- / RA-CD-22<br />
4:41 AUTUMN LEAVES (J.Kosma) --- / RA-CD-22<br />
7:30 LOVE IS JUST AROUND THE CORNER (L.Robin-L.Gensler) --- / RA-CD-22<br />
6:52 BASIN STREET BLUES (Spencer Williams) --- / RA-CD-22<br />
1:26 theme.- ALGIERS BOUNCE (H.<strong>Allen</strong>) --- / RA-CD-22<br />
Gilbert M.Erskine - "RED ALLEN AT LONDON HOUSE, Chicago" in Down Beat 8/3/61:<br />
Chicago's London House is, like the Embers<br />
and the Round-table in New York, one of<br />
those places where the talk is usually louder<br />
than the music. Most musicians react to such<br />
surroundings with different degrees of<br />
detachment. But <strong>Allen</strong>, somewhere along the<br />
way, has learned to cope successfully with<br />
this, and he does so without compromising<br />
his music and without going into a gaudy<br />
vaudeville act.<br />
Physically, <strong>Allen</strong> is a massive man. On the<br />
bandstand, towering over everyone, he leans<br />
over and pelts the audience with rhythmic<br />
shouts and roars, compelling attention and<br />
making conversation all but impossible. <strong>The</strong><br />
net effect is that the crowd is drawn into each<br />
performance and is constrained to make a<br />
response.<br />
Of all the recent trumpet quartets, this is<br />
easily the most interesting. <strong>Allen</strong>'s trumpet<br />
lines, played usually with cloth-draped bell<br />
or with mute, are warm, flowing, and tasty.<br />
He restricts himself almost entirely to the<br />
middle and low registers; his trumpet<br />
conception, in fact, may be described as the<br />
antithesis of his flamboyant stage manner.<br />
Price was an excellent choice for this group.<br />
Whether he is soloing or accompanying, he<br />
plays in a remarkable chordal style: thick<br />
clusters of notes bolting up in his swinging,<br />
almost stomplike, approach to the piano.<br />
One of the numbers the group features is <strong>The</strong><br />
Price Is Right (recorded 1/9/62), a tune with a<br />
Tin Pan Alley title, but which is really an<br />
old Kansas City boogie woogie. In Price's<br />
hands it became something of a tour de force<br />
that transformed the room into a down-home<br />
camp meeting.<br />
Skeete and Potter are strong and alert rhythm<br />
men, and both solo with good sense and<br />
good taste. Skeete has a big, vibrant sound<br />
that cuts through everything.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Bill Esposito on Fanfare 24-124: (incl. also session at 9/22):<br />
To begin with, Chicago's London House is a great spot,<br />
whether or not you want a drink or a steak, and when Henry<br />
"<strong>Red</strong>" <strong>Allen</strong> played there, as this recording captured, it was,<br />
you could say, a few steps in the general direction of heaven.<br />
"<strong>Red</strong>"<strong>Allen</strong> is one of the distinct and deft voices in jazz, a<br />
man whose trumpet stylings crossed over several lines and<br />
many territories. Unfortunately for him, such a "catholic"<br />
approach, and mind that small "c" for a full understanding,<br />
lent him to considerable criticism over the years. He was<br />
stamped as a New Orleans man, a Dixieland man, a traditionalist<br />
and while he was at home in these waters, he could<br />
and did swim swiftly and successfully in other ponds.<br />
Indeed, I recall a well known critic and author, Rudi Blesh,<br />
once describing <strong>Red</strong>'s efforts as "the S.S,52nd St.," meaning<br />
that <strong>Red</strong>, appearing at a Dixieland concert or some such<br />
bash, was out of place. Just looming into 52nd St., or Swing<br />
Street at the time Blesh wrote that, were Charlie Parker and<br />
Dizzy Gillespie and the beboppers and other citizens such as<br />
Coleman Hawkins, Don Byas, Art Tatum, Tiny Grimes, et al.<br />
<strong>Allen</strong> thus suffered the slings and arrows of outrageous<br />
critics and more outrageous critique. He was dammed with<br />
faint praise (or is that praised with faint damns) by both sides<br />
of jazz's famous war, which bounced up on the pages of<br />
music magazins and in various books, pamphlets and<br />
publications as World War II ended. <strong>The</strong> intellectual had<br />
discovered jazz, had read into a social message and had<br />
injected into it something that was never there, a racial<br />
overtone. <strong>The</strong> egghead discussed it by tapping his shell in<br />
deep thought and not just tapping his toe and ordering<br />
another beer.<br />
Thus we had the progressive colony, the first elements of<br />
the avantegarde jazz (“I play shoes, Daddy, my solo work is<br />
<strong>The</strong> quartet features a variety<br />
of tunes from the back years<br />
of jazz and will play almost<br />
anything from traditional and<br />
mainstream schools. A lot of<br />
it is swinging fun.<br />
on firm ground, man") and the entrance into jazz of the far-out<br />
thinker, the poet and the revolutionary whose contribution was<br />
a flock of four letter obsceneties met with gushing approval by<br />
the guilt ridden gaggle ... and we had the mouldy fugges, those<br />
who thought jazz ended somewhere before the stock market<br />
crash, people who would not listen to a record made after<br />
1930 unless it was a Bunk Johnson revivel or Turk Murphy<br />
playing note for note something like "Snake Rag."<br />
No one paid attention to the great music of the time and<br />
even today you'll hear jazz buffs say that jazz was on the
downward slide in the late 1940's and through the fifties and<br />
into the early 1960's ... <strong>The</strong> solid and reputable jazz of those<br />
years, bereft of the publicity attendant to the Big Band Era,<br />
was buried deep, drowned by the flowing prose of the<br />
intellectual who kept saying jazz was an art form. To which<br />
an old friend of <strong>Red</strong> <strong>Allen</strong>'s, Eddie Condon, once snapped,<br />
"canning peaches is an art form!"<br />
Here we have "<strong>Red</strong>" in two performances at the London<br />
House, with the venerable Sammy Price on piano, Franklin<br />
Skeete on bass and Jerry Potter on drums. <strong>The</strong> boys play<br />
some evergreens, like "DO YOU KNOW WHAT IT MEANS<br />
TO MISS NEW ORLEANS," but they do not type-cast<br />
themselfes. All right, I know <strong>Allen</strong> was born in New Orleans<br />
but so was Lester Young. Must “<strong>Red</strong>” always remain in<br />
Louis Armstrong's shadow, as did another stand-out horn,<br />
that of Oran "Hot Lips" Page! You want to dig “<strong>Red</strong>” when<br />
he was young and hungry! Trot out the Fletcher Henderson<br />
version of QUEER NOTIONS and listen in. Or, better yet,<br />
play this one ... listen to "<strong>Red</strong>" on such things as<br />
TENDERLY, and AUTUMN LEAVES and in a more<br />
finger snapping mood, ALL OF ME and LOVE IS JUST<br />
AROUND THE CORNER. You get the point... here was<br />
one great jazzman, adept in all ways, articulate on his<br />
instrument and most liberal in his ideas, his creativity, his<br />
attitude.<br />
To go further on this "type-casting" aura that has chocked<br />
many musicians, pay some attention to Sam Price ... come on<br />
, listen up there ... follow "<strong>Red</strong>'s" instruction at the end of the<br />
number to "play it again, Sam." I guess he saw that movie,<br />
too.<br />
Price, born in Honey Grove, Texas and there's a name for<br />
you, is a sound and tested music , yet he's locked into the<br />
barrelhouse and boogie woogie syndrome. He plays excellently<br />
in those areas, rollicking, rocking piano, but that's not<br />
his entire bag and it never was. As a young man he pursued<br />
classical piano (studied with Booker T.Washington's daughter)<br />
and he knows his way up and down the keyboard ... dig him<br />
on those ballads ... a nice touch, a gentle swing, a relaxed<br />
approach. Try him and <strong>Allen</strong> on the old Earl Hines<br />
standby, ROSETTA, and then move along faster with BILL<br />
Jack Sohmer about FANFARE-24-124 in IAJRC-?p25:<br />
It may come as somewhat of a shock to newer devotees<br />
of our music, but the fact is that there is as much prejudicial<br />
thinking within the world of jazz as there is outside of it. I<br />
do not refer necessarily to racial or religious prejudice,<br />
but to a sort equally frustrating to the artist. This is<br />
aesthetic or stylistic prejudice, a form of bigotry so<br />
pernicious that at one time it threatened to split the jazz<br />
world in two. Happily most of us have come of age in the<br />
ensuing years. We have learned that different types of jazz<br />
can coexist peacefully, each pursuing its own aesthetic<br />
goals, each a dominant source of enlightenment and<br />
pleasure within its own milieu. But there are still the<br />
victims to care for, those who served no king but<br />
themselves, who claimed no allegiance to any doctrine<br />
save their own, yet who remain exiled in a no man's land<br />
of jazz, forever disowned, forever rejected - and simply<br />
because of critical myopia.<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> was undeniably a major casualty of<br />
jazz' internecine struggles. A far-seeking visionary at a<br />
time when dance bands were still using banjos, he lived to<br />
find himself degraded as a cheapened sideshow minstrel<br />
playing noisy, caricatured dixieland in a sleazy New York<br />
tourist trap to an audience of drunken servicemen, dissolute<br />
prodigals, and world-weary street-walkers. <strong>Red</strong> may have<br />
hated the Metropole and everything it stood for, but he<br />
also had to earn a living. True, he played to the crowds in<br />
order to survive but spiritually, as well as physically, he<br />
loomed far above them. He had long before learned that<br />
the creative artist must find his own way In a hostile,<br />
uncaring environment, and if it meant public submission<br />
of his own interests for a few hours a night, so be it.<br />
Every now and then, though, he simply had to break<br />
loose. He had to play what he wanted to play.<br />
When <strong>Red</strong> was fortunate enough to find respite from the<br />
Metropole and Central Plaza - that even more depressing<br />
Philistine fortress hidden in the bowels of Manhattan – he<br />
- 95 -<br />
BAILEY COMING HOME. Here is a master of piano, much<br />
more a musician in depth than the one dimensional player the<br />
jazz media has made him out to be. Price is a pianist whom<br />
any style of jazz can turn to and if I almost ended a sentence<br />
with a preposition I at least was working on a sound<br />
proposition.<br />
<strong>The</strong> September 22 date opens with a blast as you spread<br />
your living arms out into space, do the eagle rock with style<br />
and grace, put your both feet out and swing them back, 'cause<br />
that's what they call BALLIN' THE JACK. Too bad <strong>Red</strong> didn't<br />
sing this one, its five meaning lyrics always graceful to the ear<br />
and <strong>Red</strong>'s gutteral growl had the gumption this one requires.<br />
<strong>Red</strong> and the boys came to play this night, and you can hear the<br />
audience sound off their appreciation. Better, you can hear the<br />
boys urge each other along and that's the best praise for a<br />
jazzman, to be appreciated by another jazzmen.<br />
If what I said about Price a few lines back didn't sink in, well<br />
it ought to if you listen to SNOWY MORNING BLUES.<br />
Sammy handles Jame P.Johnson's standard in grand style. He's<br />
still active as this is written and frequently is heard on the jazz<br />
shows produced by WKCR, Columbia University's student<br />
station, run by young men who have a good feeling for jazz<br />
and a fine manner of presenting it.<br />
BASIN STREET BLUES, a jazz anthem to many although<br />
that's stretching the point about 64 bars (how about HOW<br />
HIGH THE MOON, ONE O'CLOCK JUMP, BODY AND<br />
SOUL, send in your choice of jazz´s anthem with the cover of<br />
an Ornette Coleman LP... ) typifies the <strong>Allen</strong> quartet and<br />
showcases this grand old-timer, who had the face of a sad, sad<br />
bloodhound but the heart of a happy child and the soul of a<br />
man that made him credit to his Creator. <strong>The</strong> old chest-nut gets<br />
into a deep water groove, swings mightily (the audience joins<br />
in with handclapping, on the wrong beat as usual) and <strong>Red</strong> has<br />
a field day, as do Skeete Potter and particulary Price. If this<br />
doesn't get to you then go to jail, do not pass "Go," do not<br />
collect the $200.<br />
My favourite <strong>Red</strong> <strong>Allen</strong> offering asks WHO STOLE THE<br />
LOCK! and details how he was down in the henhouse on his<br />
knees, thought he heard a chicken sneeze. But this will do for<br />
my tastes ... this will do fine, indeed.<br />
literally plunged into the rejuvenating waters of selffullfillment.<br />
Reveling in the luxury of artistic independence,<br />
he was free to indulge himself in all manner of musical<br />
subtleties and especially in that form he had helped father -<br />
the jazz ballad. His requirements for such brief psychic<br />
retreats were really quite modest. All he needed was a<br />
compatible rhythm section. <strong>The</strong> knowledge that he did not<br />
have to play “<strong>The</strong> Saints” every set made everything that<br />
much nicer.<br />
Once of the several far-removed havens in which <strong>Red</strong><br />
found periodic relief, Chicago London House, afforded the<br />
trumpet player not only for musical freedom, but peace of<br />
mind as well. And probably not since his classic small band<br />
recording dates of the thirties did he sound as relaxed as<br />
when ensconced in his polite eatery. He was able to give<br />
free rein to his customarily submerged inventiveness, and,<br />
because the acoustics of the room obviated the need for<br />
excessive volume, he could devote his full attention to<br />
tonal nuance. …<br />
<strong>The</strong> proof is all here. With the masterful stride piano of<br />
Sammy Price sharing the honors, and the yeomanly rhythm<br />
team of Skeete and Potter providing the right balance of<br />
urgency and restraint, <strong>Red</strong> sounds more at home than he<br />
ever did on his own turf, that mixed metaphor of security<br />
and frustration that constituted his gigs in New York. <strong>The</strong><br />
sound quality of the London House remotes was remarkably<br />
realistic, as those familiar with the 1963 Coleman<br />
Hawkins airchecks will already know. But only close <strong>Allen</strong><br />
aticionados will recognize that Price was his pianist on the<br />
long deleted Columbia quartet album ("Feeling Good", CL<br />
2447) and that Skeete and Potter were his choices for the<br />
equally elusive Swingville set ("Mr. <strong>Allen</strong>", SV-2034),<br />
testimonial enough to indicate their familiarity with the<br />
highly personal and unpredictable style that has yet, even<br />
today, to receive its proper recognition.
- 96 -<br />
6/17-6/29/61, N.Y.C., Embers - Henry <strong>Red</strong> <strong>Allen</strong>, 6/26-7/1: Jonah Jones, Cecil Lloyd; 7/1-7/15: Peter<br />
Nero; 7/15-7/29/61, N.Y.C. Embers - Henry <strong>Red</strong> <strong>Allen</strong>; Village Voice-June-66;<br />
Down Beat 6/22/61: Down Beat's Combo Directory: “<strong>Red</strong> <strong>Allen</strong> Combo”<br />
Martin Williams “HENRY RED”: … By the Sixties, the downstairs Metropole had rock-and-roll<br />
twist bands in the afternoon, and in the evening might feature Woody Herman´s big band strung out<br />
along the bandstand, or Gillespie, or (more often than not) <strong>Red</strong> <strong>Allen</strong>.<br />
<strong>Red</strong> <strong>Allen</strong> Jr. meanwhile had also moved on to a different milieu, and there he was plaving a<br />
somewhat different and sometimes more appropriate repertory. He began at first at the Embers in<br />
New York, where he appeared with piano, bass, and drums, in a repertory of standards, ballads.<br />
and blues. in slow medium, and occasionally fast tempos.<br />
<strong>The</strong> Embers was still another phenomenon in the presentation of jazz in night clubs, a relatively<br />
posh East Side club which began as a result of the early popularization of modern jazz (or<br />
sometimes "almost modern" jazz) in the groups of George Shearing, Oscar Peterson, etc. But the<br />
Embers achieved its greatest success when it put in swing-style trumpeter Jonah Jones, with his<br />
horn always muted (it´s in the club contracts) to accommodate the sometimes high-pitched buzz of<br />
animated after-theatre conversation from the customers. To spell off Jones´ successful<br />
engagements, the club used swing-era trumpeters like Charlie Shavers, Cootie Williams, Erskine<br />
Hawkins, Rex Stewart, trombonist Tyree Glenn , and <strong>Red</strong> <strong>Allen</strong> . As a result, <strong>Allen</strong> has also<br />
played what might be called the Embers circuit of similar clubs in Chicago. Cleveland, Toronto, etc.<br />
mid Aug.61, New Orleans & Algiers , <strong>Red</strong> <strong>Allen</strong> - vaccation<br />
8/19 until 9/2, Cleveland, Ohio – Hickory Grill , Henry <strong>Red</strong> <strong>Allen</strong> Quartet (for Peter Nero until 8/19)<br />
sources : <strong>Jazz</strong> Report Vol.2 No.1 (Sept.61) / according to the below article he used his own quartet but at<br />
least Sammy Price, and not those local rhythm group described by John Chilton in “Ride, <strong>Red</strong>, Ride”<br />
p169 about <strong>Red</strong>'s problems with this group;<br />
JAZZ SCENE – HE HAD IT ONCE, BUT IT´S ALL GONE NOW<br />
By PATRICIK SCOTT:<br />
Globe Mail, Toronto, 8/19/61p95<br />
Partly because we have the same birth-day<br />
(give or take a year or two), partly because<br />
he is so obviously trying his damnedest to<br />
please. and mainly because I'regard him as<br />
having been one of the 10 or 12 best<br />
trumpeters in jazz, it grieves me to have to<br />
report that the sort of jazz Henry (<strong>Red</strong>)<br />
<strong>Allen</strong> has been playing this week at the<br />
Town comes perilously close to being jazz<br />
at its worst.<br />
Is there anything more distressing, in any<br />
field of endeavor, than the spectacle of one<br />
who once had it, and has it no more? -I<br />
tink I would rather see or hear the bum<br />
who never had it, and never will.<br />
What has happened, somewhere along<br />
the line, to the Henry (<strong>Red</strong>) <strong>Allen</strong> who<br />
once made recordings like Heartbreak<br />
Blues and <strong>The</strong>re's a House in Harlem<br />
for Sale and I'm on My Way From You?<br />
It could be, I suppose, a severe case, of<br />
shell-shock, from all those years in the<br />
Metropole trenches; or it could be<br />
related, somehow, to the same relentless<br />
deterioration in the work of other aging,<br />
once-great jazzmen: Mr. <strong>Allen</strong> never<br />
8/16/61 NYC., ALBERTA HUNTER (v) & VICTORIA SPIVEY (v,p) acc.by<br />
J.C.Higginbotham (tb) Buster Bailey (cl) Cliff Jackson (p) Sidney De Paris(bb)<br />
Zutty Singleton(d)<br />
3:14 I Got Myself A Workin' Man -vAH (A.Hunter) Prest. 1 052/ JCH-CD-10<br />
4:06 Black Snake Blues -v&pVS (V. Spivey) --- / JCH-CD-10<br />
2:40 I Got A Mind To Ramble -vAH (A.Hunter) --- / JCH-CD-10<br />
4:45 Going Blues v&pVS (V.Spivey) --- / JCH-CD-10<br />
2:40 You Gotta Reap Just What You Sow -vAH (A.Hunter) --- / JCH-CD-10<br />
3:07 I Got <strong>The</strong> Blues So Bad -vVS (V. Spivey) --- / JCH-CD-10<br />
3:30 Chirpin' <strong>The</strong> Blues -vAH (A.Hunter) --- / JCH-CD-10<br />
2:58 Let Him Beat Me -vVS (V.Spivey) --- / JCH-CD-10<br />
was any better, and is not much worse<br />
now, than such faded contemporaries as<br />
J.C.Higginbotham, Dicky Wells,<br />
Coleman Hawkins, Jonah Jones, Muggsy<br />
Spanier, Rex Stewart, Benny Goodman<br />
(and, on the really dark nights, Daniel<br />
Joseph Louis Amstrong).<br />
He is 53 - which is old for a jazzman -<br />
but if the aging process is the whole<br />
answer, how am I to account for such<br />
other greybeards as Vic Dickenson,<br />
Edmond Hall, Wild Bill Davison, Bud<br />
Freeman and Pee Wee Russell, who<br />
sound better every time I hear them? I<br />
wish I knew.<br />
And I wish I knew why Mr. <strong>Allen</strong> has<br />
not been singing this week. He is (or<br />
was) one of the great jazz singers. His<br />
1935 rendition of Body And Soul is the<br />
best, bar none, of this number on record,<br />
and as recently as a couple of years ago<br />
his reading of Rosetta on <strong>The</strong> Sound of<br />
<strong>Jazz</strong>, was almost as good.<br />
Anyway - his pianist, Sammy Price; is<br />
well worth a listen. especially when<br />
imitating a man with four. hands, but I<br />
would rather have heard him without<br />
Mr. <strong>Allen</strong>, whom I would rather, quite<br />
frankly, not have heard at all.<br />
--------------------------------------------------<br />
HIGGINBOTHAM IS MUGGED<br />
J.C.Higginbotham, well-known<br />
trombonist, was mugged in the<br />
elevator . of his home at 152 W. 118th<br />
Moday afternoon.<br />
<strong>The</strong> popular musician, who had<br />
played a date in Providence, R.I.<br />
Monday night, told police, he entered<br />
the elevator around 5 P.M.-and the<br />
male occupant applied some kind of<br />
pressure on his throat causing him to<br />
pass out.<br />
Although he had two checks worth<br />
over $300 in one pocket, the assailant<br />
only got 25 in cash which Higginbotham<br />
was carrying in another pocket.<br />
NYAN-8/5/61p16
Reactions to the idea of New Orleans<br />
as "the cradle of jazz" till have begun to<br />
set in - inevitably, I suppose. It has even<br />
been said that the whole idea is built on<br />
the towering status of Louis Armstrong,<br />
and little else, an attitude which leaves<br />
the reputation of such men as King<br />
Oliver, Freddy Keppard, Jelly Roll<br />
Morton, Kid Ory, Tommy Ladnier,<br />
Johnny and Baby Dodds, Jimmy Noone,<br />
Sidney Bechet, Barney Bigard, Zutty<br />
Singleton, and Wellman Braud unaccounted<br />
for. It also leaves out a trumpeter of a<br />
generation and a style a bit later than<br />
Armstrong's: Henry "<strong>Red</strong>" <strong>Allen</strong>, Jr.<br />
New Orleans also gave jazz a durable<br />
style which was popularized as "Dixieland,"<br />
and especially since he is from<br />
New Orleans, <strong>Red</strong> <strong>Allen</strong> has become<br />
more and more associated with contemporary<br />
quasi-Dixieland playing - as have<br />
most trumpeters of the 30's. But good<br />
New Orleans-Dixieland jazz is primarily<br />
an ensemble style, and <strong>Red</strong> <strong>Allen</strong> is not<br />
really an ensemble player. He is a soloist,<br />
and the differences between <strong>Red</strong> <strong>Allen</strong>'s<br />
style and Freddy Keppard's are much<br />
greater than the differences between <strong>Red</strong><br />
<strong>Allen</strong>'s style and, say, Lester Young's.<br />
<strong>Allen</strong>'s best melodic lines are much too<br />
active and exploratory to be lead parts in<br />
an ensemble polyphony. He can play the<br />
Dixieland repertory, of course, and play<br />
it well; one of his best solos of recent<br />
years was on a recording of Frankie and<br />
Johnny. But he also finds, and meets, a<br />
challenge in tunes of more complexity,<br />
in all sorts of medium and slow ballads,<br />
in their melodies, in their harmonies. In<br />
fact, when Louis Armstrong began to<br />
turn away from the then standard jazz<br />
repertory of the 20's and improvise on<br />
popular songs and ballads of the 30's, he<br />
laid down a kind of challenge to other<br />
jazz musicians, by implication at least.<br />
<strong>Red</strong> <strong>Allen</strong> was one of the first players to<br />
meet that challenge successfully, and his<br />
1935 Body and Soul still seems an<br />
exceptional performance.<br />
For just such reasons of tunes and<br />
repertory, it is encouraging musically (as<br />
well as encouraging to his continuing<br />
career) to see <strong>Allen</strong> recently moving,<br />
with a quartet, into <strong>The</strong> Embers in New<br />
York and <strong>The</strong> Palmer House in Chicago,<br />
for programs of medium end slow ballads<br />
and pop tunes are called for in those<br />
clubs. Of course the chatty inattention of<br />
the crowds there has encouraged some<br />
players into certain forms of calculated<br />
coasting, and pleasant trickery, but I<br />
doubt if <strong>Red</strong> <strong>Allen</strong>, with his very special<br />
hard working but modest approach to an<br />
audience, will merely coast. Of course he<br />
does have to pray with felts and mutes in<br />
such places, and <strong>Red</strong> <strong>Allen</strong> likes open<br />
horn, so perhaps that's one drawback.<br />
Another apparent drawback may actually<br />
be an advantage - there can be few uptempo<br />
grandstanders in such clubs.<br />
Those flashy pieces do rouse certain<br />
audiences on occasion, but they seem to<br />
me to show the least interesting and<br />
inventive side of <strong>Allen</strong>'s talent, …<br />
In style at least, <strong>Red</strong> <strong>Allen</strong> is a kind of<br />
link between Armstrong and Roy<br />
- 97-<br />
SOME WORDS FOR ALLEN by Martin Williams, Metronome 10-61p30<br />
Eldridge. (Eldridge has denied any<br />
actual influence from <strong>Allen</strong>, however).<br />
His work was certainly a guide for many<br />
trumpeters during the 30's, and Harry<br />
James, while with Benny Goodman,<br />
paid <strong>Allen</strong> the high compliment of<br />
basing his solos on Wrappin' It Up, Down<br />
South Camp Meetin', and Big John's<br />
Special directly on the ones <strong>Allen</strong> had<br />
recorded with Fletcher Henderson. I<br />
have a friend who calls <strong>Allen</strong>'s episode<br />
on Wrappin' It Up, which includes both<br />
solo and call-and-response patterns with<br />
the group, one of the most perfect<br />
trumpet passages in recorded jazz.<br />
But of course there is more to <strong>Red</strong><br />
<strong>Allen</strong> than his historical position or his<br />
influence. For one thing he has continued<br />
to develop, and he plays today<br />
perhaps better than he ever has. He has<br />
also obviously listened sympathetically<br />
to everyone around, through Miles<br />
Davis. But he uses all that he has heard<br />
with a real integrity and dedication, in<br />
expanding a style that is his own.<br />
<strong>Red</strong> <strong>Allen</strong> might give almost anyone<br />
lessons in an adventurous use of<br />
dynamics. Within the same phrase, he<br />
may begin with the merest whisper and<br />
then spiral up to a shout, always with his<br />
own spontaneous kind of musical logic.<br />
In that very same phrase, he is also likely<br />
to have slithered through the whole<br />
usable range of his horn - as a part of<br />
that same adventurously sought musical<br />
logic. About four years ago he made<br />
recordin g s of I've Got <strong>The</strong> World on a<br />
String and I Cover <strong>The</strong> Waterfront<br />
(both also featuring<br />
Coleman Hawkins) which show<br />
this capacity strikingly.<br />
Like Lester Young's and like<br />
<strong>The</strong>lonious Monk's. <strong>Red</strong> <strong>Allen</strong>'s<br />
Music depends on discoveries<br />
and surprises. And besides the<br />
thrusts of dynamics and range.<br />
His use of the unexpected<br />
includes rhythm. His rhythmic<br />
sureness is exceptional at times.<br />
<strong>The</strong>re are many players of his<br />
own and later generations who<br />
still use repeated notes and<br />
phrases with the more or less<br />
mechanical function of rhythmic<br />
reminders maintaining or reestablishing<br />
the basic pulse.<br />
<strong>Allen</strong> goes directly to the melody<br />
he is improvising with an easy<br />
phrasing that doesn't need such<br />
signposts. His relaxed sense of<br />
the time and his dynamics and<br />
range break his lines up provocatively.<br />
I don't imagine that an<br />
horn man who arrived between<br />
Armstrong and Lester Young<br />
sounds less mechanical in his<br />
phrasing or has developed more<br />
rhythmic flexibility and variety<br />
than <strong>Red</strong> <strong>Allen</strong>.<br />
But the real pleasure of listening<br />
to <strong>Red</strong> <strong>Allen</strong> is melodic and it is<br />
to the line he is improvising that<br />
he is always committed. His contemporaries<br />
used to complain that<br />
he was rather freehanded with the<br />
harmony thereby. But I expect<br />
that there might have been some notes<br />
considered proper or "blue" in New<br />
Orleans and not elsewhere. And subsequent<br />
jazz history might be said to<br />
vindicate <strong>Allen</strong> too, because Monk<br />
sometimes overrides the changes in the<br />
interests of melody, and so, of course, do<br />
the atonal players of "the new thing."<br />
Perhaps, some people say, his melodies<br />
get too adventurous; they are undisciplined<br />
and become disorderly. I think such people<br />
may be hearing him the wrong way. For<br />
me. his playing often creates a special<br />
aura that unites the plaintiveness of the<br />
blues and the lyricism of good ballad<br />
playing, and is often far less exuberantly<br />
extroverted than his stage manner. And<br />
his happy surprise twists of melodic line<br />
and sound are often personal enough to<br />
establish standards of their own. Order<br />
and symmetry are deeper pleasures only<br />
when one has dared and won them. and<br />
<strong>Red</strong> <strong>Allen</strong> sometimes shows a daring<br />
that may turn up a kind of order not<br />
known before him. Certainly one of the<br />
major achievements of jazz improvisors<br />
has been to show that melody need not<br />
obey traditional classical or romantic<br />
notions of order, that it need not use<br />
traditional echoes or repeats but can be a<br />
continuous linear invention, and still be a<br />
complete and satisfying aesthetic entity.<br />
It is for that kind of order that <strong>Red</strong> <strong>Allen</strong><br />
modestly searches. And for that reason, a<br />
program of medium and slow ballads<br />
and blues by <strong>Red</strong> <strong>Allen</strong> can be one of the<br />
superior musical pleasures in jazz.<br />
- Discography –
- 98a - Addenda<br />
Obviously <strong>Red</strong> played at the Embers already in Sept.61: NYAN-9/2361p19: Trumpeter <strong>Red</strong><br />
<strong>Allen</strong> flashing he´s a member of the Press Club of Cleveland, Ohio, and allowed privileges<br />
of Overseas Press Club here and national Press Club in D.C. His Quartet now at Embers<br />
with Sammy Price on piano, Jerry Potter on drums and Franklin Skeete on bass. Group is<br />
also featured in fashion layout in September True Story Magazine.<br />
early Oct. to l0/14/61, N.Y.C. Embers - Joe Bushkin, Henry <strong>Red</strong> <strong>Allen</strong>-/(Jonah Jones 10/15-11/15<br />
(J.Bradley, Bul.D.H.C.F., Nov.61); <strong>Jazz</strong> Report Vol.2 No3(11.61) -Notes on New York:<br />
Mainstreamers have been in considerable evidence lately: Jimmy McPartland at the<br />
Roundtable; the <strong>Red</strong> <strong>Allen</strong> and Joe Bushkin combos together at the Embers; and several<br />
concerts at the Museum of Modern Art, one featuring Bud Freeman, another starring<br />
Coleman Hawkins with Roy Eldridge on fluegelhorn as well as tpt, and a third<br />
highlighting Wallerish Dick Wellstood whose group also included ex-Waller sidemen<br />
Herman Autrey and Gene Sedric.<br />
prob.mid Oct.61, four days at Willie Ruff´s Playback Restaurant, New Haven (he´d played in<br />
Cleveland 8/19-2/9/61<br />
unknown source, unknown date)<br />
THE JAZZ BEAT- “Ride, <strong>Red</strong>, Ride”<br />
At a fraternity house party during Prom<br />
weekend some 30 years ago, Yale<br />
students and their dates thrilled to the hot<br />
rhythms of what was probably the<br />
greatest jazz band ever to appear in New<br />
Haven. It was Luis Russell's Saratoga<br />
Club band, and the lead trumpeter was a<br />
tall young lad from New Orleans named<br />
Henry <strong>Allen</strong> Jr. Better known today as<br />
<strong>Red</strong> <strong>Allen</strong>, that same fiery trumpet man<br />
returns to New Haven this week as leader<br />
of his own combo to play a four-day<br />
engagement at Willie Ruff's Playback<br />
Restaurant, starting Thursday night. It<br />
will be the Playback's first departure<br />
from a strictly modern jazz policy.<br />
<strong>Allen</strong> today doesn't restrict himself to<br />
the same New Orleans style jazz that he<br />
grew up to learn in his home city. Far<br />
from it. He has ventured into the various<br />
styles of jazz that have come along<br />
through the years. When Dizzy Gillespie<br />
was introducing bop on 52nd Street,<br />
<strong>Allen</strong> was playing his own brand of it in<br />
a rival spot..<br />
But New Orleans is still his favorite<br />
style, and he returns to his native city<br />
whenever possible to visit his dear old<br />
mother. His father, the late Henry <strong>Allen</strong><br />
Sr., was leader of one of the early New<br />
Orleans marching bands and taught <strong>Red</strong><br />
how to play.<br />
<strong>Red</strong>'s career parallels the story of jazz.<br />
He began by playing in Sid Desvigne's<br />
Southern Syncopators, worked on the<br />
famous Mississippi riverboats, emigrated<br />
to Chicago and joined the famous King<br />
Oliver band, and finally moved to New<br />
York where he became trumpet star of<br />
the Russell band that made such a<br />
sensation in 1930 at Yale´s Alpha'Chi<br />
Rho house.<br />
A SECOND SATCHMO<br />
His style of playing in the Russell band<br />
was likened to Louis Armstrong's by all who<br />
heard the group. And what an inspiring<br />
group it was, boasting such men as J. C.<br />
Higginbotham on trombone; Albert Nicholas,<br />
clarinet; Charlie Holmes, alto sax;<br />
Teddy Hill, tenor - and a rhythm section<br />
that has never been equalled, except<br />
perhaps by Basie. Paul Barbarin was on<br />
drums; Willie Johnson, banjo and guitar;<br />
Pops Foster, bass; and Russell on piano.<br />
No wonder that, in 1931 when Louis<br />
Armstrong was seeking a large jazz band<br />
to work with, he chose this very group.<br />
And no better an understudy (and second<br />
horn) could he have found than <strong>Allen</strong>.<br />
Two years later <strong>Allen</strong> left the group to<br />
become lead trumpeter in the famous<br />
Fletcher Henderson band. Next he joined<br />
the Mills Blue Rhythm Band with whom<br />
he made his most famous record, "Ride,<br />
<strong>Red</strong>, Ride," a real swinger that he still<br />
enjoys playing.<br />
During the 40s, <strong>Allen</strong> gave up big band<br />
work and formed his own small combo<br />
was featured at Kelly's Stables on 52nd<br />
Street and other jazz 'spots. In the 50s he<br />
moved to Broad-way's famous Metropole<br />
where he remained until early this year.<br />
Certain jazz purists became critical of<br />
<strong>Allen</strong> during his Metropole stint because of<br />
his refusal to confine himself to playing<br />
standard jazz tunes. <strong>Red</strong> has always<br />
enjoyed pleasing the crowd - he's a born<br />
comedian as well as a jazzman - and if<br />
the customers wanted a novelty like<br />
"Kiss the Baby," he'd give it to them.<br />
Two months ago, this writer heard <strong>Red</strong> and<br />
his group in a Cleveland restau-rant. <strong>The</strong><br />
audience wanted jazz, and <strong>Red</strong> really<br />
dished it out, with strong support from<br />
pianist Sammy Price, bassist Bus<br />
Moten and drummer Sol Hall.<br />
When he plays blues, there's a<br />
warmth and beauty to <strong>Allen</strong>'s<br />
tone that can hardly be rivalled.<br />
When he beats out a fast number,<br />
there's excitement a plenty.<br />
Earlier this year, he paid tribute<br />
to his old boss by recording a<br />
Verve album, "<strong>Red</strong> <strong>Allen</strong> Plays<br />
King Oliver." On Nov. 26, at 10<br />
p.m., he is to be featured with 20<br />
other jazz artists on NBC's TV<br />
Show of the Week, "Chicago<br />
and All That <strong>Jazz</strong>." R.C.<br />
RED ALLEN, New Orleansborn<br />
trumpeter, played a Yale<br />
house party 30 years ago with one<br />
of the greatest jazz bands of the<br />
era. This week he returns to New<br />
Haven with his own combo to play<br />
at the Playback.<br />
Oct.61, beween 2nd and 15th one night at NYC., Central Plaza – <strong>Red</strong> <strong>Allen</strong>, Jimmy Buxton, Kenny Davern, Lee Blair<br />
source, Teresa Chilton, who photographed the band, see p87<br />
10/30 & 10/31/61 NBC-TV - CHICAGO AND ALL THAT JAZZ<br />
Cozy Cole in a letter to the author 1978: .."You asked about Mae Barnes. She visited our school when she started drumming. I<br />
didn't know her too well, only thru her reputation, however she was a very nice person. "<br />
Bill Bissonnette covernotes of (*): Next is a television-airshot from half a century ago of a few jam session cuts featuring<br />
some of the best people of the period including Henry <strong>Red</strong> <strong>Allen</strong>, the only duo recordings of Jack Teagarden and Kid Ory<br />
swapping breaks on Tiger Rag and some wonderful drumming by the fabulous Gene Krupa.
98 - Addenda<br />
10/30 & 10/31/61 rehearsal & filmed sessions for the 11/26/61 Sun.10-11 p.m. CBS/NBC-TV - CHICAGO AND ALL<br />
THAT JAZZ "Dupont Show Of <strong>The</strong> Week"; producers: William Nichols, Donald B.Hyatt; 60 min.-kinescope, 51'tape cut<br />
commercials; Story about <strong>Jazz</strong> in Chicago. <strong>The</strong> live-TV portions are interpersed with occasional film clips and commentary<br />
by Garry Moore, frequently backed up by an off screen orchestra, specially recorded for the show.<br />
(1) ORIGINAL DIXIELAND JAZZ BAND: Yank Lawson (t) Roland DuPont (tb) Paul Ricci (cl) Johnny Guarnieri (p)<br />
Cliff Leeman (d)<br />
(2) NEW ORLEANS BAND: Henry"<strong>Red</strong>"<strong>Allen</strong> (t) Kid Ory (tb) Buster Bailey (cl) Lil Hardin-Armstrong (p,v) Johnny<br />
St.Cyr (bj) Milt Hinton (b) Zutty Singleton (d) Mae Barnes (v,d)<br />
(3) CHICAGOANS: Jimmy McPartland (t) Jack Teagarden (tb,v) Pee Wee Russell (c1) Bud Freeman (ts) Joe Sullivan<br />
(p) Eddie Condon(g) Bob Haggart (b) Gene Krupa (d) - Blossom Seeley (v); Meade Lux Lewis (p); Al Minns &<br />
Leon James (dancing)<br />
(4) off screen band - EDDIE CONDON & THE NBC-ORCHESTRA: Tony"Spargo"Sbarbaro (d, kazoo) John Piazarelli (t)<br />
Al Chernet (tb) Hymnie Schertzer (as) Julie Schechter (vln) Bill Gussack (d) & possibly others from above groups<br />
(5) studio orchestra composed by various combinations of the above groups, mainly from (3) and (4)<br />
*parts on <strong>Jazz</strong> Crusade-JCCD3066/all complete on /Sounds Great/Vintage-<strong>Jazz</strong>-Video/ on <strong>Allen</strong>-collection Hoffmann-DVD-12/<br />
music on-/off-screen / Lp-SG-8007/ VHS-VJC-2002 / excerpt with <strong>Red</strong> <strong>Allen</strong> on RA-DVD-1a& CD-42<br />
0:45 introduction by Garry Moore<br />
0:28 (5) Take Me To <strong>The</strong> Land Of <strong>Jazz</strong> -vBS,vMB,vJT acc.by band (5) showing all performers incl.<strong>Red</strong> <strong>Allen</strong> on screen/<br />
1:09 (5) Take Me To <strong>The</strong> Land Of <strong>Jazz</strong> -slow instrumental reprise<br />
0:13 Garry Moore about 1916 with the Original Dixieland <strong>Jazz</strong> Band<br />
1:40 (1) Original Dixieland One Step<br />
0:33 Garry Moore about the Victor Talking Machine and first jazz<br />
0:40 (5) <strong>Jazz</strong> Me Blues<br />
1:30 (5) musical montage incl."Pretty Baby"-"Shim Me Sha Wabble" to G.Moore on pianists & early negro bands<br />
1:54 (1) Toddlin' <strong>The</strong> Toddle-O -vBS<br />
3:15 (5) background Medley to Garry Moore: When Johnny Comes Marching Home – Dardanella - Some Of <strong>The</strong>se Days -<br />
Basin Street Blues - Clarinet Marmelade - Baby, Won't You Pleae Come Home - I've Found A New Baby<br />
0:31 (2) BACK O' TOWN BLUES fragment -band introduced by Garry Moore ( not on CD*)/RA-CD-42/RA-DVD-1a/<br />
2:29 (2) JELLY ROLL BLUES (*)/ --- / --- /<br />
1:45 (2) DOCTOR JAZZ -vMB (*)/ --- / --- /<br />
0:37 Westend Blues -6/28/28 L.Armstrong recording, background to Garry Moore<br />
1:00 Dippermouth Blues -L.Armstrong band, clip from 1946 film "New Orleans"<br />
1:35 Singing <strong>The</strong> Blues -2/4/27 Bix Beiderbecke recording; -a private movie of Bix on screen<br />
2:00 In A Mist -p solo by Johnny Guarnieri<br />
1:25 Jailhouse Blues -short film 1929 Mamie Smith acc.by P.Grainger & unknown band<br />
1:15 St.Louis Blues -clip from short film 1929 Bessie Smith acc.by J.P. Johnson's band<br />
0:24 Honky Tonk Train Blues -v&p M.L.Lewis & vLouis Armstrong, clip from 1946 film "New Orleans"<br />
1:31 Honky Tonk Train Blues -p-solo by Meade Lux Lewis on TV<br />
0:16 Garry Moore speech<br />
3:10 (5) Chicago -white bands incl.vBS,v&pLHA,St.Cyr,kazoo,vln,dancers,tbJT,tJP,& others<br />
0:20 Garry Moore speech<br />
0:45 (3) Blues For Gene -during introduction of the "Chicagoans" by Garry Moore<br />
2:10 (3) China Boy<br />
0:20 Garry Moore about the “roaring '20s'”<br />
2:47 (5) Medley: Fidgety Feet-Tin Roof Blues-Fidgety Feet -dancing Al Minns & Leon James<br />
1:21 (5) Ostrich Walk -to Garry Moore on early orchestras<br />
"CHICAGO FREE FOR ALL":<br />
0:38 (2) CORNET CHOP SUEY segue to (*)/ --- / --- /<br />
0:42 (5) After You've Gone segue to -vJT (on screen) acc.by (4) & (3) (not on screen) (*)<br />
1:30 <strong>The</strong> Pearls -v&d Mae Barnes, v&p Lil Hardin-Armstrong (*)/ --- / --- /<br />
1:18 HEEBIE JEEBIES segue to -v&d Mß, v&p LH, t <strong>Red</strong> <strong>Allen</strong>, c1Buster Bailey (*)/ --- / --- /<br />
1:03 (5) Wolverine Blues segue to -combination by the white bands (*)<br />
1:22 (4) Way Down Yonder segue to -vBS<br />
1:oo Pine Top's Boogie segue to -Krupa intro-p solo Meade Lux Lewis (*)/ --- / --- /<br />
1:48 (5) TIGER RAG -Krupa intro-all bands incl.Ory & <strong>Allen</strong> (*)/ --- / --- /<br />
1:00 (5) Take Me To <strong>The</strong> Land Of <strong>Jazz</strong> -vBS,vMB,vJT & mixed band to leave out by Sidney S.Bushman
Covernotes- SOUNDS GREAT SG-8007: <strong>The</strong> TV program<br />
represented on this LP, "Chicago And All That <strong>Jazz</strong>," was one<br />
of the few sponsored TV specials of hour length which attempted<br />
a serious portrayal of earlier jazz styles. <strong>The</strong> justly famous<br />
CBS program, "<strong>The</strong> Sound Of <strong>Jazz</strong>," (1957) was a presentation<br />
of informally played music by representatives from the<br />
swing era, while the four Timex "All Star <strong>Jazz</strong>" shows of the<br />
late 1950s were potpourris of jazz from many stylistic periods,<br />
with no discernible purpose but to provide entertainment.<br />
By contrast, "Chicago And All That <strong>Jazz</strong>," as part of a series<br />
with fairly exacting standards, was conceived with much<br />
higher aspirations.<br />
It came during the early run of "<strong>The</strong> Dupont Show Of <strong>The</strong><br />
Week," a CBS program telecast on Sundays at 10 pm from<br />
Sept.17,1961 to Sept.6,1964. Over the years, the series<br />
presented a kaleidoscope of various types of entertainment and<br />
informational programs, ranging from dramatic plays and<br />
documentaries to light comedies and musical revues. It was<br />
stated that one of the series' aims was to show the latitude and<br />
potential of the television medium as a means of communication<br />
and instruction. In this context, jazz or Afro-American<br />
music as one of the major cultural phenomena of the 20th<br />
Century could not be neglected.<br />
Rather than produce a light musical variety program, it was<br />
decided that an instructive one focusing on the early development<br />
of jazz should be arranged. Towards that end, writerproducer<br />
William Nichols produced a script that attempted to<br />
trace all the facets of the Chicago music scene in the 1920s,<br />
and how the conflux of musical influences led to the formation<br />
of the so-called "Chicago style." <strong>The</strong> playing conditions, the<br />
locations, the dance styles, and the milieu (i.e., underworld<br />
influence), were all taken into account to describe the<br />
culmination in the later 1920s, when Chicago was the jazz<br />
center of North America, and its eventual decline around<br />
1930, when most of the Chicago musicians gravitated towards<br />
New York and the big bands such as Jean Goldkette, Paul<br />
Whiteman and Ben Pollack, where the uninhibited spirit of<br />
their music was all but drowned.<br />
It was a long and fairly demanding script, and commentator<br />
Gary Moore tended to be a bit pompous, especially during the<br />
early chapters of the program. This is less obtrusive in the<br />
Kinescope with its visual distraction, but well-educated jazz<br />
buffs find it rather overbearing, and even more so when left<br />
alone with the soundtrack, as on this LP.<br />
But it must be understood that an educational rather than<br />
merely entertaining commentary was certainly in keeping with<br />
the series' high standards. And what seems so disturbing at the<br />
onset of the program, when the scene is set, becomes more and<br />
more oblivious as some marvellous music unwinds.<br />
A track-by-track description of the many musical performances<br />
would exceed our space limits, and a good deal of information<br />
is already provided,in the title rundown, sufficiently detailed to<br />
facilitate an understanding of the musical proceedings.<br />
However, a few annotations on the performers and some of the<br />
program's highlights seem appropriate.<br />
<strong>The</strong> title, "Chicago And All That <strong>Jazz</strong>," reminds oldtime jazz<br />
enthusiasts of a Verve album released under that title. It was<br />
cut during the show's early rehearsals, on Oct.30 and 31, 1961,<br />
by some of the performers (without <strong>Red</strong> <strong>Allen</strong>) assembled for<br />
the TV program.<br />
To re-create the music of the first group that made records in<br />
what came to be termed "Chicago style," guitarist/organizer<br />
Eddie Condon had been called upon to try and reassemble<br />
those McKenzie-Condon Chicagoans. Jimmy McPartland,<br />
Gene Krupa, Joe Sullivan, Bud Freeman and Condon himself<br />
were still active after all those years and easily gathered.<br />
For the late Frank Teschemacher on clarinet, the logical<br />
replacement was Pee Wee Russell, then playing in the band at<br />
Condon's New York club. <strong>The</strong> part of bassist Jim Lanigan,<br />
retired after many years with the Chicago Symphony, was<br />
played by Bob Haggart, "a Chicagoan by association," to<br />
quote Gary Moore. <strong>The</strong> same could be said of trombonist /<br />
singer, Jack Teagarden, who had not been a member of the<br />
original group (there had been no trombonist then). An aside to<br />
the unitiated: <strong>Red</strong> McKenzie, whose name appears in the "Chicagoans"<br />
title, had not then recorded with them. He only insisted<br />
on the use of his name because he organized that 1927 date.<br />
Two other participants in the TV show were also recorded for<br />
the Verve album: Lil Hardin-Armstrong, as a solo pianist<br />
- 99 -<br />
and singer, and white veteran Vaudeville "shouter" Blossom<br />
Seeley.<br />
In the TV program on Saturday, Nov.26,1961, Lil Hardin-<br />
Armstrong appeared also in her original role as the pianist with<br />
Louis Armstrong's 1927 recording unit, the Hot Seven.<br />
Armstrong's part was admirably played by New Orleansian<br />
Henry"<strong>Red</strong>"<strong>Allen</strong>, and the two late Dodds Brothers, Johnny<br />
and Warren "Baby," were replaced by two Armstrong associates<br />
of later years, Buster Bailey and Zutty Singleton, on<br />
clarinet and drums, respectively. Bassist Milt Hinton, in place<br />
of tubist Cyrus St. Clair, completed the group in their recreation<br />
of "New Orleans style" jazz, playing such numbers as<br />
Armstrong's Cornet Chop Suey and two of Jelly Roll Morton's<br />
famous compositions, Jelly Roll Blues and Doctor <strong>Jazz</strong> This<br />
last number had a vocal by veteran entertainer Mae Barnes,<br />
who also proved to be an adept drummer in a duet with Lil<br />
Hardin-Armstrong on <strong>The</strong> Pearls, another Morton piece. For<br />
their next number, Heebie Jeebies, they were lent additional<br />
support by trumpeter <strong>Allen</strong> and clarinetist Bailey.<br />
Blossom Seeley had two solo vocals in the TV program. With<br />
Toddlin' <strong>The</strong> Toledo, she re-created a song and dance number<br />
that had gained her fame and a certain notoriety back in 1908.<br />
Her accompaniment in this performance came from a quintet<br />
representing <strong>The</strong> Original Dixieland <strong>Jazz</strong> Band, the group<br />
which cut the first jazz record in 1917. Outstanding in this<br />
illustrious enough assembly (see per-former listing) was<br />
Johnny Guarnieri, a vastly underrated versatile pianist who,<br />
later in the program, excelled in a sensitive rendition of the<br />
late Bix Beiderbecke's piano composition, In A Mist.<br />
Blossom Seeley, in her second song (Way Down Yonder In<br />
New Orleans) was supported by a rather undistinguished NBC<br />
studio group under the nominal leadership of Eddie Condon, a<br />
band that was never seen on screen. This band and a larger stud<br />
unit which provided most of the period music and the<br />
background to commentary were the least satisfying groups of<br />
the program, though they were occasionally supplemented<br />
with men from the Chicagoans or the ODJB. <strong>The</strong>y were a<br />
necessity, though, because if their music contained little jazz<br />
quality, it served well in recreating the varied musical<br />
atmosphere of Chicago in the 1920s.<br />
In her rendition of Way Down Yonder In New Orleans, by the<br />
way, Blossom Seeley makes use of a part of this number that<br />
hardly any jazz fan has ever heard, as it is never played in jazz<br />
performances: a Latin-tinged verse reminiscent of the flavor in<br />
some Jelly Roll Morton pieces.<br />
To demonstrate early boogie woogie piano playing, Meade<br />
Lux Lewis was on hand, soloing on the Honky Tonk Train<br />
Blues, and with brief support by Gene Krupa in Pine-top's<br />
Boogie Woogie, the first known composition in this style. In an<br />
imaginative piece of editing that comes through on the<br />
soundtrack as well, Lewis' live rendition of Honky Tonk Train<br />
Blues was picked up from a recital of that number in the 1946<br />
film "New Orleans," wherein Lewis meets Louis Armstrong<br />
during the film's Chicago chapter.<br />
To TV viewers, and the lucky ones possessing one of the rare<br />
Kinescopes remaining as testimony of the visual qualities of<br />
this show, such film clips, chosen by jazz film collector and<br />
historian Ernest R.Smith, may well appear to be the true<br />
mementos of those good old days."<br />
However, the feeling of those times is just as admirably<br />
conveyed by much of the music on this LP, beyond the<br />
instrumental numbers by the three small groups and the<br />
soloists. And for a striking example of the "Chicago style,"<br />
there is nothing better than Chinaboy, played by some of the<br />
stalwarts of that era.<br />
In its first releases (8001, 8003) containing music from TV<br />
shows reliving the big band era (as well as a jam session<br />
sampling of various jazz styles-8005), SOUNDS GREAT set<br />
out to provide modern era collectors with a means to assess the<br />
treatment that jazz in its various incarnations has received on<br />
TV over the years. This LP is yet another valuable instaliment<br />
in that historical collection.<br />
Dr. K. Stratemann (Author: "Buddy Rich and Gene Krupa, A<br />
Filmo-Discography;" "Negro Bands On Film/Big Bands 1928-<br />
1950, An Exploratory Filmo-Discography"). We are indebted<br />
to "<strong>Red</strong>"<strong>Allen</strong> biographer Franz Hoffmann for assistance in<br />
the preparation of these notes
- 100 -<br />
"CHICAGO AND ALL THAT JAZZ" - New York Scene, by Jack Bradley, J.J. Dec.1961: (photo with <strong>Red</strong> & Buster)<br />
NBC-TV is producing a jazz show titled "Chicago And All brought applause from all in the house. Everyone in this band<br />
That <strong>Jazz</strong>" which will be shown on Nov.26th. Rehearsals and is a star in their own right. It is regretful that no record<br />
tapings began a month prior and gathered some of the greatest company in N.Y.C. had the sense to record them while they<br />
jazz talent of all time. Featured were three full jazz bands, 1/2 were together.<br />
dozen soloists and close to 20 numbers.<br />
Meade Lux Lewis, big and round, should have been allotted<br />
Yank Lawson, Roland DuPont(tb),Paul Ricci(cl),Johnny more time. However, his talents shone on HONKY TONK<br />
Guarnieri and Cliff Leeman recreated the O.D.J.B. <strong>The</strong>ir TRAIN and PINE TOP'S BOOGIE. Johnny Guarnieri, who<br />
arrangement of ORIGINAL DIXIELAND ONE STEP was worked hard as house pianist backing almost everyone, soloed<br />
identical to the original. Old time vaudevillian Blossom Seeley on Bix's IN A MIST. Mae Barnes proved her versatility by<br />
joined the group to sing TODDLING TODALO.<br />
playing drums behind Lil Armstrong's piano interpretation on<br />
A recreation of Chicago jazz was expertly handled by Jimmy Jelly Roll's THE PEARLS. Dancers Al Minns and Leon James<br />
McPartland, Jack Teagarden, Pee Wee Russell, Bud Freeman, strutted their stuff to the tune of FIDGETY FEET. Blossom<br />
Eddie Condon, Joe Sullivan, Bob Hagart and Gene Krupa. Seeley was backed by Eddie Condon and the NBC-orchestra<br />
<strong>The</strong>ir CHINA BOY and WOLVERINE BLUES were typical on WAYS DOWN YONDER IN N.Y. Teagarden was backed<br />
Condon fare.<br />
by the same orchestra for his vocal on AFTER YOU'VE<br />
But the greatest thrills of all were presented by the New GONE.<br />
Orleans band, with <strong>Red</strong> <strong>Allen</strong>, Kid Ory, Buster Bailey, Johnny Also Involved in the above proceedings were Tony Spargo<br />
St.Cyr, Lil Armstrong, Milt Hinton and Zutty Singleton. <strong>The</strong>y and studio musicians John Piazarelli, Al Chernet, Julie<br />
rendered JELLY ROLL BLUES, CORNET CHOP SUEY, Schechter(vln) Hymie Schertzer(s) and Bill Gussack(dm).<br />
DR.JAZZ (which spirited vocal by Mae Barnes and Lil <strong>The</strong> rousing finale was TIGER RAG, with everybody joining<br />
Armstrong). This band swung from the ground up, with <strong>Red</strong> in and, naturally enough, a Krupa drum solo. This show, with<br />
<strong>Allen</strong>'s trumpet providing the driving. Impetus. No one but the possible exception of Blossom Seeley, was l00 per cent<br />
Louis could top his work on CORNET CHOP SUEY. At jazz and can be favourably compared to the memorable CBS<br />
rehearsal Kid Ory's gut bucket solo on JELLY ROLL BLUES "Sound Of <strong>Jazz</strong>" programme of 1957<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------<br />
CRITICS, VIEWERS ADMIT FINDING TV's 'ALL THAT CHICAGO JAZZ' ENTERTAINING by Fred Danzig<br />
CD-12/2/61p12: N.Y.(UPI)-Some weathe- gaga put out their cigars and cigarettes, ment of the night's jazzmen was more<br />
red whippersnappers from the land of lined up on each side of the stage with- impressive.<br />
jazz stormed into a TV studio and manaout complaint and went along, as jazz- Those cats have the hot art down cold<br />
ged to sweep aside some uncongenial men always seem to go along, with the and can hypnotize us into playing atten-<br />
production barricades with their rousing production presumptions. And despite tion, digging their sounds, by virtue of<br />
sounds and styles last week.<br />
everything, the message came through, their professional ease and stylish hea-<br />
“Chicago and All That <strong>Jazz</strong>” was the albeit in bits and pieces.<br />
rings, not to mention the legends that are<br />
special; NBC-TV's “Du Pont Show of For that reason, I was sorry the show kept alive by their hands, horns and<br />
<strong>The</strong> Week” was the slot. Garry Moore, wasn't aired at an earlier time so that the hearts.<br />
possibly TV's most commercially accepta- youngsters could get an earful. A little I also enjoyed the pre-twist jazz dances by<br />
ble jazz buff, spoke producer-writer Wil- history lesson wouldn't hurt. And there the team of Minns and James and the<br />
liams Nichols' words about the history were some priceless old, crowded- raucous, roly-poly shouting by those girl<br />
and meaning of Chicago and all that jazz. bandstand film clips showing Mamie and singers. I thought an opportunity was<br />
Garry was surrounded by such warm- Bessie Smith, Louis Arm-strong, Meade missed by not letting the old-timers tell<br />
blooded jazz animals as <strong>Red</strong><strong>Allen</strong>, Lil Lux Lewis and even a jet of Bix some stories about jazz, Chicago and the<br />
Armstrong, Buster Bailey, Gene Krupa, Beiderbecke, in action.<br />
20's, in their own words. <strong>The</strong>y might<br />
Kid Ory, Pee Wee Russell, Johnny St. Perhaps the performers have grown a bit have rammed the forms into sharper<br />
Cyr, Meade Lux Lewis, Jimmy McPart- short-winded after 30 or 40 years. But perspective more effectively.<br />
land, Joe Sullivan and Mae Barnes. With their rhythms though repetitive and, by <strong>The</strong> script wasn't intended to be a<br />
that kind of company going for him, the modern standards primitive retain a scholary history of jazz –I hope-but it<br />
script and Gary had the good sense to remarkable vitality and Joie De Vivre. could serve the unimitiated as a rather<br />
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<br />
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<br />
that some clown decided were required. feat probably could be left to the youn- O'Garry telling you on your TV, buster.<br />
<strong>The</strong>y took part in some cornhalt sight ger cats who play louder. <strong>The</strong> achieve-<br />
-------------------------------------------------------------------------------------------------------------------------------------------<br />
CD-11/11/61p12: CHICAGO'S 'ALL NYAN-11/18/61p19: NBC'S “SHOW OF CD-11/25/p13: KID ORY, MAE BARNES<br />
THAT JAZZ' 'SHOW OF THE WEEK' THE WEEK” on TV, Sun.Nov.26 is a full- AND MEADE LUX LEWIS FOR TV<br />
NOV.26 – A full-hour showcase of the hour special called “Chicago and All That In memory of the golden age of jazz, some<br />
most American of all modern music, and <strong>Jazz</strong>”. Such old timers as … and others are of the most eminent performers will sound<br />
how it spread from its Midwestern cradle to seen and heard.<br />
off fresh what one of them calls the “glori-<br />
the entire world, “Chicago and All That WE CAUGHT A SCREENING OF THE ous finale of a Chicago free-for-all.”<br />
<strong>Jazz</strong>,” will be produced by NBC Special show on Monday. One of the best features is This will come at the close of “Chicago and<br />
Projects for broadcast in color on “DuPont the synchronizing of old film clips of such as All That <strong>Jazz</strong>,” the “DuPont Show of the<br />
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.<br />
Garry Moore will star as narrator, both on the life portions of the show. Garry Moore “In the Chicago of the Twenties,” says<br />
and off-camera. And an all-star cast of 20 narrates this show which reunites a lot of William Nichols, producer and writer of<br />
distinguished contempoprary jazz musicians<br />
and performers will participate, it was an-<br />
musicians for the first time in 27 years.<br />
the NBC Special Projects program, “from<br />
nounced by Donald B.Hyatt, the executive<br />
ONE OF THE BEST FEATURES is the<br />
time to time they would assemble all the<br />
great bands are entertainers for a jazz free-<br />
producer.“With the guidance of Gary Moo- dancing of Al Minns and Leon James in a for-all that would blow the roof off the<br />
re as story-teller, the program promises to sequence called “Fidgety Feet” in which they mammoth dance-hall or armory where it<br />
show how the infusion of jazz into the body demonstrate such once popular dances as the took place.” For the TV-show,<br />
of American popular music took place Shimmey, Charleston, Snake Hips,Black Nichols has assembled 20 of the most<br />
largely in the Twenties, and how that music Bottom and Lindy Hop. This, alone, should celebrated jazz performers including …<br />
was ever present in American life during take some folks' minds off <strong>The</strong> Twist. <strong>The</strong> free-for-all finale, with the entire com-<br />
those rebellious and uninhibited times. It is WILLIAM NICHOLS wrote and produced pany participating, will include “After You<br />
fortunate that so many of the great mu- this show about the <strong>Jazz</strong> Age and which 've Gone,””Heebee Jeebies,” “Wolverine<br />
sicians and performers of this period are features some 20 giants of jazz. It's a show Blues,” “Way Down Yonder in New Or-<br />
still active and blowing as hot as ever.” which might make some of our contemleans,” “Pinetop Boogie” and “Tiger Rag.”<br />
<strong>The</strong> 20 guest performers, arranged in porary modernists all up and take notice-if Garry Moore is the narrator, Donald B.<br />
alphabetically, include …<br />
they pay attention.<br />
Hyatt, Director of NBC Special Projects, is<br />
listing only 20 members of (2) and (3).<br />
executive producer.<br />
-------------------------------------------------------------------------------------------------------------------------------------------------------<br />
NYAN-11/25/61p17: WHAT'S ON TV? – detailed note about the Nov.26 show, calling 20 performers.
- 101 -<br />
CD-11/25/61p12: MAE BARNES, KID ORY, LIL ARMSTRONG ON “CHICAGO, ALL THAT JAZZ”NOV.26<br />
According to the 12th edition of the Encyclopedia<br />
Britannica, the most important<br />
development of the Chicago musical<br />
scene after 1910 was the establishment<br />
of the Chicago Opera Association.<br />
“We humbly disagree,” says TV producer-writer<br />
William Nichols, “and we call<br />
our dissenting opinion 'Chicago and all<br />
That <strong>Jazz</strong>'.”<br />
A “DuPont Show of the Week,” this NBC<br />
Special Projects program will be broadcast<br />
in color Sunday, 10-11 p.m. EST.<br />
<strong>The</strong> all-star show tells the story of how<br />
jazz spread through the Middle West.<br />
Twenty giants of contemporary jazz are<br />
featured and Garry Moore is narrator.<br />
“It's high time that we recognize that the<br />
secondcity is maybe the first city in the<br />
spread of this great American music,”<br />
says Nichols. “This music that was<br />
cradled in Chicago from 1917 to 1920<br />
gave its name to the whole American<br />
scene in the Twen-ties, and it has since<br />
been recognized as America's great<br />
contribution to the art of music.”<br />
Why Chicago?“<strong>The</strong>re are a lot of<br />
reasons,” Nichols says.”Take the name<br />
'Chicago. It's an old Indian word that<br />
means 'wild onions.' Doesn't that sound<br />
like the name of a jazz band or the title<br />
of a jazz piece?”<br />
But there were more substantial reasons.<br />
“For one thing.” Nichols notes, “there<br />
had been awar. American life was never<br />
the same after World War I, and the<br />
change was most noticeable in the cities<br />
of the Middle West. <strong>The</strong>re were plenty of<br />
jobs and more freedom for the Negro, so<br />
he headed North, bringing his music with<br />
him. When Johnny came marching home<br />
to Chicago he was different , and so was<br />
his home town. He heard a new kind of<br />
music called jazz, and it seemed to<br />
express what he was feeling.”<br />
For the TV show, Nichols hasassembled<br />
many of the leading jazz performerswho<br />
were flourishing in the Chicago of the<br />
Twenties andare still flourishing today.<br />
Among them are:<br />
(listing only members of the “New<br />
Orleans Band” and the Chicagoans”.<br />
VV-1/28-24/62 see p101 “Chicago and All That <strong>Jazz</strong>”: Mae Barnes - <strong>Red</strong> <strong>Allen</strong> - Lil Armstrong - Buster Bailey<br />
ca.mid Nov.61, NYC., Basie's club – party of Count Basie with <strong>Red</strong><strong>Allen</strong> and singer Tony Lawrence<br />
PC-11/25/61p17: TOAST – Three<br />
luminaries of the entertainment world<br />
toasts each other at a party at Basie's in<br />
New York. Left to right: jazzmen Henry<br />
(<strong>Red</strong>) <strong>Allen</strong>, Count Basie and singer<br />
Tony Lawrence.<br />
CD: 1/13/62p14<br />
early Dec.61, Toronto, Can. -"Recent Town Tavern attractions were Henry (<strong>Red</strong>) <strong>Allen</strong>, Joe Williame and Harry Edison,<br />
Oscar Peterson, and Buck Clayton..." (Down Beat 12/21/61)
- 101a - Addenda<br />
11/27 Mo. - 12/10/61 Su. Columbus, Benny Klein´s – <strong>Red</strong> <strong>Allen</strong> Quartet w. Sammy Price &/or Lannie Scott, Franklin<br />
Skeete, Jerry Potter<br />
results in an academic discus- At first we thought <strong>Red</strong> had cotton<br />
sion. What's to be said that stuffed 'way down inside. But no. When<br />
hasn't been said time and time we asked him he said, "I just don't blow<br />
before?<br />
so hard." But don't kid yourself into<br />
In addition to blowing the thinking he can't blast off.<br />
original New Orleans sound, We heard him tee off with "Hindustan,"<br />
<strong>Red</strong> is a first-rate show-man. a fluid, muted version. You had to<br />
He knows how to help an imagine the melody - "where I met you<br />
audience experience the gamut annd the world began" —while <strong>Red</strong><br />
of emotion which jazz and indulged in soft fanciful flights.<br />
the blues offer. To love jazz, Pianist Sam Price was coming through<br />
you have but to listen. To with an occasional fast run. Drummer Jerry<br />
understand, you need to think. Potter and Franklin Skeete on the string<br />
JAZZ WAS born as a result bass fit into the rhythm picture like "a<br />
of suffering. <strong>The</strong> real thing long pair of milady's formal gloves -<br />
has always been played from reserved, quiet, yet potentially dynamic.<br />
the heart and the soul. <strong>Red</strong> rested his horn on the piano so he<br />
From the pick-up notes of could snap his fingers, and clap his hands.<br />
Columbus Dispatch Tu., 11/28/61p12B<br />
"Snowy Mornin' Blues," you can detect "Hey!" "Hey-ay-yay!" And all down the<br />
“<strong>Red</strong>” <strong>Allen</strong> Combo Is Hit at<br />
a mood of that which is the blues - the tables, up on the balcony, out among the<br />
Benny Klein's by William Fulwider<br />
sorrow of a people being expressed in the waiting line of customers, hands began<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> is one of the old<br />
only universal language.<br />
clapping on the up-beat.<br />
gang; those of the 1920s and 30s, who<br />
With a little imagination, you can see a When <strong>Red</strong> picked up the horn again he<br />
brought <strong>Jazz</strong> to peak popularity during<br />
lonesome fellow huddling in the door-way leaned into it. Every bar was a bit wilder<br />
Prohibition and who are continuing their<br />
of a dirty market . . . perhaps in a bleak than the preceeding, ending in a note<br />
artistry.<br />
alley . . . or crouched in the corner of a higher than the ceiling.<br />
<strong>Allen</strong> is a trumpeter par exellence and is<br />
cold freight car goin' no-where but EVEN IN REPOSE between numbers,<br />
mostly the whole show when his band sets<br />
nowhere.<br />
<strong>Allen</strong> was a St. Vitus with a beat: He<br />
up on Benny Kline's bandstand.<br />
HE BEGINS to sing – almost a moan twitched with rhythm before it started;<br />
No doubt his listeners will detect a<br />
- and a new blues is born. <strong>The</strong> real greats he fingered the valves as his sidemen<br />
similarity between <strong>Allen</strong> and Louis<br />
understand this feeling. <strong>The</strong>y understand musically held the audience in tense<br />
Armstrong in instrumental technique<br />
the message of the blues.<br />
anticipation of <strong>Red</strong>'s next outburst.<br />
and in gravel voice, the brief times <strong>Allen</strong><br />
When NBC was selecting the musi- <strong>The</strong>re were "St. Louis Blues," "Birth of<br />
turns to vocalizing.<br />
cians for its "Chicago and All That the Blues." "Bye, Bye Blackbird" with<br />
THIS IS not unusual since <strong>Allen</strong> used to<br />
<strong>Jazz</strong>" program of last Sunday, <strong>Red</strong> the whole crowd singing.<br />
play with Louis. But "<strong>Red</strong>" says he plays<br />
<strong>Allen</strong> was one of the men chosen. "Let it roll!" <strong>Red</strong> grinned.<br />
now the way he's always played. No expla-<br />
THE NETWORK wanted to tell the<br />
In "Come Home Bill Bailey" Sam Price<br />
nation needed, how-ever - he's good.<br />
story of Chicago and its influence on<br />
gathered up two big mits full of keys and<br />
<strong>Allen</strong>'s group may be somewhat singular -<br />
jazz during the 1920's. <strong>The</strong>y told the<br />
spread them out like they came from a<br />
the pianist, Sammy Price, does do some<br />
story with the help of <strong>Red</strong> and others<br />
full band; Potter made like a supah Krupa.<br />
solo work - since he has no trombone or<br />
like him.<br />
Even in off-the-cuff requests like "Up the<br />
clarinet as most jazz bands do, but he<br />
A hulk of a man, <strong>Red</strong> off-stage is a<br />
Lazy River" and "Mack, the Knife,"<br />
pretty well makes up for that with his<br />
quiet, unassuming gentleman. Onstage,<br />
<strong>Allen</strong> and his combo were casually yet<br />
own enthusiasm.<br />
he's an entertainer who wins an audi-<br />
completely big time.<br />
<strong>The</strong> group plays a wide range of numence<br />
quickly and expertly with his<br />
IN "SUGAR BLUES" we first notibers,<br />
from "Hindustan" and "Birth of the<br />
ced <strong>Red</strong>'s generous habit of leading up<br />
gruffnesss, his contortions and his<br />
Blues," which are mostly underplay-ed<br />
to an introductory bar, then cutting out<br />
feeling for the music he plays.<br />
and muted. to wide-open renditions_ of<br />
to give his sidemen the breaks.<br />
I'm betting he'll win you over too.<br />
"Come Home Bill Bailey," "St. James ======================= He got in some subtle licks of high<br />
Infirmary" and "Chicago."<br />
Columbus-Star, 12/2/61, p14a&15a temperature in "People Will Say We're<br />
ALLEN loves to flutter-tongue, but <strong>Red</strong> <strong>Allen</strong> Packs Horn personality in Love," but the one we liked best was<br />
says he does only because that's the way By John Bohannan<br />
<strong>Red</strong>'s version of "Basin Street Blues."<br />
he feels like playing. His version of "St. If Henry "<strong>Red</strong>" <strong>Allen</strong> never put a trum- So you're out for a quiet evening. So<br />
Louis Blues" sounded almost original to pet to his lips he would be a great enter- you want to drink espresso and read<br />
this reviewer because of a similarity tainer. <strong>The</strong> top jazz man now playing at poetry.<br />
first to a mambo beat and then boogie Benny Klein's is a crowd pleaser with Get with it, man! Check this <strong>Red</strong> <strong>Allen</strong>.<br />
woogie, but "<strong>Red</strong>" explained that's the an intious way of getting everybody into You can't relax when he's around. Your<br />
way the music was written.<br />
the act. He claps hands on the up-at. <strong>The</strong> feet move. You quit beating your gums<br />
And "is boogie woogie `really new," he audi-ence joins in. <strong>The</strong>n he yells "Double and beat your hands.<br />
asked? - Drummer Jerry Potter and bassist up." <strong>The</strong> message gets through. It's clap, He'll get through to you.<br />
Franklin Skette don't get much chance to clap, clap-clap. Clap, clap, clap-clap. ========================<br />
go it on their own, but they afford the But when he picks up the trumpet all unknown date & source, :<br />
balance needed for a good band. hell breaks loose in fascinating free-style (continued from-p6:<br />
Citizen-Journal, Columbus, Ohio; Wed., sasheys, building up to solid holds, only You have only until Sat.Dec.8 to catch<br />
11/29/61p17: Music And <strong>The</strong>ater to break dramatically into a guttural tone the trumpet sound of Henry “<strong>Red</strong>”<strong>Allen</strong> at<br />
'Nice, Man, Nice' Password This week in the last few bars, lingering on the Benny Klein´s Steak House.<br />
At Benny Klein's , by Ron Pataky seventh note, then climbing to a high Considered one of the jazz immortals,<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> climbs onto the<br />
sixth. He has an infinite variety of clima- <strong>Allen</strong> shows tremendous depth, warmth<br />
bandstand at Benny Klein's, caresses his<br />
ctic configurations, achieving the impos- and beauty in his work.<br />
horn with his massive hands and, in a<br />
sible with the ease of a golfer downing a Since his early recordings in 1929 with<br />
scotch and soda at the nineteenth hole. King Oliver and later Louis Armstrong,<br />
croaking, Armstrong - like voice, says ". HE TOYS with the instrument like a to his present-day recordings on Verve-<br />
. . nice, man, nice."<br />
cat playing with a mouse. No other horn label, <strong>Allen</strong>´s jazz concepts and tastes<br />
<strong>The</strong>n he begins to play.<br />
man we ever have heard has so much have varied. But throughout, his dyna-<br />
A CRITIQUE of the handiwork of jazz volume control. He can play with a mute, mic personality has prevailed to the<br />
greats - men such as Louis Armstrong, take it off and the open horn is no louder. delight of his audiences everywhere.<br />
Jack Teagarden and the like – inevitably
- 101b - ADDENDA<br />
Citizen-Journal, Columbus, Ohio; Mo.12/4/61<br />
Music And <strong>The</strong>ater : Proud Moments Followed Lean Years For New Orleans Lad by Ron Pataky<br />
Early on a January morning in 1908, Orleans - to Chicago - to New York - <strong>Red</strong> called her from the club that day<br />
a son was born to Henry and Juretta always playing with the men who were wish her a happy one.<br />
<strong>Allen</strong> in Algiers, West New Orleans. to become the biggest names in the Just a little side story, a jazzman who<br />
<strong>The</strong> address was 414 Newton-st. <strong>The</strong> surge of jazz on, the America scene. has watch them come and go for the past<br />
proud parents decided to name their boy Henry Sr. died in 1952 but not until his 40 years - who started .with his father's<br />
Henry Jr.<br />
son had given him some proud moments. marching band and went on to becme<br />
<strong>The</strong> elder Henry had been blowing a In 1950, Henry Jr. returned to his home one of the country's finest horn men.<br />
lot of horn for years around the city. with his own son, Henry III, where his THE PROUDEST moment of <strong>Red</strong>'s<br />
Like him, Henry Jr. developed an early father was to march in a parade. life? It occurred during his first<br />
ear for music. By the age of eight, TAKING THE elder <strong>Allen</strong>'s horn, European grip in 1959.<br />
young Henry was playing in his Henry Jr. walked that day in the parade Playing in Vienna, <strong>Red</strong> was invited<br />
father's marching band in the streets of while Henry III drove his grandfather to go to a small caberet called Fatty<br />
New Orleans.<br />
in the car.<br />
George's after the show. Walking into<br />
WHEN HE WAS about 14, he and "I think that was the proudest day of the place, he glanced at some pictures<br />
another fellow formed their own band. my father's life," Henry Jr. said. "You've behind the long, wooden bar.<br />
called <strong>Allen</strong> and Casimir and booked never seen a bigger water. melon smile. One caught his eye. <strong>The</strong>re, in a<br />
their first engagement - at the Friends Henry <strong>Allen</strong>, Jr., now known by jazz- picture yellow with age but still<br />
of Honor Hall there.<br />
lovers the world over as "<strong>Red</strong>" <strong>Allen</strong>, recognizable, was <strong>Red</strong>'s father, horn in<br />
From halls and basement clubs at the enters the second of a two• week stint hand, with members of his early<br />
mouth of the Mississippi, Henry went on at Benny Klein's supper club Monday. group.<br />
to join groups playing the riverboats His mother still lives in the little house "If I, live to be 100;" <strong>Red</strong> said, "I'll<br />
between New Orleans and St. Louis. at 414 Newton-st where, last Thurs- never forget that night .. . I wish he<br />
And from there it was back to New day, she celebrated her 78th birthday. could have seen it."<br />
================================================================================================<br />
12/11/61-1/7/62 Cleveland, Hickory<br />
1/8-27/62 Chic., London House, <strong>Red</strong> <strong>Allen</strong><br />
Grill, replacing Charlie Shavers<br />
Chicago Courier 12/29/62p9<br />
MUSIC AND COMEDY EXPERTS –<br />
<strong>The</strong> forceful trumpet of Henry (<strong>Red</strong>)<br />
<strong>Allen</strong> once again will be heard at London<br />
House, beginning Tuesday, Jan. 8. <strong>Red</strong> and<br />
his famous group will appear at that famous<br />
musical restaurant for three weeks, through<br />
Sunday, Jan. 27.<br />
Alluring Gerri Oliver,"Queen of the Disc<br />
Jockeys," will be much in evidence during the<br />
holidays, spinning latest records and jamming<br />
at her Palm Tavern on East 47th St. <strong>Allen</strong> Drew,<br />
local comedian, will be missed during the holiday<br />
season in the city, but his witty sayings and<br />
walking cane twir-ling will captivate the<br />
nightlifers at the Pink Poodle in Indiana-polis.<br />
Dick Gregory, ace satirist, currently is wowing<br />
at Mr. Kelly's on Rush St. His rib-cracking<br />
jokes are something else.<br />
Sheraton-Cleveland Hotel-Where To Go<br />
12/9/61pp4 & 7:<br />
"<strong>Red</strong>" <strong>Allen</strong> at Hickory<br />
Fun and games -also known as Henry<br />
"<strong>Red</strong>" <strong>Allen</strong> - return to the Hickory<br />
Grill for four weeks, beginning Monday,<br />
December 11. <strong>The</strong> legendary <strong>Allen</strong>, a<br />
product of New Orleans' fabled jazz<br />
environs, proved a showman of the first<br />
order, when he brought his quartet into<br />
the Hickory for its first appearance in<br />
Cleveland last summer, and his long<br />
return appearance is something of a<br />
command performance for patrons of<br />
Jules Weinberger's plush downtown<br />
nightery.<br />
<strong>Allen</strong>'s trumpet, one of the most forceful<br />
and dynamic in the jazz world,<br />
brings forth at various times the sounds<br />
of traditional jazz, Dixieland, and the<br />
warm and beautiful notes of traditional<br />
standards. It's a repertoire which made<br />
him one of the most talked about acts<br />
ever to appear at the Hickory - a fitting<br />
tribute to a man recognized in jazz circles<br />
as one of jazzdom's all-time greats.<br />
==============================================================================================
- 102 -<br />
1/9-1/28/62, Chic. - London House - <strong>Red</strong> <strong>Allen</strong> Quartet, (housebands: Eddie Higgins/Larry Novak);<br />
between 1/9 - 28/62 Chic., London House; 3/23/62 - WBBM-“Best Band on One Night Stand” - HENRY RED ALLEN<br />
QUARTET: <strong>Red</strong> <strong>Allen</strong> (t,v) Sammy Price (p) Frank Skeete (b) Jerry Potter (d) tape 26:33<br />
ONS-5567 1:03 theme: ALGIERS BOUNCE (H.<strong>Allen</strong>) on tape only/ RA-CD-22<br />
5:37 LOVER COME BACK TO ME (S.Romberg) Flutegrove FL6/ RA-CD-22<br />
6:13 ST.LOUIS BLUES (W.C.Handy) --- / RA-CD-22<br />
5:29 THAT'S A PLENTY (Gilbert-Pollack) --- / RA-CD-22<br />
2:40 MEDLEY: - I'VE GROM ACCUSTOWD TO HER FACE --- / RA-CD-22<br />
- AUTUMN LEAVES --- / RA-CD-22<br />
2:51 BIFFLY BLUES (H.<strong>Allen</strong>) --- / RA-CD-23<br />
4:15 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) --- / RA-CD-23<br />
0:34 leave out to ONS-theme and announcement RA-CD-23<br />
same date & loc.; 3/30/62 - WBBM-ONST: same as above tape 30:00<br />
ONS-5576 0:21 intro: ONST-theme only RA-CD-23<br />
4.33 LADY BE GOOD (Gershwin) RA-CD-23<br />
3:22 AUNT HAGAR'S BLUES (Handy) Flutegrove FL6/RA-CD-23<br />
3:06 PRICE IS RIGHT (Sammy Price) --- /RA-CD-23<br />
6:36 MEDLEY: - VOLARE RA-CD-23<br />
- BYE BYE BLACKBIRD RA-CD-23<br />
- THE MUSIC GOES ROUND AND ROUND RA-CD-23<br />
3:54 JELLY ROLL BLUES (J.R.Morton) RA-CD-23<br />
6:53 MEDLEY: - IT'S ALLRIGHT WITH ME RA-CD-23<br />
- HAVA NEGUILA --- /RA-CD-23<br />
0:48 theme: ALGIERS BOUNCE (H.<strong>Allen</strong>) RA<br />
John Chilton in “Ride, <strong>Red</strong>, Ride” p172: … Although the<br />
<strong>Allen</strong>-Price musical partnership was very success-ful,<br />
socially they shared a love-hate relationship. … In his<br />
autobiography Price spoke of their association:<br />
“I was working with someone who understood me and<br />
knew that I kidded a lot but most of the time I meant<br />
what I said... I stayed with <strong>Red</strong> eight years... <strong>Red</strong> was my<br />
best friend and I considered myself his best friend. He<br />
was hell to get along with musically because he was so<br />
sensitive, but I got along with him by telling him I made<br />
him sound good.<br />
Sammy Price's multifarious business interests combined<br />
with his political activities often curtailed his availability<br />
to play musical dates, and as a result pianist Lannie Scott<br />
began doing some of <strong>Red</strong> <strong>Allen</strong>'s work…. Lannie Scott<br />
and Sammy Price continued sharing <strong>Red</strong>'s work, and<br />
each made separate trips to Chicago for the quartet's<br />
London House residencies. the group was featured on<br />
various broadcasts from that club, some of which were<br />
later issued on albums. <strong>The</strong> balance is indifferent on most<br />
of these 'airshots', Franklin Skeete's double bass playing<br />
is almost inaudible and the sound of Jerry Potter's<br />
cymbals adds an obtrusive 'sound-wash' to the<br />
proceedings. <strong>The</strong>re is also some 'wow' on the piano and<br />
<strong>Red</strong> occasionally steps 'off-mike'; nevertheless it is a<br />
fair portrait of the quartet at work in a club that did not<br />
cater exclusively for jazz fans. <strong>Red</strong> encourages the<br />
crowd and often uses his trade-mark exhortation 'Make<br />
him happy!' to get them applauding the solos. He also<br />
generously sprinkles the word 'Nice' throughout the<br />
programme.<br />
<strong>The</strong> material used by the quartet covered a wide area.<br />
Following his appearance in the Chicago and All That<br />
Yazz TV show, <strong>Red</strong> took to using a neat arrangement of<br />
Morton's 'Jelly Roll Blues', which was issued on the 'airshots'<br />
album. Sammy Price wisely makes no attempt to<br />
copy Jelly Roll Morton, creating instead some fine rolling<br />
piano playing that demonstrates his skilful, sturdy lefthand<br />
work. <strong>Red</strong> does not blast his way to a climax here<br />
and is similarly restrained on a tight arrangement of 'Aunt<br />
Hagar's Blues' (to which <strong>Red</strong> had been reintroduced<br />
during his European tour with Kid Ory); however his<br />
playing exuberance is unchecked on an imaginative<br />
version of 'Lover, Come Back to Me'. Lannie Scott was<br />
also featured on some of the Chicago broadcasts (see Jan.1963) and<br />
plays well on a faster than usual version of 'Satin Doll', on which<br />
<strong>Red</strong>'s solo is full of interesting gaps where he deliberately pauses<br />
for dramatic effect. <strong>The</strong> quartet's version of 'I Want a Little Girl' is<br />
a little too ornamental. but Lannie Scott shows that he, like Sammy<br />
Price, was a versatile pianist.<br />
Some of these Chicago performances are run-of-the-mill (by<br />
<strong>Red</strong>'s standards) but it must be remembered that, for the<br />
musicians, this was an ordinary working night, which to their<br />
surprise was later issued on record. Had <strong>Red</strong> known this in<br />
advance he would not, one feels, have included the inappropriate<br />
and showy version of 'Hava Neguila'.<br />
In contrast, the material recorded by <strong>Red</strong>'s quartet (Scott,<br />
Potter and Skeete) for a Prestige-Swingville session in June<br />
1962 was carefully selected. …<br />
1/29-2/24/62, N.Y.C., Embers - Meade Lux Lewis, Henry <strong>Red</strong> <strong>Allen</strong> (see advertisement on page 100) New Yorker magazine 2/10/62:<br />
THE EMBERS, 161 E. 54th St.(PL 9-3228): Unusually there are a couple of conventions down front, but <strong>Red</strong> <strong>Allen</strong>'s horn<br />
defies them as best it can. His quartet of traditionalists will be reinforced on Moday, Feb.12, by Meade Lux Lewis's trio.<br />
Sundays offer potluck bouts between extra bands. .METROPOLE, 7th Ave, at 48th St.: <strong>The</strong> teeth of the gale are operated by the<br />
band of Gene Krupa and Charlie Shavers' quartet. Guests work this street on Sundays. Friday and Saturday nights, there's Twist<br />
music, and the tribal rites that go with it, upstairs in the haymow.
- 103 -<br />
Easter Sunday 1962 closing date of Jimmy Ryan's with a jam session<br />
Reflections on THE DEATH OF 52nd STREET by Dan Morgenstern in <strong>Jazz</strong> Journal July 1963, Vol. 16, No. 7, p. 8:<br />
52nd Street – “<strong>Jazz</strong> Street” - died at 3 a.m on Easter Sunday morning in New York City in 1962, with the closing of<br />
Jimmy Ryan's. …. One night there was<br />
a jam session which developed into a<br />
trombone battle between J.C.Higginbotham,<br />
Jack Teagarden, and Vic Dickenson.<br />
I think <strong>Red</strong> <strong>Allen</strong> was on trumpet<br />
and Big Sid Catlett was on drums, and I<br />
know that Vic took it but it was close.<br />
4/early/62 Can.,Toronto, Colonial Tavern, Henry<br />
<strong>Red</strong> <strong>Allen</strong> Quintet feat. Bud Freeman (DB-<br />
4/26/02)<br />
April-2nd week, Cleveland-<strong>The</strong>atrical<br />
Restaurant, <strong>Red</strong> <strong>Allen</strong> acc.by the Ellie Frankel<br />
Trio; <strong>Jazz</strong> Report Vol.2No.9, 5-62: Henry <strong>Red</strong><br />
<strong>Allen</strong>, accompanied by the Ellie Frankel Trio,<br />
appeared on one of Mike's April shows.<br />
Believe it would be 'nice' as <strong>Red</strong> would say, to<br />
see him recorded with the old veterans of New<br />
Orleans in a new album. <strong>Allen</strong> returned to the<br />
<strong>The</strong>atrical Restaurant the second week of April<br />
(perhaps this was the rhythm group about which<br />
John Chilton reported on p169 in his book, see<br />
also the other Aug.61 Cleveland date on page 95.)<br />
4/16-4/29/62, Detroit - Baker's Keyboard, <strong>Red</strong> <strong>Allen</strong>; (the above photos were made by Duncan Schiedt);<br />
3/1/62 Copenhagen, DAN-bc-Corp.studio-10; J.C.Higginbotham(tb) & ARNVID MEYER & HIS ORCH.: Arnvid Meyer (t)<br />
John Darville (tb) Jesper Thilo (ts) Jörn Jensen (p) Ole Christiansen (b) Hans Nymand (d) prod. Torben Ulrich, Erik Wiedemann<br />
3:19 After You´ve Gone “Right Out Of Kansas City”-SundanceMusicApS-STUCD(5BOX-CD1)-08102 / JCH-CD-12<br />
other sides unknown<br />
4/16/62, Copenhagen (DAN); recording studio: same as above<br />
2:41 Stompy Jones Sonet SXP-2026/ JCH-CD-12<br />
3:46 Confessin' --- / JCH-CD-12<br />
3:57 C-Jam Blues --- / JCH-CD-12<br />
2:23 Basin Street Blues --- / JCH-CD-12<br />
Lazy River / Blue Light / unissued; wanted; possibly in Arnvid Meyer -collection<br />
NYAN-5/12/62p16: Trombonist J.C.Higginbotham back in New York after swing through the Scandinavian countries and<br />
excited over how the young Europeans are playing jazz. Higgy also says he was knocked out when he heard some of his solos<br />
played note for note, tunes even he had forgotten. …<br />
6/5/62 Englewood Cliffs, N.J., Hackensack studio – HENRY”RED”ALLEN QUARTET: <strong>Red</strong> <strong>Allen</strong> (t,v) Lannie Scott (p)<br />
Frank Skeete (b) Jerry Potter (d) (Martin Williams-“Henry <strong>Red</strong>” gives takes & order)<br />
Prestige / Swingv. /Xtra / Prestige USA /<br />
3530-3 3:00 CHERRY -vRA (Don <strong>Red</strong>man) PRT-7755/SV-2034/5032/PRCD 24232-2/RA-CD-23/<br />
3531-3 3:46 SLEEPY TIME GAL (Lorenzo-kbiting) --- / --- / --- / --- / --- /<br />
3532-2 3:05 I AIN' T COT NOBODY -vRA (S.Williams) --- / --- / --- / --- / --- /<br />
3533-2 3:45 THERE'S A HOUSE IN HARLEM (Arien-Van Heusen) --- / --- / --- / --- / --- /<br />
3534-3 3:15 JUST IN TIME (Comden-Green-Styne) --- / --- / --- / --- / --- /<br />
3535-1 3:02 NICE WORK IF YOU CAN GET IT (Gershwin) --- / --- / --- / --- / --- /<br />
3536-2 4:50 BIFFLY BLUES (H.<strong>Allen</strong>) --- / --- / --- / --- / --- /<br />
3537-1 4:10 ST.LOUIS BLUES (W.C.Handy) --- / --- / --- / --- / --- /<br />
Don DeMichael in Down Beat 2/28/63-Swingville 2634****:<br />
This is the session described so well by Martin Williams in<br />
the Aug.30/62, Down Beat. And a warm, swinging session it<br />
was. It serves to remind the listener-if he needs remindingthat<br />
<strong>Allen</strong> is among the finest New Orleans-mainstream<br />
trumpeters.<br />
His solos on this album are models of melodic improvisation.<br />
<strong>The</strong>y are like well-constructed short stories, especially when<br />
compared. with the long-winded, rambling novels of younger<br />
players of more "modern" persuasion. Even at that, some of<br />
<strong>Allen</strong>'s solos are three choruses long, but what he plays<br />
makes so much sense he never bores the listener. For<br />
instance, his ideas on Just flow together like tributaries<br />
producing a fresh stream un-hurrying to its-destination.<br />
<strong>The</strong> bite he gets into parts of his solos gives the proper<br />
amount of tension needed; his wit adds leavening throughout.<br />
His tone is particularly warm when he dips down into<br />
his horn's lower register, as on Biffly, a fine track.<br />
On Nobody the poignancy in <strong>Allen</strong>'s playing rises to the<br />
surface in the opening chorus, during which <strong>Allen</strong> implies as<br />
much of the melody as he states, a trick that he uses to good<br />
advantage on other tracks also. His vocals on this track and<br />
Cherry are as much jazz as his horn work. When the crucial<br />
question of what constitutes a jazz singer arises I wonder why<br />
so few mention <strong>Allen</strong>?<br />
<strong>The</strong>re are a few brief solos by pianist Scott that are tasteful if<br />
not particularly inventive. <strong>The</strong> rhythm section, except for some<br />
shakiness behind <strong>Allen</strong>'s Nobody vocal (and it might be the<br />
result of a tape splice) and a lack of relaxation throughout<br />
Cherry (the weakest track), does a good job. This, by the way,<br />
is the group <strong>Allen</strong> usually works with nowadays; it's generally<br />
tightly knit.<br />
It's <strong>Allen</strong>'s show, though, and a very good show it is.
- 104 -<br />
Martin Williams “JAZZ MASTERS OF NEW ORLEANS”pp251-274 - HENRY RED:<br />
...At least he was very early for some recording he did in<br />
the summer of 1962. <strong>Allen</strong> had been using a quartet for<br />
successful appearances in such semi-posh lounges as the<br />
Embers in New York, the London House in Chicago, the<br />
<strong>The</strong>atrical Grill in Cleveland, and on college tours with<br />
comedians Shelley Berman and Bob Newhart, and he was<br />
asked by Prestige Records to make an LP with the group.<br />
Prestige, like several New York jazz record companies, uses<br />
the studios of an ex-optometrist named Rudy Van Gelder,<br />
who began high-fidelity recording as a hobby and ended up<br />
with a successful business on his hands. Van Gelder´s<br />
studios are located just across the George Washington<br />
Bridge from Manhattan Island in the New-Jersey suburbs,<br />
and <strong>Red</strong> <strong>Allen</strong> pulled up his shiny black Cadillac in front of<br />
Van Gelder´s large, backyard brick building early-almost<br />
forty-five minutes before the date was to begin. Van Gelder<br />
is more used to show-business lateness than earliness, and<br />
he was not only surprised but dismayed at the arrival of<br />
<strong>Allen</strong> and his quartet. However, once he had made the firm<br />
announcement that recording would not begin until the<br />
scheduled 1 p.m. he opened the studio door and let the<br />
players wait inside.<br />
<strong>Allen</strong> soon regained the composure he was so determined to<br />
preserve, and inside the high-ceilinged, wooden beamed<br />
studio he found of time to prepare. "Early?"muttered Jerry<br />
Potter setting up his drums, "This group is always early!"<br />
It was better to be inside. <strong>The</strong> day was overcast; there was a<br />
drizzle which turned into a heavy rain by late afternoon.<br />
<strong>Allen</strong> donned a pair of classes that gave him a studious air,<br />
an air that few people who have watched the exuberant and<br />
powerful <strong>Red</strong> <strong>Allen</strong> on a night club bandstand would<br />
recognize. He leaned over the back of the studio piano,<br />
studying his list of repertory with the quartet and going some<br />
of his lyrics.<br />
Before long there was a casual exchange of players at the<br />
piano bench-first the group´s bass player, Frank Skeete, and<br />
then <strong>Allen</strong>. Lanny Scott, the quartet´s pianist, is the<br />
professional, of course, so it would not behoove him to play<br />
for such casual amusement. Musicians take this sort of thing<br />
for granted-nearly everyone plays a little piano and enjoys it,<br />
but it is often surprising to outsiders.<br />
(*) A little before 1 p.m. Esmond Edwards arrived.<br />
Edwards had set the date up and he was to supervise it for<br />
Prestige. (In other fields of endeavour he would be called a<br />
producer; in recording, he is called an A & R man-meaning<br />
artists and repertory.) He was frankly surprised to find the<br />
musicians all present and ready to go. He took his place<br />
inside Van Gelder´s control booth, behind the large glass<br />
panel which is broad and high enough to take in the whole<br />
barn-like studio at a glance. Van Gelder soon had his machines<br />
threaded with tape and was seated behind his complex<br />
control panel. <strong>The</strong> date was officially ready to begin.<br />
On the other side of the glass the musicians began running<br />
through the first piece, Cherry, to warm up and to cheek the<br />
placement of the microphones. <strong>Red</strong> <strong>Allen</strong> was swinging<br />
from the first bar, and his very personal, often complex<br />
phrases rolled off his horn with an apparent, almost casual<br />
ease. He was also showing his fine control of the horn; he<br />
would begin with an idea at a mere whisper of trumpet<br />
sound, and develop it to a powerful shout at the end of his<br />
phrase-the kind of dynamics that few other trumpeters know<br />
how to employ.<br />
After the run-through, Edwards suggested that drummer<br />
Jerry Potter try sticks instead of brushes. Everyone agreed.<br />
<strong>The</strong>n Cherry was going onto the tape, take-1 -an inventive<br />
opening by <strong>Red</strong>, but he stopped after his vocal. "I goofed the<br />
words all up." Another take, but the bass wasn´t balanced.<br />
First numbers on a record date usually go this way.<br />
<strong>The</strong>n, Cherry –3. Everyone was working; the group was<br />
concertedly alive. <strong>Allen</strong> was truly inventive, for he used only<br />
one brief phrase that he had played in any previous version<br />
of Cherry so far. "That man really improvises,” someone in<br />
the booth said, as Edwards and Van Gelder nodded. "I<br />
wonder if he could himself, even if he wanted to.” As the<br />
ending rang out through the wooden rafters and across the<br />
mikes, echoing the power and drive of the performance.<br />
Edwards laughed. "<strong>The</strong>y don´t play like that any more!” "Can<br />
we hear that back?" <strong>Red</strong> asked-“How. do we sound in here?"<br />
A bit later they began running through Sleepy Time Gal,<br />
<strong>Allen</strong>´s lines were weaving in unexpected directions and he<br />
was beginning to show his command of the full range of his<br />
horn, with the perfectly played low notes that are almost his<br />
exclusive property. His melodies were still gli-ding over the<br />
rhythm section and basic time, with sureness and inner drive,<br />
and no excess notes.<br />
<strong>The</strong> first take of Sleepy Time Gal was much simpler than the<br />
run-through, and there was some trouble with the<br />
introduction. <strong>Allen</strong> is still more used to recording for the old<br />
flat acetate record blanks rather than tape, and he had been<br />
counting off the tempos to the group at a whisper. But with<br />
tape it´s easy to cut splice, and remove a downbeat or a countoff.<br />
“You can count it off out loud, <strong>Red</strong>,” Edwards reminded<br />
him.<br />
At the end of another take, Edwards apparently saw<br />
something was about to happen, and he reached for his mike<br />
to say over the studio loudspeakers, “ How are the chops?<br />
Can we do one more right away?”<br />
"Yeah, sure, my man!” immediately from <strong>Allen</strong>. And then<br />
they did the best Sleepy Time Gal yet.<br />
This time <strong>Allen</strong> came into the engineering booth to hear the<br />
playback and sat beside Van Gelder´s elaborate array of dials<br />
and knobs. He raised and curved his eyebrows at a<br />
particularly lyric turn of phrase in his own improvising, pretty<br />
much the way any listener would in following the music.<br />
By 2 p.m. they were into I Ain't Got Nobody; on his vocal<br />
<strong>Red</strong> was gliding through as many as six notes in singing just<br />
the opening word “I.” After the run-through, Edwards<br />
suggested that <strong>Allen</strong> blow another trumpet chorus on the final<br />
take. Again, <strong>Allen</strong>´s ideas were fresh and different each time<br />
they ran the piece down, and he still glided over the basic<br />
one-two-three-four of the rhythm with perfect poise. His<br />
trumpet alone might make the whole group swing. He<br />
counted them off loudly now for the final take, “ONE!<br />
TWO!” And at the end, after the reverberations had settled,<br />
there was the inevitable <strong>Red</strong> <strong>Allen</strong> genial cry of "Nice!”<br />
Almost his trademark.<br />
<strong>The</strong>n, a short break as some visitors arrived, Van Gelder<br />
immediately gave them a firm invitation to sit quietly in the<br />
studio and stay out of the booth. Jerry Potter came in to ask<br />
for a little more mike on his bass drum. “Can you bring it up a<br />
little?” <strong>The</strong>n I can relax. I have to keep leaning on it<br />
otherwise.”<br />
“Okay, we´ll try. It´s not easy to do.”<br />
In the studio designer and photographer Don Schlitten, there<br />
to get a picture for the LP album cover. had his lights and<br />
shutters going. <strong>Allen</strong> wasn´t bothered. Nervous or not, <strong>Red</strong><br />
<strong>Allen</strong> had been strictly business from the beginning. And he<br />
was obviously impatient to get back to work.<br />
Later, they were well into a new version of one of <strong>Allen</strong>´s<br />
early recordings, <strong>The</strong>re´s a House in Harlem, and <strong>Red</strong> was<br />
getting deep growl effects the way he does on his open horn,<br />
without a plunger. Again, every version was different. Van<br />
Gelder remarked for about the third time that they should be<br />
recording everything including the warm-ups and runthroughs.<br />
And again, he shook his head in appreciation of<br />
how well <strong>Red</strong> was playing.<br />
Edwards stopped the take, remarking on the intro, and<br />
drummer Lannie Scott and bassist Frank Skeete worked it out<br />
together before the tape was rolled again.<br />
<strong>The</strong>y began Just in Time, a more recent show tune, from<br />
Bells Are Ringing. “Everybody plays that thing now,” a<br />
visitor remarked. “I guess it´s become a jazz standard already.<br />
I heard Art Farmer do it the other day.” <strong>The</strong>re was some<br />
trouble again with the intro so <strong>Red</strong> took it himself<br />
unaccompanied. <strong>The</strong>y went through the piece once and <strong>Allen</strong><br />
was after Jerry Potter again. “Let me hear a little more of that<br />
bass drum, please." <strong>The</strong> ending was “up,” loudly and broadly<br />
signaling the finish of the piece, just as the group does to a<br />
club audience.<br />
Another break, this one officially called by Edwards. <strong>Red</strong><br />
was still anxious to get back to work and he toyed around on
his horn, playing the next piece he wanted to do, Nice Work<br />
if You Can Get It. “Johnny Hodges has a record of that,”<br />
remarked Lannie Scott. “Did you hear it?”<br />
By the time Edwards suggested they go back to work, <strong>Red</strong><br />
had relaxed at least long enough to be showing a visitor a<br />
color picture he has of his mother, himself, and his<br />
granddaughter-his “gran” as he calls her-four generations of<br />
the <strong>Allen</strong> family. But he broke off abruptly and was back at<br />
his mike at the suggestion they resume playing.<br />
On the take of Nice Work, Edwards encouraged, “Make it<br />
clean.” <strong>Red</strong>´s variations rolled off easily and with a rare and<br />
very personal asymmetry.<br />
In the studio, the quartet then began to run down a piece<br />
that seemed both familiar and not familiar, a piece that<br />
sounded like the blues, and was not exactly the blues, and<br />
was thirty-two bars long. When they get the routine set,<br />
Edwards asked for the title. Biffly Blues said <strong>Allen</strong>-a new<br />
version of the first record he ever did under his own name.<br />
One take and for the time being everyone agreed with<br />
Edward´s comment, “That´s it. It won´t go down any better<br />
than that.”<br />
As they were running through St Louis Blues in the studio.<br />
there was talk in the booth about “still another record of that<br />
one,” but Edwards decided that if they did something<br />
different with it, then it should be recorded. <strong>The</strong>y did, of<br />
course.<br />
It was getting late, nearly 4 p.m., and Edwards did some<br />
quick calculations from the timings recorded in his notes on<br />
the session. “<strong>Red</strong>, why not stretch out with a few more<br />
- 105 -<br />
choruses on this,” he said into the studio mike. “We will<br />
have enough time for it on the LP.” While the tapes were<br />
rolling, <strong>Allen</strong> suddenly went down very low on his horn<br />
again, growling out notes for almost two choruses. One take,<br />
as usual, did the blues.<br />
<strong>The</strong> date was nearly over now. Edwards made more<br />
calculations on timing, and then stepped into the studio to<br />
suggest to <strong>Allen</strong> they do a longer version of Biffly Blues.<br />
Agreed. “What does that title mean, <strong>Red</strong>?” a visitor asked<br />
hurriedly, hoping to get his question in before the tapes<br />
rolled again, “My nickname-when I was a kid,” he smiled.<br />
“My folks used to call me Biffly Bam when I wanted to be a<br />
baseball player. You know-biff, bam-hit. Wham!”<br />
After a rough start-<strong>Red</strong> had placed his horn and chops in<br />
too much of a hurry-they got though a long taping on Biffly<br />
Blues with Edwards conducting and encouraging through<br />
the glass of the booth-waving his arms emphatically at the<br />
rhythm section, as <strong>Allen</strong> concentrated on his solo choruses.<br />
(Creative A & R work, it´s called.)<br />
“You know,” offered Potter at the end, "that Biffly Blues is<br />
the kind of piece that could hit.”<br />
“Maybe,” said a visitor. “You can never tell about those<br />
things. Anyway, it sounds just as fresh as when he first did it<br />
thirty years ago.”<br />
“No. Fresher. Because <strong>Red</strong> is fresher,” said another<br />
onlooker softly. “You can´t date that kind of talent. And<br />
he´s himself, and that means he´s got things nobody else<br />
could pick up on.”<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Martin Williams"Condition <strong>Red</strong> (<strong>Allen</strong>, That is)" in Down Beat 8/30/62: (same as on covernotes of Prestige-LP:<br />
Heny"<strong>Red</strong>"<strong>Allen</strong>,Jr. belonged to an illustrious line of 1929, but like many a veteran professional he still approached<br />
jazz trumpeters from New Orleans,a line which began with a record date with a kind of sound apprehension and a slightly<br />
Buddy Bolden (to many people, the first jazz musician), nervous determination that everything shall go well.<br />
and which included King Oliver and Louis Armstrong. <strong>The</strong> session represented on this LP, as I described it in<br />
After 1929, <strong>Allen</strong> was a member of the Luis Russell band, Down Beat in the issue of August 30, 1962, had been set<br />
well remembered for its drive, its swing, and its solos by <strong>Red</strong> up by Esmond Edwards for one o'clock on June 5, 1962,<br />
<strong>Allen</strong>. In the early thirties he joined Fletcher Henderson, and at the New Jersey studios of Rudy Van Gelder, just across<br />
his solos with that bands seemed so much a part of the the George Washington Bridge from Manhattan, and was to<br />
celebrated Hen-derson arrangements that when other bands feature the quartet <strong>Red</strong> <strong>Allen</strong> had recently been working<br />
played those scores, other trumpeters usually followed the with in clubs like the Embers in New York and the Palmer<br />
outlines of Henry <strong>Allen</strong>'s recorded improvisations. It was House in Chicago.<br />
evident that <strong>Allen</strong> had develo-ped one of the most personal <strong>Allen</strong>, with his group, pulled up his car in front of Van<br />
trumpet styles after Armstrong.<br />
Gelder's early-almost forty-five minutes early in fact. He<br />
In the mid-thirties, <strong>Allen</strong> joined Louis Armstrong, and wanted everything to be relaxed and easy. So there was<br />
received the singular honor of being a featured soloist, with plenty of time to set up the drums, plenty of time to get<br />
billing, in the band led by the most celebrated jazz trumpeter. acquainted with the room. <strong>Allen</strong> leaned over on the back of<br />
As a sideman on record dates, <strong>Allen</strong> also recorded with some the studio piano and studied his papers, wearing a pair of<br />
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<br />
two eras-and beyond-King Oliver, Jelly Roll Morton, Sidney watched the exuberantly powerful <strong>Red</strong> <strong>Allen</strong> on the<br />
Bechet, the "Chicagoans," Lionel Hampton, Fats Waller, Don bandstand would recognize.<br />
<strong>Red</strong>man, Billie Holiday, Artie Shaw-the list goes on.<br />
(continues almost the same as above “HENRY RED” from<br />
By 1940, after a stay with Benny Goodman, <strong>Allen</strong> had his (*)A little before 1 PM…). (then added): Indeed, they don't play<br />
own group-one of the most advanced small ensembles of the like that any more; with <strong>Red</strong> <strong>Allen</strong> gone, they shall not play<br />
time, incidentally-and he was on his own from that time on. that way again. But the memorial he would like most, I think,<br />
One of the outstanding characteristics of <strong>Allen</strong>'s playing is not for us to lament the loss so much but to hear what he<br />
was the freedom with which he phrased-probably no jazz left us, feel it, and enjoy.<br />
soloist between Armstrong and Lester Young played with (Martin Williams is the author of Where's the Melody? A<br />
greater rhythmic ease and natural swing than <strong>Red</strong> <strong>Allen</strong>. For Listener's Introduction to <strong>Jazz</strong> and <strong>Jazz</strong> Masters of New<br />
me, a program of ballads and blues by <strong>Red</strong> <strong>Allen</strong> held Orleans, and is a regular contributor on jazz to the New York<br />
promise of being one of the superior pleasures in jazz. Times and Down Beat).<br />
<strong>Allen</strong><br />
--------------------------------------------------------------------------------------------------------------------------------------------------------had<br />
been recording as a leader of his own group since<br />
Michael Shera about Xtra 5o32, In <strong>Jazz</strong> Journal 8-67: This is predictable about his work was its unpredictability! His<br />
arguably the best record Henry <strong>Allen</strong> made in the period singing, too, has the same rhythmic subtlety and relaxation<br />
between the end of the war and his recent untimely death. as his playing. He can also be extremely funny, too, as<br />
He had not made many records in his last few years, anyone who had heard Let Me Misss You Baby from a<br />
which is a great pity, because up until immediately before long-deleted American Victor album called 'Bread, Butter<br />
he died he was playing more inventively than in any And Jam in Hi-Fi', will testify. (I was most surprised by<br />
previous part of his career.<br />
the omission of any mention of his singing in Barry<br />
Perhaps the most remarkable thing about his work at this McRae's recent short article).<br />
time, considering that he had been recording for over On this record, he is beard with his regular quartet, and<br />
thirty years, was a new rhythmic subtlety which is apparent this is probably the best way to hear him. <strong>The</strong> programme<br />
in his pre-war work, but which he developed to a much includes old <strong>Allen</strong> favourites, most notably Biffly Blues<br />
greater degree in his latter years. He was a master of and House In Harlem. However, like all forward-thinking<br />
dynamics, and could produce the widest range of different musicians, he does not rely solely on his old repertoire,<br />
tones of any trumpeter. His playing was always beautifully and so we find him playing a fairly modern standard, Just<br />
relaxed, but never lazy. In fact there is always a hint of In Time. Every track, however, is extremely successful,<br />
tension, which adds a subtle bite. <strong>The</strong> only thing that was and the record is unreservedly recommended.
- 106 -<br />
Dover Lake Land News, Thu. 9/27/62p22 Music Makers - News And Views About Music And <strong>The</strong> People Who Make It<br />
by Harold Plartey (Swingsville 2034)<br />
"Mr. <strong>Allen</strong>" - Henry "<strong>Red</strong>" <strong>Allen</strong> is<br />
one of the real giants of jazz. Nobody<br />
plays a trumpet just like <strong>Red</strong> <strong>Allen</strong> and<br />
his new "Swingsville" album proves it.<br />
<strong>The</strong> New Orleans trumpet ace plays<br />
with a natural swing and rhythmic<br />
ease. and his control and dynamics<br />
point up his individual style.<br />
<strong>The</strong> album should have been called<br />
"<strong>The</strong> Amazing Mr. <strong>Allen</strong>," for <strong>Red</strong><br />
plays a program of ballads and blues,<br />
he swings, he sings and he entertains<br />
all the way through. His low register<br />
playing is beau-tiful to hear, and there's<br />
plenty of it.<br />
<strong>The</strong> group has been playing such plush<br />
establishments as <strong>The</strong> Embers in NYC<br />
and <strong>The</strong> Palmer House in Chicago.<br />
<strong>The</strong> rhythm section plays with a loose,<br />
swinging beat with Lannie Scott, piano:<br />
Jerry Potter, bass, and Frank Skeete,<br />
drums, and it's the best rhythm section I<br />
have ever heard <strong>Red</strong> play with.<br />
Take your pick as to which is the best<br />
of the eight slices in the album. Mr.<br />
<strong>Allen</strong> sings a couple (in his own inimitable<br />
style) with "I Ain't Got Nobody"<br />
and "Cherry" as pace breakers on<br />
opposite sides. <strong>The</strong>re's the ever popular<br />
"St. Louis Blues" and "Biffly Blues" in<br />
the blues department and "Nice Work If<br />
You Can Get It" and "Just In Time" in<br />
the popuöar category.<br />
You pay your money and you take<br />
your pick, but you'll find that <strong>Red</strong> <strong>Allen</strong><br />
was never better than he is in this album.<br />
=============================================================================<br />
John Postgate about XTRA 5032, in <strong>Jazz</strong> Monthly lo/67-, <strong>The</strong> more I hear of TRUMPET MAN – Henry”<strong>Red</strong><br />
the late Henry <strong>Allen</strong>'s recordings, the more convinced I become that he was<br />
one of the few really great jazz musicians. His style was set in broad outline<br />
as long ago as 1930, but it did not remain static and indeed, improved<br />
gradually throughout his life. Both he and Roy Eldridge regarded any<br />
suggestion of mutual influence as risible, but they do have certain resemblances.<br />
On this issue, for example, the analogy between the two musicians is quite<br />
striking on THERE'S A HOUSE IN HARLEM: here <strong>Allen</strong> uses a strained<br />
tone very typical of Eldridge might have slipped into a "buzz" tone, <strong>Allen</strong><br />
makes use of an open rasp. But the resemblance between the two is fairly<br />
superficial, arising from their common debt to Armstrong, and the fact that<br />
both are what one might call "coarse" trumpeters. <strong>Allen</strong>'s style was in fact<br />
highly original, and its most pronounced characteristic was its wide ranging<br />
quality: to enjoy <strong>Allen</strong> one must accept that the music will move from<br />
delicacy to stridency in a matter of bare; it will not, generally speaking, build<br />
to a climax, but will rather occupy the ears continuously by setting up musical<br />
patterns and dislocating them. This manner of playing can be ineffably tedious<br />
in the hand of untalented: <strong>The</strong> post-Parker practice of saxophonists of keeping<br />
on blowing in the hope that something interesting might happen underlies<br />
much of my lack of sympathy for hard bop and its off-shoots.<br />
<strong>Allen</strong>'s approach is perfectly illustrated in the to me-absolutely brilliant<br />
performance of JUST IN TIME on this issue: the theme is stated, idiosyncratically,<br />
over the first sixteen bars, then a protracted phrase of remarkable<br />
melodic delicacy takes care of the repetition. Two choruses of fertile,<br />
somewhat understated variations and contrasts follow, switching from<br />
light suggestion to coarse growl as bar follows bar; no climax is reached<br />
so, characteristically, a show-biz type is used to bring the performance to<br />
an end. A capsule of the essential <strong>Allen</strong>: a sophisticated primitive, who<br />
developed an untutored style into something that had a rare consistency<br />
and logic, even at a cerebral level.<br />
<strong>The</strong> jagged quality of his music-jagged both in mood and in melodic struc- TRUMPET MAN – Henry”<strong>Red</strong> <strong>Allen</strong>, the<br />
ture-often caused <strong>Allen</strong>'s playing to conflict with established canons of jazz New Orleans-born trumpet man whose horn<br />
taste, which is why, I think, so many jazz fans have tended to dismiss him. has made him one of the most popular jazz<br />
Yet once one gets into rapport with him, even his beloved tear-up of musicians around, is going home to visit<br />
CHERRY takes on a wayward kind of beauty. This record has many delights his 78-year old mother, Mrs.Juretta <strong>Allen</strong>,<br />
from his Douanier Rousseau of the jazz trumpet - SLEEPY TIME GIRL and who still lives in the little Newton Street<br />
BIFFLY blues (a 32-bar blues in a minor key) are particularly notable house where “<strong>Red</strong>” was born in January,<br />
performances - but I think he was not retirely relaxed at the session. <strong>The</strong> 1908. CD:6/30/62p16 (in larger size the same<br />
proceedings lack, some of the ebullience of the rather similar "FEELING photo was used by Jan Evensmo in his book).<br />
GOOD",.(CBS-624oo) recorded a few years later; the rhythm section is rather<br />
too formal and <strong>Allen</strong> fluffs once or twice. At 30 minutes playing-time the<br />
record is also rather short, but it is acoustically much better and its average<br />
jazz quality is only marginally below that of the later recording. <strong>The</strong><br />
economics of the record business caused <strong>Allen</strong>'s latter-day music to be rather<br />
poorly represented on record; as an example of his real genius, away from a<br />
rabble-rousing context, this issue is strongly recommended.<br />
-----------------------------------------------------------------------------------------------------<br />
Down Beat's Annual Combo Directory 6/21/62:: “Henry <strong>Red</strong> <strong>Allen</strong>” - In recent<br />
years <strong>Allen</strong> has been rediscovered by critics and praised as the best of the last<br />
of the red-hot trumpeters. When he is good, he's very very good, even if<br />
some of his groups are horrid. representative recording: Verve 1025, <strong>Red</strong> VV:6/28/62p7 (shortened)<br />
<strong>Allen</strong> Plays King Oliver<br />
prob mid-late June 62, New Orleans, vacation of <strong>Red</strong> <strong>Allen</strong>, CD:6/30/62p17 with<br />
photo on the right side; (compare it with June-59 on page 68)<br />
7/4/62 NBC Today Tv-show,- - HENRY"RED"ALLEN QUARTET: - as 6/5/62<br />
pos. another (d = ?Ronnie Cole as 1/8/63) 9:30 tape, which was; a little bit too fast ,<br />
0:23 female narr. RA-CD-23<br />
2:52 CHERRY -vRA (Don <strong>Red</strong>man) RA-CD-23 VV:6/28/62p7 (shortened)<br />
1:03 speech by female interviewer with <strong>Red</strong> <strong>Allen</strong> about his recently recording session RA-CD-23<br />
and dates in Cleveland, Embers, Indianapolis; Chicago London House ;<br />
0:36 male narr. RA-CD-23<br />
2:53 LOVER COME BACK TO ME (S.Romberg) RA-CD-23<br />
1:41 JUST IN TIME /cut (Comden-Green-Styne) RA-CD-23
- 107 -<br />
7/7/62 NPT, VoA-bc-No….. “Newport <strong>Jazz</strong> Festival”- Concert LOUIS ARMSTRONG AND THE ALL STARS: Louis<br />
Armstrong (t,v) Trummy Young (tb,v) Joe Darensbourg (cl) Billy Kyle (p) Bill Cronk (b) Danny Barcelona (d) Jewel<br />
Brown (v) Yank Lawson (t*), J. C. Higginbotham (tb**) added (complete session on transcription with 15 sides is unissued)<br />
3:22 ** DEAR OLD SOUTHLAND / JCH-CD-10<br />
3:49 * ** WHEN THE SAINTS GO MARCHING IN –vJB & band & audience / JCH-CD-10<br />
3:08 * ** STRUTTIN’ WITH SOME BARBECUE / JCH-CD-10<br />
1962 by Dan /Morgenstern in <strong>Jazz</strong> Journal Oct. 1962, Vol.15, No 10p4: Only in the case of Louis Armstrong, who was<br />
saddled with the well-meant but unconstructive presence of Yank Lawson and J.C. Higginbotham, .…<br />
late Juli-until mid Aug.62, several weeks in Columbus, Benny Klein´s – <strong>Red</strong> <strong>Allen</strong> Quartet w. Lannie Scott, Franklin Skeete, Jerry Potter<br />
Citizen-Journal, Columbus, Ohio, without date<br />
<strong>Red</strong> <strong>Allen</strong> Quartet Keeps Emergency<br />
Squad Alert - by Abe Zajdan<br />
At first glance, the situaion at<br />
Benny Klein's, which always seems<br />
just a moment away from the<br />
emergency squad, appears to be well<br />
in hand for the next couple of weeks<br />
Henry (<strong>Red</strong>) <strong>Allen</strong> has moved his<br />
quartet into the Broad – and - High<br />
tinderbox for a couple of weeks and<br />
the after-hours voluptuaries who call<br />
Klein's "home" were happily in town<br />
by <strong>Allen</strong>'s showmanship and music.<br />
THE BIG JAZZMAN with the quiet,<br />
gravel-voiced trumpet swings the<br />
familiar standards with an easy gait<br />
without quite beating them to a frenetic<br />
death. His sidemen - Lannie Scott, the<br />
pianist, Franklin Skeets, bass, and<br />
Jerry Potter, drums - are careful to<br />
sustain the <strong>Allen</strong> touch. <strong>Allen</strong> is a<br />
veteran who has made the grand tour of<br />
the nation's niteries since leaving his<br />
New Orleans home and the<br />
Mississippi riverboats. He hasn't left<br />
his savoir-faire behind.<br />
THE SHOWBILL also includes the<br />
Manhattan Twisters, two shapely<br />
young ladies accompanied by a male<br />
partner who do the twist with the<br />
enthusiasm of one who is trying to<br />
disengage himself from an octopus.<br />
Some of the spectators also join in.<br />
So does Benny Klein's blonde hostess.<br />
After the first set, they rolled back the<br />
deep-pile carpeting, so I presume a<br />
stand-by emergency squad wouldn't he<br />
a bad idea after all. (in the same<br />
source Louis Armstrong & his All<br />
Stars was announced for one week<br />
starting Mo.8/6/62 at <strong>The</strong> Maramor<br />
================================================================================================<br />
ca. Aug.62, N.Y.C.-CENTRAL PLAZA- <strong>Red</strong> <strong>Allen</strong> band & Ed Hall Trio;<br />
Jack Bradley & Jeann Failow in Bul.H.C.F.Sept.62: Avent la fermeture annuelle, le Central Plaza a terminé la saison en<br />
beauté, avec un orchestre comprenant <strong>Red</strong> <strong>Allen</strong>(t) Eddie Barefield(cl) J.C.Higginbothen(tb) Lanny Scott et Zutty<br />
Singleton, auquel le Trio d'Edmund Hall avec Don Frye au piano et Jo Jones á la batterie, a fait une sévére concurrence...<br />
9/7/62 Erie, Pa., Rainbow Gardens, Waldameer Park – <strong>Red</strong> <strong>Allen</strong>; (<strong>Jazz</strong> Report)<br />
Sept.62, West Hampton, N.Y. - Dune Deck Hotel - <strong>Red</strong> <strong>Allen</strong> (Down Beat 9/27/62)<br />
last week of Dec.62, Cleveland, poss. <strong>The</strong>atrical Grill – with at least two telecasts – <strong>Red</strong> <strong>Allen</strong> Quartet (<strong>Jazz</strong> Report)<br />
"Trumpeter <strong>Red</strong> <strong>Allen</strong> celebrated his 55th birthday on his opening night at London House, though his actual birthday was the<br />
day before" (Down Beat.2/14/63)<br />
1/8-1/27/63, Chic., London House; from this time recorded for 3/15/63 WBBM-ONS - RED<br />
ALLEN QUARTET; <strong>Red</strong> <strong>Allen</strong> (t,v) Lannie Scott (p) Frank Skeete (b) Ronnie Cole (d)<br />
ONS-5828 ………………………. tape wanted<br />
………………………<br />
………………………<br />
………………………<br />
………………………<br />
same date & loc.; 3/22/63 WBBM-ONS: same as above 30 min.tape<br />
ONS-5831 0:22 theme: ALGIERS BOUNCE - ann. on ens. (H.<strong>Allen</strong>) RA-CD-23/<br />
2:45 IT'S ALLRIGHT WITH ME (Cole Porter) --- /<br />
7:22 SATIN DOLL (Ellington-Strayhorn) Flutegrove FL6/ --- /<br />
6:00 I WANT A LITTLE GIRL (Murray-Mencher) --- / --- /<br />
5:13 MEDLEY: - BYE BYE BLACKBIRD --- /<br />
- MUSIC GOES ROUND AND ROUND --- /<br />
3:30 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) --- /<br />
John Chilton in “Ride, <strong>Red</strong>, Ride” p172: … Lannie Scott was also featured on some of the Chicago broadcasts and plays<br />
well on a faster than usual version of 'Satin Doll', on which <strong>Red</strong>'s solo is full of interesting gaps where he deliberately pauses<br />
for dramatic effect. <strong>The</strong> quartet's version of 'I Want a Little Girl' is a little too ornamental. but Lannie Scott shows that he,<br />
like Sammy Price, was a versatile pianist.<br />
1/14/63 Chic., WBBM-bc or -Tv, “Herb Lyon Show” – HENRY “RED” ALLEN QUARTET: same as above<br />
………………………… tape wanted<br />
CHERRY feat. fast – Skeete (Don <strong>Red</strong>man) tape wanted<br />
…………………………<br />
1/26/63 Chic., ..….-TV, “THE MARTIN FAYE SHOW” – HENRY”RED”ALLEN QUARTET: same as above<br />
3:00 YOU'D BE SO NICE TO COME HOME -ann. by <strong>Allen</strong> RA-CD-23<br />
3:56 ST.JAMES INFIRMARY -vRA (J.Primrose) RA-CD-24<br />
Coda Feb.63: <strong>Red</strong> is at London House, Chicago for two, maybe three weeks. His accompaniment - … He guestes on the Herb Lyon<br />
show on Jan.14th, he mostly just played, keeping the trumpet tricks to a minimum. Skeete was featured on a very fast CHERRY.<br />
- 108 -
Chicago Daily News Sat. 1/5/63 OPENINGS THIS WEEK (with photo), Tuesday: Trumpeter Henry “<strong>Red</strong>” <strong>Allen</strong> and his<br />
quartet at London House. It´s <strong>Allen</strong>´s birthday, too<br />
Chicago Sun Times-Tu., 1/8/63p44<br />
Tuesday Night it´s <strong>Red</strong> <strong>Allen</strong> and his jazz combo at the London House. Next Monday it´ll be Steve <strong>Allen</strong> on Ch.7.<br />
Chicago unknown undated 1963 press clip:<br />
Tower Ticker by Herb Lyon (look also in the disco: 1/14/63 WBBM-Herb Lyon Show with red <strong>Allen</strong>):<br />
… Best Bet for Tonight Ol´pro, Henry (<strong>Red</strong>) <strong>Allen</strong> and his quiet jazz, moving into the London House. …<br />
PC-2/9/63p13: Henry (<strong>Red</strong>) <strong>Allen</strong>'s soft-toned King trumpet will be missed at the London House where he and his sharpely<br />
rehearsed group including Lannie Scott, piano; Ronnie Coles, drums, and Frank Skeete, bass …<br />
1/28 – first week in Feb.63; one week engagement at Dayton, Ohio, Kenkel´s (2/7/63 NYC- recorded concert “Musicians Aid Society)<br />
Journal Herald, Dayton, Ohio; Wed. 1/31/63<br />
<strong>Jazz</strong> Great “<strong>Red</strong>” <strong>Allen</strong> Sparks Solid<br />
Quartet Now At Kenkel<br />
By Brainard Platt - "Nice, man, nice."<br />
This is the best way to sum up the<br />
performance of Henry "<strong>Red</strong>" <strong>Allen</strong> and<br />
his quartet at Kenkel's this week, in his<br />
own words.<br />
<strong>Allen</strong>, one of the jazz greats, plays the<br />
softest trumpet ever, but when he takes<br />
off he can tear your heart out.<br />
He gives every number his own touch,<br />
like "Ride, <strong>Red</strong>, Ride" and his own<br />
"Rag Mop," for instance.<br />
He will take the lead with a number of<br />
soft choruses. break out with a few hot<br />
licks and rest his trumpet on the piano<br />
or mid his arm, while he boats out the<br />
rhythm with his hands..<br />
Or he may take off through the audience,<br />
playing so softly with what he<br />
calls his "controlled trumpet" that it is a<br />
delight to hear.<br />
He is so good that Jack Kenkel feels<br />
this is the greatest group ever booked<br />
into the restaurant, hopes to get him<br />
back after his next month-long run at<br />
the Embers in New York.<br />
<strong>Allen</strong> has been playing with the best<br />
since he started at the age of 8 with his<br />
father's band in his native New Orleans.<br />
He took off at the age of 21, playing<br />
on the riverboats, and has performed<br />
with all of the best, Louis Armstrong,<br />
King Oliver, Fate Marble, Walter Pichon.<br />
And just recently, he was selected to<br />
lead a band of the greatest on the TV<br />
spectacular, "Chicago and All that <strong>Jazz</strong>."<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Jack Bradley, Bul.H.C.F. March-63: N.Y.C.-Willie Smith"<strong>The</strong> Lion" ne se produit que rarement. Meis nous fúmes invités<br />
á une PARTY qu'il donna en l'honneur de Jane (sa compagne), oú nous retrouvámes <strong>Red</strong> <strong>Allen</strong> et son drummer Ronnie<br />
Cole (le fils de Rupert Cole), qui firent un peu de musique. Willie Smith joua AIN'T MISBERAVIN' et son ECHOES OF<br />
SPRING. Les meilleurs moments de <strong>Red</strong> <strong>Allen</strong>: ALL OF ME et MACK THE KNIFE<br />
Down Beat 3/28/63: Radio Station WNEW has begun a series called "Music Spectacular", 30-minute jazz shows emceed by<br />
Bob Landers on alternate Saturday at 2 p.m. First in the series was by a group of ex-Count Basies sidemen including Buddy<br />
Tate, Earl Warren, Buck Clayton, and Jo Jones. <strong>The</strong> second features Henry <strong>Red</strong> <strong>Allen</strong> with Tony Parenti, Cutty Cutshall,<br />
Ralph Sutton, Benny Moten, and Mickey Sheen …<br />
2/7/63 NYC., Program for “Musicians Aid Society” recorded for 2/16/63 Sat. 2 p.m. WNEW-“Music Spectacular” – JAM<br />
SESSION: <strong>Red</strong> <strong>Allen</strong> (t,v) Tony Parenti (cl) Cutty Cutshall (tb) Ralph Sutton (p) Benny Moten (b) Mickey Sheen (d)<br />
2:30 MEMPHIS BLUES (fast played) (Cl.& Sp.Williams) Phoenix-24/RA-CD-19/<br />
4:27 YELLOW DOG BLUES (Handy-Pace) --- / --- /<br />
3:03 CHERRY -vRA (Don <strong>Red</strong>man) --- / --- /<br />
4:15 FIDGETY FEET (LaRocca-Shields-Sigman) --- / --- /<br />
Honky Tonk Train p solo RS (M.L.Lewis) tape wanted (detailed source Boris Rose-collection)<br />
theme: ALGIERS BOUNCE (H.<strong>Allen</strong>) tape wanted (detailed source B.R.-collection)<br />
IAJRC-… Jack Sohmer about PHOENIX 24: (A=1944) THE THEME; RED JUMP; RIDE, RED, RIDE; DARK EYES; DEAR OLD<br />
SOUTHLAND; GET THE MOP; JUST A FEELING; (B=Dec.57) WILD MAN BLUES; ROSETTA (C=Feb.63) MEMPHIS BLUES;<br />
YELLOW DOG BLUES; CHERRY; FIDGETY FEET:<br />
<strong>The</strong> final cuts seem of Metropolitan origin, with the curiously<br />
antiquated Parenti clarinet dominating in all areas but<br />
imagination. Though locked into a way of playing that had<br />
become dated by the late 20's, through sheer persistence he<br />
had turned this Shieldsian rigidity into a tool of immeasurable<br />
satisfaction to all but fellow musicians. By contrast, <strong>Red</strong> and<br />
the others sound like modernists, in a more traditional setting,<br />
one faithful to the legacy of the ODJB, Parenti would have<br />
felt more at home. But here. despite his obvious fluency, the<br />
effect is that of disconcerting obtrusion.<br />
Trevor Tolley about Phoenix-24 in an undated <strong>Jazz</strong> Journal:<br />
<strong>The</strong> last four tracks on the record are from 1963 by a group<br />
that included ex-Condonites Cutty Cutshall, Tony Parenti<br />
and Ralph Sutton. <strong>The</strong>y play Cherry and Fidgety Feet nicely<br />
enough, but there is nothing out of the ordinary.<br />
----------------------------------------------------------------------------------------<br />
MUSICIANS AID SOCIETY IS JUST THAT<br />
NYAN-6/1/63p15: Musicians and performers are the first to<br />
give - and they give the commodity of their talent.<br />
This has been the case recently when an all star group led by<br />
Count Basie performed for a radio program on behalf of the<br />
Musicians Aid Society. MC was Billy Taylor and the show<br />
was aired over Station WNEW with cooperation of Local 802<br />
of the American Federation of Musicians<br />
Musicians Aid Society is not a new organization but Jack<br />
Crystal has been busily reactivating it lately. (cont.on next page<br />
- 109 -
Crystal, of Commodore Record Co., a<br />
long-time friend of jazz and the men<br />
who make it has given employment<br />
to many at Central Plaza in lower<br />
Manhattan, where there are jazz<br />
sessions each weekend. He has also<br />
organized benefits for the individual<br />
musicians when needed.<br />
He doesn't stop there. He brings music<br />
to shut-ins at Kingsbridge Veterans<br />
Hospital in the Bronx and has been so<br />
doing for fifteen years. A recent benefit<br />
concert for thrailing clarinetist raised over<br />
$2,000. Trumpeter Louis Metcalf, also<br />
active in the Musicians Aid Society,<br />
personally sold 135 tickets. Over 100<br />
musicians turned out, to give of their time<br />
and talent. On Broadway<br />
<strong>The</strong> purpose of the organization is to help<br />
the senior citizens of music who have become,<br />
because of illness or age, unable<br />
to work. Crystal has offices of the<br />
Musicians Aid Society at 1697 Broadway.<br />
3/11/63 Mo., NYC., Palm Café – Camp Fund Affair with <strong>Red</strong> <strong>Allen</strong> as guest<br />
THE MEN OF THE HOUR - This group was snapped at the Palm Café last Monday<br />
Night at the Camp Fund affair enjoying the company of each other for a few moments,<br />
with no females allowed. From left: Bow Williams, Ralph Bastone, George Williams,<br />
<strong>Red</strong> <strong>Allen</strong> and Marty Liss. NYAN:3/16/63p15<br />
Among the musicians who have played to<br />
aid the Society are the following:<br />
On Feb.7: <strong>Red</strong> <strong>Allen</strong>, Cutty Cutshall,<br />
Tony Parenti, Ralph Sutton, Benny<br />
Moten and Mickey Sheen.<br />
A second program featured Count Basie,<br />
Buck Clayton, Dicky Wells, Earl warren,<br />
Buddy Tate, Rodney Richardson, Gene<br />
Ramey and Jo Jones.<br />
A third program combined the talents of<br />
the Clara Ward Singers and the Dukes of<br />
Dixieland.<br />
Down Beat 5/9/63: <strong>Red</strong> <strong>Allen</strong>'s group at the Metropole included Lannie Scott, Franklin Skeete, Ronnie Cole (d), ...<br />
poss.Aug.63, NYC., Bourbon Street; guests:<br />
Louis Armstrong , Max Kaminsky, <strong>Red</strong> <strong>Allen</strong>;<br />
VV:8/15&22/63p9: house band for two weeks<br />
Marlow Morris Duo;<br />
VV:8/29/63p10: Dick Wellstood & Hayes<br />
Alvis for two weeks;<br />
Louis, Max, and <strong>Red</strong> at the short-lived Bourbon Street on Forty-Eighth Street. It looks as though they are watching<br />
the club close. (Eddie Condon-Scrapbook); (an alternate photo “<strong>Red</strong> & Louis” is in Chilton´s “Ride <strong>Red</strong> Ride”,p121)
- 109.1 -<br />
9/21/63 Louisville, KY opening day at WHAS-TV Crusade For Children; Henry <strong>Red</strong> <strong>Allen</strong> (t,v) & Quartet: Lannie Scott (p)<br />
Frank Skeete (b) poss. Ronnie Cole (d) to be seen on you-tube from www.youtu.be/Hu11zq68ly8<br />
5:48 CHERRY -vRA (Don <strong>Red</strong>man) RA-DVD-1/RA-CD-24/<br />
................... more wanted from WHAS-TV-archive www.whascrusade.org<br />
................... more wanted<br />
========================================================================================<br />
Scrapbook from HENRY „RED“ ALLEN<br />
About his appearance at 10th annual WHAS<br />
Crusade For Children Sept. 21 & 22, 1963<br />
remark: <strong>The</strong> original scrapbook is in B4 format with clips out of newspapers and<br />
programmes in original. Josephine <strong>Allen</strong>, <strong>Red</strong>´s daughter in law, gave it to the<br />
<strong>Red</strong> <strong>Allen</strong> collection of Franz Hoffmann, for a reduced A4 compilation with<br />
scanned text and reduced photos.<br />
==============================================<br />
pay attention on one photo with the band of Cozy Cole<br />
1963 Crusade Signs<br />
<strong>Jazz</strong>man <strong>Red</strong>' <strong>Allen</strong><br />
10th WHAS event set<br />
for September 21-22<br />
by LOGAN POPE, Courier-<br />
Journal Staff Writer clip-9/1/63<br />
NEW ORLEANS jazzman Henry"<strong>Red</strong>"<br />
<strong>Allen</strong> and his quartet are to appear on<br />
the 10th annual WHAS-TV Crusade<br />
For Children September 21 and 22.<br />
<strong>Allen</strong> is the first entertainer that<br />
WHAS has announced as a headliner<br />
for its 16 1 /2-hour telethon to benefit<br />
mentally and physically handicapped<br />
children in the Kentuckiana area. As in<br />
the past nine years, the Crusade will<br />
run from 10 p.m. Saturday (September<br />
21) through 2:30 p.m. Sunday,<br />
carried simultaneously on WHAS<br />
radio and television.<br />
<strong>Allen</strong> is one of the "old-time" brass<br />
men who took the jazz traditions of New<br />
Orleans into the rest of the country<br />
during the 1920's and 1930's. He learned<br />
the trumpet from his father, a brass-band<br />
leader, and marched with his father's<br />
band while still in short pants.<br />
He played with bands headed by George<br />
Lewis, Eddie Jackson, Fats Pichon, Fate<br />
Marable, and Joe "King" Oliver.<br />
<strong>Jazz</strong> historian Dom Cerulli writes:<br />
"During the 1930's, while Oliver's star<br />
declined, <strong>Allen</strong>'s rose continuously. His<br />
style was lyrical and not bound so strictly<br />
to the beat. He forged a style of his own<br />
which was unlike that of Louis Armstrong,<br />
and which was reflected in the later<br />
works of such stalwarts as Roy Eldridge<br />
and Dizzy Gillespie.<br />
"He still plays a personal, fiercely blue<br />
trumpet … and, while his vehicles are<br />
the standards of Dixieland, his trumpet<br />
work in the frames of these tunes is<br />
rarely bounded by the usual rules governing<br />
improvisation in this area."<br />
Last year's Crusade For Children raised<br />
a record-breaking $256,649, of which<br />
$242,231 was available for grants to handicapped-children's<br />
agencies in Kentucky<br />
and Southern Indiana. <strong>The</strong> money contributed<br />
in Indiana goes back to agencies in<br />
that state, and contributions in Kentucky<br />
remain for Kentucky agencies cont.:
continue from last page:<br />
Expenses for the 1962 Crusade<br />
were kept to a record low of<br />
$17,555, or 6.8 percent of funds<br />
collected.<br />
Of the 45 grants made from the<br />
1962 funds, seven totaling $37,458<br />
went to Hoosier organizations,<br />
while $199.499 was divided<br />
among 38 Kentucky groups.<br />
Allocations of the Crusade funds<br />
are made by members of the panel<br />
of the WHAS radio show "<strong>The</strong><br />
Moral Side of <strong>The</strong> News"-Rabbi J.<br />
J. Gittleman, Temple Adath<br />
Jeshurun; Dr. Duke K. McCall,<br />
president of Southern Baptist<br />
<strong>The</strong>ological Seminary: the Rt. Rev.<br />
Monsignor Felix N. Pitt. executive<br />
secretary of the Catholic School<br />
Board, and Dr. Paul Stauffer, First<br />
- 109.2 -<br />
<strong>Red</strong> <strong>Allen</strong> Ork. On Crusade<br />
THE LOUISVILLE DEFENDER Thu.9/5/63<br />
with the same photo as on the above article<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> - one of the jazz immortals - is<br />
destined to be one of this year's top attractions. He<br />
plays his trumpet in a style that is at the same time<br />
dynamic and forceful while lyrical and to not bound<br />
strictly to the beat. He plays the jazz and Dixieland<br />
that is fast beco-ming hard to come by and is often<br />
described as "precious" and "rare".<br />
Two singing groups have been announced. <strong>The</strong> 45<br />
voice Thorobred Chorus, 1962 International<br />
Barbershop Champions and the Motet Singers, one of<br />
the top choral organizations in the South. This will be<br />
the seventh Crusade for the Motet Singers.<br />
Three lovely vocalist are slated for duty during this<br />
year's Crusade. <strong>The</strong>y are WHAS' Jo Ann Hale., 1961<br />
Crusade Queen Sherry Sizemore and Kentucky Opera<br />
Association star Carol Sladen<br />
New Orleans jazzman<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> and<br />
quartet will appear on this<br />
year's Crusade for Children,<br />
which is scheduled for<br />
Christian Church<br />
September 21-22<br />
====================================================================<br />
Week of September 29, 1963 firemen's collections being personally<br />
poured into the fish bowl by the men<br />
who bring in many thousands of dollars<br />
each year. Not until all have reported<br />
does the Crusade close with the singing<br />
of "Cod Bless America<br />
Eighteen hours after the show opened<br />
on Saturday evening with local and<br />
When the curtain carne down on the national stars headlining the first few<br />
10th annual Crusade for Children, new hours of entertainment, the last fireman<br />
chapters in the lives of mentally and physi- walked onto the stage with his bag full<br />
cally handicapped children of Kentucky of money. TV-in the BLUE CRASS<br />
and Southern Indiana started being written.<br />
=======================<br />
A highlight this time of year is the<br />
Individuals and organizations of the area WHAS Crusade for Children scheduled to<br />
contributed $260,948 when the 18-hour start at 10:00 p. m. this Saturday.<br />
Crusade seen over WHAS-TV, Chan- Name stars will be on hand to entertain but<br />
nel (11) and heard over WHAS radio the success depends on you and your<br />
came to its climax, This is the largest contributions received to carry an WHAS CRUSADE FOR CHILDREN -<br />
amount ever shown on the giant tote work for the physically handicap-ped<br />
board when the last volunteer firemen<br />
<strong>The</strong> Pope-Russell Dancers! Repertoire<br />
children of the Kentucky and Sou-thern<br />
marched across the stage. One of the<br />
ranges from jazz to musical comedy and<br />
Indiana area. Week of Sept.15, 63<br />
many traditions with the Crusade is the<br />
from tap to ballet.<br />
=============================================================<br />
WHAS Crusade For Children's Marathon' Week of September 15, 1963<br />
A decade is a long time. As the tenth<br />
WHAS Crusade For Children approaches,<br />
this fact is clearly demonstrated<br />
by infants, handicapped at birth, who<br />
have grown to a normal, healthy childhood<br />
through the help of Crusade funds;<br />
by dreams that have materialized into<br />
clinics and hospitals for handicapped<br />
children in this span of time; and by a<br />
re-education of thousands who held<br />
misconceptions about the mentally<br />
sick. Ten years is a long time, but a lot<br />
has been done in these years.<br />
TV in the Blue Grass<br />
At 10 p. m. on Sat., Sept.21, (11), the<br />
curtain in Louisville's giant Memorial<br />
Auditorium will rise on the 1983<br />
"WHAS Crusade For Children."<br />
For 16 1/2 hours national and local<br />
stars, technicians, musicians, and<br />
literally hundreds of volunteer workers<br />
from every walk of life will do their<br />
dead level best to raise cold, hard cash<br />
for the handicapped children of<br />
Kentucky and Southern Indiana.<br />
Henry"<strong>Red</strong>"<strong>Allen</strong> June Valli .<br />
<strong>The</strong> star line up this year reads like a<br />
major television network special.<br />
First of the national stars announced by<br />
Crusade officials was jazz trumpetplaying<br />
immortal Henry "<strong>Red</strong>" <strong>Allen</strong>.<br />
<strong>The</strong> only nationally known act to<br />
return to the Crusade static will be<br />
Homer and Jethro, the "oooh that's<br />
corny" duo. <strong>The</strong> corn pone wit of<br />
Henry (Homer) Doyle and Kenneth<br />
(Jethro) Burns is now legendary.<br />
Randy Atcher Johnny Johnston
Romantic singer Johnnie Johnston, June Valli, one of America's<br />
top vocalists. "Stephen Foster Story" star Jay Willoughby<br />
will make his fourth appearance on the Crusade this year.<br />
Other local performers include Randy Atelier, Cactus Tom<br />
Brooks, Phyllis Knight and Ray Shelton, Jay Crouse and Fred<br />
Wiche, the <strong>Red</strong> River Ramblers, the Patsy Bloor Dancers, the<br />
Hayloft Hoedowncrs, & others.<br />
<strong>The</strong> entire Crusade will be carried on WHAS-TV.<br />
Crusade's Host—Jim Walton Week of September 15, 1963<br />
- 109.3 -<br />
Stars Ready To Shine In Crusade For<br />
Children Tonight<br />
Several of the stars of the WHAS Crusade For Children,<br />
which starts its 16 1 /2-hour run at 10 tonight on Channel 11, are<br />
shown "warming up" their vocal cords for the big telethon. <strong>The</strong>y<br />
are (standing) Larry Donoho, King of the 1963 Crusade,<br />
Kenneth Burns ("Jethro" of "Homer and Jethro"), and jazzman<br />
Henry "<strong>Red</strong>" <strong>Allen</strong>. Seated are Henry Doyle ("Homer") and<br />
June Valli of "Crying In <strong>The</strong> Chapel" fame. Singer Johnny<br />
Johnston didn't arrive in time for last night's "warm-up."<br />
SEP 21, 1963<br />
================================================================================<br />
Go Without Sleep For Fun Tonight SEP 21 1963<br />
This is the night the stars go<br />
sleepless—because they'll be wide<br />
awake singing, dancing, joking, and<br />
asking for contri-butions to the 10th<br />
annual WHAS Crusade For Children.<br />
<strong>The</strong> Crusade, WHAS's annual plea for<br />
aid for handicapped children of<br />
Kentucky and Sou-thern Indiana, will<br />
begin its 16 1/2-hour reign on Channel<br />
11 at 10 tonight. And it'll be after 2:30<br />
tomorrow afternoon before most of the<br />
stars get to sleep.<br />
Last year's Crusade netted $256,649<br />
for 45 agencies in Kentucky and Southern<br />
Indiana. All of the money went to agencies<br />
in the area. None of it was sent to<br />
national headquarters of any of the aid<br />
groups.<br />
This year's Crusade is prob-ably the<br />
biggest collection of stage, screen, and<br />
recording stars ever assembled on a single<br />
stage in Kentucky.<br />
Television viewers will be able to<br />
watch the likes of Johnny Johnston,<br />
June Valli, Homer and Jethro,<br />
jazzman Henry "<strong>Red</strong>" <strong>Allen</strong>, the Pope-<br />
Russell Dancers, featuring Mareni di<br />
Napoli, current dan-cing sensations of the<br />
East Coast nightclub circuit, and the Motet<br />
Singers and cartoon star Mighty Mouse<br />
and scores of others.<br />
Johnston is currently master of ceremonies<br />
of A.B.C.-TV's "Make That<br />
Spare," seen here on Channel 32. He has<br />
starred on Broadway and in numerous<br />
movies and his recordings include some<br />
of the all-time best-sellers.<br />
He introduced such hits as "Old Black<br />
Magic,". "Laura." and '"I Dori´t Want<br />
To Walk Without You." He makes frequent<br />
guest appearances on television<br />
and appears in the nation's leading<br />
nightclubs.<br />
Emcee on A.B.C.-TV<br />
Miss Valli's career started booming<br />
from the night she won on Arthur<br />
Godfrey's Talent Scouts TV Show.<br />
Since then, she has starred in "<strong>The</strong> Hit<br />
Parade," "Stop <strong>The</strong> Music," and "<strong>The</strong><br />
June Valli Show," all on TV.<br />
M A R E N I D I N A P O L I<br />
_________Crusade Dancer____ .<br />
She's an international star at the box<br />
office, attracting record throngs to<br />
numerous nightclubs and theaters in the<br />
United States and Europe.<br />
Her recordings, including such hits<br />
as "Crying In <strong>The</strong> Chapel,"<br />
"Unchained Melody," and "Young and<br />
Foolish," are international hits.<br />
<strong>The</strong> story of Homer and Jethro, who<br />
set a new style in cornpone singing, is<br />
legend. <strong>The</strong>y were discovered singing<br />
on a Knoxville radio station.<br />
From there, their career zoomed to<br />
recording stardom, appearances in<br />
the<br />
nation's top clubs and theaters, and to<br />
guest spots on such TV shows as Jack<br />
Paar, Steve <strong>Allen</strong>, Perry Como, Tennessee<br />
Ernie Ford, and others.<br />
<strong>The</strong> local and regional stars also appearing<br />
on the Crusade include Jay<br />
Willoughby, star of "<strong>The</strong> Stephen Foster<br />
Story," the Thorobred Chorus, opera<br />
singer Carole Sladen, Randy Ateher,<br />
Phyllis Knight, "Cactus" Tom Brooks,<br />
the Irvin twins of "Grand Ole Opry"<br />
fame, singers Janet Brooks and Sherry<br />
Sizemore, and a host of others.<br />
Also appearing will be the king and<br />
queen of this year's Crusade, singer<br />
Larry Donoho and accordionist Linda<br />
Graham, who'll be crowned by Johnston<br />
and Miss Valli. Dudley Saunders<br />
-----------------------------------------
- 109.4 -<br />
THE KICKOFF . . . <strong>The</strong> Patsy Bloor dancers took the stage at Memorial Auditorium last night to<br />
start the 10th annual WHAS Crusade for Children, which will continue until 2:30 p.m. today.<br />
'Ring Our Little Bell' WHAS Crusade Under Way With Lots Of Talent, Coffee<br />
9 / 2 2 / 6 3 : By PHIL NORMAN<br />
A team of schoolgirls, dancing to the tune of<br />
"Love Is Sweeping <strong>The</strong> Country," helped<br />
open the 1963 WHAS Crusade for Children<br />
last night in Memorial Auditorium.<br />
<strong>The</strong> girls, members of the Patsy Bloor<br />
dancers, shared the opening spot with<br />
Jay Willoughby and the motet singers,<br />
who presented a special version of<br />
"Give A Little Whistle."<br />
A New Version<br />
<strong>The</strong> lyrics sung by Willoughby, star of<br />
Bardstown 's "Stephen Foster Story,"<br />
went like this: "Just dial our little<br />
number, "Ring our little bell, "Call and<br />
pledge your help with mousy, "<strong>The</strong>n<br />
we'll give a little yell." - <strong>The</strong> Crusade<br />
began at 10 p.m. In the first 2 hours and<br />
25 minutes $28,090 was pledged.<br />
<strong>The</strong> 161-hour radio and television<br />
marathon, marking the Crusade's 10th<br />
annual plea for money to help children<br />
with afflictions of all kinds, will end at<br />
2:30 p.m. today.<br />
Last year's Crusade brought donations<br />
of $256.649 but Vie. tor A. Sholis, vicepresident<br />
and director of WHAS, said<br />
no specific goal is ever set because "the<br />
need is limitless."<br />
Always Need More<br />
He said available funds are never sufficient<br />
to meet the needs of the 45 Kentucky<br />
and Southern Indiana children's<br />
agencies that were served list year.<br />
In a statement near the begin-ning of<br />
the show, Barry Bingham, Jr., assistant<br />
to the president of WHAS, Inc.,<br />
called the project "a triumph beyond<br />
the highest hopes of those who gathered<br />
here for the first Crusade in 1954.”<br />
A lineup of well-rehearsed entertainment<br />
was scheduled to run into the wee hours.<br />
<strong>The</strong> bill included such performers as<br />
Homer and Jethro. singers June Valli and<br />
Johnny Johnston, jazzman Henry "<strong>Red</strong>"<br />
<strong>Allen</strong>, and the Pope-Russell Dancers.<br />
Crusade personalities from this area<br />
include master of ceremonies Jim Walton,<br />
Bobby Lewis and Janet Brooks, Jo Ann<br />
Hale and Sherry Size. more, Phyllis Knight<br />
and Carole Slayden, the Thorobred<br />
Chorus, Randy Atcher, "Cactus" Tom<br />
Brooks, and the <strong>Red</strong> River Ramblers.<br />
<strong>The</strong> Crusade queen, Linda Graham,<br />
14, was determined to remain in the<br />
show despite an attack of flu that<br />
sidelined her Friday. "I just had to<br />
come out for this," said Linda as she<br />
rehear-sed her accor-dian act. Linda<br />
and the Crusade king, singer Larry<br />
Donoho, 16, won their titles in talent<br />
competition.<br />
As usual, however, the real stars of the<br />
Crusade were the crippled, blind, deaf,<br />
and other handicapped children who<br />
came on the stage on behalf of the<br />
Crusade's cause. Others will be introdu-<br />
ced this morning in a segment dramatizing<br />
the work being done with children<br />
who have physical and mental handicaps.<br />
Up All Night<br />
Hundreds of volunteer work-ers were<br />
staying up all night to man about 50<br />
telephones and several adding machines,<br />
and perform countless other chores behind<br />
the scenes. Among the paraphenalia in the<br />
basement of the auditorium were two<br />
large coffee machines to keep all awake<br />
PASSING THE BOOT ... Helping<br />
collect contributions to the WHAS<br />
Crusade for Children yesterday was<br />
Donald Adcock, Mockingbird Valley<br />
Road. Adcock, representing the St. Matthews<br />
Fire Department, received<br />
donations from motorists on Shelbyville<br />
Road at St. Matthews Avenue
- 109.5 -<br />
SEP 22, 1963: It's Miracle Time By BILL LADD, Courier-Journal TV Editor<br />
Torrents of money, floods of love . . . that is the '63 Crusade For Children<br />
THE ANNUAL miracle is about to from you and me.<br />
knew we had listeners and viewers. I<br />
happen. This minute, as you read this Some will come from the clenched hands knew that the people of this area must<br />
over your coffee, the people of of handicapped children themselves. have more feeling of responsi-bility for<br />
Kentuckiana are bringing it to pass. On the stage at Memorial Auditorium, our cause than they had shown.<br />
Thousands of men, women and children the huge tote board wilt record the "I was very heart-sick and bone-weary.<br />
in their homes, their Sunday schools, their extent of our care for those less fortu- "<strong>The</strong>n, with the morning, a crowd began<br />
churches and on the streets and roads nate than ourselves.<br />
to form. You could feel the change in<br />
are being touched by the magic of the In a few days, when you have mailed the atmosphere backstage. People too<br />
10th annual WHAS Crusade for Children, in your pledge, a group of ministers will tired to move of their own free effort<br />
Within the next few hours, a year of parcel out the money to dedicated groups came alive!<br />
planning and work and 16 1/2 hours of in the two-state area which have worth- Children began to file past, dropping<br />
intensive campai-gning will surge to its while projects but no other source of funds. their savings into our goldfish bowls.<br />
climax.<br />
And even as they hand out the money, People stopped by on their way to<br />
Into glass fishbowls on the stage at men and woman will be planning the church to leave with us concrete evi-<br />
Memorial Auditorium will pour a torrent 11th Crusade.<br />
dence that they believed that which they<br />
of pennies. nickles, dimes, bills and On the stage, the smallest group of any were on their way to hear.<br />
checks to ease the way and improve the of those participating—the performers— "In those last few hours, we more than<br />
lot of handicapped children throughout will marvel at the annual miracle. made our goal.<br />
Kentuckiana.<br />
Through the years, almost every perfor- "That, I sincerely believe, was the finest<br />
<strong>The</strong> torrent will gush from the gigantic mer who has taken part has wiped away hour I have ever spent in show business."<br />
boots of 100 volunteer fire chiefs, and sweat and tears and tried to express his And that was before the days when 100<br />
from the hands of children.<br />
sensations as the magic began to work. volunteer fire depart-ments took part!<br />
It will flow from the church collection Perhaps none has done it better than When the show ends this after-noon,<br />
plate, and from the pickle jars into Garry Moore, star of very first radio- the cast will move to the footlights and<br />
which barten-ders have been stuffing TV marathon on WHAS.<br />
take a collective bow. If they bow extra<br />
their customers' change.<br />
This is what he said on C.B.S., coast- low, it will be because the bow they take<br />
It will be In the form of checks from to-coast, about the 1954 program: is for you. In these last hours, you are<br />
businessmen and from union treasuries. "We had slaved all night.<br />
the show, and on you rests its success.<br />
It will come from clubs and bowling "<strong>The</strong>re was about $25,000 on the Hurry with that second cup.<br />
leagues, and from lonely old ladies, and scoreboard for about 10 hours of work. I You can still make these exciting hours!<br />
========================================================================================================<br />
SEP 23, 1963: Crusade Puts On A Thriller With Cavalry-Style Finish<br />
By DUDLEY SAUNDERS •<br />
WHAS and Channel 11 could have<br />
taught Alfred Hitchcock a thing or two<br />
about suspense yesterday.<br />
<strong>The</strong> 10th annual WHAS Crusade for<br />
Children was easily the best thriller of<br />
the new television season.<br />
<strong>The</strong> 18-hour-and-5-minute telethon<br />
was a real nail-biter during the last few<br />
hours when a lot of us - especially the<br />
newcomers - were beginning to wonder<br />
when and if the money was ever going<br />
to arrive.<br />
To those of us who had not seen any of<br />
the previous tele-thons, the suspense<br />
started building about breakfast time<br />
when we realized the Crusade was more<br />
than $200,000 shy of last year's receipts.<br />
Stars Were Worried<br />
It looked to us newcomers that, despite<br />
all the careful plan-ning and hard work<br />
and talent of about 1.200 volunteer workers<br />
at Memorial Auditorium, this year's<br />
venture would fall horribly shy of the<br />
$256,649 collected last. year.<br />
You could almost tell the new people<br />
from the veterans back-stage yesterday<br />
morning. <strong>The</strong> new people were beginning<br />
to chain-smoke and look forlorn.<br />
<strong>The</strong> suspense was so great that June<br />
Valli, Johnny John-ston, Henry "<strong>Red</strong>"<br />
<strong>Allen</strong>, and Homer and Jethro risked<br />
miss-ing their planes by sticking around<br />
long after they had made their final appearances.<br />
<strong>The</strong>y wanted to see whether<br />
the Crusade would "make it."<br />
But the old pros didn't seem overly<br />
worried. just tired. <strong>The</strong>y knew from<br />
experience that the Crusade is a<br />
suspense show.<br />
"Don't sweat it," the old pros comforted<br />
the likes of me. "'It'll come. It'll come."<br />
And it did, like a snowball turning into<br />
an avalanche, or a truck careening down<br />
Pike's Peak without brakes. By the time<br />
the show went off the air at the steaming,<br />
noisy old audi-torium, the tote board read<br />
$260.-948, well over last year's record.<br />
Jerry Hall, 12, of Clarksville, Ind., with<br />
cash-filled firemen's boots.<br />
-----------------------------------------<br />
<strong>The</strong> big "suspense" show also had<br />
some of the elements of a big budget<br />
horse opera, with the cavalry riding to<br />
the rescue in the nick of time.<br />
<strong>The</strong> cavalry in this case was several<br />
thousand volunteer firemen who started<br />
pouring in about noon, their fire-fighting<br />
boots and flashy helmets over-flowing<br />
with money.<br />
And just as in the horse operas, the<br />
cavalry - firemen sounded their charge<br />
to the rescue - not with trumpets but<br />
blaring sirens. Those sirens probably<br />
sounded as good to the Crusade workers<br />
as the cavalry charge ever sounded to<br />
beleaguered pioneers.<br />
But the firemen weren't alone.<br />
It seemed as though just about every<br />
church, civic group, and Boy Scout<br />
troop in Kentucki-ana showed up, too.<br />
And so did a lot of just plain folks who<br />
canvassed their neighborhoods and kids<br />
who emptied their piggy banks.<br />
A veteran of several previous Crusades<br />
said it for me: "I knew they would come.<br />
But, man, I just wish they wouldn't wait<br />
so long. My heart can't stand it. I knew<br />
they would come, but I was beginning to<br />
be afraid maybe they wouldn't this year."<br />
Ditto!<br />
Incidentally, the Crusade came on<br />
strong Saturday night with a sort of<br />
Jackie Gleason opener — a big singing<br />
and dancing chorus, a quick parade of<br />
stars and real light. timing. Singer Jay<br />
Willoughby set a fast opening pace and<br />
high standard for all the national and<br />
regional talent which followed him.<br />
======================
- 109.6 -<br />
RECORD SIGN-OFF . . . <strong>The</strong> tote board registered a record $260,948 in donations and pledges as volunteers of the 1963 WHAS<br />
"Crusade For Children" signed off the radio-television appeal at 4:05 p.m. yesterday with a chorus of "God Bless America."<br />
Crusade may Over Top 18-Hour Telethon Nets $260,948 For Children<br />
By DEAN DUNCAN<br />
A longer-than-ever WHAS "Crusades<br />
For Children" went off the air<br />
yesterday with a record $260,948<br />
pledged and donated for the benefit of<br />
handicapped children in Kentucky<br />
and Southern Indiana.<br />
Drums rolled, trumpets wailed,<br />
and weary volunteers crowded onto<br />
the stage in Memorial Auditorium at<br />
4:05 p.m. to end the 10th annual fundraising<br />
telethon with a rousing version<br />
of "God Bless America."<br />
<strong>The</strong> $260.948 shown by tote-board<br />
was unofficial. <strong>The</strong> figure was expected<br />
to go higher.<br />
Even as the nonstop television-radio<br />
appeal signed off, WHAS entertainer<br />
Randy Atcher was announcing the<br />
receipt of an additional $1,558.44 in<br />
collec-tions from the Corydon, Ind..<br />
Fire Department.<br />
Records Tumble<br />
Records tumbled like acrobats at this<br />
year's Crusade.<br />
<strong>The</strong> $260,948 replaced last year's<br />
$227.554 as the largest amount<br />
pledged or contributed while the<br />
telethon was still on thee air. In fact,<br />
the sign-off figure topped 1962's record<br />
total collection of $256,649.<br />
<strong>The</strong> 1963 telethon also was the longest.<br />
It started at 10 p.m. Saturday and lasted<br />
18 hours, 5 minutes. <strong>The</strong> old record<br />
was last year's 17 1/2 hours.<br />
After the curtain rang down, one of<br />
the biggest smiles on the stage was<br />
worn by Victor A. Sholis, WHAS<br />
vice-president and director. Of the<br />
public response to the appeal, he said:<br />
"It shows what a magnificent community<br />
we live in."<br />
As he spoke, entertainers and behindthe-scene<br />
volunteers exchanged hearty<br />
congratulations on jobs well done.<br />
Many had been on the go since the<br />
tele-thon starter, refueling themselves<br />
periodically with coffee and food<br />
donated by merchants and served free<br />
of charge in the auditorium basement.<br />
Many Stay All Night<br />
Lured by the attraction of an entertainment<br />
bill beyond the price of many a<br />
major television producer, a sizable<br />
crowd kept an overnight vigil in the<br />
auditorium.<br />
<strong>The</strong>re were songs by such national<br />
entertainment personalities as June<br />
Valli, Johnny Johnston, and Homer and<br />
Jethro. <strong>The</strong> all-star lineup also included<br />
jazzman Henry "<strong>Red</strong>" <strong>Allen</strong> and the<br />
Pope-Russell Dancers.<br />
Regional and local talent included Jay<br />
Willoughby, Etcher, "Cactus" Tom<br />
Brooks, Phyllis Knight, Carole Slayden,<br />
the Tho-robred Chorus, the <strong>Red</strong> River<br />
Ramblers, Bobby Lewis, Janet Brooks,<br />
Jo Ann Hale, Sherry Sizemore, the Irvin<br />
Twins. Crusade Queen Linda Graham,<br />
and Crusade King Larry Donoho.<br />
=======================<br />
SEP 23, 1963<br />
TINY CRUSADER . . .<br />
Three-year-old Jeffery Tanselle, Pewee<br />
Valley, crou-ched among money-filled<br />
boots for a bit of rest yesterday after helping<br />
the Pewee Valley Fire Department<br />
lug the donations to the stage of Memorial<br />
Audi-torium for presentation to the<br />
1963 WHAS "Crusade For<br />
Children.":
- 109.7 -<br />
RECORD $260,948 PLEDGED SEP 23/19/63<br />
City Stays Up All Night - And Gives-For Handicapped<br />
All through the night, people gave. <strong>The</strong><br />
next day, they kept giving.<br />
And when the WHAS Crusade for<br />
Children signed off the air yesterday<br />
after-noon, a record $260,948 had been<br />
donated or pledged for the benefit of<br />
handi-capped children in Kentucky and<br />
Southern Indiana.<br />
<strong>The</strong> 10th annual Crusade was not only<br />
the biggest money raiser ever, but also<br />
the longest.<br />
It began at 10 p.m. Saturday at Memorial<br />
Auditorium and didn't stop until 18<br />
hours and 5 minutes later, at 4:05 p.m.<br />
Last year's Crusade, which set a duration<br />
record, was 17 1/2 hours long.<br />
<strong>The</strong> amount rolling into the till this<br />
year compared with the $227,554 record<br />
amount contributed or donated last year<br />
while the Crusade was still on the air.<br />
<strong>The</strong> amount at sign-off time even<br />
surpassed the total record collection of<br />
last year when all figures were tallied.<br />
This was $256,649.<br />
Commented Victor A.Sholls, WHAS<br />
vice.president and di-rector: "It shows<br />
what a magnificent community we live in."<br />
This yeear's record amount was still an<br />
unofficial figure and it is expected that<br />
the total will be higher.<br />
<strong>The</strong> marathon television and radio<br />
appeal got sparkle from the appearances<br />
of national and local entertainment<br />
personalities. <strong>The</strong> talent covered the<br />
gamut from pop singer June Valli to<br />
jazzman Henry "<strong>Red</strong>" <strong>Allen</strong>.<br />
<strong>The</strong> rolling of drums, the blast of<br />
trumpets, songs, and patter kept the<br />
show moving until the end.<br />
<strong>The</strong>n bleary-eyed volunteers crowded<br />
onto the stage of the auditorium to sing<br />
a fervent "God Bless America."<br />
At noon yesterday the $61,-000 mark<br />
was reached. After that, donations seemed<br />
to cascade into the coffers as collection<br />
teams from fire departments arrived.<br />
By 1:30 the $100,000 mark was reached.<br />
It was signaled with the release of<br />
balloons from stage rafters. <strong>The</strong>re was<br />
more fanfare when the an- nouncement<br />
of $200,000 donated was made at 3:10.<br />
<strong>The</strong> biggest gift-$32,587-came from<br />
126 churches and missions of the<br />
Louisville Catholic Archdiocese. <strong>The</strong><br />
Rev. R. E. Dentinger took 5 minutes to<br />
read the list of donors.<br />
Other denominations also back the<br />
Crusade and this year conti-nued their<br />
practice of making individual contributions.<br />
<strong>The</strong> "parade of children"<br />
yesterday included many youngsters<br />
who brought contributions from their<br />
Sunday-School classmates.<br />
Some Still To Report<br />
Jim Walton of WHAS, who for the<br />
10th straight year was master of ceremonies,<br />
said pledges and donations<br />
came in at about the same rate as last<br />
year. <strong>The</strong> 35 minutes of extra time made<br />
the difference, he said.<br />
As the appeal was closing, WHAS star<br />
Randy Atcher was announcing the<br />
receipt of an additional $1.558.44 from<br />
the Corydon, Ind., Fire Department.<br />
Jo-Ann Mattingly, 6, clung tightly to<br />
the jar of money she brought to the<br />
Crusade For Children. Phyllis Knight<br />
offered help -but Jo-Ann had to be sure<br />
some-one "more official" took it.<br />
And about 10 fire department were still<br />
unreported at sign-off time.<br />
About 70 fire department representatives<br />
dumped boot-fuls of money in fishbowls<br />
at Walton's feet. <strong>The</strong> St. Matthews<br />
Volunteer Fire Department scored<br />
highest, with $12.878 in collections.<br />
Second-best collec-tors reported were<br />
the members of the Pleasure Ridge<br />
Volunteer Fire Department with $10,758<br />
Stars Helped Show<br />
Among the national stars len-ding their<br />
time and talent to the Crusade were June<br />
Valli, Johnny Johnston, Homer and Jethro,<br />
the Pope-Russell Dancers, and Henry<br />
"<strong>Red</strong>" Russell. Regional and local talent<br />
included Archer, Jay Willoughby,<br />
"Cactus" Tom Brooks, Phyllis Knight,<br />
Carole Slayden, the Thorobred Chorus,<br />
the <strong>Red</strong> River Ramblers, Bobby Lewis,<br />
Janet Brooks, Jo Ann Hale, Sherry<br />
Sizemore, the Irvin Twins, Crusade<br />
Queen Linda Graham, and Crusade<br />
King Larry Donoho.<br />
WHAS announcer Jim Walton began<br />
winning her confidence as she shyly<br />
reached his micro-phone. Capitulation!<br />
Walton was official enough. She collected<br />
the $3.55 on her street. (Weller)<br />
=====================================================================================================<br />
<strong>The</strong> Louisville Defender, Thursday, September 26, 1963<br />
VETERAN DISCUSSION - <strong>Jazz</strong> immortal Henry "<strong>Red</strong>" <strong>Allen</strong> and<br />
Marine Reserve Staff Sergeant Willis S. Evans, Jr., 3600 Montclair Ave.,<br />
swap stories about the "Good old days." <strong>Allen</strong> talks jazzland music as he has<br />
known it and played it since he got his start years ago in New Orleans, and<br />
Sgt. Evans talks of his ten years helping with the WHAS Crusade For<br />
Children. <strong>The</strong> picture was made on the giant stage of Louisville's Memo-rial<br />
Auditorium this past weekend during the annual drive to raise funds for the<br />
handicapped children of Kentucky and Southern Indiana. An all-time high<br />
record has been set again this year with some $260,948 pledged and donated<br />
to the community effort. Crusade officials are urging persons to fulfill their<br />
pledges as soon as possible so that the task of allocating the funds may be<br />
started as soon as possible.<br />
================================================================<br />
END of the collected clips about the<br />
Sep.1963 LOUISVILLE WHAS Crusade appearance
Henry “<strong>Red</strong>” <strong>Allen</strong><br />
– <strong>Jazz</strong> As<br />
Rejuvenating Joy<br />
by Nat Hentoff in<br />
International Musici-<br />
an June-63 pp22-23<br />
One of the most persistently buoyant<br />
phenomena in jazz is trumpeter Henry<br />
"<strong>Red</strong>" <strong>Allen</strong>. At fifty-five, he still performs<br />
with the zest and obvious delight<br />
in improvisation of men thirty years<br />
younger. On the stand, <strong>Allen</strong> is an exuberant<br />
extrovert in his determination to<br />
sustain the excitement of his audiences.<br />
Privately, <strong>Allen</strong> is a shy, soft-spoken man<br />
who combines pride in his accomplish-<br />
Ments and heritage with an amiability of<br />
temperamnent which has made him an<br />
exceedingly popular musician among<br />
jazzmen of widely varying ages and styles.<br />
<strong>The</strong> enveloping warmth which <strong>Allen</strong><br />
generates has been a major factor in his<br />
having enjoyed a number of exceptionally<br />
long engagements throughout the country.<br />
In 1954, he went into the Metropole<br />
in New York for two weeks, and stayed<br />
for seven years. In previous years, he had<br />
stretched a two-week date at the Down<br />
Beat in Chicago to six years, and another<br />
fortnight at New York's Cafe Society to<br />
a two-year stand. <strong>Red</strong> has the capacity<br />
not only to attract sizable audiences, but<br />
to draw them back again and again. Aside<br />
from his ebullient, after - dark personality,<br />
<strong>Red</strong>'s power comes from his impressively<br />
resourceful command of the trumpet.<br />
His melodic sense is particularly<br />
arresting and persistently fresh. As critic<br />
Martin Williams has observed, "One of<br />
the outstanding characteristics of <strong>Allen</strong>'s<br />
playing is the freedom with which he<br />
phrases. Probably no jazz soloist between<br />
Armstrong and Lester Young plays with<br />
greater rhythmic ease and natural swing<br />
than <strong>Red</strong> <strong>Allen</strong>."<br />
He is also an affectingly personal singer,<br />
particularly on ballads which he<br />
illuminates with husky poignancy and<br />
the same kind of irresistible swing which<br />
characterizes his playing. <strong>The</strong> gentleness<br />
and sensitivity of <strong>Allen</strong> at home and with<br />
his friends make him so tenderly effective<br />
as a ballad interpreter. When his<br />
high good humor and gusto are added to<br />
that kind of lyricism, the result is one of<br />
the most diversified stylists in jazz.<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> comes of a distinguished<br />
jazz lineage. He was born in<br />
Algiers, Louisiana, on January 7, 1908.<br />
His father, Henry <strong>Allen</strong>, Sr., led a<br />
notable brass band which was part of the<br />
New Orleans scene for more than forty<br />
years. <strong>The</strong> young <strong>Allen</strong> was passing out<br />
music to the band members almost as<br />
soon as he could walk, and he was<br />
playing and marching by the age of<br />
eight. Many of his first influences were<br />
trumpeters who played in the senior<br />
<strong>Allen</strong>'s band: Kid Rena, Buddy Petit and<br />
Chris Kelly. Later there were the<br />
recordings of Louis Armstrong, who had<br />
left New Orleans by the time <strong>Allen</strong> was<br />
- 109a - Addenda<br />
a full-time professional player. By<br />
1926,<strong>Allen</strong> was playing on the riverboats<br />
with Fate Marable's bands, and he went<br />
further away from home when he joined<br />
King Oliver in St. Louis in 1927.<br />
<strong>Red</strong> had two chances to come to New<br />
York by the end of the 1920's - offers<br />
from both Duke Ellington and Luis Russell.<br />
Since the Russell band had more of<br />
his home-town friends than the Ellington<br />
unit, <strong>Red</strong> chose Russell. Once in New<br />
York, <strong>Red</strong>'s reputation among musicians<br />
began to increase precipitously. During<br />
one session at the Rhythm Club in Harlem,<br />
the visiting Fletcher Henderson heard<br />
<strong>Allen</strong> demonstrate that he could impovise<br />
in any key - a feat which 'was comparatively<br />
rare among hornmen at the<br />
time. Henderson remembered the experience<br />
and hired <strong>Allen</strong> in 1933. <strong>Allen</strong> was<br />
then featured in the Blue Rhythm Band<br />
from 1934 to 1936, and joined Louis<br />
Armstrong's orchestra from 1937-1940.<br />
During the 1930's, <strong>Allen</strong> became a<br />
potent influence on the jazz scene. As<br />
Leonard Feather observes in his Encyclopedia<br />
of <strong>Jazz</strong>, "More than any other<br />
hot jazz trumpet artist before him he<br />
seemed to think in terms of long, flowing<br />
melodic lines and to play with a sense of<br />
continuity." <strong>Allen</strong> had full freedom to<br />
expand his singular style when he became<br />
a leader of his own combos in 1940.<br />
During the next decade, his small units<br />
produced consistently stimulating,<br />
searingly explosive jazz. With such sidemen<br />
as J. C. Higginbotham, Edmond<br />
Hall, pianist Ken Kersey and the neglected<br />
altoist, Don Stovall, <strong>Allen</strong>'s units<br />
focused on the essence of driving, spontaneous,<br />
careeningly unpredictable jazz.<br />
Since leaving the Metropole in 1961,<br />
<strong>Allen</strong> had been leading a successful<br />
quartet in such regular locations for him<br />
as the Embers in New York, the London<br />
House in Chicago, the <strong>The</strong>atrical Grill<br />
in Cleveland, and on college tours with<br />
comedians Shelley Berman and Bob<br />
Newhart. <strong>Allen</strong> has so extensive a<br />
repertory and so resilient a style that he<br />
fits easily into a wide gamut of musical<br />
contexts. He is a total professional, and<br />
yet he alsoretains the irrepressible thrust<br />
of a man who is committed to jazz because<br />
he enjoys it so much. "To this day,"<br />
says <strong>Allen</strong>, "I get a little more enthusiastic<br />
after each chorus. I'm never tired of<br />
playing because I never know exactly<br />
what's going to happen next. This music<br />
can really keep you young."<br />
<strong>Allen</strong> is both respectful of the jazz<br />
tradition and also eager to keep informed<br />
of new developments in the music. <strong>The</strong><br />
world - wide spread of that tradition was<br />
impressed on him in 1959 when, during<br />
a European tour, he went to visit Fatty<br />
George's jazz club in Vienna. <strong>The</strong>re, at<br />
the entrance, was a huge picture of one<br />
of his father's marching bands. "It was<br />
one of the biggest surprises of my life,"<br />
<strong>Allen</strong> recalls, "and a very moving experience."<br />
At the same time, <strong>Allen</strong> also<br />
appreciates the fact that many of the<br />
younger players know and respect his<br />
work. "You know," he grins, "I made a<br />
record a few years ago, and one of the<br />
critics wrote that I sounded as if I'd been<br />
listening to Miles Davis. <strong>The</strong> fact is that<br />
Miles used to come around to hear me<br />
during his first years in New York. I like<br />
Miles' work very much, but I'd been<br />
playing the way I did on the record for a<br />
long time before I ever heard Miles."<br />
In whatever city he appears, <strong>Allen</strong><br />
takes the time to hear the other visiting<br />
musicians in town—men like Miles<br />
Davis, Max Roach, Gerry Mulligan,<br />
and another favorite, Dizzy Gillespie.<br />
"That's one of the reasons jazz stays so<br />
absorbing," <strong>Red</strong> explains. "It's always<br />
changing, and I like to hear those<br />
changes. I've changed some myself. And<br />
that's why I have no fear about the future<br />
of jazz. This music can't die out while<br />
there are always new generations of<br />
musicians trying new things. I only hope<br />
that they also combine their inno-vations<br />
with listening to some of the players<br />
who have gone before them."<br />
When not on the road, <strong>Red</strong> lives in the<br />
Bronx with his wife, Pearly May. His<br />
son, Henry <strong>Allen</strong>, III, studied trumpet,<br />
but is now a policeman. <strong>Red</strong> also delights<br />
in his two grandchildren, eight-yeas<br />
Alcornette and three-year-old Juretta.<br />
<strong>The</strong> latter is named after his mother;<br />
now seventy-nine, and still living in<br />
New Orleans.<br />
This reporter has been stening to <strong>Red</strong><br />
<strong>Allen</strong> for more than twenty years. I first<br />
encountered his music in Boston where,<br />
characteristically, <strong>Red</strong> had come for a<br />
short engagement and had remained well<br />
over a year. <strong>The</strong>n, as now, I was compelled<br />
to frequent wherever he played the<br />
unflagging inventiveness and scope of<br />
the man's music. He can transmute a<br />
popular song into an intimately personal<br />
story, and in the next number, he can<br />
galvanize his audience into feet-stamping<br />
exultancy - often spurred by his own<br />
exclamatory asides ("Nice! V-e-r-y<br />
Nice!"). And then he can settle into a<br />
blues that distills centuries of Afro-<br />
American musical experiences and is at<br />
the same time penetratingly contemporary.<br />
As one of <strong>Allen</strong>'s admirers,<br />
Clark Terry says, "Whenever I think<br />
of the real blues, I think automatically<br />
of <strong>Red</strong>."<br />
For all the spontaneity of his playing,<br />
<strong>Red</strong> is also an uncommonly conscientious<br />
craftsman. He balances his sets<br />
with care, and, as I've seen at television<br />
shows and rehearsals for other occasions,<br />
he has a superior sense of organization.<br />
Without raising his voice or seeming in<br />
the least flurried, he is able to draw the<br />
maximum capacity from whatever musicians<br />
are working with him His own<br />
love and respect for jazz is contagious;<br />
and the reason for the durability of his<br />
appeal is that <strong>Red</strong>, like jazz, has never<br />
been content to settle into comfortably<br />
familiar patterns. Each night, <strong>Red</strong> <strong>Allen</strong><br />
is rejuvenated - rejuvenated by the challenges<br />
and substantial pleasures of making<br />
his living by communicating to others<br />
his spontaneous emotions and the accumulated<br />
experience of fifty years of<br />
making his horn a natural extension of<br />
his own ardent self.
Down Beat 8/29/63 <strong>Red</strong> At Metropole till further notice<br />
John Chilton in Ride, <strong>Red</strong>, Ride, p176:<br />
Throughout 1963 <strong>Red</strong>'s quartet played<br />
further bookings at the Metropole<br />
(with Ronnie Cole in place of Jerry<br />
Potter). <strong>The</strong> management were not slow<br />
to observe that <strong>Red</strong>'s return brought<br />
back cus-tomers who had not visited<br />
the bar in a long time, and accordingly<br />
they gave <strong>Allen</strong> a series of dates that<br />
stretched into spring 1964. Drummer<br />
Barry Martyn visited the Metropole<br />
during this period (in conversation with<br />
John Chilton):<br />
In 1964 I was on tour with Kid<br />
Thomas. We had a night off in Bridgeport,<br />
Connecticut, so I suggested to<br />
Tom that we go into New York. He<br />
was pleased with the idea and got all<br />
dressed up. We caught the train in<br />
and decided we'd go to the Metropole<br />
to see <strong>Red</strong> <strong>Allen</strong>. Someone must have<br />
told <strong>Red</strong> that Kid Thomas was in the<br />
house because he made a big shebang<br />
about it from the stage and when the<br />
intermission came he sat down with us<br />
and he and Kid Thomas began talking<br />
- 109b -<br />
about the old days. But neither of<br />
them mentioned the celebrated<br />
occasion when they had battled<br />
against each other for the prize of a<br />
leather satchel. I thought how much<br />
I'd like to hear them talk about that so<br />
I brought the subject up by saying 'Is<br />
this the first time you've met since you<br />
had that cutting contest?' <strong>Red</strong> affected<br />
not to remember anything about this,<br />
but Kid Thomas said he didn't think<br />
they had met since then, but neither of<br />
them elaborated and the conversation<br />
went on to other things. By then about<br />
ten people had gathered around to<br />
hear what these old were talking<br />
about, so <strong>Red</strong> became expansive<br />
while old Tom guys just sat listening;<br />
then <strong>Red</strong> said something to one of the<br />
crowd about his father having the<br />
greatest brass band in New Orleans.<br />
Suddenly Tom piped up, 'I worked in<br />
your daddy's band and it wasn't too<br />
good. 'Well, I thought that <strong>Red</strong> might<br />
explode, but actually he sat there<br />
calmly and then said 'Maybe it wasn't<br />
that good, but it was history', and both<br />
men chuckled.<br />
Barry Martyn soon returned to the<br />
Metropole and saw <strong>Red</strong> working there<br />
with his quartet, which had Sammy Price<br />
on piano and a young bassist and<br />
drummer. <strong>Red</strong> was playing opposite<br />
Woody Herman's Big Band, who were<br />
on stage when Martyn arrived (in<br />
conversation with John Chilton):<br />
I think this must have been one of<br />
Woody's noisiest bands. <strong>The</strong>y finished<br />
their set and on came <strong>Red</strong> and the<br />
rhythm section. He absolutely took<br />
the place over and in no time at all he<br />
had all the people hollering and<br />
cheering, and the crowd let it be<br />
known they didn't want Woody<br />
Herman's Band to go back on. It was<br />
just about the most remarkable scene<br />
I've ever witnessed in my years as a<br />
musician. It was a perfect example of<br />
showmanship and New Orleans jazz<br />
winning over audience.<br />
-------------------------------------------------------------------------------------------------------------------------------------<br />
9/28/63 Sat., 9 p.m., Central Plaza – 2nd Benefit concert For Musicians Aid Society: bands of Vic Dickenson and Louis Metcalf;<br />
guests artists include the following: Henry”<strong>Red</strong>”<strong>Allen</strong>, Herman Autrey, Buck Clayton, Wild Bill Davison, Louis Metcalf, Pee Wee<br />
Erwin (t) Tyree Glenn, Jimmy Archey, Herb Flemming, Conrad Janis, Vic Dickenson (tb) Buster Bailey, Tony Parenti, Garvin<br />
Bushell, Eddie Barefield (cl) Cliff Jackson, Marty Napoleon, <strong>Red</strong> Richards, Hank Duncan, Sammy Price, Clarence Johnson (p)<br />
Panama Francis, Jimmy Crawford, Joe Jones, Herb Cowens, Hap Gormley (d)<br />
NYAN:9/28/63p16; In M.Selchow´s book “Vic Dickenson” is a photo of Herb Flemming & Vic Dickenson from this concert.<br />
10/28-11/9/63, Can., Toronto - Colonial Tavern: Henry <strong>Red</strong> <strong>Allen</strong> / prob.at the same time J.C.Higginbotham, Hank DeAmico<br />
(cl) George Wettling played also<br />
<strong>Red</strong> <strong>Allen</strong>´s manager Jack Bradley obviously accompanmied the band and listed in his notebook special band features:<br />
Tuesday October 29, Jack wrote, "Ride <strong>Red</strong> Ride," "I Ain't Got Nobody" and "How Long Blues."<br />
Sunday, November 3, Jack wrote that <strong>Red</strong> performed the following numbers: A "swinging 'Cherry,'" "St. Louis Blues,"<br />
"How Long Blues," "Begin the Beguine," "Bye Bye Blues" and "Just a Closer Walk with <strong>The</strong>e."<br />
mid Nov.63, Metropole ; RED ALLEN TRIO: Sammy Price, Eddie Locke vs. JACK TEAGARDEN BAND: Sol Yaged, Barrett Deems;<br />
Heiner Mückenburger “Meet Me Where they Play the Blues” about Verve 8465:<br />
Mitte November 1963 erlebte der Kritiker Whitney Balliett<br />
im »Metropole« in New York die Gruppen von Jack Teagarden<br />
und dem Trompeter Henry »<strong>Red</strong>« <strong>Allen</strong> im Wechselspiel.<br />
Ballietts Rezension dürfte eine der letzten eingehenderen<br />
Würdigungen der Wirkung und Spielweise unseres Meisters<br />
sein. Nur zwei Monate später war Teagarden tot. Balliett<br />
notierte damals:<br />
»Es wurde schnell klar, nicht nur in ihrem Spiel, sondern<br />
auch in ihrem Verhalten, daß es für das Geheimnis ihrer<br />
Ausstrahlung keine einheitliche Erklärung gibt. Genau<br />
genommen gehen Teagarden und <strong>Allen</strong> sogar in vollkommen<br />
gegensätzlicher Weise zu Werke - Teagarden hält zurück,<br />
während <strong>Allen</strong> in herausfordernder Weise austeilt. Teagardens<br />
Stil ist seit 1927, als er zum ersten Mal voll entfaltet<br />
nach New York kam und anfing, die geistigen Grundvorstellungen<br />
für das zu bilden, was er mit jedem Stück anfangen<br />
wollte, immer ein Muster an Sauberkeit gewesen. Das geht<br />
so: er nimmt ein neues Stück in Angriff, indem er sich im<br />
Kopf das bestmögliche Solo ausmalt und das im Gedächtnis<br />
behält; was dann aus seiner Posaune kommt, ist die größte<br />
Annäherung an sein Gedächtnis, die er eben schafft. So gibt<br />
es keinen Griff ins Leere, kein In-Eine-Sackgasse-Geraten,<br />
wenig Verschwendung. Diese Arbeitsweise, verbunden mit<br />
einer erstaunlich unverminderten Technik, machte die<br />
bestehende Gleichmäßigkeit seines Werkes aus. Allerdings,<br />
bei genauem Hinhören entdeckt man todsicher in jedem<br />
Chorus wenigstens eine Überraschung. So war das letzte<br />
Woche bei Teagarden-Hymnen wie St.James Infirmary, A<br />
Hundred Years From Today, Basin Street Blues, Stars Fell<br />
On Alabama und Muskrat Ramble. Bei vielen Nummern<br />
blieb Teagarden, der nie mehr als einen improvisierten<br />
Chorus auf einmal spielte, aber auch ganz einfach still und<br />
überließ das Geschehen seinen Kollegen. Er hat seine<br />
Inspiration in Kaffeelöffeln gemessen, und vom Grunde der<br />
Tasse ist bislang nichts zu sehen..<br />
<strong>Allen</strong>, auf der anderen Seite, schwimmt manchmal hin<br />
und her zwischen großer Schönheit und dem Gemeinplatz<br />
einer einzigen Phrase. Vergraben in seine Trompete in dieser<br />
Nacht schreit er, knurrt er, gellt er, tanzt dabei herum (Teagarden's<br />
Bewegungen beschränken sich darauf, daß er zum<br />
Mikrofon und von dort zurücktritt) und schwenkt er Schlußtöne<br />
wie Fahnen, oft acht oder zehn Takte lang ausgehalten,<br />
und dann plötzlich sanfte Folgen zusammengesetzt aus tiefen,<br />
dunklen Phasen, versprühenden Läufen und diesen großen,<br />
rund-buckligen blue notes, die immer sein Spiel geprägt<br />
haben. Aber diese nachdenklichen Zusammenspiele, wenn<br />
man sie überhaupt mitbekam, verflogen so schnell, daß es<br />
schwer fiel zu glauben, daß sie sich jemals ereignet hatten.<br />
Kurz gesagt, <strong>Allen</strong> spielte und spielte und spielte laut, leise,<br />
glänzend, schwach - als ob sein Non-Stop-Verbrauch von<br />
Energie nur noch mehr Energie erzeugen würde.<br />
Alles, was über Teagardens und <strong>Allen</strong>s Begleiter (bei<br />
Teagarden war u.a. Barrett Deams und Sol Yaged, bei <strong>Allen</strong><br />
Eddie Locke und Sammy Price) zu sagen ist, ist, daß sie für<br />
einen gehörigen Rückhalt für ihre Leader sorgten. Auch<br />
zeigten sie, versteckt zwar nur, die Unterschiede zwischen<br />
ihren Chefs auf: von der Bühne aus prüften sich <strong>Allen</strong>s Leute<br />
sorgfältig und mit Vergnügen in dem großen Spiegel, der die<br />
Wand gegenüber der Metropole-Bühne bildet. Als<br />
Teagardens Musiker zufällig ihre eigenen Blicke einfingen,<br />
wendeten sie schnell und wie Schafe die Augen ab.«
- 110 -<br />
12/11/63, N.Y.C. - LUIS RUSSELL died."His funeral was attended by many of his old band, Henry '<strong>Red</strong>' <strong>Allen</strong>, Charlie<br />
Holmes, J.C. Higginbotham, Greely Walton, Bingie Madison and Howard Johnson, all being present. It is a happy thought<br />
that he left behind him such a fine selection of recordings which will serve as an everlasting memorial to the LUIS RUSSELL<br />
ORCHESTRA." by Harald Grut, J.J.3-64, complete article see RA bio-disco-part-1a, p58<br />
VICTORIA SPIVEY “BLUES IS MY BUSINESS” – LUIS RUSSELL in Rec.Research 4-1967 (complete in part-1a, p76):<br />
… After this date (10/1/29) I did not see Luis again until 1937<br />
when he was the pianist with Pops Armstrong swingin´ band at<br />
New York City's Paramount <strong>The</strong>atre. My husband Billy<br />
Adams, thanks to Joe Glaser, was placed in Pops' show. Billy,<br />
who was a wonderful tap dancer, liked only the piano and<br />
drummer to accompany him. Luis went out of his way to give<br />
Billy the most splendid type of piano accompaniment and<br />
certainly helped to make Billy even more sensational than<br />
ever. As the years passed on I just seemed to miss meeting<br />
Luis time after time. Just a few months ago I made a<br />
determined effort to find Luis here in New York City. Finally<br />
<strong>Red</strong> <strong>Allen</strong> gave me his address and I learned that Luis had<br />
been remanied and was living up in Washington Heights in<br />
NYC, and also that Luis was very ill. On Wednesday, Nov. 24,<br />
1963, Len Kunstadt, J. C. Higginbotham, and myself went to<br />
Luis' home where we enjoyed a friendly chat with him and his<br />
lovely wife, Carline who we understand is a talented guitarist<br />
and opera singer. <strong>The</strong> gravely ill Luis was indeed jolly and he<br />
had high hopes to recover. A few days after the delightful<br />
meeting with Luis and his wife I called them to find out how<br />
everything was - and I was so happy to hear how he sounded<br />
so at ease. Sadly, about 10 days later Luis Russell was gone<br />
and I lost another great pal. <strong>The</strong>re are so many wonderful<br />
things I can say about him as a musician and as a person. Just<br />
ask all that knew him, and you will find out that he was tops.<br />
My best to his little family and keep them safe and sound. And<br />
long live the memory of King Luis.<br />
late Dec.63, N.Y.C., Central Plaza, - JACK CRYSTAL-BENEFIT CONCERT personnel: see below,including the <strong>Red</strong> <strong>Allen</strong><br />
Quartet: Sammy Price, Frank Skeete, Eddie Locke; J.C.Higginbotham & Dickie Wells with Buddy Blacklock, Eddie Condon,<br />
Benny Moten, George Wettling; IRA GITLER in Down Beat 1/30/64:<br />
<strong>The</strong> Central Plaza, where the late Jack Crystal had run<br />
countless sessions, was the scene of a huge, benefit for his<br />
family last month. Crystal's great popularity' among Dixie-land<br />
and mainstream musicians was attested to by the large number<br />
of men who showed up to donate their services. Many played,<br />
but the confusion that usually reigns at events of this kind kept<br />
others from performing.<br />
<strong>The</strong> paying audience was tremendous. <strong>The</strong> benefit was<br />
supposed to start at 7 p.m. By 6:30 there was a huge line on<br />
Second Ave., outside the entrance to the hall. In no time, all<br />
the space in the huge, fifth-floor ballroom was taken, and the<br />
overflow was directed to a. smaller room on the third floor.<br />
Bands shuttled back and forth between the floors, playing for<br />
both gatherings.<br />
One of the hits of the evening was the opening trombone duo<br />
of J.C.Higginbotham and Dickie Wells, backed by Buddy<br />
Blacklock, piano; Benny Moten, bass; and George Wettling,<br />
drums. <strong>The</strong> veteran trombonists, who did My Buddy and I May<br />
Be Wrong, had not rehearsed, but they spontaneously<br />
developed their unison and harmony and played four- and<br />
eight-bar exchanges. <strong>The</strong>ir individual styles were highly<br />
complementary.<br />
Another spirited set featured tenor saxophonists Bud Freeman<br />
and Bob Wilber, trumpeter Max Kaminsky, trombonist<br />
Cutty Cutshall, bassist John Giuffrida, and drummer Morey<br />
Feld. Eddie Condon was on stage for this one, "conducting"<br />
the group. <strong>The</strong>n he left the stand, and clarinetist Peanuts<br />
Hucko and bassist Bob Haggart replaced Freeman and<br />
Giuffrida. Dave McKenna was added on piano. While<br />
Condon was on, the group played 1 Found a New Baby and<br />
Fats Waller's Squeeze Me. Freeman was fine and Wilber<br />
outstanding in a Lester Youngish attitude. Kaminsky's horn had<br />
plenty of punch and virility. When Hucko and Haggart<br />
appeared, the group did South Rampart Street Parade.<br />
Between Higginbotham-Wells and Condon, there was a<br />
succession of combos beginning with trumpeter Henry (<strong>Red</strong>)<br />
<strong>Allen</strong>, (Sammy Price, piano; Frank Skeete,bass; Eddie<br />
Locke, drums), continuing with the Village Stom-pers<br />
(including Joe Muranyi, clarinet), the Fingerlake Five<br />
(trombonist Herb Flemming and drummer ,Manzie Johnson<br />
added), and ending with clarinetist Sol Yaged (Warren<br />
Chiasson, vibraharp; Marty Napoleon, piano; Johnson,<br />
drums), who broke it up with After You've Gone, and<br />
trumpeter Pee Wee Erwin (Tony Parenti, clarinet; Tyree<br />
Glenn, Miff Synes, trombones; Hank Duncan, piano; Les<br />
Demerle, drums). Singer Beulah Bryant appeared with the<br />
Erwin group.<br />
After Hucko's set, things degenerated with two "amateur"<br />
groups, the Easy Riders from Bridgeport, Conn., whose car<br />
had broken down four times en route to New York, and the<br />
Southampton Dixie, Racing & Clambake Society <strong>Jazz</strong> Band.<br />
<strong>The</strong> former group, led by trombonist Bill Bissonette, at least<br />
had a spirited feel, as rough around the edges as it was. <strong>The</strong><br />
Southampton crew was typical of the showy, soul-less, young<br />
Dixie revivalist groups that seem to per-petuate themselves in<br />
collegiate circles. <strong>The</strong> drummer was one of the worst I have<br />
ever heard. A metronome, put in his place, would have played<br />
with more heart.<br />
It would be unfair to say the crowd did not love the<br />
Southampton aggregation, but it is also pertinent to point out<br />
that the same audience would not be quiet when trumpeter Joe<br />
Thomas began the next set with a heartfelt version of I'm in<br />
the Mood for Love.<br />
With Thomas were Cozy Cole, drums; Rudy Rutherford,<br />
alto saxophone, clarinet, flute; Steve Benoric, clarinet; and<br />
Duncan, piano. Later in the set, George Wein sat in on piano,<br />
Russell (Big Chief) Moore vigorously played trombone,<br />
Victoria Spivey sang, and Jimmy McPartland blew big<br />
cornet in a fine version of When the .Saints Go Marching In.<br />
McPartland, who served as emcee through most of the<br />
evening, announced that approximately $3,000 had been<br />
collected.<br />
<strong>The</strong> long evening, which started well, ended up in a kind of<br />
hodge-podge. Both Benoric and Miss Spivey were guilty of<br />
some untimely mugging and body gyrations, though Miss<br />
Spivey did sing what seemed to be (the public-address system<br />
was not faithfully reproducing her words) a worthy blues<br />
tribute to Crystal.<br />
As someone ironically said, "If Jack had been here, there<br />
wouldn't have been all this confusion. He knew how to make<br />
these benefits run smoothly.,,<br />
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<br />
dense á l'lenterrement de Cecil Scott qu'il nous fut impossible d'entrer. Parmi ceux qui restèrent dehors avec nous, citons Dicky<br />
Wells, Sandy Williams, J.C.Higginbotham, Edgar Currence, Willie Smith"Le Lion", <strong>Red</strong> <strong>Allen</strong>, Sammy Price, Noble<br />
Sissle, Eubie Blake, Victoria Spivey, Don <strong>Red</strong>man, Sonny Greer, Wingie Carpenter, etc ... Nous n'oublierons jamais notre<br />
cher ami disparu: Cecil Scott.
- 111 -<br />
1964 throughout at the Metropole, houseband: HENRY "RED" ALLEN Quartet incl.Sammy Price or His All Stars<br />
except when on his tour through England 4/16-ca.5/7/64<br />
"HENRY "HENRY "RED" "RED" ALLEN ALLEN IS IS THE THE MOST MOST MOST AVANTGARDE<br />
AVANTGARDE<br />
TRUMPET TRUMPET PLAYER PLAYER IN IN NEW NEW YORK YORK CITY<br />
CITY<br />
TRUMPET PLAYER IN NEW YORK CITY" by Don Ellis in Down Beat 1/28/64:<br />
Every time<br />
I have gone<br />
to the Metropole<br />
to see<br />
Henry (<strong>Red</strong>)<br />
<strong>Allen</strong> during<br />
the last two<br />
or three<br />
years, I have<br />
said to myself, "It can't be true. He must<br />
just be having a very good night. All<br />
those wild things he is doing must just<br />
be lucky accidents! After all, he's been<br />
around almost as long as Louis, and it is<br />
simply impossible that he could be<br />
playing that modern."<br />
Well, a few weeks ago, after hearing<br />
<strong>Red</strong> on a slow Tuesday night with only<br />
a handful of people in the club-the type<br />
of night that would be very uninspiring<br />
to most artists -I became convinced that<br />
<strong>Red</strong> <strong>Allen</strong> is the most creative and avantgarde<br />
trumpet player in New York.<br />
What other trumpet player plays such<br />
asymetrical rhythms and manages to<br />
make them swing besides? What other<br />
trumpeter plays ideas that may begin as<br />
a whisper, rise to a brassy shout, and<br />
suddenly become a whisper again, with<br />
no discernable predictability? Who else<br />
has the amazing variety of tonal colors,<br />
bends, smears, half-valve effects, rips,<br />
glissandos, flutter-tonguing (a favorite<br />
on a high D), all combined with iron<br />
chops and complete control of even the<br />
softest, most subtle, tone production?<br />
What makes all this even more incredible<br />
is the fact that he does all this<br />
within a "mainstream" context and with<br />
a flair for showmanship that appears to<br />
keep the squarest entertained.<br />
<strong>The</strong> arrangements the group plays are<br />
consistently interesting: no overlong<br />
solos, imaginative balancing of ensembles<br />
and solos, tasteful featuring of the<br />
other members of the band. His patter<br />
between sets is hilarious and, again,<br />
never quite predictable - as drummer<br />
Jake Hanna (a wit in his own right), who<br />
was working opposite him and has heard<br />
him hundreds of times, pointed out to<br />
me that Tuesday.<br />
Henry <strong>Allen</strong> Jr. was born in Algiers,<br />
La., in 1908. He was playing with<br />
clarinetist George Lewis in 1923 and<br />
worked on the river boats with Fate<br />
Marable. About 1927 he was with King<br />
Oliver in Chicago; 1933 found him with<br />
Fletcher Henderson, and in the period of<br />
1937 to 1940 he played with Louis<br />
Armstrong's big band. This means he<br />
was in on almost the very beginnings of<br />
jazz and has been in there ever since.<br />
It is phenomenal that he is still one of<br />
the most exciting, creative jazz players<br />
of all time.<br />
I am reminded of a couple years ago<br />
when I was on vacation in New Orleans<br />
and had the opportunity to hear a band<br />
that had George Lewis and Slow Drag<br />
Pavageau among its members. None of<br />
the personnel in the band looked younger<br />
than 60, and Slow Drag was about<br />
74 (some of them might have been older<br />
than that). <strong>The</strong>y played in a place that<br />
looked like an old barn, and the only<br />
remuneration they received was that<br />
dropped into a hat by the few customers<br />
who sat on the floor and benches. Nevertheless,<br />
this was one of my most<br />
memorable and exciting jazz listening<br />
experiences. <strong>The</strong>se men played with<br />
more fire, feeling, and swing than<br />
almost anything I had ever heard before.<br />
Slow Drag played the bass with<br />
unbelievable drive, never once letting<br />
up. And they played long sets.<br />
At the same time their music was, in<br />
its way, creative. That is, within the<br />
limits they had set for themselves, each<br />
appeared to be creating fresh ideas. I<br />
noticed how greatly this contrasted with<br />
some other players of "older" styles (and<br />
even new ones) whom I had heard, the<br />
ones who are much too prevalent, who<br />
seem merely to repeat in a rather lackadaisical<br />
way the same things they have<br />
been doing, or heard others do, thousands<br />
of times before. I was astonished,<br />
because these men were different. One<br />
of the reasons is probably that they<br />
forged the style they are still playing<br />
today, and the framework is broad<br />
enough for them still to create within it.<br />
Which brings me back to <strong>Red</strong> <strong>Allen</strong>.<br />
<strong>The</strong>re are countless "influences" on<br />
<strong>Red</strong>'s style no doubt, but he is able to<br />
use these in a completely original way<br />
and still create within the style. He is<br />
one of the major jazz improvisers, in the<br />
truest sense of the word.<br />
Other trumpeters may be able to play<br />
faster or higher than <strong>Red</strong> (al-though his<br />
facility and range are remarkable), but<br />
no one has a wider scope of effects to<br />
draw upon, and no one is more subtle<br />
rhythmically and in the use of dynamics<br />
and asymetrical phrases than Henry<br />
(<strong>Red</strong>) <strong>Allen</strong>.<br />
<strong>The</strong>se things make him the most avantgarde<br />
trumpet player in New York, and<br />
if one thinks this is exaggerated, he had<br />
better go and listen to <strong>Red</strong> again - closely.<br />
Another admirer of <strong>Red</strong> <strong>Allen</strong>'s playing was Miles Davis, who guested the Metropole regularly and stated that “<strong>Red</strong><br />
<strong>Allen</strong> was a musicians' musician.” below due to the 62/6/5 session on p103
- 112 -<br />
Jan.1964, NYC., HERB FLEMMING'S STATLER HOTEL ORCH. & <strong>Red</strong> <strong>Allen</strong> as guest (E.Biagioni: Herb Flemming)<br />
Harry Sheppard-Fred Martin-Dave Albittini-Joe Wilder-Marty Napoleon-<strong>Red</strong> <strong>Allen</strong>-Herb Flemming-Mme Sheppard(bass-g)<br />
early Feb.64-N.Y.C.-Metropole - JAM SESSION - RED ALLEN BAND versus MARTY NAPOLEON QUINTET:<br />
Stanley Dance in J.J. 3-64 p17. ..at the Metropole, Shorty<br />
Baker was playing opposite <strong>Red</strong> <strong>Allen</strong> as part of Marty<br />
Napoleon's quintet. Shorty was on the wagon and sounding<br />
great. (<strong>The</strong> past month, you gather, has been a superior one<br />
for trumpet.) <strong>The</strong> two groups got together for a jam session<br />
and there were interesting happenings. One night we heard<br />
them start off with a very, very slow SWEET GEORGIA<br />
BROWN, Shorty playing melody and <strong>Red</strong> noodling behind.<br />
Maybe <strong>Red</strong> was encouraged by Shorty's presence, but we<br />
heard several sets from him barely marred by the<br />
extravagance the joint demands. His fierce instructions to<br />
the males to KISS THE BABY (their female companion)<br />
are often very funny. One guy was unsuspectingly sitting<br />
there with a couple of women, when he was ordered to kiss<br />
the baby. He complied, kissed the better-looking one, but<br />
then <strong>Red</strong> called,"Kiss your spare!" <strong>The</strong> spare never was any<br />
bargain, but <strong>Red</strong> insisted and won.<br />
NYAN-2/29/64p15: Our old friend and longtime supporter, Henry “<strong>Red</strong>”<strong>Allen</strong>, is trumpeting Dixie and the Blues to the footstamping<br />
delight of SRO buffs at the Metropole, 49th St. and 7th Ave. His accomplices in merriment are Sammy Price,<br />
piano, Jerry Potter, tubs, and FranklinSkeete on a big bad bass. …<br />
same source: ?Dan Burley & Billy Rowe – NYAN-2/29/64p17: AFTER LISTENING TO Sam Price, <strong>Red</strong> <strong>Allen</strong>, Jerry<br />
Potter and Franklin Skeete at the Metropole, we walked across the street with Sam to enjoy the soul food of the<br />
Copper Rail where Rose, Mickey and Della make everyone happy with their recipes.<br />
3/23/64 Mo., NYC., Metropole - opening date Lionel Hampton Band vs.<br />
<strong>Red</strong> <strong>Allen</strong> Quartet;<br />
NYAN-3/28/64p18: Lionel Hampton's big band introduced a new tune<br />
“Compilcity” at its Metropole opening Monday night – a number one usually<br />
hears played by such modern small groups as the Modern <strong>Jazz</strong> Quartet. It<br />
went over big. …<br />
… Jay C.Higginbotham's band at the Room at the Bottom should be<br />
playing “Doctor, Doctor” instead of Dixieland. Last week Higgy was<br />
suffering pleurisy, trumpet player had the flu and drummer George Wettling<br />
was ill with diabetis. Still they played<br />
the only examplary advert. of alto-sax-player “<strong>Red</strong> <strong>Allen</strong>”<br />
which I have found in the press-papers: VV-12/5/63p18
- 112a - Addenda<br />
THE FANTASTIC RED ALLEN New <strong>Jazz</strong> Records - Max Jones in Melody Maker 8/19/67p27 about Xtra-5032 (1962)<br />
DON ELLIS wrote earlier this year: " <strong>Red</strong> <strong>Allen</strong> is a fantastic<br />
trumpet player and reveals an incredible imagination. He<br />
makes use of almost every device mechanically and physically<br />
possible on the trumpet."<br />
He was talking about <strong>Allen</strong>'s quartet album, "Feeling Good,"<br />
with Sammy Price on piano, but most of his comments would<br />
apply to this set, made a few years before.<br />
<strong>The</strong> instrumentation is the same in each case, and routines<br />
and approaches are similar though <strong>Red</strong> sang more vocals on<br />
the later recording.<br />
Here he sings only on "I Ain't Got" and that excellent Don<br />
<strong>Red</strong>man number, "Cherry" (the only tune common to both<br />
sets). <strong>The</strong> singing, as always, is gruff and gutty, full of<br />
punched out phrases alive with the swing, humour and<br />
peculiar tone qualities which mark much of his trumpet work.<br />
As for the blowing, he produces something unexpected on<br />
every track and works hard to keep the music sounding fresh<br />
and stimulating. He is particularly fine and fanciful at the<br />
beginning of "Ain't Got" and "Sleepy Time," and all through<br />
the old " House In Harlem."<br />
Much commanding blues playing can be heard on<br />
"St Louis," also some of the flutter-growl effects which <strong>Red</strong><br />
used extensively in his later years. I am not too partial to this<br />
kind of tonal harshness, but it is one of the ways <strong>Red</strong> used to<br />
increase tension or give variety to a longish solo outing, and it<br />
occurs quite a few times in the set.<br />
He was always an innovator, with an audacious outlook on<br />
harmony, tone and phrasing; his liking for dry, even waspish<br />
sounds, not really pleasing to the ear, can perhaps be seen as<br />
another of his before-his-time stylisms.<br />
Very good performances in respect of tonal manipulation are<br />
"Just In Time" and "Biffly Blues," the latter an original<br />
recorded by <strong>Allen</strong> on the first session made under his name.<br />
And remarkable ideas lie thick on "Nice Work."<br />
But all those devices mentioned by Don Ellis are on display<br />
somewhere, and at Xtra's low price the album should be<br />
snapped up by trumpet lovers and users. As Ellis says, again: "<br />
Most other trumpeters of any era, with their relatively limited<br />
scope, seem very tame and pale in comparison to <strong>Red</strong> <strong>Allen</strong>."<br />
---------------------------------------------------------------------------------------------------------------------------------------------<br />
JAZZ DYING? RED STILL DRIVES A CAD<br />
MM Editor Jack Hutton calls it at the Metropole, New York, to talk to veteran New Orleans trumpeter RED ALLEN<br />
– due in Britain next month to tour with some of our top bands. Melody Maker 3/14/64<br />
RED ALLEN'S face looks as though it<br />
were hewn out of teak. Especially when<br />
he's blasting away on his King trumpet<br />
on the bandstand of New York's Metropole,<br />
above and behind the bar.<br />
<strong>Red</strong> and his quartet - bassist Franklin<br />
Skeet s, drummer Gerry Potter and pianist<br />
Sammy Price -have a lot of opposition.<br />
<strong>The</strong> roar of traffic on Seventh Avenue,<br />
the thing of the bar tills and the indifference<br />
of much of the audience.<br />
<strong>Red</strong> takes them all on and wins.<br />
He has a curious style of showmanship<br />
which consists mainly of bending and<br />
swooping, physically following his<br />
playing, removing one hand from his<br />
horn and shouting "Nice" and "My Man!"<br />
in his gruff New Orleans accent.<br />
Gusto<br />
He hits high ones with ease ("I can<br />
usually git what I go for") plays those<br />
odd intervals which has earned him the<br />
tag of the first bop trumpet player, and<br />
growls on his instrument with gusto.<br />
He attacks individuals at the bar with<br />
stabbing staccato notes until they either<br />
applaud or drink up and go. Most stay.<br />
On the night I was there he plugged<br />
Melody Maker over the mike, insisted<br />
on a hand for the paper from bewildered<br />
barflies and played "A closer walk with<br />
thee" - presumably for me.<br />
With hardly a pause he switched into<br />
"Lover come back" and then dug up<br />
"Pleasin' Paul".<br />
His playing packs pulsating vitality, his<br />
tone crackles and his fiery approach is ;<br />
charged with excitement.<br />
<strong>The</strong> set over, <strong>Red</strong> slung a massive arm<br />
round my shoulders, growled "Nice!"<br />
and steered me across Seventh Avenue to<br />
a bar across the street. I wondered how<br />
the guvnor of the Metropole took that.<br />
On the way <strong>Red</strong> stopped at a 1964<br />
Cadillac and opened the boot. Somehow<br />
it seemed incongruous to see pictures of<br />
Henry <strong>Allen</strong> Snr. and his New Orleans<br />
Brass Band coming out of the glossy<br />
Cadillac.<br />
In the bar <strong>Red</strong> waved to Coleman<br />
Hawkins and Big Chief Russell Moore,<br />
who happened to be there (New York's<br />
like that) and settled in a booth.<br />
<strong>The</strong> scrapbook was produced and Brian<br />
Rust would have gone potty as the pictures<br />
of early New Orleans musicians<br />
were uncovered. Oscar Celestin, Alphonse<br />
Picou, Bunk, - they were all there.<br />
Drinking sherry - he'd given up Scotch<br />
for Lent - <strong>Red</strong> told me he's been at the<br />
Metropole for ten years off and on, was<br />
56, and was gassed at the thought of<br />
coming to Britain next month to guest<br />
with Alex Welsh, Sandy Brown, Bruce<br />
Turner and Humphrey Lyttelton.<br />
Classic<br />
He raved about Louis : Armstrong, who<br />
often turns up at his house unexpectedly,<br />
and Coleman Hawkins, with whom he<br />
plays weekend gigs.<br />
He is a great admirer of Pee Wee<br />
Russell and says: "I've known Pee Wee<br />
and played with him most of my life.<br />
And believe me, I don't play with people<br />
I don't like."<br />
<strong>Red</strong> paused to growl "Nice. My Man!"<br />
and wave to some of the customer from<br />
the Metropole who seem to have<br />
followed him across Seventh Avenue.<br />
<strong>Red</strong> has been a New Yorker for years<br />
and has a good • gig connection which<br />
makes him far more fortunate than most<br />
of the city's jazzmen. Few run Cadillacs.<br />
Or cars - period.<br />
He does the odd TV spot and a few<br />
record dates. But he doesn't own one of<br />
the many classic sides he played on.<br />
"Well, you know how it is man," he<br />
grunted. "You loan them out over the<br />
years ' . and that's the end."<br />
<strong>Red</strong> downed the sherry and headed<br />
back f or the Metropole for another set.<br />
He felt like singing and out came "How<br />
long" and 'St. Louis Blues". Although<br />
only ten people or so were present the<br />
excitement came back with <strong>Allen</strong>.<br />
One senses he's having a ball and the<br />
feeling comes across.<br />
Just as the bar was closing-at 2.30 am<br />
and we were saying goodnight, <strong>Red</strong> lost<br />
a cuff link when he gave one of his<br />
stylish flourishes. Staff and customers<br />
searched the Metropole without success.<br />
"Never mind," growled <strong>Red</strong>, "I'll send<br />
this one to Wingie Manone."<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------
- 113-<br />
intermission chapter: 16th April - 5th May 1964<br />
RED ALLEN TOUR IN ENGLAND WITH LOCAL BANDS<br />
4/16 Manchester, Sports Guild - Art Taylor All Stars; & others<br />
4/17 same - Alex Welsh B. ; 4/18 same - Sandy Brown Band;<br />
4/19 same - Bruce Turner B.; 4/20 same - Humphrey Lyttelton B.<br />
4/23 Bath, Regency, Ballroom, - Alex Welsh Band;<br />
4/24 Stoke-On-Trent, Pavillon, - Alex Welsh Band;<br />
4/25 Nottingham, Dancing Slipper, - Alex Welsh Band;<br />
4/25 evening., London, Mardon, - Alex Welsh Band;<br />
4/26 London, Marquee Club - H.Lyttelton Band;<br />
4/27-30 unknown engagements in and around London;<br />
5/1 Westminster Central Hal1, - <strong>Red</strong> <strong>Allen</strong> All Stars;<br />
5/2 or 5/3 Manchester, MSG, - Alex Welsh Band;<br />
5/5 Shepherds Bush-BBC-2 TV - Alex Welsh Band, 2 parts;<br />
FOREWORDS: - <strong>Red</strong> <strong>Allen</strong> Introductions for UK-Audiences & about the Manchester Sports Guild<br />
M.Williams,"Henry <strong>Red</strong>": In early 1964, <strong>Allen</strong> made it overseas on his own, and, according to the reviews he received,<br />
"made it" is putting it mildly. In Manchester, England, he appeared in a most remarkable, complex establishment called <strong>The</strong><br />
Manchester Sports Guild, a threefloor building, with "live" mainstream jazz by a big band in residence in a large hall-there is<br />
even a "folk"lounge. One reviewer declared that <strong>Allen</strong>, working singly with local musicians, had done more to revitalize<br />
British jazz in his brief stay than several touring American big bands. At Manchester, <strong>Allen</strong> received the citation for his<br />
contribution to jazz, an event which he numbers among the three things in his life that he will always remember. "It has<br />
nothing to do with finance. It is a feeling that you're wanted. That helps a guy very much." …<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------<br />
<strong>Red</strong> <strong>Allen</strong> for Britain ALBERT MC CARTHY <strong>Jazz</strong> Monthly, April 1964<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> will be appearing in this country during<br />
April, definite dates already being:-…<br />
This tour is unusual in as far as it is being sponsored, on a<br />
non-commercial basis, by the Manchester Sports Guild in<br />
connection with their 10th anniversary. This organisation has<br />
sponsored jazz clubs and activities since its inception, but their<br />
latest venture is one which deserves the support of every jazz<br />
follower able to get to the concerts. It may well be that if this<br />
tour is successful the idea may be extended to bring other<br />
American musicians to this country.<br />
For years many readers have shared my regret that jazz<br />
followers seem unable to form an organisation that would, as<br />
one part of its activities, introduce American musicians to this<br />
country who would not otherwise appear. <strong>The</strong> Manchester<br />
Sports Guild has taken up the idea in a very practical fashion<br />
and one hopes that the support it receives will be sufficient for<br />
it to feel encouraged to go ahead with the sponsoring of other<br />
visits.<br />
Readers can obtain any further details from J. Swinnerton,<br />
<strong>Jazz</strong> Organiser, <strong>The</strong> Manchester Sports Guild, Sports and<br />
Social Centre, 8-10 Long Millgate, Manchester, 3 ('phone<br />
DEAnsgate 2964 and 4668).<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------<br />
“COOL BLUES RED - <strong>The</strong> Night “VISION” Joins <strong>The</strong> <strong>Jazz</strong>men; by Gibbs McCall & Clarence Henley, Daily Mail …<br />
JAZZ trumpeter Henry”<strong>Red</strong>”<strong>Allen</strong> had Henry, born the son of a brass bands- backing him included Humphrey Lyttelt-<br />
to leave New Orleans, his birthplace and man in 1908-in the raw years of jazzon (above, left)-at Manchester Sports Guild<br />
cradle of the Blues, to find true lovers of grew up alongside the legendary names: and Social Centre, in Long Millgate.<br />
his kind of music.<br />
Kid Ory, Jelly Roll Morton and Louis Fans came from all over the country to<br />
His search ended in a smoke-hazed Armstrong.<br />
hear – but the guild lost money.<br />
cellar-under an office block in Manchester. Now he is 56, and a legend himself. A spokesman said: “We were not out<br />
“After the fantastic welcome I've had I Some experts say he plays a “bluer” to make a profit. We just wanted to hear<br />
realise that jazz appreciation here is far blues than Armstrong.<br />
a great jazz musician.<br />
higher than in America,” he said. He played four nights-British jazzmen (with single photos of Lyttelton / <strong>Allen</strong>)<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------<br />
A KID WHO PLAYED HORN IN STREET PARADES by Jack Swinnerton, in Focus Feb.64, No.1<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> was born in the<br />
Algiers district of New Orleans on the<br />
7th January, 1908. His father, Henry<br />
<strong>Allen</strong>, Snr., as many jazz sages will<br />
know, was the leader of the legendary<br />
<strong>Allen</strong>s' Brass Band of New Orleans,<br />
which, during its lifetime, could boast<br />
such well-known New Orleans musicians<br />
as King Oliyer (then known less regally<br />
as Joe), Buddy Petit, Papa Celestin and<br />
Punch Miller.<br />
Henry James <strong>Allen</strong>, Jnr., like one of his<br />
contemporaries, Louis Armstrong, had<br />
many affectionate nicknames bestowed<br />
upon him in his time. In his home town<br />
then and now, he is. known simply as<br />
Sonny." But he also acquired the rather<br />
bizarre nickname of "Biffly Bam," coined<br />
from one of his recordings, although for<br />
many years he was known as Henry<br />
<strong>Allen</strong>, Jnr., as a mark of respect to his<br />
father. He is now usually referred to as<br />
"<strong>Red</strong>" <strong>Allen</strong> due to his ruddy countenatice<br />
during solo.<br />
STREET PARADES<br />
At the early age of eight years "<strong>Red</strong>"<br />
played alto horn in his father's band,<br />
taking part in numerous street parades -<br />
unfortunately, young Henry's leg were so<br />
short at that time that his father had to<br />
carry him most of the way. What a sight<br />
that must have been;<br />
Henry, Snr., marching along playing<br />
comet and carrying his young son (lustily<br />
blowing alto horn), in his arms. Later<br />
"<strong>Red</strong>" switched to trumpet and became a<br />
very powerful musician, as did so many<br />
of the New Orleans musicians who<br />
played a lot of music in the open air.<br />
"<strong>Red</strong>" <strong>Allen</strong> came to the attention of<br />
jazz enthusiasts outside New Orleans in<br />
1927 when Je "King"Oliver brought him<br />
to St. Louis to join his band there.<br />
However "<strong>Red</strong>" didn't stay long with the<br />
"King" - as he said -in his own words,<br />
“… in those days you had to be twentyone<br />
before you were on your own . . . I<br />
was one of the obedient guys - I loved<br />
my parents!"<br />
JAZZ MASTERPIECES<br />
Two years later pianist Luis Russell<br />
formed his own group and' "<strong>Red</strong>" was<br />
once more sent for. <strong>The</strong> recordings this<br />
band cut have rightly taken their place as<br />
masterpieces of jazz music. As a group<br />
their fire and inspiration have seldom<br />
been equalled. Unfortunately, British<br />
recording companies neglected these<br />
waxings to an unbelievable extent, so that<br />
anyone wishing to obtain them must<br />
peruse the Continental record catalogues.<br />
Since this time "<strong>Red</strong>'s" name has<br />
become well known to jazz lovers<br />
throughout the world, with records such<br />
as, "It Should Be You" (1929); "Rosetta"<br />
(1935), "Canal St. Blues" (1940); "<strong>The</strong><br />
Crawl" (1946); "Algiers Bounce" (1958),<br />
and many others. He has been a member<br />
of, or recorded with. bands led by Jelly<br />
Roll Morton, King Oliver, Louis Armstrong,<br />
Sidney Bechet, Luis Russell, James<br />
P.Johnson, George Lewis, Fats Waller,<br />
Billy Banks and Kid Ory. "<strong>Red</strong>'s" numerous<br />
appearances at New York's "Metropole"<br />
have increased his reputation even<br />
more'.<br />
KID ORY TOUR<br />
Some members may have been lucky<br />
enough to see "<strong>Red</strong>" at Manchester's Free<br />
Trade Hall some four years ago when he<br />
was touring with the Kid Ory band. At<br />
that time "<strong>Red</strong>" said, "… Kid was a<br />
colleague and contemporary of my father<br />
… so that makes him boss …" Due to this<br />
"<strong>Red</strong>'s" own strong personality tended to<br />
be somewhat stifled. However, in April,<br />
we shall have a wonderful opportunity of<br />
seeing, and bearing, Henry "<strong>Red</strong>" <strong>Allen</strong><br />
in the role of musical leader, a position<br />
which will allow his ideas and technique<br />
to flow to the fullest.<br />
Next issue: A discussion of "<strong>Red</strong>"<br />
<strong>Allen</strong>'s musical role in jazz
- 114-<br />
<strong>Red</strong> <strong>Allen</strong>'s'Story: Part Two - THE MAN AND HIS MUSIC Focus March l964, No.2<br />
During <strong>Red</strong> <strong>Allen</strong>'s only previous British tour in 1959, he was approached by a leading critic between concerts with the Kid<br />
Ory band, and, knowing <strong>Red</strong>'s reputation as a colourful talkative personality, the critic cheeerfully anticipated being swamped<br />
with <strong>Red</strong>'s opinion on jazz, musicians, the Ory band, and all manner of subjects. However, although <strong>Red</strong> was clearly interested<br />
in the questions put to him, the critic received merely a polite, matter-of-fact and unembroidered answer to his every question.<br />
Imagine that critic's surprise then, when, on meeting up with <strong>Allen</strong> a couple of days later, he spent a most absorbing couple of<br />
hours hearing <strong>Red</strong>'s reminiscences and views on jazz in general.<br />
This little story serves to illustrate that<br />
the personality of the man is strongly<br />
reflected, as with all good jazz musicians,<br />
in his music. One moment he will play<br />
most subdued and melodic phrases, his<br />
control delicate but absolute; then his full<br />
toned trumpet will glide down to a<br />
throaty mutter, his control being such<br />
that he has little need of a mute, and, in<br />
fact, rarely uses one, then he will break<br />
into a breathtaking musical flight,<br />
staggering in its portrayal of inventiveness<br />
excitement, drive and power.<br />
<strong>The</strong> influence of Louis Armstrong is<br />
strong in many jazz trumpet players, and<br />
certainly it is in <strong>Red</strong> <strong>Allen</strong>; at least in so<br />
far as approach, power, phrasing and the<br />
particular jazz language used are<br />
concerned. <strong>Allen</strong>, however, is too much<br />
of an individualist to sound exactly like<br />
Armstrong in the way that. for example,<br />
Jabbo Smith sometimes did.<br />
<strong>Red</strong>'s power comes from his remarkable<br />
command of his instrument, his<br />
melodic sense is particularly arresting<br />
and perennially fresh. As one noted critic<br />
has observed, "One of the out-standing<br />
characteristics of <strong>Allen</strong>'s playing is the<br />
freedom with which he phrases. Probably<br />
no jazz soloist between Armstrong and<br />
Lester Young plays with greater<br />
rhythmic ease and natural swing . . ."<br />
<strong>Allen</strong> is also a singer of some repute,<br />
and particularly shines with ballad, which<br />
he illuminates with the same kind of<br />
irrestistable swing which characterises<br />
his playing.<br />
With such an extensive repertoire, and<br />
so resilient a style, <strong>Allen</strong> fits easily into a<br />
wide range of musical contexts. For the<br />
traditionalists here is a man who has<br />
never gone far from the real roots of jazz.<br />
and roots go as deep as any - so much so<br />
that when quoted names of men in a<br />
current New Orleans band he is known to<br />
have said, a little impatiently,"… yeah,<br />
yeah, I .know 'em. That's my home town<br />
you know<br />
During the thirties <strong>Allen</strong> became an<br />
important figure on the American jazz<br />
scene. Thinking, as he does, in long,<br />
flowing melodic lines, and with his<br />
ability to play with a sense of continuity,<br />
he was a natural for the swing music of<br />
that era.<br />
When he started his own small group in<br />
the 40's, the pre-requisite was always for<br />
stimulating, similary exuberant musicians<br />
like himself. and in the company of such<br />
men as Sidney Bechet, Edmond Hall<br />
and J.C.Higginbottom he could hardly<br />
have been disappointed.<br />
Whenever possible <strong>Red</strong> takes the opportunitv<br />
of listening to modern jazz<br />
musicians - men like Mile Davis, Max<br />
Roach, Gerry Mulligan, and, a big<br />
favourite of his, Dizzy Gillespie. "That's<br />
one of the reasons jazz stays so absorbing,"<br />
says <strong>Red</strong>, "it's always changing,<br />
and I like to hear these changes."<br />
For all his spontanaiety, <strong>Red</strong> remains a<br />
conscientious craftsman, he balances his<br />
programme carefully, and has a good<br />
sense of organisation. Without seeming<br />
in the least bit flurried he drawn the<br />
maximum capacity from whichever<br />
musicians are playing with him, and<br />
every time he plays he is rejuvenated by<br />
the challenges and pleasures of<br />
communicating his feelings to others.<br />
Not only will April be a memorable<br />
month in the history of the Guild, when<br />
<strong>Red</strong>'s four-night stand here forms part of<br />
our tenth anniversary celebrations, but it<br />
will also be a time which jazz enthusiats<br />
will remember for the rest of' their lives.<br />
J.Sw.<br />
COMING SOON - Jack Swinnerton in Focus - April 64, No.3:<br />
In just a few days Henry '<strong>Red</strong>' <strong>Allen</strong> will be here at'the M.S.G. Centr'e and the plans and preparations<br />
of months past will culminate in JAZZ - AS YOU WANT TO HEAR IT PLAYED.<br />
It would he both foolish and inaccurate<br />
to claim that all of <strong>Red</strong>'s recordings are<br />
superb. <strong>The</strong> jazz musician without an<br />
"off day" just does not exist. It can be<br />
fairly stated, though, that much of <strong>Red</strong>'s<br />
work has maintained the very high<br />
standard set by his earliest recordings.<br />
<strong>The</strong> role of musicians he has both led<br />
and played for (as mentioned in parts 1<br />
and 2 of this series) is both extensive and<br />
impressive, each recording, or group of<br />
recordings, revealing just a little more of<br />
the many outstanding features of the<br />
playing of this great musician.<br />
For example, the never-bettered<br />
recording of "Swing Out" by <strong>Red</strong> <strong>Allen</strong>'s'<br />
New York Orchestra in 1929, shows his<br />
considerable technique both in the<br />
ensemble passages and in the now classic<br />
<strong>Allen</strong> solo. In direct contrast, his later<br />
recording of "Canal Street Blues"<br />
portrays him at his most subdued.<br />
<strong>The</strong> recordings of <strong>Red</strong> <strong>Allen</strong> are often<br />
featured over our cellar loud-speakers<br />
prior to the start of, and during the<br />
intervals of our regular jazz sessions and,<br />
as you will realise these will be more<br />
concentrated during the two weeks<br />
before the arrival of <strong>Allen</strong>. Thus, the<br />
few people not already very familiar with<br />
his past work will have the opportunity of<br />
hearing some of this super jazz.<br />
But what of his actual appearances at<br />
the M.S.G. itself ?<br />
<strong>The</strong> four bands selected to appear<br />
alongside <strong>Red</strong> <strong>Allen</strong> at this centre were<br />
chosen with care. It was fat from a case<br />
of merely grouping four of the leading<br />
British jazz groups and saying, "<strong>Red</strong><br />
should be happy enough there."<br />
<strong>Red</strong> <strong>Allen</strong> has always been particularly<br />
fond of Dixieland jazz and many of<br />
his best recordings have featured. him<br />
alongside America's finest exponents in<br />
the field. What more natural, then, than to<br />
open our series of concerts with Alex<br />
Welsh and his band, Britain's best group<br />
playing in this style? As well as the<br />
complementary sounds we shall hear<br />
from the two different musicians, other<br />
interesting comparisons spring to mind.<br />
<strong>Red</strong> <strong>Allen</strong> and trombonist Roy<br />
Crimmins, for example.<br />
When discussing jazz clarinetists, most<br />
discerning fans will rate Sandy Brown<br />
very highly in the world class. Sandy has<br />
also been fortunate in maintaining an<br />
excellent small group which, including<br />
as it does, men like Al Fairweather and<br />
Danny Moss, is a combination which will<br />
bring out the most lyrical side of <strong>Red</strong>.<br />
Most of our regular visitors will know of<br />
the recent personnel changes in the<br />
Bruce Turner Jump Band. Bruce has<br />
been heard to say that he felt he was<br />
being drawn away from his chosen style,<br />
and that his music was suffering. in<br />
consequence – hence the group changes.<br />
"Do we see the last traces of the<br />
legitimate approach to jazz by men …<br />
like, Earl Hines, Buck Clayton and<br />
Henry <strong>Allen</strong>?" was Bruce Turner's query<br />
in die February issue of this magazine.<br />
Whether we agree with Bruce or not,<br />
we will soon have the opportunity of<br />
hearing him play with one of his idols - a<br />
prospect which I know Bruce to be<br />
extremely thrilled about.<br />
"… We applaud <strong>Red</strong> <strong>Allen</strong> for a performance<br />
right up in the majestic class"<br />
wrote Humphrey Lyttleton after <strong>Allen</strong>'s<br />
last visit to this country. Having always<br />
considered Humph's own play-ing not to<br />
be lacking in this quality, the combination<br />
of these musicians should provide a<br />
particularly exciting evening of jazz.<br />
next issue: reviews about the MSG-sessions<br />
<strong>Red</strong> <strong>Allen</strong> in UK-1964 (issued 1966)
- 114a - Addenda<br />
RED ALLEN IN MANCHESTER JACK HUTTON in Melody Maker 4/25/64<br />
HENRY RED ALLEN sat in a firstclass<br />
compartment on the way to<br />
Manchester last Thursday morning.<br />
Opposite sat two bowler-hatted<br />
gentlemen reading <strong>The</strong> Times.<br />
Without a word of warning <strong>Red</strong><br />
unzipped his trumpet valise, produced<br />
his horn and started to blow. <strong>The</strong> two<br />
copies of <strong>The</strong> Times were gently<br />
lowered. Two pairs of astonished eyes<br />
under two bowlers beheld <strong>Red</strong>. <strong>The</strong>n<br />
slowly, and without a word being said,<br />
the two copies of <strong>The</strong> Times were raised<br />
again. And <strong>Red</strong> blew on.<br />
It was a hilarious start to a thrilling<br />
occasion. A glorious event which<br />
opened a lot of jazz eyes in this country.<br />
<strong>The</strong>re was the quality of <strong>Red</strong>'s<br />
playing for example. Superb control<br />
and searing excitement.<br />
<strong>The</strong>re was the tremendous improvement<br />
of the Alex Welsh band. A great<br />
sound built on what must be the best<br />
rhythm section of its kind in the country.<br />
HEALTHY<br />
And there was the startling achievement<br />
of the Manchester Sports Guild<br />
who had actually imported a real, live<br />
American jazz star and managed to get a<br />
sell-out.<br />
Hats off to these mighty Mancunians.<br />
At a time when many jazz sounds are<br />
going to the wall and people who<br />
profess love of the music are sheepishly<br />
shuffling their feet, these Manchester<br />
fans are showing the country the way.<br />
Two people are largely responsible for<br />
this healthy state of affairs - the Guild's<br />
jazz organiser, Jack Swinnerton and the<br />
general secretary, L. C. Jenkins.<br />
Jenks, as he insists on being called, has<br />
been running the Guild's affairs for over<br />
ten years. <strong>Jazz</strong> is only one of the activities<br />
of the Social Centre. You can have a<br />
go at fencing, for instance, or tackle a<br />
Japanese judo instructor brought over<br />
from Japan to be resident teacher.<br />
Presenting <strong>Red</strong> <strong>Allen</strong> to their members<br />
was a dream that came true for Jenks<br />
and Jack Swinnerton. A dream made<br />
possible by the members who turn up at<br />
the rate of 1,250 a week for six nights of<br />
jazz while the folk and country-andwestern<br />
"rooms" on the same premises<br />
are also crowded.<br />
<strong>The</strong>se Manchester jazz fans paid 10s.<br />
each to hear the Dutch Swing College.<br />
"London fans gloomily ask what can be<br />
done," says Jenks. "Tell them to pay<br />
13s. 6d. to hear <strong>Red</strong> <strong>Allen</strong>. That's what<br />
we've done."<br />
And it was worth it.<br />
When the hastily rigged up pots<br />
picked out <strong>Red</strong> in his blue jacket<br />
making his entry to the jazz club on<br />
Friday night, the capacity crowd<br />
jumped to welcome him with pre-sold<br />
enthusiasm gleaming on every face.<br />
FINEST<br />
<strong>The</strong> Alex Welsh boys on the stand<br />
beamed seven warm welcomes. Middleaged<br />
addicts up from London fidgeted in<br />
anticipation. Schoolmaster enthu-siasts<br />
adjusted their woollen ties.<br />
And rip-roaring <strong>Red</strong>, the showman<br />
jazzman from New Orleans via New<br />
York, muttered "Nice! Nice!" and blew<br />
his way in tentatively on "<strong>Jazz</strong> Band<br />
Ball", warmed up further on "Yellow<br />
Dog" and was wailing with "Rosetta".<br />
"Indiana", "Canal Street" and "Spider<br />
Crawl".<br />
<strong>The</strong> Welsh band took fire. Drummer<br />
Lennie Hastings played one of his finest<br />
sessions. New men Jim Douglas, guitar,<br />
and Ron Mathewson, bass, fitted like<br />
kid gloves.<br />
Pianist Fred Hunt looked delighted to<br />
have just rejoined his mates, and frontliners<br />
Roy Crimmins, Al Gay and Alex<br />
seemed six feet in this air<br />
<strong>Red</strong> crackled out the thick brassy tone.<br />
------------------------------------------------------------------------------------------------------------------------------------<br />
He whispered and shouted, slipped<br />
daringly across the pinnacles of far-out<br />
phrases, and stated good old standbys<br />
with solidity and simplicity.<br />
While the Welshmen were soloing, he<br />
strode about the back of the stand as<br />
though looking over distant hills. <strong>The</strong>n<br />
he'd urge the crowd: "Make him happy,<br />
make him happy. My man."<br />
His own playing is full of constant<br />
surprises - tenderness and tearing<br />
toughness. Odd intervals, dirty growls<br />
and bell-like high notes with a milewide<br />
streak of the blues throbbing<br />
through everything he plays..<br />
He had the crowd shrieking back "Oh<br />
Yeah" in answer to his urgent pleas on<br />
"St. James", and knocking themselves<br />
out with his throaty vocals.<br />
And as Lennie Hastings emphatically<br />
thundered out the final four bars of the<br />
night, <strong>Red</strong> was nearly mobbed on the<br />
stand.<br />
What else could any self-respecting<br />
jazz fan do after such a performance?<br />
<strong>The</strong> day before, at a musical press<br />
conference in the social centre, we'd had<br />
tantalising glimpses of the genial giant<br />
as he jammed away on Count Basie<br />
numbers with the Don Mitchell Big<br />
Band.<br />
COBWEBS<br />
And again when he mixed it up with<br />
the Art Taylor All-Stars and guest<br />
enthusiast Ernie Tomasso on clarinet.<br />
But, naturally, it was the opening show<br />
with the swinging Welsh band that<br />
climaxed this great jazz occasion.<br />
Henry <strong>Red</strong> <strong>Allen</strong> blew away all the<br />
jazz cobwebs with dignified showmanship<br />
and pure playing ability.<br />
In connection with the north you keep<br />
hearing the phrase "Where there's muck<br />
there's brass."<br />
Well, in Manchester last Friday there<br />
was no muck but a hell of a lot of brass.
- 115-<br />
'TO ABSENT FRIENDS': - THE A.G.M. REPORT. Focus Juni 1964<br />
For those Members who could not (or could not bothered) to<br />
attend the Centre's annual general meeting on June 18th, here<br />
is the report which the secretary presented at the meeting:<br />
'Because of certain later references to Manchester Sports<br />
Guild promotions and responsibility I feel that first a few<br />
words should be said regarding the dividing line between the<br />
Guild and the Sports and Social Centre. Originally the Centre<br />
was brought into existence as a subsidiary of the Guild, but,<br />
with the passing of the 1961 Licensing Act, it was essential<br />
that the Centre be given its own constitution, elected<br />
committee and its members have full voting rights, etc.<br />
From then the Centre has been divorced from the Guild insofar<br />
as accounts, activities, etc., are concerned though occasions do<br />
arise whereby the Centre shares in and profits by certain Guild<br />
activities. Broadly speaking the Guild is concerned with the<br />
sports and other activities OUTSIDE the Centre whereas, of<br />
course, the Centre Committee is responsible only for the activities<br />
taking place here at 8/10, Long Millgate.<br />
"<strong>The</strong> year just ended has been a memorable one largely because<br />
of the part which the Centre has played in celebrating the tenth<br />
anniversary of the inception of the Guild.<br />
<strong>The</strong> outstanding event was, of course, the visit of Henry "<strong>Red</strong>"<br />
<strong>Allen</strong>, as a result of which the Centre jazz section has become<br />
probably the best known club in Great Britain - and certainly<br />
one of the most praised,. for the publicity obtained from this<br />
visit cannot be under-estimated. Already it has brought<br />
wholehearted co-operation for all future plans from many of<br />
the country's leading jazz writers - and from one of the two<br />
most important writers and critics of jazz in America.<br />
It brought us, too, very many new members of the real jazz<br />
enthusiastic type, though it was disappointing to find that<br />
many of our normal regulars were missing from these sessions.<br />
In case it was the price, let me add that, though the Centre did<br />
not bear the brunt of the cost of "<strong>Red</strong>'s" tour, it was called upon<br />
to pay an average of £180 per night for the cost of <strong>Red</strong> plus band<br />
and thus an admission of 13/6d. was justified. Even this is small<br />
compared with charges for concerts made locally and here one<br />
had the blessing of some good ale and "club atmosphere."<br />
JAZZ POLICY<br />
"During the year, also, we have seen a continuation of policy<br />
which has brought the jazz fans most of the top British and<br />
European bands.<br />
"We have pioneered a few more ideas some of which have not<br />
been successful but this is inevitable if we are to maintain our<br />
standard and scope of jazz attraction.<br />
"In the world of folk music, we have seen a big change of policy<br />
for, instead of a resident group, we have switched to a policy<br />
similar to that employed in the jazz and this has resulted in visits<br />
of some of the best British artistes and groups plus a couple of<br />
American visitors. All in all reasonable progress is being made<br />
with Frank Duffy doing a good job as resident singing host.<br />
"Due to more attention being given to the planning of the<br />
centre, and in part to its greater use by members for private<br />
functions such as birthday and wedding parties, the bar takings<br />
have increased by almost £2,000 and- we have had a third bar<br />
installed in the ballroom. This, of course, has meant increased<br />
staff with the usual increase in staff problems but here I must<br />
pay tribute to the stalwarts who are still with us at the end of<br />
another year and whose work has been greatly appreciated,<br />
namely, Lil, Betty, Vi, David, Jim and Ted (though the latter<br />
now only helps out in emergencies for he has since become<br />
our very excellent and conscientious part time accountant).<br />
Others have come and gone, flourished for a moment and then<br />
faded into the night - could it be that you don't tip enough?<br />
During the year,. too, we investigated the possibility of<br />
transferring to tank beer but action was suspended.<br />
"One or two slight improvements in the facilities have been<br />
achieved too, notably the installation of an urinal in the first<br />
floor gents' and the addition of an extra washbasin in the ground<br />
floor ladies' toilet. Slight changes have taken place in the<br />
decor and the visit of "<strong>Red</strong>" <strong>Allen</strong> inspired two new murals in<br />
the lounge. Changes have been made in the games in the<br />
lounge though the chief pastime is still talking and drinking.<br />
"<strong>The</strong> year has brought a few setbacks as one might expect.<br />
<strong>The</strong> Performing Rights' Society, realising that we were paying<br />
more for the bands we employ to entertain, found some sort of<br />
logic which justifies their demanding an in creased rental. …<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Sinclair Trail EDITORIAL in <strong>Jazz</strong> Journal, April 1964<br />
It is with the keenest appreciation of his Ben Webster and Muggsy Spanier. More Play me one of those good old slow<br />
talents, that we warmly welcome to this power to their elbow!<br />
blues, please Henry, and I will go away<br />
country Henry '<strong>Red</strong>' <strong>Allen</strong>. This is the <strong>The</strong> last time I beard Henry '<strong>Red</strong>' <strong>Allen</strong>, happy.<br />
second time Mr. <strong>Allen</strong> has been here, the he was leading a band 'at the Metropole <strong>The</strong> dates of the tour are from …<br />
last time being in company with Kid Ory in New York. Not all the drinkers who Further bookings are being arranged; all<br />
and his Band. On this present tour he frequent that famous bar quite dig the enquiries to the Manchester Sports<br />
will be accompanied by bands of Alex jazz as she-should-be-dug, but Henry Guild. <strong>The</strong> other jazz package to be tou-<br />
Welsh, Sandy Brown, the Bruce Turner went on every night and trotted out his ring here is that featuring Ella Fitzgerald,<br />
and Humphrey Lyttelton.<br />
special brand of hot New Orleans horn Roy Eldridge and Oscar Peterson. <strong>The</strong>ir<br />
<strong>The</strong> tour is being arranged and spon- with very few, if any, bows towards April dates are: 2nd City Hall, Newcastle;<br />
sored by the Manchester Sports Guild to commercialism. His trumpet tone was as 3rd Odeon, Glasgow; 4th Odeon, Notting-<br />
commemorate their 10th anniversary and brassy and humid as ever, his singing as ham; 5th Odeon, Leeds; 6th Fairfield Hall,<br />
it is to be hoped that their courage-ous guttural and swinging as in his heyday. Croydon; 8th Free Trade Hall,<br />
venture into the realms of promotion will As with most New Orleans musicians, Manchester; 9th Guildhall, Portsmouth;<br />
be an outstanding success. If this is the Henry is also quite a bit of an entertai- 10th Colston Hall, Bristol; 11th Odeon,<br />
case, and surely every jazz lover worthy ner, for he was taught as a young musi- Lewisham; I2th Odeon, Hammersmith.<br />
of the name will want to catch the cian that in addition to mastering your Another distinguished visitor is that<br />
playing of this great trumpet player, the instrument it was also necessary to sell- lyricist of the tenor saxophone, Stan<br />
Sports Guild. have it in mind to bring that-stuff. As a blues player there is Getz, who has a month's engagement at<br />
over such figures as Pee Wee Russell, probably no better man playing today. Ronnie Scott's Club.<br />
----------------------------------------------------------------------------------------------------------------------------------------------<br />
Sinclair Trail: EDITORIAL in <strong>Jazz</strong> Journal, June 1964, p5<br />
I had always been led to believe that up mediocre, but I don't think I have ever Manchester Sports Guild was under the<br />
North, the British people are even less witnessed such whole-sale jollification as expert guidance of the Guild's Secretary,<br />
emotional and given to display than we that which took place in Manchester on the resolute Mr. Jenkins. It says much for<br />
of the South. It isn't true! In my time I the opening night of Henry'<strong>Red</strong>'<strong>Allen</strong>'s 'Jenks' organising capabilities and<br />
have witnessed a great number of jazz recent tour. To say that the evening went persuasive tongue that although the<br />
events, all over the world - from the gay with a swing, would be nothing short of refreshments were as liberal as manna<br />
abandon of the Nice Festival about which the understatement of the year. To recap. from above (and much stronger),<br />
I wrote last month, to the ugly scenes <strong>The</strong> night previous to Henry's opening everyone appeared to retire in excellent<br />
which occurred at Newport, America and had been the occasion of a spirituous order - if full of bonhomie and good<br />
Beaulieu, Hants a few unhappy summers clambake, more rightly called a Press spirits. Music had been provided by<br />
ago. I have heard a lot of good jazz at Reception.<br />
various Mancunian groups, and Henry<br />
such places, mixed inevitably with the <strong>The</strong> whole, good affair, sponsored by the played with all of them. No matter what
their musical denominations were, Henry<br />
blew along with them all. In actual fact<br />
leaving nothing to chance and making<br />
sure that his chops were in perfect working<br />
order, Henry had even played a little<br />
music on the train journey from London<br />
to Manchester - much to the<br />
bewilderment, - I am told, of a small but<br />
select group of fellow passengers.<br />
<strong>The</strong> Manchester Sports Guild concerts<br />
have been dealt with elsewhere in this<br />
issue, but I feel I must be allowed to<br />
make a comment or two on Henry '<strong>Red</strong>'s'<br />
musicianship. When I stated in the April<br />
editorial that Master <strong>Allen</strong> was an<br />
entertainer, I was guilty of an<br />
understatement, he is more than that.<br />
Here is a musician of the old school who<br />
pulls out all the stops all the time he is<br />
working. He makes it his business to see<br />
that his audience are having a good time,<br />
but never lets them lose sight of the fact<br />
- 116-<br />
that it is jazz they are listening to. I<br />
recently read somewhere that at some<br />
conference of critics in America, it was<br />
bemoaned that jazz was dying. One of<br />
the reasons pointing to its death was<br />
what was called the 'total lack of audience<br />
participation' in jazz concerts today: Well,<br />
otherwise than jazz has been on the way<br />
out for thirty years or more to my<br />
knowledge, I have never seen more active<br />
audience participation than that I<br />
witnessed on Friday. 17th April at the<br />
Manchester Sports Guild. Before jazz<br />
became too pretentious, it was a<br />
musician's job to see that the paying<br />
customers were having a good time.<br />
Henry <strong>Allen</strong>, that expert old jongleur,<br />
does just that and with the biggest will in<br />
the world. He gets them singing, he<br />
makes them clap on the beat, he directs<br />
his accompanying band with a series of<br />
and the same time finds time to play a<br />
considerable amount of hot horn. His<br />
control is quite fantastic. Without the aid<br />
of a mute, he can play a solo within an<br />
inch of your eardrum. No one in the<br />
audience will miss a single cadence and<br />
the recipient of the musical gesture gains<br />
nothing but pleasure from the doing of it.<br />
Indeed one bearded Lancastrian publicly<br />
stated that be would never wash his right<br />
ear again, after Henry had dictated a<br />
whole chorus of St. Louis Blues into his<br />
orifice.<br />
Needless to say the applause at the end<br />
of <strong>Allen</strong>'s opening concert was loud,<br />
long and rapturous. It was deserved, for<br />
Henry '<strong>Red</strong>' <strong>Allen</strong> is a doer, a right<br />
willing worker in the cause for jazz!<br />
How I wish there were many more like<br />
him around today.<br />
cunning flicks of the elbows, and at one<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
HENRY "RED" ALLEN to Valeric Wilmer <strong>Jazz</strong> Monthly, June 1964<br />
THE JAZZ AUDIENCE falls roughly<br />
into two categories: those who stay home<br />
with their records and those who prefer<br />
their music 'live'. Both kinds of<br />
enthusiast are equally important to the<br />
jazz musician for he must have someone<br />
to buy his records just as he must have<br />
people to snap their fingers and buy the<br />
drinks in clubs where he works. <strong>The</strong>re<br />
has been a lot of controversy lately about<br />
the entertainment content of a jazz<br />
performance. Some musicians feel that<br />
the music itself should be enough, and<br />
quite rightly, too. Why should they make<br />
concessions to the audience? But listening<br />
to jazz should be synonymous<br />
with enjoyment, and for those who like<br />
to pat their feet and shout their encouragement,<br />
there is something a trifle<br />
inhibitory about a musician who makes<br />
no announcements and looks as gloomy<br />
as a pall-bearer. That's why musicians<br />
like Henry <strong>Allen</strong> are a god-send to the<br />
raving section of the audience. When he<br />
was here recently everyone who came<br />
into contact with him had a ball. Each<br />
number was announced, the musicians<br />
swung like never before, and after every<br />
solo Henry admonished the crowd to<br />
"make him happy!" Faces you thought<br />
could never show emotion beamed at you<br />
every-where, much liquor was consumed,<br />
and a good time was had by all. Listening<br />
to Henry blow was my idea of what jazz<br />
is all about.<br />
And so was talking to the man. No<br />
question was too much of a drag to<br />
answer, and he even patiently reiterated<br />
his New Orleans story for the millionth<br />
time. I asked him about this business of<br />
showmanship. After his decade at the<br />
"Metropole". he should know.<br />
"All the early musicians had it, you had<br />
to, but the ones who came on the scene<br />
late had nothing. I think it's odd, too. I<br />
don't think you should have the<br />
expression like you're doing a dare-devil<br />
stunt but maybe for some guys that's the<br />
way they feel it and want to express<br />
themselves. I wouldn't want to interfere;<br />
to each his own, I suppose. But the<br />
funny thing is that Dizzy has that<br />
personality and most of them copied<br />
from him so why didn't they find out<br />
about it?<br />
"If you want to compare things, though<br />
all the older guys continue to work, so<br />
that's all I can say. I never did bother to<br />
find out why one went one way and one<br />
the other. I couldn't put anybody down<br />
for the way they play. But I don't go for<br />
putting people in different categories like<br />
Dixieland, Chicago, West Coast and so<br />
on. I played with the Chicago Rhythm<br />
Kings, with Eddie Condon and all those<br />
boys and I'd never been to Chicago in my<br />
life! Look at Coleman Hawkins - play<br />
with everybody.<br />
"I have played a number in a more<br />
modern vein, Queer Notions, way back<br />
with Fletcher Henderson. When you're<br />
out there playing those horns you don't<br />
have time to analyse those things, else<br />
you turn out to be a frustrated musician.<br />
As long as anyone's playing music it's<br />
alright with me because I love it."<br />
Henry, who was born in 1908 in<br />
Algiers, Louisiana, played alongside<br />
Louis Armstrong in Henry <strong>Allen</strong> Snr's<br />
brass band in New Orleans. Growing up<br />
at the same time as Louis, he was<br />
naturally influenced by the older man's<br />
work, but still emerged with an extremely<br />
personal style. "I suppose all of the New<br />
Orleans trumpet players impressed me,<br />
guys like King Oliver, Chris Kelly, Punch<br />
Miller and Kid Rena, and I sup-pose I<br />
listened to Louis, too. But I can't explain<br />
who was the cause of me playing the way<br />
I do. I didn't pay it too much mind, I was<br />
just playing like I felt, but I like anything<br />
Louis did and still do, you know what I<br />
mean."<br />
EVEN so, <strong>Red</strong> displayed a relatively<br />
advanced approach on some of his<br />
records made with Fletcher Henderson<br />
and others in the 'thirties, things like<br />
Body and Soul and Queer Notions. "I<br />
used to drift off a bit, I suppose, but I<br />
didn't really have any conscious thought in<br />
mind of modernising anything. May-be<br />
some things rubbed off. I played fast,<br />
though. One of the fastest things I ever<br />
did was Ride <strong>Red</strong> Ride, and as for going<br />
through the changes, there was Body and<br />
Soul, but I do listen to everybody, you<br />
know.<br />
"Bop didn't bother me. This was just<br />
another style. It's all kind of new chords,<br />
but all of them wind up with the same<br />
spark-plug." I asked Henry why so many<br />
trumpet players double on vocals and<br />
received the characteristic answer that<br />
"<strong>The</strong> only difference is that they also<br />
play the trumpet! A lot of people sing but<br />
they can't play nothing else, there's no<br />
real reason. I got a record of me singing<br />
back in 1929. Patrol Wagon Blues, so I<br />
must have been doing a little singing<br />
before that!"<br />
We talked about his association on<br />
several recording dates with Jelly Roll<br />
Morton. "He sure wrote some pretty<br />
tunes. Sweet Substitute stands out in my<br />
mind because I use the number a lot. I<br />
made a lot of sides with him before that<br />
date with the <strong>Red</strong> Hot Peppers. Jelly<br />
always spoke his mind, but he was doing<br />
no more than Cassius Clay. Clay did<br />
what he said he was going to do and<br />
that's just what Jelly did. He had a pretty<br />
voice too, so really he had it going for<br />
him. It's just like another trumpet player;<br />
he may not be the greatest but there's<br />
something there that I like. <strong>The</strong>n another<br />
trumpet player is good but you just don't<br />
like his personality."<br />
I carefully suggested that some people<br />
felt Morton's piano was lacking in swing<br />
and was rebutted by "I couldn't say what<br />
swing is. I only play from my feelings.<br />
But as a pianist there's many people<br />
haven't played <strong>The</strong> Pearls as yet-maybe<br />
after Jelly they just don't wanna try. All I<br />
know is that they're still using his<br />
numbers to swing by."<br />
And that was that. I interviewed the<br />
man backstage at the BBC TV <strong>The</strong>atre<br />
and the place was rapidly filling up with<br />
<strong>Allen</strong> admirers. Everyone, Henry<br />
included, was more intent on drinking<br />
before the final telerecording, so leaving<br />
behind such touchy points as trying to<br />
define 'swing'. we breezed round to the<br />
local. Come back soon, Henry, we need<br />
you here.
- 117-<br />
IT DON'T MEAN A THING - Steve Voce in <strong>Jazz</strong> Journal, June 1964, p.14-15<br />
<strong>The</strong> First jazz Critic? 'Fate Marable? He couldn't hit a piano with a brickt !' - -Jelly Roll Morton.<br />
Own Up – After my rather gloomy last band) and Danny Moss on tenors, Fred Perhaps the finest new acquaintance was<br />
paragraph in the May issue, things took a Hunt on piano and the drumming of G.E.Lambert, whom I had always<br />
rum on the up-grade, so that in one Johnny Armitage and Lennie Hastings. visualised as a rather dignified and staid<br />
fortnight<br />
I've left out Bruce Turner? Deliberately, jazz chronicler (a lot of them are, you<br />
I heard in more or less ideal surroun- for Bruce in his own way topped them all. know). However, his real name is Eddie<br />
dings the music of <strong>Red</strong> <strong>Allen</strong>, the Folk It was obvious that he and <strong>Allen</strong> had an and he turned out to be a magnificent<br />
Blues Caravan, Champion Jack Dupree, immediate and instinctive fusion of fall-about specialist who goes off like a<br />
Alex Welsh, Bruce Turner, Humphrey styles, reacting upon each other to cuckoo clock after a fixed number of<br />
Lyttelton, Sandy Brown and Al Fair- produce a remarkable series of what I pints. We got on well.<br />
weather and a very good Manchester can only describe as jazz orgasms. (One <strong>The</strong> emotional scenes at <strong>Red</strong>'s last date<br />
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<br />
addition there were sundry revivalist Really it is invidious to choose between out of place, and he seemed sincere when<br />
bands. I missed Stan Getz in London by the accompanying bands, because they he said that it was the greatest night of<br />
two days, the Modern <strong>Jazz</strong> Quartet by a all played so far above them-selves that his life since he joined Luis Russell in<br />
long hangover, and a cursory search of on each evening one found oneself the 'twenties. Jenks made a short and<br />
the capital failed to unearth Mark thinking well this must be it<br />
well thought out speech and on behalf of<br />
Murphy - still, they were all around and Things which hit me from a personal the club presented the trumpet player<br />
performing in their various ways, point of view were the stimulating with an elegant tea ser-vice suitably and<br />
providing us with a brilliant, if tempo- comparisons between Alex's and <strong>Red</strong>'s thoughtfully inscribed to <strong>Red</strong>'s wife. <strong>The</strong>n<br />
rary, jazz scene.<br />
playing (Alex is badly underrated), the Alex, on behalf of the band, came<br />
As if all this wasn't enough, I managed to remarkable way in which Roy Crimmins through with an engraved silver tankard.<br />
engage our founder Mr. Traill in three always manages to blow his hat exactly <strong>Red</strong> was quite overcome, and it was one<br />
boozing fixtures, one home and two when one would expect him to, the of those nights when Dorothy Kilgallen<br />
away. He. kept his unbeaten record. beautiful accompaniments to <strong>Allen</strong>'s would have said there was a lot of love<br />
Rolling Stoned - I was very interested in vocals from Al Gay, and the way in flying around. I hate to join such maw-<br />
the Melody Maker report that the Sport which <strong>Red</strong> responded when Danny Moss kish ranks, but I think that there was.<br />
club was negotiating to bring over Ameri- apparently hit a Chu Berry groove. And yet the tour wasn't a complete<br />
can tenorist Zoot Finster. Particularly And the realisation that, after Dave success. At one large ballroom where<br />
since Finster was invented by George Tough, Don Lamond and Buddy Rich, <strong>Red</strong> played during the tour with Alex,<br />
Crater of Down-beat. Some kind of mass Johnny Armitage is the drummer I most Jack Swinnerton was disturbed by the<br />
hallucination, maybe.<br />
like to listen to.<br />
fact that there were only a handful of<br />
I suppose it was the chap who writes the Which brings me to <strong>Red</strong> <strong>Allen</strong>. Here is a people present, most of whom obviously<br />
bits about the Beatles and Rolling Stones man who played 100 per cent jazz, who didn't realise that <strong>Red</strong> was supposed to<br />
who did the <strong>Jazz</strong> Beat review of the latest obviously lives jazz and who was so be a special attraction.<br />
Roland Kirk LP with Benny Golson: good that one feels lost for words to He went over and asked the promoter if<br />
'I must confess I have no idea what it is describe his playing. Certainly he more there would be more people in later. 'Oh<br />
all about. If I were asked to pick a than fulfilled every expectation and not no,' said the promoter rather vaguely,<br />
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<br />
breakdown.'<br />
getting their money's worth.<br />
advertise."<br />
In addition to the normal crop of printer's I wish that Stanley Dance could have In retrospect one realises that there are<br />
errors (nobody's infallible) George Ellis been present on these nights to see how going to be a lot of <strong>Red</strong> <strong>Allen</strong> quotes in<br />
manages to get my name down as Vosene. well British bands can play. I'll lay odds the future. Peter Clayton has already<br />
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,<br />
with <strong>Red</strong> <strong>Allen</strong>'s visit to Manchester wasn't listening to anything half as good but there were so many that it doesn't<br />
during the early part of April:<br />
as this. He should advise Mad Dan from seem to matter.<br />
'<strong>Red</strong> <strong>Allen</strong>, according to that dicky bird, is Beccles to join the M.S.G. without delay, Asked why he was called '<strong>Red</strong>', <strong>Allen</strong><br />
to play four days at the Manchester because it looks like he missed the most said that it was because it was easier to<br />
Sports Guild. ... If the dates come off, entirely satisfying international jazz spell than Henry. He almost gave some<br />
they'll be worth making a note of.' integration since Rex played with Django. technical advice to Alan Littlejohn of<br />
This issue of Yazz Beat appeared on the Perhaps the ideal surroundings of the Record Specialities. Alan has been<br />
news stand the day <strong>Red</strong> flew back to the Manchester Sports Guild had a lot to do playing flugelhom lately and asked <strong>Red</strong><br />
States. Still, there's nothing like waiting with the phenomenon. <strong>Allen</strong> was brought for his opinion. 'Don't mess with that,<br />
and being sure.<br />
over (with shrewd musical judgement) man. All anybody ever got from one of<br />
We Found Out Who Stole Gabriel's on the basis of his playing, and not with them things was round shoulders.'<br />
Horn – If <strong>Red</strong> <strong>Allen</strong> ever does sell that a view to how much profit could be And there was all the new stuff about<br />
house for sale in Harlem, I'm sure he'll made out of him - was this the most Jelly Roll Morton. <strong>Red</strong> was in Jelly's<br />
have no trouble finding permanent glorious of all jazz financial failures? band for some time and, at a late period in<br />
accommodation in Manchester. Apart Everyone who heard <strong>Red</strong> should face the the 'thirties, went out on a road tour of<br />
from his musical qualities, <strong>Red</strong> is one of direction of L.C Jenkins and Jack some of the more obscure American<br />
those men one occasionally meets and Swinnerton and bow low. <strong>The</strong> informal towns. At each town they came to, Jelly<br />
respects on sight. Somebody remarked attitude of the club (with Jenks roaming would boast about his alleged acquain-<br />
that we haven't had anyone over here round in carpet slippers and open-necked tanceship with anyone of any importance<br />
with such a nice personality since Jack shirt) belies the enormous organisational in the community.<br />
Teagarden came, and I think that this is true. capacity which automatically and One right they were driving through this<br />
At the Manchester Sports Guild we had efficiently drains teds and potential tank town with Jelly at the wheel and, as<br />
this unbelievable feast - the chance to troublemakers politely off into the night usual, he began his recital of all the local<br />
absorb a total of five nights' sessions by before they actually put foot across the notables who were proud to know the<br />
one great jazz musician, and also to door step. I also met several people for great Jelly Roll. As usual the musicians<br />
watch the enormous effect that his the first time, including George Ellis (I in the car ignored all this and,<br />
playing had or our leading bands. didn't know about the 'Vosene' bit then) - interrupting him, <strong>Red</strong> said 'Watch it,<br />
Apart from <strong>Red</strong>'s horn, the highlights although I was naturally rather upset to Jelly baby, you're way over the speed<br />
came from Welsh's trumpet, Roy Crim- find out that Peter Clayton and Gerald limit.' Jelly continued to talk and to<br />
mins and Pete Strange on trombones, Al Lascelles had left town when they heard speed, telling <strong>Red</strong> not to worry because<br />
Gay (unfortunately leaving the Welsh that my arrival was imminent.<br />
he knew everybody that mattered around
here, anyway. Sure enough, just through<br />
the centre of the town came the police<br />
siren and the patrol car waved Jelly over<br />
to the kerb. Jelly got out and walked<br />
forward to the police car. <strong>Red</strong> couldn't<br />
- 118-<br />
hear his excuses, and finally Morton<br />
returned to his car with one of the<br />
policemen. Jelly got in, closed the door<br />
and switched on the engine. <strong>The</strong> cop<br />
leaned in through the window. He<br />
spoke. 'It's been great to meet you, Jelly.<br />
And I'll tell Uncle George you sent your<br />
regards<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Jenks' piece - Focus Juni 1964 p2<br />
"It will never quite be the same," is a comment which was<br />
heard often in early May and, of course, it referred to the visit<br />
of Henry '<strong>Red</strong>' <strong>Allen</strong> and to the five superb sessions he<br />
played in the <strong>Jazz</strong> Cellar. No, that is not quite right, for in<br />
addition to the five scheduled sessions, he played, too, on the<br />
night of the Press Conference, with the Don Mitchell Big<br />
Band, with the Art Taylor All-Stars and even with the<br />
modern quartet which was "got up' on the spot. He provided<br />
a breath of wonderful jazz air and it and it was interesting to<br />
note the large numbers of members who, though originally<br />
planning to come for one session only, returned again and<br />
again. Henry had captivated them not only by his playing but by<br />
his personally and drive and by being such a 'damned nice guy.'<br />
Of course, there will be others to follow but that first experience<br />
will probably remain with us for as long as our<br />
memories still function and perhaps it is best described by<br />
Henry's own word "N I C E." Thanks Henry, and may you<br />
have a happy and successful time until we see you again<br />
coming out with that wide grin and flourish of trumpet to<br />
excite us once more.<br />
Whilst I am about it, let me tell you,, too, that the outcome of<br />
visits from many press and T.V. critics, etc., to these sessions<br />
was or us to learn that we are, in fact (which supports our belief)<br />
about the best jazz club in Great Britain. And when you get<br />
that stated, in writing, by people who have travelled over 200<br />
miles to be present and whose experience covers a large part<br />
of the U.K. jazz scene, even a cynic like me must believe it.<br />
We are, in fact, the only jazz club with so many sessions per<br />
week, who stick strictly to JAZZ – a fact which is a source of<br />
amazement to many folk from other parts. So it is worth while<br />
patting ourselves on the back for once.<br />
For those of you who are regular jazz attenders and missed these<br />
sessions I can only say I'm sorry for you and hope that next<br />
time you will think twice about absenting your-selves from<br />
such a treat.<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
From JACK FLORIN'S JAZZ ROUNDABOUT in MANCHESTER EVENING NEWS 24 April 1964<br />
I hope none of you missed Henry '<strong>Red</strong>' <strong>Allen</strong>'s four appearances at the Manchester Sports Guild last week-end. What a<br />
character and what a musician! He blows loud and hot, soft and sweet, but we knew this from his records, many of which. of<br />
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<br />
personalities I have ever seen and he is a superb player and a wonderful showman.<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
JAZZBEAT EXCLUSIVE – HENRY “RED” ALLEN talks to Peter Clayton, <strong>Jazz</strong>beat , May-64<br />
I'VE always suspected that <strong>Red</strong> <strong>Allen</strong>'s<br />
magnificent face might have served as a<br />
model for the lemon in the Idris ad.<br />
Crumpled and scored, it's smiled at me<br />
for years from photographs. But because I<br />
missed him when he was over here last<br />
(with Kid Ory), it never occurred to me<br />
that it would ever smile at me in the<br />
flesh; certainly not on Manchester<br />
Central Station, at any rate.<br />
MSG CELEBRATES<br />
I'd reckoned without a remarkable<br />
organization called the Manchester Sports<br />
Guild. Precisely the Guild is, and how it<br />
comes to embrace an enchanting mixture<br />
of drinking, judo and jazz, is beyond the<br />
scope of this piece. What does matter is<br />
that Henry Alien Jr's presence in this<br />
country in 1964 is due to the fact that this<br />
is how the Guild chooses to celebrate its<br />
tenth anniversary. That's the sort of<br />
institution it is.<br />
Anyhow, on an unbright but unwet<br />
afternoon in April, there he was, coming<br />
up the platform between Phil Robertson<br />
of the Davison office and Jack<br />
Swinnerton of the Sports Guild. Meeting<br />
him were the MSG's General Secretary,<br />
L, C. Jenkins (who has dispensed with<br />
actual names in favour of simply<br />
"Jenks") and myself.<br />
TALKIN' TO YA<br />
<strong>The</strong> first chance to become involved in a<br />
proper conversation with Henry <strong>Allen</strong><br />
came soon after lunch. It was a little like<br />
opening a pop-up edition of "Hear Me<br />
Talkin' To Ya" to be able to actually<br />
watch rambling stories of Fate Marable<br />
and Jelly Roll Morton being recounted<br />
across the table.<br />
“When I left Marable to go to New York,<br />
he says to me, 'If you see Jelly, tell him<br />
hello from me. He used to work for me,<br />
way back'. Well. after a while I did find<br />
Jelly, and I told him what Marable said,<br />
including that bit about working for him.<br />
'Work for him', says Jelly; 'I didn't work<br />
for him. I just let him use my name when<br />
things was tough for him,"<br />
"Later on I saw Fate Marable again, and I<br />
told him what Jelly had told me, just to<br />
see what he'd do. 'Wasn't like that at all',<br />
Mar'ble says. 'I used to give Jelly a few<br />
gigs when he wasn't working'."<br />
<strong>Red</strong> laughed with huge relish. <strong>The</strong>n he<br />
added: "For years I tried to get those two<br />
to meet up. I wanted to see how they'd<br />
tell that story to each other."<br />
RED RECEPTION<br />
<strong>The</strong>re were some other gems. I used to<br />
hold the bottle in the Luis Russell band,<br />
because I was the only one who didn't<br />
drink." And another one about Marable:<br />
"He didn't like anyone to give him<br />
notice. Preferred the other ways round.<br />
So once when I told I was going up to<br />
New York to make some records, he<br />
points to me and says to the rest of the<br />
band: 'Now he's got to be real good, so<br />
I'm sending him up to New York to make<br />
records. You work hard, maybe I'll send<br />
you'."<br />
In the evening the Guild put on a reception<br />
in Henry <strong>Allen</strong>'s honour. Now the<br />
MSG is almost the only stronghold of<br />
jazz still left in Manchester, and most of<br />
the city's jazz activities are concentrated<br />
there. <strong>Red</strong> sat in with three of the four<br />
groups which played during the course of<br />
the evening. He joined the John Mitchell<br />
orchestra. a sort of Basie-esque outfit, for<br />
Splanky and a couple more, and did<br />
several numbers, among them splendid<br />
versions of Tin Roof and St. James<br />
Infirmary, with the Art Taylor All-Stars.<br />
As far as I know there's no equivalent of<br />
the John Mitchell band (a made-up<br />
name, I gather, to avoid the embarrassments<br />
of nominal leadership) playing<br />
in London in public. With four reeds,<br />
three trumpets, one trombone and a<br />
three piece rhythm section, it makes a<br />
huge sound. I believe the arranged passages<br />
and mainly transcribed from<br />
existing Quincy Jones, Basie and similar<br />
recordings, but the band has good solo<br />
strength and an absolutely ferocious<br />
attack. it is semi-pro, I'm told.<br />
NO ART<br />
<strong>The</strong> Art Taylor All-Stars is a good band<br />
with an unfortunate name. <strong>The</strong>re's<br />
nobody called Art Taylor in it, I gather,<br />
and, as Alan Stephens points out (Alan<br />
does a lot of writing about the Manchester<br />
scene) "All-Stars" is a bit strong, no<br />
matter how good they are. But they are<br />
good. <strong>The</strong>y play a very openhearted<br />
Dixieland-onwards kind of music, with a<br />
powerful, shapely lead from trumpeter<br />
Doug Whaley.<br />
At one point they were joined not only<br />
by <strong>Red</strong> <strong>Allen</strong> but also by Ernie Tomaso,<br />
who was once with Harry Gold and<br />
played in New York for a short time with<br />
Jack Teagarden and others four or five<br />
years ago. A fluent player in the cleantoned,<br />
Goodman tradition. he added that<br />
final dash of professional confidence to<br />
the session.<br />
<strong>Allen</strong> seemed to be playing as well as<br />
ever. <strong>The</strong> long, thoughtful phrases, that<br />
controlled, sometimes almost imperceptible<br />
growl, those sudden flashes of great<br />
heat, like the opening of a furnace door,<br />
were all there. And this, mark you, was<br />
only at a reception. I'll leave George<br />
Ellis, who was able to stay for some of<br />
the concerts, to comment on the public<br />
<strong>Red</strong> <strong>Allen</strong>. (Next month Ed.).
- 119-<br />
16th April - 5th May 1964 RED ALLEN TOUR IN ENGLAND WITH LOCAL BANDS<br />
4/16/64, Manchester, Sports Guild, Sports & Social Center: guest parts with some local bands like with John Mitchell<br />
orchestra lead from trumpeter Doug Whaley, added oldtime Ernie Tomaso; Art Taylor All Stars,<br />
4/17/64 Fri., same location – <strong>Red</strong> <strong>Allen</strong> (t,v) & ALEX WELSH BAND (personnel see 5/5/64) – standard program:<br />
Yellow Dog Blues; Rosetta; Just A Closer Walk With <strong>The</strong>e; St.James Infirmary; Patrol Wagon Blues; Canal Street Blues;<br />
St.Louis Blues; <strong>The</strong> Saints; - & At <strong>Jazz</strong> Band Ball; Indiana; Sweet Georgia Brown; Basin Street Blues; Spider Crawl; How<br />
Long Blues; Bugle Call Rag; Who Stole <strong>The</strong> Lock; I Ain't Got Nobody;<br />
4/18/64 Sat., same location – <strong>Red</strong> <strong>Allen</strong> (t,v) & SANDY BROWN BAND: Al Fairweather (t) Sandy Brown (cl) Danny Moss<br />
(ts) Keith Ingham (p) Colin Bates (rhythm): - standard program & <strong>Jazz</strong> Me Blues; Rag Mop; Creole Love Call; Do Not<br />
Nothing 'Til …; High Society; Cherry; Biffly Blues; House In Harlem; Sweet Substitute; Muskrate Ramble;<br />
4/19/64 Sun., same location - <strong>Red</strong> <strong>Allen</strong> (t,v) & BRUCE TURNER JUMP BAND: Ray Crane (t) Pete Strange (tb) Bruce<br />
Turner (cl,as) unknown (p) Jim Bray (b) John Armitage(d) – standard program & West End Blues; Tishomingo Blues; Cherry<br />
<strong>Red</strong>; How Long Blues; All Of Me; Snowy Morning Blues; …<br />
4/20/64 Mo., same location – <strong>Red</strong> <strong>Allen</strong> (t,v) & HUMPHREY LYTTELTON BAND: Humphrey Lyttelton (t) Tony Coe (cl,ts)<br />
Joe Temperley (bars) Eddie Harvey (p,tb) Pete Blannin (b) Eddie Taylor (d) – standard program & …<br />
4/20-4/21, days off; unknown date, one short news-reel for TV with music and interviews was made in Southhampton<br />
4/23/64 Thur., Bath, Regency, Ballroom, - <strong>Red</strong> <strong>Allen</strong> (t,v) & Alex Welsh Band<br />
4/24/64 Fri., Stoke-On-Trent, Trentham Gardens Pavillon, same as above<br />
4/25/64 Sat. afternoon, Nottingham, Dancing Slipper, -same as above<br />
Sat. evening, London, Mordon,at the Crown, same as above , Archie Semple (cl) added on five sides incl. Sweet Lorreine;<br />
4/26/64 Sun., London, Marquee Club – <strong>Red</strong> <strong>Allen</strong> (t,v) & HUMPHREY LYTTELTON BAND: same as 4/20; Shiny Stocking;<br />
Swingin' <strong>The</strong> Blues; (both without <strong>Allen</strong>); Struttin' With Some Barbecue; St.Louis Blues; Rosetta; Patrol Wagon Blues; Indiana; Sweet<br />
Substitute; St.James Infirmary; Sweet Lorreine; Just A Closer Walk; & Lennie Felix (p) <strong>Red</strong> Price (ts): When <strong>The</strong> Saints;<br />
4/27-30 unknown engagements around London<br />
between 4/27-4/30 or 5/4 Carmel Court, London, Doug Dobell´s party – <strong>Red</strong> <strong>Allen</strong> played solos to old records ; ( there's<br />
no balance between the rather quiet records and the loud <strong>Red</strong><strong>Allen</strong> trumpet in the foreground.) John Chilton in “Ride <strong>Red</strong> Ride”<br />
p181: „During his brief stay in London, <strong>Red</strong> attended a party given by some of his most dedicated fans, icluding record-shop<br />
owner Doug Dobell, John Kendall, Eric Saunders and Ray Bolden. Some-one surreptitiously recorded part of his happy<br />
gathering and <strong>Red</strong> can be heard blowing his trumpet in tandem with the sound of some of his most celebrated recordings,<br />
proving that he had remembered arrangements recorded thirty years before<br />
(0:21 Mike Pointon BBC-1996-intro about the following Party (private taped with cassette faults)) RA-CD-41<br />
3:33 Jersey Lightning - Luis Russell ; RA(t) from 0:20-0:31; 1:05-1:17; 3:13-3:31 ---<br />
4/5/58 NYC, Johnny Hodges (as) Billy Strayhorn (p) Jimmy Woode (b), Sam Woodyard (d) (from Verve-8358)<br />
3:23 I Didn’t Know About You ( Ellington-B. Russell) RA(t) from 0:46-1:04; 2:36-2:49; ---<br />
3:48 Gone With <strong>The</strong> Wind ) RA(t) from 0:00-1:07; 1:46-2:27; 3:03-3:20; 3:30-3:48 ---<br />
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<br />
2:01 Donegal Cradle - Spike Hughes: RA(t) from 0:24-1:13; 1:43-2:00 RA-CD-41<br />
2:39 Limehouse Blues - Fl.Henderson RA(t) from 0:00-0:37; 1:52-2:39 ---<br />
3:11 Shanghai Shuffle - Fl.Henderson RA(t) from 0:33-1:00; 2:23-2:53; 3:09-3:11; ---<br />
3:10 Big John Special by Fl.Henderson RA(t) at all RA-CD-26<br />
2:54 Happy As <strong>The</strong> Day Fl.Henderson RA(t) from 0:31-0:32; 0:55-1:03; 2:02-2:24; 2:51-2:53 RA-CD-41<br />
2:25 Happy Feet - Horace Henderson RA(t) from 1:30-2:06; 2:19-2:24 ---<br />
3:36 Rhythm Crazy - H. Henderson: RA(t) from 2:00-2:14; 2:41-2:51; ---<br />
3:05 Mahogany Hall Stomp by 3/5/29 L.Armstrong RA(t) at all RA-CD-27/ --- /<br />
5/1/64 Fri., Westminster Central Hall - HENRY"RED"ALLEN & HIS ALL STARS: <strong>Red</strong> <strong>Allen</strong> (t,v) Mac Duncan (tb)<br />
Sandy Brown (cl) Johnny Parker (p) Diz Disley (g) Jim Bray (b) Terry Cox (d)<br />
*intermissions-narration 53:23 private tape; poor quality<br />
4:57 HOW LONG BLUES -vRA (L.Carr) RA-CD-27/<br />
-intro Parker-vRA(Brow&Parker)-<strong>Allen</strong>-Parker-vRA(Brown&Parker)-Disley<br />
*1:15 1:59 JUST A CLOSER WALK WITH THEE (trad.) -intro Parker-<strong>Allen</strong>&Brown --- /<br />
*0:20 4:45 CANAL STREET BLUES (King Oliver) --- /<br />
-intro Parker-ens.-Duncan-<strong>Allen</strong>-Brown-ens.<br />
*0:50 5:23 WHEN THE SAINTS GO MARCHING IN -vRA&ch (trad.) --- /<br />
-intro Cox-ens.-Brown-Cox brk-Duncan-<strong>Allen</strong>-vRA&ch-Parker-Bray-Cox-ens.<br />
4:10 encores -THE SAINTS -intro Cox-vRA&ch-Brown-<strong>Allen</strong>-Disley~Cox-ens.-Brown code- --- /<br />
*1:05 2:30 JELLY ROLL BLUES (Jelly Roll Morton) --- /<br />
-Parker-<strong>Allen</strong> in ens.-Parker-ens.-<strong>Allen</strong>-ens.- /cut<br />
*0:25 5:02 PATROL WAGON BLUES -vRA (P.Grainger)<br />
-Parker-<strong>Allen</strong>&Brown-vRA(Brown)-<strong>Allen</strong>-vRA-<strong>Allen</strong> --- /<br />
*0:19 4:32 HONEYSUCKLE ROSE (Razaf-Waller) RA-CD-26/ --- /<br />
-Parker-<strong>Allen</strong>-Brown-Duncan-<strong>Allen</strong>-<strong>Allen</strong> in ens.-<br />
*0:24 3:16 BIFFLY BLUES (<strong>Red</strong> <strong>Allen</strong>) --- /<br />
-intro speech RA(Parker)-<strong>Allen</strong> in ens.-Parker--<strong>Allen</strong> in ens.-<br />
*0:16 3:30 RIDE! RED! RIDE! -vRA&ch (Millinder-<strong>Allen</strong>) --- / --- /<br />
-intro Parker-vRA&ch-Duncan~vRA&ch-grown-<strong>Allen</strong> in ens.-vRA(ens)-<strong>Allen</strong> in ens.-<br />
2:10 encore: RIDE! RED! RIDE! -vRA&ch-ens.-<strong>Allen</strong> in ens.- --- /<br />
6:26 ST. JAMES INFIRAMRY -vRA&ch (J.Primrose) --- /<br />
-intro Parker-vRA-<strong>Allen</strong> in ens.-vRA-<strong>Allen</strong>-Brown-vRA&ch-<strong>Allen</strong><br />
a fine relaxed session with another UK-band; I do not know the tape owner for a better quality and perhaps some more of<br />
the reviewed sides were taped like: Sweet Substitute; Rosetta; Wild Man Blues; Indiana;
- 120-<br />
5/2 or 5/3 Manchester, MSG, - <strong>Red</strong> <strong>Allen</strong> ( t,v) & Alex Welsh Band – Farewell concert;<br />
5/5/64 Shepherds Bush. telerec.for BBC-2TV-Iazz 625; (part-1 on film-reel without ROSETTA) - RED ALLEN (t,v) & THE<br />
ALEX WELSH BAND: Alex Welsh (*t) Roy Crimmins(tb) Al Gay (cl,ts) Fred Hunt (p) Jim Douglas (g) Ronnie<br />
Mathewson (b) Lennie Hastings (d) Steve Race (narr.); Humphrey Lyttelton (introducing the TV-show)<br />
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;<br />
*Beale Street Blues (without <strong>Allen</strong>) video-tape from 1986/RA-DVD-1/<br />
*New Orleans {without <strong>Allen</strong>} --- /RA-DVD-1/<br />
0:40 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) --- /RA-DVD-1/RA-CD-26<br />
6:05 ROSETTA & encore -vRA (Earl Hines-H.Wood) --- /RA-DVD-1/RA-CD-26<br />
7:30 ST. JAMES INFIRMARY & encore -vRA (J.Primrose) --- /RA-DVD-1/RA-CD-26<br />
2:00 JUST A CLOSER WALK WITH THEE (trad.) --- /RA-DVD-1/RA-CD-26<br />
4:00 *WHEN THE SAINTS GO MARCHING IN -vRA -AW in ens.lead & lst solo (trad.) --- /RA-DVD-1/RA-CD-26<br />
part-2: same date & loc., after change of clothes - see photo; transmitted on US-TV poor tape quality, not of deeper interest<br />
Dippermouth Blues (Oliver-Armstrong) (poss. only the A.Welsh Band-not on tape) listed in D.Meeker-2005<br />
0:45 theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) RA-CD-27<br />
7:20 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) RA-CD-27<br />
3:25 CANAL STREET BLUES (King Oliver) RA-CD-27<br />
3:15 PATROL WAGON BLUES -vRA (P.Grainger) RA-CD-27<br />
5:00 AT THE JAZZ BAND BALL & encore (LaRocca-Shields) / cut leave out RA-CD-27<br />
PLEASE (L.Robin-R.Rainger) (not on tape, listed in D.Meeker-2005)<br />
ST.JAMES INFIRMARY -vRA (J.Primrose) (not on tape, listed in D.Meeker-2005)<br />
ONE OF the things which make<br />
the study of jazz so absorbing is<br />
the fact that the first jazz record<br />
was made only forty-five years<br />
ago. Into that first half-century<br />
has been crammed a whole history-book<br />
of campaigns and triumphs. In fact the<br />
jazz student feels towards Jelly Roll<br />
Morton and King Oliver much as the<br />
general historian feels towards William<br />
Rufus or Richard I.<br />
Just a few of the legendary early jazzmen<br />
are still alive, and one of them -<br />
Henry '<strong>Red</strong>' <strong>Allen</strong> - is the guest in <strong>Jazz</strong><br />
625 tonight. He was born in 1908, comparatively<br />
late for a jazz veteran. But his<br />
father led one of the first brass bands in<br />
New Orleans, and as a boy, Henry marched<br />
with the band on its street parades. Later he<br />
worked on the Mississippi riverboats.<br />
Between 1929 and the outbreak of war with<br />
the bands of Louis Armstrong, Luis Russell,<br />
and Fletcher Henderson, he played his<br />
trumpet on many of the most important<br />
classic jazz recordings ever made. He created<br />
much jazz history, and observed even more.<br />
To the jazz enthusiast, seeing Henry <strong>Allen</strong><br />
in the flesh is like meeting a soldier who<br />
served successively at Crecy, Waterloo and<br />
Ladysmith. He even looks like an old soldier.<br />
Perhaps the assault courses of the jazz<br />
modernists are beyond him now. But his<br />
rifle-drill is impeccable. And he makes a<br />
fine standard-bearer. STEVE RACE<br />
BBC-TV, <strong>Jazz</strong> 625, 5/5/1964 London, <strong>The</strong>ater Shepherd's part-1 : Fred Hunt (p) Roy Crimmins (tb) Alex Welsh (tp)<br />
<strong>Red</strong> <strong>Allen</strong> (tp) Al Gay (cl) Ron Matthewson (sb) Lennie Hastings (d) (courtesy Valerie Wilmer)
- 121-<br />
BBC-TV, <strong>Jazz</strong> 625, 5/5/1964 London, <strong>The</strong>ater Shepherd's part-2 : Roy Crimmins (tb) Ron Matthewson (sb) Alex<br />
Welsh (tp) <strong>Red</strong> <strong>Allen</strong> (tp) Lennie Hastings (d) (a change of clothings between the two parts) (courtesy Valerie Wilmer)<br />
NICE !' <strong>Red</strong> <strong>Allen</strong> at the MSG-bar (Focus-6-64) <strong>Red</strong> <strong>Allen</strong> & Ernie Tomaso at MSG 1964; (court.J.Jenkins);
- 122 -
- 123 -<br />
Henry'<strong>Red</strong>'<strong>Allen</strong> at <strong>The</strong> Manchester Sports Guild<br />
By G.E. LAMBERT<br />
in <strong>Jazz</strong> Journal, June 1964, p11-13<br />
<strong>The</strong> Manchester Sports Guild is an<br />
organisation to which amateur sports<br />
clubs in the area are affiliated. It was<br />
formed ten years ago with the primary<br />
aim of raising funds at a time when the<br />
impact of the television age was really<br />
beginning to make itself felt in club<br />
attendances and finances. To most people<br />
in the Manchester area the Guild is best<br />
known for its fine Sports and Social<br />
Centre in Long Millgate, where- the<br />
facilities include a spacious lounge/ bar, a<br />
ballroom – and more to the point here - a<br />
jazz cellar. In April of this year the Guild<br />
celebrated its tenth anniversary by<br />
presenting for four consecutive evenings<br />
the great New Orleans trumpeter Henry<br />
'<strong>Red</strong>' <strong>Allen</strong>. <strong>The</strong> choice of Henry and of<br />
the four bands which accompanied him<br />
was typical of the enlightened approach<br />
to jazz exhibited by the Guild.<br />
<strong>The</strong> jazz cellar is a long room with a<br />
small bandstand and a copiously stocked<br />
bar. <strong>The</strong> acoustics are good but not<br />
exceptional and the piano is no better<br />
than the average jazz club standard - i.e.<br />
pretty poor. <strong>The</strong> audience was attractive<br />
and appreciative and one could<br />
understand why so many well known<br />
jazz personalities from London were<br />
envious of the Mancunians and their fine<br />
jazz room.<br />
After four numbers by the Alex<br />
Welsh band on the Friday evening<br />
Henry <strong>Allen</strong> made his appearance and<br />
it soon became apparent that he was<br />
playing superbly, maintaining the<br />
standard he set with the Kid Ory band of<br />
1959. He now seems to be playing better<br />
trumpet than at any time in his long and<br />
distinguished career, that is if records are<br />
a true reflection of his earlier work. <strong>The</strong><br />
erratic, rather sloppy manner of some of<br />
his playing has been replaced by a<br />
command of the horn which seems<br />
enhanced by the passing of the years.<br />
Although an angular or asymmetrical<br />
phrase some-times gave the music a quite<br />
dramatic effect there was never any trace<br />
of the seemingly deliberate vulgarity of A<br />
Sheridan Square, while his runs were as<br />
unique as ever without the sourness<br />
which was often evident in his playing.<br />
His repertoire over the four evenings was<br />
extensive-really an amalgam of standards<br />
along with numbers associated with his<br />
own career, including Indiana, Rosetta,<br />
Cherry, Yellow Dog Blues, St. Louis<br />
Blues, Biffly Blues, Patrol Wagon Blues,<br />
Spider Crawl, How Long Blues, Who<br />
Stole <strong>The</strong> Lock?, All Of Me, Tishomingo<br />
Blues, Snowy Morning Blues and a<br />
surprising Sweet Substitute, requested by<br />
the indefatigable Doug Dobell. <strong>The</strong> vocal<br />
choruses were full of personality and<br />
swing, while in his direction of the<br />
various bands Henry revealed a capacity<br />
for leadership of a rare order. To avoid<br />
the clash of two trumpets Alex Welsh<br />
left the stand for long periods on the<br />
opening night and was able to observe<br />
how well his band responded to the<br />
inspiration and example of the guest. <strong>The</strong><br />
rhythm section played well, although not<br />
altogether without the stodginess which<br />
used to be the defining quality of local<br />
rhythm teams. Fred Hunt, a most<br />
excellent pianist, fought manfully with the<br />
piano while guitarist Jim Douglas<br />
provided some pleasant choruses,<br />
particularly on the blues. Al Gay played<br />
good clarinet and better tenor, his solos<br />
on the latter raising quite a few eyebrows<br />
among jazz critics pre-sent, the Freemanlike<br />
buoyancy of his playing being<br />
particularly pleasing. In combination<br />
with Roy Crimmins on trombone Gay<br />
was fine backing <strong>Red</strong> on the long blues<br />
numbers, their riffing having a swing<br />
which obviously inspired the trumpeter.<br />
Roy was in particularly good form on<br />
this evening and there were moments in<br />
the solos of all the players, including<br />
those of Alex when he returned to the<br />
stand, when the rhythm section eased off<br />
a little and a degree of musical<br />
excellence was reached which was quite<br />
beyond the modest scale of British jazz a<br />
few years ago.<br />
<strong>The</strong> more variable standards prevai-ling<br />
in the Sandy Brown Band were obvious<br />
the following evening by the end of the<br />
opening set. <strong>The</strong> rhythm section had a<br />
less organised and alltogether heavier<br />
sound, while Sandy had contributed a<br />
series of solos - including a real gem in<br />
Creole Love Call - which had an<br />
individuality beyond anything heard in<br />
the music of the more consistent Welsh<br />
band. Sandy's solos were equalled in<br />
jazzcraft and intelligence, if not in sheer<br />
personality, by those of Danny Moss. His<br />
inclusion in this unit has been criticised<br />
by some writers but his presence appears<br />
to have encouraged a more free type of<br />
ensemble as well as providing a solo<br />
voice in the same class as Brown. To<br />
play a tenor solo with rhythm in the<br />
middle of a set by a musician of Henry<br />
<strong>Allen</strong>'s stature is to invite the most<br />
rigorous standard of comparison, but Do<br />
Nothing 'Til You Hear From Me was<br />
superb, admirable in construction and<br />
execution and a refreshing contrast to the<br />
more torrid sounds heard before and<br />
after.<br />
<strong>The</strong>se two evenings had demonstrated<br />
the advantages of presenting quality jazz<br />
in a club setting and had revealed that<br />
Henry <strong>Allen</strong> remains, for all his current<br />
neglect, a very great jazz trumpeter. Yet<br />
on the Sunday evening with Bruce<br />
Turner's jump Band even this standard<br />
of excellence was surpassed. It was<br />
frankly the sort of jazz session which one<br />
never really expected to hear in England,<br />
an evening of easy, relaxed musicmaking<br />
reminiscent of the HarIem<br />
small group jazz of the 'thirties in<br />
which the music had a casual ease, a<br />
consistency of quality and a wide<br />
variety of mood. <strong>The</strong> rhythm section<br />
played throughout with a swing, a<br />
perfectly judged sense of dynamics and a<br />
relaxation which never wavered during a<br />
long evening's music. <strong>The</strong> hero of the<br />
session was unquestionably <strong>Red</strong> <strong>Allen</strong>,<br />
who played trumpet which surpassed<br />
even his finest recorded performances,<br />
but close behind - and to insert even so<br />
slight a reservation seems ungrateful -<br />
were Bruce Turner and drummer Johnny<br />
Armitage. <strong>The</strong> way in which the latter<br />
attended closely to the playing of the<br />
group and of each soloist and in which<br />
his alert playing responded to every shift<br />
of emphasis in the music were a constant<br />
delight to the ear. One may have beard<br />
drumming superior to this but never<br />
drumming which was more devoted to<br />
the music as a whole. <strong>The</strong> three piece<br />
section of unamplified guitar, bass and<br />
drums made a well-knit unit while the<br />
front line of Bruce, Ray Crane and Pete<br />
Strange produced a full and swinging<br />
ensemble. In solo, trumpeter Crane essayed<br />
an Eldridge inclined style while<br />
Strange blew an exciting amalgam of<br />
Matthew Gee, Booty Wood, Al Grey and<br />
Lawrence Brown which was bonded by his<br />
own interesting and developing musical<br />
personality. For years one has admired<br />
Bruce Turner's playing and to hear him<br />
follow an excellent Henry <strong>Allen</strong> solo in,<br />
say, Rosetta underlined the high standard<br />
he has established. Although one can<br />
detect echoes of the past in Bruce's work<br />
- Pete Brown, Hodges and Parker being<br />
the most prominent - his alto solos have a<br />
very distinct and very appealing<br />
personality, while on clarinet he plays<br />
with a jazz sound which is fast<br />
disappearing on this instrument. <strong>The</strong><br />
form and jazz-craft, the fire and swing of<br />
his solos place him very high on any list<br />
of current altoists – his understanding of<br />
the jazz idiom certainly surpasses that of<br />
most of the current public idols and he<br />
uses the language with an ease rare in a<br />
non-American. To such a backing Henry<br />
<strong>Allen</strong> responded by playing at his best.<br />
<strong>The</strong> dynamic range used was far<br />
wider than that of any other jazz<br />
trumpeter I have heard; he is capable<br />
of a clear, ringing brass tone which<br />
projects itself with Armstrong-like<br />
majesty and power, while at times he<br />
played so quietly that the tone almost<br />
disappeared, yet so much is this man at<br />
one with his music that this tiny strand<br />
of sound was recognisably Henry<br />
<strong>Allen</strong>. <strong>The</strong> elaborate codas bedecked<br />
with unexpected intervals, the unusual<br />
growl effects and very individual<br />
rhythmic approach were contrasting<br />
aspects of a style which was unified by<br />
the intensely personal message of<br />
Henry's music. And message there<br />
was, for through-out this evening the<br />
music 'talked', the wonderful sounds<br />
emerging from the bandstand were a<br />
warm, living reflection of life. <strong>The</strong><br />
music was wonderfully flexible in its<br />
emotional range: it had angry<br />
moments, still moments, it reflected<br />
joy, tenderness and a whole host of<br />
other things that one can put names to<br />
but which names never quite express.<br />
It was jazz which was unmistakably<br />
honest and which was unfailingly<br />
musical. On the blues - West End<br />
Blues, How Long, Tishomingo, Patrol<br />
Wagon, St. James Infirmary, - Henry<br />
told a story in a way that is almost<br />
wholly lost among musicians of later<br />
generations. On West End the long note
was growled on G in contrast to Louis'<br />
clear high C, but the cascading phrases<br />
which followed had a majesty similar<br />
to Louis' yet all his own with a tone<br />
and attack reminiscent of his Luis<br />
Russell days.<br />
When writers speak of jazz as a minor<br />
art one doubts if they have experienced<br />
evenings like this.<br />
One hardly dared to hope that the final<br />
evening of this four day festival would<br />
be of similar quality-and it was not.<br />
Humphrey Lyttelton has done so much<br />
for jazz in this country (and I don't just<br />
mean for,British jazz) that one hates to<br />
report the fact that his band gave much<br />
the poorest support to <strong>Red</strong>. For all the<br />
frequent grumbles there was nothing<br />
wrong with the instrumentation - so<br />
often a sore point among Lyttelton<br />
listeners although one fails to see why-or<br />
with the standard of musicianship.<br />
Basically thin trouble resolves into a<br />
question of style, for the modified Basie<br />
small group manner of the Lyttelton<br />
band, which suits a man like Buck<br />
Clayton so well, is quite the wrong<br />
backing for a player of Henry <strong>Allen</strong>'s<br />
environment and methods. <strong>The</strong> modem<br />
style of the band's soloists other than the<br />
leader sounded mecha-nical when placed<br />
against the more personal methods of<br />
their guest. <strong>The</strong> Lyttelton sidemen<br />
produced a well engineered, rather brash<br />
sound and seemed to regard this as<br />
enough in itself; there was more<br />
formality in the music and less smiling<br />
on the bandstand on this evening, and<br />
the players showed little disposition to<br />
adapt their music to the needs of their<br />
eminent guest. Indeed Eddie Harvey<br />
persistently refused to follow <strong>Red</strong>'s<br />
directions regarding the chords and<br />
seemed quite indifferent to the whole<br />
affair. All this obviously affected <strong>Red</strong><br />
and although he played fine trumpet<br />
there was a lack of ease about his work<br />
which was in great contrast to what had<br />
been heard twenty four hours before.<br />
Apart from the pianist and the general<br />
lack of under-standing of <strong>Red</strong>'s music<br />
the band played quite well, with especially<br />
- 124-<br />
good solos from Humph and Joe<br />
Temperley. One wonders if the band is<br />
running into the same sort of impasse<br />
which they faced in more traditional<br />
fields prior to Bruce Turner joining the<br />
group in the early 'fifties. At that time<br />
Humph's taste, intelligence and musical<br />
courage prevented the band from<br />
foundering in the morass of mechanical<br />
'trad'. Let us hope that he sees any<br />
dangers in his present situation with the<br />
same clarity.<br />
A final word of thanks is due to the<br />
people who made it possible for jazz to<br />
come alive in such a remarkable way in<br />
an English club. To L.C. Jenkins and<br />
Jack Swinnerton of the Manchester<br />
Sports Guild who organised <strong>Red</strong>'s visit<br />
we owe a great deal; out of pure love of<br />
the music they devoted immense effort<br />
into organising the weekend, and it is<br />
their taste and know how which<br />
provided such fine surroundings for <strong>Red</strong>,<br />
musically and otherwise. But most of all<br />
our thanks are due to Henry <strong>Allen</strong><br />
himself, who at the age of 54 spared no<br />
effort in playing, singing or band<br />
direction. Towards the end of Sunday's<br />
wonderful session he spoke of his<br />
father and of the old days in New<br />
Orleans and then played just one<br />
chorus-all melody of Just A Closer<br />
Walk With <strong>The</strong>e in slow tempo. It had a<br />
beauty which could only have been<br />
manifest on an evening when the spirit<br />
of jazz was abroad - it was a piece of<br />
music which could only have been<br />
played by a man who was delighted and<br />
moved by the response of both musicians<br />
and audience. To see a man of <strong>Allen</strong>'s<br />
musical stature - and one who has known<br />
so much neglect in recent years - so<br />
happy and so obviously enjoying his<br />
music was very pleasing in these rather<br />
sad days for the jazz veteran. <strong>The</strong><br />
Manchester Sports Guild's first essay in<br />
jazz importation has succeeded beyond<br />
anyone's wildest dreams. This is the sort<br />
of jazz club we have always cried out for<br />
and which without doubt deserves our<br />
fullest support.<br />
POSTSCRIPT: At the end of his tour<br />
Henry <strong>Allen</strong> returned to the Manches-<br />
ter Sports Guild for a fare-well<br />
appearance with the Alex Welsh band.<br />
He again played beautifully, evoking the<br />
very spirit of jazz and reminding us that<br />
he is an even greater player today than<br />
he was in the Luis Russell days. Towards<br />
the end of the evening L.C. Jenkins,<br />
secretary of the Sports Guild, presented<br />
<strong>Red</strong> with a silver tea set for Mrs. <strong>Allen</strong>,<br />
inscribed To Pearly Mae from the<br />
Manchester Sports Guild in appreciation<br />
of the great pleasure which your<br />
husband gave to us when he played here<br />
in April 1964. Henry was visibly moved<br />
and when Alex Welsh made a further<br />
presentation of a pewter tankard-on<br />
behalf of the band Henry looked indeed<br />
a proud and happy man. In London the<br />
following day he told Sinclair Traill that<br />
this was the most moving thing that had<br />
ever happened to him. <strong>The</strong> real human<br />
communication and affection which have<br />
been present on these evenings between<br />
Henry, the bands and the audience is<br />
something unique in my jazz experience.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
<strong>Red</strong> <strong>Allen</strong> - Manchester Sports Guild, Manchester, England –by Steve Voce in Down Beat 6/18/64:<br />
<strong>Allen</strong>, trumpet accompanied by the Alex 'Welsh Band, the Fairweather-Brown All-Stars, and the Bruce Turner Band.<br />
<strong>The</strong> Manchester Sports Guild -is a remarkable -club. Its three<br />
floors include a basement devoted to live mainstream jazz, a bar<br />
where one drinks to a background of jazz records, a modernjazz<br />
hall with a resident big band and obscurely titled<br />
phenomena of the current -British scene - a folk lounge where<br />
variously bearded gentlemen, who a few years ago -would<br />
have been jazz banjo players, mouth tuneless lyrics over the<br />
old three-chord trick.<br />
To celebrate the club's 10th anniversary, the two managers, L.C.<br />
Jenkins and Jack Swinnerton, decided to import an American<br />
musician, and. apparently simultaneous with the original idea<br />
<strong>Red</strong> <strong>Allen</strong>'s was the first name mentioned. <strong>The</strong> choice was a<br />
wise one, for it is difficult to think of another musician who<br />
could have brought so much to the musicians and audiences.<br />
<strong>Allen</strong>'s first night was in company with the Welsh band, a<br />
polished group of advanced Condonites. From the two-hour<br />
rehearsal in the afternoon, it was obvious that no mere blowing<br />
session was to follow. A thorough professional, who knows<br />
exactly what he wants, <strong>Allen</strong> struck up an immediate<br />
understanding with Welsh's men, who were quicker on the<br />
uptake than anyone had anticipated. <strong>Allen</strong>'s eccentric codas and<br />
changes of key soon were mastered, and by the end of the<br />
rehearsal, everyone felt confident that this would be one of<br />
those good nights.<br />
Inspired by a very with-it audience (in addition to the staffs of<br />
most of the country's jazz magazines, the listeners were fans<br />
who had travelled from points as much as 200 miles. away),<br />
the Welsh band opened alone and played a set that reached<br />
peaks not normally scaled by such groups. Welsh's trumpet was<br />
particularly good, and the rhythm section was much improved<br />
by the presence of pianist Fred Hunt, who had rejoined the<br />
band that day after a year's absence.<br />
<strong>The</strong> opening At the <strong>Jazz</strong> Band Ball, with <strong>Allen</strong>'s spotlighted<br />
and blue-jacketed entry, was a little obvious, and it was not<br />
until he bit down into Yellow Dog Blues and Rosetta that the<br />
full significance of what was happening became obvious . At<br />
the rehearsal <strong>Allen</strong> had gained the band's confidence, and<br />
now. the band was responding to him and, like a cup-final<br />
football team, was pulling out unknown reserves. <strong>Allen</strong>,<br />
playing with that reedy, almost sax-like tone of his, led the<br />
ensembles, prompted the soloists, and played like an angel<br />
Roy Crimmins.a trombonist based in -Bill Harris and Urbie<br />
Green, reacted most forcefully to the <strong>Allen</strong> stimulant and took<br />
off into a series of solos that softened some of the awe with<br />
which the audience was regarding the trumpet player.
Another liaison was set up between <strong>Allen</strong> and drummer<br />
Lennie Hastings, who, with the others, showed that English<br />
rhythm sections are not nearly as bad as –some Englishmen<br />
like to think.<br />
<strong>The</strong> second night brought <strong>Allen</strong> into the challenging company<br />
of the Fairweather-Brown All-Stars, an unorthodox group<br />
fronted by clarinetist Sandy,Brown and featuring trumpeter Al<br />
Fairweather .and tenorist Danny Moss.<br />
Brown plays in an angular and original way, somewhat like<br />
Pee Wee Russell in a Viking hat. On this night it was<br />
everybody paddle his own longboat, for Brown's men made no<br />
-concessions to the additional horn.-<br />
Again, because of <strong>Allen</strong>'s subtlety, a buoyant band sound and<br />
beautifully instinctive backings to soloists would have given the<br />
casual listener the impression that the personnel had been<br />
together for 20 years. <strong>The</strong> Ben Webster-like tenor of Moss was<br />
particularly potent in solo, but, after <strong>Allen</strong>, the honors went to<br />
Brown, an original and brilliant creator.<br />
As on the two previous evenings, such <strong>Allen</strong> standards as<br />
Biffly Blues, Patrol Wagon Blues, and House in Harlem for<br />
Sale were given extended workouts when <strong>Allen</strong> played the third<br />
night with the Turner band. Here the pianoless rhythm section,<br />
pinned by the sensitive drumming of Johnny Armitage.<br />
provided a beautiful montage for free-blown jazz.<br />
Turner, an altoist of world class, matched <strong>Allen</strong>'s solos with<br />
his own, and the two inspired each other to jazz<br />
consummations that overshadowed everything-else that had<br />
happened. Trombonist Pete Strange, very much in <strong>Allen</strong>'s<br />
idiom, also played above himself. This was the finest session<br />
of the .three.<br />
Throughout his stay, <strong>Allen</strong> played with remarkable<br />
consistency and tastefulness. His eccentric style, which was<br />
ahead of its time 30 years ago, is still gilded with modernity,<br />
and it is obvious that he belongs, not in the shade of Louis<br />
Armstrong, but out front with Roy Eldridge and Buck<br />
Clayton.<br />
Some of his extraordinary effects were on display - the heavyvibrato<br />
growl, the muted effects without a mute, and the<br />
intricate precision of his rapid-fire fingering.<br />
Without pandering to his audiences, <strong>Allen</strong> involved them in<br />
his vocals and created the highly volatile atmospheres that<br />
built up at each session. It can be said that he has done more<br />
constructive work for British jazz in his short stay than several<br />
16-man groups have done during more intensive tours.<br />
<strong>The</strong> Sports Guild is working on the idea of bringing more<br />
musicians over. As far as this reviewer is concerned, they can<br />
keep bringing <strong>Red</strong> <strong>Allen</strong>. He's one of the timeless ones.<br />
THE VERDICT: GREAT by E. LAMBERT – MSG-Journal, Focus June-64 No.4.p7 (cont.series from p 114)<br />
True appreciation of Henry '<strong>Red</strong>' <strong>Allen</strong>'s April visit to the M.S.G. centre was felt by all who came to see this inspiring<br />
personality. Here are appreciations from two men who really know what they're talking about - the first from Eddie Lambert,<br />
'<strong>Jazz</strong> Journal' and '<strong>Jazz</strong> Monthly,' correspondent, the second from Steve Voce, '<strong>Jazz</strong> Journal' and 'Down Beat.'<br />
In the entire history of jazz in this country it is difficult to find a parallel to the achievement of the Sports Guild in<br />
bringing a jazz musician of Henry <strong>Allen</strong>'s calibre to England for a series of club sessions.<br />
We are so used to hearing the great<br />
musicians of jazz on record or in the<br />
concert hall that it is easy to overlook the<br />
fact that neither the studio nor the<br />
concert stage is the natural habitat of the<br />
music. While we can hear many fine<br />
British groups in club conditions, for us<br />
the music of the great figures of jazz<br />
seems far removed from such surroundings.<br />
Yet, in fact, the reverse is true, as<br />
can be seen from the best commentators<br />
on the American jazz scene, such as<br />
Stanley Dance and Dan Morgenstern<br />
who report frequently on jazz sessions of<br />
the highest quality heard in clubs. <strong>The</strong><br />
achievement of the Guild is that they<br />
brought one of the great musicians of<br />
jazz to Manchester to take part in<br />
sessions of a quality which would have<br />
brought forth the plaudits of Dance and<br />
Morgenstern had they occurred in New<br />
York City. FINEST SESSION<br />
<strong>The</strong> finest of the Henry <strong>Allen</strong> sessions I<br />
have attended at the time of writing was<br />
that with Bruce Turner's band, an<br />
evening of memorable jazz by any<br />
standard. To an even greater extent than<br />
on the other evenings Henry <strong>Allen</strong><br />
demonstrated his continuing greatness as<br />
a jazz musician. <strong>The</strong>se are sad days for<br />
the jazz veteran, with so many prominent<br />
writers seeing to consider that<br />
one new trumpeter is worth ten old ones<br />
and who regard the ability to play runs of<br />
harmonic complexity more praise-worthy<br />
than the ability to make music of<br />
character and distinction. 'But make no<br />
mistake about <strong>Red</strong> <strong>Allen</strong>'s stature - his<br />
music has a mastery, a personality and a<br />
richness of expression which is only<br />
equalled by a handful of jazz trumpeters.<br />
On the night with Bruce, he played with<br />
an amazing variety of tone ranging from a<br />
mere whisper to a ringing, proud brass<br />
sound most refreshing in these days of<br />
trumpeters trying to kid us that they are<br />
operating on French horn. But to attempt<br />
to write a critique of Henry's performances<br />
would be to step beyond the scope of<br />
this article. Let us just repeat again that<br />
this was jazz trumpet playing of superb<br />
quality, equal at least to the very greatest<br />
of Henry's recordings.<br />
FINE SURROUNDINGS<br />
<strong>The</strong> Guild deserves praise also for the<br />
surroundings in which they presented<br />
Henry <strong>Allen</strong>. It is doubtful if there is a<br />
finer jazz room in the country than the<br />
M.S.G. cellar - certainly our London<br />
visitors were very envious. <strong>The</strong> room<br />
can get uncomfortable when crowded<br />
and perhaps the stage could be extended<br />
with advantage but the only real weak-<br />
spot is the piano, which should be<br />
replaced at once.<br />
One could not have elected four better<br />
bands than those of Alex Welsh, Sandy<br />
Brown, Bruce Turner and Humphrey<br />
Lyttleton to play with <strong>Red</strong> and in the<br />
event only Lyttleton's group was a<br />
disappointment. <strong>The</strong> band's modernised<br />
Basie style was unsuitable for a man of<br />
greatly differing manner and methods, but<br />
even so it was regrettable that some of<br />
Humph's musicians could not be<br />
bothered to even attempt to adapt their<br />
music to <strong>Allen</strong>'s requirements.<br />
By contrast the Brown and Welsh bands<br />
fitted Henry's style naturally, but best of<br />
all was the Turner band. So impressed and<br />
inspired was <strong>Red</strong> by their playing that<br />
Pete Strange (tb) Roy Crane (t) <strong>Red</strong> <strong>Allen</strong> (t) Bruce Turner (as) (court. Jenks Jenkins)
he called for their arrangement of "Cherry<br />
<strong>Red</strong>" three times during the evening and<br />
played music of a quality scarcely ever<br />
beard at a jazz event in this country.<br />
To single out individual musicians<br />
from these three bands is, perhaps,<br />
invidious, but some mention must be<br />
made of the superb playing of Roy<br />
Crimmins, Al Gay, Fred Hunt, Danny<br />
Moss and the entire Turner band, especially<br />
drummer Johnny Armitage who<br />
was constantly alert to the needs of the<br />
music. So far as Bruce and Sandy are<br />
concerned their very high standing in<br />
jazz was more than confirmed by hearing<br />
them play alongside Henry <strong>Allen</strong>.<br />
Over the four days of the Guild's tenth<br />
birthday celebrations one heard a feast of<br />
fine jazz. Our thanks are due especially<br />
to the two men whose hard work, enthusiasm<br />
and excellent taste made the<br />
weekend possible - Guild secretary Jenks<br />
and jazz organiser Jack Swinnerton. But<br />
most of all our thanks must go to Henry<br />
"<strong>Red</strong>" <strong>Allen</strong> who, by his playing singing<br />
and almost impromptu band leading has<br />
made a host of friends and admirers in<br />
the Manchester area and beyond.<br />
Whatever the Sports Guild we planning<br />
next, and there are more first-magnitude<br />
jazz events in prospect, Henry <strong>Allen</strong> must<br />
surely be invited over again - and soon.<br />
- 126-<br />
<strong>Red</strong> <strong>Allen</strong> with the Alex Welsh Band (MSG-Journal-Focus June-64)<br />
RIDE, RED, RIDE - AND HE DID ! BY STEVE VOCE MSG-Journal, Focus June-64 No.4.p8 (cont.series)<br />
It was my tenuous reputation as All-England Champion Barbed Wire Hurdler (a title which I held until my tragic accident in<br />
1961) which got me my membership of the Manchester Sorts Guild. To hear another set of sessions like the one in April I<br />
would gladly strike out for the broken-glass-swallowed title.<br />
Somehow the sense that jazz history was<br />
about to be made hung about the Guild<br />
for weeks before <strong>Red</strong> <strong>Allen</strong> arrived. <strong>The</strong>re<br />
was never any doubt in anyone's mind<br />
(least of all in the minds of Jenks and<br />
Jack Swinnerton) that this experiment<br />
was going to be a resounding success.<br />
But nobody thought that it would turn<br />
out to be the jazz idyll that it did.<br />
Unfortunately, I couldn't make the press<br />
reception on the Thursday, but when I<br />
did arrive in the middle of Friday afternoon's<br />
rehearsal, the ground was already<br />
Pete Strange (tb) Roy Crane (t) <strong>Red</strong> <strong>Allen</strong> (t) Bruce Turner (as) (court. Jenks Jenkins)<br />
heavily strewn with the jazz bodies who<br />
so nobly support the brewers at any great<br />
occasion: Sinclair Traill, editor of <strong>Jazz</strong><br />
Journal; Jack Hutton, editor of the Melody<br />
Maker; Eddie Lambert of <strong>Jazz</strong> Journal;<br />
George Ellis of <strong>Jazz</strong> Beat; Jerry Dawson<br />
of the Melody Maker and Doug Dobell<br />
and Johnny Kendall of Dobell's Record<br />
Shop. Gerald Lascelles (<strong>Jazz</strong> Journal)<br />
and Peter Clayton (B.B.C.'s <strong>Jazz</strong> Scene)<br />
had been on the Thursday, but had left<br />
when they heard of my impending arrival.<br />
THE WORKER<br />
If you could have seen that rehearsal<br />
with the Welsh band, you would know<br />
that <strong>Red</strong> worked hard for his money. <strong>The</strong><br />
technical standards of the musicians in the<br />
four accompanying bands left no room<br />
for criticism, and <strong>Red</strong> found that they<br />
were able to grasp the many innovations<br />
which he wanted to use. <strong>The</strong>se bands<br />
must be given much credit for the<br />
masterful way in which they learned<br />
so much from him so
quickly - particularly in the case of the<br />
Welsh and Turner bands, where the<br />
various musicians fitted in as though they<br />
had been led by <strong>Red</strong> for twenty years.<br />
Once <strong>Red</strong> took the stage it became<br />
obvious that he is a thorough professional<br />
as well as one of the most telling<br />
weapons in the jazz armoury.<br />
It is possible that there are better jazz<br />
trumpeters than <strong>Red</strong>, but I can think of<br />
none, traditional or modern, who can play<br />
such an unwavering stream of tasteful and<br />
apparently limitless jazz. For there is no<br />
question that Mr. <strong>Allen</strong> is one hundred<br />
per cent a jazz musician.<br />
AUDIENCE REACTION<br />
It was remarkable also to watch the<br />
way in which <strong>Red</strong> handled his audience.<br />
Hardened jazz fans usually sit stonyfaced<br />
and glassy-eyed with awe in the<br />
face of one of their idols, but on these<br />
nights <strong>Red</strong> had everyone involved and<br />
singing to his requirements with no<br />
trouble at all. I don't believe I have seen<br />
any artiste give such a concentrated and<br />
yet relaxed performance - and I don't<br />
think any one member of the audience<br />
would have thought for one second of<br />
asking for a penny of their money back.<br />
<strong>Red</strong> mixed with his audience, too. He<br />
is one of the most likeable and<br />
appreciative Americans - his only worry<br />
during his stay was that no one would let<br />
him buy drinks for anyone. His delightful<br />
asides (for instance, his repeated yells to<br />
Jack Swinnerton in mid-number - "How's<br />
my man Jack") and his immediate<br />
compliance with any requests for<br />
numbers or auto-graphs endeared him in a<br />
way which will never be forgotten. ("He<br />
just sat there and talked to me!" said<br />
someone in ecstatic delight after <strong>Red</strong> had<br />
signed his shirt during the interval.<br />
What were the highlights ? It was ALL<br />
highlights, but my own personal<br />
thermometer blew over on hearing the<br />
Alex Welsh band entirely integrated<br />
behind <strong>Allen</strong>'s lead - Roy Crimmins<br />
always amazes on these occasions, and<br />
other outstanding individual performances<br />
came from Alex, Lennie<br />
Hastings and Ronnie Mathieson. But the<br />
Welsh band succeeded as a group, and<br />
were probably the ideal European group<br />
for the job. A CHALLENGE<br />
Saturday brought <strong>Red</strong> the challenge of<br />
Sandy Brown's very creative and<br />
unorthodox settings. In this group, <strong>Red</strong>'s<br />
pithy and sometimes almost saxlike tone<br />
stood out very clearly. Danny Moss, for me<br />
our finest tenorist, reverted<br />
subconsciously to early Ben Webster<br />
sounds and blew with great heart and<br />
taste-shades of the late 'thirties and<br />
memories of Chuck Berry's records with<br />
<strong>Red</strong> in all this.<br />
But the individual who reacted most of<br />
all to the <strong>Allen</strong> stimulus was predic-tably<br />
Bruce Turner. After due thought, I am<br />
convinced that this was Bruce's finest<br />
hour and the way in which <strong>Red</strong> enthused<br />
over him had no basis in flattery.<br />
Suddenly the scene was 52nd Street in<br />
1940, and one found that <strong>Red</strong>, whose<br />
musical associates over the years have<br />
- 127-<br />
Jack Swinnerton-<strong>Red</strong> <strong>Allen</strong>-“Jenks“ Jenkins, at the MSG<br />
<strong>Red</strong> <strong>Allen</strong> with a tankward from the Welsh band and a silver tea set for<br />
Pearlie Mae from the MSG<br />
usually been Coleman Hawkins, Jay C.<br />
Higginbotham and Buster Bailey, was<br />
suddenly home.<br />
Pete Strange, already a convincing<br />
threat to Roy Crimmins as a trombonist,<br />
followed through as indeed did Ray<br />
Crane and the superb rhythm section led<br />
by Johnny Armitage and Jim Bray.<br />
Jenks and Jack Swinnerton are already<br />
discussing who to bring over next. As<br />
far as I'm concerned they can keep on<br />
bringing <strong>Red</strong> <strong>Allen</strong>. At the moment I<br />
don't really think I want to hear anyone<br />
else - unless they have <strong>Red</strong> <strong>Allen</strong> with<br />
them ! This has been a brave experiment<br />
which has been an enor-mous success in<br />
jazz terms.<br />
But the real honours must go to Jenks,<br />
one of the most talented organisers I<br />
have encountered; to Jack Swinnerton,<br />
who is one of the people who really<br />
likes jazz; to Betty, who debts for Jenks<br />
and who did such a good job in washing<br />
<strong>Red</strong>'s shirts, and to the staff who pulled<br />
God knows how many different kinds of<br />
muscles in keeping us all supplied by<br />
the finest bar service in many miles.<br />
I think it is true to say that everyone<br />
involved in the operation was in it for<br />
the sake of jazz and not for financial<br />
gain. When you think about that, you<br />
will realise that this is something<br />
remarkable. It is only right that such<br />
efforts should be tnet with a success<br />
which will stay, in my memory at least,<br />
for ever.<br />
===========================0
- 128-<br />
Recollection of a Great Occasion - By George Ellis <strong>Jazz</strong> Writer in MSG-Journal-Focus June-64 (series cont.);<br />
( <strong>The</strong>re were several occasions used by jazz researchers to speak with <strong>Red</strong> <strong>Allen</strong> about his wellknown and unknown record sessions;<br />
see also the record party on page-119; another article by Alun Morgan in J.Monthly 11/66 is reprinted in the <strong>Red</strong> <strong>Allen</strong>-Disco pVIII;)<br />
I wondered if "<strong>Red</strong>" would remember me, for since the Kid<br />
Ory tour we had only exchanged short notes and the inevitable<br />
Christmas cards. I need not have worried, he remembered me,<br />
no, I'm not being big-headed, here's a man who remembers the<br />
exact personnels of records he made in 1929. In fact, at one<br />
time during that fantastic week-end, he spent some time<br />
with me sorting out his own and Irving Randolph's solos<br />
on the 1934 Fletcher Henderson sessions. He not only<br />
played his own solos, tightly muted - it was 12:45 a.m. and<br />
"we don't want to disturb anyone" he played Randolph's<br />
too. I mumbled something completely inadequate about him<br />
being fantastic. He's a modest man, but he wasn't embarrassed<br />
for long. "Man, wat a fertile brain, I'm telling ya" was all he said.<br />
Musically, the performances with the Alex Welsh and Sandy<br />
Brown bands were just about perfect, and another thing that<br />
was just about perfect, and I don't know whether you regular<br />
visitors to the Guild realise this, was the layout of the cellar,<br />
and the tremendous atmosphere and enthusiasm which<br />
prevailed throughout.<br />
"Another thing - a bar on the premises must help. I have<br />
been to many clubs where coke and coffee are the only<br />
beverages served, and one has to go out for anything stronger.<br />
Sometimes this means leaving a good session still swinging,<br />
and, in the winter, it can be plain murder.<br />
"Yes, those sessions in April will live with me for a long<br />
time, and my thanks, on your behalf as well as mine, to all<br />
who made them possible.<br />
"May I add that having seen Manchester in the daylight, my<br />
opinions of your city have changed very much for the better.<br />
And I don't think I have ever been anywhere in the world where<br />
so much is going on. Dance clubs, beat clubs, and everyone<br />
really looking as if they have somewhere to go. I was in the<br />
street at around 7:30 p.m. on my first evening, and suddenly<br />
all these teenagers appeared almost from nowhere, to find<br />
their delights in cinema, theatre club, or what have you. It<br />
was all rather like the old Pied Piper stuff in modern dress.<br />
"In addition to the music, there were many other memories.<br />
Henry's adaptability to Northern beer, for one: 'We'll be back in<br />
ten minutes - just enough time for a Number 3.' Also, having<br />
breakfast at the hotel with Enie Sharples sitting at the next table,<br />
and getting roped in for a party given by Barry Ansell at Barry's<br />
Record Rendezvous. His charming assistant told me, when I<br />
noted the amount of pop material around, that 80 per cent of<br />
their sales consist of jazz records. I don't know how good<br />
business is at the moment, but the hospitality is beyond<br />
question. And that goes for all your organisers at the Sports<br />
Guild, too. I hope I shall be able to return before very long."<br />
<strong>Red</strong> <strong>Allen</strong> & Alan Elsdon (t) at MSG-64 (court.J.Jenkins)<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
HENRY 'RED' ALLEN a report from George Ellis in <strong>Jazz</strong>beat June-64p12<br />
INVITATIONS to press receptions<br />
seldom come my way, and even if they<br />
did, it would be difficult for me to accept<br />
most of them. <strong>The</strong> position of the part<br />
time jazz writer who is also a family<br />
man is a precarious one to say the least,<br />
particularly when long travel-ling<br />
schedules are also involved.<br />
However, I was asked to attend the<br />
reception for Henry "<strong>Red</strong>" <strong>Allen</strong> at the<br />
Manchester Sport Guild's tenth anniversary<br />
celebrations, and accepted gladly.<br />
A wise decision too, because the<br />
experience proved to be, to coin a new<br />
phrase, something else. One of the finest<br />
jazz weekends I have ever attended<br />
possibly because of my lack of exposure<br />
to this kind of situation. I am not so<br />
accustomed to visiting American jazzmen<br />
that there are no kicks anymore,<br />
and yet - I'm sure even the most<br />
hardened old jazz critic would have<br />
found much to delight him at<br />
Manchester.<br />
<strong>The</strong> word fantastic has become very<br />
overworked in jazz writing, but to use it<br />
to describe "<strong>Red</strong>" <strong>Allen</strong> seems an<br />
inadequate way co convey the impact of<br />
the man and his music. His opening<br />
dates, with Alex Welsh on the first night,<br />
Sandy Brown on the second, were so<br />
diverse in character and programme<br />
that - but let's start at the beginning,<br />
By now the circumstances leading up<br />
to the tour and the connection with the<br />
Manchester Sports Guild .should be<br />
well known. <strong>The</strong> Guild, always an<br />
enthusiastic supporter of jazz clubs and<br />
activities, has sponsored <strong>Allen</strong>'s visit on<br />
a non-commercial basis to mark their<br />
first ten years of life. If it proves<br />
successful, and I cannot see at this stage<br />
how it can be otherwise, further visits by<br />
American jazz stars may be forthcoming.<br />
<strong>The</strong> names of Pee Wee Russell and<br />
Muggsy Spanier have already been<br />
mentioned in connection with guest<br />
appearances later in the year, a major<br />
project .which I hope will eventually<br />
become a reality-<br />
L.C. Jenkins, or "Jenks", the General<br />
Secretary, and Jack Swinnerton, the jazz<br />
Organiser for the Guild, spent most of<br />
the weekend going round on a cloud<br />
looking very happy, as did most of us.<br />
<strong>The</strong> press reception was an enormous,<br />
success, and in addition to our own Peter<br />
Clayton, I spotted Sinclair Traill, Gerald<br />
Lascelles, Eddy Lambert, all of "<strong>Jazz</strong><br />
Journal", Frank Dixon of BBC<br />
Manchester, Jack Hutton, MM Editor,<br />
together with Northern corespondent<br />
Jerry Dawson. Jack Swinnerton lost no<br />
time in mentioning that my dear friend<br />
Steve Voce would be along for the first<br />
concerts, and it was obvious that a good<br />
punch up was expected by one and all. It<br />
didn't happen, but that's another story.<br />
Allowing us all time to sample the<br />
wines and spirits, Henry arrived in<br />
excellent shape in the middle of a very<br />
entertaining set by a local piano, bass<br />
and drums trio.<br />
Next to a take the stand were another<br />
local group, this time an eleven piece<br />
Basie styled outfit. Although they used<br />
all Count's material, the soloists all had<br />
something new to say, and I was<br />
particularly impressed by the alto, tenor<br />
and trombone. "<strong>Red</strong>" sat listening intently<br />
to two numbers, and then quite suddenly<br />
took his trumpet from the leather case,<br />
assembled it, and joined the band during<br />
the middle of "Peace Pipe", a number he<br />
has probably never attempted before.<br />
After several staggering solo choruses,<br />
he roared into the final ensemble,<br />
playing along with the trumpet section.<br />
Sinclair Traill was the first to offer,<br />
congratulations. Henry's reply was a<br />
classic. "Oh, man, we play 'em all, we<br />
play 'em all". Later the Art Taylor All<br />
Stars played several numbers and again<br />
Henry was there joining in. <strong>The</strong> style,<br />
closely modelled on the Louis Armstrong<br />
group, was interpreted with enthusiasm,<br />
and I really enjoyed the showing of the<br />
local trumpet man, who played with<br />
spirit and good taste in what must have
een very nerve racking circumstances.<br />
<strong>The</strong> two evenings that followed were<br />
preceded in each case by short after-noon<br />
rehearsals with each group, and Henry<br />
varied his programme according-ly. So<br />
the only numbers common to both<br />
nightswere Yellow Dog /Rosetta/ Just A<br />
Closer Walk/St.James Infirmary/ Patrol<br />
Wagon Blues/Canal Street Blues/ St.<br />
Louis Blues / <strong>The</strong> Saints.<br />
Even the last named, which has been<br />
run into the ground in no uncertain<br />
manner, took on a new magic with "<strong>Red</strong>"<br />
directing the marching.<br />
<strong>The</strong> Alex Welsh band, obviously<br />
happy about the return of pianist Fred<br />
Hunt, now has a new look rhythm<br />
section, Jim Douglas(g) Ronnie<br />
Mathewson(b) Lennie Hastings (d). <strong>The</strong>y<br />
were on top form for their num-bers with<br />
"<strong>Red</strong>", "<strong>Jazz</strong> Band Ball", "Indiana",<br />
"Sweet Georgia Brown", "Basin Street<br />
Blues", "Spider Crawl", "How Long<br />
Blues", "Bugle Call Rag", "Who Stole<br />
<strong>The</strong> Lock" and "I Ain't Got Nobody". A<br />
pity perhaps that Archie Semple was not<br />
around, he and "<strong>Red</strong>" on "Spider" would<br />
have been a knock-out. But I must not<br />
detract from the great showing of the<br />
Welsh band.<br />
If I were asked to single out one player<br />
from the first session, I think Roy Crimmins<br />
would be that man, with a special<br />
word for that great rhythm section.<br />
Watch Ronnie Mathewson too, he looks<br />
even younger than Tony Coe, but he<br />
knows what it's all about!<br />
<strong>The</strong> Sandy Brown session contained<br />
much vintage <strong>Allen</strong> material, "<strong>Jazz</strong> Me<br />
Blues", "High Society", "Cherry","Biffly<br />
Blues", "House In Harlem", "Sweet<br />
Substitute", "Rag Mop" and "Muskrat<br />
Ramble". "Harlem", "Substitute" and<br />
"Rag Mop" played in quick succession,<br />
took in about twelve year span of <strong>Allen</strong><br />
recordings in as many minutes, with<br />
Henry's vocal on "Substitute" a moving<br />
tribute to Jelly Roll Morton,<br />
Honours inside the Sandy Brown Band<br />
were fairly evenly divided, Al<br />
Fairweather and Danny Moss both<br />
played well. Sandy, never less than<br />
excellent, played some magnificent<br />
solos, and "<strong>Red</strong>" was very impressed<br />
with pianist Keith Ingham, who joined<br />
the band some three weeks ago. I agree,<br />
Keith is undoubtedly on his way.<br />
.<br />
- 129-<br />
NEXT MONTH. "<strong>Red</strong>" <strong>Allen</strong>'s later appearances, more experiences in Manchester, and an exclusive discussion with "<strong>Red</strong>"<br />
which reveals valuable information abouthis early recordings<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
THE HENRY “RED” ALLEN TOUR PART-2 by George Ellis, <strong>Jazz</strong>beat July-64 p22<br />
"RED" <strong>Allen</strong> sat astride a bar stool in<br />
the Manchester Sports Guild. It was<br />
12.30 a.m. and the first great session<br />
with the Alex Welsh Band was over.<br />
<strong>The</strong> customers had left the club premises<br />
over an hour before, most of them<br />
reluctantly. But as Henry had pointed<br />
out after rounding the whole evening off<br />
with a roof-raising "St.Louis Blues" -<br />
"We have three more nights to go, and<br />
we don't want to blow the licence!" So<br />
there we were, discussing the old<br />
sessions, and Henry was really in there.<br />
<strong>The</strong> truth is, you don't have to talk<br />
records to "<strong>Red</strong>" he will talk records to<br />
you, and there is not a chance of guesswork.<br />
If he was on a record date, he<br />
remembers, studio, company, personnels,<br />
the lot! Mention of the Lionel Hampton<br />
session of October 1939 had Henry reminiscing<br />
right away. "<strong>The</strong>re was Higgy,<br />
Earl Bostic, Charlie Christian, Big Sid,<br />
Clyde Hart and old Artie Bernstein.<br />
Hamp and Big Sid took the vocal on<br />
'Heebie Jeebies'." We got round to the<br />
Waller Buddies of 1929. Even now,<br />
doubt exists in print concerning <strong>Allen</strong>'s<br />
presence on some of these. "Lookin'<br />
Good But Feelin' Bad"/"I Need Someone<br />
Like You"' for example. Henry again.<br />
"Now Leonard Davis was a fine player,<br />
but he didn't sound anything like me. I<br />
made that date, and I can tell you all the<br />
boys on it". And he did. "Jack Teagarden<br />
played a few, notes on vibes too !"<br />
<strong>The</strong> famous Rhythmakers sides came in<br />
for some comment. "<strong>The</strong> loot was short<br />
on that session. <strong>The</strong>y told Billy Banks<br />
they paid us. <strong>The</strong>y told us they paid<br />
Billy Banks. I don't recall that we ever<br />
did get our cheques !" Of course, money<br />
was hard to come by in those days.<br />
Henry remembered a recording of "<strong>The</strong><br />
Gold Diggers Song" with Benny Morton<br />
in 1934. This number was full of the
"Blue Skies Are Round <strong>The</strong> Corner" kind<br />
of philosophy so typical of the years<br />
immediately following the depression.<br />
"We're in the money, we've got a lot of<br />
what it takes to get along" was a part of<br />
the lyric. On the session "<strong>Red</strong>" sang his<br />
own version - "I got myself some<br />
money, the skies are so sunny". "Two<br />
days after the record was issued, the<br />
land-lord came round to say how glad he<br />
was, to hear the good news" "<strong>Red</strong>"<br />
chuckled at the recollection.<br />
I asked about the Armstrong/ Russell<br />
Okeh sessions of 1929. "<strong>Red</strong>" agreed<br />
that it was possible he played some of<br />
the solo trumpet on "Bessie Couldn't<br />
Help It". Tapes of these doubtful items<br />
will soon be en route to him in New<br />
York, and I'm sure his findings will be<br />
most helpful.<br />
On the subject of the 1934 Henderson<br />
sessions he was most enlightening. Both<br />
Peter Clayton and myself found it<br />
difficult to recognise with certainty<br />
<strong>Allen</strong> and Irving Randolph when the<br />
records were re-issued here recently, but<br />
"<strong>Red</strong>" had no such trouble. "Will we<br />
disturb anyone". He glanced around and<br />
slid the mute into place. <strong>The</strong> only time I<br />
saw him use one during the tour, incidentally.<br />
" 'Rug Cutters Swing' was me it<br />
was my number anyway" he said. "<br />
'Limehouse Blues' was me too, but now,<br />
you take 'Big john's Special'. Remember<br />
this solo?" He played note for note f'rom<br />
the record. "That was Randolph, but later<br />
after the ensemble" - he broke, off again<br />
to illustrate musically - "that was me".<br />
What do you say to a man with a<br />
memory sharp enough to remember not<br />
only his own solos, but the next man's<br />
too? I mumbled something incoherent<br />
about the incredibility of the situation.<br />
"<strong>Red</strong>" leaned across to confide. "Man,<br />
what a fertile brain, I'm tellin' you!"<br />
- 130-<br />
Henry is very conscious of past<br />
achievements, and spoke with obvious<br />
pride of his father, Henry <strong>Allen</strong> Senior,<br />
and the band he led. He talked fondly of<br />
his mother, now well over eighty years<br />
of age, and his son, who is a member of<br />
the New York police force. "I've two<br />
grandchildren, you know" he said, and<br />
then, changing the subject suddenly,<br />
"Say, did I ever tell you about Marty<br />
Napoleon's pants?". I shook my head.<br />
"Well, you see, one night at the<br />
Metropole, I lost one of my cufflinks.<br />
Couldn't find it anywhere, I was upset,<br />
and the boys were sympathetic. But<br />
Marty just laughed, and said I should<br />
send the one I had left to Wingy Manone.<br />
some days later Marty's pants split right<br />
down the seam just about five minutes<br />
before we were to take the stand. stand.<br />
He was in a panic. 'What shall I do, <strong>Red</strong>'<br />
he asked. I told him to send 'em to Peg<br />
Leg Bates !"<br />
During the first weekend in Manchester,<br />
many people spoke. to "<strong>Red</strong>", and I<br />
never saw him less than politely attentive<br />
throughout it all. He has perhaps the<br />
most bendable ear in- jazz, and it<br />
certainly took a pounding on this tour.<br />
ABOUT THE LONDON SESSIONS<br />
When he arrived in London for his first<br />
date (at the Crown, Morden) "<strong>Red</strong>"<br />
told me how much he had enjoyed<br />
playing with "so many fine musicians" at<br />
Manchester. I think he was surprised and<br />
delighted by the Bruce Turner Jump<br />
Band, and I regret I could not stay for<br />
what observers tell me was a great night.<br />
<strong>The</strong> Morden session was memorable,<br />
with both "<strong>Red</strong>" and the Alex Welsh<br />
Band consolidating their Northern success.<br />
Archie Semple guested for five<br />
numbers, including "Sweet Lorraine", not<br />
featured in earlier appearances as far as I<br />
know. <strong>Allen</strong>, impressed by Semple,<br />
requested an extra round of applause at<br />
the end of the set for "Clarinet Archie".<br />
Roy Crimmins again excelled.<br />
<strong>The</strong> Sunday date at the Marquee<br />
with the Humphrey Lyttelton Band<br />
was another exciting occasion, culminating<br />
in an extended "Saints" with<br />
Lennie Felix and <strong>Red</strong> Price added to an<br />
already crowded stage.<br />
<strong>The</strong> much publicised concert at the<br />
Central Hall, Westminster, was in the<br />
main musically satisfying, although the<br />
hall was totally unsuitable for this kind<br />
of shindig. <strong>Allen</strong> was accompanied by<br />
Sandy Brown, Mac Duncan, Johnny<br />
Parker, Diz Disley, Jim Bray and Terry<br />
Cox. Although individual honours, after<br />
"<strong>Red</strong>", went to Brown and Parker, the<br />
little group played well, with the exception<br />
of trombonist Duncan, who must<br />
have been joking. I understand he was<br />
second choice only second? I heard<br />
many criticisms, my own view is that he<br />
played like a Pee Wee Hunt all night!<br />
Again "<strong>Red</strong>" treated us to some new<br />
material during this value for money two<br />
hour concert - "Honeysuckle Rose"<br />
(remarkable!), "Jelly Roll Blues", "Ride<br />
<strong>Red</strong> Ride" and "Wild Man Blues".<br />
On the night prior to his departure for<br />
the USA, "<strong>Red</strong>" telerecorded two<br />
shows for BBC-2 at Shepherds Bush.<br />
Once again backed by the Welsh boys,<br />
he offered one new performance in "Bill<br />
Bailey Won't You Please Come Home"<br />
But his diverse treatments of even the<br />
most played tunes was at all times a<br />
delight. Doug Dobell summed it up very<br />
neatly after <strong>Red</strong>'s second night at<br />
Manchester when confronted by an<br />
analytical type who insisted that <strong>Allen</strong><br />
had played better than on the previous<br />
night. "You must realise" said Doug<br />
"<strong>Red</strong> is always better!"<br />
Looking back, it was a tremendous<br />
three weeks. Come back soon, "<strong>Red</strong>"<br />
and "make us happy".<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
HENRY RED' ALLEN and the HUMPHREY LYTTELTON BAND 1964;<br />
A comment on the Henry '<strong>Red</strong>' <strong>Allen</strong> session from Humphrey Lyttelton in <strong>Jazz</strong> Journal, July 1964,p.27<br />
I have thought twice before commenting on<br />
G.E.Lambert's review (p124)of my band<br />
with <strong>Red</strong> <strong>Allen</strong>. <strong>Red</strong>'s visit gene-rated<br />
such high-voltage emotion that to barge in<br />
with mundane observations is rather like<br />
crashing into a cathedral on roller-skates.<br />
Furthermore, the name 'G.E.Lambert'<br />
like H.G.Wells, G.K.Chesterton or H.M.<br />
Customs - exudes an authority which one<br />
hesitates to challenge. I am grateful to<br />
Steve Voce for telling me that 'G.E.Lambert'<br />
really answers to the name of Eddie<br />
and that he is 'a magnificent fall-about<br />
specialist who goes off like a cuckooclock<br />
after a fixed number of pints'.<br />
Reassured that he is really just like you<br />
and me (well, you anyway), I charge<br />
fall-about Eddie with gross unfairness to<br />
Henry <strong>Allen</strong>. To suggest that a man who<br />
was born just one year before fellow-<br />
New-Orleanian Lester Young is unable<br />
to settle into 'modified Basie small group'<br />
surroundings, what-ever they may be, is<br />
surely a gross libel on his musicianship.<br />
We heard him five years ago in New<br />
York sit-ting in with .'Sir Charles'<br />
Thompson's Trio - and we didn't notice<br />
that 'Sir Charles' insulted his guest by<br />
switching on a special style for him.<br />
Worse still is the suggestion that Henry<br />
<strong>Allen</strong> is some worthy but unfortunate<br />
old character from the past who has<br />
'known so much neglect in recent years'.<br />
Throughout the 'fifties <strong>Red</strong> fronted the<br />
house-band at the Metropole - second<br />
only to Birdland as a New York jazz<br />
Mecca. Since then he has fulfilled<br />
regular engagements at <strong>The</strong> Embers, the<br />
much-sought-after venue from which<br />
Jonah Jones was launched to his pop<br />
success. Only the grossest kind of<br />
sentimentalising can equate <strong>The</strong> Embers<br />
with the rice-fields of New Iberia or <strong>Red</strong><br />
<strong>Allen</strong> with a sort of latter-day Bunk<br />
Johnson. Looking round at the fate of<br />
some of his contemporaries, <strong>Red</strong> may<br />
well count himself a persistent success,<br />
and expressions of saccharine sympathy<br />
about his 'neglect' are hardly flattering, if<br />
well-meant.<br />
Having said this, let me agree with<br />
G.E.Lambert that our session with Henry<br />
<strong>Allen</strong> was not a happy one. Indeed, it<br />
was probably my least-enjoy-able<br />
experience in fifteen years of band<br />
leading. <strong>The</strong> reason for this may well<br />
make Fallabout Eddie go off like Big<br />
Ben, but it must be stated. <strong>The</strong> afternoon<br />
rehearsal went off smoothly, and our<br />
offers to adapt our instrumentation to suit<br />
Henry were emphatically turned down.<br />
'Just you play your way, and I'll be with<br />
you'. It was all the more surprising,<br />
therefore, when shortly after the start of<br />
his first set, <strong>Red</strong> took violent exception<br />
to the expression on the back of Eddie<br />
Harvey's head - an area which I have<br />
hitherto regarded as just about as<br />
scrutable as a coconut. It became<br />
obvious that something was wrong when<br />
<strong>Red</strong> began interrupting all the piano<br />
solos by calling in another soloist and<br />
shouting for chords which Eddie was<br />
actually playing at the time. It's ironical<br />
that this fate should have befallen Eddie<br />
Harvey, who was drum-med out of<br />
George Webb's Dixielanders seventeen<br />
years ago for copying J.C. Higginbotham<br />
and who knew the chords of Patrol<br />
Wagon Blues when G. E. Lambert was<br />
falling about on ginger pop at<br />
Chadderton Grammar school. It was an<br />
odd accident that brought things to a<br />
head. All bands have standing jokes, and<br />
one of ours is that record by Willie '<strong>The</strong><br />
Lion' Smith in which he purports to give<br />
a history of piano styles - '1926 - we're<br />
movin' up!' <strong>Red</strong> referred in an announcement<br />
to a recording session '1929', and<br />
Joe Temperley, partly by reflex action
and partly to relieve the tension on the<br />
stand, murmured 'We're movin' up!'<br />
Overhearing this, <strong>Red</strong> misinterpreted it as<br />
a dig at himself and, momentarily losing<br />
his temper, started to harangue the band<br />
over the microphone, starting 'I can<br />
move up on you guys any time!' For the<br />
rest of the set, the startled musicians<br />
were disturbed by a persistent rumbling<br />
of angry asides. It is a tribute to their<br />
respect for <strong>Red</strong> that they kept plugging<br />
on regardless instead of calling it a day<br />
and hot-footing it to the bar. From this<br />
point on it was an occasion, not for<br />
beaming smiles or expressions of<br />
ecstasy, but for concentrating grimly on<br />
making the best of the session. Fallabout<br />
Eddie heard 'more formality' in the<br />
music than on previous nights, and<br />
seems to amibute this to rigidness on the<br />
part of the band. But with the inclusion<br />
for nine-tenths of the session of<br />
clarinettist Ernie Tomasso - a genial and<br />
meritorious character who, within<br />
- 131-<br />
minutes of his demise, will undoubtedly<br />
be sitting-in with the Almighty-there was<br />
little chance for the band to assert itself<br />
at all. Fortunately, <strong>Red</strong> recovered before<br />
the end of the night and most of the<br />
audience, barring one man who informed<br />
me at every opportunity that 'he<br />
comes from New Orleans' and offered to<br />
teach me Muskrat Ramble, seemed to be<br />
quite happy about it all. At the end of<br />
the session, a man who might well have<br />
been G.E.Lambert himself, except that<br />
he was vertical and seemed quite steady<br />
on his feet, asked me why 'it hadn't<br />
happened tonight'. Well, now he knows.<br />
Up against the bar afterwards, we asked<br />
<strong>Red</strong> what seemed to be the trouble. He<br />
said 'I thought your piano-player was<br />
putting me down'. Luckily, a long hard<br />
look at the front of Eddie Harvey's head<br />
convinced him that he had been wrong,<br />
and the whole affair ended, as these little<br />
upsets so often do, with the principle<br />
characters draped round each other in an<br />
attitude of eternal friendship. <strong>The</strong><br />
following Sunday at <strong>The</strong> Marquee, it<br />
was as if the misunderstanding had never<br />
taken place, and a roaring time was had<br />
by all-although one critic couldn't refrain<br />
from cashing in on the gossip which had<br />
filtered south by claiming that two or<br />
three of my musicians 'didn't look<br />
congenial'. At the end of the evening,<br />
'<strong>Red</strong>' and Eddie Harvey exchanged<br />
addresses and I have no doubt that Ed's<br />
name will be added to Henry's meticulous<br />
Christmas card list. And when it's all<br />
over and done with, in comes Fall-about<br />
Eddie, guessing, speculating, putting<br />
two and two together to make five-in fact,<br />
falling about. <strong>The</strong> moral of this story is<br />
that critics who succumb to emotion,<br />
who make deductions from musicians'<br />
expressions and who skimp the painstaking<br />
fact-finding which good journalism<br />
demands, invariably end up on their<br />
backsides, with or without the aid of a<br />
fixed number of pints.<br />
HENRY 'RED' ALLEN and the Humphrey Lyttelton Band - by Peter Vacher in <strong>Jazz</strong> Monthly, July 1964<br />
RED ALLEN was last in England in<br />
1959 as a member of Kid Ory's Creole<br />
<strong>Jazz</strong> Band. His playing then was a<br />
surprise to many, even though he<br />
subordinated his powerful personality in<br />
his position as sideman to Ory.<br />
<strong>The</strong> current opportunity to hear <strong>Allen</strong><br />
working with the best British bands as<br />
featured soloist was one to be valued.<br />
His presence in England was due to the<br />
enterprise of the Manchester Sports<br />
Guild, an organization sponsoring many<br />
sporting and other activities, who<br />
brought him over to mark their tenth<br />
anniversary.<br />
On the Sunday night of April 26th,<br />
<strong>Red</strong> was working with the Humphrey<br />
Lyttelton Band, quite the best of the<br />
British groups following the mainstream<br />
persuasion. <strong>The</strong> band's own opening set<br />
included Shiny Stockings and Swin-gin'<br />
the blues and really their sound is not<br />
unlike the groups of ex-Basie men led, all<br />
too infrequently, by Buck Clayton. <strong>The</strong><br />
leader's trumpet combines the influences<br />
of Buck and Louis Armstrong to most<br />
exciting effect - always a jazz-man in his<br />
every turn of phrase, Humph builds fine<br />
solos, complemented by firm, riffed<br />
backings from his frontliners. <strong>The</strong><br />
drumming of Eddie Taylor, exact and<br />
incisive, underpins the band in exciting<br />
style. This band can offer a range of<br />
excellent, often underrated, soloists with<br />
voices of their own, working from neat,<br />
direct, arranged settings.<br />
With the entrance of <strong>Allen</strong>, the band<br />
reverted to something nearer the true<br />
New Orleans sound, with Coe switching<br />
to clarinet and Harvey playing more<br />
trombone than piano.<br />
Henry <strong>Allen</strong> is a natural, a jazz original.<br />
His compelling stage presence, stature<br />
and effortless command of his horn<br />
immediately held the attention of an<br />
audience including many musicians and<br />
jazz commentators. His previous visit<br />
and recordings had not fully prepared us<br />
for his quixotic, fast-moving and alltogether<br />
fresh methods of solo construction.<br />
<strong>The</strong> range of numbers; Struttin' with<br />
some barbecue, St. Louis blues, Rosetta,<br />
Patrol wagon blues, Indiana, Sweet<br />
substitute, St. James Infirmary, Sweet<br />
Lorraine, Just a closer walk and <strong>The</strong><br />
Saints, do not necessarily suggest the<br />
likelihood of original treatment but each<br />
was given as thorough a baring open as<br />
it will ever receive. <strong>The</strong> Lyttelton band<br />
was put through its paces by this veteran;<br />
there being no arrangements or preconceived<br />
structure to the tunes, the band<br />
had to allow for key changes, codas and<br />
extended variations, each depending on<br />
the inspiration of the moment. <strong>The</strong>y<br />
came out with great credit with only an<br />
occasional chaotic moment.<br />
<strong>Allen</strong> is, of course, a consummate showman.<br />
His Marquee audience responded<br />
enthusiastically to all the element of<br />
showmanship; the cries of 'Make him<br />
happy!' as a solo finished, the hand<br />
raised to further dramatise a final note,<br />
the ebullient stage movements and gesticulated<br />
emphasis throughout a solo.<br />
Much has been written about <strong>Red</strong><br />
<strong>Allen</strong>'s trumpet style and much can still<br />
be said. <strong>The</strong> typical structure to a solo<br />
fascinated, with usually a whispered<br />
opening involving a repeated phrase; as<br />
though settling into position and then a<br />
real exploration. <strong>The</strong> extraordinary intervals<br />
and unexpected turns of attack<br />
compelled one's attention since each was<br />
done with facile confidence and case.<br />
No mistimed or misplaced note. At times,<br />
lagging behind the beat, at others, percussively<br />
on the beat, growling. muttering<br />
through the horn, scarcely making a<br />
sound above the shaft of air whistling<br />
through, bending a note, blasting a riff<br />
two or three times over, a stark high note<br />
followed by a low moan, <strong>Red</strong> <strong>Allen</strong> was<br />
a revelation to his listeners.<br />
His subdued openings had the bell-like<br />
stillness of tone of Shorty Baker; while<br />
when playing to blues, the direct quality<br />
of early Louis Armstrong was often to be<br />
heard. A fascinating complex man, this<br />
<strong>Red</strong> <strong>Allen</strong>, capable of the most sensitive<br />
music and the brashest of overtures; a<br />
style mixing the traditional with frequent<br />
suggestions or the modern. His codas<br />
to a tune, torn off with tremendous<br />
technique, using multiple sequences of<br />
notes, invariably brought the audience to<br />
their feet to salute this giant.<br />
He sang on nearly all the numbers.<br />
Sometimes subtle, at times strident, his<br />
vocal work was more straight-forward but<br />
no less swinging than his trumpeting..<br />
Towards the end of the evening, a jam<br />
session started with additional musicians.<br />
<strong>The</strong> Saints was chosen - and transformed<br />
by tempo changes, key changes and a<br />
whole variety of treatments. As a<br />
preliminary, in time-honou-red style, <strong>Red</strong><br />
played Just a closer walk very slowly,<br />
very quietly and then led the band into<br />
jammed choruses of <strong>The</strong> Saints,<br />
exchanging solos with Humph, and<br />
completely overthrowing one's concept<br />
of this traditionalist anthem as an item<br />
gutted of all meaning. A great evening.<br />
As <strong>Red</strong> said, after generous tributes to<br />
band and audience: 'We'll leave you now<br />
with one word-nice!' And so it was.<br />
---------------------------------------------------------------------------------------------------------------------------------------<br />
HENRY "RED" ALLEN in J.J.9-64:(letter): "I heard Humphrey Lyttelton in London five years ago using Luis Russell's<br />
arrangement and my solo as recorded. I suggest Humphrey stop gorillaing jobs and let his superiors Bob Wallis and Ken Colyer<br />
have a chance. Old Humph should spend some time with great musicians as Sandy Brown and Bruce Turner or at least spend a<br />
week with Alex Welsh's full band (contact manager Phil Robertson). If Humph should reorganise, get ideas from my man Diz<br />
(Guitar) Disley, John (Dobell) Kendall, Jack (MSG) Swinnerton or Alan (Coloroll) Gatward. We movin' up my man Humph. I<br />
may move to England. ("Cheers for G.E.Lambert")
My Involvement - Jack Swinnerton in <strong>Jazz</strong> Times July-1982<br />
Ron Mathieson, Fred Hunt, Henry <strong>Red</strong> <strong>Allen</strong> holding the<br />
presentation tankard, Alex Welsh, Jim Douglas./<br />
Jack Swinnerton+”Jenks”Jenkins<br />
Whichever way I juggled the names, the choice came up<br />
between two, Jack Teagarden and Henry '<strong>Red</strong>' <strong>Allen</strong> - as a<br />
bonus, both excellent singers too! This was in about Oct.<br />
1963, and the decision had to be made quickly for the April<br />
1964 event. Both Teagarden and <strong>Allen</strong> had played in Manchester<br />
before, the former jointly leading a group with Earl<br />
Hines and <strong>Allen</strong> as a member of Kid Ory's band. Apart from<br />
countless times on record, of course, these were the only<br />
occasions I had heard them. Whilst <strong>Allen</strong> was the lesser<br />
known, he seemed to be going through a more creative phase,<br />
and was the more exciting personality - would certainly win<br />
over an audience with his exuberance and showmanship alone,<br />
and so the decision was made. In the event, Jack had only a<br />
couple of months to live and he died the following January,<br />
knowing nothing of these deliberations.<br />
Next would come the problem of maknig some financial<br />
sense out of what could scarely fail to lose some money - not<br />
really that important because the event was the thing - but<br />
naturally, one tries to lose as little as possible. <strong>The</strong> jazz cellar,<br />
with its relatively small capacity, could scarcely hope to cover<br />
the total costs without an absolutely astronomical admission<br />
price. We had to set about doing a national promotion, and<br />
attempt to persuade other clubs into taking this fairly<br />
expensive package, sold as 'Henry '<strong>Red</strong>' <strong>Allen</strong>' with the Alex<br />
Welsh Band'. Bill Kinnell, promoter and iazz enthusiast<br />
needed no persuading and eagerly booked one night, and one<br />
Gerald Bright at Trentham Gardens, Stoke-on-Trent took<br />
another - he surprisingly turned out to be ex-dance band leader<br />
Geraldo operating under his real name in a new job. In the<br />
London area, the Crown Morden was interested and<br />
businessman Alan Gatward booked a special at the Central<br />
Hall, Westminster insisting on a totally different accompanying<br />
personnel of his own choice. <strong>The</strong> Marquee also booked <strong>Allen</strong>,<br />
but this time along with Humph and not Alex. We managed to<br />
negotiate Radio and TV interviews in the regions, and I recall<br />
going to Southampton with <strong>Red</strong> for a five minute TV<br />
appearance.<br />
I would now be necessary to begin some intensive prepublicity<br />
amongst our members and the public in general. It must<br />
he appreciated that only a small proportion of people would<br />
have even heard of <strong>Allen</strong> before 1964 - we were far from<br />
being the large crowd of knowledgeable enthusiasts that that the<br />
passing of time and nostalgia tends to suggest. <strong>The</strong> general<br />
members had to realize just what a musical treat lay in store,<br />
only the dedicated knew and they would not fill the cellar.<br />
Firstly, I played my collection of <strong>Red</strong> <strong>Allen</strong> records dating<br />
from all periods of his career, on our internal system regularly<br />
and interest was quickly stimulated. Next came our own<br />
magazine. This had been an office duplicated series of news<br />
sheets about our various activities, stapled together and given<br />
out at the door. We decided to go into print in the run-up to<br />
<strong>Red</strong> <strong>Allen</strong>, and in our first issue - I had come up with the<br />
name 'Focus' – appeared in Feb.1964. UP until the appearance<br />
of <strong>Allen</strong>, all jazz articles were my contribution, barring<br />
welcome guest articles from such as Ken Colyer and Bruce<br />
- 132-<br />
Turner, (two of the more reticent people around writing for us<br />
must say something about their confidence in our aims) which<br />
is not a boast, because I was the only one around at first<br />
prepared to attempt it. Immeasurably more experienced and<br />
talented writers - such as Eddie Lambert or Steve Voce were<br />
not yet around to contribute. In the February issue, I tried to<br />
draw attention to <strong>Allen</strong>'s background, recordings and previous<br />
concert appearances, whilst part 2 would be about the man and<br />
his musical style. <strong>The</strong> third and final part of this serialisation<br />
was largely a speculation on the type of music we should<br />
expect from <strong>Allen</strong> and his four accompanying groups.<br />
Nationally, people began to sit up and take notice, and -there<br />
was some initial but understandable scepticism e.g. "Should<br />
be good, if it comes off" etc., and Melody Maker on 23rd Nov.,<br />
1963 pondered "<strong>Red</strong> <strong>Allen</strong> here on solo tour?" Nearer the time<br />
it began to build into a positive furore of anticipation. <strong>The</strong><br />
usually cynical Albert McCarthy of <strong>Jazz</strong> Monthly was moved<br />
to say ... "for years many readers have shared my regret that<br />
jazz followers seem unable to form an organisation that would<br />
introduce American musicians to this country - - - the<br />
Manchester Sports Guild has taken up the idea in a very<br />
practical fashion - - - ". Early in March and following a Duke<br />
Ellington concert at the Free Trade Hall Steve Voce paid us<br />
the first of many welcome visits, "we can only urge you to join<br />
- - - this is jazz in ideal surroundings" he enthused.<br />
We held our press reception on Thursday 16th April 1964.<br />
After meeting <strong>Red</strong> <strong>Allen</strong> at London Airport the night before,<br />
we returned by train to Manchester Central, and were joined<br />
for lunch by Peter Clayton and Jenks. Much has been written<br />
about <strong>Red</strong>'s charm and easy manner, and we were entertained by<br />
stories of his New Orleans youth, and touring with Jelly Roll<br />
Morten in the thirties and I became aware of just what a personality<br />
I had booked at that point. George Ellis would later write<br />
about <strong>Allen</strong>'s incredible memory - he would not only remember<br />
and play his own solos from the 1934 Fletcher Henderson<br />
set, for example, but also those of other trumpeters in the same<br />
band, and to sort out the confusion, would play their solos tool<br />
as George said, "How can you make adequate to that?"<br />
We had confidence and pride in our local musicians and had<br />
gladly given the Don Mitchell Orchestra, who played for us<br />
every Tuesday evening, and the Art Taylor All Stars the opportunity<br />
to play with <strong>Red</strong> <strong>Allen</strong> and the Welsh band at the press<br />
reception. <strong>The</strong> room was teaming with specially invited members,<br />
and numerous guests from far and wide. <strong>The</strong> Daily Express<br />
even mentioned on its society page that the Hon. Gerald<br />
Lascelles had cancelled engagements to be with us, and he had<br />
arrived with Sinclair Traill. Up from Dobell's Record Shop on<br />
Charing Cross Road were Doug Dobbell and John Kendall<br />
whilst George Ellis, Steve Voce, Peter Clayton, G.E.'Eddie'<br />
Lambert were there from the specialist jazz press. Too numerous<br />
to mention everyone, local writers, friends and rnembers with<br />
special contributions to some aspect or other of the Guild were<br />
there to enjoy an introduction to the coming weekend. Playing<br />
with their customary ferocious attack, the Don Mitchell
orchestra were eventually joined by <strong>Allen</strong>. It is<br />
impossible now to describe the moment that we heard those<br />
first dynamic notes. We had worked so very hard over six<br />
months or more to bring this whole thing off, enduring many<br />
frustrations, irritations and frayed tempers. Now, impossibly,<br />
he was amongst us. A fleeting smile of satisfaction passed<br />
- 133-<br />
between Jenks and I, and then it was back to the various<br />
guests. <strong>The</strong> whole four day weekend, still one of the best<br />
remembered jazz occasions we have had in this country, lay in<br />
front of us to bring who knows what. (Next Month: <strong>The</strong><br />
weekend and the aftermath.<br />
---------------------------------------------------------------------------------------------------------------------------------------------<br />
My Involvement - Jack Swinnerton in <strong>Jazz</strong> Times Aug.1982<br />
<strong>The</strong> press reception was over, and the anticipation of the<br />
weekend of jazz was reinforced. Henry '<strong>Red</strong>' <strong>Allen</strong>, our first<br />
import of a top American musician, was now installed in the<br />
Millgate Hotel, next door but one. <strong>The</strong> Thursday evening had<br />
been a foretaste, and <strong>Red</strong> was apparently playing as well as<br />
ever. Backing from the local groups, the Don Mitchell<br />
Orchestra and the Art Taylor All Stars (as a coincidence<br />
neither group had anyone of that name in it) plus the Alex<br />
Welsh Band, none of whom had had even a moments chance<br />
of rehearsal, was pretty good in the circumstances. Alan Hare<br />
has just reminded me of those first notes of <strong>Allen</strong> with the<br />
Don Mitchell Orchestra, riding along with the group before<br />
feeling his way into the number, as one of those rare electric<br />
moments that jazz can throw up but neither of us, at this late<br />
date, can now remember the number being played. In<br />
consulting Peter Clayton's review of the evening in "<strong>Jazz</strong><br />
Beat", I note that local trumpet player Doug Whaley gets an<br />
honourable mention for a fine performance that night.<br />
<strong>The</strong> first of the four nights of the tour were all held at the<br />
M.S.G., an extended weekend, and what we then thought<br />
would be a once-in-a-lifetime opportunity - I think we claimed<br />
in the press that this would be a weekend to tell your<br />
grandchildren about. (After twenty eight years many of you<br />
will now have grandchildren - have you told them yet?).<br />
Whilst some criticism was later raised at my selection of<br />
accompanying groups, one in particular, I would still stand by<br />
them today from 1964 availabilities. We had somehow to back<br />
<strong>Allen</strong> with the famous, yet musically correct bands in the land,<br />
and appeal to as many of our members as possible. Henry<br />
<strong>Allen</strong>, if you think about it for a moment, was an obvious<br />
choice to attract various tastes - a faultless New Orleans<br />
pedigree, with his Luis Russell / Fletcher Henderson 'middle<br />
period' fans, and celebrated for his Metropole showmanship he<br />
could also claim the respect of the modernists. To quote "New<br />
Grove Dictionary" ,in the 1960s, he drew the attention of free<br />
jazz players'. I had selected the bands of Alex Welsh, Sandy<br />
Brown / Al Fairweather, Bruce Turner, and Humphrey<br />
Lyttelton to play successive nights in that sequence. All the<br />
leaders were very familiar with the traditional forms of jazz<br />
and were all how eagerly exploring somewhat wider fields, as<br />
<strong>Allen</strong> himself had done years before.<br />
To my later surprise, a private criticism of my selection came<br />
from <strong>Allen</strong> himself. He was quite happy by then, late in the<br />
tour, with all the bands he had played with, but I apparently<br />
made a mistake in omitting his friend Ken Colyer from the<br />
schedules – thinking about it today, it is still difficult to<br />
imagine that one working, great fan as I was and am of Ken's<br />
music. I was quite taken aback when, on the next of his<br />
frequent visits, a slighted Ken quietly criticised me for the<br />
same thing. (it's much too late to find out now - did they get<br />
together in anticipation of a second tour?)<br />
<strong>The</strong> atmosphere of those four days was new to me and, I<br />
imagine, seldom experienced since. <strong>The</strong>y were not the usual<br />
concert or club sessions at all, but rather a complete<br />
experience. Members were wandering in and out all day and<br />
could be seen chatting to <strong>Red</strong> <strong>Allen</strong> at the bar over lunch.<br />
Later in the afternoon, hearing his first strains of rehearsal for<br />
the evening performance, they would happily wander<br />
downstairs, drinks in hand, to unobtrusively absorb<br />
the atmosphere, to this 'behind-the-scenes' look at how it was<br />
going to happen. It was moving to see <strong>Allen</strong> relishing the<br />
attention of us considerably (in the main) younger fans, and he<br />
seemed quite sincere when he told me that the whole thing had<br />
been the most satisfying of his musical career. This is not the<br />
place to have a detailed account of the music to<br />
be heard on those four nights - written about at length at the<br />
time (almost half of <strong>Jazz</strong> Journal June 1964 was a review of<br />
the weekend), after such a passage of time I would only be<br />
consulting contemporary reviews to remember all the details.<br />
On the Friday night, Alex Welsh and the band supported<br />
<strong>Allen</strong>. This was the post Archie Semple group and featured<br />
Roy Crimmins, Al Gay, Fred Hunt Jim Douglas, Rom<br />
Mathewson and Lennie Hastings. Welsh stepped down for<br />
lengthy periods to allow <strong>Allen</strong> to lead, able to observe along<br />
with the rest of us how well his band responded to a completely<br />
different style of trumpet. Anticipating the first<br />
appearance of <strong>Allen</strong> through the door at the bottom of the<br />
cellar steps, the crowd, with half an eye at that end of the<br />
room, could suddenly hear the first notes from the connecting<br />
yard of the Millgate Hotel as <strong>Allen</strong> leaped through the fire<br />
door, trumpet brandished. An absurd gimmick on paper, it was<br />
quite an effective introduction to the evening's jazz, as I recall.<br />
Saturday brought the Sandy, Brown/Al Fairweather band, a<br />
much more loosely constructed sound than the Welsh band. As<br />
you would expect, stand-out support for <strong>Allen</strong> came from the<br />
late Sandy Brown, closely followed by Danny Moss on tenor.<br />
(One of the many people we have lost in the intervening years,<br />
Sandy's brilliance well merited the ovations on his many<br />
M.S.G. appearances.)<br />
Usually regarded as the finest night of the tour was the Sunday<br />
session accompanying Bruce Turner's Jump Band. <strong>The</strong> superb<br />
way in which <strong>Allen</strong> and Turner were immediately on the same<br />
wavelength is still a vivid memory. Writing in <strong>Jazz</strong> Journal,<br />
G.E. Lambert stated "When writers speak of jazz as a minor<br />
art one doubts if they have experienced evenings like this."<br />
(<strong>The</strong> late Eddie Lambert was one of the staunchest supporters<br />
of jazz at the M.S.G., although never failing to criticise us if<br />
he thought it necessary. One of the best dozen or so writers on<br />
jazz that this country ever produced, his joyful enthusiasm and<br />
well nigh incredible knowledge of music will not be forgotten.<br />
It was sad that he died at such a relatively young age.)<br />
Work behind the scenes would sometimes keep me away from<br />
the music for lengthy periods, and the Monday evening session<br />
with Humphrey Lyttelton, or at least the celebrated on stand<br />
disagreement escaped me. Apparently, a real or imagined<br />
incident sparked a quarrel between <strong>Allen</strong> and<br />
Eddie Harvey, much reported upon and it seems blown out of<br />
all proportion, which has tended to overshadow the musical<br />
qualities of the evening. Whilst Eddie Lambert eventually<br />
clashed in the press with Lyttelton himself , he reported that<br />
Humph and Joe Temperley were playing particularly well -<br />
certainly I detected no lack of harmony during 'staff drinks'<br />
after the session. This incident has attained such notoriety, that<br />
Jim Gobolt saw fit to ignore most of the Guild's efforts in the<br />
1960's, but cover this occasion in great detail in his recent<br />
book "A History of <strong>Jazz</strong> In Britain 1950 - 1970".<br />
Having booked some of my annual holiday from work,<br />
following the Monday session, I went on tour with <strong>Red</strong> <strong>Allen</strong><br />
travelling mainly by train and meeting the Welsh Band at the<br />
various destinations. I was probably foolish not to have<br />
attempted to record some of the conversations on these long<br />
journeys, but it may well have put a strain on the natural flow<br />
to some extent. <strong>Allen</strong> seemed happier talking about his earlier<br />
days in New Orleans, of his father's band and the men who<br />
played in it, and was as much in awe of the generation of New<br />
Orleans musicians who preceded him as we were. Grateful for<br />
the opportunity to play in this country, he said he would like<br />
me to write a book, with his assistance, on his life and music -<br />
it didn't come to anything of course, and I had no intention of<br />
pursuing something I could not do justice to - but it was a<br />
memorable and flattering occasion for a young enthusiast.<br />
Commuters on these sometimes crowded rush hour journeys<br />
would often be surprised as <strong>Allen</strong>, keeping his embouchure<br />
ship shape, would remove his mouthpiece from his pocket and<br />
blow soundlessly at regular intervals, whilst I would contrive<br />
to look as if it were a mere every day event so as not to excite<br />
curiosity or explanations.<br />
Besides the four nights at the M.S.G., we had now successfully<br />
negotiated Morden, Brighton, Bath, Trentham Gardens, Nottingham<br />
and <strong>Red</strong>-car with the Welsh Band. I have previously
- 134-<br />
mentioned the special at Westminster Hall, and the Marquee<br />
session with Humphrey (all reports say no lack of harmony there,<br />
although I was not present at that one).<br />
At the end of the tour, Henry & Alex Welsh returned to the MSG.<br />
for one final farewell appearance. On behalf of the M.S.G. he<br />
was presented with a silver tea set for Mrs <strong>Allen</strong>, inscribed "To<br />
Pearly May From the Manchester Sports Guild in appreciation<br />
of the great pleasure which your husband gave to us when he<br />
played here in April 1964." Alex Welsh then made a further<br />
presentation of a pewter tankard on behalf of the band. (I had<br />
got Henry hooked on Youngers No.3 by then - he would even<br />
shout to passing waiters in mid-number, "a pint of No.3 for my<br />
man Jack and I" - and so he immediately filled up his tankard.)<br />
He told Sinclair Traill that the evening had been the most<br />
moving thing to have ever happened to him and, to quote<br />
Lambert again, "<strong>The</strong> real human communication and affection<br />
which has been present on these evenings between Henry, the<br />
bands and the audience is something unique in my experience."<br />
<strong>The</strong> occasionally resurrected <strong>Jazz</strong> 625 programme, bye the way,<br />
does not do justice to <strong>Allen</strong>'s work on this tour, and is of more<br />
interest today as a recording of the 1964 Welsh Band just prior<br />
to Barnes and Williams.<br />
Everyone now sat up and took notice. Somewhat overwhelmed<br />
by all the clamour and publicity, we needed a breathing space to<br />
take stock, but the jazz press had other ideas. Suspecting that<br />
we might regard the <strong>Allen</strong> tour as just a one-off (and we let<br />
them drink that briefly, until the strain became too much) out<br />
came a deluge of comprehensive reviews and glowing tributes.<br />
<strong>Jazz</strong> Beat (a sign of the times, grown out of <strong>Jazz</strong> News and, as<br />
the title suggests, now featuring articles an such as <strong>The</strong> Rolling<br />
Stones) gave reviews by both Peter Clayton and George Ellis,<br />
whilst <strong>Jazz</strong> Journal really went to town with no less than three<br />
reviews in one single issue. Sinclair Traill, Steve Voce and<br />
Eddie Lambert, all came out with tremendous acclaim - I think<br />
I can read between the lines now and see a great big thank<br />
you, but carry on with the good work if you want some of the<br />
level of publicity again. Lambert's review, of course, contained<br />
his criticism of the Lyttelton Band. As a true advertising man<br />
all my working life, I could have jumped for joy when the<br />
following month Humph blasted into Eddie in response -<br />
there's nothing like publicity, and it was now certain that we<br />
would bridge the six months gap between <strong>Allen</strong> and our next<br />
promotion in the full glare of attention.<br />
Unfortunately, <strong>Red</strong> <strong>Allen</strong> was reading all this back home and<br />
took great exception Although I never did get around to asking<br />
him, and as he seemed to be the best of friends with Humphrey<br />
Lyttelton and his band in the end, something else must have<br />
been the cause of his anger. Today, I suspect that the title and<br />
accornpanying photo to Humph's article was the offence. Only<br />
the length of a long letter really, editor Traill had blown up<br />
Humph's piece into a double page spread, including a two<br />
third page squared up half-tone photograph of the back of<br />
<strong>Allen</strong>'s head, and a one third page title cried out, "<strong>The</strong> back of<br />
his head". It seemed likely that <strong>Allen</strong> translated this into a<br />
criticism of himself, e.g. "glad to see the back of you", when<br />
the content quite clearly refers to the back of Ed Harvey's<br />
head. <strong>Allen</strong>'s stung response to <strong>Jazz</strong> Journal, a hasty and ill<br />
considered effort, (also reproduced in full in Jim Godbolt's<br />
book) suggested that Humph be wise enough to disband and<br />
consult various people - including an excruciatingly embarrassed<br />
Jack Swinnerton - about a suitable replacement personnel.<br />
Eddie Lambert and I were enjoying a quick but uneasy drink as<br />
Humphrey Lyttelton, on his next M.S.G. engagement, came<br />
rushing through the door. Kind enough not to immediately<br />
probe me for any tips about replacement musicians, a quick<br />
smile to a hesitant Eddie, and it was back to business as usual.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
BETWEEN YOU & ME - RED ALLEN & SANDY BROWN BAND AT CENTRAL HALL, 5/1/64<br />
by John Postgate in J.Monthly,9-64, p.6 unforeseeable : where another trumpeter one of the disappearing generation of<br />
I think the clue to <strong>Red</strong> <strong>Allen</strong>’s playing might play a whole number well or jazz showmen, capable of turning a<br />
lies in the fact that he switches from badly, <strong>Allen</strong> would produce an arresting potential shambles into a memorable<br />
good to bad so rapidly that the incau- and sensitive phrase which might then evening’s entertainment. This he did in<br />
tious listener becomes quite deluded. In lead to a series of tasteless shrieks, or, London on the first of May, against<br />
numbers such as Ride <strong>Red</strong> Ride or conversely, use a rabble-rousing rasp to every obstacle. But he did more than<br />
Indiana, there can be little doubt that introduce a phrase of rare delicacy and that; at intervals during the effervescent<br />
<strong>Red</strong> <strong>Allen</strong>’s customary performances are taste. I particularly recall his version of uproar he lifted the curtain and gave us a<br />
frightful. Certainly, at the Central Hall St. James Infirmary which, after a good glimpse of the very essence of jazz<br />
concert in May this year, the only start, seemed to degenerate during his<br />
interest of these particular numbers was vocal, despite audience participation.<br />
in guessing how soon the uproar would <strong>The</strong>n, quite suddenly, <strong>Allen</strong> initiated his<br />
floor the accompanying group. solo with a curious, twisted phrase that<br />
(Parenthetically, why were we privile- quite made up for everything. I cannot<br />
ged to bear such a lousy accompanying remember it precisely (unfortunately),<br />
group? Britain can do so much better but only <strong>Allen</strong> could have produced it,<br />
than that these days.) But despite a half- and I can record that the two hardened<br />
empty house. had acoustics and an jazz fans that were with me that evening<br />
altogether deterrent atmosphere, <strong>Allen</strong>’s spotted it quite independently. And there<br />
London concert provided for me, some were many moments like this, in Sweet<br />
of the best moments of beauty I have Substitute, Yellow Dog Blues, Rosetta<br />
experienced in many years of listening and the magnificent Wild Man Blues.<br />
to jazz. <strong>The</strong>y were always quite <strong>Allen</strong>, as Sinclair Traill has written is<br />
at MSG-1964: Pete Strange-Bruce Turner-<strong>Red</strong> <strong>Allen</strong>-Jim Bray; John Armitage-Pete Strange-<strong>Red</strong> <strong>Allen</strong>-Bruce Turner
- 134a -<br />
===========================================================================================<br />
SANDY BROWN SOCIETY NEWSLETTER 148 APRIL 2009 by John Latham (UK); President: Stan Greig<br />
Re. Sandy and <strong>Red</strong> <strong>Allen</strong> (No.142), Keith Ingham writes stage connected to each other by a long curly cable. <strong>The</strong> music<br />
from New York 'As regards the <strong>Red</strong> <strong>Allen</strong>-Sandy Brown date was fairly unmemorable, the three front men seemed very<br />
(Manchester Sports Guild 18th April 1964), I don't really have detached from each other. It struck me – ardent Sandy fan<br />
anything specific to say. (ed. Keith was pianist on the gig). All though I was – that Sandy was particularly out of touch &<br />
I remember is that <strong>Red</strong> really liked the band and Sandy who Duncan's playing was largely irrelevant. Being close up to the<br />
he felt was an adventurous musician who could play with enormous mahogany chops of Henry <strong>Allen</strong>, though, was<br />
anyone regardless of styles. I do remember <strong>Red</strong> asking me to unforgettable. Sandy had a most untypically fancy shirt on I<br />
accom-pany him on several of his appearances with other remember. After the show we all reconvened in Ward's Irish<br />
bands, which was a little awkward - to replace the regular House (well, it was the nearest) & in due course I found<br />
piano player!<br />
I knew a lot of <strong>Red</strong>'s repertoire but at the time he had a big<br />
myself next to Sandy at the bar. He looked very dubious. I<br />
selling LP out on American Columbia and was playing selections<br />
thanked him for the music – as you do –and he said "It'd have<br />
from that – apart from standard jazz tunes like Cherry and been a lot better if I wasn't so fucking pissed!" That explained<br />
Sweet Substitute. <strong>Red</strong> loved to play Feeling Good from the a lot – he'd been at some lunchtime party I think which had<br />
Broadway hit show <strong>The</strong> Roar Of <strong>The</strong> Greasepaint by Tony compromised his condition somewhat (or more than). <strong>Red</strong><br />
Newley and Leslie Bricasse, which I happened to know. I do was magnificent in the pub, standing & taking on all conver-<br />
know that <strong>Red</strong> felt that some of the musicians thought he was sational corners with a constantly replenished (by others) half-<br />
just a showman with an act instead of the great musician he pint glass of Scotch, and there were plenty of luminaries<br />
was. After all Don Ellis had famously called him "the most present. John (downstairs at Dobells') Kendall was at his<br />
avantgarde trumpet player in New York." I remember he felt elbow & I remember Diz Disley was there, tho' whether he<br />
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<br />
to some acrimonious correspondence in the Melody Maker Bolden & Brian Peerless. I never saw the pictures we took,<br />
which was a shame, especially for Humph who loved <strong>Red</strong>'s but if John Anfill's portfolio still exists...?<br />
playing. Anyhow, it is all so long ago, but he was very happy<br />
with Sandy's band and of course with Alex Welsh. Naturally<br />
there was an element of "showmanship" in <strong>Red</strong>'s playing, but<br />
he was leading a successful quartet at the time in the USA<br />
with Sammy Price on piano and gigging at the famous<br />
Metropole in New York's Times Square area, where the band<br />
played above the bar. On a visit to New York I recall seeing<br />
the Woody Herman band all in a line up above the bar, with<br />
Woody conducting thanks to a long mirror on the opposite<br />
wall. Of course it would have helped if <strong>Red</strong> had brought some<br />
lead sheets of his repertoire with him, but there it was!<br />
Ted Percy writes 'About three letters ago (No.142), mention<br />
was made of the concert at the Central Hall Westminster which<br />
teamed Sandy with <strong>Red</strong> <strong>Allen</strong>. I were, there, and have been<br />
trying to assemble my somewhat obfuscated memories of it. It<br />
happened at a somewhat unlikely time of day -- Sunday afternoon?<br />
<strong>The</strong> gig was put on by a man whose name was I think Jim<br />
Gatward who was ' something in T.V' – tall, slim, good<br />
looking & well spoken as I recall, and with plenty of lipstick<br />
(applied by ecstatic female admirers to his cheeks – well, you<br />
know what I mean). <strong>The</strong> band was of his assembling, I think.<br />
In front there were <strong>Red</strong>, Sandy and Ken Colyer's trombonist Mac<br />
Duncan. Not so sure about the others. (Ed. 1st May 1964. <strong>Red</strong>,<br />
Sandy, Mac, Johnny Parker (p), Diz Disley (g) Jim Bray (b), M.S.G.1964: <strong>Red</strong> <strong>Allen</strong> (t) Diz Disley (g) unknown<br />
Terry Cox (d)). I was there helping photographer John Anfill<br />
by holding his mammoth flash apparatus & directing it at his<br />
chosen subject. This meant we were hopping about on the
Sammy Price & <strong>Red</strong> <strong>Allen</strong>, Detroit May-1964<br />
(photo from this date- courtesy Duncan Schiedt)<br />
- 135 -<br />
May 1964, back to the Metropole, with a short date in Detroit<br />
“What Do <strong>The</strong>y Want?”-Sammy Price Autobio-<br />
1989p70: <strong>The</strong>n I went and joined Henry <strong>Red</strong> <strong>Allen</strong><br />
at the Metropole. <strong>The</strong> band played five nights a<br />
week. This was a turning point because I was<br />
working with someone who understood me and<br />
knew that I kidded a lot but most of the time I<br />
meant what I said. I stayed with red eight Years,<br />
until he got sick. <strong>Red</strong> was my best friend and I<br />
considered myself his best friend. He was hell to<br />
get along with musically because he was so<br />
sensitive, but I got along with him by telling him I<br />
made him sound good. And it was true. I knew the<br />
main ingredients of that particular pie. (cont.on<br />
p.138)<br />
S.P. in conversation with Peter Clayton on BBC Radio-<br />
2; 11/2/79: … I worked with <strong>Red</strong> for eight years<br />
and in all that time I do not remember having one<br />
rehearsal. …<br />
some words about Jam-sessions by Buck<br />
Clayton (DownBeat interview 6/4/64): ...Looking<br />
back on his formative years, Clayton fondly<br />
remembered the jam ses-sions in Kansas City,<br />
"Just three hours away from Parson." "We used<br />
to have jam sessions every day," he said. ",<strong>The</strong>re<br />
were so many bands to hear, and we idolized<br />
them. <strong>The</strong>re were so many clubs, so many<br />
musicians, and we were like brothers." He said<br />
he feels fortunate that he grew up in the time of<br />
the jam sessions. "We always used to try and<br />
practice end improve," he said and then added<br />
ruefully, "until the union banned all sessions. I<br />
think that's another thing that has hurt young<br />
musicians.No more free playing. "I remember<br />
sessions in N.Y. with Hawk, Lester and Don<br />
Byas, who sit for hours and battle each other.<br />
And ROY ELDRIDGE and HENRY (RED)<br />
ALLEN, who would just sit and drink and<br />
"blow. "...<br />
6/8/64 Mo., NYC., Dawn Café , guest <strong>Red</strong> <strong>Allen</strong><br />
MONDAY NIGHTING – Frieda Harris, hostess at the recent Monday Night Get-together at the Dawn Café which aided the<br />
Amsterdam News Camp Fund, beams in the admiring attention of. From left: Ted Green, Bill Betcher (Four Roses), Frank<br />
Correy(White Horse Scotch) and Henry <strong>Red</strong> <strong>Allen</strong>, famed trumpeter now appearing at the Metropole. NYAN-6/13/64p18<br />
7/2/64, NPT.,R.I. - NEWPORT JAZZ FESTIVAL: Joe Thomas (t) ?J.C.Higginbotham (tb) George Wein or ?Billy<br />
Taylor (p) Slam Stewart (b) Jo Jones (d)<br />
life rec. 4:42 I'm In <strong>The</strong> Mood For Love RCA-LPM 3369/RCA RD 7755/JCH-CD-10/<br />
7/2/64 same loc.: Joe Thomas, Muggsy Spanier, Wingy Manone (t) Lou McCarity, J.C.Higginbotham (tb) Ed Hall,<br />
Peanuts Hucko (cl) Bud Freeman (ts) George Wein (p) Slam Stewart (b) Jo Jones (d)<br />
8:19 That's A Plenty from VoA-… /JCH-CD-10/<br />
4:42 Dear Old Southland -feat. J.C.Higginbotham (tb) from VoA-… / --- /<br />
GREAT MOMENTS OF JAZZ - GEORGE WEIN on RCA-1965: I'm in the Mood for Love - This belongs to Joe Thomas,<br />
with an assist by J.C. Higginbotham. Thomas is one of the most underrated musicians in jazz history. Always a favorite of<br />
critics, he has never received the public acclaim he deserves. Here is a beautiful example of his sensitive approach to<br />
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<br />
to the modern jazz trombone.<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
BAA-7/11/64p11: SATCHMO GETS JAZZ FEST OFF WINGING - Newport, R.I. (UPI)<br />
Rain couldn't dampen the spirits of jazz<br />
enthusiasts Thursday night once Louis<br />
Satchmo Armstrong began giving them a<br />
bit of “Hello Dolly.”<br />
A beefed up squad of200 policemen<br />
reported no trouble as about 5,000 persons<br />
were on hand at Free body Park for the<br />
opening of the 11th annual Newport <strong>Jazz</strong><br />
Festival despite gloomy weather forecasts.<br />
Only a few hundred left their seats<br />
for shelter, when the rain came down<br />
as Satchmo sang, trumpeted, stomped<br />
and grinned through “Hello Dolly.”<br />
APPLAUSE for such greats as<br />
Wingy Manone, J.C.Higginbotham, Jo<br />
Jones and Slam Stewart was<br />
responsive, but it took Satchmo and his<br />
special version of “Hello Dolly” to<br />
bring the wild applause, the whistles,<br />
shouts and spontaneous dancing in the<br />
aisles so well known to the jazz festival.<br />
Satchmo came back for six encores as<br />
he stomped and sang. Armstrong kept<br />
the pace of the great moments of jazz<br />
theme with his well known “Blueberry<br />
Hill,” “Sleepy Time Down South,” and<br />
“Mack <strong>The</strong> Knife.”
- 136 -<br />
7/20/64 NYC., Carnegie Hall -"SALUTE TO EDDIE CONDON"- telerec.by Charles Arden for Chandell Prod./WABC-TV; lst<br />
concert of a series put together by writer Richard Gehman; another one was on WABC-TV 3/27/65; personnel see on the<br />
advertisement NYAN:7/18/64p18; the late Bob Hilbert had found only a poor tape fragment from repeated broadcast 7/20/65;<br />
tape-part-3: <strong>Red</strong> <strong>Allen</strong> (t,v) Pee Wee Russell (c1) unknown rhythm poss. Joe Bushkin (p) Zutty.Singleton (d)<br />
tape part-5: Bobby Hackett, Yank Lawson (t) J.C.Higginbotham (tb) Pee Wee Russell, Bob Wilber (cl) Willie"<strong>The</strong><br />
Lion"Smith (p) Zutty Singleton (d)<br />
part-1: <strong>Jazz</strong> Band Ball feat.poss. J.McPartland, C.Cutshall, Bud Freeman, Pee Wee Russell<br />
part-2: Tailgate Ramble feat. Wingy Manone, poss.Bob Wilber, v-Johnny Mercer<br />
part-3: I AIN´T GOT NOBODY -vRA with a wonderful Pee Wee solo cassette wanted<br />
part-4: <strong>Jazz</strong> Me Blues feat. Yank Lawson, Pee Wee Russell, poss.Dick Hyman<br />
part-5: Royal Garden Blues<br />
“Pee Wee Russell – <strong>The</strong> Life of a <strong>Jazz</strong>man” by Bob Hilbert 1993, p261:<br />
<strong>The</strong>re was a "Tribute to Eddie Condon" held<br />
at Carnegie Hall shortly after midnight, July<br />
21, with Sammy Davis, Jr., scheduled to he<br />
the master of ceremonies. But Davis, who was<br />
appearing in Philadelphia in Golden Boy, said<br />
he was too fatigued to make the trip to New<br />
York and cancelled at the last minute. <strong>The</strong><br />
affair was staged to help pay for the three<br />
prostate operations Condon had undergone<br />
since his return from the Asian tour. Condon<br />
was not happy with the event, which featured<br />
Bob Crosby's band and Woody Herman's<br />
Thundering Herd. For a man who had spent<br />
his career in opposition to the big bands, the<br />
choices were not appropriate and put Condon,<br />
who had been drinking heavily, into a surly<br />
mood.<br />
Some of the figures Condon had been<br />
associated with through the years were on hand,<br />
-----------------------------------------------------------<br />
HONOR EDDIE CONDON MON.<br />
CD-7/18/64p16: – Many leading Negro stars<br />
will take part in the “Salute To Eddie Condon”<br />
honoring his more than 40 years in show<br />
business to be held Monday, July 20 at 11 p.m.<br />
however, including Johnny Mercer, Bud Freeman,<br />
Wingy Manone, J.C.Higginbotham,<br />
Cutty Cutshall, Willie "the Lion" Smith, Jack<br />
Lesberg,. Gene Schroeder, Bobby Hackett,<br />
Peanuts Hucko, George Wettling and Billy<br />
Butterfield. <strong>The</strong> high point of the concert<br />
was when Henry "<strong>Red</strong>" <strong>Allen</strong> sang and<br />
played "I Ain't Got Nobody" with a<br />
particularly effective backing by Pee Wee.<br />
"What Eddie proved," Pee Wee told<br />
Newsweek at the concert, "is that our music<br />
has vitality - it's alive. I've played both; this<br />
has more feeling." Clearly, following the<br />
Marshall Brown episode, Pee Wee was<br />
rethinking his antagonism to dixieland.<strong>The</strong><br />
concert formed the basis for a television<br />
"tribute" which was recorded several months<br />
later with Davis as master of ceremonies, but<br />
without Pee Wee (& without <strong>Allen</strong>)<br />
-------------------------------------------------------------<br />
at Carnegie Hall. Sammy Davis Jr. is<br />
taking a helicopter from Philadelphia to be<br />
there. ZuttySingleton, J.C.Higginbotham,<br />
<strong>Red</strong> <strong>Allen</strong> and Billy Butterfield are among<br />
the other artists who will perform.<br />
advert.NYAN:7/18/64p18---<br />
Sept.-Dec.64, <strong>Red</strong> & Sammy Price at Metropole; Down Beat: 9/11&9/24, l0/8&10/22 same;<br />
11/5&11/19 same; l2/2&17 same<br />
Art Hodes' Keyboard Reflections<br />
(Down Beat l0/22/64):. JIMMY RYAN'S ON<br />
52nd St. was the kind of night spot best<br />
described as a tavern-club. Occupancy by more<br />
than 120 persons was not only unlawful, it was<br />
also downright uncomfortable. Yet we packed<br />
them in on Sunday afternoons - a buck<br />
admission and "hear the jazz greats."<br />
Milt Gabler originated the sessions, but Jack<br />
Crystal gathered the talent. On any given<br />
Sunday afternoon you could see and hear such<br />
stalwarts as Pee Wee Russell, Eddie Condon,<br />
Mezz Mezzrow, Sidney Bechet, Max Kaminsky,<br />
Wild Bill Davison, George Brunis, Joe Sullivan,<br />
J.C.Higginbotham, Rod Cless, Hot Lips Page,<br />
GUTTY MAN CITED – J.C.Higginbotham, popular<br />
trombonist, was cited recently by the Hancock, N.Y.<br />
Rotary Club for his 40 years of playing trombone. <strong>The</strong><br />
citation marked that Higgy is one of the “all time great trombonists”,<br />
has won more Downbeats awards that any other<br />
trombone player and his stylist of the gutty school of the<br />
Fats Waller, Earl Hines, James P.Johnson,<br />
<strong>Red</strong> <strong>Allen</strong>, etc. And on the last chorus of the<br />
last number (which would usually be Bugle<br />
Call Rag), the entire ensemble would blow.<br />
Man, that was something.<br />
During the week, Ryan's featured a trio. I'd<br />
worked there with Baby Dodds and Cecil<br />
Scott (& Chippie Hill) and with Mezz Mezzrow<br />
and Danny Alvin.<br />
Ryan's was a haven, though hardly the place<br />
you'd expect to meet <strong>The</strong>lonious Monk, but<br />
that's where it happened. He was looking<br />
for a piano to play ... just “to play,” not a<br />
job, not pay. He asked, "You mind if I play<br />
while you guys are off, during intermission."<br />
<strong>The</strong> answer was "go ahead."<br />
<strong>The</strong> jukebox was disconnected,<br />
and Monk, with his dark<br />
glasses on, made it to the<br />
stand and played, all by himself<br />
and, I'd venture a guess, to<br />
himself. This we understood;<br />
he was welcome....<br />
1930's. In addition to the signature of George H. Elwood,<br />
president of the Rotary Club, the citation also bore the<br />
signatures of the top jazz musicians who were appearing at the<br />
time with Higgy, Sammy Price, Benny Moten, George Reed,<br />
Herbert Hale, Jean Stevens and Doc Cheatham. (with portrait<br />
of Higgy) NYAN-10/31/64p19:<br />
"JAZZ TROMBONE-FIVE VIEWS" - J.C.Higginbotham – a longer article by Don Heckman in Down Beat 11/28,/64:<br />
early Dec.64 - Don <strong>Red</strong>man (died 11/30/64) Funeral with <strong>Red</strong> <strong>Allen</strong>,J.C.Higginbothen, Sandy Williams, Dicky Wells,<br />
Tyree Glenn, <strong>Red</strong> Richards, Herman Autrey, Joe Thomas, Honi Coles, Slim Thompson, Sam <strong>The</strong>ard, Buster Bailey,<br />
Major Holley, Keg Johnson, Zutty Singleton, Wingie Carpenter, Jimmy Crawford, Eddie Barefield, Harold Baker, Sonny<br />
Greer, Joe Glaser, Len Kunstadt, Dan Morgenstern, Stanley Dance, etc. (Jack Bradley,Bul.h.c.f.-Jan-1965<br />
Dec.64-July 65, N.Y.C., Metropole - <strong>Red</strong> <strong>Allen</strong> (House band) / & Max Kaminsky (to Feb.65); Gene Krupa 2/19-3/5; Roy<br />
Liberto April-5/17; Village Stompers 5/18-5/30; Gene Krupa to 6/12; Gillespie quintet 5/31-6/28;
- 137 -<br />
Feb.65, Conrad Janis took a band to the Metropole while Henry <strong>Red</strong> <strong>Allen</strong> took his group to Cleveland (for a brief season)<br />
(Down Beat 2/25/65)<br />
Feb until 3/4/65,-Cleveland , Ohio – Mushy Wexler's <strong>The</strong>atrical Grill has been presenting Who's Who lately, with Henry<br />
<strong>Red</strong> <strong>Allen</strong>, Bill Maxted, Roy Liberto, Jonah Jones, and Jimmy and Marian McPartland. Teddy Wilson is to appear with<br />
his trio for two weeks ending March 6 at the downtown restaurant-nitery... (Down Beat 3/11/65)<br />
possibly this is the date or an unknown date 1964 after his Europe tour mentioned by John Chilton in “Ride <strong>Red</strong> Ride” p183:<br />
… where a hugh blow-up of the Don Ellis article was put on dispay …<br />
3/5/65 NYC., Metropole – return of Henry <strong>Red</strong> <strong>Allen</strong> as house band for longer times; Veteran drummer Sonny Greer did a<br />
week in March with <strong>Red</strong>'s <strong>Allen</strong> Quartet; John Chilton names also Chuck Folds, piano temporarly for Sammy Price;<br />
Down Beat 3/11-3/25; 4/8-4/22; 5/6-5/20; 6/3-6/17/65<br />
NEW YORK JAZZ – Monday, March, 8th, 1965 by Don Brown in Coda 4/65:<br />
... <strong>The</strong> following night being Monday,<br />
traditional night off for musicians in<br />
New York, we moved from the sublime<br />
to the ridiculous and visited the<br />
Metropole (evidently Sunday it the offnight<br />
there) where Gene Krupa's<br />
Quartet was appearing. Fortunately,<br />
the evening was saved by the house<br />
band. Henry <strong>Red</strong> <strong>Allen</strong>'s Quartet<br />
(<strong>Allen</strong>, Sammy Price, Bennie Moten<br />
and a drummer whose name escapes<br />
me) managed to play some warm and<br />
exciting music in the most unlikely<br />
surroundings imaginable. Henry <strong>Red</strong><br />
<strong>Allen</strong> never fails to amaze the way he<br />
can combine out-and-out showman-ship<br />
with taste and imagination. We heard<br />
one full set and every tune but one was<br />
ways up-tempo with shouts of "Nice"<br />
and "Make him happy! Make him<br />
happy!" after every solo, humourous<br />
patter with members of the audience<br />
crowded up against the bar, and a<br />
general air of rowdiness. Yet <strong>Allen</strong>'s<br />
NYAN-3/13/65p16: Gene Krupa , and <strong>Red</strong> <strong>Allen</strong> continue swinging nightly at the Metropole.<br />
Leonard Feather wrote an article about <strong>Red</strong> <strong>Allen</strong> in Down Beat 4/8/65:<br />
(surely used in earlier parts of this bio-disco)<br />
3/27/65, N.Y.C., Carnegie Hall – l0th Charlie Parker Memorial Concert (<strong>Red</strong> <strong>Allen</strong> is not<br />
mentioned in press-reports)<br />
4/9/65 Blue Lu Barker Farewell Party with <strong>Red</strong> <strong>Allen</strong>; Blue Lu and Danny moved to New<br />
Orleans in May-65;<br />
5/7/65 Fr. 8:30, New York School of <strong>Jazz</strong> - Benefit JAZZ PANORAMA, Part.III: Trombones and<br />
Part.IV: Strings; trombones: J.C.Higginbotham, Grachan Moncur III, Benny Powell; strings &<br />
rhythm: Hugh Lawson(p) Calo Scott (cello), William Blank(vln) Art Davis(b) Charlie<br />
Jackson(g) Art Davis(b) Frankie Dunlop(d) and at each concert New York School <strong>Jazz</strong><br />
Ensemble; (short note in NYAN-5/1/65p23); advertised in NYAN-4/24/65p2-------<br />
a larger advert of the Village Voice 4/1/65p14 (reprint in <strong>Jazz</strong> Ad.Vol.3p1123) gives the complete<br />
programm: 4/2 Fr. Part.1 – Trumpet: Johnny Windhurst; Bill Hardman, Richard Williams; 4/9 Fr.,<br />
Part.2 - Reeds: Bob Wilber, Jerome Richardson, Roland Alexander; 4/30 the above part 3 but was<br />
def.at 5/7; 5/7 part-4, see above; 5/14 part-5: drums: Zutty Singleton, Frankie Dunlop, Clifford<br />
Jarvis; 5/21 part-6 – piano, vibes: Jaki Byard, Roland Hanna, Hank Edmonds, Bobby Hutcherson;<br />
Concert Rhythm section for entire series: Roland Hanna(p) Art Davis(b) Frankie Dunlop(d)<br />
unknown engagement of <strong>Red</strong> <strong>Allen</strong> in mid June-65; he returned to the Metropole for the last June<br />
week; NYAN-6/19/65p22: Dizzy Gillespie's at the Metropole (opened 5/31), along with a<br />
group called the Watusi Girls, but the place doesn't seem right without <strong>Red</strong> <strong>Allen</strong>. …<br />
NYC., Metropole - <strong>The</strong> long-time house band, led by trumpeter Henry (<strong>Red</strong>) <strong>Allen</strong>, is out<br />
at 7/1/65; Down Beat 7/1/65: <strong>The</strong> latest New York Club to go discotheque is the Metropole.<br />
However the Times Square jazz landmark will continue to book name jazz attractions to work<br />
opposite live rock-and-roll groups and a line of frugging girls. <strong>The</strong> Village Stompers initiated<br />
the new policy 5/18, with trumpeter Dizzy Gillespie's quintet scheduled to open 5/31.<br />
Conversatiom with Doc Cheatham by Richard Rains, Storyville-14, Dec.67: When I spoke of<br />
Louis Metcalfe Doc said how well he was playing these days and then related sadly how,<br />
having made the Metropole what it was, <strong>Red</strong> <strong>Allen</strong> was rejected on his return from a *tour in<br />
favour of a succession of rock-and-roll bands. (*poss. this was the Blue Spruce Inn dates?);<br />
solos were models of thoughtful<br />
improvisation. An amazing man. After<br />
about half of a Gene Krupa "BENNY<br />
GOODMAN MEDLEY" we left the<br />
Metropole. I had hoped to hear Charlie<br />
Ventura but he has been replaced by a<br />
clarinetist (possibly Sol Yaged - we<br />
didn't stay long enough to find out) who<br />
plays Goodman's solos note for note<br />
including the clichés! Very original ....<br />
“What Do <strong>The</strong>y Want?”-Sammy Price Autobio-1989p70: (cont.from p135 to the Aug.65 rec.session):<br />
...When I quit the band, it was out at the Blue Spruce Inn on Long Island. That where we made<br />
the record Feeling Good. Now let me tell you about that record. <strong>The</strong> Saturday night before the<br />
record date I said, "<strong>Red</strong>, I'm getting sick and tired of you again, so I gotta go." He said, "Bye." So on Sunday we were off. And<br />
*Monday he had this recording engagements with John Hammond for Feeling Good. And I knew that he would get Lannie Scott<br />
to go in as substitute. But I also knew that Lannie didn't know the tunes: he hadn't been playing with <strong>Red</strong> for eight(?) years. So<br />
this Monday night I went out. I got in my car and said, "Well, I might as well go help this turkey out," meaning <strong>Red</strong>. So I got in<br />
the car and drove all the way out to Long Island. When I walked in, John Hammond and Frank Driggs were there with <strong>Red</strong>.<br />
And <strong>Red</strong> said to John Hammond, "Here's this politician now." And I said, "Well, red. Come on man, I came out to make your<br />
sound good." So we made Feeling Good, Cherry, and all those other things. And that was the last time I played with <strong>Red</strong>,<br />
August 1965. (cont.a few months later when <strong>Red</strong> told him that he had cancer.) (*remark: the known alternate dates were 8/18 a Wed.<br />
and 6/30 a Tu.)
- 138 -<br />
Avantgarde Days: BLUE MON K & SUMMERTIME<br />
vs. Revival Days: THE SAINTS – DIDN´T HE RAMBLE<br />
Chapter-10: <strong>Red</strong> <strong>Allen</strong> Quartet & with the Alex Welsh Band in UK 1966/67<br />
Blue Spuce Inn 7/1/65-….; e.t.c.; Monterey-65; Newport-66; Final Days<br />
NYC., Metropole - <strong>The</strong> long-time house band, led by trumpeter Henry (<strong>Red</strong>) <strong>Allen</strong>, is out at 7/1/65; DB 7/1/65<br />
7/1-7/31/65; Roslyn - Blue Spruce Inn , Henry <strong>Red</strong> <strong>Allen</strong> Quartet;<br />
<strong>Red</strong> <strong>Allen</strong> left the Metropole for his last session at 6/30/65. and followed Marian & Jimmy McPartland;<br />
in July 65 Blue Spruce Inn, Roslyn during the first engagement from 7/1-31/65 – HENRY”RED”ALLEN QUARTET: <strong>Red</strong> <strong>Allen</strong><br />
(t,v) Lannie Scott (*p) Bennie Moten (b) George Reed (d) /Storyville-/<br />
-1 7:22 *ST. LOUIS BLUES -vRA (W.C.Handy (not on my tape, but issued) Meritt-27/STCD-8290/RACD25c<br />
-1 3:49 *ST. JAMES INFIRMARY -vRA (J.Primrose) RACD24/ --- /<br />
-1 3:07 *CARAVAN (Ellington-Mills-Tizal) Meritt-27/STCD-8290/ --- /<br />
-1 4:03 *LOVER COME BACK TO ME (S.Romberg) Meritt-27/STCO 8290/ --- /<br />
-2 3:28 *ST. JAMES INFIRMARY -vRA (J.Primrose) at the end announcing “Never On Sunday” / --- /<br />
-1 2:38 *NEVER ON SUNDAY (G.Moustaki) (it was played after ST JAMES) Meritt-27/STCD 8290/ --- /<br />
-1 2:57 *SATIN DOLL (Ellington-Strayhorn) Meritt-27/STCD 8290/ --- /<br />
-1 4:45 *MUSKRAT RAMBLE (Kid Ory) Meritt-27/STCD 8290/ --- /<br />
NYAN-8/7/65p22: … <strong>Red</strong> <strong>Allen</strong> was appearing at the Blue Spruce Inn in Roslyn, L.I. while his wife Pearly May was<br />
visiting in Michigan. …<br />
unknown engagements in early August 64;<br />
8/18 & 8/19/65 , same location; Sammy Price (p) for L.Scott; - dated by Frank Driggs, it was the day when <strong>Red</strong> <strong>Allen</strong> informed<br />
Sammy Price about his cancer. A wrong source gives 6/29&30/65, possibly due to <strong>Red</strong> <strong>Allen</strong> fan “<strong>Red</strong>” Metzger, who had mannaged<br />
the first engagement. <strong>The</strong> tape includes also the Lannie Scott session and was clued together by Will Warner from a lot of single tape<br />
clips given by Frank Driggs.<br />
-1 4:21 ALL OF ME -vRA (Simon-Mark) /RACD25c/<br />
-1 8:30 MEDLEY: - DIDN'T'HE RAMBLE -vRA (Handy-Randall) - Meritt-27/STCO 8290/ --- /<br />
- JUST A CLOSER WALK WITH THEE -vRA (trad.) - WHEN THE SAINTS -vRA (trad.) --- / --- / --- /<br />
-1 4:38 HELLO DOLLY -vRA (Herman) --- / --- / --- /<br />
-1 2:42 I'VE GROWN ACCUSTOMED TO HER FACE from "M Fair Lady" --- /<br />
-1 3:00 YELLOW DOG BLUES -vRA, (without:"How Long Blues) (Handy-Pace/Carr) RA-CD-24<br />
-2 4:51 YELLOW DOG BLUES -vRA, interpolation"HOW LONG BLUES" (Handy-Pace/Carr) RA-CD-25<br />
-1 3:22 MEMPHIS STREET BLUES (W.C.Handy) Meritt-27/ STCD 8290/RACD25c<br />
-1 3:52 BLUE SPRUCE BOOGIE (<strong>Allen</strong>) Meritt-27/ STCD 8290/ RACD25c<br />
-1 2:32 GEE BABY, AIN'T I GOOD TO YOU -vRA (D.<strong>Red</strong>man-A.Razaf) CBS-62400/Col.2447/RA-CD-25<br />
-1 4:34 YOU'RE NOBODY TILL SOMEBODY LOVES YOU (Morgen-Stock-Cavanaugh) CBS 62400/Col.2447/ RA-CD-25<br />
-1 2:58 SWEET SUBSTITUTE -vRA (J.R.Morton) CBS 62400/Col.2447/ RA-CD-25<br />
-1 3:51 FEELING GOOD -vRA from"<strong>The</strong> Roar of the Greasepaint' (L.Bricusse-A.Newley) CBS 62400/Col.2447/ RA-CD-25<br />
-1 3:02 PATROL WAGON BLUES -vRA (P.Grainger) CBS 62400/Col.2447/ RA-CD-25<br />
-3 4:28 YELLOW DOG BLUES -vRA interpol."HOW LONG BLUES" (Handy-Pace; L.Carr) CBS 62400/Col.2447/ RA-CD-25<br />
-1 3:10 CRAZY BLUES (Mamie Srnith) Meritt-27/ ST CD8290/ RACD25c<br />
-1 8:14 I'M COMING VIRGINIA (W.M.Cook-D.Heywood) CBS 62400/Col.2447/ RA-CD-25<br />
-1 3:31 TRAV'LIN' ALL ALONE -vRA (J.C.Johnson) CBS 62400/Col.2447/ RA-CD-25<br />
-1 3:02 RAG MOP -vRA (J.L.Wills-0.Anderson -<strong>Allen</strong>) announcing the end of the 1st evening CBS 62400/Col.2447/ RA-CD-25<br />
-1 3:48 CHERRY -vRA (Don <strong>Red</strong>man) CBS 63742/CBS 62400/Col.2447/ RA-CD-25<br />
-2 3:25 FEELING GOOD -vRA (L.Bricusse-A.Newley) RA-CD-25<br />
-1 3:13 SIESTA AT THE FIESTA (H.<strong>Allen</strong> 1941) CBS 62400/Col.2447/ RA-CD-25<br />
-2 4:24 CHERRY -vRA (Don <strong>Red</strong>man) RA-CD-25<br />
-1 3:21 CANAL STREET BLUES (King Oliver) Meritt-27/STCD 8290/RA-CD-25c<br />
-2 2:36 GEE BABY, AIN'T I GOOD TO YOU -vRA (Don <strong>Red</strong>man-D.Anderson) RA-CD-25<br />
-3 3:31 FEELING GOOD -vRA (L.Bricusse-A.Newley) RA-CD-24<br />
-2 3:00 SIESTA AT THE FIESTA (H.<strong>Allen</strong>) RA-CD-24<br />
-1 2:40 PLEASIN' PAUL (H.<strong>Allen</strong>-P.Barbarin) Meritt-27/STCD 8290/RA-CD-25c<br />
-1 1:42 MACK THE KNIFE (Kurt Weil) Meritt-27/STCD 8290/RA-CD-25c<br />
-2 2:41 SWEET SUBSTITUTE -vRA (J.R.Morton RA-CD-25<br />
-4 3:52 YELLOW DOG BLUES -vRA interpol."HOW LONG BLUES" (Pace-Handy/Carr) RA-CD-24<br />
-2 2:34 PATROL WAGON BLUES -vRA (P.Grainger) RA-CD-25<br />
-2 2:22 TRAV'LIN' ALL ALONE -vRA (J.C.Johnson) RA-CD-25<br />
-2 4:34 YOU'RE NOBODY TILL SOMEBODY LOVES YOU (Morgen-Stock-Cavanaugh) RA-CD-25<br />
-2 6:28 MEDLEY: - DIDN'T'HE RAMBLE -vRA (Handy-Randall) - RA-CD-25<br />
- JUST A CLOSER WALK -vRA (trad.) - WHEN THE SAINTS -vRA (trad.) RA-CD-25<br />
-1 3:40 2nd Time Around - only piano & rhythm RACD25c<br />
-1 1:53 Fly Me To <strong>The</strong> Moon -only piano & rhythm uniss.item on G.Wilson´s tape; RACD25c
- 139 -<br />
according Sammy Price this was the last session in August-1965 he had played with <strong>Red</strong> <strong>Allen</strong>. On Merritt, Jerry Valburn gave<br />
the impression that only one life session were taped on two days in June-65 before the recording session. But on my tape all<br />
above tunes are in chronological order with partly up to three alternate takes.<br />
================================================================================<br />
THE SUN, BALTIMORE. Sun., 4/17/66 - <strong>Allen</strong> Calls Children Home by John Goodspeed<br />
IT'S , good to hear <strong>Red</strong> <strong>Allen</strong> call his<br />
children home again on the new Columbia<br />
album, "Henry'<strong>Red</strong>'<strong>Allen</strong> / Feeling<br />
Good." It's probably true, as the liner<br />
notes say, that <strong>Allen</strong> is the last New<br />
Orleans trumpeter in the Buddy Bolden-<br />
King Oliver-Louis Armstrong tradition<br />
which insists that Bolden (who never<br />
recorded) could summon his fans a mile<br />
away, so loud and clear was his cornet<br />
tone.<br />
It's true, too, that <strong>Allen</strong> (recorded here<br />
on a recent job in a Long Island restaurant)<br />
is playing better than ever - better,<br />
for example, than he played during his<br />
last previous heyday when he led a New<br />
York band that usually included J. C.<br />
Higginbotham on trombone. Also true,<br />
although too heretical for mention on<br />
the album liner, is the fact that <strong>Red</strong><br />
<strong>Allen</strong> plays better trumpet today than<br />
Louis Armstrong has played for years,<br />
even though the <strong>Allen</strong> style derives from<br />
the style that Armstrong made great 35<br />
years ago.<br />
<strong>Allen</strong>, whose age is given as "In his<br />
late fifties," was once a featured trumpeter<br />
in a band led by Louis Armstrong.<br />
That was no mean tribute to his talent,<br />
Don Ellis about Co.2447,in JAZZ, 4/67:<br />
This album should be required listening<br />
for all bebop and avant-garde trumpeters.<br />
<strong>Red</strong> <strong>Allen</strong> is a fantastic trumpet player<br />
and reveals an incredible imagination.<br />
He makes use of almost every device<br />
mechanically and physically possible<br />
on the trumpet. Most other trumpeters<br />
of any era with their relatively limited<br />
scope seem very tame and pale in<br />
even though Armstrong at the time (the<br />
1930s) had begun to contaminate his<br />
own supreme musical genius with a lot<br />
of vaudeville shenanigans. <strong>Allen</strong> himself<br />
tended to overdo things with scat<br />
singing, finishing high notes, smears,<br />
half-valve effects and general clowning.<br />
At the time of the last previ-ous firstclass<br />
jazz recordings that included him -<br />
those made around 1940 with Jelly Roll<br />
Morton leading his last session -<strong>Allen</strong><br />
was not highly regarded by fastidious<br />
aficionados. Yet what sounded like hot<br />
cliches and second-rate Armstrong<br />
imitations then, sounds refreshing today.<br />
<strong>The</strong> <strong>Red</strong> <strong>Allen</strong> style of trumpeting has<br />
been buried for 25 years in a sea of<br />
joyless, angular, cool jazz. "Fealing<br />
Good" presents a classical master of<br />
New Orleans style, which is still the<br />
finest style ever developed (and which is<br />
not "Dixieland," the commercialized<br />
version that often passes for it).<br />
Only A Quartet<br />
<strong>Allen</strong> leads only a quartet on the new<br />
album, but even though the trombone<br />
and clarinet of the classical New<br />
Orleans "line" are missing the group<br />
produces some marvelous ( ensembel<br />
This album is a good example of <strong>Red</strong><br />
<strong>Allen</strong>'s "average" current playing and<br />
singing, and it is delightful. I say<br />
average because I have heard him play<br />
more inspired at times (the audience<br />
does not seem to be completely with<br />
him), but even under the most unenthusiastic<br />
circumstances <strong>Red</strong> comes out<br />
shining, and he does so here.<br />
All the tracks are of interest, but<br />
phrasing and improvised dynamics,<br />
aspects of jazz that have always been<br />
done best by New Orleans instrumentalists.<br />
Sammy Price, on piano, plays part<br />
"stride," part "barrelhouse," part "boogiewoogie"<br />
- all in almost flawless taste.<br />
Benny Moten swings hard and stays out<br />
of the way on bass violin. George Reed,<br />
anticipating <strong>Allen</strong>'s every nuance and<br />
Price's every sound level, beats his drums<br />
to create great excitement through<br />
restraint - a technique that all but eliminates<br />
the monotonous and hysterical<br />
off-beat cymbal work that has dominated<br />
jazz since the Swing Era.<br />
<strong>The</strong>y are best on "Sweet Substitute," a<br />
number Jelly Roll Morton Composed<br />
during his twilight in Washington and<br />
one which <strong>Allen</strong> (correctly) feels is<br />
beautiful. <strong>The</strong>y are fine on "Yellow Dog<br />
Blues," "Cherry," "Trav'lin' All Alone, "<br />
"Rag Mop," "Patrol Wagor Blues,"<br />
"Siesta at the Fiesta," "I'm Coming<br />
Virginia." ''Gee Baby, Ain't I Good to<br />
You" is happy but of fair quality. But<br />
<strong>Allen</strong> and company fail only on "Feeling<br />
Good" (from a recent musical) and<br />
"You're Nobody Somebody Loves You."<br />
<strong>The</strong> lyrics are too silly.<br />
-------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
comparation to <strong>Red</strong> <strong>Allen</strong>.<br />
my favorite by far is I'M COMING<br />
VIRGINIA. <strong>The</strong>re is a great groove and<br />
<strong>Red</strong> sounds more and more inspired as<br />
the track goes on. He uses one of his<br />
favorite devices here: that of the false<br />
ending-counting off a new version while<br />
the band is holding the last note of the<br />
preceding. Each repeat seems to get<br />
more intense. This is a magnificent<br />
performance by one of the greatest jazz<br />
musician of all time.<br />
As I said before: required listening ...<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
REMEMBERING RED ALLEN TWENTY YEARS LATER – Meritt-27,<br />
RED ALLEN & HIS QUARTET LIVE 1965<br />
Toward the end of the Spring of 1965<br />
Henry "<strong>Red</strong>" <strong>Allen</strong> was booked into<br />
the beautiful Blue Spruce Inn in Roslyn<br />
Long Island. <strong>The</strong> original booking was<br />
for a two week period. <strong>Red</strong> was so<br />
popular with the audience that he was<br />
held over for two full months ! Early<br />
during this stand arrangements were<br />
made to make some test recordings.<br />
<strong>The</strong> acoustics and sound of a<br />
restaurant/club leave a lot to be desired.<br />
<strong>The</strong>se tapes survived and were found<br />
recently in the basement (not mine) of<br />
a collector on Long Island. It should be<br />
noted here that the results of two nights<br />
of recording at the Blue Spruce Inn<br />
encouraged a major record company to<br />
come in later and record. <strong>The</strong> album<br />
was released in 1966. Many of the<br />
titles found on the commercial<br />
album release were on our tapes<br />
(different versions). It was our<br />
feeling that collectors of <strong>Red</strong><br />
<strong>Allen</strong>'s work would prefer and<br />
enjoy hearing numbers that did not<br />
duplicate those made around the<br />
same time. <strong>The</strong>re is over twentyeight<br />
minutes of musical excitement<br />
and beauty on each side of<br />
this Meritt record release. Along<br />
with the record you will find an<br />
insert sheet with some background<br />
on <strong>Red</strong> <strong>Allen</strong> and the Blue Spruce<br />
Inn from an interview I did with<br />
David "<strong>Red</strong>" Metzger while this<br />
album was going into production. It<br />
is a happy celebration for us all<br />
remembers Henry "<strong>Red</strong>"<strong>Allen</strong><br />
twenty years later. Jerry Valburn<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Jerry Valburn on cover notes of Meritt: <strong>The</strong> following is an interview I conducted with David G. Metzger in the Spring of 1987.<br />
David, whose nickname is "<strong>Red</strong>" for both his red hair and his love of <strong>Red</strong> <strong>Allen</strong>, is a warm and friendly record collector living<br />
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<br />
was instrumental in getting Henry "<strong>Red</strong>" <strong>Allen</strong> booked into the inn and he spent a great deal of time there while the <strong>Allen</strong><br />
group was performing.<br />
JV: <strong>Red</strong> can you give us a little history, a little background, on<br />
the Blue Spruce Inn. <strong>The</strong> location and when it opened.. How<br />
long you've been going there?<br />
DM: <strong>The</strong> Blue Spruce Inn was located on Northern Boulevard<br />
at the east end of the Roslyn bridge. It started back in the<br />
1930's and was one of the most popular restaurants on Long<br />
(cont. on the next page)
- 140 -<br />
Island at that time. I began going there after World War II<br />
when I started my career in the liquor business as a salesman.<br />
<strong>The</strong> owners of the Blue Spruce Inn were customers of mine. I<br />
used to go upstairs to their office to pick up my orders. By<br />
the 1960's they had a good music policy at the club<br />
booking in such artists as Teddy Wilson and Jimmy and<br />
Marion McPartland and their groups. Gene Ramey played<br />
with Teddy, I believe it was a quartet. As a matter of fact I had<br />
a drink with Teddy and Ramey joined us at my table. I was<br />
amazed to learn that he had been Charlie Parker's guardian!<br />
One day I went up to the office as usual. <strong>The</strong> two owners were<br />
talking about who they were going to book into the Inn as the<br />
next musical attraction. I more or less said, "How about Henry<br />
"<strong>Red</strong>" <strong>Allen</strong>." One of them turned around to the other and<br />
said, "Gee, that's a great idea. See if we can get hold of <strong>Red</strong><br />
<strong>Allen</strong>."<br />
I went back a few weeks later to pick up my orders and they<br />
said to me, "Guess who's coming, we got Henry "<strong>Red</strong>" <strong>Allen</strong>."<br />
I was very pleased.<br />
JV: Were you there an his opening night ?<br />
DM: <strong>The</strong> first night he was there I showed up and it got to be<br />
that we renewed acquaintances. (I had previously spoken with<br />
him at the old Metropole when I was selling in New York and<br />
would stay in town to catch some good music. When I talked<br />
with him them I recall saying, "When are you going to come<br />
out and play a gig on Long Island?" He said, "Well "<strong>Red</strong> Man"<br />
when you get me that gig." Frankly, I had never expected him to<br />
play on Long Island.)<br />
I remember showing up one night and there were two engineers<br />
setting up microphones. <strong>The</strong>y had their tape equipment set up in<br />
the hat cheek room. Both Lannie Scott and Sam-my Price were<br />
talking with <strong>Red</strong>. <strong>Red</strong> had had air argument with Sammy over<br />
a HARLOU button Sammy was wearing. I heard <strong>Red</strong> asking<br />
him to take it off saying that they were musicians and not<br />
politicians. <strong>Red</strong> was quite annoyed and when they started in to<br />
record the first set Lannie was at the piano and not Sammy.<br />
Later <strong>Red</strong> relented and used him in either the second or third<br />
sets.<br />
JV: How many sets did they play each night? How late did<br />
they play?<br />
DM: <strong>The</strong>y started at the dinner hour about seven o'clock. I<br />
don't recall how many sets they played. I remember the<br />
firehouse next door. When the sirens went off the musicians<br />
Martin Williams covernotes on CO.CL 2447: Henry "<strong>Red</strong>"<br />
<strong>Allen</strong>, Jr., represents the final development of one of the great<br />
traditions in American music. <strong>The</strong> tradition, of course, is that of<br />
New Orleans' cornet and trumpet men. It begins with Buddy<br />
Bolden, the man who (at least to New Orleans musicians) first<br />
played jazz. It includes Freddie Keppard and King Oliver and<br />
Tommy Ladnier and Louis Armstrong.<br />
And it includes <strong>Red</strong> <strong>Allen</strong>, who had already begun to develop a<br />
personal style by the late Twenties, when he was a featured<br />
soloist with the Luis Russell orchestra. With Fletcher<br />
Henderson in the early Thirties, <strong>Allen</strong> helped set that<br />
archetypal group's classic swing-band style, and his solos were<br />
widely imitated by other trumpeters. Meanwhile, he had a<br />
separate and long-standing career as leader on his own<br />
recording dates. He worked with Benny Goodman. And for a<br />
while, <strong>Red</strong> <strong>Allen</strong> was a featured soloist, with billing, in Louis<br />
Armstrong's orchestra-perhaps the supreme compliment for any<br />
trumpeter or any jazzman.<br />
Henry <strong>Allen</strong>, Jr., now in his late fifties, has not settled into a<br />
complacent music which only occasionally recaptures former<br />
glories. He does not play "as well" as he ever played, either. In<br />
many ways he plays better. His trumpet techniques are so<br />
inventive, resourceful and personal that a younger brassman,<br />
Don Ellis, recently called him the most avant-garde trumpet<br />
player in New York.<br />
If this album were nothing else (and it is a great deal else) it<br />
would be a document of how this deceptively casual musician<br />
sounds before an audience, something which has never been<br />
captured on records before. For the audience here is decidedly<br />
<strong>Red</strong> <strong>Allen</strong>'s kind of audience. <strong>The</strong> numbers were recorded at<br />
the Blue Spruce Inn, a suburban New York restaurant in<br />
Roslyn, Long Island. <strong>The</strong> Inn is not a jazz club, but its<br />
customers have been receptive to pianist Teddy Wilson, and<br />
<strong>Allen</strong>'s quartet has become something of a fixture there.<br />
Before such an audience, <strong>Allen</strong> is genial and full of a kind of<br />
would stop playing. <strong>The</strong>y played in the bar area of the Inn<br />
which didn't help the acoustics too much. I think they<br />
finished up around midnight.<br />
JV: How did the musicians get to the club?<br />
DM: Well, Sammy and <strong>Red</strong> would come in <strong>Red</strong>'s Cadillac. I<br />
remember the license plate "H.R.A." 1 don't know how the<br />
others got there, probably on the railroad and someone from<br />
the club picked them up at the station. <strong>Red</strong> had auto-graphed<br />
all my records. I brought them over to the club. By the end of<br />
his stand there I was so broke, being there almost all the time,<br />
that <strong>Red</strong> was buying me drinks!<br />
JV: Did you find the music as exciting at the Blue Spruce<br />
Inn as when you heard <strong>Red</strong> playing with such men as Higgy,<br />
Hawk, PeeWee, and Claude Hopkins at the Metropole?<br />
DM: <strong>Red</strong>'s playing was always top quality whether he was<br />
playing with larger groups or with a quartet. I always enjoyed<br />
him. Speaking of the Metropole I remember that <strong>Red</strong> was<br />
playing opposite Maynard Ferguson. A young bunch of guys<br />
were sitting their not paying much attention to Ferguson.<br />
When <strong>Red</strong> came on they all rushed up to speak to him and<br />
shake his hand. This "bunch" turned out to be the British rock<br />
group "<strong>The</strong> Animals". When I told my son Ronnie about this<br />
he was impressed but also disappointed that I didn't get their<br />
autograph. My boss was a jazz fan and told me if I were<br />
willing to work in New York he would give me all the jazz<br />
joints as customers, but, the Metropole was always C.O.D.<br />
JV: Did <strong>Red</strong> play any differently at the Blue Spruce Inn then<br />
he had when you heard him at the Metropole?<br />
When he first came to the Blue Spruce Inn he played slightly<br />
softened versions of his numbers and he played and sang alot<br />
of pop tunes. But at the time they made these test recordings<br />
he must have planned in advance to include many of his<br />
classic numbers. I remember seeing a lot of arrangements and<br />
scores spread out near the piano when they were recording.<br />
JV: Did you stay in touch with <strong>Red</strong> after he left the Blue<br />
Spruce Inn?<br />
DM: <strong>Red</strong> always sent me postcards from wherever he was<br />
playing both here and abroad. I called him at his home a<br />
couple of times. <strong>Red</strong> was such a nice guy. I remember one<br />
night bringing in a 78 album for him to autograph. When we<br />
discovered one of the records was broken, <strong>Red</strong> said nothing.<br />
he next night he brought me his copy of the original Vocalion<br />
as a gift!<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------.--<br />
amiable raucousness that titillates his listeners. At least, that is<br />
<strong>Red</strong> <strong>Allen</strong> on the surface. Under the surface, however, the<br />
entertainer is also an artist.<br />
To another professional, <strong>Allen</strong>'s trumpet playing is a<br />
frequently astonishing array of bent notes; smeared notes;<br />
choked, half-valve notes; rips; glissandos; flutters; growls, and<br />
asymmetrical rhythms that somehow come out right. <strong>The</strong>y are
delivered by a trumpeter with excellent control over the lowest<br />
and the most intimately whispered tones as well as over<br />
piercing, high-noted shouts. But the effects are not there for<br />
their own sake. <strong>The</strong>y are parts of a sustained musical tissue<br />
held together by the force of <strong>Allen</strong>'s personality and his innate<br />
gifts as an improviser - an aesthetic fact that can be readily<br />
appreciated and enjoyed by the squarest head in the house.<br />
Cherry , a tune from the late Twenties that was a standard<br />
by the time of the swing era, sets the tone of this collection<br />
well. It includes the first of the album's several instances of<br />
Sammy Price's repeated, informal piano introductions. <strong>The</strong>re is<br />
a good-timely quality in <strong>Allen</strong>'s playing and in Price's striding<br />
solo. Listen to <strong>Allen</strong> in his last chorus, making that horn growl<br />
expressively without a mute. And listen to h is voice. It is<br />
usually said that horn players in jazz imitate the human voice;<br />
here, it's perfectly clear that <strong>Allen</strong>'s voice imitates his horn<br />
style. Listen to that repeated "CHE-erry," for instance. Or hear,<br />
on the boisterous but sincere reading of You're Nobody 'Til<br />
Somebody Loves You, how <strong>Allen</strong> handles the words "You'll<br />
never change it" in a trumpet-like burst of sounds.<br />
To come closer to the heart of the matter, perhaps, listen to<br />
I'm Coming Virginia. <strong>Allen</strong>'s opening statement is a free<br />
rewriting of the melody, apparently made up of fragments and<br />
bits of the tune, interpolated embellishments, plus assorted<br />
licks and traditional jazz riffs. Yet it all hangs together with its<br />
own kind of emotional and melodic logic. And note that in<br />
<strong>Allen</strong>'s second solo, he hardly touches the written melody at<br />
all. <strong>The</strong> piece was going well, evidently, for he encourages the<br />
- 140a -<br />
group to continue after a couple of "false" endings.<br />
This somewhat ornate version of Sweet Substitute returns<br />
<strong>Allen</strong> to the Jelly Roll Morton work he first recorded with the<br />
composer in 1940. <strong>Allen</strong> considers it one of the most beautiful<br />
songs ever written.<br />
Patrol Wagon Blues, signaled by <strong>Allen</strong>'s fine, mockserious<br />
"Oh my goodness!" is another revisit to a piece <strong>Allen</strong> first<br />
recorded in 1930.<br />
In Yellow Dog Blues and the interpolated How Long, How<br />
Long Blues, we again hear <strong>Allen</strong>'s slow blues in both its<br />
traditional twelve- and eight-bar structures.<br />
Rag Mop is a faster, lighter blues; it, too, is a new version.<br />
(For the true story on this one, consult the amiable nonsense of<br />
<strong>Allen</strong>'s piece "Get the Mop," first recorded in 1946.)<br />
Trav'lin' All Alone, probably best remembered in Billie<br />
Holiday's version, is a piece also well suited to <strong>Allen</strong>'s kind of<br />
performer's irony. Its words say one thing, but its melody and<br />
tempo seem to be conveying another. Its counterpart is the<br />
more recent Feeling Good, a nearly ideal <strong>Allen</strong> vehicle with<br />
its optimistic lyric, but with its undertone of deep melancholy.<br />
Above, I said something about "the squarest head," but to <strong>Red</strong><br />
<strong>Allen</strong>, there are no squares. <strong>The</strong>re are only the members of an<br />
audience whom he seeks to entertain with his music. <strong>The</strong> fact<br />
that <strong>Red</strong> <strong>Allen</strong> cuts deep enough as an entertainer to move and<br />
enlighten his hearers only means that <strong>Red</strong> <strong>Allen</strong> is a gifted<br />
man. <strong>Red</strong> <strong>Allen</strong> knows that he is gifted, and he uses his gifts<br />
with a kind of natural charity that should be the envy of all.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Doug Murray about FEELING GOOD-CBS SBPG-62400 in<br />
Storyville-4, Apr.66p31:RED ALLEN is one of the most<br />
unusual of jazz trumpet players. Much has been written about<br />
his unorthodox timing and his use of odd musical intervals.<br />
Unlike most jazzmen, he manages to steer clear of clichés and<br />
has even avoided, somehow, the trap of creating a set of<br />
clichés of his own.<br />
This is a live session. <strong>Allen</strong> plays and sings with a trio which<br />
includes Sammy Price, another musician unjustly neglected of<br />
late by the record companies. <strong>The</strong> music is typical of <strong>Allen</strong>'s<br />
current playing, and anyone who was impressed by his recent<br />
tour of this country won't be<br />
disappointed. Material is well chosen and varied.<br />
Highlights of the set include 'Sweet Substitute' – he always did<br />
play this one well – a romping piano solo from Price on 'Siesta<br />
at the fiesta', some of the vocals, notably 'How long' and an<br />
especially fascinating trumpet solo on 'You're nobody 'til<br />
somebody loves you'. But the standard, making a small<br />
allowance for the very occasional bit of audience-baiting, is<br />
pretty consistent throughout; good-humoured swinging jazz by<br />
people who really know what they're doing.<br />
<strong>The</strong> recording quality leaves nothing to be desired and the<br />
audience is unobtrusive.<br />
---------------------------------------------------------------------------------<br />
Kenny Dorham about, Col.2447 in DB-5/5/66; Rating ****:<br />
After the eight-bar introduction, to Cherry, <strong>Allen</strong> asks pianist<br />
Price for another, and he plays an additional eight. <strong>Red</strong> plays<br />
one 32-bar chorus and then sings a spirited chorus. <strong>The</strong> last<br />
eight remind me of Eddie (Cleanhead) Vinson. Price has a<br />
chorus, and then <strong>Red</strong> follows. He sings the last chorus,<br />
followed by an exchange of fours between <strong>Allen</strong>'s trumpet and<br />
bass. <strong>The</strong>y do quite a bit of juggling. <strong>The</strong> vocal is nice,<br />
fashioned from the era from which it came. It still is old-time.<br />
On Substitute a chorus by the trumpeter is followed by one by<br />
Price. Papa <strong>Red</strong> really "chirps" this one with a lot of feeling.<br />
One chorus out with a bird's eye - pause - stop-and-go<br />
cadenza.<br />
All Alone is entertaining in general, with instrumental solos.<br />
An old-time blues, Yellow Dog, with heavy sock cymbal<br />
accenting the second and fourth beats, is played well traditionally.<br />
After the trumpet solo, they go to C for <strong>Red</strong>'s vocal of<br />
How Long' followed by some juggling of solos and out, plus<br />
the usual cadenza.<br />
<strong>The</strong> order on You're Nobody is a boogie introduction by<br />
pianist Price, the melody, a vocal chorus, a piano chorus, and<br />
then some juggling. <strong>Red</strong> cooks on the vocal; I've never heard<br />
so moving an application of this song.<br />
Fiesta is a swinger, kind of hot for these times, but a swinger.<br />
<strong>The</strong> format is very much the same as that for the other tunes.<br />
Feeling Good has the trumpet up front with growls, shakes,<br />
the whole works in the gifnmick-expression department. This<br />
guy has excellent delivery when he sing - showy. Patrol<br />
Wagon develops a grooving groove with a lot of heavy<br />
dynamics in the right places. You can still bear the music.<br />
On Virginia Price takes care of business. Drummer Reed is<br />
in there. <strong>The</strong>y go out shouting.<br />
Gee, Baby is more or less a segue into the next tune, time<br />
being short. Rag Mop is a closer with vocals and excitement.<br />
Comments: This makes me want to hear some freedom<br />
music-avant-garde. I find it hard to give this a rating in accord<br />
with the standards of this magazine - that is, how records are<br />
rated - and still do justice to an artist who has paid some dues<br />
for quite a while and is a fine person.<br />
With the avant-garde musicians being such as they are and<br />
with Don Ellis' statement "Henry (<strong>Red</strong>) <strong>Allen</strong> is the most<br />
avant-garde trumpet player in New York," I am confused. But<br />
<strong>Allen</strong> is still very modern, considering his time in the<br />
business. And most of his contemporaries are finished<br />
musically. So four stars for <strong>Red</strong> <strong>Allen</strong>.
- 141 -<br />
Sinclair Traill about CBS-624oo,In <strong>Jazz</strong> Journal 4-66:<br />
With only one hour employed the leader had to be in very<br />
good form to put over an album such as this. Happily he was<br />
equal to the occasion, and the record is a decided success.<br />
Although Henry's trumpet playing is not perhaps quite so<br />
potent and flowing as it used to be in the old Luis Russell<br />
days, his tone was never better than on these tracks, a good hot<br />
jazz tone, still with the suggestion of plenty of reserve power.<br />
His singing, and he sings plenty on this album, is really aimed<br />
at the listener. <strong>The</strong> lyrics to Henry mean something, and as a<br />
true entertainer, he makes sure that you also will get the<br />
message. Sweet Substitute is a case in point. This is not just<br />
another Jelly Poll Morton tune to the trumpeter - it is a<br />
beautiful tune, with extraordinary lyrics, and that is the way he<br />
plays and sings it. His choruses on the blues, Yellow Dog (How<br />
Long interpolated) are beautifully timed, and he and Sammy<br />
Price feed one another with the practised hands of long jazz<br />
experience. <strong>Allen</strong>'s beautifully phrased solo on his favourite<br />
Patrol Wagon is a splendid example of his unique method of<br />
melodic expression. <strong>The</strong> same can be said for his most unusual<br />
playing of Coming Virginia, where his second solo is played<br />
with growling intensity. But despite <strong>Allen</strong>'s good trumpet<br />
form, the show comes near to being stolen by pianist Sammy<br />
Price. As accompanist to the lead horn, Sammy's work is<br />
beyond praise-feeding, interpolating, keeping the swing going<br />
and playing with an eloquence and earnestness which could<br />
hardly be bettered. He also solos with wonderful<br />
inventiveness, some of his stride work coming through with a<br />
real swinging impact. <strong>The</strong> work of Moten and Reed shows<br />
commendable spirit, and they lay down just that kind of beat<br />
<strong>Allen</strong> likes to rely on.<br />
Feeling Good was a good title for the album, as Henry was<br />
obviously feeling just that way, but the playing on this<br />
particular track is going to surprise quite a few people. When<br />
Don Ellis recently called <strong>Allen</strong> the most avant-garde trumpet<br />
player in New York, this is the track he must have been<br />
listening to.<br />
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George Ellis about Record of <strong>The</strong> Month: CBS-BPG 62400 in <strong>Jazz</strong>Beat April 1966p8:<br />
THOSE of us lucky enough to catch any of Henry <strong>Allen</strong>'s<br />
recent appearances know only too well that he has lost none of<br />
his forward looking approach to the jazz trumpet and how it<br />
should be played. This new LP, well publicised by Henry<br />
during the tour ("Pick upon it, and help an old guy out!") only<br />
serves to make this fact more apparent. Recorded before an<br />
audience at the Blue Spruce Inn, a suburban New York<br />
restaurant in Roslyn, Long Island, this presents <strong>Allen</strong> in a<br />
quartet setting, with … .Price, a fine pianist in his own right,<br />
plays several excellent solos, and provides a sensitive backing<br />
to the surprises and exuberance displayed by <strong>Allen</strong>.<br />
Most of the numbers were not played by Henry on the<br />
London dates, in fact only "Sweet Substitute" and "Patrol<br />
Waggon" were featured. So we have the opportunity to sit<br />
back and enjoy some new material, like "Feeling Good" from<br />
"<strong>The</strong> Roar Of <strong>The</strong> Greasepaint," with a lyric that suits <strong>Allen</strong>'s<br />
laconic vocal artistry as few contemporary songs do, or some<br />
new ideas on established favourites such as "Cherry" and<br />
"Trav'lin' All Alone." <strong>The</strong> long "I'm Coming Virginia," with a<br />
couple of "false" endings, is almost three separate versions of<br />
the same theme. All the unexpected twists are there, and the<br />
long and varied programme provides <strong>Allen</strong> with a chance to<br />
display just about every facet of his style. Although it is<br />
perhaps misleading to connect this very style with the avant<br />
garde, it cannot be denied that Henry is one of the most<br />
advanced musical thinkers, at fifty eight years of age, in jazz<br />
today. <strong>The</strong> many admirers of "<strong>Red</strong>" will buy this anyway, but I<br />
like to think it will reach some of those who bracket <strong>Allen</strong><br />
with the Bunk Johnson, George Lewis and Kid Ory school.<br />
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Max Jones in undated Melody Maker<br />
RED ALLEN: "Feeling Good"<br />
MOST people who saw <strong>Red</strong> <strong>Allen</strong> on<br />
his recent visit would agree that he was<br />
playing well, with a nice balance<br />
between the hot and cool, and that his<br />
performance today shows only traces of<br />
the somewhat frantic period he passed<br />
through in the late Forties.<br />
"Feeling Good" is a fairly powerful<br />
reminder of <strong>Red</strong>'s nimble trumpet and<br />
swingy, spluttery singing. As <strong>Allen</strong> said<br />
himself, it might have been improved by<br />
one or two extra horns, but as it is the<br />
album presents a set of good tunes put<br />
over with originality.<br />
"Cherry", the opener, is distinguished<br />
by fast, light trumpet flights, a humorous<br />
and rather Fats-like vocal and some<br />
stomping piano which <strong>Red</strong> says is<br />
Lannie Scott.<br />
Next comes "Substitute" (without the<br />
"s" so far as Henry is concerned), an<br />
intriguing Jelly Roll song which <strong>Red</strong><br />
performs, vocally and instrumentally,<br />
with pronounced individuality.<br />
Like all great jazzmen, <strong>Allen</strong> is<br />
challenged by quality tunes. He ripples<br />
obliquely over the melodies of<br />
"Substitute", "All Alone", "You're<br />
Nobody" and "Gee Baby", loosing a<br />
couple of good, growly vocals on Don<br />
<strong>Red</strong>man's "Gee" and J. C. Johnson's<br />
"Alone".<br />
"Siesta", a brisk stomp which calls to<br />
mind the 1930's jam-ups, has very alert<br />
trumpet solo and bright keyboard<br />
striding up front and behind - also a little<br />
of the old fluttering to close<br />
.<strong>The</strong> Newly-Bricusse title song, from<br />
the "Greasepaint" show, makes an apt<br />
vehicle for <strong>Red</strong>; and "Yellow Dog" and<br />
"Patrol Wagon" confirm the bluesy<br />
strength of his slow-tempo playing with<br />
its always individual choice of notes.<br />
Two or three tracks hold soft passages<br />
reminiscent of Eldridge in tone and<br />
approach; no doubt the course of modern<br />
trumpet was charted from Louis by<br />
<strong>Allen</strong>, then Roy and Dizzy. Anyway,<br />
from track one to twelve <strong>Red</strong> strikes out<br />
warmly, hitting his notes like a true<br />
jazzman. M.J.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Laurie Wright about <strong>Red</strong> <strong>Allen</strong> Vol.2: Meritt 27 in Storyville-134, June-88p78:<br />
<strong>The</strong> second of a pair of Henry <strong>Allen</strong> releases submitted by parade his credentials to an audience and was fond of telling<br />
<strong>Jazz</strong> 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<br />
covered in the last issue, this is one for the dedicated <strong>Allen</strong> famous names with whom he'd worked, and a little of that<br />
enthusiast. Recorded privately during <strong>Allen</strong>'s extended, creeps'in here. <strong>The</strong> final 8,5 minutes of the album are given<br />
engagement at the Blue Spruce Inn on Long Island, it features over to a New Orleans Medley which starts beautifully with<br />
<strong>Red</strong> in a quartet setting and the selection here gives a pretty some of his most sensitive playing leading into a slow, but<br />
good idea of the wealth of material that he included in his act. jaunty Saints. Just as I was settling down to enjoy what<br />
To be sure, there would be the odd standard, but this would be seemed like the best version since the de Paris Brothers, the<br />
set against something like Crazy Blues or Pleasin' Paul that tempo is doubled and we get about six minutes of tear-up,<br />
hadn't been played for years, or by something that was which no doubt pleased the audience, but sounds a little<br />
currently popular like Never On Sunday or Hello Dolly - here contrived on record, particularly with <strong>Allen</strong> shouting<br />
given a vastly different treatment to that offered by Louis. "Hallelujah" a couple of times!<br />
<strong>Red</strong>'s playing here is mostly in his more flamboyant style <strong>The</strong> backing group is Lannie Scott or Sammy Price on piano;<br />
with, for my taste, too little attention given to ballad playing at Bennie Moten on bass and drummer George Reed, and they<br />
which he excelled in the right company and before the right provide entirely suitable and sympathetic accompaniment.<br />
audience. And it may be that the nightly audience at the Blue Recording quality, given the circumstances is surprisingly<br />
Spruce expected and got the up-tempo and tearaway <strong>Allen</strong>, for good. Not perhaps <strong>Red</strong> at his best, but still one for the <strong>Allen</strong><br />
he was always sensitive to his audiences. He also liked to fan to watch out for.<br />
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- 142 -<br />
unknown date at Princeton University – <strong>Red</strong> <strong>Allen</strong> with a pick-up band incl. J.C.Higginbotham and Kenny Davern;<br />
Kenny Davern in conversation with John Chilton Aug.97- “Ride, <strong>Red</strong>, Ride” p188:<br />
“I was working at the Cindarella Club in New York and<br />
<strong>Red</strong> kindly called there to pay me for the Princeton gig.<br />
Now, the Cinderella was in a very narrow thoroughfare.<br />
<strong>Red</strong> turned up in his Cadillac and left it outside while<br />
.<br />
he came in to pay me. Nothing could get past and hell was<br />
let loose, but <strong>Red</strong> remained totally relaxed and cheerful and<br />
nonchalant got into the Cadillac and drove off<br />
Monterey-65: Chris White-Rex Stewart-Clark Terry-John Hendricks-Dizzy Gillespie-<strong>Red</strong> <strong>Allen</strong><br />
9/19/65 Sun. afternoon, Monterey Festival; VoA-.... from Tangier , taped in Spain - "Tribute to individual TRUMPET KINGS":<br />
Dizzy Gillespie (t,p,v,ann) <strong>Red</strong> <strong>Allen</strong> (t,v) Clark Terry (fl-h,v) Rex Stewart (c) & from DIZZY GILESPIE QUINTET:<br />
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.<br />
part-1: 4:14 intro words by Willis Connover about individual musicians RA-CD-13a<br />
0:37 ann. by Dizzy Gillespie<br />
10:07 SOMETIMES I´M HAPPY -vDG&JH (Caesar-Youmans) Curcio: Giganti del <strong>Jazz</strong>-22(I)/RA-CD-13a/RA-CD-13<br />
-ens-<strong>Allen</strong>-Terry-White brd-Dizzy-Dizzy in ens-vDG-vDG&JH-<br />
3:33 Stardust (H.Carmichael-M.Parish) -feat. C.Terry RA-CD-13a<br />
4:32 SLOW BLUES -vRApDG -feat.<strong>Red</strong> <strong>Allen</strong>-t-vRA(Stewart obl.)-<strong>Allen</strong>-piano by Dizzy RA-CD-13a/RA-CD-13<br />
4:17 Don't Get Around Much More -feat.Rex Stewart, -vJH, piano by Dizzy Giganti del <strong>Jazz</strong>-22(I)/ RA-CD-13a<br />
10:28 NIGHT IN TUNESIA -vDG&JH (Gillespie-Paparelli) -White intro-scatDG in ens-Terry RA-CD-13a/RA-CD-13<br />
-scatDG in ens-<strong>Allen</strong>-ens-Dizzy-ens-Stewart-ens-scat DG in ens-ens-scat DG in ens coda-<br />
0:14 ens-ann. RA-CD-13a<br />
part-2: -Mary Lou Williams, White, Collins & 8 singers: St.Martin de Porres; My Blue Heaven; Yestersay<br />
-Dizzy Gillespie & Festival Orch.: Birk´s Works; Dizzy´s Business; Angel City Suite; Road of Monterey<br />
unfortunately since 1978 I ve tried to find a better tape quality without result; this source was taped from an unballanced broadcast.<br />
9/17-9/19/65 Monterey - <strong>Jazz</strong> Festival - by Don DeMicheal in Down Beat 11/4/65<br />
ANY WAY One cares to look at the<br />
1965 Monterey Jan Festival, it made it.<br />
Not that all the music performed was<br />
of particularly high quality, but enough<br />
of it was to case any numbness brought<br />
on by sitting on those hard, narrow<br />
chairs that go cheek to cheek with<br />
outdoor musical events.<br />
Financially, general manager Jimmy<br />
Lyons and his staff celebrated the largest<br />
turnout in the festival's eight-year history<br />
- more than 30,000 paid attendance and a<br />
ticket-sale gross of better than $130,000,<br />
which does not include the percentage<br />
the festival got from parking and sales of<br />
food and of alcoholic beverages (even at<br />
$1 a shot, much booze was poured).<br />
If one is concerned with the social<br />
aspects, it was a warm and relaxed<br />
milieu (see last line of' above paragraph).<br />
And scenically, the Monterey County<br />
Fairgrounds, where the five concerts<br />
were staged Sept. 17-19, is the most<br />
attractive festival site in this country.<br />
<strong>The</strong>re is something Lyons and the other<br />
Monterey officials might watch however:<br />
beware giving the festival a theme. This<br />
year it was a "tribute to the trumpet,"<br />
supposedly to trace the history of the<br />
instrument in jazz. It's fine if a. festival<br />
hires a gaggle of trumpet players and<br />
merely announces that an extraordinary<br />
number of them will perform. But stop<br />
there, please. For if the words "tribute"<br />
and "history" are bandied about, questions<br />
such as "where's & Lee Morgan?" (as<br />
one record company official asked),<br />
"where's Kenny Dorham?" (as Dorham's<br />
brother asked). or "where's Roy<br />
Eldridge?" (as a magazine editor asked)<br />
may be raised. ("Where's Miles Davis?"<br />
He was in New York with a broken leg.)<br />
So all considered, perhaps it's best to<br />
forget grand-sounding themes-what is<br />
played at a festival is always the important<br />
thing, not what kind of fence is put<br />
around it (fences develop holes). …<br />
(shortened) …<br />
AN INTERESTING GROUPING; Of<br />
Stylists began the Sunday afternoon<br />
concert. Gillespie, Terry (playing<br />
fluegelhorn), and New Orleans-born<br />
trumpeter Henry (<strong>Red</strong>) <strong>Allen</strong> did a set<br />
that, while not outstanding, offered a<br />
good opportunity to compare three<br />
approaches to jazz. A unique fourth<br />
voice was added when Rex Stewart,<br />
with a borrowed trumpet, bounced on<br />
stage late in the set. Gillespie also played<br />
piano, and White and Collins from his<br />
quintet completed the group.<br />
<strong>Allen</strong>, Gillespie, and Terry exchanged<br />
choruses on Sometimes I´m Happy;<br />
Terry did a mellow Stardust, verse and<br />
chorus; <strong>Allen</strong> sang and played beautifully<br />
on a slow blues, his rough voice<br />
matching his rawedged, hot trumpeting;<br />
Stewart did his best playing of the<br />
weekend on Don't Get Around Much
- 143 -<br />
Anymore. <strong>The</strong> final number, A Night in chord structure (as do all Miss Williams' afternoon event was disappointing.<br />
Tunisia, brought all four brass men originals), and the singers, led by Tom Gillespie was featured with thefestival<br />
together, but <strong>Allen</strong> and Stewart Kenny, did a professional job on it, but it orchestra in Birk's Works, Dizzy's Business,<br />
seemed unfamiliar with the changes was not too moving emotionally. Not so two movements of Fuller's Angel City<br />
(which is understandable, since it is with the trio's version of My Blue Heaven, Suite, and On the Road to Monterey, also<br />
doubtful that it is a part of their usual Yesterdays, and a minor-key original. composed by Fuller.<br />
repertoires).<br />
Miss Williams was at her most imaginative Much of the writing sounded dated and, in<br />
<strong>The</strong> best part of Mary Lou Williams' on Yesterdays and the original. So bright some cases, hackneyed (the kind of music<br />
performance Sunday afternoon was not her was her playing and so clever her chord played for those big-city-rain-swept-streets<br />
St. Martin de Porres - a "serious" work voicing that Yesterdays did not sound as it scenes on television and in movies). <strong>The</strong><br />
performed by eight voices and an were in a minor key, which it was. On the band played soggily, and more often than<br />
instrumental trio, dedicated to the first original, her lines snapped like not the music came out heavy. Gillespie,<br />
Negro saint - but the portion that featured bullwhipsand seemingly moved White to who seemed distraced bysome of the<br />
Miss Williams' piano, White's bass, and play a bass solo different in concept from playing behind him, performed com-petently<br />
Collins' drums.<br />
those he plays with the Gillespie quintet. but without the inspiration he brings to his<br />
<strong>The</strong> Porres composition has interesting <strong>The</strong> most ambitious portion of the Sunday music when he is at his best.<br />
--------------------------------------------------------------------------------------------<br />
Whitney Balliett in <strong>The</strong> New Yorker 6/25/66: … (<strong>Red</strong> <strong>Allen</strong>'s) technically perfect Terry number, he suddenly became himself.<br />
his solo was strained and his generally ebullient almost His characteristic long melodic lines had become airborne and<br />
vaudeville stage manner was distracted and uncertain. <strong>The</strong> next his tone had taken on its usual crackle. It was a slow blues and<br />
numbers was even less complimentary. In the middle of it, in it he constructed three august chorusaes, sang as many more<br />
Gillespie and Terry, joined by the singer Jon Hendricks, broke in a soft, husky high voice, then closed the number with a<br />
into some nonsense singing; <strong>Allen</strong>, who is one of the climatic, high-noted chorus. That night, <strong>Allen</strong>, who had arrived<br />
redoubtable jazz singers, was unaccountably left at the back of from New York just the day before, flew home. Little else in the<br />
the stage, his trumpet swinging idly from crossed hands, a bleak weekend matched him. …<br />
smile on his face. When <strong>Allen</strong> played again, after a slick,<br />
--------------------------------------------------------------------------------<br />
MONTEREY SIGNS ARTISTS FOR JAZZ FESTIVAL: CD- <strong>The</strong>me for this year's festival is “<strong>The</strong> Tribute To <strong>The</strong><br />
9/4/65p14: Artists signed to date for the Eighth Annual Trumpet” according to Jimmy Lyons, Festival General<br />
Monterey <strong>Jazz</strong> Festival, Sep.17,18,19, are Louis Armstrong, Manager. Lions pointed out that the weekend festival will<br />
Dizzy Gillespie, Miles Davis, Henry James & his orchestra, feature the history of the trumpet in jazz, but will be<br />
Duke Ellington & his orchestra, <strong>Red</strong> <strong>Allen</strong>, Rex Stewart, musically balanced with a great variety of soloists, groups<br />
Harry”Sweets”Edison, and Muggsy Spanier.<br />
and orchestras featuring other instruments and vocalists.”<br />
occasionally fall-65, Blue Spruce Inn – <strong>Red</strong> <strong>Allen</strong> continued to work at several dates;<br />
occasionally <strong>Red</strong> <strong>Allen</strong> played together with his old Luis Russell friends on private meetings between his gigs:<br />
Higginbotham, Al Nicholas, Charlie Holmes, GreelyWalton, Pops Foster, Paul Barbarin; Unfortunately a plan of Richard<br />
B.<strong>Allen</strong> for a Luis Russell Band reunion never achieved fruition; “<strong>Red</strong> was was not bothered about the style of the resident<br />
group.” (source: John Chilton´s “Ride, <strong>Red</strong>, Ride” p191, as for the following information.<br />
late 1965, NYC., <strong>The</strong> Dom, a couple of set with Tony Scott Quartet (TonyScott & Quintet had played until late Sept. at the<br />
“Slugs”,242 East, 3rd St., then for several months at the Dom – often advertised, see JAZZ AD. Vol.3)<br />
VV-11/18/65p22 VV-11/4/65p12 &11/18p14 & 12/18p12 & many more<br />
Nov.65, first two weeks at NYC., L'Intrigue, a new club on W 56th St., <strong>Red</strong> <strong>Allen</strong> Quartet with ?Lannie Scott, ?Benny Moten,<br />
?George Reed; … Trombonist J.C.Higginbotham back from Denmark gig. … NYAN-11/20p22; Another source: <strong>Red</strong> <strong>Allen</strong><br />
joined pianist Ronnie Ball and bassist Jimmy Rowser for two weeks. <strong>The</strong> club also features owner-singer Nancy Steele.<br />
Coda Dec/Jan-65/6: <strong>Red</strong> <strong>Allen</strong> had played two weeks at the L'Intrigue Club. <strong>Red</strong> signed for UK-tour<br />
commencing mid Feb. and lasting 3 weeks. Original idea was for <strong>Red</strong> to have Budd Johnson , Dicky Wells , Sir Charles<br />
Thompson, Gene Ramey and Cozy Cole, but <strong>Allen</strong> was signed to come alone.<br />
11/21/65 Sun. Groton, Holiday Inn <strong>Jazz</strong> Festival part-5 with <strong>Red</strong> <strong>Allen</strong><br />
the below source or any other of the above<br />
clips is very probably out of:<br />
THE DAY, NEW LONDON, Conn., Fr. 11/19/65<br />
unknown source & date: (surely not: 11/21/54<br />
Billy Fellows a Smash! - Henry <strong>Red</strong><br />
<strong>Allen</strong> <strong>Jazz</strong> Star Sun; by Eve Holiday<br />
HOLIDAY INN, GROTON - One of<br />
the giants of American jazz, none<br />
other than HENRY RED ALLEN,<br />
stars in the Holiday Inn Fall Festival<br />
of <strong>Jazz</strong>, Part Five, this Sunday, Nov.<br />
21, from 5 to 9:00 P.M. in the Quarter<br />
Deck Lounge. <strong>The</strong> man whose trumpet<br />
virtuosity is ranked right up there with<br />
Satchmo himself, the grand old pro of<br />
the Fletcher Henderson, Artie Shaw,<br />
Lucky Millinder and Webb bands,<br />
trumpet spark of the legendary house<br />
band at that hallowed capital of jazz,<br />
New York s Metropole – HENRY<br />
RED ALLEN - here at the Inn this<br />
Sunday! <strong>The</strong> venerable horn man, by<br />
the way, was the arranger for the big<br />
hit of several years back, "Ragmop",<br />
and wrote both music and lyrics for<br />
the classic "Ride, <strong>Red</strong>, Ride!" Come<br />
on over to the Inn this, Sunday, friends,<br />
for the great Henry <strong>Red</strong> <strong>Allen</strong> and his<br />
storied horn as they swing in Part Five<br />
of the Festival of, <strong>Jazz</strong>. …(Su.11/28<br />
Carmen McRae at Holiday Inn)<br />
=============================================================================================
- 144 -<br />
12/5/65, 3 p.m.-4 a.m, N.Y.C., Luigi's, Greenwich Village - lst SHORTY BAKER BENEFIT CONCERT; - for Shorty serious<br />
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)<br />
Frankie Dunlap (d):Satin Doll / same & Max Kaminsky & Sol Yaged: … / Duke (p) Al Lucas (b) Hamilton (cl): C Jam /<br />
Clark Terry (p-t) Ram Ramirez (p)Herbie Lovelle (d) Aaron Bell (bb): Mubles / ... / Dicky Wells(tb) & Johnny Hodges &<br />
Son: Things Ain't … / Wells, Matthew Gee, Quentin Jackson, Benny Powell: ... / Roland Kirk & Aaron Bell (bb): ... / etc.<br />
among others were Sonny Greer, <strong>Red</strong> <strong>Allen</strong>, Howard McGhee, Jimmy Jones, Babs Gonzales, Big Nick Nicholas, Joe<br />
Newman, Tommy Flanagan, Marian McPartland, Bill Pemberton, Bobby Donaldson, Tony Scott, Jerome Richardson, Illinois<br />
Jacquet, Russell Procope, Harry Carney, Tom Whaley, Kenny Davern, ... (Stanley Dance, <strong>Jazz</strong> Journal 1/1966)<br />
( l0-nights later was a 2nd Baker benefit at Embers West, but without <strong>Red</strong> <strong>Allen</strong>)<br />
12/22/65, N.Y.C., Palm Gardens - PETE JOHNSON BENEFIT CONCERT - organised by Jack Bradley<br />
Bul.H.C.F.No.155/Feb.66: Huit orchestras se sont succédé (nous écrit Konrad Korsunsky) au concert organisé le 22 Dec.<br />
dernier per Jack Bradley et Jeann Failows au "Palm Gardens" de New York pour venir en aide a Pete Johnson. Participérent<br />
notamment á cette soirée: Max Kaminsky, Zutty Singleton, Cliff Jackson, Eddie Dougherty, Maxine Sullivan, Ruby Braff,<br />
Herman Autrey, Vic Dickenson, <strong>Red</strong> Richards, <strong>Red</strong> <strong>Allen</strong>, Milton Hinton, Jo Jones, Clerk Terry, Buddy Tate, Rudy<br />
Rutherford, Big Nick Nicholas, Jack Bradley va pouvoir adresser á Pete Johnson quelques centaines de dollars ...<br />
THE NEW YORK JAZZ BENEFIT SCENE by Dan Morgenstern, in Down Beat 3/1o/1966 (shortened):<br />
THE FIVE MAJOR jazz benefits held in New York during December differed in setting, turn , out, and atmosphere.<br />
<strong>The</strong>re were two for trumpeter Harold (Shorty) Baker,<br />
stricken with a throat tumor, and one for long ailing pianist<br />
Pete Johnson, plus the afore-mentioned benefit for the family<br />
of the late Frank Haynes. <strong>The</strong> fifth had a more cheerful basis:<br />
it was held to raise funds for WBAI, a noncommercial, listener-suported<br />
FM station that devotes considerable time to jazz.<br />
<strong>The</strong> first Baker benefit was organized by Fred Profilio, a<br />
Brooklyn trucker and devoted jazz fan, and held at Luigi's, a<br />
long, narrow, low-ceilinged establishment in Greenwich<br />
Village.<br />
It was perhaps the longest jazz benefit on record, running<br />
without interruption from 3 p.m. to 4 a.m. <strong>The</strong>re were 117<br />
musicians, plus numerous singers, taking part. Baker has<br />
been with Duke Ellington for several long stretches, and<br />
Ellington and several of his men dropped in after taping a<br />
television show in Brooklyn. <strong>The</strong> maestro himself offered<br />
Satin Doll to cheers and cries of "more" and retired gracefully.<br />
Johnny Hodges, a man who always takes his time, resisted<br />
all requests to play, contenting himself instead with several<br />
relaxed tastes at the bar. But he had brought his alto.<br />
Meanwhile, a trombone party was in progression the bandstand;<br />
the party participants were Dickie Wells, Quentin<br />
Jackson, Benny Powell, and Matthew Gee. Since all hands<br />
are seasoned section men, there was no problem with voicing<br />
riffs and other backgrounds as the solos progressed. <strong>The</strong>re<br />
was a blues, with Wells' potent preaching outstanding (he also<br />
was responsible for most of the on-the-spot arran-ging), and<br />
there was a ballad medley, during which Powell scored with a<br />
moving I Left My Heart in San Francisco that might have<br />
gladdened Tony Bennett's heart. At least it warmed Hodges'<br />
heart enough to make him unpack his horn. (He was perhaps<br />
additionally warmed by the sure, steady drumming of his son,<br />
Johnny Hodges Jr., who was backing the trombonists.<br />
In front of the trombone choir, the alto saxophonist<br />
launched one of those blues-with-bridge originals of which he<br />
has a vast supply, and soon the impromptu group sounded<br />
like a welloiled Ellington unit of long standing.<br />
What followed was mostly anticlimactic - until the arrival of<br />
Roland Kirk. the amazing Kirk soon set sparks flying with<br />
his several instruments. He was backed by a group including<br />
Aaron Bell on tuba, who subsequently joined Kirk in an<br />
exchange of musical comments running the gamut from<br />
upper-register reed cries to gruff brass growls.<br />
Abandoning his other horns, Kirk next concentrated on<br />
tenor for a rousing rendition of I Found a New Baby, during<br />
which he and pianist Marty Napoleon generated tremendous<br />
swing.<br />
<strong>The</strong>re were other good things: <strong>Red</strong> <strong>Allen</strong> playing and<br />
swinging in a relaxed mood, Ray Bryant's solid piano, the<br />
trumpets of Ruby Braff and Max Kaminsky, and a rare<br />
appearance by pianist Eddie Heywood.<br />
Most of the time, the place was packed, and it was clear that<br />
Harold Baker had made many friends in his profession:<br />
nearly everybody in the house seemed to know and care<br />
about the reason for his benefit.<br />
(without of interest: – 2nd Baker benefit concert )<br />
AT THE BENEFIT FOR Pete Johnson, held a ?week<br />
later at the Palm Gardens, a dance hall on W.52nd St. (but<br />
much farther west than the old jazz block), the musicians<br />
turned out in strength, but a sizable audience failed to materialize.<br />
After deduction of expenses, only $180 was left for<br />
Johnson, proof that a jazz benefit, if not properly promoted, is<br />
not a built-in success.<br />
Musically, however, the event was gratifying, and a number<br />
of veteran and younger mainstreamers and traditionalists too<br />
seldom heard in New York had a chance to show their stuff.<br />
Two organized bands - Cliff Jackson's group from Jirnmy<br />
Ryan's, and Peanuts Hucko's quintet from Eddie Condon's<br />
club - started things.<br />
A highlight of the Ryanite's set (with pianist Dill Jones, of<br />
the Condon bunch, subbing for the delayed leader) was the<br />
splendid drumming of Zutty Singleton. Though he will<br />
celebrate his 68th birthday in May, Singleton plays with the<br />
vigor of a young man, and few drummers have so invigorating<br />
a beat and so much joy and spirit in their playing. Veteran<br />
New Orleans clarinetist Tony Parenti, Max Kaminsky<br />
(subbing for Wild Bill Davison), and Herb Gardner, a<br />
young Boston trombonist, also did well. Gardner, who has a<br />
big sound, guts and flexibility, had a chance to display his<br />
mastery of plunger trombone in the Tricky Sam Nanton vein<br />
with a group including Jackson (a man with his own brand of<br />
Harlem piano), Joe Muranyi (the leader of the successful<br />
Village Stompers and a fine clarinetist), and the little-known<br />
trumpeter Leon Eason, a player with a strongly Armstrongtinged<br />
conception. <strong>The</strong>y followed the well-organized Hucko<br />
group, in which trumpeter Yank Lawson and trombonist<br />
Cutty Cutshall stood out.<br />
<strong>The</strong>re followed a rare treat-a set by Maxine Sullivan.<br />
Though her hair is now gray, Miss Sullivan's voice has lost<br />
none of its youthful charm, and her relaxed, understated<br />
delivery was a welcome contrast to the histrionics of most<br />
current girl singers.<br />
<strong>The</strong> evening's two best instrumental sets came next. First, a<br />
delightful impromptu band headed by Ruby Braff, who<br />
also performed yeoman service as the evening's music coordinator.<br />
It included saxophonists Bob Wilber (curved<br />
soprano) and Eddie Barefield (alto), pianist Chuck Foldes<br />
(a young man with two good hands), bassist Bill Crow, and<br />
drummer Eddie Dougherty, one of the few musicians<br />
present who had worked with Johnson.<br />
With Braffs pungent, singing cornet at the helm, the band<br />
hit anything but a Dixielandish groove. It offered subtle,<br />
swinging sounds on Sometimes I'm Happy, a medium blues,<br />
Take the A Train, Undecided, and Between the Devil and the<br />
Deep Blue Sea.<br />
It was music of a kind all too rarely heard these days-and<br />
more's the pity.<br />
In addition to sterling work by Braff, there was Wilber,<br />
joyous and imaginative; Barefield, whose real horn is the<br />
alto, though he more often is heard on clarinet, and whose<br />
style destills the best of the Hodges-Benny Carter and Charlie<br />
Parker traditions; and a flowing, tasteful rhythm section.<br />
(cont. on the next page)
Next came the long overdue New York debut of the Saints<br />
and Sinners, perhaps the best organized group of its kind<br />
around today. Led by pianist <strong>Red</strong> Richards, this splendid<br />
little band has ensemble unity, solo strength, a fine rhythm<br />
section, and a repertoire from traditional to mainstream.<br />
<strong>The</strong> group's opener was But Not for Me, played in an easyswinging<br />
tempo, followed by Benny Carter's seldom-heard<br />
Blues in My Heart. <strong>The</strong>n came the solo showcases-Please<br />
Don't Talk About Me When I'm Gone for Vic Dickenson's<br />
brilliant, sly trombone; Blueberry Hill for Herman Autrey's<br />
bright, steady trumpet and good-natured singing; I've Got a<br />
Right to Cry for Rudy Powell's clarinet, which was<br />
especially affective in the lower register, and Sleep,<br />
featuring Richards' deft piano in a trio setting (Frank<br />
Skeete, a strong bassist, sitting in for regular Danny Mastri,<br />
and Jackie Williams' steady, tasteful drums)<br />
After a brisk Lonesome Road, singer Jimmy Rushing<br />
joined the band, and as is his wont, broke up the place. <strong>The</strong><br />
Saints and Sinners provided expert backing, with Vic<br />
Dickenson particularly fetching.<br />
It was hard to follow this strong performance, but <strong>Red</strong><br />
<strong>Allen</strong> tried hard, aided by bassist Milt Hinton, drummer<br />
Jo Jones, and pianist Marty Napoleon. <strong>The</strong> trumpeter<br />
and the rhythm section were fine, but not much help was<br />
provided by Big Nick Nicholas, who played some good,<br />
pungent tenor, but for too long, and indulged himself in<br />
- 145 -<br />
his own brand of scat singing, fun only for a while.<br />
<strong>The</strong> next set held promise-what with trumpeter Clark<br />
Terry, tenorist Buddy Tate, Crow Wilber, Foldes, and<br />
French drummer Dave Pochonet. Terry had planned to<br />
introduce his old friend and fellow St. Louis trumpeter, Joe<br />
Thomas, after the first number, but that one number was all<br />
the group played. While all was going well, Big Nick<br />
emerged from backstage, barely gave Tate a chance to play,<br />
and attempted to challenge Terry to a scat duel. <strong>The</strong> trumpeter<br />
didn't lose his poise but was understandably irritated and<br />
brought the number to a fast conclusion.<br />
Thomas thus was forced to work with trombonist Snub<br />
Mosley, who had made plans for his own set.<br />
Mosley, who was one of the stars of Alphonse Trent's<br />
legendary big band of the late '20s, has a unique and<br />
explosive style, a big sound, and considerable showmanship.<br />
He also plays an instrument of his own devising-the slide<br />
saxophone, with a reed mouthpiece and trombone slide,<br />
emitting a sound like a soprano.<br />
Thomas' golden, lyrical sound and relaxed approach hadn't<br />
much chance in all this, but his wife, Babe Matthews, a fine<br />
singer with a style reminiscent of the late Ivie Anderson,<br />
scored with I Got It Bad.<br />
Since 1 a.m. was curfew for this event, the evening ended<br />
abruptly with Mosley's rendition of <strong>Red</strong> Top, Thomas<br />
managing to squeeze in a perfectly constructed solo<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
BENEFIT CONCERT HELD TO HELP PETE JOHNSON NYAN:12/25/65p18<br />
A giant jazz concert to aid pianist Pete<br />
Johnson, who has been inactive since<br />
1958 and who is badly in need of financial<br />
aid, was held Wednesday night at<br />
the Palm Gardens Ballroom on W.52nd<br />
St. at Eighth Ave. <strong>The</strong> affair was held<br />
under the auspices of Local 602 of the<br />
American Federation of Musicians.<br />
At press time the following musicians<br />
have offered to appear at this benefit:<br />
Blues shouter Jimmy Rushing and trumpeters<br />
Roy Eldridge and Clark Terry.<br />
This occasion will also mark the New<br />
York debut of the Saints and Sinners<br />
All Star Band. This local based band<br />
has toured the U.S. and Canada for the<br />
past five years but, surprisingly, has<br />
never appeared in New York City. <strong>The</strong><br />
band features <strong>Red</strong> Richards, Herman<br />
Autrey, Vic Dickenson, Rudy Powell<br />
and Jackie Williams.<br />
Others Playing<br />
Also on the bill are pianists Marty<br />
Napoleon, Ray Bryant, Cliff Jackson,<br />
Eddie Wilcox, Dill Jones, Tony Aless;<br />
trumpeters Ruby Braff, Joe Thomas,<br />
<strong>Red</strong> <strong>Allen</strong>, Max Kaminsky, Leon Eason,<br />
Yank Lawson; trombonists Cutty Cutshall,<br />
Snub Mosely, Jimmy Cheatham,<br />
Herb Gardner; clarinets Peanuts Hucko,<br />
Tony Parenti, Joe Muranyi; saxophonists:<br />
Buddy Tate, Eddie Barefield, Big<br />
Nick Nicholas; bassists Milt Hinton,<br />
Gene Ramey, Arvell Shaw; drummers<br />
Sonny Greer, Zutty Singleton, Morey<br />
Feld, Eddie Dougherty, Marcus Foster.<br />
This concert will be the second work<br />
of the U.S. and Europe Fund Raising<br />
Project for Pete Johnson – the first being<br />
“<strong>The</strong> Pete Johnson Story,” a book about<br />
Pete edited by Hans J.Mauerer.<br />
In 1958 the pianist was felled by a<br />
stroke, complicated by heart trouble and<br />
diabetis. since then he has been in and<br />
out of hospitals and barely able to<br />
sustain himself on a small government<br />
disability allotment.<br />
<strong>The</strong> Kansas City pianist first gained<br />
fame at the renowned 1938 Spirituals to<br />
Swing concert at Carnegie Hall and<br />
soon became largely responsible for the<br />
term boogie woogie becoming a household<br />
name. For many years he was<br />
featured at Café Society along with<br />
pianists Meade Lux Lewis and Albert<br />
Ammons and blues shouter Joe Turner.<br />
In 1952 he toured with the Piano Parade<br />
which also headlined Art Tatum, Erroll<br />
Garner and Meade Lux Lewis. His last<br />
big year was 1958 when he toured<br />
Europe and appeared at the Newport<br />
<strong>Jazz</strong> Festival.<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
early until late Feb.66, N.Y.C., Jimmy Ryan's longer<br />
engagement of <strong>Red</strong> <strong>Allen</strong> Trio (return after the UK-tour in<br />
April):<br />
Jimmy Ryan's is placking them nightly. This club really<br />
does phenomenal business, thanks to <strong>Red</strong> <strong>Allen</strong>, Tony<br />
Parenti, Cliff Jackson, Zutty Singleton, Marshall<br />
Brown. At the end of Feb., <strong>Red</strong> left for a 16 day tour of<br />
England with the Alex Welsh band. While he was out,<br />
he was ably replaced by Max Kaminsky. Coda<br />
April/May-66
- 146 -<br />
18th Feb.- 6th March 1966 UK "<strong>Red</strong>"<strong>Allen</strong> on a 17 days cross country tour<br />
with Alex,Welsh & his Band, the Bruce Turner Jump Band<br />
and jam sessions including one with the New Orleans All Stars<br />
2/18 Osterley, Rugby Football Club (AW) 2/28 Sunderland, Empire <strong>The</strong>atre (AW&NOAS)<br />
2/19 Birmingham, Digbeth Institute (AW) 3/1 afternoon: Liverpool, University (AW)<br />
2/20 London, BBC-2 TV - 'JAZZ 625" (AW) 3/1 evening: London-Chelsea, Six Bells (BT&Mixed band)<br />
2/21 Bexley,_Kent, Black Prince (AW) 3/2 Norwich, Stuart Hall , advert on p 168 (AW)<br />
2/22 Stafford, Staffordshire Yeoman (AW) 3/3 Bath, Regency Ballroom (AW)<br />
2/23 Southhampton, Concord <strong>Jazz</strong> Club (AW) 3/4 afternoon: Crawley, Starlight Ballroom (AW)<br />
2/24 London. National Film <strong>The</strong>atre (BT) evening: London, Ronnie Scott Club (Quartet)<br />
2/25 Lincoln, Co-Op Hall (AW) 3/5 Manchester, Sports Guide (AW)<br />
2/26 Nottingham, Dancing Slipper (AW) 3/6 afternoon: London, Douglas House (AW)<br />
2/27 <strong>Red</strong>car, Coatham Hotel (AQ) 3/6 evening: London, 100 Club-Oxford Str. (AW)<br />
New Orleans All Stars: Alvin Alcorn, Keith Smith(t) Jimmy Archey(tb) Darnell Howard (cl) Alton Purnell(p) Pops<br />
Foster(b) Cie Frazier(d); Tour form 2/4 until 3/1/66 Quartet: Stan Tracey(p) Jeff Clyne(b) Bill Eyden(d)<br />
2/20/66 Sun., London Marquee Club, telerecorded BBC-2TV-"JAZZ 625", transmitted 8/24/66 <strong>Red</strong> <strong>Allen</strong> (t,v) ALEX WELSH<br />
& HIS BAND: Alex Welsh (t) Roy Williams (tb) Johnny Barnes (cl,ts) Fred Hunt (p) Jim Douglas (g) Ron Mathewson<br />
(b) Lennie Hastings (d) *intermission narr. by Humphrey Lyttelton video tape wanted)/ 30:24 tape<br />
Stan´s Dance (Buck Clayton) possibly without <strong>Red</strong> <strong>Allen</strong> , not on my tape, listed in David Meeker-2005)<br />
1:04 intro: music & announcement probably by Humphrey Lyttelton RA-CD-26<br />
0:41 theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) RA-CD-26<br />
*0:08 3:16 AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-26<br />
*0:33 2:07 SWEET SUBSTITUTE -vRA (Jelly Roll Morton) RA-CD-26<br />
*0:20 4:18 CANAL STREET BLUES (King Oliver RA-CD-26<br />
*0:15 4:35 ST.LOUIS BLUES -vRA (W.C.Handy) RA-CD-26<br />
ROSETTA -vRA (Earl Hines) not on my tape, listed in David Meeker-2005)<br />
ALL OF ME -vRA (Seymour Simons-Gerald Marks) not on my tape, listed in David Meeker-2005)<br />
*0:15 4:51 MEDLEY: - JUST A CLOSER WALK WITH THEE -spRA (trad.) RA-CD-26<br />
- DIDN'T HE RAMBLE -sp&vRA (Handy-Randall) RA-CD-26<br />
- WHEN THE SAINTS GO MARCHING IN -spRA about N.O.men (trad.) RA-CD-26<br />
5:30 WHEN THE SAINTS GO MARCHIN IN -vRA&ch (trad.) RA-CD-26<br />
1:03 leave out announcement by the narrator & <strong>Red</strong> <strong>Allen</strong> RA-CD-26<br />
1:27 leave out: encore - WHEN THE SAINTS /cut RA-CD-26<br />
2/21/66 Mon., Bexley, Kent, Black Prince, "<strong>Red</strong>"<strong>Allen</strong>(t,v) & Alex Welsh & His Band: as above; private tape no longer exists<br />
DIDN'T HE RAMBLE ; WHEN THE SAINTS; NIGHT TRAIN;<br />
ST.LOUIS BLUES; HELLO DOLLY; ST. JAMES INFIRMARY & encore<br />
MUSKRAT RAMBLE; ALL OF ME; BILL BAILEY;<br />
2/24/66 London, National Film <strong>The</strong>atre, HENRY"RED"ALLEN (t,v) & BRUCE TURNER JUMP BAND: Ray Crane(t) Pete Strange(tb)<br />
Bruce Turner(as,cl) Ronnie Gleaves(vib) Fred Hunt(p) Ron Rubens(b) Doug Higgins(d) unfortunately the private tape no longer exists<br />
BALLIN' THE JACK; SWEET SUBSTITUDE; CHERRY RED;<br />
ALL OF ME & encore ROSETTA; ST.JAMES INFIRMARY & encore<br />
JUST A CLOSER WALK DID'NT HE RAMBLE; WHEN THE SAINTS;<br />
3/1/66 Tue. evening, Chelsea. London, Six Bells, <strong>Red</strong> <strong>Allen</strong> (t.v) & A MIXED BAND: Sandy Brown (cl) Tony Coe (ts)<br />
Bruce Turner (as) Ronnie Gleaves (vib) Fred Hunt (p) Ron Rubens (b) Doug Higgins(d) session although the musicians<br />
have not found together, an interesting jumping session unfortunately private taped by the band boy in very poor sound quality, it’s a pity<br />
1:41 STRUTTIN' WITH SOME BARBECUE (Armstrong-Raye) RA-CD-29<br />
10:30 ST.LOUIS BLUES -vRA (W.C.Handy) RA-CD-29<br />
7:39 INDIANA (J.F.Henley) RA-CD-29<br />
3:55 ALL OF ME -vRA (Simon-Mark) RA-CD-29<br />
5:01 encore: ALL OF ME -vRA RA-CD-29<br />
4:39 PATROL WAGON BLUES -RA (P.Grainger) RA-CD-29<br />
6:44 WON'T YOU COME HOME BILL BAILEY -vRA (Cannon) RA-CD-29<br />
10:00 CANAL STREET BLUES (King Oliver) RA-CD-29<br />
8:35 SWEET LORRAINE (C.Burwell-M.Parish) RA-CD-29<br />
2:10 encore: SWEET LORRAINE RA-CD-29<br />
5:27 RAG MOP -vRA (J.L.Wills-D.Anderson-H.<strong>Allen</strong>) RA-CD-29/RA-CD-26<br />
6:11 ST.JAMS INFIRMRY -vRA (J.Primrose) RA-CD-29<br />
5:25 TIN ROOF BLUES (N.O.R.K.) /RA-CD-26<br />
6:02 MEDLEY: DIDN'T HE RAMBLE - WHEN THE SAINTS -vRA (trad.) RA-CD-29<br />
3/4/66 Fri.afternoon, Crawley, Starlight Ballroom; <strong>Red</strong> <strong>Allen</strong>(t,v) & ALEX WELSH BAND: same as 2/20:<br />
1:57 JUST A CLOSER WALK WITH THEE -vRA (trad) private taped of very poor quality RA-CD-36/& -34<br />
1:01 DIDN'T HE RAMBLE -vRA (Handy-Randall) RA-CD-36/& -34<br />
8:19 WHEN THE SAINTS GO MARCHING IN & encore -vRA (trad.), RA-CD-36/& -34<br />
3/4/66 Fri. evening , London, Ronnie Scott's club <strong>Red</strong><strong>Allen</strong> (t,v) guest appearance with Stan Tracey (p), Jeff Clyne (b) Bill Eyden(d)<br />
for three numbers - Summertime, a blues and Love Me Or Leave Me. (not taped)
- 147 -<br />
3/6/66 Sun.afternoon, London, Douglas House; <strong>Red</strong> <strong>Allen</strong>(t.v) & same as 2/20: private taped of poor quality, not of interest<br />
4:35 BODY AND SOUL -vRA (J.Green-E.Heyman-R.Sour) RA-CD-36/& -34<br />
6:55 ST. JAMES INFIRMRY -vRA (J.Primrose) RA-CD-36/& -34<br />
8:28 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) RA-CD-36/& -34<br />
0:18 theme: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) RA-CD-36/& -34<br />
3:18 AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-36<br />
5:37 CANAL STREET BLUES (King Oliver) RA-CD-36<br />
2:34 SWEET SUBSTITUTE -vRA (Jelly Roll Morton) RA-CD-36<br />
5:25 ROSETTA -vRA (W.H.Woods-Earl Hines) RA-CD-36/& -34<br />
6.35 BASIN STREET BLUES (Williams) RA-CD-36/& -34<br />
9:34 MEDLEY: - JUST A CLOSER WALK WITH THEE -spRA (trad.) RA-CD-36<br />
- DIDN'T HE RAMBLE (Handy-Randall) - WHEN THE SAINTS with encore -sp&vRA (trad)<br />
5:18 ST.LOUIS BLUES -vRA (W.C.Handy) RA-CD-36<br />
4:48 RAG MOP -vRA (J.L.Willis-D.Anderson-H.<strong>Allen</strong>) RA-CD-37/& -34<br />
3/6/66 Sun.evening, London - 100 Club Oxford Street; same as above private taped of poor quality, not of much interest<br />
3:26 AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-37<br />
4:32 CANAL STREET BLUES (King Oliver) RA-CD-37<br />
3:09 SWEET SUBSTITUTE -vRA (Jelly Roll Morton) RA-CD-37<br />
6:41 ROSETTA -vRA (W.H.Woods-Earl Hines) RA-CD-37<br />
4:44 PATROL WAGON BLUES -vRA (Porter Grainger) RA-CD-37/& -34<br />
5:57 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA (trad.) RA-CD-37<br />
- DIDN'T HE RAMBLE - I THOUGHT I HEARD BUDDY BOLDEN SAY -vRA (J.R. Morton) RA-CD-37//& -34<br />
5:19 WHEN THE SAINTS GO MARCHING IN -vRA (trad.) RA-CD-37<br />
2:01 encore: WHEN THE SAINTS GO MARCHING IN -vRA (trad.) RA-CD-37<br />
4:40 ST.LOUIS BLUES -vRA (W.C.Handy) RA-CD-37<br />
4:44 SWEET LORRAINE (Mitchell-Parish-Burwell) RA-CD-37/& -34<br />
10:41 ST.JAMES INFIRMARY -vRA (J.Primrose) RA-CD-37<br />
into leave out: BILL BAILEY, WON'T YOU PLEASE (Canon) RA-CD-37<br />
Dear Franz,<br />
Many thanks for the book, and I assure you it was<br />
of great interest to me. I learned about jazz, back in<br />
1935, with the Spike Hughes and Fletcher<br />
Henderson records with <strong>Red</strong> and Higgy. So sorry<br />
I was not able to help you. My band played with<br />
Henry <strong>Allen</strong> about twice - and I think there were<br />
tape recordings but they have disappeared off the<br />
face of the earth.<br />
Where are the great performers now? Only Benny<br />
Carter remains from the classic period. Someone<br />
should do a Carter discography soon !<br />
Best wishes, I hope we will meet again soon,<br />
Bruce Turner 17/9/83<br />
37a High Street,<br />
Toddington,<br />
Beds, England<br />
Manchester 1964: Ray Crane-Pete Strange-Bruce Turner-<strong>Red</strong> <strong>Allen</strong><br />
"RED'S BLUES" by Charles Fox in <strong>Jazz</strong> Times 3-4/4.66; "<strong>The</strong> Guardian"...: 2/18 Osterley:<br />
Far too many modern <strong>Jazz</strong> players neg- loosened up Louis Armstrong's INFIRMARY, complete with lip-thrills and<br />
lect dynamics. <strong>The</strong>ir solos are often too symmetrical style, who fashioned a more audience-participation.<br />
long and too much on one level, techni- romantic approach, flaring across the bar- Somehow <strong>Allen</strong> contrives to be brash<br />
cally immaculate but lacking drama. lines, foreshadowing (along with Roy and sensitive almost simultaneously, his<br />
Henry'<strong>Red</strong>'<strong>Allen</strong> belongs to an earlier Eldridge) the innovations of Dizzy tone brassy and bold at one moment,<br />
breed. He known that vigour must be Gillespie.<br />
cloudy and expressive the next. Yet his<br />
balanced by restraint, that contrast is the On Friday evening the 58-year-old identity remains distinct, and he always<br />
secret that really matters. Certainly his trumpeter threw in a bit of rabble- sounds amazingly modern. No wonder<br />
methods paid off last Friday, when he rousing, including a treatment of that Don Ellis, 27 years his junior,<br />
completely captivated the very youthful "WHEN THE SAINTS" that made this recently called <strong>Allen</strong> the most avant-<br />
audience which crushed into the Osterley well-thumbed number sound surprisingly garde trumpet player in New York.<br />
Club for the first performance in <strong>Allen</strong>'s fresh. But he also produced the ravishing Excellent support was given by the Alex<br />
17-day tour of Britain.<br />
PATROL WAGON BLUES, where his Welsh band, a group which grows more<br />
Showmanship, of course, is one of the singing achieves the same kind of ragged and more electric as the years roll by. Its<br />
crafts that Henry <strong>Allen</strong> has learnt over lyricism as his trumpet playing. <strong>The</strong>re star soloist is Johnny Barnes, a unlike<br />
the years. His father was a band-master was a leisurely SWEET LORREINE either Harry Carney or Gerry Mulligan, a<br />
in New Orleans, and <strong>Allen</strong> worked with (melting into JUST A CLOSER WALK rare feat in itself. His playing has a<br />
King Oliver in the twenties, and with the WITH THEE, a version of BALLIN' flexibilty which must ,be hard to achieve<br />
Luis Russell and Fletcher Henderson THE JACK which made forget that on an instrument which has, as it where,<br />
bands in the thirties. Historically he is an Danny Kaye ever tempered with the song, a built-in time-lag.<br />
important musician, the man who and a melodramatic ST.JAMES<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------
- 148 -<br />
Sinclair Traill in <strong>Jazz</strong> Journal 3/66:When <strong>Red</strong> <strong>Allen</strong> left here in<br />
the summer of 1964, after what had been a most successful tour,<br />
he told-me that he would be living for the day when he returned<br />
to once again blow his horn for British audiences. Henry's first<br />
visit to these shores, was to understate the case, a happy one.<br />
Outside jazz, and <strong>Red</strong> to me always evokes the very essence of<br />
the music , Henry built up a very real human bond of affection<br />
with all (well, nearly all) the bands with whom he played. Now<br />
back again, once more in harness with Alex Welsh, <strong>Red</strong> on his<br />
opening night, pulled out all the stops. And let's face it, the<br />
Welsh Band have improved enormously since, Henry played<br />
with them last. <strong>The</strong>y were good then, now I should say they are<br />
remarkable. Roy Williams has become an exiting trombonist,<br />
and in Johnny Barnes the band have one of the best jazz<br />
musicians in the country today. As usual Alex himself is as<br />
a sound as a –bell, and the rhythm section have with time,<br />
learnt that it is not always necessary to play loudly to play<br />
good. drums. I think Henry was a little surprised at his<br />
opening at Osterley, but that he was happy with what he<br />
heard there. was not the slightest doubt. He led the band<br />
with power packed phrasing that had them all swinging,<br />
and his solos were played with that clean, open brass tone.<br />
Now and again he unleashed his own individual growl<br />
effects, his playing and singing being an intensely personal<br />
jazz message from one of the last of the truly great New<br />
Orleans jazz trumpeters.<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
HENRY RED ALLEN by Albert McCarthy in <strong>Jazz</strong> Monthly 4/66:<br />
I heard Henry <strong>Allen</strong> on five occasions<br />
after his opening at the Osterley <strong>Jazz</strong><br />
Club on 2/18. the venues being the "Six<br />
Bells" at Chelsea (3/1), a dance Hall at<br />
Crawley followed by an informal sitting<br />
at Ronnie Scott's Club (3/4) and during<br />
his final engagements of the tour on 3/6<br />
at Douglas House and loo Oxford<br />
Street. It is clear from a reasonably<br />
adequate opportunity to listen to him a<br />
different surroundings that reports based<br />
on a single performance can be and often<br />
are misleading.<br />
On the 6th I left Douglas House after<br />
the first set and am told that the second<br />
one was superior, but .this U.S.service<br />
men's club had an audience who seemed<br />
rather disinterested in the music, apart<br />
from a small minority, and significantly<br />
the loudest request was for <strong>The</strong> Saints.<br />
<strong>The</strong> later show at loo Oxford Street<br />
brought forth some fine playing from<br />
Henry, notably so when one bears in<br />
mind that he was struggling to overcome<br />
a bout of influenza at the time, and he<br />
was particularly delighted with the presensation,<br />
in the course of the evening,<br />
of a scroll from the West London <strong>Jazz</strong><br />
Club Association in recognition of his<br />
acceptance of the presidency of that<br />
organisation. However, the oxygen<br />
content at l00 Oxford Street was rather<br />
below what I find tolerable and I was<br />
forced to seek air during parts of his<br />
sets. In view of this my impressions are<br />
taken from the four other engagements<br />
mentioned.<br />
Osterley <strong>Jazz</strong> Club, whose premises<br />
are the clubhouse of the rugby team<br />
which sponsors it, is not easy to reach<br />
and it says a great deal for the enterprise<br />
of the founders that they run into own<br />
bus service from Osterley station and<br />
other points to the club. In addition one<br />
must add that very few clubs are as<br />
hospitable to visiting jazz journalists. It<br />
now seems a tradition that tours of<br />
visiting soloists commence at Osterley<br />
and arriving after Henry <strong>Red</strong> <strong>Allen</strong> had<br />
commenced his first set it was immediately<br />
apparent that he was in good form<br />
both musically and personally. <strong>The</strong><br />
familiar cries of "make him happy" and<br />
"nice" brought back memories of the<br />
Metropole where I heard Henry a great<br />
deal in 1958 and his repertoire was a<br />
balanced mixture of standards and<br />
numbers like Patrol Wagon Blues with<br />
which he is associated.<br />
<strong>The</strong> dance hall at Crawley was a less<br />
suitable venue and frankly one<br />
wondered why they bothered to book<br />
him to play a single set. Fortunately<br />
there were some jazz fans present and he<br />
soloed very well indeed, including here a<br />
version of Buddy Boden's Blues that was<br />
extremely striking. Later that night he<br />
visited Ronnie Scott's club and sat in<br />
with Stan Tracey(piano), Jeff Clyne<br />
(bass) and Bill Eyden (drms) for three<br />
numbers - Summertime, a blues and<br />
Love Me Or Leave Me. His version of<br />
Summertime was very fine, bringing out<br />
the full range of his dynamic contrasts<br />
and the obliqueness of his melodic<br />
variations, the trio, who had never<br />
played with him before, providing a very<br />
professional and apt backing. It was<br />
amusing to hear his success with what<br />
must have been a predominantly<br />
modernist audience in drawing the<br />
required responses to his "oh,yeh"<br />
routine! It may be that Henry play at the<br />
Scott club in future though he genially<br />
assured the audience that "I'm not giving<br />
an audition you know. "<br />
During all but about two engagements<br />
the accompanying band was Alex Welsh's<br />
and the praise which this group has<br />
received is merited. <strong>The</strong> rhythm section<br />
of Fred Hunt (p), Jim Douglas g) Ron<br />
Matthewson (b) and Lennie Hastings(d)<br />
is an integrated one and Hunt's sensitive<br />
support was much appreciated by Henry.<br />
Jim Douglas took a number of<br />
interesting solos, only once reverting to<br />
the dreaded banjo on a burlesque version<br />
by the band of When <strong>The</strong> Midnight Choo<br />
Choo Leaves For Alabam. Roy Wiliams<br />
is an excellent trombone soloist and<br />
Johnny Barnes reveals an individual style<br />
on baritone sax which I prefer to his<br />
admittedly very proficient clarinet<br />
playing. Alex Welsh himself did pot<br />
play with Henry <strong>Allen</strong> on any date at<br />
which I was present but prior to his<br />
guest taking the stand was heard in a<br />
number of well constructed and<br />
balanced solos. <strong>The</strong> present success of<br />
the Welsh band is heartening in as far as<br />
it seems to prove that an adherence to a<br />
policy of good music can ultimately be<br />
rewarded.<br />
<strong>The</strong> 'Six Bells' session was with a<br />
pick-up group which included Fred<br />
Hunt - at Henry <strong>Allen</strong>'s request - from<br />
the Welsh band and a frontline of Bruce<br />
Turner(alto) Tony Coe(tenor) and<br />
Sandy Brown(clarinet). This was an<br />
uneven session but although there were<br />
rough spots these were more than offset<br />
by the brilliance of many of the solos<br />
and on this occasion Henry <strong>Allen</strong> played<br />
so superbly on many numbers, including<br />
a marvellous version of Sweet Lorraine,<br />
that the other musicians, including<br />
Ronnie Greaves(vibes), played well<br />
above themselves. <strong>The</strong>re were so many<br />
fine solos that it is perhaps invidious to<br />
single out particular ones, but I recall in<br />
particular Bruce Turner's on Patrol Wagon<br />
and Sweet Lorraine, Sandy Brown's on<br />
Canal Streeet Blues and Tony Coe's on,<br />
of all numbers, <strong>The</strong> Saints. In retrospect I<br />
would say that this was one of the most<br />
stimulating jazz performances that I<br />
have heard in this country and it is<br />
fitting that the "Six Bells", saluted many<br />
years ago by Spike Hughes in his Six<br />
Bells Stampede, should now, under its<br />
jazz loving land-lord, Bill Nicholls -<br />
another great dispenser of hospitality<br />
incidentally-be one of' London's leading<br />
jazz centres.<br />
Henry <strong>Allen</strong> is a showman who believes<br />
in entertaining his audience, yet his<br />
raucous amiability on stand, to use<br />
Martin William's apt phrase, should not<br />
disguise the fact that he is a musician<br />
proud of his background and his contribution<br />
to jazz and one, above all, who at<br />
his best is one of the most creative<br />
performers in the history of the music.<br />
<strong>The</strong> amazing diversity of his playing is<br />
fascinating, for the interperses passages<br />
of great power and volume with others<br />
of extreme delicacy and makes the<br />
whole seem entirely logical. His control<br />
of dynamics can be equalled by few<br />
others and the tonal range he employs is<br />
considerable, including growl effects<br />
achieved without the aid of a plunger<br />
that are highly personal. <strong>The</strong> melodic<br />
variations on such numbers as Sweet<br />
Lorraine, Rosetta and Body And Soul<br />
are often oblique; sometimes<br />
extraordinarily imaginative, and he can<br />
sustain lengthy solos without becoming<br />
repetitious. It is no accident that<br />
musicians as diverse in style as Miles<br />
Davis, Don Ellis, Dizzy Gillespie and<br />
Louis Arm-strong are admirers of <strong>Allen</strong>he<br />
was the only musician ever to get<br />
featured billing in Armstrong's big bandfor<br />
these men have assessed his worth<br />
rather better than many critics. Henry<br />
<strong>Allen</strong> played some of the finest jazz I<br />
have heard during this tour-his vocals<br />
are an extension of his trumpet playing<br />
in every sense-and when he returns to<br />
this country any jazz lover, irrespective of<br />
stylistic inclinations, should make every<br />
effort to hear him.<br />
To close on a personal note I might<br />
mention that while he was in this country<br />
I had the pleasure of tape recording his<br />
autobiography for future publication by<br />
Cassell's. <strong>The</strong> choice of a title came<br />
naturally - MAKE THEM HAPPY !<br />
=================================================================================
<strong>Jazz</strong> Beat (UK) March-1966 p24<br />
henry allen now<br />
by Anthony Barnet<br />
HENRY RED ALLEN is one of the<br />
most rewarding trumpet players to listen<br />
to. His February/March tour is the third<br />
welcomed opportunity we have had in<br />
England in recent years to confirm the<br />
brilliance of his personality as an entertainer<br />
and a creative musician.<br />
Henry <strong>Allen</strong> was born in Algiers, Louisiana<br />
in 1908. He worked on the river<br />
boats with Fate Marable and later with<br />
King Oliver in Chicago, and Luis Russell.<br />
His emergence in the early 1930's as a<br />
major jazz soloist was assured by the time<br />
he joined Fletcher Henderson - though<br />
Whitney Balliett, in a fine chap-ter on<br />
Henry <strong>Allen</strong> in Dinosaurs in the Morning,<br />
notes well that the preeminence of Louis<br />
Armstrong during these years was<br />
unfortunate in as much as it helped to<br />
obscure the efforts and achieve-ments of<br />
other trumpet players some of whom,<br />
Henry <strong>Allen</strong> for example, had developed<br />
their own originality. During the late<br />
1930's Henry <strong>Allen</strong> was a member of the<br />
big band led by Louis Armstrong and<br />
from the 1940's onwards he prefer-red to<br />
play mostly in small groups with fine<br />
musicians such as J.C.Higginbotham and<br />
Buster Bailey.<br />
Perhaps the most interesting aspect of<br />
Henry <strong>Allen</strong>'s work of the last decade is<br />
his assimilation of modern trumpet techniques<br />
and ideas which he has remodelled<br />
for his own purpose within the broad<br />
pattern he has used his life. His role as a<br />
link in the development of jazz trumpet<br />
- 149a - Addenda<br />
have been overlooked for a while too<br />
long; you can trace a line through Henry<br />
<strong>Allen</strong> with, say, Bill Coleman, Roy<br />
Eldridge, Bill Dillard, Charlie Shavers,<br />
with Louis Armstrong at one end and<br />
Dizzy Gilles-pie at the other.<br />
In January 1965 trumpeter Don Ellis<br />
took the trouble to write for Down Beat<br />
an appreciation of Henry <strong>Allen</strong> and referred<br />
to him as "the most avant-garde<br />
trumpet player in New York City." Well,<br />
maybe there are people who like Henry<br />
<strong>Allen</strong> who took exception to that observation<br />
but there is a good measure of truth<br />
in it and Henry <strong>Allen</strong>'s associa-tes on<br />
recordings over the last few years -Kid<br />
Ory included - haven't necessarily indicated<br />
the way of his playing. Instead it<br />
illustrates his standing as an essential-ly<br />
individual musician. <strong>The</strong> authority of his<br />
music is not questioned and he gives<br />
value to sessions which otherwise might<br />
be pointless.<br />
Henry <strong>Allen</strong> displays an exceptional<br />
sense of dynamics and rhythmical control.<br />
With his fine feeling for the blues this<br />
enables him to draw upon a remarkable<br />
range of effects which sustains in the<br />
listener a high level of interest. Instead of<br />
repeating time-proven phrases he is happy<br />
to search for fresh ideas, to take risks. But<br />
his ability is such that what first appears<br />
as a risk develops into an imaginatively<br />
constructed musical statement. If he is<br />
occasionally erratic then, in the face of his<br />
frequent succes-ses, he is all the more<br />
interesting.<br />
If any one doubts the value of hearing<br />
Henry <strong>Red</strong> <strong>Allen</strong> in person "he had", as<br />
style is hardly disputable though it may<br />
Don Ellis advised, "better go and listen to<br />
<strong>Red</strong>—closely".<br />
=====================================================================================<br />
REFLECTIONS ON "RED" George Ellis discusses the recent Henry <strong>Allen</strong> tour in <strong>Jazz</strong>beat 4-1966<br />
THE task of covering several of Henry<br />
"<strong>Red</strong>" <strong>Allen</strong>'s appearances in the South<br />
was one that I awaited with eager anticipation.<br />
I remembered Henry's last<br />
appearance here, and that mammoth<br />
Mancunian weekend in April, 1964, an<br />
event from which I recovered very slowly.<br />
This time there were to be several organisational<br />
changes. Almost the whole of<br />
the tour was pencilled in with the Alex<br />
Welsh Band. In the event, they were<br />
always in close and sparkling attendance,<br />
and this I think made for a closer liason<br />
between <strong>Allen</strong> and his accompanying<br />
musicians, if accompanying is indeed the<br />
right word. This Welsh Band, going<br />
from strength to strength these days, are<br />
more than just a good backing for an<br />
American star - they are also one of the<br />
finest jazz groups playing anywhere today.<br />
<strong>The</strong> tour was a strenuous one. Nineteen<br />
consecutive evenings of one nighters,<br />
Southampton, Nottingham, Norwich,<br />
and so on. "Man, we covered some<br />
territory," said Henry. <strong>The</strong> fact that he,<br />
at fifty eight, took everything in his<br />
stride was indicative of his tremendous<br />
energy, but more than this, never once<br />
did his remarkable improvisational<br />
ability show any signs of weakening.<br />
Although his repertoire varied little, the<br />
astonishing burst of extemporisation, that<br />
little something new when you were least<br />
prepared for it, were sufficient to bring a<br />
smile of pleasure to the many familiar<br />
faces of the critical fraternity always<br />
present.<br />
Certainly, the atmosphere on the<br />
opening night at the Osterley Rugby<br />
Football Club premises was electric.<br />
From the first bars of "Louisiana," the<br />
Welsh boys showed just why they are<br />
the automatic choice for the big occasion.<br />
<strong>The</strong>ir stage presence, relaxed and yet<br />
confident, their good taste, in both solo<br />
and ensemble - all these things were<br />
apparent at once, <strong>The</strong>re are no passengers<br />
in the Welsh band, every man is a<br />
star performer. Johnny Barnes, multiinstrumentalist<br />
supreme, went from baritone in<br />
the opening number to clarinet on a fast<br />
"Indiana," and then to alto for the band's<br />
celebrated version of "My Man."<br />
A strange coincidence indeed that this<br />
number was chosen to precede the star<br />
guest's appearance. <strong>Allen</strong> knows all<br />
about "My Man" but uses it purely as a<br />
greeting when spotting a familiar face in<br />
the audience. <strong>The</strong> inevitable "What ya<br />
say there, John" (to Kendall of Dobell's)<br />
and we were swept into a fast "<strong>Jazz</strong><br />
Band Ball," followed in quick<br />
succession by "Hindustan," "Sweet<br />
Substitute" (<strong>Red</strong>'s vocal still recalls Jelly<br />
Roll Morton), "Rosetta," "Canal Street<br />
Blues" and "Just A Closer Walk With<br />
<strong>The</strong>e," culminating in an extended slow<br />
and fast work-out on what Henry refers<br />
to as "<strong>The</strong> Saints Marchin' In." No lack<br />
of ideas even on this old war-horse - all<br />
the fire, invention and unexpected<br />
embellishments so typical of the man - in<br />
fact Henry was playing better than ever.<br />
Obviously the audience thought so too,<br />
for when I returned after a little liquid<br />
refreshment, the house had just about<br />
doubled, or so it seemed. I spent the rest<br />
of the evening squatting on the stage edge,<br />
moving to the right when necessary to<br />
avoid Roy Williams' trombone slide.<br />
After the band had prepared the way<br />
with Dicky Well's arrangement of "Devil<br />
And <strong>The</strong> Deep Blue Sea" (a great<br />
success throughout the tour incidentally)<br />
and the "Midnight Choo Choo" had<br />
left for Alabam, <strong>Allen</strong> returned to a<br />
tremendous ovation. "St.Louis Blues,"<br />
"St. James Infirmary," "Ballin <strong>The</strong> Jack,"<br />
"Patrol Wagon Blues," "Sweet Lorraine"<br />
and a reprise of "Closer Walk" (both<br />
expertly lyrical), a fast "Bill Bailey," and<br />
it was all over. Clearly, a first night of<br />
some consequence.<br />
Many of the same numbers were<br />
played on the Marquee BBC 2 outing<br />
two nights later. Henry was superb on<br />
"Rosetta," and "All Of Me" provided a<br />
change from the established repertoire,<br />
with <strong>Red</strong>'s laconic vocalising recalling<br />
his work with the pick-up groups on all<br />
those fine records during the mid-thir-ties.<br />
Definitely, a performance not to be<br />
missed when the show is televised.<br />
<strong>The</strong> following evening, at "<strong>The</strong> Black<br />
Prince," Bexley, although the atmos-
phere of the Osterley opener was missing,<br />
and a ghastly selection of "pop"<br />
records were played at full volume for<br />
half an hour during the interval, the<br />
playing by "<strong>Red</strong>" and the band hit the<br />
highest peak of all the performances I<br />
attended. Although Alex and the boys<br />
changed much of their programme -<br />
notable examples were a rocking "Night<br />
Train" and a "Stardust" for Roy<br />
Williams almost ruined by bad<br />
amplification - Henry kept his standard<br />
material (never the same solos anywayl)<br />
with two brilliant exceptions. Firstly, a<br />
"Hello Dolly" with a new dress, and then<br />
"Muskrat Ramble," on which the most<br />
incredible things happened. Like "<strong>The</strong><br />
Saints" " Muskrat" may have been done<br />
to death, but it's a great number, and<br />
"<strong>Red</strong>'s" treatment was astounding. I<br />
cannot put this over on paper. You<br />
simply had to be there.<br />
<strong>The</strong> evening at the National Film<br />
<strong>The</strong>atre was only partially successful, in<br />
spite of the sell-out house. I don't<br />
particularly enjoy all those film snippets,<br />
- 149 -<br />
although it was good to see the Rex<br />
Stewart - Slim Gaillard - Slam Stewart<br />
sequence from "Hellzapoppin" again in<br />
spite of the poor quality. This was the<br />
only date that "<strong>Red</strong>" played away from<br />
the Alex Welsh Band. On this occasion,<br />
the Bruce Turner jump Band, with<br />
Fred Hunt guesting on piano, turned in a<br />
sound performance, but battled in vain<br />
to surmount the complete lack of<br />
atmosphere. It has to be admitted that<br />
the NFT is not a good place for jazz, and<br />
why, oh why, doesn't Bruce Turner do<br />
something about his announcing? After<br />
all, there's only one Spike Milligan!<br />
"<strong>Red</strong>" displayed all his fleet lyricism on<br />
"All Of Me" enhanced by the Turner alto,<br />
tried a new set of variations of "Rosetta,"<br />
and interrupted his vocal on "St. James"<br />
to make way for some reflective piano<br />
variations from Hunt ("My man Fred").<br />
"Cherry <strong>Red</strong>" featured Ronnie Gleaves<br />
on vibes, Pete Strange roaring away to<br />
little effect on trombone, Turner in a<br />
succession of brilliant choruses, before<br />
"<strong>Red</strong>" took over and played his best solo<br />
of the night. So on to the "Closer<br />
Walk"/"Saints" feature ("like you dug in<br />
the film," said Henry. refer-ring to the<br />
graveyard sequence shown earlier, the<br />
opening scene from "Pete Kelly's<br />
Blues") which by now was incorporating<br />
"Oh, Didn't He Ramble." A couple of<br />
good alto choruses from Bruce on this<br />
one.<br />
<strong>Allen</strong>'s final appearance of the tour<br />
took place at jazzshows in Oxford<br />
Street on a very warm Sunday evening.<br />
Henry included "I Thought 1 Heard<br />
Buddy Bolden Say" with more of that<br />
Morton like vocal and a great trumpet<br />
chorus. He satisfied requests for "Canal<br />
Street" and "Sweet Lorraine" and played<br />
so well that it was almost impossible to<br />
believe that he had just completed<br />
nineteen consecutive appearances. It is<br />
said that when Vic Dickenson toured<br />
here recently he remarked "I wish I had<br />
Rockerfeller's money and Henry <strong>Allen</strong>'s<br />
memory I " Speaking for myself I wish I<br />
had his stamina (and I don't mean dog<br />
food!). with below photo:<br />
-------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Max Jones in Melody Maker 2/26/66. - RED ALLEN AT OSTERLEY<br />
HENRY ALLEN has been playing Jack" and "Bill Bailey", but those with Williams and • Johnny Barnes weighed<br />
trumpet for some forty-five years, but ears for what he's playing on his best in with good solos then and later.<br />
still retains his enthusiasm and indivi- choruses will nevertheless leave <strong>Red</strong>'s <strong>Red</strong> <strong>Allen</strong> hounded out and seized the<br />
dual touch.<br />
recital with just that impression. crowd at once with a shout of "Look<br />
He Is, today, a remarkable figure in His tone, fluctuating between whisper out! St Louis," with a fast first chorus<br />
trumpet <strong>Jazz</strong>: a sort of traditional super- and blast, between the cool and the and tempo break-back for his vocal, and<br />
man whose wayward improvisations are vibrant, is not akin to those of most with a typical flutter-tongued ending.<br />
repeatedly surprising on account of their modernists - for which I am grateful. Throughout the show, <strong>Red</strong> never let<br />
modern character.<br />
On Friday's tour opening at Osterley, go of his grip on the audience. And the<br />
It may not he easy to create an impress- <strong>Allen</strong> took the stand after the Welsh band Welsh-men, joined again by Alex for<br />
sion of up-to-dateness via such ever- had warmed the crowd. Welsh was play- the finale, supplied the kind of support<br />
greens as "St Louis Blues", "Ballin <strong>The</strong> ing as well as I have heard him, and Roy that can best be called princely.—M.J.<br />
------------------------------------------------------------------------------------------------------------------------------------------------<br />
Max Jones in Melody Maker about the 6/24/66 concert w.Bruce Turner<br />
HENRY ALLEN with Bruce Turner's Rex Stewart and Duke Ellington. Turner's band, tentative at times<br />
Jump Band at London's National Film <strong>Red</strong>'s playing had the expected through rehearsal shortage, was well<br />
<strong>The</strong>atre on Thursday was a different contrasts of tone and volume plus many blessed with solo talent. Lined up for the<br />
proposition from <strong>Allen</strong> with Alex Welsh; unexpected twists, and relaxed s1ow - occasion were Turner (alto, clt), Ray<br />
but still a satisfying one. He came on for tempo choruses on "Closer Walk", Crane (tpt), Pete Strange (tmb), Ron<br />
the second half - after a programme of "Saints" and "Rambly" were bonus Ruben (bass), Fred Hunt (pno), Ronnie<br />
film excerpts which featured Oscar pleasures. So were his casual vocals on Gleaves (vibes), and Doug Higgins<br />
Peterson, Bessie Smith, Ella Fitzgerald, three or four songs.<br />
(drs). — MJ<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
John Chilton in Storyville-June 1966p7(complete article in Long after that excellent but exhausting session had finished,<br />
part-1a, p9): <strong>Red</strong>' s entry to his session at the 'Six Bells', in an overcoated <strong>Red</strong> <strong>Allen</strong> heard of a fan who had travelled<br />
Chelsea provided a memorable moment. He waited in the along way to hear him, but through train delays had arrived<br />
shadows at the back of the hall, listening appreciatively to an too late. Henry promptly unzipped his case, muted his trumpet,<br />
all-star band's rendering of 'Strutting with some barbecue', then, and played a request for an ever-gratefull fan. Such is the<br />
the restless urge to join in proved too much - from a distance of warmth and kindliness of Henry '<strong>Red</strong>' <strong>Allen</strong>, a big-framed, big-<br />
fully sixty feet <strong>Red</strong> swung along with the band for three of the hearted personality who has won life-long friends everywhere<br />
most exciting choruses that I've ever heard.<br />
from New Orleans to Newcastle.<br />
------------------------------------------------------------------------------------------------------------<br />
JAZZ TIMES 3-4 (4.66)-WLJS-NEWS: Henry'<strong>Red</strong>'<strong>Allen</strong> was officially 'inducted' as Honorary President of the West London<br />
<strong>Jazz</strong> Society on March 6th 1966, being presented with a certificate of office by Committee man John Boddy during a session at<br />
London's loo Club. <strong>Red</strong> subsequently enshrined you editor's name (Steve Lane) in song. I aim to return the compliment by<br />
adding a suitable verse to my band's version of "Oh <strong>Red</strong>".<br />
-------------------------------------------------------------------------------------------------------------------------------------------------------<br />
PC-2/19/66p13: … According to A.D.Smith, cousin of Henry”<strong>Red</strong>”<strong>Allen</strong>, the<br />
tall trumpeter will have done a series of concerts in London by the time this<br />
drive hits the newsstands. He´ll return in March.<br />
PC-3/15/66p13: By this drivel hits the newsstands in foreign lands, Henry<br />
”<strong>Red</strong>”<strong>Allen</strong> will be “Feeling Good” after doing an afternoon and evening at the<br />
Douglas House and <strong>Jazz</strong> House respectively in London.<br />
Don Locke in <strong>Jazz</strong> Monthly 7/66: So Far an I can tell the Sunderland Empire<br />
must have been packed with the deaf on the night of 2/28th. <strong>The</strong> New Orleans<br />
All Stars shared the bill with <strong>Red</strong> <strong>Allen</strong> and the Alex Welsh Band, and I<br />
think most of us feared an anti-climax when <strong>Allen</strong> was used to open the concert.<br />
He didn't feel any happier after the opening number in the second half ("Not only<br />
are they all so old," someone whispered in my ear, "<strong>The</strong>y are all so small") , but <strong>Red</strong> <strong>Allen</strong> – <strong>Jazz</strong>beat 4-1966, but from 1964<br />
once<br />
-----------------------------------------------------------------------------------------------------------------------------------------------they<br />
settled down they played excellently. ...
- 150 -<br />
"New Orleans All Stars" back row from left: Jimmy Archey,<br />
Darnell Howard, "Cie" Frazier, front row from left: Alton<br />
Purnell, Alvin Alcorn, "Pops" Foster;<br />
Keith Smith covernotes 1974 on Rarities-60(complete article to<br />
Kid Ory-1959 on p78):… I first met 'Energy' as Henry <strong>Red</strong> <strong>Allen</strong><br />
affectionately became known, in London when he was touring<br />
with Kid Ory's band, some twenty years ago. …<br />
Several years later, while <strong>Red</strong> was with the Alex Welsh band<br />
in Europe, we met again. At the same time I was in Europe with<br />
the "New Orleans All Stars" (see above) incl. Alvin Alcorn -<br />
<strong>Red</strong>'s in-law and like <strong>Red</strong>, an ex-Kid Ory man, and myself also<br />
on trumpet), and during that tour the two bands did some<br />
concerts together. That was a ball! <strong>Red</strong> hadn't seen most of<br />
those guys in that All Star band for years,<br />
so these concerts were wetter than any army reunion party!<br />
During the night too - it didn't stop - with a crate of their<br />
favourite brew on board, "Newcastle Brown Ale", the coach<br />
drove off, and within no time the tales were flowing freely,<br />
<strong>Red</strong> in top form.<br />
<strong>Red</strong> learnt that, after that tour, I was coming to the States to<br />
live, and, on arrival he took me under his wing, chauffe-ring<br />
me from joint to joint in his proudest possession - his always<br />
new Cadillac. … His exuberant personality always comes to<br />
life in front of the public: - <strong>Red</strong> <strong>Allen</strong> was a beautiful person<br />
- His music remains beautiful.<br />
UK-77: Keith Smith(t) Ian Wheeler(cl,as) Dick Wellstood (p)<br />
Peter Ind (b) Barry Nicholls(d) SOME HEFTY CATS –Hefty<br />
J.HJ100: <strong>Red</strong> Rides Again; Sweet Lorraine, Don't Get Around;<br />
'S Wonderful; Blues At <strong>The</strong> Copley; Beale Street Blues/ China<br />
Boy; Save it Pretty Mama; ...<br />
JACK STINE: … in “<strong>Red</strong> Rides Again,” the secret is<br />
finally let out. Keith Smith is the closest thing to <strong>Red</strong><br />
<strong>Allen</strong>, you´re ever likely to hear. Despite the advance notice<br />
that compares his playing to Eldridge and Armstrong, on this<br />
record it is all <strong>Red</strong> <strong>Allen</strong> and for me it is time that some<br />
such acknowledgement be made for this great trumpeter. In<br />
my book, no one played with such apparent ease and<br />
fluidity. He deserves some sort of ongoing testimony to his<br />
playing and it is no criticism to Keith Smith's originality to<br />
cite this kind of reference. You´ll hear what I mean when<br />
you hear the record. …<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
"RED ALLEN IN ENGLAND - THE PRESIDENT PLAYS" by John Wurr - <strong>Jazz</strong> Times 3-4/Apr.66: (3/6-100 Club session):<br />
<strong>The</strong> l00 Club on Sunday, 6th March, was the scene of Henry money we also had some fine solos from Johnny Barnes, Roy<br />
'<strong>Red</strong>' <strong>Allen</strong>'s last appearance of his latest British tour with the Williams, Fred Hunt and Jim Douglas, and throughout the<br />
Alex Welsh band. I had not heard <strong>Red</strong> <strong>Allen</strong> since the 1959 night the Welsh band played with their now customary<br />
Ory tour and was anxious to renew my acquaintance with his excellence. It was good to see Henry so obviously happy with<br />
scintillating trumpet sound. I was not disappointed. <strong>The</strong> evening his supporting musicians.<br />
had a further significance for WLJS members, for during the We also had John Boddy's little speech, valiantly spoken<br />
session John Boddy presented Mr. <strong>Allen</strong> with a scroll despite mutterings of "Shut up an' go wiv it" etc, and if<br />
commemorating this eminent jazzman's acceptance of the Henry's reply "I'M PRES" caused Mr.Lester Young to turn in<br />
Hon.Presidency of the Society.<br />
his grave, the enthusiasm with which it was said left us in no<br />
For a man of his age, <strong>Red</strong> <strong>Allen</strong> still has remarkable techni- doubt that he was pleased with the honour bestowed upon him.<br />
que, power and range, and he can also play quietly while still <strong>The</strong> Club was well filled (apparently a standard occurrence on<br />
retaining a beautiful fullness of sound. His tone runs the whole this most successful tour) and the audience loved every<br />
gamut - restrained and sweet in the melodic statements of slow moment. Henry's talent as an entertainer counted for much<br />
ballads, growling and melancholy in the blues, bright and (memo. to certain jazz musicians, who shall remain name-less:<br />
piercing in the climaxes of the up-tempo numbers. Add these as <strong>Red</strong> <strong>Allen</strong>, Earl Hines, Willie the Lion, and they'll tell you -<br />
qualities to a happy vocal style (latter-day champions of the the audience does matter).<br />
'coloured sound' really should look further than the Supremes It was good to see such a cross-section of musicians - the<br />
and James Brown) and his entertaining personality and we black countenances of Alton Purnell, Kid Sheik,and Capt.<br />
have - well, just Henry '<strong>Red</strong>' <strong>Allen</strong>, jazz trumpeter, living John Handy were much in evidence and among the British<br />
legend and now President of the WLJS.<br />
contingent I noticed Wally Fawkes, Johnny Parker and Keith<br />
As well as the expected (but never boring) standards - Christie. Some well-known supporters were there as well; but<br />
DINAH, ST.JAMES INFIRMARY, ST.LOUIS BLUES, there was a lack of young faces (more of this in a later article).<br />
JAZZ BAND BALL, SWEET LORREINE - we heard verbal Listening to <strong>Red</strong> <strong>Allen</strong> I felt a pervading sense of history, Here<br />
and musical tributes to many of the old-timers whom he had was a man who grew up alongside King Oliver, Jelly Roll<br />
known and worked with - King Oliver (CANAL STREET Morton and all the others who are, to us, just names in<br />
BLUES), Jelly Roll Morton (SWEET SUBSTITUDE), Luis discographies and impersonal images on faded photographs. It<br />
Russell (PATROL WAGON BLUES) and an anthalogical is sad to think that there will come a day when men like Louis,<br />
reminiscense of New Orleans (CLOSER WALK, RAMBLE, Kid Ory, George Lewis - and <strong>Red</strong> <strong>Allen</strong> - will no longer be<br />
SAINTS, BUDDY BOLDEN'S BLUES), which reminded us with us and the umbilical cord that connects us with the birth<br />
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<br />
City's first and most famous brass band musicians. For our the President ! (<strong>Red</strong> died one year later!)<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------
150.1 Addenda (special UK-booklet of 3 pages)<br />
remarks by Franz Hoffmann, <strong>Red</strong> <strong>Allen</strong> Collection:<br />
<strong>The</strong> following copy of the original booklet in 2007 reduced the text on a<br />
smaller layout, changed and completed the list of the tour dates according<br />
to the RED ALLEN BIO-DISCO pp146-151 ; ; and let out one W.Balliettarticle<br />
to be found in the BioDisco-parts 3 p73<br />
--------------------------------------------------------------------------------------------<br />
in the programme follow the tour dates,<br />
listed more complete and detailed in the bio-disco-part-3p146<br />
RED ALLEN with ALEX WELSH & HIS BAND<br />
UK on a 17 days cross country tour 18th Feb.- 6th March 1966<br />
HENRY 'RED' ALLEN first made his debut in this country when he toured<br />
with the Kid Ory Band some years ago. He later made a highly successful tour<br />
accompanied by the Alex We1sh Band and now he makes a welcome return<br />
visit to.Great Britain once again accompanied by . Alex Welsh and his Band.<br />
-------------------------------------------------------------------------------------<br />
On the following pages .of t h i s booklet you will find details of the tour<br />
together with biographical details of HENRY 'RED' ALLEN.<br />
--------------------------------------------------------------------------------------------------<br />
=========================================================================<br />
THE CRITICS.SAY …….. "NICE MAN, NICE" (Lester A.Schonberg)<br />
Henry '<strong>Red</strong>' <strong>Allen</strong> climbs on to the<br />
bandstand ... he caresses his horn<br />
with his massive hands .... and in a<br />
croaking. voice, says " .... nice, man,<br />
nice". <strong>The</strong>n he begins to play.<br />
And people discover that a programme<br />
of medium and slow ballads and blues<br />
by '<strong>Red</strong>' <strong>Allen</strong> can be one of the superior<br />
musical pleasures in jazz.<br />
Henry knows how to help an audience<br />
experience the gamut of emotion which<br />
jazz and the blues offer.. To understand<br />
jazz is to love it. To love jazz you have<br />
but to listen to men like Louis Armstrong<br />
.... or Henry '<strong>Red</strong>' <strong>Allen</strong>. <strong>The</strong> real thing<br />
can only be played from the heart and<br />
the soul by great musicians. Henry<br />
<strong>Allen</strong> is one of the great ones.<br />
When '<strong>Red</strong>' plays the pick-up notes of<br />
Snowy Mornin' Bluer you can detect a<br />
mood which is the blues .... the sorrow<br />
of. people being expressed in the only<br />
universal language … music. <strong>The</strong>y know<br />
Henry in Europe .... even the new citizens<br />
of the infant African nations understand<br />
him and his musical message<br />
… and nowhere In the world do people<br />
call '<strong>Red</strong>' an ugly American.<br />
<strong>Allen</strong>'s trumpet, one of the foremost<br />
horns in the musical world began its<br />
legendary career. in his home-town ....<br />
the fabled jazz environs of New Orleans<br />
('<strong>Red</strong>' first began playing with<br />
the Mississippi . playing with a mouse. Few other horn Blues, Body and Soul, Ride, <strong>Red</strong>,<br />
men have so much volume control. He Ride, Jelly Roll Blues, Biff'ly Blues<br />
can play with a mute .. or toss it away and '<strong>Red</strong>'s' own famous composition<br />
... and the open horn is no louder than 'Rag Mop', flow unfalteringly from his<br />
before. Nor has he stuffed cotton way horn. And the evening should last for<br />
down inside, out of sight, to muffle ever .... and it can't. But everyone has<br />
the sound and confuse the listeners. 'I experienced a new birth of hope, of<br />
just don't blow so hard', he says in all inspiration, of peaceful repose from a<br />
honesty. But don't kid yourself into maddening world.<br />
thinking that Henry Jr. can't blast off And you have never been to the kind<br />
when he feels the need. '<strong>Red</strong>' <strong>Allen</strong> of funeral '<strong>Red</strong>' <strong>Allen</strong> directs when he<br />
might give almost anyone lessons in conducts his own inimitable mourners'<br />
an adventurous use of dynamics. service with his rendition of 'When the<br />
Listen to him tee off on "Hindustan" Saints Come Marchin' in'.<br />
in his own fluid, muted version. You<br />
almost have to imagine the melody ... Harry James, while with Benny Good-<br />
he indulges in such soft, fanciful flights. man, paid <strong>Allen</strong> the high compliment<br />
<strong>The</strong>n his pianist, his drummer, and the of basing his solos on 'Wrappin' it Up',<br />
man on the string bass join the group, 'Down South Camp Meeting', and 'Big<br />
and they fit into the rhythm picture John's Special' directly on the ones<br />
like a long pair of milady´s gloves … <strong>Allen</strong> had recorded with Fletcher Hen-<br />
reserved, quiet, yet potentially dynamic. derson. Experts consider <strong>Allen</strong>'s episode<br />
<strong>The</strong>n '<strong>Red</strong>' rests his horn on the piano, on 'Wrapping' It Up' which includes<br />
and snaps his fingers, and claps his both solo, and call and response pat-<br />
hands. <strong>The</strong> audience comes alive.... terns with the group, one of the most<br />
they clap their hands as they join him perfect trumpet passages in recorded<br />
on the upbeat. When '<strong>Red</strong>' returns that jazz.<br />
beautiful horn to his sensitive lips he<br />
leans into it gradually. Every bar (<strong>The</strong> following addition to the same<br />
becomes a little wider than its prede- article written by Lester A.Schonberg<br />
cessor and you get with it because was found in <strong>Red</strong> <strong>Allen</strong>´s scrapbook):<br />
he'll get through to you ... and everyone<br />
else in the room including the Get with it … and quickly. Man you<br />
Riverboats with Fate hired help. <strong>Allen</strong> is 'St. Vitus with a just can´t relax when you´re around<br />
Marable) And with his horn, he .brings beat'. He twitches in rhythm before the that nice man, Henry <strong>Allen</strong>. Your feet<br />
forth the sounds of jazz, and the warm music starts. He fingers that vibrant, move. You stop complaining about<br />
and beautiful notes of traditional straining horn as his sidemen musi- your shoes and just beat your feet.<br />
standards.<br />
cally hold the audience in anxious And you stop beating your gums and<br />
A hulk of a man, '<strong>Red</strong>' offstage is a anticipation of '<strong>Red</strong>'s next outburst. instead you beat your hands. And old<br />
quiet, unassuming gentleman who is And soon the whole:crowd is swa- “<strong>Red</strong>” chases the blues away with his<br />
completely at ease with all people of ying, the room becomes alive, and wonderful therapeutic rhythm. And if<br />
all lands. On stage he's an entertainer '<strong>Red</strong>' says "Let it roll". St. Louis any one man can do it, Henry <strong>Red</strong><br />
who winsan audience over quickly, Blues,. Birth of the Blues, Bye Bye <strong>Allen</strong> can restore peace and harmony<br />
expertly, completely, with his gruff- Blackbird, Up the Lazy River, Mack to a troubled world.<br />
ness, his movements, his honesty, and the Knife, and the wonderful Basin He´ll get through to you. And it´s<br />
his sincere feelings for the music he Street Blues. And then everyone starts nice, man, mighty nice !<br />
plays.<br />
calling for other favourites, and '<strong>Red</strong>'<br />
He toys with the horn like a cat reacts to every request. Tishomingo<br />
=========================================================================
In another-book by Whitney Balliett,<br />
"<strong>The</strong> Sound of Surprise", first published<br />
in 1979 and subsequently published in<br />
Great Britain by the <strong>Jazz</strong> Book Club in<br />
1961, the author devotes another chapter<br />
to '<strong>Red</strong>' <strong>Allen</strong> under the title "<strong>The</strong><br />
Resurgence of <strong>Red</strong> <strong>Allen</strong>". <strong>The</strong><br />
following is an extract from this chapter.<br />
"It has been nearly thirty years since<br />
'<strong>Red</strong>' <strong>Allen</strong>, the tireless, sad-faced<br />
trumpeter, became one of the first<br />
practitioners of the instrument to move<br />
away from the blanketing influence of<br />
Louis Armstrong. Today, at the age of<br />
forty-nine, he is an unspoiled, nonrepetitive<br />
musician who, astonishingly,<br />
is still widening his style. <strong>Allen</strong> left an<br />
identifiable mark on the early work of<br />
- 150.2 -<br />
Roy Eldridge, who, in turn, influenced<br />
Dizzy Gillespie, the present champion<br />
of modern jazz trumpeters. <strong>Allen</strong> is<br />
erratic, restless, and highly lyrical.<br />
Sustained legato phrases that undulate<br />
like a calming sea are linked by jumpy<br />
connective passages - full of sevenleague<br />
intervals and slightly flatted<br />
notes - that may or may not land on<br />
their feet. His thin, coppery tone,<br />
occasionally softens, but more often it<br />
pierces straight to the bone. Once in a<br />
while, too, he ascends wildly into the<br />
upper register or relies on technical<br />
tricks, such as a rapid, birdlike tremolo,<br />
achieved by fluttering two valves up<br />
and down, that sound more difficult<br />
than they are. At his best, <strong>Allen</strong> is one<br />
of the most eloquent of jazz musicians.<br />
His melodic feeling is governed<br />
almost completely by the blues; he<br />
infuses just about every tune with<br />
broadly played blue notes. In the past<br />
few years, a remarkable thing has<br />
happened to <strong>Allen</strong>'s playing. alike<br />
many of his contemporaries, who tend<br />
to ignore what has come after them, he<br />
appears to have been listening to modern<br />
jazz. <strong>The</strong> unsteady staccato blare that<br />
has characterised his work now<br />
frequently gives way to a thoughtful,<br />
more generous tone and a myriad of<br />
soft glancing notes that resemble<br />
nothing so much as a nervous,<br />
vigorous Miles Davis”.<br />
===========================================================================<br />
17th Feb.- 5th March 1967, UK - 17 days RED ALLEN & ALEX WELSH AND HIS BAND
- 150.3 -<br />
Exciting Start to Sixty Sivin Livin <strong>The</strong> Sad Basset Hound 1Face of Henry <strong>Red</strong> <strong>Allen</strong>, Giant Genius<br />
IT HAS NOT TAKEN THE 100 CLUB LONG to ZING into 1967. Bingo — it's only February and already Roger<br />
Manager Horton has two all-time greats lined up for you hot-diggity cats (hey bab a reebab) .<br />
IS THERE A MORE EXCITING TRUMPETER ALIVE THAN<br />
HENRY RED ALLEN ? This genial giant of a man (his publicity<br />
material describes him as "St. Vitus with a beat", which conveys the message<br />
though not, perhaps, in the best of taste) is our first resident of the year<br />
(Feb. 28th, March 1st, 2nd). Here's what American jazz-writer Whitney<br />
Balliett says about him:<br />
"<strong>The</strong> pre-eminence of Louis Armstrong from 1925 to 1935 had one<br />
unfortunate effect: It tended to blot out the originality and skill of several<br />
contemporary trumpeters who, although they listened to Armstrong, had<br />
pretty much gone their own way by 1930.<br />
<strong>Allen</strong>, the most steadfast, and a distinct influence on Roy Eldridge, who<br />
taught Dizzy Gillespie, who taught Miles Davis and so forth, is still<br />
playing (usually in New York) with more subtlety and warmth than at any<br />
time in his career. . . . A tall oval-faced man with a deceptively sad basset<br />
hound face, <strong>Allen</strong>, born in Algiers, Louisiana, had a spirited career ... he<br />
played briefly with King Oliver in 1927 and two years later he joined Luis<br />
Russell — possibly the neatest, hottest and most imaginative group of its<br />
time.... <strong>Allen</strong>'s style ... its careless tone, its agility and a startling tendency<br />
to use unprecedentedly long legato phrases and strange notes and chords<br />
that jazz musicians hadn't, for the most part, had the technique or courage<br />
to use before ... seizes the listener's emotions, recharges them, and sends<br />
them fortified on their way ...."<br />
Yes, well, American jazz writers are like that, but no doubt about it,<br />
Henry <strong>Red</strong> <strong>Allen</strong> (accompanied, of course, by Alex Mauve Welsh) has<br />
proved a knock-out on previous visits and his three-night residency<br />
should be a highlight of the year.<br />
A HIGHLIGHT ! COME ON, YOU DECEPTIVELY SAD BASSET<br />
HOUNDS, OUT OF YOUR STYGIAN GLOOM AND INTO THE<br />
GREAT CARNIVAL OF LIFE !<br />
This is Albert<br />
Nicholas, one of the<br />
great New Orleans<br />
clarinet kings, one of<br />
King Oliver's men,<br />
appearing for one<br />
night only (Feb. 3rd,<br />
a Friday) at the 100,<br />
accompanied by<br />
Alan Elsdon's band.<br />
Take an analogy with<br />
pain-ting. Guys like<br />
<strong>Red</strong> <strong>Allen</strong> and<br />
Nicholas are like<br />
Van Gogh and<br />
Renoir. Would you<br />
not flock in your<br />
thousands to dance<br />
to the music of Van<br />
Gogh and Renoir?<br />
Just because you're<br />
young there's no<br />
need to be ignorant<br />
==========================================================================<br />
<strong>The</strong> Dancing Slipper Ballroom presents Henry “<strong>Red</strong>” <strong>Allen</strong> with <strong>The</strong> Alex Welsh Band by John Chilton<br />
In the "Pictorial History of <strong>Jazz</strong>" there<br />
appears an early pictures of a New<br />
Orleans Marching Band, in the corner of<br />
the fading print a very young `second-liner<br />
is seen peeping admiringly at the ten<br />
senior musicians. Many years later, (at a<br />
recent Monterey <strong>Jazz</strong> Festival), the<br />
'second- liner', by now well-and-truly in<br />
the front line of jazz giants, was photographed<br />
playing alongside Dizzy Gillespie<br />
and other star moder-nists. <strong>The</strong> two<br />
pictures reveal the tremendously wide<br />
experience of the musician concerned -<br />
in at the birth of jazz and still contributing<br />
to to-day's developments - the<br />
musician is HENRY 'RED' ALLEN.<br />
Henry '<strong>Red</strong>' <strong>Allen</strong> was born in Algiers,<br />
Louisiana on 7th January, 1908. At the<br />
age of 8, he was playing alto-horn in his<br />
father's famous marching band. After<br />
graduating to trumpet, <strong>Red</strong> spent his<br />
teens developinga reputation as an<br />
outstanding improviser.<br />
In 1927, <strong>Red</strong> accepted King Oliver's<br />
offer of two months' work in New York.<br />
He returned South for a spell with Fate<br />
Marable's legendary riverboat band<br />
before accepting an offer to return to<br />
New York to join Luis Russell's Band.<br />
From 1929, <strong>Red</strong> made his permanent<br />
home in New York and in that year<br />
began recording under his own name. In<br />
great demand, <strong>Red</strong> also recorded with<br />
Jelly Roll Morton, Fats Waller, <strong>The</strong><br />
Rhythmakers, Spike Hughes, King Oliver<br />
and Don <strong>Red</strong>man before joining Fletcher<br />
Henderson in 1931. With Henderson<br />
<strong>Red</strong>'s approach to big band solo work<br />
became the model for many latter-day<br />
swing stars.<br />
After starring with the Mills Blue<br />
Rhythm Band, Henry joined Louis<br />
Armstrong's Orchestra leaving in<br />
September 1940 to form his own band.<br />
This sextet was one of the busiest and<br />
most popular groups on the American<br />
<strong>Jazz</strong> Scene during the 40's and 50's. Its<br />
personnel included, at various times,<br />
such stars as: J. C. Higginbotham, Ed.<br />
Hall, Buster Bailey, Sidney Bechet, Ben<br />
Webster and Cozy Cole. For many years,<br />
<strong>Red</strong>'s regular appearances at "<strong>The</strong><br />
Metropole" helped to revitalise live <strong>Jazz</strong><br />
in New York.<br />
In 1959, <strong>Red</strong> made his first trip to<br />
Europe (as guest star with Kid Ory's<br />
Band). Since then, <strong>Red</strong> has enjoyed two<br />
enormously successful tours of Britain,<br />
the first of which was when, in April<br />
1964, <strong>The</strong> Manchester Sports Guild<br />
brought him over to play five memorable<br />
sessions in their club and then sent<br />
him on tour with the Alex Welsh Band -<br />
the band with whom you will be hearing<br />
him play on this tour.<br />
British jazz fans, for many years aware of<br />
<strong>Red</strong> <strong>Allen</strong>'s greatness on record, were<br />
delighted with his in-person performances.<br />
His warmth and friendliness are<br />
instant, his vocals beautifully phrased<br />
and full of expression, his broad-toned<br />
technique remains unimpaired by time.<br />
Above all, he retains his zest for playing<br />
great jazz trumpet.<br />
Someone once asked Henry '<strong>Red</strong>' <strong>Allen</strong><br />
how he manages to give out such a great<br />
feeling of happiness. <strong>Red</strong> explained,<br />
"I've been a little fortunate in loving to<br />
play so much". We, the listeners, are<br />
doubly fortunate in being able to hear<br />
the great man once again in person.<br />
***********************************************************************************************<br />
RED: financially quartets are good, but a couple more horns would help; by Max Jones in Melody Maker 2/26/66:<br />
IT is pleasant indeed to see once more<br />
the tall bulky figure of Henry <strong>Red</strong> <strong>Allen</strong>,<br />
striding the streets and i hotel corridors of<br />
Kensington, sampling the bitter and<br />
passing his customary verdict: "Nice, nice."<br />
<strong>Allen</strong>, now a fit and fighting fiftyeight,<br />
is here on his second tour as a<br />
"single". -Before the '64 visit, he came<br />
over with Kid Ory's band in '59.<br />
As usual, he sounds delighted to be in<br />
Britain. And this time he looks forward<br />
with keen pleasure to meeting such old<br />
friends as Pops Foster, Jimmy Archey<br />
and Alvin Alcorn. "Of course I've known<br />
George Foster and his brother since they<br />
were longshoremen in New Orleans. I<br />
left home with Foster the first time in<br />
1927. We. went to meet King Oliver in<br />
St. Louis. I didn't like it away from.<br />
home too well at first, so I came back<br />
and left again in '29."<br />
At most of his jobs these days <strong>Red</strong> works<br />
with a quartet. When he's completed his<br />
British tour, he takes one into the<br />
<strong>The</strong>atrical Restaurant in Cleveland.<br />
"Quartets are pretty good for travelling<br />
use; " he explains. "You have your<br />
regular rhythm section, and you can play<br />
along with them without offending<br />
anyone. <strong>The</strong>n they're good for financial<br />
reasons.<br />
"Clubs won't pay for bigger bands -<br />
if they could cut you down to a single<br />
they'd be happy. Musically, a couple<br />
more horns would help. You know,<br />
someone like Buster Bailey - we,
understand each other - would make it<br />
more of a band.<br />
"But you have to study the financial<br />
side. When I was coming up, it didn't<br />
matter; I didn't mind if I didn't get paid.<br />
When I began in New Orleans, I didn't<br />
think it would ever be my living. To<br />
my way of thinking, If I was a millionaire<br />
I'd still be playing.<br />
"And I guess I would at that. I can<br />
see the point of people like Louis who<br />
want to go on playing. My father,<br />
Henry <strong>Allen</strong> Snr, used to play a few<br />
parades right up until a little bit before<br />
he passed, in 1952, at the age of<br />
seventyfive.<br />
"Of course, 'I was in my dad's band<br />
from eight years old, ever since I was<br />
old enough to march, and I used to<br />
pass the music out on parades. We<br />
used to carry the parts in little sacks,<br />
and I had those on my shoulder.<br />
"In those days, bands kept the names<br />
of the tunes they played secret, and<br />
my father cut the titles off all the<br />
music and numbered it instead.<br />
It is always tempting, in conversation<br />
with a New Orleans jazzman of <strong>Allen</strong>'s<br />
experience, to try and add fragments<br />
- 151 -<br />
of information to the legends of<br />
Crescent City history. Recently, I<br />
talked to Pops Foster about Buddy<br />
Bolden, and now I was interested to<br />
see what <strong>Red</strong> knew of him.<br />
"Well, I never heard him, of course.<br />
He blew his top just before I was born,<br />
according to my dad. I knew about<br />
him, though, because he'd played with<br />
my father's brass band.<br />
"And I met him once - at the Louisiana-<br />
State Hospital where he was detained. I<br />
wanted to go and see him, and I went<br />
after I'd been In New York a while. I left<br />
New Orleans for the second time in '29,<br />
so I guess it was between 1930 and 1931.<br />
"I went into a, kind of yard where<br />
there were a lot of people talking or<br />
walking about, and asked someone for<br />
Charles Bolden. <strong>The</strong>y said he was over<br />
there and I went up and spoke to him.<br />
"Aside from Bolden, I heard most of<br />
the old bands like Jack Carey. And I<br />
had a chance to play with a great many<br />
of them. "I was considered to have a<br />
keen ear and flexible<br />
mind, and I kept up<br />
with what was happening.<br />
Great trumpet<br />
-----------------------------------------------------------------------------------------------------<br />
players like Guy Kelly and Kid Rena,<br />
they didn't need me to play, but they<br />
used to add me to the band sometimes<br />
because I knew what was popular on<br />
records, and they weren't interested in<br />
it. <strong>The</strong>y played the way they played.<br />
But I' listened to everyone."<br />
Another temptation for interviewers<br />
is to find out which musician, past or<br />
present, is held in highest esteem by<br />
the man being interviewed. I put the<br />
"greatest ever" question to <strong>Allen</strong>.<br />
"I never think in terms of great players,"<br />
he said after a while. I have different<br />
feelings for different players.<br />
Some guys can play an awful lot, and<br />
other play less but are friends of mine,<br />
which evens things up.<br />
"But I must say that when he's in<br />
shape, a guy like J.C.Higginbotham is<br />
a rough man to beat. Higgy, in his<br />
form, he's a most flexible player. He<br />
had everything; power, excitement,<br />
flexibility."<br />
===================================================================================<br />
"BIRMINGHAM NEWS ROUND-UP" by<br />
Les Page in <strong>Jazz</strong> Times April-66:<br />
2/12,Birmingham session ... Lucky WLJS to<br />
get "<strong>Red</strong>" <strong>Allen</strong> as President. (Will U.S.A.<br />
imitate!). After the gala night at Midland<br />
<strong>Jazz</strong> Club with the Alex Welsh band, fiery,<br />
dynamic, swinging "<strong>Red</strong>"<strong>Allen</strong> remains,<br />
"My<br />
------------------------------------------------------man."<br />
…<br />
<strong>Red</strong> back next February<br />
US trumpeter-bandleader Henry <strong>Red</strong><br />
<strong>Allen</strong> was present with a scroll commemorating<br />
his many years' service to jazz<br />
when he played his final date of the 66<br />
tour at London's 100 Club on Sunday.<br />
<strong>The</strong> scroll was presented by the West London<br />
<strong>Jazz</strong> Society. With it, <strong>Allen</strong> accepted the<br />
society's Honorary Presidency.<br />
Before he left London for New York on<br />
Monday, '<strong>Allen</strong>' told the MM: "It as<br />
certainly been a fine tour for me. and I<br />
enjoyed working with Alex and the boys. In<br />
fact, everything was real wonderful."<br />
<strong>The</strong> Davison Agency reports that <strong>Red</strong> wlll<br />
return next February to make a similar tour.<br />
Melody Maker 3/12/66 MSG-1964 , Focus J une-64: Lennie Hastings-Ronnie Mathewson-<strong>Red</strong>-Fred Hunt-Al Gay<br />
=====================================================================================
- 152 -<br />
1966, UK BBC-bc <strong>Red</strong> <strong>Allen</strong> speech to records; (shortened music examples from 20 min. to 11:30)<br />
01 0:43 1935 Body And Soul by <strong>Red</strong> <strong>Allen</strong> in 1935; RA-CD-41/illustrated on RA-DVD-2<br />
02 2:38 <strong>Red</strong> <strong>Allen</strong> about New Orleans 1966 and the early days with his father; 1930: Panama RA-CD-41/ --- /<br />
03 2:56 about the Street Parades in New Orleans; unknown item by N.O.Revival Band RA-CD-41/ --- /<br />
04 3:12 about Fate Marable; then Jelly Roll Morton in N.Y.C.; J.R.Morton p-solo-piece RA-CD-41/ --- /<br />
05 1:51 about Eddie Condon & mixed bands; unknown Chicago band piece; close RA-CD-41/ --- /<br />
1966-UK unfortunately the long taped <strong>Red</strong> <strong>Allen</strong>-Autography in speech with Albert Mc Carthy is lost after McCarthy´s death; only<br />
the first part about his years in New Orleans 1906-29 was issued in <strong>Jazz</strong> Montly (look <strong>Red</strong> <strong>Allen</strong> bio-disco-part 1a)<br />
HENRY ALLEN – Discographical points in conversation with Alun Morgan-Feb.66, in <strong>Jazz</strong> Monthly 11/66<br />
detailed additions and correction by <strong>Red</strong> <strong>Allen</strong> of discographical points - reprinted in the RED ALLEN DISCO pVIII<br />
*************************************<br />
mid.March-66, NYC., for a longer engagement, Jimmy-Ryan's return of <strong>Red</strong> <strong>Allen</strong>, <strong>Red</strong> <strong>Allen</strong> has joined the house band – <strong>Red</strong><br />
<strong>Allen</strong>, Max Kaminsky(t) Marshall Brown(tb) Tony Parenti(cl) Cliff Jackson, Don Frye (p) Zutty Singleton(d),<br />
(DownBeat 5/5/66 & Jack Bradley in Bul.h.c.f.-May-66)<br />
3/? /66, Sun., NYC., Shore Cafe, Brooklyn, <strong>Red</strong> <strong>Allen</strong>, Roy Eldridge, Ray Nance were among the guest-stars of Sunday Jamsessions<br />
(Down Beat, 4/17/66)<br />
March or April – engagement in Cleveland, theatrical Restaurant; (see above article)<br />
“… When he's completed his British tour, he takes one (quartet) into the <strong>The</strong>atrical Restaurant in Cleveland.”<br />
Richard B. <strong>Allen</strong> Notes, dated April 18 1966: Richard B.<strong>Allen</strong> took Whitney and Nancy Balliet over to meet Professor<br />
Manetta with the thought that Manetta could show them many of the old buildings to Whitney. Whitney was especially<br />
interested in the <strong>Red</strong> Light District. We arrived at approximately 2.15 PM and had a long talk with Manetta about <strong>Red</strong><br />
<strong>Allen</strong>, Emmett Hardy, Wingy Manone and, many other people and things. Freddy Kohlman, who was visiting New Orleans<br />
from Chicago came by to give a record to his old teacher, Manual Manetta.<br />
On the previous day, Manuel Manetta had discussed Emmett Hardy at length with, Dill Jones (A pianist from Wales, then<br />
resident in the USA), describing how he wrote out a variation on "Panama" for Emmett Hardy. This part was overheard by<br />
<strong>Red</strong> <strong>Allen</strong> and at <strong>Allen</strong>'s request, Manetta wrote out the part for him. To Dill Jones he also gave more details .....<br />
prob.5/15/66 Sun., Hunter College – <strong>Jazz</strong> Jamboree – Andy Kirk All Stars and others incl. J.C.Higginbotham<br />
NYAN-5/14/66p21: … Trombonist J.C.Higginbotham marked his ??? birthday on Wedenesday, 5/11. Higgy along with Joe<br />
Thomas, Eddy Barefield, Sonny Greer, Don Frye, Bill Pemberton and others appear with the Andy Kirk's All Stars at <strong>Jazz</strong><br />
Jamboree at Hunter College on Sunday.<br />
… Henry “<strong>Red</strong>” <strong>Allen</strong> has his new Caddy, plus a hit Columbia record, “Feeling Good” …<br />
NYAN-7/1/66p20: … Vet trumpeter <strong>Red</strong> <strong>Allen</strong> is profiled in the current New Yorker;<br />
(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)<br />
7/4/66 Mo. afternoon, NPT-Festival - "TUMPET WORKSHOP”- several bcs & TVs: telerec. by WGBH-TV Boston “NPT-Festival”<br />
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.;<br />
all below sides are on VoA-13('66) or MUSA-4292B at Library of Congress number 196632p+1X, shelf number RGA 0105—0106<br />
(RWD 6105 A1. 6106 A1—B1); tape from Michael Steinman many years ago<br />
( ) sides and order on tape/non-commercial RA-CD-13a from broadcast on NET as "<strong>Jazz</strong> from Newport" Billy Taylor MC,<br />
part-1: Bag's Groove -feat.Kenny Dorham,Thad Jones, Howard McGhee(t)<br />
My One and Only Love -feat.Kenny Dorham<br />
I Can't Get Started -feat.Thad Jones<br />
I Remember April -feat.Howard McGhee<br />
Wee Dot -feat.Kenny Dorham, Thad Jones, Howard McGhee<br />
part-2: <strong>Red</strong> <strong>Allen</strong> (t,v) Clark Terrry (fl-h) Ruby Braff (c) George Wein (p) & ) Gene Taylor(b)<br />
in change: Vince Schaeffer or Billy Kay or Mike de Loise(d) (video/DVD wanted)<br />
(1) 2:15 words about Terry, Braff, <strong>Allen</strong>, to George Wein(p)<br />
(1) 6:25 LOVER COME BACK TO ME (S.Romberg) also on RA-CD-13<br />
-ens-Braff-<strong>Allen</strong>-Terry-<strong>Allen</strong> in ens-ens-Braff-<strong>Allen</strong>-Terry-<strong>Allen</strong> in ens-<br />
(2) 0:41 talk about <strong>Allen</strong> & Higginbotham at the Ken club, & Balliett's <strong>Allen</strong> review<br />
(2) 2:51 SUMMERTIME (Gershwin) -feat.<strong>Allen</strong> acc.by rhythm RA-CD-13<br />
private 4:35 ALL OF ME (Simon-Park) -feat.v&t <strong>Allen</strong> w.rhythm RA-CD-13<br />
Our Love Is Here to Stay -Ruby Braff(c) Ross Tompkins(p) Gene Taylor(b) Mike Deluse(dm) Teddi King(v)<br />
Keeping Out Of Mischief -same as above<br />
(3) 0:14+4:00 <strong>The</strong> Days Of Wine & Roses -Clark Terry (flgn, pocket trumpet) and Billy Taylor(p) replace Braff and Tompkins<br />
Rhythm-a-ning -same as above<br />
part-3: 'S Wonderful -Dizzy Gillespie & Bobby Hackett for Terry; Gig.Del<strong>Jazz</strong>(I)GJ30/Europa <strong>Jazz</strong>(I) EJ1024<br />
On Green Dolphin Street -feat.Hackett<br />
I Got It Back & That Ain´t Good -feat.Hackett<br />
(4) 2:18 Struttin'With Some Barbecue -feat.Hackett(c) & Gillespie (start was cut)<br />
(5) 1:37+4:10 Siboney -feat.Dizzy Gillespie & Kenny Burrell(g) acc. by rhythm as above<br />
What´s New -feat.the same & Sid Shaefer(d)<br />
(6) 0:24+13:49 Disorder At <strong>The</strong> Border -JAM SESSION: Dizzy Gillespie, Kenny Dorham, Thad Jones, Howard McGhee(t)<br />
Bobby Hackett, Ruby Braff(c), Clark Terry, Jimmy Owens(fl-h) Billy Taylor (p) Kenny Burrell (g) Gene Taylor(b) Vince Schaeffer (d)<br />
part-4: nightly guitar-workshop: (following sides were part of the above<br />
(7) 7:15 C.C.Rider -feat. Ronnie Cuber (ts) George Beson (g) Lannie Smith (org) B.Kay (d) RA-CD-51a<br />
(8) 2:20 Michelle -feat. Charlie Byrd (g) RA-CD-51a<br />
(9) 3:50 Nuages -feat.-Charlie Byrd (g) RA-CD-51a<br />
Who is able to help to find a video-tape from this WGBH-TV production or WJAR-TV 1966 Outlet Broadcast Co. ???
- 153 -<br />
NEWPORT 1966 JAZZ FESTIVAL - "Trumpet Workshop by.Dan Morgenstern in Down Beat 8/11/66.<br />
MONDAY AFTERNOON'S trumpet<br />
workshop-was one of the high points of<br />
the festival. It began with a trio of<br />
compatible stylists from what has been<br />
called the modern school: Kenny Dorham,<br />
Thad Jones, and Howard McGhee.<br />
<strong>The</strong>y played together on Bags' Groove,<br />
Dorham warm and melodic, Jones<br />
brighter and more abstract, McGhee<br />
bold, brassy, and less complex.<br />
For their solo stints, Dorham and Jones<br />
chose ballads. My One and Only Love<br />
was movingly played by Dorham, who<br />
has of late become a master of lyrical<br />
melodic exposition and improvisation.<br />
Jones' I Can't Get Started, first chorus<br />
slow, second double-time, and then back<br />
to slow for the final eight bars, was the<br />
kind of performance one would love to<br />
hear again, topped off with a perfect<br />
coda. Jones has his own way.<br />
McGhee elected to play an up-tempo 1<br />
Remember April, which was an unwise<br />
decision. Its unexpectedness jarred the<br />
mood that had been established, and his<br />
playing, though competent, failed to prove<br />
that there had been any point to his action.<br />
<strong>The</strong> next three trumpeters were less<br />
directly related: <strong>Red</strong> <strong>Allen</strong>, Ruby Braff,<br />
and Clark Terry are three individualists<br />
of varied backgrounds. Nonetheless, their<br />
one joint effort, a moderate Lover, Come<br />
Back to Me, was a good example of<br />
musical togetherness.<br />
Contrasts in style were further emphasized<br />
by the fact that <strong>Allen</strong> played<br />
trumpet, Braff cornet, and Terry<br />
pocket trumpet. In the solos, <strong>Allen</strong> was<br />
stately and grave, Braff (with bucket<br />
mute) tender and romantic, getting off<br />
some startling, saxo-phone-like runs<br />
and making beauti-ful use of his full<br />
lower register, and Terry (again with<br />
plunger) joyous and declaniatory.<br />
<strong>Allen</strong> offered a measured<br />
Summertime, with fine sound and<br />
characteristic phrases, and a<br />
medium-tempo All of Me, on which<br />
he sang captivatingingly.<br />
<strong>The</strong> afternoon continued in a vocal<br />
groove, with singer Teddi King, backed<br />
by Braff in a telling demonstration, of<br />
the trumpet's potential as an accompanying<br />
instrument. Miss King sang<br />
pleasantly and with good time, doing<br />
the rarely heard verse to Keeping Out<br />
of Mischief. Braff's solo on this Fats<br />
Wafler tune was delectable.<br />
Terry did his two-horn bit on <strong>The</strong><br />
Days of Wine and Roses, alternating<br />
four-bar phrases on fluegelhom and<br />
Harmon-muted trumpet. It's a cute<br />
turn, but Terry was more substantial<br />
on Lover.<br />
<strong>The</strong> juxtaposition of Bobby Hackett<br />
and Dizzy Gillespie, which followed,<br />
was one of those things that happen<br />
only at festivals. Despite the marked<br />
dissimilarity in rhythmic accents and<br />
phrasing, the two great trumpeters complemented<br />
each other perfectly, perhaps<br />
because both are masters of using<br />
chord changes as a basis for improvi-<br />
sation. Playing<br />
together on 'S<br />
Wonderful, the<br />
two made delightful,<br />
relaxed<br />
music and obviouslyappreciated<br />
each other's<br />
work.<br />
As his feature,<br />
Hackett did On<br />
Green Dolphin<br />
Street, I Got It<br />
Bad, and a joyful<br />
Struttin' with<br />
Some Barbecue,<br />
which Hackett<br />
dedicated to<br />
Louis Armstrong<br />
on his birthday.<br />
Gillespie returned,accompanied<br />
only by<br />
guitarist Kenny<br />
Burrell. With<br />
Harmon mute,<br />
he essayed a<br />
remarkably<br />
r e l a x e d a n d<br />
delicate Siboney. Though there was no<br />
tempo as such, the trumpeter's every<br />
note was loaded with swing. Joined<br />
by drummer Sid Shaeffer, Gillespie<br />
and Burrell improvised a moving,<br />
soaring What's New?, with a fine solo<br />
spot for the guitarist.<br />
Next it was jam session time, and,<br />
with Billy Taylor at the piano, Gillespie<br />
was joined by all the participating<br />
trumpeters except <strong>Allen</strong>, and a<br />
new face, that of fluegelhornist<br />
Jimmy Owens. After brief<br />
deliberation, the eight horns burst<br />
into Disorder at the Border, a<br />
vintage Gillespie opus, at racehorse<br />
tempo.<br />
<strong>The</strong> performance shone with<br />
fraternal spirit. Terry, Dorham, and<br />
Braff led off. Owens brought on the first<br />
climax with a rousing solo, followed by a<br />
fiery McGhee and a perfectly poised<br />
Hackett. And then it was time for the<br />
champ. Gillespie, egged on by spontaneous<br />
riffs, constructed a series of phenomenal<br />
choruses, swinging, leaping, and getting off<br />
some runs that seemed to defy the laws of<br />
gravity and human breath, control. It was a<br />
performance that brought a standing ovation<br />
and afterwards back-stage, hugs, kisses, and<br />
compliments from all the other players.<br />
NYAN-6/25/66p22
- 154 -<br />
NPT-TRUMPET WORKSHOP: Billy Taylor (p) Jimmy Owens, Clark Terry, Bobby Hackett, Gene Taylor (b) Kenny<br />
Dorham, Dizzy Gillespie, Howard McGhee, Ruby Braff, Kenny Burrell (g)<br />
prob.in J.J.-Aug-66: photo: J. Wallace, captions by Eliza.McFadden: … <strong>Red</strong> <strong>Allen</strong>, Ruby Braff and Clark Terry together and<br />
singly. … <strong>Red</strong> <strong>Allen</strong>, Terry, Hackett and Gillespie distinguished themselves in their different ways.<br />
OVER 54,000 ATTEND NEWPORT JAZZ FESTIVAL PC:7/16/66p13:<br />
NPT, R.I.-When the Newport <strong>Jazz</strong> Festival<br />
ended after four days of jazz, jazz, jazz,<br />
the records revealed that over 54,000 jazz<br />
buffs attended the fete, equaling if not<br />
surpassing 1959's high mark.<br />
It took place during the hottest season of<br />
the year with the temperature soaring well<br />
over a hundred degrees.<br />
This was the first time in the 13 year history<br />
of the big festival that it didn't rain and<br />
there were no riots to mar the affair.<br />
<strong>Jazz</strong> about every big name in jazz circles<br />
performed with big bands of Duke Elling-<br />
ton, Count Basie and Woody Herman<br />
setting the pace.<br />
On the opening night when 10,000 fans<br />
jammed the new festival stadium, Nina<br />
Simone won a standing ovation for her<br />
rendition of the blues.<br />
Ella Fitzgerald joined Duke Ellington to<br />
create some of the same magic that was<br />
done on their Verve recording of “Ella at<br />
Duke's Place.”<br />
<strong>The</strong> Count brought his one time vocalist,<br />
Jimmy Rushing to sing with the Basie<br />
Band while another ex-Basie vocalist, Joe<br />
DUKE, BASIE, ELLA, etc., DRAP TOP NEWPORT CROWD BAA-7/16/66p11:<br />
NPT., R.I. - A record - breaking crowd of<br />
60,000 music lovers responded to the 1966<br />
Newport <strong>Jazz</strong> Festival here last week-end.<br />
Promoter George Wein put his 13th annual<br />
show in a new $200,000 auditorium and was<br />
well rewarded for his effort.<br />
BY BOOKING jazzdom's three top bands<br />
- Duke Ellington, Count Basie and Woody<br />
Herman - plus Ella Fitzgerald, Joe Williams,<br />
Miles Davis, Dizzy Gillespie, John Coltrane<br />
and dozens of other leading jazz artists.<br />
Wein obviously wanted to give his new<br />
festival site a good sendoff.<br />
This week, Wein will present his first<br />
opera festival, featuring the Metropolitan<br />
Opera company.<br />
And his real money-maker, the Newport<br />
Folk Festival, is scheduled for July 21-24.<br />
Barbara Streisand will appear for a onenighter<br />
July 30.<br />
Each year, the fans seem to be less and<br />
less “far out.” <strong>The</strong> beer – swinging funny –<br />
hatted crew was all but missing this year<br />
and local police, ready for action were<br />
relegated largely to controlling traffic.<br />
Production was superb.<br />
THE WEATHER, hot and sunny, was<br />
made to order for the outdoor jazz session.<br />
<strong>The</strong>y ranged from a super session Sunday<br />
night featuring Ella Fitzgerald singing<br />
magnificiently with Ellington, to Sunday<br />
morning jazz-oriented church services, to a<br />
Williams also thrilled fans as did Tony<br />
Bennett who teamed up with Woody<br />
Herman.<br />
Dizzy Gillespie, <strong>Red</strong> <strong>Allen</strong>, Clark<br />
Terry, Ruby Braff, Miles Davis and<br />
Bobby Hackett were just a few of the<br />
great trumpeters heard.<br />
Howard McGhee and his 16-piece band,<br />
Billy Taylor and you name the jazz artists<br />
who performed.<br />
All in all, it was a great festival. George<br />
Wein was the producer.<br />
healthy quotient of avantgarde jazz<br />
Saturday afternoon. HORACE SILVER'S<br />
appearance made the Saturday afternoon<br />
session understandable.<br />
John Coltrane, venturing more and more<br />
into the musical unknown, did get some<br />
interesting sounds out of his soprano sax<br />
on “My favorite Things.” And the Bill<br />
Dixon Quartet played only for itself.<br />
JOE WILLIAMS took the honors of the<br />
Saturday night concert, but Nina Simone<br />
was close behind.<br />
Teddy Wilson, Wein's inspiration on<br />
piano, kicked off the Sunday night session<br />
after a Dutch group of modern jazzmen<br />
warmed up the audience.<br />
JAZZ 'SPECTACULAR' SET MONDAY ON WTTW-TV (a repetition from telerecord-WGBH-TV) CD-8/5/67(!)p24<br />
Some of the world's leading jazz music<br />
Gillespie, Bobby Hackett and Jimmy<br />
Owens, and guitarists Charlie Byrd,<br />
George Benson, and Kenny Burrell will<br />
get together for an hour of spon-taneous<br />
music making when WTTW channel<br />
11presents “<strong>Jazz</strong> From Newport,” 1966 on<br />
Monday, Aug.7, at 10:30 p.m.<br />
<strong>The</strong> program consists of highlights<br />
from the Guitar and Trumpet workshops<br />
at the Newport <strong>Jazz</strong> Festival held in July<br />
last year. Other participants include Clark<br />
Terry, Ruby Braff, Thad Jones, Kenny<br />
Dorham, Howard McGhee, and the late<br />
Henry”<strong>Red</strong>”<strong>Allen</strong> on trumpet. George<br />
Wein, Billy Taylor andRuss Tompkins<br />
on piano; Vince Schaeffer, Billy Kaye<br />
and Mike de Loise on drums; and Gene<br />
Taylor on bass.<br />
Host Billy Taylor talks with the musicians<br />
about their styles and contributions<br />
to jazz music and introduces their numbers<br />
which include “St.LouisWoman”<br />
with <strong>Red</strong> <strong>Allen</strong>. “Days of Wine and<br />
Roses” with Clark Terry, “C.C.Rider”<br />
with George Benson's quintet, “Michelle”<br />
and “Nuage” with Charlie Byrd, and<br />
“Siboney” with Dizzy Gillespie and<br />
Kenny Burrell. <strong>The</strong> program ends with a<br />
“big bash” featuring all the trumpeters<br />
in “All Out Blues.”<br />
“<strong>Jazz</strong> From Newport,” 1966 was<br />
produced by WGBH-TV, Boston, for<br />
distribution on National Educational<br />
Television.
- 155 -<br />
7/31/66 Su., New Orleans, Bourbon Street , Dixieland Hall, <strong>Red</strong> <strong>Allen</strong>(t,v) & GEORGE FINOLA AND THE CHOSEN FEW:<br />
George Finola (c) Buddy Walton (guest-t) Wendall Eugene (tb) Raymond Burke (cl,tb) Freddie Neumann (p) Danny Barker<br />
(6string-bj) and Eugene Jones(d) 8/1/66 Dixieland Hall- WYES-TV – “<strong>Red</strong><strong>Allen</strong>” ; early August several other concerts<br />
R.B.<strong>Allen</strong> notes: <strong>The</strong> management and crowd were most enthusiastic about the presence of <strong>Red</strong> <strong>Allen</strong>. <strong>Allen</strong> was featured on<br />
several numbers. <strong>The</strong> band played a variety of standard tunes with <strong>Allen</strong> taking occasional vocals.<br />
WDYMINO - JAZZ TIMES 3-9/ Sept.66: Henry <strong>Red</strong> <strong>Allen</strong>, trumpet man of fame and Honorary President of the British <strong>Jazz</strong><br />
Society is in town on vacation, and has played many times at Preservation Hall. <strong>The</strong> most memorable perhaps was his first<br />
session with George Finola's Band with …Eugene Jones is the son of Chester Jones and usually plays with Clarence 'Frogman'<br />
Henry's rock n' roll band.<br />
New Orleans States Item 7/29/66 - Thomas Griffin notes: ..Trumpeter Henry”red”<strong>Allen</strong> (a contemporary of Louis Armstrong)<br />
checked in from Gotham; he'll sit in at Dixieland Hall for a Sunday matinee; too bad the time will conflict with Sharkey and<br />
His Kings of Dixieland (including Chink Martin, Sr. and Jr.) who'll be “jamming” at the Royal Orleans on the <strong>Jazz</strong> Club's<br />
summer series. …<br />
Louisiana weekly 8/13/66: <strong>The</strong> man who plays the supreme high note trumpet, Henry”<strong>Red</strong>”<strong>Allen</strong>, was in town last week and<br />
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<br />
the New York scene. …<br />
Down Beat 9/22/66: <strong>Red</strong>-<strong>Allen</strong> in town last month for a visit with his relations here, ...<br />
Coda Oct./Nov.66: Aug.66-New Orleans - Another visitor in Aug.was <strong>Red</strong> <strong>Allen</strong> who makes an annual trek to visit his<br />
mother in Algiers.<br />
8/1/66 New Orleans, DIXIELAND Hall "Working Press" program on WYES-TV<br />
<strong>Red</strong> <strong>Allen</strong> is a guest on the program.<br />
<strong>The</strong> panel consists of Bill Madden as<br />
m.c., Danny Barker, guitarist and assistant<br />
director of the New Orleans <strong>Jazz</strong><br />
Museum, Richard B.<strong>Allen</strong> of Tulane<br />
University <strong>Jazz</strong> <strong>Archive</strong>, and cornet<br />
player George Finola. Finola had<br />
played with <strong>Red</strong> <strong>Allen</strong> at Dixieland Hall<br />
on the previous night. '<br />
<strong>The</strong> program opens with a recent <strong>Red</strong><br />
<strong>Allen</strong> LP on Columbia playing "Sweet<br />
Substitute".<br />
<strong>Red</strong> <strong>Allen</strong> was visiting New Orleans.<br />
Danny Barker greeted Henry <strong>Red</strong> <strong>Allen</strong><br />
warmly, and complimented him. Danny<br />
Barker said that <strong>Red</strong> <strong>Allen</strong> visits New<br />
Orleans every year. <strong>Red</strong> <strong>Allen</strong> remarked<br />
that he was happy and has enjoyed<br />
seeing his friends and family. Richard<br />
<strong>Allen</strong> asked <strong>Red</strong> <strong>Allen</strong> about the best<br />
cornettists of yore. <strong>Red</strong> can't name the<br />
best. Some of the less good trumpet<br />
players were friends of his, so that<br />
evened things up (means what?). He<br />
remembers Chris Kelly, Kid Rena,<br />
Emest 'Punch' Miller, who gave <strong>Red</strong> a<br />
few lessons. And Peter Bocage, (Kid)<br />
Shots (Madison), Louis Armstrong and<br />
King Oliver. Henry <strong>Allen</strong> Sr. had all<br />
these in his band. From the time he was<br />
eight years old, <strong>Red</strong> knew these men in<br />
the band. He mentioned Kid Howard.<br />
Danny Barker adds Buddy Petit and Kid<br />
Rena (the latter named above). <strong>Red</strong><br />
heard Emmett Hardy advertising on<br />
trucks. Richard <strong>Allen</strong> asked Finola about<br />
Professor Manuel Manetta, a teacher of<br />
music. Manetta had told Richard <strong>Allen</strong><br />
that Emmett Hardy and <strong>Red</strong> <strong>Allen</strong> took<br />
lessons from him at the same time, (i.e.<br />
consecutive-ly.) Emmett Hardy played<br />
with George Brunis, the trombonist.<br />
<strong>The</strong>re were six Brunies brothers: George,<br />
Abbie, Henry, Richard, Merritt and Rudy,<br />
and all of them were musical. <strong>Red</strong> <strong>Allen</strong><br />
lived at 414 Newton Street, Algiers. <strong>The</strong><br />
Brunies family lived across the street.<br />
One of <strong>Red</strong>'s fondly remembered experiences<br />
was his trip to Europe. His first<br />
trip.there was with Kid Ory, booked by<br />
Norman Granz. He had worked with Kid<br />
Ory in King Oliver's band. In Fatty<br />
George's Club in Vienna, he saw a<br />
picture of his father, though his father<br />
had never been out of the United States.<br />
He heard Jack Carey , Jack Sims, (Joe)<br />
Howard, tp; Papa Celestin (On a JAZZ-<br />
MEN photo of his father's band?) <strong>Allen</strong>'s<br />
brass band,was.not the.Paciflc. (Cf.<br />
Eddie Garland (?), April 20, 1971). <strong>The</strong><br />
Pacific Brass Band had Buddy Johnson<br />
and Yank Johnson, Harrison Barnes, tb<br />
(who were Algieriens.)<br />
<strong>Red</strong> <strong>Allen</strong> got an offer from King Oliver<br />
to join his band. <strong>Red</strong> went from New<br />
Orleans to St. Louis, then to New York<br />
City. He met Luis Russell in New<br />
Orleans, but only got to know him when<br />
he went to New York. He did not go to<br />
Chicago, contrary to many people's<br />
impressions. After a long stay in New<br />
York, he returned to New Orleans,<br />
playing at the Pelican, which was then<br />
on Rampart Street. <strong>Red</strong> then joined Fate<br />
Marable,on the steamer Capitol.<br />
<strong>Red</strong> <strong>Allen</strong> received offers from both<br />
(Duke) Ellington..and Luis Russell. He<br />
accepted that of Luis Russell. (Loren?)<br />
Watson of Victor gave him a chance to<br />
record. He used Luis Russell's band,<br />
including (J. C.) Higginbotham and<br />
CharlieHolmes. He had dates with Luis<br />
Russell. <strong>The</strong>n, Louis Armstrong was<br />
featured with the band. (i.e. the band was<br />
under Louis Armstrong's name (twice?).<br />
<strong>Red</strong> was also featured with Luis<br />
Russell's band, and also featured with<br />
recordings by Jelly Roll Morton. <strong>Red</strong><br />
was the house man with the Victor<br />
recording company. He didn't know Jelly<br />
Roll Morton in New Orleans. <strong>Red</strong> was<br />
on Jelly's last recording date in New<br />
York City. (Not so according to Rust.<br />
Jelly made a further recording as guest<br />
pianist with the NBC Chamber Music<br />
Society of Lower Basin Street.) <strong>Red</strong> was<br />
also on some recordings with Louis<br />
Armstrong and Luis Russell's band. He<br />
played some short solos on some of<br />
Louis Armstrong's records.<br />
Fletcher Henderson's band included<br />
<strong>Red</strong> <strong>Allen</strong>, Coleman Hawkins, John<br />
Kirby and Buster Bailey. <strong>The</strong>y played<br />
numbers like "Nagasaki", "Talk of the<br />
Town". <strong>Red</strong> sang on "Nagasaki". Danny<br />
Barker said that Fletcher Henderson had<br />
the best band (in the country) at that<br />
period. <strong>Red</strong> thought that Louis Russell's<br />
band was the most fiery.<br />
On arrangements: there were more<br />
soloists with Luis Russell's band, such as<br />
J.C.Higginbotham and Albert Nicholas .<br />
Luis Russell played one chorus<br />
(written?) and then "head rhythm (head<br />
arrangements?). Fletcher Henderson<br />
used many head arrangements; he wrote<br />
many arrangements and had a larger band.<br />
Luis Russell was, from Panama, but<br />
spent most of his life in the USA. His<br />
band was a young one and included<br />
J.C.Higginbotham and Charlie Holmes.<br />
Its rhythm section was one of the finest,<br />
<strong>Red</strong> <strong>Allen</strong> thought. Paul Barbarin, the<br />
drummer, helped <strong>Red</strong> to join King<br />
Oliver's band. Paul Barbarin, Bill<br />
Johnson and Pops Foster, who was one<br />
of the first swing bassists around New<br />
York City, made up the Russell rhythm<br />
section. Simon (Marrero), Wellman<br />
Braud (added by Danny Barker) and Al<br />
Morgan, were in New York City. Braud<br />
was with Ellington's band. Danny Barker<br />
said these men caused the tuba men to<br />
take up the bass fiddle. (Danny Barker<br />
says?) <strong>The</strong>y slapped the bass. On the<br />
change in New Orleans jazz: <strong>Red</strong> liked<br />
the music at the Dixieland Hall. George<br />
(Finola) was keeping up with the trend<br />
of what New Orleans jazz is noted for.<br />
<strong>Red</strong> had not heard many bands during<br />
this visit. Some are trying out other<br />
things. <strong>Red</strong> said "To each his own." This<br />
is not new to <strong>Red</strong>; he has probably tried<br />
everything. New Orleans audiences have<br />
always taken the music for granted, but<br />
always have loved it. <strong>The</strong>re are more<br />
outstanding names from New Orleans<br />
than a any-where else. In Europe, they<br />
really go for New Orleans jazz. <strong>Red</strong><br />
likes Alex Welsh's band. He played with<br />
Alex Welsh's and Humphrey Lyttelton's<br />
and other bands. "Melody Maker" is an<br />
older publication than "Down Beat".<br />
"Melody Maker" had an all-star band<br />
(poll?) before there was one here. European<br />
musicians are now developing their<br />
own style. <strong>The</strong>y copied records well.<br />
Fate Marable's band was great. His men<br />
came from all over. <strong>The</strong>y had to read<br />
music, so it was different from a (typical)<br />
New Orleans band. Fate Marable was not<br />
a jazz man, but he was a great musician.<br />
He always had at least two New Orleansians<br />
in his band. <strong>Red</strong> <strong>Allen</strong> could read<br />
before joining Marable, but he then<br />
found he had to study further. His father<br />
brought him up to read . One of the chief<br />
reasons he studied with Manuel Manetta<br />
was to learn to read. He was acquainted<br />
with marches and playing in various<br />
keys. He speeded up the phonograph as<br />
he played along with it, forcing him to<br />
play in different keys. Fate Marable was<br />
advanced, and used unorthodox keys
.<strong>Red</strong> <strong>Allen</strong> recorded with Sidney Bechet.<br />
Bechet played in <strong>Red</strong>'s father's band, and<br />
they both played together. <strong>Red</strong> played<br />
bass drum with the Excelsior and Eureka<br />
(brass) bands. <strong>Red</strong> was also considered to<br />
be outstanding on the ukulele. According<br />
to Danny Baker, <strong>Red</strong>, as a teenager, was<br />
one of the best bass drummers in his<br />
father's band. George Finola asked about<br />
outstanding New York trumpet players<br />
when <strong>Red</strong> first arrived there (with the<br />
exception of Louis Armstrong and <strong>Red</strong><br />
himself). <strong>Red</strong> named Bobby Stark, Rex<br />
Stewart, Louis Metcalf, Cootie Williams.<br />
Melvin (probably Melvin Herbert), Joe<br />
Smith and Jabbo Smith. Cutting contests<br />
were discussed. <strong>Red</strong> Nichols was around.<br />
Danny Barker said that Bix is George<br />
Finola's favorite. George Finola<br />
mentioned a New Yorker article on <strong>Red</strong><br />
<strong>Allen</strong>. In <strong>Red</strong> <strong>Allen</strong>'s opinion, Rex<br />
Stewart once cut Bix. He knew them<br />
equally well. <strong>Red</strong> says he was not nervous<br />
- 156 -<br />
at cutting contests since he had fans.<br />
Besides, he always had enough for a<br />
ticket back home..<br />
Clint Bolton (then a Dixieland Hall<br />
employee), George Finola and Danny<br />
Barker made <strong>Red</strong> feel at home, so <strong>Red</strong><br />
played this time. Before, <strong>Red</strong> felt that he<br />
and his father were neglected. He was<br />
born in New Orleans, actually in Algiers.<br />
He is not actually thinking of returning<br />
permanently to New Orleans. He played<br />
with Benny Goodman's band, along with<br />
various sidemen including Fletcher<br />
Henderson, Teddy Wilson and Charlie<br />
Christian. He recorded with the vocalist<br />
Lena Horne, when he was playing in<br />
Artie Shaw's band.<br />
<strong>Red</strong> <strong>Allen</strong> has played in many different<br />
styles. He plans to play in and around<br />
New York City. In February he will go to<br />
England as a single and he will probably<br />
play with Alex Welsh's English band.<br />
Danny Barker spoke about Guy Kelly<br />
and <strong>Red</strong> <strong>Allen</strong>, and how they used to<br />
have good battles of the bands. <strong>Red</strong> had<br />
battles against the Kid Thomas band in<br />
Algiers. <strong>The</strong>y are good friends. <strong>Red</strong> saw<br />
Kid Sheik Cola and Captain John Handy<br />
in England. <strong>Red</strong> and George Lewis had a<br />
band together when George Lewis lived<br />
across the lake (Lake Pontchartrain).<br />
<strong>Red</strong> and John Casimir also had a band<br />
together. <strong>The</strong> Young Tuxedo Brass Band<br />
was John Casimir's.<br />
<strong>The</strong>y spoke about styles and the ability<br />
to fit in. <strong>Red</strong> played with a Chicago style<br />
band before he went to Chicago for the<br />
first time in 1933. On influences on<br />
<strong>Red</strong>'s style: he liked Buddy Petit, Kid<br />
Rena, Punch Miller, Louis Armstrong<br />
and all trumpet players.<br />
Bill Madden thanked <strong>Red</strong> <strong>Allen</strong> and the<br />
others taking part in the program.<br />
<strong>The</strong> program ended by playing <strong>Red</strong>'s<br />
"Sweet Substitute"<br />
9/6/66, Orange, Connecticut - Traditional <strong>Jazz</strong> Club - Zutty Singleton - J.C. Higginbotham All Stars: Bill Barnes (t) J.C.<br />
Higginbotham (tb) Noel Kaletsky (reeds) Bill Sinclair (p) John Toumine (b) Dave Duquette (bj) ZuttySingleton (d)<br />
7:36 Sweet Georgia Brown Connecticut Traditional <strong>Jazz</strong> Club SLP5/JCH-CD-11<br />
7:57 St. Louis Blues --- /JCH-CD-11<br />
9/19-24/66, Boston outside - Lennie's - <strong>Red</strong> <strong>Allen</strong> with Herb Gardner(tb) Sammy Price(p) Coda Oct./Nov.66<br />
“What Do <strong>The</strong>y Want?”-Sammy Price Autobio-1989p70: (cont.from p137 to the Aug.65 Blue Spruce Inn rec.session):<br />
“… So we made “Feeling Good”… And that was the last<br />
time I played with <strong>Red</strong>, August 1965. …<strong>The</strong>n a strange<br />
thing happened. a few months later (!?) he called me and<br />
said, “ You know what? You're losing one of your best<br />
friends.” I didn't know what the hell he was talking about.<br />
But he had cancer. And I said, “Well, so what?” And this is the<br />
way I used to talk to him. “So I'm losing one of my best<br />
friends? If you're talking about yourself, you're not my best<br />
friend.” Although he was. Shortly after he died , in 1967, I<br />
decided I'd had it in music, so then I got out again.”<br />
early Oct. 66, Unity Funeral Chapel; funeral services for Lucky Millinder; with <strong>Red</strong> <strong>Allen</strong> & J.C.Higginbotham<br />
Storyville-8(Jan.-67)p2 – Doug Dobell: While in New<br />
York Doug attended the funeral of Lucky Millinder, held<br />
at the Unity Funeral Chapel. <strong>The</strong>re were dozens of show<br />
business and musical personalities there including J.C.Higginbotham,<br />
<strong>Red</strong> <strong>Allen</strong>, Pops Foster, Eddie Barefield,<br />
Noble Sissle and Lem Jackson to mention only a few.<br />
Lucky died on 5th October. In the news-paper cutting I<br />
was shown of this event. Doug is in the forefront of a<br />
photo taken at the funeral, he feels that this is unique ,<br />
and since very few English jazz fans are likely to have<br />
been at a function of this kind, it probably is.<br />
New York had a lot to offer musically, but briefly, they<br />
were entertained by <strong>Red</strong> <strong>Allen</strong>, who owns the largest<br />
bottle of scotch in captivity – and through Victoria<br />
Spivey he was able to find many interesting spots and in<br />
one Louis Metcalfe was to be heard playing with Sonny<br />
White on piano, plus rhythm section.<br />
Oct.66, a Friday night jazz policy was initiated at Mike &<br />
Dave's Restaurant in downtown Brooklyn with Henry <strong>Red</strong><br />
<strong>Allen</strong>, clarinettist Joe Muranyi, pianist Don Coates<br />
and drummer Sonny Greer as the first incubents;<br />
(Down Beat 11/17/78)<br />
Oct. 66, one week again, Boston - Lennie's-on-the-<br />
Turnpike, <strong>Red</strong> <strong>Allen</strong> played one week (DB-11/17/78)<br />
10/late/66 Cambridge, Mass., Institute of Technology (M.I.T.) - “THE COLLEGE CONCERT OF” PEE WEE RUSSELL<br />
(cl) & RED ALLEN (t,v) Steve Kuhn (p) Charlie Haden (b) Marty Morell (d) – Whitney Balliett –<br />
5:52 BLUE MONK (T.Monk) Impulse AS-9137/Jasmine JAS-78/RA-CD-20<br />
6:15 I WANT A LITTLE GIRL (M..Mencher-Be.Moll) --- / --- /RA-CD-20<br />
4:17 BODY AND SOUL -vRA (J.Green-E.Heyman-R.Sour) --- / --- /RA-CD-20<br />
4:08 Pee Wee's Blues (P.W.Russell) without <strong>Red</strong>A <strong>Allen</strong> --- / --- /RA-CD-20a<br />
4:04 2° EAST, 3° WEST (John Lewis) --- / --- /RA-CD-20<br />
6:57 GRADUATION BLUES -vRA (P.W.Russell) --- / --- /RA-CD-20
George Hoefer-Associate Editor, JAZZ & POP, cover-notes<br />
on IMP.-9137: Many jazz concerts have been recorded<br />
for posterity since the first in-person jam session -<strong>Jazz</strong> at<br />
the Philharmonic, Volume One- was reproduced on wax<br />
and released by Norman Granz in 1944. A good many of<br />
these live performances when played-back sound just as<br />
the listener would expect them to because artists in public<br />
presentations usually offer their best-known and most<br />
popular works. This Impulse album, recorded at a concert<br />
held at the Massachusetts Institute of Technology in<br />
Cambridge in late October 1966, is not a run-of-the-mill<br />
production. <strong>The</strong>re are several significant factors that set<br />
it apart from the ordinary.<br />
One of the most important facets of this particular recorded<br />
concert is the basic concept. <strong>The</strong> music hereon was<br />
used to illustrate a lecture on jazz given by the prominent<br />
and well-known jazz critic for the New Yorker,<br />
Whitney Balliett. In choosing the participating musicians,<br />
it was decided to feature two of the most endurable jazz<br />
giants, whose careers almost span the history of the music<br />
itself. To form a rhythm section for the two great improvisers-the<br />
late trumpeter Henry <strong>Allen</strong> and clarinetist Pee<br />
Wee Russell - three outstanding young jazzmen were<br />
selected. <strong>The</strong>se players, pianist Kuhn, bassist Haden, and<br />
drummer Morell, are of the Sixties and each one has<br />
performed an integral part on some of the most musically<br />
advanced jazz records being produced today.<br />
On the surface this plan for the dual purpose of an<br />
illustrative concert and a projected record release would<br />
appear to be rather risky; but, both Mr. Balliett and record<br />
producer Bob Thiele possess an experienced insight into<br />
the creative potential of Mr. <strong>Allen</strong> and Mr. Russell. As<br />
listening to this set will bear out, their confidence was<br />
not misplaced. Here we have two veterans finding fresh<br />
inspiration evolved by a stimulating rhythmic framework<br />
that somehow prevents them from failing into any of their<br />
time-worn clichés. Instead, they are challenged, and as a<br />
result the listener is treated to fresh ideas from two of<br />
jazz music's masters.<br />
A few years ago Don Ellis, a prominent trumpeter and<br />
band-leader of the modern jazz school, wrote an illuminating<br />
evaluation of <strong>Red</strong> <strong>Allen</strong>'s work. His premise was<br />
that <strong>Allen</strong> was basically an avantgarde horn man. Ellis<br />
was not alone in this judgment; throughout the past 20<br />
years there have been periodic articles by critics and<br />
musicians pointing out that <strong>Allen</strong> was not receiving his<br />
due credit as an artist. Being a New Orleans trumpeter,<br />
born in Algiers, Louisiana, Henry <strong>Allen</strong> travelled<br />
through the jazz world in the shadow of Louis Armstrong<br />
-even playing in Armstrong's big band for several years.<br />
On this concert performance, improvising in a modern<br />
context, trumpeter <strong>Allen</strong> bears out the fact he had<br />
considerably more to offer than a driving Dixieland<br />
style, pure showmanship, and an ability to reproduce<br />
effectively a popular melodic line.<br />
<strong>Allen</strong> is heard to good advantage on all the tracks<br />
except Pee Wee's Blues, which is, of course, Russell's<br />
superb specially. <strong>Red</strong>'s featured track in this collection is a<br />
marvellously up-dated version of Body and Soul As on<br />
most of these tracks, there is an introduction by the. pianist,<br />
accompanied by drummer Morell's firm cymbal beat. On<br />
- 157 -<br />
his long trumpet solo, using a beautifully toned open-horn (as he<br />
does throughout the concert), <strong>Allen</strong> builds tension as the tempo<br />
subtly increases. His phrases are interesting and the performance is<br />
flavored with his inherent swing as he returns to the familiar melody.<br />
Alternating with his two horn solos, <strong>Allen</strong> performs two vocal<br />
interludes that vividly illustrate the old saw that musicians sing in a<br />
manner simulating their instrumental style. To those who are<br />
accustomed to <strong>Red</strong>'s "whamp-whamps" and other showmanship<br />
vocal phrases, his singing on Body and Soul is somewhat of a<br />
revelation. It makes the listener wonder why his vocal talent was not<br />
exploited to more advantage through the years.<br />
This album had added significance due to the fact it was recorded<br />
only a few months before <strong>Allen</strong>'s death on April 17, 1967 at the age<br />
of 60. <strong>The</strong> trumpeter, who played the riverboats with Fats Marable<br />
and Fats Pichon, worked long periods with the great pioneer jazz<br />
bands of King Oliver and Fletcher Henderson, and led his own<br />
sextet for almost 20 years, once said, "When I pass is when I retire I<br />
love to play; that horn is good for me." Amen-and this record legacy<br />
is good for jazz.<br />
Whenever Charles Ellsworth Russell plays these days-concerts,<br />
records, festivals, etc. he renders Pee Wee's Blues. Although the<br />
tune is a published number, he never plays it the same way twice<br />
and it has become a musical interlude wherein the great clarinetist<br />
mines the ideas he has stored-up during more than 30 years of jazz-<br />
playing. On his latest recordings Russell has show-cased a more<br />
musical approach to his improvisations and his former usage of surpri-
sing excursions into the tonal extremities of<br />
the clarinet has been replaced by sensitive<br />
building phrases, subtle trills, and a more<br />
relaxed rendering of his ideas. <strong>The</strong>se recent<br />
developments are well-illustrated here.<br />
<strong>The</strong> remaining four numbers on this album<br />
highlight another important factor that<br />
makes this a worthwhile addition to jazz<br />
record libraries. This is the way in which<br />
<strong>Allen</strong> and Russell work together as a duo in<br />
musical inter-play. <strong>The</strong>y have occasionally<br />
played on the same stage in jam session<br />
style, but there has never been, before this<br />
concert, a similar situation where they were<br />
called upon to complement each other's<br />
performance as a unit.<br />
On the old composition, I Want A Little<br />
Girl c. 1929, <strong>Allen</strong> plays the melodic line<br />
as Russell weaves in and out around the<br />
lead. <strong>The</strong>ir ensemble sound as they play<br />
along together is noteworthy. Both players<br />
delve into hot phrasing that is subtle rather<br />
than frantic. <strong>The</strong> rendition is well-enhanced<br />
by a light piano solo that is suggestive of<br />
barrel-house style. This is accompanied by<br />
a deep-toned bass and the ever-present, but<br />
not overbearing drum work.<br />
<strong>The</strong> Pee Wee Russell original, Graduation<br />
Blues, is played with <strong>Allen</strong> offering a<br />
strong lead horn and also getting into short<br />
conversational bits with Russell. <strong>The</strong><br />
trumpeter again sings, using traditional<br />
blues lyrics, and afterwards sending off Pee<br />
Wee with a characteristic "carry, carry on."<br />
On this track two of the rhythm trio<br />
perform beautiful solos that are highlights<br />
of the concert. Pianist Kuhn plays a<br />
fascinating solo in the blues idiom. He is<br />
followed by a thoughtful and beautifully<br />
toned bass solo by Charlie Haden.<br />
Those listeners to this album who recall<br />
seeing the Newport <strong>Jazz</strong> Festival movie,<br />
<strong>Jazz</strong> On A Summer's Day, will remember<br />
the haunting quality of sound produced by<br />
<strong>The</strong>lonious Monk and His Quartet as they<br />
played pianist Monk's own composition,<br />
Blue Monk. <strong>The</strong> sound, so effective in the<br />
movie as a background for showing the<br />
sailboats on the water, is faithfully reproduced<br />
by concert group. Everyone contributes;<br />
with drummer Morell's playing on the<br />
cymbals offering inspiration to Russell,<br />
whose solo garners a good audience<br />
reaction.<br />
<strong>The</strong> most recent jazz composition included<br />
in the collection is 20 East, 30 West by John<br />
Lewis, the pianist-leader of the Modern<br />
<strong>Jazz</strong> Quartet. Again the group performs as<br />
though they were a regularly organized<br />
unit. <strong>Allen</strong> produces notes that are intricate<br />
- 158 -<br />
and well played. And especially notable<br />
counter-point is contributed by the<br />
clarinet during <strong>Allen</strong>'s opening chorus.<br />
In the final analysis, this reproduced<br />
concert record serves to prove that jazz<br />
is a constantly growing and developing<br />
art form; but, it also vividly points out<br />
that it is worthwhile to keep in mind the<br />
jazz talents of the older stars and what<br />
they can contribute to the contemporary<br />
scene.<br />
Eddie Lambert in <strong>Jazz</strong> Monthly.8/68:<br />
It is rather surprising to find so<br />
knowledgeable a jazz writer as the late<br />
George Hoefer suggesting, as he does<br />
on the sleeve here, that there has never<br />
before been a situation where <strong>Allen</strong> and<br />
Russell have been "Called upon to<br />
complement each other's performance as<br />
a unit". Like so many other people<br />
George seamed to have forgotten those<br />
fine Rhythmakers session of 1932,<br />
whereon these two musicians offer<br />
some of the keenest and most coheisve<br />
two part ensembles on record. <strong>The</strong><br />
casual ensemble passages on this album<br />
are pleasant enough but little more than<br />
'off the cuff' framework for the solos.<br />
<strong>The</strong> idea of the session seems to be<br />
prove that musicians of an older school<br />
can successfully take part in a concert<br />
using a modern jazz format and a<br />
modern rhythm section. <strong>The</strong> point is<br />
proved but the question remains as to<br />
whether it was worth proving in the first<br />
place. At best the rhythm section andthe<br />
horns maintain an uneasy alliance,<br />
and while compositions by <strong>The</strong>lonious<br />
Monk and John Lewis may be an<br />
improvement on tired dixieland warhorses,<br />
they are far from ideal as<br />
Russell / <strong>Allen</strong> vehicles.<br />
This rhythm section tends to convince<br />
me further in my minority (or one, I<br />
think) view that jazz rhythm sections<br />
have deteriorated rather than improved.<br />
Charlie Haden gives a stunning display<br />
of bass playing and the drumming has<br />
drive and great discretion in keeping the<br />
balance within the section. <strong>The</strong>y provide<br />
a sort of rhythmic continuum which is<br />
quite useless for musicians of <strong>Allen</strong>'s<br />
and Russell's rhythmic approach. <strong>The</strong><br />
way in which such a section leaves the<br />
soloist in isolation is perhaps best seen<br />
in the climaxes of Pee Wee's solos, when<br />
his increased volume simply sounds perverse,<br />
eccentric. Like so many modern<br />
rhythm sections this one is supremely<br />
efficient, but so far as either swing or<br />
band playing is concerned these<br />
musicians are thoroughly outpaced on<br />
this month's releases by the ill recorded<br />
veterans of Kid Ory's band (Voc.LAE-<br />
605). Not only does this section play in<br />
an academic fashion rhythmically, but<br />
the choice of chords on the part of the<br />
pianist is wayward in relation to the<br />
soloist. Haden has two brilliantly inconsequential<br />
solos, Kuhn a series of rather<br />
bodyless ones. This planist's use of<br />
blues devices on Graduation Blues<br />
has the sound of the academy in every<br />
note and I doubt if I have ever heard a<br />
poorer blues performance; by comparasion,<br />
an Art Hodes or a Mezz Mezzrow<br />
sound positive jazz masters.<br />
In such a context neither of the hornmen<br />
are at their best. Pee Wee<br />
frequently makes an unlikely context<br />
the setting for a fine performance, and<br />
his work here is good without reaching<br />
the heights of his best playing.<br />
Henry"<strong>Red</strong>" <strong>Allen</strong>, whose last recording<br />
this was, sounds ill at ease. <strong>The</strong> grunts,<br />
encouragements and chuckles which<br />
were characteristic happy <strong>Allen</strong><br />
performance are almost wholly absent.<br />
His two vocals are strained and<br />
unrelaxed, but he gets in some<br />
trenchant trumpet choruses from time<br />
to time, notably in the blues numbers.<br />
A Pee Wee Russell-Henry <strong>Allen</strong><br />
album could have been something very<br />
special, but attempting to prove a theory<br />
has rendered the result a jumble of<br />
fairly good playing which never really<br />
gets anywhere. Henry <strong>Allen</strong>'s final<br />
session finds him playing in a curiously<br />
restric-ed manner; possibly this may be<br />
due to his health, or may be it is the<br />
result of a giant paring down his style<br />
to fit in with midget music.<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Michael Shera about Imp.STPL-509, in <strong>Jazz</strong> Journal 9-68:<br />
Henry <strong>Red</strong> <strong>Allen</strong> and Pee Wee Russell have recorded<br />
together before, but only once since the Rhythmakers sessions<br />
of 1932. That was for the 'Seven Lively Arts' TV Show, in<br />
December, 1957. <strong>The</strong> concert under review takes on a further<br />
significance since it is ,probably Henry <strong>Allen</strong>'s last record.<br />
Perhaps the most obvious aspect of the record is that the coleaders<br />
are playing with a modern rhythm section, and two of<br />
the tunes are not of the kind that Henry, at least, has been used<br />
to. Pee Wee Russell, on the other hand, has used a<br />
considerable amount of modern tunes on his recent records,<br />
and even once played with the composer of Blue Monk. <strong>The</strong><br />
rhythm section plays very sympathetically, and there are no<br />
problems on that account, but Blue Monk, the opening tune,<br />
finds the horns sounding distinctly uncomfortable. Both are<br />
past masters of the unexpected, and their styles are better set<br />
off by tunes that are reasonably straight-forward. Things<br />
improve considerably with Little Girl, where Pee Wee<br />
weaves an oblique counterpoint to <strong>Red</strong>'s lead. On Body And<br />
Soul, <strong>Allen</strong> delivers one of his superb vocals that makes the<br />
old standard sound like a completely new tune, and Pee Wee's<br />
Blues demonstrates that today, Pee Wee knows no master as<br />
a blues clarinet player. <strong>The</strong> other modern tune, John Lewis'<br />
Two Degrees East Three Degrees West, presents much less of<br />
a problem than Blue Monk, with excellent counterpoint by<br />
Russell to <strong>Allen</strong>'s lead. <strong>The</strong> programme closes with a Pee Wee<br />
Russell original, Graduation Blues, with <strong>Allen</strong> contributing a<br />
further example of his good blues singing, and Russell playing<br />
another fine solo. Perhaps <strong>Allen</strong>'s blues vocal style is a<br />
spiritual father of Clerk Terry's mumbling. In addition to apt<br />
accompaniment Steve Kuhn and Charlie Haden contribute<br />
stimulating solo work. A worthy memorial then, to <strong>Red</strong> <strong>Allen</strong>,<br />
and further testimony of Pee Wee's continuing greatness.<br />
Fortunately, the whole proceedings were also extremely well<br />
recorded, though I suppose that is almost inevitable with Bob<br />
Thiele in charge.
- 159-<br />
Jack Hutton in New <strong>Jazz</strong> Records in MELODY MAKER, 8/24/68 Page 12 - Subtle, soft jazz from two masters<br />
THE COLLEGE CONCERT (1966) - A LIVE concert<br />
made about six months before the sad death of <strong>Red</strong> <strong>Allen</strong>. <strong>Red</strong><br />
doesn't sound at his very best. but his thick gutsy tone is<br />
beautiful throughout the record and his singing is poignant.<br />
<strong>The</strong> album at first hearing doesn't sound all that relaxed, but<br />
repeated plays uncover the subtleties of all the musicians and<br />
especially those of Pee Wee. Some of his meanderings seem<br />
to defy all laws of musical logic, other little passages seem the<br />
definite work of a grand master. His customary "Pee Wee's<br />
Blues " is delicate and sensitive - a little gem of a performance.<br />
<strong>Jazz</strong> writer Whitney Balliett arranged the concert and his<br />
idea of using a " modern " rhythm section turned out well.<br />
True there are some awkward gaps but the constant feeding by<br />
pianist Kuhn brings pleasant results. He is a thoughtful,<br />
forceful and melodic player. This is subtle, soft jazz and it<br />
needs an easy atmosphere to listen to it. Pee Wee and <strong>Red</strong><br />
consolidate their positions as two of the most individual<br />
improvisors in the history of the music. — J.H.<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
late Nov./early Dec.66, unknown location in Connecticut; “REUNION”-RED ALLEN (t) CAPTAIN JOHN HANDY (as)<br />
guest artists with BILL BISSONNETTE (tb) & HIS BAND: poss. Clive Wilson (t) Sammy Rimmington (cl) Bill Sinclair<br />
(p) Dick Griffith (bj) Dick McCarthy (b) Arthur Pulver (d)<br />
<strong>Jazz</strong> Times Vol.4 No.1, Jan.67: “CAPTAIN” JOHN HANDY has recently returned<br />
from New York where he made his first recording session for Victor 11/15-11/18 …<br />
He spent a weekend in Connecticut where he played two gigs with Sam<br />
Rimmington's band with guest stars H.Goodwin & Jimmy Archey from New York.<br />
He also worked one gig with BILL BISSONNETTE with guest star<br />
HENRY”RED”ALLEN on trumpet.<br />
Nov.&Dec.66, Friday nights at Mike & Dave's Restaurant, Brooklyn - <strong>Red</strong> <strong>Allen</strong> &<br />
Sonny Greer; (Down Beat-12/1&12/5/66<br />
Dec.66, N.Y.C. Five Spots - WHITNEY BALLIETT's PARTY on his published<br />
"SUCH SWEET THUNDER": Buddy Tate Band: Tate (ts) George Wein (p)<br />
Tommy Potter (b) Ruby Braff (c) Jo Jones(d) and then Buddy Rich for Jones and<br />
“the trumpet-player Henry (<strong>Red</strong>) <strong>Allen</strong> also mounted the stand for several numbers<br />
and singing and jamming …” (Down Beat 1/12/67)<br />
prob.Dec.66, Washington-Betty club, <strong>Red</strong> <strong>Allen</strong> followed singer Merge Dodson (Down Beat 1/12/67)<br />
l. to r.: “Higgy” – Ken Lowenstine – Dan Mavens – Bud Freeman – Bob Rix – Jimmy Weathers (<strong>Jazz</strong> Journal 4-70)<br />
12/10/66 Atlanta, Ga., telerec. for WAGA-TV - "HIGGGY COMES HOME" - J.C.HIGGINBOTHAM(tb) BUD<br />
FREEMAN (ts) Dan Havens (t) Jimmy Weathers (p) Bob Rix (b) Ken Lowenstine (d) any TV-clip wanted<br />
intro: In A Mellow Mood uniss.on LP /WAGA-30 min.telerec./wanted<br />
Confessin' --- / --- /wanted<br />
Rosetta --- / --- /wanted<br />
Dinah Cable KL-126601/ --- /JCH-CD-11<br />
St. James Infirmary --- / /JCH-CD-11<br />
Back Home In Indiana --- / /JCH-CD-11<br />
Blue Jay --- / /JCH-CD-11<br />
Sweet Georgia Brown --- / /JCH-CD-11<br />
Bye 'N' Bye --- / /JCH-CD-11<br />
Way Down Yonder In New Orleans --- / /JCH-CD-11<br />
Jingle Bells --- / /JCH-CD-11
- 160 -<br />
HIGGY COMES HOME by Dan Havens in <strong>Jazz</strong> Journal 4-70pp2-5<br />
Maybe it began in the summer of 1944. Chicago, the<br />
Loop, and <strong>Red</strong> <strong>Allen</strong>'s Sextet. Six nights a week they<br />
beat it out in the Down Beat Room in the basement of the<br />
old Garrick Building. On the few of those nights a<br />
freckled, chubby kid of thirteen sat with his parents and<br />
cousin, his eyes smarting from tobacco smoke, cars<br />
unaware of the chink of change and click of ice-clubs. I<br />
was spellbound by the slide horn of a slender, brown,<br />
soft-spoken Negro called Higgy. Or maybe it began even<br />
earlier. During the forties J.C. Higginbotham had won<br />
first place as hot as hot trombonist in the annual jazz<br />
polls for four years running. Long before I ever heard<br />
him in person I'd memorized his solos on big band<br />
recordings like One O'Clock Jump and Bugle Call Rag<br />
by the Metronome All Stars. By the time he recorded<br />
those, his work with Louis Armstrong's band on dozens<br />
of Decca sides during the late thirties was already legend,<br />
and I could whistle most of his choruses by heart.<br />
But in the Downbeat Room I first heard live, gutty jazz in<br />
person. Listening to my father's collection of 78's since I<br />
was eight had taught me good jazz from bad, but it hadn't<br />
prepared me for the aliveness, the 'realness' of jazz in<br />
person. Hearing Higgy and <strong>Red</strong>, soaring on top of a<br />
chugging rhythm section, was an initiation into ecstasy.<br />
That first night I stepped into a world of music I have<br />
never really left.<br />
One morning last November my cousin Ken Lowentine<br />
called me from Atlanta. He'd looked up Higgy in New<br />
York during the summer and he said the old man was<br />
down and out in Harlem. Ken had taken him to Eddie<br />
Condon's and J.C. had made Yank Lawson, Cutty<br />
Cutshall and the Condon Mob sit up and listen for two<br />
sets. But Higgy was pretty well relegated to the jazz<br />
histories and nobody hired him much except for an<br />
occasional one-night saloon gig. <strong>The</strong> steady job at the<br />
Metropole had been gone for several years, and what was<br />
a trombone player going to do if all he knew was how to<br />
play his horn?<br />
Ken told me he wanted to do something for Higgy, to<br />
bring him back home to Atlanta for a recording. Maybe if<br />
he came back to his hometown to cut an album, to start<br />
all over again, maybe if some people heard it and the<br />
critics liked it, things might go better for him. Nice and<br />
sentimental, I said, but where's the money coming from?<br />
Who's going to put out the album? It was nice but crazy.<br />
Nice and crazy. Ken agreed. But some jazz fans in<br />
Atlanta were fired up about the idea arid had come up<br />
with the backing already. Paul Hemphill had mentioned<br />
it in his column for the Atlanta Journal, and the response<br />
in just one week had been heartwarming. Jzz fans were<br />
phoning daily, wanting to help in some way. So Atlanta<br />
was ready, Ken said. Was I?<br />
Play on an album with J.C.Higginbotham! My stomach<br />
knotted so hard I could barely mumble a yes. But are you<br />
sure you want me? Hell, I haven't worked with a band in<br />
more than a year except to sit in some. Ken said he<br />
thought I could handle it - he'd never heard me try<br />
anything I couldn't play.<br />
<strong>The</strong> phone calls came often those next few weeks. How<br />
were the charts coming? Well, I'd have to know some of<br />
Higgy's keys. But who was set for clarinet? Maybe Ed<br />
Hall, maybe Buster Bailey. Nothing definite yet. <strong>The</strong>n<br />
one day Ken called to say that Bud Freeman was going to<br />
do the album with us.<br />
<strong>The</strong> date was finally set for Saturday, December 10th.<br />
Ken wanted an in-person sound, so Rod Kinder was<br />
going to set up his recording studio like a cafe, with food<br />
and drinks. Some ninety jazz fans had been invited to<br />
watch the session. And something else had come up. Paul<br />
Shields, news director of WAGA-TV, had gotten caught<br />
up in the thing, and wanted to film a thirty-minute<br />
documentary in colour. Hemphill had done some more<br />
column on it in the Journal, and in general there was a<br />
good feeling in Atlanta over the coming session. It looked<br />
like it really would be a homecoming for Higgy.<br />
II<br />
Dear Old Southland. I left St. Louis in 25-degree weather,<br />
spitting sleet. I'd checked my suitcase, but I was uneasy<br />
about letting go of the horn with those arrangements, so I<br />
carried the case on the aeroplane and shoved it under my seat.<br />
Just over an hour later we touched down at Atlanta and I<br />
stepped off the jet, horn case under my arm. I hadn't expected<br />
the mild mid-sixties weather and the soft rain. It felt like<br />
spring. Ken was there to meet me and asked how I was. I<br />
said, fire, but with my mouth puckered, and I told him I'd had<br />
all my teeth pulled the day before. I said I could still whistle<br />
like hell. Ken said to can the funny stuff - we had to drive<br />
downtown to the motel to pick up Higgy and Bud. Higgy<br />
was taping the interview portion of the TV docu-mentary<br />
that night.<br />
After we got my bag and found the car Ken said things were<br />
all right for the session. I told him he looked good after seven<br />
years, only maybe a little thinner on top, and Ken said the<br />
same, only maybe I wasn't any thinner below. I laughed and<br />
asked him if he were going to play drums on the date and he<br />
said he was. As Ken threaded in and out of traffic heading<br />
downtown on the South Expressway I remembered when we<br />
had last played together. It was at my wedding reception, and<br />
he laughed when I said Ellie was still mad at me for that. I<br />
didn't dance much after the first waltz.<br />
It was raining harder when we turned off Peachtree Street<br />
into the driveway of the Atlanta Cabanna Motel. On one side<br />
of the sign out front it said 'Welcome Higgy and Bud,' and on<br />
the other, 'Welcome Bud and Higgy.' Ken said that -was real<br />
integrations equal time. After he parked we ran up the steps<br />
to shelter and then walked down to Higgy's door.<br />
When we stepped in I looked at Higgy for the first time in<br />
fifteen years. He looked old and hunched, although hardly<br />
greying, standing in his undershorts and slippers, one shoulder<br />
cocked higher than the other from a lifetime of cradling his<br />
trombone up there. His legs were so skinny they made his<br />
knees seem knobby. I'd forgotten about his protruding eyes,<br />
the one looking off to one side a little. But his voice had the<br />
soft, nasal warmth I remembered, and his smile was the same.<br />
It always made me think of a schoolboy thanking his favourite<br />
teacher. <strong>The</strong> room was messy, and the bed was littered with<br />
the Atlanta papers and a tray of food, half eaten. Higgy said<br />
the sleak was too big for him and he'd wrapped up the remains<br />
in a napkin for later when he'd watch Tv. He likes to watch<br />
old movies.<br />
Higginbotham said he remembered me; but I could tell he<br />
didn't. He was as warm as ever, and he even got my name<br />
right after Ken told him a few times. It was silly - I wanted<br />
him to remember me from before, but I knew he wouldn't. I<br />
didn't feel hurt or anything. I felt sorry for the old man,<br />
standing there in his shorts and slippers and looking tired.<br />
And then I felt bad feeling sorry for someone like Higgy who<br />
was so good, who had initiated me. After a fast hello Ken<br />
asked him to hurry up and get dressed for the interview, and<br />
then we went next door to meet Bud Freeman.<br />
Bud's room looked as if the maid had just cleaned it – everything<br />
neat, nothing unhung, no dirty ashtrays. It suited Bud,<br />
who was watching the 'Nutcracker Suite' on television. He<br />
was soft-spoken, suave, and polite as he greeted us .and shook<br />
hands. He asked me how I was, and I said, 'Fine'. But I saw<br />
the Oh-God-an-amateur look break the composure of his face<br />
for just an instant, and I was embarrassed. I couldn't blame<br />
him. In the car Ken had told me that a lot of Atlanta people<br />
kept asking him who was playing trumpet on the album and<br />
when he explained it was his cousin, a college professor,<br />
well, you know how it was. Bud had that look.<br />
After we sat down, Ken and I on the chairs, and Bud erect<br />
and poised on the edge of the bed, Bud asked Ken if he<br />
enjoyed the ballet. Ken said, 'Not really'. 'Well', Bud said,<br />
gesturing urbanely with a manicured hand, 'My wife was in<br />
ballet, you know. Oh? She's a child therapist now, you know?'
Oh, Bud thought the ballet was excellent. After all, there<br />
was so much . . . Well, you know . . . crap on television<br />
these days that the 'Nutcracker Suite' was refreshing. Was<br />
'crap' a good word for Friday night, Professor? I told him<br />
it was. Ken said it was a good Sunday morning word too.<br />
<strong>The</strong>n Ken said he didn't mean he disliked ballet. Only it<br />
didn't excite him much. Bud sat erect and smiling on the<br />
edge of the bed. <strong>The</strong> polite smile, the London tailormades,<br />
the urbane gestures as he spoke - they were all<br />
Bud Freeman. I decided he looked more like an<br />
investment broker than a tenor man. I liked him.<br />
<strong>The</strong>n Higgy knocked and walked into the room. Hi Bud.<br />
Man. Ken, this' jus' wunnerful, jus' wunnerful. Bes' thing<br />
ever happen t'me in my whole life, Ken. Ken I lov' ya,<br />
man. An' you, Bud - well, you know, man. An' you too,<br />
ah ... Ken said, Dan. Yeah, you too, ah, Dan. Les' all<br />
have a drink, huh Ken? But Ken said we had to gustle<br />
over for the TV interview, so we put on our coats and<br />
hurried out to the car in the rain. We headed for Ken's<br />
place to drop off Bud and me, and on the way we smoked<br />
and talked. All of us but Bud, who doesn't smoke. But he<br />
talks. He reads a lot and likes to talk about ideas.<br />
We were all thinking about the session the next day and<br />
the talk was mostly about jazz. Higgy got to reminiscing<br />
about some cats he thought were great, and the rest of us<br />
laughed because we had forgotten most of them. Higgy<br />
said that Hilton Jefferson was maybe the best alto man<br />
he'd ever heard – just as good as Hodges or Carter. <strong>The</strong>n<br />
Bud said Coleman Hawkins swung much more after<br />
Louis came along and taught everybody that marvellous<br />
gutbucket sound. Technique or even ideas weren't much.<br />
Bud said, unless you had that gutbucket sound. <strong>The</strong> best<br />
cats all had it. Higgy said, Amen, and fumbled for<br />
another cigarette.<br />
It went on like that for awhile, Ken dodging traffic and<br />
squinting through the rainy windshield, and all of us<br />
talking. When we got to Ken's, Marilyn and their three<br />
boys, John, Richard, and Chris, rushed out to greet me<br />
and ask a million questions all at once, fighting to carry<br />
my horn case in. Was my horn a new one? How could it<br />
fit in that little case? Could they blow it? Did I like jet<br />
planes? Could they blow it? Did I like jet planes? Was I<br />
really their cousin? I looked so much older, old enough<br />
to be their Daddy. It was wonderful, those fine boys, and<br />
I felt relaxed for the first time all day. Ken and Higgy left<br />
almost immediately for the interview and Marilyn got out<br />
some ice cream for Bud and the boys. Chocolate mocha<br />
something. I begged for a big bourbon, but loves ice<br />
cream, and soon he was playing penny ante poker with<br />
John and Richard - he provided all the money for the<br />
table. But lost $2.75 to the boys, and he grinned when<br />
they whooped and counted up their money.<br />
After Marilyn marched the boys off to bed the three of us<br />
talked about music. Well, really Bud talked about. music,<br />
and how it was from the heart, any kind, and how it was<br />
love. He said a musician would always play for another<br />
musician.<br />
It was probably close to 11 pm when Ken and Higgy<br />
returned from the interview. Higgy was wearing a<br />
cardigan sweater the studio had lent him to make him<br />
seem more casual - he'd liked it so much Paul Shields had<br />
given it to him. And he had his schoolboy smile and a<br />
warm hello for us. As soon as Higgy and Ken sat down<br />
with us, Bud started in on Zen Buddhism, about how<br />
beautiful it was. You can learn a lot from the East. If you<br />
were always humble you never lost pride. He liked that.<br />
<strong>The</strong> trouble with the world today was that people didn't<br />
laugh enough. Music could give them love and laughter,<br />
didn't we agree? Life is too short to go around worrying,<br />
isn't it? He said it earnestly and I knew he meant it. But I<br />
also thought it was ironic. I mean, Bud sitting there in his<br />
English tailor-mades, and no more night clubs to play,<br />
only London, Europe, the Newport Festival, and record<br />
dates. But he meant it. I knew he had come down to this<br />
- 161 -<br />
session for less than half his usual recording fee as a gesture<br />
of affection for Higgy. That was Bud. Music was love.<br />
I kept waiting for an opening to bring out my nine arrangements,<br />
and when I saw it would never come the way Bud was<br />
going, I brought them out anyway. Bud scanned them<br />
quickly, and I saw that look again. But Higgy looked over his<br />
parts slowly, singing the phrases in a toneless hum. Once<br />
when I tried to whistle a passage for him he gave me an<br />
angry look, so I kept quiet after that. When he was finished<br />
he looked up with that schoolboy smile and said, "<strong>The</strong>y jus'<br />
fine, man. You worked hard on these - an' two specials jus'<br />
for me. Wunnerful. And then Higgy asked for one more short<br />
one before he went back to the motel. He said he'd warm up<br />
his chops on the charts in the morning. It was still pouring<br />
when we got back to Ken's, and there was Marilyn at the<br />
front door. Ken told her Paul Shields had been thinking of<br />
dropping the documentary because Higgy had seemed<br />
nervous during the interview. But we convinced him that the<br />
real film was in the session itself - the goofs, the good tunes,<br />
all the interplay in the band. So he said he was going ahead<br />
with it.<br />
Marilyn said she was glad for Higgy's sake. She was afraid<br />
the old man would be hurt if they cancelled the film. Yes,<br />
Ken said, we've been so busy worrying about the preliminaries<br />
we've kind of forgotten the reason we're doing it all, It's Higgy.<br />
I said he seemed in good spirits, only maybe tired-looking.<br />
<strong>The</strong>n we got to reminiscing about J.C. in his prime, with <strong>Red</strong><br />
<strong>Allen</strong> at the Downbeat Room in Chicago, and how he could<br />
always make that last set, no matter how much whiskey he'd<br />
had, as long as he could prop his back against the wall, next<br />
to Alvin Burroughs, the drummer. He'd play towards the<br />
floor, eyes closed. But he'd play – and at any tempo, loud and<br />
clean. He was one hell of a trombonist. And so we talked on,<br />
mostly about Higgy, but also about our mortgages, and about<br />
baloney, sandwiches and being poor.<br />
III<br />
In the morning I woke up to the sound of Chris blowing my<br />
Reynolds. Cousin Dan, do you like bacon with your eggs?<br />
Sure, but stick a mute in that horn, boy. When Ken got up we<br />
sat down to eat, and the coffee was hot and the boys talked a<br />
lot and it was fine around the breakfast table. After-wards we<br />
hurried downtown to the caterer's to pick up the food, and I<br />
was thinking I hadn't even practised the horn. We were too<br />
late to pick up Bud and Higgy, they'd have to catch a cab to<br />
the session. Ken swore at traffic all the way to Kin-Tel<br />
Studios, and I kept worrying about no practice, and balancing<br />
a big tray of cheeses and shared ham on my knees. But we got<br />
there with nothing spilled.<br />
It was a big room with all the windows boarded up and baffled<br />
for acoustics, maybe 125 feet long and 50 wide. And Rod<br />
Kinder, who owned the studio, had really gotten a cafe effect<br />
with his checkered tablecloths and candles. <strong>The</strong>re were some<br />
twenty tables set up, and even though there weren't many<br />
guests yet, the room was filling up with talk and laughter and<br />
tobacco smoke. Just right for a session, I thought. Near the<br />
entrance, beside the engineering booth, were the bar, tended<br />
by a Negro named William, and the buffet table. Down at the<br />
far end was the bandstand, and all I could see were<br />
microphon'es-mikes, mikes, and more mikes. I felt my<br />
stomach knot up, the way it had when Ken first asked me to<br />
play the session. This was it, no more preliminaries.<br />
Those mikes. <strong>The</strong>re were only six, one per instrument, but<br />
with all the wires and TV cables and lights and cameras, it<br />
looked like an electronic jungle. We would have to stand<br />
pointing a little to the left of the audience, toward the piano.<br />
But once we started we just naturally pointed out toward the<br />
audience, so they shifted the horn mikes in front of us and<br />
forgot all about the acoustical wall.<br />
Pretty soon Higgy and Bud arrived. As soon as the audience<br />
saw them they applauded. Bud responded by smiling politely<br />
and nodding his head, but Higgy made as weeping bow. <strong>The</strong>n,<br />
wearing his schoolboy smile he walked slowly up to the stand,<br />
stopping at every table to shake hands and say hello. <strong>The</strong><br />
two of them began to unpack their horns. Bud looked as
impeccably cool as always, and said hello with his usual<br />
politeness, but he still gave me that look. He wanted us to<br />
tune up together, so we did. He didn't bother to ask<br />
Higgy. I'd been running through some of the tunes with<br />
Jimmie Weathers, the pianist.<br />
'Higgy Comes Home' – In A Mellow Tone, Take One, and<br />
we kicked it off at 12:30 pm. We ran it all the way<br />
through, with solos, and Bud liked it, so he told the<br />
engineer we'd do it once more for keeps. It went off fine.<br />
Bud was wonderful. He sure had that gutbucket sound.<br />
Higgy was strong, and played to his audience, slipping<br />
around easily and humorously on his chorus. I played<br />
some growly muted stuff behind the sax and bone stuff<br />
on the first chorus, and all the solos in the middle<br />
swung,. Listening to the playback I decided right off I'd<br />
stay in the middle register and get my effects with a mute<br />
or from volume contrast and pauses. Nothing fancy for<br />
this boy from Edwardsville. Just play it clean and right in<br />
the middle. I was in tough company. And I knew it. But<br />
my first was good. I'd be all right.<br />
IV<br />
We sort of tacitly agreed we'd play maybe three or four<br />
tunes per set, and then break for a smoke or a drink.<br />
Higgy wore the same light-coloured sharkskin suit he'd<br />
worn the night before, and he kept his jacket on all<br />
afternoon. At first he was pulling and sweating hard. He<br />
kept wanting to break after two tunes, but Keith kept on<br />
him, telling him we had to get through. Even though<br />
nobody said it out loud, we were all scared he might have<br />
a heart attack, because in the car the night before, he'd<br />
told us about keeling over from one on a gig at Princeton<br />
with Jimmie McPartland. So we were all thinking about<br />
that. But J.C.Higginbotham is a professional all the way.<br />
He knew he had a job to do and he knew he would do it,<br />
even if we didn't. I think he enjoyed our nervousness over<br />
him. Bud would ask, Can we do one more, Jay? And<br />
Higgy would flash that schoolboy smile and say, If you<br />
say so, Bud. My Man.<br />
<strong>The</strong> first three or four sets went unevenly - half the session<br />
in time. <strong>The</strong> TV people wanted Higgy to do his old hits<br />
like Dear Old Southland, Georgia, 0n My Mind, and<br />
Pennies From Heaven. Southland is a very special<br />
number for J.C. Like anyone else, he learned it from the<br />
beautiful recording by Louis and Buck Washington. But<br />
it's a tough number because he takes it in a high key, and<br />
has to make it both sweet and hot. Well, he wasn't really<br />
up to it because he hadn't been playing for so long. But he<br />
did it for the documentary and for his fans. And a funny<br />
thing happened during the take.<br />
When the TV cameras started rolling, Higgy brought in<br />
the rhythm section with his usual Whaamp, whaamp,<br />
waving his horn like a baton. <strong>The</strong> audience loved his<br />
clowning. Everybody was doing fine until Higgy got to<br />
the minor passage, which Jimmie Weathers didn't know.<br />
Jimmie was so intense just following Higgy in the major<br />
part he never heard Higgy make the change. And I guess<br />
Higgy was minding his own high-note business so hard<br />
he didn't notice. It sounded awful and I was embarrassed,<br />
so I jumped up from off-camera and yelled, Hold it, hold<br />
it! <strong>The</strong>n I walked over to the piano and showed Jimmie<br />
and Bob Rix, the bassist, the minor change. What I didn't<br />
know was that Higgy didn't understand what I was doing.<br />
He'd been blowing with his eyes shut, and suddenly, just<br />
as he was reaching for a high one, his accompaniment<br />
quit, and there I was, my back to him, hunched over the<br />
piano. He got mad and made as if to hand me his horn,<br />
and said, 'Let him play the damn number if he wants to<br />
change the arrangement !' Well, Weathers and Rix<br />
quickly picked up the minor change, and as soon as I got<br />
off-camera they did the number again, this time without<br />
trouble.<br />
When Your're Smiling went well, with Higgy sounding<br />
like he did twenty years ago on the shuffle rhythm<br />
- 162 -<br />
chorus. And then we did Confessin', Saint James<br />
Infirmary,_and Pennies From Heaven pretty much as J. C.<br />
had done them hundreds of times before. On Confessin' Ken<br />
played on through Higgy's solo break. Later he told me he<br />
knew Higgy's arrangement as well as he knew the Lord's<br />
Prayer. But he was sleeping. Higgy got mad and stopped the<br />
number. And that was funny. He didn't know whether or not<br />
he could get mad at Ken, so he just scowled at the bass drum<br />
and said, OPen break, man, OPen break. I looked at Bud and<br />
Bud studied his fingernails with a half-smile. Most of these<br />
old favourites were for the documentary and for Higgy's fans<br />
in the audience. <strong>The</strong>y weren't for the record. Higgy must<br />
have known that, must have felt bad inside about the<br />
mediocre tunes. But he never let it show. And Bud was a<br />
rock.<br />
V<br />
Playing in front TV cameras was confusing. Those bright,<br />
hot lights were everywhere. <strong>The</strong> engineer in the control<br />
booth would remind me not to start before the red light went<br />
on, but with the TV lights on.us I couldn't see past the end of<br />
my horn. Once I asked him where it was, just before a take.<br />
He snapped at me to just watch the light, man, just watch the<br />
light. I knew he thought I was being smart, and I must have<br />
looked mad because Higgy touched my arm and said, 'Cool<br />
it, man, jus' pretend. See? Cool it'. So from then on I<br />
pretended I knew where it was and waited a little after he<br />
gave us the take signal before I tapped us into the tune. After<br />
the session was all over and as I was packing up my horn I<br />
discovered a red light near the drums, behind where I stood. I<br />
showed it to Higgy, and he shook his head and said. 'Ain't it<br />
the way? <strong>The</strong>y usually don't hide red lights ! C'mon, man, les'<br />
have a drink on that crazy light'.<br />
When they started filming the documentary they turned on<br />
all those lights and Paul Shields began reading the opening<br />
spot from the idiot box. 'Ladies and Gentlemen, you see<br />
before you one of the legendary figures in jazz - J. C. Higginbotham<br />
- and like that. One time the lights blew out, and that<br />
stopped the number. Another, they had to stop to reload the<br />
cameras. Once or twice we got our head arrangements mixed<br />
up and had to stop the number to talk it through. During the<br />
solos I stood there and tried to look happy. I wondered if we<br />
were supposed to jump around and snap our fingers and say,<br />
Yeah, yeah man, like the jazz musicians in movies. Once<br />
they stopped us and told me. Get that damned can of Busch<br />
off the sound box behind you. I did. But nobody ever said<br />
anything about the Coke bottle next to it. Higgy grinned,<br />
leaned toward me, and whispered, Wonder if they gonna say<br />
somethin' 'bout my Chesterfiel's nex'?<br />
At 3.30, about halfway through the session, the TV cameras<br />
had use up all their film, so we settled down to some serious<br />
recording. I suggested another of my arrangements but Bud<br />
felt we should go one with head stuff, and Higgy said. 'Aw,<br />
man, you ain't gonna make me read NOW?' I knew Bud was<br />
right, since we hadn't rehearsed any of the charts. I thought<br />
then that I ought to be mad, all the work I'd put in, but I just<br />
wanted to blow. With the lights and cameras gone, with the<br />
hokey stuff out of the way, we were all relaxed and ready to<br />
go - I think for the first time. And all good mainstream jazz.<br />
Sometimes we'd have to show Jimmie Weathers the bridge or<br />
something, but he'd touch a couple of chords and have it<br />
right off.<br />
We felt best about the last set. By the time we listened to the<br />
playback of it most of the audience had gone. Rod Kinder<br />
needled me about what he dubbed <strong>The</strong> Magnificant Fluff of<br />
the day. On Bye And Bye I had planned a spiralling run to<br />
open my solo, intending to end up on a high G, but I charged<br />
into it so hard I landed on A instead - Rod insisted it was on<br />
the crack between A and B flat. When it happened Ken almost<br />
fell off his drum-steel, and I pulled my horn away from my<br />
chops and stared at the bell for a moment. Rod promised he'd<br />
clip that piece of the tape out and make me a 45 rpm of it.<br />
Higgy said, 'Boy, you got somethin' for the critics that time!'<br />
Rod is as crazy as the rest of us. Right after our 1ast number
Bud said, 'Rod, that was sooo good we'd like to hear it<br />
back now please'. So Rod played it for us and when it got<br />
to the end Bud requested it again. So Rod backed it up<br />
and played it again. Those are things you can't get on an<br />
album when you press it, but they're all a part of it.<br />
Like Higgy's liquor ration. He'd brought a fresh half-pint<br />
with him and given it to William at the bar. Ken had<br />
asked William to make sure Higgy drank that and no<br />
more, at least until the session was over. But halfway<br />
through the afternoon the pint was down pretty low, so<br />
William watered it back up again. Later on he did it once<br />
more, and when that dilution was down near the bottom<br />
Higgy asked for a stiff one.<br />
William poured the rest of it into a glass with an ice cube<br />
and no water, and Higgy chugged it right down - about<br />
five fingers' worth. Higgy smacked his lips and told<br />
William, 'Ya know, man, when you feelin' straight an'<br />
fine, whisky don't hardly 'effect ya'. William answered,<br />
'Uh huh' - and kept on wiping glasses. Just before we left<br />
I noticed Bob Rix winding up cable from his electronic<br />
bass kind of unsteadily, and I said, It was a pleasure,<br />
man, you really dug in. All that vodka and cheese fired<br />
you up. And he said, Yeah, man, it was a real pleasure,<br />
kind of blurry and slow in his deep voice. He hadn't<br />
smiled all day, except at the cheese buffet, so I told him<br />
Ken had said he was a damned good bass man but a<br />
sourpuss. Rix leaned back and roared out the best laugh<br />
when I told him, and then suddenly he turned all<br />
sourpuss again and said, still fumbling with the cable,<br />
'You know, Dan, I'm a professional and I hate amateurs.<br />
If there's a phoney in the band, I can bad-eye him into<br />
silence. Why, man, l've been known to turn some into<br />
pillars of salt right on a gig'. I 1aughed and he finally got<br />
his gear picked up. He walked out of the studio with a<br />
kind of unsteady dignity. He had a society gig with Billy<br />
Butterfield that night.<br />
When I left the studio with Ken, Higgy was playing<br />
Georgia On My Mind, all by himself. <strong>The</strong>re was still one<br />
table of people listening, and I thought what a nostalgic<br />
- 163 -<br />
and sentimental moment it was except that Higgy was tight<br />
and his chops were tired. <strong>The</strong> notes were strained and a little<br />
sharp. <strong>The</strong>n I realized that tired chops and strained notes<br />
didn't really matter. When Higgy had to do his stuff, he did<br />
it, always competently. And at moments on a solo or in the<br />
ensemble, he did it with a peculiar charm and whimsy - the<br />
brilliance that no other trombonist has ever imitated. And<br />
that's professional, and long way from nostalgic or<br />
sentimental.<br />
VI<br />
<strong>The</strong> next morning we went dowtown to the motel to see<br />
Higgy and Bud.<br />
Bud was taking the boys to the professional football game<br />
after church. I said a fast goodbye to him and stepped next<br />
door into Higgy's room. He was calling his wife in New<br />
York, and telling her with tears and laughter all about the<br />
day before. When Ken came in Higgy insisted that he say<br />
hello to Margaret, and while Ken was chatting Higgy poured<br />
me and himself a drink from the half-pint he kept in the<br />
drawer of the night stand beside his bed. We toasted the<br />
success of the record and I thanked Higgy for the chance to<br />
play with him. I don't think he understood, or really remembered<br />
me even then, so I said that playing with him was<br />
something I had been thinking about since I first heard him<br />
in the Downbeat Room. I don't think he heard my words, but<br />
he heard my tone, and when I was done, and embarrassed, he<br />
walked over to me in his blue silk bathrobe and slippers,<br />
threw his right arm about my shoulders and gave me a hug.<br />
When we left Higgy he was calling his relatives in Social<br />
Circle Georgia, arranging for a cousin to pick him up and<br />
take him out there to see his family and friends. It was his<br />
first time back in almost thirty years and he was very proud<br />
to be home again. He had told us that they'd seen all the<br />
newspaper write-ups and some had watched him make a<br />
personal appearance on a local TV show two days before.<br />
None of them knew anything about his hard times; they only<br />
knew Mrs Higginbotham's boy, Jay, was home. and he was a<br />
famous musician. It was good.<br />
--------------------------------------------------------------------------------------------------------------------<br />
Higgy Goes Home Down Beat 2/9/67p11<br />
On a drizzly winter Saturday afternoon in Atlanta, Ga., a<br />
group of jazz musicians came together for a recording session<br />
with trombonist J.C.Higginbotham. It was a gesture of<br />
affection for the 60-year-old jazz great, who has been in<br />
relative obscurity in recent years.<br />
Tenor saxophonist Bud Freeman came from New York, and<br />
several dozen guests were invited to the recording studio,<br />
which had been fixed up like a night club with candle-lit<br />
tables. Drinks were served. It was a relaxed and amiable<br />
occasion that also produced some rich musical moments that<br />
will be preserved on an album to be called Higgy Comes<br />
Home.<br />
"What we went in for was a piece of memorabilia," said<br />
Kenneth B.Lowenstine, the man who put it all together,<br />
"What we came out with was one hell of an album.<br />
Lowenstine is a 37-year-old interior designer working in<br />
Atlanta. He has been a friend and admirer of Higginbotham's<br />
since he first saw him, playing at the Downbeat Room in<br />
Chicago in the early 1940s.<br />
A few months ago, when Lowenstine was in New York City<br />
on business, he ,looked up old friend Higginbotham, and they<br />
spent an evening visiting old haunts - Jimmy Ryan's and<br />
Eddie Condon's, where the trombonist sat in for a few<br />
numbers, among them. Before the evening was over,<br />
Higginbotham asked Lowenstine if there might be some work<br />
for him in Atlanta.<br />
"That's my home town, you know," the trombonist said.<br />
Lowenstine had not known that Higginbotham had been born<br />
in the little Georgia town of Social Circle, had grown up in<br />
Atlanta, and had attended Morris Brown College there.<br />
But it gave Lowenstine the idea of a homecoming recording<br />
session. Rod Kinder of Kin-Tel Studios offered his recor-ding<br />
studio and crew of technicians. Lowenstine called his cousin,<br />
Dan Havens, a cornetist who works around St. Louis and<br />
teaches American literature it Southern Illinois Univer-sity; got<br />
Bud Freeman; picked, up pianist Jimmy Weathers, who has<br />
been playing with small groups and as ,a single around<br />
Atlanta; and hired local bass player Bob Rix. Lowen-stine<br />
himself played drums.<br />
<strong>The</strong> first couple of numbers were taped by station WAGA-TV,<br />
which was getting footage for a, 30-minute documen-tary, to<br />
be called Higgy Comes Home. After a little get-acquainted<br />
noodling, the men kicked off In a Mellow Mood. As the<br />
session progressed, Higginbotham flashed his old greatness in<br />
such nostalgia as Confessin', Dinah, and Rosestta.<br />
When the session broke up, the studio audience rose and<br />
applauded a smiling Higginbotham, who responded by lifting<br />
his horn from the table and blowing a few bars of Georgia on<br />
My Mind and Dear Old Southland.<br />
After the session, Higginbotham spent a couple of weeks<br />
with relatives in his home town, where he had not visited since<br />
1938. Back in New York City, the trombonist said: "<strong>The</strong><br />
reception I got in Atlanta was one of the greatest experiences<br />
in my musical career. I'll never forget it."<br />
------------------------------------------------------------------------------------------------------------------------------------------
- 164 -<br />
PAUL HEMPHILL - Replaying Higgy (cont'd) in <strong>The</strong> Atlanta Journal and Constitution 11/24/66p14-C:<br />
Ken Lowenstine did not look as fresh when I leave it won't be there. I'll blow it<br />
'Higgy Comes Home'<br />
and alive as he had two weeks earlier. right off the map. He's sitting on go." That, then, is what it will be: "Higgy<br />
That is easy to understand. Two weeks<br />
Instant Reaction<br />
Comes Home," since Jay C.Higginbo-<br />
before, he had made public his desire to <strong>The</strong> story on Ken Lowenstine and Jay tham was born and raised in Atlanta and<br />
do something for his old friend, Jay C. C.Higginbotham began about 25 years<br />
graduated from Morris Brown College<br />
Higginbotham. He had found out that<br />
before striking out on his own. on Dec.<br />
ago, when Lowenstine was a kid living<br />
Higgy, one of the great jazz trom-bonists<br />
10, a Saturday, 75 or 80 select guests<br />
in Valparaiso, Ind., and Jay C. was one<br />
20 years ago, was now 60 and living in a<br />
will gather In a place called Kin-Tel<br />
of the big names in jazz. Lowenstine Studio in Atlanta. <strong>The</strong> spotlight will be<br />
bad part of Harlem and having a tough went to Chicago with his parents one on Higgy, who will play the old stan-<br />
time of it. Not destitute, but not flouri- night and heard Higgy play trombone dards like he used to. Three of these in<br />
shing. So Lowenstine, an interior desig- with the <strong>Red</strong> <strong>Allen</strong> band, and that was it. the band will be Atlantans, very likely<br />
ner in Atlanta now, decided he would try Through the years, especially when including Ken Lowenstine on drums.<br />
to either get Higgy a regular job playing<br />
Lowenstine fooled around with the <strong>The</strong> other two will be Lowenstine's<br />
the horn here or arrange a recording<br />
drums for a while, they came close. cousin, Dan Havens, a college professor<br />
session - or both - and the bottom fell out.<br />
"I forgot how much work there signer<br />
<strong>The</strong>n, when he was in New York last<br />
and jazz buff from Edwardsvill, Ill.; and<br />
Bud Freeman, an old friend of Higgy<br />
much longer if this keeps up," he was<br />
summer, Lowenstine found Higgy's<br />
who still plays out of New York.<br />
saying this week.<br />
telephone number and called him. Higgy Lowenstine was ecstatic this week.<br />
"How's that?"<br />
was not doing too well. <strong>The</strong>y caught up "What we'll probably do is just turn on<br />
"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<br />
something like this," he said.<br />
Higgy had to borrow cab fare, but he sat could take out what we want. My cousin<br />
"People started calling, wanting to talk in with the group and he showed he has already written a tune called, 'From<br />
about Higgy or wanting to help. I had to could still play the horn.<br />
Higgy with Love.' but we'll stick with<br />
find a place, a studio. I had to do some- <strong>The</strong> story came out a little more than tunes called, 'Dear Old Southland' and<br />
thing about the money offers. <strong>The</strong>n there's two weeks ago. <strong>The</strong>re was instant reac- 'Confessin' and 'Pennies from Heaven.' Well<br />
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<br />
And some arrangements. And now it looks Higginbotham, and some others simply what happens. "<br />
like we're going to have to form some liked the idea. A recording studio offered "What do you think?" Lowenstine was<br />
kind of company to keep it straight. And its services. Strangers called Lowenstine asked.<br />
from what I know about it, the work is to offer everything from financial aid to "Who knows? <strong>The</strong>re ought to be enough<br />
yet to come."<br />
moral support. One of the wealthiest jazz buffs around to maybe make some-<br />
"What does Higgy say?" men in Atlanta said he would kick in thing out of it for Higgy. Maybe it'll at<br />
"I called him the other night. He's bewil- whatever was needed. <strong>The</strong> possibility least lead to a job. That's the thing about it.<br />
dered by it all. Know what he said? He grew that the whole affair. "Higgy All I was thinking about was maybe fin-<br />
said, 'Take a good look at Atlanta, because Comes Home," would be put on film. ding work for him, now it's grown into this."<br />
---------------------------------------------------------------------------------------------------------------------------------------------------<br />
possibly early Dec.66 (or in Nov.) Washington, DC, Blues Alley jazz club – <strong>Red</strong> <strong>Allen</strong> joined Tom Gwaltney (cl,vib) & his wife<br />
Betty source : John Chilton – “Ride <strong>Red</strong> Ride” p198<br />
12/17/66 NYC., NBC-TV "HENRY RED ALLEN - SPEECH AND MUSIC" - HENRY"RED ALLEN (t, v, speech) &<br />
QUARTET: Sammy Price (p) unknown (b) unknown (d) Nat Hentoff (interviewer) 26 min.tape/video or DVD wanted<br />
2:00 intro: THERE'S A HOUSE IN HARLEM /cut –speechNH (Arlen-VanHeusen) RA-CD-24<br />
1:43 MARYLAND, MY MARYLAND (trad) RA-CD-24<br />
6:12 interview with <strong>Red</strong> <strong>Allen</strong> RA-CD-24<br />
2:57 SWEET SUBSTITUDE -vRA (J.R.Morton) RA-CD-24<br />
3:38 CHERRY -vRA (Don <strong>Red</strong>man) RA-CD-24<br />
7:00 interview with <strong>Red</strong> <strong>Allen</strong>, RA-CD-24<br />
(2:13) HOW LONG BLUES /cut (Carr) RA-CD-24<br />
note S.Price specialist K.Nowakowsky 5/06: without any error the pianist on HOW LONG BLUES is obviously Sammy Price<br />
OPERATE ON RED ALLEN BURY “FATS” PICHON IN NEW ORLEANS – NYAN-3/4/67p17<br />
Henry <strong>Red</strong> <strong>Allen</strong>, melodic trumpet<br />
player, is recuperating in Sydenham<br />
Hospital where he underwent a major<br />
operation last week. <strong>Allen</strong> who lives in<br />
the Bronx with his wife became ill<br />
three weeks ago and was rushed to<br />
room 604 at the hospital.<br />
<strong>Allen</strong>, the New Orleans born composer<br />
and musician, who wrote “Ride<br />
<strong>Red</strong> Ride” with the late Lucky Millinder,<br />
is in good spirits his wife told the<br />
Amsterdam News. NYAN-1/21/67p20<br />
Walter“Fats”Pichon, the jazz pianist<br />
who died Sunday in Chicago, was buried<br />
Saturday in his native New Orleans. <strong>The</strong><br />
62-year-old pianist and arranger had lost<br />
his sight two years ago.<br />
Pichon started his music career at the<br />
age of 11. As a teenager he played the<br />
calliope, a combination piano and organ,<br />
on the pleasure boats between New<br />
Orleans and St. Paul, with his school<br />
chum Henry ”<strong>Red</strong>” <strong>Allen</strong>. <strong>The</strong> two<br />
deserted New Orleans and moved to<br />
New York.<br />
Pichon played in several Manhattan<br />
clubs, including the Metropole, Café<br />
Society and Carnegie Hall. He also<br />
played with and arranged for the Lucky<br />
Millinder band. He later returned to<br />
New Orleans where he became a<br />
fixture at the old Absinthe House on<br />
Bourbon St. in the French quarter.<br />
Pichon attended the New England<br />
Conservatory of Music in Boston at the<br />
urging of the late George Gershwin.<br />
He is survived by his wife, Marie, a<br />
son Walter Jr., his mother, Cecilia, a<br />
sister and several grandchildren.
- 165 -<br />
17th Feb.-5th March 1967 UK, 17 days cross country tour –<br />
HENRY "RED" ALLEN & THE ALEX WELSH BAND:<br />
2/17 Osterley, Rugby Football Club 2/18 Birmingham, Digbeth Institute; 2/19 Manchester Sports Guild<br />
2/20 Bexley, Black Prince 2/21 Hitchin, Hermitage Ballroom 2/22 Botley, Dolphin Hotel<br />
2/23 Hayward's Heath, Fox & Hounds 2/24 day off 2/25 Nottingham, Dancing Slipper<br />
2/26 <strong>Red</strong>car, Costham Hotel 2/27 Leicester, Il Rondo Ballroom; 2/28-3/1-3/2 London, 100 Club<br />
3/3 Blackpool, Casino Ballroom 3/4 Manchester Sports Guild 3/5 Carlisle, <strong>The</strong> Pheasant Inn<br />
2/19/67 Sun. Manchester - Sports Guild; <strong>Red</strong> <strong>Allen</strong>(t.v) & THE ALEX WELSH BAND: Alex Welsh (*t) Roy Williams<br />
(tb) Al Gay (cl,ts) Fred Hunt (p) Jim Douglas (g) Ron Rae (b) Lennie Hastings (d)<br />
taped by Paul Spinks, Macclesfield,Cheshire, copies to "Jenks"Jenkins, general secretary of the Guild 70 min.tape<br />
3:54 *AT THE JAZZ BAND BALL (LaRocca-Shields) <strong>Jazz</strong>ology JCD-388/RA-CD28<br />
5:02 CANAL STREET BLUES (King Oliver) --- / --- /<br />
10:34 CHERRY & encore -vRA (Don <strong>Red</strong>man) --- / --- /<br />
4:02 PATROL WAGON BLUES -vRA talk about the Russell band (P.Grainger) --- / --- /<br />
8:50 ROSETTA -vRA (W.H.Woods-Earl Hines) --- / --- /<br />
7:26 YELLOW DOG BLUES (Handy-Pace) --- / --- /<br />
3:20 SWEET SUBSTITUDE -vRA (Jelly Roll Morton) --- / --- /<br />
7:37 BILL BAILEY, WON'T YOU PLEASE COME HOME & encore (Cannon) --- / --- /<br />
7:55 ST. JAMES INFIRMARY -vRA (J.Primrose) --- / --- /<br />
7:10 MEDLEY: - WHEN THE SAINTS -RA talks about New Orleans men & ann.the Welsh band --- / --- /<br />
- DIDN'T HE RAMBLE - WHEN THE SAINTS GO MARCHING -vRA (trad.) --- / --- /& -13<br />
2:27 *BUGLE CALL RAG & encore -leave out ann.by RA (Pettis-Meyer-Schoebel) --- / --- /<br />
2/21/67 Tues. Hitchin, Herts., Hermitage Ballroom, same as above but Gerry Higgins(b) for R.Rae<br />
poorly taped , by the bandboy, but better than the 1966 stuff, without of great interest 63min.<br />
0:35 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton)<br />
3.15 *AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-35<br />
5:00 CANAL STREET BLUES (King Oliver) RA-CD-35<br />
7:57 CHERRY -vRA (Don <strong>Red</strong>man) RA-CD-35<br />
4:43 PATROL WAGON BLUES -vRA (Porter Grainger) RA-CD-35<br />
3:46 ROYAL GARDEN BLUES (Clarence & Spencer Williams) RA-CD-35<br />
6:12 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) RA-CD-35<br />
2:52 SWEET SUBSTITUDE -vRA (Jelly Roll Morton) RA-CD-35<br />
7:02 ROSETTA -vRA (W.R.Woods-Earl Hines) RA-CD-35<br />
8:37 ST. JAMES INFIRMARY -vRA (J.Primrose) RA-CD-35<br />
4:31 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA (trad.) RA-CD-35<br />
- DIDN'T RE RAMBLE -vRA (Handy-Randall) RA-CD-35<br />
8:15 *WHEN THE SAINTS GO MARCHING IN & encore -vRA (trad.) RA-CD-35<br />
3/2/67 Thu. London, 100 Club Oxford Street, same as above<br />
poorly taped , by the bandboy, but better than the 1966 stuff, without of great interest<br />
0:38 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) RA-CD-38<br />
4:05 *AT THE JAZZ BAND BALL (LaRocca-Shields) RA-CD-38<br />
5:08 CANAL STREET BLUES (King Oliver) RA-CD-38<br />
4.08 SWEET SUBSTITUDE -vRA (Jelly Roll Morton) RA-CD-38<br />
7:30 CHERRY -vRA (Don <strong>Red</strong>man) RA-CD-38<br />
7:44 ST. JAMES INFIRMARY -vRA (J.Primrose) RA-CD-38<br />
7.20 BILL BAILEY, WON'T YOU PLEASE COME HOME (Cannon) RA-CD-38<br />
9:06 YELLOW DOG BLUES (Handy-Pace) RA-CD-38/RA-CD-35<br />
1:54 GEORGIA ON MY MIND (Hoagy Carmichael-S.Gorrell) RA-CD-38/RA-CD-35<br />
5:03 TIN ROOF BLUES (NORK) -intro RA-speech RA-CD-38/RA-CD-34<br />
2:44 ROSETTA -vRA (W.R.Woods-Earl Hines) RA-CD-38/RA-CD-34<br />
2:22 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA (trad.) RA-CD-38<br />
- DIDN'T HE RAMBLE -vRA (Handy-Randall) RA-CD-38<br />
7:57 *WHEN THE SAINTS GO MARCHING IN RA-CD-38<br />
2:26 *BUGGLE CALL RAG -leave out ann.by RA (Pettis-Meyer-Schoebel) RA-CD-38<br />
3/4/67 Sat. Manchester, Sports Guild; <strong>Red</strong> <strong>Allen</strong>(t.v) & THE ALEX WELSH BAND: same as 2/19;<br />
masterly taped by P. Spinks; my 70min. mono-tape copy from the Manchester Sp.G.secretary<br />
0.42 *intro: WAY DOWN YONDER IN NEW ORLEANS (Creamer-Layton) /RA-CD-28<br />
4:27 *AT THE JAZZBAND BALL (ODJB) <strong>Jazz</strong>ology-JCD318/<br />
7:50 YELLOW DOG BLUES & encore (Handy-Pace) --- /<br />
6:05 CANAL STREET BLUES (fast) (King Oliver) --- /<br />
7:55 CHERRY & encore -vRA (Don <strong>Red</strong>man) --- /<br />
6:05 ST. JAMES INFIRMARY -vRA (J.Primrose) --- /<br />
7:15 BILL BAILEY, WON'T YOU PLEASE COME HOME & encore (Cannon) --- /<br />
3:56 PATROL WAGON BLUES -vRA & talk about the Russell band (P.Grainger) --- /<br />
4:13 HONEYSUCKLE ROSE (Razaf-Waller) --- /<br />
6:12 ROSETTA -vRA (W.R.Woods-Earl Hines) --- /<br />
2:00 MEDLEY: - JUST A CLOSER WALK WITH THEE -vRA&ch --- /<br />
1:49 - DIDN'T HE RAMBLE -vRA&ch --- /<br />
0:58 *WHEN THE SAINTS (slow) -vRA ann.the Welsh men & "Jenks" -vRA&ch (trad) --- /RA-CD-28<br />
5:27 * & encore (fast) -vRA&ch (trad) (only partly on -318/RA-CD-28/& -13<br />
2:53 * & encore (fast) -vRA&ch after 1:07 onto BUGLE CALL RAG –vRA (Pettis-Meyers-Schoebel) /RA-CD-28/& -13<br />
0:52 * & encore leave-ann.RA /RA-CD-28/& -13<br />
it's a pity that <strong>Jazz</strong>ology has not issued the complete 72 min. session with the significant intro-theme, the fast encores of<br />
THE SAINTS and the leave out-theme of BUGLE CALL RAG with encore. (for libraries all on RA-CD-C28)
- 166 -<br />
HENRY RED ALLEN will be back on Sunday, 19th Feb. by John Chilton in MSG-programme, Feb-67p2:<br />
…<strong>Red</strong> <strong>Allen</strong> story)… British jazz fans, for many years aware<br />
of <strong>Red</strong> <strong>Allen</strong>'s greatness on record, were delighted with his inperson<br />
performances. His warmth and friendliness are instant,<br />
his vocals beautifully phrased and full expression, his broadtoned<br />
technique remains unimpaired by time. Above all, he<br />
retains his zest for playing great jazz trumpet.<br />
Someone once asked Henry ”<strong>Red</strong>” <strong>Allen</strong> how he manages to<br />
give out such a great feeling of happiness. <strong>Red</strong> explained,<br />
“I've been a little fortunate in loving to play so much”. We the<br />
listeners, are doubly fortunate in being able to hear the great<br />
man once again in person.<br />
-----------------------------------------------------------------------------------------------------------------------------------<br />
Eddie Lambert in <strong>Jazz</strong> Journal 4-67:."HENRY RED ALLEN - JAZZ IN BRITAIN: (about the 2/19 & 3/4/67 sessions)<br />
Just prior to his third British tour Henry '<strong>Red</strong>' <strong>Allen</strong> was in a affected by hospitalisation - Johnny Barncs was still away<br />
New York hospital for a quite serious stomach operation. <strong>The</strong> recovering from a broken jaw sustained in a road accident. In<br />
weight lost in the process resulted in a slimmer Henry his place we had Al Gay on tenor and clarinet.<br />
appearing on the stage, reminiscent of the young man seen on <strong>The</strong> first of the two evenings at the Manchester Sports Guild<br />
photos of the Luis Russell and Fletcher Henderson bands of the found the Welsh band below par, only Al Gay and the ever<br />
early 'thirties. This tour was his first serious engage-ment since reliable Fred Hunt providing solos of the expected standard.<br />
convalescence and the full power had obviously not yet <strong>The</strong> music varied between lethargic playing on slow tempo<br />
returned to his playing. Yet sheeer volume is by no means numbers to tight, rather frantic ensembles on the stomps.<br />
central to the music of this remarkable and admirable mail. <strong>The</strong> Lennie Hastings was rock steady as usual and like Gay and<br />
swinging eccentricities of rhythmic placing, the beautiful Hunt he made a positive contribution throughout. But the<br />
melodic conception and the great lyricism of his playing ivere evening was memorable for the music of Henry <strong>Allen</strong> rather<br />
as potent as ever. <strong>The</strong> Alex Welsh Band too have been than as a band session. (to be continued at 3/4/67)<br />
2/28/67 London, 100 Club Oxford Street - JONNY BARNES BENEFIT CONCERT - <strong>Red</strong> <strong>Allen</strong> gave his services for a benefit for<br />
Johnny Barnes along with Acker Bilk, Alex Welsh band, Kenny Ball and Chris Barber with their respective bands. CODA 4-67<br />
JOHNNY BARNES BENEFIT CONCERT by John Wurr, <strong>Jazz</strong> Times Vol.4 No.4, 4/67<br />
Undoubtedly the biggest occasion in london last month was<br />
the Johnny Barnes Benefit Night at the 100 Club. Johnny was<br />
badly injured in the Alex Welsh car crash in January, and we<br />
all hoped that a good crowd would turn out to pay their financial<br />
respects; but nobody, I think expected such a pacjed house<br />
– in fact some 300 pounds was raised. Both the audi-ences and<br />
the appearing bands represented an anachronistic return to the<br />
good old boom days. I arrived at 8.30, unfortuna-tely missing<br />
Ken Colyer's set, and was amazed to almost fight my way in<br />
even at that early hour. <strong>The</strong> bands of Barber, Bilk and Ball in<br />
this atmosphere of controlled raving lent an almost nostalgic<br />
touch to the evening, whether or not you find much<br />
convincing jazz content in their music. I realised with surprise<br />
(and with an awareness of passing youth) that this was the first<br />
time I heard Barber live for about eight years - but I could<br />
detect little difference except in haircuts. Acker I found<br />
particularly disappointing – with such talent the band should<br />
sound so much better. I preferred the bar to Kenny Ball's<br />
Band, but whilst there I did hear some nice trumpet phrases<br />
floating over the top of the audience.<br />
By the time B.S.J.Hon.President <strong>Red</strong> <strong>Allen</strong> came on with<br />
the Alex Welsh band we were all nicely lubricated and in just<br />
the mood to be ignited by the great man. He played beautifully<br />
- Canal Street Blues, Rosetta, St.James Infirmary being<br />
outstanding and once again giving us an object lesson in how<br />
personality and showmanship can do as much in winning over<br />
an audience as can musicianship; by the end he had us all<br />
eating out his hand. <strong>The</strong> Welsh band gave enthusiastic<br />
support, with Barnes' place taken by Al Gay, who played some<br />
impressive tenor.<br />
-------------------------------------------------------------------------------------------------------------------------------------------<br />
Eddie Lambert in J.J.4-67 (cont. of 2/19 now to 3/4/ session):<br />
Returning thirteen days later Alex and the band not only<br />
provided quite perfect backing to Henry but were equally<br />
responsible for one of the finest evening's jazz heard at the<br />
Guild for some time. Henry <strong>Allen</strong>'s playing was seen even<br />
more clearly to be that of a jazz master. His beautiful work on<br />
the blues, the intense swing of his incisive phrasing and his<br />
absolute mastery of playing within a band were most<br />
impressive. And of course the wonderful warmth of Henry's<br />
personality is a very real part of his musical presence.<br />
<strong>The</strong> Welsh band were at their most mellow during this<br />
session and the rhythm section laid down an easy, swinging<br />
beat. Ron Rae is back on bass, and while he is not a virtuose of<br />
the Ron Mathewson kind he is a solid and reliable bands-man.<br />
<strong>The</strong> guitar solos of Jim Douglas were excellent, as was his<br />
contribution solos which were alert, sparkling and soundly<br />
constructed. And of course Fred always pulls his weight in the<br />
band. <strong>The</strong> trumpet/piano duet of Davenport Blues(?remark:<br />
never was on program and also not on tape) was given a<br />
performance of great skill and resource. Alex's playing, full of<br />
fire and imagination, was well matched by that of Roy<br />
Williams, who only a fortnight before had sounded as if he<br />
was reverting to the trad-ism of his Light-foot days. <strong>The</strong> new<br />
note of mellowness in Roy's playing suggests that before long<br />
he will surpass his already consi-derable achievements.<br />
<strong>The</strong> evening was one of those in which the delights of jazz<br />
could be savoured in all their fully flavoured richness. Its star<br />
was of course the great Henry '<strong>Red</strong>' <strong>Allen</strong>. But it was almost<br />
equally memorable for the tenor playing of Al Gay, who was<br />
excellent in both solo antd ensemble. On a medium tempo<br />
Honeysuckle Rose he played three choruses which will remain<br />
one of the treasured jazz memories of 1967. Al was a fine<br />
player during his previous spell with the band, but he has<br />
developed now to a stage where he not only leaves most of the<br />
local competition out of sight but would offer also.a serious<br />
challenge to many of the established American tenor stars.<br />
Alex is hoping that Al will be able to stay on with the band<br />
when Johnny Barnes returns. Let's hope he does, for jazz<br />
cannot afford this sort of talent to be hidden away in semiretirement.<br />
last photo of RED ALLEN w. John Chilton<br />
(courtesy John Chilton – “Ride <strong>Red</strong> Ride” p121)<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Bob Maltz collection at the New York Public Library:<br />
trumpeter Henry (<strong>Red</strong>) <strong>Allen</strong>, fully recovered from a recent operation, returned to New York in late March after a three-week<br />
tour of England with the Alex Welsh Band" (Down Beat 5/4/67)
Jim Douglas, July-2000, on <strong>Jazz</strong>olgy JCD-318:<br />
Whenever things were not quite up to his musical expectations<br />
or at the first signs of disquiet in the band, Alex Welsh could<br />
be heard to mutter, “All I ever wanted to do was play 'At the<br />
<strong>Jazz</strong> Band Ball'.” Here he gets his wish as he kicks off another<br />
fine performance at the Manchester Sports Guild in 1967.<br />
After an enthusiastic announcement and an exciting drum<br />
introduction from Lennie Hastings, the band settles into a<br />
lively version of his favorite tune. Before the number is<br />
seventeen bars old a second trumpet can be heard, that, of<br />
course, of the unmistakable Henry '<strong>Red</strong>' <strong>Allen</strong>. Soaring above<br />
the good solid lead of the band leader, the New Orleans<br />
Legend seems to ignite the band as first Al Gay, Henry<br />
himself and Roy Williams lay down great solos. After a<br />
couple of roaring riff choruses and a cadenza, a guitarist takes<br />
his turn - you know the rest! As a listener and an appreciative<br />
one I hope, you don't need someone to tell you the tune titles<br />
or order of solos, let Henry do it for me! From his "very nice,<br />
Al" to his "thank you Alex!" he will keep you informed right<br />
through the disc. <strong>The</strong> performance abounds with his dialogue.<br />
whether announcing a number, "W C Handy's Yellow Dog<br />
Blues", reminiscing about his early days" - all the boys were<br />
there - Zutty Singleton, Albert Nicholas, Louis Armstrong etc.<br />
etc or applauding the soloists 'very nice, brother Ron, I wanna<br />
thank you!", you are invited to take part in what is almost a<br />
private party in his living room. Nevertheless it would be<br />
sinfully neglectful not to comment on the fine performances of<br />
all the musicians involved. Some of you may be surprised to<br />
know that the performance was recorded without the<br />
performers knowledge which may explain Henry's occasional<br />
wanderings 'off mike' as he played to different sections of the<br />
audience. Enough has been captured thankfully to appreciate<br />
the fine solos by Al Gay on clarinet and tenor sax ("Bill<br />
Bailey's" a good example) and Roy Williams on trombone not<br />
to mention the solid rhythms section driven by drummer<br />
Lennie Hastings and comprising Fred Hunt, piano, Ron Rae,<br />
bass and yours truly, guitar.<br />
In my humble opinion, Henry is majestic! His playing creates<br />
a maelstrom of excitement one minute to be followed by the<br />
most soulful blues you'll ever hear the next. To me he is also<br />
one of the best jazz singers that ever lived, whether shouting at<br />
'Cherry' or bemoaning the 'old police patrol' he makes me<br />
tingle with excitement.<br />
All in all I am very pleased to have been involved in this fine<br />
performance.<br />
A few weeks prior to Henry '<strong>Red</strong>' <strong>Allen</strong>'s fourth and final<br />
visit to these shores, word spread that the Great Man was<br />
unwell but would, under no circumstances cancel the<br />
scheduled tour with the Alex Welsh Band. We had, of course,<br />
Scratchin' <strong>The</strong> Surface by Steve Voce in J.J.Nov.94:<br />
Hotter Than 'Ell - Reading Franz Hoffman's evocative<br />
discography of Henry <strong>Allen</strong> and J.C. Higginbotham recently<br />
prompted me to go back to three definitive bonanzas from<br />
Henry '<strong>Red</strong>'-Columbia's newly reissued Fletcher Henderson<br />
Story, the four volumes of <strong>The</strong> Henry <strong>Allen</strong> Collection, and<br />
the tapes of the trumpeter's appearances at the Manchester<br />
Sports Guild during the sixties.<br />
Hoffmann's work is comprehensively illustrated with a<br />
profusion of posters of the day and photographs and its 150<br />
pages bring home vividly the eclectic nature of <strong>Red</strong>'s intense<br />
recording career.<br />
<strong>The</strong> Henderson Study in Frustration (Columbia 57596) is a<br />
boxed set of three discs, superseding the long unavailable four<br />
LPs. Poverty at the time of the original issue prevented me<br />
buying the first volume and the re-mastered CDs surprised me<br />
with how much fine gold there is in the earliest tracks, even<br />
after discounting Louis's presence. Of course the trumpeters<br />
here are all in their pomp - Joe Smith, Bobby Stark, Rex<br />
Stewart, Roy Eldridge and an unscheduled Cootie Williams (it<br />
has to be a pre-Duke Cootie on the 1929 Raisin' <strong>The</strong> Roof<br />
and, as an added eccentricity here, the solos of Buster Bailey<br />
and Hawkins very much reflect the clarinet and tenor solos on<br />
Hello Lola by the MCBB). Other often over-looked delights<br />
are the monster rhythm section with extraordinary drumming,<br />
from Walter Johnson, but my purpose here is to remind you of<br />
the abundance of on-top-of-the-world solos from Henry '<strong>Red</strong>'.<br />
<strong>The</strong> weight of the heavy manhole cover placed on <strong>Red</strong>'s<br />
exuberant and ground-breaking career during the thirties by<br />
the existence of Louis Armstrong is incalculable, but of<br />
- 167 -<br />
no idea that he was in fact dying from pancreatic cancer or<br />
that we would see such a physical change in him. Gone was<br />
the well-padded rounded figure. Gone the double-chinned<br />
chubby countenance, the broad-beamed posterior and the<br />
sparkle in the once mischief-filled amber eyes.<br />
He appeared taller than before in clothes that hung from his<br />
diminishing frame as the insidious parasitical infestation bit<br />
deep. <strong>The</strong>re was a sadness on his expressive face as this<br />
mouth formed and uttered the customary "Nice!" on joining<br />
the band at the bar of the M.S.G. In his hand he grasped the<br />
silver tankard Alex had presented to him as a memento of our<br />
affection after the first tour.<br />
"Number three! Number three! Nice! he expostulated holding the<br />
handle towards the as usual grim-faced 'Jenks', the manager<br />
and co-promoter who filled it to the brim with William<br />
Younger's Scotch Ale. Henry liked British beer, his favorites<br />
being the foremendoned and Newcastle Brown Ale.<br />
Looking back, thirty three years on, and trying to recall<br />
incidents and anecdotes from that tour, one overpowering<br />
feeling keeps forming in my mind - the incredible courage the<br />
man showed night after night, day after day. We were booked<br />
to play at 'Douglas House', and American Services Club in the<br />
Bayswater Road, London. Hardly an easy audience, easily<br />
distracted by the bar and gambling facilities available, Henry<br />
took them by the scruft of their necks by blowing '<strong>The</strong> Saints'<br />
quietly in their individual ears until he had their rapt, undivided<br />
attention. <strong>The</strong>re was no indication of the pain he must have<br />
endured and certainly no lack of energy, frail as he was, in his<br />
performances, which still contained all the vigour and<br />
excitement he was renowned for. <strong>The</strong> CD to which you are<br />
listening bears witness to this fact. He must have known this<br />
tour was probably his 'swan song' but never mentioned his<br />
problems and anxieties to any of us. On the contrary, he<br />
joined in our fun and games and the usual nonsense associated<br />
with travelling with all this unusual good-natured enthusiasm.<br />
<strong>The</strong> final 'gig' on the tour and, I believe probably his last on<br />
this earth, was played at the 'Pheasant' Inn, Carlisle in the<br />
North West of England. <strong>The</strong> promoter had obtained an<br />
extension to its music license until midnight, which happened to<br />
coincide with Henry's scheduled train journey back to London<br />
for a flight connect on to the states in the morning.<br />
Leaving just enough time to get to the station, '<strong>Red</strong>' ended his<br />
performance with a moving version of 'When the Saints Go<br />
Marching In'. While the Band continued to play he said<br />
'Goodbye' to each and every one of us individually and then<br />
headed towards the staircase to the exit. As my hero<br />
descended, tears were rolling down his cheeks.<br />
He knew that we knew we would never meet again.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------<br />
course one has to make the accommodation for the fact that<br />
Louis was such a big influence.<br />
<strong>The</strong> Collector's Classics <strong>The</strong> Henry <strong>Red</strong> <strong>Allen</strong> Collection has<br />
reached volume four (COCD-1, COCD-2, COCD-13 and<br />
COCD-15). Like Billie Holiday, <strong>Red</strong> was enjoined by his<br />
record company to record jazz versions of the hits of the day,<br />
and the period of <strong>Red</strong>'s career represented by these CDs is<br />
every bit as potent as Billie's contemporary work and if<br />
anything more profuse. John R.T.Davies's restorations have<br />
never been more effective than they are here and the work of<br />
the <strong>Allen</strong> small groups is amongst the most vivacious and<br />
sensational of the period.<br />
L C Jenkins of blessed memory knew little about jazz but, as<br />
organiser at the Manchester Sports Guild he allowed himself<br />
to be persuaded by most notably Jack Swinnerton, but also by<br />
the likes of Eddie Lambert and me, to provide the funds and<br />
put in the work to bring people like <strong>Red</strong>, Ed Hall, Earl Hines,<br />
Pee Wee, Wingy and all the others to the Manchester Sports<br />
Guild. All of the music which resulted was unique and anyone<br />
who was there will tell you that this was one of the great ages<br />
of jazz. <strong>Allen</strong>'s performances with the Alex Welsh band were<br />
definitive and set the whole tone of the Sports Guild series. As<br />
you know I tend to the cynical view of life, but have to testify<br />
to the unique love between <strong>Red</strong> and the Manchester audience.<br />
You may be able to experience it for yourself. All the<br />
recitals at the Guild were recorded on a Revox in a private<br />
room at the back of the stage, almost always without the<br />
knowledge of the musicians conconcerned, and I<br />
understand that the tapes have now been sold to an<br />
American record company.
- 168 -<br />
HENRY “RED” ALLEN –obituary - by Alex Welsh , “Crescendo” International Vol.5 No.11, 1967, London, UK<br />
He must have known that On this occasion, the raucous chatter<br />
he was in no fit state to un- of one particular group of six G.I.s<br />
dertake this strenuous tour. disturbed the usual lethargic atmos-<br />
Obviously, he could have phere. We in the band were rather put<br />
produced medical evidence out by this, but Henry just got on with<br />
to enable him to cancel his the job, apparently quite unconcerned.<br />
contract. That he did not - Towards the end of the set, during one<br />
despite the possible conse- of his solos, playing continuously, he<br />
quences - is an insight to his ambled over to this rowdy table. Very,<br />
character. In addition to very quietly, he played three or four<br />
being a great trumpet player, choruses straight at them. <strong>The</strong>ir high-<br />
Henry was a very fine spirited unconcern turned first to embar-<br />
person and truly professional rassment, then to interest, then to<br />
at all times.<br />
admiration. You could have heard a pin<br />
Through his long and varied drop. Finally, as he finished his solo,<br />
musical career, Henry kept the whole audience - the six G.I.s<br />
pace with jazz developments. included - broke into spontaneous<br />
To his last days, his playing applause. From then on, after each<br />
It was with a deep sense of personal retained its inventive interest.<br />
number, Henry received a tremendous<br />
loss that my band and I heard the sad I cherish many memories of our tours handt - he whole atmosphere was trans-<br />
news of the death at the age of 64 of with Henry - the great musical moments, formed. It was the best reception for an<br />
Henry '<strong>Red</strong>' <strong>Allen</strong>.<br />
the laughs, his uncomplaining accep- American player that I've ever<br />
Henry had undergone an abdominal tance of the hardships of being on the witnessed at Douglas House.<br />
operation only a few weeks prior to his road.<br />
Time and time again, I have seen Henry<br />
third and last tour of this country as a<br />
***<br />
- by his ever-present, kindly sense of<br />
soloist, backed by my band. When we One incident often springs to mind. humour, by his talent and showmanship<br />
met Henry, in mid-February, for a pre- We were playing a Sunday afternoon - capture the hearts of his audience. All<br />
tour rehearsal, we were quite alarmed by session at Douglas House, the American of us who knew him felt great affection<br />
the drastic change in his physical servicemen's recreation centre at Lan- for him as a man, as well as admiring<br />
appearance since his 1966 visit. His caster Gate. Not the best time of day to him as a musician. I know that, in remem-<br />
normally corpulent figure was 35 pounds perform, and not the most receptive bering him, I shall always feel an inner<br />
lighter. Once broad and laughter-creased, audience, either - a few genuine jazz warmth.<br />
his face was thin and drawn. He was enthusiasts, but mostly G.I.s sitting Henry '<strong>Red</strong>' <strong>Allen</strong> left us with one<br />
obviously a very sick man<br />
drinking at tables around the bandstand. word - "nice".<br />
------------------------------------------------------------------------------------------------------------------------------------------------------<br />
4/17/67, NYC., Henry "<strong>Red</strong>" <strong>Allen</strong> died. Was taken seriously ill in late 1966 (compare his answers n Balliett's interview 1966<br />
- <strong>The</strong> Blues Is A Slow Story) , shortly after undergoing an operation, <strong>Red</strong> made his final tour of Britain Feb.-March 1967. He<br />
returned to New York City, and died of cancer (of the pancreas) six weeks later.<br />
BUSTER BAILEY BURIED - NYAN-4/22/67p1: William C.”Buster”Bailey, 64, was buried in Evergreen Cementery in Brooklyn<br />
Monday morning following ser-vices at St.Luke and St.Matthew Episcopal Church at 529 Clinton Ave., Brooklyn.<br />
<strong>The</strong> following J.C,.Higginbotham sessions listed at this place, because otherwise they would be hidden among the text.<br />
9/28/69 WTTW-Chic., JAZZ ALLEY-TV - ART HODES - AFTER HOURS with special quests: J.C.Higginbotham (tb)<br />
Tony Parenti (cl) Eddie Condon (g,bj) Smoky Stovert (t) Art Hodes (p) Rail Wilson (b) Harry Hawthrone (d)<br />
Bartender: Maury Weil; Audio.. Jack Campbell; Video: Martin Weaver; Lightning: Curt Hunsaker; Setting: Michael<br />
Lowenstein; Prod.ass.: Jerry Kreten; Floormanager: Dave Zeeko; Prod. & Dir.: Robert Kaiser; Ex.prod.: John Sommers;<br />
0:39 theme: Squeeze Me 30 min. kinescope / RA-DVD-1b / JCH-CD-12<br />
6:35 Darktown Strutter's Ball / RA-DVD-1b / JCH-CD-12<br />
7:34 Someday Sweetheart / RA-DVD-1b / JCH-CD-12<br />
8:58 Old Fashioned Love / RA-DVD-1b / JCH-CD-12<br />
5:59 Royal Garden Blues / RA-DVD-1b / JCH-CD-12<br />
1:06 Blues / RA-DVD-1b / JCH-CD-12<br />
3/18/70 Vanloese Bio (Dan) rec.session; J.C.Higginbotham (tb) & Arnvid Meyer(t) & his ORCH.: John Darville (tb) Jesper<br />
Thilo (ts) Joern Jensen (p) Hugo Rasmussen (b) Hans Nymand (d) eng. Ivar Rosenberg; “Right Out Of Kansas City”-<br />
7:35 Higginbotham Blues (takes-1+2 have been spliced together) SundanceMusic ApS-STUCD(5BOX-CD4)-08102 / JCH-CD-12<br />
5:26 Jada “ “ --- / --- /<br />
4/15/70 DANSC JAZZ-Dan.bc-Corp.; same as above ; prod. Poul Clemmensen & Grete Hemmeshoej; other sides unknown<br />
5:09 C Jam Blues (two solo choruses ommitted on CD-issue) “ “ --- / --- /<br />
4/18/70 Lyngby/DK private-rec.by “Polyjoint” Polyteknisk Laereanstalt; Ben Webster (ts) & J.C.Higginbotham (tb) &<br />
Arnvid Meyer(t) & his ORCH.: John Darville (tb) Jesper Thilo (ts) Hans Fjeldsted(p) Hugo Rasmussen (b) Thorkild Moeller(d)<br />
unissued<br />
<strong>The</strong> Jeep Is Jumpin' / I´m Confessin' -feat.Higgy / Stardust -feat. Webster / In A Mellotone /<br />
Georgia On My Mind / Hi-Ya / C Jam Blues / Basin Street Blues /<br />
Sweet Georgia Brown / Perdido / Baby, Won't You Please Come Home / Indiana<br />
Old Fashioned Love / Higginbotham Blues / Stompy Jones<br />
1970, March 21, Korsør, Denmark, Korsør <strong>Jazz</strong>klub, Ben Webster, J. C. Higginbotham & Arnvid Meyer’s Orch. (taped by John Darville)<br />
1970 March 27, Lyngby, Denmark, Polyjoint, Ben Webster, J. C. Higginbotham & Arnvid Meyer’s Orchestra (taped by John Darville)<br />
9/21/71. “<strong>Jazz</strong>hus Montmartre” in Copenhagen, Dicky Harris, J.C. Higginbotham, Tyree Glenn; Lem Davis(as)
- 168a - Addenda<br />
Ben Webster & J.C.Higginbotham, Copenhagen 1966<br />
J.C.Higginbotham – John Darville – Ben Webster ; Copenhagen 1967
- 169 -<br />
4/12/67 Brooklyn, N.Y. Buster Bailey died; BUSTER BAILEY by Herb Flemming in Coda 9/67p26/27<br />
During my long years in the music profession I have been<br />
associated with many well known musicians in the classics,<br />
military and jazz. But the close association between myself and<br />
the late Buster Bailey has a deeper meaning than "associate". It<br />
was like the late Billy Van Dyke Burns - a brotherly approach.<br />
I admired Buster not only as a musician but also as a "down<br />
to earth" always smiling personality. And this goes back to the<br />
days when Buster was a member of Noble Sissle's orchestra in<br />
Paris. I am positive that all who ever came into contact with<br />
him felt the warmth and good fellowship that poured out of him.<br />
He created his favorite expression "Pour the whiskey" in<br />
Paris at a function to inaugurate the General Foch Foundation.<br />
<strong>The</strong> waiters kept running to fill his glass but it was Gordon<br />
Rouge champagne. Tommy Ladnier remarked "I like that 'pour<br />
the whiskey' though".<br />
Buster was a member of John Kirby's famous Big Little<br />
Band but I didn't have the pleasure of performing with him<br />
until I left the US Treasury Naval Service in California and<br />
came to New York. My first gig was at the Central Plaza and<br />
Buster was one of the other musicians. Later, when a trombonist<br />
was needed at Lou Terrasi's Hickory House, it was Buster<br />
who said "get Herb Flemming". On that engagement I knew<br />
how loyal a friend Buster could be. Working that job were Buck<br />
Clayton, Buster Bailey, Herb Flemming, Ken Kersey and<br />
Arthur Herbert. When the management decided to change the<br />
group the new leader didn't have a group so he decided to keep<br />
the entire band except for me. Buster was not slow to voice<br />
his resentment and immediately advised Lou Terrasi "well if<br />
one goes count me out also. "<strong>The</strong> others refused to remain also.<br />
We had barely left the Hickory House when Henry "<strong>Red</strong>"<br />
<strong>Allen</strong> got a job at the Savoy in Boston and took Buster and me<br />
with him. When the Henry "<strong>Red</strong>" All All Stars retuned to New<br />
York we got an offer from the Metropole, whose business had<br />
gone almost to nil. It was soon known as THE jazz spot on<br />
Broadway with the unique stylings of Mr. <strong>Allen</strong>. <strong>The</strong> two<br />
week engagement had stretched to four years before I left due<br />
to ill health.<br />
I can only recall one instance when Buster came to work<br />
with a really glum and gloomy outlook. <strong>The</strong>re was no hilarity.<br />
He just appeared saddened. Upon enquiry he said, "Man, I<br />
went to sleep on the D train on my way home last night and<br />
forgot my clarinet." I fully realised, as would any other<br />
musician. how he felt at the loss of his favorite instrument.<br />
Later I suggested he call the Lost and Found Department of<br />
the IND Subway System. He was reluctant but I gave him a<br />
dime for the call. He came out of the booth at the Copper Rail<br />
(our favorite bar) all smiles and remarked, "Herb (or rather<br />
'Hots') you must have some of that oriental metaphysical stuff<br />
or clairvoyant or something! And, by the way, here's your<br />
dime." Later, when I asked Fred Infield, the owner of the<br />
Copper Rail, for my weekly tab Fred replied "You don't have<br />
one." Later I found out that Buster had paid It. ($14. 00).<br />
Many who heard the clear tonal quality of his sound were able<br />
to realise that Buster must have studied to be more than a jazz<br />
artist. This is correct. Among his many tutors and teachers was<br />
Franz Shoepp of the Chicago Symphony Orchestra. This enabled<br />
him to be selected to perform with Dimitri Metroupolos and<br />
Skitch Henderson's Carnegie Hall Symphony on many occasions.<br />
Buster's sounds were clear, understandable, careful and<br />
beautiful to hear. In his music each note was fully rounded,<br />
cleverly executed and comprehensible to the listener at all<br />
times. He did have a few tricks such as holding a note indefinitely.<br />
When he did this the clientele would begin to chant<br />
"hold it, hold it, hold It Buster." It was a trick but he would<br />
only laugh when asked "Buster do you hold your breathing all<br />
that time?" (sometimes as much as three minutes).<br />
While the average musician becomes enraged, if in his solo,<br />
the accompanying musicians foul the chords or harmony, Buster<br />
once remarked after one of these occurances "Can't whip 'em<br />
so I joins 'em." This mannerism showed him to be ever<br />
adjustable and congenial to all the mishaps that per-forming<br />
musicians encounter. I do not hesitate to say that Buster Bailey<br />
had reached a pinnacle that few of us can boast.<br />
I should add that he was one of the most handsome of males -<br />
admired by his fellow men and the cause of the opposite sexbecoming-starry-eyed.<br />
He was six feet plus, with greying<br />
crew-cut hair and the carriage of an accomplished athlete. Not<br />
only was he admired by those he came in contact with but his<br />
family adored him. I recall his birthday celebrations held at La<br />
Mer Cherie. <strong>The</strong> entire adult Bailey family were on hand to<br />
"pour the whiskey" and at times they poured so much Buster<br />
would disappear with "I gotta go now, my Mama wants me."<br />
Yes, Buster, you left a host of friends who will ever remember<br />
you. That I can say without a thread of doubt. God rest you<br />
fellah. You liked everybody and everybody liked you.<br />
------------------------------------------------------------------------------------------------------------------------------------------------<br />
"MY FRIEND BUSTER” by Rex Stewart in <strong>Jazz</strong> Journal 6-67 (with a photo <strong>Red</strong> & Buster at NPT-57'):<br />
When my friend, Buster Bailey came to Los Angeles recently<br />
with the Louis Armstrong Sextet, he said something to the<br />
effect, 'I hate coming to Los Angeles, lately. Every time I<br />
arrive in town, another one of my old buddies has just 'died.'<br />
<strong>The</strong> old buddy he was referring to in this instance was altosaxophonist<br />
Willie Smith, who had just passed away on the<br />
morning that the Armstrong group came to town.<br />
During the time that Buster was here, I invited him to sit in at<br />
the Wit's End one Sunday, where I conduct a jam session every<br />
week. Buster promised to come. However, he didn't show up<br />
and I heard subsequently that he had been taken ill. <strong>The</strong> next<br />
morning I phoned him and he passed the illness off as nothing.<br />
But his close friends later reported to me that he had had a mild<br />
coronary. When I in turn related this to Buster, he again poopoohed<br />
the idea that he had been sick.<br />
Buster and I had several talks, about the good old days, while<br />
he was here in Los Angeles - the days with Fletcher<br />
Henderson, his years with Kirby. As a matter of fact, he gave<br />
me a great deal of information to complete an article that I was<br />
then doing on John Kirby. Finally, the day before he left,<br />
Buster admitted that it had been a little heart attack. I<br />
cautioned him about getting a thourough check-up in New<br />
York, for which the group was headed.<br />
I first met Buster about 1924, when he came to New York City<br />
to play with the Fletcher Henderson band. We were introduced<br />
by Happy Cauldwell a sideman in the group I was then playing<br />
with. Buster and Happy were friends from Chicago. Subsequently,<br />
when I also joined Fletcher, I grew to know Buster<br />
well. Together, we weathered those early, rough days on the<br />
road , the long bus trips over bad roads, sometimes have,<br />
sometimes not.<br />
In later years, we played in several other bands together. At<br />
one time, we courageously got together a co-operative all-star<br />
band, with Sid Catlett, Kenny Kersey, Benny Morton, myself and<br />
others. This was a fiasco and we each went our separate ways.<br />
However, we remained very friendly. over the span of the 30<br />
odd years, always seeking each other out, to get together,<br />
drink together, eat together, and talk about the good old days.<br />
As Buster aged, he became even more distinguished looking,<br />
with his snowy white hair and moustache. He looked more like<br />
a banker than a musician. This handsome man was a<br />
tremendous human being, always full of fun, warm and kindly.<br />
He never held malice toward anyone, .although he certainly<br />
had reason to hold malice toward some individuals. A topnotch<br />
instrumentalist with greater depth than most clarinet<br />
players, Buster possessed a classical background on the<br />
instrument, which I suppose is now common knowledge.<br />
Now, this beautiful human being has gone, joining so many<br />
of our jazz greats. <strong>The</strong> decimation among the ranks of my<br />
contemporaries points up very vividly that we, of the golden<br />
era of jazz, are in much the same age bracket. <strong>The</strong>re is a<br />
tendency to bemoan the passing of the great music and the<br />
fellows who made it, meanwhile wondering for whom the bell<br />
tolls next. None can ever be replaced.<br />
And now, it's Buster's turn. My good buddy, Buster Bailey,<br />
died April 13th in New York City. He went to sleep - and just<br />
didn't wake up. <strong>The</strong>re'll never be another like my friend,<br />
Buster Bailey.
- 170 -<br />
BUSTER BAILEY DIES (review in Down Beat 5/18/67):<br />
Carinetist Buster Bailey, 64. died in his then with Stuff.Smith's Onyx Club Boys. expert reader, he was at home in any<br />
sleep in his home in at 341Washington When Smith left the Onyx Club, Bailey musical environment. Though the clarinet<br />
Ave., Brooklyn, NY., April 12. He had remained as a member of the house band, was al-ways his featured solo instrument,<br />
just returned from a road tour with the which in 1938 became John Kirby's he doubled on alto saxophone in his big-<br />
Louis Armstrong All-Stars and had famous "biggest little band in the land." band jobs. (He also made some impressive<br />
planned to go to the hospital for a With the Kirby sextet until it was recordings playing soprano sax in 1924.)<br />
checkup the next morning.<br />
disban-ded in 1946, Bailey spent the Bailey was one of the most prolific<br />
Born William C. Bailey in Memphis, following two decades mainly in New recording artists in jazz. In addition to a<br />
Tenn., he studied clarinet with local tea- York, working with Wilbur DeParis, multitude of records with all the bands<br />
chers and made his professional debut at Eddie Condon, Wild Bill Davison, and he worked with, he also appeared with<br />
14 as first clarinetist with W.C. Handy's Henry”<strong>Red</strong>”<strong>Allen</strong>, his former Henderson numerous studio groups, sometimes<br />
orches-tra. Bailey moved to Chicago in colleague. During this period, Bailey made under his own leadership, and backed<br />
1919, where he worked with Erskine many festival and television appearances, many singers, including Bessie Smith,<br />
Tate's concert band and studied with the played in the pit band of the New York Billie Holiday, and Mildred Bailey.<br />
Chicago Symphony Orchestra's Franz production of Porgy and Bess, was seen His best recorded solos include those on<br />
Schoepp, who was also teaching Benny on screen in Splendor in the Grass, and Sensation, Hocus Pocus, and Stealing<br />
Goodman at the time.<br />
worked with symphony orchestras. Apples (Henderson); <strong>Jazz</strong>bo Brown from<br />
After working briefly with King Oliver's In July, 1965, Bailey left the Saints and Memphis Town (Bessie Smith); Rug<br />
Creole <strong>Jazz</strong> Band, Bailey joined Fletcher Sinners to join the Armstrong All-Stars, Cutter's Swing (<strong>Allen</strong>); Rhythm, Rhythm<br />
Henderson in New York in 1924 and working with the great trumpeter for the and 1 Know That You Know (Lionel<br />
remain-ned with him until 1929, when first time since 1925, when they were Hampton); Rose Room and Serenade<br />
toured Europe and the United States with both with Henderson.<br />
(Kirby); Blues Triste (Tommy Young);<br />
Noble Sissle's band. He rejoined Hender- Bailey was one of the first major jazz and a clarinet tour de force with his own<br />
son in 1933 but the following year went musicians with a thorough academic group, Man with a Horn Goes Beserk.<br />
with the Mills Blue Rhythm Band. In back-ground in music. His clarinet work<br />
1936, he was again with Henderson and was graceful, fluent, and multi-noted. An<br />
----------------------------------------------------------------------------------------------------------------------<br />
2 Former Top Negro Band Members Buried; Died 3 Days Apart – PC-4/24/67p2:<br />
N.Y.- Funeral services were held here this <strong>Red</strong> <strong>Allen</strong> died on April 16 at Syden- In 1929, he again came to New York<br />
week for two well-known musicians, each ham Hospital. He was 60.<br />
and joined the Luis Russell band at the<br />
of whom played at a certain period in his He was born in Algiers just outside of Roseland Ballroom. In 1933, he joined<br />
careeer with Louis Armstrong, King Oliver New Orleans and was the son of Henry Fletcher Henderson's aggregation and<br />
and Fletcher Henderson bands and who <strong>Allen</strong> Sr., who also played with King four years afterward became a full-<br />
died in N.Y.City just three days apart. Oliver, Louis Armstrong and Sidney fledged member of the Louis Armstrong<br />
<strong>The</strong>y were Henry”<strong>Red</strong>”<strong>Allen</strong>, trumpeter, Bechet. Even as a child, “<strong>Red</strong>'s father Band, with which his father had played<br />
and William C.”Buster”Bailey, clarinetist. used to carry him in parades and allow and which at the time was actually an<br />
First to die on April 13 was “Buster” the boy to solo for the crowds on his expansion of the old Louis Russell group<br />
Bailey, 64, first clarinetist with trumpet whenever the parade stopped. with which he had played. This was<br />
Armstrong's All-Stars. He had been with In 1927, <strong>Red</strong> made his initial trip to New Louis Armstrong's Big Band.<br />
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<br />
has just returned from Los Vegas where back shortly afterward and played on played most of the better night spots in<br />
he was appeaing with Armstrong. Bailey Mississippi riverboats with Fate New York and other cities throughout<br />
was 64 at his death. …(shortened) Marable's band.<br />
the country.<br />
==========================================================================<br />
BUSTER BAILEY BURIED - NYAN-4/22/67p1:<br />
William C.”Buster”Bailey, 64, was Vegas. He was to leave with the All- W.C. Handy, Fletcher Henderson,<br />
buried in Evergreen Cementery in Brooklyn Stars next month for an engagement in Lucky Millinder, the <strong>Red</strong> Richards<br />
Mon-day morning following ser-vices at Europe.<br />
Dixieland band, and John Kirby. He also<br />
St.Luke and St.Matthew Episcopal Church His musical career began at the age of appeared with symphony orchestra<br />
at 529 Clinton Ave., Brooklyn. Bailey, a 9 while attending school in his native which were directed by Leon Barzin and<br />
clarinetist of international fame, died last Memphis, Tenn. He was a accomplished Dimitri Mitropoulos.<br />
Thurs-day night in his home at musician at the age of 14. He studied Bailey is survived by his wife, Mary;<br />
341Washington Ave.<br />
classical clarinet with Franz Schoepp of two daughters, Mrs. Dorothy Thoma,<br />
He suffered a heart attack while the Chicago Symphony orchestra and and Mrs. Barbara Bowen; a son Russell;<br />
watching television. He had planned to hoped for a career in classical music but a sister, Maggie Bailey, eight<br />
enter a hospital for a check-up the the field was closed to Afro-Americans grandchildren and a daughter-in-law,<br />
following day. A member of Louis at that time.<br />
Mrs. Pearl Bailey, wife of his late son,<br />
Armstrong's All-Stars. Bailey had just Before joining the Louis Armstrong Buster Bailey Jr.<br />
returned from an engagement in Las combo Bailey played with Erskine Tate,<br />
---------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
JAZZ GREAT DIE - 'RED' ALLEN FUNERAL – NYAN-4/22/67p1:<br />
Henry <strong>Red</strong> <strong>Allen</strong>, 60, jazz trumpet<br />
With Armstrong<br />
the Metropole Café downtown on 7th<br />
king, will be buried at St. Raymond's <strong>The</strong> tall, husky, ruddy face <strong>Allen</strong>, who Avenue where he was a favorite, <strong>Allen</strong><br />
Cementary in the Bronx following Mass spoke with a husky voice, joined the and his All-Stars were a favorite at the<br />
Friday at 10 a.m. at St. Anthony of Padua Louis Russell band. He later played with Dixieland jazz spot.<br />
R.C. Church, 166th St. and Prospect Ave. Louis Armstrong and the joined up with His body will lie in state at McCalls, 984<br />
<strong>The</strong> trumpet player checked into Syden- Lucky Millinder whom he teamed up Prospect Ave., until the services.<br />
ham Hospital Sunday to undergo tests with to make “Ride <strong>Red</strong> Ride” a hit song. LAST REFRAIN -NYAN-4/29/p19<br />
and died Monday afternoon . Last Febru- He is survived by his wife; Pearly May; We sound a blue note for New Orleans<br />
ary he was operated on the hospital but a son Ptl. Henry <strong>Allen</strong> Jr.; two jazz trumpeter Henry (red) <strong>Allen</strong>, who<br />
go up in time to keep an engagement in grandchildren, Juretta and Alcornette; his died last week. His hitting horn burnished<br />
Europe last March.<br />
daughter-in-law, Clara, and his mother, many a gig and his husky-throated humor<br />
A native of New Orleans, Henry“<strong>Red</strong>” Mrs. Juretta <strong>Allen</strong> who still lives in New lent a twinkle to many a party. <strong>Red</strong> was<br />
<strong>Allen</strong> came to New York in 1929 after Orleans and who “<strong>Red</strong>” used to visit a pal and everybody in night-life<br />
playing with his father's band. His father every year.<br />
admired him as one of the nicest guy you<br />
was also named Henry.<br />
<strong>Allen</strong>'s death stunned the regulars at could have known.
- 171 -<br />
4/21/67 Fri., Henry <strong>Red</strong> <strong>Allen</strong>, will be buried at St.Raymond's Cementary in the Bronx<br />
following Mass Friday at 10 a.m.at St. Anthony of Padua R.C.Church, 166th St. and<br />
Prospect Ave.; Charlie Shavers, Emmett Berry, Joe Thomas, Joe Newman, Dicky<br />
Wells, Sandy Williams, J.C. Higginbotham, Teddy Hill, Hilton Jefferson, Ornette<br />
Coleman, Harold Ashby, Claude Hopkins, Al Hall, Hayes Alvis, Zutty Singleton, Slick<br />
Jones; Pearlie Mae followed her husband's wishes, 'I was surprised when he told me<br />
not long before he passed that he didn't want any music at his funeral. He said he<br />
couldn't take those New Orleans music funeral. I never knew that. He didn't want it for<br />
himself, (see p176-Pearlie May interview). LouisArmstrong went to Prospect Avenue to<br />
offer his condolences in person to <strong>Red</strong>'s widow.<br />
"ART IS LONG, AND TIME IS FLEETING" by Stanley Dance in<br />
<strong>Jazz</strong> Journal 6-67: Buster Bailey´s funeral<br />
service in Brooklyn was at 9:30 in the<br />
morning, a time at which few jazzmen are<br />
normally abroad, but Louis Armstrong Benny<br />
Goodman, Jo Jones and Jimmie Crawford<br />
were among those present.<br />
Later the same week <strong>Red</strong> <strong>Allen</strong>'s funeral<br />
service in the Bronx was at 10 a.m. Emmett<br />
Berry, Dicky Wells, Sandy Williams,<br />
J.C.Higginbotham, Harold Ashby and<br />
Ornette Coleman were some of those we saw.<br />
<strong>The</strong>re is something distinctly moving<br />
about the fraternal feeling and professional<br />
solidarity shown at a jazz musician's funeral.<br />
It is, of course, the final opportunity to show<br />
respect to one with whom you may have<br />
had silent and invisible bonds for many<br />
years. It is also a brief, comforting gathering<br />
of the survivors, who then disperse to their<br />
various activities after a toast or two to the<br />
departed. <strong>The</strong>re is not a lot of outward<br />
gloom, no mock solemnity, but hearts are<br />
touched and a good deal of thinking is done.<br />
After what amounts to a quiet pause, the<br />
order of the day is, 'Straight ahead!'<br />
Sometimes the musicians You expect to see<br />
are not present, because their gigs have<br />
taken them too far away, but Charlie Shavers<br />
could drive all night front Cleve-land to say<br />
farewell to Buster Bailey.<br />
Henry <strong>Allen</strong> had a full requiem mass, and<br />
for many of the four-hundred-or-so people<br />
present it was obviously a little mystifying,<br />
yet the dignity and the unhurried authority<br />
---------------------------------------------------------<br />
SET MAMMOTH JAZZ TRIBUTE TO ALLEN –<br />
A mammoth jazz tribute to benefit<br />
the family of the late great trumpeter,<br />
Henry <strong>Red</strong> <strong>Allen</strong>, Jr. will be held on<br />
Sunday, June 4, at the riverboat<br />
(Empire State Bldg.) from 7 p.m. to<br />
midnight.<br />
Many of the greatest names in jazz<br />
are scheduled to appear: Earl Hines,<br />
Charlie Shavers, Roy Eldridge, Clark<br />
Terry, Jonah Jones, Bobby Hackett,<br />
Coleman Hawkins, Bud Freeman,<br />
Pee Wee Russell, Buddy Tate and<br />
Tyree Glenn. Tony Parenti is<br />
bringing his band from Jimmy Ryan's<br />
Club; Yank Lawson the band from<br />
Eddie Condon's; Sol Yaged the band<br />
from Gas Light and Louis Metcalf<br />
the band from the Ali Baba.<br />
Included in these groups are such<br />
jazz notables as Zutty Singleton, Max<br />
Kaminsky, Cutty Cutshall & Ray<br />
Nance. More of <strong>Red</strong>'s friends who<br />
will share the stand will be Joe<br />
Thomas, J.C. Higginbotham, Benny<br />
Morton, Wilbur De Paris, Jo Jones,<br />
Sonny Greer plus the Saints and<br />
Sinners Band – led by <strong>Red</strong> Richards,<br />
featuring Vic Dickenson.<br />
Last January <strong>Red</strong> <strong>Allen</strong> fell ill, was<br />
hospitalized and underwent surgery.<br />
of the Catholic service expressed a<br />
conviction that has consoled for nearly<br />
two thousand years.<br />
'It's as though there was a plague or<br />
something,' Joe Thomas said on the sidewalk<br />
afterwards. Muggsy Spanier, Ed<br />
Hall, Willie Smith; Herman Chittison<br />
Pete Johnson, and Buster Bailey were<br />
being remembered, too. <strong>The</strong> curtain was<br />
coming down on an era and its musicians.<br />
Oh, there are still some performances to<br />
be played, but the atulience, struggling<br />
with its coat and thinking of tomorrow,<br />
hardly has time to applaud !<br />
Stanley Dance in a letter to the author:<br />
.... "I went to '<strong>Red</strong>'s funeral in Harlem<br />
and it made a big impression on me,<br />
because it was a regular funeral mess<br />
without any of the awful show business<br />
that sometimes mars these occasions."<br />
theatricals<br />
by Jesse H.Walker - NYAN-4/22/67p19:<br />
THE BELL HAS BEEN TOLLING<br />
lately for quite a few oldtimers in the jazz<br />
world. <strong>The</strong> youngsters of today's “souns”<br />
won't recognise them, but trumpeter “<strong>Red</strong>”<br />
<strong>Allen</strong>, clarinettist Buster Bailey, and<br />
pianists Pete Johnson and Fats Pichon<br />
were “giants” in their days - and thinking<br />
back on those days brings moments of<br />
nostalgia.<br />
“RED”ALLEN'S DEATH this week<br />
was all the more shocking since we were<br />
talking to him recently after he had been<br />
Shortly after, he under-took a tour<br />
of England, which turned out to be<br />
his last profes-sional engagement .<br />
Soon after his return his condition<br />
worse-ned, and he returned to the<br />
hospital, where he passed away on<br />
April 17. NYAN-6/3/67p17<br />
----------------------------------<br />
RED ALLEN BENEFIT -<br />
NYAN-6/10p20: VIC DICKENSON<br />
on trom-bone and Bud Johnson on<br />
tenor sax were in the<br />
Earl”Father”Hines band that<br />
recently played at the Riverboat.<br />
But last Sunday night, this place<br />
that features big bands really romped<br />
with the“Tribute to Henry <strong>Red</strong><br />
<strong>Allen</strong>”. Some of those who<br />
appeared inclu-ded Wilbur DeParis,<br />
Charlie Shavers, Sol Yaged, Jo<br />
Jones, Tony Parenti, Zutty<br />
Singleton, Sonny Greer, Bud<br />
Freeman, Tyree Glenn, “Big<br />
Chief” Moore, Lou Metcalfe, Joe<br />
Thomas and his wife, Cliff<br />
Jackson, Jimmy Rushing and<br />
Maxine Sullivan. J.C.<br />
Higginbotham, longtime cohort of<br />
<strong>Red</strong>'s opened and closed the show<br />
that played to a sellout crowd.<br />
.<br />
---------------------------------------released<br />
from Sydenham Hospital following<br />
released an from operation. Sydenham He Hospital was a<br />
favorite follo-wing of ours, an operation. both on and He off was the a<br />
bandstand, favorite of and ours, we both used on to and hang off out the<br />
with bandstand, “<strong>Red</strong>” and when we he used and to trombonist hang out<br />
Jay with C.Higginbotham “<strong>Red</strong>” when he were and partners trombonist way<br />
back Jay C.Higginbotham when 52nd were Street partners was<br />
“swinging,” way back and when later 52nd when Street “<strong>Red</strong>” was<br />
making “swinging,” the Metropole and later when Café his “<strong>Red</strong>” regular was<br />
home. making One the of Metropole our best recollections Café his regular of<br />
“<strong>Red</strong>” home. was One the of our new best Caddy recollections he'd buy of<br />
every “<strong>Red</strong>” year was and the his new regular Caddy trip he'd home buy to<br />
New every Orleans year and to see his “Momma.”! regular trip home<br />
to New Orleans to see “Momma.”<br />
RED ALLEN AND ME out “Babs”Gonzales book<br />
<strong>Red</strong> is dead now but he lived like Dinah<br />
Washington. He was so good that the big agents<br />
kept him out of the big rooms to keep him out<br />
from being treat to Louis Armstrong. He had a<br />
new Cadillac every year; fed all the hungry cats;<br />
and was a name all over the world. As <strong>Red</strong> would<br />
say “My Man.”
- 172 -<br />
6/4/67, N.Y.C.: RIVERBOAT, 34 St&5 Ave, Empire State Bldg.-<br />
“Tribute to Henry <strong>Red</strong> <strong>Allen</strong>”; Concert Comittee: Max '<strong>The</strong> Mayor',<br />
Jack Bradley, Carl Sinclair; A host of New York's mainstream and<br />
traditional musicians are expected to participate; set at presstime were:<br />
Jonah Jones, Wilbur DeParis, Bobby Hackett, Charlie Shavers, Sol<br />
Yaged, Coleman Hawkins, Tony Parenti, Zutty Singleton, Yank<br />
Lawson, Clark Terry, Earl Hines, Roy Eldridge, Jo Jones, Bud<br />
Freeman, Big Chief Moore, Tyree Glenn, Pee Wee Russell, Sonny<br />
Greer, J.C.Higginbotham, Tom Gwaltney, Louis Metcalfe, Saints and<br />
Sinners Band, and many .more. Donation $3.oo, entire proceeds to<br />
family. (DB-6/15/67); advertised in <strong>Jazz</strong> Notes 8-81-J.Failows---<br />
----------------------------------------------------------------------------------------------------------------<br />
HENRY RED ALLEN - Reminiscences and Memorial Concert<br />
by Mike Zaccagnino in Coda 9/67p23/24<br />
<strong>Red</strong> <strong>Allen</strong>, who was not only a<br />
true jazz great, but also a respected<br />
and much beloved figure, is<br />
gone. I for one will miss him<br />
very much. He and his horn gave<br />
me a great deal of pleasure.<br />
I first heard <strong>Red</strong> (on record)<br />
doing Sweet Substitute with<br />
Jelly Roll. I loved it then and I<br />
love it and play it often today. I<br />
remember listening to those<br />
wonderful Vocallon sides he<br />
made like <strong>The</strong> Touch Of Your<br />
Hand, I'll Bet You Tell That<br />
To All <strong>The</strong> Girls (all swinging<br />
things) etc.<br />
Our first meeting was at the<br />
Stuyvesant Casino in the '40's.,<br />
He appeared there regularly and<br />
at Central Plaza playing with<br />
greats like George Wettling,<br />
Cecil Scott, Buster Bailey and<br />
Gene Sedric. He was a warmhearted<br />
fellow and always did a<br />
wonderful job. Later, when he<br />
began to work at the Metropole,<br />
we saw each other very often<br />
and spent much time at the<br />
Copper Rail between shows. He<br />
always amused me with his<br />
stories of New Orleans and<br />
named me Charlie Gang Gang,<br />
after a tough bouncer who<br />
worked on the riverboats in<br />
those historic days.<br />
I was happy to see that the<br />
benefit concert in his honor at<br />
the Riverboat on June 4 was<br />
such a tremendous success. What<br />
a shame that <strong>Red</strong> couldn't join<br />
in for he would have dug it. <strong>The</strong><br />
concert will be long remembered<br />
by those who paid and those who<br />
applauded. Much of the success<br />
of the concert has to be credited<br />
to Jack Bradley and Jeann Roni<br />
Failows for their untiring efforts.<br />
<strong>The</strong>y saw to it that the posters<br />
were distributed in strategic spots.<br />
<strong>The</strong>y mailed out hundreds of<br />
cards, plus releases and photographs<br />
to press and radio people.<br />
(Need I say that time was short<br />
and their budget very skimpy -<br />
and I'd hate to see their next<br />
phone bill.) Louis Metcalf, who<br />
sold about 400 tickets and made<br />
many many calls was also an<br />
invaluable help.<br />
For my part in this endeavour I<br />
donated the use of my beautyful<br />
drums. Obtaining drums for a<br />
benefit always presents problems.<br />
I opened with J.C. Higginbotham,<br />
Jack Fine , Joe Muranyi, Charlie<br />
Folds and Buck Jones.<br />
Next to take the stand was the band<br />
from Jimmy Ryan's. This consisted<br />
of Max Kaminsky, Marshall Brown,<br />
Tony Parenti, Zutty Singleton,<br />
Bobby, Pratt (piano) and Davie<br />
Quinn (banjo). Each was featured on<br />
their spe-cially. Max did a wonderful<br />
Dippermouth Blues, Bobby Pratt did<br />
a great Little Rock. Getaway, but<br />
Zutty broke it up with Tiger Rag,<br />
which really gassed me. (Mattie<br />
Walsh, one of the owners of Ryan's<br />
did lots of work plugging this<br />
concert to his patrons for weeks.)<br />
<strong>The</strong> Wilbur de Paris band followed<br />
with Johnny Letman playing<br />
some tremendous trumpet. <strong>The</strong><br />
mighty Earl Hines was next and<br />
was easily the star of the evening.<br />
His playing is as sharp and clean as<br />
ever. With Earl were Russ Andrews,<br />
Eddie Barefield, Hayes Alvis and<br />
Jo Jones. I particularly enjoyed<br />
SatinDoll, displaying the talents of<br />
Earl, Hayes Alvis and Jo Jones.<br />
Louis Metcalf was next on the<br />
scene playing Louis Armstrong's<br />
Someday, which was appropriate as<br />
a telegram from Louis had been read<br />
to the audience before Metcalf began.<br />
Louis had expressed his heartfelt<br />
wishes, for the success of the<br />
evening. Metcalf was then joined by<br />
Eddie Bare-field, Tom Gwaltney and<br />
Big Chief Moore and played Lonesome<br />
Road (vocal by the Chief) and<br />
Basin Street Blues. With Joe Thomas<br />
were Charlie Folds, Al Lucas and<br />
Sonny Greer. Joe opened up with C<br />
Jam Blues which was wonderful and<br />
showed Joe is great chops to<br />
advantage. He's one of the best. He<br />
did his usually fine version of I'm In<br />
<strong>The</strong> Mood For Love. He was joined<br />
by his wife Babe Matthews who walled<br />
Pennies From Heaven, I Got It Bad<br />
and Babe's Blues. This gal can sing.<br />
Next in line was Charlie Shavers<br />
assisted by Tyree Glenn, Tom<br />
Gwaltney, Dill Jones, Hayes Alvis<br />
and Jo Jones. <strong>The</strong>y played I Found A<br />
New Baby and Sweet Georgia<br />
Brown. <strong>The</strong>y, were really swinging.<br />
<strong>The</strong>n <strong>The</strong> Saints And Sinners led by<br />
<strong>Red</strong> Richards. This well organized. group is always a<br />
delight and I wish they'd play in town more often.<br />
<strong>The</strong> Sol Yaged Quartet was next to appear with<br />
Dave Martin (piano), Frank Skeets (bass) and Sam<br />
Ulano (drums). Sol did the usual Benny Goodman<br />
things like Poor Butterfly, etc., but they were well<br />
played. Jimmy Rushing then came up to join the<br />
group and really woke the joint up as is customary<br />
with Rushing. Though now In his 60's, he can still<br />
belt out a song and this wonderful guy makes all the<br />
benefits and can always be relied upon to do a bang<br />
up job. He opened with Who's Sorry Now and closed<br />
with a jumping blues and let me tell you the place<br />
was really rocking.<br />
<strong>The</strong> Condon gang was the following band and they<br />
sounded just fine with Yank Lawson, Bud Freeman,<br />
Bob Wilbur, Cutty Cutshall, Jack Lesberg and the<br />
always fine Cliff Leeman. Because of his bad eyes,<br />
Cliff had some trouble finding his way to the stage<br />
and was calling out "Cab-Cab" and I went down and<br />
brought him up to the drums. Once he sat down and<br />
made himself comfortable, he played as well as<br />
always. <strong>The</strong> group opened with Struttin' With Some<br />
Barbecue followed by Jada and was then joined by<br />
Maxine Sullivan who sounded as great as ever. She<br />
opened with I Got <strong>The</strong> World On A String followed<br />
by Johnny Mercer's Accentuate <strong>The</strong> Positive. <strong>The</strong><br />
band did an excellent job of backing her with her<br />
husband Cliff Jackson joining in at the piano. This gal<br />
can still sing a good song.<br />
As usual because of the time element, many of<br />
the musicians who had come down to perform had<br />
to be overlooked. <strong>The</strong> Lion got tired of waiting and<br />
finally cut out and who could blame him. Also<br />
waiting to go on were Tommy Benford, Dickle<br />
Wells, Nat Pierce, Benny Moten, Jackie Williams,.<br />
Norman Lester and many more. However, the<br />
main thing was that the benefit was a great success<br />
though I do hope we don't have to do another one<br />
for a long time.<br />
----------------------------------------------------------------------------------------------------------------------------------------<br />
Louis Armstrong had sent a telegram to Jack Bradley at the Riverboat on June 4, 1967: "Sorry I cannot attend but you<br />
know my heart is with you and all the participants paying tribute to my man and home boy the late great <strong>Red</strong> <strong>Allen</strong>.<br />
Yours, Louis Satchmo Armstrong." (courtesy: Louis Armstrong House Queens)
- 173 -<br />
Stanley Dance in <strong>Jazz</strong> Journal 7-67: with Ram Ramirez, is now drumming Several times, too, friends insisted on our<br />
Earl was back in <strong>The</strong> Riverboat again with Lionel Hampton.) <strong>The</strong> Saints and going to the upstairs bar, where service<br />
on Sunday, June 4th, when Jack Bradley Sinners scored. with their good tempos, was quicker but where the music could<br />
and others organized an enormously but the biggest surprise (to us) was be heard only in fragments. Our<br />
successful benefit for <strong>Red</strong> <strong>Allen</strong>. We had Charlie Shavers with Tyree Glenn and impressions the next day were inclined to<br />
never seen such a crowd in the room Tommy Gwaltney. Charlie's playing was be kaleidoscopic, but among the other<br />
before, and the enthusiasm was quite dazzling in its power and brilliance, musicians we remember seeing were.Joe<br />
heartening. Earl played with Eddie and the three horns ended with Thomas, Jimrny Rushing, Dicky Wells,<br />
Barefield ,(alto), Russ Andrews (tenor), exceptionally exciting riffs.<br />
Nat Pierce, <strong>The</strong> Lion, Jimmy<br />
Hayes Alvis(bass) and Jo Jones(drums). <strong>The</strong> only unsatisfactory aspects of such McPartland, Tony Parenti, Sonny Greer,<br />
Wilbur De Paris, with Johnny Letman bashes is that they are in the nature of Sonny Payne, Big Nick Nicholas, Edgar<br />
and Rupert Cole, did a pleasing set. social reunions, so that it is not always Battle, Louis Metcalf, Joe Muranyi, Bob<br />
(Rupert told us his son Ronnie, formerly possible to concentrate on the music. Wilber and, of course, Sol Yaged. .<br />
-----------------------------------------------------------------------------------------------------------------------------------------<br />
"HENRY RED ALLEN BENEFIT CONCERT" by Konrad Korsunsky in Bul.H.C.F.No.169/July67:<br />
Le concert de bienfaisance donné le 4 Juin<br />
dernier au profit de la veuve d'Henry <strong>Allen</strong> a<br />
remporté un vit succès : Jack Bradley et Jeann<br />
Failows, qui, aidés de quelques amis, s'étaient<br />
occupés de l'organisation avec beau-coup de<br />
dévouement, ont pu remettre à Mrs <strong>Allen</strong> une<br />
somme de plus de 2.000 dollars (Louis<br />
Metcalf avait, à lui seul, vendu pour 600<br />
dollars de billets). Parmi les musiciens qui<br />
avaient prêté leur concours, citons J. C.<br />
Higginbotham ; un groupement comprenant<br />
Max Kaminsky à la trompette et le superbe<br />
Zutty Singleton à la batterie; l'orchestre de<br />
Wilbur de Paris, avec Johnny Letman à la<br />
trompette (pour remplacer Sidney de Paris,<br />
malade), toujours aussi puissant et plein<br />
d'inspiration; Earl Hines, qui tint l'auditoire<br />
sous le charme, par sa musique comme par la<br />
façon dont il parla d'Henry <strong>Allen</strong>; le trompette<br />
Joe Thomas avec Sonny Greer à la batterie;<br />
Charlie Shavers, éblouissant de virtuosité et<br />
de « gags » musicaux pendant que Tyree<br />
Glenn, Hayes Alvis et Jo Jones lui<br />
fournissaient un accompagnement de riffs si<br />
bien trouvés qu'à un moment, il se mit à<br />
danser tellement il s'amusait; le groupement<br />
des « Saints and Sinners », avec notamment<br />
He r rnan Autrey à la trompette, Vic Dickenson<br />
au trombone et <strong>Red</strong> Richards au piano; Big<br />
Nick Nicholas, George Kelly (ts), furent<br />
également très remarqués.<br />
Bien d'autres musiciens présents<br />
n'eurent pas le temps de venir sur scène<br />
tel fut le cas, entre autres, de Willie<br />
Smith «Le Lion», Cliff Jackson, Nat<br />
Pierce, Dickie Wells. Quant à Louis<br />
Armstrong indisponible pour raison de<br />
santé, il envoya un télégramme pour<br />
exprimer son regret de, n'être pas là. ...<br />
-----------------------------------------------------------------------------------------------------------------<br />
SHE BRINGS HIS HORN HOME by Bettye Anding in N.O.States Item 8/29/68p25<br />
“It's just like him coming back<br />
home.“ That's the way Mrs. Pearlie<br />
Mae <strong>Allen</strong>, widow of famed jazzman<br />
Henry“<strong>Red</strong>”<strong>Allen</strong> Jr., feels about<br />
donating her late husband's trumpet to<br />
the New Orleans <strong>Jazz</strong> Museum.<br />
„People wanted me to sell the horn after<br />
Henry died last year,“ said Mrs. <strong>Allen</strong>.<br />
“But I didn't want to. I said, 'if the<br />
museum wants it, I'd like for them to<br />
have it.'“<br />
<strong>The</strong> gentle widow, who left New<br />
Orleans almost 40 years ago when<br />
Fletcher Henderson asked her husband<br />
to come to New York City to<br />
join his jazz group, presented the<br />
trumpet to the museum at 10017<br />
Dumaine this afternoon.<br />
“My husband and I met at a place<br />
called the Pelican Dance Hall,”<br />
reminisced Mrs. <strong>Allen</strong>. “It doesn't<br />
exist anymore. But back in those days<br />
I worked for an insurance company<br />
during the days and sold tickets at the<br />
Pelican at night.<br />
“Henry played jazz on the Steamer<br />
Capitol. I think that its now called the<br />
Steamer President.<br />
“It went up river from New Orleans to<br />
St. Louis and back, When Henry got<br />
through playing on the steamer, he<br />
would come to the Pelican to play.<br />
<strong>Allen</strong> was the son of Henry <strong>Allen</strong> Sr.,<br />
who headed a marching band in Algiers.<br />
“Henry would practice on his father's<br />
trumpet and sometimes borrow it to<br />
play when the marches would halt.”<br />
***<br />
DURING HER 38 years of marriage<br />
to the jazzman, Mrs. <strong>Allen</strong> met so<br />
many of the greats of the musical world<br />
that her list of acquaintences reads like a<br />
<strong>Jazz</strong> Hall of Fame;” Luis Russell of the<br />
Roseland Ballroom, Louis Armstrong,<br />
Eddie Condon, Kid Ory, Jelly Roll<br />
Morton, Fate Marable, John Handy and<br />
Joe”King” Oliver.<br />
“Many musicians came to our home<br />
through the years,” recalled Mrs.<br />
<strong>Allen</strong>. “<strong>The</strong>y didn't play there, because<br />
we lived in an apartment, of course. But<br />
they would spend hours listening<br />
to jazz records.<br />
“Henry had a large collection<br />
of records. I couldn't<br />
even begin to number them,<br />
but they fill four big racks.”<br />
***<br />
Like her late husband, Mrs.<br />
<strong>Allen</strong> was “raised up with<br />
jazz.” Her cousin, Alvin<br />
Alcorn plays the trumpet in<br />
New Orleans jazz circles.<br />
“So my family wasn't at all<br />
unhappy about my marrying a<br />
musician,” she laughed.<br />
Mrs. <strong>Allen</strong> didn't often travel<br />
with her husband, but she was<br />
with him in Bermuda, in<br />
Chicago for seven years, and<br />
in San Francisco.<br />
“He had been in England the<br />
month before his death at 60<br />
in 1967,” she said. “And we<br />
were planning a trip to<br />
Australia.” ***<br />
THE ALLENS' only son,<br />
Henry Paul <strong>Allen</strong>, is a<br />
member of the New York<br />
City Police Department and<br />
plays the trumpet “for his own<br />
amusement,” said his mother.<br />
Mrs. <strong>Allen</strong> has two granddaughters<br />
and said that “if it<br />
weren't them and my son, I<br />
would probably come back to<br />
New Orleans for good.”<br />
During their years in New<br />
York and Chicago, the <strong>Allen</strong>s<br />
visited their home town every<br />
year.<br />
“We were all here – Henry<br />
and I, my son and daughterin-law<br />
and my grandchildren<br />
– the August before Henry<br />
died,” said Mrs.<strong>Allen</strong>.<br />
“We usually tried to come<br />
home for Carnival,” she said.<br />
“Whenever Henry saw a<br />
marching band pas-sing with<br />
a parade he'd just grab his horn<br />
and go join them.”<br />
Mrs. Pearlie May <strong>Allen</strong> reminisces about her life<br />
with her late husband, jazzman Henry “<strong>Red</strong>” <strong>Allen</strong>,<br />
as she holds his photograph and trumpet.<br />
<strong>The</strong>se legendary jazz Horns<br />
(at the Louisiana <strong>Jazz</strong> <strong>Archive</strong>s):<br />
<strong>Red</strong> <strong>Allen</strong> – Louis Armstrong – Bix Beiderbecke
- 174 -<br />
Danny Barker, curator of the New Orleans <strong>Jazz</strong> Museum - Vagabonds Press, P.O.Box 2362 N.O., La. 70116, 1669p4<br />
BARKER: Well, <strong>Red</strong> <strong>Allen</strong> used to come in here almost every year. He's one of the few musicians who really loves the<br />
town - considers it his home. A lot of them left New Orleans and never wanted to come back. A lot of white musicians<br />
left the area and never want to see the place again. But <strong>Red</strong> always came back. Now <strong>Red</strong>'s passed on. It was real hard to<br />
believe that a big, robust guy like him had cancer. But a month ago his wife came here, and she said, "I brought <strong>Red</strong>'s horn."<br />
--------------------------------------------------------------------------------------------------------------------------------------<br />
HENRY "RED" ALLEN - a note by Albert McCarthy , in <strong>Jazz</strong> Monthly 6/67... about Don Ellis comment to "Feeling Good"<br />
... Like many collectors I have to admit that my own awareness<br />
of Henry <strong>Allen</strong>'s full stature was slow in developing. I admired<br />
his early Victor recordings but though conscious of his rhythmic<br />
freedom and extreme versatility as a trumpeter, allowed<br />
recognition of his true worth to be obscured for some years by a<br />
suspicion of the more superficial showbiz aspects of his work.<br />
In 1958 I had the opportunity to hear Henry <strong>Allen</strong> almost<br />
nightly at the Metropole in New York City and finally realised<br />
his greatness. I Also got to know him well as a person and<br />
quickly became aware that the on stand personality was deceptive,<br />
for away from the public Henry was a rather shy sensitive man.<br />
In 1966 I was given the enjoyable assignment of taping Henry's<br />
autobiography for publication by Cassell's and during a two<br />
week period spent every afternoon with Henry in his hotel<br />
room working on the book. Henry was keen to work oh the<br />
project and having a phenomenally accurate memory was<br />
extremely easy to work with. After a few afternoons I realised<br />
that he was very anxious to document his early New Orleans<br />
days, particularly the part that his father had played, and it<br />
became obvious that he felt that early New Orleans history had<br />
suffered distortion. On several occasions he mentioned to me<br />
that there were photo-graphs and material in the New Orleans<br />
<strong>Jazz</strong> museum that he could throw light upon, adding "but<br />
nobody ever asks me". When talking of other musicians he<br />
was quite remarkably free from envy or malice and on no<br />
single occasion did I ever hear him ,speak slightingly of<br />
another performer. He was also devoided of racial attitudes<br />
and he related the few incidents in which he had been involved<br />
in an entirely objective manner, though it was obvious that he<br />
would stand up for himself if the need arose. After he returned<br />
to the States and the tapes were heard I felt that linking material<br />
was needed for some of the later sections and Henry himself<br />
also held the same view, so that it was decided to tape the final<br />
part when he was in this country during Feb. of this year.<br />
It was immediately apparent to me when I saw Henry for the<br />
first time in February that he was a desperately ill man. In<br />
retrospect it seems unwise of him to have ever made the tour<br />
and from odd comments he made to me I suspected that one<br />
reason was the need to recoup some of the heavy medical<br />
expenses he had incurred. On the other hand it may well be<br />
that his doctors felt that by allowing him to undertake the tour<br />
he could not worsen his position but might gain a psychologycal<br />
boost. <strong>The</strong> final material was obtained, though as Henry<br />
tired quickly it was done in short sessions, and the title of<br />
MAKE HIM HAPPY - a phrase that will need no explanation<br />
to anyone who ever heard him play - was agreed upon. In<br />
company with other friends of Henry's I saw him off at the<br />
airport on March 6th and within six weeks received the news<br />
of his death.<br />
At this moment I am not concerned with Henry's performances<br />
over here, though there were one or two memorable occasions<br />
which one regrets were never recorded. It is, common place to<br />
paint an individual in generous terms for obituaries, but in<br />
Henry's case there is no need to stretch the facts. As a man he<br />
was naturally generous and warm and quite lacking in spite or<br />
pettiness of any kind. I recall one afternoon when he spoke<br />
with an almost embarrassing humility of the friends he had made<br />
in this country, mentioning Doug Dobell, John Kendall, Max<br />
Jones and the Alex Welsh band amongst others, for it seemed to<br />
me that he gave much more than he ever received and that<br />
those of us who had become his friends were the fortunate<br />
ones. To anyone who knew Henry, even quite casually, the<br />
news of his death caused deep personal sorrow, for even one's<br />
admiration for him as a great musician is unimportant in<br />
comparation to the fact that at the last one remembers him as a<br />
human being of great kindness and warmth who, having come<br />
to terms with life himself, saw no need to be anything other than<br />
tolerant and generous in his relationship with others<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
RED ALLEN – THE MAN WHO MADE THEM HAPPY by Max Jones, Melody Maker-4/67<br />
NEVER again shall we hear the cry “My out, people began telephoning this paper but not a murmur of com-plaint from <strong>Red</strong>.<br />
Man” or “Make him happy” rapped out and writing in letters. It's happened with And you know the sad: thing was, when<br />
in <strong>Red</strong> <strong>Allen</strong>'s distinctive voice. Never other jazzmen before, of course, but not he said goodbye he gave me a funny look<br />
again shall we see the tall figure boun- in my experience to this extent. out of the side of his eyes. We all said:<br />
ding on stage and announcing: "Look And a group of jazz lovers based on 'See you next year then,' but we were<br />
out, 'St Louis´"' - or what-ever the tune Dobell's Record Shop organi-sed a certain we wouldn't see him here again.”<br />
happened to be.<br />
collection for a wreath to be sent to <strong>Allen</strong>'s playing style, though it owed<br />
No more the drawn-out "Nice" which <strong>Red</strong>'s funeral, and condolences cab-led something to Louis Armstrong was<br />
was his all-purpose comment and ver- to his widow, Pearlie May.<br />
highly original from the first that we<br />
dict, even when accompanied by a frown <strong>The</strong>y are all signs of the special esteem knew of it on record Clarence Williams'<br />
of enormous and rutted proportions. in which Henry <strong>Red</strong> was held here. “Zulu Wail” according to <strong>Red</strong>, but for<br />
<strong>Red</strong> has died, at the age of 59 or so, and Musicians and fans, even, club owners most of us on the excellent series of<br />
it is sad, sad news for the -many people and agents, had an affection for him that Victors by Henry <strong>Allen</strong> Jr and his New<br />
who admired his music-making and beats anything I can recall since poor old York Orchestra.<br />
perhaps delighted from time to time in Big Bill was alive.<br />
Among these records, made In 1929<br />
his amiable company.<br />
Alex Welsh, whose band made three and '30; are such beautiful performances<br />
To say that the jazz world will never see tours with <strong>Allen</strong> and would have looked as "Biffly Blues," "It Should Be You,"<br />
his like again is to utter a cliché; but it forward to a fourth, says:<br />
“Feeling Drowsy” and the with-vocal "<br />
expresses the truth. He was one of the "You couldn't help liking him. I don't Patrol Wagon Blues." <strong>The</strong>se were made<br />
truly brilliant musicians, one of the think I ever heard anybody say a bad with a section of the Luis Russell band,<br />
originals, one of the rapidly diminishing word about him. As for his playing: I with whom <strong>Red</strong> cut a great many his-toric<br />
number of New Orleans treats.<br />
honestly think he was one of the finest sides. "Jersey Lightning," "Doctor Blues,"<br />
This has been a bad year already for trumpet players of all time. - As every- "Saratoga Shout," "Panama" and " New<br />
jazz losses, with Edmond Hall, Muggsy one noticed who knew him, <strong>Red</strong> was Call Of <strong>The</strong> Freaks " are some of the<br />
Spanier, Buster Bailey, Willie Smith,, pretty ill on his visit this year. He must interesting tracks.<br />
Pete Johnson and other champions all have known how sick he was, and It's a In New York, <strong>Allen</strong> was in some de-<br />
having died within a few months. great tribute to his professionalism that mand. He recorded a driving solo with<br />
<strong>Allen</strong> adds a regal name to the list, for he should have chosen to fulfil a tour Don <strong>Red</strong>man´s band on “Shakin' <strong>The</strong><br />
he was a real dyed-in-the-wool trumpet like that, and done so well. - “And he African" (1931), and was featured with<br />
king. And when you come to think of it, was still playing lovely little things, Jelly Roll Morton …(e.t.c. list of other<br />
he's the first of his kind to depart in a interesting ideas I assure you. He kept band recorded with <strong>Allen</strong>.)<br />
very long time. Most of the trumpet well up-to-date on happenings and could It can be seen that <strong>Allen</strong> left behind<br />
giants who survived to see the post-war still bring up some surprises for us after plenty of samples of his fiery, often<br />
period are still with us.<br />
all the shows we'd done together. flamboyant but sometimes delicately<br />
As soon as the news of <strong>Red</strong>´s death was We had some hard journeys that last tour, fanciful trumpet work. His own groups,
- 175 -<br />
after the days of the superlative New Oliver” and his own quartet´s “Feeling worked together at he Metro-pole later<br />
Yorkers, produced plenty of worthwhile Good”. Another, with Pee Wee, was on, and never tried to carve each other. I<br />
titles from 1933 until the present, and recorded in concert last October by used to listen to <strong>Red</strong> when I was young,<br />
although he was hardly consistent, <strong>Red</strong> Impulse.<br />
we all did, beat didn't try to copy him: he<br />
generally imparted to his playing an Buck Clayton, an old friend of Al- played a little too much for me.”<br />
urgent jazz feeling. With Zutty, Ed Hall len's, told me: “I was terribly upset at the And Bill Coleman summed up <strong>Allen</strong><br />
and others he cut four New Orleans style news of his death. He was exceptionally succinctly in these words: “He kept<br />
performances in 1940. LPs on which he close to me and I think we really under- going. He played good trumpet, and he<br />
led included "Ride <strong>Red</strong> Ride In HiFi," stood each other. - I met <strong>Red</strong> around did the best to make everybody happy.”<br />
"Dixiecats," “<strong>Red</strong> <strong>Allen</strong> Plays King 1950, to know him well, I mean. We<br />
----------------------------------------------------------------------------------------------------------------------------------------------------<br />
RED ALLEN DIES Down Beat 6/1/67: Another of the worked another lengthy stint at the Metropole, appeared at<br />
vibrant old voices of jazz, trumpeter Henry (<strong>Red</strong>) <strong>Allen</strong>, 59, several Newport <strong>Jazz</strong> Festivals and once at the Monterey <strong>Jazz</strong><br />
died April 17 in New York City. An outstanding. stylist on the Festival, and toured England in 1964 as a single. In 1966, he<br />
horn, <strong>Allen</strong> underwent surgery in January for a cancerous appeared on the television program Profile of the Arts and was<br />
stomach ailment, recovered sufficiently to tour England for the subject of a profile, by Whitney Balliett in <strong>The</strong> New<br />
three weeks in March, but suffered a rapid decline in health Yorker.<br />
after his return.<br />
<strong>Allen</strong> was one of the most original and venturesome<br />
<strong>Allen</strong> was born in Algiers, La., near New Orleans, on Jan. 7, trumpeters to follow in the wake of Louis Armstrong, by<br />
1908. His father, Henry <strong>Allen</strong> Sr., also a trumpeter, was the whom he was strongly influenced. His bold, bright sound and<br />
leader of a famous brass band in which most of the legendary strong attack wore in the classic New Orleans tradition, but his<br />
New Orleans musicians, including King Oliver, Sidney approach to improvisation, and his advanced harmonic<br />
Bechet, and Louis Armstrong, played on occasion. <strong>The</strong> senior conception, presaged, from as early as 1929, what was to<br />
<strong>Allen</strong> died in 1952.<br />
become "modern" years later.<br />
When he was 8, <strong>Red</strong> began studying trumpet with his father <strong>Allen</strong> was also a gifted jazz vocalist, and his outgoing perso-<br />
and often participated in the band's parades. In 1923, he had nality made him a natural entertainer. He composed a number<br />
his first important job, with clarinetist George Lowis, and then of attractive instrumentals, including Biffly Blues, Pleasing<br />
worked with Capt. John Handy, and in 1926 joined Fate Paul, <strong>Red</strong> Jump, Algiers Stomp, and Siesta at the Fiesta.<br />
Marable's famous riverboat orchestra. Following a time with His biggest hits were two novelty numbers, Ride, <strong>Red</strong>, Ride (his<br />
pianist Fats Pichon, <strong>Allen</strong> was called to Chicago in 1927 by theme song), and Get the Mop, which became famous as Rag<br />
King Oliver but soon returned to New Orleans and the Mop and engendered litigation over royalty rights. <strong>Allen</strong> won.<br />
Marable band.<br />
From the late '20s on, <strong>Allen</strong> participated in a vast number of<br />
In 1929, <strong>Allen</strong> went to New York to join pianist Luis recording sessions, including a long series under his own<br />
Russell's band, one of the outstanding big bands of the time. name from 1935 to 1938. Among his greatest solos are Mule<br />
<strong>Allen</strong>'s reputation was firmly established during his four years Face Blues (King Oliver), It Should Be You, Jersey Lightning.<br />
with Russell. <strong>Allen</strong> became the featured trumpet soloist with Feeling Drowsy, and Panama (Luis Russell), Yeah Man, King<br />
Fletcher Henderson's band in 1933. When Henderson Porter Stomp, Wrappin' It Up, Big John Special (Fletcher<br />
disbanded the next year, <strong>Allen</strong> joined the Mills Blue Rhythm Henderson), Heartbreak Blues, Jamaica Shout (Coleman<br />
Band, declining an offer to become its leader. In 1937, he Hawkins). Harlem Heat, <strong>Red</strong> Rhythm (Mills Blue Rhythm<br />
returned to Russell, whose band was then fronted by Louis Band), 1 Got Rhythm, Honeysuckle Rose (Kid Ory), and, with<br />
Armstrong remaining until 1940, when he formed his own his own groups, Body and Soul, It's Written All over Your<br />
small group, which opened at Cafe Society Downtown with Face, Algiers Stomp, When Did You Leave Heaven?, 1 Cover<br />
trombonist J.C.Higginbotham, pianist Kenny Kersey, and the Waterfront.<br />
clarinetist Edmond Hall in the lineup.<br />
In 1965, avant-garde trumpeter Don Ellis wrote a tribute to<br />
<strong>Allen</strong> continued as a combo leader through 1953, playing <strong>Allen</strong> in Down Beat in which he said, "<strong>Red</strong> <strong>Allen</strong> is the most<br />
long engagements in Chicago, Boston, and on New York's creative and avant-garde trumpet player in New York. ... No<br />
52nd St. In 1954, his group became the house band at the one is more subtle rhythmically and in the use of dynamics add<br />
Metropole in New York, a job that lasted seven years. He took asymmetrical phrases than Henry <strong>Red</strong> <strong>Allen</strong>."<br />
a leave in 1959 to make his fist visit to Europe, as a member of A requiem high mass was held for <strong>Allen</strong> April 21 at St.<br />
trombonist Kid Ory'& band. During this period, <strong>Allen</strong> was also Anthony's Roman Catholic Church in the Bronx. <strong>Allen</strong>'s<br />
featured in the television specials <strong>The</strong> Sound of <strong>Jazz</strong> and survivors include his widow, Pearlie Mae; his mother, Mrs.<br />
Chicago and All That <strong>Jazz</strong>.<br />
Juaretta <strong>Allen</strong> of New Orleans; a son, Henry <strong>Allen</strong> III and two<br />
In recent years, <strong>Allen</strong> continued to travel with his own group, granddaughters.<br />
------------------------------------------------------------------------------------------------------------------------------------------------<br />
"FOR RED" - Feather's Nest - by Leonard Feather in Down Beat 6/1/67:<br />
THE DEATH OF RED ALLEN brought back long-dormant<br />
recollections of a personal friendship that goes back to the first<br />
days I ever spent in New York City, fresh off the boat from<br />
England and eager to meet the great men who, until then, had<br />
been distant, revered names on record labels.<br />
One of the first whose tireless hospitality helped make me feet<br />
less of a stranger in town was <strong>Red</strong> <strong>Allen</strong>, who suggested that I<br />
join him after a record session and spend an evening listening<br />
to records in his apartment near Sugar Hill.<br />
"My chief surprise at <strong>Red</strong>´s place," I wrote in the London<br />
Melody Maker, "was the huge pile of records he has in which<br />
he is featured as bandleader. Under his own name he has made<br />
literally scores of titles on Vocalion, Melotone, and other lowprice<br />
labels, featuring J.C. Higginbotham, Luis Russell, and<br />
Pee Wee Erwin, the little trumpet player from Ray Noble's<br />
band." (<strong>The</strong>se pickup combo dates, recorded off and on from<br />
1933 through '37, would make a splendid subject for a<br />
Columbia reissue project.)<br />
On that night, <strong>Red</strong>'s charming wife showed me his pressclipping<br />
books, and I glanced at some of his fan mail.<br />
"Most of this comes from Europe," I wrote, "and it is fascinating<br />
to study the techniques employed by fans to secure<br />
photographs, biographical details, and answers to all sorts of<br />
questions concerning records that <strong>Red</strong> forgot about years ago.<br />
"<strong>Red</strong> <strong>Allen</strong> is such a fine artist and such an agreeable,<br />
gentlemanly fellow that it seems a shame he hasn't yet quite<br />
reached the top. <strong>The</strong> Mills Blue Rhythm Band doesn't really<br />
'send him,' but he has to make money. <strong>The</strong> other evening he<br />
was off to play a one-night engagement with Ellington, filling<br />
in for an absentee. I commented that many of us would be<br />
delighted if he could fit in permanently with the Duke.'<br />
That affiliation, of course, never materialized; had Ellington<br />
hired him, the quality and quantity of <strong>Allen</strong>'s recorded legacy<br />
would have been immeasurably greater, for he was just the<br />
type of individualist for whom Ellington could have designed<br />
perfect settings (the rainiature jazz concerto concept was<br />
pioneered by Duke in 1936).<br />
<strong>Allen</strong> was never to earn the security of an Ellington setting.<br />
For three years he was virtually buried in the big Louis<br />
Armstrong band; then his career as a combo leader began, and<br />
none of us who heard it will ever forget the "wamp! wamp!"<br />
with which he beat off his sextet at Cafe Society Downtown.<br />
It was a rough-and-tumble, gutty little band, with Higginbotham<br />
and Edmond Hall in the original front line. We all<br />
sensed then what Whitney Balliett put into words many years<br />
later: that <strong>Allen</strong> was the first major New Orleans horn man<br />
tofollow Armstrong, one of the first to extend the<br />
lineare concepts of improvisation, and, in effect, was a prem-
- 176 -<br />
ature avantgardist.<br />
In later years, like many survivors of the swing bands, he<br />
was identified with Dixieland, playing at New York City's<br />
Metropole in a setting oddly different from that of his own<br />
band of the '40s.<br />
But this was nothing new for him. I recall another price-less<br />
night. It happened during the hottest week in Manhattan's<br />
history, with 52nd St. jazz temperatures to match. <strong>The</strong> Hickory<br />
House unveiled a new group billed as Joe Marsala and Eddie<br />
Condon's Chicagoans. A brilliant 19-year-old find was playing<br />
piano; his name was Joe Bushkin. And on opening night,<br />
wearing the same uniform as the white musicians, not just<br />
sitting in but an actual member of the band, was <strong>Red</strong> <strong>Allen</strong>.<br />
Such sights were astonishing in those days of total<br />
segregation.<br />
But it was only a one-nighter for <strong>Red</strong>, as things turned out; he<br />
was obliged to return to the Blue Rhythm Band. (His<br />
Bourbon Street Parade by Clint Bolton<br />
VCC 4/28/67: It has been a time of sorrow for a lot of us who<br />
learned that Henry "<strong>Red</strong>" <strong>Allen</strong> had played his last set. <strong>The</strong> big<br />
fellow whose magnificent trumpet had placed him in the<br />
forefront of jazzmen for several decades died in New York,<br />
for many years his home.<br />
He was, however, a native Orleanian. having been born in<br />
Algiers. While still in knee pants he paraded with his father's<br />
marching band and from there he went on to climb the heights<br />
to jazz stardom. He returned to New Orleans annaully to visit<br />
his mother who still lives across the river and last year was<br />
deservedly featured in local radio, TV and press interviews. A<br />
life-long friend and associate of Paul and Louis Barbarin,<br />
Danny Barker, Louis Cottrell, and other News Orleans<br />
musicians, he enjoyed talking about the old days and the long,<br />
long jazz road which had taken him to many parts of the<br />
world. He sat in on several occasions with the Dixieland Hall<br />
groups and was visibly affected by the ovation he received<br />
from audiences and fellow musicians including Ronnie Cole<br />
one of his biggest fans. I spent some happy hours with him and<br />
cherish one of his records he autographed to me. He told me<br />
an anecdote of which the tagline is "You can't play Blue Skies<br />
all day long." May the skies ever be blue for him.<br />
<strong>The</strong> foregoing reminds me that the Bourbon St. Landmark<br />
idea is shaping up into an actuality. Ronnie Cole and the<br />
Moran brothers will install a plaque to "Fats" Pichon at the<br />
replacement was another Negro trumpeter, Otis Johnson.<br />
Marsala was the first in his field after Benny Goodman to<br />
buck U.S. society.) But <strong>Red</strong> came back and sat in whenever he<br />
could, “creating noises,” I’observed, “the quantity of whose<br />
volume is equated and surpassed by the quality and perfection<br />
of his style.”<br />
When a man of <strong>Red</strong> <strong>Allen</strong>’s stature is lost to jazz, one, is<br />
tempted to plunge into scholarly analyses of his style and<br />
influence, This will no doubt be the course followed by many<br />
of us who knew the size of his contribution. But for the<br />
moment, all I can recall is that sad smile – Balliett called his<br />
face “a study in basset melancholy” – and that friendly arm<br />
around my back, and the nights of glory at 1 Sheridan Square<br />
and all the other clubs whose gloom he assuaged. It was a joy<br />
to hear him as an artist but, more than that, an honor to know<br />
hint as a friend .<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Absinthe House and Al Clark will do the same in memory of<br />
Lester Santiago, Kid Howard, and Joe Robichaux at Dixieland<br />
Hall. George Finola and Don Marquis have also suggested<br />
<strong>Red</strong> <strong>Allen</strong> be saluted at Dixieland and I see no reason<br />
against the idea. It is true that <strong>Red</strong> only played for kicks a<br />
couple or three concerts there but that was the last time<br />
his horn was beard on Bourbon and we think he rates the<br />
tribute. I am checking on the cost of plaques and we will<br />
work out a uniform design and wording. Anyone wishing to<br />
contribute can get In touch with me via die Courier<br />
----------------------------------------------------------------------------------------<br />
RANDOM THOUGHTS - A conversation between Pearlie May <strong>Allen</strong>, Marge Singleton, Peter Carr and Al Volmer.<br />
19 November 1979<br />
Bourbon Street, he couldn't get out of birthday is in July! <strong>Red</strong> made the<br />
Pearl (known as Pretty) came to New one place before the next place wanted Metropole. It was run by a man named<br />
York in 1929. <strong>Red</strong> was with Luis Russell him - I just, had to sit there on my own. Ben Harriman. One time they were<br />
then, he'd been with Kingl Oliver before And if a parade happened to pass by remodelling the place to make the<br />
that. <strong>The</strong> first time he came up to New where we were, he would always rush bandstand smaller and Harriman was<br />
York, King Oliver had sent for him. He out and join in.<br />
heard to say 'I don't give a damn about<br />
went back home to New Orleans and then He loved his father very much, they the musicians.'"<br />
he came back. <strong>The</strong> reason he came back were very close. Before we were mar- Pearl: "People used to go to the<br />
was because Luis Russell, as there were ried, he used to keep just enough money Metropole to hear <strong>Red</strong>, not to go to the<br />
quite a few New Orleans musicians in to live on, and gave the rest to his family. Metropole."<br />
the Russell band. Fletcher Henderson When <strong>Red</strong> died, he didn't want to be Al Volmer: "Turk Murphy and <strong>Red</strong><br />
wanted him too, but he preferred to go taken back to New Orleans and he <strong>Allen</strong> were both at the Metropole. play-<br />
where the New Orleans musicians were. didn't want any music plaved at his ing alternate sets. <strong>Red</strong> joined Turk in the<br />
Russell had gone to New Orleans as a funeral – he was too full of his father's last set; I remember him playing the<br />
young boy. and he began to speak the funeral.".<br />
traditional chorus in 'Chimes Blues' quite<br />
language.<br />
Alvin Alcorn is Pearl's cousin. beautifully with Turk's band." (see p88)<br />
When she was in New Orleans, Pearl "When we had Henry Jr. used to push Pearl: "<strong>Red</strong> was an only child. He used<br />
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<br />
and a friend of hers ran the Pelican and baby. Henry Jr. was in the police force, alongside his father.. He enjoyed<br />
she sold tickets there at night. That's but now he's retired.<br />
travelling very much.<br />
where I met <strong>Red</strong>. He came into New FAMILY TREE: Father - Henry <strong>Red</strong>, <strong>Red</strong> idolised and admired Louis Arm-<br />
Orleans off the S.S. Capitol - my cousin, Wife – Pearl, Son - Henry Junior; strong. He'd often put on Louis' records at<br />
Earl Pearson (sax) was in the band too. Grandchildren – Alcornette & Junetta; home and play behind them. We were<br />
Marvin Kimball, the guitar player. Great grandchild – Nikita<br />
married in 1930. He loved eating red<br />
introduced us. I didn't travel about too Marge Singleton: "<strong>Red</strong> was such a beans, rice and fried shrimp."<br />
much with <strong>Red</strong>, so I can't tell you much showman, he used to put everything into Marge: "<strong>Red</strong> always greeted anyone he<br />
about his travels. We went to New everything he did. Whenever I walked knew, not only me, by saying Happy<br />
Orleans often in vacation - <strong>Red</strong> loved to into the Metropole, he used to play and Birthday. He used to remember<br />
play so much that he'd always sit in sing 'Happy Birthday to Marge'. I remember everyone's name. He lovely man."<br />
somewhere. When we went down in him doing this in December, and my<br />
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- 177 -<br />
A-B-BASICS No.7 HENRY ALLEN JNR. by Barry McRae in <strong>Jazz</strong> Journal 7-67<br />
Trumpet playing in the 'twenties was<br />
dominated by the gigantic talent of Louis<br />
Armstrong. From the musical climate<br />
that this created, maybe in fact because<br />
of it, there emerged another outstanding<br />
horn man – <strong>Red</strong> <strong>Allen</strong>. That he belonged<br />
to the same lineage is beyond question,<br />
but he fashioned a highly personal style<br />
that in turn had its own followers. He<br />
was born in Algiers, Louisiana in 1908<br />
and, since his father was leader of a<br />
famous brass band, was quickly attracted<br />
to the world of music. He played around<br />
New Orleans with leaders such as<br />
George Lewis and John Handy and after<br />
a spell on the riverboats joined King<br />
Oliver in Chicago 1927.<br />
Two years later he took a vital step and<br />
joined former Oliver alumnus and pianist<br />
Luis Russell in New York. <strong>The</strong> records<br />
made by his group were highly exciting<br />
and even in the august company of<br />
trombonist J.C.Higginbotham and altoist<br />
Charlie Holmes, <strong>Allen</strong> was out-standing.<br />
He shone at any tempo and could be<br />
blisteringly hot on a rocking stomp such<br />
as Swing Out (1929) or strongly<br />
introspective on slows such as Biffly<br />
Blues (1929). Both approaches were<br />
goverened by his timing and his work at<br />
this period displayed a flair for<br />
unexpected note displacement.<br />
This , in fact, is what distinguished<br />
<strong>Allen</strong> from his contemporaries. Like<br />
Armstrong, his ability to set his timing at<br />
odds with the basic pulse stamped him as<br />
a modern player. Even the most<br />
outstanding of the swing era trumpeters<br />
that followed failed to equal this aspect<br />
of his style. Men like Charlie Shavers,<br />
Harry James, Buck Clayton and Roy<br />
Eldridge were far more predictable<br />
rhythmically than the audacious <strong>Allen</strong><br />
and not until the emergence of Harry<br />
Edison did another trumpeter display the<br />
same grasp of linearity.<br />
In 1933 <strong>Allen</strong> joined Fletcher Henderson<br />
and proved to be the most effective<br />
trumpeter for the band since Tommy<br />
Ladnier. <strong>The</strong> bouncing riffs of the band<br />
provided an ideal setting for him<br />
although he remained for only one year.<br />
His next two years were spent with the<br />
Blue Rhythm Band. He then joined Louis<br />
Armstrong who was in the pro-cess of<br />
taking over the Russell band.<br />
After leaving Armstrong in 1940, <strong>Allen</strong> led<br />
his own groups for many years and until<br />
1954 had what amounted to resi-dency at<br />
the Metropole Club in New York. This<br />
was a crushing job for such an inventive<br />
improviser and years of playing for the<br />
club's somewhat indif-ferent patrons<br />
wore down his creative edge. Fortunately,<br />
this was not a permanent state and<br />
during his 1959 tour of Europe with Kid<br />
Ory, he surprised many with the quality of<br />
his work. More recent recordings, however,<br />
have not always upheld this level and his<br />
once unpredictable, rhythmic attack<br />
began to exhibit a certain stiffness.<br />
Although no longer the innovator he<br />
had once been, this cannot detract from<br />
his stature as one of the leading trumpeters<br />
in jazz history. Even his latter day<br />
playing retained his wonderfully brassy<br />
sound and, despite the occasional tendency<br />
to sharpness in his intonation, he<br />
had an ideal tone. It was a superbly full<br />
one and his fierce, staccato attack and<br />
very fast vibrato gave his style great<br />
clarity. Like his long time associate<br />
Higginbotham, <strong>Allen</strong>'s solos opened with<br />
explosive urgency yet rarely lost impetus<br />
as they progressed. <strong>The</strong>re was also a<br />
softer side to his musical personality and<br />
features such as Patrol Wagon Blues<br />
(1930) or You Might Get Better (1930)<br />
were essentially lyrical.<br />
<strong>Allen</strong> died in April this year, shortly<br />
after his last visit to this country (UK).<br />
Readers who saw how well this sick man<br />
could still play will not forget him. To the<br />
young modernist unaware of the early<br />
evolution of jazz, his phrasing might seem<br />
slightly common place. In the early<br />
'thirties it was revolutionary and at that<br />
time <strong>Red</strong> <strong>Allen</strong> had only one peer – the<br />
incomparable Louis Armstrong.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
Patrick Scott in Toronto Daily Star, Sat.4/22/67p30: TWO MORE DOWN: HOW MANY LEFT ?<br />
<strong>The</strong>y are dropping like flies.<br />
Last week Buster Bailey, this week <strong>Red</strong><br />
<strong>Allen</strong>. And already this year, Edmond<br />
Hall, Muggsy Spanier, Herman Chittison,<br />
Willie Smith, Pete Johnson. …<br />
Only the other night we were sitting<br />
around the Colonial, lamenting the death<br />
of Buster Bailey when one of <strong>The</strong> Saints<br />
and Sinners, with whom Bailey had<br />
played there so often, remarked that<br />
<strong>Allen</strong> was more gravely ill than anyone<br />
realized. That- was at 7 p.m. Monday,<br />
which was the time <strong>Red</strong> <strong>Allen</strong> died at<br />
home in New York, at 59, of cancer.<br />
Henry (<strong>Red</strong>)<strong>Allen</strong> was, for my money,<br />
the second, best trumpeter that jazz has<br />
produced, and one of its handful of best<br />
singers. At his peak, from the late `20s to<br />
the late `30s, he came closer, much closer,<br />
than any other trumpeter ever has to Louis<br />
Armstrong; and in his own way he was<br />
almost as influential as Armstrong, having<br />
spawned, with his jagged phrasing and<br />
eccentric harmonies, the whole Eldridge-<br />
Gillespie lineage, for better or worse.<br />
When he was still in his early 20s, with<br />
the Luis Russell orchestra and his own<br />
New York recording band, he already<br />
had achieved such complete technical<br />
mastery of his instrument that he was<br />
able to duplicate (but with his own<br />
peculiar offbeat stamp) all but the most<br />
dazzling of Armstrong's pyrotechnical<br />
feats. And throughout the early and<br />
middle 30s his horn ignited the brass<br />
sections of so many big bands that many<br />
of today's reissue recordings devoted to<br />
other names - Fletcher Henderson, Mills<br />
Blue Rhythm, King Oliver - in reality are<br />
showcases for <strong>Red</strong> <strong>Allen</strong>'s trumpet.<br />
But it was with his own small recording<br />
groups of the middle and late 1930s that<br />
he really left his mark - on indelible performances<br />
(<strong>The</strong>re's a House in Harlem<br />
for Sale, Rosetta, Body and Soul, Dinah<br />
Lou, Lost, Every Minute of the Hour)<br />
that constitute, with the Wilson-Holiday<br />
classics and the Lionel Hampton Victors,<br />
one of the monumental series in recorded<br />
small-band jazz. (And it is one of the<br />
small ironies of jazz that throughout<br />
much of the period he was making these<br />
recordings he was buried in the trumpet<br />
section of Louis Armstrong's big band.)<br />
Some of us will remember him most<br />
for these dusty old recordings (especially<br />
those of us who are lucky enough to have<br />
some of them on tape), but to many he<br />
will be merely the man in the Metropole<br />
mirth mask. For it was <strong>Red</strong> <strong>Allen</strong>'s<br />
misfortune (and ours) that he went off<br />
the tracks as a performer at a<br />
comparatively early age.<br />
His finest work was distinguished by<br />
the spinechilling blend of searing heat<br />
and delicate poignancy that all the great<br />
trumpeters have, and that only the great<br />
trumpeters have (Armstrong, of course,<br />
had it, and Cootie Williams had it, and<br />
Buck Clayton has it). But somewhere<br />
along the line, around the time he took<br />
over the house band at the Metropole Bar<br />
in New York, <strong>Red</strong> <strong>Allen</strong>'s beauty gave<br />
way largely to bombast, his electricity to<br />
raucousness, and for the next 25 years,<br />
his last 25 years, he became (like Dicky<br />
Wells and J. C. Higginbotham) one of<br />
the most frustrating performers in jazz.<br />
But the difference in <strong>Red</strong> <strong>Allen</strong>'s case<br />
was that almost to the end he invariably<br />
offered, if only a couple of times a night,<br />
a few fleeting, haunting, agonizing<br />
echoes of at least some of the things that<br />
once made him great.<br />
And nobody tried harder, right to the<br />
end, with all the tone and technique and<br />
lip and heart and everything else that was<br />
needed. But it nearly all came out wrong.<br />
He knew the score<br />
(<strong>Allen</strong>, being a proud man, was sensitive<br />
about this. I know, because I once wrote<br />
a more-in-sorrow-than-anger lament to<br />
his lost powers, and he pinned my ears<br />
back the next night with a performance<br />
so brilliant it brought the tears to my eyes.<br />
But the night after that he was worse<br />
than ever - and trying just as hard.<br />
(remark: see his note on p96)).<br />
Ironically, as <strong>Allen</strong>'s playing grew increasingly<br />
erratic he was "rediscovered" by<br />
certain influential critics (notably the New<br />
Yorker's Whitney Balliett) who should<br />
have known better; and soon the British,<br />
who almost always appreciate the right<br />
musicians for all the wrong reasons and<br />
at least 20 years too late, clutched him to<br />
their bosoms (he had just returned from a<br />
tour of Britain when his fatal illness struck<br />
him); and he made a couple of records,<br />
both of them very bad and very sad.<br />
.But at least he was eating regularly, so<br />
maybe these well-intentioned people had<br />
the right idea, at that.<br />
<strong>The</strong> thing Buster Bailey's death underlines<br />
most boldly is the staggering durability<br />
of Armstrong himself. Since he<br />
formed his Allstars in 1947 their mortality<br />
rate has been fearful: Teagarden, Sid<br />
Catlett, Velma Middleton, Billy Kyle, Ed<br />
Hall and now Bailey.
But Louis Armstrong himself, as we all<br />
know, goes on forever. Except that he<br />
:won't, as recent events should tell us.<br />
Well, I hope you caught Buck Clayton<br />
on that BBC-telecast from London the<br />
- 178 -<br />
other night (the best televised<br />
presentation of jazz I have seen), and I<br />
hope you catch Herman Autrey and the<br />
rest of <strong>The</strong> Saints and Sinners at the<br />
Colonial this trip, because there aren't<br />
many of them left.<br />
And because-whether you realize it or<br />
not, or whether you want to believe it or<br />
not - these aren't just jazzmen dying, they<br />
are the death throes of jazz.<br />
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
RED ALLEN DEAD; <strong>Jazz</strong> Trumpeter .New Orleans Musician, 60, Played with Armstrong ; NYT-4/19/67<br />
Henry (<strong>Red</strong>) <strong>Allen</strong>, who for many years New Orleans by King Oliver, but he Seventh Avenue and 49th Street and<br />
was one of the country's leading Dixieland stayed only about two months before stayed there for seven years. Other places<br />
<strong>Jazz</strong> trumpet players, died Monday night going back to join Fate Marable's band he played included Eddie Con-don's, the<br />
at Sydenham Hospital. He was 60 years that worked the Mississippi riverboats Hickory House, the Embers and the<br />
old and lived at 1351 Prospect Avenue, and played engagements in St.Louis. Newport jazz festivals.<br />
the Bronx.<br />
Mr. <strong>Allen</strong> was summoned back to New “Playing, it's like somebody making<br />
Mr. <strong>Allen</strong> was a native of the New York in 1929 by Luis Russell and played your lip speak, making it say things he<br />
Orleans community of Algiers. He once with Mr. Russell's band at the Roseland thinks,” Mr. <strong>Allen</strong> told Mr. Balliett in<br />
described his birthplace as being to New Ballroom. He stayed with the band, until trying to explain how he worked. “I<br />
Orleans what the Bronx is to New York. 1933, when he joined Fletcher Henderson. concentrate a couple of bars ahead at all<br />
His father, Henry <strong>Allen</strong> Sr., who died in Four years later he was playing the times. You have to have an idea of where<br />
1952, had led a brass band that included trumpet with Louis Armstrong's big you are going. You have more<br />
Joe (King) Oliver, Louis Armstrong and band, which he described as 'like coming expression of feeling in the blues. And<br />
Sidney Bechet.<br />
home again, because it was still the old you have more time.”<br />
<strong>The</strong> father played the trumpet and Russell band but expanded.”<br />
Mr. <strong>Allen</strong> - his nickname, <strong>Red</strong>, was<br />
wanted his son to do so too, although the Mr. <strong>Allen</strong> formed his own band in 1940 given him, he explained, because he was a<br />
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<br />
time young Henry was 8 years old, he Village cellar nightclub, Café Society when he blew his trumpet - had said in<br />
was practicing on his father's horn. Downtown, which was the headquarters effect that he would not retire until he<br />
Last year, Mr. <strong>Allen</strong> told a interviewer for such famous musicians as Pete John- died.<br />
that his father would carry him in the son, Billie Holiday, Art Tatum, and “When I pass is when I retire,” he said.<br />
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.”<br />
put me down on a corner and I'd play and Played all Over<br />
Mr. <strong>Allen</strong> leaves his wife, the former<br />
a little crowd would gather and he'd tell From Café Society Downtown, Mr. Pearlie May Alcorn; a son, Henry <strong>Allen</strong><br />
everybody 'Sonny's got it, sonny's got it'.” <strong>Allen</strong> moved to the Ken Club in Boston 3d, a patrolman attached to the 32d<br />
Obviously, sonny really did have it, and and then the Down Beat Room in Chi- Precinct in Harlem; his mother, Mrs.<br />
by the time he was in his early teens he cago. Later he worked in San Francisco Juretta <strong>Allen</strong> of New Orleans and two<br />
was playing trumpet in brass bands and and Salt Lake City and then back to New granddaughters.<br />
cabarets.<br />
York again to the Onyx, Kelly's Stable A funeral mass will be offered on Friday at<br />
In 1927 , Mr. <strong>Allen</strong> made his first trip and Jimmy Ryan's on 52d Street. 10 A.M. at St. Anthony's Roman<br />
to New York, having been called from In 1954 he started at the Metropole Café on Catholic Church, 166th Street.<br />
----------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
JAZZ TRUMPET PLAYER IS DEAD - Henry <strong>Allen</strong> Jr. Famed as Music Stylist ; <strong>The</strong> Times-Picayune New Orleans,<br />
4/19/67: Henry <strong>Allen</strong> Jr., 59, famed, jazz stylist who was a band and subsequently played here with George Lewis in 1923,<br />
natives of Algiers, died in New York City Monday night after John Handy in '25, and on riverboats with Fate Marable in '26.<br />
a long illness.<br />
<strong>Allen</strong> also worked with Fats Pichon, then joined King Oliver<br />
<strong>The</strong> Negro trumpeter and, singer gained recognition while in Chicago in 1927. He went New York in,1929 and joined the<br />
performing with such other jazz greats as Louis Armstrong, band led by Luis Russell.<br />
John Handy, Kid Ory and Luis Russell.<br />
During the 1930s, he also worked with Fletcher Henderson<br />
<strong>Allen</strong> resided In New York with his family for many years. and Louis Armstrong. He, <strong>Allen</strong> formed his own group in New<br />
Since 1954 he was employed at the city's Metropole night club. York, and the band remained together until the early '50s.<br />
In 1959, he toured Europe with Kid Ory and later was Funeral arrangements are incomplete, but a spokesman at the<br />
featured on television programs about, jazz and in numerous New Orleans <strong>Jazz</strong> Museum said Tuesday that services probably<br />
jazz books and anthologies. Born in Algiers in 1908, <strong>Allen</strong> will take place in New York.<br />
became musically inclined at an early age. His father was the Survivors include his widow, Pearlie May; a son, who is on<br />
leader of a brass band that played in and around New Orleans the New York police forces; two granddaughters; and his<br />
for more than 40 years. As a child, he marched with his father's mother, Mrs. Juretta <strong>Allen</strong> who resides in Algiers.<br />
------------------------------------------------------------------------------------------------------------------------------------------------------------<br />
RED ALLEN, FAMED JAZZ MUSICIAN, DIES State Item,N.O., 4/19/67<br />
<strong>Red</strong> <strong>Allen</strong>, the famous jazz stylist who with his father's band, whose sidemen and at the Newport <strong>Jazz</strong> Festival. he<br />
began his career playing the trumpet on included Armstrong, King Oliver and toured Europe with Kid Ory in 1959 and<br />
New Orleans street corners, will not be Sidney Bechet.<br />
later was featured on jazz programs and<br />
home again. <strong>The</strong> 59-year-old jazz great, In an interview before he died <strong>Allen</strong> in jazz books and anthologies.<br />
christened Henry <strong>Allen</strong> Jr., died Monday recalled his father carrying him in <strong>Red</strong> came home for the last time last<br />
night at New York's Sydenham hospital parades then “putting me down on a summer and thrilled local jazz enthu-<br />
after a long illness.<br />
corner and I'd play and a little crowd siasts and young comers with an old<br />
<strong>Allen</strong>'s death is the second in two weeks would gather and he'd tell everybody, time jam session.<br />
among musicians who played with Louis 'Sonny's got it, Sonny's got it.”<br />
“Playing,” he once said. “It's like<br />
Armstrong. Clarinetist Buster Bailey HE SUBSEQUENTLY played here with somebody making your lip speak,<br />
died at his Brooklyn home last week George Lewis in 1923, John Handy in making it say things he thinks. I<br />
BORN IN ALGIERS in 1908, <strong>Allen</strong> '25 and on the riverboats with Fate concentrate a couple of bars ahead at all<br />
became musically inclined at an early Marable in 1928. <strong>Allen</strong> also worked with times. You have to have an idea of<br />
age. His father was the leader of a brass Fats Pichon, then joined King Oliver in where you are going.”<br />
band that played in and around New Chicago in 1927. He went to New York He is survived by his wife, Pearlie May<br />
Orleans for more than 40 years. in 1929 and joined the band led by Luis <strong>Allen</strong>; a son, who is on the New York<br />
Re <strong>Allen</strong>'s mother wanted him to play Russell. During the '30s, he worked with police force; two granddaughters, and his<br />
the violin, but his father preferred the Fletcher Henderson and Armstrong. mother, Mrs. Juretta <strong>Allen</strong>, who lives in<br />
trumpet, and it became <strong>Red</strong>'s horn. By He formed his own group in New York, Algiers.<br />
the time he was eight, crowds were which remained together until the early '50s. Funeral arrangements are incomplete,<br />
gathering on the city's street corners to ALLEN HAD BEEN a regular at the but services are expected to take place in<br />
hear his music. As a child, he marched Metropole Café in New York since 1954 New York.<br />
-------------------------------------------------------------------------------------------------------------------------------------
5/26/73 J.C. Higginbotham died ; OBITUARIES -<br />
J. C. Higginbotham by A.B. in Footnote Aug.73 Vol.4 No.6:<br />
<strong>The</strong> recent death of "Higgy" at the age of 67 deprived us<br />
of one of the true originals of jazz trombone.<br />
Coming from a musical family, "Higgy" was active in his<br />
"teens although until around 1924 he needed to supplement<br />
his musical activity with more mundane work as a mechanic<br />
at the General Motors Factory in Cincinnati, having<br />
moved there from his native Atlanta.<br />
It was in 1928 whilst in New York City that JC was hired<br />
by Luis Russell and it was the spell with that wonderful<br />
band (featured in a recent FOOTNOTE article) that made<br />
his name and during which his exciting blues based and<br />
individual style developed to maturity. Spells with Fletcher<br />
Henderson and Benny Carter preceded three years touring<br />
with the Louis Armstrong backing band. A reunion with<br />
his Russell bandmate <strong>Red</strong> <strong>Allen</strong> took place in 1940 and<br />
after a variety of jobs he was at the Metropole in New<br />
York in the late 1950s before touring Europe with Sammy<br />
Price.<br />
Despite bouts of illness he continued to work with<br />
regularity into the 60s and recorded with Tiny Grimes and<br />
later in his home town under his own name. Whilst it<br />
could not be claimed that his "comeback" recordings were<br />
a success, at least some of the old hallmarks were there.<br />
An important figure in jazz, JC Higginbotham was an<br />
influence on later stylists and contributed to the<br />
development of the trombone as a solo instrument in jazz.<br />
------------------------------------------------------------------------<br />
HIGGINBOTHAM BLUES – by Bernard Houghton<br />
in <strong>Jazz</strong> Journal Vol.21 No.1-Jan.68p4:<br />
Maturity came late to the jazz trombone: both trumpet<br />
and clarinet, the other front-line instruments, were played<br />
with a measure of technical proficiency by the New<br />
Orleans jazz men. <strong>The</strong> trumpet had a lineage of 'kings',<br />
each with a more sophisticated technique than his<br />
predecessor; the clarinet had a classical background and<br />
most of the New Orleans clarinets received formal training<br />
from a 'professor' – the trombone had to wait for Jimmy<br />
Harrison. In the space of seven years between 1922, when<br />
he first heard Louis Armstrong, and 1929 when he<br />
recorded his last solo Fletcher Henderson, Harrison took<br />
the trombone out of the ensemble, extended its range, and<br />
established it as a flexible solo voice. One of the first<br />
trombonists to learn from Harrison was J.C.Higginbotham.<br />
(Jack Teagarden independently arrived at an articulate<br />
trombone style which had much in common with Jimmy<br />
Harrison's conception). No other jazz trombonist contributed<br />
more to the development of the instrument than J.C. – today<br />
he is in eclipse and his key position in the evolution of the<br />
jazz trombone is barely recognized.<br />
J.C. was born in Atlanta, Georgia on 11th May1906; he<br />
attended school in Cincinnati, Ohio and later graduated to<br />
the Morris Brown University. He was raised in a musical<br />
atmosphere, most of the Higginbotham family played instruments<br />
and his sister played trombone. Although originally<br />
apprenticed to a tailor, by his eighteenth birthday he had<br />
become a professional musician and was playing with the<br />
local Wes Helvey band. J.C. left Cincinnati in 1926 for<br />
Buffalo where he played with Eugene Price and Jimmy<br />
Harris. While on a visit to New York City he sat in with<br />
Chick Webb at the Savoy Ballroom; Luis Russell who was<br />
listening on that night was immediately impressed by the<br />
young trombonist and hired him on the spot. J.C. replaced<br />
Harry White in the Russell band and moved into the Savoy<br />
with Luis in September 1928.<br />
<strong>The</strong> Luis Russell band played primarily for dancing:<br />
drummer Paul Barbarin and bassist 'Pops' Foster generated a<br />
rhythmic drive unequalled by any other group of its day.<br />
What this band lacked in subtlety of arrangement it gained<br />
from its wealth of solo talent; together with <strong>Red</strong> <strong>Allen</strong>, Charlie<br />
Holmes, and Albert Nicholas, J.C. was heavily featured<br />
- 179 -<br />
throughout his three year stay. His long standing association<br />
with <strong>Red</strong> <strong>Allen</strong> commenced in 1929 when <strong>Red</strong> joined Luis<br />
Russell replacing Louis Metcalfe – the two musicians became<br />
practically inseperable during the following fifteen years.<br />
J.C. left Luis Russell in 1931, being replaced by Dickie<br />
Wells. After spending a few months with Chick Webb he<br />
joined the Fletcher Henderson band for a period of two years,<br />
and in 1934 he was with the Blue Rhythm Band alongside <strong>Red</strong><br />
<strong>Allen</strong>, Wardell Jones, Shelton Hemphill (tpt); George<br />
Washington (tbn) Buster Bailey (cl); Crawford Wetherington<br />
(alt); Joe Garland (ten); Edgar Hayes (p); Laurence Lucie (gtr);<br />
Elmer James (bs) and O'Neil Spencer (dm). He had now<br />
established a national reputation and was a much sought-after<br />
sideman. George Washington recalls: 'Every time I'd leave<br />
one group for another I would get to thinkin', 'oh boy, here's<br />
my chance to have something to say', and then boom, there<br />
would be Higginbotham. He was the public's boy and he also<br />
played a mess of trombone' (<strong>Jazz</strong> Journal, Nov.1960). In 1935<br />
Louis Armstrong took over the Luis Russell band, retaining<br />
Russell as musical director – for the next eight years the band<br />
was the background for Louis' massive talents. At Louis' request<br />
J.C. joined him in the Summer of 1937 and became reunited<br />
with <strong>Red</strong> <strong>Allen</strong>. Louis was an ardent admirer of the<br />
Higginbotham horn and gave him liberal solo space on most of<br />
his recordings. J.C. and <strong>Red</strong> left Armstrong at the beginning<br />
of 1940 to take a sextet completed by Ed Hall (clt); Ken<br />
Kersey (p); Billy Taylor (bs) and Jimmy Hoskins (dm) into the<br />
Café Society, New York. Lena Horne was also briefly featured<br />
with the group. <strong>The</strong> following year the same sextet played a<br />
twelve-month engagement in Boston; in February 1942 J.C.<br />
travelled west to Chicago with a group under <strong>Red</strong>'s leadership
to begin a lengthy stay at the Garrick Stage Bar. <strong>The</strong> line-up<br />
was Don Stovall (alt); Alvin Burroughs (dm); Bennie Moten<br />
(bs) and Al Williams (p). Ben Webster, who had recently left<br />
Duke Ellington, was later featured as an added attraction.<br />
For the next few years J.C. remained with <strong>Red</strong> playing club<br />
dates, among them appearances at the Onyx Club and the<br />
Apollo <strong>The</strong>atre in New York, and in 1946 the two musicians<br />
were resident at Kelly's Stables for six months with a group<br />
including Hal Singer on tenor.<br />
<strong>The</strong> advent of bop condemmed J.C. and many other midperiod<br />
jazzmen to a decade of obscurity. In 1955 he was<br />
reported to be leading a small band in the Cleveland area<br />
and in May of the same year was playing club dates in<br />
Boston.<br />
<strong>The</strong> following July J.C. appeared with a group including<br />
buck Clayton and Hayward Henry at the Central Plaza,<br />
N.Y. Jack Crystal, who directed this concert, proved to be a<br />
staunch ally of the musicians of the 'thirties, presenting a<br />
series of concerts at the Central Plaza each Friday and<br />
Saturday which helped to bring these men into public view<br />
again. Jack Crystal was also responsible for the Lips Page<br />
Memorial concert which raised $3,300 for the Page family,<br />
and the Miff Mole Benefit in 1961; such altruism is rare<br />
among promoters of jazz concerts. Late in 1956 J.C. joined<br />
the <strong>Red</strong> <strong>Allen</strong> All-Stars at the Metropole, NY. <strong>The</strong> All-stars<br />
were purveying a brand of Dixieland-cum-main-stream<br />
music which became particularly identified with that<br />
establishment. <strong>The</strong> musicians were perched on a narrow<br />
bandstand immediately above the bar and music was<br />
continuous from 3 pm to 3 am, although no band was on the<br />
stand for longer than 45 minutes. In such circumstances the<br />
quality of the music necessarily fluctuated, nevertheless it<br />
was one of the few night-spots providing employment for<br />
musicians such as J.C. After an absence of ten years from the<br />
recording studios he made a date with Buck Clayton in<br />
March 1956, two sessions for the <strong>Jazz</strong>tone label the following<br />
year, ('<strong>The</strong> Big Challenge' with Cootie and Rex Stewart,<br />
and the 'Big Reunion' of Fletcher Henderson alumni), and a<br />
session with Tiny Grimes and Eddie Davis in August-58.<br />
He appeared at the Newport <strong>Jazz</strong> Festivals of 1957 and '59<br />
each time with the <strong>Red</strong> <strong>Allen</strong> All-Stars. At the 1959 Festival<br />
the All-Stars appeared last on the programme, after the<br />
Kingston Trio, a pseudo-folk group, had received a<br />
tumultuous ovation. In an atmosphere of anticlimax most<br />
of the audiences made their way out of the Festival<br />
ground leaving the All-Stars to play to a handful of<br />
devotees.<br />
In October 1958 J.C. visited Europe with Sammy Price<br />
and a group consisting of Doc Cheatham (tpt); Elmer<br />
Crumbley (tbn), Eddie Barefield (alt,clt); Jimmy Lewis (bs)<br />
and J.C.Heard (dm). After a promising start the tour was<br />
cancelled: Eddie Barefield notes that two factors<br />
contributing to the cancellation were the death of Pope Pius<br />
XII and the riots which had taken place at the Bill Haley<br />
concerts that year. (<strong>Jazz</strong> Journal, May 1959).<br />
On his return from Europe J.C. rejoined <strong>Red</strong> <strong>Allen</strong> at the<br />
Metropole leaving in the summer of 1959 to work with a<br />
group led by trumpeter Wingie Carpenter, a former<br />
colleague of his Wes Helvey days in Cincinnati. In contrast<br />
to the rather hap-hazzard proceedings at the Metropole,<br />
Wingie's band was a well rehearsed group that featured<br />
excellent arrangements. most of their engagements were<br />
week-end gigs in the New York area, the personnel<br />
completed by Edgar Spider Courance (ten/clt); Dick Bunch<br />
(p); George Phillips (bs) and Eddie Roberts (dm).<br />
* * *<br />
On his earliest recorded work with Luis Russell J.C. played<br />
with an assurance that belied his lack of years. At the age of<br />
twenty two, when most musicians are tentatively feeling their<br />
- 180 -<br />
way he was playing with boundless confidence. On Tight Like<br />
That (Parl.PCM 7025, 1929), he follows the first ensemble<br />
chorus with an intricate, tumbling, two bar break which is<br />
almost casually thrown way. Two months later he took a<br />
memorable gem of a chorus on Louis Armstrong's Mahogany<br />
Hall Stomp (Parl.PMC 7019). Few musicians could have<br />
followed Louis, then at the peak of his powers, without an anticlimax,<br />
but the young Higginbotham did just that. After<br />
repeated listening to this record one still waits for J.C.'s<br />
swaggering solo with eager anticipation. <strong>The</strong> long, loose,<br />
phrases acknowledge his debt to Jimmy Harrison and<br />
underline the new dimensions these two musicians had given<br />
to jazz trombone playing. It is significant that J.C. was featured<br />
on seven of the nine sides he recorded with Louis up to<br />
February 1930; no other sideman was so consistently featured<br />
when Louis was in the studio with a large band at that period.<br />
Two titles recorded with Luis Russell in Sept.29, Feelin' <strong>The</strong><br />
Spirit and Jersey Lightning (both on PCM 7025) find J.C. in<br />
superb form; on these tracks his pugnacious solos are delivered<br />
with a blistering attack. His remarkable technique enabled him<br />
to play with a savage fluency which was completely personal.<br />
At this period he had no use for the niceties of light and shade,<br />
every solo was a ferocious harangue. Humour he had; not the<br />
subtle drollery of Jimmy Harrison, or the urbane irony that<br />
Dickie Wells later brought to the instrument, but a Falstaffian<br />
jocularity unembarred by a belly laugh. <strong>The</strong> quality of his early<br />
recorded work is consistently high and completely free from<br />
cliché or contrivance, the listener's ears are assailed by a<br />
torrent of spontaneous, explosive phrases.<br />
<strong>The</strong> ensuing years saw a gradual metamorphosis in his<br />
playing and the development of a style which had strong<br />
overtones of Lawrence Brown. When he made the session with<br />
Mezz .Mezzrow in June 1937 (French RCA 75.384) the<br />
change was well-underway. He contributes excellent solos on<br />
all four tracks and is the outstanding musician on the date, but<br />
his tone has mellowed and the bubbling, audacious phrasing of<br />
the Russell days has given way to a more quiescent, legato style.<br />
His twelve bars on <strong>The</strong> Swing Session's Called To Order display<br />
much of the old virility, but in his work on That's How I Feel<br />
Today and Hot Club Stomp, there is a new suavity detectable that<br />
would have been unthinkable seven years earlier. Sides he<br />
recorded with Louis in the next two years see the ascendency<br />
of Lawrence Brown's influence. J.C.'s solo on Save It Pretty<br />
Mama (Ace of Hearts AH 7), recorded in 1939, could easily be<br />
mistaken for Brown; the dominating presence has gone, leaving<br />
little hint of the brazen grandeur of a decade earlier. If much of<br />
J.C.'s presence was effaced by this tonal change the essential<br />
quality of his music remained; his choruses on <strong>The</strong> Saints and<br />
Bye And Bye, both recorded with Louis at this period (AH 7),<br />
are still wonderfully inventive pieces of jazz.<br />
His latter-day recorded work has suffered from the long<br />
period of obscurity: on the 1956 session with Buck Clayton<br />
(Phi.BBL 7129) he is anonymous and unimaginative. On<br />
subsequent dates, the Fletcher Henderson's 'Big Reunion'<br />
(<strong>Jazz</strong>time 1285) and the Tiny Grimes session (Esquire 32-092);<br />
he strives to recapture his old assertiveness and the velvet<br />
glove approach is abandoned. But although there is ample<br />
vigour in his execution, most of his solos lack continuity and<br />
consist of a series of trite phrases tenuously hung together.<br />
<strong>The</strong> decline of this once avant-garde musician does not<br />
detract from his overall importance. In his early days he<br />
consolidated the position that Jimmy Harrison had arrived at:<br />
Harrison was no longer active after 1930 when Higginbotham<br />
was recording his most significant work which has influenced<br />
trombone players from Trummy Young to Bill Harris. If we<br />
lament this decline there is consolation in turning to our<br />
collections and listening to one of the most majestic, sounds in<br />
jazz. - J.C. Higginbotham with Luis Russell.<br />
* * *<br />
===========================================================================
- 181 -<br />
INDEX for part-3<br />
not complete for the 2011 Addendas for pdf-datas, you can use your computer-search-programme<br />
regularly indexed were life & recording/bc-/Tv sessions & photos ; regularly not indexed: performers mentioned in reviews<br />
(…): performers who played on the same programm/Lp but without <strong>Allen</strong>/Higginbotham;<br />
f76 : session on film or kinescope, TV, telerecorded or video-tape<br />
p37 : performer to be seen on photostates<br />
a34 : advertised performers and bands<br />
Ackermann, Jack , group (9)<br />
Adams, Pepper, Quintet a50,<br />
Adderley, Nat (t) (57),<br />
Adderley, Canonball, Quintet a30,a88,(93),<br />
Addison, Bernard (g,bj) 35,<br />
Albittini, dave (d) p112,<br />
Alcorn, Alvin (t) 146,150,p150,<br />
Alexander, Mousey(d) 35,36,(43),a50,<br />
Alexis, Ricard (d) 87<br />
<strong>Allen</strong>, Buddy, combo a93<br />
<strong>Allen</strong>, Henry III & PearlieMay p11,169,170,p172,<br />
<strong>Allen</strong>, <strong>Red</strong>, band/portrait-photos p1,p6,p8,p9,p11,p12,p14,<br />
p17,p20,p21,p22,p23,p25,p29,p30,p31,p36,p39,p40,p46,<br />
48,p52,p53,p54,p55,p58,p59,p62,p63,p66,p67,p69,p70,<br />
p71,p77,p79,p80,p81,p83,p85,p86,p87,p94,p96,pf101,p101,<br />
p102,p103,p106,p108,p111,p109,p112,pf120,pf121,121,p<br />
a122,p124,p125,p126,p127,p128,p132,p135,p139,p142,p<br />
147,p149,p151,p153,p156,p157,<br />
R.A.-New Orleans trips: 56,68,87,96,106,155,<br />
<strong>Allen</strong>, <strong>Red</strong> (as-folk-music) a112,<br />
<strong>Allen</strong>, Steve, "Tonight Show" 20,21,<br />
Allison, Mose (p,v) (50),a50,a57,<br />
Alvis, Hayes (b,bb) 35,a109,170,171,<br />
Apollo <strong>The</strong>atre a87,a93<br />
Arbello, Fernando (tb) 35,<br />
Archey, James(tb) (109),146,150,p150,<br />
Armitage, John (d) 119,<br />
Armstrong-Hardin, Lil (p,v) p98,pf101,<br />
Armstrong, Louis (t,v) 12,a12,a30,p53,(68),p86,a88,(93),<br />
(93),(f98),a106,p109,(135),<br />
Atlas, Jim (b) (f38)<br />
Auld, Georgie (ts) 47,a88,<br />
Autrey, Herman (t) 8,(18),(21),92,(98),(109),(138),(144),(145)<br />
Bailey, Buster (cl,as) p1,1,3,5,6,7,p8,9,12,13,18,19,p23,23,<br />
24,p24,29,p29,p30,p31,33,35,36,44,46,47,48,49,50,51,p55,<br />
f58,58,59,60,63,64,p66,p67,a68,(68),86,88,90,92,,96,f98,<br />
pf101,109,138,168,169,<br />
Bailey, Pearl (v) (9)<br />
Baker, Shorty (t) 89,143,<br />
Baldy, …… (organ) p59<br />
Ball, Kenny (cl,ld) (UK) (166),<br />
Ball, Ronnie (p) 143,<br />
Balliett, Whitney(m.c.,writer) 24,27,36,f37,73,93,109,120,<br />
143,152,152,156,p158,<br />
Barbarin, Paul (d) 143,<br />
Barber, Chris (tb,ld) (UK) (166),<br />
Barefield, Eddie (cl,as) 13,p14,19,57,(21),107,(109),(136),<br />
(144),(145),152,156,171,<br />
Barker, Blue Lu (v) 137,<br />
Barker, Danny (g,bj) 1,a19,f37,f38,59,87,93,137,155,f155,172,<br />
Barksdale, Everett (g) 1,24,p25,<br />
Barnes, George (g) 4,<br />
Barnes, Johnny (cl,ts) f146,146,147,(166),<br />
Barnes, Mae (v,d) 57,59,f98,pf101,<br />
Barron, Kenny (b) 142,<br />
Barufaldi, Joe (….) (43),<br />
Basie, Count (p,ld) (f38),pf39,(46),p55,(56),f58,a30,(68),a88,<br />
p101,(108),a153,<br />
Bates, Colin (rhythm) (UK) 119,<br />
Battle, Edgar (d) 172,<br />
Bauer, Billy (g) (9),28,<br />
Bechet, Sidney (cl,ss) ,(30),a30,a68,68,<br />
Benson, George (g) (152),a152,<br />
Berry, Emmett (t) 7,8,35,36,(f38),p55,170,<br />
Bert, Eddie (tb) 4,(8),(9)<br />
Best, Denzil (d) 52,<br />
Bigard, Barney (cl) a88,<br />
Bilk, Acker (cl,ld) (166)<br />
Birdland, NYC. 92,<br />
Bissonnette, Bill (tb) 159,<br />
Blacklock, Buddy (p) 110,<br />
Blair, Lee (g) p87,98,<br />
Blake, Eubie (p) 846),(93),(110),<br />
Blakey, Art (d) (9),p54,p55,<br />
Blank, William (vl ) a137,137,<br />
Bobson, Pompey (d) p59<br />
Bonito, Freddy (d) 1,42,44,64,<br />
Bostic, Earl (as) (45),<br />
Boswell, Connee (v) f47,<br />
Bourne, Eddie"Moule"(d) p1,1,19,20,p22,23,35,36,40,42,(48),.<br />
Braff, Ruby (c) 18,a30,144,152,a152,p153,p154,159,a159,<br />
Bray, Jim (b) 119,pa122,a134,<br />
Brookmeyer, Bob (tb) (9),59,a88,a153,<br />
Brown, Lawrence (tb) 28,p55,<br />
Brown, Marshall, NPT Youth Band (68),a88,145,152,171,<br />
Brown, Scoville p55,<br />
Brown, Sandy (cl) 113,119,pa122,a132,a134,<br />
Brubeck, Dave (p) a50,(68),a88,a153,<br />
Bryant, Beulah (v) 47,93,(110),<br />
Bryant, Ray (p) 48,60,a88,144,(145),<br />
Buchanan, Charles (m.c. at Savoy) f58,<br />
Buck & Bubbles - see Sublett, John & Washington, Buck<br />
Buckley, Lord (narr)<br />
Burke, Raymond (tb,cl) 155,<br />
Burke, Vinnie (b) 47,48,59,60,,<br />
Burrell, Kenny (g) 36,a5o,68,(152),a152,p154,<br />
Bushell, Garvin (cl) 8,35,36,a50,(109),<br />
Bushkin, Joe (p) a98,98,a136,136,<br />
Butterbeans & Susie (v)<br />
Butterfield, Billy (t) 18,a136,(136),<br />
Buxton, Jimmy (tb) 86,87,p87,88,98,<br />
Byrd, Charlie (g) (152),a152,<br />
Caceres, Ernie (ts) 4,<br />
Calloway, Cab (v,ld) (46),f58,<br />
Candoli, Conte (t,review) 15,<br />
Carnegie Hall Concerts 9,43,a43,57,a57,a68,a136,136<br />
Carney, Harry (bars,s) (f38),a50,(143),(144),<br />
Carpenter, <strong>The</strong>lma (v) a93,<br />
Carpenter, Wingie (t) 110,<br />
Carter, Benny (cl,as,t,a)<br />
Casey, Al (g) 36,52,<br />
Catlett, Sid (d) 103,<br />
Central Plaza, N.Y.C. 3,8,18,19,a19,21,92,a92,98,107,109,<br />
Charles, Ray (p,v) a88,<br />
Charles, Teddy (vib) 9,56,,<br />
Cheatham, Doc (t,reviewer) 21,57,(f38),136,137,(144),(145),<br />
Chernet, Al (tb) f98,<br />
"Chicago & All That <strong>Jazz</strong>" f98,pf101,<br />
Christiansen, Ole (b) 103,<br />
Clark, Bill (d) a57,<br />
Clarke, Kenny (d) (9),<br />
Clayton, Buck (t) 18,a19,(48),p55,(56),(56),a56,(68),a88,<br />
(89),(92),101,(108),(109),135,<br />
Clyne, Jeff (b) (UK) 146,148,<br />
Coates, don (p) 156,<br />
Coe, Tony (ts) 146,148,<br />
Cohn, Al (ts) (9)<br />
Cole, Cozy (d) 1,4,5,6,7,8,9,12,19,p22,p23,24,p25,33,35,p40,<br />
40,a43,43,45,46,49,a57,(58),(64),86,(89),(92),93,(110),(143),<br />
Cole, Ronnie (d) 1,?106,107,108,<br />
Cole, Rupert (cl,ts) 172 (father of Ronnie)
Coleman, Ornette, 5 a88,170,<br />
Collins, AI "<strong>Jazz</strong>bo"(narr,reviewer) 9,13,13,p14,a56,<br />
Collins, Rudy (d) 142Coltrane, John (sax) a153,<br />
Colyer, Ken (t,review) 70,a129,<br />
Condoli, Conte(reviewer) 15<br />
Condon, Eddie (g,bj) aa56,(56),a57,58,p58,(92),f98,110,<br />
a136,136,f178,<br />
Connors, Chris (v) a30,(50),56,<br />
Connover, Willis (narr) 40,42,142,<br />
Cooper, Jackie (d) 47,48,<br />
Copeland, Ray (t) 36,a57<br />
Corb, Marty (b) 71,<br />
Cox, Terry (d) 119,,pa122,a134,<br />
Crane, Ray(t) 119,p125,p126,146,p147,148,<br />
Crawford, Jimmy (d) 35,36,(109),(136),<br />
Crimmins, Roy (tb) 119,f120,pf120,pf121,p126,<br />
Crosby, Bob (v,ld) a136,(136),<br />
Crumbley, Elmer (tb) 57,<br />
Crump, Bill p55,<br />
Crystall, Jack (m.c.) 8,p58,110,136,<br />
Cuber, Ronnie (ts) (152),<br />
Curtis, King (ts) 56,<br />
Cutshall, Bob "Cutty"(tb) a57,108,(110),a136,(136),(144),<br />
(145),171,<br />
Darville, John (tb) 103,<br />
Dash, Julian (ts) 18,<br />
Davern, Kenny (cl) 44,p87,98,142,(143),(144),<br />
Davis, Art (b) a137,137,<br />
Davis- Eddie "Lockjaw" (ts) 48,a57,<br />
Davis, Miles (t) (45),,a153,<br />
Davis, Sammy Jr. (v) (9),a136,(136),<br />
Davison, Wild Bill (t) (3),a19,(109),a434,(43),(45),<br />
Dennis, Kenny (d) (44),<br />
DeAmico, Hank (cl) (109),<br />
DeParis, Sidney (t,bb) (21),96,<br />
DeParis, Wilbur (tb) (7),(8),(21),52,a68,(68),171,a171,<br />
Dickenson, Vic (tb,v) 1,(21),23,pf36,f37,37,f38,42,43,44,<br />
46,50,51,p55,a68,68,92,103,(109),(144),(145),149,170,<br />
171,a171,<br />
DiGirolamo, Anthony (vln) f47,<br />
Disley, Diz (g) 119,pa122,a134,<br />
"Dixie at Carnegie Hall"=DODY AT DIXIE 43<br />
Dodds, Baby (d) (3),<br />
Doldinger, Klaus Trio (G) (92)<br />
Donaldson, Bobby (d) 18,a50,(143),(144),<br />
Dorham, Kenny (t,writer) (9),141,(152),a152,p154,,<br />
Dorsey, Jimmy (cl,as) 6,<br />
Dorsey, Tommy (tb) 6,<br />
Douglas, Jim (g) 119,f120,f146,146,147,165,166,<br />
Drews, Jimmy, Trio (60),<br />
Drootin, Buzzy (d) (43),<br />
Dudley Dottie, Organ Trio 63,p63,<br />
Dudley, Map (t) p63,63,<br />
Duncan, Hank (p) ,15,(19)21,(109),(110),<br />
Duncan, Mac (tb) 119,pa122,a134,<br />
Dunlop, Frankie (d) a137,137,(143),(144),<br />
DuPont, Roland (tb) f98,<br />
Eager, <strong>Allen</strong> (ts) a57,<br />
Edison, Harry (t) (45),a88,101,<br />
Edmonds, George (d) 63,p63,<br />
Eldridge, Roy (t) (3),7,8,19a19,a30,(f38),a43,(46),p55,<br />
(58),(63),(70),(98),(144),(145),152,a153,171,a171,<br />
Ellington, Duke(p) (50),a50,(68),(93),(143),(144),a153,<br />
Elliott, Don, Quartet, a30<br />
Ellis, Don (t,writer) 111,140,<br />
Elsdon, Alan (t) p83,p128,a129,<br />
Embers, 93,a96,a98,98,a101,102,<br />
English, Billy (d) 93,<br />
Erwin, Pee Wee (t) (8)(a43),(43),(46),(109),(110),<br />
Esquire Concert-photos: 53,p54,p55,<br />
Eugene, Wendall (tb) 155,<br />
Evans, Bill, Trio a88,<br />
Evans, Chuck (tb) 4,<br />
Evans, Stick (d) 1,18,<br />
Eyden, Bill (d) (UK) 146,148,<br />
- 182 -<br />
Fairweather, Al (t) (UK) 119,<br />
Farmer, Addison (b) a57,<br />
Farmer, Art <strong>Jazz</strong>tet a50,p55,a88,<br />
Feather, Leonard (narr,comp) 9,40,42,44,56,70,a153,174,<br />
Felton, Johnny, band a12,<br />
Ferguson, Maynard (t) a20,(21),<br />
Fine, Jack ( ) 171,<br />
Finola, George (t) 155,f155,175,<br />
Fitzgerald, Ella (v) a30a153,<br />
Flemming, Herb (tb) p1,1,3,5,6,p8,13,19,20,p22,p23,p63,<br />
63,64,p66,p67,90,109,(110),p112,(168),<br />
Folds, Chuck (p) 137,(145), & Charlie ( ) 171,<br />
Ford, Art (narr) 46,47,f47,a47,48,56,57,59,60,<br />
Forsythe, Chuck (v) (6),<br />
Foster, Pops (b,bb) 3,143,146,150,p150,156,<br />
Francis, Panama (d) 13,a19,(21),47,48,50,51,p67,(68),a68,<br />
92,(109),<br />
Frankel, Ellie, Trio , Cleveland 103<br />
Frazier, Cie (d) 146,150,p150,<br />
Free, Bon (d) a57,<br />
Freed, Stan (p) a50,56,<br />
Freeman, Bud (ts) (5),6,28,a43,(43),p55,a57,(68),89,(92),<br />
(98),f98,103,(110),135,a136(136),a153,f159,pf159,160,<br />
171,a171,<br />
Frye, Don (p) (107),152,<br />
Furtado, Ernie (… ) a57,<br />
Gabler, Milt (m.c.) p58,93,136,<br />
Gaddison, Fran (… ) a57,<br />
Gaillard, Slim (v,g)<br />
Gardner, Herb (tb) (144),(145),156,<br />
Garner, Erroll (p) a30,(68),<br />
Gaskin, Leonard (b) a57,<br />
Gay, Al (cl,ts) 119,f120,pf121,p126,165,166,<br />
Gersh, Squire (b,v) 75,f75,p85,<br />
Getz, Stan (ts) (9),a30,(68),a153,<br />
Gibbs, Terry, quartet a20,<br />
Gillespie, Dizzy (t,v,p) 9,(21),(68),a30,(45),p55,(68),p86,<br />
(87),a88,a93,(136),(137),p142,142,(152),a152,p154,<br />
Giuffre, Jimmy (cl,ts) (f38),a88,<br />
Gleaves, Ronnie (vib) 146,148,<br />
Glenn, Tyree (tb,vib) 1,7,15,18,29,(43),48,50,51,p55,59,<br />
a88,89,(109),(110),(138),171,a171,<br />
Golson, Benny p54,p55<br />
Gonzales, Babs (v) (7),(143),(144),p170,<br />
Goodman, Benny (cl) (8),(70),<br />
Goodwin, Henry (t) 8,a19,50,a50,,<br />
Gouldie, Dan (t) 68,<br />
Graham, Bill /as) 47,<br />
Gray, Barry ( ) (9)<br />
Green, Bennie, Group 70,<br />
Green, Freddie (g) (f38),pf39,<br />
Green, Urbie (tb) 4,<br />
Greenwood, Lil (v) (57),<br />
Greer, Sonny (d) (3),50,a50,p53,pp55,56,57,f58,59,63,p67,<br />
(92),93,110,(136),137,(144),(145),152,156,159,171,a171,<br />
Griffin, Chris (t) 4,<br />
Griffin, John (ts) p54,p55,a57,<br />
Griffith, Dick (bj) 159,<br />
Grimes, Tiny (g) 48,a50,93,<br />
Gryce, Gigi p55,<br />
Guarnieri, John (p,v) f98,<br />
Gussak, Bill (d) f98<br />
Gwaltney, Tom (tb,ld) & Mrs. Betty (v,p) 164,171,<br />
Hackett, Bobby (t,c) (8),(21),a30,a43,(43),a46,(46),a56,<br />
(56),(87),136,(152),a152,p154,171,a171,<br />
Haden, Charlie (b) 156,p157,<br />
Hadi, Shafti (ts) (44),a50,<br />
Haggart, Bob (b) 48,89,f98,(110),<br />
Haggerty, Frank (g) 70,<br />
Hall, Al(b,d) (43),170,<br />
Hall, Ed (cl) 56,(107),135,<br />
Hall, Herbie (cl) (21),a57,<br />
Hall, Jim (g) (f38)<br />
Hall, Juanita (v) (70),<br />
Hall, Sol (d) 1,88,90,<br />
Hambro, Lennie (cl,as) 4,
Hamilton, Chico, Quintet (86)<br />
Hamilton, Jimmy (cl) a50,93,(143),(144),<br />
Hammer, Bob (p) 1,23,35,a50,90,92,<br />
Hampton, Lionel (vib,d,v) a30,p46,(86),(89),(112),<br />
Handy, George (p,arr) (9),<br />
Handy, W.C. (c,v) funeral: 46,<br />
Handy, John, Captain (as) 159,<br />
Hanna, Roland (p) 137,<br />
Hardy, Emmett (c) 152,155,<br />
Hastings, Lennie (d) 119,f120,pf121,f146,146,147,p151,165,<br />
Havens, Dan (t,writer) f159,pf159,160,<br />
Hawkins, Coleman (ts) 18,24,p25,28,a30,35,36,37,f37,p40,40,<br />
42,45,46,(48),(49),p55,57,f58,(58),59,63,68,93,(98),a106,<br />
106,a153,171,a171,180,<br />
Hawkins, Erskine, Orch. (93),<br />
Hawthrone, Harry (d) f178,<br />
Haywood, Cedric (p) 71,75,f75,76,p77,p85,<br />
Heard, J.C. (d) a55,57,(63),a68,(68),<br />
Henderson, Fletcher (p,arr) (35),(36),a50,119,<br />
Henderson, Luther (p) 18,<br />
Hendricks, John (v) a50,a57,(68),a88,p142,142,<br />
Henry, Haywood (bars,cl) 8,35,36,a50,<br />
Hentoff, Nat (narr.,m.c.) 9,36,f37,f38,a50,f164,<br />
Herman, Woody, Orch. (107),a153,,<br />
Heywood, Eddie, Trio (93),144,<br />
Higginbotham (tb) 1,19,a19,23,24,p25,28,p30,p31,p33,35,<br />
36,40,p40,42,45,47,48,49,50,a50,52,p55,56,57,57,59,60,<br />
61,62,63,(68),a68,p69,86,92,93,93,96,103,103,106,a106,<br />
107,109,110,110,110,112,135,136,137,a137,142,143,143,1<br />
52,156, f159,pf159,160-164,170,171,a171,f178,178,179,<br />
Higgins, Doug (d) 146,148,<br />
Higgins, Frank (?d) f47,<br />
Higgins, Gerry (b) (UK) 165,<br />
Hill, Teddy (ts) 170,<br />
Hines, Earl (p,speech) a30,(151),171,a171,<br />
Hinton, Milt (b) 1,(6),13,15,28,37,f37,p40,40,44,48,50,51,<br />
p55,90,f98,144,145,<br />
Hodes, Art (p) (136),f178,<br />
Holiday, Billie (v) (9),a30,(f38),44,48,56,a56,(56),70,<br />
Holmes, Charlie (as) 110,143,<br />
Hopkins, Claude (p,arr) p1,1,5,6,7,13,18,19,20,p22,23,p31,<br />
33,35,36,40,42,44,45,46,48,49,50,51,f58,(60),63,(68),93,170,<br />
Howard, Darnell (cl) 146,150,p150,<br />
Hubbard, Freddie (t,fl-h) a153<br />
Hucko, Peanuts (cl) 47,(92),93,(110),135,(144),(145),<br />
Hughes, Langston (poet,read.) 44,45,(46),48,49,50,a88,,<br />
Hunt, Fred (p) 119,f120,pf120,f146,146,147,p151,165,166,<br />
Hunter, Alberta (v) 96,<br />
Ingram, Keith (p) (UK) 119,<br />
Isola, Frank (d) (9)<br />
Jackson, Charlie (g) a137,137,<br />
Jackson, Chubby (b) 52,p54,p55,(87),<br />
Jackson, Cliff (p) (21),96,(109),(144),(145),145,152,171,<br />
Jackson, Ham (v) 47,<br />
Jackson, Mahalia (v) a30,<br />
Jackson, Oliver (d) p67,<br />
Jackson, Rock”Sax” (sax) p8,<br />
Jacquet, Illinois (ts) (68),(143),(144)<br />
"Jailbouse Blues"1929 (f98),<br />
James, Leon (dance) (50),a50,(51),(f98),<br />
Janis, Conrad (tb) (3),(8),a46,(46),(109),(137),<br />
Jefferson, Hilton (cl,as) 35,36,a50,p54,p55,93,170,<br />
Jefferson, Ron (d) a57,<br />
Jeffries, Herb (v) (9),<br />
Jensen, Jörn (p) 103,<br />
Jerome, Jerry (cl,ts) (6),44,<br />
Johnson, Bobby (t) (7)<br />
Johnson, Bud, Albert (cl,sax) (143),170,171,<br />
Johnson, Charley (p,ld) (7),<br />
Johnson, Gus (d) 28,<br />
Johnson, Howard (as,cl,p) 110,<br />
Johnson, J.J. (7b) 9,<br />
Johnson, Keg (d) 86,87,(136),<br />
Johnson, Osie (d) 1,(9),44,48,a50,p55,<br />
Johnson, Pete (p) 144,<br />
Jones, Buck ( ) 171<br />
Jones, Eddie (b) (f38),pf39,<br />
- 183 -<br />
Jones, Elvin (d) a50,59,(60),<br />
Jones, Eugene (d) 155,<br />
Jones, Hank (p) 28,p55,<br />
Jones, Jimmy (p) p55,a57,92,(143),(144),<br />
Jones, Jo (d) (21),37,f37,f38,pf39,p54,p55,a56,(56)(68),<br />
(70),a106, (108),(109),135,144,145,159,171,a171,<br />
Jones, Jonah (t) 8,(96),98,(137),171,a171,<br />
Jones, Quincy (t,arr) (9).<br />
Jones, Reunald Jr.(… ) a57,<br />
Jones, Rufus “Speedy” (d) 60,p66,p67,86,<br />
Jones, Thad (t) (152),a153,<br />
Jordan, Louis (as,ld) (86),<br />
Jordan, Steve (g) 18,<br />
Jordan, Taft (t) 4,p20,36,a50,p54,p55,<br />
Kaminsky, Max (t) a43,(43),p55,a56,(56),p109,(110),(136),<br />
(143),(144),(145),152,171,<br />
Kay, Connie (d) a50,152),<br />
Kenton, Stan (p) (9),(68),a30,<br />
Kersey, Ken (p) 1,(9),13,18,(35),<br />
Kirk, Andy, orch. 152,<br />
King, Tedi (v) (152),<br />
Kitt, Eartha (v) (30),<br />
Knepper, Jimmy (tb) (44),a50,<br />
Knoff, Paul, trio a57,<br />
Knolles, Mary (v) 4,r180,<br />
Kohlman, Freddy (d) 152,<br />
Konitz, Lee (as) (9),a50,<br />
Kotik, Teddy (b) (9),<br />
Krupa, Gene (d) (8),p54,p55,(70),(86),p87,f98,(102),<br />
(136),(137),<br />
Kühn, Rolf (cl) 45,(98),a30,<br />
Kuhn, Steve (p) a88,156,p157<br />
Lacey, Steve (ss) (9),44,<br />
Lambert, Dave (v) a50,a57,(68),a88,<br />
Lawson, Hugh (p) a137,137,<br />
Lawson, Yank (t) f98,a106,106,136,(144),(145),171,a171,<br />
Leeman, Cliff (d) 47,48,f98,171,<br />
Lesberg, Jack (b) a136,a159,171,<br />
Lettman, Johnny (t,ld) (58),(87),92,171,<br />
Lewis, Ed (t) 7,8,<br />
Lewis, Jimmy (b) 57<br />
Lewis, Meade Lux (21),f98,a101,102,<br />
Lewis, Willie (cl,as,ld) p59<br />
L'Intrigue: a 118<br />
Lightfoot, Terry, N.O.<strong>Jazz</strong>men a76,(79),p83,a129,<br />
Liston, Melba (tb) a57,<br />
Locke, Eddie p55,109,110,<br />
London House, Chic. a94,94,a101,102,<br />
Lowenstine, Ken (d) f159,pf159,160,<br />
Lucie, Lawrence (g,speech)<br />
Lyttelton, Humphrey (t,narr) 113,119,f120,a129,130,131,a132,<br />
Macero, <strong>The</strong>o (ts,comp.) 35,<br />
Machito Band (6)<br />
Madison, Bingie (sax) 110,<br />
Magyar,Art (sax,cl) (9),<br />
Maltz, Bob (m.c.) 8,<br />
Manetta, Manuel(t-teacher) 152,155,<br />
Mann, Herbie (fl,ld) (92),a153,<br />
Manning, Irv (b) p69,<br />
Manone, Wingy (t) (3),(5),(21),135,(136),a136,152,<br />
Marshall, Wendell (b) 48,93,<br />
Martin, Dave (p) 171,<br />
Martin, Fred (ts) p112,<br />
Martyn, Barry (d,review) 107,<br />
Mathews, Babe (Mrs.Joe Thomas) (v) 171<br />
Mathewson, Ronnie (b) 119,f120,pf120,pf121,f146,146,<br />
147,p147,(166),<br />
McCarthy, Dick (b) 159,<br />
McCracken, Bob (cl) 71,75,f75,76,p77,p80, p85<br />
McGarity, Lou (tb) 135,<br />
McGhee, Howard (t) (143),(144),(152),a152,p154,<br />
McKain, Bob (ts) (19)<br />
McKay, Stewart (bs) 4,<br />
McPartland, Jimmy (t) (2),(3),(5),7,8,(21),a43,43,(98),(110),<br />
(136),(137),(138),172,
McPartland-Page, Marian (p,review) 24,p55,(137),(138),<br />
(143),(144),<br />
McRae, Carmen (v) a30,<br />
McShann, Jay (p) 36,<br />
Melly, George (review:) 70,<br />
Mercer, Johnny (v) (136),a136,171,<br />
Metcalf, Louis (t,v) 7,8,(9),(19),p20,21,(21),(64),(109),<br />
(137),(156),171,a171,<br />
Meyer, Arnved (t) 103,<br />
Middleton, Velma (v) p93,<br />
Miles, Barry, group (57)<br />
Miller, Big (v) 47,a50,a57,<br />
Millinder, Lucky (v,arr) 45,156,<br />
Mingus, Charlie (b) 9,(44),a50,p54,p55,(93),a106,<br />
Minns, Al (dance) (50),a50,(51),(f98),<br />
Minton´s Playhouse 44,<br />
Mitchell, John, big band (UK) 118,119,<br />
Modern <strong>Jazz</strong> Quartet a50,(68),(93),<br />
Mole, Miff (tb) a43,(43),p54,p55,(92),<br />
Moncur III, Grachan (tb) a137,137,<br />
Monk, <strong>The</strong>lonious (p) 9,p55,a57,a88,a153,(156),<br />
Moore, Alton (tb) 35,<br />
Moore,"Big Chief"Russell (tb) (3),(5),(46),(110),171,a171,<br />
Moore, Fred (d) p53,a56,(56),<br />
Moore, Gary (narr) f98,<br />
Morell, Marty (d) 156,p157,<br />
Morton, Benny (tb) 1,23,35,36,a50,92,92,170,171,<br />
Morton, Jeff (d) (9),<br />
Moss, Danny (ts) (UK) 119,<br />
Most, Sam (cl) 48,<br />
Moten, Benny (b) 1,7,p8,13,20,36,48,50,a50,108,110,136,<br />
138,?143,171,<br />
Mulligan, Gerry (bars) 9,35,a30,(50),a50,p55,(93),a153,<br />
Muranyi, Joe (cl) (110),(144),(145),156,171,<br />
Murphy, Turk (tb) a30,(86),(87),88,<br />
Nance, Ray (t,vln) a50,p85,152,<br />
Napoleon, Marty (p) 1,(19),23,24,p25,(35),43,46,47,48,<br />
52,(109),(110),p112,(112),144,145,<br />
Napoleon, Phil (t) a19,19,(68),<br />
Nelson, Ricky (tb,ld) a43,(43),86,87,<br />
Nero, Peter (p) (96)<br />
Nesbit (arr) 35<br />
Neumann, Freddie (p) 155,<br />
Newman, Joe (t) (f38),93,(143),(144),170,<br />
"New Orleans" 1947-film clip (f98),<br />
New Orleans All Stars 1966: 146,150,p150,<br />
Newport Fest.p29,p30,a30,p31,33,48,a68,a88,106,a106,<br />
135,152,p152,a153,p154,<br />
Newton, Frankie (t) 3,<br />
Nicholas, Al (?Big Nick) (cl) 143,(?143),(144),145,172,<br />
Norvo, <strong>Red</strong> (vib)<br />
Nymand, Hans (d) 103,<br />
O'Connel, Helen (v) (6),<br />
Olden, Charles (b) 71,<br />
Orland, Chuck (vib) f47,<br />
Ory, Edward Kid (tb,v) p29,p30,33,p70,71,p71,a71,75,<br />
f75,76,p77,p79,p80,p83,a84,p85,f98<br />
Owens, Jimmy (fl-h) (152),a152,p154,<br />
Page, Hot Lips(t) (7),(8),<br />
Page, Walter (b) 18,(38)<br />
Parenti, Tony (cl) 1,15,a19,(20),(21),23a,(35),43,(43),(45),<br />
46,(63),(64),(86),(92),108,109,(110),(144),(145),145,152,<br />
171,a171,f178,<br />
Park, Joe (bb) 4,<br />
Parker, Charlie (as) ,(9),<br />
Parker, Johnny (p) 119,pa122,a134,<br />
Parlan, Horace (p) (44),a50,<br />
Pemberton, Bill (b) 36,a50,(143),(144),152,<br />
Persip, Charles (d) a57,<br />
Peterson, Oscar (p) a30,(50),(68),a88,101,<br />
Pettiford, Oscar (b) (9),a30,52,p55,<br />
Pfeiffer, Bernard (sax) (9),a30,<br />
Piaff, Edith (v) a68,(68),<br />
Piazarelli, John (t) (f98),<br />
Pichon, Fats (p) 164-obituary<br />
Pierce, Nat (p) 37,f37,a50,59,171,<br />
- 184 -<br />
Potter, Jerry (d) 1,92,93,94,102,103,?106,112,159,<br />
Potter, Tommy (b) (43),(60),98,102,<br />
Powell, Benny (tb) a137,137,(143),(144),<br />
Powell, Rudy p55,(144),(145),<br />
Pratt, Bobby (p) 171<br />
Price, Sammy (p,organ) 1,7,(20),23,43,57,60,63,p66,p67,68,<br />
86,p86,87,88,90,92,93,94,98,109,109,110,110,112,p135,<br />
136,(137),137, 156,<br />
Pulham, Steve, <strong>Jazz</strong> Quartet (93)<br />
Pulver, Arthur (d) 159,<br />
Purnell, Alton (p) 146,150,p150,<br />
Queener, Charlie (p) (6),(9),(64),<br />
Quinchette, Paul (ts) 59,<br />
Quinn, Davie (bj) 171,<br />
Rae, Ron (b) 119,120,165,166,<br />
Ramey, Eugene (b) 1,35,36,40,42,44,a57,(58),p81,(108),<br />
(143),(144),(145),<br />
Ramirez Ram(organ) p17,18,(143),(144),<br />
<strong>Red</strong>d, Alton (d,v) 71,75,f75,76,p76,p85,<br />
<strong>Red</strong>man, Don (cl,as,v,arr) (7),35,(45),(46),110,135,138,<br />
Reed, George (d) 136,138,?143,<br />
Rehak, Frank (tb) 13,(f38),<br />
Rennaissance Casino a12,92,<br />
Ricci, Paul (cl) f98,<br />
Rich, Buddy (d) (92),a153,159,<br />
Richards, <strong>Red</strong> (p) (21),35,36,a50,92,(108),(109),(138),171,<br />
Richardson, Jerome (s,fl) a57,(137),(143),(144),<br />
Richardson, Wally (g) p17,18,(46),<br />
Richman, Boomie (ts) 1,29,<br />
Rimmington, Sammy (cl) 159,<br />
Rix, Bob (b) f159,pf159,160,<br />
Roach, Max (d) a106,<br />
Roberts, Luckey (p,comp) (7),(46),p55,<br />
Robinson, Bill (tap-dancer) (8),<br />
Robinson, Prince (cl) 50,a50,<br />
Rockland Palace a20,<br />
Rollins, Sonny (sax) p55,<br />
Rongo, Tony (d) 48<br />
Ross, Annie (v) a57,(68),a88,<br />
Rouse, Charlie (ts) a57,<br />
Rowser, Jimmy (b) 143,<br />
Royal, Ernie (t) 4,<br />
Rubens, Ron (b) 146,148,<br />
Rubenstein, Bill ( ) a57,<br />
Rubin, Stan, Tigertown Band a43.(43),<br />
Rushing, Jimmy (v) (7),18,a30,(f38),48,p55,(68),a88,(145),171,<br />
Russell, Luis (p,arr) p22,110,119,(143),<br />
Russell, Pee Wee (cl,ts) 8,f37,37,pf39,a43,(43),47,52,p55,<br />
57,59,(68),p69, a30,f98,a136,136,156,p156,p157,171,a171,<br />
Russo, Andy (tb) (18),a19,<br />
Ryan, Cathy (v) 4,<br />
Ryan's, Jimmy, jam sessions 103,135,145,152,<br />
Safranski, Eddie (b) 4,<br />
Saint and Sinners Band (=<strong>Red</strong> Richards) 170,171,<br />
Sampson, Edgar (as,cl,vln) 35,<br />
Sarvise, Buddy (p) 4,<br />
Savoy Ballroom f58,<br />
Sbarbaro, Tony (d,kazoo) (f98),<br />
Scalzi, Ed (cl,as) 4,<br />
Schechter, Julie (vln) (f98),<br />
Schertzer, Hymnie (s) (f98),<br />
Schlinger, Sol (bars,ts) (9),<br />
Schroeder, Gene (p) (43),a57,89,<br />
Schwartz, Dick (t) 44,<br />
Scott, Calo (cello) a137,137,<br />
Scott, Cecil (cl,ts) ,3,50,a50,a68,(68),(96),110,<br />
Scott, Hazel (p,arr) (9),<br />
Scott, Lannie (p) 1,103,106,107,107,138,?143,<br />
Scott, Shirley (organ) a57,<br />
Scott, Tony (cl) 9,44,45,52,(70),(87),a30,143,a143,(143),<br />
(144),<br />
Sears, Al (bars) 36,<br />
Sedric, Gene (cl,ts) (21),92,(98),<br />
Seeley, Blossom (v) (f98),<br />
Semple, Archie (cl) (UK) 119,<br />
Shaefer, Sid ( ) 117,
Shavers, Charlie (t,v) 8,9,(12),13,p14,(35),a43,(43),a46,(46),<br />
47,48,50,51,57,a68,(68),(70),86,(87),(102),170,171,a171,<br />
Shaw, Arwell (b) 1,a19,(21),29,p29,33,(35),(144),(145),<br />
Shearing, George (p) a30,(68),<br />
Sheen, Mickey (d) (48),a50,108,<br />
Shepherd, Harry (vib) 35,47,48,57,p112,<br />
Shepherd, Mme. (bass-g) p112,<br />
Shihab, Sahib p55,<br />
Shu, Eddie (s) (87),???<br />
Silver, Horace (p) (9),p54,p55,(93),a153,<br />
Simeon, Omer (cl) (21),<br />
Simone, Nina (v,p) a88,a153,<br />
Sims, Zoot (ts) a153,<br />
Sims, Viola (p,b) p67,<br />
Sinclair, Bill (p) 159,<br />
Singer, Hal (ts) (45),f47,48,a56,(56),(58),60,p67,<br />
Singleton, Zutty (d) 9,a19,(20),(21),29,(35),a43,(43),p54,<br />
p55,(64),(68),a68,86,(92),96,f98,107,136,a136,(136),(137),(<br />
144),(145),145,152,170,171,a171, Marge: 175,<br />
Sissle, Noble (cl,ld,m.c.) (7),(9),(46),a68,(93),(110),156<br />
Skeete, Frank (b) 1,93,94,98,102,103,106,107,110,112,171,<br />
Small´s Paradise 70,<br />
Smith, Bessie (v) (f98),<br />
Smith, Jimmy (p) p17,18,<br />
Smith, Keith (t,v,writer) 78,146,150,p150,<br />
Smith, Lannie (organ) (152),<br />
Smith, Lyle (ts) 51,<br />
Smith, Mamie (v) (f98),<br />
Smith, Stuff (vln) (7),9,p55,a30,<br />
Smith, Willie"<strong>The</strong> Lion"(p) 1,(3),(7),a19,23,29,a43,(43),<br />
f48,50,57,59, 60,p69,(108),110,136,(151),172,<br />
"Sound Of <strong>Jazz</strong>" pf36,f37-38,pf39,<br />
Spanier, Muggsy (c) 135,<br />
Spivey, Victoria (v) 3,96,110,(110),110,<br />
St.Cyr, Johnny (bj) f98,<br />
St.John, Kenny (d) (6)<br />
"St.Louis Blues" film-clip (f98),<br />
Steele, Julia (v) 51,<br />
Stein, Lou (p) p40,4,48,<br />
Stewart, Slam (b) a50,135,<br />
Stewart, Rex (c) (3),28,35,36,pf36,f37,37,pf39,48,a50,<br />
p55,a57,59,p142,142,(168),<br />
Stitt, Sonny (ts) (9),a30,<br />
Stovert, Smoky (t)<br />
Strange, Pete (tb) 119,p125,p126,146,p147,148,<br />
Stuyvesant Casino 8,<br />
Sublett,"Bubbles"John W.(p,v,dance) 9,a93,<br />
Sullivan, Joe (p) f98,<br />
Sullivan, Maxine (v) 50,a50,p55,170,171,<br />
Sunkel, Phil (c,t) (9),<br />
Sunshine, Monty (cl,ld) a129,<br />
Sutton, Ralph (p) 108,<br />
"Sylvester, Robert, TV-series" 43,<br />
Tate, Buddy, (ts) (p6),(7),a50,(108),(144),(145),159,a159,<br />
170,171,<br />
Tarto, Joe (b,bb) 56,<br />
Taylor, Art, All Stars 113,118,119,<br />
Taylor, Billy (p) (8),(9),(57,),a57,135,(152),a152,p154,<br />
Taylor, Cecil, Quintet a50,<br />
Taylor, Gene (b) p154,<br />
Taylor, Sam (cl,ts) 1,4,(21),44,<br />
Teagarden, Jack (tb,v) (8),p29,p30,a30,33,(f46),68,(86),<br />
f98,103,(109),<br />
Terry, Clark (fl-h) a50,p142,142,(143),(144),(145),152,<br />
a152, p153,p154,171,a171,<br />
Terry, Dan, orch. (9),<br />
<strong>The</strong>ard, Sam (d) 93,(138),<br />
Thilo, Jesper (ts) 103,<br />
Thomas, Joe (t) p20,35,36,a50,52,p55,(110),135,(136),<br />
(138),(144),(145),152,170,<br />
Thomas, Kid (t) 107,<br />
Thompson, Sir Charles (p) (143)<br />
Thompson, Dick (g) 47,f47,48,57,58,a58,p58<br />
Thornton, Norman (bars) 36,<br />
“Timex Show” (f46)<br />
Tomaso, Ernie (cl) (UK) 118,119,p121,<br />
- 185 -<br />
Town Hall concerts a56<br />
Tracey, Stan (p) (UK) 146,148,<br />
Trappier, Art (d) (21),<br />
Tristano, Lennie (p) (9),<br />
Trocario, Bobby "Trock" (ts) 4,<br />
Trotman, Lloyd (b) 1,5,6,24,p25,f58,68,<br />
Turner, Henry (b) (45),<br />
Turner, Bruce (as) 70,113,119,p125,p126 ,a132,146,147,<br />
p147,148,<br />
Ulano, Sam (d) 171,<br />
Valentine, Billy , Trio (19)<br />
Vance, Dick (t) 36,<br />
Varsalona, Bert (tb) 4,<br />
Vaughn, Sarah (v) 19,a30,a93,<br />
Ventura, Charlie (ts) (45)<br />
Waldron, Mal (p) (f38),(70),<br />
Wallis, Bob (t,UK,review) 26,<br />
Walton, Buddy (t) 155,<br />
Walton, Greely (ts) 110,143,<br />
Ward, Clara, Gospel Singers a30,<br />
Ward, Helen (v) a136,<br />
Ware, Wilbur p54,p55,<br />
Warren, Earl (cl,as) (f38), 52,(108),<br />
Warwick, Carl (t) a153,<br />
Washington, “Buck” (v) 9,<br />
Washington, Dinah (v) (9),48,(93),<br />
Waterson, Billy, Trio, a50<br />
Watkins, Julius (horn) 9,a57,<br />
Watts, Noble, Trio a57,<br />
Wayne, Chuck (g) a57,<br />
Weathers, Jimy (p) f159,pf159,160,<br />
Webster, Ben (ts) 36,(f38)(45),(48),a50,a57,a88,<br />
Webster, Paul (t) 35,a50,<br />
Wein, George (p) a30,a88,(110),135,152,a153,159,a159,<br />
Wells, Dickie(tb) 36,(f38),a50,p55,59,(108),110,(110),(138),<br />
(143),(144),170,<br />
Wellstood, Dick ( ) (56),(98),a109,<br />
Welsh, Alex (t) 113,119,f120,af120,p120,p121,p126,<br />
a129,a132,p132,f146,146,147,p151,165,166,167,p167,<br />
Weston, Randy (p) a57,<br />
Wettling, George (d) 15,a43,(43),52,p54,p55,a57,p69,89,<br />
(109),110,112,a136,<br />
Whaley, Doug (t) (UK) 118,119,<br />
White, Christopher (b,p) p142,142,<br />
White, Josh (g,v) (9),(50),<br />
White, Sonny (p) 52,(156),<br />
Wilber, Bob (cl) 1,8,,(43),(68),a68,(110),136,(137),171,,<br />
Wilder, Joe (c,fl-h) p112,<br />
Wilkins, Ernie p55,<br />
Williams, Al (p,arr) 1,36,44,a57,(58)<br />
Williams, Bobby (t) 35,<br />
Williams, Clarence (p) (7),(46),<br />
Williams, Cootie (t) 28,(46)(57),<br />
Williams, Fess (cl) (21),<br />
Williams, George, (ld,arr) 4,?p108,r180,<br />
Williams, Joe (v) (70),101,a153,,<br />
Williams, Johnny (b) (9),<br />
Williams, Mary Lou (p,arr) (9),p55,a57,(70),(142),<br />
Williams, Roy (tb) f146,146,147,165,166,<br />
Williams, Sandy (tb) 110,(136),170,<br />
Wilson, Clive (t) 159,<br />
Wilson, Rail (b) 120,f178,<br />
Wilson, Teddy (p,arr) a30,a68,(68),(70),a153,<br />
Windhurst, Johnny (t) p58,58,(137),<br />
Winding, Kai (tb) 9,(57),a30,<br />
Witherspoon, Jimmy (v) 36,<br />
Wooding, Sam (ld) (9),<br />
Wright, Jimmy(sax) 35,<br />
Yaged, Sol (cl) 1,(6),(9),(18),19,(28),p40,40,46,(60),(64),<br />
a68,(68),(86),(87),(89),(92),(109),(110),(137),(143),(144),<br />
171,a171,<br />
Young, Buddy (?d) f47,<br />
Young, Lester (ts) (9),(f38),pf39,p55,57,<br />
Young, Trummy (tb) a88,
HENRY”RED”ALLEN COLLECTION – A RED ALLEN BIO DISCO COMPILATION<br />
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