Red Allen Chapters 9 - The Jazz Archive

Chicago Daily News Sat. 1/5/63 OPENINGS THIS WEEK (with photo), Tuesday: Trumpeter Henry “Red” Allen and his
quartet at London House. It´s Allen´s birthday, too
Chicago Sun Times-Tu., 1/8/63p44
Tuesday Night it´s Red Allen and his jazz combo at the London House. Next Monday it´ll be Steve Allen on Ch.7.
Chicago unknown undated 1963 press clip:
Tower Ticker by Herb Lyon (look also in the disco: 1/14/63 WBBM-Herb Lyon Show with red Allen):
… Best Bet for Tonight Ol´pro, Henry (Red) Allen and his quiet jazz, moving into the London House. …
PC-2/9/63p13: Henry (Red) Allen's soft-toned King trumpet will be missed at the London House where he and his sharpely
rehearsed group including Lannie Scott, piano; Ronnie Coles, drums, and Frank Skeete, bass …
1/28 – first week in Feb.63; one week engagement at Dayton, Ohio, Kenkel´s (2/7/63 NYC- recorded concert “Musicians Aid Society)
Journal Herald, Dayton, Ohio; Wed. 1/31/63
Jazz Great “Red” Allen Sparks Solid
Quartet Now At Kenkel
By Brainard Platt - "Nice, man, nice."
This is the best way to sum up the
performance of Henry "Red" Allen and
his quartet at Kenkel's this week, in his
own words.
Allen, one of the jazz greats, plays the
softest trumpet ever, but when he takes
off he can tear your heart out.
He gives every number his own touch,
like "Ride, Red, Ride" and his own
"Rag Mop," for instance.
He will take the lead with a number of
soft choruses. break out with a few hot
licks and rest his trumpet on the piano
or mid his arm, while he boats out the
rhythm with his hands..
Or he may take off through the audience,
playing so softly with what he
calls his "controlled trumpet" that it is a
delight to hear.
He is so good that Jack Kenkel feels
this is the greatest group ever booked
into the restaurant, hopes to get him
back after his next month-long run at
the Embers in New York.
Allen has been playing with the best
since he started at the age of 8 with his
father's band in his native New Orleans.
He took off at the age of 21, playing
on the riverboats, and has performed
with all of the best, Louis Armstrong,
King Oliver, Fate Marble, Walter Pichon.
And just recently, he was selected to
lead a band of the greatest on the TV
spectacular, "Chicago and All that Jazz."
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Jack Bradley, Bul.H.C.F. March-63: N.Y.C.-Willie Smith"The Lion" ne se produit que rarement. Meis nous fúmes invités
á une PARTY qu'il donna en l'honneur de Jane (sa compagne), oú nous retrouvámes Red Allen et son drummer Ronnie
Cole (le fils de Rupert Cole), qui firent un peu de musique. Willie Smith joua AIN'T MISBERAVIN' et son ECHOES OF
SPRING. Les meilleurs moments de Red Allen: ALL OF ME et MACK THE KNIFE
Down Beat 3/28/63: Radio Station WNEW has begun a series called "Music Spectacular", 30-minute jazz shows emceed by
Bob Landers on alternate Saturday at 2 p.m. First in the series was by a group of ex-Count Basies sidemen including Buddy
Tate, Earl Warren, Buck Clayton, and Jo Jones. The second features Henry Red Allen with Tony Parenti, Cutty Cutshall,
Ralph Sutton, Benny Moten, and Mickey Sheen …
2/7/63 NYC., Program for “Musicians Aid Society” recorded for 2/16/63 Sat. 2 p.m. WNEW-“Music Spectacular” – JAM
SESSION: Red Allen (t,v) Tony Parenti (cl) Cutty Cutshall (tb) Ralph Sutton (p) Benny Moten (b) Mickey Sheen (d)
2:30 MEMPHIS BLUES (fast played) (Cl.& Sp.Williams) Phoenix-24/RA-CD-19/
4:27 YELLOW DOG BLUES (Handy-Pace) --- / --- /
3:03 CHERRY -vRA (Don Redman) --- / --- /
4:15 FIDGETY FEET (LaRocca-Shields-Sigman) --- / --- /
Honky Tonk Train p solo RS (M.L.Lewis) tape wanted (detailed source Boris Rose-collection)
theme: ALGIERS BOUNCE (H.Allen) tape wanted (detailed source B.R.-collection)
IAJRC-… Jack Sohmer about PHOENIX 24: (A=1944) THE THEME; RED JUMP; RIDE, RED, RIDE; DARK EYES; DEAR OLD
SOUTHLAND; GET THE MOP; JUST A FEELING; (B=Dec.57) WILD MAN BLUES; ROSETTA (C=Feb.63) MEMPHIS BLUES;
YELLOW DOG BLUES; CHERRY; FIDGETY FEET:
The final cuts seem of Metropolitan origin, with the curiously
antiquated Parenti clarinet dominating in all areas but
imagination. Though locked into a way of playing that had
become dated by the late 20's, through sheer persistence he
had turned this Shieldsian rigidity into a tool of immeasurable
satisfaction to all but fellow musicians. By contrast, Red and
the others sound like modernists, in a more traditional setting,
one faithful to the legacy of the ODJB, Parenti would have
felt more at home. But here. despite his obvious fluency, the
effect is that of disconcerting obtrusion.
Trevor Tolley about Phoenix-24 in an undated Jazz Journal:
The last four tracks on the record are from 1963 by a group
that included ex-Condonites Cutty Cutshall, Tony Parenti
and Ralph Sutton. They play Cherry and Fidgety Feet nicely
enough, but there is nothing out of the ordinary.
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MUSICIANS AID SOCIETY IS JUST THAT
NYAN-6/1/63p15: Musicians and performers are the first to
give - and they give the commodity of their talent.
This has been the case recently when an all star group led by
Count Basie performed for a radio program on behalf of the
Musicians Aid Society. MC was Billy Taylor and the show
was aired over Station WNEW with cooperation of Local 802
of the American Federation of Musicians
Musicians Aid Society is not a new organization but Jack
Crystal has been busily reactivating it lately. (cont.on next page
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