Red Allen Chapters 9 - The Jazz Archive

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- 109.7 - RECORD $260,948 PLEDGED SEP 23/19/63 City Stays Up All Night - And Gives-For Handicapped All through the night, people gave. The next day, they kept giving. And when the WHAS Crusade for Children signed off the air yesterday after-noon, a record $260,948 had been donated or pledged for the benefit of handi-capped children in Kentucky and Southern Indiana. The 10th annual Crusade was not only the biggest money raiser ever, but also the longest. It began at 10 p.m. Saturday at Memorial Auditorium and didn't stop until 18 hours and 5 minutes later, at 4:05 p.m. Last year's Crusade, which set a duration record, was 17 1/2 hours long. The amount rolling into the till this year compared with the $227,554 record amount contributed or donated last year while the Crusade was still on the air. The amount at sign-off time even surpassed the total record collection of last year when all figures were tallied. This was $256,649. Commented Victor A.Sholls, WHAS vice.president and di-rector: "It shows what a magnificent community we live in." This yeear's record amount was still an unofficial figure and it is expected that the total will be higher. The marathon television and radio appeal got sparkle from the appearances of national and local entertainment personalities. The talent covered the gamut from pop singer June Valli to jazzman Henry "Red" Allen. The rolling of drums, the blast of trumpets, songs, and patter kept the show moving until the end. Then bleary-eyed volunteers crowded onto the stage of the auditorium to sing a fervent "God Bless America." At noon yesterday the $61,-000 mark was reached. After that, donations seemed to cascade into the coffers as collection teams from fire departments arrived. By 1:30 the $100,000 mark was reached. It was signaled with the release of balloons from stage rafters. There was more fanfare when the an- nouncement of $200,000 donated was made at 3:10. The biggest gift-$32,587-came from 126 churches and missions of the Louisville Catholic Archdiocese. The Rev. R. E. Dentinger took 5 minutes to read the list of donors. Other denominations also back the Crusade and this year conti-nued their practice of making individual contributions. The "parade of children" yesterday included many youngsters who brought contributions from their Sunday-School classmates. Some Still To Report Jim Walton of WHAS, who for the 10th straight year was master of ceremonies, said pledges and donations came in at about the same rate as last year. The 35 minutes of extra time made the difference, he said. As the appeal was closing, WHAS star Randy Atcher was announcing the receipt of an additional $1.558.44 from the Corydon, Ind., Fire Department. Jo-Ann Mattingly, 6, clung tightly to the jar of money she brought to the Crusade For Children. Phyllis Knight offered help -but Jo-Ann had to be sure some-one "more official" took it. And about 10 fire department were still unreported at sign-off time. About 70 fire department representatives dumped boot-fuls of money in fishbowls at Walton's feet. The St. Matthews Volunteer Fire Department scored highest, with $12.878 in collections. Second-best collec-tors reported were the members of the Pleasure Ridge Volunteer Fire Department with $10,758 Stars Helped Show Among the national stars len-ding their time and talent to the Crusade were June Valli, Johnny Johnston, Homer and Jethro, the Pope-Russell Dancers, and Henry "Red" Russell. Regional and local talent included Archer, Jay Willoughby, "Cactus" Tom Brooks, Phyllis Knight, Carole Slayden, the Thorobred Chorus, the Red River Ramblers, Bobby Lewis, Janet Brooks, Jo Ann Hale, Sherry Sizemore, the Irvin Twins, Crusade Queen Linda Graham, and Crusade King Larry Donoho. WHAS announcer Jim Walton began winning her confidence as she shyly reached his micro-phone. Capitulation! Walton was official enough. She collected the $3.55 on her street. (Weller) ===================================================================================================== The Louisville Defender, Thursday, September 26, 1963 VETERAN DISCUSSION - Jazz immortal Henry "Red" Allen and Marine Reserve Staff Sergeant Willis S. Evans, Jr., 3600 Montclair Ave., swap stories about the "Good old days." Allen talks jazzland music as he has known it and played it since he got his start years ago in New Orleans, and Sgt. Evans talks of his ten years helping with the WHAS Crusade For Children. The picture was made on the giant stage of Louisville's Memo-rial Auditorium this past weekend during the annual drive to raise funds for the handicapped children of Kentucky and Southern Indiana. An all-time high record has been set again this year with some $260,948 pledged and donated to the community effort. Crusade officials are urging persons to fulfill their pledges as soon as possible so that the task of allocating the funds may be started as soon as possible. ================================================================ END of the collected clips about the Sep.1963 LOUISVILLE WHAS Crusade appearance
Henry “Red” Allen – Jazz As Rejuvenating Joy by Nat Hentoff in International Musici- an June-63 pp22-23 One of the most persistently buoyant phenomena in jazz is trumpeter Henry "Red" Allen. At fifty-five, he still performs with the zest and obvious delight in improvisation of men thirty years younger. On the stand, Allen is an exuberant extrovert in his determination to sustain the excitement of his audiences. Privately, Allen is a shy, soft-spoken man who combines pride in his accomplish- Ments and heritage with an amiability of temperamnent which has made him an exceedingly popular musician among jazzmen of widely varying ages and styles. The enveloping warmth which Allen generates has been a major factor in his having enjoyed a number of exceptionally long engagements throughout the country. In 1954, he went into the Metropole in New York for two weeks, and stayed for seven years. In previous years, he had stretched a two-week date at the Down Beat in Chicago to six years, and another fortnight at New York's Cafe Society to a two-year stand. Red has the capacity not only to attract sizable audiences, but to draw them back again and again. Aside from his ebullient, after - dark personality, Red's power comes from his impressively resourceful command of the trumpet. His melodic sense is particularly arresting and persistently fresh. As critic Martin Williams has observed, "One of the outstanding characteristics of Allen's playing is the freedom with which he phrases. Probably no jazz soloist between Armstrong and Lester Young plays with greater rhythmic ease and natural swing than Red Allen." He is also an affectingly personal singer, particularly on ballads which he illuminates with husky poignancy and the same kind of irresistible swing which characterizes his playing. The gentleness and sensitivity of Allen at home and with his friends make him so tenderly effective as a ballad interpreter. When his high good humor and gusto are added to that kind of lyricism, the result is one of the most diversified stylists in jazz. Henry "Red" Allen comes of a distinguished jazz lineage. He was born in Algiers, Louisiana, on January 7, 1908. His father, Henry Allen, Sr., led a notable brass band which was part of the New Orleans scene for more than forty years. The young Allen was passing out music to the band members almost as soon as he could walk, and he was playing and marching by the age of eight. Many of his first influences were trumpeters who played in the senior Allen's band: Kid Rena, Buddy Petit and Chris Kelly. Later there were the recordings of Louis Armstrong, who had left New Orleans by the time Allen was - 109a - Addenda a full-time professional player. By 1926,Allen was playing on the riverboats with Fate Marable's bands, and he went further away from home when he joined King Oliver in St. Louis in 1927. Red had two chances to come to New York by the end of the 1920's - offers from both Duke Ellington and Luis Russell. Since the Russell band had more of his home-town friends than the Ellington unit, Red chose Russell. Once in New York, Red's reputation among musicians began to increase precipitously. During one session at the Rhythm Club in Harlem, the visiting Fletcher Henderson heard Allen demonstrate that he could impovise in any key - a feat which 'was comparatively rare among hornmen at the time. Henderson remembered the experience and hired Allen in 1933. Allen was then featured in the Blue Rhythm Band from 1934 to 1936, and joined Louis Armstrong's orchestra from 1937-1940. During the 1930's, Allen became a potent influence on the jazz scene. As Leonard Feather observes in his Encyclopedia of Jazz, "More than any other hot jazz trumpet artist before him he seemed to think in terms of long, flowing melodic lines and to play with a sense of continuity." Allen had full freedom to expand his singular style when he became a leader of his own combos in 1940. During the next decade, his small units produced consistently stimulating, searingly explosive jazz. With such sidemen as J. C. Higginbotham, Edmond Hall, pianist Ken Kersey and the neglected altoist, Don Stovall, Allen's units focused on the essence of driving, spontaneous, careeningly unpredictable jazz. Since leaving the Metropole in 1961, Allen had been leading a successful quartet in such regular locations for him as the Embers in New York, the London House in Chicago, the Theatrical Grill in Cleveland, and on college tours with comedians Shelley Berman and Bob Newhart. Allen has so extensive a repertory and so resilient a style that he fits easily into a wide gamut of musical contexts. He is a total professional, and yet he alsoretains the irrepressible thrust of a man who is committed to jazz because he enjoys it so much. "To this day," says Allen, "I get a little more enthusiastic after each chorus. I'm never tired of playing because I never know exactly what's going to happen next. This music can really keep you young." Allen is both respectful of the jazz tradition and also eager to keep informed of new developments in the music. The world - wide spread of that tradition was impressed on him in 1959 when, during a European tour, he went to visit Fatty George's jazz club in Vienna. There, at the entrance, was a huge picture of one of his father's marching bands. "It was one of the biggest surprises of my life," Allen recalls, "and a very moving experience." At the same time, Allen also appreciates the fact that many of the younger players know and respect his work. "You know," he grins, "I made a record a few years ago, and one of the critics wrote that I sounded as if I'd been listening to Miles Davis. The fact is that Miles used to come around to hear me during his first years in New York. I like Miles' work very much, but I'd been playing the way I did on the record for a long time before I ever heard Miles." In whatever city he appears, Allen takes the time to hear the other visiting musicians in town—men like Miles Davis, Max Roach, Gerry Mulligan, and another favorite, Dizzy Gillespie. "That's one of the reasons jazz stays so absorbing," Red explains. "It's always changing, and I like to hear those changes. I've changed some myself. And that's why I have no fear about the future of jazz. This music can't die out while there are always new generations of musicians trying new things. I only hope that they also combine their inno-vations with listening to some of the players who have gone before them." When not on the road, Red lives in the Bronx with his wife, Pearly May. His son, Henry Allen, III, studied trumpet, but is now a policeman. Red also delights in his two grandchildren, eight-yeas Alcornette and three-year-old Juretta. The latter is named after his mother; now seventy-nine, and still living in New Orleans. This reporter has been stening to Red Allen for more than twenty years. I first encountered his music in Boston where, characteristically, Red had come for a short engagement and had remained well over a year. Then, as now, I was compelled to frequent wherever he played the unflagging inventiveness and scope of the man's music. He can transmute a popular song into an intimately personal story, and in the next number, he can galvanize his audience into feet-stamping exultancy - often spurred by his own exclamatory asides ("Nice! V-e-r-y Nice!"). And then he can settle into a blues that distills centuries of Afro- American musical experiences and is at the same time penetratingly contemporary. As one of Allen's admirers, Clark Terry says, "Whenever I think of the real blues, I think automatically of Red." For all the spontaneity of his playing, Red is also an uncommonly conscientious craftsman. He balances his sets with care, and, as I've seen at television shows and rehearsals for other occasions, he has a superior sense of organization. Without raising his voice or seeming in the least flurried, he is able to draw the maximum capacity from whatever musicians are working with him His own love and respect for jazz is contagious; and the reason for the durability of his appeal is that Red, like jazz, has never been content to settle into comfortably familiar patterns. Each night, Red Allen is rejuvenated - rejuvenated by the challenges and substantial pleasures of making his living by communicating to others his spontaneous emotions and the accumulated experience of fifty years of making his horn a natural extension of his own ardent self.
Page 1 and 2: - 93 - “HENRY"RED"ALLEN IS THE MO
Page 3 and 4: - 94 - between 5/30 -6/18 or 7/1-7/
Page 5 and 6: - 96 - 6/17-6/29/61, N.Y.C., Embers
Page 7 and 8: - 98a - Addenda Obviously Red playe
Page 9 and 10: Covernotes- SOUNDS GREAT SG-8007: T
Page 11 and 12: - 101 - CD-11/25/61p12: MAE BARNES,
Page 13 and 14: - 101b - ADDENDA Citizen-Journal, C
Page 15 and 16: - 103 - Easter Sunday 1962 closing
Page 17 and 18: his horn, playing the next piece he
Page 19 and 20: - 107 - 7/7/62 NPT, VoA-bc-No…..
Page 21 and 22: Crystal, of Commodore Record Co., a
Page 23 and 24: continue from last page: Expenses f
Page 25 and 26: - 109.4 - THE KICKOFF . . . The Pat
Page 27: - 109.6 - RECORD SIGN-OFF . . . The
Page 31 and 32: - 110 - 12/11/63, N.Y.C. - LUIS RUS
Page 33 and 34: - 112 - Jan.1964, NYC., HERB FLEMMI
Page 35 and 36: - 113- intermission chapter: 16th A
Page 37 and 38: - 114a - Addenda RED ALLEN IN MANCH
Page 39 and 40: their musical denominations were, H
Page 41 and 42: here, anyway. Sure enough, just thr
Page 43 and 44: - 120- 5/2 or 5/3 Manchester, MSG,
Page 45 and 46: - 122 -
Page 47 and 48: was growled on G in contrast to Lou
Page 49 and 50: he called for their arrangement of
Page 51 and 52: - 128- Recollection of a Great Occa
Page 53 and 54: "Blue Skies Are Round The Corner" k
Page 55 and 56: My Involvement - Jack Swinnerton in
Page 57 and 58: - 134- mentioned the special at Wes
Page 59 and 60: Sammy Price & Red Allen, Detroit Ma
Page 61 and 62: - 137 - Feb.65, Conrad Janis took a
Page 63 and 64: - 139 - according Sammy Price this
Page 65 and 66: delivered by a trumpeter with excel
Page 67 and 68: - 142 - unknown date at Princeton U
Page 69 and 70: - 144 - 12/5/65, 3 p.m.-4 a.m, N.Y.
Page 71 and 72: - 146 - 18th Feb.- 6th March 1966 U
Page 73 and 74: - 148 - Sinclair Traill in Jazz Jou
Page 75 and 76: phere of the Osterley opener was mi
Page 77 and 78: 150.1 Addenda (special UK-booklet o
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- 150.3 - Exciting Start to Sixty S
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- 152 - 1966, UK BBC-bc Red Allen s
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- 154 - NPT-TRUMPET WORKSHOP: Billy
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.Red Allen recorded with Sidney Bec
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sing excursions into the tonal extr
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- 160 - HIGGY COMES HOME by Dan Hav
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impeccably cool as always, and said
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- 164 - PAUL HEMPHILL - Replaying H
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- 166 - HENRY RED ALLEN will be bac
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- 168 - HENRY “RED” ALLEN -obit
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- 169 - 4/12/67 Brooklyn, N.Y. Bust
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- 171 - 4/21/67 Fri., Henry Red All
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- 173 - Stanley Dance in Jazz Journ
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- 175 - after the days of the super
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- 177 - A-B-BASICS No.7 HENRY ALLEN
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5/26/73 J.C. Higginbotham died ; OB
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- 181 - INDEX for part-3 not comple
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Hamilton, Chico, Quintet (86) Hamil
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Shavers, Charlie (t,v) 8,9,(12),13,
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Red Allen Chapters 9 - The Jazz Archive

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