Red Allen Chapters 9 - The Jazz Archive

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Red Allen's'Story: Part Two - THE MAN AND HIS MUSIC Focus March l964, No.2
During Red Allen's only previous British tour in 1959, he was approached by a leading critic between concerts with the Kid
Ory band, and, knowing Red's reputation as a colourful talkative personality, the critic cheeerfully anticipated being swamped
with Red's opinion on jazz, musicians, the Ory band, and all manner of subjects. However, although Red was clearly interested
in the questions put to him, the critic received merely a polite, matter-of-fact and unembroidered answer to his every question.
Imagine that critic's surprise then, when, on meeting up with Allen a couple of days later, he spent a most absorbing couple of
hours hearing Red's reminiscences and views on jazz in general.
This little story serves to illustrate that
the personality of the man is strongly
reflected, as with all good jazz musicians,
in his music. One moment he will play
most subdued and melodic phrases, his
control delicate but absolute; then his full
toned trumpet will glide down to a
throaty mutter, his control being such
that he has little need of a mute, and, in
fact, rarely uses one, then he will break
into a breathtaking musical flight,
staggering in its portrayal of inventiveness
excitement, drive and power.
The influence of Louis Armstrong is
strong in many jazz trumpet players, and
certainly it is in Red Allen; at least in so
far as approach, power, phrasing and the
particular jazz language used are
concerned. Allen, however, is too much
of an individualist to sound exactly like
Armstrong in the way that. for example,
Jabbo Smith sometimes did.
Red's power comes from his remarkable
command of his instrument, his
melodic sense is particularly arresting
and perennially fresh. As one noted critic
has observed, "One of the out-standing
characteristics of Allen's playing is the
freedom with which he phrases. Probably
no jazz soloist between Armstrong and
Lester Young plays with greater
rhythmic ease and natural swing . . ."
Allen is also a singer of some repute,
and particularly shines with ballad, which
he illuminates with the same kind of
irrestistable swing which characterises
his playing.
With such an extensive repertoire, and
so resilient a style, Allen fits easily into a
wide range of musical contexts. For the
traditionalists here is a man who has
never gone far from the real roots of jazz.
and roots go as deep as any - so much so
that when quoted names of men in a
current New Orleans band he is known to
have said, a little impatiently,"… yeah,
yeah, I .know 'em. That's my home town
you know
During the thirties Allen became an
important figure on the American jazz
scene. Thinking, as he does, in long,
flowing melodic lines, and with his
ability to play with a sense of continuity,
he was a natural for the swing music of
that era.
When he started his own small group in
the 40's, the pre-requisite was always for
stimulating, similary exuberant musicians
like himself. and in the company of such
men as Sidney Bechet, Edmond Hall
and J.C.Higginbottom he could hardly
have been disappointed.
Whenever possible Red takes the opportunitv
of listening to modern jazz
musicians - men like Mile Davis, Max
Roach, Gerry Mulligan, and, a big
favourite of his, Dizzy Gillespie. "That's
one of the reasons jazz stays so absorbing,"
says Red, "it's always changing,
and I like to hear these changes."
For all his spontanaiety, Red remains a
conscientious craftsman, he balances his
programme carefully, and has a good
sense of organisation. Without seeming
in the least bit flurried he drawn the
maximum capacity from whichever
musicians are playing with him, and
every time he plays he is rejuvenated by
the challenges and pleasures of
communicating his feelings to others.
Not only will April be a memorable
month in the history of the Guild, when
Red's four-night stand here forms part of
our tenth anniversary celebrations, but it
will also be a time which jazz enthusiats
will remember for the rest of' their lives.
J.Sw.
COMING SOON - Jack Swinnerton in Focus - April 64, No.3:
In just a few days Henry 'Red' Allen will be here at'the M.S.G. Centr'e and the plans and preparations
of months past will culminate in JAZZ - AS YOU WANT TO HEAR IT PLAYED.
It would he both foolish and inaccurate
to claim that all of Red's recordings are
superb. The jazz musician without an
"off day" just does not exist. It can be
fairly stated, though, that much of Red's
work has maintained the very high
standard set by his earliest recordings.
The role of musicians he has both led
and played for (as mentioned in parts 1
and 2 of this series) is both extensive and
impressive, each recording, or group of
recordings, revealing just a little more of
the many outstanding features of the
playing of this great musician.
For example, the never-bettered
recording of "Swing Out" by Red Allen's'
New York Orchestra in 1929, shows his
considerable technique both in the
ensemble passages and in the now classic
Allen solo. In direct contrast, his later
recording of "Canal Street Blues"
portrays him at his most subdued.
The recordings of Red Allen are often
featured over our cellar loud-speakers
prior to the start of, and during the
intervals of our regular jazz sessions and,
as you will realise these will be more
concentrated during the two weeks
before the arrival of Allen. Thus, the
few people not already very familiar with
his past work will have the opportunity of
hearing some of this super jazz.
But what of his actual appearances at
the M.S.G. itself ?
The four bands selected to appear
alongside Red Allen at this centre were
chosen with care. It was fat from a case
of merely grouping four of the leading
British jazz groups and saying, "Red
should be happy enough there."
Red Allen has always been particularly
fond of Dixieland jazz and many of
his best recordings have featured. him
alongside America's finest exponents in
the field. What more natural, then, than to
open our series of concerts with Alex
Welsh and his band, Britain's best group
playing in this style? As well as the
complementary sounds we shall hear
from the two different musicians, other
interesting comparisons spring to mind.
Red Allen and trombonist Roy
Crimmins, for example.
When discussing jazz clarinetists, most
discerning fans will rate Sandy Brown
very highly in the world class. Sandy has
also been fortunate in maintaining an
excellent small group which, including
as it does, men like Al Fairweather and
Danny Moss, is a combination which will
bring out the most lyrical side of Red.
Most of our regular visitors will know of
the recent personnel changes in the
Bruce Turner Jump Band. Bruce has
been heard to say that he felt he was
being drawn away from his chosen style,
and that his music was suffering. in
consequence – hence the group changes.
"Do we see the last traces of the
legitimate approach to jazz by men …
like, Earl Hines, Buck Clayton and
Henry Allen?" was Bruce Turner's query
in die February issue of this magazine.
Whether we agree with Bruce or not,
we will soon have the opportunity of
hearing him play with one of his idols - a
prospect which I know Bruce to be
extremely thrilled about.
"… We applaud Red Allen for a performance
right up in the majestic class"
wrote Humphrey Lyttleton after Allen's
last visit to this country. Having always
considered Humph's own play-ing not to
be lacking in this quality, the combination
of these musicians should provide a
particularly exciting evening of jazz.
next issue: reviews about the MSG-sessions
Red Allen in UK-1964 (issued 1966)