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Red Allen Chapters 9 - The Jazz Archive

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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 />

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