Red Allen Chapters 9 - The Jazz Archive

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98 - Addenda 10/30 & 10/31/61 rehearsal & filmed sessions for the 11/26/61 Sun.10-11 p.m. CBS/NBC-TV - CHICAGO AND ALL THAT JAZZ "Dupont Show Of The Week"; producers: William Nichols, Donald B.Hyatt; 60 min.-kinescope, 51'tape cut commercials; Story about Jazz in Chicago. The live-TV portions are interpersed with occasional film clips and commentary by Garry Moore, frequently backed up by an off screen orchestra, specially recorded for the show. (1) ORIGINAL DIXIELAND JAZZ BAND: Yank Lawson (t) Roland DuPont (tb) Paul Ricci (cl) Johnny Guarnieri (p) Cliff Leeman (d) (2) NEW ORLEANS BAND: Henry"Red"Allen (t) Kid Ory (tb) Buster Bailey (cl) Lil Hardin-Armstrong (p,v) Johnny St.Cyr (bj) Milt Hinton (b) Zutty Singleton (d) Mae Barnes (v,d) (3) CHICAGOANS: Jimmy McPartland (t) Jack Teagarden (tb,v) Pee Wee Russell (c1) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon(g) Bob Haggart (b) Gene Krupa (d) - Blossom Seeley (v); Meade Lux Lewis (p); Al Minns & Leon James (dancing) (4) off screen band - EDDIE CONDON & THE NBC-ORCHESTRA: Tony"Spargo"Sbarbaro (d, kazoo) John Piazarelli (t) Al Chernet (tb) Hymnie Schertzer (as) Julie Schechter (vln) Bill Gussack (d) & possibly others from above groups (5) studio orchestra composed by various combinations of the above groups, mainly from (3) and (4) *parts on Jazz Crusade-JCCD3066/all complete on /Sounds Great/Vintage-Jazz-Video/ on Allen-collection Hoffmann-DVD-12/ music on-/off-screen / Lp-SG-8007/ VHS-VJC-2002 / excerpt with Red Allen on RA-DVD-1a& CD-42 0:45 introduction by Garry Moore 0:28 (5) Take Me To The Land Of Jazz -vBS,vMB,vJT acc.by band (5) showing all performers incl.Red Allen on screen/ 1:09 (5) Take Me To The Land Of Jazz -slow instrumental reprise 0:13 Garry Moore about 1916 with the Original Dixieland Jazz Band 1:40 (1) Original Dixieland One Step 0:33 Garry Moore about the Victor Talking Machine and first jazz 0:40 (5) Jazz Me Blues 1:30 (5) musical montage incl."Pretty Baby"-"Shim Me Sha Wabble" to G.Moore on pianists & early negro bands 1:54 (1) Toddlin' The Toddle-O -vBS 3:15 (5) background Medley to Garry Moore: When Johnny Comes Marching Home – Dardanella - Some Of These Days - Basin Street Blues - Clarinet Marmelade - Baby, Won't You Pleae Come Home - I've Found A New Baby 0:31 (2) BACK O' TOWN BLUES fragment -band introduced by Garry Moore ( not on CD*)/RA-CD-42/RA-DVD-1a/ 2:29 (2) JELLY ROLL BLUES (*)/ --- / --- / 1:45 (2) DOCTOR JAZZ -vMB (*)/ --- / --- / 0:37 Westend Blues -6/28/28 L.Armstrong recording, background to Garry Moore 1:00 Dippermouth Blues -L.Armstrong band, clip from 1946 film "New Orleans" 1:35 Singing The Blues -2/4/27 Bix Beiderbecke recording; -a private movie of Bix on screen 2:00 In A Mist -p solo by Johnny Guarnieri 1:25 Jailhouse Blues -short film 1929 Mamie Smith acc.by P.Grainger & unknown band 1:15 St.Louis Blues -clip from short film 1929 Bessie Smith acc.by J.P. Johnson's band 0:24 Honky Tonk Train Blues -v&p M.L.Lewis & vLouis Armstrong, clip from 1946 film "New Orleans" 1:31 Honky Tonk Train Blues -p-solo by Meade Lux Lewis on TV 0:16 Garry Moore speech 3:10 (5) Chicago -white bands incl.vBS,v&pLHA,St.Cyr,kazoo,vln,dancers,tbJT,tJP,& others 0:20 Garry Moore speech 0:45 (3) Blues For Gene -during introduction of the "Chicagoans" by Garry Moore 2:10 (3) China Boy 0:20 Garry Moore about the “roaring '20s'” 2:47 (5) Medley: Fidgety Feet-Tin Roof Blues-Fidgety Feet -dancing Al Minns & Leon James 1:21 (5) Ostrich Walk -to Garry Moore on early orchestras "CHICAGO FREE FOR ALL": 0:38 (2) CORNET CHOP SUEY segue to (*)/ --- / --- / 0:42 (5) After You've Gone segue to -vJT (on screen) acc.by (4) & (3) (not on screen) (*) 1:30 The Pearls -v&d Mae Barnes, v&p Lil Hardin-Armstrong (*)/ --- / --- / 1:18 HEEBIE JEEBIES segue to -v&d Mß, v&p LH, t Red Allen, c1Buster Bailey (*)/ --- / --- / 1:03 (5) Wolverine Blues segue to -combination by the white bands (*) 1:22 (4) Way Down Yonder segue to -vBS 1:oo Pine Top's Boogie segue to -Krupa intro-p solo Meade Lux Lewis (*)/ --- / --- / 1:48 (5) TIGER RAG -Krupa intro-all bands incl.Ory & Allen (*)/ --- / --- / 1:00 (5) Take Me To The Land Of Jazz -vBS,vMB,vJT & mixed band to leave out by Sidney S.Bushman
Covernotes- SOUNDS GREAT SG-8007: The TV program represented on this LP, "Chicago And All That Jazz," was one of the few sponsored TV specials of hour length which attempted a serious portrayal of earlier jazz styles. The justly famous CBS program, "The Sound Of Jazz," (1957) was a presentation of informally played music by representatives from the swing era, while the four Timex "All Star Jazz" shows of the late 1950s were potpourris of jazz from many stylistic periods, with no discernible purpose but to provide entertainment. By contrast, "Chicago And All That Jazz," as part of a series with fairly exacting standards, was conceived with much higher aspirations. It came during the early run of "The Dupont Show Of The Week," a CBS program telecast on Sundays at 10 pm from Sept.17,1961 to Sept.6,1964. Over the years, the series presented a kaleidoscope of various types of entertainment and informational programs, ranging from dramatic plays and documentaries to light comedies and musical revues. It was stated that one of the series' aims was to show the latitude and potential of the television medium as a means of communication and instruction. In this context, jazz or Afro-American music as one of the major cultural phenomena of the 20th Century could not be neglected. Rather than produce a light musical variety program, it was decided that an instructive one focusing on the early development of jazz should be arranged. Towards that end, writerproducer William Nichols produced a script that attempted to trace all the facets of the Chicago music scene in the 1920s, and how the conflux of musical influences led to the formation of the so-called "Chicago style." The playing conditions, the locations, the dance styles, and the milieu (i.e., underworld influence), were all taken into account to describe the culmination in the later 1920s, when Chicago was the jazz center of North America, and its eventual decline around 1930, when most of the Chicago musicians gravitated towards New York and the big bands such as Jean Goldkette, Paul Whiteman and Ben Pollack, where the uninhibited spirit of their music was all but drowned. It was a long and fairly demanding script, and commentator Gary Moore tended to be a bit pompous, especially during the early chapters of the program. This is less obtrusive in the Kinescope with its visual distraction, but well-educated jazz buffs find it rather overbearing, and even more so when left alone with the soundtrack, as on this LP. But it must be understood that an educational rather than merely entertaining commentary was certainly in keeping with the series' high standards. And what seems so disturbing at the onset of the program, when the scene is set, becomes more and more oblivious as some marvellous music unwinds. A track-by-track description of the many musical performances would exceed our space limits, and a good deal of information is already provided,in the title rundown, sufficiently detailed to facilitate an understanding of the musical proceedings. However, a few annotations on the performers and some of the program's highlights seem appropriate. The title, "Chicago And All That Jazz," reminds oldtime jazz enthusiasts of a Verve album released under that title. It was cut during the show's early rehearsals, on Oct.30 and 31, 1961, by some of the performers (without Red Allen) assembled for the TV program. To re-create the music of the first group that made records in what came to be termed "Chicago style," guitarist/organizer Eddie Condon had been called upon to try and reassemble those McKenzie-Condon Chicagoans. Jimmy McPartland, Gene Krupa, Joe Sullivan, Bud Freeman and Condon himself were still active after all those years and easily gathered. For the late Frank Teschemacher on clarinet, the logical replacement was Pee Wee Russell, then playing in the band at Condon's New York club. The part of bassist Jim Lanigan, retired after many years with the Chicago Symphony, was played by Bob Haggart, "a Chicagoan by association," to quote Gary Moore. The same could be said of trombonist / singer, Jack Teagarden, who had not been a member of the original group (there had been no trombonist then). An aside to the unitiated: Red McKenzie, whose name appears in the "Chicagoans" title, had not then recorded with them. He only insisted on the use of his name because he organized that 1927 date. Two other participants in the TV show were also recorded for the Verve album: Lil Hardin-Armstrong, as a solo pianist - 99 - and singer, and white veteran Vaudeville "shouter" Blossom Seeley. In the TV program on Saturday, Nov.26,1961, Lil Hardin- Armstrong appeared also in her original role as the pianist with Louis Armstrong's 1927 recording unit, the Hot Seven. Armstrong's part was admirably played by New Orleansian Henry"Red"Allen, and the two late Dodds Brothers, Johnny and Warren "Baby," were replaced by two Armstrong associates of later years, Buster Bailey and Zutty Singleton, on clarinet and drums, respectively. Bassist Milt Hinton, in place of tubist Cyrus St. Clair, completed the group in their recreation of "New Orleans style" jazz, playing such numbers as Armstrong's Cornet Chop Suey and two of Jelly Roll Morton's famous compositions, Jelly Roll Blues and Doctor Jazz This last number had a vocal by veteran entertainer Mae Barnes, who also proved to be an adept drummer in a duet with Lil Hardin-Armstrong on The Pearls, another Morton piece. For their next number, Heebie Jeebies, they were lent additional support by trumpeter Allen and clarinetist Bailey. Blossom Seeley had two solo vocals in the TV program. With Toddlin' The Toledo, she re-created a song and dance number that had gained her fame and a certain notoriety back in 1908. Her accompaniment in this performance came from a quintet representing The Original Dixieland Jazz Band, the group which cut the first jazz record in 1917. Outstanding in this illustrious enough assembly (see per-former listing) was Johnny Guarnieri, a vastly underrated versatile pianist who, later in the program, excelled in a sensitive rendition of the late Bix Beiderbecke's piano composition, In A Mist. Blossom Seeley, in her second song (Way Down Yonder In New Orleans) was supported by a rather undistinguished NBC studio group under the nominal leadership of Eddie Condon, a band that was never seen on screen. This band and a larger stud unit which provided most of the period music and the background to commentary were the least satisfying groups of the program, though they were occasionally supplemented with men from the Chicagoans or the ODJB. They were a necessity, though, because if their music contained little jazz quality, it served well in recreating the varied musical atmosphere of Chicago in the 1920s. In her rendition of Way Down Yonder In New Orleans, by the way, Blossom Seeley makes use of a part of this number that hardly any jazz fan has ever heard, as it is never played in jazz performances: a Latin-tinged verse reminiscent of the flavor in some Jelly Roll Morton pieces. To demonstrate early boogie woogie piano playing, Meade Lux Lewis was on hand, soloing on the Honky Tonk Train Blues, and with brief support by Gene Krupa in Pine-top's Boogie Woogie, the first known composition in this style. In an imaginative piece of editing that comes through on the soundtrack as well, Lewis' live rendition of Honky Tonk Train Blues was picked up from a recital of that number in the 1946 film "New Orleans," wherein Lewis meets Louis Armstrong during the film's Chicago chapter. To TV viewers, and the lucky ones possessing one of the rare Kinescopes remaining as testimony of the visual qualities of this show, such film clips, chosen by jazz film collector and historian Ernest R.Smith, may well appear to be the true mementos of those good old days." However, the feeling of those times is just as admirably conveyed by much of the music on this LP, beyond the instrumental numbers by the three small groups and the soloists. And for a striking example of the "Chicago style," there is nothing better than Chinaboy, played by some of the stalwarts of that era. In its first releases (8001, 8003) containing music from TV shows reliving the big band era (as well as a jam session sampling of various jazz styles-8005), SOUNDS GREAT set out to provide modern era collectors with a means to assess the treatment that jazz in its various incarnations has received on TV over the years. This LP is yet another valuable instaliment in that historical collection. Dr. K. Stratemann (Author: "Buddy Rich and Gene Krupa, A Filmo-Discography;" "Negro Bands On Film/Big Bands 1928- 1950, An Exploratory Filmo-Discography"). We are indebted to "Red"Allen biographer Franz Hoffmann for assistance in the preparation of these notes
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
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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
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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
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Page 29 and 30: Henry “Red” Allen - Jazz As Rej
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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
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Page 47 and 48: was growled on G in contrast to Lou
Page 49 and 50: he called for their arrangement of
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Page 53 and 54: "Blue Skies Are Round The Corner" k
Page 55 and 56: My Involvement - Jack Swinnerton in
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Sammy Price & Red Allen, Detroit Ma
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- 137 - Feb.65, Conrad Janis took a
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- 139 - according Sammy Price this
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delivered by a trumpeter with excel
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- 142 - unknown date at Princeton U
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- 144 - 12/5/65, 3 p.m.-4 a.m, N.Y.
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- 146 - 18th Feb.- 6th March 1966 U
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- 148 - Sinclair Traill in Jazz Jou
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phere of the Osterley opener was mi
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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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