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| 5.601 Ft
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| 1. | Someday Sweetheart
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| 2. | Sister Kate
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| 3. | The River's Takin' Care of Me
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| 4. | Aint'cha Got Music
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| 5. | Stringin' Along on a Shoe String
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| 6. | Shadows on the Swanee
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| 7. | The Day You Came Along
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| 8. | Jamaica Shout
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| 9. | Heartbreak Blues
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| 10. | Hush My Mouth (If I Ain't Goin' South)
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| 11. | You're Gonna Lose Your Gal
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| 12. | Dark Clouds
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| 13. | My Galveston Gal
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| 14. | Happy Feet
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| 15. | I'm Rhythm Crazy Now
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| 16. | Ol' Man River
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| 17. | Minnie the Moocher's Wedding Day
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| 18. | Ain't Cha Glad
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| 19. | I've Got to Sing a Torch Song
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Jazz / Dixieland, Swing, New Orleans Jazz, Jazz Instrument, Trumpet Jazz
Recorded with Coleman Hawkins (ts), these driving swing-era favorites were mixed with popular songs of the day, and delivered by two masters. ~ Bruce Boyd Raeburn, All Music Guide
Credits
Name Credits
Armand Piron Composer
Arthur Johnston Composer
Benjamin Franklin Spikes Composer
Bernard Addison Guitar
Buzz Adlam Composer
Coleman Hawkins Composer, Sax (Tenor)
Dicky Wells Trombone
Don Kirkpatrick Piano
Fats Waller Composer
Harold Arlen Composer
Harold Spina Composer
Harry Warren Composer
Henry "Red" Allen Trumpet
Horace Henderson Composer
James V. Monaco Composer
Jerome Kern Composer
John Kirby Bass
John Spikes Composer
Milton Ager Composer
Russell Procope Clarinet
Sam Coslow Composer
Walter Johnson Drums
Henry "Red" Allen
Active Decades: '20s, '30s, '40s, '50s and '60s
Born: Jan 07, 1908 in New Orleans, LA
Died: Apr 17, 1967 in New York, NY
Genre: Jazz
Styles: Dixieland, Jazz Instrument, New Orleans Jazz, Swing, Trumpet Jazz
One of the last great New Orleans trumpeters to emerge during the post-Louis Armstrong era, Henry "Red" Allen has long been overshadowed by Satch and his successors but actually had a fresh new approach of his own to offer. Allen sounded modern no matter what the setting and the rhythmic freedom he achieved made his solos consistently unpredictable and exciting. The son of Henry Allen, Sr. (a famous New Orleans brass band leader), he learned trumpet early on and played in his father's parade band along with other local groups. After working on the riverboats with Fate Marable and Fats Pichon the following year, Allen joined King Oliver in Chicago. He recorded in New York with Oliver and Clarence Williams, and then Red Allen joined Luis Russell's superb orchestra and began his own solo recording career. Signed by Victor as an alternative to Okeh's Louis Armstrong, Allen's solos were original and brilliant from the start (particularly "It Should Be You"); throughout the 1930s his trumpet and gruff vocals would be heard on dozens of recordings and, even when the material was indifferent, Allen was usually able to uplift the music. After notable stints with Luis Russell (1929-1932), Fletcher Henderson (1933-1934), and the Mills Blue Rhythm Band (1934-1937), Allen became part of Louis Armstrong's backup band for three years, secure but somewhat anonymous work. However, starting in 1940, Red Allen led a series of impressive combos that were Dixieland-based but also open to certain aspects of rhythm & blues. Trombonist J.C. Higginbotham (a lifelong friend) and altoist Dan Stovall were on many of his recordings. From 1954-1965, Allen's frequently riotous group played regularly at New York's Metropole (Coleman Hawkins was occasionally among his sidemen), he visited Europe several times (including in 1959 with Kid Ory's band), and Allen was one of the most memorable participants in the December 1957 CBS TV special The Sound of Jazz. Red Allen remained very active up until his death, and in the 1960s was proclaimed by Don Ellis as "the most creative and avant-garde trumpeter in New York." The European Classics label documents his recordings of the 1930s, and many (but not all) of his later performances are also available on CD.
--- Scott Yanow, All Music Guide |
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