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| 6.819 Ft
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| 1. | Theme: Way Down Yonder in New Orleans
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| 2. | Clarinet Marmalade
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| 3. | Body and Soul
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| 4. | Snag It
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| 5. | Sweet Sue, Just You
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| 6. | Eh, La Bas
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| 7. | Love Is Just Around the Corner
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| 8. | I Ain't Got Nobody
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| 9. | Struttin' With Some Barbecue
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| 10. | Squeeze Me
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| 11. | Ain't She Sweet
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| 12. | St. James Infirmary
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| 13. | Beale Street Blues
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| 14. | Ride, Red, Ride
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Jazz / Dixieland, Traditional Bluegrass, New Orleans Jazz, Bluegrass, Jazz Instrument, Trumpet Jazz
Arthur Trappier Drums
Big Chief Russell Moore Trombone
Bob Hilbert Producer
Buster Bailey Clarinet
Henry "Red" Allen Guitar, Vocals, Trumpet
Jack Sohmer Liner Notes
Joe Boughton Producer
Willie "The Lion" Smith Piano
Henry "Red" Allen from Central Plaza, 2nd Ave. Between 6th & 7th Streets
Considering the lineup of the quintet (trumpeter Red Allen, clarinetist Buster Bailey, trombonist Big Chief Russell Moore, pianist Willie "the Lion" Smith and drummer Arthur Trappier), this 1995 CD should be a gem that is easily recommended to Dixieland fans. Unfortunately, the performances during the live radio broadcasts are overly rambunctious, as Allen and his group play directly to the loud drunken audience; don't look for subtleties here. There are a few good moments (such as Red on "Love Is Just Around the Corner"), but most of the music (particularly Bailey's overly hyper solos) is below the standards of these musicians, with some corny humor and plenty of slapdash playing. Skip. ~ Scott Yanow, All Music Guide
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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