This article needs additional citations for verification .(January 2020)
|Birth name||Henry James Allen|
|Born||January 7, 1908|
Algiers, Louisiana, U.S.
|Died||April 17, 1967 59) (aged|
New York City
|Associated acts||King Oliver, Clarence Williams, Luis Russell|
Henry James "Red" Allen (January 7, 1908 – April 17, 1967) was an American jazz trumpeter and vocalist whose playing has been claimed by Joachim-Ernst Berendt and others as the first to fully incorporate the innovations of Louis Armstrong.
Allen was born in the Algiers neighborhood of New Orleans, Louisiana, the son of the bandleader Henry Allen. He took early trumpet lessons from Peter Bocage and Manuel Manetta.
Allen's career began in Sidney Desvigne's Southern Syncopators. He was playing professionally by 1924 with the Excelsior Brass Band and the jazz dance bands of Sam Morgan, George Lewis and John Casimir. After playing on riverboats on the Mississippi River, he went to Chicago in 1927 to join King Oliver's band. Around this time he made recordings on the side in the band of Clarence Williams. After returning briefly to New Orleans, where he worked with the bands of Fate Marable and Fats Pichon, he was offered a recording contract with Victor Records and went to New York City, where he joined the Luis Russell band, which was later fronted by Louis Armstrong in the late 1930s.
In 1929, Allen joined Luis Russell's Orchestra, in which he was a featured soloist until 1932. He took part in recording sessions that year organized by Eddie Condon, some of which featured Fats Waller and Tommy Dorsey. He also made a series of recordings in late 1931 with Don Redman. In 1933 he joined Fletcher Henderson's Orchestra, in which he stayed until 1934. He played with Lucky Millinder's Mills Blue Rhythm Band from 1934 to 1937, when he returned to Russell for three more years, by which time Russell's orchestra was fronted by Louis Armstrong. Allen seldom received any solo space on recordings with Armstrong but was prominently featured in the band's live performances, even getting billing as a featured attraction.
As a bandleader, Allen recorded for Victor from 1929 through 1930. He made a series of recordings as co-leader with Coleman Hawkins in 1933 for ARC (Banner, Melotone, Oriole, Perfect, Romeo, etc.) and continued as an ARC recording artist through 1935, when he was moved to ARC's Vocalion label for a popular series of swing records from 1935 through late 1937. A number of these were popular at the time. He did a solitary session for Decca in 1940 and two sessions for OKeh in 1941. After World War II, he recorded for Brunswick in 1944, Victor in 1946, and Apollo in 1947.
Allen continued making many recordings under his own name and also with Fats Waller and Jelly Roll Morton and accompanied such vocalists as Victoria Spivey and Billie Holiday. After a short stint with Benny Goodman, Allen began to lead his own band at the Famous Door in Manhattan. He then toured with the band around the United States into the late 1950s.
In December 1957, Allen appeared with Pee Wee Russell on the television program "Sound Of Jazz". In 1959, he made his first tour of Europe when he joined Kid Ory's band. He led the house band at New York's famous Metropole Cafe from 1954 until the club ceased its jazz policy in 1965.
Allen was Roman Catholic.
Allen returned to working under his own name and made numerous tours of the United States and Europe. He was diagnosed with pancreatic cancer in late 1966. After undergoing surgery, he made a final tour of England, which ended six weeks before his death, on April 17, 1967, in New York City. He is buried, in the newer section of Saint Raymond's Cemetery in the Bronx, in grave 52 of section 15.He was survived by his widow, Pearly May, and a son, Henry Allen III.
On June 25, 2019, The New York Times Magazine listed Red Allen among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.
Red Allen's trumpet style has been described, by Joachim-Ernst Berendt and others, as the first to fully incorporate the innovations of Louis Armstrong and to develop an emphasis on phrasing.Allen's recordings received much favorable attention. His versatility is shown by his winning of DownBeat awards in both the traditional jazz and the modern jazz categories.
With Langston Hughes
Joseph Nathan "King" Oliver was an American jazz cornet player and bandleader. He was particularly recognized for his playing style and his pioneering use of mutes in jazz. Also a notable composer, he wrote many tunes still played today, including "Dippermouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, "if it had not been for Joe Oliver, Jazz would not be what it is today."
The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band.
Edward "Kid" Ory was a Black Creole jazz trombonist and bandleader. He was born on Woodland Plantation, near LaPlace, Louisiana.
Albany Leon "Barney" Bigard was an American jazz clarinetist known for his 15-year tenure with Duke Ellington. He also played tenor saxophone.
Ernest Loring "Red" Nichols was an American jazz cornetist, composer, and jazz bandleader.
Coleman Randolph Hawkins, nicknamed "Hawk" and sometimes "Bean", was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". Hawkins biographer John Chilton described the prevalent styles of tenor saxophone solos prior to Hawkins as "mooing" and "rubbery belches." Hawkins cited as influences Happy Caldwell, Stump Evans, and Prince Robinson, although he was the first to tailor his method of improvisation to the saxophone rather than imitate the techniques of the clarinet. Hawkins' virtuosic, arpeggiated approach to improvisation, with his characteristic rich, emotional, and vibrato-laden tonal style, was the main influence on a generation of tenor players that included Chu Berry, Charlie Barnet, Tex Beneke, Ben Webster, Vido Musso, Herschel Evans, Buddy Tate, and Don Byas, and through them the later tenormen, Arnett Cobb, Illinois Jacquet, Flip Phillips, Ike Quebec, Al Sears, Paul Gonsalves, and Lucky Thompson. While Hawkins became known with swing music during the big band era, he had a role in the development of bebop in the 1940s.
Robert Edward "Bob" Brookmeyer was an American jazz valve trombonist, pianist, arranger, and composer. Born in Kansas City, Missouri, Brookmeyer first gained widespread public attention as a member of Gerry Mulligan's quartet from 1954 to 1957. He later worked with Jimmy Giuffre, before rejoining Mulligan's Concert Jazz Band. He garnered 8 Grammy Award nominations during his lifetime.
Albert Edwin "Eddie" Condon was an American jazz banjoist, guitarist, and bandleader. A leading figure in Chicago jazz, he also played piano and sang.
Luis Russell was a pioneering Panamanian jazz pianist, orchestra leader, composer, and arranger.
Omer Victor Simeon was an American jazz clarinetist. He also played soprano, alto, and baritone saxophone and bass clarinet.
Roland Bernard "Bunny" Berigan was an American jazz trumpeter and bandleader who rose to fame during the swing era. His career and influence were shortened by alcoholism and ended with his early demise at the age of 33 from cirrhosis. Although he composed some jazz instrumentals such as "Chicken and Waffles" and "Blues", Berigan was best known for his virtuoso jazz trumpeting. His 1937 classic recording "I Can't Get Started" was inducted into the Grammy Hall of Fame in 1975.
Jay C. (Jack) Higginbotham was an American jazz trombonist. His playing was robust and swinging.
Charles James Shavers was an American jazz trumpeter who played with Dizzy Gillespie, Nat King Cole, Roy Eldridge, Johnny Dodds, Jimmie Noone, Sidney Bechet, Midge Williams, Tommy Dorsey, and Billie Holiday. He was an arranger and composer, and one of his compositions, "Undecided", is a jazz standard.
Michael Andrew "Peanuts" Hucko was an American big band musician. His primary instrument was the clarinet but he sometimes played saxophone.
"Panama" is a jazz standard. It is by William Henry Tyers, originally entitled "Panama, a Characteristic Novelty", published in 1912.
William Johnson Coleman was an American jazz trumpeter.
William C. "Buster" Bailey was a jazz clarinetist.
Dixieland, sometimes referred to as traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The 1917 recordings by the Original Dixieland Jass Band, fostered popular awareness of this new style of music.
Joe "Fox" Smith(né Joseph Emory Smith; 28 June 1902 Ripley, Ohio – 2 December 1937 Central Islip, New York) was an American jazz trumpeter.
The Smithsonian Collection of Classic Jazz is a six-LP box set released in 1973 by the Smithsonian Institution. Compiled by jazz critic, scholar, and historian Martin Williams, the album included tracks from over a dozen record labels spanning several decades and genres of American jazz, from ragtime and big band to post-bop and free jazz.
|Wikimedia Commons has media related to Henry "Red" Allen .|