Henry
“Red” Allen: World on a String (Bluebird 2497-2-RB)
In all the flurry of recent interest in the byways of
America’s vernacular music, one absence is particularly
glaring - especially considering the undoubted fact that
it was the pioneer which paved the way for serious interest
in the the rest. That is, pre-modern jazz has, amazingly,
simply not been issued an invite to the feast. Put off
by its lack of “hip” credentials (a sour joke,
considering the origins of that word) - and by childhood
memories of dull retreads by revivalists - it remains
a largely untouched resource...despite its strong timbral
influence on the early free players, now very much back
in vogue...
Perhaps the best way into this area, for those interested
in “out” playing, are the late recordings by
those such as “Red” Allen...who responded to
the challenge of modernism by further developing their
already highly idiosyncratic styles, in ways that still
amaze. And, the best “Red Allen” is this.
Try “I Cover The Waterfront”, for example...and,
you’ll hear exactly why he attracted such reverence
from all & sundry. His trumpet, on opening, blurts
& rips in a loose paraphrase of the melody, only to
build through weird outbreaks of breathy half-valving
that’d’ve given traditionalists fits. Yet, all
the same, he’s not abandoning the song...simply turning
what some would use as passing effects into the core of
his technique. And, the result is no gimmick, by any means.
In fact, in many ways - and, particularly in the contributions
of the other players - this is actually a deeply traditional
(albeit certainly not revivalist) set. Even Coleman Hawkins
- usually the most challenging player in any company -
is, here, simply outclassed by the astonishing Allen...
A particular favourite of mine is his romping through
“St. James Infirmary” - complete w/a nervy &
grained vocal, alternately rushed & dragged-out -
which uncannily matches the idiosyncratic nature of his
trumpet phrasing. And, then there’s “Let Me
Miss You, Baby”, which was the cut that introduced
me to the man...
Now, Allen’s no Don Ayler, by any means - or Don
Cherry, for that matter... What he is is a consumately
idiosyncratic traditional player, who’s not afraid
to push his playing into some very startling territory...and
clearly has great joy in doing so. But, without understanding
(and, learning to love) music like this - not to mention
the best of the 20s & the brass musics which spawned
it - I’d have to say that, no matter how much “jazz”
you listen to, you’ll never deeply understand the
stuff, being trapped w/in a forshortened history that
starts in midstream.
So, lend Mr Henry an ear...‘cause, I promise you,
he’s well worth your while...
John Henry Calvinist
