henry“red“allen

201 Pages·2012·17.53 MB·English

T H E
H E NRY“ RE D“ AL L E N
J . C . H IG G IN G B O T H A M -
&
CO L L E CT IO N

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a bio-disco-documentation
part – 1a: 1906-1934

compiled by Franz Hoffmann

The Luis Russell Band at Loew´s State Theatre , Jan.1931
- book-cover backside -

JAZZ ADVERTISED 1910-1967 out of the negro press of New England and Chicago 1910-67 and out of
the New York Times 1922-49 in 7 Volumes & INDEX plus JAZZ REVIEWED

A great documentation about the systematically studied papers of the Chicago Defender, New York Age, New York
Amsterdam News, Baltimore Afro-American, Pittsburgh Courier, Greenwich Village Voice, New York Times brings a
compilation of 21.300 advertisements of records, night and cafe spots, clubs, theatres, concerts and films with jazz, about
1.500 band pictures and 1.500 shots and portraits and many sample notes and several articles. It gives an impression
about 57 years of jazz and blues history, the ways of many well known and less known bands, shows, singers and
personalities through the years as well as the history of the famous theatres with the complete weekly jazz programms of
the Lafayette & Lincoln 1920-34, Apollo 1933-67 in Harlem, the Paramount, Strand & Loew´s in Brooklyn, the Howard
in Washington and the Regal in Chicago.
The indexed ads. will be helpful for further research on notes and articles about special performers to be found on the
same source page and it will show the characters of these important negro-newspapers often neglected in jazzresearch
because only available to few researchers.
Most of the many pictures are of historical worth but unfortunately often of poor quality photocopied from microfilmreels
of old papers. The books will show their exist and source.

Vol.1: New England 1910-34: 2442 ads., 237 photos, 224 shots; 424pp; 30,00 Euro
2: 35-40: 2857 “ 579 “ 223 " ; 414pp; 30,00 Euro
3: 50-67: 3613 “ 322 “ 259 " ; 404pp; 30,00 Euro
4: Chicago Defender 10-34: 2253 “ 187 “ 91 “ ; 356pp 30,00 Euro
5: 35-49: 2345 “ 300 “ 333 “ ; 350pp 30,00 Euro
6: 50-67: 2947 “ 116 “ 103 “ ; 352pp 30,00 Euro
7: New York Times 22-49: 3592 “ 53 “ 51 “ ; 420pp 30,00 Euro
Indexbook for all volumes (only in context with the books useful) 10,00 Euro
JAZZ REVIEWED,Vol.1 New England 1910-49,additional clips to Vol.1/2; 30,00 Euro

Foreword to Jazz Advertised

The late Walter C. Allen demonstrated via his masterful In various volumes of JAZZ ADVERTISED, Franz has
study HENDERSONIA the importance of utilising jazz packed an incredible amount of fascinating detail, all of it
information contained in contemporary newspaper reports meticulously dated, much of it illustrated. On many
and advertisements. occasions I have been able to trace the answer to a difficult
Since the publication of that invaluable work in 1973 problem within the pages of JAZZ ADVERTISED, even a
every worthwhile jazz researcher has tried to follow cursory look through the entries reveals lots of new
Walt´s example, but even the most dedicated scholar can information.
be thwarted by not being able to again access to ephemeral I can enthusiastically recommend JAZZ ADVER-
material printed sixty years ago. TISED to anyone who wants to find out more about the
Happily Franz Hoffmann exists. This amazingly history of jazz and the remarkable musicians and singers
dedicated man has performed a great service for jazz lovers who created it during its Golden Era.
by compiling ( in book form ) thousands of news items and John Chilton April 1989
advertisements that were originally published in black
newspapers during the period 1910-67.
THE BLACK PERSPECTIVE IN MUSIC Volume 16 Fall 1988 Number 2 p257
Jazz Advertised in the Negro Press. By Franz Hoffmann. Vol. 1. The Negro Newspapers of New England: 1910-
1929. Berlin: The Author, 1980, 132 pp (1st shorter edition).
Here are two fascinating picture books, which instruct as “After several weeks of dickering, the Lafayette Theatre
well as delight. Franz Hoffmann has combined through black management has secured the Byron Brothers as the head-line
newspapers and xeroxed copies of everything that can be attraction for Christmas week. The Byron Brothers have the
even remo-tely classified as advertisement, arranged this best musical act in vaudeville, and were.a sensation in New
material in chronological order, and published it. The volume York about three months ago when they made their debut at
examined by the present revie-wer included materials from once of the local vaudeville houses....”
New York´s Amsterdam News and New York Age and the Taken together the advertisements reveal the wide variety of
Baltimore Afro-American. Other black news-papers are entertainment available to black New Yorkers in the 1920s
covered in later volumes. and their social habits. On 8 April 1922 for example, one
Hoffmann´s focus on the advertisement is well placed. could watch Bessie Coleman. "the only race aviatrix,” exhibit
Anyone who has examined the black press will know that its “heart thrilling Aeroplane Stunts,” with music provided by
advertisements are a form of social history in them-selves. In the 15th Infantry Band. During the same period, one could go
addition to announcing time and place of events, to dances, plays, musicals, picnics, movies, fashion shows,
advertisements may include photographs or dra-wings of' sports events -all these including musical perfor-mance - or
watch band contests, where there might be two or three
individuals and musical organizations, listings of the
participants or as many as ten or more.
personnel of musical groups, prints of the programs to be
There is a detailed index, which refers to individuals,
offered, and various kinds of comment on just about
groups, and occasionally show titles. This volume will be of
anything. A Byron Brothers advertisement (New York Age, 17
great interest not only to serious researchers but also to jazz
December 1915), for example, shows five, hand-some,
fans who are curious about the history of the genre. While the
smiling young men holding their saxophones, which range in
author advises that this is an “unpublished, private working
size from soprano to bass, and the following note below the
book for research,” it seems probably that he will accept
picture:
inquiries….
Eileen Southern, Harvard University
T H E H E NRY“ RE D“ AL L E N – CO L L E CT IO N
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bio-disco-documentation
an uncommercial
part - 1a: 1906-1934
=====================

with almost all the original sources:
reviews, previews, record-reviews through the years by controverse critics,
advertisements and photographs compiled out of
periodicals, newspapers, jazzbooks, LP-/CD-cover-notes
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HENRY“RED“ ALLEN
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Jan., 7th, 1906 – Apr., 17th , 1967
a trumpeter between styles and generations
with an impression about the surrounding conditions and collegial performers ;
also about the most fascinating world of the black show-business and its social background
reported by the weekly black newspress papers –
and about the rather different jazz magazins and jazz critics in course of time and jazz styles

and his closest man,
J.C. HIGGINBOTHAM
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May, 11th , 1906 – May, 26th , 1973

by
Franz Hoffmann
Kortumstr.27, D-44787 Bochunm, Tel.: [phone]; e-mail: [email protected]
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July 2000 / with better typewritten press clips & more record-reviews June 2004 &Oct.2005
overworked for pdf-data May-2011
- II -

BACK TO THE ORIGINAL SOURCES:
Born 1942 in Germany, grown up in an international publicity and whith a father who had lived from 1924-39 in Middle
America and the USA and with his enthusiasically memories of jazz life with all his facettes - working bands, gospels and
black & white night club bands – my interests aroused going back to the original sources, musically (in cotrast to my
friends I never have been a fan of the “Dixie-revival” but of the old and new styles ) and literary. I was fascinated by the
early dicographies by Dr.H.Lange, Delauney then: Rust and Godrich & Dixon and such deep researched books of W.C.
Allen´s HENDERSONIA, Tom Lord´s Clarence WILLIAMS and Chilton´s WHO´S WHO, Al McCarthy´s BIG BAND
JAZZ e.t.c. They brought me to step into the fascinating world of the weekly negro-press papers, which showed also the
social backgrounds of jazz life and in contrast to the relatively fixed history of jazz perfor-mers and bands that there was a
big personnel fluctuation between the bands, shows & venues, unknown for us in Europe and often neglected by
magazins and jazzcritics.
I hope this work is able to bring over some of this flair of those vivid-jazz-life reported by the negro-press-papers and of
the jazz magazines with their different opinions through the years.

The biographical part lists
- all known engagement dates, if known: details of additional shows, previews, reviews, advertisements, benefits;
I am rather incomplete for stuff out of newspapers of San Francisco, St.Louis, New Orleans, Boston, Philadelphia,
- all known photos ; record-advertisements
- as far as available all known critical record-reviews through the years and if of interest – the cover notes

This disco-part lists

- all known recordings for commercial record and transcription companies (including unissued titles and alternate takes)
with the original 78" releases. Not mentioned are other 78" & Ep issues and for lack of place often not single reissues
on Lp samplers whereas I tried to listen all known Lp, CD & video issues. But I fear I am not up to date in the complete
US CD/video-field. I let out CD-issues of samplers or when they do not bring the complete sessions
- all known recordings for non-commercial record and transcription companies as AFRS, Music Branch of Special
Services Division (V-Disc) including unissued titles and alternate takes. Especially in the 40's and early 50´s several
club- and concert-jamsessions have been transcribed for broadcasts one or several weeks and occasionally even years
later (a special list is available).
- all known taped broadcasts (air-checks and air-shots) of TV and radio shows all known taped soundtracks from films
and telecasts (video-tapes with special marks). For research of more anywhere existing film & TV stuff ,a special list is
available.
- all known taped concerts and other life appearances (often only of poor quality but of historical interest).
I would like to encourage everybody who is able to make any corrections or addition or remarc, especially details about
engagements in New Orleans, Los Angeles, San Francisco and Boston.

For better legible-quality I had scanned a lot of stuff out of old papers into the PC. Unfortunately the text-recognition-
programme made so many mistakes, that it was impossible for me to correct all. Forgive when I have overlooked
several faults.

unissued RED ALLEN broadcasts, TVs and live-concerts on non-commercial series
RA-CD-1-41 & JCH-CD-1-12 & RA-DVD-1 & RA-DVD-2 (look own pdf-data)

other non-comercial books available in small xeroxeditions , all available now on pdf-DVD:
HENRY”RED”ALLEN COLLECTION – A RED ALLEN BIO DISCO COMPILATION
of engagement dates and all stuff (photos, advertisements, previews, reviews, record reviews, notes out of the press papers (N.Y.Amsterdam News, N.Y.Age, Pittsburgh
Courier, Baltimore Afro American, Chicago Defender, N.Y. Times) and nearly all periodicals and jazz magazins. A survey about the world of jazz with his different
facettes of music and styles as also the different & controverse opinions by critics in the publications through the years.
1. part.1a: chapters 1 - 3 (1906-1934), Index in part 1b 196 pp, 10 Euro +.post charge
2. part.1b: chapters 4 - 5 (1934-1940), with Index for 1a+1b 196 pp, 10 Euro + “ “ “
3. part.2: chapters 6 - 7 (1940-1954), with Index 156 pp, 10 Euro + “ “ “
4. part.3: chapters 8 -10 (1954-1967), with Index 196 pp, 10 Euro + “ “ “
5: part 4: colored and black & white 78 label scans 1927-48, 33 rpm & Lp coverscans 1933-65
6: uncommercial Red Allen collection on RA-CD-1-41 & JCH-CD-1-12 only in small edition for few fans and libraries
------------------------------------------------
7. RED ALLEN – J.C.Higginbotham DISCO, 1927 – 1968 150pp, 8 Euro
incl.a lot of unissued bcs/TVs/films/concert-tapes; photos, advertisements
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8.. "Jazz Advertised in the US-negro press 1910-67 & New York Times 1922-50" a documentation of about
21.300 advertisements and 3.000 photos (often of poor quality out of old microfilmed papers) on 2.700 pp
in seven volumes plus index-book 30,00 Euro each one, 10,00 Euro for the Index
9. “Jazz Reviewed” - Working Book Addition to JAZZ AD. with press clips (*incl.Louis Armstrong 1935-37/40-41)
Vol.1: New England 1910-49 + specials of L.Russell*/ Baron Lee- L.Millinder-E.Hayes; 396 A4pp incl.Index ; 30 Euro
III
Contents:
BIO-DISCO part-1a: New Orleans / Luis Russell / different orchestras / Fletcher Henderson 253 pages
Introduction & other available books II
References and book reviews IV-V
Credits, Instrumental abbreviations VI
Label Abbreviations VII
Survey about clubs / venues in Harlem and Brooklyn VIII

INTRODUCTION: Martin Williams - “Henry Red” 1
Witney Balliett - “THE BUES IS A SLOW STORY” 10
Mississippi Rag Nov.93 – J. Lee Anderson – Henry Red Allen 14.1-14.8
Other general articles about Red Allen by Chilton, Goffin, M.Boujut 15
Chapter-1a: The Early Days 1906-27 in Algiers, New Orleans, gigs on the Mississippi 19
-1b: The Early Days 1927-29, first trip to New York then on the Riverboats 26
Albert McCarthy: Red Allen-Autobiography - The Early Days 32
Other articles by Pearlie Mae to P.Carr; Allen to John Lucas; & WYES-TV-1966 36
Algiers walking tour -by K.Herridge / Best of West - by K.Reckdahl / Jazzwalk´s lamppost 39a-39f
Chapter-2: 29-33 with the LUIS RUSSELL ORCHESTRA & first mixed bands 40
Longer articles by Pops Foster, Frank Driggs, Al Mc Carthy, Johnny Simmen, 43
Swing Music-36; Henk Niesen; Harald Grut, David Ives, 55
J.R.T.Davies & L.Wright Andrew Sylvester, Harry Walton, Barry McRae; 60
Keith Nichols – J.C.Higginbotham; Eddie Lambert; Jean Pierre Daubresse, 66-70
& Michel Andrico about L.Russell (p106-107); Al Nicholas about Jelly Roll 109
Chapter-3: Sept.31-May 1933 intermission with different orchestras incl.Charlie Johnson 114
Don Redman: Albert Mc Carthy 114
Rhythmakers: E.Lambert, Ch.Fox (p121); H.Panassié (p130-132); Peter Kunst 133
Articles by Spike Hughes, Ray Horricks, Nank Niesen, Max Harrison, 138
H.Panassié Peter Tanner, Stanley dance, BarrenMcRae, John Hammond 145
June`33-Oct.`34 with FLETCHER HENDERSON´s ORCH. & studio bands 148
Articles by: GEMS OF JAZZ (p156-157);W.C.A.:HENDERSONIA (p183-184) 184
BIO-DISCO part-1b: Mills Blue Rhythm Band 1934-36 / Day By Day Louis Armstrong 1937-40 301 pages

Chapter-4: 1934-1937 THE MILLS BLUE RHYTHM BAND & pick-up-bands 185
Ewin Hinchcliffe in Swing Music 5/35: RedAlllen – his records 202
Chapter-5: 1937-1940 LOUIS ARMSTRONG & LUIS RUSSELL & Bluesrecords 239
L.Armstrong: “Artists and Models”-247; “Every Day's A Holiday”-253; “Dr.Rhythm”-254/255/269;
“Going Places”-271/272; ”Swingin' The Dream”-300-302; different Fleischmann Yeast NBC-bcs
Jam-sessions, benefits: “Swing to Opera”-265; “Randall Islands”-273; Carnegie Hall-Oct.38:-289;
Jelly Roll Morton sessions - 264,306-311 ; Red Allen articles 286/287/311
ADDENDA: The Time Life article 1981 by Dick Sudhalter & John Chilton, incl. record reviews & photos, 336-360
INDEX for part-1a & -1b 361-366
ADDENDA: J.C.Higginbotham´s 1943 - “Warm Up” book for trombone –1 & -2 (solos to p-acc.) 27 pages
J.C.Higginbotham –solos 1928-41 transcribed by Ulrich Bela in 2001 64 pages
BIO-DISCO part-2 : 1940 –1953 173 pages

J.C. HIGGINBOTHAM - by John Chilton IV
HENRY”RED”ALLEN - by John Chilton V
Chapter-6: 1940-1947 OWN ORCHESTRA & avantgarde sessions 1
Articles by Rex Stewart `68, Red Allen`40, L.Feather, George Hoefer`42; CD.`44; Pat Harper `46;
Bill Kinnell `44-“HIGGY; Johnny Simmen `76; Red Allen `46; DB-Jan.47; J.C.Higginbotham`47;
Chapter-7: 1947-1954 REVIVAL BANDS 103
Articles by Herb Friedwald – G.Lewis on AMCD; G.Hoefer `52; Gus Kuhlman- Rustic Lodge
Ron Stayley `53-Higgy went Home; Thurman & Mary Grove `54; Douglas Hague `55;
INDEX for part-2 147
BIO-DISCO part-3 : 1954-1967/73 236 pages

Chapter-8: 1954-1961 THE METROPOLE ALL STARS part-1 1
“Metropole” by John Chilton: -2/-41; by Mc Carthy: -64-65; map of 52nd St.: -5
NPT-57: 29-35; Dec.57 Sound of Jazz: 36-39; Aug.58: A Great Day In Harlem: 54-55
1958 on ART FORD JAZZ PARTIES-WNTA-TV 46-59
Red Allen by G.Hoefer-1959: -60; Higginbotham by DB-59: -61; by G.Hoefer 1964: - 62
1959 with KID ORY on record session & Europa-Tour 71-85
Red Allen by W.Balliett –73; Kid Ory by J.Cooke -79; by G.Boatfield –80; by T.Standish - 82
Chapter-9: 1961-1965 OWN QUARTET - at the Metropole part-2, Embers, London House, e.t.c. 93
Martin Williams article – 97 &104; Chicago & All That Jazz –98; Don Ellis article – 111;
1964 with LOCAL BANDS on Tours through England 113-134
Chapter-10: 1965-67 The Avangarde Quartets, Monterey-65 on p142; Newport-66 on pp152-154; 138
“Higgy Comes Home” 1966-WAGA-TV & article by Dan Havens; 159-164
1966/67 with LOCAL BANDS on Tours through England 146-151/166-168
Final Days: funerals of Buster Bailey & Red Allen; Red Allen benefit; obituraries; 169-178
J.C.Higginbotham – last TV-69, article by B.Haughton 1970; obituary 1973; & addenda 179-181
INDEX for part-3 182-186
Survey about JAZZ ADVERTISED 1910-1967 187-190
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Survey about non-commercial audio-CD- series RA-CD-1-41 & JCH-CD-1-11 incl. many unissued sides 24 pages
- IV -

CREDITS

Allen, Dan"W.C." (Can) Griffiths, David (UK) Schiedt, Duncan ( USA)
Allen, Dick (USA) Hägglöf, Gösta (Amb.Rec.Swe) Schlitten, Don (Xanadu-USA)
Allen, P.Henry III (USA) Hällstrom, Carl (Swe) Schmidt, Rolf (G)
Allen, Pearlie Mae (USA) Schonfield, Victor (UK)
Haesler, Bill(Saggie-Austr.)
Allen, Josephine (USA) Schröder, Harry (G)
Herling, Horst (G)
Armstrong House, Queens (USA) Segami, Yasuo (Japan)
Herridge,Kevin (USA)
Barker, Danny (USA) Selchow, Manfred (G)
Higginbotham, Margaret (USA)
Bärnheim, Björn (Swe) Shera, Michael (UK)
Hilbert, Bob (Pumpkin-USA)
Bastide, Michel, MD (F) Simmen, Johnny (Ch)
Hippenmeyer, Jean R. (Ch)
Benandrini, G. (Queen-I) Singer, Hal (F)
Holmes, Charlie (USA)
Beranger, Philippe (F) Singleton, Marge (USA)
Inman, Robert (USA)
Borthen, Per (Norway)
Smith, Hal (UK)
Jenkins, L.C. (M.S.G.-UK)
Boughton, Joe (USA)
Smith, Keith (Flutegr.-UK)
Kellam, Colin A. (UK)
Brooks, Michael (CBS-USA)
Kuhlman, Gus (WCTC-bc, USA) Stumpf, Axel (G)
Buckley, Ian (UK)
Tanner, Frank (UK)
Knudsen, K.E. (CC-Rec.Dan)
Burke, Ed (Fanfare-USA)
Taylor, James 0. (USA)
Cantor, Mark (USA) Kumm, Robert (USA)
Terjanian, Leon (F)
Carr, Peter (UK) Lasker, Steven (USA)
Teubig, Klaus (G)
Chertok, David (USA) Lefevre, Claude (F)
Trolle, Frank (USA)
Chilton, John (UK) Lucie, Lawrence (USA)
Tulane University-(USA)
Clayton, Buck (USA) Mackenzie, Harry (UK)
Valburn, Jerry (JA/Meritt-USA)
Clement, John (USA) MacKinney, Jack (USA)
Vernhettes, Dan (F)
Cole, 'Dr."Cozy" (USA) Marschall, Frank (G)
Vinding, Terkild MD (USA)
Collier, James L. (USA) Metzger, David"Red"(USA)
Coller, Derek (UK) Mikell, Gene (USA) Voce, Steve (UK)
Coverdale, Bill (UK) Mohaupt, Wolfgang (G) Vollmer, Al MD (USA)
Daubresse, Jean Pierre (F) Nathan, David, N.J.F. (UK) Von Rijn, Guido (NL)
Driggs, Frank (USA) Nowakowski, Dr.Konrad(A) Warner, Will (USA)
Elleson, George H. (UK) Peerless Brian (UK) Weir, Bob (UK)
Erzinger, Frank (Ch) Persson, Bent (S) Wessells, Robert (USA)
Esposito, Bill (USA) Pointon, Michael (UK) Wethington, Crawford (USA)
Fell, John (USA) Polomsky, Lothar (G) Willems, Jos (Belg)
Fellers, Christer (S) Williams, Johnny (USA)
Porter, Bob (Savoy/Phoenix)
Flakser, Harold (RRA-USA) Williams, Martin (USA)
Richards, Trevor (G/UK
Flückinger, Otto (Ch) Williams, Mary Lou (USA)
Risch, Robert (USA)
Friedwald, Herb (USA) (Jazz-USA) Zeiger, Les (USA)
Rose, Boris (USA)
Friedwald, Will zur Heide, Karl Gert (G)
Salemann, Dieter (G)
Goodsell, Syd (UK) Zwicky, Theo (IRC-Ch)

special thanks to the late Bert Bradfield and John R.T. Davis, (UK) who had cut special compiled transcriptions with
unavailable Red Allen records in the 1960s & `70s, and thanks for 78” label scans to J.R.T. & Sue Davies, Theo Zwicky,
Dr.Michael Arie, Berhard Behncke, Jack Bradley, Frank Büchmann-Möller, Charlie Crump, Walter Deenik, Klaus Uwe Dürr,
Rolf Enoch, Michael Kasche, Steven Lasker, Ross Laird, Karsten Lohmann, Dr. Ulrich Neuert, Michel Pfau, James Prohaska,

Jazz Institut Darmstadt, Louis Armstrong House & Rutgers Inst.of Jazz Studies.

ABBREVIATIONS
Instrumental abbreviations
a/arr arranger cond conductor org organ
acc accompanied by comp composer p piano
as alto saxophone d drums ss soprano saxophone
b string bass dir director t trumpet
bb tuba el-g electro-guitar tb trombone
bs bass saxophone fl flute ts tenor saxophone
bars baritone saxophone fh french horn v vocal
bj banjo g guitar valve-t valve trumpet
c cornet ld band leader vib vibraphone
cel celeste mc master of ceremonies vln violine
cl clarinet narr narrator wb washboard

for many performances there are solo-routines with following abbreviations:
-ann = announcement ,b = bars ; brk = break ; brd = bridge ; ens = ensemble work ; intro = introduction;
-Allen in ens = the musician is clearly audible; growl = growl-t / mute = muted trumpet or muted trombone;

-(obligato work) indicates that the musician is improvising behind a vocalist; e.g: -vRA (ens-Higginbotham) 20b-
means 20 bars vocal by Red Allen with obligato work first by the ensemble then by Higginbotham
- V -
Label Abbrevations

ABS-LP CBS-Records JSP-CD JSP-CD-Rec.(UK)
Aff. Affinity-CD (IJK.) Jub. AFRS-Jubilee Records
AFRS Armed Forces Radio Service King AKWA King AKWA Rec. (G)
AM-Lp/CD American Music (USA) K.J. King Jazz KJCD-FS (I)
Ambas.CLA Ambassador-CD(Swe) Landsc. Landscape Rec.LSCD(
Antip Antipodisc Australia Largo Largo Rec.CD (G)
AofH Ace Of Hearts LeJ LeJazz CD (F)
A.o.J. Archives Of Jazz(Du) Lon London
ASV-CDAJA ASV-Living ERA LVA LVA-Records
ARCD Arbors (USA) Mainstr Mainstream
ASV ASV-CD (UK) MCA Decca Group
Atl Atlantic MCD Moon MCD (UK)
BDCD Bandstand CD (USA) Me Br.Melotone 78"
Ban Banner (78") MJCD Media 7 Masters o.J.(F)
BB RCA-Bluebird MemMJCD Memoir Records CD
BBC BBC-Enterprises (UK) Mid.CD Midget Rec.CD
B.of J. Best of Jazz CD (F) Mil.CD Milan Rec. CD (F)
B & W Black and White MGM Metro Goldwyn Mayer
BMCD Blue Moon CD MosaicLp/CD Mosaic Rec. (USA)
BN Blue Note MusMem-CD Music Memoria
Br Brunswick NAT National
Cam Camden-RCA NoJ-No. Notes on Jazz (USA)
Cap Capitol Obj.JD Object Rec.CD
CBS Columbia Broadc.Systems Od Odeon
CC/ColClas Collectors Classics OFC Only for Collectors
Charl.CDAFS Charly Rec. (UK) OK Okeh (78")
CDS Rec. CDS-Records-CD (UK) Parl Parlophone
Class. Classics-CD (F) Per Perfect
Clif.CARCD Clifford Phoenix-LP Phoenix (USA)
Coll´s Collector´s Phon Phonstatic
Coll´s Must Collector´s Must Phi Philips
Co/Col Columbia 78"/Lp PhonCD Phonstatic Rec.CD(Swe)
Com-LP/CMD Commodore Prest Prestige
Cor MCA-Coral Pump-Lp Pumpkin (USA)
CurcioG.del J. Curcio Giganti del Jazz(I) Queen Queen-Lps (It)
De/Dec Decca 78"/LP Rar Rarities
Dej.Rec. Dejavu Records-CD(It) Raret Raretone
DOCD Document Rec.CD(Austria) RCA RCA Victor
Epic Epic Records Lp/CD(USA) RST-JPCD RST-J.Perspectives(A)
Esq Esquire RTR-Lp/CD Retrieval RTR (UK)
EvB Everybody Lp/CD (Swe) Riv Riverside
Fam Family (Italy) Roul Roulette
FlapPAST-CD FLAPPER-CD RST-JPCD RST-Records (Austria)
Frem. Fremeaux Rec. CD(F) Sony-WNR Sony-Video-Wienerworld
Fon Fontana Story-CD Story of Blues (Austria)
Gen General StoryvSTCD Storyville Rec.(Dan)
G.o.J. Giants of Jazz CD(I) SZCD Suisa Records (I)
GRP-CD GRP-CD-Records Swag Swaggie (Australia)
Hal. Halcyon CD (UK) Swingf Swingfan
Har Harmony Swingv Swingville
HEP HEP-Records Lp/CD(UK) Tax Tax Records Lp/CD(Swe)
Hist Historia TL Time Life Records
HistRec Historical Records TICBCD Timeless CD (Du)
HMV His Masters Voice TOM The Old Master
H&R Hot & Rare CD (F) TPZ CD Topaz Records (GB)
HRS Hot Record Society Var Varsity
Jass Jass Lp/Cas./CD (USA) VidSoundie Video-Soundie
JazzAnth Jazz Anthology Vid.VVD Video Storyville(Dan)
JA/JazzArch Jazz Archives(USA) VidJazz VidJazz Video
JazzArch.CD Jazz Archives(F) Vg Vogue
J.Averty Jazz Averty Video Vi/Vic Victor 78"/LP
JazzCr.JCCD Jazz Crusade (USA) Vo Vocalion 78"
JazzDoc Jazz Document (Sweden) VOA Voice Of America
JazzPan Jazz Panorama VJM Vintage Jazz Music
JazzRec Jazz Records CD (USA) VJC-CD/vid. Vintage Jazz Classics(USA)
JazzSoc Jazz Society VSP VSP-Verve
Jazztime Jazztime Records CD(USA) WR World Records (CD)
Jazzt Jazztone WRC World Record Club (UK)
JazzologyJCD Jazzology JCD (USA) XTRA XTRA = RCA

Nationality Of Labels:
A Austria Arg Argentinia Du Netherlands F France J Japan
Aus Australia Ch Swiss Eu European G Germany S Sweden
Continent I Italy UK Great Britain
.- VI -
REFERENCES

discos & books:
Brian Rust: Jazz Records 1897-1942; 1969/1978 press papers 1910-1967
Codrich & Dixon: Blues & Gospel Records, 1969 BAA=Baltimore Afro American(weekly)
Grunnet Jepsen: Jazz Records 1942-1962 CD= Chicago Defender (weekly)
Walter C.Allen: Hendersonia, 1973 LAT=Los Angeles Times (daily)
Tom Bethell: Ceorge Lewis NYA=New York Age Defender (weekly)
Egino Biagioni: Herb Flemming, 1977 NYAN=New York Amsterdam News (weekly)
J. Chilton: Ride, Red, Ride, 1999 NYT=New York Times (daily)
J. Chilton: Who´s Who Of Jazz, 1972;- S.Bechet, `87; PC =Pittsburgh Courier (weekly)
Eddie Condon: Scrapbook of Jazz VV = New York Village VOICE (weekly)
Driggs & Lewine: Black Beauty,White Heat; 1982
record-magazins:
Robert Goffin: Histoire Du Jazz p266-268
Micrography (Dick Backer-NL)
William Gottlieb: Golden Age Of Jazz, 1979
Collector´s Items (John Holley)
Keepnews + Grauer: Pictorial History of Jazz `69;
Meritt Society (Jerry Valburn)
Tom Lord: Clarence Williams, 1976
Albert McCarthy: Big Band Jazz, 1974 jazz magazines:

David Meeker: Jazz In The Moovies, 1977
Down Beat;; Bulletin DHCDF(F); Coda (Can); Cadence;
Jack Millar: Billie Holiday, 1979
Discophile (UK); Footnote(UK) Hot Revue(Ch); IAJRC;
Rose + Souchon: New Orleans Jazz 1967
Jazz & Blues(UK); Jazz(USA) Jazz(Ch.) Jazz(G-1949;)
M.Selchow: Edmond Hall; 1988; Vic Dickenson;`98
Jazz Beat(UK); Jazz Forum(UK); Jazz Information; Jazz
Johnny Simmen: Le Point du Jazz no.13, 1977
Hot (Delauney); J. Journal Intern(UK); Jazz Monthly(UK);
Tom Stoddard: Autobiography-Pos Foster; 1971
Jazz Music(UK); Jazz Notes; Jazzology(UK) Jazz
Dr.Klaus Stratemann: Negro Bands On Film, 1981
Quarterly; Jazz Records (Art Hodes); Jazz Tango(F); Jazz
dito: Duke Ellington-day by day,film by film, 1992
Tempo(UK); Jazz Times(UK); Jersey Jazz; Melody Maker
Ken Vail: The Life Of Billie Holiday, 1996
(UK); Mississippi Rag; orkestra journalien; Pick-up;
“ “ : Jazz Milestones, 1993
Playback; Record Changer; Record Research; Storyville
Bozy White: Eddie Condon Town Hall Concerts (Laurie Wright, J.R.T.Davies, How.Rye
Laurie Wright: Mr.Jelly Lord; 1980

Some words about the inclusion of complete book-passages:
This uncommercial documentation work is made in a very, very small edition for several Red Allen-Higginbo-tham-fans,
jazz researchers & writers and several jazz-libraries, which had often closed their shelves of rare & old magazins for
publicity. I am sure that all these own these books already. In my opinion the inclusion of:
Martin Williams´:”HENRY RED” in JAZZ MASTER OF NEW ORLEANS pp251-274
and parts of this as covernotes of Prestige-LP & -CD
Witney Balliett´s: “THE BLUES IS A SLOW STORY” in “IMPROVISING” p3-20
is a “must” of unshortened-use as “INTRODUCTION” of a “Red Allen-Documentation; as also
Albert McCarthy´s: RED ALLEN-Autobiography – “MAKE THEM HAPPY-THE EARLY YEARS” for the
first chapter, unfortunately Al never continued his work to issue his Red Allen-speech-tapes.
In contrast to these books, Jan Evensmo´s most important work JAZZ SOLOGRAPHY, Vol.8 with analyses of
Red Allen´s work of each session from the viewpoint by a Red Allen fan brings a good balance to the record-reviews of
controverse critics through the years. I let out Jan´s additional work
About the other performers of sessions with Red Allen and suggest the readers to look for the other
Volumes of his series: JAZZ SOLOGRAPHY SERIES: Vol 1: Leon Chu Berry; Vol 5: Lester Young 1936-42;
Vol 2: Henry Bridges, Robert Carroll, Herschal Evans, Johnny Russell; Vol 3: Coleman Hawkins 1929-42;
Vol 4: Charlie Christian, Robert Normann, Oscar Aleman (in Europe); Vol 6: Ben Webster 1931-43
Vol 7: Budd Johnson, Cecil Scott, Elmer Williams, Dick Wilson, 1927 – 1942; Vol 8: Henry Red Allen 1927-42
Vol 9: Bill Coleman 1929 - 1945, Frankie Newton; Vol 10: Roy Eldridge 1929–44;
Vol ll: Benny Carter 1927 – 1946; Vol 12: Dizzy Gillespie 1937 – 1943; Irving Randolph and Joe Thomas

Laurie Wright about Jazz Solographies Vol.-5,-7,-8 in discs out of the shelves to see if you agree. You won't always,
Storyville No.73(1977): … For those who have yet to en- of course, but if you can be persuaded to play them just once
counter this delightful series I will explain that a jazz so- with a newly awakened interest, it will have been worth while.
lography is intended to be used in conjunction with your Apart from the critical assessment (with which you may or
standard discography and evaluates all the known work of the may not agree) there is a great deal of factual informa-tion
selected artist within the period covered. What it does not set here which goes beyond what can be expected in a standard
out to do is to compare one artist with ano-ther, and to gain discography: the tempo of the performance; the part played by
maximum benefit you are urged to read the introduction most the artist under consideration (whether heard solo, in
carefully before going on to the body of the book. ensemble, etc.) and more.
There are a number of ways you can employ these volu-mes. Production is clean, neat an easy to read, and the only
If you are a relatively new collector of one of the artists possible reservation concerns the price, which with the
featured you can cheek what Evensmo has to say about sides present unfavourable exchange rate, will make them
you have and then react on to see what others seem most expensive for U.K. readers - which is a pity.
likely to be worth acquiring. If you've been at it a little longer, Finally, Evensmo asks for information on any items he may
you'll find the comments, usually brief and to the point, have omitted. In the case of Red Allen I would suggest he
stimulating and you'll be digging some of those half- forgotten listens to matrix 403711-B by Butterbeans&Susie.
-VII -

John Postgate in Jazz Journal Vol.52 No.11, Nov.99: “RIDE, RED, RIDE: THE LIFE OF HENRY'RED'ALLEN”:

By John Chilton (Cassell). 216 + vi pp, hardback. ISBN 0- homework, and if, occasionally, the reader finds Chilton's
3-4-70407-4, £29.99. Scholarly, thorough and well-written- judgements coloured somewhat by a fondness for his subject,
as we have come to expect from John Chilton-this bio- that is as it should be. For example, I cannot go along with his
graphy includes much that readers will find new. On stage benevolent tolerance of Red's more empty pyrotechnics, nor
Red may have been wildly exuberant in his music, a circus - of his overt-rabble-rousing, and I find Red's vocal tap-room
style rouser and an extrovert singer, but it was all a show-biz humour dire.
facade, cultivated in response to his wife Pearly May's And as far as Red's own jazz goes, I feel that Chilton plays
comment, '. . . you're too quiet. You don't belong in this down the erratic nature of his trumpeting; I am inclined to
business.' It seems that off-stage he was a polite, almost self- favour the view adumbrated by Roy Eldridge that the abso-
deprecatory Southern gentleman, who adapted amiab-ly to nant notes and twists which in time became a feature of his
all sorts of bands and diverse qualities of accompa-nist, and style grew out of claims which he either got away with or
was always willing to talk about recordings and personnel to quickly compensated for. But are there any jazzmen whose
besieging fans. Born in 1906 into a caring musical family, styles have not developed in this way? Teddy Wilson was
neither wealthy nor penurious, he had a basically happy right, Red was an untidy player, but that is a minor matter, for
childhood, living just across the river from New Orleans. In Red developed, within Armstrong's idiom, a jagged, probing
his teens, through his father's mar-ching band, he met, played style which was musically coherent and remained highly
with, and came to admire and emulate, the major pioneers of individual. Curiously it presaged the voluble moder-nism of
New Orleans jazz. No doubt his stable background helped to the 1960s and 1970s; happily it also retained a musicality and
ensure that he did not in later life 'do drugs' (he eschewed swing which -avant gardistes please forgive me- all but
alcohol until well into middle life, when he developed a taste vanished from newer jazz (and from pop for that matter) in
for English bitter); that he made a happy, lasting marriage, the latter decades of the 20th century. The best of Red's
that he had no racial hang-ups (though he was of course mature style is epitomised by his widely admired 1957
sensitive to racism); that he was reliable (always on time, recording of I Cover The Waterfront (from his World on a
financially trustworthy and on stage a 'trouper' to the last); String album), a linear musical conversation on the theme,
that he was rarely provoked to anger (though Chilton records with no formal structure, and no overt climax, but a musical
a couple of amusing incidents when his explosion point was jewel nevertheless. His approach was a total break from the
reached); and that, though musically competitive, he was not classical pattern favoured by such greats as Arm-strong,
given to envy and never resented being understudy to Louis Becket or Eldridge, who would generally build up a solo to
Armstrong for almost a decade in Luis Russell's band. In all climax (Red's linear approach to soloing was already formed
he seems to have been a thoroughly nice, well-integrated a decade earlier, viz: his rendering of Sweet Lorrai-ne on Art
person; not, you might think, a promising sub-ject for a Ford's radio programme in 1947; Classics 106.
biography in the 1990s, for which intimations of poverty, Chilton offers valuable insights into the music of one of the
discrimination, sexual aberration, narcotic abuse and a variety more adventure and often unappreciated, greats of jazz. His
of psychoses have become virtually mandatory. book makes one think about jazz its commercial roots, about
Red Allen was a musician of exceptional talent and creati- jazz styles a humour, and above all it sends one back the
vity, and central to Chilton's biography is a comprehensive records. It also benefits enormous from the fact that Chilton
examination of Red's career and musical legacy. I reckon and Red were good personal friends during the last eight
that in my own accumulation of jazz tapes and records-it is years of Red's life (he died in 1967). If you can read the final
not a serious collection-I have about 160 tracks involving chapter wholly eyed, you're a tougher guy than me. Strongly
Red. Chilton discusses a lot of them, plus many more that I recommended.
hardly know or do not know at all. He has certainly done his

*************************

Hans Enderman in Names & Numbers early`00p39-Micrography(NL):“ALLEN-HIGGINBOTHAM BIO-DISCO-part-2;

Franz Hoffmann sent us part 2 (1940-53) of this bio-disco, all types of publications (press clippings, jazz magazines,
published in 1998. This part was made first, to assist John books, liner notes), and photos. The amount of information is
Chilton with his HenryAllen biography Ride Red Ride. staggering (“nearly all written about him”, Franz writes) and
Franz is now compiling the first (1910-40) and third (1954- presents an interesting picture of 1940s New York jazz life
67) parts. He also published a Red Allen-Higginbotham and the jazz press.
discography, 150 p., still available, which will be reissued There is however, no running commentary or priodical
this year with interesting CDs added, same size and price as overview between all this chronolagical information and this
the present volume). makes the book(s) a very complete collection of data, of much
This bio-disco lists all known recordings, including several interest to specialists and researchers (accessible by a good
not yet found, with part of their releases on 78/LP/CD index of musicians and an incomplete club/venue index), but
(attempting to list all LP issues except unimportant antho- unsuitable for general readers. Also it does not help that the
logies). In addition to normal session information for each text is occasionally difficult to read, due to its microfilm
recording the playing time and composers are given, and sources, slightly reduzed size and crowded pages. This also
often also the sequence of all soloists plus the number of applies to the lay-out of the discographical information. In
bars played by Henry Allen (Higgy doesn´t get this special addition the binding is weak and pages turn loose.
attention). This (cheap!) publication is strongly recommended to anyone
Franz Hoffmann is well known for his series of self- interested in the subject and/or in the amount of information
published books “Jazz Advertised in the Negro-Press”(more available from contemporary sources in the 1940s. A
details about their present available in a later issue of publication in A4, neatly arranged and in a stronger binding
Names & Numbers) and the text between the discographical or ring binder, is to be preferred and would have a more
data consists of copies of such advertisements, copies from general appeal.
VIII