Time: 79:07
Size: 181.1 MB
Styles: Saxophone jazz
Year: 1994/1999
Art: Front
[ 9:27] 1. 'deed I Do
[ 9:51] 2. Close Your Eyes
[ 5:31] 3. But Beautiful
[ 9:41] 4. The King
[10:02] 5. Did You Call Here Today
[ 5:23] 6. Honeysuckle Rose
[ 4:56] 7. This Time The Dream's On Me
[ 8:52] 8. My Heart Stood Still
[ 5:08] 9. Everyday I Have The Blues
[10:11] 10. Limehouse Blues
Tenor saxophonist Harry Allen came on the New York mainstream-swing scene in the 1980s while he was still pursuing his music degree at Rutgers. He has been recording on smaller swing-oriented labels (Audiophile, Progressive, Nagel-Heyer) for a dozen years with groups that often included John Pizzarelli, guitar; Randy Sandke, trumpet, and Keith Ingham, piano - all first-rate mainstream swingers.
Stan Getz was once asked for his idea of the perfect tenor saxophone soloist. His answer-pianist Lou Levy was present and heard it-was, "My technique, Al Cohn's ideas, and Zoot's time," The fulfillment of that ideal may well be embodied in tenor saxophonist Harry Allen, who is so good that after several takes of a tune on a record date, arranger/composer Johnny Mandel said from the control booth, "Harry, would you mind screwing up on some of these to make our choices easier?"
No major record company is spending fortunes on publicity for Harry, His career is happening on its own. There is a lot of Zoot Sims in Harry Allen For one thing, he has Zoot's exhilarating time feeling, and he has captured that trick of Zoot's of leaping from the low register of the horn up to the top in a sort of celebratory sunburst. "Zoot was the master of that," Harry said "So was Stan."
Harry's work traces back to pre-Coltrane saxophone, One hears his admiration for Zoot, for Al Cohn, and for Ben Webster, which is manifest during ballads in a furry, breathy sound, But it could also be the influence of Paul Gonsalves, tenor soloist with Duke Ellington. Harry's father, Maurice, a drummer during the big band era went to high school and played with Gonsalves. Harry was listening to Paul with the Ellington band as far back as he can remember.
Harry Allen: Tenor Saxophone; John Bunch: Piano; Dennis Irwin: Bass; Duffy Jackson: Drums. Recorded live on May 28, 1994 at the Amerika Haus, Hamburg.
Stan Getz was once asked for his idea of the perfect tenor saxophone soloist. His answer-pianist Lou Levy was present and heard it-was, "My technique, Al Cohn's ideas, and Zoot's time," The fulfillment of that ideal may well be embodied in tenor saxophonist Harry Allen, who is so good that after several takes of a tune on a record date, arranger/composer Johnny Mandel said from the control booth, "Harry, would you mind screwing up on some of these to make our choices easier?"
No major record company is spending fortunes on publicity for Harry, His career is happening on its own. There is a lot of Zoot Sims in Harry Allen For one thing, he has Zoot's exhilarating time feeling, and he has captured that trick of Zoot's of leaping from the low register of the horn up to the top in a sort of celebratory sunburst. "Zoot was the master of that," Harry said "So was Stan."
Harry's work traces back to pre-Coltrane saxophone, One hears his admiration for Zoot, for Al Cohn, and for Ben Webster, which is manifest during ballads in a furry, breathy sound, But it could also be the influence of Paul Gonsalves, tenor soloist with Duke Ellington. Harry's father, Maurice, a drummer during the big band era went to high school and played with Gonsalves. Harry was listening to Paul with the Ellington band as far back as he can remember.
Harry Allen: Tenor Saxophone; John Bunch: Piano; Dennis Irwin: Bass; Duffy Jackson: Drums. Recorded live on May 28, 1994 at the Amerika Haus, Hamburg.
The King
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