Lee Wiley - Music of Manhattan, 1951

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 67:06
Size: 155,6 MB
Art: Front

(3:36) 1. Street of Dreams
(3:11) 2. Oh, Look at Me Now
(1:49) 3. Hallelujah
(4:38) 4. Manhattan
(2:58) 5. Manhattan
(4:18) 6. Ghost of a Chance
(3:02) 7. Sugar
(3:07) 8. I've Got a Crush on You
(3:48) 9. Sugar
(2:23) 10. Anytime, Anyday, Anywhere
(3:04) 11. Oh, Look at Me Now
(2:26) 12. Deed I Do
(3:24) 13. That's for Sure
(1:42) 14. 'S Wonderful
(2:08) 15. I've Got a Crush on You
(1:26) 16. Anytime, Anyday, Anywhere
(2:30) 17. Street of Dreams
(2:52) 18. Manhattan
(1:48) 19. Deed I Do
(3:13) 20. I've Got a Crush on You
(4:02) 21. I'm Comin' Virginia
(3:47) 22. Down to Steamboat Tennessee
(1:45) 23. Baby, Won't You Please Come Home

These 1951 selections come from transcription discs and live appearances at Storyville, a Town Hall Concert, and the Rustic Lodge. Wiley was a great vocalist, often associated with Chicago Dixieland musicians. Her primary influence was Ethel Waters, and she had much in common with Billie Holiday as well.

Both had rather raw, “whiskey soaked” timbres and laid-back attacks, and made up for limited ranges and power with excellent taste, sensitivity and the ability to freshen melodies by improvising on them. She was known for her sensitive ballad performances, but sang blues convincingly as well. Her accompanists here include some fine trumpeters, Billy Butterfield, Buck Clayton, Muggsy Spanier, and Red Allen, and pianist Joe Bushkin.

She’s very relaxed and sure of herself. And she’s wonderfully unpretentious. Pianist Stan Freeman, who worked with her, said Wiley “didn’t know what she was singing half the time.” Maybe, but she interprets lyrics meaningfully, accenting words and syllables astutely. Though her vocals have a weary quality, she never gets maudlin, and there are times when she’s buoyant. By Harvey Pekar
https://jazztimes.com/archives/lee-wiley-music-of-manhattan-1951/

Personnel: Vocals – Lee Wiley; Bass – John Field (tracks: 7 to 13), Milt Hinton (tracks: 16 to 20), Mort Stuhlmaker (tracks: 1 to 5); Cornet – Jack Honeywell (tracks: 21 to 23), Muggsy Spanier (tracks: 7 to 13); Drums – Barrett Deems (tracks: 7 to 13), George Wettling (tracks: 1 to 5), Jo Jones (tracks: 16 to 20); Orchestra – Ray Bloch And His Orchestra (tracks: 15); Piano – Dave Bowman (tracks: 6), George Wein (tracks: 7 to 13), Joe Bushkin (tracks: 1 to 5 16 to 20); Trumpet – Billy Butterfield (tracks: 1 to 6), Buck Clayton (tracks: 16 to 20), Henry "Red" Allen (tracks: 21 to 23)

Music of Manhattan, 1951

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Coleman Hawkins & Henry "Red" Allen - Reunion In Hi-Fi. The Complete Classic Sessions

Reunion In Hi-Fi. The Complete Classic Sessions CD 1
Styles: Saxophone And Trumpet Jazz
Year: 2009
Time: 61:21
File: MP3 @ 320K/s
Size: 142,0 MB
Art: Front

(5:52) 1. Love Is Just Around The Corner
(5:32) 2. Let Me Miss You, Baby
(4:42) 3. Ride, Red, Ride
(8:27) 4. I Cover The Waterfront
(5:30) 5. 'S Wonderful
(3:45) 6. St. James Infirmary
(6:52) 7. Algiers Bounce
(5:14) 8. Love Me Or Leave Me
(5:38) 9. I've Got The World On A String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

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Reunion In Hi-Fi. The Complete Classic Sessions CD 2
Time: 68:41
File: MP3 @ 320K/s
Size: 159,6 MB
Art: Front

(3:00) 1. Battle Hymn Of The Republic
(4:22) 2. Frankie And Johnny
(2:58) 3. When The Saints Go Marchin' In
(6:23) 4. South
(4:28) 5. Won't You Come Home, Bill Bailey?
(5:02) 6. The Blues
(3:55) 7. Maryland, My Maryland
(3:32) 8. Stormy Weather
(3:45) 9. Mean To Me
(5:57) 10. The Lonesome Road
(4:34) 11. Sleepy Time Gal
(5:00) 12. Summertime
(3:16) 13. All Of Me
(2:36) 14. Tea For Two
(4:49) 15. Wild Man Blues
(4:57) 16. Rosetta

Five blowing sessions from 1957 and 1958 find singing trumpeter Henry "Red" Allen and tenor saxophonist Coleman Hawkins jamming with some of New York's best mainstream traditional jazz musicians. The seed bed, as it were, for these studio recording dates was the Metropole, a big smoky nightclub up on Seventh Avenue, not far from Times Square. Hawkins, a seasoned veteran of the music, often comes across as gruff and blustery in this company, exactly as he did when they gigged together at the Metropole, where rowdy, beer-swilling audiences loudly demanded material that was more old-fashioned than what Hawkins preferred to play at that point in his life. Hawkins and Allen hadn't recorded together since 1933.

Their initial contact had been as members of Fletcher Henderson's Orchestra, and the presence of ex-Henderson bandsmen in trombonist J.C. Higginbotham and clarinetist Buster Bailey makes the first 11 tracks (most of which was initially released as Ride, Red, Ride in Hi Fi and reissued by RCA Bluebird in 1990 as World on a String) feel like a true reunion. Presented as Henry "Red" Allen's All-Stars, the group was supported by a rhythm section led by pianist Marty Napoleon. Allen himself played and sang some of the best jazz of his life on this album.

Here at long last it is compiled into the same package with similar recordings from 1957-1958 which have been released under numerous headings, most appropriately on the Jass label as High Standards and Warhorses. This wonderful compilation is rounded off with two excerpts from the CBS television special The Sound of Jazz, taped on December 5, 1957 with Allen leading an even tougher group combining full-strength Hawkins with the individualism of clarinetist Pee Wee Russell, trombonist Vic Dickenson, and cornetist Rex Stewart.By arwulf arwulf
https://www.allmusic.com/album/reunion-in-hi-fi-the-complete-classic-sessions-mw0001304883

Credits: Arranged By – Dewey Bregman (tracks: 2-1 to 2-7), Larry Clinton (tracks: 2-8 to 2-14); Bass – Chubby Jackson (tracks: 2-8 to 2-14), Lloyd Trotman (2) (tracks: 1-1 to 1-11), Milt Hinton (tracks: 2-1 to 2-7, 2-15, 2-16); Clarinet – Buster Bailey (tracks: 1-1 to 1-11), Pee Wee Russell (tracks: 2-15, 2-16), Sol Yaged (tracks: 2-1 to 2-7); Clarinet, Alto Saxophone – Earl Warren (tracks: 2-8 to 2-14); Cornet – Rex Stewart (tracks: 2-15, 2-16); Drums – Cozy Cole (tracks: 1-1 to 2-7), George Wettling (tracks: 2-8 to 2-14), Jo Jones (tracks: 2-15, 2-16); Guitar – Danny Barker (tracks: 2-15, 2-16), Everett Barksdale (tracks: 1-1 to 1-11); Piano – Lou Stein (tracks: 2-1 to 2-7), Marty Napoleon (tracks: 1-1 to 1-11, 2-8 to 2-14), Nat Pierce (tracks: 2-15, 2-16); Tenor Saxophone – Coleman Hawkins; Trombone – J.C. Higginbotham (tracks: 1-1 to 2-7), Vic Dickenson (tracks: 2-15, 2-16); Trumpet – Henry "Red" Allen

Reunion In Hi-Fi. The Complete Classic Sessions CD 1, CD 2

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Pee Wee Russell & Henry 'Red' Allen - The College Concert

Styles: Clarinet And Trumpet Jazz
Year: 1966
File: MP3@320K/s
Time: 32:15
Size: 75,2 MB
Art: Front

(6:04)  1. Blue Monk
(6:12)  2. I Want A Little Girl
(4:26)  3. Body And Soul
(4:28)  4. Pee Wee's Blues
(4:17)  5. 2° East, 3° West
(6:46)  6. Graduation Blues

Although trumpeter Red Allen (heard in his final recording) and Russell had recorded back in 1932, their paths only crossed on an infrequent basis through the years. For this LP, the two veteran modernists (who spent much of their careers in Dixieland settings) are joined by a young rhythm-section pianist Steve Kuhn, bassist Charlie Haden and drummer Marty Morell). The music is generally relaxed with an emphasis on blues and a fine feature for Allen on "Body and Soul." ~ Scott Yanow http://www.allmusic.com/album/college-concert-of-pee-wee-russell-and-henry-red-mw0000892162

Personnel:  Pee Wee Russell – clarinet;  Red Allen - trumpet, vocals;  Steve Kuhn – piano;  Charlie Haden – bass;  Marty Morell - drums

The College Concert

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Henry 'Red' Allen - World on a String

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 61:22
Size: 142,9 MB
Art: Front

(5:52)  1. Love is Just Around the Corner
(5:32)  2. Let Me Miss You, Baby
(4:42)  3. Ride, Red, Ride
(8:27)  4. I Cover the Waterfront
(5:30)  5. 'SWonderful
(3:45)  6. St. James Infirmary
(6:52)  7. Algiers Bounce
(5:14)  8. Love Me or Leave Me
(5:38)  9. I've Got the World on a String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

A true classic, this release finds trumpeter Red Allen at the peak of his creative powers with a remarkable octet also featuring trombonist J.C. Higginbotham, clarinetist Buster Bailey, and the great tenor Coleman Hawkins. "I Cover the Waterfront" has a wonderfully abstract statement from Allen, "Love Is Just Around the Corner" is joyous Dixieland, "Let Me Miss You, Baby" is a particularly strong blues (featuring Allen's vocal), and the simple blues line that serves as a melody on "Algiers Bounce" is quite catchy. The other seven selections from the classic veterans are also quite enjoyable. Although the music has its basis in Dixieland and swing, the solos of Allen and Hawkins in particular look ahead toward the future. There is nothing dated about these essential performances; highly recommended. ~ Scott Yanow http://www.allmusic.com/album/world-on-a-string-mw0000262743

Personnel: Henry "Red" Allen (trumpet); Coleman Hawkins (tenor saxophone); J.J. Higginbotham (trombone); Buster Bailey (clarinet); Marty Napoleon (piano); Everett Barksdale (guitar); Lloyd Trotman (bass); Cozy Cole (drums).

World on a String

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Joe Newman & Henry "Red" Allen - The Hot Trumpets

Styles: Trumpet Jazz 
Year: 1999
File: MP3@320K/s
Time: 66:14
Size: 156,2 MB
Art: Front

(4:11)  1. Oh Gee
(5:00)  2. Dacquiri
(6:40)  3. Blues For Slim
(6:38)  4. The Very Though Of You
(8:11)  5. For You
(3:20)  6. The Continental
(3:01)  7. Strike Up The Band
(3:05)  8. Nice Work If You Can Get It
(3:47)  9. There's A House In Harlem For Sale
(4:15) 10. St. Louis Blues
(3:21) 11. Just In Time
(4:54) 12. Biffly Blues
(3:35) 13. Sleepytime Gal
(3:07) 14. I Ain't Got Nobody
(3:02) 15. Cherry

Though waxed less than a month apart the sessions coupled on this disc spotlight the talents of two stylistically divergent trumpeters. Newman was a Basie Band alum and firmly grounded in the pleasures and politics of swing. Allen’s sound was derived from older New Orleans traditions and his youthful tenure with Louis Armstrong’s big band. The fact that these two players and their Swingville albums presented here work so well together points to the primacy of jazz and it’s ability to ultimately transcend the provincialism of self-imposed boundaries. Swing and New Orleans Ragtime are just appellations for the deeper, all-inclusive tradition, one which both of these men take heavy and audible stock in. Newman’s up to bat first leading a sophisticated quartet through baker’s half dozen of tunes. “Oh Gee,” written by the obscure trombonist Matthew Gee serves as an effective opener. Newman’s punchy brass works over the opening choruses with a clean, ringing tone before Flanagan’s keys finesse the melody with an amiable touch. “Dacquiri” shifts things south of the border with some Latinized traps work from English and gentle interplay between trumpet and piano. On “Blues for Slim” the four players lock into a seductive union of ideas that has Newman at his most lyrical. “The Very Thought of You” takes their relaxed rapport even further and is almost hypnotic in its mollifying beauty. “For You” moves across similar terrain with English’s fragile cymbals mirroring the sounds of gently snapping fingers. In contrast the brief version of “Strike Up the Band” cooks and shows Newman’s more ebullient side. 

Allen’s sound was of a different era than Newman’s and listing to his unique stylings he reminds me a lot of Pee Wee Russell in both his originality and unpredictability. The back-up band, though populated by obscure players, weaves a supportive fabric for Allen to solo against. Potter is especially effective and incorporates a host of percussive effects with woodblocks and other devices that were important in the arsenals of most New Orleans drummers. Tune lengths are substantially shorter than on Newman’s date and paint in bold relief Allen’s economy of presentation. He’s not one to wax loquacious and often says what he has to say in the space of a few short choruses. Fortunately his brevity is matched with an abiding inclination for growling, guttural effects which he employs on numerous occasions. The truncated nature of the pieces also may be a nostalgic nod to the 78’ era during which his first recordings were documented. There’s also the opportunity to here Allen’s gruff vocals on “I Ain’t Got Nobody” and he belts out the lyrics with the same zest he applies to his horn on the instrumental breaks. If you dig brass this disc has your name on it! ~ Derek Taylor https://www.allaboutjazz.com/hot-trumpets-of-joe-newman-prestige-records-review-by-derek-taylor.php

Personnel: Joe Newman- trumpet; Tommy Flanagan- piano; Wendell Marshall- bass; Billy English- drums.

The Hot Trumpets

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