Max Ionata is Making Jazz

© -  Steven A. Cerra, copyright protected; all rights reserved.

“Good stuff.  It's nice to hear someone who appears to be under 60 who doesn't play one cliché after another.”

David Scherr, Composer and Saxophonist

Max Ionata is not a familiar name in Jazz circles.  He should be.

Max’s Jazz tenor saxophone playing is accomplished and refreshingly unique.

To be fair, he’s very well-known in his native Italy and thanks to Matteo Pagano, the owner and proprietor of Via Veneto Jazz, his two recent CDs for that label offer more of Max’s marvelous music which should garner him even more appreciation, both at home and abroad.

You can locate more information about Via Veneto Jazz by going here.  And while currency exchange rates and foreign postal services may be expensive and time-consuming, the good news is that the Via Veneto Jazz CDs Dieci and Kind of Trio along with other of Max’s recordings are available as Mp3 downloads.

For many years, the two signature instruments associated with Jazz were the trumpet  - Pops, Bix, Diz and Miles – and the tenor saxophone – Hawk, Pres, Sonny and Coltrane.

Trumpet and tenor saxophone are the two front-line instruments in most Jazz combos and their sounds blend particularly well when played in unison.

The human ear seems to have an affinity for the tenor saxophone which may, in part, be due to the fact that its sounds are very close to that of the human voice. It has been said that the tenor sax has an almost vocal quality.

Given the imposing stature of the Jazz greats who have played the instrument over the almost hundred years of the music’s existence, a great deal is expected of those who pick up “the big horn” and follow in this tradition.

Max Ionata doesn’t disappoint.

Whether he is featured in quintets that he co-leads with trumpeters Fabrizio Bosso and Flavio Boltro, or evoking the dueling tenor tradition of the great Dexter Gordon & Wardell Gray, or Al Cohn & Zoot Sims or Gene Ammons and Sonny Stitt in combination with Danielle Scannapieco, another of Italy’s rising young tenor sax stars on their Tenor Legacy Albore CD, or as a member of drummer Roberto Gatto’s quintet on the Remembering Shelly CDs recently issued on the Albore label, Max Ionata always plays with presence, power and passion.

His sound is robust and yet mellow, his phrasing is long and continuous, and he generates a steady sense of swing.

Max doesn’t overreach the range of the horn to litter his solos with squeaks and squawks nor does he take lengthy solos whose most appealing quality to the exhausted listener is that they have finally come to an end.

When Max is making Jazz, his solos are so artfully constructed that you don’t want them to end, at least, not too soon.

He incorporates just enough harmonic extensions to make his solo melodies interesting, but these never become ends in themselves.

Max doesn’t come to impress, he comes to play.  What you hear in his music is the fun of making Jazz; the music as an expression of a good time being had by all concerned.

Nothing laborious or contorted: nothing elaborately diminished, augmented or raised.  Just a beautifully played and very swinging tenor saxophone.

When a musician like Max comes along, other musicians can’t wait to have the chance to work with him. He brings out the best in them. In his presence, Jazz is once again accessible and yet still an adventure.

The following video features Max performing Astrobard from his new Via Veneto CD Dieci with Fabrizio Bosso on trumpet, Luca Mannutza on piano, Nicola Muresu on bass and Nicola Angelucci on drums.

Stefano Di Battista: "Goodbye Mr. P."

Something "easy-on-the-ears" from Stefano. Click the "X" in the upper right hand corner to close out of the ads.


Soprano saxophonist Stephano di Battista performing his original composition "Goodbye Mr. P" with Daniele Scannapieco on tenor saxophone, Flavio Boltro, trumpet, Julian O. Mazzariello, piano, Dario Rosciglione, bass and Andre Ceccarelli, drums.

New Cool Collective Big Band - Live in 2001 - Flootie

Nothing too complicated here. Just a bunch of young musicians having fun with rhythms and riffs. The New Cool Collective is based in Amsterdam, Holland. The baritone solo is by Frans Blanker and the keyboard solo is by Wiliam Friede who also did the arrangement of "Flootie." Friede co-leads the NCC Big Band along with alto saxophonist and flutist, Benjamin Herman, who will be the subject of a future feature on JazzProfiles.

Herbie Hancock - Sonrisa

The audio track on the following video presents a side of Herbie Hancock's music which you may not have heard before.

Irene Kral: A Voice So Irresistible, Beguiling and Pure

© -  Steven A. Cerra, copyright protected; all rights reserved.

“Irene Kral was not just another jazz singer.

“She had a delicate style, yet every note was placed with deliberate aim, and she always hit her mark with unerring accuracy. She had a brilliant flair for picking tasty, little-known material, often by up and coming young, jazz-influenced songwriters.

She recorded only a small number of albums, often on small, jazz labels and she never sang in a show-off way, never scatted, never belted or made her voice raunchy .

Most aficionados of female vocalists have never heard of her, and she remains largely forgotten in the jazz history books. Yet her work deserves to be searched out, for her intimate style and purity of tone.”

“Irene had a lovely, resonant voice with a discreet vibrato, flawless diction and intonation …. She was a master of quiet understatement.”

- Linda Dahl, Stormy Weather: The Music and Lives of a Century of Jazz Women [p. 151]

“She was a superior ballad singer of impeccable taste.”

- Reg Copper, The New Grove Dictionary of Jazz

Drummers and “chick singa’s” do not go together like love and marriage and a horse and carriage.

Contrary to what Sammy Cahn and Jimmy van Huesen say in their lyrics, drummers and female Jazz vocalists “… is an institute you [can] disparage” just by asking most drummers about their experiences in working with female Jazz singers.

By the way, before this introduction gets labeled as some sort of sexist rant, the same can be said about the antipathy that many drummers have about working with most “boy singers,” too.

My statement is only a generalization, but most of the time, drummers work with singers because they have to in order to make a few schimolies and not because they want to as singers usually drive them nuts.

There are exceptions, of course.

It was a total blast to work with Anita O’Day during a two week stint as a member of her trio at “Ye Little Club” in Beverly Hills [John Poole, her regular drummer, had taken ill].

The late Irene Krall is also among my special favorites, a list which includes the likes of Carmen McRae, Blossom Dearie, Ruth Price and Ruth Olay. I heard Irene sing with Shelly Manne’s group on a few occasions and I remember him remarking: “Irene is just the best. She’s like another member of the band. She’s a musician.”

And Russ Freeman, the late pianist who worked with Irene in Shelly’s quintet and on Irene’s 1965 recording Wonderful Life, said of her: “She is a gas to work with. Her choice of tunes is so different and she handles difficult material like a snap.”

Hal Blaine, the drummer on the Wonderful Life album said of Irene: “When she did that cut on Sometime Ago, we were all spellbound. Most singers do the tune too slow like they want to wrap themselves in every word. She sang it perfectly and then went on to do a swinging version of Bob Dorough’s Nothing Like You Has Ever Been Seen Before. Just like that: bam, bam. What a pro.”

Music captivated her at an early age. As Gene Lees recounts in the following excerpt from his essay on Irene’s older brother, Roy Kral [a pianist and a singer], and his singer-wife, Jackie Cain:

"When I was about seventeen, we were rehearsing our dance band in my basement. Four brass, four saxes, three rhythm."

His sister, Irene, would always remember this. She said, ‘I was always fascinated by my brother rehearsing in the basement with different bands and singers, and they were having so much fun, I just knew that I wanted to do that too.’ Born January 18, 1932, Irene was eleven years Roy's junior and so must have been about six when that band was in rehearsal.” Singers and the Song II, p. 176]

It’s a good thing that she got an early start. Sadly, Irene’s “wonderful life” was over all too soon as she passed away at the relatively young age of forty-six [46].

Here’s a retrospective of the salient aspects of Irene’s short-lived career and a well-focused explanation on what made her singing so unique as excerpted and translated from the insert notes to Irene Kral with Herb Pomeroy: The Band and I [Japanese Capitol TOCJ-6076].

© -  Capitol Records, copyright protected; all rights reserved.

“Irene Kral was not just another jazz singer.

She had a delicate style, yet every note was placed with deliberate aim, and she always hit her mark with unerring accuracy. She had a brilliant flair for picking tasty, little-known material, often by up and coming young, jazz-influenced songwriters.

She recorded only a small number of albums, often on small, jazz labels and she never sang in a show-off way, never scatted, never belted or made her voice raunchy .

Most aficionados of female vocalists have never heard of her, and she remains largely forgotten in the jazz history books. Yet her work deserves to be searched out, for her intimate style and purity of tone.

Irene Kral was born to Czechoslovak parents on Jan. 18th, 1932 in Chicago. Her earliest musical influence was her brother, Roy, who at 18 formed his own big band and would rehearse the group in their parent's basement. While watching her brother and his band, she decided that she wanted to sing. She was 8 years old at the time. Her brother, Roy, became well known later as half of 'Jackie and Roy', a highly influential bebop vocal duo, well-respected in jazz circles.

By the time she was 16, she was singing and accompanying herself on piano, performing at school and the occasional wedding. Her vocal skills impressed her professional musician brother enough for him to take her by the hand to audition for a swinging Chicago big band, led by Jay Burkhardt. Burkhardt’s band had been the starting point for two other singers, who went on to bigger things, Joe Williams and Jackie Cain (who later married her brother, and was the 'Jackie' of 'Jackie and Roy). A series of jobs with other bands came and went, over the next few years, including a brief stint with Woody Herman.

In 1954, she landed a job singing with a jazz vocal group called the Tattle Tales. She played drums, and sang lead with the group, which traveled from coast to coast, and to Canada, Bermuda and Puerto Rico. The group recorded for Columbia Records, but nothing much came of the records. She stayed with the group for a little over a year. Following her heart to stretch out as a solo artist, she left the Tattle Tales and began picking up the occasional weekend solo job, and auditioning for any band that she thought might be going places.

When she was 25, in 1957, her friend Carmen McRae recommended her to band-leader Maynard Ferguson. The next time Ferguson came through Chicago, she got up on the stand and sang one tune with the band. After Ferguson heard Krai finish singing Sometimes I’m Happy he hired her on the spot and she started that night with no rehearsal. In Ferguson’s band she met Joe Burnett, a trumpet and flugelhorn player, whom she married in 1958. She stayed with the Ferguson band for nearly two years, recording one album with them, before she was offered her own contract to record solo.

In 1959, while in Los Angeles, she became a regular vocalist on The Steve Allen Show. Her exposure on the Allen show led to the recording of her first solo LP for United Artist Records, an entire album of songs written by Steve Allen entitled Stevelreneo. The same year, she cut the LP The Band And I, with the Herb Pomeroy Orchestra, working with legendary saxophonist and arranger Al Cohn.

Next, she became the featured vocalist with Shelly Manne and his Men, a popular leader of 'West Coast cool jazz'. She also appeared solo at the Stardust Hotel in Las Vegas. By 1961, Irene and her husband, Joe, had relocated to Tarzana, California, a small suburb of Los Angeles where their daughter, Jodi was born. Their second daughter, Melissa, followed. She limited her yearly out of town performances to a half-dozen choice engagements around the country, in order to spend time with her family.

Throughout her career, she felt like she had been born too late, and had just missed the height of the Big Band Era. She recalled, ‘When I was in high school, I bought every Woody Herman and Stan Kenton record that came out. June Christy seemed to be in the greatest spot in life, and gave me my first inspiration. I'm sorry I missed hearing some of the really good big bands around earlier, like Jimmie Lunceford's and Billy Eckstine's, and Dizzy Gillespie's first band.’

‘Now when I'm old enough to appreciate them, almost all the really good bands are gone.’ She named a few of her other favorite singers as being Peggy Lee, Sarah Vaughn, Dinah Washington and Helen Merrill.

Although she could swing with the best of them, she thought of herself as primarily a ballad singer. ‘I love to sing ballads more than anything, and consequently I know three times more ballads as 'up' tunes. I dig tunes that have a warm laziness about them.’ Jazz vocalist Carmen McRae who, talking about Irene, said, ‘Besides being a marvelous singer, Irene has great taste in tunes. In fact, I've 'stolen quite a few from her!’

In 1964, she sang on Laurindo Almeida's Grammy© Award-winning album, Guitar From Ipanema. The following year, she recorded an album of her own, called Wonderful Life, on the small Mainstream label. In addition to her usual choice of great songs, unfortunately, the company insisted that she record three tunes aimed at the Top 40 'teen' market. On these songs, she seems like a fish out of water. Nothing came of the attempt to make her more 'commercial,’ and the songs stand as the only blemish on her recorded output of classy material.

Ten years passed before she recorded again. She continued to perform regularly at jazz clubs around the country. By the mid 70's, her relationship with her husband, Joe, had begun to deteriorate and shortly after their divorce, she met a Los Angeles disc jockey named Dennis Smith. ‘They got along wonderfully and really hit it off right from the start,’ her brother, Roy Kral recalls. ‘Dennis was the best thing that could have happened to her. It was his love and warmth, and his protection, and his caring for her that brought out this wonderful sound from her, at the time. Before that, her vocal tone had been a little more strident. Her relationship with Dennis brought all this warmth out of her, and that really showed in her singing on the Where Is Love album.’

Where Is Love was released in 1975 on the Choice label. On this album of solely ballads, she is accompanied by just piano, thoughtfully played by Alan Broadbent. The material is so laid back, it almost stands still. In the liner notes, she wrote, ‘This is meant to be heard only during that quiet time of the day, preferably with someone you love, when you can sink into your favorite chair, close your eyes and let in no outside thoughts to detract.’

In her 1984 book on women in jazz, Stormy Weather, Linda Dahl wrote: ‘Irene Kral had a lovely, resonant voice with a discreet vibrato, flawless diction and intonation, and a slight, attractive nasality and shaping of phrases that resembled Carmen McRae's. But where McRae's readings tend to the astringent, Kral's melt like butter. She was a master of quiet understatement and good taste.’

Her album, Kral Space, was released in 1977, and was a welcome return to the swinging trio sound of her earlier efforts. The album brought together the songs of contemporary jazz songwriters like Dave Frishberg and Bob Dorough, as well as Cole Porter and Jerome Kern. Kral Space was nominated for a Grammy© for Best Jazz Vocal performance.

The following year, another quiet album of voice and piano, Gentle Rain was released. Again she was nominated for a Grammy© for her work. Both years, she lost the award to her good friend Al Jarreau. Downbeat Magazine, in its' review of Gentle Rain, had this to say about her voice: ‘Irene Kral is one of today's most engaging vocalists. Though she doesn't possess a great natural instrument, Kral projects intelligence and emotional depth. This gives her performance a worldly dimension akin to that of Tony Bennett and Frank Sinatra.’

Jazz singer/songwriter/pianist Dave Frishberg remembers, ‘Irene had a definite direction in her singing. I accompanied her many times as I've done for other singers. Usually, when you accompany a singer, there are times when the piano player can lead the singer into different directions. With Irene, she definitely led you and you followed. She knew exactly what she wanted, and she was firmly in command.’”

“Sometime Ago” which forms the audio track to the following video tribute to Irene and “Nothing Like You Has Ever Been Seen Before” on the audio only SoundCloud are both from her Wonderful Life CD.

Chambertones - Jesse van Ruller/ Circles

Shades of Jimmy Giuffre, Jim Hall and Ralph Pena?

The Buddy Rich Big Band

Has there ever been a more exciting big band drummer than Buddy Rich?

David "Fathead" Newman: Tough, Texas Tenor

© -  Steven A. Cerra, copyright protected; all rights reserved.

“It's always been a mystery to me why Da­vid "Fathead" Newman isn't one of the most popular instrumentalists of the second half of the twentieth century.

He's got the intellectual chops to play be-bop, ballads or blues with a backbeat and with feeling, creativity and authority. He's got more taste than most living musicians; his sparse obbligatos behind Ray Charles on the magnificent live version of "Drown In My Own Tears" should be required listening for anyone licensed to carry a horn.

When he plays a note with the unique Texas tenor tone, every cell in my body comes alive.

That Texas tenor sound is a phenomenon in itself. David, Don Wilkerson, Booker Ervin, James Clay, King Curtis and Wilton Felder were some of its major exponents to emerge in the fifties. As different as their styles were, they shared a rich, hard, vibrato-less sound and a clear, deliberate articulation.

The sound is strong, sure and prideful, but with an underlying vulnerability. It's pas­sionate. … Cannonball Adderley described it as ‘a moan inside the tone.’ …”

- Michael Cuscuna, 1997

“When I was coming up in Dallas, all the older guys, especially the saxophone players, had a big, wide-open sound.”

- David “Fathead” Newman

“The Texas tenor sound and concept is very much unlike, and in advance of, the Coleman Hawkins of 1929 and beyond. It is a more fluent, more melodic and blues tinged approach, perhaps more elegant, too.”

- Günter Schuller

During an interview with him, I once asked Orrin Keepnews, who for many years was the proprietor and co-owner of Riverside Records, why he labeled the album he co-produced with Cannonball Adderley for David “Fathead” Newman and James Clay, The Sound of the Wide Open Spaces [Riverside RLP 1178; OJCCD-257]?

“Because,” he said, “ like Arnett Cobb, Illinois Jacquet, Bud Johnson, Buddy Tate, and a bunch of others, David and James seem to have the same compelling Texas moan in their tone.”

Even now, after all these years, when I listen to the music of tenor saxophonist David “Fathead” Newman, it always calls to mind Orrin’s phrase – “a compelling Texas moan.”

In his notes to David’s recording entitled Resurgence, which along with Still Hard Times has been reissued on CD as David “Fathead” Newman: Lone Star Legend [Savoy Jazz SVY 17249], Michael Cuscuna offered these insight on the Texas tenor sound, David Fathead Newman’s relationship to it and the salient features of David’s career up to when these recordings took place for Muse in 1980 and 1982, respectively.

© -  Michael Cuscuna, copyright protected; all rights reserved.

The legend and aura surrounding Texas saxophonists is clearly based in fact. Whether from Houston in the south or Dallas-Fort Worth in Central Texas, that state has spawned an array of impressive artists for generations, all toting a hard veneer and a soul that can em­brace the world. Only listening can reveal the bond that links Herschel Evans, Arnett Cobb, Illinois Jacquet, Booker Ervin, Wilton Felder et al.

A geographically genetic genre. An oral tradition and a testament to environment.

Consider the dramatic differences between David Newman, James Clay, King Curtis, and Ornette Coleman, all within a couple of years of the same age, all in Dallas-Fort Worth revolving around the band of the legendary saxophonist Red Connor in their teens.

Dig beyond their obvious stylistic differences, and you will hear the same voice, the same cry, the same bending of the note, the same powerful, but vulnerable sound.

On one end of the spectrum in the forties was Ornette Coleman, the oldest of the bunch. Red Connor would often scold or fire him for memorizing and perfectly executing Charlie Parker solos, an exercise that Connor felt to be uncreative. On the other hand was King Curtis (Ousley), mastering and crystallizing the rich blues and R & B tradition, but snubbed by Connor and the Beboppers of the day. History would vindicate men as their visions focused and their contributions became irrefutable. Fusing both extremes and all the riches that lie in between were men like David Newman, a master who has yet to receive his due.

Still in his teens, David built a strong repu­tation around Dallas before going on the road with Lowell Fulsom and T-Bone Walker, a road that rarely led far beyond the borders of Texas. He was playing alto and baritone saxophones at the time. He and Ray Charles had crossed paths on several occasions in the early fifties. When Charles put together a permanent working band in 1954 with the effective instrumentation of two trumpets, two saxophones and rhythm, he recruited Texas tenorman Don Wilkerson and David Newman, playing primarily baritone, but occasionally doubling on alto. A year later, Wilkerson left. David was offered the tenor saxophone chair. Of course, he accepted the new position and the new instrument. And the rest, as they say, was hysteria.

David's solos, obligate fills and ensemble voice were stunning testaments to the art of R & B. His understated, soulful creations matched the essence of Ray Charles perfectly. Charles recorded a couple of instrumental al­bums that featured Newman's talents. The band's repertoire was beginning to include pieces by James Moody, Horace Silver, Max Roach and Milt Jackson.

By 1958, Memphis-born Benny Crawford, primarily a pianist and alto saxophonist, se­cured the baritone saxophone chair with the Charles band, bringing into it his own ideas and sound. A few months later, Detroiter Marcus Belgrave would assume one of the trumpet chairs. In July, the Ray Charles band would perform (and record) at the Newport Jazz Festival. In November, at Ray's instigation, Atlantic would record the first album by David Newman with the Charles band of the time mi­nus the second trumpet. And that meant David on alto and tenor, Crawford on baritone (and contributing three tunes), Belgrave on trumpet, Ray Charles himself on piano, Edgar Willis on bass and Milt Turner on drums.

In 1959, Charles added Leroy Cooper on baritone sax, freeing Crawford to return to alto saxophone. In the process, he changed his first name to Hank and affirmed his own startling identity. He too began recording for Atlantic, maintaining the essence and style of that orig­inal Ray Charles instrumentation throughout his ten year stint with that record company. On the first three albums (1960-62), he used the band minus Charles intact. And that meant more opportunities to hear David.

But for David Newman, any outside activity after his first album seemed to be an oppor­tunity to break away from the Charles mold. In 1960, he recorded a straight-ahead date for Riverside with James Clay and his second Atlantic album. Although Marcus Belgrave con­tributed a tune, the setting was strictly quartet with Wynton Kelly, Paul Chambers and Charlie Persip, a clear statement of hard-core jazz. His third album schizophrenically offered a hard bop quintet with Belgrave on trumpet and a funky, blusier quartet with Crawford at the pi­ano and Ray Charles' bassist and drummer.

In 1964, David left Ray Charles' orga­nization, which had been since 1960 a full-fledged and less personal big band. He gigged locally around Dallas and turned his attentions to his family in its crucial years. By 1967, he began commuting to New York. By this time, he was playing soprano sax, as well as alto, tenor and flute. He re-established his ties with Cedar Walton, who was his pianist on local Dallas gigs when they were both still in their teens. He also re-established his relationship with Atlantic Records.

In March, he made his first album in five years, using a Texas guitarist who had recently migrated to New York. His name was Ted Dunbar, and that was his first recording session. The tune that drew attention to the album was one that Walton had just given to him, when they were working out on a friend's piano. It was "To The Holy Land[Recorded on the 1967 House of David Atlantic LP 1489]." A month later, New­man and Walton would appear together on a Lee Morgan session for Blue Note, recently released as "Sonic Boom."

Throughout the late sixties, David continued to record a succession of albums under his own name and appear on dates led by organist Don Patterson, Lonnie Smith, Shirley Scott and Charles Kynard. After rejoining Ray Charles briefly in 1970, he became a member of Herbie Mann's Family of Mann, a vehicle that allowed his tenor saxophone and flute work to shine and allowed him to contribute to the band's book of compositions as well. It was this band that first recorded "Davey Blue."

Although he left Mann in 1974, David continued to record albums of his own for Atlantic (and its sister label Warner Bros.) until 1977. He did studio work for the likes of Aretha Franklin, Cornell Dupree, Nikki Giovani, T-Bone Walker and Ben Sidran and made oc­casional live appearances. But David's em­phasis shifted back to Dallas during the late seventies except for three heavily arranged albums for Prestige that were misguided in the sense that they obscured the identity of the man whose name appeared on the record cover.

In the summer of 1980, David arrived in New York and transcended his shyness, call­ing all his old friends in town to announce his presence and his availability. We all responded with delight, and many things grew out of it. Among them is this record date, his first pure effort in years. The cast featured old associates, including Hank Crawford who came to the ses­sion with "Carnegie Blues" freshly written and tucked under his arm.

There could not have been a more appropriate date to record this album than September 23, the birthdate shared by Ray Charles and John Coltrane. Welcome back to New York, “Fathead.”

It had been my plan to use the 1967 version of To The Holy Land from The House of David Atlantic LP as the audio track on the following video tribute to David “Fathead” Newman, but WMG had other ideas and muted the audio when the video was uploaded to YouTube.

So instead we turned to the 1980 version of the tune Michael references in his notes to the Resurgence LP with David on tenor sax, along with Marcus Belgrave on trumpet, Ted Dunbar on guitar, Cedar Walton on piano, Buster Williams on bass and Louis Hayes on drums.

And if you are in the mood for contrasts, with the help of the crackerjack graphics team at CerraJazz LTD, I also developed another video that shows actual images of The Holy Land, in this case, Jerusalem, with a big band version of Cedar’s tune for the sound track as provided by the Jazz Orchestra of the Concertgebouw. Peter Beets does the solo honors on piano.

Harry Allen: A Throwback

© -  Steven A. Cerra, copyright protected; all rights reserved.

"Stan Getz was once asked his idea of the perfect tenor saxophone soloist. His answer was, 'My technique, Al Cohn's ideas, and Zoot's time.”

- Gene Lees

Harry Allen may well be the fulfillment of Getz’s recipe for making the perfect tenor saxophone soloist. His style of playing certainly recaptures the essence of the ultra cool sound and the easy, lyrical phrasing of Stan, Al and Zoot.

For as Richard Morton and Brian Cook state in their Penguin Guide to Jazz on CD 6^th Ed.:

“Allen has been acclaimed by an audience waiting for the Four Brothers to come back, if not the big bands. His full-blooded tenor sound offers countless tugs of the forelock to Zoot, Lester, Hawkins and whichever other standard-issue swing tenor one can think of; and it's hardly surprising that these enjoyable records have been given the kind of approbation that was heaped on the early Scott Hamilton albums. Allen plays nothing but standards, delivers them with a confidence and luxuriance that belie his then twenty-something age, and generally acts as if Coltrane and Coleman had never appeared at all.”

The editors go on the describe Allen’s “steamrollering sense of swing and his sewing of phrases and licks together with the kind of assurance once associated with Zoot Sims.”

Harry Allen can play and he comes to play.

He’s a throwback to a time when tenor saxophonists “plugged in” a rhythm section, planted their feet and “stretched out” into solos that were marked by fleet intensity, a warm, breathy sound and boppish licks.

Harry’s approach to the tenor saxophone finds the melodious aspects of the instrument and brings them to the forefront: no upper register squeaking; no running of seemingly mindless chromatic scales up and down the horn; no lengthy extrapolations that cause the listener to “head for the door” or to “turn that damn noise off.”

Harry’s music makes you stop and listen; it makes you feel good; it makes you smile. Here is the wonder and beauty of music the way The Muses, who created it, meant it to be played.

As is the case with many, younger musicians these days, Harry has his own website on which you can locate lots of information about his background, schedule of performances and a discography.

And here’s a link to a feature about Harry that Stephen Fratallone posted to his Jazz Connection Magazine in September 2005 entitled Just Wild About Harry: Harry  Allen brings His Swinging Mainstream Tenor Back to Jazz’s Forefront that’s just loader with good stuff about Harry.

Given his affinity for the style of playing made famous by the late tenor saxophonists Zoot Sims and Al Cohn, fittingly, these days, Harry can often be found in the company of guitar Joe Cohn, Al’s son. The two have formed a quartet that frequently records and appears at Jazz festivals and clubs both at home and abroad.

One of our favorite recordings by Harry and Joe in accompaniment is Eu Não Quero Dançar – I Won’t Dance [RCA Victor 74321 58126-2] about which Richard Cook and Brian Morton commented:

“For a change of pace, Allen did a sort of bossa nova album in I Won't Dance- sort of, because he swings it a lot harder than Getz chose to. Instead of the melodies billowing off balmy breezes, there's the odd tropical storm along the way, and it's an agreeable variation on what might have been expected.”

I have selected No More Blues [Chega de Saudade] from this CD as the audio track to the following video tribute to Harry. Checkout the simultaneous soloing by Harry and Joe that begins at 2:55 minutes. Beautifully done and not easy to do without tripping over one another’s solos.

Clare Fischer 1928-2012: A Tribute

A performance by Clare's Big Band of his original composition Miles Behind. The solos are by Warne Marsh on tenor saxophone and Conte Candoli on trumpet. Larry Bunker is on drums.

Milton Hinton and Jazz History: Parallel Courses

© -  Steven A. Cerra, copyright protected; all rights reserved.

Born in Vicksburg, Mississippi in 1910 and relocated to Chicago by his family at the close of World War I in 1918, it seems that bassist Milt Hinton had been around Jazz since its beginnings.

But like Osie Johnson, his drumming counterpart on numerous recordings sessions over the years, I found it difficult to locate much information about Milt despite the fact that the Lord Discography lists him on 1,205 recording sessions!

So when my copy of Down Beat: The Great Jazz Interviews a 75^th Anniversary Anthology arrived from Santa Claus this year, I was thrilled to discover that it contained Larry Birnbaum’s detailed essay about Milt entitled Milt Hinton: The Judge Holds Court, January 25, 1979.

Here are some excerpts that primarily focus on Milt’s nearly 16 year association with the Cab Calloway Orchestra.

I think you’ll find it to be a wonderful reminiscence of what the world of Jazz and the United States were like for a working musician from approximately 1935-1950.

© -  Larry Birnbaum/ Down Beat, copyright protected; all rights reserved.

"Bass means bottom. It means foundation, and bass players realize that their first job j is to support the musicians and the ensem­ble. Bass players know more about sharing ffld appreciating one another than any other musicians. In all my years I have never heard a bass player put another bass player down; they have great love for each other and they learn from one another and they share experiences and even jobs. It's why the art of bass playing has made more progress in the last 40 years than the art of any other instrument."

Milt Hinton should know. At 68 [Milt died on December 19, 2000 at the age of 90], the dean of American bassists stands at the summit of a half-century career that has taken him from the speakeasies of Chicago to the pinnacle of the big-band era with Cab Calloway to the jam sessions at Minton's in the early days of bop. …

"But to get back, in '35 Cab went to California to do a movie with Al Jolson called The Singing Kid. His bass player, Al Morgan, was a fantastic visual player. He was really my idol; I used to watch him just to see how a great bass player acted, and that's what I figured I would be like when I grew up—of course I'm nothing like that at all. When they made this movie, the cameras would be grinding away and every time Cab looked around, instead of the camera being on him it would be on Al Morgan, because he was a tall, black, handsome guy and he smiled and twirled his bass as he played. This got under Cab's skin because it was a little too competitive for him. But nothing happened about it until one of the producers said to Al Mor­gan, 'Look, you're so very photogenic that if you were going to be around here, every time we made a picture with a band scene in it you would get the job.' So this guy quit Cab in California and joined Les Kite's band with Lionel Hampton and all those guys who were established in Hollywood, and he stayed there.

"Cab started back east without a bass player, and my friend Johnson told Cab that if he was going through Chicago he should stop at the Three Deuces and dig Milt Hinton. By this time Simpson's band had broke up and the owner had opened a Three Deuces at State and Lake. Zutty Sin­gleton was the bandleader and Art Tatum was the relief piano player there. When Art played, it was my responsibility to stand by and come in for his finale. He played solo piano, but for his last tune, which would be something up-tempo, I was supposed to join him and take it out and then come on with Zutty's band. Of course, Art Tatum was so fabulous that I don't think I ever caught up to him; his changes were too fast for me and he left me standing at the post. But it was such a joy to see him, and he was a very nice person. He could see slightly if you put a very bright light behind his eye, so during intermissions we played pinochle together.

"Zutty had the band, mostly New Orleans guys. It was Zutty playing drums, Lee Collins, a great trumpet player whose wife recently put out a book about him; there was a kid from New Jersey, Cozy Cole's brother, who played piano, and Everett Barksdale was the guitar player. We worked for months at the Three Deuces and my acceptance as a musician was established, because Chicago was a New Orleans town—all the jazz was New Orleans jazz—and Zutty Singleton was the drummer. There was Baby Dodds and Tubby Hall, but Zutty was really the guy. He had been with the Louis Armstrong Hot Five, with Earl Hines and Lil and Pre­ston Jackson, who is now living in New Orleans. Zutty finally decided to take me into his rhythm section. Now I was with the king and now I was established as a top bass player in Chicago.

"And now Cab comes down and he listens to me play. He never said a word tc me, he just sat there—I saw him in the room—and a guy said, 'Cab is in.' He came in with a big coonskin coat and a derby and, man, he was sharp, people were like applauding. He sat at a table and listened to us play, and on the intermission he invit­ed Zutty over to the table to have a drink with him—not me, but Zutty. He said, 'Hey, I'd like that bass player, I heard he's pretty good.' Zutty was most beautiful and kind to me and he was only too happy to have me make some progress, and he said, 'You can have him,' in that long drawl, New Orleans accent he had. So Cab said, 'Well, thanks man, and if you ever get to New York and there's anything I can ever do for you, you just let me know,' and they shook hands. Then Zutty came upstairs— I'm playing pinochle with Art Tatum—and said, 'Well, kid, you're gone.' 'Where am I going, Zutty?' 'Cab just asked me for you and I told him he could have you.' I said, 'Don't I have to give you some kind of a two-week notice or something?' and Zutty said, 'If you don't get your black ass out of here this evening, I'll shoot you.'

"Cab finally comes up and sings a song with us, he hi-de-ho's and breaks up the house—and as he's leaving he says to me, 'Kid, the train leaves from LaSalle Street Station at 9 o'clock in the morning. Be on it.' That's all he said to me, no dis­cussion of salary or anything. I dashed to the phone, called my mom, and told her to pack that other suit I had and my extra shirt. I got my stuff—of course, there was no time to sleep—and I met the band at the station. It was quite an experience, because I had never been on a train except coming from Mississippi to Chicago, and you know I didn't come on a Pullman or any first-class train—we were right next to the engine. I'd never seen a Pullman in my life, and here all of these big-time musicians were on this train, on their own Pullman.

"There were these fabulous musicians: Doc Cheatham, the trumpet player; Mouse Randolph, another trumpet player; Foots Thomas, the straw boss, the assistant leader of the band, a saxophone player; Andy Brown, a saxophone player; and the drummer, Leroy Maxey. These guys had been working in the Cotton Club in New York and they were really professional: Lammar Wright was another great trum­pet player in the band; Claude Jones, a great friend of Tommy Dorsey's, was the trombone player; and there was my old friend Keg Johnson who had recommend­ed me.

"I must have looked pretty bad. I had the seedy suit on, a little green gabardine jacket with vents in the sleeves—we called them bi-swings in those days. Keg was introducing me around, and the great Ben Webster was in the band. He and Cab had been out drinking that night and they missed the train at LaSalle Street, but you could catch the train at the 63rd Street sta­tion. They were out on the South Side balling away with some chicks and they didn't have time to come downtown. So they picked up the train at 63rd Street and got on just terribly drunk. I was sitting there and Keg was trying to introduce me to the guys, and Ben Webster walks in ter­ribly stoned and he looked at me—I must have weighed 115 pounds soaking wet— and said, 'What is this?' and Cab said, 'This is the new bass player,' and Ben said, 'The new what!?' I remember thinking I would never like Ben, and he turned out to be one of my dearest friends.

"I hadn't asked anybody about the price, but I was making $35 a week with Zutty at the Three Deuces and that was one of the best jobs in town. Fletcher Hen­derson was at the Grand Terrace at that time with Roy Eldridge, Coleman Hawkins and Chu Berry and they were making 35 bucks a week. I didn't know how to approach anybody about money with Cab, so finally I told Keg that Cab hadn't said anything to me about money. Keg [Johnson, a trombonist] said, 'Oh, everybody here makes $100 a week.' Well, I almost fainted—$100 I had never heard of; it was a fantastic amount of money. This is before Social Security—they only took out $1 for union dues and you got $99, and $99 in those days was like $9,000 today. Honestly, you could get a good room for $7 a week; you could get a fantastic meal for 50 cents and cigarettes for 10 to 15 cents a pack; bread was 5 cents a loaf; so you can imagine what the thing was like.

"Cab told me after we started making one-night stands that he was only hiring me until he got to New York and got a good bass player. I was quite happy even to do that for 100 bucks a week. We made one-nighters for three months before we hit New York, all through Iowa—Des Moines, Sioux City, everyplace, and I got a chance to really get set and all the guys liked me.

"Well, Al Morgan was not a reading man. He had been in the band so long he had memorized the book, so there was no bass book. And here I was quite academ­ic—I'd studied violin and I'd studied bass legitimately with a bass player from the Chicago Civic Opera and I never had a problem with reading—I was playing Mendelssohn's Concerto in E-minor so there was no problem. I said, 'Where's the music?' and there was no music, so Benny Payne, the piano player, said, 'You just cock your ear and listen, and I'll call off the changes to you.'

"Benny was most kind and we've had many laughs about this later; I'm about S'7" and Al Morgan was a tall man, he must have been 6'3". There was no time to get new uniforms so I had to wear his clothes, and when I put on his coat I was just drowning in it. His arms were much longer than mine so that you couldn't see my hands because they didn't come out through the sleeves. The guys said I looked like Ichabod Crane or somebody—I'm playing bass through the coat-sleeves and they were laughing.

"I had never really played with a big band of that caliber, and when they hit it that first night it almost frightened me to death. The black guys in those days used to wear their hair in a pompadour—it was long in front and we would plaster it down with grease and comb it back and it would stay down. Of course, when it got hot that grease melted and our hair would stand straight up. I had this big coat on and I got to playing and the grease ran all out of my hair and my hair was standing up all over my head and Benny Payne is calling out these chords to me—'B-flat! C! F!' The guys in the band told me later that they were just rolling with laughter, they could hardly contain themselves, because I was really playing good but I looked so ungod­ly funny.

"Finally Cab saw that the guys liked me and we were having so much fun that he said, 'We'll give him a blood test.' There was a special tune that Al Morgan did, featuring a bass solo, called 'The Reefer Man.' Cab said, 'OK—"The Reefer Man,'" and my eyes got big as saucers because I didn't know anything about this new music. I said, 'How does it go?' Benny Payne said, 'You start it,' and I said, 'What!?' He said, 'We'll give you the tempo but it just starts with the bass—just get into the key of F.'

I tell you, I started playing F, I chromaticized F, I squared F, I cubed F, I played F every conceivable way, and they just let me go on for five or 10 minutes, alone, playing this bass, slapping the bass, and doing all this on this F chord. Finally Cab brought the band in with a 'two... three... four' and they played the arrangement. Benny's calling off the chords to me, and after three or four min­utes the whole band lays out and Benny says, 'Now you've got it alone again,' and here I go back into this F. I must have played five or 10 minutes, and Benny comes over and says, 'Now you just act like you've fainted and just fall right back and I'll catch you,' and I did it and it was quite a sensation as far as the public was concerned, and the musicians were just out of their skulls they were laughing so.

"By the time we got to New York, Ben Webster liked me and Claude Jones liked me and the guys all said, 'This guy's going to make it,' so I was in. I stayed with the band 16 years, until 1951.”