![]() This recording featured Allen alone, appearing in a variety of computer-generated virtual formats, from solo horn to little-big band. Taking advantage of some newly acquired recording equipment and computer software, the saxophonist recorded a "solo" recording, The Bloody Happy song (GAC Records, 2020). But rather than simply wait to see what happened, Allen jumped headlong into two ambitious projects. In particular, tenor saxophonist Harry Allen took the pandemic head on by cutting a European tour short in March 2020, returning to New York City. The COVID pandemic has changed many things about daily life, creating something of a new, mutated "normal." This is no more apparent than in many of the "outside-the-box" methods that performance artists have used to subsist and ply their trade during a virtual lockdown. Not unlike his years as an excellent tenor saxophonist, his solos display a bold approach and always stays true to the core of each song.įrom the beginning to the end of Milo's Illinois, Allen's and Karn's resourcefulness is a joy to behold. Left to his own devices for substantial portions of the record, Karn forges his own space within the music. The swagger of Karn's walking lines include brief, ear catching variations in timbre and emphasis which enhance his resolute momentum. ![]() In other cases, loquacious, irregular sequences speak for themselves while reinforcing Allen. In some instances, minimalistic combinations of notes are spot-on yet suggest an adventurous spirit. Seizing the opportunity to act as something more than a dutiful, one-man rhythm section, he asserts himself as an equal partner while remaining mindful of fundamental responsibilities to the music. Meticulously constructed narratives betray no signs of inessential detail, inflated climaxes, and gratuitous emotion.ĭuring the heads and Allen's solos Karn walks the tightrope by offering vigorous commentary as well as providing harmonic and rhythmic underpinning. In his domain, temperance is truly a virtue. Indicative of a clear-sighted player with a lyrical streak, Allen's improvisations are devoid of the shock and awe moments that have become commonplace in contemporary jazz. He executes refined variations of the melodies (a delightfully frisky rendition of "Tenderly" is a noteworthy exception) and makes each phrase sound like a distinct entity that merits scrutiny. His penchant for taking a somewhat different course on the in and out heads contribute to the record's extemporaneous character. Although the tracks generally evolve in a head/solos/head manner, there's nothing facile about Allen's and Karn's use of familiar methods.įor the most part, Allen's thoughtful, straightforward approach to the songs favors gradations in tone instead of flashy detours or ornate embellishment. From "Just One of Those Things," to "Tea for Two," to "A Time for Love," their ingenuity and playfulness make time-honored material sound-and feel-vigorous and essential. Allen and Karn don't simply play the songs they live and breathe inside of them. ![]() The disc's eleven tracks aren't exercises in nostalgia or cynical attempts to attract a financially viable segment of an ever-shrinking jazz audience. Their dialogues on songs spanning several decades of the twentieth century (as well as a couple of originals) are so complete and deeply satisfying that the presence of a chordal instrument or drums would only serve to muddy the waters. Evincing a tone that was self- contained, free of affectation, and rife with nuance he improvised tales in the context of songs from the Great American Songbook.įor those who haven't had the opportunity to hear him in such an ideal setting, there's Milo's Illinois, a superb date co-led by Allen and bassist Mike Karn. Standing less than five feet from the first row of tables, Allen didn't feel the need to huff and puff and blow the house down. Obliviously noisy diners were conspicuous by their absence. His tenor sax, an acoustic piano and an upright bass were not miked or amplified in any way. Allen's contributions to the opening set transpired amid a splendid convergence of circumstances. ![]() In February of 2019, Harry Allen played a gig at Shanghai Jazz, a restaurant/jazz club in Madison, New Jersey.
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