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Edward Clifton Allen (December 15, 1897 – January 28, 1974) was an American jazz trumpeter and cornetist.[1]
Ed Allen | |
|---|---|
| Birth name | Edward Clifton Allen |
| Born | December 15, 1897 Nashville, Tennessee |
| Died | January 28, 1974 (aged 76) New York City, New York |
| Genres | Jazz |
| Instrument(s) | Trumpet, cornet |
Allen was born in Nashville, Tennessee on December 15, 1897.[2] His family moved to St. Louis, Missouri when he was seven; he began playing piano at age ten and settled on cornet soon after.[3] He worked as a truck driver in his teens and played in military bands.[3]
By the mid-1910s Allen was playing professionally in local nightclubs and bars.[3] He moved to Seattle to take a gig with Ralph Stevenson, then returned to St. Louis to play on the Streckfus line of riverboats which ran between New Orleans and St. Louis on the Mississippi River.[3] Early in the 1920s he played in the band of Charlie Creath, but by 1922 he had his own ensemble, the Whispering Gold Band, aboard the S.S. Capitol.[3] After this, he was based in New Orleans until 1923.[2]
In 1924 he made his way to Chicago and played with Earl Hines until 1925.[3] He then played from 1925 to 1927 in a revue called Ed Daily's Black and White Show, as a member of Joe Jordan's group, the Sharps & Flats.[3] Between 1927 and 1937 Allen recorded extensively with Clarence Williams.[2] Allen also accompanied vocalist Bessie Smith on some recordings, and recorded in several bands of King Oliver's.[3]
Allen played in various dance bands through the 1930s and 1940s, then played with Benton Heath in New York City from the middle of the 1940s up until 1963.[3] His last appearance on record was in England with Chris Barber in the 1950s.[3] After 1963 his failing health resulted in retirement from music.[3] He died in New York City on January 28, 1974.[2]
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"In his early work Allen sometimes used the cackle-like muted timbre employed by contemporary jazz cornetists, and he produced a pleasant tone with a wa-wa mute; on the open instrument he often affected a singing, lyrical style in the manner of Joe Smith, but he showed a substantial New Orleans influence, especially in his lead playing."[2]
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