Introduction
Edward Clifton Allen (December 15, 1897 – January 28, 1974) was an American jazz trumpeter and cornetist.
Early life
Allen was born in Nashville, Tennessee on December 15, 1897. His family moved to St. Louis, Missouri when he was seven; he began playing piano at age ten and settled on cornet soon after. He worked as a truck driver in his teens and played in military bands.
Later life and career
Allen began working professionally when he was 16, spent a period playing in Seattle with Ralph Stevenson. He then returned to St. Louis and worked for two years with Charlie Creath on the Streckfus line of riverboats which ran between New Orleans and St. Louis on the Mississippi River.
By 1922, he had his own ensemble, the Whispering Gold Band, aboard the S.S. Capitol. After this, he was based in New Orleans until 1923.
In 1924 he made his way to Chicago and played with Earl Hines until 1925. 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. Between 1927 and 1937 Allen recorded extensively with Clarence Williams. Thanks largely to his association with Clarence Williams, Allen appeared on dates accompanying such singers as Anna Bell, Laura Bryant, Mary Dixon, Katherine Henderson, Bertha Idaho, Sara Martin, Clara Smith, Eva Taylor, and most memorably Bessie Smith. Allen also recorded in several bands of King Oliver's.
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.
Other than four selections cut with Cliff Jackson on a Swingville session in 1961 (a rare date not organized by Clarence Williams), Allen spent his last 40 years in obscurity.
His last appearance on record was in England with Chris Barber in the 1950s. After 1963 his failing health resulted in retirement from music.
Death
Allen died in New York City on January 28, 1974, at the age of 76.
Playing style
"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."