Harry Allen: Milo's Illinois

In February of 2019, Harry Allen played a gig at Shanghai Jazz, a restaurant/jazz club in Madison, New Jersey. Allen's contributions to the opening set transpired amid a splendid convergence of circumstances. His tenor sax, an acoustic piano and an upright bass were not miked or amplified in any way. Obliviously noisy diners were conspicuous by their absence. 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. 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.

For 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. 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.

The disc's eleven tracks aren't exercises in nostalgia or cynical attempts to attract a financially viable segment of an ever-shrinking mainsteam jazz audience. Allen and Karn don't simply play the songs; they live and breathe inside of them. 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. 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.

For the most part, Allen's thoughtful, straightforward approach to the songs favors gradations in tone instead of flashy detours or ornate embellishment. His penchant for taking a somewhat different course on the in and out heads contribute to the record's extemporaneous character. 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. 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. In his domain, temperance is truly a virtue. Meticulously constructed narratives betray no signs of inessential detail, inflated climaxes, and gratuitous emotion.

During the heads and Allen's solos Karn walks the tightrope by offering vigorous commentary as well as providing harmonic and rhythmic underpinning. 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. In some instances, minimalistic combinations of notes are spot-on yet suggest an adventurous spirit. In other cases, loquacious, irregular sequences speak for themselves while reinforcing Allen. The swagger of Karn's walking lines include brief, ear catching variations in timbre and emphasis which enhance his resolute momentum. Left to his own devices for substantial portions of the record, Karn forges his own space within the music. 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.

From the beginning to the end of Milo's Illinois, Allen's and Karn's resourcefulness is a joy to behold. Highly recommended.

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