On this incredibly breezy, elegant, and rhythmically intoxicating 2013 studio album, world-renowned tenor saxophonist Harry Allen turns his immense talents to the sun-drenched landscapes of Brazilian jazz. Released via the Japanese imprint Swingbros, Blue Bossa is a flawless, high-fidelity masterclass that blends classic American swing phrasing with the intricate, swaying syncopation of Rio de Janeiro. Allen's golden, breathy tenor tone—powerfully reminiscent of Stan Getz’s classic bossa nova recordings—is paired perfectly with the legendary, world-class acoustic nylon-string guitar work of Brazilian master Romero Lubambo. Backed by a stellar, deeply locked-in rhythm duo of bassist Tom Kennedy and drummer-percussionist Adriano Santos, the quartet glides effortlessly through standard gems and deep-cut bossa architectures. From the lively, syncopated drive of Jobim's "A Felicidade" and "Chega de Saudade" to the gorgeous, midnight lyricism of "Caminhos Cruzados" and the title track, this pristine acoustic session is an essential, beautifully atmospheric treasure for audiophiles and jazz purists alike.

On this exceptionally gorgeous, warm, and masterfully romantic 2006 studio release, acclaimed tenor saxophonist Harry Allen delivers a pristine, 72-minute high-fidelity masterclass in timeless balladry. Appropriately titled Jazz For The Heart, this rare session on the McMahon Jazz Medicine imprint finds the modern champion of swing interpreting some of the most beautiful melodies from the Great American Songbook. Allen's golden, breathy tone carries the lineage of masters like Ben Webster and Stan Getz, offering a deeply expressive, late-night lyricism that feels both intimate and effortlessly sophisticated. Backed by an incredible, seasoned line-up of traditional jazz giants—including veteran pianist John Bunch, guitarist Joe Cohn, bassist Joel Forbes, and drummer Chuck Riggs—the quintet swings with a delicate, feather-light grace. From the smoky, slow-burning groove of "Night Train" to the breathtakingly tender architecture of "Skylark," "September Song," and "In the Wee Small Hours," this pristine acoustic session remains an absolute, essential jewel for any lover of classic jazz craftsmanship.

On this spectacular 2000 studio recording, the phenomenal tenor saxophonist Harry Allen collaborates with an absolute royalty-tier rhythm section to deliver an extraordinarily swinging and elegant mainstream masterpiece. Flanked by the legendary Oscar Peterson Trio alumni—bassist Ray Brown, guitarist Herb Ellis, and master drummer Jeff Hamilton—Allen explores a timeless selection of standards and deep American songbook cuts with breathtaking confidence. His signature warm, breathy tone and flawlessly melodic phrasing soar over a masterclass in acoustic rhythm, matching the deep, resonant bounce of Brown's bass and the crisp, swinging pocket of Hamilton's brushes and cymbals. Herb Ellis provides an incredibly tasteful chordal backing and sparkling, blues-inflected linear guitar solos that mesh perfectly with the leader's horn. It is a stunning, joyfully executed session that balances sophisticated historical reverence with an infectious, late-night lyricism that makes it an absolute triumph from start to finish.

On this exceptionally elegant 1999 studio release, master tenor saxophonist Harry Allen teams up with an absolute dream team of mainstream jazz royalty to deliver a breathtakingly lyrical and relaxed collection of ballads and mid-tempo swingers. Backed by the legendary pianist Tommy Flanagan, bassist Peter Washington, and drummer Lewis Nash, Allen showcases his signature breathy, deep, and warm tone that naturally evokes the timeless spirits of Ben Webster and Stan Getz. The album's sophisticated repertoire winds through beautifully arranged obscurities, heartfelt holiday classics, and stunning renditions of iconic pieces by Thad Jones and Duke Ellington. Flanagan’s impeccable, fluid piano accompaniment and lyrical solos lock in perfectly with the flawless, swinging pocket provided by Washington and Nash. It stands as a sublime masterclass in acoustic storytelling, balancing flawless historic reverence with a profound, late-night emotional depth that is an absolute joy to experience.

On this exceptionally elegant 1998 release, acclaimed tenor saxophonist Harry Allen delivers a gorgeous, breeze-swept exploration of bossa nova and classic jazz standards, capturing the exact relaxed essence of the cool jazz tradition. Mirroring the legendary collaborations of Stan Getz, Allen brings his signature warm, breathy tone and flawlessly melodic phrasing to timeless Brazilian compositions by Antonio Carlos Jobim and others. The album is elevated by an absolute dream team of musicians, featuring special guest vocalists Maucha Adnet and Dori Caymmi, whose intimate delivery adds deep emotional resonance to the session. Backed by the sophisticated rhythm section of pianist Larry Goldings, guitarist Joe Cohn, bassist Dennis Irwin, and master drummer Duduka Da Fonseca, the ensemble establishes an effortlessly swaying, late-night groove. It stands as a stunning, beautifully recorded tribute to the marriage of jazz improvisation and Brazilian lyricism, making it an absolute joy from start to finish.

Released in 2001 on the acclaimed German jazz imprint Nagel-Heyer Records, Allan And Allen is an incredibly joyful, fluid, and swinging masterclass in mainstream jazz architecture. Bringing together two of the finest modern traditional horn masters—clarinet virtuoso Allan Vaché and tenor saxophone heavyweight Harry Allen—this studio encounter perfectly channels the historic front-line energy of the great swing and bop eras. Backed by a premier, ultra-swinging rhythm section featuring piano icon Eddie Higgins, bassist Phil Flanigan, and drummer Eddie Metz Jr., the co-leaders engage in a brilliant, conversational musical dialogue. Spanning nearly 70 minutes, the tracklist breezes through impeccable, melody-driven reinventions of timeless standards like Count Basie's "Jive At Five," Lester Young's "Tickle Toe," and a lush, late-night take on Jobim's "Corcovado." Driven by Vaché's acrobatic, pristine upper-register clarinet runs and Allen's rich, warm, Ben Webster-inspired tenor blowing, this definitive recording serves as an elegant, endlessly charming monument to classic acoustic interplay.

Released in 2009 on the prestigious Novus label, I Can See Forever is a breathtakingly warm, elegant, and deeply lyrical masterwork from master tenor saxophonist and producer Harry Allen. Celebrated for his rich, classic tone reminiscent of the great swing and bossa nova pioneers, Allen delivers a gorgeous, sun-drenched tribute to the golden era of Brazilian jazz architecture. For this exquisite session, he surrounds himself with an absolute dream team of legendary masters, including double bass icon Ron Carter, the legendary drummer Grady Tate, and master acoustic guitarists Guilherme Monteiro and Jay Berliner. Enhanced by select colors from flutist Sumiko Fukatsu and percussionist Joe Ascione, the ensemble constructs a luxurious, intimate soundscape. The tracklist features definitive, soulful interpretations of Antonio Carlos Jobim's "Wave," "O Grande Amor," and "A Felicidade," alongside a beautiful title track and a deeply moving jazz-bossa reading of The Beatles' classic "And I Love Her." For connoisseurs of pristine, melody-driven mainstream jazz, this definitive album stands as an absolute triumph of sophisticated acoustic music design.

A Little Touch Of Harry is a spectacularly expressive, historically monumental, and masterfully synchronized mainstream and cool jazz studio masterpiece led by the legendary American tenor saxophone vanguard traditionalist Harry Allen, released in 1997 by the premier independent Japanese archival preservation imprint Sound Hills Records. Spanning over 66 minutes of breathtakingly swinging, conceptually pure melodic interactions across 12 definitive tracking alignments, this high-fidelity document serves as an absolute pinnacle monument in late-1990s traditional jazz archaeology. Celebrated globally as a definitive champion of the classic swing and breathy Webster-esque tenor lineage, Allen utilizes this elite studio laboratory to execute a fierce, forward-thinking sonic blueprint that breathes vibrant new life into the Great American Songbook, balancing deep historic reverence with immense improvisational clarity.

The Bloody Happy Song is a spectacularly smooth, historically monumental, and masterfully synchronized mainstream jazz studio masterpiece by the globally celebrated American tenor saxophonist Harry Allen, released in 2020 by the independent archival preservation imprint GAC Records. Spanning over 45 minutes of profound, deeply lyrical instrumental interaction across 10 timeless selections, this high-fidelity restoration serves as an absolute pinnacle monument in modern traditional jazz archaeology. Critically lauded as one of the definitive torchbearers of the classic swing and cool jazz saxophone lineage—drawing comparison to legends like Stan Getz and Ben Webster—Allen uses this unique leadership ledger to execute a highly refined, intimate sonic blueprint defined by his trademark rich tone, flawless melodic phrasing, and a surprising, innovative integration of midi keyboard soundscapes.

Plays The Hits of Stage & Screen is a refined and elegant jazz album featuring tenor saxophonist Harry Allen alongside the John Pizzarelli Trio. Released in 2004, the recording focuses on timeless songs from stage and screen, presented in a smooth and sophisticated cool jazz style. Harry Allen’s warm, lyrical tone on the tenor saxophone carries the melodic lines with clarity and grace, while John Pizzarelli’s guitar work adds a subtle rhythmic pulse and harmonic richness. The trio, completed by Ray Kennedy on piano and Martin Pizzarelli on bass, provides a relaxed and swinging foundation that perfectly complements the lead saxophone. The album features classic tunes such as “I Could Write a Book,” “Let’s Face the Music and Dance,” and “Have You Met Miss Jones?”, each interpreted with tasteful arrangements and a focus on melody and musicality. The overall mood is light, polished, and intimate, making this a quintessential example of modern cool jazz that pays homage to the Great American Songbook and classic film and theater repertoire.

Back in 1964, saxophonist Stan Getz made one of those perfect albums. He teamed up with famed Brazilian songwriters and guitarists, Joao Gilberto and Antonio Carlos Jobim, and delivered one of the best records in his career: Gezt/Gilberto (Verve, 1964). The combination of the wistfully vibrant bossa nova and the sensual saxophone sound of Getz proved to be irresistible. History has a way of repeating itself and now it is time for yet another crucial meeting between a group of Brazilian musicians and an American saxophonist. Harry Allen could be considered one of the most prominent heirs to the sound of Getz, so it was only a matter of time before he would find the ideal partner to make an album with a perfect Brazilian sound. In fact, his partner found him. In the elaborate notes to the album Something About Jobim, producer and bassist, Rodolfo Stroeter, tells the story of the album. When his good friend, record producer Søren Friis of Stunt Records, gave him a bunch of records to listen to, one of them especially caught his attention.

Trio Records proudly presents a 'live' recording of a quartet featuring the incredible US jazz saxophonist Harry Allen recorded at the Watermill Jazz Club with Italian pianist Andrea Pozza, gifted bassist Simon Woolf and ever popular drummer Steve Brown. Fans of the long linage of the saxophone greats will not be disappointed. Harry Allen can be instantly lined up as a disciple of the late Stan Getz, but he has absorbed far more of the jazz saxophone tradition with elements of Hawkins, Webster, Zoot and Al, and elements from one of his teachers Scott Hamilton. However, Harry Allen's voice is very much his own and as fresh as any on the contemporary scene. With a formidable technique and searing sound Harry Allen continues the tradition of the great saxophonists before him. The material on the CD is a straight blowing set ofjazz standards, a couple of great originals penned by Harry Allen and Judy Carmichael and the theme to Star Trek based on the standard Out Of Nowhere.

The legendary Four Brothers reed section of Woody Herman's famous "Second Herd" big band of 1947, (Herbie Steward, Zoot Sims, Stan Getz and Serge Chaloff) is reimagined and reinvigorated by jazz icons Harry Allen, Eric Alexander, Grant Stewart and Gary Smulyan on the exciting, swinging and audacious recording of The Candy Men by Harry Allen's All Star New York Saxophone Band. Offering a sensational set of twelve bop-infused tunes containing some hard-driving, mid-tempo swing pieces to breathy and bossa-styled ballads, one sampling of this disc is just not enough. The material and the musicianship is so outstanding, that the late, great bandleader Woody Herman himself, would be proud of the way this group of jazz icons, has so elegantly represented the original Brothers section.

The first fact one needs to know about the Harry Allen-Joe Cohn Quartet is that it is, as described in the liner notes, a "working band." This may sound like a negligible fact on Hey, Look Me Over, but it isn't. A number of famous combos in the history of jazz have only played together in the studio. Here, however, guitarist Cohn, tenor Allen, bassist Joel Forbes, and drummer Chuck Riggs have developed the synchronicity that only comes from performing together night after night. For Hey, Look Me Over, that equals an hour of lovely ensemble work highlighted by some well-wrought guitar and tenor workouts on a solid set list. The next thing one would want to know about the Harry Allen-Joe Cohn Quartet is that they play traditional mainstream jazz with such pizzazz that one would never mistake it for regurgitated classics…