Johnny Allen, 1917–2014 By Lars Bjorn and Jim Gallert One of Detroit’s central figures in the jazz world since World War II, Johnny Allen passed away January 29. Allen’s contributions were many: as a pianist, arranger, composer, and bandleader. A “Going Home Celebration” was held for him at Detroit Unity Temple on February 8. The long line of Detroit musicians who performed at this event, including Marcus Belgrave, Ursula Walker and Buddy Budson, Ed Gooch, Rayse Biggs, John Trudell, and Norah Duncan, gave an indication of his high standing in the Detroit musical community. Johnny Allen left behind his wife of 58 years, Alberta, two daughters, four sons, 14 grandchildren, and one great-grandchild. John Van Allen was born in Uchee, Alabama, on September 20, 1917, and moved to East Chicago, Indiana, at an early age. In high school he learned music theory, composed music for the band, and worked as a pianist. A year after graduation, in 1936, he joined his mother in Detroit where he soon got involved in the city’s musical life. In the early 1940s, Allen became the chief arranger, music director, and pianist for the Club Congo orchestra in the Norwood Hotel in the heart of Paradise Valley. This orchestra included many young musicians who became important figures in the emerging be-bop movement: trumpeter Howard McGhee, bassist Al McKibbon, and tenorists Wardell Gray and Teddy Edwards. In 1943 Allen was drafted and became a member of the 333rd Army Service Band, which played nightly at the Officer’s Club. Allen composed and arranged for the band as well. Soon after discharge from the Army in 1946, Allen went on tour with the Lucky Millinder Orchestra. He was pianist and arranger on one of their hits from 1947, “Let It Roll.” When tenorist/singer Bull Moose Jackson left Millinder in 1949, Allen went with Jackson and knocked out some fine charts, including one that became a major hit record: “Why Don’t You Haul Off And Love Me One More Time.” Allen also wrote for Detroit “Jump” bands like Todd Rhodes’ orchestra. Back in Detroit in 1952, he formed the first of several trios with Al Martin on bass and Dave Hamilton on guitar. This trio played many places in Detroit, but also for two weeks at the Blue Note in Chicago. In 1957 his quartet, which included bassist Alvin Jackson, and drummer Oliver Jackson, had a long engagement at Lavert’s. He was also hired by Rev. C.L. Franklin to teach his daughter, Aretha, to play the piano. For much of the 1960s, Allen worked at Motown as a staff arranger, producer, writer, and conductor. He was also artist-development coach for Diana Ross and the Supremes, Temptations, Four Tops, Stevie Wonder, Gladys Knight and the Pips and many others. While still at Motown, he started to work as an arranger for Isaac Hayes on his Hot Buttered Soul album. This collaboration continued in the early 1970s with “Theme from Shaft,” for which Allen was awarded a Grammy for Best Instrumental Arrangement in 1972. Johnny Allen always took great pains to pass on his skills to the next generations of musicians in private lessons or at Oakland University and the Center for Creative Studies. His gentle personality, selflessness, integrity, and wide musical experience made him an ideal teacher and counselor for many in the Detroit musical community. He was also a good friend of ours and we will miss him dearly.