Naptown Sound by Steve Allee

‘Naptown Sound’ Steve Allee Big Band CD Liner notes – Kyle Long
If you ask the average music fan to name the greatest jazz cities in America, it’s unlikely that Indianapolis would top their list. That’s a shame, as those familiar with the city’s history know better. They see the unique fingerprints of Indianapolis musicians across the broad timeline of jazz.
In all fairness, Indianapolis, or Naptown as we locals affectionately call it, doesn’t have the unrivaled depth of history you’ll discover in the music’s birthplace New Orleans, or the incalculably vast network of clubs, musicians and labels you’ll find in a megalopolis like New York City. What Indianapolis does have is an undeniably rich jazz culture that has shaped the development of this music in profound ways. It’s a culture that continues to expand and evolve, as you’ll hear on this brilliant album from the Steve Allee Big Band, an album that celebrates the musicians, teachers, mentors, history, and places that make Naptown a sparkling jewel in the geography of jazz music.
The legacy of Indianapolis jazz has had a remarkable reach. During World War I, the Indianapolis vocalist and bandleader Noble Sissle introduced jazz to the European continent with the 369th Infantry Regiment’s "Hell Fighters" band. A few years later, Sissle, and his partner Eubie Blake, brought jazz to Broadway with their historic musical production Shuffle Along. During the mid-20th Century, Indianapolis produced a trio of music icons whose artistry defined the role of their instruments in jazz: trombonist J.J. Johnson, trumpeter Freddie Hubbard, and guitarist Wes Montgomery. In the 1950s, Naptown bassist Leroy Vinnegar, and pianist Carl Perkins contributed to the early sound of West Coast jazz. In the 1960s, saxophonist/flutist James Spaulding, trumpeter Virgil Jones and bassist Larry Ridley became key sidemen on classic sessions for revered East Coast jazz labels including Blue Note, Impulse and Prestige.
The aforementioned names represent a small sample of the Indianapolis jazz performers who’ve gained national notoriety. There’s Melvin Rhyne, David Baker, Slide Hampton, Monk Montgomery, Les “Bear” Taylor, Jimmy Coe, David Young, Pharez Whitted, Floyd Smith, Pookie Johnson, Russell Webster, Larry Liggett, Sarah McLawler, Buddy Montgomery, Phil Ranelin, Bill Jennings,

Ray Appleton, Jozell Carter, John Von Ohlen, Paul Weeden, Rob Dixon, Debbie Andrews, Billy Wooten, The Hampton Sisters and so many more.
Pianist, composer, arranger and bandleader Steve Allee came of age at a time when many historic Naptown players were still active on the scene. Some befriended the young Allee, others became mentors or colleagues, all left an indelible mark on his life and music. “Naptown Sound” pays tribute to the influences and character of this area of Indiana in the highest way that I can,” Allee told me.
And what is the Naptown sound? Like the term Naptown itself, the sound originated along the streets of Indiana Avenue, a historic Black neighborhood located near downtown Indianapolis. In the era of segregation, Indiana Avenue was the center of Black life in Central Indiana. During the Avenue’s prime years, in the mid-1900s, the area was home to dozens of nightclubs that featured performances from local legends and jazz royalty — Duke Ellington, Jelly Roll Morton, Louis Armstrong, Lester Young, Charlie Parker, Ella Fitzgerald, Count Basie, Miles Davis, John Coltrane and countless others performed on the Avenue.
The Avenue provided more than entertainment; the neighborhood also hosted a variety of institutions offering high-level music education. Notable among these was Ruth McArthur’s Conservatory of Music, where young jazz players including Larry Ridley, Slide Hampton and David Hardiman refined their skills. Crispus Attucks High School must also be mentioned, the school’s venerated staff of music educators molded the young minds of J.J. Johnson, David Baker and many others. There were also individual instructors, like pianist Errol Grandy, that offered private lessons. Grandy, who mentored Wes Montgomery and others, has been called the “dean of Indiana Avenue” and “the godfather of Indianapolis jazz.”
Local jazz and blues players shared their neighborhood pride on nationally distributed recordings, including historically significant releases like Nina Reeves and Jesse Crump’s “Indiana Avenue Blues” (1921). Leroy Carr and Scrapper Blackwell’s “Naptown Blues” (1929), Herve Duerson’s “Avenue Strut” b/w “Naptown Special” (1929), Little Bill Gaither and Honey Hill’s “Naptown Stomp” (1935), Christine Chatman’s “Naptown Boogie” (1944),

and Wes Montgomery’s “Naptown Blues” (1965), among many other examples.
It was in this cauldron of influences that the Naptown sound was cultivated and disseminated. While tracing the history of the sound is a fairly straightforward process, defining the Naptown sound in words can be challenging. During a conversation with Allee, he described it as a “lilting straight eighth note swing style”, a sound he’d heard in the music of Errol Grandy and Wes Montgomery. He also emphasized the “unbelievable harmonic richness” found in the music of J.J. Johnson and Slide Hampton.
Allee was introduced to the Naptown sound at an early age. By the time he reached high school, Allee was gaining notoriety as a musician. A 1967 article published by the Indianapolis Star speculated that Allee “may someday go down in history as one of Indiana’s famous musicians.” Allee was a junior at Ben Davis High School at that time. At age 19, Allee was touring nationally with the jazz star Buddy Rich. He credits the Indianapolis trumpeter and bandleader Jim Edison as a key figure in his early development, Allee studied arranging with Edison as a teenager. It was Edison that introduced Allee to pianist Claude Sifferlen, a man he describes as a lifelong mentor.
During the early 1970s, Allee and Sifferlen entered a period of intense practice and performance together. They developed a compelling dual keyboard sound utilizing the Fender Rhodes and Farfisa organ. This unique sound can be heard on their 1973 album The Baron Von Ohlen Quartet, which also included John Von Ohlen on drums and Mary Ann Moss on vocals. The album was issued on Stan Kenton’s Creative World label. The Baron Von Ohlen Quartet was Allee’s recording debut, introducing the young pianist to the greater jazz world. The LP remains a cult classic today, selling for hundreds of dollars on the collector’s market.
Two tracks on Naptown Sound reference this period of Allee’s career. The first is “Twins”, a track dedicated to musicians Steve and Greg Corn, two of Allee’s early collaborators. The second is “Zebra II”, a haunting tone poem composed by Sifferlen.

Allee continued to immerse himself in the Naptown sound throughout the following decades, performing with, and arranging for legendary Indianapolis players like Slide Hampton, Russell Webster and Pookie Johnson, all of whom trace their roots back to the Indiana Avenue scene. Their presence is felt in this music.
The spirit of Wes Montgomery also looms large over Naptown Sound.
Allee was just 17 years old when Montgomery unexpectedly passed away in 1968. Though Allee never met the famed guitarist, Montgomery’s music left a lasting influence on his work. The album’s opening cut features an exciting arrangement of the Montgomery composition “Full House”. The original compositions “Hubbub” and “Wes at the Turf” reference Indianapolis nightclubs where Montgomery held extended residences.
“Wes at the Turf” celebrates Montgomery’s time at the Turf Club, located in the Haughville neighborhood, across the river from Indiana Avenue. From 1955 to 1957, the Turf Club was a home base for the Montgomery-Johnson Quintet. The band featured Wes Montgomery on guitar, Buddy Montgomery on piano, Monk Montgomery on bass, Sonny Johnson on drums, and Pookie Johnson on sax.
“Hubbub” is an homage to the Hub-Bub Lounge. During the late 1950s and early ’60s, Montgomery was a frequent headliner at the Hub-Bub. The club featured a variety of local and regional talent. Johnny Lylte, John Patton, James Blood Ulmer, Grant Green and Wilbert Longmire are just a few of the touring musicians who graced the Hub-Bub’s stage
While history is at the core of Naptown Sound, the album is not an exercise in looking backward. Allee’s intention is to honor the heroes and traditions of Naptown music in a modern context. Multiple compositions on the album reference contemporary themes. Those tracks include “Cookin’ at the Kitchen”, an ode to the Jazz Kitchen, the premiere Indianapolis jazz club of the 21st Century, and “Spang a Lang”, a tune dedicated to the Steve Allee Big Band’s drummer Steve Houghton, a renowned jazz musician who worked with the Indianapolis icon Freddie Hubbard.

The Steve Allee big band features a remarkable cast of musicians, and their performances on this project are impeccable. In the context of Indianapolis jazz, one player deserves special recognition, saxophonist Rob Dixon. His dynamic solos are a highlight of the album. Dixon is a central figure in the present day Indianapolis jazz scene. Fans and colleagues call him “The Mayor” in recognition of his importance. Dixon’s frequent performances and tireless educational outreach ensure that jazz music remains a vital cultural force in Naptown.
Naptown Sound is a significant artistic work, full of lush harmonics, fiery solos and striking compositions that explore the full sonority of the big band sound. Steve Allee and his big band have created a passionate and heartfelt tribute to Indianapolis’ jazz legacy.
Indianapolis jazz fans may continue to wonder if the Naptown sound will ever receive its full due on the national stage, I have no doubt that this project brings us one step closer to making that a reality.
— Kyle Long, producer/host at WFYI

Steve was born in Indianapolis, IN. He studied with pianist Claude Sifferlen and joined the Buddy Rich band at age 19. Steve is a Yamaha Performing Artist and has performed with
Slide Hampton, James Moody, Benny Golson and many others. Steve has been a member of the Rufus Reid's Trio.