Buff Allen
Career Highlights
• 2003 Juno Nominee, best vocal jazz album, Joani Taylor and Bob Murphy
• 1989 Juno Award winner, best jazz album (Hugh Fraser Quintet, “Looking Up”)
• 1987 Laureate, CBC-Alcan Jazz Competition Montreal Jazz Festival
• performances with Ed Bickert, Johnny Hartman, Lenny Breau, Teddy Wilson, all world renowed jazz musicians
• 1991 Canada Council Jury member for “B” grant selection
Recordings
• Albums with: Bob Murphy and Joani Taylor, Hugh Fraser Quintet, Pat Coleman, Veji Big Band, Johnny Hartman (his last album), Kathryn Moses, Ron Allen, June Katz, Almeta Speaks, Mr. Dressup, the late Kathy Kidd, Art & Lee Ellefson, Norman Foote, Roger Whittaker.
• numerous film scores, jingles, and radio shows (Canada & England)
• television work with Ed Bickert, Moe Koffman, Mr.Dressup, Bob McLean Show (Toronto), Valdy & Gary Fjellgaard, all of the McGyver soundtracks that have been recorded in Vancouver, The Black Stallion, Neon Rider, Scene of the Crime, two years on Lonesome Dove, one season on the soundtracks of These Arms of Mine (2000)and some episodes of Ed Eddy & Ed (composed by Patric Caird), and a variety of charity telethons (house band)
•early 80’s recording with Daniel Lanois
Jazz Work
• 8 years in Toronto with artists such as the late Ed Bickert, the late Moe Koffman, the late Rob McConnell, Sam Noto, the late Eugene Amaro, the late Hagood Hardy, the late Kathryn Moses, the late Peter Appleyard, the late Phil Nimmons, Don Thompson, and visiting artists such as Hank Jones,Teddy Wilson, Lenny Breau, Johnny Guenieri, Red Norvo,Johnny Hartman, Maxine Sullivan
• 20 years back in Vancouver with artists such as Diana Krall, the late Paul Horn, Pat Coleman, Sal Ferreras, Oliver Gannon, Fraser Mcpherson, Ron Johnston, Tom Banks, the late Hugh Fraser, the late Kathy Kidd, Veji, Drum Heat,and visiting artists such as Benny Wallace, Joanne Brackeen, the late Kenny Wheeler, Chuck Israels, Barry Harris, the late Mose Allison, Carol Welsman, Andy LaVerne
Popular Work
• Concert tours with Sharon, Lois & Bram, the late Shirley Eikhard, the late Hagood Hardy, Ann Mortifee, Ken Hamm, Time to Sing (gospel), Norman Foote, Howie Mandell
Dance
Ballet BC: “Streecar Named Desire,” choreographed by John Alleyne, with original score composed by Tobin Stokes; April, 2006
Studies
• drum master classes with Marvin “Smitty ” Smith, 1987
• theory and harmony with the late Gordon Delamont and the late Darwyn Aitken
• Bachelor’s Degree from Thompson Rivers University
Theatre
•Peter Pan, Chorus Line, and local Arts Club productions–Only in B.C., Only in Vancouver, Time to Sing, Little Shop of Horrors, Six Women Want To Know, Blues in the Night, Reflections on Crooked Walking, Threepenny Opera, Jacque Brel is Alive and Well and Living in Paris, Altar Boyz, Blood Brothers
Teaching
• drum instructor at Malaspina College, Nanaimo, 1984-95
• University of Victoria Summer Jazz Workshop instructor, 1995 & 2003
• Courtney Youth Music Camp, substitute instructor
• drum clinic – Koblenz, Germany (1987)
• drum instructor at Grant McKewan College, Edmonton (1973)
•Nanaimo Summer Jazz Workshop, 1993-2008
•Kelowna Summer Jazz Workshop, 1995
“The term sensitivity clearly belongs to every aspect of this album, from the approach of the compositions to the respective listening of each instrumentalist as well as the playing of each instrument. This particularly includes the exceptional finesse, miraculous cymbal tone ambience, and magical mood lighting of Buff Allen, who for being self effacing, may also be one of the most brilliant and powerful drummers and musicians in this idiom due to his exceptional sound perception, listening ability, musicianship, wealthy palette and his range, rather than volume. His limitless array of textures, articulations and colors make him totally unique at his instrument.” — Dr. Henri-Paul Sicsic, Pianist, Professor of Piano, University of Toronto; March, 2007.
“…magnificent jazz drummer…” — Alex Varty, Georgia Straight, November 28, 2003
“A compelling but unobtrusive drive…” — Globe and Mail
“This is the first time I’ve seen Buff Allen play drums live and it’s like a splash of cold water to the face when you hear recordings of certain players forever and then you see them live and you think you know what they are capable of. Then you realize you’ve glossed over the main feature that makes them a great musician in the first place, the fact that they hold back so much of what they are capable of because it’s always about what is appropriate for that moment in time, not about what they can do and then doing it whenever there is an opportunity just to prove that they can. Case in point, his cymbal work on Questar was subtly different than the work on the ECM original. It was more energetic, nailing more triplets on the ride cymbal and creating a more defined ahead-of-the-beat feel that created more needed tension than is evident on the Jarrett recording (mon dieu, you blasphemer you). This mild increase in tension enhances the compositional structure providing a bigger payoff as you approach the chordal resolution of the head. It’s a detail that’s not going to win Buff any downbeat awards but it’s going to make the arrangement work so it’s worth doing even if nobody ever picks up on it. C’est Le guerre. It’s the same in art as it is in war. They call some people heroes and give them medals but everybody in the battle campaign knows surviving and helping your comrades to survive is the only truly heroic act.” — Maurice Boucher, georgiastraightjazz.com, March 2011