Thanks gang for all the kind words. I'd like to say something about style. I don't change the way I play time or feel rhythm when I'm in a "trad", "bop" or "modern" situation. The only concessions I make are harmonic. I try to play with a similar harmonic concept as the rhythm section. In a "trad" or "pre-bop" style I may play with a bit more vibrato as well. I guess I could go into more detail but the fact is, I play with the rhythm section and the other horn players. If a tone is set, I go with it. Not because I feel some pressure to do so but because my solos are somewhat reactive to my surroundings. A trad rhythm section will make me feel one thing and a bop rhythm section will cause me to feel something else and so on. Brandford Marsalis, as an example, plays one way in a jazz setting and another way in a funk or pop setting. Some cats play just one way all of the time. They can be exciting and innovative players in their own comfort zone and sound out-of-place elsewhere. How many times have you heard a big band play an old Goodman, Basie or Ellington chart just to have the tenor player stand up and do his Mike Brecker imitation?
Stan Getz and Sonny Rollins could fit into just about any jazz situation without changing their vibe. This is a rare quality. When you think about it, Hawk could kind of do that too. He played with everyone from Fletcher Henderson to Thelonious Monk! How's that for a spread?
Anyway, I don't want to get off topic. Harry Allen is one of the most inspiring tenor-men out there today. He just wants to swing and tell his story. If you dig Harry, check out Jerry Weldon and Chris Byars too. A couple of young tenor players on the scene to look out for are Peter Anderson and Alex Hoffman. And don't forget that the great Frank Wess is still with us and playing his assoff at the age of 89!