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| 1. | I Let a Song Go Out of My Heart
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| 2. | S'posin'
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| 3. | March on, March On
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| 4. | Shorty's Blues
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| 5. | Love Me or Leave Me
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| 6. | Something to Remember You By
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| 7. | Hector's Dance
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| 8. | But Not for Me
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| 9. | Darktown Strutters' Ball
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| 10. | It Had to Be You
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| 11. | Farewell Blues
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| 12. | Keep Smiling at Trouble
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| 13. | The Buzzard
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| 14. | What Is There to Say?
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| 15. | Tillie's Downtown Now
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Jazz
Bud Freeman - Clarinet, Sax (Tenor)
Big Chief Russell Moore - Trombone
Bunny Berigan - Trumpet
Claude Hopkins - Piano
Claude Thornhill - Piano
Cozy Cole - Drums
Dicky Wells - Trombone
Eddie Condon - Guitar
George Duvivier - Bass
Grachan Moncur III - Bass
Harold Baker - Trumpet
Herb Hall - Clarinet
Herb Lovelle - Drums
Herman Autrey - Trumpet
J.C. Heard - Drums
Leonard Gaskin - Bass, Leader
Pee Wee Erwin - Trumpet
Red Richards - Piano
* Dan Morgenstern - Liner Notes
* Esmond Edwards - Cover Photo, Supervisor
* Jamie Putnam - Art Direction
* Kirk Felton - Remastering
* Nat Hentoff - Liner Notes
* Ozzie Cadena - Supervisor
* Rudy Van Gelder - Engineer
Bud Freeman is heard with three separate small groups on the All Star Swing Sessions compilation. He's paired with Shorty Baker and Claude Hopkins for the first eight tracks, including swinging treatments of standards like "Love Me or Leave Me" and "But Not for Me," plus originals composed by the group for the sessions, such as the snappy "Hector's Dance" and the sassy "Shorty's Blues." Freeman's work on tenor sax is smooth as silk, while Baker primarily sticks to muted trumpet. Bassist George Duvivier's imaginative lines and J.C. Heard's strong drumming help to propel the proceedings. The next three selections come from a date led by bassist Leonard Gaskin that is a truly Dixieland affair. The sextet is expanded to a nonet for a swinging "Darktown Strutter's Ball," easily the highlight of the date. Finally, a vintage sextet meeting with ill-fated trumpeter Bunny Berigan, Eddie Condon, and Claude Thornhill showcases Freeman on both clarinet and tenor sax in his upbeat original "The Buzzard" and his delicious bluesy "Tillie's Downtown Now," titles which also reflect his sense of humor. Highly recommended.
--- Ken Dryden, All Music Guide
Bud Freeman
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s and '80s
Born: Apr 13, 1906 in Chicago, IL
Died: Mar 15, 1991 in Chicago, IL
Genre: Jazz
Styles: Dixieland, Swing, Mainstream Jazz, Trad Jazz
When Bud Freeman first matured, his was the only strong alternative approach on the tenor to the harder-toned style of Coleman Hawkins and he was an inspiration for Lester Young. Freeman, one of the top tenors of the 1930s, was also one of the few saxophonists (along with the slightly later Eddie Miller) to be accepted in the Dixieland world and his oddly angular but consistently swinging solos were an asset to a countless number of hot sessions.
Freeman, excited (as were the other members of the Austin High School Gang in Chicago) by the music of the New Orleans Rhythm Kings, took up the C-melody sax in 1923, switching to tenor two years later. It took him time to develop his playing, which was still pretty primitive in 1927 when he made his recording debut with the McKenzie-Condon Chicagoans. Freeman moved to New York later that year and worked with Red Nichols' Five Pennies, Roger Wolfe Kahn, Ben Pollack, Joe Venuti, Gene Kardos and others. He was starred on Eddie Condon's memorable 1933 recording "The Eel." After stints with Joe Haymes and Ray Noble, Freeman was a star with Tommy Dorsey's Orchestra and Clambake Seven (1936-38) before having a short unhappy stint with Benny Goodman (1938). He led his short-lived but legendary Summe Cum Laude Orchestra (1939-40) which was actually an octet, spent two years in the military and then from 1945 on alternated between being a bandleader and working with Eddie Condon's freewheeling Chicago jazz groups. Freeman travelled the world, made scores of fine recordings and stuck to the same basic style that he had developed by the mid-'30s (untouched by a brief period spent studying with Lennie Tristano). Bud Freeman was with the World's Greatest Jazz Band (1968-71), lived in London in the late '70s and ended up back where he started, in Chicago. He was active into his 80s and a strong sampling of his recordings are currently available on CD.
---Scott Yanow, All Music Guide |
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