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| 6.125 Ft
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| 1. | Superbud
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| 2. | Please
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| 3. | Easy to Get
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| 4. | Doug's Delight
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| 5. | Keeping Myself for You
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| 6. | Kate's Blues
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| 7. | After Awhile
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| 8. | S' Wonderful
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| 9. | Don't Blame Me
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| 10. | Ginger Brown
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| 11. | The Way of the Tenor
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| 12. | You Took Advantage of Me
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| 13. | Craz-e-ology
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| 14. | Tea for Two
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| 15. | Tillie's Downtown Now
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| 16. | Eel Street Blues
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| 17. | It Must Be True
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Jazz
Bud Freeman (ten sax)
Keith Ingham (pno)
Pete Chapman (bs)
Johnny Armitage (drms)
It was the British novelist John Wain who wrote after Ernest Hemingway's death "Though there were many imitators, there was never truly a 'school of Hemingway' because the standard he set was too severe". In jazz tenor saxophone playing, the same can be said of another famous Chicagoan, Lawrence "Bud" Freeman. Bud's influence has touched many great players such as Lester Young, Eddie Miller and Peanuts Hucko, when he occasionally forsook the clarinet for the tenor. But there is no Freeman school. Like Hemingway, Bud was too much of an original for others to slavishly imitate. Before this recording was released, Bud Freeman listened to the production tape at the home of Ken Gallacher. Ken wrote that it was amazing to see Bud's reaction to "Don't Blame Me". When the song finished, Bud said, "I've never used that phrase before!" He got the same kick out of this album made when he was sixty-eight years old as he had when he made his first record so many years ago. We hope you will enjoy this album as much as Bud Freeman himself!
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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