Monthly Archives: March 2017

Bud Freeman(5)

March 31.2017

Photo above of Bud Freeman with Summa Cum Laude Orchestra by courtesy of Stanford University Libraries

Today I would like to post about Bud Freeman speaking.

I will quote an interesting passage from ”A History of Jazz by Syouichi Yui(ジャズの歴史物語ー油井正一)” .

「ジャズの歴史物語」からBud Freemanの言葉を引用します。
ベニー・グッドマンが黄金時代の時、バード・フリーマンだけがベニー・グッドマンを批判した。又、彼は自分の演奏に自信を失った時、Lennie Triestanoにスケールを学んだ。

When Benny Goodman was golden era ,only Bud Freeman criticized Benny Goodman.

He can be considered a great jazz player, but he needed a star player to support him.Because he was not creative.If there was not a superior side musician,I guess he had not succeeded that much.

彼はまあ偉大な吹奏家といえるが、脇役にスターが必要だったよ。彼自身クリエイティブでないからだ。すばらしいサイドメンがいなかったら、あれだけの成功を収めたとは思わないね。(93ページ引用)

Photo above of Lennie Tristano

When he lost confidence in his saxophone method, he studied the music scale by Triestano.

I think he is worthy of respect at all, but I did not receive any impact from Lennie Tristano
I want to be faithful to my play and myself. ”

全く尊敬に値する人だとは思うが、影響はまったく受けなかった。
私は自分のプレイと私自身に忠実でありたい。 (228ページ引用)

Finally I want to introduce Mr. Awamura ‘s evaluation.(故粟村政昭氏の評価)

Bud Freeman had survived in the world of metabolic fierce jazz.Because his playstyle was as if Australian rare beasts separated from evolution.

進化と切り離されたオーストラリアの珍獣達のような格好で、フリーマンは新陳代謝の激しいジャズの世界に生き残ってきたのであった。(76ページ引用)

Here is Bud Freeman’s Famous Chicagoans play “Shim-me-sha-wabble”.
Bud Freeman(ts); Max Kaminsky(cor); Pee Wee Russell(cl); Jack Teagarden, (tb); Eddie Condon(g); Dave Bowman(p);Mort Stuhlmaker(b); Dave Tough(ds)
Recorded July 24, 1940, New York City

Here is Bunny Berigan and Bud Freeman with His Windy City Five plays “The Buzzard”.

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Bud Freeman(4)

March 30.2017

Photo by Wikipedia

The tenor saxophone was an important part of the big band era, and in the early years its use was popularized by Coleman Hawkins and Lester Young.

But we must not forget the presence of Bud Freeman.

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In those days he was sometimes known as ‘The Eel’.

In 1927, he moved to New York, where he worked as a session musician and band member with Red Nichols, Ben Pollack, Joe Venuti, among others.

Bud Freeman soon developed an original sound on the tenor sax, with less vibrato and filigree and more rhythmic drive.

“The Eel” was admired as his most notable solo performances on Eddie Condon’s 1933 recording.

Then ”The Eel” became Freeman’s nickname (for his long snake-like improvisations).

From 1936 to 1938 Freeman played with the Tommy Dorsey Orchestra.

Also he joined a short time Benny Goodman’s band in 1938 before forming his own band.

He formed Summa Cum Laude Orchestra from 1939 to 1940 and joined the US Army during World War II.

Photo above of Eddie Condon and Bud Freeman of courtesy by Wall Street Journal

After the war, Freeman joined the Eddie Condon’s bands in New York .

Since the 1950s,he had leading his own jazz groups or working with other respected pros such as Buck Clayton, Ruby Braff, Vic Dickenson and Jo Jones.

Then he was a member of the World’s Greatest Jazz Band between 1969 and 1970.

In 1974, he would move to England where he made numerous recordings and performances there and in Europe.

He even lived in London for a while, but eventually moved back to his native Chicago.

Bud Freeman died in March 15 1991 in Chicago at age eighty-four.

The Greatest Jazz Band 1974 by Rainer Jazz
(L to R: D.Wellstood, B.Wilber, B.Freeman, Y.Lawson, B.Butterfield, S. Russo, B.Morton)

Coleman HawkinsとLester Youngの功績は不滅です。しかし、Bud Freemanの存在を忘れてはならない。
1927年、Bud Freemanはニューヨークに移り、Red Nichols, Ben Pollack, Joe Venutiと共演した。
1933年、Eddie Condonと録音した「The Eel」の演奏は賞賛され、「The Eel」は彼のニックネームになりました。
1936年から1938年までTommy Dorsey Orchestraに加入、その後Benny Goodman Orchestraにも短期間であったが参加した。
1939年から1940年まで自己のOrchestraを結成しました。戦後、Eddie Condonとの共演を中心に活動し、Buck Clayton、Ruby Braff、Vic Dickenson、Jo Jonesとも共演していました。
1969年からThe World’s Greatest Jazz Bandのメンバーとして訪欧し、1974年にイギリスに移住しました。1991年故郷のシカゴで永眠しました。

Here is Bud Freeman plays “The Eel”.

Here is Bud Freeman and his Orchestra play “Inside On The Southside”(1945).

Here is Bud Freeman plays “Sweet Georgia Brown” (1984).

Bud Freeman(3)

March 29.2017

Photo by courtesy of Mule Walk & Jazz Talk

Austin High Gangs were so inspired by New Orleans jazz that came up the river to Chicago in the early 1920s.

Bud Freeman and the McPartland brothers went the Lincoln Gardens on the South Side of Chicago in 1923.

Photo above of Jimmy Macpartland

Entertainment Ad for the Lincoln Gardens(1922), Image courtesy of The Chicago Defender.

They heard Louis Armstrong with King Oliver for the first time.

In those days the place was a “blacks-only” club.

Fortunately the bouncer did not notice them.

Photo above of King Oliver’s Creole Jazz Band(1923) by courtesy of Frank Driggs Collection.

Freeman later said, “I knew at once I was hearing a master. Louis was the great American voice—a genius—and his guide and idol was King Oliver, and nothing would ever be the same again.”

Also Bix Biederbecke had a huge influence on the young Chicagoans.

Photo above of Bix Beiderbecke

Bud Freeman was one of the flame for the New Orleans’ origins of Dixieland.

In addition Austin high school gangs put emphasis harder, faster, more focused on personality and soloing than ensembles.

So their music attracted others who enjoyed palling around and blowing free.

Bud Freemanは1920年代初頭に本物のNew Orleans jazzに傾倒しました。
彼はJimmy McPartland兄弟を誘い、黒人専用の「Lincoln Gardens」に出演していたKing Oliver率いるLouis Armstrong を聞きに行きました。Bud Freemanは二人の演奏に深い感動を覚えたそうです。又、Bix Biederbeckeも新しい音楽を志す彼らに大きな影響を与えました。
彼らの演奏スタイルは「アンサンブルよりもソロ」「より強く、より速く」を重視しました。

Here is Bud Freeman plays ”China Boy” (1940).

Here is Bud Freeman pLays “But Not for Me”.

Bud Freeman(2)

March 28.2017

L to R, standing back row: Eddie Condon, Dave Tough, Dick McPartland, Dave North, Bud Freeman, Frank Teschemacher. Front, kneeling: Jim Lanigan and Jimmy McPartland.
From the Marian McPartland Collection & Lost Chords by Richard Sudhalter.

In 1922, a gang of kids found their favorite ice cream parlor.

They assembled daily after classes at Austin High school and heard the records at ice-cream parlor.

There were Jimmy McPartland and Tommy McPartland, and Bud Freeman, and Frank Teschemacher and others.

Photo above of ice-cream parlor ”The Spoon and the Straw in Austin”.

Young white kids hearing these throbbing rhythms for the first time went a crazy.

They were Influenced by artists like the New Orleans Rhythm Kings and Louis Armstrong from the South.

The New Orleans Rhythm Kings ”the NORK” were one of the first white bands to succeed in jazz.

One day, they discovered a new record by a band no one had heard of —The New Orleans Rhythm Kings.

They were blown away by hot tunes like, “Tin Roof Blues,” “Tiger Rag” and “Farewell Blues.”

Photo above of New Orleans Rhythm Kings

So they decided to form their own band and try to play like NORK.

These jazz-crazed high school kids couldn’t read or write music themselves, and they begged and borrowed to get instruments for their band.

Bud Freeman got a C-Melody saxophone, a popular instrument in the 20s.

They would begin to formulate their own style, becoming part of the emerging Chicago Style of jazz.

1922年、Auston School Gangは学校近くのアイスクリームパーラーに放課後集合し,毎日蓄音機から聞こえるレコードを楽しんでいました。ある日The New Orleans Rhythm Kingsの新しいレコードを聞きNORKに夢中になりました。そして満足に楽譜も読めず楽器も揃わないにも拘らずジャズバンドを結成しました。Bud Freemanは20代の花形楽器であったCメロディーサクソフォンを手に入れました。その後彼らの演奏スタイルは、シカゴジャズの礎になりました。

Here is Bud Freeman plays “Craze-ology “(1928).

Here is Bud Freeman’s Famous Chicagoans play “Shim-me-sha wabble”(1940).

Bud Freeman(1)

March 27.2017

Photo above of Bud Freeman from The National Jazz Museum in Harlem

Last week I posted about John Laporta who took lessons from Lennie Tristano.

This week I would like to contribute about Bud Freeman who had experienced Lennie Tristano’s music theory for 3 months.

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Photo above of Lennie Tristano

He was said to be the fighter of Chicago style jazz.(シカゴ派の闘将)

Bud Freeman was born April 13, 1906 in Chicago.

He was known mainly for playing the tenor saxophone, but also able at the clarinet.

He grew up in the golden age of Chicago-style jazz in the early 20s.

He joined with a group of jazz-crazed high school students known as the Austin High Gang.

There was cornetist Jimmy McPartland, pianist Joe Sullivan, guitarist Eddie Condon, Frank Teschemacher on alto sax, and a very young Benny Goodman on clarinet.

Also in Those days Freeman played the C melody saxophone.

In 1923 King Oliver and Louis Armstrong ignited a musical revolution in clubs and dance halls on the Windy City’s South Side.

Bud Freeman and his friends spent their weekends absorbing the style and swing of Oliver’s Creole Jazz Band at a ballroom called the Lincoln Gardens.

chicagoreeds_austinhighgang

Austin High Gang, 1923 Chicago L to R: Frank Teschemacher, Jimmy McPartland, Dick McPartland, Bud Freeman, and Arny Freeman. Photo courtesy Big Band Database

先週、Lennie Tristanoのレッスンを受けたJohn Laportaについて投稿しました。
今週はシカゴ派の闘将と呼ばれていたBud Freemanについて投稿します。
彼も三ヶ月間だけLennie Tristanoから音楽理論を学んだそうです。
Bud FreemanはAustin High Gangと名付けられたシカゴの高校生のジャズグループに参加しました。主な仲間は Jimmy McPartland, Joe Sullivan, Eddie Condon, Frank Teschemacher, Benny Goodman(最年少) でした。
彼らはKing Oliver and Louis Armstrongの演奏を手本としてシカゴスタイルを確立しました。

Here is PROFILE of BUD FREEMAN & his AUSTIN HIGH GANG in Chicago

Here is Bud Freeman and his Famous Chicagoans play “At The Jazz Band Ball” (1940).

John LaPorta(5)

March 24.2017

 

Finally,I will introduce Barry Ulanov’s evaluation about John LaPorta.

I read again ”A History of Jazz in America” by Barry Ulanov.

I guess there is no critic who analyzed John LaPorta in detail as much as Barry Ulanov.

Fortunately Hisamitsu Noguchi(野口久光) translated ”A History of Jazz in America” into Japanese.

I will quote an interesting passage about John LaPorta from ”A History of Jazz in America”.(from page 330 to page 331)

Photo above of Stan Kenton(right) with Barry Ulanov from UNT Digital Library

Barry UlanovによるJohn LaPortaの評価を紹介します。今回、「ジャズの栄光の巨人たち」を久しぶりに読みました。彼ほどJohn LaPortaを詳しく分析した批評家はいないと思います。故野口久光氏が日本語に翻訳されています。(翻訳文は407ページから408ページまでを引用しました。)

He can each almost anything in the clarinet tradition, from counterpoint to atonalist formulations.He’s a far cry from the balling jazzman whose musical happiness lies in his ability to capture tonally last night’s alcoholic and other excesses.

彼はクラリネットに関することなら、彼は対位法から無調形式に至るまで、ほとんどあらゆることを教えることが出来る。前夜の乱行を音としてとらえることを幸福と心得ているようなジャズメンとは、大変な違いである。

To John jazz is an art and a science; it must be studied; it can be significant only if it is the end result f an intensive preparation. That preparation entails hours of work, of unrelenting attention to the interior detail of the creative process, and the very conscious avoidance of the cliches and banalities of most hot Improvisation.

ジョンにとって、ジャズは芸術であり科学なのである。それは研究されなければならない。
それは慎重な準備の最終結果である場合にのみ、意味を持つ。その準備は、創造過程の内部に対する厳しい注意と最もホットなインプロビゼーションの陳腐な常用句の意識的な排除という、長い仕事を課する。

Meeting John LaPorta, one wonders where in his reticent person he holds the brilliant array of new ideas he has displayed in his few gigging appearances, his several broadcasts, and his two record sides with the 1951 Metronome All-Star Band.

ジョン・ラポータに出会った人は、この無口な人間のどこに、たまのワン・ナイターや数回のラジオ放送、1951年のメトロノーム・オールスターズの二面のレコードを飾るあの斬新なアイデアによる豪華な装いが隠されているかといぶかるに違いない。

Photo above of John Laporta

 

His myopic eyes behind heavy glasses, his mousy voice, his retiring disposition seem to betoken a student of one of the dead languages, perhaps, or a librarian in an institution devoted to research on extinct Australian birds.

重いメガネの奥の近視眼や、ネズミのような静かな声や、内気な性格は、滅びた言語の一つを研究する学者、あるいは、絶滅したオーストラリアの鳥類を調べる研究所の図書係よろしくと言った感じである。

But challenge one of his musical ideas, carry the argument beyond words and put a clarinet in his mouth, and watch the mouse become man, an inspired man with a compelling message. If one probes enough, one may also stimulate words, and then the most alert musical mind in
jazz may begin the constructive but relentless analysis of his own music and anybody and everybody else’s.

しかし、彼の音楽的なアイデアの一つに挑んで議論の末、彼にクラリネットを持たせた時、おとなしいネズミが止め難い霊感にふるい立った人間に変ずるのを見たまえ。
さらに探査の手を延ばして、彼から意見を引き出すことが出来れば、この慎重極まりない音楽も、自分や他人の音楽を、建設的であるが容赦することなしに分析して見せるかも知れない。

Here is The Metronome All-Stars(1951) play “Early Spring”.

Here is The Metronome All-Stars 1951 play “Local 802 Blues”.

Here is Kenny Clarke and John LaPorta play “Play, Fiddle, Play”.

John LaPorta(4)

March 23.2017

Photo above of John LaPorta from his Autobiiography

Since early 1960, John LaPorta began to intende himself as jazz educator.

He settled in Boston in 1962, and joined the faculty of Berklee College of Music.

He wrote fifteen books on music education and over two hundred compositions. Go here

In addition he made some Music Minus One records.

I will introduce a wonderful blog to be helpful about Music Minus One records. Go here and here  (こちらをクリック)

Also he actively participated Stan Kenton’s jazz camps as a lecturer of musicians.

In 1985 he returned to the recording studio, and his last album was Life Cycle (1999, Civil Defense label).

Legendary performer and Jazz educator John LaPorta passed away in May of 2004 at the age of 84.

Here is John LaPorta Quartet play “The Most Minor.”

Here is Kenny Clarke Quintet play “I Married An Angel”.
Donald Byrd (tp), John LaPorta (as), Horace Silver (p), Wendell Marshall (b), Kenny Clarke (ds) January 30, 1956

1960年代初頭から、ジャズ教育者としての地位を確立し始めました。
1962年にボストンバークリー音楽院の教授に就任しました。
彼は音楽教育に関するに関する著作と「Music Minus One」のレコードを製作しました。
「Music Minus One」のレコードに関して参考になるブログを紹介します。
又、Stan Kenton主催のJazzcampの講師としても活躍しました。