George Freeman May have solely been in his teenagers, however he was a visionary. In the early Forties, as a teenager within the band program at DuSable High School, Chicago’s legendary birthplace of bebop, Freeman shared lessons with jazz legends attending the college, who over the years included saxophonists Gene Ammons, Eddie Harris, Johnny Griffin and his personal brother, tenor saxophonist Earle “Von” Freeman.
But whereas different guitarists have been settling for the extra established function of a chord-strumming accompanist, Freeman noticed one other place for guitar, within the entrance, the place he might play the identical strains as these nice Chicago tenor gamers.
Fast ahead a number of years to his reside 1950 performances with Charlie Parker on the Pershing Ballroom. Recordings from these dates present Freeman didn’t draw back from utilizing amp overdrive and even energy chords as he swapped solos with Bird, firing off chromatic phrases and his trademark escalating chord clusters, which race away from the important thing till he brings every part home and proper again into the groove.
As rock and rhythm and blues started to take over the market from jazz within the Fifties and ’60s, Freeman absorbed these indicators of the occasions by teaming up with jazz organists like Jimmy McGriff and Charlie Earland to champion a mix of hard-boppin’ soul jazz with references to Chicago gospel and blues.
In the ’70s, Freeman’s inventive fires turned white scorching on Gene Ammons’ 1971 album The Black Cat! , the 1972 solo disc Franticdiagnosis and McGriff’s reside album from the identical 12 months, Concert: Friday the thirteenth – Cook County Jail .
In addition to his bebop virtuosity, Freeman is a lyrical melody participant with a deep blues really feel and appreciation for area, as showcased on tracks like “Confirmed Truth,” from his 1974 solo effort New Improved Funk.
Now 96 years old, George Freeman has been a part of each stylistic improvement of recent jazz guitar and made groundbreaking contributions to the instrument. Over an 80-year profession, throughout which he has recorded and carried out as a sideman, bandleader and composer, he has loyally stored Chicago as his home base, apart from a quick aborted tour to New York City.
Freeman: “I’ve been around so long, and the record company wanted me to get more recognized than I had been, so they put me together with these bigger names for the new record” (Image credit score: Ken Carl)
Together along with his nephew, the extremely energetic tenor saxophonist and trumpeter Chico Freeman, he continues to be an integral a part of the Windy City’s soulful groove-and blues-driven model of jazz.
In June, Freeman launched The Good Life (HighNote Records), a set of authentic compositions and covers that discover him supported by bassist Christian McBride, drummers Carl Allen and Lewis Nash, and the late Hammond organist Joey DeFrancesco.
At this stage of his life, Freeman’s taking part in has develop into extra lyrical and economical, however equally masterful. We spoke to him just some weeks earlier than his efficiency on the 2023 Chicago Jazz Festival.
Bird simply grinned from ear to ear as a result of he’d by no means heard a guitar performed like that!
George Freeman
On The Good Life, which was tracked at Chicago Recording Company, you’re main two trios: one with Christian McBride on bass and Carl Allen on drums, and the opposite with Louis Nash on drums and the late Joey DeFrancesco on organ. How did you meet the musicians, and the way did you choose the songs?
I’ve been round so lengthy, and the report firm wished me to get extra acknowledged than I had been, in order that they put me along with these larger names. But surprisingly sufficient, these musicians had identified about me and my earlier albums, like Franticdiagnosis .
Playing with them additionally enabled me to report what I wished to report: no rock and roll or rhythm and blues, simply straight-out jazz. I picked the compositions shortly and we recorded them shortly, as a result of we didn’t have a lot time. But that goes to indicate whenever you’re working with individuals of that caliber. They have been there to help me, they usually gave me all of the respect you may ask for.
Freeman performs on the Zanzibar, in Philadelphia, with the Joe Morris Band, August 1947. (from left) Embra Daylie, Leroy Jackson, Wilmus Reeves on piano (behind trumpet participant), Joe Morris, Johnny Griffin and Freeman (Image credit score: Courtesy of the Freeman Family)
Who impressed you as a guitarist?
I noticed T-Bone Walker, and whereas he didn’t encourage me, he was thrilling, and folks have been going loopy for him. Who impressed me was my household. My brothers Bruz [drummer Eldridge “Bruz” Freeman] and Von, and my mother and father. They taught me find out how to method the guitar. When I began, the guitar wasn’t as well-known as it’s now. It was a very good instrument, nevertheless it wasn’t the one which impressed me. That was the saxophone. When I used to be arising, you had Lester Young, Coleman Hawkins and all these individuals.
You studied at DuSable High School, which Dinah Washington, Gene Ammons and Von additionally attended. What was the jazz scene like in Chicago whenever you got here up?
When I used to be 13 to fifteen years old, I used to be taking part in soccer or basketball and any individual informed me that there was one other guitar participant residing throughout the road from me who was actually good. He taught me find out how to method the guitar by taking part in scales and chromatics. He and Von taught me find out how to play requirements. We’d play requirements day and evening.
Von additionally used to placed on information with tenor gamers and say, “Listen to what he’s saying.” And I’d ask. “Well, what is he saying?” After first pondering he was taking part in the identical factor time and again, I discovered that the participant really was telling a stupendous story.
I’ve been a jazz man all my life, and used to hearken to jazz as a child. My dad was a policeman, and he used to place his Majestic radio on and we’d hearken to all of the jazz giants of that point. [Majestic was manufactured by the Grigsby-Grunow Company of Chicago from 1927 to 1955, and trademarked as “The Mighty Monarchs of the Air”. ] My mom was into gospel, and I’d hearken to her sing. And I’d hearken to Von play the saxophone.
Once I started to listen to the story, that was it for me, and I haven’t been the identical since. When Charlie Parker obtained on the market, it simply blew my thoughts. And Dizzy Gillespie was there too. Bebop got here in. You’ve obtained to do not forget that throughout that point, they have been all telling their story, however they have been swinging the story. And all the youngsters obtained into bebop and the phrases [the musicians’ slang expressions ]. That’s how highly effective it was.
Now I find out about bebop, however you need to discover your individual model of taking part in it and the path you wish to take. That’s the sophisticated half. But that’s what I did.
George Freeman (toting a Supro guitar) and the Swingmasters pose for a photograph in Chicago in 1953. (from left) Freeman, Eugene “Bon Bon” Miller, Walter Spratley, Von Freeman and Don Balthazar (Image credit score: No credit score)
Bebop is harmonically superior music . How did you be taught to play it?
My brother and I have been studying by largely taking part in requirements. Beautiful songs, like “Stardust.” You needed to be taught the chord modifications for all of them, and the extra requirements you discovered, the extra you may play. But you may’t pass over that I used to be arising within the swing period, so all people was swingin’, taking part in requirements and taking part in blues.
But my brother taught me about telling the story, and the story was not within the blues. I imply, the blues was in there, however he wished me to “hear” requirements. And once I heard Charlie Parker play requirements, he took me for a experience.
During these formative years, you discovered to play the solos of different musicians, like Lester Young’s “D.B. Blues.” Some assume transcribing is an effective way of building vocabulary, whereas others disagree. What are your ideas on that?
You’ve obtained to do not forget that I had a band that performed requirements throughout the swing period, and the youngsters within the viewers might dance to swing and sing the horn gamers’ solos. Then Lester Young obtained right here, and I had discovered his solo on “D.B. Blues” as a result of it was common with the youngsters. When I performed it for them, they beloved it. But once I performed it in entrance of Lester, he didn’t respect it an excessive amount of.
I additionally performed with Coleman Hawkins, and I’ll always remember when he checked out me onstage and informed me, “Blow!” My life has been very profitable so far as taking part in with good musicians.
Freeman within the studio with Carl Allen (left) and Christian McBride, May 7, 2022 (Image credit score: Ken Carl)
You had simply turned 20 in 1947 whenever you moved to New York City to carry out and report. What was that have like for you?
When I went, my hopes have been very excessive. Johnny Griffin and his band took me there. The first different musician I met there was Sonny Rollins. I used to be prepared, as a result of I used to be already taking part in bebop in Chicago. I obtained rotated, and got here again home. It’s a tragic story. But I met all the nice cats, together with John Coltrane, after they have been young identical to me.
When you got here again to Chicago, you met Charlie Parker. How did that occur?
My brother Bruz was working with Sarah Vaughan, and he or she had a supervisor who knew Charlie Parker [‘Bird’ ]. Since Bird was coming to Chicago, she requested Bruz if there was something concerning the metropolis he wished to inform him, and he talked about that I used to be right here. When Bird obtained right here, he contacted us.
There’s an audio recording of the 2 of you taking part in “Keen and Peachy” reside on the Pershing Ballroom in 1950. What was your collaboration like?
When you get onstage, you attempt to play one thing that everyone is aware of. Bird had a coronary heart of gold, and he might play something. I had been taking part in requirements and dances, no downside. But when he known as out that music , I obtained nervous. I used to be standing subsequent to him taking part in, and he simply grinned from ear to ear, as a result of he had by no means heard a guitar participant play like that.
You did two onstage collaborations: one in Chicago and one in Detroit. Did you ever discuss recording?
Bird requested me. He requested me to return to New York City. And these have been the final phrases he spoke to me. I by no means did go, as a result of I used to be working with my brothers.
George Freeman and his group the Monks pose for a photograph within the Sixties (Image credit score: Credit free)
Going outdoors the concord is an enormous a part of your taking part in. How did you get into that?
I heard Coltrane go outdoors in his taking part in, whereas my brother was taking part in inside, and I don’t assume anyone went outdoors the best way Coltrane did again then. That goes for all of the cats like Sonny Stitt, Dexter Gordon and Gene Ammons. They didn’t exit. So once I joined Gene Ammons’ band [in 1969 ], I used to go outdoors on function, and he beloved it.
In a Downbeat interview with Ammons from 1970, he mentioned that he didn’t like avant garde taking part in, however he preferred how you probably did it since you have been nonetheless connecting with the rhythm part.
You can’t simply exit and keep on the market. You’ve obtained to have the melody in your thoughts and in addition know when to return again in once more with the drummer and the organ participant. I used to make Gene Ammons dance.
When you got here up in Chicago, have been the jazz and blues scenes very separated at the moment?
I don’t assume something is ever separated from the blues. It’s all the time been distinguished. Charlie Parker was instrumental within the path blues was taking so far as horn gamers was involved. But gamers like B.B. King had nothing to do with that.
Freeman (far proper) performs on the Garrick Lounge, Chicago, 1946 (Image credit score: No credit score)
Since you have been so influenced by horn gamers, how did the guitar find yourself being your instrument?
Well, I just like the sound of the guitar. My brother tried to show me find out how to play the alto saxophone, however my lips weren’t sturdy sufficient, in order that didn’t final. When I obtained to DuSable High School, the musical director there requested me what instrument I wished to play. I mentioned “I want to play the guitar.” He seemed actually stunned, as he thought I used to be going to choose anything however guitar.
Your solo on “Franticdiagnosis” is an incredible bop showcase, the place you’re not afraid of switching to a extra biting pickup sound and getting some amp dust as you finish all of it in an escalating frenzy.
That solo simply occurred. I used to be young and quick. The musicians who entered my thoughts on the time have been Charlie Parker and John Coltrane. Nowadays, gamers have such a tough time with the swing.
What recommendation would you give to gamers to assist them with swing?
Players can get so centered on what they’re doing. Musicians again then had a means of approaching and connecting with different musicians. I used to be by no means impressed by Miles Davis, however I did admire him for all the time holding a swinging rhythm part.
For the previous couple of years, you’ve been taking part in with a really unorthodox guitar decide: a dresser drawer knob. What motivated you to go along with that sort of decide?
It took years to give you this. The rounded edge has enabled me to slip over the strings and go up and down the strings like a maniac. I used to make use of stiff picks and massive, fats silver {dollars}, however then I couldn’t play quick. When you get to be my age, you’ve obtained to search out some option to make issues work.
By George: The bebop model of George Freeman in 5 tracks
These 5 tracks seize highlights from Freeman’s 80-year profession as a bandleader, sideman and composer. His profession has included collaborations with Charlie Parker, Christian McBride, and in addition most of the most interesting jazz organists together with Jimmy McGriff and Joey DeFrancesco.
Franticdiagnosis: George Freeman (Franticdiagnosis, 1972)
You assume you’re listening to uptempo swing till Freeman switches pickups and begins tearing by melodic and harmonic boundaries. Upcoming jazz masters like Christian McBride took discover.
The Black Cat: Gene Ammons (The Black Cat! 1971)
With fiercely grooving help from Ammons, Ron Carter, Harold Mabern and Idris Muhammad, Freeman brings his solo from a hip, funky simmer to a fast, escalating boil. He additionally wrote this composition.
Recorded reside on the Pershing Hotel Ballroom in 1950, on this observe Freeman proves that he’s a worthy soloist alongside Bird throughout a time when bebop guitar was extraordinarily uncommon.
Freedom Suite, Pt. 1: Jimmy McGriff (Concert Friday The thirteenth Cook County Jail, 1972)
In this reside efficiency earlier than inmates at a Chicago jail, Freeman digs deep into blues and doesn’t worry to let a number of moments of silence go by between his phrases. Freeman takes the primary guitar solo. The twangy solo that comes later is probably going carried out by O’Donel Levy.
Up and Down: George Freeman (The Good Life, 2023)
Recorded again when Freeman was 95, the joyful musical camaraderie between him, organist Joey DeFrancesco and drummer Lewis Nash is unmistakable on this bopping bounce tune. Although Freeman’s taking part in has mellowed and develop into extra lyrical, his tone is as lovely as his time is strong. DeFrancesco handed away shortly after this album was recorded.
George Freeman’s new album The Good Life is available to buy and stream
