Bud Freeman

Lawrence "Bud" Freeman (April 13, 1906 – March 15, 1991) was an American jazz musician, bandleader, and composer, known mainly for playing tenor saxophone but also able at the clarinet…

Bud Freeman - Chicago/Austin High School Jazz In Hi-Fi (1957 {Mosaic Singles MCD-1002 rel 2006}
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© 1957, 2006 RCA Victor / Mosaic Records / Sony BMG Music | Mosaic Singles MCD-1002
Jazz / Mainstream Jazz / Swing / Dixieland / Trad Jazz / Saxophone

Three overlapping groups are heard from here, and they revisit the repertoire of the McKenzie & Condon's Chicagoans of 1927 (playing new versions of the four songs originally recorded) and Bud Freeman's 1939-1940 Summa Cum Laude Orchestra. The two septets and the octet feature such immortal Condonites as tenor saxophonist Bud Freeman; Jimmy McPartland and Billy Butterfield on trumpets; trombonists Tyree Glenn and Jack Teagarden (who also takes some vocals); clarinetists Pee Wee Russell and Peanuts Hucko; pianists Gene Schroeder and Dick Cary; rhythm guitarist Al Casamenti (but surprisingly no Eddie Condon); bassists Milt Hinton, Al Hall, and Leonard Gaskin; and drummer George Wettling. The veterans were all still in prime form at the time, and they sound quite inspired.

Bud Freeman - The Alternative Takes 1935-1945 (2002) {Neatwork ‎RP 2044}
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© 1935-45, 2002 Neatwork ‎| RP 2044
Jazz / Swing / Saxophone

The Alternative Takes series is of immense value to consumers of the "French Classics" CD series. These are alternate takes in chronological order of historic jazz (and some blues) with a strong representation of the swing era. The Alternative Takes: 1935-1945 contains 25 Bud Freeman tracks on a single disc including multiple takes of "You Took Advantage of Me," "What's the Use?," and "Memories of You." While the disc is definitely directed toward collectors, anyone with an interest in this period of jazz will also enjoy it.

Unique, improvisational jazz saxophonist of many big bands, considered by many an equal of Coleman Hawkins on the tenor.
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…

Two of the stars of cool jazz, Bud Shank and Bill Perkins, are featured to various degrees throughout this session. Shank in the 1950s was practically the epitome of West Coast jazz. His cool tones on alto and his fluid flute were utilized on many dates; the main set here also finds him switching in spots to tenor and baritone. Perkins, always a versatile reed soloist, is best known for his tenor playing but during that date he also plays alto, and (on two versions of "Fluted Columns") there are some rare examples of his flute. Shank and Perkins team up quite effectively with pianist Hampton Hawes, bassist Red Mitchell, and drummer Mel Lewis for the May 2, 1955 session, which includes a trio feature for Hawes ("I Hear Music")…