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DOWN BEAT NEWS —FEATURES Chicago, March 21, 1952 Cornell To Coral New York—Don Cornell, former Bouquet To Sammy Kaye vocalist who for the last two years has been working as a single, has signed a recording contract with Coral His first aides Bud Freeman were released here last week. (Jumped from Page 2) Dorseys, Goodman, Condon, etc. horn and realized that there was Fact is, it was at one of these the first real individual artist he bashes that the connection was had ever heard on the saxophone. made with Red McKenzie that re­ The influence on Bud was consti­ sulted in the ’28 Okeh record date. tuted in the revelation of the pos­ And it was Bud’s playing on these sibilities of the tenor sax. sides that ultimately got him a job with Ben Pollack's orchestra and Several years ago the news took him east spread around the music world The last couple of years of the fo that Bud Freeman, the Dixie cat, Champaign. HL — This well-duripiined-looiung Fiearra, drum*; Flip DeFilippi*, tenor; Boh Sum­ ’20s found Chicago’s music scene th wm studying with Lennie Tris­ crew happens Io be the Johnny Brace band, a mid- mers, trombone; Jack Guse, alto; Hagin Harper, in the doldrums for the boys who tano. When queried recently about western college ‘‘name” outfit headquartered here. trombone; Bob Baile, trumpet; Bill Pierce, alto played jazz. It got so dull that one P« this a-isociation, Bud was very ir­ Personnel, from left to right, i> as follows: Ted and baritone, and Harlan Slone, trumpet mid ar­ day at the union. Milt Mezzrow ritated about the misunderstand­ Lange, piano; Bruce, sax; John Hess, bass; Frank ranger. Harper also handle* the vocal*. suggested they hop in his new di ing everyone seems to have about $3,000 car ($28 down) and go out T the Tristano school of jazz. He he feels has had the greatest natu­ caused Tommy Dorsey to build his with John Hammond to hear some to Hollywood and enroll Freeman pl wm not studying bop, because Len­ ral sound of any big band he has band around Bud’s tenor. records. The only records he in the movies. This story has been nie himself has very little use for ever heard. Influenced By Bud wanted to hear were Bud Free- told often by the members of the the music that has been called bop As for the music that has been Now we come to the saxophon- man i'unket that finally fell apart in tKe last decade. called bop, Freeman thinks there ists who have been influenced by (jipauir -yman, Colo. Tri« leno Beat Teacher were some highly creative musi­ Bud. The list includes such men Bud's musical life in a brief Bud loves to tell one part that cians on the bop kick who were as Babe Russin, Eddie Miller, Pea- form goes something like this: Bud feels Lennie’s chief regard Mezz left out of his book, Really playing some interesting things. nuts Hucko, and Boomie Richman. He was born April 13, 1906, in the Blues. It happened in Menlo, and thoughts are for a music that The finer musicians of the future These men were unmistakeably im- the Austin district of the Windy is beautiful and intelligently Kan., after the Mannon had been will incorporate some of the bop pressed by the Freeman style and city. Started playing 1923 with repossessed and Freeman had played. Freeman has no qualms in ideas in their playing style, while incorporated it into their playing. kid band—The Blue Friars. Same hocked his horns for $125 to buy making the statement that Tris­ a good deal of the experimental The names of Ray McKinstry group became Husk O’Hare’s Red a Ford. tano is the best music teacher in bop will be thrown out. and Nick Ciazza also come to mind. Dragons playing a radio program They arrived in Menlo broke and the country today. He likes to listen to Getz and Back in the early Chicago days over WHT regularly. When the old gasless. Mezz wired for money and Lennie’s whole method of teach­ Parker but none of their ideas there was another Bud who played Wolverines folded for good, Husk, went around to Western Union ing is legitimate. He begins at the appeal to him to such an extent sax in the Freeman manner. Hi* whom the boys dubbed The Clown, to pick it up. When he arrived bottom by teaching scales and he would want to use them in his name was Bud Hunter, and he renamed the group Husk O’Hare’s back at the spot where Bud, hi« progresses in the same manner as own improvisations. The modern now teaches saxophone in his own Wolverines and had them playing brother Arny and Josh Billings music teachers have always done. musician whom he acknowledges Chicago studio. regularly at White City ballroom. were waiting, he had $250. Right Bud thinks that his work with as a great inspiration is Lester Freeman's influence on other For the next couple of years behind Mezz came the W.U. clerk Lennie wm very beneficial. Young. saxophonists is most noteworthy in Bud was connected with various waving his hands frantically say­ Lennie, he says, hM thousands Sax Important the case of* Lester" Young. Early" ’ groups, including Herb Carlin’s ing he had misread the order, it of combinations of scales and in­ Asked about the attitude taken in Lester’s formative years he was bind at the Hollywood Barn, Art was for $25 only. tervals that can’t be found in by many pure New Orleans musi­ intrigued by the music the late Kassel's band on the road, Spike Joined Pollack books, and Tristano’s is the best cians and fans regarding the sax Bix Beiderbecke and Bud Freeman Hamilton’s orchestra at the Opera When Ben Pollack opened at the system of study, as everything you as a blight, he laughs indulgently, played on records. Pres was fas­ Club (this band was so mickey he Little club in New York, Febru­ get from Lennie you keep in your and adds, “I was brought up where cinated by the yearning quality hired a substitute and went over ary, 1928, Bud was on the band head and don’t find in written the early Chicago jazz bands felt inherent in the lightness of tone to play out the nights with Thelma with Jimmy McPartland, Benny music. ... a sax to be a very important part and the sensitivity of the white Terry’s band at the Golden Pump­ Goodman, Glenn Miller, and Gil Tristano offers a good basic of any jazz group. It resulted in jazz tradition. kin), Jack Gardner’s Commercial Rodin. Today Bud feels he should course of study and there are no a better and fuller sound.” It Pre* Drew from Bud theater pit band, and others. never have left this aggregation . abort cuts to the modern approach. D__ _______„ . ... He was in on the famous Three as he did after a few months, when might also be added that Freeman Ross Russell in an article on Deuceg jam sessions with Bix, the Lennie did not give Bud jazz ideas, is one of the saxophonists who has Lester Young analyzing his style _______ -_____________________ !____ (Turn to Page 19) but he learned to use his own firmly established the instrument had this to say: “From Bud Free- __________________________________ ideas to better musical advantage, as worthwhile jazz solo horn. man, an exponent of healthy Chi­ ‘Louis Greatest’ His playing has always been cago jazz, Young draws clean tech­ Whenever you talk influences cl?ar‘5ter1^ b<, .PhFasea nique, lightness of tone, and a with Bud he always reiterates Lou- Pl*y®d intelligently. He obtains a sense of chromatics.” He adds that is Armstrong is the greatest. The true hot feeling in passages made Freeman’s work sometimes sug­ P M pressure plate he wae listening to UP of 1 simple repetition of notes. gests the flights of exuberance that Louis playing a modern pop tune. ™ a full .nd bnllUnU 1- we find so frequently in Lester’s A,. though at times in the heat of im- playing. BudBua says,sayB, “iI donaon ’ta usicnlisten forivr new ~ . j phrasesTbut to the new creations provisation he has had a tendency Another similarity detectable in KhiTon old phrases. Everytime £ «^use his familiar bonk tone the playing of these two men is ligatures »Uv,Ä aoan>n«thin<r*nethin« he ha* a new ^¿TtSd^fct’ such an extent that.................. it has be~ that they both use a contrast of timbres, an interplay of roughness aP£*j*L. h»«ir Lately he has been using this and sweetness. It has been said FOR BETTER TONE-LONGER REED LIFE 3;,.» i. oil «bout rough tone sparingly, concentrat- that Bud’s first recording of The MUSIC STOKE clarinet and alto sax »135 REPAIR SHOP Hw * «Hh c^tive ^odicin< "X»* ideas. °n Histhe workdevelopment Carries anof Eel impressed Young to such an extent that it was influential in tenor ux »135 OR WRITE nro^lvinherent beat ia -PecW ef- the formulation of his style. Bob in «»»«tive improvisation. Malts has said that Lester once PENZEL. MUELLER A CO., tnc. long island citj 6 ne« »oik came to his house on Long Island music.” Bud feels the listening pub­ lie should be taught to have respect for the different styles of jazz played, but no one style should be imposed upon them, m Dixieland is today.

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