(k E UNIVERS]TYOF NEW HAMPSH]RE OUR THIRTY.EIGHTHPROGRAM BUD FREEMAN TENORSAX WITH DICK CREEDEN _ CORNET TOMiIY GAI-LANT _ PIANO iIARSHALL WOOD - STRING BASS CHUCK LAIRE _ DRUMS SPONSOREDBY THE DEPARTMENTOF MUSIC, ANO THE NEWHAMPSHIRE LIBRARYOF TBADITIONALJAZZ 8 PM MONDAY NOVEMBER11, 1985 STRAFFORDROOM MEMORIALUNION DURHAM,NEW HAMPSHIRE THE ARTIST BUD FREEUAN Onceagain our seriesis honoredto presenta truejazz legend, and as we nourishour spir- its with Bud Freeman'sartistry we may alsofind a few images,slightty blurred from the passageof time and taste, being relreshinglyrefocused. First,there is the instrumentitselt. Until the relativelyrecent electrical escalation, the saxo- phone (especiallythe tenorvariety) had beenfor decadesthe instrumentmost identitied with popularmusic in general,and iazzin particular.lt also had (andstill has) an inherent capaclty to produce the widest range ot approachesto the actual nalure of sound to b€ lound in any acoustic iazz medium: debalesstill rage. paradoxically,because none of the lamily were essentialparts ol the New Orleanslront line and were more often cast in the collectiveanonymity of the incipient big band section, when they did emergeseparately it tendedto be in a contexlwhich encouragedindividuality. This was mostemphatically true "classical" ot the leno( the alto havingcertain predispositions,and the rosteris lengthy and welFknown. Giventhe more immediatelymanilestations ol stylisticpossibilities ranging from Getzto Coltrane and beyond, younger listenersmay be mildty shocked to learn that historian ". JamesLincoln Collier described Bud in 1978as . .one ol the firstsaxoDhonists to solve the problemsol that instrument.. (!),"and LeonardFeather a decadeearlier called him ". ..with ColemanHawkins one of the two completelyoriginal tenor sax voicesol the "preceded 1920s..."Joachim Berendt states that he Hawkinsin imoact:"Bud was thereal lhe beginning,and was in fact much of it, a realityacknowledged by noneother than LesterYoung. Thenthere are the charmingdesignations so commonlyunderstood but now a bit taded, "Chicago however unnecessarily.lt will be good to be reminded that style',used to reter to "Austin musicrather than somethingmore onerous, and thal lhe High Gang,'wasnothing "Lavender like the Hill Mob." Finally,lhere is the man himself.Lawrence Freeman was born in Chicago(still his home) on April 14, 1906.His early associationswere with his Austin High School cohorts Frank Teschemakerand Jimmy & Dick McPartland-heeven had some initialC-melody sax les- sons trom the McPartlands'lather. Along with many others so fortunate as to be on the scenein thal musicallyexciting period and locationhe wasable to absorbmuch ot the evolving New Orleanstradiiion nearly first hand-King Oliver was in town, as were the New Orleans Rhythm Kings. Among his later attiliationswere the big bands of Ben pollack, TommyDorsey, and BennyGoodman, as well as numeroussmall groups, particularly those centered around Eddie Condon, and more r€cen y the \l/orld's GreatestJ azzband. And Bud's intell€ctualcuriosity is such thal while maintainingwhat Featherso beautitully "his describesas integrity ol personality"he nonethelessstudied tor a time wilh Lennie Tristano. o N A R E S BUD FREEMAN Joining Bud tonight are two pairs ot UNH TraditionalJazz Seriesveterans, Tommy Gallant and Oick Creeden (name sp€lled correctly this time!),and Marsha tr ood and Chuck Laire; it is a dislinct pleasureto welcome them back, and an occasion for reioicing to have lhem combinetheir talentswith Bud's. Two closing points of interestwithin a universityatmosphere: 1) all ot the accompanying perlormers on Bud's most recent recording are ot college age, and 2) Bud once led a group called the Summa Cum Laude orchestra.To both ol these we can add an enthusias- tic "Amen!" Tape recorderc and cameraa are not ,f,rmttted due ao conkaclual arnngements. coope|?tlon ta requesled. THE SERIES The UNH TraditionalJazz Seriesbegan in 1979.lt promoies the en,oymentand und€r_ standing ol the art through concerts featuring musiciansof regional,national, and interna- iional prominence.The program representsa unique endeavorto exoand interestand honoroutslanding talent and achievement. Musicianswishing to do so are encouragedto otfer their recordingsfor sale or mail order during intermission;a brief announcementmay be made.The sponsors have no financial interestin such sales beyond oflering a courtesy serviceto the artistsand the Dubtic. Program Notes-Paul Verrette Production-DavidSeiler THE SCHEDULE Scplembei 23 Bed Nowo Tllo Oclober 14 Elt l{er|borg€r lnd Jlmmy Mrzzy November 11 Bud F7€€mrn Oulnl,gl December 9 Cler3lc Jazz Ouartet February 10 Bulch Thompaon Mrrch 10 Jeny FulteTSwlngbl Aptll ltl Bob Wllber and lllt Hlnton Ita, 12 Chtcrgo Rhythm.