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Von Freeman on Nessa


Big Al

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  • 2 weeks later...

Can't be any good. Bunch of white guys nobody's ever heard of. That must be why I'm "pushing" it. AND pay no attention to the next recording I did with them. The addition of Charles Tyler was a crass commercial step by a desperate record producer. I'm sure it is just a coincidence ECM picked 'em up after me.

Let me see... ECM records Bowie, AEC, Leo, Roscoe, Hal after I do - might there be a pattern here?

Seriously, Hal's subsequent death was a big blow for lots of fans and friends.

Edited by Chuck Nessa
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  • 6 months later...

I spun Doin' It Right Now tonight, while my wife and I put up some early X-mas decorations. While not on Chuck's label, it's a fine slab of Von. The Koch reissue has unusally fine (HDCD) sound, and this adds to the already fine musicianship on exhibit. My wife actually got into the music, and asked me twice "Who is this?" I already liked this album, but with those unsolicited inquiries, I now have to give this one a hearty :tup all over again.

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Yanow Says:

This Koch CD reissues an Atlantic LP, tenor saxophonist Von Freeman's debut on record. Freeman, who was almost 50 at the time, was obscure because he lived in Chicago rather than New York and because he had an unusual tone that took a bit of time to get used to. However, he was well-known in Chicago, and Rahsaan Roland Kirk went out of his way to record Freeman, producing this album. Joined by pianist John Young, bassist Sam Jones, and drummer Jimmy Cobb, Freeman performs five originals, a haunting version of "The First Time Ever I Saw Your Face," "Lost in a Fog," and "Sweet and Lovely." Von Freeman has since had higher visibility in jazz without compromising his sound or his ability to swing in his own fashion.

Sound Sample.

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Goes w/o saying that Von is a BAAAAAAAAAADDDDDDDDDDDDD muthaphukker. Just picked up THE IMPROVISER and to say that I'm forever going to have to rethink "Blue Bossa" is quite the understatement.

The Nessa sides are essential.

Yeah, that's an eye opener. I wasn't sure I even liked it the first 4-5 times that I listened to it. However, I couldn't turn it off! It has grown on me. Not bad for a guy who was puhing eighty at the time it was recorded!

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Mike, I don't have the vinyl, but the sound on the Koch reissue really is nice. When Koch first started reissuing Atlantic sessions (using high definition compatible digital, or HDCD, encoding), they seemed to hit a lot of home-runs. The Konitz/Marsh album sounds amazing, and so does Art Farmer's To Sweden With Love, to name just two. A disc encoded with HDCD will, of course, play on any player, and I'm not really sure that it matters all that much if your player does, or does not, have this capability for playback. Mine happens to, but I think I just like it when the little red light comes on! (Brubeck's Time Out, strangely, makes the HDCD red light come on, but there's no indication on the packaging that this encoding was used.)

Mainly, as usual, it's best to just leave it at: this is a fine album. Will have to check out the Nessa release.

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Trivia question:

Who, right here (meaning someone on this very board), has recorded with Von Freeman??

(Also possibly the only guy on this board that's every played with him too, though I'm not 100% sure of that one.)

B)

PS: The guy who recorded with Von can't answer this question, so keep your mouth shut. (Boy, now wouldn't THAT be cheating!!! :g )

Edited by Rooster_Ties
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Mike, I don't have the vinyl, but the sound on the Koch reissue really is nice. When Koch first started reissuing Atlantic sessions (using high definition compatible digital, or HDCD, encoding), they seemed to hit a lot of home-runs.

Thanks, late, sounds very insteresting. Never had any problems before with HDCDs, although my player has no little red light ...

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Any thoughts Paul, on playing with Von??

I got to hang with Vonski multiple times while I lived in Chicago through most of the 90s- sometimes down south at the "Apartment" jams, where Von held court. Those sessions were often full of long winded half-hour F blues; Von would start things off with a few choice choruses and then give way to the long line of participants- some could play, some couldn't but did anyway. Von welcomed them all with a big smile.

For me, the better Von hangs were the occasions when he would venture north to the Green Mill and play with the quintet I was working with. That gig was the greatest- every Wednesday for SEVEN YEARS! An opportunity to play way-too-long solos and explore some territory beyond the known envelope. I sure miss that gig- I doubt I'll ever get to do something that hip again.

Those Steeplechase sides were recorded with a couple mikes and a digital recorder. Pretty informal jam-type format, usually head-and-solos. I truly felt like I was in the presence of greatness- when Von would get rolling on a solo, you'd be treated to a stream-of-consciousness sermon combining bebop, hardbop, soul and free jazz, all within one solo. A history of jazz. He is one of those who can truly take his time and play a long solo that very gradually builds and roars and starts over, much like I would expect from Jug or Stitt at a live gig. When Vonski was "on", the results, to me, rivaled some of Rollins' greatest late 50s- 60s moments, and that is not a compliment I bestow very often. You know how sometimes you hear something so good and so right it just makes you laugh? This magic didn't happen every time he played, but I never heard him have a bad night.

And he's a gem of a person- always made you feel good about yourself, very supportive. He always made me play better.

And he do love the ladies!

I was fortunate to be in the right place at the right time.

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