For other people with a similar name see Lawrence Friedman Lawrence "Bud" Freeman was an American jazz musician and composer, known for playing the tenor saxophone, but able at the clarinet. He had a full tenor sax style with a heavy robust swing, he was one of the most important jazz tenor saxophonists of the big band era. His major recordings were "The Eel", "Tillie's Downtown Now", "Crazeology", "The Buzzard", "After Awhile", composed with Benny Goodman. Freeman was born on April 1906, in Chicago. In 1922, he and some friends from high school formed a jazz group, the Austin High School Gang, Freeman played the C melody saxophone alongside his other band members such as Jimmy McPartland and Frank Teschemacher before switching to tenor saxophone two years later. Influenced by artists like the New Orleans Rhythm Kings and Louis Armstrong from the South, they would begin to formulate their own style, becoming part of the emerging Chicago Style of jazz. In 1927, he moved to New York, where he worked as a session musician and band member with Red Nichols, Roger Wolfe Kahn, Ben Pollack, Joe Venuti, among others.
One of his most notable performances was a solo on Eddie Condon's 1933 recording, The Eel, which became Freeman's nickname. Freeman played with Tommy Dorsey's Orchestra as well as for a short time Benny Goodman's band in 1938 before forming his own band, the Summa Cum Laude Orchestra. Freeman joined the US Army during World War II, headed a US Army band in the Aleutian Islands. Following the war, Freeman returned to New York and led his own groups, yet still kept a close tie to the freewheeling bands of Eddie Condon as well as working in'mainstream' groups with the likes of Buck Clayton, Ruby Braff, Vic Dickenson and Jo Jones. In 1960, wrote the book and lyrics to the Broadway musical "Beg, Borrow or Steal" which featured the ballad "Zen Is When" recorded by the Dave Brubeck Quartet on Jazz Impressions of Japan, he was a member of the World's Greatest Jazz Band in 1969 and 1970, thereafter. In 1974, he moved to England where he made numerous recordings and performances, as he did in Europe. In the decade Freeman spent some time on the Isle of Man during part of which he was the guest of well known Manx jazz musician and broadcaster, Jim Caine.
Recounted as a keen devotee of the game Scrabble, as well as a fervent Anglophile, this resulted in Freeman having a nickname bestowed on him by the Caine family, becoming known as the "Anglo Saxophonist." In addition to this, Freeman presented one of his coats to a son of Jim Caine. Still in the possession of the Caine family, the garment is referred to with affection as the "Bud Coat." Returning to Chicago in 1980, he continued to work into his eighties. He released two memoirs You Don't Look Like a Musician and If You Know of a Better Life, Please Tell Me, wrote an autobiography with Robert Wolf, Crazeology. In 1992, Bud Freeman was inducted into the Big Jazz Hall of Fame, he was featured in Studs Terkel's book, "Working", published in 1972. Freeman's music still features on various dance band shows. Freeman has been the subject of a dedicated edition of Sweet & Swing on Manx Radio. Bud Freeman died March 1991, at the Warren Barr Pavilion, a nursing home in his native Chicago, he was 84 years old.
Sadly, his death came just days after death of fellow Austin High School Gang musician trumpeter Jimmy McPartland, who died on March 13, 1991. Freeman was preceded in death by his younger brother actor Arny Freeman, was survived by a sister, Florence Charles of Los Angeles, CA. Comes Jazz Battle of Jazz, Vol. 1 Bud Freeman and the Chicagoans Test of Time Bud Freeman Jazz: Chicago Style Bud Freeman and His All-Star Jazz Chicago/Austin High School Jazz in Hi-Fi Bud Freeman & His Summa Cum Laude Trio The All Stars with Shorty Baker Midnight Session Summer Concert 1960 Something to Remember You By Chicago Something Tender The Compleat Bud Freeman The Joy of Sax Jazz Meeting in Holland Song of the Tenor Two Beautiful Bucky and Bud Live in Harlem California Session The Real Bud Freeman Superbud With Rex Stewart and Cootie Williams The Big Challenge With George Wein Newport Jazz Festival All Stars with Buck Clayton, Pee Wee Russell, Vic Dickenson, Champ Jones and Jake Hanna George Wein & the Newport All-Stars Profile of Bud Freeman at Allmusic
Morey Feld was an American jazz drummer born in Cleveland, Ohio best known for his work with the bands of Ben Pollack, Benny Goodman, Eddie Condon, Bobby Hackett and Billy Butterfield. In 1960 Feld moved to Denver and worked with Peanuts Hucko's quintet. Feld died at age 55; as Morey Feld & His Straight-Ahead Six Jazz Goes Broadway With Stan Getz The Complete Roost Recordings With Benny Goodman The Benny Goodman Six Collector's Gems 1929-1945 With Ella Fitzgerald Lullabies Of Birdland The First Lady Of Song For Sentimental Reasons With Slam Stewart Slam Stewart Quintet With Billy Taylor The Complete H. R. S. Sessions With Wild Bill Davison Sweet And Hot The Bill Davison Six With Bobby Hackett Creole Cookin' With Bobby Sherwood Bobby Sherwood and His Orchestra' With Bernie Leighton Bernie Leighton and His Swing Seven With Stan Getz The Complete Roost Recordings Moonlight in Vermont' w/ Johnny Smith With Sarah Vaughan Sarah Vaughan and Her All-Stars
Charles William Butterfield was an American jazz bandleader, trumpeter and cornetist. Charles William Butterfield was born in Middletown and attended high school in Wyoming. Although he studied medicine at Transylvania College, he preferred playing in bands, he studied cornet with Frank Simon, he discontinued his studies after finding success as a trumpeter. Early in his career he played in the band of Austin Wylie, he gained attention working with Bob Crosby, performed with Artie Shaw, Les Brown, Benny Goodman. While with Bob Crosby, he played third trumpet behind the legendary Charlie Spivak and Yank Lawson; when those two left Crosby to join Tommy Dorsey's band in 1938, Butterfield was given the opportunity to solo on a song written by Crosby bassist Bob Haggart titled "I'm Free." When lyrics were added, it became the well-known standard "What's New?". Crosby's version, featuring Butterfield's brilliant performance, is regarded as one of the great recordings of the Big Band era. On October 7, 1940, during his brief stay with Artie Shaw's orchestra, Butterfield performed what has been described as a "legendary trumpet solo" on the hit song "Star Dust".
He was a featured soloist in the small group from Shaw's band, the Gramercy Five. Between 1943 and 1947, taking a break to serve in the United States armed forces, Butterfield led his own orchestra. On September 20, 1944, Capitol recorded the jazz standard "Moonlight In Vermont", which featured a vocal by Margaret Whiting and trumpet solos by Butterfield; the liner notes from the CD Capitol from the Vaults, Volume 2, "Vine Street Divas" indicate that, although Billy Butterfield & His Orchestra were credited with the song, it was the Les Brown band recording under the name of Billy Butterfield because Brown was under contract to another label at the time. Butterfield recorded two albums with arranger-conductor Ray Conniff, Conniff Meets Butterfield and Just Kiddin' Around. In the 1960s he recorded two albums with his own orchestra for Columbia Records; the trumpeter He was a member of the World's Greatest Jazz Band, led by former Crosby bandmates Yank Lawson and Bob Haggart, from the late 1960s until his death in 1988.
He freelanced as a guest star with many bands all over the world, performed at many jazz festivals, including the Manassas Jazz Festival and Dick Gibson's Bash in Colorado. Butterfield was seen in the film Second Chorus as a member of an orchestra led by Artie Shaw. Butterfield was married to singer Dotty Dare Smith. Butterfield died March 1988, in North Palm Beach, Florida, he was 71. Stardusting Billy Butterfield New York Land Dixie They're Playing Our Song Session at Riverside Songs Bix Beiderbecke Played With Ted Easton's Jazzband Watch What Happens Swinging at the Elks You Can Depend on Me Just Friends The Incomparable Butterfield Horn Recipe for Romance Soft Strut What Is There to Say With Buck Clayton All the Cats Join In Jazz trumpet transcriptions All Music Billy Butterfield Interview NAMM Oral History Library
George Masso is an American jazz trombonist, bandleader and composer specializing in swing and Dixieland. Masso is notable for his work from 1948–1950 as a member of the Jimmy Dorsey band. Finding the life of a professional jazz musician financially difficult, Masso quit performing following his work with Dorsey, he performed with Bobby Hackett and Benny Goodman. In the late 1980s and early 1990s, he recorded with Barbara Lea, Bob Haggart, Yank Lawson. Just for a Thrill Let's Be Buddies with Dan Barrett Trombone Artistry That Old Gang of Mine At Long Last Love The Wonderful World of George Gershwin No Frills Just Music George Masso All Stars: Wonderful World of G C'est Manifique! With Ken Peplowski Just Friends With Spike Robinson Play Arlen With Totti Bergh and Harry Allen Night Birds With Bob Haggart, Yank Lawson and Barbara Lea You're the Cats! Sweet and Slow With George Shearing George Shearing in Dixieland
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Santo J. "Sonny" Russo was an American jazz trombonist. Russo grew up in a musical family, he first played piano and violin, played with his father's group at age 15. He had a long list of associations with noted jazz musicians. Starting in the mid-1950s Russo found work in the bands of various Broadway shows. In the late 1950s and 1960s he worked with Louie Bellson, Bobby Hackett, Benny Goodman, Doc Severinsen. From 1967 to 1973 he was a member of The Tonight Show orchestra, he worked with Frank Sinatra between 1967 and 1988, he played in Urbie Green's 21 Trombones in 1968 and in the World's Greatest Jazz Band in the 1970s. While touring with The World's Greatest Jazz Band Russo was invited to the White House to play for President and Mrs. Ford. Russo recorded extensively with singers. Sonny performs on the soundtracks to the films The Godfather, The Godfather II, Sophie's Choice. In 1971 during a performance on The Tonight Show Starring Johnny Carson with Louis Armstrong as one of the guests, Russo shared the stage with Louis in which he played the solo on the tune "Someday You'll Be Sorry".
Russo was a fixture in the recording studios for radio and television. While Jerry Lewis was doing the Muscular Dystrophy Telethon in New York City, Russo was a regular in the Orchestra always in demand he worked with Lewis while Lewis performed his one-man show in Upstate New York. While touring around the world with Frank Sinatra during their performance and filming of Concert of the Americas, Russo played the trombone solo on the tune "I've Got You Under My Skin and was announced by Sinatra during the performance, he has done many Jazz gigs with the likes of Al Cohn, Zoot Simms, Mousey Alexander, Milt Hinton. With Dorothy Ashby The Fantastic Jazz Harp of Dorothy Ashby With Louis Bellson Let's Call It Swing With Quincy Jones Quincy Plays for Pussycats With Don Sebesky The Rape of El Morro With Rex Stewart and Cootie Williams Porgy & Bess Revisited Leonard Feather and Ira Gitler; the Biographical Encyclopedia of Jazz. Oxford, 1999, p. 577. Burt Korall, Drummin Men, p. 237. Bill Crow, Jazz Anecdotes.
Sonny Russo's obituary
Scott Hamilton (musician)
Scott Hamilton is an American jazz tenor saxophonist associated with swing and mainstream jazz. He emerged in the 1970s in rhythm and blues bands in Providence, Rhode Island played jazz on tenor saxophone. In part at the recommendation of Roy Eldridge, he moved to New York City in 1976 and toured with Benny Goodman, he recorded his first significant jazz album as a leader for Chiaroscuro in 1977. The same year, he proceeded to record his debut album for Concord, with whom he maintained a long recording career as a solo act and as a member of the Concord Jazz All Stars, he accompanied singer Rosemary Clooney on the road for a decade. During the 1980s, he toured Japan, the UK, performed at the Grande Parade du Jazz in Nice, France. In the 1990s he moved to London and formed a quartet with John Pearce, Dave Green, Steve Brown. In 2007 he made a guest appearance at the Brecon Jazz Festival accompanied by Humphrey Lyttelton and his band. Part of this concert was shown on BBC Four as Humph's Last Stand, a tribute to Lyttelton after his death in 2008.
In 2013 and 2014 Hamilton worked with Joan Chamorro. Scott Hamilton Is a Good Wind Who Is Blowing Us No Ill Scott Hamilton 2 Scott Hamilton and Warren Vache Back to Back No Bass Hit with Jake Hanna and Dave McKenna Tenorshoes Skyscrapers with Warren Vache Apples & Oranges Scott's Buddy with Buddy Tate Close Up The Second Set A First with Ruby Braff Soft Lights & Sweet Music with Gerry Mulligan Major League with Jake Hanna and Dave McKenna The Right Time Scott Hamilton Plays Ballads Grand Appearance Radio City At Last with Gene Harris Groovin' High with Ken Peplowski and Spike Robinson Race Point Scott Hamilton with Strings arranged by pianist Alan Broadbent East of the Sun Organic Duke Live at the Brecon Jazz Festival My Romance After Hours Christmas Love Song The Red Door with Bucky Pizzarelli Blues Bop & Ballads Jazz Signatures Scott Hamilton Quartet Live in London Heavy Juice with Harry Allen Back in New York Nocturnes & Serenades Across the Tracks Mainstream Giants of Jazz Midnight at Nola's Penthouse with Rossano Sportiello Hi-Ya with Alan Barnes A Splendid Trio with Howard Alden and Frank Tate Tight but Loose with Dusko Goykovich Scott Hamilton Meets Jesper Thilo How About You with Bernard Pichl'Round Midnight with Harry Allen Swedish Ballads & More with Jan Lundgren I Could Write a Book with Andrea Pozza Remembering Billie Live at Smalls Scott Hamilton Plays with the Dany Doriz Caveau de la Huchette Orchestra Bean and the Boys with Paolo Birro and Alfred Kramer Who Cares? with Andrea Pozza Live in Bern with Jeff Hamilton Second Time Around with Dusko Goykovich Scott Hamilton Plays Jule Styne Live in Barcelona La Rosita The Best Things in Life with Karin Krog Ballads for Audiophiles The Shadow of Your Smile Live at Pyatt Hall Moon Mist Official website