by Chris Kelsey
Not nearly so famous as his son Chico Freeman (also a tenor saxophonist), Von Freeman is nevertheless equally — if not more — accomplished as a jazz musician. Von Freeman, while not per se a free jazz player, does exhibit traits commonly associated with the avant-garde: a roughly-hewn, vocalic tone; a flexible, somewhat imprecise approach to rhythm; and a fanciful harmonic concept. The son of a ragtime-loving policeman and guitar-playing housewife, Freeman himself began playing music around the age of two, beginning on the family piano. He was surrounded by music from a young age; his maternal grandfather and uncle were guitarists, and his brothers George and Bruz also became jazz musicians (on guitar and drums, respectively). At the age of seven, Freeman made a primitive saxophone by removing the horn from his parents Victrola and boring holes in it. Shortly thereafter he began playing clarinet, then C-melody saxophone. Louis Armstrong was an early influence.
Freeman attended Chicagos DuSable High School, where his band director was the famed educator Captain Walter Dyett. He also learned harmony from the schools chorus director, Mrs. Bryant Jones. Freeman worked for about a year with Horace Hendersons Orchestra (l940-1941). He played in a Navy band while in the military (1941-1945). Following that, he played in the house band at Chicagos Pershing Ballroom (1946-1950), and for a time with Sun Ra (1948-1949). While at the Pershing, he played with many of the top jazz musicians who passed through town, including Charlie Parker. Freeman developed an underground reputation among Chicago-area musicians, and purportedly influenced members of the citys Association for the Advancement of Creative Musicians (AACM). Freeman seldom left Chicago and recorded infrequently, therefore never achieving a great measure of fame.
Freeman recorded with Milt Trenier for Cadet in the mid-60s; Rahsaan Roland Kirk produced a Freeman session for Atlantic in 1972. In the late 70s (as his son Chico became well-known) Von was discovered by a somewhat-wider audience. In 1982, Chico and Von shared a Columbia LP with pianist Ellis Marsalis and his sons Wynton and Branford (Fathers & Sons). In the 90s Freeman recorded for the Steeplechase and Southport labels. Freeman is one of the great individualists of the tenor saxophone, and remained creatively vital through the end of the millennium.
by Chris Kelsey
Not nearly so famous as his son Chico Freeman (also a tenor saxophonist), Von Freeman is nevertheless equally — if not more — accomplished as a jazz musician. Von Freeman, while not per se a free jazz player, does exhibit traits commonly associated with the avant-garde: a roughly-hewn, vocalic tone; a flexible, somewhat imprecise approach to rhythm; and a fanciful harmonic concept. The son of a ragtime-loving policeman and guitar-playing housewife, Freeman himself began playing music around the age of two, beginning on the family piano. He was surrounded by music from a young age; his maternal grandfather and uncle were guitarists, and his brothers George and Bruz also became jazz musicians (on guitar and drums, respectively). At the age of seven, Freeman made a primitive saxophone by removing the horn from his parents Victrola and boring holes in it. Shortly thereafter he began playing clarinet, then C-melody saxophone. Louis Armstrong was an early influence.
Freeman attended Chicagos DuSable High School, where his band director was the famed educator Captain Walter Dyett. He also learned harmony from the schools chorus director, Mrs. Bryant Jones. Freeman worked for about a year with Horace Hendersons Orchestra (l940-1941). He played in a Navy band while in the military (1941-1945). Following that, he played in the house band at Chicagos Pershing Ballroom (1946-1950), and for a time with Sun Ra (1948-1949). While at the Pershing, he played with many of the top jazz musicians who passed through town, including Charlie Parker. Freeman developed an underground reputation among Chicago-area musicians, and purportedly influenced members of the citys Association for the Advancement of Creative Musicians (AACM). Freeman seldom left Chicago and recorded infrequently, therefore never achieving a great measure of fame.
Freeman recorded with Milt Trenier for Cadet in the mid-60s; Rahsaan Roland Kirk produced a Freeman session for Atlantic in 1972. In the late 70s (as his son Chico became well-known) Von was discovered by a somewhat-wider audience. In 1982, Chico and Von shared a Columbia LP with pianist Ellis Marsalis and his sons Wynton and Branford (Fathers & Sons). In the 90s Freeman recorded for the Steeplechase and Southport labels. Freeman is one of the great individualists of the tenor saxophone, and remained creatively vital through the end of the millennium.
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