Chico Freeman - Focus (Contemporary, 1994)

Chico Freeman, tenor sax
Arthur Blythe, alto sax
George Cables, piano
Santi Debriano, bass
Yoron Israel, drums

Recorded May 16, 1994

Fantasy Studios, Berkeley CA

Engineer: David Luke

Born in Chicago in 1949, Chico Freeman did not rush into a career as a jazz musician. Although he took music lessons (piano and trumpet) as a child, in 1967 he entered Northwestern University on a math scholarship. His father, Von Freeman, was an established jazz tenor saxophonist, so it was probably inevitable that Chico would also take up the tenor at some point.  

Upon graduation, Freeman pursued a master's in music while teaching at the AACM School in Chicago. Given the downturn in opportunities to record jazz for major labels in the 1970s, Freeman's first recordings were on an indie label, India Navigation, where they received glowing critical reviews. The label also became home for players such as David Murray, Arthur Blythe, James Newton, Anthony Davis, and Jay Hoggard.  Freeman's Spirit Sensitive (India Navigation,1979) became an audiophile favorite due to its transparently minimalist recording. It has been reissued twice (1995 & 2024) by the audiophile label Analogue Productions 

While Freeman's India Navigation recordings continue to receive positive critical attention, his records for Contemporary and Blackhawk in the 1980s sound more fully realized to me. Destiny's Dance (Contemporary, 1981) and The Pied Piper (Blackhawk, 1987) are masterpieces that I reviewed in my previous blog (see the links below). 

The 1990s found Freeman exploiting a fertile partnership with altoist Arthur Blythe. Focus is the best of three albums recorded with Blythe. The other two - Luminous (1989) and The Unspoken Word (1994) - are excellent live recordings but Focus remains my favorite for its excellent studio sonics and its, um, focus. The rhythm section is first rate, although choosing between George Cables and John Hicks (the pianist on Luminous) is difficult. 

The Focus CD includes a lavish version of "Ah George, We Hardly Knew Ya," composed by Don Pullen and dedicated to tenorist George Adams. Two Monk tunes, "Bemsha Swing" and "Rhythm-a-Ning," are powerful opening and closing tracks, respectively. Cables' "Blackfoot" is also a standout. 

On all tunes, the horns are in complete sync, supporting and contrasting each other. Both players have their best talents on display on every track, and no notes are wasted on mindless blowing. This is focused jazz that packs a powerful artistic punch.

For my reviews of Chico Freeman's 1980s albums, go to:

Post: Edit The Pied Piper

Post: Edit Destiny's Dance

Gerry Mulligan - Dream a Little Dream (Telarc, 1994)

Gerry Mulligan, baritone sax
Ted Rosenthal, piano
Dean Johnson, bass
Ron Vincent, drums

Bill Mays, piano

Recorded April 14-16 & 28-29, 1994

Clinton Recording Studio A, NYC

Engineer: Jack Renner

Thanks to my oldest brother, I became a Gerry Mulligan fan when I was 10 years old. His LPs from the mid 1950s were the soundtrack for my pre-adolescent years, before I got interested in rock and roll. Jazz was especially popular during the 1950s, so I was not alone in my appreciation of Mulligan, Monk, Brubeck, the MJQ, and many others. I started my own jazz collection when I had the money. Most often played was Mulligan's What Is There to Say? (Columbia, 1959). 

Fast forward 40 years to the 1990s, and there was Gerry Mulligan, recording quartet music on the high-brow Telarc label. In contrast to Mulligan's Lonesome Boulevard (A&M, 1990), which features new Mulligan originals, Dream a Little Dream has a mix of standards and original compositions, some old and some new. The album overall could be considered a "slow cooker," given the preponderance of ballads and standards. Nonetheless, Mulligan's wonderful tone and mastery of the baritone sax remain intact. 

Ted Rosenthal and Bill Mays are the perfect choices for piano duties. Rosenthal is an outstanding accompanist, just what the quartet session calls for. Mulligan performs two duets with guest pianist Mays: "My Funny Valentine" and "As Close as Pages in a Book." The duets obviously shine more light on the piano than the quartet numbers do, but the album's dreamy mood pervades all tracks. 

The sound is first rate. The digital recording is warm and detailed, especially on the piano solos. On the quartets, drums and bass are in the background as they should be.

Mulligan died in 1996 at age 69, less than two years after recording Dream a Little Dream. His music shaped my understanding of jazz and touched me deeply at a young age. It still does.

For my review of Mulligan's Lonesome Boulevard, go to:

Post: Edit Lonesome Boulevard