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