Bob Freedman is a composer, arranger, pianist and reed player. In the early 1950s, he played alto sax with trumpeter Herb Pomeroy's big band in Boston, writing a good chunk of the orchestra's arrangements. Since 1960, Bob has arranged for more than 30 jazz and pop stars, including Ron Carter, Billy Joel, Joe Williams and Sarah Vaughan. He also has written for television and the movies. On the bling side, Bob shares a Grammy Award with Quincy Jones for The Wiz (1978) and has been nominated for three more.
But back in 1957, Bob wrote an arrangement for Maynard Ferguson that to this day knocks out fans of the trumpeter. The song is And We Listened, and it remains a superlative example of late 1950s high-energy big-band writing. What's more, the arrangement was recorded by Ferguson on one of his most celebrated albums of his fabled Roulette Records period—A Message From Newport (1958). Bob's swaggering arrangement sizzles with metallic zest, reverberating with the impact of the horn section's cannon fire and drummer Jake Hanna's shoving beat.
Yesterday I spoke to Bob, 75, about Boston jazz, Chet Baker and his arrangement for Ferguson:
Bob Freedman: We lived in Wollaston, Mass., until I was 12 years old. Then we moved to Cranston, R.I., where we remained. My father and sister played piano, which
JW: How excited were you?
BF: I flipped. I ran into Providence, which was close by to where we lived, and bought the 78-rpm record. I’m glad I did. Soon after, the estate
JW: You played piano. When did you add the saxophone?
BF: Actually, it was the clarinet first. When I was 12 years old, I wanted to play the guitar. But my father didn’t approve. Then I wanted to play the trombone. He didn’t care for that idea either. Somehow the clarinet came up, and my dad was willing to buy me one. I played in the high school band. We had a terrific music director.
JW: So you played both instruments?
BF: From an early age, I had talent and intellect and good ears. I had been playing piano and clarinet with the school
JW: When was your first professional job?
BF: When I was 14, I played with Tommy Reynolds, a minor league Artie Shaw who led a territory band based in Providence, R.I. I got to play the baritone, alto and clarinet chair in that band. We also went out on the road locally. On breaks, I’d write out eight bars or so of music and the guys would play them so I could hear what I was doing right and wrong. That was some education.
JW: What about after high school?
BF: In 1951, I joined the Army. I was 17 years old. I didn’t care much for high school. My grades weren’t great and I
JW: Was the band any good?
BF: It turned out to be a really nice band. Soon after I arrived, Chet Baker was sent there. He was a misfit of
JW: How did the audiences react?
BF: Chet struck everyone as exceptional. I didn’t understand the reaction at first. People were transfixed. It was his looks and music. It was the whole package.
JW: What made his sound special?
BF: At the time, he didn’t sound like anyone else. The lines he played were so simple and pretty. He’d do manipulations of notes in chords that a whole lot of people weren’t doing in those days.
JW: What was the net result from a musician's standpoint?
BF: The impression he left was that naturalness is a good thing. There was never a sense of imitation. He just let it happen and wasn't out to manufacture a product. When we’d go into clubs, he’d sometimes just stop playing for eight measures or so. He'd have his trumpet to his lips. Then, when he had an idea, he'd play a few notes and develop something great. The lesson was you don't have to play just to fill space. Things came so easily to Chet that he didn’t feel the need to push.
JW: What did you do after the service?
BF: In 1953 I returned to New England and played alto sax with Herb Pomeroy’s groups at The Stable in Boston.
JW: How did you come to arrange And We Listened for Maynard Ferguson?
BF: In 1957 Maynard Ferguson brought his band to Boston's Storyville, which was across the street from The Stable. Carmen Leggio, a saxophonist in Maynard’s band,
JW: How did you do?
BF: Very well. Maynard used to stand on stage just off to the side of Carmen’s stand, so he could hear me loud and clear.
JW: How did arranging come up?
BF: On one of the nights, during a break, I asked Maynard if I could arrange a chart for the band. He said sure. He told me, “I don’t like solos running into each other. I like a solo to be followed by the band before another solo starts. And I like things to build.”
JW: So what did you do?
BF: I wrote And We Listened. It took me about four days. But before I sent it off to Maynard [pictured], I had Herb Pomeroy’s big band run it down during afternoon rehearsals at The Stable. I
JW: How did you come up with the song's title?
BF: The title came from my fondness for Gerry Mulligan’s writing, in particular his use of the minor-7, flat-5 chord. That's the first chord I used in
JW: How did the title get shortened?
BF: It must have been trimmed by the record company so it would fit on the album. Or maybe they didn't get the "to him" part and felt it wasn't necessary. I don't know.
JW: How fast was the original tempo?
BF: Quite a bit faster than the one Maynard used on A Message From Newport. Herb had played it down the way I had written it.
JW: How did it wind up so much slower?
BF: I heard later from Maynard's drummer Jake Hanna that in the
JW: What did Maynard do?
BF: With a 10 minutes hole on the date, he decided to slow the tempo way down. The result is what you hear on
JW: When did you first hear that Ferguson had recorded your composition and arrangement?
BF: When I saw an ad for the record in a magazine. After I bought the record and played it. I was thrilled to death. That was the first time I had had anything recorded by a name band.
JW: Did you write additional arrangements for the band?
BF: I sent Maynard another chart called Thus Spake
JW: Did you feel badly?
BF: Things like that cross your mind and you wonder why things didn't work out. But Maynard was surrounded by great arrangers in that band. There was never a shortage of material [laughs]. That's just the way it goes and you move on.
JW: Does the result on Message sound as perfect to you as it does to most fans?
BF: Yes, absolutely. Actually, there’s a very small flaw in Carmen Leggio’s part right at the beginning. He plays a note that I didn't write. I can hear him start to play the wrong note and slide into the right one. I had written the part for the alto sax and since he played tenor, he had to transpose his part. I guess I had gotten him back for the same problem he left me with when I played his chair at The Stable [laughs].
JW: Why didn’t Pomeroy buy the arrangement?
BF: [Laughs] Herb [pictured] wasn’t buying anything in those days. That band played for love. We never assumed there would be any money for the arrangements we wrote. I
JW: Are you still impressed with the result on A Message From Newport?
BF: Oh sure. But you have to give praise to that band. The track you hear was only the second time they had
JW: What did you receive for the arrangement?
BF: I think I received a check for $75 when A Message From Newport came out. I don't think there were any additional royalty checks [laughs]. It was about the love. Just hearing what I had written played by that band was enough for me.
JazzWax tracks: Bob Freedman's And We Listened is on A Message From Newport. The track has a light strip-time beat that builds to a series of supersonic solos by Maynard Ferguson and driving drum lines by Jake Hanna. The CD is long out of print and is going for about $50 here. The CD and LP turn up at eBay from time to time and may be available as a download at online sites. It also appears on the long out-of-print The Complete Roulette Records of the Maynard Ferguson Orchestra (Mosaic), one of the most highly sought-after and high-priced box CD sets on eBay. Someone out there should re-issue Maynard Ferguson's superior Roulette recordings. Anyone?
The Roulette period! For the legions of Maynard skeptics out there, they need to hear how great the charts, bands, and MF himself (showing off all his multi-instrumentalist skills) were during this period.
Good to see Freedman's still around.
Posted by: John Salmon | January 15, 2010 at 12:07 PM
Great tune! And even better yet, the 2004 tribute (Stratospheric) was amazing! I remember this tune being performed!
Keith Fiala
Posted by: Keith Fiala | January 18, 2010 at 08:53 AM
Thanks for the wonderful interview with Bob Freedman. He is a real jazz hero of mine. "And We Listened" grabbed me the first time I heard the recording in high school. I immediately marked Bob Freedman's name for future reference. I was just starting to learn to orchestrate and his ensemble voicings for Maynard's small big-band were very compelling. "Message From Newport" is one of my all-time favorites. Slide Hampton's "Slide's Dearrangement" and "Frame for the Blues" on that same LP are also standouts. That was a golden time for Maynard's band. I feel fortunate to have seen it in person a few years later.
Posted by: Bruce Armstrong | February 12, 2010 at 01:25 PM
And we Listened is not only one of my alltime favorite solos of Maynard, but is also one of my favorite compositions and arrangements. Freedman really did a great job getting the most of the band and Maynard's sound. It's cool knowing how they slowed down the tempo to record the chart - and Freedman was really happy with the result. SUCCESS.
http://trumpetsearch.com/maynard-ferguson
Posted by: Rob | April 16, 2010 at 04:16 PM