Review by Gerald Lascelles, Jazz Journal, December 1966:
When Bud Freeman was over here last June he had the opportunity to record with an all-British rhythm section, not the Alex Welsh band with whom he has toured, televised, and worked on several occasions. Dick Katz, former pianist with the Ray Ellington quartet, now better known as an agent, was co-opted as pianist for the session, and those stalwarts of rhythm, Spike Heatley and Tony Crombie, completed the group. The accent was clearly on spontaneity, and no less than five of the tracks on this album were taken down first time through, which is a tribute both to Bud and his men.
With Bud, surely one of the most self-composed and reassuring of all jazzmen, there is no question of a cutting contest, or of trying to catch out the accompanists. What was blown at this session is uncompromising jazz, melodic and tasteful throughout, but he deliberately avoided a shouting session where he might have overwhelmed the group. Instead, he blends carefully, leaving solo spots for the rhythm men, and in return gets exceptionally good support from them all. Dick Katz is a splendid two-fisted pianist, who makes the most of his opportunity to work with Bud. It is certainly good to hear Bud blowing his old perennial Eel again, and Sunday and Indian Summer. I leave no doubts in my mind that he still has plenty to say in terms of jazz.
This turns out to be one of those splendidly swinging sessions which sometimes emerge from our studios, with nothing elaborate to complicate the serious business of playing good jazz. It rides high in my assessment of all the records I have heard this year, and I shall welcome the lime when Bud contributes another session of jazz 'made in England'.
Review by John Postgate, Jazz Monthly, January 1967:
lt is impossible to write unkindly about this record, though the reviewer is bound to admit that not much happens on it. Freeman's talent is indisputable; he has distilled his earlier, probing, hit-or-miss style into a repertoire of highly personal phrases that he passes out with meticulous care and deliberation. His innovations were incorporated into the body of jazz thirty years ago, when accidental sixths and ninths became commonplace, and today he is content to play within the framework he developed then. On this issue he dispenses a sedate programme of standards, including a brisk but gentle re-working of The Eel, and the support provided by his British accompanists is outstanding, particularly the contribution of Spike Heatley. As I said, a likeable record, depicting a perfectionist in a small backwater of our music.
1. Sweet Sue
2. Way Down Yonder In New Orleans
3. Indian Summer
4. Higgins Said No!
5. Mean To Me
6. Tea For Two
7. You Took Advantage Of Me
8. Dinah
9. The Eel
10. Sunday
11. I Could Write A Book
12. I Got Rhythm
Bud Freeman (ts); Dick Katz (p): Spike Heatley (b): Tony Crombie (d).
Fontana Studio, Marble Arch, London, June 1966.
(Fontana TL 5370)
