George Freeman • New Improved Funk

 

 

Review by Jason Ankeny
The title says it all in three words, but New Improved Funk demands further elucidation. It's a fun house ride that veers sharply from funk to jazz to soul and back again, its scattershot approach nevertheless proves the best showcase George Freeman's guitar ever had. Recorded with two separate backing groups, New Improved Funk sprawls all over the stylistic map, and virtually the only common denominator from track to track is Freeman's guitar. He further confounds expectations with skronky solos and blissfully psychedelic interludes that go nowhere, but then the journey is more important than the destination here anyway. Somehow this mess still comes together, galvanized by Von Freeman's fiery tenor sax and its undeniably impressive gutbucket grooves. Everything that it's advertised to be.
https://www.allmusic.com/album/new-improved-funk-mw0000912284


Biography by Matt Collar
A key figure on the Chicago jazz scene, guitarist George Freeman is recognized for his warm tone, and funky, blues-influenced style of soul-jazz. He first gained wide visibility in the 1960s playing with organist Richard "Groove" Holmes. A member of the esteemed Freeman musical family, he has also worked extensively with his brother saxophonist Von Freeman, as well as an impressive array of performers, including Gene Ammons, Jimmy McGriff, Les McCann, and many more. As a leader, he issued a handful of soulful albums in the '70s like Franticdiagnosis with Charles Earland, and New Improved Funk, before returning to regular activity in his later years with equally funky jazz albums like 2001's At Long Last George, and 2017's 90 Going on Amazing.

Born in 1927 in Chicago, Freeman grew up in a musical family alongside his brothers -- tenor saxophonist Von Freeman and drummer Eldridge "Bruz" Freeman. He is also the uncle of saxophonist Chico Freeman. In his early professional years starting in the late '40s, Freeman recorded with the territory bands of Joe Morris and with Tom Archia. He also found work supporting touring musicians coming through town, including Lester Young and Charlie Parker, the latter of whom he also recorded with for the Savoy label (although uncredited until after the fact). In the mid-'50s, he began a close association with organist Richard "Groove" Holmes, appearing as a sideman and song contributor on a handful of World Pacific and Prestige label albums including 1961's Groove, 1962's Somethin' Special, and 1968's The Groover!.

After periods touring with Gene Ammons and Shirley Scott, Freeman largely eschewed road work outside of Chicago. His debut album, Birth Sign, was recorded in 1969 with help from organists Sonny Burke and Robert Pierce. Introducing George Freeman Live with Charlie Earland Sitting In arrived in 1971 on Giant Step. Earland was also on board for the guitarist's 1972 follow-up Franticdiagnosis. Also during the decade, he recorded three albums for Sonny Lester's Groove Merchant/LRC label, including 1972's New Improved Funk, 1974's Man & Woman, and 1977's All in the Game, which found him playing urbane soul-jazz.

Freeman's output slowed in the '80s, though he did work with Johnny Griffin, appearing on 1983's Bush Dance, and 1985's Fly, Mister, Fly, which also featured the Joe Morris Orchestra. Following a period of obscurity, he was brought back into the spotlight after singer Joanie Pallatto and pianist Bradley Parker-Sparrow signed him to their Southport/Orchard label, issuing Rebellion in 1995 and George Burns in 1999. At Long Last George, was released by Savant Records in 2001, followed by 2015's All in the Family with nephew Chico Freeman, and 2017's 90 Going on Amazing. In 2019, he issued George the Bomb! with special guest, veteran Chicago harmonica player Billy Branch.
https://www.allmusic.com/artist/george-freeman-mn0000643518/biography

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Reseña de Jason Ankeny

El título lo dice todo en tres palabras, pero New Improved Funk exige más aclaraciones. Es un divertido paseo en casa que se desvía bruscamente del funk al jazz, al soul y viceversa; sin embargo, su enfoque disperso demuestra ser el mejor escaparate de la guitarra de George Freeman. Grabado con dos grupos de acompañamiento separados, New Improved Funk se extiende por todo el mapa estilístico, y prácticamente el único denominador común de una pista a otra es la guitarra de Freeman. Confunde aún más las expectativas con solos skronky e interludios felizmente psicodélicos que no van a ninguna parte, pero el viaje es más importante que el destino aquí de todos modos. De alguna manera, este lío todavía se junta, galvanizado por el ardiente saxo tenor de Von Freeman y sus innegables e impresionantes ritmos de gutbucket. Todo lo que se anuncia.
https://www.allmusic.com/album/new-improved-funk-mw0000912284


Biography by Matt Collar
A key figure on the Chicago jazz scene, guitarist George Freeman is recognized for his warm tone, and funky, blues-influenced style of soul-jazz. He first gained wide visibility in the 1960s playing with organist Richard "Groove" Holmes. A member of the esteemed Freeman musical family, he has also worked extensively with his brother saxophonist Von Freeman, as well as an impressive array of performers, including Gene Ammons, Jimmy McGriff, Les McCann, and many more. As a leader, he issued a handful of soulful albums in the '70s like Franticdiagnosis with Charles Earland, and New Improved Funk, before returning to regular activity in his later years with equally funky jazz albums like 2001's At Long Last George, and 2017's 90 Going on Amazing.

Born in 1927 in Chicago, Freeman grew up in a musical family alongside his brothers -- tenor saxophonist Von Freeman and drummer Eldridge "Bruz" Freeman. He is also the uncle of saxophonist Chico Freeman. In his early professional years starting in the late '40s, Freeman recorded with the territory bands of Joe Morris and with Tom Archia. He also found work supporting touring musicians coming through town, including Lester Young and Charlie Parker, the latter of whom he also recorded with for the Savoy label (although uncredited until after the fact). In the mid-'50s, he began a close association with organist Richard "Groove" Holmes, appearing as a sideman and song contributor on a handful of World Pacific and Prestige label albums including 1961's Groove, 1962's Somethin' Special, and 1968's The Groover!.

After periods touring with Gene Ammons and Shirley Scott, Freeman largely eschewed road work outside of Chicago. His debut album, Birth Sign, was recorded in 1969 with help from organists Sonny Burke and Robert Pierce. Introducing George Freeman Live with Charlie Earland Sitting In arrived in 1971 on Giant Step. Earland was also on board for the guitarist's 1972 follow-up Franticdiagnosis. Also during the decade, he recorded three albums for Sonny Lester's Groove Merchant/LRC label, including 1972's New Improved Funk, 1974's Man & Woman, and 1977's All in the Game, which found him playing urbane soul-jazz.

Freeman's output slowed in the '80s, though he did work with Johnny Griffin, appearing on 1983's Bush Dance, and 1985's Fly, Mister, Fly, which also featured the Joe Morris Orchestra. Following a period of obscurity, he was brought back into the spotlight after singer Joanie Pallatto and pianist Bradley Parker-Sparrow signed him to their Southport/Orchard label, issuing Rebellion in 1995 and George Burns in 1999. At Long Last George, was released by Savant Records in 2001, followed by 2015's All in the Family with nephew Chico Freeman, and 2017's 90 Going on Amazing. In 2019, he issued George the Bomb! with special guest, veteran Chicago harmonica player Billy Branch.
https://www.allmusic.com/artist/george-freeman-mn0000643518/biography

www.discogs.com/George-Freeman ...

Jimmy McGriff • Funkiest Little Band In The Land / Tribute To Basie - 2 CDs

George Freeman • Franticdiagnosis

 

 

Colaborador / Contributor:  Mich58

 

George Freeman • The Good Life

 

Editorial Review
George Freeman has been part of jazz for nearly a century. Brother of Von and uncle of Chico Freeman, he's worked with the greats, such as Charlie Parker and Ben Webster. Appearing on the recording is legendary organist Joey DeFrancesco, going into the studio just a couple of months before his untimely death. DeFrancesco admired Freeman's work on a Jimmy McGriff LP so it is quite touching that the two were able to collaborate here. Also featured on 4 tracks is bass phenom Christian McBride stoking up some swinging performances with Freeman. Drummers Lewis Nash and Carl Allen provide propulsive rhythms throughout. It must be said, however, that the pulsing heart of the band is Freeman himself, who plays with integrity and enthusiasm and who continues to bring an impressive lifetime of experience to his work.
https://www.amazon.com/George-Freeman/dp/B0C3RY6RT3

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Reseña editorial
George Freeman forma parte del jazz desde hace casi un siglo. Hermano de Von y tío de Chico Freeman, ha trabajado con los grandes, como Charlie Parker y Ben Webster. En la grabación aparece el legendario organista Joey DeFrancesco, que entró en el estudio sólo un par de meses antes de su prematura muerte. DeFrancesco admiraba el trabajo de Freeman en un LP de Jimmy McGriff, por lo que es muy conmovedor que ambos pudieran colaborar aquí. También aparece en 4 temas el fenómeno del bajo Christian McBride, que hace algunas interpretaciones con Freeman. Los baterías Lewis Nash y Carl Allen aportan ritmos propulsivos. Hay que decir, sin embargo, que el corazón palpitante de la banda es el propio Freeman, que toca con integridad y entusiasmo y que sigue aportando a su trabajo una impresionante experiencia de toda una vida.
https://www.amazon.com/George-Freeman/dp/B0C3RY6RT3


www.jazzdepot.com ...

Richard ''Groove'' Holmes • Groove

Review by Scott Yanow
When the participants on this CD reissue gathered together in March 1961, it was with the objective of recording a Les McCann vocal album. However, the band had such a good time during their warmup that McCann and the others agreed that it would be a crime to waste the opportunity. Organist Richard "Groove" Holmes, whom McCann had recently discovered, was made the leader; a few jump tunes and originals were agreed upon, and the result is a loose, enjoyable jam session. In addition to Holmes' appealing organ and McCann's typically funky piano, a major bonus is the brilliant playing of tenor saxophonist Ben Webster, whose tone was at its most gorgeous during this period. The five songs on the original LP are joined by a number that was last on a sampler, a McCann vocal track ("Next Spring"), and a previously unreleased version of "Just Friends." The spontaneous and soulfully swinging music, which also features trombonist Tricky Lofton, guitarist George Freeman and drummer Ron Jefferson, is easily recommended.
https://www.allmusic.com/album/groove-mw0000690178

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Reseña de Scott Yanow
Cuando los participantes en esta reedición del CD se reunieron en marzo de 1961, fue con el objetivo de grabar un álbum vocal de Les McCann. Sin embargo, la banda se divirtió tanto durante su calentamiento que McCann y los demás acordaron que sería un crimen desperdiciar la oportunidad. El organista Richard "Groove" Holmes, a quien McCann había descubierto recientemente, se convirtió en el líder; se acordaron unos cuantos jump tunes y originales, y el resultado es una floja y agradable jam session. Además del atractivo órgano de Holmes y el típico piano funky de McCann, una ventaja importante es la brillante interpretación del saxofonista tenor Ben Webster, cuyo tono era el más hermoso durante este período. A las cinco canciones del LP original se unen un número que fue el último en un sampler, un tema vocal de McCann ("Next Spring"), y una versión inédita de "Just Friends". La música espontánea y conmovedora, que también incluye al trombonista Tricky Lofton, al guitarrista George Freeman y al baterista Ron Jefferson, es fácilmente recomendable.
https://www.allmusic.com/album/groove-mw0000690178

George Freeman • Man & Woman

 

Review by Jason Ankeny
While Man & Woman embraces a mellower approach than guitarist George Freeman's other Groove Merchant dates, it's by no means the late-night boudoir record its erotic cover suggests -- the stripped-down, nuanced sound instead adheres to a relatively straightforward soul-jazz formula, more focused and earthbound in its orientation than the average Freeman session. Teaming here with pianists Harold Mabern and Kenny Barron, bassist Bob Cranshaw, and drummer Buddy Williams, the guitarist embraces the change of pace, settling comfortably into the music's slow, slinky grooves -- not only are his solos as imaginative as before, but they also boast a rippling sensuality otherwise absent from his previous records.
https://www.allmusic.com/album/man-woman-mw0001213579

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Reseña de Jason Ankeny
Aunque Man & Woman adopta un enfoque más suave que las otras fechas de Groove Merchant del guitarrista George Freeman, no es en absoluto el disco de alcoba nocturno que sugiere su erótica portada - el sonido despojado y matizado se adhiere en cambio a una fórmula de soul-jazz relativamente directa, más centrada y terrenal en su orientación que la sesión media de Freeman. Formando equipo aquí con los pianistas Harold Mabern y Kenny Barron, el bajista Bob Cranshaw y el baterista Buddy Williams, el guitarrista acepta el cambio de ritmo, acomodándose cómodamente en los ritmos lentos y deslizantes de la música; sus solos no sólo son tan imaginativos como antes, sino que también ostentan una sensualidad ondulante que de otro modo estaría ausente en sus discos anteriores.
https://www.allmusic.com/album/man-woman-mw0001213579

Colaborador / Contributor:  Mich58

VA • Best of Pulp Fusion

Este es una selección de la serie de CDs "Pulp Fusion", precisamente del Vol. 1 al 9, de lo que me ha gustado, por tanto podría decirse que es "My Best".

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This is a selection from the series of CDs "Pulp Fusion", precisely from Vol. 1 to 9, of what I liked, so it could be said that it is "My Best".

Illinois Jacquet • Loot to Boot

 

Biography
One of the great tenors, Illinois Jacquet's 1942 "Flying Home" solo is considered the first R&B sax solo, and spawned a full generation of younger tenors (including Joe Houston and Big Jay McNeely) who built their careers from his style, and practically from that one song.
Jacquet, whose older brother Russell (1917-1990) was a trumpeter who sometimes played in his bands, grew up in Houston, and his tough tone and emotional sound defined the Texas tenor school. After playing locally, he moved to Los Angeles where, in 1941, he played with Floyd Ray. He was the star of Lionel Hampton's 1942 big band ("Flying Home" became a signature song for Jacquet, Hampton, and even Illinois Jacquet' successor Arnett Cobb), and also was with Cab Calloway (1943-1944) and well featured with Count Basie (1945-1946). Jacquet's playing at the first Jazz at the Philharmonic concert (1944) included a screaming solo on "Blues" that found him biting on his reed to achieve high-register effects; the crowd went wild. He repeated the idea during his appearance in the 1944 film short Jammin' the Blues. In 1945, Jacquet put together his own band, and both his recordings and live performances were quite exciting. He appeared with JATP on several tours in the 1950s, recorded steadily, and never really lost his popularity. In the 1960s, he sometimes doubled on bassoon (usually for a slow number such as "'Round Midnight") and it was an effective contrast to his stomping tenor. In the late '80s, Jacquet started leading an exciting part-time big band that only recorded one album, an Atlantic date from 1988. Through the years, Illinois Jacquet (whose occasional features on alto are quite influenced by Charlie Parker) has recorded as a leader for such labels as Apollo, Savoy, Aladdin, RCA, Verve, Mercury, Roulette, Epic, Argo, Prestige, Black Lion, Black & Blue, JRC, and Atlantic. Illinois Jacquet died on July 22, 2004.
by Scott Yanow
https://www.allmusic.com/artist/illinois-jacquet-mn0000770629/biography

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Biografía

Uno de los grandes tenores, el solo de "Flying Home" de Illinois Jacquet de 1942 es considerado el primer solo de saxo R&B, y engendró una generación completa de tenores más jóvenes (incluyendo a Joe Houston y Big Jay McNeely) que construyeron sus carreras a partir de su estilo, y prácticamente de esa única canción.

Jacquet, cuyo hermano mayor Russell (1917-1990) era un trompetista que a veces tocaba en sus bandas, creció en Houston, y su tono duro y su sonido emocional definieron la escuela de tenores de Texas. Después de tocar localmente, se mudó a Los Ángeles donde, en 1941, tocó con Floyd Ray. Fue la estrella de la gran banda de Lionel Hampton en 1942 ("Flying Home" se convirtió en una canción de autor para Jacquet, Hampton, e incluso para el sucesor de Illinois Jacquet, Arnett Cobb), y también estuvo con Cab Calloway (1943-1944) y bien presentado con Count Basie (1945-1946). Jacquet tocó en el primer concierto de Jazz en la Filarmónica (1944), incluyendo un solo de gritos en "Blues" que lo encontró mordiendo su caña para lograr efectos de alto registro; la multitud enloqueció. Repitió la idea durante su aparición en el cortometraje cinematográfico Jammin' the Blues de 1944. En 1945, Jacquet formó su propia banda, y tanto sus grabaciones como sus actuaciones en vivo fueron muy emocionantes. Apareció con JATP en varias giras en los años 50, grabó constantemente, y nunca perdió su popularidad. En la década de 1960, a veces doblaba en fagot (normalmente para un número lento como "Round Midnight") y era un contraste efectivo con su tenor de pisoteo. A finales de los 80, Jacquet empezó a liderar una excitante banda a tiempo parcial que sólo grabó un álbum, un Atlantic de 1988. A lo largo de los años, Illinois Jacquet (cuyas ocasionales actuaciones en alto están bastante influenciadas por Charlie Parker) ha grabado como líder para sellos como Apollo, Savoy, Aladdin, RCA, Verve, Mercury, Roulette, Epic, Argo, Prestige, Black Lion, Black & Blue, JRC y Atlantic. Illinois Jacquet murió el 22 de julio de 2004.

por Scott Yanow

https://www.allmusic.com/artist/illinois-jacquet-mn0000770629/biography

 

 

Jimmy McGriff & Richard "Groove" Holmes • Come Together

Giants of the Organ Come Together is an album by American jazz organists Jimmy McGriff and Groove Holmes recorded in 1973 and released on the Groove Merchant label.

 

 

 

Jimmy McGriff, Lucky Thompson, George Freeman, O'Donel Levy • Friday The 13th (Cook County Jail)

Review by Scott Yanow

This album contains two separate sets that were both performed before inmates at the Cook County Jail one day in 1972. Organist Jimmy McGriff and his quintet (with guitarists George Freeman and O'Donell Levy, bassist Mickey Bass and drummer Marion Booker, Jr.) performs his lengthy two-part "Freedom Suite," generating a great deal of heat. Lucky Thompson, mostly on soprano, jams on three standards with keyboardist Cedar Walton, bassist Sam Jones and drummer Louis Hayes. Thompson's hot playing (particularly on "Cherokee") makes this album worth searching for.

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Reseña de Scott Yanow

Este álbum contiene dos sets separados que fueron interpretados ante los reclusos de la cárcel del condado de Cook un día de 1972. El organista Jimmy McGriff y su quinteto (con los guitarristas George Freeman y O'Donell Levy, el bajista Mickey Bass y la baterista Marion Booker, Jr.) interpreta su larga "Suite de la Libertad" en dos partes, generando una gran cantidad de calor. Lucky Thompson, sobre todo como soprano, improvisa en tres estándares con el teclista Cedar Walton, el bajista Sam Jones y el baterista Louis Hayes. El calor de Thompson (particularmente en "Cherokee") hace que valga la pena buscar este álbum.

George Freeman • Everybody Say Yeah!

 

Colaborador / Contributor:  Mich58

Jimmy McGriff • Fly Dude

 

Soul-jazz and Hammond B3 pioneer Jimmy McGriff made the Groove Merchant record label his home base for the better part of the 1970s, releasing the often overlooked Fly Dude in 1972. This is McGriff at his most varied. Working with Ronald Arnold on tenor saxophone, George Freeman and John Thomas on guitars, and Marion Booker Jr. on drums, McGriff tackles a Jimmy Smith tune (“Jumping the Blues”), a Memphis Slim classic (“Everyday I Have the Blues”), and a bop touchstone by sax great Charlie Parker (“Yardbird Suite”). The most interesting tracks, however, are McGriff originals, including a churchy blues called “Cotton Boy Blues” and two proto-funk pieces, “The Groove Fly” and “Butterfly.” With Freeman and Arnold trading off lead lines with McGriff, Fly Dude has an ever-shifting perspective, and more than enough groove to keep everything sharp, all with a firm blues base. This CD reissue is from Japan’s P-Vine label, and as always, they know quality when they hear it.
Review by Steve Leggett

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El pionero del Soul-jazz y Hammond B3, Jimmy McGriff, hizo del sello discográfico Groove Merchant su base de operaciones durante la mayor parte de la década de 1970, lanzando en 1972 el a menudo ignorado Fly Dude. Este es McGriff en su más variado. Trabajando con Ronald Arnold en el saxo tenor, George Freeman y John Thomas en las guitarras, y Marion Booker Jr. en la batería, McGriff aborda una melodía de Jimmy Smith ("Jumping the Blues"), un clásico de Memphis Slim ("Everyday I Have the Blues"), y una piedra de toque de bop del gran saxofonista Charlie Parker ("Yardbird Suite"). Los temas más interesantes, sin embargo, son los originales de McGriff, incluyendo un blues eclesiástico llamado "Cotton Boy Blues" y dos piezas proto-funcionales, "The Groove Fly" y "Butterfly". Con Freeman y Arnold intercambiando líneas de plomo con McGriff, Fly Dude tiene una perspectiva siempre cambiante, y un groove más que suficiente para mantener todo afilado, todo con una base firme de blues. Esta reedición del CD es del sello japonés P-Vine, y como siempre, saben de calidad cuando lo escuchan.
Reseña de Steve Leggett

 

Buddy Rich • The Last Blues Album

Arguably the greatest jazz drummer of all time, the legendary Buddy Rich exhibited his love for music through the dedication of his life to the art. His was a career that spanned seven decades, beginning when Rich was 18 months old and continuing until his death in 1987. Immensely gifted, Rich could play with remarkable speed and dexterity despite the fact that he never received a formal lesson and refused to practice outside of his performances. Born Bernard Rich to vaudevillians Robert and Bess Rich on September 30, 1917, the famed drummer was introduced to audiences at a very young age. By 1921, he was a seasoned solo performer with his vaudeville act, "Traps the Drum Wonder." With his natural sense of rhythm, Rich performed regularly on Broadway at the age of four. At the peak of Rich's early career, he was the second-highest paid child entertainer in the world. Rich's jazz career began in 1937 when he began playing with Joe Marsala at New York's Hickory House. By 1939, he had joined Tommy Dorsey's band, and he later went on to play with such jazz greats as Dizzy Gillespie, Charlie Ventura, Louis Armstrong and Gene Krupa. Rich was regularly featured in Jazz at the Philharmonic during the late 1940s. He also appeared in such Hollywood films as Symphony of Swing (1939), Ship Ahoy (1942) and How's About It (1943). Throughout the 1960s and 1970s, Rich toured with his own bands and opened two nightclubs, Buddy's Place and Buddy's Place II. Both clubs were regularly filled to capacity by fans of the great master drummer. After opening Buddy's Place II, Rich introduced new tunes with elements of rock into his repertoire, demonstrating his ability to adapt to his audience's changing tastes and establishing himself as a great rock drummer. Known for his caustic humor, Rich was a favorite on several television talk shows including the Tonight Show with Johnny Carson, the Mike Douglas Show, the Dick Cavett Show and the Merv Griffin Show. During these appearances, audiences were entertained by Rich's constant sparring with the hosts and his slights of various pop singers. This famed musician received outstanding recognition throughout his career. The Downbeat Magazine Hall of Fame Award, the Modern Drummer Magazine Hall of Fame Award and the Jazz Unlimited Immortals of Jazz Award are just a few of his numerous honors. Rich gained international attention for such master compositions as his 10-minute West Side Story medley.

During his lengthy career, Rich toured around the globe, performing for millions of fans and several world leaders including the King of Thailand, King Hussein of Jordan the Queen of England, and U.S. presidents Franklin Roosevelt, John F. Kennedy and Ronald Reagan. On April 2, 1987, Rich died of heart failure following surgery for a malignant brain tumor. Longtime friend, Frank Sinatra, spoke a touching eulogy at Rich's funeral. Today, Buddy Rich is remembered as one of history's greatest musicians. According to jazz legend Gene Krupa, Rich was "The greatest drummer ever to have drawn breath."
https://www.allaboutjazz.com/musicians/buddy-rich/

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Posiblemente el mejor batería de jazz de todos los tiempos, el legendario Buddy Rich demostró su amor por la música dedicando su vida a este arte. Su carrera abarcó siete décadas, desde que Rich tenía 18 meses hasta su muerte en 1987. Inmensamente dotado, Rich podía tocar con notable rapidez y destreza a pesar de que nunca recibió una lección formal y se negaba a practicar fuera de sus actuaciones. Nacido Bernard Rich, hijo de los vodeviles Robert y Bess Rich, el 30 de septiembre de 1917, el famoso batería se dio a conocer al público a una edad muy temprana. En 1921, ya era un experimentado solista con su número de vodevil, "Traps the Drum Wonder". Con su sentido natural del ritmo, Rich actuaba regularmente en Broadway a la edad de cuatro años. En el punto álgido de su carrera, fue el segundo artista infantil mejor pagado del mundo. La carrera jazzística de Rich comenzó en 1937, cuando empezó a tocar con Joe Marsala en el Hickory House de Nueva York. En 1939 se unió a la banda de Tommy Dorsey y más tarde tocó con grandes del jazz como Dizzy Gillespie, Charlie Ventura, Louis Armstrong y Gene Krupa. Rich participó regularmente en Jazz at the Philharmonic a finales de la década de 1940. También apareció en películas de Hollywood como Symphony of Swing (1939), Ship Ahoy (1942) y How's About It (1943). Durante las décadas de 1960 y 1970, Rich realizó giras con sus propias bandas y abrió dos clubes nocturnos, Buddy's Place y Buddy's Place II. Ambos clubes se llenaban regularmente de fans del gran maestro de la batería. Tras abrir Buddy's Place II, Rich introdujo en su repertorio nuevas melodías con elementos de rock, demostrando su capacidad para adaptarse a los gustos cambiantes de su público y consagrándose como un gran batería de rock. Conocido por su humor cáustico, Rich fue uno de los favoritos en varios programas de entrevistas de televisión, como el Tonight Show con Johnny Carson, el Mike Douglas Show, el Dick Cavett Show y el Merv Griffin Show. Durante estas apariciones, el público se divertía con las constantes disputas de Rich con los presentadores y sus desprecios a varios cantantes pop. Este afamado músico recibió destacados reconocimientos a lo largo de su carrera. El Premio del Salón de la Fama de la revista Downbeat, el Premio del Salón de la Fama de la revista Modern Drummer y el Premio de los Inmortales del Jazz de Jazz Unlimited son sólo algunos de sus numerosos honores. Rich se ganó la atención internacional por composiciones maestras como su popurrí de 10 minutos de West Side Story.

Durante su larga carrera, Rich realizó giras por todo el mundo, actuando para millones de fans y varios líderes mundiales, entre ellos el Rey de Tailandia, el Rey Hussein de Jordania, la Reina de Inglaterra y los presidentes estadounidenses Franklin Roosevelt, John F. Kennedy y Ronald Reagan. El 2 de abril de 1987, Rich murió de un fallo cardíaco tras una operación por un tumor cerebral maligno. Su viejo amigo Frank Sinatra pronunció un emotivo elogio en el funeral de Rich. Hoy, Buddy Rich es recordado como uno de los mejores músicos de la historia. Según la leyenda del jazz Gene Krupa, Rich era "El mejor batería que jamás haya exhalado aliento".
https://www.allaboutjazz.com/musicians/buddy-rich/

thebuddyrichband.com ...