Mike Freeman and Zona Vibe - "Blue Tjade"

Steven A. Cerra

“... an intoxicating Latin Jazz gem.” - Chip Boaz, Latin Jazz Corner

 “Freeman stirs up a multicultural brew of vibrant optimism and Latin and world jazz grooves.” - Dan McClaneghan, All About Jazz

 “... a fine, inventive vibraphonist and an exciting Jazz group.” - Lee Prosser, Jazz Review

 “Freeman is not only carry on the Latin Jazz vibe tradition, but is also bringing in a unique voice and substantial contribution to the genre.” - Jeff Moore, Percussive Notes

 Mallets are fun way to play on a drum kit because they enhance the percussive depth and rhythmic “feel” of the instrument, but when played on vibraphones and marimbas, the percussive use of mallets becomes melodic and harmonic as well.

 We’ve talked before about the dangers inherent in playing vibes as described in the following excerpt from Ted Gioia’s writings on the subject of Cal Tjader’s approach to the instrument:

 “The vibraphone invites overplaying almost by its very nature. … Unlike a horn player, the vibraphonist is unable to sustain notes for very long, even with the help of vibrato and pedal. The vibes invite overplaying to compensate for such limitations. Added to these difficulties is the fact that … [they are played with] a hitting motion powered by the wrists. With the mastery of a steady drum roll, the aspiring vibraphonist is already capable of flinging out a flurry of notes and, given the repetitive motions used to build up drum technique, the vibes player is tempted to lock into a ‘steady stream’… [of notes].

 Tjader’s playing, however, was nothing like this. Although he was a drummer and percussionist by background, he seemed to draw on the instincts of a horn player in shaping his improvised lines. They did breathe.” [West Coast Jazz: Modern Jazz in California, 1945-1960, p.103].

 Cal always maintained that his two main influences on vibes were Lionel Hampton and Milt [“Bags’] Jackson. “Hamp” was a banger and “Bags” was a bopper and a blues player without equal. How in the world did Cal fuse such dissimilar styles?

 Ted Gioia also notes this divergence and takes this point a step further:

 “These disparate strains in his playing came out most clearly in his Jazz work. Where Tjader melded them into a melodic, often introspective style that was very much his own. Even when playing more high-energy Latin numbers Tjader kept a low-key demeanor, building off the intensity of the rhythm section rather than trying to supplant it. For the most part, he came across as an introvert on an instrument meant for extroverts.” [Ibid, pp.103-104].

 I was reminded of these descriptions of Cal Tjader’s vibraphone style while listening to Mike Freeman’s recently released CD Blue Tjade [VOF Recordings 2015-6], which as the title implies is in part a tribute to the late vibist.

 I don’t know if Mike is specifically aware of Ted Gioia’s caveats about the instrument, but he sure applies them. His is a study in a laid-back approach which allows the ringing beauty of the instrument to come through on all ten tracks of this thoroughly enjoyable CD.

 Not only is the music on this recording brilliant played by Mike’s ZonaVine quintet it is also brilliant presented as the audio has an intimacy and inviting quality to it rarely heard on many of today’s over-mixed and over-mastered discs. It’s almost as though the usual “compression” restrictions associated with digital music have been abandoned in favor of a sound that gives off a “live” vibe [no pun intended].

 Everything about this recording sparkles from the players and their high level of musicianship to the compositions to the improvisations to the grooves to the thoughtful arrangements of the tracks to the high quality of the recording itself.


 The recording has been well-thought out by Mike and his cohorts and yet, the whole thing has an air of spontaneity to it which flows from one track to another until what evolves is a rarity - a CD that you can put on your changer and play through without having to jump from track-to-track to find “the good stuff.”

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Weekly Latin Jazz Video Fix: Mike Freeman

The state of the music industry has been in a constant state of flux over the past decade, forcing musicians to think creatively about their careers. The accessibility of digital recording equipment and a number of do-it-yourself online promotion tools have opened amazing doors to independent artists. On their own, these tools only take a musician so far; an artist’s success relies upon the way in which they use the tools, and the products that they create.

If an artist bases their work upon a shallow concept and simply doesn’t execute their performance in a professional fashion, even the most incredible free tool won’t help them. When a musician integrates a solid artistic core into their work and delivers it with class and style, these tools will take them far.

Veteran New York Latin Jazz vibraphonist Mike Freeman has filled his career with an independent state of mind, something he carries into his upcoming release. Born into a musical family in Omaha, Nebraska, Freeman grew up among the sound of his grandfather’s jazz drums, his grandmother’s piano, and his father’s saxophone. Inspired by his surroundings, Freeman leapt into the drums at five and immersed himself in jazz and rock.

He started playing professionally at the age of thirteen, providing a solid groove for the Resurrected Swing big band and local rock groups. Around the same time, Freeman found a passion in the vibraphone, leading him to a gig with the Omaha Symphony at fifteen. The vibraphone and composition became his prime focuses, leading him to the DePaul University in Chicago for music studies. He built his performance and composition skills during his time at DePaul, and after graduation, he moved his home base to New York City.

Freeman stayed busy in New York as both a leader and sideman, leading to his first recording with his group Spellbound, the self-titled Mike Freeman & Spellbound. He continued performing throughout the city, leading towards his second album as a leader, the 1991 release Street Shuffle. As Freeman’s reputation grew, he garnered significant sideman work, including spots on Stretching The Truth by Mark Holen’s Zambomba and The Manhattan Transfer’s Swing.

Freeman continued to produce his own recordings, finding the resources to create the 2000 album Wiggle Stomp, which made major inroads into jazz radio. He found work across the Latin Jazz world, recording on from Ray Mantilla’s Good Vibrations and performing with Lucho Cuerto’s Black Sugar. Freeman’s 2007 album In the Zone with his group Zonavibe displayed a mature and exciting Latin Jazz sound that showed the strength of Freeman’s vibraphone playing.

With a strong collection of new compositions motivating him, Freeman has started a Kickstarter campaign, looking for contributions to fund a new recording. This would be a wise investment - years of experience as a skilled performer, a smart composer, and an independent artist fuel this project with the exciting potential for another top notch Latin Jazz release.