Lawrence "Bud" Freeman (April 13, 1906 – March 15, 1991) was an American jazz musician, bandleader, and composer, known mainly for playing the tenor saxophone, but also able at the clarinet. He had a smooth and full tenor sax style with a heavy robust swing. He was one of the most influential and important jazz tenor saxophonists of the Big Band era. His major recordings were "The Eel", "Tillie's Downtown Now", "Crazeology", "The Buzzard", and "After Awhile", composed with Benny Goodman. One of the original members of the Austin High School Gang which began in 1922, Freeman played the C-melody saxophone alongside his other band members such as Jimmy McPartland and Frank Teschemacher before switching to tenor saxophone two years later. Influenced by artists like the New Orleans Rhythm Kings and Louis Armstrong from the South, they would begin to formulate their own style, becoming part of the emerging Chicago Style of jazz. In 1927, he moved to New York, where he worked as a session musician and band member with Red Nichols, Roger Wolfe Kahn, Ben Pollack, Joe Venuti, among others. One of his most notable performances was a solo on Eddie Condon's 1933 recording, The Eel, which then became Freeman's nickname (for his long snake-like improvisations). Freeman played with Tommy Dorsey's Orchestra (1936–1938) as well as for a short time Benny Goodman's band in 1938 before forming his own band, the Summa Cum Laude Orchestra (1939–1940). Freeman joined the US Army during World War II, and headed a US Army band in the Aleutian Islands. Following the war, Freeman returned to New York and led his own groups, yet still kept a close tie to the freewheeling bands of Eddie Condon as well as working in 'mainstream' groups with the likes of Buck Clayton, Ruby Braff, Vic Dickenson and Jo Jones. He wrote (along with Leon Pober) the ballad "Zen Is When", recorded by The Dave Brubeck Quartet on Jazz Impressions of Japan (1964). He was a member of the World's Greatest Jazz Band between 1969 and 1970, and occasionally thereafter. In 1974, he would move to England where he made numerous recordings and performances there and in Europe. Returning to Chicago in 1980, he continued to work into his eighties. He also released two memoirs You Don't Look Like a Musician (1974) and If You Know of a Better Life, Please Tell Me (1976), and wrote an autobiography with Robert Wolf, Crazeology (1989). In 1992, Bud Freeman was inducted into the Big Band and Jazz Hall of Fame.
While Muggsy's classic style remains unchanged here, Bud's playing can be heard to have taken on more polish. Perhaps a result of his big band experiences his playing shows more of the swing style than the traditional dixieland approach. By the end of the V-Disc session, on the various takes of You Took Advantage Of Me, Bud clearly dominates the proceedings. Although he recorded the Rodgers and Hart standard frequently throughout the rest of his career, this recording is perhaps the definitive one. And if you thought Bud was not an improviser, listen to the differences in the takes presented here for the first time. Bud's own V-Disc session reflected his own sense of style as well as his unique sense of humour. By 1945, the jazz world had been split by the emergence of the boppers, and here Bud parodies current trends in both The Latest Thing In Hot Jazz and For Musicians Only, then aptly demonstrates how the music should be played on two standards. Although both Bud and Muggsy are regarded as stars of "Chicago jazz", their playing shows just how eclectic the category had become by the mid-1940s.