Remembering Denny Freeman

by Tom Palaima

April 29, 2021

The Old Austin is now officially dead. Denny Freeman did/played it all,

from Bob Wills and Hank Williams on pedal steel behind John Reed at C-Boy’s to Bob Dylan (March 2005-August 2009 for selections from his Dylan period go to: https://www.youtube.com/watch?v=zAsLiqUAnlg );

from jazz standards behind jazz trombonist Jon Blondell at the Elephant Room and Hammond B3 organist Mike Flanigin at the Gallery to late 50’s into 60’s r&b and early rock and roll dance music at the Saxon Pub happy hour throughout the 2000-teens;

and behind great bluesmen and women at Antone’s and at the start with Paul Ray and the Cobras and with Stevie Ray Vaughan. He also long toured with Taj Mahal.

He did it with grace, modesty, dedication and a kind of genial seriousness of purpose.

And he did, as one headline proclaimed, make everyone else sound better.

Visitors and even Austinites whom I took to hear Denny in his many manifestations, all say the one time is memorable and they are grateful to have seen and heard him.

Two pieces sent my way from Denny’s friends

This profile is great on Denny. It is written by my friend of twenty years, Brad Buchholz, former feature writer for the Statesman:

https://www.austin360.com/story/entertainment/music/2021/04/25/austin-blues-guitar-great-denny-freeman-dies-toured-bob-dylan/7378738002/ (Links to an external site.)

This is a marvelous heartfelt interview found and furnished by my friend, Casey Monahan, former head for ca. 25 years of the Governor’s Music Commission, who knows knew everyone, because he set up the state index of musicians and supported/promoted Texas music personally and tirelessly. The interview will clue you in to life for someone coming of age in Texas 1962-70 and some deeply personal experiences we all go through, including how we handle becoming separate from our parents out in the world.

https://www.everyonelovesguitar.com/2021/02/23/d-freeman-interview/ (Links to an external site.)

Recordings of Denny’s music

I have put together in one folder 5 live tracks and one studio version that get across why Denny’s music gave us so much joy and helped us get through our blues and sorrow in whatever rough times we were in.

https://www.dropbox.com/sh/rfdz2fiip1z9ol6/AADIFpkJx5HpEW4TLep8rdt_a?dl=0 (Links to an external site.)

I hope this works. Let me know if you have any troubles downloading the six files. They’re embedded below, too.

There are some small stutters in these.

They were recorded with an old small voice recorder kind of thing I had back then and then transferred onto computer.

Five Freeman classics live and One Ur-original

    1. Dylan (2005 Manchester) “Million Miles”
  1. Jazz (2011) 2 versions of “Riders on the Storm” premiere 082611 & 6 wks later 101611 with Mike Flanigin and Frosty Smith at The Gallery
    1. Version 1:

      On the premiere of “Riders on the Storm” you will hear Mike Flanigin at the beginning explaining to Denny some features of the structure of the song they are about to play and at the end Denny asking what song that was that he just played; my boyish voice twice says it’s the world premiere!

    2. Version 2, 6 weeks later:

      The Gallery on Sunday nights second set was pure heaven for the small audience; no one was there ’round midnight who did not want to hear great music. On the 101611 version you can hear Mike explaining there was no cover that night but we were encouraged to fill the tip jar, because “Denny Freeman doesn’t come cheap.”

      In fact, no. Denny was and will remain priceless as these bootlegs of mine will attest.

  2. Blues/jazz (2012) Denny’s ‘signature’ tune “Soul Street” the original released version from his 1988 album Out of the Blue AND 2 live versions, one with Derek O’Brien at Antone’s and the other with Jon Blondell and Frosty Smith (The Denny Freeman Trio) at The Gallery
    1. Original version:
    2. With Derek O’Brien:
    3. with Jon Blondell:

 

All my very best wishes. All this above and below helps me not feel so bad. Maybe it will do some good for you, too.

PS Here, too, is an oldie, but goodie from Gavin Garcia’s TODO Austin that recalls a time the late, great Cliff Antone, over my house for a reception, plucked Denny’s music out of the air in mid-conversation. I had thought this was when Michael Gray was visiting, but that was on September 7, 2006 and Cliff passed away on May 23, 2006. And this talks about Denny just having started to play for Bob, which he did from March 7, 2005 through August 2009.

I also thought it was “Million Miles” of which I have given you a magnificent Denny version here. But it actually was “Standing in the Doorway” which Denny played six times with Bob between March and November 2005: 11 March, 25 March, 8 April, 25 April, 21 June, 13 November.

Ain’t it just like your mind to play tricks when you’re tryin’ to make it be still and quiet.

This all captures some of the last gasps of old Austin. I think with Denny’s passing, even memories of old Austin will be gone, or else transform themselves in our imaginations as my mind has gotten two things wrong. But what I got right was Cliff and how he knew Denny’s playing style. And the emotion that student detected in Cliff is the same quiet love of music Denny put across on stage all the time.

TODO Austin 1:5 (October 2009)

“Dr. Antone: The Real Deal”

by Tom Palaima

“You know, if people wanna know why a brother can do down, can get down so much and really do the blues, it’s cause he lived the blues, he lived the blues.”

-James Brown, “Like It Is, Like It Was” 1970

One of the happiest turns in my life was getting to know Clifford Antone personally through our mutual friend Gavin Lance Garcia. We became friends at lunch with Gavin at Hoover’s on Manor Road just after New Year’s Day 2004. I had, of course, seen Clifford at his club at least a hundred times since my first time there in late December 1983, when, in my memory, Cliff had managed to bring in the reclusive jazz-inflected bluesman Fenton Robinson. What made Cliff special, even from a distance, was the respect and courtesy he conveyed in introducing the blues artists who graced his stage and his own child-like happiness in being able to hear them live, close-up and personal, and to give the gift of their music to people like me who were smart enough to realize that a night of music at Antone’s was the best thing Austin had to offer.

I brought to our lunch at Hoover’s a paper I had presented at a Fulbright conference in Austria in November 1992. I had discussed blues and race relations in the United States, which was then a hot topic in circles such as Living Blues magazine. A friend back in the States had gone to the old Antone’s on Guadalupe one afternoon and, with the kind permission of Susan Antone, had taken slide photos of the whole interior and its many memorabilia, so that I could show Austrian students the environment for the music I was playing them: Zuzu Bolin, Herbie Bowser and T.D. Bell, Jimmy Rogers and the Antone’s House Band, master-of-the-telecaster Albert Collins, Junior Wells and James Cotton. Well, talking about all these blues legends was okay twelve years later at Hoover’s, but it was when I mentioned a special set I had heard at Cliff’s club by the great husband and wife team Carol Fran and Clarence Hollimon that Cliff said to Gavin, “The man knows his blues.”

When the bill came, I went to pay. Cliff insisted that he pay. I said I would take $20 from him, but only if he signed it. That bill is now framed on the wall of my office, Andrew Jackson staring over at the big C in Clifford’s signature and the Antone 04. Below in the same frame is Cliff’s business card with Pinetop Perkins’ autograph from the interview I did with Pinetop for anAmerican-Statesman commentary. Cliff had brought Pinetop to Austin and had seen to all of his living arrangements when it became known to him that Pinetop was being taken advantage of by music people up in Indiana.

The Cliff I knew was the real deal. I think that Cliff, like Bob Dylan, heard music all the time. Once we had him to dinner with a small group of aficionados of other kinds of music. I thought it would be nice to put some Antone’s Records cd’s on softly as background.

Impossible. In the middle of a conversation, Cliff would suddenly say, “Listen to what Kaz (Kazanoff) is doing here.” Or his conversation would stop as he was transported away by Kim Wilson playing harp alongside Jimmy Rogers. Most remarkable was this. Denny Freeman had then just started to play with Bob Dylan. I had put on a bootleg which had Bob and his band doing a beautiful, spare, bluesy version of “Standing in the Doorway.” Cliff, again in the middle of talking, said, “Hey, listen to Denny.”

Cliff was the real deal and he respected real music. I remember getting a call from him saying, “The place to be tonight is Jovita’s.” When I got there, Cliff was dreamily taking in the Cornell Hurd Band. And it was Cliff who turned me on to Hard Core Country Tuesday at the Broken Spoke, with James White and Alvin Crow and Johnny X playing genuine country music. Cliff heard the reality in their non-amplified, front-room renditions of Hank Williams, Johnny Cash, and country blues yodeler Jimmy Rodgers.

The place where Cliff’s deep love of blues music, music-makers and people in general really came across was in the course he taught with Kevin Mooney at UT Austin, “The Blues According to Clifford Austin.” I was lucky enough one semester to be able to sit in regularly.

Cliff would walk in with a suitcase full of dvd’s, vhs tapes, cd’s, books and photos and then give as much of it as he could to the students. Enrollment grew from 60 in 2004 to 180 in 2006. As Kevin recalls, “Cliff’s excitement was infectious, as it always was when he showed us an extremely rare film of B.B. King sharing the stage with T-Bone Walker or a video clip of a young Stevie Ray Vaughan taken from his private collection.” Cliff often said: “This film is so great, I can’t even watch it.” I can corroborate what Kevin says, “He liked to answer questions and showed an enormous amount of respect for the students. He would ask them if they had ever heard of a certain musician and often seemed shocked when only a few hands went up, but that reinforced how important it was for him to be there.”

Cliff died just weeks after the spring 2006 semester ended. I remember getting a call from Gavin while at a dinner before a lecture I was giving in New York City. The bad news sucked the life out of me. What one student wrote on his course evaluation sums Cliff up perfectly, “I have never seen someone so passionate about music. He wanted everyone to feel what he felt and he kept everyone interested with the hundreds of stories he had.” He lived the blues.

PPS Denny lived the blues and so much else through music.

AAS May 25, 2014 Listening Improves Humanity

Featured

Palaima: Better listening improves humanity

Posted: 6:00 p.m. Saturday, May 24, 2014
Austin American-Statesman print edition Sunday May 25, 2014

By Tom Palaima – Regular Contributor

A few years ago, several veteran Austin guitar-playing musician friends — John Inmon, Derek O’Brien, Denny Freeman, Richard Jessee — took time to talk with my son about what their lives devoted to playing music were like, where their inspiration and passion for music came from, what difficulties they faced and still face.

What stays with me was how well these masters of soul-inspiring guitar sounds listened to what a 16-year-old fledgling musician had to say.

True attentive listening is a vanishing skill and underdeveloped talent. We all want to be heard. Yet it is the capacity to hear sympathetically that makes us truly human. The words we share in our native languages, the specific meanings we give words within our families and social groups, the feeling of outsiderness we have when we cannot understand what others are saying, all define who we are in our connections with or disconnections from other human beings.

Inmon posed a conundrum that applies not just to playing music, but to all other forms of human communication. He said: “When you are playing the guitar you are just sending out vibrations that travel through the air. They don’t mean anything until they reach the ears of the people who are listening. Figure out how to get what the song means to you across to your audience.”

What a wonderful concept. Applied to nonmusical communication, it asks that we do one simple thing: listen before or while we speak so that we can best express what we mean to others.

How is listening, especially John’s kind of pre-listening or imaginative listening to what others will be hearing, important? Without it, we lose contact with others and with ourselves, we become less able to help others and ourselves.

A few weeks ago, I visited the Freud Museum in Vienna and stood in front of the famous couch upon which Freud’s patients reclined and the famous chair where Freud sat, behind his patients. What he was practicing was called “the talking cure,” but it depended on patients knowing that a sympathetic, if invisible, listener was taking in what they were saying.

Psychoanalysis is now a multi-faceted science, but the art of sympathetic listening was known to Homer. Achilles, when in his deepest suffering from the public insult to his core self as a dedicated field commander, talks at length to his mother, Thetis. She listens with maternal care. Later when his closest comrade Patroclus is killed, Achilles unburdens himself to Thetis again about his sorrow and his guilt. He later speaks with Priam, king of Troy, who appeals to Achilles to return the body of his son Hector, whom Achilles had killed. Achilles in his anger and grief had tried to mutilate Hector’s corpse. Listening to Priam’s words, Achilles remembers his own father and becomes fully human once more.

Walt Whitman in his famous commentary on the abysmal medical care given the wounded well into our Civil War, “The Great Army of the Sick,” cites the case of J.A.H., “a young man from Plymouth Country, Massachusetts,” “prostrated by diarrhea and vomiting” and virtually catatonic because “no one spoke to him” or did so “with perfect indifference” or “heartless brutality.” Whitman “sat down by him without any fuss — talked a little — soon saw that it did him good — led him to talk a little himself.” By humanly listening, Whitman pulled J.A.H. from the brink of death from a despondency caused by nobody caring to listen.

Unfortunately, in our society the reward structures in many professions promote single-minded self-expression. A just-completed senior honors thesis at the University of Texas at Austin by Bethany Hamilton that Stephen Sonnenberg and I supervised looks at UT students who are military veterans. We need to listen to opinions like those Hamilton gathered from veterans. One was that veteran students would rather be at Austin Community College than at UT because the professors at ACC take time to listen when veteran students talk about their special needs.

This problem doesn’t apply only to veterans. UT has long had dauntingly high student to faculty ratios. And faculty members know that, except for award-winning performers in the classrooms, devoting time to research and publications is the one sure way to be among the chosen half of the faculty who now receive annual small merit raises.

The art of listening needs a public hearing, and we all need to lend our ears.

Palaima is Armstrong Centennial Professor of Classics at the University of Texas at Austin.

Manolis Stavrakakis and the Treasures of PASP

Report of Manolis Stavrakakis July 2012 as  Short Term Scholar in the Classics Department, University of Texas – Austin  Program in Aegean Scripts and Prehistory (PASP)

‘The treasures of PASP’

The title I am giving to this short report, ‘The treasures of PASP’, has a literal and a metaphorical meaning.

Its literal meaning stems from the variety, importance and number of the materials of the PASP Collection and Archives.

Its metaphorical meaning refers to the person who has created it, Professor Tom Palaima, as he is himself one of the ‘treasures’ of PASP and the ‘soul’ of the Program.

There are two themes with which I will refer in my experience as a short-term visiting scholar at the University of Texas in Austin. One is my studying at PASP and the other is the life in Austin.

As a Ph.D. student at the Architectural Association, under Mark Cousins’ supervision – to whom I am indebted for his support to work on this topic, his contribution, as well as his encouragement to go to Austin – I started exploring the connection between Michael Ventris’ architectural education and his decipherment. I received the ‘Michael Ventris Extraordinary Award in Architecture’ in July, 2011 so that I could travel for one week to Austin and work at PASP on the correspondence of Michael Ventris and Emmett Bennett.

It was there that I had the chance to meet for the first time with Professor Tom Palaima and discuss my Thesis with him. Had it not been for Tom Palaima’s enthusiasm and generosity I would not have been able to return to the PASP for a whole month, in July 2012, and I would not have been able to continue with my research. Up to today Tom Palaima’s invitation to work with him has been the most generous gift that this Ph.D. has offered to me.

My studying in PASP can be described within three different themes. Continue reading