George Freeman - 1975 - New Improved Funk

George Freeman

1975

New Improved Funk

01. New Improved Funk 2:26

02. Daffy 3:34

03. Happy Fingers 4:30

04. All In The Game 4:31

05. Big Finish 6:25

06. Guitar Lover Man 3:16

07. Good Morning Heartache 5:02

08. Some Enchanted Evening 5:12

09. Confirmed Truth 4:14

Bass – LeRoy Jackson (tracks: A3 to A5)

Drums – Marion Booker (tracks: A1, A2, B1 to B3), Bob Guthrie (tracks: A3 to A5)

Guitar – George Freeman

Organ – Bobby Blevins (tracks: A1, A2, B1 to B3)

Piano – John Young (tracks: A3 to A5)

Tenor Saxophone – Von Freeman

New Improved Funk, George Freeman’s 1974 Groove Merchant release (recorded in 1973), is a gloriously greasy, no-nonsense slab of Chicago soul-jazz that does exactly what it says on the tin—delivering upgraded, street-ready funk with a side order of bluesy guitar fireworks and zero interest in subtlety. At a brisk 39 minutes, it’s the kind of record that struts into the room, cracks its knuckles, and dares you not to move your shoulders.

Born in Chicago on April 10, 1927, George Freeman was a lifelong Windy City fixture who soaked up big-band swing, bebop, and the raw electric blues of his hometown like a sponge. Influences ranged from Charlie Christian and T-Bone Walker to the horn-heavy drive of players like Gene Ammons (with whom he logged serious miles) and the sophisticated soul-jazz grooves of the era. Brother to tenor titan Von Freeman and drummer Bruz Freeman, George developed a warm, singing tone on the guitar that blended jazz sophistication with blues bite and funk attitude. He’d already made his mark on sessions with everyone from Charlie Parker to Buddy Rich and Jimmy McGriff before stepping out as a leader with 1969’s Birth Sign. By the early ’70s, he was ready to get downright funky.

The album landed on Groove Merchant, one of producer Sonny Lester’s reliable soul-jazz/funk imprints that specialized in gritty, danceable grooves for the post-hard bop crowd. Recorded in New York City, it features two slightly different backing units but keeps the family DNA strong with brother Von Freeman’s unmistakable, gritty tenor saxophone lighting up several tracks. Core contributors include organist Bobby Blevins (laying down those churchy, swirling Hammond tones), bassist LeRoy Jackson, drummers Marion Booker (who once backed a young Jimi Hendrix on the chitlin’ circuit) and Bob Guthrie, and pianist John Young on select cuts. It’s a tight, telepathic crew that knows when to lock in and when to let George cook.

The music is a delightful stylistic whiplash that somehow holds together. The title track kicks things off with a punchy, riff-driven funk strut—short, sharp, and instantly hummable. “Daffy” and “Happy Fingers” showcase Freeman’s nimble, blues-inflected lines dancing over organ and rhythm, while standards like “All in the Game,” “Good Morning Heartache,” and the surprisingly swinging “Some Enchanted Evening” get the full Freeman treatment: warm chords, stinging single-note runs, and a soulful depth that elevates them beyond mere filler. Extended workouts like “Big Finish” and “Confirmed Truth” let the band stretch into deeper jazz territory, with Von’s sax and George’s guitar trading spirited blows. It’s funk that swings, soul that grooves, and jazz that never forgets where it came from—pure Chicago muscle with a wink.

Technically, Freeman’s playing is a masterclass in tasteful fire. His tone is round and vocal-like even when he’s burning, never flashy for its own sake but always melodic and rhythmic. The interplay between organ and guitar creates that classic soul-jazz warmth, while the dual-drummer setup (on different tracks) keeps the pocket fat and responsive. Sonny Lester’s production and the era’s engineering give it a punchy, present sound—the bass thumps, the organ swells richly, and George’s guitar cuts through with clarity and bite. It’s not audiophile pristine, but it feels alive, sweaty, and built for late-night spins or backyard cookouts.

The artwork perfectly captures the era’s straightforward charm: a bold, no-frills design with photography by the great Chuck Stewart, often featuring Freeman looking cool and confident alongside vibrant typography that screams “funk upgrade in progress.” It’s not trying to win design awards or cosmic conceptual points—it just looks like what it is: a solid, fun soul-jazz record ready to hit the turntable.

Upon release, New Improved Funk earned solid underground love among soul-jazz and funk fans, fitting right into Groove Merchant’s reliable catalog without setting the mainstream charts on fire. Critics like AllMusic’s Jason Ankeny dug its scattershot energy, calling it a “fun house ride” that veers wildly but ultimately delivers the best showcase of Freeman’s guitar work, held together by gutbucket grooves and Von’s fiery sax. It didn’t make George a household name, but it became a quiet favorite among crate-diggers and DJs. Its legacy has grown through sampling (tracks have popped up in hip-hop beats) and reissues, cementing its status as one of the funkiest entries in Freeman’s long discography. Even after his passing in 2025 at age 97, it remains a joyful reminder of his ability to bridge eras with style and swing.

In the end, New Improved Funk is George Freeman doing what he did best: taking familiar ingredients, adding that unmistakable Chicago seasoning, and serving up something that feels both fresh and deeply rooted. It may not be his most profound statement, but it’s one of his most enjoyable—proof that sometimes all you need is a better funk, and George was happy to deliver it with a grin and a grin-inducing solo. Spin it loud, preferably with good friends and something cold nearby.