Latin Link

Mike Freeman ZonaVibe brings together a heady blend of musical elements
in an original and highly engaging ensemble. The vibesman behind many
notable musicians and groups, Mike emerges from the tradition forged by Cal
Tjader, Tito Puente, and the groups of Joe Cuba that placed the vibraphone at
the heart of Latin music. His many years of playing in several of New York’s
hottest salsa groups, and a natural affinity for Caribbean, African, and Brazilian
rhythms combined with strong writing skills, a thoroughly developed jazz
background, and a dynamic performing style underscore the performances
of ZonaVibe.

Mike performed with the Spanish Harlem Orchestra, directed by
Oscar Hernandez, and legendary sonero Cheo Feliciano at Madison
Square Garden in June 2008, and ZonaVibe will be part of Central
Park’s Harlem Meer concert series this July. ZonaVibe performed at
the Festival Internacional on the island of Terciera in the Azores, and
his salsa group, Vibe Caliente, played for Binghamton's First Night.
Both of his groups will headline at the Trinidad & Tobago Steelpan
and Jazz Festival this October.

His recordings of original music gained national attention and
extensive airplay landing on several radio charts. From the start,
the music Mike wrote and performed ranged from jazz, Latinjazz,
Brazilian, fusion, and R&B. Mike Freeman & Spellbound’s 1985
self-titled debut recording (following a tour of Portugal, co-
sponsored by the Fulbright Foundation and the American Embassy)
was eclipsed six years later by the highly successful “Street Shuffle”
with Jeff Jenkins, Dave Stryker, Kip Reed, and Graham Hawthorne
(now with Paul Simon). His next recording “Wiggle Stomp” reflects
a deeper immersion in the Latin scene that began over ten years ago.
With his lastest CD “In the Zone”, Mike takes that exploration to yet
another level. He displays the considerable range of his marimba
playing—along with the vibraphone—and his artistry and
knowledge of bringing salsa forms into a Jazz context.

In addition to leading his own groups, Mike performs and records with
eminent percussionist Ray Mantilla’s Good Vibrations Band (with Edy
Martinez), that has toured Italy far and wide and recorded for Savant
records. "Good Vibrations" was Jazzweek's top Latinjazz recording on
radio, 2006; salsa singer Julio Salgado (from George Delgado and
Charansalsa); Son Boricua (Jose Mangual Jr. and Jimmy Sabater) on
“Fabulosos 70’s”; Mark Holen’s eclectic Latin blues band Zambomba
on “Stretching the Truth”; and Lucho Cueto’s all-star group Black Sugar.

Other credits include a Hurricane Katrina Benefit Concert that Mike
organized and produced at Manhattan Plaza (two 45-floor towers of
performing artists in midtown Manhattan where he lives) featuring
the R&B of Bobby Harden and Chris Carter, the jazz of David
Schnitter’s quartet, the solo piano of Amina Claudine Myers, and
Mike’s own Latinjazz group with Ray Mantilla. Proceeds went to
Tipitinas Foundation for New Orleans–area musicians and the
Humane Society; performing with Little Johnny Rivero’s sexteto;
Jorge Jimenez’s Timba Vibes (creating the group’s book); and the
Latin Legends concert at Aaron Davis Hall with the Harbor
Conservatory Latin Band, directed by Louis Bauzó.

New York University and the Berklee College of Music, among
others, have hosted Mike as a guest artist/clinician. His music arranged
for big band has been a successful component of his performances
with jazz department ensembles. And a series (spanning several
years) of commissioned compositions and arrangements for the Chicago
Symphony Orchestra’s Percussion Scholarship Program highlight
his ability’s in addition to performing.

Past highlights include: the JVC Newport Jazz Festival in Saratoga, NY,
a performance that prompted a memorable standing ovation; performing to
a home town audience of over 5000 at Joslyn Art Museum in Omaha; the
Hennessy Greenwich Village Jazz Festival two years in a row; a Flood
Relief Concert in Des Moines, Iowa; and opening for Stan Getz in Boston.

Mike’s highly successful tour of Portugal in the mid-1980s took him to
every part of the country where he gave concerts and taught clinics. He
also performed on Portuguese national radio and television. Dinners were
given in his honor and he received the medal of the city of Guarda.

Mike’s grandfather was a drummer and leader of Ron Freeman and
the Melody Masters, a popular band that was heard on the radio in
the Midwest. Neal Hefti played in his band before becoming famous
in California. Mike’s paternal grandmother sang and played the organ
and marimba. His maternal grandmother was a talented piano player
in her youth. Mike’s father, Harry Freeman, worked his way through
college playing the saxophone.

Born and raised in Omaha, Nebraska, Mike Freeman began
playing professionally at the age of thirteen. He started learning
drums at five and became interested in jazz music by listening
to drummers Max Roach and Buddy Rich. He played in local
rock bands and a big band called Resurrected Swing that’s still in
existence today. At twelve, he began playing the vibraphone,
and by fifteen, he was a percussionist for the Omaha Symphony.
He also gave lessons at the local music store. During his last year of
high school, he began flying to Chicago to study with renowned
percussionist and veteran studio musician Bobby Christian. Just
before entering the School of Music at DePaul University in Chicago,
Mike started to concentrate on the vibraphone and composition.
In college, he began leading his own groups, performing at clubs,
both in Chicago and Omaha, and working as a side musician.
At DePaul, he studied with jazz pianist Alan Swain and saxophonist
Tom Hilliard, and received a Bachelor of Music (composition)
with high honors in 1981. In New York, where he’s lived and
worked since 1981, Mike studied with composer/arranger Hale
Rood, who wrote for Louie Bellson, and attended the BMI
composers workshop.

“Serendipity — The idea of controlled accidents is an important
part of all music, especially improvised music. This ability to let
things that were unplanned happen, given a certain compositional
framework, yet still have control over what you’re doing, is what
keeps music fresh. This idea of controlled accidents reminds me of
the sense of surprise that is possible, and that I look for, every time
I play or create a piece of music.” — Mike Freeman