Interview
Ma r tin F r eem a n Chris Sullivan meets the stylish actor to discuss the mod aesthetic, music, Mark Powell, badly dressed actors and acid jazz
M
artin Freeman is that rarest of creatures. He is a world famous thespian who is not only very good at his job but, even by the standards of the most anally retentive style monger, is also an extremely stylish individual with exemplary taste in music. Indeed, this star of stage and screen (both big and small) has displayed his considerable knowledge of music by assembling, in partnership with Eddie Piller of Acid Jazz Records, a series of compilations called Jazz On The Corner, the second of which has just been released on double vinyl, CD and download. A quite exceptional collection, your man has chosen, among others, The Magilla, saxophonist Stanley Turrentine’s 1966 mod jazz workout for Blue Note, Chico Hamilton’s conga led mambo The Conquistadores (1965) and Roberta Flack’s priceless anti-Vietnam anthem Compared to What (1969).
“Going through my records again for things that haven’t appeared on loads of comps (as far as I know of, anyway) is a fine excuse to do my favourite thing and pretend it’s work,” writes Freeman in the sleeve notes. Certainly, he is gripped by both great music and fine clothing and, even though he finds it hard to describe himself as a mod, he certainly subscribes to the subculture’s ethic.
“Some people think it’s odd that I care so much about this or that collar but that is how I am. For me it’s always the details. I sometimes wish I didn’t care about my appearance, as life might be a bit easier” 22
