To better master that instrument, he travelled to the United States, where he played with Ricardo Giannoni in New York; with a dance orchestra in Baltimore at the Summit Roadhouse near the Pimlico Racetrack; in a Harlem speakeasy; and in engagements with Billy Lustig and the Scranton Sirens.

Inspired by flamenco music, which he first heard at the Savoy Hotel, he left his family in California and travelled to Spain to discover its fundamentals.

He subsequently published a collection of transcriptions of guitar solos (Guajiras, Petenera, and Malaguena) by Carlos Ramos (1967) through Charles H. Hansen Company.

Freeman developed a system for teaching Flamenco guitar that differed dramatically from the traditional method in which the student learns by watching the teacher's fingerboard and copying what he is doing.

Each piece in the library of music that formed the basis of his system was carefully selected to develop a particular aspect of technique or understanding of Flamenco in a logical progression.

The entire January 1980 edition of Jaleo,[7] the newsletter[8] of the Flamenco Association of San Diego, was dedicated to articles about him written by his students and family members.