Search - Odean Pope :: Locked & Loaded: Live at the Blue Note

Long Overdue

J. watkins | philadelphia | 04/12/2006

(5 out of 5 stars)

"Never done this before, but somebody had to say something about this marvelous disc. I assume I'm writing for those unfamiliar with Odean's work, because if you follow him, this release is an event, and you bought this the second it came out. What a 12 months for bombshell live jazz releases. I've been engrossed by the Monk/Coltrane and Coltrane at the half-note recordings, but I have to admit that I've found this one even more exciting. It's just as rare as either, more so even, both for the ear, but also as a musical document. Odean Pope is not just another Philadelphia tenor from the Carolinas. He was long-time tenor for Max Roach; do not miss TO THE MAX, which features fellow Philadelphian and choir bassist Tyrone Brown as well. Still Odean is criminally under-represented on disc. Recordings of his choir are particularly scarce. If he had gone to Europe or up the turnpike perhaps that would not be the case, but he stayed home in Philly, capital of obscure treasures. I've seen Odean in different groupings perhaps twenty times here in Philly over the past ten years (particularly memorable were home-comings of Sunny Murray, joined by Byard Lancaster and Khan Jamal), and although I've seen the apprentice choir - featuring McIver, Levin, Bobby Zankel with young students of Pope - I've never had a chance to see the full adult choir. But this disc is rare also in a musical sense: there's really nothing that sounds quite like this band. And Odean has such a distinctive and unusual voice as well. Here he's joined by Brecker whose capacity for drama maybe has never been better served. Lovano is a contrast: more mercurial and luminous set next to Odean's dark, pondering tone. Whether you're into Ellington's suites or Vandermark 5 or Either/Orchestra, this is something you have to hear."

Stupendous

R. Lake | 04/15/2006

(5 out of 5 stars)

"If you appreciate the finest in saxophone playing, jazz composition and distinctive orchestras, then you MUST MUST MUST listen to this unique album. I first saw Odean Pope play with Max Roach about 25 years ago in Chicago and was utterly amazed at Pope's technical command of the instrument (he is by far the master of circular breathing). Then I was utterly astonished when I heard a recording of his Saxophone Choir about 12 years ago - and I have always been a huge fan of the World Saxophone Quartet. Given the paucity of Pope on disc, the jazz world is in for a thrill with this live album from a date at the Blue Note (I wish I had been there). The only quibble is that a number of the pieces have been recorded by Pope's Saxophone Choir before, but that's a bit like complaining that Ellington recorded "Take the A Train" too often!! Besides, the personnel on these versions is the best ever."

You'll wish you were there

Anthony Cooper | Louisville, KY United States | 12/10/2006

(4 out of 5 stars)

""Epitome" opens the CD with a stately saxophone statement, then "Prince Lasha" gets into the heart and spirit of the CD. Basically, there's a whole mess of saxophonists playing swinging lines and someone playing hot solos over it. There are moments of orchestration (thankfully, with 12 to 13 people playing simultaneously), and there are free spots during some of the solos. Pope invited guest saxophonists Michael Brecker, Joe Lovano, and James Carter, who solo on different songs. Odean Pope solos, of course, as well two members of his choir. Underneath it all is an unknown rhythm section who do just as good a job as any name players. Since it's a live date, you can appreciate how the Saxophone Choir is a finely-tuned piece of machinery. Five of seven songs are by Pope, and two are by John Coltrane. The Coltrane songs sound no better or worse than the Pope songs, which may reflect the advantage Pope has writing for an unusual ensemble. The highlight of the CD is the scorching "Muntu Chant" at the end. Music heard live will sometimes bring moments of total joy and bliss. I'm sure the people in the audience were feeling that as the Choir walked off stage. Ornette Coleman was also in the audience, and wrote some liner notes. I've never read anything by Ornette, his written word is as unique as his music."