For Odean Pope (b. 1938, Ninety-six, SC), 2006 seems to have brought about a renewal of sorts. A new recording of his Saxophone Choir (Half Note/ Soul Note), a collaboration with Prince Lasha (CIMP), and the notice of his steady uncompromised artistry over the past 40 years have all helped, at least temporarily, to increase the media and public attention to his presence. In addition, recognition of his mentoring is beginning to be noticed (recently both CIMP and Cadence Jazz Records have released impressive works by former student Seth Meicht, just one of many who credit Odean for his past work and encouragement). And now Odean emerges with a new group and color, this one with a guitar, an instrument, I believe, that is nonexistent in his past discography. The guitarist is Matt Davis (b. 1979, Lebanon, NJ), a composer and leader in his own right. A graduate of Temple University, Matt moved through the usual rock channels before exposure to Bop and eventual immersion into improvised music (he has had an affiliation with Odean since 1996). Both he and Michael Taylor (b. 1973, Hamilton, NJ) were members of The Chance Trio and have worked together with other Philadelphia institutions such as Bobby Zankel, Dave Burrell, Byard Lancaster, etc. The fourth member of the quartet, a longtime Odean associate, is the still very deserving but under exposed percussionist Craig McIver (b.1959, Philadelphia, PA). Prior to this date Odean reflected my feelings when he told me how he looked forward to this session and its “new blood.” Additionally, I looked forward to how the artistry of Odean would handle the challenge. The group arrived mid afternoon and, true to his prepared ways, Odean announced that this set would be a tribute to Max Roach (in whose employ he worked from the late ‘70s into the 1990s). In addition, he biblically intoned, after the sound check—which began immediately following their arrival—they would rest (although the reality is, Odean never did rest). Good to have Odean in The Spirit Room again. Odean and group opened with To the Roach, the piece they had used for the sound check. In an instant it was clear why he had brought in guitar (and this guitarist) as it is very complementary to those squirrelly lines Odean favors. In fact, in talking earlier with Odean about his history and music of the past, he noted it was because of Craig’s ability to play and read his music/lines that Odean has used him since the mid 1990s. Even so, the opening take of “… Roach,” while energized, proved to be disjointed; the second take was different and featured a drum solo that had been nonexistent in the first take and I think surprised us all. After the first take I said to Craig, “Well, no one will accuse you of stealing Max’s licks.” After the second take I asked him, “Where did that come from?” and he mentioned my previous comment had him thinking about Max and he felt the debt. A nice brisk reading, outstanding playing with a fine enthusiasm—a nice start to a recording session(s). The second piece, Blues It, began in direct Odean fashion and then opened itself up wide. It was interesting to hear the rhythm expand the plane of play, navigate their solos through the expanded parameters from Odean’s opening solo, and then bring it back together to the mooring with Odean to take it out. Again this was a second take that contrasted with the first as much as To The Roach’s takes had contrasted. We broke for supper and Odean ate, ate some more, excused himself for the slow savor, and then found an excuse to try another taste. Now, it’s good to see someone enjoy food and Odean’s right up there with people we like to feed, if for no other reason than the dividends of his music are so rewarding. Food = energy = music. I relate this all not because I want to get Odean in trouble with his nutritionist but because usually—in fact, in almost all cases—horn men either eat lightly before a recording or wait well over an hour before attempting to play. This night however Odean was first up from the table and back into The Spirit Room, and, in not more than perhaps 10 minutes after his last chocolate chip cookie, Harpology was recorded. Again this points out the importance of capturing the music on its terms. We know how groups play on an empty stomach; this is an example of how you can play on a full stomach. Odean was on! The group immediately followed Harpology with Let’s Meet Again, a lovely every-time-we-say-goodbye ballad, built off “For All We Know.” Odean was obviously programming as he followed Let’s Meet … with Plant Life, a rather un-Odean like piece utilizing the Songo Rhythm with which he became acquainted on a trip to Brazil. To the Roach Pt. 2 was introduced with little introduction and, after its tour de force opening by Odean, opens wide the freedom gates before a quick resolve and ending slip in to close a very short nine minutes. At this point we called a break to help reset the universe (and get Odean some sweet potato pie). They returned to finish up the date with The Last Stop, a hip line which was frustratingly difficult to nail. Odean said it was a hard line and indeed it took many many incomplete takes before the head was executed to the Odean standard. Eventually the form was nailed and solid improvs flowed but it ended, for me, too early. If it was Odean’s ploy to keep them wanting more, he succeeded here. But Odean finished with a prayer (Prayer) in duo with Matt—a good resolve for a full evening of music and artistic triumph. Robert D. Rusch - May 23, 2006 The next morning I got up and went outside to load the wood burner (yes, we heat with wood), as is my routine. The morning was clear, bright, and brisk, around 40°F and with a mist lifting off for the heavens from the verdant surroundings. As is Odean’s custom, he was outside playing the sax. Many CIMP artists have chosen to play outside, to no one and everyone, during different parts of the day. Usually it’s the wind players, but even Wilber Morris would lug his bass outside to a grassy but shaded area for an interaction with nature. We even made a recording outdoors (Joe McPhee & David Prentice, CIMP 120) and it remains one of Joe’s favorites. But this morning it was just Odean, the space, and the birds; the whole scene was a visual and audible delight. So I grabbed a small video recorder and, from afar (about 200 feet), taped the scene. We ended the previous night’s session with Prayer (based on the spiritual “Where We’ll Never Grow Old”) and I thought that an excerpt of this morning prayer would be an evocative and fitting addendum to this Odean document. On Marc’s behalf, CIMP disavows any endorsement of the audio quality of this excerpt and I thank him for aiding and allowing its inclusion under the CIMP masthead. And to Odean for making my morning. R.D.R. - May 24, 2006