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Eric Nemeyer's Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM June-July 2018 JAZZ HISTORY FEATURE ArtArt Blakey,Blakey, PartPart 77 Interviews PatPat MartinoMartino Jazz Standard, July 19--22 Famoudou Famoudou DonDon MoyeMoye Comprehensive DirectoryDirectory of NY ClubS, ConcertS OdeanOdean PopePope Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 June-July 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) June-July 2018 – Volume 9, Number 4 Cover Photo and photo at right Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. 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All materials sent become the property of Jazz Inside, and may or & changes of address. may not be reviewed, at any time. Jazz Inside™ Magazine | Eric Nemeyer Corporation MAIL: P.O. Box 30284, Elkins Park, PA 19027 EDITORIAL POLICIES COPYRIGHT NOTICE Copyright © 2009-2018 by Eric Nemeyer Corporation. All rights reserved. No part of OFFICE: 107-A Glenside Ave, Glenside, PA 19038 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz this publication may be copied or duplicated in any form, by any means without prior Telephone: 215-887-8880 Inside prior to submission. All materials sent become the property of Jazz Inside written consent. Copying of this publication is in violation of the United States Federal Email: [email protected] unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contrib- Copyright Law (17 USC 101 et seq.). 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WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 June-July 2018 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 June-July 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 3 OdeanOdean PopePope Feature ForerunnerForerunner ofof thethe SpiritSpirit InterviewInterview && PhotosPhotos byby KenKen WeissWeiss 4 June-July 2018 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Concert Halls, Festivals, Clubs, Promoters PAYPAY ONLYONLY FORFOR RESULTSRESULTS CONCERTCONCERT && EVENTEVENT MARKETING!MARKETING! Fill The House In Hours For Your Next Performance LightningLightning Fast,Fast, WayWay BetterBetter ResultsResults && FarFar LessLess ExpensiveExpensive ThanThan DirectDirect--Mail,Mail, Print,Print, RadioRadio && TVTV AdsAds——ComprehensiveComprehensive Analytics!Analytics! CALL: 215-600-1850 www.SellMoreTicketsFast.com To Advertise CALL: 215-887-8880 June-July 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 5 OP: I think my health is more important. I chose INTERVIEW my health over recognition because, as you know, INTERVIEW most of my peers have left the planet. JI: When asked if you thought of yourself as a hard bop or free jazz player in the past you an- Odean Pope swered, “I like to think of myself as one of the forerunners of ‘the spirit.’” Would you explain Forerunner of the Spirit that? OP: To be one of the forerunners of ‘the spirit’ Interview and photo by Ken Weiss Six [Enja, 1996]. means to me that I’m always striving to be the frontrunner of what’s happening today. Not the past, but the present, as well as future. I feel that Tenor saxophonist Odean Pope (b. October 24, Odean Pope: For the most part, that started in I’ve studied so many different kinds of concepts 1938; Ninety-Six, South Carolina) is best known Europe. and I’ve had the opportunity to sit on bandstands, for his greater than two decade membership in the be at recording studios, and to talk to so many great Max Roach Quartet, as well as for his unique voice JI: I looked up odeon. Do you know what it musicians, that I have acquired quite a bit of on his instrument. A master of circular breathing means? Ironically, odeon derives from ancient knowledge in terms of what direction I’m going to and multiphonics, Pope’s trademark ‘foghorn’ Greek and stands for a building used for musical go into. Being a forerunner means that you are one blast reaches deep into the soul of the listener. performances. That’s so very apropos. of the ones who is reaching certain aspects of your Heavily influenced by the sounds of the Southern craft being number one. Baptist church choir of his youth, Pope moved with OP: I didn’t know that. his parents to Philadelphia at age ten where he JI: Finding your own unique voice on the saxo- found an extremely jazz rich territory with future JI: Published reviews of your work over the past phone was a career quest for you and you certainly jazz legends such as John Coltrane, Lee Morgan, 15-years or so typically open with something to the accomplished that. How did you pursue that goal? Benny Golson, Jymie Merritt, Jimmy Garrison, effect that you are, “One of the most underappreci- Philly Joe Jones, the Heath Brothers, Archie ated jazz musicians of your generation.” How do OP: It’s very strange because ironically, when I Shepp, McCoy Tyner and Bobby Timmons. He was you explain that? was 25, I took all the records and recordings out of especially influenced by the obscure and eccentric my house. I just wanted to concentrate for the next pianist Hasaan Ibn Ali, who also caught the atten- OP: I think mainly because all my peers - Lee few years [on my sound]. I thought maybe it would tion of Max Roach. Pope was a member of the Morgan, the Heath brothers, Bobby Timmons, and take one year but it ended up taking me at least 10 Philadelphia group Catalyst in the early to mid- the list goes on, went to New York in the mid-‘50s. years to get a sense of what I wanted my sound to ‘70s, which merged jazz and funk and presaged the I went to New York along with them but I decided be, as opposed to going the traditional way of work of later jazz fusion bands. He is an accom- to come back to Philadelphia and I think that’s the sounding like someone else. I was really determine plished leader with a number of recordings by his main reason I didn’t get the recognition I should to reach my own voice. unique Saxophone Choir band, which features nine have gotten. The only person I know who got some saxophones and a rhythm section, as well as per- international recognition while living in Philadel- JI: Many musicians use circular breathing and forming in quartet and trio settings. A strong com- phia was Grover Washington Jr.. multiphonics [playing several pitches at once] but you arguably use these techniques more than any- one else. Explain your interest in these techniques “… when Trane got the opportunity to go with and how you see them fitting into your music. Miles Davis, he asked me to replace him [in OP: The interesting thing about circular breathing is it allows one to play long phrases and to generate Jimmy Smith’s group]. I told him, ‘You’ve got to high intensity to create ideas and things that you have acquired that takes an amount of articulation be kidding me,’ because I was no way ready to and expression to play, and to play long phrases. The way I use circular breathing is to play long play with Jimmy Smith. He said, ‘Look, don’t phrases as opposed to playing short phrases and it allows me to play, maybe, two choruses without taking a breath. I can play for half an hour without never use the word can’t.
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