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DEC 15 - JAN 4



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JAN 6-11



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MAR 3-8



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MACEO PARKER
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SCHOLARSHIP FOR NEWARK YOUTH
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KYLE EASTWOOD
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DONALD HARRISON FEAT.
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APR 7-12



ODEAN POPE SAX CHOIR
W/ JAMES CARTER & RAVI COLTRANE
MAY 14-17



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YELLOWJACKETS
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Show Information
ODEAN POPE, PHAROAH SANDERS, JAMES CARTER, GERI ALLEN, REGGIE WORKMAN, JEFF "TAIN" WATTS: LIVE ALBUM RECORDING

2014-09-13
Showtime: 10:30PM
Doors Open at 9:45PM

MAKE RESERVATION
BAR TABLE
$30.00 $45.00


Come be a part of history: This special six-night run will be recorded live each night, and later released as an album on Half Note Records!


[ Complete Show Schedule... ]
Odean Pope, Pharoah Sanders, James Carter, Geri Allen & More
FEATURING:
Odean Pope - Sax
Pharoah Sanders - Sax
James Carter - Sax
Reggie Workman - Bass
Geri Allen - Piano
Jeff 'Tain' Watts - Drums

Odean Pope

A fiery and often intense tenor saxophonist, Odean Pope was an important member of Max Roach's quartet beginning in 1979. Pope grew up in Philadelphia, took some important musical lessons from Ray Bryant, and had short associations with organist Jimmy McGriff and Art Blakey's Jazz Messengers. He first began teaming up with Roachin the late '60s, although it would be another decade before he became a regular part of his group. Pope led Catalyst, a band that made four records in the '70s, and he put together the Saxophone Choir in 1977. Falling into the post-bop genre, the latter band consisted of eight saxophones and a rhythm section, and became a part-time unit. But Odean Pope, who recorded consistently stimulating dates as a leader for Moers and Soul Note, is best known for his many appearances and recordings with Roach.



Pharoah Sanders

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz. Harmonically rich and heavy with overtones, Sanders' sound can be as raw and abrasive as it is possible for a saxophonist to produce. Yet, Sanders is highly regarded to the point of reverence by a great many jazz fans. Although he made his name with expressionistic, nearly anarchic free jazz in John Coltrane's late ensembles of the mid-'60s, Sanders' later music is guided by more graceful concerns.

The hallmarks of Sanders' playing at that time were naked aggression and unrestrained passion. In the years after Coltrane's death, however, Sanders explored other, somewhat gentler and perhaps more cerebral avenues -- without, it should be added, sacrificing any of the intensity that defined his work as an apprentice to Coltrane, who described Sanders as “a man of large spiritual reservoir.”



James Carter

One of the most admired saxophonists of his generation and a powerful force in today’s jazz scene, James Carter’s playing is firmly rooted in 20th-century African American culture.

By the time Detroit native saxophonist James Carter emerged on the New York jazz scene 1988 he was already a sensation, “it was akin to the second coming... not since the 1960s had someone emerged with so potent a combination of astounding advanced and extended techniques, fiery intensity, and unfettered imagination.” (All About Jazz). Now, Carter the mature artist is firmly established as one of the leading saxophonists of his generation, well versed in everything from striaght ahead to gypsy-jazz to funk.

The sweep of his imagination and the power of his technique embraces the whole saxophone tradition in jazz which he has extended into the 21st century through his resolutely contemporary outlook, prompting Hi-Fi UK magazine to dub him a “Modern sax God.”

 

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