THE PERFECT UNION OF HIP HOP AND JAZZ. THE MISLED CHILDREN’S
LIVE INSTRUMENTATION APPROACH TO HIP HOP IS THE PERFECT MATCH FOR THE MATURITY OF ODEAN POPE’S AMAZING HORN PLAYING.
FILLED WITH FUNKY RHYTHMS, TIGHT BEATS AND A SOLID HORN FOUNDATION, THOSE IN THE HIP HOP AND JAZZ COMMUNITY WILL FIND EQUAL
FONDNESS FOR THIS RECORDING.
AVAILABLE ON RED VINYL
Odean Pope, the mighty tenor player who first established
himself as a member of jazz-funk heroes Catalyst, and later as tenor boss with Max Roach, has issued a number of albums as
a leader, from trio dates to his hallowed Saxophone Choir gigs for the German Moers imprint in the 1980s. What this
hip-hop beat duo have in common with Pope isn't immediately clear until you put the disc in the player. Then it becomes apparent
that the funky side of Catalyst has plenty to do with underground jazzy hip-hop. Pope for his part, blows over these beats
with the requisite experimentalism, open improvisational flair, and raw acumen his own dates have been applauded for. As one
would expect, given the beat-conscious production chops of the Misled Children, technology plays an enormous role: in addition
to samples, Pope's horns are twinned and tripled in staggered harmonies and even rhythms -- but to no detriment on the final
product. Check the nasty funk on "Foregone," the nearly ethereal soprano work on the ambience-flavored "Grimey,"
and the dub consciousness on "Bananas Foster," with spacy keyboards, multiple tenors, and a spine-slipping bassline.
This is generally a laid-back set, but there is plenty going on for even the most strident of listeners.