Dave Pike - Noisy Silence - Gentle Noise

Styles: Vibraphone Jazz
Year: 1969
File: MP3@320K/s
Time: 37:59
Size: 87,9 MB
Art: Front

(4:33) 1. I'm On My Way
(4:37) 2. Regards From Freddie Horowitz
(4:40) 3. Somewhat, Somewhere, Somehow
(5:36) 4. Noisy Silence - Gentle Noise
(4:19) 5. Mother People
(3:42) 6. Mathar
(3:19) 7. Vian-De
(3:44) 8. Teaming Up
(3:26) 9. Walkin' Down The Highway In A Red Raw Egg

American vibraphonist Dave Pike gained fame from his work throughout the 60’s with popular jazz flutist Herbie Mann, recording 11 albums with Mann’s groups, also recorded with legendary pianists Bill Evans and Paul Bley. On moving to Europe, the Dave Pike Set became an instant success through the combination of Pike’s vibes play and German Volker Kriegel’s electric, acoustic, guitar and sitar play. Kriegel’s compositions helped create the quartet’s unique sound, encompassing jazz, funk, psychedelia, avant-garde, and ethno. The popish I’m on My Way is followed by the folksy blues Regards From Freddy Horrowitz.

The beautiful ballad Somewhat Somewhere Somehow features Kriegel, and the bluesy title piece jumps into double time with stellar guitar, vibes and bass solos. On Mother People Kriegel reworks a Frank Zappa composition into an unrestrained showpiece. Kriegel grabs the sitar on Mathar as jazz-rock peers East, and the poignant balladic waltz Vian-De highlights the vibes. Teaming Up takes off at breakneck speed with a couple of open-ended detours on the way. Walking Down the Highway celebrates the band’s dilapidated red Citroen, as they maneuver through the 13/4 time signature with ease. The first of six albums Pike recorded for MPS, it exquisitely chronicles the beginnings of a group that achieved popularity while maintaining their uniquely adventurous musical vision.–MPS https://theanalogvault.com/products/the-dave-pike-set-noisy-silence-gentle-noise

Personnel: Dave Pike, vibraphone, tambourine; Hans Rettenbacher, bass; Peter Baumeister, drums; Volker Kriegel, guitar

Noisy Silence - Gentle Noise

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Dave Pike, Cedar Walton Trio - Pike's Groove

Styles: Vibraphone And Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 51:32
Size: 119,2 MB
Art: Front

(4:11)  1. Big Foot
(5:47)  2. Spring Can Really Hang You Up The Most
(3:41)  3. You Are My Everything
(6:31)  4. Ornithology
(6:47)  5. Con Alma
(8:26)  6. Reflections In Blue
(6:04)  7. Birk's Works
(5:29)  8. You Are My Everything
(4:32)  9. Big Foot (take 4)

Vibraphonist Dave Pike has recorded in a variety of settings through the years. His Criss Cross date is one of his finest straight-ahead outings, a quartet session with pianist Cedar Walton, bassist David Williams, and drummer Billy Higgins. Pike's style is somewhere between Milt Jackson and Bobby Hutcherson, while sounding fairly distinctive, and he is heard in top form on such numbers as "Big Foot," "Ornithology," and his own "Reflections in Blue." Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/pikes-groove-mw0000094788

Personnel: Vibraphone – Dave Pike; Piano – Cedar Walton; Bass – David Williams ; Drums – Billy Higgins

Pike's Groove

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The Dave Pike Quartet - Pike's Peak

Styles: Vibraphone Jazz
Year: 1962
File: MP3@320K/s
Time: 35:44
Size: 83,1 MB
Art: Front

(6:46)  1. Why Not
(6:32)  2. In A Sentimental Mood
(5:59)  3. Vierd Blues
(6:54)  4. Besame Mucho
(9:31)  5. Wild Is The Wind

This Portrait LP was vibraphonist Dave Pike's second recording as a leader. Pike is joined by bassist Herbie Lewis, drummer Walter Perkins, and most notably pianist Bill Evans. It was one of the pianist's first sessions after the tragic death of his bassist, Scott LaFaro, and gives listeners a rare opportunity to hear Evans this late in his career as a sideman. 

The music is fairly spontaneous, consisting of two ballads, "Besame Mucho," "Vierd Blues," and Pike's "Why Not" (inspired by Miles Davis' "So What"). An excellent if generally overlooked straight-ahead set.~ Scott Yanow https://www.allmusic.com/album/pikes-peak-mw0000199414

Personnel:  Dave Pike - vibraphone;  Bill Evans - piano;  Herbie Lewis - bass;  Walter Perkins - drums

Pike's Peak

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Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

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The Paul Bley Quartet - Solemn Meditation

Styles: Piano Jazz

Year: 2008

File: MP3@320K/s

Time: 79:58

Size: 186,7 MB

Art: Front

(6:03)  1. Birk's Works

(3:17)  2. O Plus One

(3:40)  3. Porgy

(3:34)  4. Solemn Meditation

(3:42)  5. I Remember Harlem

(3:06)  6. Drum Two

(4:04)  7. Everywhere

(5:33)  8. Beau Didley

(3:28)  9. Persian Village

(3:25) 10. Triangle

(4:21) 11. Valse Hot

(4:36) 12. Lullaby Of The Leaves

(5:07) 13. You Go To My Head

(3:33) 14. For The Love Of Pike

(3:47) 15. Goody Speaks

(3:29) 16. Polynesia

(5:27) 17. I'll Remember April

(3:53) 18. Willow Weep For Me

(5:45) 19. Pike's Peak

This early quartet date from pianist Paul Bley is somewhat historic because it was the recording debut of both bassist Charlie Haden and vibraphonist Dave Pike. With drummer Lennie McBrowne completing the group, Bley explores a lot of unlikely material in an early postbop manner including Bill Harris' "Everywhere," Roy Eldridge's "I Remember Harlem" and some group originals. The liner notes by Carla Borg (soon to be Carla Bley), who has her "O Plus One" recorded by the group, are also noteworthy. ~ Scott Yanow http://www.allmusic.com/album/solemn-meditation-mw0000269651

Personnel:  Paul Bley – piano;  Dave Pike – vibraphone;  Charlie Haden – bass;  Lennie McBrowne - drums

Solemn Meditation

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Slide Hampton - Mellow-Dy

Styles: Trombone Jazz

Year: 1968

File: MP3@320K/s

Time: 55:02

Size: 127,0 MB

Art: Front

( 4:15)  1. Lament

( 7:11)  2. Impossible Waltz

(12:15)  3. Chop Suey

( 5:16)  4. Mellow- Dy

(18:32)  5. The Thing

( 7:30)  6. Us Six

Trombonist Slide Hampton's writing ability has long overshadowed his skills as a player. This CD reissue sets the record straight by putting the focus on Hampton's boppish and consistently creative trombone. The first three selections (a couple of originals and J.J. Johnson's "Lament") showcase Hampton really stretching out with a quartet also including pianist Martial Solal, bassist Henri Texler and drummer Daniel Humair. The second half of the CD has Hampton joined by tenor saxophonist Nathan Davis, vibraphonist Dave Pike, pianist Hampton Hawes (sounding quite modern), Texler, and Humair for a couple more originals and Hawes' "Us Six." Overall, the advanced straight-ahead music on this CD comprises one of Hampton's best showcases as a trombonist, and the release is easily recommended. ~ Scott Yanow http://www.allmusic.com/album/mellow-dy-mw0000234931

Personnel: Slide Hampton (trombone); Nathan Davis (tenor saxophone); Dave Pike (vibraphone); Martin Solal, Hampton Hawes (piano); Henri Texier (bass); Daniel Humair (drums).

Mellow-Dy

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Herbie Mann - Live At Newport

Styles: Flute Jazz
Year: 1963
File: MP3@320K/s
Time: 40:24
Size: 94,0 MB
Art: Front

( 7:40)  1. Soft Winds
( 7:39)  2. Desafinado
( 6:09)  3. Samba De Orfeu
(10:49)  4. Don't You Know
( 8:05)  5. Garota De Ipanema

Most of Herbie Mann's Atlantic sessions of the 1960s are among the flutist's best and most popular work. Mann and his regular group of 1963 (which includes vibraphonist Dave Pike, pianist Don Friedman, guitarist Attila Zoller, bassist Ben Tucker and drummer Bob Thomas with added percussionists Willie Bobo and Potato Valdez) are heard in spirited form on this set from the 1963 Newport Jazz Festival. There are two surprises, both having to do with Antonio Carlos Jobim tunes. The bossa nova hit "Desafinado" is taken in straight 4/4 time without the percussionists, which makes it sound like a new song. And three months after Stan Getz, Jobim and the Gilbertos recorded "The Girl From Ipanema" (but before it was even released), Mann can be heard playing an instrumental version of the song, here listed as "Garota De Ipanema." A catchy rendition of "Soft Winds," the bossa nova "Samba De Orfeu," and Ben Tucker's "Don't You Know" round out the well-played program.~Scott Yanow http://www.allmusic.com/album/live-at-newport-mw0000011986

Personnel: Herbie Mann (flute); Attila Zoller (guitar); Don Friedman (piano); Dave Pike (vibraphone, background vocals);  Bobby Thomas (drums); Willie Bobo, Carlos "Patato" Valdes (percussion).

Live At Newport

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Dave Pike - Smooth Bar Jazz

Styles: Vibraphone Jazz
Year: 2015
File: MP3@320K/s
Time: 71:39
Size: 165,0 MB
Art: Front

(5:38)  1. Sono
(4:05)  2. Melvalita
(5:17)  3. Philumba
(4:48)  4. Cattin Latin
(4:58)  5. Jamaica Farewell
(3:55)  6. Ginha
(7:43)  7. La Bamba
(3:39)  8. My Little Suede Shoes
(4:30)  9. Carnival Samba
(3:46) 10. St. Thomas
(3:56) 11. Matilda, Matilda
(4:41) 12. Sambolero
(3:12) 13. Mambo Bounce
(2:27) 14. Limbo Rock
(5:14) 15. Serenidade
(3:44) 16. Calypso Blues

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~ Scott Yanow  http://www.allmusic.com/artist/dave-pike-mn0000593911/biography

Smooth Bar Jazz

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Dave Pike - Bossa Nova Carnival

Styles: Vibraphone Jazz
Year: 1962
File: MP3@320K/s
Time: 37:49
Size: 86,8 MB
Art: Front

(4:41)  1. Samba Lero
(5:36)  2. Sono
(5:14)  3. Serenidade
(4:27)  4. Carnival Samba
(5:18)  5. Philumba
(4:02)  6. Melvalita
(3:56)  7. Ginha
(4:30)  8. Sausalito

One of Dave Pike's finest accomplishments came in September 1962, when the vibist/marimba player recorded the Brazilian-oriented Bossa Nova Carnival for Prestige's New Jazz label. Thanks to the innovations of Stan Getz and João Gilberto, bossa nova was huge at the time and many musicians were jumping on the bossa bandwagon in the hope of making a quick buck. But for Pike, Bossa Nova Carnival wasn't an exercise in knee-jerk, insincere bandwagon jumping. Pike wanted to make a meaningful, individualistic contribution to Brazilian jazz. 

So instead of doing exactly what Getz, Gilberto, and Charlie Byrd were doing and performing a lot of Jobim songs, he enlisted Brazilian composer João Donato. Everything on this excellent vinyl LP was written by Donato, who provides sensuous, caressing melodies that Pike and his sidemen (who include Kenny Burrell on guitar and Clark Terry on flügelhorn) bring a lot of warmth and sensitivity to. The music swings, but it does so in a subtle, mellow, consistently melodic fashion. Undeniably one of Pike's most essential albums, Bossa Nova Carnival had been out of print for many years when, in 2000, Fantasy reissued it on Carnavals, a CD that also contains his Limbo Carnival session of December 1962. ~ Alex Henderson  http://www.allmusic.com/album/bossa-nova-carnival-mw0000903310

Personnel:   Dave Pike - vibraphone, marimba;  Clark Terry - flugelhorn (tracks 2, 4, 5 & 7);  Kenny Burrell – guitar;  Chris White – bass;  Rudy Collins – drums;  Jose Paulo - cabasa, bandero

Bossa Nova Carnival

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Dave Pike & Charles McPherson - Bluebird

Styles: Vibraphone And Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 54:28
Size: 125,2 MB
Art: Front

(7:31)  1. Scrapple From The Apple
(6:25)  2. Embraceable You
(6:09)  3. Visa
(9:23)  4. Old Folks
(4:51)  5. Bluebird
(8:13)  6. Anthropology
(5:08)  7. Ornithology
(6:45)  8. Bluebird (alt take)

Jazz experts love to speculate on the types of music that Charlie Parker might have embraced had he not died in 1955. Had Bird lived to see the 1960s and 1970s, would he have embraced modal jazz, avant-garde jazz, soul-jazz, or fusion? Would he have played on Miles Davis' Bitches Brew if, in 1969, such an offer had been made? One can only speculate. What can be said for sure is that Bird's innovations have continued to inspire a wide variety of jazz musicians long after his death. Recorded in Monster, Holland, in 1988, Bluebird is among the numerous Parker tributes that has surfaced over the years.

This bebop date was co-led by two American improvisers, vibist Dave Pike and alto saxophonist Charles McPherson, who are joined by a Dutch rhythm section that consists of pianist Rein de Graaff, bassist Koos Serierse, and drummer Eric Ineke. Not all of the musicians play on all of the tunes; McPherson is absent on "Ornithology," "Old Folks," and the first take of "Bluebird," and only the Dutch musicians are present on a second take of "Bluebird." The tracks that do feature McPherson speak well of him. McPherson has always been a Bird disciple, but being a disciple isn't the same as being a clone, and on this Dutch release, the altoist celebrates Bird's influence without trying to sound exactly like him. Nonetheless, few surprises occur on Bluebird; performances of well-known bop standards like "Scrapple From the Apple" and "Anthropology" are solid but conventional. No one will accuse either Pike or McPherson of trying to reinvent the wheel on this enjoyable, if predictable, CD. ~ Alex Henderson  http://www.allmusic.com/album/bluebird-mw0000310856

Personnel: Dave Pike (vibraphone); Charles McPherson (alto saxophone); Rein de Graaff (piano); Eric Ineke (drums).

Bluebird

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Dave Pike - Jazz For The Jet Set

Bitrate: MP3@320K/s
Time: 37:27
Size: 85.7 MB
Styles: Hard bop
Year: 1966/2012
Art: Front

[6:49] 1. Blind Man, Blind Man
[5:47] 2. Jet Set
[3:18] 3. Sunny
[2:57] 4. When I'm Gone
[4:06] 5. You've Got Your Troubles
[3:48] 6. Sweet 'tater Pie
[4:34] 7. Just Say Goodbye
[6:04] 8. Devilette

This disc is a bit unusual in a few ways. Vibraphonist Dave Pike sticks here exclusively to the marimba, while pianist Herbie Hancock is heard throughout on organ, an instrument he rarely played again. The band also includes two trumpeters (most notably Clark Terry who has a few short solos) and a rhythm section with guitarist Billy Butler. Most of the music consists of obscurities and is open to the influences of the boogaloo and pop rhythms of the era; highlights include Hancock's "Blind Man, Blind Man," "Sunny" and "Devilette." An interesting effort. ~Scott Yanow

Jazz For The Jet Set

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Dave Pike - It's Time For Dave Pike

Styles: Vibraphone Jazz

Year: 1961

File: MP3@320K/s

Time: 38:19

Size: 88,1 MB

Art: Front

(5:05)  1. Cheryl

(5:38)  2. On Green Dolphin Street

(5:41)  3. It's Time

(4:11)  4. Hot House

(5:16)  5. Forward

(3:20)  6. Solar

(3:57)  7. Little Girl Blue

(5:09)  8. Tendin' To Business

Dave Pike was never an innovator, but his best albums are definitely solid. A perfect example is 1961's It's Time for Dave Pike, which was recorded when the vibist was only 22. By 1961 standards, this album isn't experimental or forward-thinking certainly not compared to some of the adventurous, challenging sounds that were coming from modal and avant-garde improvisers in the early '60s. But it's easy to enjoy if you appreciate swinging, inspired bop along the lines of Milt Jackson, who is one of Pike's primary influences. In fact, this album favors the same vibes/piano/bass/drums format that Jackson embraced during his years with the Modern Jazz Quartet Pike is joined by pianist Barry Harris, bassist Reggie Workman, and drummer Billy Higgins. But It's Time for Dave Pike doesn't sound like an MJQ date and doesn't contain any third stream experiments; it has more in common with Jackson's work outside the MJQ. Hard bop is the name of the game on this album, which includes a few Pike originals as well as inspired versions of jazz standards like Miles Davis' "Solar," Charlie Parker's "Cheryl," and Tadd Dameron's "Hot House." The only time Pike doesn't lead a quartet on this album is when he tackles Rodgers & Hart's "Little Girl Blue" and performs an unaccompanied vibes solo. Produced by Orrin Keepnews for Riverside, It's Time for Dave Pike was out of print for many years. But that changed in 2001, when Fantasy finally reissued this pleasing album on CD on its Original Jazz Classics imprint. ~ Alex Henderson  http://www.allmusic.com/album/its-time-for-dave-pike-mw0000017025

Personnel: Dave Pike (vibraphone); Barry Harris (piano); Reggie Workman (acoustic bass); Billy Higgins (drums).

It's Time For Dave Pike

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Dave Pike - Limbo Rock

Bitrate: MP3@320K/s
Time: 76:59
Size: 176.2 MB
Styles: Vibraphone jazz
Year: 2014
Art: Front

[2:24] 1. Limbo Rock
[3:37] 2. My Little Suede Shoes
[4:56] 3. Jamaica Farewell
[4:38] 4. Samba Lero
[4:26] 5. Carnival Samba
[3:54] 6. Matilda
[5:11] 7. Serenade
[7:41] 8. La Bamba
[3:53] 9. Ginha
[3:09] 10. Mambo Bounce
[3:43] 11. St. Thomas
[4:44] 12. Cattin' Latin
[6:03] 13. Sausalito
[4:01] 14. Melvalita
[5:35] 15. Sono
[3:42] 16. Calypso Blues
[5:14] 17. Philumba

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~bio by Scott Yanow

Limbo Rock

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Dave Pike - Manhattan Latin

Bitrate: MP3@320K/s

Time: 39:05

Size: 89.5 MB

Styles: Hard bop, Vibraphone jazz

Year: 1964/2006

Art: Front

[2:44] 1. Baby

[3:16] 2. Que Mal Es Querer

[3:58] 3. Not A Tear

[2:37] 4. Mambo Dinero

[3:19] 5. Montuno Orita

[3:11] 6. Aphrodite

[3:02] 7. La Playa

[2:51] 8. Latin Blues

[2:36] 9. South Sea

[2:39] 10. Sandunga

[3:21] 11. Dream Garden

[5:26] 12. Vikki

Manhattan Latin captures Dave Pike in flux between the straight-ahead approach of his earlier sessions and the psychedelic pop-jazz of his efforts for MPS: a playful yet methodical immersion into pure, sunkissed groove, its artful assimilation of global rhythms and textures anticipates the direction of Pike's most memorable work. Recorded with an impressive lineup including flautist Hubert Laws, drummer Willie Bobo and then-unknown pianist Chick Corea, the album largely eschews familiar Latin standards in favor of Pike originals. What's impressive is that the end result seems completely organic, living up to the album's title in terms of both sophistication and flavor. Phenomenal cover, too. ~Jason Ankeny

Manhattan Latin

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Dave Pike - Peligroso

Bitrate: MP3@320K/s
Time: 65:28
Size: 149.9 MB
Styles: Vibraphone jazz
Year: 2000
Art: Front

[6:34] 1. Peligroso
[9:35] 2. Beauty And The Beast
[4:27] 3. Sandunga
[4:23] 4. Brenda
[5:53] 5. Boptism
[6:52] 6. Cayo Coco
[5:36] 7. Tumbao Pa' Mi Timbal
[4:20] 8. Breakin' It In
[2:42] 9. Bronx Blue
[6:03] 10. Primero Amor
[3:14] 11. Back To The Roots
[5:45] 12. Class Action Suite

Dave Pike has long been one of jazz's and Latin music's finest vibraphonists although he often gets overlooked. Peligroso, which is dedicated to Cal Tjader and Milt Jackson, was his first Latin jazz project in years. The influence of Tjader in particular is felt throughout the catchy boppish tunes which include eight of Pike's originals. Strong support is given by trumpeter Carl Saunders, trombonist Rich Pullin, Michael Turre on flute and baritone, and a rhythm section with Bobby Matos on timbales and Robertito Melendez on congas. The music is joyful, swinging, and infectious; difficult to resist! ~Scott Yanow

Peligroso

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Dave Pike - Times Out of Mind

Styles: Vibraphone Jazz
Year: 1975
File: MP3@320K/s
Time: 42:15
Size: 97,1 MB
Art: Front

(7:27)  1. Dance of the Grebes
(4:13)  2. Wee
(8:40)  3. Times Out of Mind
(9:20)  4. Djalma
(7:10)  5. Morning in the Park
(5:23)  6. I Love My Cigar

Vibraphonist Dave Pike's debut for Muse (which has been reissued on CD) has generally strong individual playing although the material (five group originals plus a brief version of the bop standard "Wee") and use of electronics sound a bit dated. Pike teams up with keyboardist Tom Ranier (who also plays some alto and tenor), guitarist Ron Eschete, either Luther Hughes or Harvey Newmark on bass, drummer Ted Hawke and (on three of the six numbers) guitarist Kenny Burrell. Nothing all that memorable occurs during this lesser effort. ~ Scott Yanow  http://www.allmusic.com/album/times-out-of-mind-mw0000612796

Personnel:  Bass – Harvey Newmark (tracks: 2, 3, 5), Luther Hughes (tracks: 1, 4, 6); Drums, Percussion – Ted Hawke; Guitar – Kenny Burrell (tracks: 2, 3, 5), Ron Eschete (tracks: 1, 4, 6);  Piano, Electric Piano, Synthesizer [Arp], Alto Saxophone, Tenor Saxophone – Tom Ranier; Vibraphone – Dave Pike

Times Out of Mind

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Dave Pike - Carnavals

Styles: Vibraphone Jazz
Year: 1962
File: MP3@320K/s
Time: 78:10
Size: 188,3 MB
Art: Front

(4:43)  1. Sambolero
(5:37)  2. Sono
(5:16)  3. Serenidade
(4:32)  4. Carnival Samba
(5:20)  5. Philumba
(4:05)  6. Melvalita
(3:57)  7. Ginha
(6:08)  8. Sausalito
(7:46)  9. La Bamba
(3:39) 10. My Little Swede Shoes
(3:59) 11. Matilda, Matilda
(3:15) 12. Mambo Bounce
(2:26) 13. Limbo Rock
(3:49) 14. Calypso Blues
(4:47) 15. Cattin' Latin
(3:45) 16. St. Thomas
(4:57) 17. Jamaica Farewell

Dave Pike isn't one of jazz's more famous vibists he never became as well known as Milt Jackson, Lionel Hampton, Cal Tjader, Bobby Hutcherson, or Roy Ayers. Nonetheless, Pike is a talented, flexible player who has provided some memorable albums here and there. Two of them are Bossa Nova Carnival and Limbo Carnival, both of which were recorded in 1962 for New Jazz. In 2000, Fantasy reissued the albums back to back on the Prestige CD Carnavals. The sessions are equally appealing but quite different while Bossa Nova Carnival is a caressing, sensuous collection of songs by Brazilian composer João Donato, the grittier Limbo Carnival has more of a Caribbean orientation. 

Afro-Cuban salsa is an influence on Limbo Carnival, but calypso is an even greater influence and Pike, taking a hint from Sonny Rollins, combines jazz with calypso on Rollins' "St. Thomas" and Charlie Parker's "My Little Suede Shoes," as well as two songs that were hits for Harry Belafonte: "Matilda" and "Jamaica Farewell." On both dates, the vibist (who plays the marimba as a second instrument) is joined by some heavyweights Bossa Nova Carnival features, among others, Clark Terry on flugelhorn and Kenny Burrell on guitar, while pianist Tommy Flanagan, guitarist Jimmy Raney, and percussionist Ray Barretto are among the sidemen on Limbo Carnival. If you only have a few Pike CDs in your collection, Carnavals should definitely be among them. ~ Alex Henderson   http://www.allmusic.com/album/carnavals-mw0000104854

Personnel: Dave Pike (vibraphone, marimba); Clark Terry (flugelhorn); Kenny Burrell (guitar); Chris White (bass); Rudy Collins (drums); Jose Paulo (cabasa, bandero).

Carnavals

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Dave Pike - On Green Dolphin Street

Styles: Vibraphone Jazz
Year: 2014
File: MP3@320K/s
Time: 37:58
Size: 87,0 MB
Art: Front

(5:13)  1. Forward
(3:16)  2. Solar
(5:01)  3. Cheryl
(5:35)  4. On Green Dolphin Street
(5:39)  5. It's Time
(3:54)  6. Little Girl Blue
(5:07)  7. Tendin' To Business
(4:09)  8. Hot House

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~ Bio   https://itunes.apple.com/us/artist/dave-pike/id5222089#fullText

On Green Dolphin Street

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