Search - Spike Robinson :: I Wish I Knew

Nice little dividend.

Samuel Chell | Kenosha,, WI United States | 08/28/2008

(4 out of 5 stars)

"If you're a Spike Robinson fan (it's a big world--there have to be a few), this date no doubt comes as a pleasant surprise, especially since it appeared that "The CTS Sessions" of a couple of years ago was most certainly the final chapter in the story of the tenor saxophonist from Kenosha, Wisconsin who decided to become a full-time jazz musician at the age of 56 (a decision practically requiring that he become an ex-patriot).



The advantage of hearing Spike in 1979 is that he's at full strength, with ample breath reserves capable of supporting those expansive, generous melodic lines that distinguished his "Four Brothers"-influenced approach to playing. The disadvantage is the use of one of those dated electronic keyboards that, like so many lurid sirens, were luring many musicians to near shipwreck, or at least anachronistic, "period piece" statements.



The session is simply Spike in the company of a strong rhythm section (overly so--a bit more lightness and sensitivity to dynamics would introduce some needed air and illumination to the proceedings). Every tune swings, but on this pick-up date it's pretty much relentlessly "Onward!"; "Pedal to the metal!"; "Sticks+ride cymbal or nothing!" (Had Bill Evans already been forgotten about? Or possibly he never got to Dublin, where the session was recorded.)



A word about electric pianos/keyboards (I've been through 20-25 myself). Only the Hammond B3 and Fender Rhodes have held up as "credible" axes, still welcome in certain quarters. Professionals have no time for anything else (thank goodness). The instrument on this recording sounds like Yamaha FM synthesis (a smarmy sound for accompaniment purposes only, rarely if ever employed for solos). My hunch is that it's a Fender Rhodes being run through a phase shifter that gives it an "underwater" quality throughout. Too bad, because the pianist is definitely a fine player, better than his instrument, even throwing in a Fats Waller stride chorus (a la Keith Jarrett of late) on "Honeysuckle Rose" (Fats probably would have gotten a kick out of hearing his composition played on a bad calliope).



Nonetheless, Spike is in excellent form, playing before a receptive audience and laying down almost 80 minutes of music, the full capacity of a normal CD. In short, this one is pretty much a must for Spike fans; if you're new to Spike, look instead to "Spike Robinson Plays Harry Warren.""