Dave Pike Is Back, Still Sending Out Positive Vibes

Vibraphonist Dave Pike’s recent Orange County performances have been a homecoming of sorts. The Detroit-born musician, who spent parts of the ‘60s, ‘70s and ‘80s living in Europe, was a mid-’70s fixture at the now-defunct Hungry Joe’s in Huntington Beach, where he appeared regularly with such musicians as pianist Tom Ranier, bassist Luther Hughes and drummer Nick Martinis.

Pike resettled in Los Angeles in 1995 and has been playing such clubs as Chadney’s in Burbank and Spaghettini in Seal Beach (with O.C. pianist Les Czimber). Friday night at Steamers, Pike fronted a trio consisting of bassist Putter Smith and guitarist Jon Pall Bjarnason.

Though the trio’s first two sets had some uneven ensemble moments, the performance served to showcase Pike’s strong, confident way with a song. He may not be as well-known as fellow vibraphonists Lionel Hampton and Milt Jackson (both of whom influenced Pike), but here he proved their equal with an uninterrupted flow of improvisational ideas that came with drive and persistence.

It was the first meeting for Pike and Iceland-native Bjarnason, and the guitarist’s accompaniment sometimes seemed at odds with the vibes. Pike, who likes to close each number with an extended, vibes-only passage, also had trouble getting his trio mates to stop their play or rejoin these efforts seamlessly. But aside from those rare instances, the opening sets were beautiful in sound and smart in their invention.

Vibraphonists, like drummers, are visually exciting musicians. Pike was on his toes for much of the performance, dancing from end to end of his instrument as his arms swirled and pounded. Sweeping gestures and dynamic swings across his body heightened this experience as his mallets often blurred with the speed of his play.

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Pike’s style isn’t as bluesy as Jackson’s or as swinging as Hampton’s. Instead, it’s a varied, modern approach that reflects his experience with hard-boppers from Curtis Counce and Dexter Gordon to such ‘60s experimentalists as pianist Paul Bley. His harmonies, especially when stating themes, resonated in surprising ways, and his solos frequently referenced other tunes as part of a rolling, narrative style.

These unexpected harmonies sometimes made for rocky moments with guitarist Bjarnason’s accompaniment. But on his own, Bjarnason soloed with skill and content, stringing together long, lyrical lines that moved aggressively during up-tempo numbers, and with considered grace during ballads. His play on “Body and Soul” was delicate and moving, bringing new light to the often-illuminated standard.

Bassist Smith, recently a member of the string section that accompanied fellow-bassist Charlie Haden’s Quartet West in a 10th anniversary concert, is an unruffled accompanist who, like Haden, provides the kind of alert, expansive support that allowed Pike to follow his whims.

Smith kept accurate, propulsive time without help of a drummer, and his solos held both long, surprising melodic lines and clever, briefly repeated riffs and circular figures.

The sets visited extremely familiar tunes: “On Green Dolphin St.,” “All the Things You Are,” and “Autumn Leaves” among them. Though they gave each traditional theme treatments, the three men played solos with rare personality.

The sound, especially good at this venue, gave Pike a strong, ringing vibrato with guitar and bass clearly audible through the sustained notes. Should he get an ongoing date and a consistent band, as he had at Hungry Joe’s some 20 years ago, Pike seems capable of breaking new ground in the rare craft of the vibraphone.