Reggie Workman

The recordings on Synthesis were a live date in 1986 where Workman was performing with reedman Oliver Lake, pianist Marilyn Crispell, and drummer Andrew Cyrille. At this time, Crispell was still very much a part of the Anthony Braxton Quartet, and her playing here reveals that influence: many of her solos incorporate long phrases from his compositions. As a quartet, this band has some interesting things to say. There is fire in the group interplay andLake's playing in particular is very inspired. But there are some weak links in the chain, and unfortunately the weakest is Workman himself. This is difficult to say about a musician of his caliber, but as a leader here, he is far behind his band members to pick up the intuitive cues they set out, sometimes especially for him to follow. Perhaps it was a bad night, perhaps there was something wrong with the acoustics in the room, but as Crispell opens her heart into the mix where it is greeted warmly by Lake and Cyrille, Workman is dragging, playing through cues and line changes we have heard from him many, many times before. His playing is flat and unimaginative. It is a blessing, however, to have the remaining trio -- Crispell in particular -- work ever harder to make the proceedings come off as well as they do. It becomes ever clearer as the set goes on that Lake is listening to Crispell for rhythmic cues and key changes; she is playing both parts and does so without sacrificing anything. Her soloing on this night was particularly lyrical and full of a kind of space she doesn't often express. Lake's flute improvising here moves his own experience of the instrument into new realms as he counters both Cyrille's percussion and the melodic invention of Crispell's harmonic palette. This is a good album that could have been a great one with another bassist, as hard as it is to say, but at least Workman gets considerable credit for putting this ensemble together. ~ Thom Jurek, All Music Guide