SIMPLICITY OF EXPRESSION, DEPTH OF THOUGHT

As always, Billy Cobham fearlessly spreads his wings, incorporating any and all new styles and sounds, musicians and technologies into his purview--and always, always remaining steadfast in his commitment to providing seriously- crafted, fully-polished song.

1. "Bolinas" (4:25) percussion bells and bass notes open this before a smooth ISLEY BROTHERS-like funk groove sets up Kamal for his Ronald Isley-like vocal. Very, very nice Smooth Jazz that obviously has pop/radio aspirations with the vocals being central to it all. Great tenor sax solo from Eddie Daniels in the first half of the third minute, then we're back to the pop-Adult R&B music with Kamal commanding our attention with his great vocal. I mustn't forget to mention the wonderful presence of a full orchestra, under the direction of Jay Chattaway, the strings led by David Nadien. (9.3333/10) 2. "La Guernica" (8:05) a dramatic song with a Latin flare (especially coming from bass player Randy Jackson) that has become a concert and fan favorite of Billy's over the years, it has great performances from Billy (of course), guitarists Charles Singleton and Steve Kahn and keyboard player Mark Soskin. Though the inputs from the orchestra are rather minimal, I do like their presence. (15/15)

3. "Pocket Change" (6:30) another pop-oriented tune whose vocals, Donald Byrd/Blackbyrds-like group choral and solo style, fall more into the realms of Soul/R&B with a Black American perspective and humorous attitude. Lead vocalist Charles Singleton is rather weak when he tries for those Philip Bailey-like falsettos, but sufficient in the middle ranges. I don't mind this style of song but this particular example is nothing to get too excited about. (8.75/10)

4. "Indigo" (6:50) a Smooth Jazz/Disco Lite vehicle for Mike Manieri's vibes, guitarist Peter Maunu's "distant" twangy electric guitar, and keyboard maestro Joachim Kühn's Moog to solo. Very lite beach cabana/"Yacht" music. (13.125/15)

5. "Opelousas" (4:51) Billy's nuanced solo drumming opens this one before Randy Jackson's funk bass joins in to begin to create another Black-centrified R&B tune with Charles Singleton singing/rapping lyrics expressing the day-to-day issues and concerns of Black America in a fashion that sounds very much like future CAMEO. Excellent bass and drum play; okay song. (8.875/10)

6. "Early Libra" (7:13) electric piano (Joachim Kühn's Moog?) opens this mood-steering song that follows a very dramatic course from soulful Ronald Isley-like ballad to drum-and-orchestra crescendo before collapsing back into soulful plaintive-speak for the finish. Great musicianship throughout but the dramatic rollercoaster ride might have gone a bit over the top with Peter Maunu, Billy's, and the orchestra's big loud crescendo in the sixth minute. I like Kamal's vocal on this one even better than the album's opener (cuz I love the smooth voice of Ronald Isley and his imitators). (13.5/15)

Total Time 37:54

Though this album is flawed and dated it contains some amazing musicianship, not the least of which comes from Mr. Cobham himself, and, as other reviewers have rationalized, you can tell that Billy is fully invested in the music he is making: never shirking or shorting on commitment to fully-developed and fully-polished music (which is one of the things I've enjoyed about listening to any album bearing his name: that commitment to excellence).

A-/five stars; another minor masterpiece of eclectic Jazz-Rock Fusion that expresses Billy's unwavering devotion to releasing only first-class music.