BILLY COBHAM

Drummer Billy Cobham's sophomore effort at bandleader.

1. "Spanish Moss - A Sound Portrait" : - a. "Spanish Moss" (4:11) human-generated wind sounds (synths and cymbals and gongs) open this one before the whole band jumps into a highway-driving cruise through New Jersey or the Taconic Parkway. Beautiful scenery A gorgeously-constructed song with subtle and heavily-nuanced performances from all of the performers--especially Billy, Lee Pastora, and keyboard artist George Duke. (9.25/10) - b. "Savannah The Serene" (5:14) some gentle drums and bass over which Randy Brecker solos in the first minute. I adore John Williams' sensitive bass play on this song. Also George Duke's expert and mature--and innovative-- keyboard work. (9.75/10) - c. "Storm" (2:52) George Duke wind synth washes with Billy's heavily-flanged tom-tom and cymbal play taking over in the second half of the first minute. Interesting. Did Billy have fun with this? In the end, it must have been hard to feel satisfied. (8.75/10) - d. "Flash Flood" (5:08) how could this movement be from the same suite as the previous experimental piece? Musically, they have seemingly nothing to do with one another. At the same time, the polyphonic and polyrhythmic Latin rhythms and horns are wonderful. John Abercrombie's heavily-effected electric guitar solo in the third and fourth minutes is unfortunately contrasted with "real time" Fender Rhodes and, thereby almost lost. Too bad cuz it's a rather nice solo. (9/10)

2. "Pleasant Pheasant" (5:21) constructed over a funk bass line with clavinet and Fender Rhodes and straightforward drumming we get solos from Michael Brecker on sax and then Randy. It's a solid brass rock instrumental with great pace and energy but, unfortunately, it's just one of those songs that feel like they're a dime a dozen; nothing special here except for solid performances. In my opinion a 35-minute album should showcase new and exciting musical ideas not just high quality renditions of things that have already been done. (8.5/10)

3. "Heather" (8:40) very soft and mellow atmosphere, like something for late night radio, created by George Duke's sensitive Fender Rhodes play and John Williams' bass while Billy accompanies without drawing any attention to himself. Michael Brecker's sax gets the first solo--and a thing of beauty it is. Then George gets to tinkle the upper ivories of his Fender while Billy begins to show a little more life beneath--for a minute, but then everybody just kind of backs off--including the soloist! Again: It jsut feels kind of strange (and wastefful) to dedicate almost nine of your 35 minutes to a song of this minimal dynamic I mean, I get the textural nuance and maturity of restraint it takes to perform--and feel this kind of music, but when your reputation comes from being one of the most talented and dynamic drummers who ever held sticks, this seems a waste. (Kudos to Billy and George for having the courage to incorporate this one into their album--and to Columbia Records for sponsoring it!) (17.375/20)

4. "Crosswind" (3:42) Lee Pastora comes out on top with regards to who draws the most of my attention on this one. (Which is a backhanded way of saying, "What a waste!") (8.5/10)

Total time 35:08

I have to admit to being quite disappointed in having given this album so much of my attention today--this despite some fine work from innovative keyboard artist George Duke and rock solid performances from the Brecker Brothers. Billy gave up a lot of prestige to offer this to what I expect was his expectant fan base. After such a fine start with the wonderful Spanish Moss sound portrait, the rest just didn't live up to the same standard of dynamism.

B+/four stars; an inconsistent album of jazz-rock fusion in which a ridiculously-average or overly-subtle Side Two failed to live up to the expectations set by the wonderful Side One suite.

It seems Billy Cobham is best known for his debut solo LP, Spectrum. It's a great album. This follow-up, Crosswinds doesn't seem to get quite the same love. And in ways it's an even greater album. Some have called it "uneven". I just read a comment that someone referred to "Savannah The Serene" as boring, yet was stoked for "The Pleasant Pheasant". Fair enough, horses for courses. Spectrum was potently original and excellent right out of the gate, yet when Crosswinds showed a lighter side people felt it was too laid-back, perhaps weaker for it. I see Crosswinds as far more mature and muscular yet as delicate as a flower petal. These dynamic contrasts amongst the songs show growth and expansion. I get it, we all want more of what came before, especially if it's really good, and Spectrum was really good. Crosswinds has Cobham stretching out into more adventerous and complicated horizons. Not everything great in music is about sheer force and drive. The cerebral aspect on a more contemplative level is essential to broaden the range of human experience and emotion. We can bang our heads all day and some are fine with that, unable to appreciate subtlety, open spaces, and textural detail. Crosswinds has it all and because of the success of all the ingredients, the outcome is a 5 star masterwork.

The first side is one piece, "Spanish Moss ? A Sound Portrait", and is divided into four tracks. The first song features Michael Brecker woodwinds on the right channel, Randy Brecker trumpet on the left, and Garnett Brown trombone in the center. All three dance between the front line and it's a beautiful opener, and it gets even better. When a trombone sings it can be an amazing lead voice and Garnett Brown plays one of the most lovely trombone solos I've ever heard on "Savannah The Serene". George Duke underneath GB's trombone is like a cloud carrying an angel, and although Cobham has a subdued role here it's no less important than anything he's ever done. To play with this kind of delicate pianissimo is extremely difficult and this is an amazing display coming from a man who can conjour the image and sound of a freight train unlike any other. BC's approach and authority is unique and you always know it's him. To his great credit he understands and incorporates all ranges in between dense and sparse and this ultra- fine touch is again displayed on Side two on "Heather". Meanwhile, "Savannah The Serene is one of my all-time favorite tracks?by anyone. First heard when I was 14 years old, is exactly what I found fascinating in fusion and couldn't get enough of and in 1974, as a young drummer who loved BC's thundering cadences and sweeping rolls, found as much amazement in the beauty of a song like this. I didn't forget about John Ambercrombie's acoustic ornamentations. He's not just noodling here, and if anyone thinks so?you just have no soul. JA's contributions also range from wickedly expressive as on the last track "Crosswind" to the ethereal stylings that make so much of this album come to life. JA knows when to play, when not to play, and exactly what to play, and when his guitar does speak, it's quite important and so welcome. Just when you're lulled into unearthly sereneness, something ominous is brewing. "Storm", all Billy, is exactly that. Each drum stroke has a velocity that is powerful, deliberate, and accurate. Just as a single-stroke roll and double-stroke roll sound different even though both are playing repetitive 16th notes, or the left hand is distinguishable from the right, every note BC plays seems to overcome those differences and it's quite unhinged here. Finally "Flash Flood" completes the suite and it's a relentless, uptempo roller-coaster befitting of the name. Our horn and reed section returns and this closing track sweeps hard-left and hard-right, taking out all that dares stand in the way. And that's side one. Side two opens with some strong skunk funk on "The Pleasant Pheasant". No need to describe this great track, you know who's who and what's going on 🙂 "Heather" is another journey into the heart and soul of introspection and contemplation, with George Duke supporting an epic Michael Brecker lead that is perfection. This isn't the only album to feature world class musicians, and having such players doesn't always gaurantee a synergy bigger than the sum of its parts. Not only are these incredible compositions, not only are these incredible players, the outcomes are better than perfect, whatever that can even be. And the closer is where it's at for very good reason of course. And here on "Crosswind" John Ambercrombie shows he's got more than just cream puff sensibilities. There's only one fault with JA's solo?it's far too short.

Yes, Spectrum is a great album. And how lucky we are BC had the foresight to make Crosswinds even greater.

SPECTRUM

This is another beloved jazz rock/fusion album of mine, and it has Mr. Billy Cobham as bandleader and mastermind as it is a solo album of him. I will not repeat here how I got to appreciate this subgenre of progressive rock, it is well explained in Romantic Warrior´s review. What I would like to talk here is more related to this album itself. First of all, my attention was called by the discovery that Mr. Tommy Bolin was the guitar player here. I was an appreciator of Deep Purple album Come Taste The Band, the first one of them I heard in the now fading seventies. But I always heard comparisons among Mr. Ritchie Blackmore and Mr. Bolin; normally considering the former a better (if not much better), than the latter. I could not form an opinion, I have no musical knowledge for that, but in my feelings Come Taste The Band was a VERY good album.

So, being aware that Mr. Tommy Bolin played in a greatly recognized jazz rock/fusion masterpiece, it lead me no conclude that there is absolutely no need to not consider him an high above average player; and greater became my sorry for his early death imagining the musical wonders we could get from him. What about the album? Some comments below

Mr. Billy Cobham, the bandleader is a drummer. Drums are not exactly what would be called a melodic instrument, and for many people exposure to drummers´s excess are not welcome. I do agree with them, the only drum´s solo I stop to listen are the two first ones I got in touch yet in those fading seventies, John Bonham in The Song Remains The Same and Ian Paice in Made In Europe and this is one of the reasons they are my favorite drummers. In this album, Mr. Cobham got it clear this is his solo album and he leads it; and also that he is an above average drummer. He got this achievement WITHOUT those excess that turns drumming playing some of the times boring. Very good and very well done.

Second point is the young Tommy Bolin playing his own way, without the shadow of any other master to haunt him. As long as Romantic Warrior makes keybord´s lover shivers, this is right what happens here with guitar´s appreciators.

Another known player here is Jan Hammer, who makes a strong contribution in the keys. There are many others players in this album and all of them experts and able to deal with the challenges of jazz rock/fusion. And what are the best songs? Chose your favorite tracks. I do prefer the ones where strongly shines the spirit of young Tommy Bolin.

Compass point is one of the better live fusion records by Cobham from the post 2000 part of his career. He's accompanied by younger jazzmen who bring fresh attitude and less conventional soloing. Proficient keyboard and guitar playing help get the fusion feeling but it's Cobham who precisely lives and feels the rhythm that is often changing. Bass playing is adequate and intensive. From time to time, we have more subdued post bop jazz moments like on "Egg shells still on my head" or "Les cocos". There is good playing with tension and graduation. My two highlights are the referential first track "The snaffler" due to powerful solos but also "Obliquely speaking" thanks to killer bass lines and high intensity. The "Crosswinds-Stratus" version is OK but not above average (not great not terrible!).

All who know Cobham's discography know that he abandoned the initially thundering and frenetic drumming approach in the 80's switching to a more sophisticated technically equally challenging drumming in the 90's and 00's. The former fusion numbers with reworked sound worse to me but later pieces are better suited for this style. About 50% of his post 90's records are primarily post-bop driven albeit there is enough alteration and fantasy in drumming to set apart from conventional post bop. On this record, the combination of acoustic piano and saxophone predetermines the direction to be much more jazz than rock oriented. This live recorded is complemented by Ron Carter, the top bass player. Playing is very mature, sophisticated and far from boring. I won't lie and say that I'm mainly interested in piano and drums on this record. You will hear upbeat and more reflective number. Cobham is the primary magnet as his playing is most energetic. Recommended for contemporary jazz lovers.

Panamanian born BILLY COBHAM moved to the USA at the tender age of 3 and started playing drums the very next year at 4 in his new Brooklyn, NY based place of youth and would go on to study at The High School of Music & Art. Unfortunately COBHAM got drafted into the US Army in 1965 but escaped the battlefields of Vietnam by playing in the US Army band but it was after his discharge when his career really took off when he played with Horace Silver and as a session musician for bands such as CTI and Kudu. After a short gig in the band Dreams with other jazz greats like Michael Brecker, Randy Brecker and John Abercombie, COBHAM hit the big time by appearing on Miles Davis' early contributions to the fledgling jazz-fusion scene on the classic albums 'Bitches Brew' and 'A Tribute To Jack Johnson.'

It was playing with Miles where BILLY met another up and coming jazz-fusionist, John McLaughlin and the two would continue on to start one of the early 70s most revered bands in the form of the Mahavishnu Orchestra which took jazz, rock and ethnic fusion into the stratosphere and in the process created one of the most successful progressive bands of the entire era. The band played extensive gigs and released three albums but none of the members were really interested in the glory of rock star superstardom and the pressures and fatigue set in and the band fell apart. Fresh from the exhaustive journey with the Mahavishnus, BILLY COBHAM wasted no time working on his own material for his solo album and after recruiting a handful of talented musicians to accompany him on his new endeavors. The wheels were greased for the making of BILLY's debut release SPECTRUM which emerged in 1973 just as the Mahavishnu Orchestra was calling it quits.

In many ways SPECTRUM was a recap of COBHAM's previous works with Miles Davis, the Mahavishnu Orchestra with the funk jazz of artists like Herbie Hancock. The album consists of six tracks of which three have subparts used as intros. The album is basically a mix of two lineups with COBHAM leading the way behind his massive drum kits along with keyboardist Jan Hammer following his footsteps fresh from the Mahavishnus himself. The rest of the musicians were technically sessions musicians with guitarist and future Deep Purple member Tommy Bolin and bassist Lee Sklar playing on four tracks ("Quadrant 4", "Taurian Matador", "Stratus" and "Red Baron') and saxist, flautist Joe Farrell, flugelhorn player and trumpets Jimmy Owens, guitarist John Tropea, acoustic bassist Ron Carter and conga player Ray Barretto playing on the other two tracks ("Spectrum" and "Le Lis.')

This was COBHAM's debut as a composer and he steered his new musical creation into extremely diverse territories that offer a taste of the fiery bombast of what the Mahavishnu Orchestra offered as well as tender atmospheric funk driven grooves that offer touches of the zeitgeist of 60s psychedelia along with the Panamanian Latin roots of COBHAM's origins. The album was also a surprise hit for COBHAM as it hit #1 on the jazz album charts and #26 on the Billboard album charts signifying that the fans were along for the ride for COBHAM's next musical career change. The album is electrified from the very beginning as 'Quadrant 4' opens with an eruption of percussive beats and a ripping guitar solo that continues to build up steam until the bass and keys join into generate a top notch funkified jazz-fusion sound that marries the jazz-fusion sensibilities of Miles Davis with a fiery brand of heavy rock in the vein of Led Zeppelin, Deep Purple and many other popular bands of the era.

After the no nonsense opening bravado, 'Searching For The Right Door / Spectrum' begins the process of more thoughtful jazz fueled compositions. Once again opening with a strong drumming solo performance the track bursts into the guitar free zone with the emphasis firmly placed on the Moog synthesizer, flute and ever present groovy bass. The track takes on some Mahavishnu characteristic with demanding time signature changes and keyboard tradeoffs along with some sizzling sax workouts along with a tremendously tempestuous trumpet performance. 'Anxiety / Taurian Matador' as the name implies begins with a fiery heavy rock drum soloing intro before another cleverly composed mix of jazz, rock and funk only Bolin's guitar antics that began the album are on full display once again.

'Stratus' exhibits a more disciplined restraint with subtle atmospheric constructs slowly percolating up to the point COBHAM begins to deliver another stellar drumming frenzy with some experimental electronic keyboard touches but ultimate three minutes in the track turns into a groovy bass driven track with funk guitar only augmented with jazzy chord progressions and a controlled series of guitar licks that lead to more energetic outbursts of freneticism that manage to maintain a firm grip on the overall melodic construct. 'To The Woman In My Life / Le Lis' starts out as a piano ballad but quickly becomes a swinging sultry display of a groovy bass along with beautiful wind instrumentation. It's also unusual in that COBHAM didn't play on the track and allowed Hammer to create an unaccompanied piano piece. The album ends as brilliantly as it began with the ridiculously cool 'Snoopy's Search / Red Baron' which starts a series of experimental synthesized sound effects that sound like something off of a Klaus Schulze or Tangerine Dream album before finishing the album off with another strong jazz-fusion meets keyboard funk number with the now well established virtuosic displays of percussive drives and keyboard wizardry.

SPECTRUM may not have been as revolutionary as COBHAM's works with Davis or the Mahavishnus but what he does accomplish on his debut album is to prove once and for all why COBHAM has been designated as THE top drummer in all the world of the jazz- fusion. Not only does he display a cool as a cucumber approach of restraint and a healthy mix of both allowing the other musicians to have their moments as well as letting loose himself but he also showcased his abilities as a composer that nurtured six super strong tracks into fruition. I have to admit that SPECTRUM was somewhat of a grower. It struck me instantly as a 4 star album for its brilliant performances but only after several listens did the subtle start to seep into my consciousness. SPECTRUM may not be a free for all display of virtuosic wankery that defined the Mahavishnu Orchestra and it may not carry the same abstract detachment and musical construct of the more surreal moments of Miles Davis but rather it took elements from both and crafted a more accessible funk fueled visionary approach that would be made popular by fellow jazz artists like Herbie Hancock. In other words, this is a flawless and totally fun album.

I'll start with what I perceive as the weak spot of Stratus: it sounds like safe, "smooth jazz" in places. "AC/DC" and "Total Eclipse" are prime examples, although each has its charms, and the piano work on "Total Eclipse" is excellent. But overall, I get the feeling that five excellent but risk-averse musicians got together for a gig and nailed their parts on the first take.

OK, now that's out of the way. Stratus is a good listen. Compared to Mahavishnu Orchestra's Birds of Fire - - the other album I have that features Cobham - - Stratus is less adventurous but more consistent. Interestingly, this is true of the drumming as well. I'm not sure if this is common when the bandleader is the drummer, but Cobham opens the album with a half- minute solo, which he picks back up on side two for another three and a half minutes. And that's pretty much it. The rest of the time, the spotlight is on someone else in the band - - not the guy who's name is on the cover.

And the other members of the band are great too, especially bassist Tim Landers and violinist Michał Urbaniak. The quintet was rounded out by Mike Stern (guitar) and Gil Goldstein (keyboards). Urbaniak and Stern each later played with Miles Davis, for whom Cobham played on "Feio" from Bitches Brew. While Cobham wrote four of the tracks on the album, the other four musicians wrote one apiece.

Stratus may not be an essential fusion album, but it's a good one. Three stars.

A mixed back of first-class fusion music, mediocre fun attempts with vocals and keyboards to funky songs - this record showcases all musical career stages in the 70's. The best tracks are instrumental ones and longer ones. Guitar playing is tasty and subdued, keyboards are versatile and omnipresent, the drums are dynamic and the bass is a decent complement. One track is features Cobham on electronic drums. I had acquired the CD long time ago but still find it pleasant due to its quirks and interesting line-up. It's a pity that the album clocks at only 46 minutes - normal concerts are much longer. Recommended to all 70's fusion fans as this is one of the better efforts.

The best live performance by Billy Cobham - all performances are motivated, precise and filled with energy. The two new tracks are focused around drums, "Shabazz" being more of a band effort then "Tenth Pinn". The brass section sounds more live than on any of BH studio albums and shows also more presence. The first and foremost purpose here is a jam feeling - instead of playing by notes, improvisation is highlighted.

Good old times are remembered with "Taurian Matador" with frenetic guitar runs, drum patterns. Wait for the masterful clavinet solo in the middle of the track that flows into Fender Rhodes improvisation. "Red Baron" is the only laid-back grooving track - sounds better live than on the studio album. "Tenth PInn" is by its discohesiveness not too far away from Miles Davis late 60's output - experimental, searching and ear-provoking. This track is an acquired taste for patient and depth-looking listeners. A great live record with fusion in the centerfield unlike later live albums.

Even more ambitious than the previous first two records and almost as good in execution as the debut album, on Total Eclipse, maturity is nice mixed with young explosiveness and energy. This record offers a right mixture of complexity, player dexterity, compositional quality and side players involvement.

The first epic track is a modular suite and ranges from mellow passages to drum solo and torrid fusion jam. The beginning has a progressive rock driven pattern but the drumming intensity is clearly a trademark of Cobham ;) Everybody wakes up to these devilish guitar and drum interplay followed by piano/brass loaded intermezzos. Second Phase reliefs the tension with soft piano licks and transforms into a George-Duke-like funky territory. In the style krieg, the familiar fusion motive takes over and hellish tempo welcomes the listener. A fabulous composition!

"Lunarputians" reminds me of Eleventh House - it is a well coloured accessible energetic short track.

"Total Eclipse" meanders between funky and fusion side of things. Of note is jazzy piano stylistically closer to traditional bop than funk - a great contribution by Milcho Leviev. John Abercrombie tasteful play comes into spotlight by the end of the track.

"Bandits" is noteworthy because of drum and bass duo, the track is clearly not here to impress compositionally but to show the instrumental capabilities of the rhythm section.

Another killer drum pattern comes in "Sea of tranquility" - sounds calm at first listen but it keeps being busy. The brass players make a great job here with plethora of instruments - flugelhorn, saxophone, trumpets, etc. This track continues being intensive despite its name and laid-back atmosphere.

The last track gives way to a long drummer's solo and unpretentious reflection of the piano player.

Only slightly below the first Cobham's record and still 4.5 stars!