BILLY COBHAM

This time incorporating the talents of some old favorites along with the continued promotion of some of his new collaborators (including the Escovedo family), Billy continues to remain staunchly loyal to the principles of sophistication and quality of "peak era" Jazz-Rock Fusion even if this is his most Latin-heavy production to date.

A1. "Inner Conflicts" (10:49) Instead of one of Billy's stark drum solos that he occasionally enjoys placing on his albums, we have here an experiment with drums, programmed drums, and synthesizers all woven together. I do not have a problem with this--especially in light of the album's title. I do, however, find myself a little annoyed at the effects placed upon the drum sounds (like I did on the last song of the Billy's previous album. I find the flange effect particularly cool when the drummer is keeping time or when the song is fading in or out, but when the drummer is this active and nuanced it feels diminishing.) The manual synthesizer work is not very melodic nor is it sophisticated-- not unlike Larry Fast's work on his Synergy albums or Patrick Moraz's The Story of I album. (17.625/20) A2. "The Muffin Talks Back" (9:52) opening with quite an interesting (and somewhat distracting) combination of synths, rhythm guitar, and percussive creating a kind of funky Star Wars "Cantina" sound world, the music soon launches into a before smoothing out a bit in the second minute into a kind of Latin-Disco true Jazz-Rock Fusion song. The electric guitar solos (and rhythm play) seal the deal--bringing a two guitar "Prince of the Sea" feel to it like Lenny White's final song from Venusian Summer. (This marks the nth number of times my brain has noted similarities to Lenny's 1975-76 production in Billy's albums from the period soon after.) The performances from everyone involved are quite dynamic, especially the three percussionists and keyboard maestro Don Grolnick. The vocal interjections are a bit odd, as are Al[ph]onso Johnson's bass chords in the seventh and eighth minutes as well. The final two minutes feature an awesome electric guitar solo riding on top (or within the percussion weave) that I'm guessing is Steve Kahn's guitar. If you're a lover of wildly-full percussion work, this would be a great song for you to enjoy! (18.5/20)

B1. "Nickels And Dimes" (7:21) a very interesting and engaging song with multiple motifs each with its own tempo and melodies--the second one really putting Ruth Underwood (Zappa)'s xylophone and the amazing horn section to the paces. A highly complex funk weave. Wonderful stuff! The music smooths out a bit in the fourth minute with a nearly- straight-tempo pattern over which George Duke is given copious time and room to perform a nice Fender Rhodes solo. Then we turn to more percussion based section with bass, winds, and "distant" horns backing John Scofield's extended guitar solo. At 6:10 we return to the "Can't Get Next to You" Discofied motif for some excellent work from the horn section and some prime Billy Cobham drumming. (14.25/15)

B2. "El Barrio" (6:30) another Latin percussion-dominated intro weave that finally gives way at 3:00 to a very pleasant Cubano-feeling motif in which whistles, timbales, bells, and bass are woven into a cheery, upbeat sound reminiscent of stereotypic Latin carnival. The welcome sound of Julian Priester's trombone is given the song's first solo, followed by a somewhat quieter guitar (mixed within the weave of the horn section) from Steve Kahn. Julian gets some shine again as the song ends. I would very much have preferred if this song had been extended! Too bad! (9.25/10)

B3. "Arroyo" (4:15) a slower almost SANTANA-like song with more great interplay between the percussionists (including Billy) while Alphonso maintain's a steady melodic groove over the top within which George Duke's keys and John Scofield's acoustic guitar take turns offering smooth, steady solos (almost in deference to the awesome groove being maintained by the rhythmatists). Nice finish if a slight comedown from the highs of the other four songs. (9/10)

Total Time: 38:51

Once again I feel ever-so grateful that Billy Cobham remains firm and true in his commitment to the high principles of "peak era" Jazz-Rock Fusion: refusing to slide into the easy job of creating Easy Listening Smooth Jazz (which we know he is capable of). The man was and still remains a staunch promoter of high-class Jazz-Rock Fusion.

A-/five stars; another minor masterpiece of "peak era" Third Wave Jazz-Rock Fusion from one of the "true believers" of the movement.

Another new lineup of collaborators does not mean Billy Cobham will sacrifice any of his integrity: he remains firmly committed to the high-fallutin' principles of high-quality, sophisticated Jazz-Rock Fusion.

1. "On A Magic Carpet Ride" (5:08) despite the impressive RETURN TO FOREVER opening 20 seconds, this songdemonstrates that Billy has now climbed on board the popular Disco train. At the same time, this song shows off his new international ensemble and the fact that they can pull together an impressive yet accessible (and melodic) display of group cohesion and virtuosity. New bassist Randy Jackson is much more oriented to accents, melodies, and syncopation than his predecessor (Gattling Gun Doug Rauch) and much more comfortable within the newer Disco parameters. 23-year old guitarist Peter Maunu had only been present on a few recordings at this point in his storied career and Billy, always a quick study of fresh young talent, knew what a find he had here: letting him take the lead for a good chunk of the song. Really impressive piano play from Joachim Kühn (and/or Mark Soskin). Too bad they felt that they had to fade out after five minutes--right in the middle of some fine soloing by Peter Maunu. (9.333/10)

2. "AC/DC" (5:27) spacious Latinized funk with the Escovedo family well-engaged (sister Sheila ["E"] having only burst onto the music scene in the previous year), it's bassist Randy Jackson who, as on the previous song, seems to dictate the pace, space, and melodies! After 90 seconds of spacious syncopation, the electric keys enter and smooth things out--over which Peter Maunu lets loose with a pretty awesome NEAL SCHON-like guitar solo while Randy funks things up below with some slap and pluck bass playing. Then Joachim Kühn takes a turn on the MiniMoog play provding us with an awesome and even rather amazing solo. Then things kind of let us down gently to the full stop finish. (9.25/10)

3. "Leaward Winds" (3:39) a melodic and Easy Listening tune on a par with those of Bob JAMES in that the musicianship is still top notch and subtly sophisticated. A little Steely Dan feel in the keyboards and chord progressions while Peter provides another super-engaging guitar solo up top. Mark Soskin is next with his piano solo while also sassing things up beneath with some Oberheim synth stuff. (9.25/10)

4. "Puffnstuff" (6:23) more peppy, bouncy, almost "light" Easy Listening Burt Bacharach-like Jazz-Rock Fusion; the Day of the Melody is here: all that showy-offy speed racing may be in the past. The performances in the weave above the rhythm track are still amply sophisticated but they are also fun and enjoyably melodic. I love the piano chord play and clarinet solo in the first two minutes. Then, in the third minute, there is a sudden and drastic shift in both mood, energy, and tempo as the band launches into a Discofied power J-R Fusion passage that presents/contains a Public service call to quit/desist from the use of marijuana! Funny! Then the band equally comically switches back to the opening "lite" and carefree melody and mood. Brilliant--both parts! Definitely a top three song--probably my favorite just for its quirky oddness and light-heartedness. (9.75/10)

5. "'Antares' - The Star" (5:11) another great tune with lots of carnival-esque Latin flavor (grâce à the Escovedo family, again) with some equally great drum play from Billy, instinctual bass play from Randy Jackson, guitar and clarinet play. (I am unexpectedly loving the presence of the clarinet on these songs!) (9.125/10)

6. "Magic/Reflection In The Clouds/Magic Recapitulation" (13:33) opens like a response to the previous year's RETURN TO FOREVER release, Romantic Warrior, but then turn a bit more toward a George Duke-like sound. I'm not liking the flanged, compressed-muted effect imposed upon Billy's drums but ti's fine on Randy Jackson's fretless bass. The presence of the Oberheim synth is also a bit odd--bridging Billy's work more into the world of progressive rock than ever before. Add the male and female jazz/Broadway vocals in the middle of the song (performed by Pete Escovedo and Kathleen Kaan) also give this more of a Chick Corea aspect. This is followed by a gorgeous piano solo from Joachim Kühn and then some nice electric guitar from Peter Maunu that is paired nicely with the Gayle Moran-like voice of Kathleen Kaan. The aggressive/abrasive final minute is just weird--and meant to reinforce the fact that this is Billy's music, Billy's band, Billy's album. A pretty cool, pretty eclectic suite that is, unfortunately, engineered rather strangely. (26.75/30)

Total Time 39:21

Hello and welcome, Randy Jackson! Peter Maunu! Welcome to American audiences, Joachim Kühn!

A-/five stars; a minor masterpiece of high quality Third Wave Jazz-Rock Fusion. I really am impressed by Billy's unwillingness to concede to the contemporary pressures to "sell out" and simplify for the masses: he stands staunchly-committed to the skillful and sophisticated (jazzy) side of Jazz-Rock Fusion. This is close to being my favorite Billy Cobham album from the 1970s.

Bulgarian keyboard virtuoso/composer Milcho Leviev is gone but Billy's demands of his support crew remain incredibly high, his compositions still quite sophisticated. I was really looking forward to hearing this album after seeing Doug Rauch and Allan Zavod on the call sheet--and for the sake of wanting to give John Scofield and George Duke yet more chances to win me over. (Their skills are always impressive but their styles and melodic sensibilities don't seem to align with my own.)

1. "Life & Times" (6:58) Nice racing song that puts on full display all of the principles, with very impressive solos from Scofield, Duke, and, dream of dreams, Doug Rauch. (Weird that I never really heard an "organ"!) Billy is, of course, ridiculously impressive. (13.75/15)

2. "29" (2:28) another song in which the musicians are asked to sprint from point A to B, the musicianship is quite impressive, and there are some nice melodies worked into the mayhem as well as some impressive solos, but it's just not, overall, a song that one can easily "get into." (8.875/10)

3a. "Siesta" (3:36) as if hearing my "complaint" from the first two songs, Billy has the band slow things down and finally use space as an additional band member. Also, as if taking a cue from former compatriot John McLaughlin and recent Return To Forever albums, the musicians are asked to perform on acoustic instruments--including some strings players to replace the bass. (9/10)

- b. "Wake Up!!!!!! That's What You Said" (0:04) just what the title says. All four seconds of it.

4. "East Bay" (6:08) this one sounds like a piece that could've been generated from the former conglomerate band of New York City-based future Hall of Famers that called themselves DREAMS for the three or four year duration of their association (back in 1968 into 1971). The funk is present but slowed down to a swaggering pace while John Scofield is given the bulk of the lead instrumental play as the rest of the band just strut around the rhythm tracks. Kind of cool! (9/10)

5. "Earthlings" (5:04) the only non-Cobham composition (attributed to John Scofield). John plays lead over active keyboard play from George's Fender Rhodes, Dougie's gattling gun bass note production, and Billy's impeccable swingtime. George gets some extended solo time in the fourth and fifth minutes to display his keyboard ideas and then mirrors/harmonizes with John's guitar play for a nice final section--my favorite part of the song. (9/10)

6. "Song For A Friend (Part I)" (5:03) a rather unique opening with slowed-down Cowboy-Western theme over which an odd synth slowly soars and falls as if a rocket being launched into the sky and then descending to the Earth--all the while the Fender Rhodes and gently picked guitar and bass and Billy's rim shots and hi-hat work keep Rancher's time. A highly unusual song: for Billy, for Jazz-Rock Fusion, for recorded music. I really like this! Again, it's nice to have songs in which space and airiness are explored to balance out the frenetic music of those other barn-burners. (9.25/10)

7. "On A Natural High" (5:17) a funky drive through town in the convertible (with the top down, of course) cruisin' all the hot spots (probably running into the Fonze, Spike Lee, and the Fresh Prince at various points along the way). Doug Rauch's very active bass play, I think, makes a nice complement to Billy's steady-yet-nuanced drum play--and George Duke seems to bridge the territory between John Scofield's squawking guitar play and the rhythmatists quite well. For me, this might be the song that works the best: melding rather perfectly on all levels. (9.25/10)

8. "Song For A Friend (Part II)" (4:43) a repeat/revisitation to the previous "Song for a Friend"'s Western cowboy motif with a different approach from John Scofield--using miked-up acoustic guitar instead of gentle electric--and from George Duke with richer, more sustained chord play from his Fender Rhodes. Nice melodies from John with excellent supportive chord play from George (while pushing that weird Prophet 5 synth portamento space note play a little more into the background). Another favorite. (9.25/10)

Total Time 39:21

I can see how the excessive number of notes demanded of the musicians on these highly-complex songs might fatigue and/or put off some listeners but at least there are more melodies to connect with. At the same time, Billy has considerately tried to balance out the fare offered on this album with several less-than-breakneck-speed songs for the listener to settle into. And, if you're at all interested in hearing basss sensation Doug Rauch in all his glory, this might be the absolute best album in which to do so--especially as his drug addiction issues would, sadly, render him pretty much unreliable and unemployable in the next year or two. (He would be dead in three years--at the unfortunate age of 28.)

A-/five stars; a most excellent full-spectrum presentation of Jazz-Rock Fusion at its finest if not most melodic. Highly recommended to anyone who has not heard it.

The first of a series of albums that Billy Cobham uses (with the inspiration of Bulgarian classically-oriented pianist/composer Milcho Leviev) to expose his commitment to seriously sophisticated musical composition.

1. "Panhandler" (3:50) a funk song that demands a lot of its players--especially the horn section, but these professionals are at the absolute highest echelon in music's talent pool. The song is okay but more fascinating to listen to the horn section. (9/10)

2. "Sorcery" (2:26) another great groove, this one a little less funky, on which Billy once again places rigorous demands on his horn players. I think I'm catching on to Billy's focus on this album: to show off his skills as an arranger. (9.125/10)

3. "A Funky Thide Of Sings" (3:40) a steady bass line with rich percussion contributions that sounds a lot like a blend of the DAVE SANBORN and KOOL AND THE GANG approaches to funk is complemented by a slightly less star-studded horn section. Sax player Larry Schneider is asked to lead throughout a lot of it. (8.75/10)

4. "Thinking Of You" (4:12) exploring the smoother, Disco-er side of jazz-rock fusion with a rotating crew of individuals stepping up to lead, including, synth player Milcho Leviev, trombonist Glenn Ferris, sax player Michael Brecker, trumpeter Randy Brecker, and guitarist John Scofield all getting a little time up front. (8.75/10)

5. "Some Skunk Funk" (5:07) a great song (attributed to trumpeter Randy Brecker), demanding tremendous skill to pull off, that once again lacks that special ingredient that makes one want to hum along: you want to dance, you want to study and marvel at the individual musicians, but there's nothing you'll be haunted by in the hours or days afterward. (9/10)

6. "Light At The End Of The Tunnel" (3:37) stealing the melodic rhythm track from Motown Temptation's "Can't Get Next to You" and then trying to make it different with interesting horn and lead guitar play over the top is like stealing a car and then spray painting it a different color. The solo voce drum play at the very end is the highlight for me. (8.875/10)

7. "A Funky Kind Of Thing" (9:24) solo drum play over the entire ten minutes! It always amazes me how Billy Cobham can create mood and funk with only himself and a drum set (and an engineering console). I can not think of many drummers who have this talent. (17.5/20)

8. "Moody Modes" (12:16) cymbals, electric piano, electric bass, and synths open up to create a nice dreamy "late night" motif--which is joined (bubbly slightly burst) at the 90-second mark by the horns. Piano takes over in the middle of the third minute. The pianist. Milcho Leviev is, you might recall, an incredibly talented pianist, composer, and band leader with quite a pedigree and c.v. back in Bulgaria before Don Ellis lured him across the pond to co-lead his orchestra from 1970-75. Though Ellis was quite the promoter, molder, and mentor to young and foreign talent, Don's relationship with Milcho was prompted by his tremendous respect and admiration for the Bulgarian music traditions and compositional (and piano) prowess he exuded. Billy began associating with Milcho in 1971 with the artist appearing on Billy's albums Total Eclipse (1974), this one, and Shabazz, a live album which would appear later in the same year as this one. Overall this long song plays out more like a soundtrack or classically-tinged suite than anything resembling anything else on Side One of this album. A marvellous song, though still lacking in melodic hooks and definitely lacking in infectious grooves. This one is for the intellectual music lover. (23.5/25)

Total time 44:32

A collection of demanding, sophisticated songs that all take considerable skill to perform but which somehow lack that special something that makes for a catchy earworm--a song that you want to push "repeat" for. Again, it feels obvious to me that Billy's focus on this album was most surely the task of proving he could write and arrange uber- sophisticated songs and then get the right team of musicians that he could then motivate to top-notch performances.

A-/4.5 stars; even though this isn't a favorite album--does not contain enough whistle-and-dancd along songs for my tastes--it is an album I have to rate up for the astounding skill level of the musical collaborators.

Another go at the Milano-based collaborations with Nicolosi family and a whole bunch of all-star guests. Fasten your seat belts: Billy is on fire; a funk rampage!

1. "Electric Man" (7:06) great Jazz-Rock Fusion led by Rossana and Billy's hard-driving rhythm track while Lino and Pino provide rich support (with some awesome Jan Hammer-like synth riffing from Pino), but it's Brian Auger's spirited performance on Hammond and Fender Rhodes throughout that provides many of the song's highlights. Nice to hear Brian still at the top of his game (Billy, too!)! (13.75/15) 2. "Alive" (5:14) Chaka Khan and Dora Nicolosi singing together, side-by-side! Pinch me cuz I must be dreaming. Both ladies are given multiple tracks to form a pretty awesome choir effect to the vocals, start to finish, but it's really Chaka's song: her voices and stylings given far more prominence than those of Dora. The foundational music is pretty basic Jazzy-R&B with some truly excellent rhythm guitar work from Lino and some awesome keyboard support (and soloing) from Pino on both Fender Rhodes and Hammond. Such great sound engineering from the Nicolosi Brothers! (9/10)

3. "Roller" (8:24) George Duke and Bob Mintzer are the featured artists on this truly funky ride on which Billy really lays down some extraordinary chops! Matter of fact, this is one of the few songs I've ever heard on which Rossana's bass playing doesn't seem to "fit": it's really 100% Billy creating and holding down the funk! George and Bob pretty much spend the first two minutes repeating and reinforcing the same melodies, playing in tandem without even creating any harmonies. George's Nord synth soars and dives like a firecracker in his solo in the fourth minute while Pino holds down the mid-range with his Fender Rhodes. Bob finally gets a nice, long solo in the fifth and sixth minutes--with the band transitioning into a kind of cool bounce-rhythm in that sixth minute--which serves to amplify attention to Billy's amazing drumming (and give Rosanna a little space in which to inject some of her own creative flourishes). Not annoying, but I'm not really much of a fan of this sax soloist's style--nor of the "bounce-rhythm"--especially when they're both extended over four minutes! With only a fadeout saving us from having to endure more. Were it not for the light it gives to hear/study Billy's playing, it would be a real yawner. (17.5/20)

4. "We The People" (5:34) Gino Vannelli! (One of my all-time favorite vocalists and music creators.) At first his voice sounds more like Simply Red's Mick Hucknal, but then, with the arrival of the first chorus, we finally find Gino breaking into his disctinctively forceful and exclusively unique sound. Solid song on which one of Jazz-Rock Fusion's great vocal masters shows why he is revered the way he is--and should be! (8.875/10)

5. "Destiny" (6:47) with Alex Acuña stepping in to help out in the percussion department, and guest John Scofield generating the odd lead sounds from his electric guitar, we're off to another great start to another great funky jazz track. Billy and Rossana are back in true sync--with additional help from a percussive synth bass and some of Pino and Lino's other tricks as well another awesome contribution from Brian Auger. The tit-for-tat duel of Scofield and Auger is without doubt the highlight feature here but one cannot (should never) discount the allure and magical properties of the rest of the music being created by Billy and the Nicolosi family. (13.5/15)

6. "I'd Like To Change" (5:04) Dora Nicolosi on the lead vocal, people! Given a great tune by her brothers, great groove from Billy, Rossana, and Pino, the performances are all supendous--especially Lino's surprise jazz guitar flourishes in the third minutes--but neither the basic chord progression nor the melodies given/offered by Dora are A-list "hookers." As a matter of fact, my absolute favorite parts of the song are A) Lino's afore-mentioned solo, B) the Vannelli Brothers-like "C" sectino in the instrumental fourth minute, and C) Pino's wonderful Hammond play throughout. (8.875/10)

7. "Dreamer" (4:24) another song that makes me fear that the Nicolosi Brothers are losing their magical grip on earworms: that they're choosing to employ more cerebral chord and melody progressions, inadvertantly sacrificing the pleasant hooks for the sake of funkiness. Plus, the presence of another innocuous sax lead just gives me DAVE SANBORN heebeejeebees. (I got so burned out on the David Sanborn, Najee, Kenny G sax sound phenomena back in the 80s!) Still, this song offers more GREAT performances from Billy and Pino. (8.875/10)

8. "Route" (4:48) a hard-driving synth-led tune that reminds me of Boney M and Rick Braun's "Chain Reaction." The lead/solo keyboard, bass, and electric guitar performances on this song are so high-quality that I find myself constantly checking and re-checking to see which guests are providing which instruments, but IT'S ENTIRELY DUE TO THE NICOLOSI's! (and Billy). (9.5/10)

9. "Stratus" (6:30) from the opening bass and drum line the listener is reminded of why this song is one of Jazz-Rock Fusion's greatest/most iconic songs ever. Anyone who gets to play on this one must feel the goosebumps of feeling "I'm playing 'Stratus'! with THE Billy Cobham!" GREAT bass play (and sound) from Rossana. GREAT synth contributions from Bob Mintzer. PERFECT keyboard playing from Pino Nicolosi and absolutely STUNNING/amazing lead guitar work from Lino. It's almost like you can't go wrong playing any version of this amazing song! And then, of course, you get the Master, the song's composer, breaking loose at the very end to remind us why this song, this drummer, and this man is considered one of THE absolute greatest of the Greats. (10/10)

Total time 53:51

Overall, the impression Vol. 3 of the Drum 'N' Voice collaborations is slightly disappointing to me. This is due, as pointed out above, to the Nicolosi Brothers' abandonment of easy/smooth melodies and chord structures for the sake of funking up the funk to the absolute funkiest funk they can mathematically conceive. Call me a sap, but I prefer the pleasing smooth side of Jazz-Funk: that's the music I can put on speakers to loop over and over all day long.

A-/five stars; a minor masterpiece of Jazz-Funk that gets it's high marks from three great songs--one of which is a cover/remake of one of Billy's iconic classic tunes.

The collaboration between one of Jazz-Rock Fusion's most loyal and iconic founders and Milano's Nicolosi family continues. The list of guests appearing here arouse high expectations of more serious Jazz-Rock Fusion.

1. "Waveform" (5:04) all synth work, including the bass and programming, reminding me of the spirit of late 70s-early 80s techno-devourer Herbie Hancock. (8.875/10)

2. "Real Funk" (4:36) actually, funked up blues. Excellent blues-jazz guitar from Frank Gambale. Buddy Miles' vocal is okay--nothing extraordinary. (8.75/10)

3. "Running" (7:45) rich Fender Rhodes play from Pino with yet another amazing bass line from sister Rossana. Drums join in opening up the way for Lino's excellent electric guitar work. Billy's just holding time with rock solid tenacity. Great jam; feels a bit like a cross between music behind Al Jarreau and Narada Michael Walden though a step or two up in term of funkiness. Pino's keyboard synth work in the second half is as extraordinary as his brother is on guitar. What a perfect pair! No wonder they're such amazing songwriters! And their prowess only seems to grow the longer the song goes on (even when guitarist Lino Nicolosi shows off his rather exceptional percussion chops in the final minute)! (13.625/15)

4. "Final Destination" (6:53) not quite up to the level of the previous tunes, it takes the arrival of the horns in the second half of the second minute to really get things off the ground, then the interplay between Billy, Rossana and Marco Fadda really begins to shine. (13.375/15)

5. "One More Day To Live" (5:13) virtuoso acoustic guitarist Dominic Miller opens this song before the Nicolosi family join in, setting up a nice bed for vocalist Mike Lindup to lay his vocal in. He's got a nice voice--one that reminds me of Hall & Oates and England Dan & John Ford Coley--but not quite top tier material. Still a nice tune--not disappointing or detracting from the overall vibe of the album. Dominic doesn't really get much spotlight, but I guess that's okay. (8.875/10)

6. "Ozone Part. 1" (2:12) Billy attacks this song (a drum solo) with some new ideas and continued fervor. I am impressed. (5/5) 7. "Ozone Part. 2" (6:28) taking the previous song's ideas and putting it to music with the help of Novecento, Jeff Berlin, Jan Hammer, Dominic Miller (on gorgeous electric guitar), and Airto Moriera. Incredible Jazz-Rock Fusion of the old style! The presence of these old pals really pushes Billy to reach for heights we don't hear from him as often as we did in 1971-73. (9.667/10)

8. "Take Seven" (6:01) again Billy showing much more than time keeping, this bouncy rondo of Jazz-Rock Fusion turns a little smoother when the intro ends and Pino's Fender Rhodes gets singled out for the lead, but then it wavers back into J-R F territory. Rossana's thick bass sound is awesome at the very lowest end of the scale, and the horn accents are très important. Solos from guitar and, of course, John Patucci's bass are great, neither lasting too long before the band returns to the main riff. Michele Carrabba gets the next solo--one of the longest ones (with Patucci)--while Pino's Fender and the funk rhythm section holds full and solid from beneath. And then, sadly, the song is faded out. Too bad! Great groove with some truly stellar drumming exhibited from the Master. Dora Nicolosi is listed as a vocalist on this one (which is something I've grown to look forward to very much) but it's, unfortunately, only in a capacity as a melody supporter with her wordless vocalese. (9.25/10)

9. "Let Me Breathe" (4:23) great groove setting up a wonderful song for the exquisite voice and vocal performance of Dora Nicolosi. Awesome bass, drum, keys, and rhythm guitar accents, but also Guy Barker's flugelhorn solo in the fourth minute. Another song that fades out far too early for my liking. So smooth and enjoyable! A real earworm that carries on long after the song has ended. (9.25/10)

10. "Amazon" (2:11) a drum and percussion duet between Billy and Airto, two long-time buds. Airto's percussive wordless vocalese is like another percussionist in the conversation. (4.625/5)

Total time 51:03

The difference in this album from the previous Drum 'N' Voice collaboration with the Nicolosi family and other friends is in the display of much more of Billy's extraordinary skills--and far more ventures into the more sophisticated and complex realms of peak era Jazz-Rock Fusion--whereas the first Drum 'N' Voice seemed far more oriented toward melodic pop Jazz-Funk on which Billy was primarily a rock-solid time keeper.

A-/five stars; another minor masterpiece of melodic, often grooving Jazz-Rock Fusion.

Billy and friends are in Milano. They're game to jam with local legends like the Nicolosi Family who comprised the pop- R&B band Novecento back in the day. This is the result of those sessions.

1. "Africa's Sounds" (4:32) great opener of smooth jazz. Billy still has it! (9.3333/10)

2. "Shadow" (4:46) a cool jazzy pop/R&B song with great organ play from Pino Nicolosi and awesome bass and guitar from the other two Nicolosi brothers, Rossana and Lino, respectively. Sister Dora Nicolosi also makes an apearance as Gregg Brown's foil and backup singer. (8.875/10)

3. "Red Baron" (7:44) Troy Parrish speaking the lyrics over the funky music (of a Billy classic?) Never a huge fan of the original (off of Spectrum) but this one is groovin/dance-worthy. (13.5/15) 4. "Okky Dokky" (4:41) great melodic smooth jazz with a 90s Soul II Soul-like Acid Jazz feel. Excellent horn contributions, but such a great groove played by Billy, Rossana, and Marco Fadda. I love this tune! (9.375/10)

5. "Jah Spirit" (5:02) great Acid Jazz music with Gregg Brown's Rastafarian vocal, Lino Nicolosi's excellent rhythm and smooth lead jazz guitar work over Rossana and Billy's killer collaboration. Great double bass solo from Riccardo Fioravanti in the mid-section as well and trumpeter Fabrizio Bosso in the final third. (9.25/10)

6. "I Want You Back" (4:57) great cruisin groove established by Rossana, Pino and Billy while vocalist Rick Baily provides a satisfactory R&B vocal over the top. The Rick's multi-voiced b vox are fun. Rossana Nicolosi is the real deal! Brother Lino provides a fun blast-from the past Eddie Van Halen "Beat It" like guitar shredding in the final 90 seconds. (9.125/10) 7. "Sensations" (5:32) more cool grooving: sounding like a cross between Barry White's old LOVE UNLIMITED ORCHESTRA and some of the 90s' best Acid Jazz grooves (even Swing Out Sister). AWesome trumpet solo from either Amik Guerra or Fabrizio Bosso in the second half of the song. Great, hypnotic groove! (Rossana: you go girl!) (9.25/10)

8. "Leaving Now" (6:26) Smooth Jazz set up for Manhattan Transfer-like pop-jazz vocal from Gayle Moran-sound-alike Dora Nicolosi. Eddie Gomez' always welcome double bass sounds a bit weird. Great smooth jazz "lounge" piano from brother Pino Nicolosi. A tough, complicated vocal is performed admirable but not quite as perfectly as a Barbra Streisand or Celine Dionne (or even Corinne Drewery) would have done. (9/10)

9. "Hands Up!" (5:11) 1980s Smooth Jazz/Soul/R&B heaven! Love the strings arrangement and performance, Pino's organ and electric piano play, the Italian horn section, and, of course, Rossana's awesome bass! No more cowbell! (9.25/10)

10. "Now That You've Gone" (5:07) more stellar Smooth Jazz with nice group vocals and awesome jazz electric guitar over the amazing Pino, Rossana, Billy, Marco Fadda rhythm section. (9/10)

Total time 53:58

I can't think of a 21st Century Jazz-Rock Fusion album that feeds my 1970s-Motown-raised soul better than this one!

A-/five stars; a minor masterpiece of Acid Jazz-tinged funky Smooth Jazz.

The drummer extraordinaire's third solo album since leaving the Mahavishnu scene. Is this one even better than Spectrum or Crosswinds?

1. "Solarization: Solarization/Second Phase/Crescent Sun/Voyage/Solarization-Recapitulation" (11:10) Wow! Billy's drumming! John Abercrobie's guitar solo (in "Solarization")! Milcho Leviev's piano playing (in "Second Phase")! The smooth pool-side jazz of "Crescent Sun"! The band's unity at the breakneck speeds of "Voyage" (as well as Randy Brecker's trumpet play). A great J-R Fuse epic. (19/20)

2. "Lunarputians" (2:33) great little funk ditty with Alex Blake's bass and the clavinet leading the way with the horns, guitar, and keys following in suit. Sounds Herbie/Billy Cosby-ish. (9.333/10)

3. "Total Eclipse" (5:59) building like a great soundtrack tune for a 1970s Black Exploitation film. The deep piano chord play with opposing flutes and rhythm guitar accent strums is awesome--as are the horn accents and soli--both banked and individual--especially Michael Brecker's brief soprano sax solo in the third minute. John Abercrombie's incendiary guitar solo near the end is on a par with anything Johnny Mac, Al Di, Bill Connors, or Larry Coryell were doing at this time. This is a film that I'd want to see if only for the way the soundtrack would get my blood pumping and my hips rockin'! (9.333/10)

4. "Bandits" (2:30) a weird little cruisin' jam with flashy solos from Alex Blake and John Abercrombie. (4.375/5)

5. "Moon Germs" (4:54) great arrangement of tightly-orchestrated instruments over which Billy's drumming seems to not fit very well! Weird! The rest of the band feels so synched up, but Billy's sound and style is just not clicking with the rest. Cornell Dupree's rock-wah-wah-ed guitar solo is weird, but the horns are so tight, so awesome. (8.875/10)

6. "The Moon Ain't Made Of Green Cheese" (0:58) Billy on piano with Randy Brecker on flugelhorn. Nothing so very special--unless you've never heard Miles Davis or Louis Armstrong. (4.25/5)

7. "Sea Of Tranquility" (10:44) gentle piano arpeggi of odd chords are soon joined by timpani and gongs before drums and bass are slowly faded in at the end of the first minute. Piano continues as the first lead instrument with some synth to offset it. Horns and electric guitar jump in to also add accents and opposition while the bass and drums just cruise along. In the fourth minute Michael Brecker is given ample room to shine on his tenor sax while Milcho Leviev adds Fender Rhodes to his assortment of accompaniments. Billy's drumming accents pick up as we move along into the fifth minute. Then Milcho's wah-wah-ed Fender takes a turn in the lead while John Abercrombie's rhythm guitar starts to sound as if it is itching more and more for some lead time. Nice percussion work whoever is doing it! Billy's drumming here sounds more like that which Lenny White will become known for over the next couple of years. John's guitar finally gets his turn in the spotlight but only as an adversary to Milcho's Fender. Eventually, Milcho backs off and John soars in a Coryell way. Meanwhile that rhythm section remains so constant and fine tuned! I don't get the fadeout at 8:30, leaving a void that is filled by echoed Fender Rhodes flourishes and large gong/cymbal and timpani play--plus Alex Blake's bowed bass. Thenat 10:20 the band kicks back in with a recharged mission to finish the song with the full crew. I must say: that was an odd ending to an otherwise-amazing song. (18.5/20)

8. "Last Frontier" (5:22) Billy on a solo drum and percussion mission. Impressive? Yes. Necessary? Not really. (We all know how good you are, Billy.) "Gratuitous" one other appropriately labeled this piece. I know it's a drummer's album but I do kind of hate to see the star of the show tooting his own horn at the very end to the exclusion of all of his other collaborators. Kind of a slap in the face to the others, don't you think? But, it's his album, his prerogative. The quiet-- wait for it! Wait for it--piano solo at the very end helps salvage a little face. (8.75/10)

Total Time: 44:10

This album feels much more accessible to me that Billy's more-acclaimed Spectrum.

A/five stars; a masterpiece of peak era Jazz-Rock Fusion. Essential to any prog lover's music collection.

I didn't know at the time (late 70's acquisition) what a stella line up this album has. I knew I had Spectrum and luved it so this was snaffled out of a bargain bin. And of course it couldn't be as good as Spectrum so I was mildly disappointed. Luckily I kept hold and as time has gone by I really appreciate the subtleties and nuances here and now know it isn't an all out RTF/MO fiery attack of an album and Abercrombie isn't Tommy Bolin.

Overall there is more emphasis on the jazz instrumentation and I heard a similarity to say Nucleus in the opening track and a this period Zappaesque undercurrent....which I suppose with George Duke having a foot in both camps sort of makes sense. Savannah is mostly a laid back bass slur with a trombone (yup) lead but it fits with the rise and fall of the 'weather concept' that I think the album is meant to push. Am not a drummer so I can't tell you how technically good the solo Storm is but as a representation of the title it is a great piece. The pace is picked up with Flash Flood and Randy Brecker leads with an electric trumpet delivery and Abercrombie shows more subtle chops than Bolin which now I 'get' but back then I wanted 'faster/flashier' please... OK guys it's 1974 so the contractually obliged funk track is due next! It actually is damned good with some great horn arrangements and rock sensibilities although the lawyers might be arguing over the lack of prominence of the whakka whakka guitar countered with 'but we did use Santana style percussion'. Heather has an atmospheric keys opening with a sound (but not the style) of Gentle Giant. It is a slow burn build with echo laden woodwind coming to the fore. And anyone familiar with late 70's/early 80's John Martyn will 'get' the groove. It perhaps overstays its welcome and while not becoming directionless it could lose a couple of minutes. The title track finishes off the album. More up tempo and immediate and again great horn arrangements over a heartbeat err beat. Abercrombie is given a blues drenched with jazz scales chance to shine. Bit thin sound wise but maybe that's exactly how he/they wanted it.

It still isn't Spectrum but it is a very very solid follow up. It is more jazz than rock but you have masters of both crafts fusing the two elements. Yes there was, so still is, slightly better JRF out there from 1974 but it is as 3.75 as a 3.75 rating can get. Of course this obliges me to make it a 4.

4.5 Stars! This is one of the more controversial Fusion live albums out there. Although I find this to be quite enjoyable. For starters, the lineup on here is incredible with Billy & George who have formed their own superstar Jazz Fusion band with two other monster musicians featuring one of my favourite Bass players of all time Alphonse Johnson & John Scofield on Guitar. They make this fantastic album, with some memorable compositions such as the opener Hip Pockets which is one of the strongest songs on the album IMO. The most noticeable topic of this band is that they seem to form a Frank Zappa kind of humour along with some very good musicianship. I find this album to be interesting that some listen at find weak or mediocre. The album cover though is what really brings this down into a dystopian desert with stormy skies and some disaster has happened with a city scape and two large hands with heads is what we can see.

Some of the other compositions on here are quite commercial but do have an edge when it comes to the soloing and especially the great drumming from Billy Cobham who really drives the album. Space Lady is a bit of a letdown for me as it just doesn't seem to really go anywhere with fills being played and a spoken word. The other Vocal tracks are catchy and melodic which fits with the funky nature of the album.

This would definitely be up there with some of the best Live Jazz Funk albums but it just lacks in some small areas that meander but would recommend for those who love Funk with there Fusion.