MAGIC

A fusion album for fans of symphonic prog?

"Magic" by Mr. Cobham is sort of a mixed bag, but oh what a lovely bag it is!

Don't worry it's not unfocused, nor just a pile of ideas glued without a sense. This is a team work at its best, together with brilliant ideas, superb musicianship and...what else? Well, the year is 1977 - and Billy is obviously smoother and more commercial...but who could blame him for that. He admitted that he's esoteric but he always loved money!!!

Fair enough.

Now, don't let that discourage you. This is a mature statement, a piece of concrete. Solos are sometimes sharp, sometimes fluffy - but there is no more "noodling" present on "Spectrum"...for better or for worse.

The CD contains eight tracks jazz-rock/fusion ornamented with funky, spices of blues, a teaspoon of Latino, traces of disco, a sip of easy listening music and a solid amount of...hard rock. And rap, mind you. Mr. Cobham himself as a vocalist. Or rapper. So ahead of it's time. And it sounds great - believe it or not - with driving bass and congas in background, that's only the part of a multi-part composition - this is art indeed.

That's what I like the most on this album; all the songs are mini-suites. Melodies are awesome and memorable if simple, astonishing if complex. Try to imagine Lionel Ritchie and The Commodores at his best on 45 in instrumental version. No, that's not the best comparison.

However, this is a neat little record, and I won't tell that it aged well. Because it didn't aged at all, it's absolutely out of time. The production is crystal clear yet meaty, Moog and Oberheim synth solos are adding an extra dimension to the record (and I'm strongly recommending it to the fans of symphonic prog), but nothing sounds "dated". In a way, synths sound ahead of its time. Electric piano is great. Bass and guitar too. Not to mention drums.

In conclusion, this is highly recommended - to all the fans of GOOD MUSIC.

Still a funky product, this Cobham 's album is rich in electric guitar solos and electric piano lines. Plus Latin Congos. Music is not bad at all, but as often, rhythm is more important that the music by itself in some cases. One song even has vocal.

Both together it makes the album attractive in some parts and a bit boring in others. Whenever I prefer melodies to long minutes of funk pulsation, let say this album is more good than bad.

Acoustic piano,played in very classic manner, gave one more accent to all music. Even if not concentrated on one musical idea, album doesn't sound as very unfocused one. Let say - different. For sure ,in moments you feel that luck of general idea /concept.

But musicians are generally competent, music isn't boring ,so you will listen it with pleasure. Another thing is that after listening not too much will stay in your memory. Not bad mix of jazz fusion, light funk ,Latin jazz and pop-jazz.

Better then average jazz-fusion album. Strong 3,5

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.