SPECTRUM

Impressive albeit dense jazz fusion by an extremely gifted, energetic drummer and his studio hires, I never heard this album in its heyday but had to wait till seeing all of the acclaim here on PA to discover it. Again, the performances are impressive--and polished--much moreso than the Mahavishnu stuff that came before it--BUT there is not a lot of engaging meat or melody here--not a lot of "fat" to this meaty collection of songs. The few songs I return to are more as a reminder of how much growth Billy Cobham did from his 1970 stint with New York to here. The dude must have worked his fat off! The subtleties and nuances expressed herein by Mr. Cobham's virtuosic playing are truly astonishing, I just like a little more melody to keep me engaged. Plus, I'm not really much of a fan of Mr. Hammer's style or sound palette. (Also, I think I was always a bit turned off by his one-handed approach--something he may have perfected in order to promote his mobile keyboard play; left hand/bass clef play is often what really draws me into a keyboard player's style.) nor of Mr. Tropea's guitar tone selection and style. With horn, keys, and some guitar soli trying to attract and keep the listeners attention, it seems that I always fall into the playing of Mr. C. Plus, his drums are recorded so well: every sound and nuance captured so clearly and balanced.

As everyone will attest, "Stratus" is a monster of a song--much more akin to the Return to Forever sound, in my opinion, than the Mahavishnu sound, but the rest kind of meld together into a kind of sonic mish-mash. (Has anyone else ever wondered if Ted Nugent stole the bass and rhythm tracks from "Stratus" to make his "Stranglehold" song. The similarities are just too striking.)

A good album with at times stunning performances (especially from Mr. Cobham), it is, in my opinion, just not enough to earn "masterpiece" status.

1. "Quadrant 4" (4:20) this must be a song that Jan Hammer and Billy Cobham had left over from their last Mahavishnu Orchestra sessions--the ones that left them frustrated for the lack of input allowed/honored/valued from bandleader John McLaughlin. Jan and guitarist Tommy Bolin get most of the spotlight as Lee Sklar and Tony run a pretty tight ship beneath--neither too flashy but so competent in their tight hold of the speedy rhythm track. Impressive performances but not my favorite kind of music. (8.75/10) 2. "Searching For The Right Door / Spectrum" (6:33) Bandleader Billy Cobham starts this one off as a drum solo right from the get go: just him playing as if a one man band with his expanded drum kit. The "Spectrum" second half is a horn-supported funk jazz-rock piece with one awesome Ron Carter double bass performance (and ear worm riff). Horns and keys get the first mini solos before Joe Farrell is pushed out front with his soprano sax. Billy and Ron are just chewing up that underside! Jimmy Owens gets the next solo on his flugelhorn. Jan Hammer's support on Fender Rhodes is exquisite. The horns team up for the bridge into Jan's solo as Joe Farrell switches to flute for support. Good solid jazz-rock. (8.875/10) - a. Searching For The Right Door (1:24) - b. Spectrum (5:09)

3. "Anxiety / Taurian Matador" (4:44) more Cobham showmanship to open this one before the rest of the band are allowed to join in. When they do it's once more at break-neck speed--as if everybody's swarming down a country road on motorcycles, weaving rather recklessly among one another, with Jan and Tommy Bolin exchanging friendly and unfriendly shouts at one another as they go while Lee Sklar and Billy hold down the sane, steady pace. Impressive; I'm just not a fan of this type of speed jazz. (8.75/10) - a. Anxiety (1:41) - b. Taurian Matador (3:03)

4. "Stratus" (9:50) is like hearing music from the future as Billy Cobham's partner in the opening 3-minute duet is a computer-sounding keyboard. But then everything bursts out of the cosmic soup into a celestial form that is quite similar in form and sound to something from the Mahavishnu project. The rolling bass line is undoubtedly that which prog lovers are drawn to (as well as the masterful drumming display) while the Fender Rhodes holds the song to a key and the fiery guitar of Tommy Bolin burns through the space-time continuum. Jan Hammer is the next artist to get a solo and it's a great one--despite my brain's insistence and listening to the rhythm guitar work of Mr. Bolin. All the while Billy Cobham moves around his kit as if he only has to think it in order for it to happen--it is at times unbelievable how little space is allowed to exist between his stick hits. Though not a great tune, it is catchy (especially that iconic bass line) and very impressive in the instrumental departments. (18.25/20)

5. "To The Women In My Life / Le Lis" (4:11) now for a little of the future music that we'll soon be calling "Smooth Jazz." The stellar solos are still there (Jan Hammer's Moog) and the contributions of the clavinet and horns definitely add a dimension, but the smooth Latin melody and Latin bass and drum & percussion lines are quite simple and melodic in a way that previous jazz-fusion artists were often loathe to supply. (9/10) - a. To The Women In My Life (0:51) - b. Le Lis (3:20)

6. "Snoopy's Search / Red Baron" (7:39) a simplified funk piece of funk that harkens back to music like Herbie Hancock's for Bill Cosby Fat Albert and the Cosby Kids show as well as to other Southern Rock-funk R&B blues fusions. A solid song but nothing with plenty of nuanced performances that is nothing that I really feel compelled to sing, hum, or dance to. (13.375/15) - a. Snoopy's Search (1:02) - b. Red Baron (6:37)

Total Time: 37:17

A prog lover is want to compare this classic album to the one from the other great jazz-rock fusion drummer of the period, Tony Williams' New Lifetime's Believe It!, but they're really two very different beasts. Believe It! (which I just happened to review immediately before Spectrum) is the very clear and concise work of a jazz quartet whereas Spectrum shows a drummer with a more broad and very subtle-swift brushing of many more sounds with the sweeping motions of his sticks; Tony's mastery is shown through a tremendous variety of dynamics employed to his hits within very precise rhythms coming from a much smaller, more traditional jazz kit while Billy's drum kit seems to be a much more expanded Carl Palmer-like kit within which he tries to hit as many items with as fluid and fast a display as if to sound like a wind storm sweeping through a variety of landscapes, both natural and man-modified.

B+/4.5 stars; a collection of solid songs from virtuoso musicians whose overall impression is one of a "near-masterpiece" instead of a true masterpiece. There is a difference between "masterful performances resulting in songs that are very interesting to listen to" and "great songs that I'm drawn back to for repeated listens over and over because I love the music so much." For an album that is a masterpiece because it has eminently enjoyable music on it, go to Billy's three Drum 'n' Voice albums issued between 2000 and 2011.