BILLY COBHAM

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.

3.5 stars. After Cobham's debut "Spectrum" he made two records with John Abercrombie on guitar that were more in the Jazz realm. I do not have his next one from 1975 called "The Funky Thide Of Things" but Abercrombie is replaced by John Scofield on guitar, but the Brecker brothers returned. That is where Billy goes more into a funk direction. "Life & Times" is another change as the Breckers are not on this one, and while we do get some bass clarinet the blasting horns are gone.

So a change in the dynamics for sure and it's so cool to hear Doug Rauch from SANTANA on bass and George Duke back on keyboards. Of course there was that spin off band THE BILLY COBHAM/ GEORGE DUKE BAND that released an album in 1976 with Alphonso Johnson on bass and John Scofield on guitar. Released the same year as "Life & Times" by the way. While there are aspects of this record that I like better than "Total Eclipse" I just feel that overall it's a step down so the 3.5 star rating. It's been given 4 stars by the previous reviewer who knows way more than I do about Jazz so there's that.

Hit and miss for me, it just doesn't feel like a 4 star record in my music world. I'm thankful for the energy on this one though with several tracks bringing the heat.

My favourite Cobham record is the debut "Spectrum" and it's not close as he brought in Tommy Bolin on guitar giving us a fiery Jazz/Fusion album. The followup "Crosswinds" saw Billy returning more to his Jazz roots I guess you could say as he brought in John Abercrombie on guitar, along with the Brecker brothers, as horns become more of the focus. And there's more of that on this the followup "Total Eclipse" with Abercrombie back along with the Brecker brothers. This was released in 1974 and it feels like the further we get from "Spectrum" the less I'm liking his music.

How about that 11 minute opener though "Sourization" with five distinct movements, you can call this Prog. It doesn't all work but I'm impressed. Some funk on "Lunarputians" as well as early on "Moon Germs". Some energy in that title track with Cobham showing why he is at the top of the drum food chain. "Bandits" is punchy with the bass and drums as guitar plays over top. Lastly "Sea Of Tranquility" which is one of my favourites just trips along with musicians coming and going and atmosphere too. That's two 11 minute tunes on here.

Like "Crosswinds" this is a low 4 stars but I feel there's enough on both to warrant the rating. Just get "Spectrum" if you like your music to sizzle.

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.