Musicians team are impressive, including great Brian Auger ( and in some places you can hear his excellent keyboard sound), bassist Victor Bailey ( ex -Weather Report), big brass section and team of african drummers. Some Cobham old great compositions are included as well (Zanzeebar Dreams, Spectrum and Crosswinds). So, problem is not musicians or musical material, the problem is music itself.
Fusion jazz is a genre I would normally not expect to come from arctic Finland. Guitarist Tuppu Orrenmaa must have decided to hit it really big on his third album with his Orrenmaa Band, hiring a genuine who-is-who of the international jazz scene. All drums on Make My Day were played by the legendary Billy Cobham, who should be known even to novices for his collaborations with artists like Miles Davis and Mahavishnu Orchestra. The horns section of Tower Of Power, another American collective of artists with cult status, can be heard on six songs. This is also the first time they can be heard together with Billy Cobham on a record.
Today marks the 70th birthday of one of the greatest drummers of this, or any generation; the remarkable Billy Cobham. From his earliest recordings with Horace Silver, Miles Davis and Milt Jackson, to his scintillating and seminal work with John McLaughlin's Mahavishnu Orchestra, keyboardist George Duke, and his own groups, like Culture Mix, Asere and the Spectrum 40; Cobham has thrilled audiences around the world by bringing his incomparable talents as a composer, drummer, and producer to the forefront of jazz, rock, fusion and world music. His latest effort is the eagerly awaited "Tales from the Skeleton Coast", part 3 of a series dedicated to his Panamanian parents.
The overall feel of this recording is very similar to Incoming. Peter Wolpl remains on guitar, as does Nippy Noya on percussion. The pianist has been changed to Joe Chindamo; however, his style is similar to Rita Marcotulli's on Incoming. The music is very dense and cannot be listened to casually or infrequently if one wants to absorb the full impact of the recording. The underrated Wolpl provides an excellent acoustic guitar solo on "Alfa Waves." There are three vocal tracks here, which means a meager attempt at pop on a majority of contemporary jazz recordings.
The group is call Billy Cobham’s Art of 5 and features Donald Harrison, Guy Barker, Julian Joseph, and Robert Hurst. I could tell from the line-up not to expect any Mahavishnu covers or “out there” fusion excursions, and what I got was what I expected: well-rendered post-bop with tasteful flourishes courtesy of Cobham. He really is a superb technician, and he follows soloists in ways I had yet to hear other drummers even attempt. He also seems to have incorporated the vocabulary of his “fusion” drumming into that of his “jazz” drumming, as evidenced by his fiery, unexpected press rolls and his rapid, quick-as-lightning kick drum hits.
Following two studio recordings, this impressive band hit the road and cut this session with keyboardist George Duke. Their encounter provided for an uneven, but infectious, recording. "Hip Pockets," composed by Cobham, and "Ivory Tattoo," composed by Scofield, begin the session with some intense playing. Things get a bit goofy with "Space Lady" (a song which probably worked better live), and a bit melodramatic with "Almustafa the Beloved."
Drummer Billy Cobham played some of the most exciting music of the 1970s. As a member of the Mahavishnu Orchestra and as a leader of his own bands, Cobham was at the forefront of the jazz fusion movement and was a prime mover during its glory days. He was still at it as of 2007, and proved more than capable of keeping up with both the new breed of fusion players and fellow veterans. Assisted by such stalwarts as Jan Hammer, Jeff Berlin, and Brian Auger, Cobham storms, crackles, and soars through a dazzling brace of dynamic, concise compositions on DRUM 'N' VOICE 2.
This is Billy Cobham's third solo recording under his own name and is a fine follow-up to Crosswinds. The mini-suite "Solarization" not only showcases the band's technical abilities, but also Cobham's strong compositional skills. It also features a schizophrenic piano solo ("Second Phase") from the underrated pianist Milcho Leviev, who sounds like a mutation of Cecil Taylor and Bill Evans. The funky "Moon Germs," on which John Abercrombie is pushed to inspiring new heights, became a Cobham classic. "The Moon Ain't Made of Green Cheese" is a beautiful flugelhorn solo by Randy Brecker backed by Cobham's debut on piano. The band stretches out on the lengthy "Sea of Tranquility," while "Last Frontier" is a gratuitous drum solo. This recording is highly recommended as Cobham still sounds inspired.
2-CD containing both "Hope street" and "Powerplay" albums. A highly acclaimed drummer than need no introduction in the fusion / jazz world, once behind the drums of MAHAVISHNU ORCHESTRA.
Drummer Billy Cobham, guitarist Bill Bickford, and bassist Wolfgang Schmid form a creative fusion trio on Paradox. The result is a powerhouse addition to Cobham's discography. The music ranges from the roiling heavy metal sludge of Bickford's "Four More Years," to the full-on funk of Schmid's "Fonkey Donkey," to Cobham's calmly lyrical "Walking in Five." Schmid is the principal writer, followed by Bickford, then Cobham. The best way to set the scene is with Paradox's version of "Quadrant 4." The original was the defining track on Cobham's 1973 debut release, Spectrum. Coming on the heels of Cobham's work with John McLaughlin's original Mahavishnu Orchestra, Spectrum is one of the essential documents of fusion's classic era.