Billy Cobham Spectrum (1973) [2001_hdtracks 24 96]

Electric studio project with Billy Cobham and group of Italian musicians with guest appearances by Michael and Randy Brecker, Eddie Gomez, and even Gregg Brown from Osibisa. Billy lays down a solid groove and the musicians solo over and around the beat, through instrumental and vocal tracks. The group perform original jazz/funk/fusion material, and a new version of Billy Cobham's 'Red Baron' with vocals.

Billy Cobham, the pioneering jazz-rock fusion drummer who left all his rivals and imitators in the dust when he surfaced in the 1970s, always sounded like a complete musician rather than simply a technical miracle. Approaching 70, he still does. Cobham and a hard-rocking quartet are at Ronnie Scott's, celebrating the 40th anniversary of the drummer's bandleading debut album, Spectrum, by playing most of the music from it, and a little new material besides.
What made this flat-out show so much more than a routine tribute-band trot through a famous tracklist was the enthusiastic drive of the band.

Shabazz captures Cobham's Total Eclipse band in a live setting, and contains two originals, "Shabazz" and "Tenth Pin." The other two songs, "Taurian Matador" and "Red Baron," which debuted on Cobham's classic recording, Spectrum, are given an impressive update. All of the songs are blowing sessions allowing each musician ample time to develop their ideas. Cobham attacks his drums with a vengeance on the introduction to "Shabazz" and on his powerful solo for "Tenth Pin." This is a good, old-fashioned blowing session that captures one of Cobham's best bands at their peak.

Billy Cobham had always incorporated elements of disco and funk into his solo recordings; however, this is the most painful example. Even his die-hard fans haven't forgiven him for this embarrassment…

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.

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."

Billy Cobham has once again done music lovers the great honor of producing and writing this new volume in the incredible and prestigious Drum ‘n’ Voice series. Billy Cobham is a living legend of the drums, revered for his ultra-dramatic, muscular and bar-raising work with fusion pioneers the Mahavishnu Orchestra. Since the ’60s Cobham has appeared on over 300 recordings, including those by pop and rock icons such as Peter Gabriel, Jack Bruce, Bob Weir and James Brown, and has released more than thirty-five albums as a leader.

Vol. 1. One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison…

Vol. 1. One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison…