Billy Cobham Spectrum

Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include "Red Baron") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.

Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include "Red Baron") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.

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.

Hardcore fans of 1970s jazz-funk, look no further. Sworn enemies of it, consider making an exception. This five-disc set repackages Mahavishnu Orchestra drummer Billy Cobham's prolific early bandleading years between 1973 and 1975, and it bristles with rock-guitar fireworks, hyperactive drums and synths, and exclamatory James Brown-like horn riffs. But Cobham was, and remains, a subtle musical thinker as well as a phenomenal drummer, and the set harnesses bold ideas, thematic variety, and some awesome soloing from the likes of the Brecker Brothers, guitarists John Abercrombie and John Scofield, and the little-known but gifted Bulgarian keyboardist Milcho Leviev. The earliest session, Spectrum (featuring soon-to-be-Deep Purple guitarist Tommy Bolin), is the leanest and meanest.

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.

Billy Cobham - Fruit From The Loom (2007) {Billy Cobham Self-released}
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© 2007 Billy Cobham Self-released | [none]
Jazz / Fusion / Jazz Funk / Drums

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.

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.

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.

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."

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.