Cobham

Generally acclaimed as fusion's greatest drummer, Billy Cobham's explosive technique powered some of the genre's most important early recordings including groundbreaking efforts by Miles Davis and the Mahavishnu Orchestra before he became an accomplished bandleader in his own right.

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…

If ever anybody deserved a two-disc anthology of his offerings as a solo artist it's fusion drummer Billy Cobham. After making his stellar debut with John McLaughlin's Mahavishnu Orchestra, Cobham made eight records for Atlantic from 1973-1978. To varying degrees, these recordings were true statements on the state of jazz-rock fusion. Many blame Cobham for being a member of the technical-expertise-is-everything school, and to a degree it may be true. But the tracks collected here by Barry Benson and Nick Sahakian provide evidence of something else entirely: that along with technical expertise in spades, Cobham had soul, groove, and a handle on how powerful rock & roll could contribute to jazz improvisation if harnessed in the right way. And every single track on these two discs does exactly that and more.

A two-LP set of drummer Billy Cobham's harder to find recordings from the later '70s. Of the two, Magic is far superior and is generally regarded as one of his most interesting recordings in his extensive discography. The addition of Simplicity of Expression: Depth of Thought amounts to nothing more than a throw in. Cobham recorded some embarrassing disco during the late '70s and this is a prime example. This two-fer is too good to pass up, though, and makes the LP highly recommended for fusion collectors.

A lesser known Cobham recording that has only been available in the U.S. as an import. Cobham also seems to push guitarists to new heights (i.e. Tommy Bolin, John Abercrombie, John Scofield) and does so here with Barry Finnerty. Their interaction on the tune "Flight Time" is reminiscent of Cobham/Bolin on Spectrum. Yet, despite the intensity and chops of Finnerty and Cobham, this session is remarkably restrained thanks in large part to the thoughtful playing of keyboarist Don Grolnick. There is a definite sense of a band here, rather than just a collection of all-stars playing Billy Cobham songs; in fact, the only Cobham retread is "Antares" (from Magic). Whether it is Don Grolnick's piano solo on "6 Persimmons" or his opening duet with Barry Finnerty on "Princess," Cobham should get just as much credit for what he did not play.

A lesser known Cobham recording that has only been available in the U.S. as an import. Cobham also seems to push guitarists to new heights (i.e. Tommy Bolin, John Abercrombie, John Scofield) and does so here with Barry Finnerty. Their interaction on the tune "Flight Time" is reminiscent of Cobham/Bolin on Spectrum. Yet, despite the intensity and chops of Finnerty and Cobham, this session is remarkably restrained thanks in large part to the thoughtful playing of keyboarist Don Grolnick. There is a definite sense of a band here, rather than just a collection of all-stars playing Billy Cobham songs; in fact, the only Cobham retread is "Antares" (from Magic). Whether it is Don Grolnick's piano solo on "6 Persimmons" or his opening duet with Barry Finnerty on "Princess," Cobham should get just as much credit for what he did not play. It is a shame that this unit did not become Cobham's regular band as this is one of his most cohesive efforts.