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. At his best, Cobham harnessed his amazing dexterity into thundering, high-octane hybrids of jazz complexity and rock & roll aggression.
Essential: a masterpiece of progressive rock music
There’s no question that Billy Cobham is one of the most talented and influencial drummers on the planet. I had high hopes going into this one that it would be another “Birds Of Fire” shred-fest. Not quite, although the first song delivers big time in that style. Jan Hammer, his old MAHIVISHNU ORCHESTRA band mate helps out, while Tommy Bolin doesn’t disappoint on guitars. We also get some bass, sax, flugelhorn, trumpet and flute to round out this mostly jazzy sounding album.
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."
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.
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. At his best, Cobham harnessed his amazing dexterity into thundering, high-octane hybrids of jazz complexity and rock & roll aggression. He was capable of subtler, funkier grooves on the one hand, and awe-inspiring solo improvisations on the other; in fact, his technical virtuosity was such that his flash could sometimes overwhelm his music.
Most of drummer Billy Cobham's recordings have featured his groups of the period, but this set for GRP matches him with a variety of all-stars. Three songs feature Grover Washington, Jr. on soprano or tenor; Randy Brecker takes a flugelhorn solo on "Taurian Matador"; and other guests include Tom Scott (on his anonymous-sounding lyricon), keyboardist George Duke and bassist Ron Carter.
Another strong album from a top funky drummer Billy Cobham. While elements of funk were always a part of his band's sound, it was now the primary focus. "Panhandler" stands out as the session's most memorable composition, while Milcho Leviev contributes nicely on "Moody Modes." Cobham fans will want to seek this out for the extended drum solo "A Funky Kind of Thing," which stands as one of the most original drum solos he ever recorded. Of particular interest here is the presence of John Scofield, who had replaced John Abercrombie.