Billy COBHAM - Spectrum 1973 (REPOST)
Label: Atlantic / Wea
Audio CD: February 25, 1992
Recorded Live at Electric Lady Studios,
New York on May 14-16, 1973
Jazz
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.
By Scott Yanow.
**
Cobham's first album as a leader, in 1973--a jazz-rock classic. As on his slightly earlier outings with Mahavishnu Orchestra, Cobham dazzles with rapid-fire pyrotechnics. But, listening carefully, he also does his job of rhythmic support--for this, he calls on his roots in drum-corps and Latin timbale drumming. His compositions here set fire to a stunningly tight band. The scowling, scurrying, skirmishing performance by the late rock-guitar ace, Tommy Bolin, is particularly memorable. He merges beautifully with Cobham's Mahavishnu bandmate, Jan Hammer (Moog/keyboards), who eggs Bolin on with warp-speed synthesized guitar sounds. The band was just as involved rhythmically as McLaughlin's, but had a gritty rapid-transit flavor where Mahavishnu was in spiritual quest.
By Peter Monaghan.
**
Smoking-cannon solo debut from the drummer of the Mahavishnu Orchestra. The compositions are fast 'n' fierce fusion, more directly steeped in soul and the blues than the MO's. This means the harmonic vocabulary and general song structures are simpler, not as flamboyant or classical-sounding as Cobham's previous band. But Spectrum's pieces are by no means less fiery, and the virtuosic intricacies on this disc are sure to knock prog fans of that persuasion like bowling pins right into the gutter. Along for the ride here are: fellow disgruntled Mahavishnu departee Jan Hammer on keys; the late, cult-legend Tommy Bolin on guitars; and Lee Sklar (that's right, the same guy who would later show up on Phil Collins' wimpy 80s solo albums), flexing much more muscle on bass. Particularly noteworthy are the tracks "Quadrant 4," "Spectrum" (the bass riff of which was later sampled by Massive Attack for "Safe" from their album Blue Lines), and the laid-back "Red Baron." This stuff would probably have been earth-shaking with McLaughlin. Nonetheless, Bolin fills some big shoes without blinking an eye, inserting smoldering solos left and right. One downside to this album is that drum solos are inserted before each of the 'main' tracks, but thankfully these only each last about a minute or so. A great purchase for the Mahavishnu fan, just don't expect any Indian scales, Bartok harmonies, or anything like that.
By Joe McGlinchey.
**
One of the things I enjoyed about the 1970s fusion era was the way it allowed musicians to indulge their taste for different genres. Artists are easily pigeonholed, and the more successful they are, the harder it can be to break out of the role they are cast in by fans, the media, and their own promoters. Miles Davis recognized this stultifying syndrome in jazz and refused to be trapped, breaking ground for the merging of segregated forms with his pivotal album "Bitches Brew." Other pioneers, like Ornette Coleman, Tony Williams, Joe Zawinul, and John McLaughlin, also cast off the stale conservatism of "mainstream" jazz and experimented with combinations of jazz improvisation with rock, eastern, Latin American, electronic, and purely abstract forms.
In the aptly titled "Spectrum," Cobham revealed his interest in, and aptitude for, rock and funk, as well as considerable compositional skills. Fans who were used to the more esoteric, odd-metered intensity of the wildly original Mahavishnu Orchestra might have been disappointed by the down-to-earth, straight time jams found in Billy's solo work, but those of us who appreciate a solid, funky groove along with hot solos immediately cottoned to this side of his personality. We also dug the fact that he could go from barnburner tracks like "Quadrant 4" and "Stratus" to the cool and jazzy "Le Lis" and it was the most natural thing in the world. Yeah, you could dig rock, you could dig jazz: it was all good.
"Crosswinds," "Spectrum," and "Total Eclipse," were mainstay albums in many collections during the '70s. Each one reveals different aspects of Mr. Cobham's special talents and tastes. In my humble opinion, they are essential listening for anyone interested in the evolution of jazz-rock.
By Oliver Towne.
**
Billy Cobham- Drums;
Tommy Bolin- Guitar;
Jan Hammer- Electric Piano, Moog, Piano;
Lee Sklar- Bass;
with
Joe Farrell- Flute, Saxophones;
Jimmy Owens- Flugelhorn, Trumpet;
John Tropea- Guitar;
Ron Carter- Acoustic Bass;
Ray Barretto- Congas.
Tracklist:
01. Quadrant 4 4:20
02. a. Searching for the Right Door 1:24
b. Spectrum 5:09
03. a. Anxiety 1:41
b. Taurian Matador 3:03
04. Stratus 9:50
05. a. To the Women in My Life 0:51
b. Le Lis 3:20
06. a. Snoopy's Search 1:02
b. Red Baron 6:37
**
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