Life And Times is a much over looked album from the master of funky fusion percussion. It starts off with a Mahavishu Orchestra inspired track "Life and Times" with all intense and wild fluid guitar lines and some complex drumming, but it gets better. John Scofield though is not John McLaughlin but he has his moments to shine, especially his acoustic work. "Siesta" is a beautifully laid back piece with some nice bass clarinet playing juxtaposed with piano and is an apex of the albums strength, along with "Song for a friend" parts 1 and 2, which are very similar, but become a good combination of tunes and worth the extra inclusion. "East Bay" is a cool piece of jazzy funk with just a bit of sleaziness added for good measure. Good album, worth stealing if you can get your hands on it.
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.
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.
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.
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.
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.
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.