Billy Cobham

Drummer extraordinaire William Emanuel "Billy" Cobham, Jr. broke into the public eye as a 24-year old in 1968 with performances on studio albums by The Horace Silver Quintet and George Benson. He then proceeded to firm his notoriety with the likes of Kenny Burrell, Kwame Nkrumrah, George Benson, Ron Carter, Miroslav Vitous, Larry Coryell, Miles Davis, Jim Pepper, Lonnie Smith, Mose Allison, Stanley Turrentine, Freddie Hubbard, Johnny Hammond, Grover Washington, Jr., Don Sebesky, Deodato, and his own New York City-based band, Dreams. But it was his brief stint with the Mahavishnu Orchestra, as one of the quintet's original members, that rocketed Billy into the attention of everyone on the planet.

     Once the first incarnation of the Mahavishnu Orchestra disintegrated in the spring of 1973, Billy continued to be hired as a guest star on many albums (making him for a time one of the busiest hired guns on the planet), but his own songwriting desires and very strong leadership skills were aching to be emancipated--both being put on full display for all to see on the stunning debut, Spectrum (also from 1973). From there out his energies became more focused on being a front-man, guesting on fewer numbers of other artist's albums (though still an astonishing number), leading his own bands through the next six decades, right up until the present day. Whereas Billy's albums from the 21st Century have shown a greater tendency to promote Jazz-Rock Fusion's elder statesmen, in the 1970s he was known to help bring up and showcase some of the fresher young talent who were trying to make their mark.

BILLY COBHAM Spectrum (1973)

 The Panama-born drumming phenom's first foray as a solo artist/bandleader. Impressive albeit dense jazz fusion by an extremely gifted, energetic drummer and his studio hires, I never heard this album in its heyday but had to wait till seeing all of the acclaim here on ProgArchives to discover it. Again, the performances are impressive--and polished--much moreso than the Mahavishnu stuff that came before it--BUT there is not a lot of engaging meat or melody here--not a lot of "fat" to this meaty collection of songs. The few songs I return to are more as a reminder of how much growth Billy Cobham did from his 1970 stint with his original band, New York, to here. The dude must have worked his fat off! The subtleties and nuances expressed herein by Mr. Cobham's virtuosic playing are truly astonishing, I just like a little more melody to keep me engaged. Plus, I'm not really much of a fan of Mr. Hammer's style or sound palette. (Also, I think I was always a bit turned off by his one-handed approach--something he may have perfected in order to promote his mobile keyboard play; left hand/bass clef play is often what really draws me into a keyboard player's style.) nor of Mr. Bolin or Mr. Tropea's guitar tone selections and styles. With horn, keys, and some guitar soli trying to attract and keep the listeners attention, it seems that I always fall into listening to the mesmerizing playing of Mr. C. Plus, his drums are recorded so well: every sound and nuance captured so clearly and balanced. Recorded in New York City at Electric Lady Studios  on May 14-16 of 1973, the album was produced by Billy, himself, and then released by Atlantic Records on October 1.

Line-up / Musicians:
- Billy Cobham / percussion, Moog synth drum (4,6b), producer
With
- Tommy Bolin / guitar
- John Tropea / guitar (5b)
- Jan Hammer / electric & acoustic piano, Moog synthesizer
- Joe Farrell / flute (2b), soprano (2b) & alto (5b) saxophones
- Jimmy Owens / flugelhorn (2b,5b), trumpet (5b)
- Lee Sklar / Fender bass
- Ron Carter / acoustic bass (2b,5b)

- Ray Barretto / congas (2b,5b)

1. "Quadrant 4" (4:20) this must be a song that Jan Hammer and Billy Cobham had left over from their last Mahavishnu Orchestra sessions--the ones that left them frustrated for the lack of input allowed/honored/valued from bandleader John McLaughlin. Jan and guitarist Tommy Bolin get most of the spotlight as Lee Sklar and Tony run a pretty tight ship beneath--neither too flashy but so competent in their tight hold of the speedy rhythm track. Impressive performances but not my favorite kind of music. (8.75/10)

 
2. "Searching For The Right Door / Spectrum" (6:33) Bandleader Billy Cobham starts this one off as a drum solo right from the get go: just him playing as if a one man band with his expanded drum kit. The "Spectrum" second half is a horn-supported funk jazz-rock piece with one awesome Ron Carter double bass performance (and ear worm riff). Horns and keys get the first mini solos before Joe Farrell is pushed out front with his soprano sax. Billy and Ron are just chewing up that underside! Jimmy Owens gets the next solo on his flugelhorn. Jan Hammer's support on Fender Rhodes is exquisite. The horns team up for the bridge into Jan's solo as Joe Farrell switches to flute for support. Good solid jazz-rock. (8.875/10)

- a. Searching For The Right Door (1:24)
- b. Spectrum (5:09)

3. "Anxiety / Taurian Matador" (4:44) more Cobham showmanship to open this one before the rest of the band are allowed to join in. When they do it's once more at break-neck speed--as if everybody's swarming down a country road on motorcycles, weaving rather recklessly among one another, with Jan and Tommy Bolin exchanging friendly and unfriendly shouts at one another as they go while Lee Sklar and Billy hold down the sane, steady pace. Impressive; I'm just not a fan of this type of speed jazz. (8.75/10)
- a. Anxiety (1:41)
- b. Taurian Matador (3:03)

4. "Stratus" (9:50) is like hearing music from the future as Billy Cobham's partner in the opening 3-minute duet is a computer-sounding keyboard. But then everything bursts out of the cosmic soup into a celestial form that is quite similar in form and sound to something from the Mahavishnu project. The rolling bass line is undoubtedly that which prog lovers are drawn to (as well as the masterful drumming display) while the Fender Rhodes holds the song to a key and the fiery guitar of Tommy Bolin burns through the space-time continuum. Jan Hammer is the next artist to get a solo and it's a great one--despite my brain's insistence and listening to the rhythm guitar work of Mr. Bolin. All the while Billy Cobham moves around his kit as if he only has to think it in order for it to happen--it is at times unbelievable how little space is allowed to exist between his stick hits. Though not a great tune, it is catchy (especially that iconic bass line) and very impressive in the instrumental departments. (18.25/20)

5. "To The Women In My Life / Le Lis" (4:11) now for a little of the future music that we'll soon be calling "Smooth Jazz." The stellar solos are still there (Jan Hammer's Moog) and the contributions of the clavinet and horns definitely add a dimension, but the smooth Latin melody and Latin bass and drum & percussion lines are quite simple and melodic in a way that previous jazz-fusion artists were often loathe to supply. (9/10)
- a. To The Women In My Life (0:51)
- b. Le Lis (3:20)

6. "Snoopy's Search / Red Baron" (7:39) a simplified funk piece of funk that harkens back to music like Herbie Hancock's for Bill Cosby Fat Albert and the Cosby Kids show as well as to other Southern Rock-funk R&B blues fusions. A solid song but nothing with plenty of nuanced performances that is nothing that I really feel compelled  to sing, hum, or dance to. (13.375/15)
- a. Snoopy's Search (1:02)
- b. Red Baron (6:37)

Total Time: 37:17

A prog lover is want to compare this classic album to the one from the other great jazz-rock fusion drummer of the period, Tony Williams' New Lifetime's Believe It!, but they're really two very different beasts. Believe It! (which I just happened to review immediately before Spectrum) is the very clear and concise work of a jazz quartet whereas Spectrum shows a drummer with a more broad and very subtle-swift brushing of many more sounds with the sweeping motions of his sticks; Tony's mastery is shown through a tremendous variety of dynamics employed to his hits within very precise rhythms coming from a much smaller, more traditional jazz kit while Billy's drum kit seems to be a much more expanded Carl Palmer-like kit within which he tries to hit as many items with as fluid and fast a display as if to sound like a wind storm sweeping through a variety of landscapes, both natural and man-modified.   

89.33333 on the Fishscales = B+/4.5 stars; a collection of solid songs from virtuoso musicians whose overall impression is one of a "near-masterpiece" instead of a true masterpiece. There is a difference between "masterful performances resulting in songs that are very interesting to listen to" and "great songs that I'm drawn back to for repeated listens over and over because I love the music so much." For an album that is a masterpiece because it has eminently enjoyable music on it, go to Billy's three Drum 'n' Voice albums issued between 2000 and 2011. 

BILLY COBHAM Crosswinds (1974)

Drummer Billy Cobham's sophomore effort at bandleader Crosswinds was recorded early in 1974 in NYC at Electric Lady Studios (produced by he and engineer Ken Scott) and then released in April by Atlantic Records.

Line-up / Musicians:
- Billy Cobham / drums, percussion, arrangements, orchestration & co-producer
With:
- John Williams / Acoustic Bass (tracks: A2)
- John Abercrombie / Acoustic Guitar (tracks: A2), Guitar (tracks: A1, A4 to B3)
- John Williams / Bass, Acoustic Bass (tracks: A1, A4 to B3)
- George Duke / Keyboards (tracks: A1, A2, A4 to B3)
- Billy Cobham / Percussion
- Lee Pastora / Percussion [Latin] (tracks: A1, A4 to B3)
- Garnett Brown / Trombone (tracks: A1, A2, A4 to B3)
- Randy Brecker / Trumpet (tracks: A1, A4 to B3)
- Michael Brecker / Woodwind (tracks: A1, A4 to B3)

1. "Spanish Moss - A Sound Portrait" :
- a. "Spanish Moss" (4:11) human-generated wind sounds (synths and cymbals and gongs) open this one before the whole band jumps into a highway-driving cruise through New Jersey or the Taconic Parkway. Beautiful scenery A gorgeously-constructed song with subtle and heavily-nuanced performances from all of the performers--especially Billy, Lee Pastora, and keyboard artist George Duke. (9.25/10)
- b. "Savannah The Serene" (5:14) some gentle drums and bass over which Randy Brecker solos in the first minute. I adore John Williams' sensitive bass play on this song. Also George Duke's expert and mature--and innovative--keyboard work. (9.75/10)
- c. "Storm" (2:52) George Duke wind synth washes with Billy's heavily-flanged tom-tom and cymbal play taking over in the second half of the first minute. Interesting. Did Billy have fun with this? In the end, it must have been hard to feel satisfied. (4.375/5)
- d. "Flash Flood" (5:08) how could this movement be from the same suite as the previous experimental piece? Musically, they have seemingly nothing to do with one another. At the same time, the polyphonic and polyrhythmic Latin rhythms and horns are wonderful. John Abercrombie's heavily-effected electric guitar solo in the third and fourth minutes is unfortunately contrasted with "real time" Fender Rhodes and, thereby almost lost. Too bad cuz it's a rather nice solo. (9/10)

2. "Pleasant Pheasant" (5:21) constructed over a funk bass line with clavinet and Fender Rhodes and straightforward drumming we get solos from Michael Brecker on sax and then Randy. It's a solid brass rock instrumental with great pace and energy but, unfortunately, it's just one of those songs that feel like they're a dime a dozen; nothing special here except for solid performances. In my opinion a 35-minute album should showcase new and exciting musical ideas not just high quality renditions of things that have already been done. (8.5/10)

3. "Heather" (8:40) very soft and mellow atmosphere, like something for late night radio, created by George Duke's sensitive Fender Rhodes play and John Williams' bass while Billy accompanies without drawing any attention to himself. Michael Brecker's sax gets the first solo--and a thing of beauty it is. Then George gets to tinkle the upper ivories of his Fender while Billy begins to show a little more life beneath--for a minute, but then everybody just kind of backs off--including the soloist! Again: It just feels kind of strange (and wasteful) to dedicate almost nine of your 35 minutes to a song of this minimal dynamic I mean, I get the textural nuance and maturity of restraint it takes to perform--and feel this kind of music, but when your reputation comes from being one of the most talented and dynamic drummers who ever held sticks, this seems a waste. (Kudos to Billy and George for having the courage to incorporate this one into their album--and to Columbia Records for sponsoring it!) (17.375/20)

4. "Crosswind" (3:42) Lee Pastora comes out on top with regards to who draws the most of my attention on this one. (Which is a backhanded way of saying, "What a waste!") (8.5/10)

Total time 35:08

I have to admit to being quite disappointed in having given this album so much of my attention today--this despite some fine work from innovative keyboard artist George Duke and rock solid performances from the Brecker Brothers. Billy gave up a lot of prestige to offer this to what I expect was his expectant fan base. After such a fine start with the wonderful Spanish Moss sound portrait, the rest just didn't live up to the same standard of dynamism.  

88.91 on the Fishscales = B+/four stars; an inconsistent album of jazz-rock fusion in which a ridiculously-average or overly-subtle Side Two failed to live up to the expectations set by the wonderful Side One suite.  

BILLY COBHAM Total Eclipse (1974)

Recorded in New York City in the Summer of 1974 at Atlantic and Electric Lady studios, Total Eclipse was released by Atlantic Records in December of 1974. It was drummer extraordinaire's third solo album since leaving the Mahavishnu scene. Is this one even better than Spectrum or Crosswinds?

Line-up / Musicians:
- Billy Cobham / drums, percussion, timpani, piano (6,8), arranger & co-producer
With:
- John Abercrombie / guitars
- Cornell Dupree / guitar solo (5)
- Milcho Leviev / keyboards
- Michael Brecker / flute, soprano & tenor saxophones
- Randy Brecker / trumpet, flugelhorn
- Glen Ferris / tenor & bass trombones
- Alex Blake / electric bass
- David Earle Johnson / congas (1,5)
- Sue Evans / marimba (1)

1. "Solarization: Solarization/Second Phase/Crescent Sun/Voyage/Solarization-Recapitulation" (11:10) Wow! Billy's drumming! John Abercrobie's guitar solo (in "Solarization")! Milcho Leviev's piano playing (in "Second Phase")! The smooth pool-side jazz of "Crescent Sun"! The band's unity at the breakneck speeds of "Voyage" (as well as Randy Brecker's trumpet play). A great J-R Fusion epic. (19/20)

2. "Lunarputians" (2:33) great little funk ditty with Alex Blake's bass and the clavinet leading the way with the horns, guitar, and keys following in suit. Sounds Herbie/Billy Cosby-ish. (9.333/10)

3. "Total Eclipse" (5:59) building like a great soundtrack tune for a 1970s Black Exploitation film. The deep piano chord play with opposing flutes and rhythm guitar accent strums is awesome--as are the horn accents and soli--both banked and individual--especially Michael Brecker's brief soprano sax solo in the third minute. John Abercrombie's incendiary guitar solo near the end is on a par with anything Johnny Mac, Al Di, Bill Connors, or Larry Coryell were doing at this time. This is a film that I'd want to see if only for the way the soundtrack would get my blood pumping and my hips rockin'! (9.333/10)

4. "Bandits" (2:30)  a weird little cruisin' jam with flashy solos from Alex Blake and John Abercrombie. (4.375/5)

5. "Moon Germs" (4:54) great arrangement of tightly-orchestrated instruments over which Billy's drumming seems to not fit very well! Weird! The rest of the band feels so synched up, but Billy's sound and style is just not clicking with the rest. Cornell Dupree's rock-wah-wah-ed guitar solo is weird, but the horns are so tight, so awesome. (8.875/10)

6. "The Moon Ain't Made Of Green Cheese" (0:58) Billy on piano with Randy Brecker on flugelhorn. Nothing so very special--unless you've never heard Miles Davis or Louis Armstrong. (4.25/5)

7. "Sea Of Tranquility" (10:44) gentle piano arpeggi of odd chords are soon joined by timpani and gongs before drums and bass are slowly faded in at the end of the first minute. Piano continues as the first lead instrument with some synth to offset it. Horns and electric guitar jump in to also add accents and opposition while the bass and drums just cruise along. In the fourth minute Michael Brecker is given ample room to shine on his tenor sax while Milcho Leviev adds Fender Rhodes to his assortment of accompaniments. Billy's drumming accents pick up as we move along into the fifth minute. Then Milcho's wah-wah-ed Fender takes a turn in the lead while John Abercrombie's rhythm guitar starts to sound as if it is itching more and more for some lead time. Nice percussion work whoever is doing it! Billy's drumming here sounds more like that which Lenny White will become known for over the next couple of years. John's guitar finally gets his turn in the spotlight but only as an adversary to Milcho's Fender. Eventually, Milcho backs off and John soars in a Coryell way. Meanwhile that rhythm section remains so constant and fine tuned! I don't get the fadeout at 8:30, leaving a void that is filled by echoed Fender Rhodes flourishes and large gong/cymbal and timpani play--plus Alex Blake's bowed bass. Thenat 10:20 the band kicks back in with a recharged mission to finish the song with the full crew. I must say: that was an odd ending to an otherwise-amazing song. (18.5/20)

8. "Last Frontier" (5:22) Billy on a solo drum and percussion mission. Impressive? Yes. Necessary? Not really. (We all know how good you are, Billy.) "Gratuitous" one other appropriately labeled this piece. I know it's a drummer's album but I do kind of hate to see the star of the show tooting his own horn at the very end to the exclusion of all of his other collaborators. Kind of a slap in the face to the others, don't you think? But, it's his album, his prerogative. The quiet--wait for it! Wait for it--piano solo at the very end helps salvage a little face. (8.75/10)

Total Time: 44:10

This album feels much more accessible to me than Billy's more-acclaimed Spectrum. 

92.31 on the Fishscales = A/five stars; a masterpiece of peak era Jazz-Rock Fusion. Essential to any prog lover's music collection. 

BILLY COBHAM A Funky Thide of Sings (1975)

The first of a series of albums that Billy Cobham uses (with the inspiration of Bulgarian classically-oriented pianist/composer Milcho Leviev) to expose his commitment to seriously sophisticated musical composition.

 

Line-up / Musicians:
- Billy Cobham / percussion, synthesizer, arranger & co-producer
With:
- John Scofield / guitar
- Milcho Leviev / keyboards, arrangements (2, 8)
- Michael Brecker / saxophone (excluding song #3)
- Randy Brecker / trumpet (excl. 3), arrangements (5)
- Glenn Ferris / trombone (excl. 3)
- Larry Schneider / saxophone (1, 3)
- Walt Fowler / trumpet (1, 3)
- Tom Malone / trombone & piccolo (1, 3)
- Alex Blake / bass, arrangements (4)
- Rebop Kwaku Baah / congas (1, 3)

1. "Panhandler" (3:50) a funk song that demands a lot of its players--especially the horn section, but these professionals are at the absolute highest echelon in music's talent pool. The song is okay but more fascinating to listen to the horn section. (9/10)

2. "Sorcery" (2:26) another great groove, this one a little less funky, on which Billy once again places rigorous demands on his horn players. I think I'm catching on to Billy's focus on this album: to show off his skills as an arranger. (9.125/10)

3. "A Funky Thide Of Sings" (3:40) a steady bass line with rich percussion contributions that sounds a lot like a blend of the DAVE SANBORN and KOOL AND THE GANG approaches to funk is complemented by a slightly less star-studded horn section. Sax player Larry Schneider is asked to lead throughout a lot of it. (8.75/10)

4. "Thinking Of You" (4:12) exploring the smoother, Disco-er side of jazz-rock fusion with a rotating crew of individuals stepping up to lead, including, synth player Milcho Leviev, trombonist Glenn Ferris, sax player Michael Brecker, trumpeter Randy Brecker, and guitarist John Scofield all getting a little time up front. (8.75/10)

5. "Some Skunk Funk" (5:07) a great song (attributed to trumpeter Randy Brecker), demanding tremendous skill to pull off, that once again lacks that special ingredient that makes one want to hum along: you want to dance, you want to study and marvel at the individual musicians, but there's nothing you'll be haunted by in the hours or days afterward. (9/10)

6. "Light At The End Of The Tunnel" (3:37) stealing the melodic rhythm track from Motown Temptation's "Can't Get Next to You" and then trying to make it different with interesting horn and lead guitar play over the top is like stealing a car and then spray painting it a different color. The solo voce drum play at the very end is the highlight for me. (8.875/10)

7. "A Funky Kind Of Thing" (9:24) solo drum play over the entire ten minutes! It always amazes me how Billy Cobham can create mood and funk with only himself and a drum set (and an engineering console). I can not think of many drummers who have this talent. (17.5/20)

8. "Moody Modes" (12:16) cymbals, electric piano, electric bass, and synths open up to create a nice dreamy "late night" motif--which is joined (bubbly slightly burst) at the 90-second mark by the horns. Piano takes over in the middle of the third minute. The pianist. Milcho Leviev is, you might recall, an incredibly talented pianist, composer, and band leader with quite a pedigree and c.v. back in Bulgaria before Don Ellis lured him across the pond to co-lead his orchestra from 1970-75. Though Ellis was quite the promoter, molder, and mentor to young and foreign talent, Don's relationship with Milcho was prompted by his tremendous respect and admiration for the Bulgarian music traditions and compositional (and piano) prowess he exuded.

     Billy began associating with Milcho in 1971 with the artist appearing on Billy's albums Total Eclipse (1974), this one, and Shabazz, a live album which would appear later in the same year as this one. Overall this long song plays out more like a soundtrack or classically-tinged suite than anything resembling anything else on Side One of this album. A marvellous song, though still lacking in melodic hooks and definitely lacking in infectious grooves. This one is for the intellectual music lover. (23.5/25)

Total time 44:32

A collection of demanding, sophisticated songs that all take considerable skill to perform but which somehow lack that special something that makes for a catchy earworm--a song that you want to push "repeat" for. Again, it feels obvious to me that Billy's focus on this album was most surely the task of proving he could write and arrange uber-sophisticated songs and then get the right team of musicians that he could then motivate to top-notch performances.

90.0 on the Fishscales = A-/4.5 stars; even though this isn't a favorite album--does not contain enough whistle-and-dancd along songs for my tastes--it is an album I have to rate up for the astounding skill level of the musical collaborators. 

BILLY COBHAM Life & Times (1976)

Bulgarian keyboard virtuoso/composer Milcho Leviev is gone but Billy's demands of his support crew remain incredibly high, his compositions still quite sophisticated. I was really looking forward to hearing this album after seeing Doug Rauch and Allan Zavod on the call sheet--and for the sake of wanting to give John Scofield and George Duke yet more chances to win me over. (Their skills are always impressive but their styles and melodic sensibilities don't seem to align with my own.) 

Line-up / Musicians:
- Billy Cobham / percussion, Moog synthesizer, arranger & producer
With:
- John Scofield / guitar
- George Duke ("Dawilli Gonga") / keyboards
- Allan Zavod / organ (1)
- Phil Bodner / bass clarinet & flute (3-a)
- Gene Orloff / violin (3-a)
- Al Brown / viola (3-a)
- Kermit Moore / cello (3-a)
- Doug Rauch / bass
- Richard Davis / bass (3-a)
- Arif Mardin / arrangements (3-a)

1. "Life & Times" (6:58) Nice racing song that puts on full display all of the principles, with very impressive solos from Scofield, Duke, and, dream of dreams, Doug Rauch. (Weird that I never really heard an "organ"!) Billy is, of course, ridiculously impressive. (13.75/15)

2. "29" (2:28) another song in which the musicians are asked to sprint from point A to B, the musicianship is quite impressive, and there are some nice melodies worked into the mayhem as well as some impressive solos, but it's just not, overall, a song that one can easily "get into." (8.875/10) 

3a. "Siesta" (3:36) as if hearing my "complaint" from the first two songs, Billy has the band slow things down and finally use space as an additional band member. Also, as if taking a cue from former compatriot John McLaughlin and recent Return To Forever albums, the musicians are asked to perform on acoustic instruments--including some strings players to replace the bass. (9/10)

- b. "Wake Up!!!!!! That's What You Said" (0:04) just what the title says. All four seconds of it.

4. "East Bay" (6:08) this one sounds like a piece that could've been generated from the former conglomerate band of New York City-based future Hall of Famers that called themselves DREAMS for the three or four year duration of their association (back in 1968 into 1971). The funk is present but slowed down to a swaggering pace while John Scofield is given the bulk of the lead instrumental play as the rest of the band just strut around the rhythm tracks. Kind of cool! (9/10) 

5. "Earthlings" (5:04) the only non-Cobham composition (attributed to John Scofield). John plays lead over active keyboard play from George's Fender Rhodes, Dougie's gattling gun bass note production, and Billy's impeccable swingtime. George gets some extended solo time in the fourth and fifth minutes to display his keyboard ideas and then mirrors/harmonizes with John's guitar play for a nice final section--my favorite part of the song. (9/10)

6. "Song For A Friend (Part I)" (5:03) a rather unique opening with slowed-down Cowboy-Western theme over which an odd synth slowly soars and falls as if a rocket being launched into the sky and then descending to the Earth--all the while the Fender Rhodes and gently picked guitar and bass and Billy's rim shots and hi-hat work keep Rancher's time. A highly unusual song: for Billy, for Jazz-Rock Fusion, for recorded music. I really like this! Again, it's nice to have songs in which space and airiness are explored to balance out the frenetic music of those other barn-burners. (9.25/10)

7. "On A Natural High" (5:17) a funky drive through town in the convertible (with the top down, of course) cruisin' all the hot spots (probably running into the Fonze, Spike Lee, and the Fresh Prince at various points along the way). Doug Rauch's very active bass play, I think, makes a nice complement to Billy's steady-yet-nuanced drum play--and George Duke seems to bridge the territory between John Scofield's squawking guitar play and the rhythmatists quite well. For me, this might be the song that works the best: melding rather perfectly on all levels. (9.25/10)

8. "Song For A Friend (Part II)" (4:43) a repeat/revisitation to the previous "Song for a Friend"'s Western cowboy motif with a different approach from John Scofield--using miked-up acoustic guitar instead of gentle electric--and from George Duke with richer, more sustained chord play from his Fender Rhodes. Nice melodies from John with excellent supportive chord play from George (while pushing that weird Prophet 5 synth portamento space note play a little more into the background). Another favorite. (9.25/10) 

Total Time 39:21

I can see how the excessive number of notes demanded of the musicians on these highly-complex songs might fatigue and/or put off some listeners but at least there are more melodies to connect with. At the same time, Billy has considerately tried to balance out the fare offered on this album with several less-than-breakneck-speed songs for the listener to settle into. And, if you're at all interested in hearing basss sensation Doug Rauch in all his glory, this might be the absolute best album in which to do so--especially as his drug addiction issues would, sadly, render him pretty much unreliable and unemployable in the next year or two. (He would be dead in three years--at the unfortunate age of 28.)

91.03 on the Fishscales = A-/five stars; a most excellent full-spectrum presentation of Jazz-Rock Fusion at its finest if not most melodic. Highly recommended to anyone who has not heard it. 

BILLY COBHAM Magic (1977)

Another new lineup of collaborators does not mean Billy Cobham will sacrifice any of his integrity: he remains firmly committed to the high-fallutin' principles of high-quality, sophisticated Jazz-Rock Fusion.

Line-up / Musicians:- Billy Cobham / drums, vocals (4), hand-claps (6), producer
With:
- Kathleen Kaan / vocals (6)
- Pete Maunu / guitars
- Joachim Kühn / acoustic (1, 2, 6) & electric (1) pianos, Mini Moog synthesizer (2)
- Mark Soskin / acoustic (1, 3, 4) & electric (4) pianos, Oberheim synthesizer (1, 3, 6)
- Alvin Baptiste / clarinet (2, 4, 5), vocals (4)
- Randy Jackson / bass
- Pete Escovedo / timbales (2, 5), vocals (6)
- Sheila Escovedo / congas (2, 5)
- Hojo / hand-claps (6)
- Dennis / hand-claps (6)

1. "On A Magic Carpet Ride" (5:08) despite the impressive RETURN TO FOIREVER opening 20 seconds, this songdemonstrates that Billy has now climbed on board the popular Disco train. At the same time, this song shows off his new international ensemble and the fact that they can pull together an impressive yet accessible (and melodic) display of group cohesion and virtuosity. New bassist Randy Jackson is much more oriented to accents, melodies, and syncopation than his predecessor (Gattling Gun Doug Rauch) and much more comfortable within the newer Disco parameters. 23-year old guitarist Peter Maunu had only been present on a few recordings at this point in his storied career and Billy, always a quick study of fresh young talent, knew what a find he had here: letting him take the lead for a good chunk of the song. Really impressive piano play from Joachim Kühn (and/or Mark Soskin). Too bad they felt that they had to fade out after five minutes--right in the middle of some fine soloing by Peter Maunu. (9.333/10)

2. "AC/DC" (5:27) spacious Latinized funk with the Escovedo family well-engaged (sister Sheila ["E"] having only burst onto the music scene in the previous year), it's bassist Randy Jackson who, as on the previous song, seems to dictate the pace, space, and melodies! After 90 seconds of spacious syncopation, the electric keys enter and smooth things out--over which Peter Maunu lets loose with a pretty awesome NEAL SCHON-like guitar solo while Randy funks things up below with some slap and pluck bass playing. Then Joachim Kühn takes a turn on the MiniMoog play provding us with an awesome and even rather amazing solo. Then things kind of let us down gently to the full stop finish. (9.25/10)

3. "Leaward Winds" (3:39) a melodic and Easy Listening tune on a par with those of Bob JAMES in that the musicianship is still top notch and subtly sophisticated. A little Steely Dan feel in the keyboards and chord progressions while Peter provides another super-engaging guitar solo up top. Mark Soskin is next with his piano solo while also sassing things up beneath with some Oberheim synth stuff. (9.25/10)

4. "Puffnstuff" (6:23) more peppy, bouncy, almost "light" Easy Listening Burt Bacharach-like Jazz-Rock Fusion; the Day of the Melody is here: all that showy-offy speed racing may be in the past. The performances in the weave above the rhythm track are still amply sophisticated but they are also fun and enjoyably melodic. I love the piano chord play and clarinet solo in the first two minutes. Then, in the third minute, there is a sudden and drastic shift in both mood, energy, and tempo as the band launches into a Discofied power J-R Fusion passage that presents/contains a Public service call to quit/desist from the use of marijuana! Funny! Then the band equally comically switches back to the opening "lite" and carefree melody and mood. Brilliant--both parts! Definitely a top three song--probably my favorite just for its quirky oddness and light-heartedness. (9.75/10)

5. "'Antares' - The Star" (5:11) another great tune with lots of carnival-esque Latin flavor (grâce à the Escovedo family, again) with some equally great drum play from Billy, instinctual bass play from Randy Jackson, guitar and clarinet play. (I am unexpectedly loving the presence of the clarinet on these songs!) (9.125/10)

6. "Magic/Reflection In The Clouds/Magic Recapitulation" (13:33) opens like a response to the previous year's RETURN TO FOREVER release, Romantic Warrior, but then turn a bit more toward a George Duke-like sound. I'm not liking the flanged, compressed-muted effect imposed upon Billy's drums but ti's fine on Randy Jackson's fretless bass. The presence of the Oberheim synth is also a bit odd--bridging Billy's work more into the world of progressive rock than ever before. Add the male and female jazz/Broadway vocals in the middle of the song (performed by Pete Escovedo and Kathleen Kaan) also give this more of a Chick Corea aspect. This is followed by a gorgeous piano solo from Joachim Kühn and then some nice electric guitar from Peter Maunu that is paired nicely with the Gayle Moran-like voice of Kathleen Kaan. The aggressive/abrasive final minute is just weird--and meant to reinforce the fact that this is Billy's music, Billy's band, Billy's album. A pretty cool, pretty eclectic suite that is, unfortunately, engineered rather strangely. (26.75/30)

Total Time 39:21

Hello and welcome, Randy Jackson! Peter Maunu! Welcome to American audiences, Joachim Kühn! 

91.51 on the Fishscales = A-/five stars; a minor masterpiece of high quality Third Wave Jazz-Rock Fusion. I really am impressed by Billy's unwillingness to concede to the contemporary pressures to "sell out" and simplify for the masses: he stands staunchly-committed to the skillful and sophisticated (jazzy) side of Jazz-Rock Fusion. This is close to being/may be my favorite Billy Cobham album from the 1970s.  

BILLY COBHAM Inner Conflicts (1978)

This time incorporating the talents of some old favorites along with the continued promotion of some of his new collaborators (including the Escovedo family), Billy continues to remain staunchly loyal to the principles of sophistication and quality of "peak era" Jazz-Rock Fusion. 

Line-up / Musicians:

- Billy Cobham / drums, percussion, synthesizers, synthesizer programing
- Steve Kahn / guitar

- John Scofield / guitar
- Don Grolnick / keyboards

- Dawilli Gonga (George Duke) / keyboards
- Alfonso [sp] Johnson / bass
- John Williams / electric bass, acoustic bass
- Ernie Watts / woodwinds

- Michael Brecker / woodwinds
- Julian Priester / trombone
- Jimmy Owens / trumpet, flugelhorn
- Randy Brecker / trumpet
- Ruth Underwood / xylophone, marimba
- Pete Escovedo / timbales, latin percussion

- Sheila Escovedo / Latin percussion

- Jose Najeira / Latin percussion

A1. "Inner Conflicts" (10:49) Instead of one of Billy's stark drum solos that he occasionally enjoys placing on his albums, we have here an experiment with drums, programmed drums, and synthesizers all woven together. I do not have a problem with this--especially in light of the album's title. I do, however, find myself a little annoyed at the effects placed upon the drum sounds (like I did on the last song of the Billy's previous album. I find the flange effect particularly cool when the drummer is keeping time or when the song is fading in or out, but when the drummer is this active and nuanced it feels diminishing.) The manual synthesizer work is not very melodic nor is it sophisticated--not unlike Larry Fast's work on his Synergy albums or Patrick Moraz's The Story of I album. (17.625/20)

  
A2. "The Muffin Talks Back" (9:52) opening with quite an interesting (and somewhat distracting) combination of synths, rhythm guitar, and percussive creating a kind of funky Star Wars "Cantina" sound world, the music soon launches into a before smoothing out a bit in the second minute into a kind of Latin-Disco true Jazz-Rock Fusion song. The electric guitar solos (and rhythm play) seal the deal--bringing a
two guitar "Prince of the Sea" feel to it like Lenny White's final song from Venusian Summer. (This marks the nth number of times my brain has noted similarities to Lenny's 1975-76 production in Billy's albums from the period soon after.) The performances from everyone involved are quite dynamic, especially the three percussionists and keyboard maestro Don Grolnick. The vocal interjections are a bit odd, as are Al[ph]onso Johnson's bass chords in the seventh and eighth minutes as well. The final two minutes feature an awesome electric guitar solo riding on top (or within the percussion weave) that I'm guessing is Steve Kahn's guitar. If you're a lover of wildly-full percussion work, this would be a great song for you to enjoy! (18.5/20)

B1. "Nickels And Dimes" (7:21) a very interesting and engaging song with multiple motifs each with its own tempo and melodies--the second one really putting Ruth Underwood (Zappa)'s xylophone and the amazing horn section to the paces. A highly complex funk weave. Wonderful stuff! The music smooths out a bit in the fourth minute with a nearly-straight-tempo pattern over which George Duke is given copious time and room to perform a nice Fender Rhodes solo. Then we turn to more percussion based section with bass, winds, and "distant" horns backing John Scofield's extended guitar solo. At 6:10 we return to the "Can't Get Next to You" Discofied motif for some excellent work from the horn section and some prime Billy Cobham drumming. (14.25/15)

B2. "El Barrio" (6:30) another Latin percussion-dominated intro weave that finally gives way at 3:00 to a 
very pleasant Cubano-feeling motif in which whistles, timbales, bells, and bass are woven into a cheery, upbeat sound reminiscent of stereotypic Latin carnival. The welcome sound of Julian Priester's trombone is given the song's first solo, followed by a somewhat quieter guitar (mixed within the weave of the horn section) from Steve Kahn. Julian gets some shine again as the song ends. I would very much have preferred if this song had been extended! Too bad! (9.25/10)   

B3. "Arroyo" (4:15) a slower almost SANTANA-like song with more great interplay between the percussionists (including Billy) while Alphonso maintain's a steady melodic groove over the top within which George Duke's keys and John Scofield's acoustic guitar take turns offering smooth, steady solos (almost in deference to the awesome groove being maintained by the rhythmatists). Nice finish if a slight comedown from the highs of the other four songs. (9/10)

Total Time: 38:51

Once again I feel ever-so grateful that Billy Cobham remains firm and true in his commitment to the high principles of "peak era" Jazz-Rock Fusion: refusing to slide into the easy job of creating Easy Listening Smooth Jazz (which we know he is capable of). The man was and still remains a staunch promoter of high-class Jazz-Rock Fusion.

91.50 on the Fishscales = A-/five stars; another minor masterpiece of "peak era" Third Wave Jazz-Rock Fusion from one of the "true believers" of the movement.

BILLY COBHAM Simplicity of Expression, Depth of Thought (1978)

As always, Billy Cobham fearlessly spreads his wings, incorporating any and all new styles and sounds, musicians and technologies into his purview--and always, always remaining steadfast in his commitment to providing seriously-crafted, fully-polished song. 

Line-up / Musicians:
- Billy Cobham / drums, percussion, backing vocals (3, 5), co-producer

- Randy Jackson / bass; backing vocals (3, 5)
With:
- Kamal / lead vocals (1, 6)
- Ray Mouton / guitar (1-3, 5)
- Charles Singleton / guitar (1-3, 5), lead & backing vocals (3, 5)
- Steve Khan / 12-string guitar (2)
- Pete Mannu / guitar (4, 6)
- Mark Soskin / keyboards (1-3, 5)
- Joachim Kühn / Moog (4, 6)
- Alvin Batiste / clarinet (2), woodwind (3, 5)
- Eddie Daniels / tenor sax (1), woodwind (3, 5)
- Mike Mainieri / vibraphone (4)
- Jay Chattaway / arranger & conductor (1, 2, 6), co-producer
- Marvin Stamm / trumpet (1, 2, 6), flugelhorn (1)
- Mike Lawrence / trumpet (1, 2, 6), flugelhorn (1)
- Wayne Andre / trombone (1, 2, 6)
- Alan Ralph / trombone (1, 2, 6)
- George Quinn / trombone (1, 2, 6)
- Brooks Tillotson / French horn (1, 2, 6)
- Don Corrado / French horn (1, 2, 6)
- David Nadien / string section's concertmaster (1, 2, 6)
- Matthew Raimondi / strings (1, 2, 6)
- Richard Hendrickson / strings (1, 2, 6)
- Alfred V.Brown / strings (1, 2, 6)
- Peter Dimitriades / strings (1, 2, 6)
- Anahid Aiemian / strings (1, 2, 6)
- Louis Shulman / strings (1, 2, 6)
- Jonathan Abramowitz / strings (1, 2, 6)

1. "Bolinas" (4:25) percussion bells and bass notes open this before a smooth ISLEY BROTHERS-like funk groove sets up Kamal for his Ronald Isley-like vocal. Very, very nice Smooth Jazz that obviously has pop/radio aspirations with the vocals being central to it all. Great tenor sax solo from Eddie Daniels in the first half of the third minute, then we're back to the pop-Adult R&B music with Kamal commanding our attention with his great vocal. I mustn't forget to mention the wonderful presence of a full orchestra, under the direction of Jay Chattaway, the strings led by David Nadien. (9.3333/10)

 
2. "La Guernica" (8:05) a dramatic song with a Latin flare (especially coming from bass player Randy Jackson) that has become a concert and fan favorite of Billy's over the years, it has great performances from Billy (of course), guitarists Charles Singleton and Steve Kahn and keyboard player Mark Soskin. Though the inputs from the orchestra are rather minimal, I do like their presence. (15/15)

3. "Pocket Change" (6:30) another pop-oriented tune whose vocals, Donald Byrd/Blackbyrds-like group choral and solo style, fall more into the realms of Soul/R&B with a Black American perspective and humorous attitude. Lead vocalist Charles Singleton is rather weak when he tries for those Philip Bailey-like falsettos, but sufficient in the middle ranges. I don't mind this style of song but this particular example is nothing to get too excited about. (8.75/10)

4. "Indigo" (6:50) a Smooth Jazz/Disco Lite vehicle for Mike Manieri's vibes, guitarist Peter Maunu's "distant" twangy electric guitar, and keyboard maestro Joachim Kühn's Moog to solo. Very lite beach cabana/"Yacht" music. (13.125/15) 

5. "Opelousas" (4:51) Billy's nuanced solo drumming opens this one before Randy Jackson's funk bass joins in to begin to create another Black-centrified R&B tune with Charles Singleton singing/rapping lyrics expressing the day-to-day issues and concerns of Black America in a fashion that sounds very much like future CAMEO. Excellent bass and drum play; okay song. (8.875/10)

6. "Early Libra" (7:13) electric piano (Joachim Kühn's Moog?) opens this mood-steering song that follows a very dramatic course from soulful Ronald Isley-like ballad to drum-and-orchestra crescendo before collapsing back into soulful plaintive-speak for the finish. Great musicianship throughout but the dramatic rollercoaster ride might have gone a bit over the top with Peter Maunu, Billy's, and the orchestra's big loud crescendo in the sixth minute. I like Kamal's vocal on this one even better than the album's opener (cuz I love the smooth voice of Ronald Isley and his imitators). (13.5/15)

Total Time 37:54

Though this album is flawed and dated it contains some amazing musicianship, not the least of which comes from Mr. Cobham himself, and, as other reviewers have rationalized, you can tell that Billy is fully invested in the music he is making: never shirking or shorting on commitment to fully-developed and fully-polished music (which is one of the things I've enjoyed about listening to any album bearing his name: that commitment to excellence). 

91.44 on the Fishscales = A-/five stars; another minor masterpiece of eclectic Jazz-Rock Fusion that expresses Billy's unwavering devotion to releasing only first-class music.  

BILLY COBHAM B.C. (1979)

Another eclectic collection of musics that were popular with the contemporary Jazz, Jazz-Rock Fusion, Disco, Pop-R&B and Black exploitation Funk-R&B artists with Billy still demanding total commitment and excellence from his collaborators. (They must have loved him. I want to assume that he paid them well.)

Line-up / Musicians:

- Billy Cobham / drums, percussion, 

- Nathaniel Phillips / bass

- Bobby Lyle / electric piano, synthesizer [Arp Quadra] (A2, A3, B2)
- Michael McGloiry / guitar (A3, B1 to B3)

- Vance "Mad Dog" Tenort / Congas (A1, A4, B1)

On Songs A1, A2, A4, B2:

- Jim Gilstrap / vocals [lead A1]

- Wayne Henderson / trombone solo [A1]

Woodwinds:  Ernie Watts [flute solo on A1], Peter Cristleib, Bill Green

Brass:  Oscar Brashear [trumpet], Steve Madaio [trumpet, flugelhorn], Garnett Brown [tenor trombone], David Duke [French horn], Ernie Tack [tuba, bass trombone]

Violins:  Bonnie Douglas, Carroll Stephens, Clayton Haslop, Glenn Dicterow, Gordon Marron, Ilkka Talvi, Israel Baker, Jack Pepper, James Getzoff, Janet Lakatos, Nathan Ross, Stephen Bryant 

Cellos:  Douglas David, Paula Hochhalter, Robert Adcock, Selene Hurford

Harps:  Catherine Gotthoffer, Dorothy Remsen 

With:

- David Yost / synthesizer (B4)

- Ed Reddick / bass (A3)

And:

Backing Vocals:

Jim Gilstrap, Miki Howard, Alexandra Brown, August Johnson, Louis Patton, Donna Fein, Joe Croyle, Jon Joyce, Merry Greene, Michael Wright, and Muffy Hendrix.

A1. "Oh Mendocino" (6:39) with lead vocalist Jim Gilstrap being backed by vocal choir and a full orchestra we get a lively Latin-flavored song that sounds like something from either a Broadway musical or an animated Disney film. (8.875/10)

A2. "Dana" (4:30) a gorgeous little Smooth Jazz tune with some great melody hooks à la BOB JAMES. A solid, very professionally rendered song despite its "lightness." (8.875/10)

A3. "What Is Your Fantasy" (3:32) a full-on funk-R&B tune in the vein of early KOOL & THE GANG, OHIO PLAYERS, EARTH WIND & FIRE, RUFUS, and BETTY DAVIS as well as contemporaries like PARLIAMENT, The ISLEY BROTHERS, and The BROTHERS JOHNSON, with Miki Howard on the lead vocal, a sassy chorus of male background vocalists, and plenty of funk coming from Ed Reddick's bass, Bobby Lyle's clavinet and synthesizer percussion, as well as Michael McGloiry's rhythm guitar, they have all the makings of a very popular, very entertaining song for the BET and other Black entertainment media. (8.875/10)

A4. "A Little Travelin' Music" (4:11) sounding like an excursion through/around the Caribbean. Pianist Bobby Lyle's dynamic play reminds me quite often of the play of more animated Chick Corea. Very dynamic and tight. No doubt Billy had loads of fun on the timbales track. (9.125/10)

B1. "The Lonely Bull (El Solo Toro)" (6:22) with the male and female grunts and groans mixed over the percussive display over the first minute of this song one would never guess that this was going to turn into a very funky, high speed Disco run through Herb Albert's signature song (from his 1962 debut). And I thought the previous song was all fun and games, this one is like that but on steroids and meth-amphetamines! "A Little Travelin' Muisc" was only Billy's warmup on the timbales! The theatric vocal performances are a little hokey/over-the-top, but it is definitely an impressive display of percussion and horn play. (8.875/10) 

B2. "I Don't Want To Be Without You" (4:08) another Latin-infused tune with ultra-funk bass in the form of Nathaniel Phillips slap bass. The horns and orchestration are still cool but the choir of background vocalists is getting a little old. Nice electric piano work from Bobby Lyle. (8.875/10)

B3. "Bring Up The House Lights" (4:26) are we having fun now? The relaxed Black street talk between Billy and George Duke is quite entertaining (they definitely captured one great conversation!), while the funky-smooth sax-led music beneath them. Funny that George is contributing absolutely nothing instrumentally to the song, but the conversation is definitely worth listening to--over and over. As a novelty song I have to admit that this is pretty special. (9/10) 

B4. "Vlastar - An Encounter" (7:23) Billy's customary drum solo (there seems to be one on every album). I guess it does provide a kind of historical record of the ideas and techniques Billy encounters and toys around with from year to year. As far as comparing this one to others, I must say that this one is easy to engage with and yet still presents some very impressive and entertaining play. David Yost joins Billy on a synthesizer for the sixth minute and beyond, giving the song a spacey finish like something from a TV or film soundtrack. (14.25/15)

Total Time: 41:11

I truly appreciate and enjoy Billy's trajectory of continuous evolution with its fearless experimentation and amazing ability to masterfully incorporate anything and everything into the aegis of his overwhelmingly high standards of quality. Along with Chick Corea he has become my most respected Fusion artist of all-time. While I might not find myself recommending the songs on this album as easily of quickly as others from other albums (except for "Bring Up the House Lights" and "Vlashtar - An Encounter": people need to hear those two), I will not shirk, myself, from returning to this album for future listens.

89.71 on the Fishscales = B+/4.5 stars; a near-masterpiece of high-quality, very entertaining music that still manages to fall completely under the Jazz-Rock Fusion umbrella. 

Ranking Billy Cobham's 1970s Studio Albums:

Total Eclipse (1974) - 92.31

Magic (1977) - 91.51

Inner Conflicts (1978) - 91.50

Simplicity of Expression, Depth of Thought (1978) - 91.44

Life & Times (1976) - 91.03

A Funky Thide of Sings (1975) - 90.0

B.C. (1979) - 89.71

Spectrum (1973) - 89.3333

Crosswinds (1974) - 88.91

List of Other Classic Jazz-Rock Fusion Albums* that Billy contributed to:

George Benson Giblet Gravy (1968)

The Horace Silver Quintet Serenade to a Soul Sister (1968) 

Hubert Laws Crying Song (1969)

The Horace Silver Quintet You Gotta Take a Little Love (1969)

Kenny Burrell Night Song (1969)

Kwame Nikruman The Ninth Son (1969)

Dreams Dreams (1970)

Ron Carter Uptown Conversation (1970)

William S. Fisher Circles (1970) 

Larry Coryell Spaces (1970)

Jimmy Owens No Escaping It (1970)

Miroslav Vitous Purple (1970)

Miles Davis Live-Evil (1971)

The Mahavishnu Orchestra The Inner Mounting Flame (1971)

Jim Pepper 

Dreams Imagine My Surprise (1971)

Mose Allison Western Man (1971)

Mahavishnu John McLaughlin My Goals Beyond (1971)

Kenny Burrell God Bless the Child 1971)

Johnny Hammond Breakout (1971)

Stanley Turrentine Salt Song (1971)

Miles Davis Jack Johnson (OST) (1971)

David Pomeranz Time to Fly (1971)

Steve Kuhn Steve Kuhn  (1971)

Kenny Burrell Night Song (1971)

Stanley Turrentine with Milt Jackson Cherry (1972)

Hubert Laws Morning Star  (1972)

Randy Weston Blue Moses  (1972)

Freddie Hubbard Sky Dive  (1972)

Johnny Hammond Wild Horses Rock Steady  (1972)

Astrud Gilberto Now (1972)

George Benson White Rabbit (1972)

Charles Earland Intensity (1972)

Gerri Granger Add A Little Love (1972)

Jackie & Roy Time & Love  (1972)

Michel Sardaby In New York (1972)

Free Design One by One (1972)

Richard Landis Natural Causes (1972)

Roy Ayers Ubiquity he's Coming (1972)

Mahavishnu Orchestra Between Nothingness & Eternity (1972)

Mahavishnu Orchestra Birds of Fire (1973)

Milt Jackson Sunflower (1973)

Carlos Santana & Mahavishnu John McLaughlin Love Devotion Surrender (1973)

Johnny Hammond The Prophet (1973)

Gabor Szabo Mizrab (1973)

Robin Kenyatta Gypsy Man (1973)

Ron Carter Blues Farm (1973)

Don Sebesky Giant Box (1973)

Ray Barretto The Other Road (1973)

Gene Ammons Big Bad Jug (1973)

Deodato Prelude (1973)

Gene Ammons Got My Own (1973)

Deodato Deodato 2 (1973)

Hubert Laws Carnegie Hall (1973)

Billy Harper Capra Black (1973)

Miles Davis Get Up with It (1974)

Milt Jackson with Hubert Laws (1974)

Ron Carter All Blues (1974)

Deodato Whilrwinds (1974)

Atmospheres featuring Clive Stevens & Friends Atmospheres Featuring Clive Stevens & Friends (1974)

Fania All Stars Latin-Soul-Rock (1974)

Airto Virgin Land (1974)

Ron Carter Spanish Blue (1974)

David Sancious Forest of Feelings (1975)

Horace Silver Horace Silver (1975)

Deodato Max 20 (1975)

Freddie Hubbard Polar AC (1975)

* bold type signifies albums included with full reviews in the Compendium of "Classic Era" Jazz-Rock Fusion Albums blogspot.