Billy Cobham
Biography
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. After debuting as a leader with the classic Spectrum in 1973, Cobham spent most of fusion's glory days recording for Atlantic; briefer stints on CBS, Elektra, and GRP followed, and by the mid-'80s, Cobham was de-emphasizing his own bands in favor of session and sideman work. Even so, he continued to record for various small labels with some regularity.
William C. Cobham was born May 16, 1944, in Panama, where as a very young child he became fascinated with the percussion instruments his cousins played. When Cobham was three, his family moved to New York City, and at age eight he made his performance debut with his father. He honed his percussion skills in a drum-and-bugle corps outfit called the St. Catherine's Queensmen, and attended New York's prestigious High School of Music and Art, graduating in 1962. From 1965 to 1968, he served as a percussionist in the U.S. Army Band, and after his release, he was hired as the new drummer in hard bop pianist Horace Silver's band. Cobham toured the U.S. and Europe with Silver in 1968, and also moonlighted with Stanley Turrentine, Shirley Scott, and George Benson. After eight months with Silver, Cobham departed to join the early jazz-rock combo Dreams in 1969, which also featured the Brecker brothers and guitarist John Abercrombie. From there, he landed a job in Miles Davis' new fusion ensemble, and played a small part in the seminal B**ches Brew sessions; he also appeared more prominently on several other Davis albums of the time, including more aggressive classics like Live-Evil and A Tribute to Jack Johnson.
Cobham and guitarist John McLaughlin split off from Davis' group to pursue a harder rocking brand of fusion in the Mahavishnu Orchestra, which debuted in 1971 with the seminal The Inner Mounting Flame. With Mahavishnu, Cobham's fiery intensity was given its fullest airing yet, and his extraordinary technique influenced not only countless fusioneers in his wake, but also quite a few prog rock drummers who were aiming for similarly challenging musical territory. The 1972 follow-up Birds of Fire cemented his reputation, and by this time he had also become something of an unofficial in-house drummer for Creed Taylor's CTI label, known for a smoother, more polished style of fusion; here Cobham backed musicians like George Benson, Stanley Turrentine, Freddie Hubbard, Hubert Laws, and Grover Washington, Jr. Unfortunately, the volatile group chemistry that made Mahavishnu's recordings so exciting also carried over into real life and the original lineup disbanded in 1973.
Deciding to make a go of it on his own, Cobham formed his own band, Spectrum (which initially featured ex-Mahavishnu cohort Jan Hammer on keyboards), and signed with Atlantic. His debut as a leader, also called Spectrum, was released in 1973, showcasing an exciting blend of jazz, funk, and rock that benefited from the presence of guitarists John Scofield and Tommy Bolin (the latter better known for his rock recordings); it also found Cobham experimenting a bit with electronic percussion. Spectrum is still generally acknowledged as the high point of Cobham's solo career, and holds up quite well today. Cobham followed Spectrum with a series of LPs on Atlantic that, like fusion itself, grew increasingly smoother and more commercial as the '70s wore on. For his second album, 1974's Crosswinds, ex-Dreams mate John Abercrombie joined the band, as did keyboardist George Duke, who would become a frequent Cobham collaborator over the years; that same year's performance at Montreux produced the live Shabazz. After Total Eclipse, Cobham moved more explicitly into commercial jazz-funk with 1975's A Funky Thide of Sings, which featured an expanded horn section. He pared the group back down for the improved Life and Times in 1976, and also played Montreux again, in tandem with Duke.
In 1977, Cobham switched to the CBS label, which set him firmly on the path of commercial accessibility. In addition to his records as a leader, he'd remained highly active as a session drummer, and began to focus on that side of his career even more in the late '70s. By 1980, he was done with CBS and began pursuing side opportunities, playing live with the Grateful Dead and Jack Bruce, as well as the Saturday Night Live band. He drummed for the Grateful Dead side project Bobby & the Midnites in 1982, and recorded three albums for Elektra in the early '80s with his new quartet the Glass Menagerie. During the mid-'80s, he cut three commercially oriented LPs for GRP, and spent the next few years stepping up his international touring and absorbing a healthy dose of world music. He played Peter Gabriel's 1992 WOMAD Festival, and the following year recorded The Traveler, inspired by a sojourn in Brazil. In 1996, he formed a more acoustic-oriented quartet called Nordic with three Norwegian musicians; the following year, he also started a German-based fusion outfit called Paradox. In 1998, Cobham began playing with a group called Jazz Is Dead, which devoted itself to jazz reinterpretations of Grateful Dead material; their album Blue Light Rain proved fairly popular among Deadheads. As Cobham maintained his touring, session, and bandleading activities, Rhino released the excellent two-CD retrospective Rudiments: The Billy Cobham Anthology in 2001. ~ Steve Huey, All Music Guide
Selected Discography
I've always enjoyed his quality of play on any album. I'd like to here "Life and Times"...an excellent work.
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Go to Drummerworld . c o m , a n d you will be in heaven Gottafunk.
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Lucky to see Billy play w/ his trio in New Orleans in 1994 - what chops, what taste. The guy can kill, yet he does it with such finesse and subtlety. Saw him in NYC last year - guess what? The highlight of his solo was a 5 minute almost silent snare paradiddle solo - he brought it down so low, so quiet, the club stopped - he was smiling the whole time. Not a drummer, but a musician.
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I remember going to hear and see Billy play with Mahavishnu Orch on their opening tour at the Berkeley Community Auditorium in '71 and the first ten rows were filled with a gozillion drummers from everywhere and Billy just torched the world that night--and you could see him thru that clear, see-thru Fibes kit and he was just a blur, man. Some of the stuff he did that night just made all of us who played drums just want to woodshed for another five years before we went back out to play again.
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Yeah Billy is incredible. But not only as a drummer but as a composer too. Very nice music. He's not just a drummer as us drummers sometimes get those comments. I think the only drummer nowadays that can come close to his power in the fusion world is Dennis Chambers. Are there any others out there? Let me know who to check out.
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John Bonham and Neil Peart have got nothing on him is right. Such company to keep Billy Cobham is an exceptional drummer. His brother plays a mean trumpet as well the whole family is talented
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I FIRST SAW COBHAM PLAY AT THE SCHAEFFER MUSIC FESTIVAL IN 1977 WITH THE MAHAVISHNU ORCHESTRA. THAT DAY THEY RECORDED "BETWEEN NOTHINGNESS AND ETERNITY'.HE PLAYED A VIBES DRUM SET THAT WAS SO LARGE HE LITERALLY NEEDED A 4 FOOT LADDER TO CLIMB INTO THE MIDDLE OF THIS THING. HE IS AN AWESOMELY POWERFUL DRUMMER. STEVE SULLO FROM QUEENS
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I saw Billy do a clinic with Steve Smith in the 80s. At the end of their individual sessions, they got together and started trading 8s. It was very exciting, and Smith is a great drummer in his own right, but at the end Cobham just EXPLODED all over his kit. SS just laughed and threw his sticks away...
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Billy Cobham is one of the all-time greatest drummers. He could hold his own with any drummer in the rock genre, and probably run some of them into the ground. John Bonham and Neil Peart have got nothing on him. He is simply an awesome drummer.
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Pure gutsy jazz-rock fusion.
I saw Billy with the M. Orchestra at Marisol Fest back in the 70s. Great experience, man! |
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BillyC came to Dallas one day for a clinic, thousands showed up so the clinic was moved to a local hotel and well he promoted TAMA then. Great show. Earlier I had caught Bobby & the Midniters, in Dallas at the Agoro Ballroom, got great fotos of the and, & got BillyC to Autograph for me at the clinic. He is a Magician on percussion. Lead drums! Anyway one of my fave's if Puffin'stuff , early rap!YO!
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Barry from florida,woul d like to hear more of Billy with Smoking glass.
That would be great, Please add to site Smoking Glass Manasheri. Thank you for everything. |
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just a cooool girl from the spectrum era that wants to say that i love fusion and billy cobham,and stanley clark,and jeff beck, and john mcglaughlin, a n d herbie hancock,and. . . y a get it?
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ok, Billy is just so awesome, a pure legend in his & our time. From day 1 with Spectrum and further works with George Duke and Stanley Clarke. These guys invented everything fusion...and on the 7th day they rested and it was Gooood! Pease to you and enjoy the sounds...Jaz z y C
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Love his music. Wish you would play more music from Crosswinds, Total Eclipse, and Funky Thide of Things.
Greg |
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Stratus takes you away! Saw him live in the Hofstra University Ratskellar. Stood 10 ft away & still could not see his sticks clearly. Loved it.
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ONE OF IF THE BEST DRUMMER YOU WILL EVER HERE IN YOUR ENTIRE LIFE!
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