Ever since his breakthrough in the early 1970s-as a founding member of
the Mahavishnu Orchestra, and as a drummer/leader whose recordings (such
as Spectrum) and powerful, complex style of play exerted a strong
influence on the course of jazz and jazz-fusion-Billy Cobham has
remained a tireless musical explorer.
Panamanian by birth, a New Yorker by upbringing, and a resident of
Switzerland for more than 25 years, Cobham has pursued an
ever-broadening, ever-deepening engagement with the world not only as a
master drummer and percussionist but as a composer, producer, educator,
and clinician who gives service through music even as he constantly
expands his personal creative expression.
Cobham's newest recording, Fruit from the Loom-released in April 2008
through his own imprint, Creative MultiMedia Concepts, Inc. (CMMC)-is a
suitably wide-ranging representation of his roots and his journeys. He
reprises two of his best-known compositions from the '70s, "Spectrum"
and "Crosswinds," by incorporating violin on the former and steel pan on
the latter. "I've always found it difficult to focus upon one direction
in music," Cobham notes, "so I've resigned myself to projecting ideas
and thoughts through a musical kaleidoscope, from Latin to rock and
jazz. This version of 'Spectrum' is a testament to that idea."
On the new CD, he also utilizes a string quartet (on "Faia") and
percussion ensembles-with Cobham himself playing all the parts on "Samba
du Militairestrasse" and Nigerian friends joining him on "Thoughts from
Okuta." Experiences from travels in Brazil are captured in "Eggshells
Still on My Head" and "Florianapolis," while the Bocas del Toro islands
off the eastern coast of Panama-which Cobham describes as a place where
"it is easy for me to relax and generally mellow out"-inspire the
buoyant "Sweet Bocas."
Fruit from the Loom, dedicated to the memory of Cobham's parents
William and Ivy, features support from longtime colleagues including
organist Brian Auger, bassists Victor Bailey and Stefan Rademacher,
saxophonist Ernie Watts, guitarists Dean Brown and Jean-Marie Ecay, and,
on steel pan, Junior Gill.
Cobham is also the centerpiece of a new 90-minute documentary by
director Mika Kaurismäki entitled Sonic Mirror. The genesis of the film
dates back to 2001, when Kaurismäki approached the drummer about
producing a portrait of his life and times. "But then we started to
think of other ways of doing it," the director reveals. "We finally
decided to do a film about Billy and some of his projects, focusing on
rhythm and music as communication and universal language."
To Cobham, the term "sonic mirror" means "a sound reflection of
everything that I experience, or that one experiences, in music. It's
almost like a radio parabolic dish, where all of the radio signals come
in, are processed, and reflected back to the presenter."
The film, which takes place in Switzerland, New York, Salvador da Bahia
(Brazil), and Helsinki (Finland) and which was released in April 2007,
has screened at film festivals in Munich and Cologne, Germany; Rio de
Janeiro and São Paulo, Brazil; Pusan, South Korea; Gijón, Spain;
Adelaide, Australia; Guadalajara, Mexico; and Buenos Aires, Argentina.
It's also had a commercial release in France. A multiple-disc DVD
release is currently in the works, focusing on the concert in Finland
with Randy Brecker; Malê Debalê, a Bahian bloco afro; the Glarus
concert (with Swiss musicians and yodeling choir); Okuta Percussion and
Autistics; and the Okuta Percussion concert.
The Hollywood Reporter described Sonic Mirror as "a feel-good world
music documentary with the potential to be the next Buena Vista Social
Club." But for Cobham, more fundamentally, "it verifies the value of
music as an important factor in this world. If used for the greater
good, it can be a powerful ally."
Billy Cobham was born in Colón, Panama on May 16, 1944. The family
relocated to the U.S. in the winter of '47, living first in Harlem and
then in the Bedford-Stuyvesant section of Brooklyn. "Music was all
around me," he recalls. "Primarily either Latin music-folclórico or
tÃpico, as they called it in Panama-or jazz."
Cobham, whose first paying gig came at age eight, courtesy of his
pianist father, cut his teeth on drumming as a member of St. Catherine's
Queensmen, a drum and bugle corps in St. Albans, Queens. He went on to
attend New York's famed High School of Music and Art, where he studied
music theory and drum technique alongside some of today's great musical
legends, including trumpeter Jimmy Owens, bassist Eddie Gomez, and
pianist Larry Willis. At the time, "jazz was a bit off-limits to
students while classical music was preferred by the education
establishment. So of course students craved to connect with jazz artists
in any way that they could, be it chance encounters at school lectures
or via LP recordings that they could study and eventually emulate."
After military service, during which he played in the U.S. Army Band as
percussionist (1965-68), Cobham began working in Horace Silver's band.
(While on a European tour with Silver in 1968 he became one of the first
percussionists, along with Max Roach and Tony Williams, to use the
Electronic Drum Controller made by the Meazzi Drum Company in Milan.) He
also performed with Stanley Turrentine and Shirley Scott, and recorded
with George Benson.
In 1969 Cobham co-founded the fusion group Dreams, which also featured
Randy Brecker, Michael Brecker, John Abercrombie, Don Grolnick, Barry
Rodgers, and Will Lee. The following year he was invited to join Miles
Davis's group and contributed to four pivotal recordings by the
trumpeter, including Bitches Brew (where he collaborated with guitarist
John McLaughlin) and Tribute to Jack Johnson.
Mahavishnu Orchestra was formed by McLaughlin in 1971 with Cobham, Jan
Hammer, Jerry Goodman, and Rick Laird. They released three acclaimed
albums (beginning with Inner Mounting Flame) before the band was
dissolved and Cobham chose to launch his solo career with Spectrum, one
of the definitive albums of the jazz-rock era.
During the 1970s and '80s, he recorded steadily as a leader for
Atlantic, CBS, Elektra, and GRP, collaborating with artists ranging from
George Duke, John Scofield, and Tony Williams to Jack Bruce and the
Grateful Dead, both on stage and in the studio.
Cobham was engaged by UNICEF in 1992 to work with autistic outpatients
and street children in Santos (near São Paulo), Brazil, in a musical
project of several years' duration. "The street children fell into my
realm of operations almost by chance, as it was not part of my original
mandate," he says. "But due to the unavoidable specter and shadow cast
by so many little personalities with big hearts and so much time to
ponder life without parental direction, it was inevitable that I would
find myself working with them-some of the brightest minds harboring raw
talent that I have ever witnessed to date. The shame of it all was that
many would never have the opportunity to use their gift."
In '93 Cobham performed, recorded, and produced at the WOMAD Festival
(World of Music, Arts and Dance) with Peter Gabriel, Nigeria's Okuta
Percussion, and Farafina from Burkina Faso. (His association with WOMAD
continues to this day: over the last several years he's conducted
sessions in performance techniques at the University of Bath Spa in
England, and he is now an Official Patron of WOMAD in Bath.)
Other highlights of the 1990s included touring and recording with Jazz
Is Dead, Paradox, Nordic, and the London Jazz Orchestra; and development
of the Conundrum book series, whose titles have music-minus-one
capability that allow participants to play along on their specific
instruments. (Drum set, piano, brass, woodwinds, bass, and guitar books
are available through Alfred Music Publications in association with
Rhythmatix Music, Ltd.)
By the start of the '00s Cobham had introduced "The Art of Jazz"
series, recording and touring extensively first with the Art of 3 (Kenny
Barron, Ron Carter), then the Art of 4 (Carter, Donald Harrison, James
Williams) and the Art of 5 (Harrison, Guy Barker, Eric Reed or Julian
Joseph, Orlando Le Fleming). He also worked with Culture Mix (featuring
steel pan player Junior Gill), recording two albums with them for CMMC
(with distribution through In and Out Records), and in 2003 reactivated
Spectrum as a band that revisits the music of that genre-reinventing
album.
Cobham plans to record a second volume of Fruit from the Loom this
summer, with Dean Brown, JM Ecay, Tom Coster, Cristophe Cravero, Victor
Bailey, Ernie Watts, Mike Mainieri, Junior Gill, Michael Rodriguez, Mike
Mondesir, Marco Lobo, Marshall Gilkes, and Philippe Chayeb among those
who'll be on board.
His current collaboration with the Cuban group Asere has been ongoing
since their first performance together at the WOMAD Festival in Reading
in 2002. A new CD, De Cuba y de Panamá, is due for summer 2008 release,
and a DVD, A Latin Soul, directed by John Hollis, is already out. That
package contains live concert footage, two documentaries, and a bonus CD
with live and studio tracks. Cobham and Asere will be touring the U.K.
this fall.
"It's very, very interesting for me to hear this music and to play
music like Mahavishnu Orchestra or even with Jack Bruce, but my approach
is fundamentally the same," the drummer observes. "It's got a Latin
root, and it kind of sets me off from everybody else.
"Music will tell the world who you are, based on what you present and how you present it. You can't lie through this medium.
"Therefore I find myself trying again to connect the dots, to learn.
Through this relationship with Asere and the music we make together,
it's helping me to connect. I'm reconnecting with my roots in Panama in
order to see my future better through this clearer view of my past."
And as with any artistic endeavor, the personal becomes the universal,
and Billy Cobham's most recent musical journey-back to his
beginnings-will be shared and savored by his listeners around the world.
Source: Billy Cobham.com