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Billy Cobham (drums)
Didier Lockwood (violin)
Sylvain Luc (guitars)
Alain Caron (double bass)

This concert was recorded off RNE 3 (Spain) in the morning of 25 Dec 2006. 

Here's the debut performance of two great virtuosos. Legendary drummer Billy Cobham is an undeniable master of fusion and classical jazz. His distinctive style has influenced thousands of drummers round the world making him an iconic figure in modern percussion. He joins forces with Didier Lockwood, successor to Stephane Grapelli on the European jazz violin throne and one of the world’s leading specialists on his instrument. --- oocities.org

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01. Panhandler (Billy Cobham) - 4:03
02. Sorcery (Keith Jarrett) - 2:23
03. A Funky Thide Of Sings (Billy Cobham) - 3:37
04. Thinking Of You (Alex Blake) - 4:26
05. Some Skunk Funk (Randy Brecker) - 5:06
06. Light At The End Of The Tunnel (Billy Cobham) - 3:35	play
07. A Funky Kind Of Thing (Billy Cobham) - 9:11
08. Moody Modes (Milcho Leviev) - 12:02

Personnel:
- Billy Cobham – synthesizer, percussion
- John Scofield – guitar
- Milcho Leviev – keyboards
- Alex Blake – bass
- Michael Brecker, Larry Schneider (01,03) – saxophone
- Randy Brecker, Walt Fowler (01,03) – trumpet
- Glenn Ferris – trombone
- Tom Malone – trombone, piccolo (01,03)
- Rebop Kwaku Baah – congas (01,03)

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. --- Steve Huey, All Music Guide

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1. On A Magic Carpet Ride (5:08)
2. AC/DC (5:27)
3. Leaward Winds (3:39)
4. Puffnstuff (6:23)
5. 'Antares' - The Star (5:11)
6. Magic/Reflection In The Clouds/Magic Recapitulation (13:33)

- Billy Cobham - drums, vocals (4), hand-claps (6), producer
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- Kathleen Kaan - vocals (6)
- Pete Maunu - guitars
- Joachim Kuhn - acoustic (1,26) & electric (1,8) pianos, Mini Moog synthesizer (2)
- Mark Soskin - acoustic (1,3,4) & electric (4) pianos, Oberheim synthesizer (1,3,6,7)
- Alvin Baptiste - clarinet (2,4,5), vocals (4)
- Randy Jackson - bass
- Pete Escovedo - timbales (2,5,8), vocals (6)
- Sheila Escovedo - congas (2,5,8)
- Hojo - hand-claps (6)
- Dennis - hand-claps (6)
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Of all Billy Cobham's Columbia fusion sessions, time has been the most unkind to Magic. Despite some inspired and at times awe-inspiring performances, the album is too much a product of its era, suffering from sickly sweet production, awkward vocal contributions, and ill-fitting clarinet contributions from an out of place Alvin Batiste. Strip away the viscous layers of gloss and indulgence, and Magic begins to live up to its title. Cobham's rhythmic interplay with bassist Randy Jackson and percussionists Pete Escovedo and Sheila E. is nothing short of astounding, as fierce and funky as anything in the drummer's catalog. But the songs are tepid and the arrangements overbaked, not to mention that Pete Maunu's guitar wankery verging on the point of absurdity. All in all, too much of a good thing, yet still not enough. ---Jason Ankeny, AllMusic Review

Still a funky product, this Cobham 's album is rich in electric guitar solos and electric piano lines. Plus Latin Congos. Music is not bad at all, but as often, rhythm is more important that the music by itself in some cases. One song even has vocal.

Both together it makes the album attractive in some parts and a bit boring in others. Whenever I prefer melodies to long minutes of funk pulsation, let say this album is more good than bad.

Acoustic piano,played in very classic manner, gave one more accent to all music. Even if not concentrated on one musical idea, album doesn't sound as very unfocused one. Let say - different. For sure ,in moments you feel that luck of general idea /concept.

But musicians are generally competent, music isn't boring ,so you will listen it with pleasure. Another thing is that after listening not too much will stay in your memory. Not bad mix of jazz fusion, light funk ,Latin jazz and pop-jazz.

Better then average jazz-fusion album. ---snobb, progarchives.com

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1. Spanish Moss - "A Sound Portrait" - 17:26 including:
   a. Spanish Moss - 4:08
   b. Savannah The Serene - 5:09
   c. Storm - 2:46
   d. Flash Flood - 5:05
2. The Pleasant Pheasant - 5:19
3. Heather - 8:37
4. Crosswind - 3:39		play

Personnel:
- Billy Cobham - drums, percussion
- John Abercrombie - guitars
- Michael Brecker - woodwinds
- Randy Brecker - trumpet
- Garnett Brown - trombone
- George Duke - keyboards, vocals
- Lee Pastora - latin percussion
- John Williams - bass (acoustic), bass (electric)

Billy Cobham's second date as a leader was one of his better sessions. Four songs (all originals by the leader/drummer) comprise "Spanish Moss -- A Sound Portrait," and, in addition, Cobham contributed three other pieces. The selections team him with guitarist John Abercrombie, both of the Brecker Brothers, trombonist Garnett Brown, keyboardist George Duke, bassist John Williams, and Latin percussionist Lee Pastora. In general, the melodies and the vamps are reasonably memorable. Cobham also takes an unaccompanied drum solo on "Storm." Worth searching for by fusion collectors. --- Scott Yanow, Rovi

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1. Quadrant 4 (4:20)
2. Searching For The Right Door / Spectrum (6:33)
- a. Searching For The Right Door (1:24)
- b. Spectrum (5:09)
3. Anxiety / Taurian Matador (4:44)
- a. Anxiety (1:41)
- b. Taurian Matador (3:03)
4. Stratus (9:50)
5. To The Women In My Life / Le Lis (4:11)
- a. To The Women In My Life (0:51)
- b. Le Lis (3:20)
6. Snoopy's Search / Red Baron (7:39)
- a. Snoopy's Search (1:02)
- b. Red Baron (6:37)

- Billy Cobham - percussion, Moog synth drum (4,6b), producer
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- 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)

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. --Peter Monaghan, amazon.com

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. ---Scott Yanow, Rovi

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01. Drum-Solo Intro, Stratus  4:36
02. AC/DC  3:59
03. Kasia  4:08
04. All Hallows Eve  3:17         play
05. Wrapped In A Cloud  6:26
06. Drum-Solo  3:26               play
07. Total Eclipse  4:11
08. Brooze  3:52

Credits:
Michal Urbaniak- Saxophone, Vocals, Lyricon, Violone, Violin (Electric)
Mike Stern- Guitar
Gil Goldstein- Keyboards,
Tim Landers- Electric Bass
Billy Cobham- Drums

This is the companion disc to Flight Time, which was also recorded for the Inakustik label. While not quite as original as its predecessor, it is still highly recommended. A young Mike Stern had not completely developed his sound yet, but he’s still unmistakable. Violinist Michal Urbaniak’s presence gives Cobham classics like “Stratus,” “AC/DC,” and “Total Eclipse” a fresh sound. Here again, Cobham is more than willing to let his colleagues step to the forefront and offer up their unique ideas, some better than other (Gil Goldstein’s “Wrapped in a Cloud” is enchanting while Landers’ reggae offering, “All Hallows Eve,” falls flat). The biggest disappointment here are the short song lengths, especially the early fadeout on “Brooze,” but hearing Cobham and Stern together make this an essential recording for jazz-rock fans. By Robert Taylor, All Music Guide.

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