on 23 September 2005
I don't know how you got here, but you've come to the right place. No less than two of my Desert Island Discs are on this album (Storm and Heather - though, at a push, I'd take just Heather). Billy Cobham comes up with some really funky tracks here with a 'wind' theme that links from one to the other. Storm is the ultimate windy track being just BC wreaking havoc on the drums. With the storm bell in the background between tracks and the rather unusual changes of pace, this is both uplifting and haunting stuff. Real odd, real good. Heather though is just soooo mellow, why don't we hear it used elsewhere?
No other album has had the effect on me as this one.
Hint: turn the volume up very high for Storm. Don't forget to turn it back down again after.
on 3 October 2000
The second of Billy Cobham's solo albums after leaving The Mahavishnu Orchestra, Crosswinds combines the blitzkreig funk of Spectrum, its predecessor, with the ethereal beauty of a tone poem.
Among the many things to listen out for are Michael Brecker's slow-burning tenor sax rising to full power on 'Heather', and John Abercrombie's screaming guitar on 'The Pleasant Pheasant'.
Of all of the jazz rock recordings of the 1970s, this is the one that converts the non-believers. This is proof positive that Billy Cobham is one of the greatest jazz drummers, yet it is not an exercise in sheer power. Its subtlety and fierce groove make it something for the head, the heart and the hips!
on 8 December 2012
BC. is one of the greatest drummers for all time.His imaginity,powerfull double bass,variety of patters are presented here.Among winds,here are violently storms,can you imagine this beutiful music?Backed by such excellent musicians like Brecker Bros.which were in a previous band Dreams where Billy was(both issued from Bgo records).A must have in every collection!
on 4 March 2015
This is an amazing album, it is well thought out and beautifully played by all the musicians involved. It is a showcase for Billy Cobham as composer as well as drummer. The Spanish Moss suite is an impressionist jazzscape - evocation plays a strong part in this suite - tolling bells, bluesy guitar (John Abercrombie) openings, really cool trombone playing (Garnett Brown); Cobham whipping up a storm with light. shade and brevity. In parts, the suite has some really funky and vampy moments - where there is first class musicianship and technique but has warmth, heart and soul - this is the beauty of the album. The Pleasant Pheasant comes accross as a highly taut rhythmic tightrope on which Michael Brecker bounces his saxophone with panache and verve, it's a track not for the faint-hearted musician. Heather is the most lyrical and beautiful track on the album, this is helped by George Duke's delicate work on the synthesiser which buzzes and shimmers; this is over-dubbed with his equally electric piano playing. Then we have Michael Brecker's saxophone gently laying phrases on the Duke's work. Cobham gently taps the beat like a quiet pulse going through this rather sensuous piece of music. As for Crosswind, it's the 'wow' track on the album thanks to Abercrombie hugely abstract guitar work - an electronic be-bop on a stringed instrument. So far, I did not mention Billy Cobham amazing drumming, but this album is not solely about his drumming but about his composition and direction - it is about his music! A must have album