Music blogger and longtime Yes digital media manager Mike Tiano releases this fresh review of “Six Days at Ronnie Scott’s.” Mike interviewed Billy and I during the initial launch of the book. 

Missed this one.

Tessil Collins, Managing Producer of Jazz 24/7 from WGBH Boston, one of the most respected jazz shows in the United States on perhaps the country’s leading producer of original music content, selected by “Six Days at Ronnie Scott’s” as one of the best jazz books of the year. Here is the complete list, quite an honor roll of the country’s top jazz authors and journalists. 

Tessil Collins

• • Jazz and Justice: Racism and the Political Economy of the Music by Gerald Horne Monthly Review Press (April 22, 2019)
  • Arthur Elgort: Jazz by Marianne Houtenbos Damiani (September 25, 2018)
  • Sophisticated Giant: The Life and Legacy of Dexter Gordon by Maxine Gordon University of California Press (November 6, 2018)
  • Why Jazz Happened by Marc Myers University of California Press (February 26, 2019)
  • The Jazz Standards: A Guide to the Repertoire by Ted Gioia Oxford University Press (July 6, 2012)
  • Jazz/Not Jazz—The Music and It’s Boundaries by David Ake, Charles Hiroshi Garrett and Daniel GoldmarkUniversity of California Press (2012)
  • Diggin’—The Afro-American Soul of American Classical Music by Amiri Baraka University of California Press (2009)
  • Definitive Jazz & Blues Encyclopedia: New & Expanded Edition by Jeff Watts, Howard Mandel Flame Tree Publishing (March 15, 2019)
  • How to Listen to Jazz by Ted Gioia Basic Books (May 17, 2016)
  • The Jazz Pictures by Stanley Crouch and Carol Friedman Arena Editions (1999)
  • Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith and Billie Holiday by Angela Y. Davis Vintage (January 26, 1999)
  • The History of Jazz by Ted Gioia Oxford University Press (May 9, 2011)
  • Miles by Miles Davis Simon & Schuster (September 20, 2011)
  • Concise Guide to Jazz (7th Edition) by Mark C. Gridley Pearson(January 6, 2013)
  • Jazz: An Introduction to the History and Legends Behind America’s Music by Bob Blumenthal Harper Perennial (December 18, 2007)
  • Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation by Brian K. Gruber CreateSpace Independent Publishing Platform (May 28, 2018)

An astounding and quite generous review from the esteemed UK Vibe. I had a nice chat with reviewer Glyn Phillips today, thanking him for the review. Here are some excerpts. Please do check out UK Vibe and the full review here. 

The review of this book has given me problems like no other. Not from a dearth of things to say, but a very surfeit of them. I wanted to deliver a well-structured review with a natural flow and a coherent overview. However, just like it’s subject matter the style and structure of this book is like no other. But, after all, we are talking about the long musical life and successful career of the living legend that is Billy Cobham here – and if you think you know everything there is to know about him then think again, because this book will almost certainly make you reappraise it all.

… it is rich in anecdotes, colour and insight and is a real labour of love.

The first thing to say is that if you’re a fan of Billy Cobham, then you must read this book. If you’re a fan of jazz and/or jazz-rock, jazz-funk, fusion, Latin or any of the myriad popular forms that Billy Cobham has performed in over the last 60 odd years, then you’ll find masses of first-hand anecdotes and observations to pique your interest within this book. If you’re a drummer of whatever persuasion, you’ll get a lot out of it too – the sub-title might make it sound like a lecture, but it’s not, you will widen your mind by a process of osmotic narrative(!). And finally, if you’re a muso of almost whatever kind then you’re bound to instinctively recognise the descriptions of gigs (big and small), rehearsals, band dynamics, bandmates, agents, promoters, venues, recording studios, money issues and touring that this book so graphically brings to light…

You will feel like you are front row in the audience at Ronnie Scott’s as the hush descends and you’re about to be bathed in musical ecstasy…

This is a very accurate insight into the life of musicians that most fans never see, illustrating both the excitement of creating exhilarating art in the moment and the sometimes comic contrast with the utter banality of a musician’s day and concerns at other times…

To aid with further investigation there’s a Billy Cobham Discography at the back stretching from 1973 to 2016 and each chapter is linked to a Spotify list to illustrate it musically (Billy Cobham 1, Billy Cobham 2, etc)…

But, overall it is packed to the gunwales with anecdotes about all kinds of jazz legends that are almost household names and the editing always assures that another “Wow! Really?” moment is always around the corner.

Fascinating perspectives on the vital role of percussionists like Mister Cobham on The Gears Page forum. Here is an excerpt from comments by FlyingVBlues and a link to the full thread.

I recently read “Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation” by Brian Gruber. It was a series of interviews with Billy, Jan Hammmer, Ron Carter, Randy Brecker and others. Billy said that when he was in Mahavishnu “he was just a drummer in the band” and “he was the guy that no one expected anything from”. This set of interviews made me greatly appreciate what a driving force a really dominant drummer could be, and how such a drummer could be the difference between a good band and a great band. As a guitarist I greatly admire and respect Eric Clapton and John McLaughlin, and I love the music of Miles Davis and Parliament/Funkadelic. But I don’t think any of those artists/bands would have been as powerful in either their records or in their live performances without an outstanding drummer.

… And in Mahavishnu when you think about the performances, and not the compositions that McLaughlin wrote, Cobham and sometimes Jan Hammer were way more important to the sound of that band then McLaughlin was. If you listen carefully to John McLaughlin he has a problem keeping time. He has a tendency to speed up the tempo, and Cobham deftly anchors his playing to keep the time where it should be. Billy can play in a groove that sets and maintains the rhythm and tempo of the piece, which is something that McLaughlin doesn’t so well. And listen to Cobham’s playing on the “Jack Johnson” album. Billy Cobham brought a funkier approach to Miles’ recordings, and the groove on “Right Off” and also “Corrado” on “Bitches Brew” are among the strongest Miles Davis ever recorded.

We keep batting 1,000 on Six Days book reviews. This one from Geoff Wills of the esteemed Penniless Press. 

SIX DAYS AT RONNIE SCOTT’S: BILLY COBHAM ON JAZZ FUSION AND THE ACT OF CREATION

by Brian Gruber 

Thanks to Mike Paschall for sharing this.  A recording of the livestream from Billy Cobham and the band in Ardmore Music Hall. Wonderful stuff.

The tour features legendary trumpeter Randy Brecker. Here is an excerpt from my interview with Randy for “Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation.”

GRUBER: It fascinates me that Bill at 73 is not only touring a lot but almost every year producing new music. What is it for men like you and Bill that motivates you to continue to create and innovate when you can simply play other people’s music or rely on things you might have done years ago?

BRECKER: It’s a good question and I don’t know if I can put myself on a level of Billy’s output, which is really just incredible, but I think it has to do with, after you do something, it gets old pretty quickly. So, we are always trying, we just want to play something new, we can’t rest on our laurels too long. Plus, this is what we do. We don’t have many outside interests. You find that with a lot of great artists. I’m very close for instance with Paul Simon, and a tour manager that works with Paul and Bob Dylan. I asked him the same question, how come most guys are still killing themselves on tour? Not everybody has to do it. He said, “Look man, they don’t know what else to do with themselves.” Other than play, write music and tour, I don’t have a lot of outside interests. Of course my famIly, I want to be home sometime, but that’s what motivates us I think. We love to play. And for my money, I think Bill is, I swear to God, playing better than ever. I heard him in Brazil, maybe two, three years ago with Jeff Berlin and Scott Henderson, it was a trio and man, he just played better than ever. Everything is just settled now. It’s incredible.

GRUBER: When you watch him in YouTube videos from the ’70’s and ’80’s, to now, he really does have quite a physical presence.

BRECKER: And let me say one other thing. In the ensuing years, I wouldn’t play with him regularly, more like a special guest thing. But every time I did, I noticed he always brought something new to the table. Not only new music, the way he played, it always fascinated me. Some kind of new drum that he invented or something I never heard before. That alone, throughout the years, is quite an accomplishment.

GRUBER: Do you have some favorite memories on or off-stage?

BRECKER: There are a lot of them. How do I narrow it down? I was just always completely knocked out playing with him. (Laughs.) I probably shouldn’t say this. I remember he was so confident of his playing – as he should have been because I think he was the greatest drummer and still is – but when drum machines first came out, he tried to overdub the drum machine over his track. That didn’t work too well. I remember the look on his face.

GRUBER: Where do you think he fits in the history of percussion? How would you sum up his cumulative contribution to the music world?

BRECKER: He always would mention Tony Williams and Jack. After that period it was just Billy as far as I am concerned. The guy who originated the whole thing was Bill. The fact that he has been playing so long and is still this great, places him at the forefront of jazz drumming, of composition. He has had the same kind of influence on drummers that Jaco had on bass players.

I will be on the road for most of October, leaving on the 2nd, returning on the 24th, and look forward to seeing friends and family throughout the visit.  Here’s a look at the itinerary.

I will join Billy Cobham, Randy Brecker, and the Crosswinds tour band for their performances, notably,

Jazz Alley, Seattle, October 3-6

Kuumbwa, Santa Cruz, October 10

Blue Note, Napa, October 11-12

I will be signing copies of “Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation” after each show. I especially look forward to meeting Randy Brecker, one of the world’s great jazz trumpeters, and a featured interview in the book.  It will be a particular pleasure to have my daughter Andrea join me at one of the Napa shows, her first time meeting Bill and Faina. Then on to Auburn, for a visit with the now one-year-old Silas.

Also scheduled are coaching sessions with U.S. clients and continued work on the Surmountable protest book project. I will be proud to be attending the launch of my coaching client Wendy May’s book, “Regenerative Purpose” at San Francisco’s Dolores Park, noon on the 12th. Wendy credits the workshop I facilitated at Koh Phangan’s Mermaid Villa with inspiring her to write the book, and our coaching sessions for completing it. It is a terrific work, on sale soon. I am privileged to have written the book’s foreword.

Billy Cobham comes to the west coast with his Crosswinds Project in October. I will be singing books with him after shows at the following venues:

October 3-6, Jazz Alley, Seattle

October 10, Kuumbwa, Santa Cruz

October 11-12, Blue Note, Napa

Bill is widely acknowledged as the greatest living jazz fusion drummer and he is joined on the tour by the man acclaimed as the greatest living jazz fusion trumpeter, Randy Brecker. They will be playing a nationwide tour that kicks off at the Blue Note in New York in September. I interviewed Randy for Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation. Here’s a favorite excerpt.

GRUBER: You had been around for some years before that release, playing with the likes of Larry Coryell. Did you believe that there were artists and forms of experimentation prior that deserved equal recognition?

BRECKER: It’s funny you asked that. We were a little bit ahead of that. I’ll tell you a funny story. It goes to show you where maybe Miles was influenced himself. Dreams became kind of the house band at the Village Gate, a large club on Bleeker Street, now closed for many years. That was one of the hippest if not the hippest place to play in New York. Miles would play there, in fact I saw him in a double bill with Charles Lloyd with his great band with Jack DeJohnette and Keith Jarrett. That was an amazing double bill. Miles would come down and never come and talk to us, but you always knew when he was there, everyone saying, “Miles is here,” which spread around the audience like wildfire. You could see him sitting in the back. In the meantime, I had electrified my trumpet. We had John Abercrombie in the band who always played with a wah-wah pedal. One day he couldn’t make rehearsal and his pedal was just sitting there and we had these devices called ‘condors’ which made bubbly sounds on the horn and I plugged the wah-wah into my trumpet and it sounded just great. I got a wah-wah myself and started using it, using guitar effects and Miles would always come down. Eventually he hired Billy for Bitches Brew. When I joined Billy’s band, there was a guy named Jim Rose, who was Miles’ road manager, would come by the gig and say I was trying to sound like Miles with the wah-wah, and I explained to him the way things had developed. It became a running joke between me and Jim. He liked Billy so he would come to hear us a lot.

Years later when we were all at (Brecker brothers-owned jazz club) Seventh Avenue South, I found myself standing next to Miles. The club was really crowded. I never really met him so I stuck out my hand and said, “Hi, I’m Randy Brecker, I’m a big fan, I own the club and it’s great to meet you,” and his response was…nothing. He had his dark glasses on so it was just silence, he just kind of looked through me. I slunked away, went downstairs to the bar and started having a couple of martinis. About an hour later, I hear a little wisp of air in my left ear, “I love my wah-wah, you love your wah-wah.” And he split. It was the only thing he said to me (laughter). He was still a big influence, especially when it started, it was a little later that Bitches Brewgot recorded but then his influence was undeniable when he put together that great electric band. I know it influenced Billy. It influenced all of us.