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Jimmy Cobb is not only a spectacular sideman and drummer. He also is internationally known as an excellent band leader and solo artist. Here are some examples of that work::

  The Jimmy Cobb Quartet Cobb's Corner (2007)

The legendary jazz drummer, Jimmy Cobb, is a superb, mostly self-taught musician and is the elder statesman of all of the incredible Miles Davis bands. Jimmy's inspirational work with Miles, John Coltrane, Cannonball Adderly and Co. spanned 1957 until 1963, and included the masterpiece "Kind of Blue", the most popular jazz recording in history. On this album he leads a stellar quartet made up of the brilliant trumpeter Roy Hargrove, pianist Ronnie Mathews and bassist Peter Washington. The programme mostly features a selection of standards including "You and the Night and the Music", "My Romance" and "Lotus Blossom". This us a recording that would have been less surprising had it been issued in, say, 1960, but seems a minor miracle these days. It features a compatible quartet
playing mainly standards with subtlety, sophistication and understated feeling. The drummer and leader, Jimmy Cobb, is ideally alert and adroit. Roy Hargrove, a trumpeter who often seems like a brilliant soloist in
search of a suitable idiom, has seldom sounded more at ease than he
does here - creating wonderfully tender versions of "Never Let Me Go"
and "My Foolish Heart". The underrated pianist Ronnie Mathews is on serene form, too. The single-microphone sound-engineering creates
the illusion that you are in the middle of the band -
which, in this case, is a delightful place to be.


Jimmy Cobb - (drums)
Roy Hargrove - (trumpet)
Ronnie Mathews - (piano)
Peter Washington - (bass)
  Jimmy Cobb Marsalis Music Honors Jimmy Cobb (2006)

Marsalis Music Honors Jimmy Cobb features the legendary drummer
whose resume includes historic collaborations with Miles Davis, Dinah Washington, Wes Montgomery and Sarah Vaughan. The program allows Cobb to display his writing as well as playing skills, in a quartet that
includes piano great Ellis Marsalis. The CD cover is by another artist deserving wider recognition, photographer Lou Jones.

The fact that drummer Jimmy Cobb performed on one of Jazziz's most celebrated recordings Kind of Blue might be enough for some musicians but when you hear his playing on this new recording its clear he still has more to say on the drums.

Joined by a spirited quartet including jazz patriarch Ellis Marsalis the recording is a mix of standards and fresh originals written by Cobb. The
first thing that rings true is his percussive style and crisp playing. On the
intro of Mr. Lucky he solos vigorously making full use of his kit with snappy cymbal work and rim shots as the saxophone fades on the vamp.

The band swings divinely on Composition 101 with saxophonist Andrew Speight and Marsalis delivering soulful solos as the rhythm section of
Cobb and bassist Orlando Le Fleming hold down the sweet groove. Even
a reading of Neil Norman's classic song Can You Read My Mind is given a stylish makeover as the quartet sets the music aglow. The remaining selections are equally enjoyable and prove that Cobb's rhythmic pulse is as strong as ever.


Jimmy Cobb - (drums)
Ellis Marsalis - (piano)
Andrew Speight - (sax)
Orlando Le Fleming - (bass)
  Jommy Cobb's Mob Cobb's Groove (2003)

Jimmy Cobb has an achievement no other musician can touch—the distinction of having handled the drum duties on in the best-selling jazz album of all time. His contributions to Kind of Blue are seminal, but his
'soft' responsive approach on that record saddled him with the stereotype
of being a somewhat pacifistic drummer. There were also the ill-conceived assumptions that he lacked the sort of authoritative personality necessary
to lead a band. He's logged countless sideman sessions since, and a few at the helm, which have effectively dispelled the fallacy and shown that he knows there's more to being a leader than simply taking the lion's share
of solo space.

A Milestone contract seems perfectly suited to Cobb's sensibilities. The label's long been a haven for aging, yet vitally creativejazz musicians. He seizes his opportunity with a customary sense of purpose, shaping the session to his own designs while respecting the talents of his chosen colleagues. Pianist Richard Wyands' career goes back just about as far
as Cobb's. I first remember hearing him on Mingus in Wonderland as a
last minute substitution for Mal Waldron, an early example of impressive credentials that follow him to the present day. Guitarist Peter Bernstein
and bassist John Webber complete the rhythm section. Though obviously younger in years from the posse-like pose of the album's cover shot, both men adjust well to their roles, with Bernstein's frets in particular sounding
off as a standout. Tenor saxophonist Eric Alexander stops by the studio as special guest. His authoritative tone, coupled with the traditional slot his instrument adopts in the frontline, makes him almost a co-leader in places.

While the band's sobriquet works off a convenient surname rhyme that might imply otherwise, there's nothing mob-like about their approach or execution. Cobb is methodical in his arranging and delegation. Each tune is rendered cleanly and orderly, but still feeds catalytically on the chemistry of the players. The opening title track sets the standard as the band works through a tight unison head and into solos by all save Webber. Cobb's rugged closing drum statement is yet another nail in the casket of those critics who once touted his supposed clinical 'one dimensionality'.

The next several cuts delve into ballad tempos of varying speeds. "I Miss
You My Love" ambles along at a medium clip. As Alexander's horn slaloms smoothly through the theme, Bernstein attempts an interjection, but is politely rebuffed as the saxophonist finishes his share of choruses with some flutter-tongued trills. The guitarist picks up where he left off, crafting
a trail of clean single notes that segue right to the pianist. Wyand's "Willow Tree" decelerates to a languid stroll. Alexander threads a porous rasp into his tone that embellishes the tune's romantic inclinations. Bernstein retools his tone in similar fashion on "Sweet and Lovely", adopting a piquant pitch
to his strings along with a ringing sustain that contrasts with Alexander's ruddier phrasings. Cobb brings closure with a sturdy string of snare-driven breaks. The guitarist's "Jet Stream" toggles the band's booster engine switches and finds them zooming along at a brisk jogging pace. Solos are concise with the composer leading the order. He and the saxophonist engage with Cobb in spirited tête-à-têtes by tune's end.

Webber finally has a welcome chance in the foreground on "Minor Changes", another blues-infused sheaf from Bernstein's studio-ready songbook. His punchy stop-punctuated solo proves worth the wait. Cantering along through the titular structures, the quintet takes their sweet time in exploring the laidback groove. At eight minutes, it's the longest track of the set, but hardly seems long-winded. In the sleeve notes Ira Gitler describes "Bobblehead", an ode to those annoying dashboard fixtures,
as a boogaloo bossa. Regardless of its pedigree, the piece moves along
on a sliding backbeat that serves as a pliant solo springboard. Alexander once again packs girth into his sound to underscore the groove-oriented setting. Cobb opts to close shop with a Frank Foster waltz "Simone" where, after a round of rousing solos, the leader sums up with a cadential drum epilogue bolstered by floor tom and bass drum accents.

Cobb is at a place in his career where he has nothing left to prove.
Some musicians might see that as reason enough for him to coast on the innumerable strengths of his voluminous back catalog. Not Cobb—his twilight years are just as vital as his salad ones, and this disc sets the record straight.

-by Derek Taylor
  Jimmy Cobb Yesterdays (2001)

Jimmy Cobb with Mike Brecker, Roy Hargrove, John Faddis, Marion Meadows, Eric Lewis, Peter Bernstein and John Weber. The Real Deal in Jazz.

This is Jimmy's long awaited solo album, "Yesterdays", produced by
Danny Pickering and Eleana Tee for Rteesan Productions. It features the late Michael Brecker on tenor, Marion Meadows on soprano, Roy Hargrove, trumpet & flugelhorn, Jon Faddis, trumpet, Eric Lewis, electric piano, Peter Bernstein, guitar, Jerry Mall, percussion and John Weber on bass. This album was done in Jimmy’s two adopted home towns; recorded and shot
in New York, and mixed and edited in Woodstock, NY. It includes a wide variety of arrangements ranging from a unique interpretation of Jimi Hendrix "Purple Haze" - arranged by Danny Pickering - to ballads "Yesterdays" and blues (All Blues, Faddis, Monk) and standards, "Without a Song" & "Love Walked Right In". This major musical statement includes several music videos and a complete television documentary. And as usual with Jimmy Cobb, you won’t believe what’s up next!
  Jimmy Cobb's Mob Only for The Pure at Heart (1998)

Drummer Jimmy Cobb can lay claim to his share of jazz history. He's the
last survivor of Miles Davis' Kind of Blue ensemble and he played drums
for Billie Holiday and Dinah Washington. The Kind of Blue rhythm section - Cobb, bassist Paul Chambers, and pianist Wynton Kelly - went on to perform as a trio on its own. They also backed Wes Montgomery on
classics like Boss Guitar. But until recently, Cobb had never led his own band. The debut recording of Jimmy Cobb's Mob, Only for the Pure at Heart (Fable), features guitarist Peter Bernstein, bassist John Webber, and
pianist Richard Wylands. "It has the same feeling as that rhythm section," Cobb says in reference to his team with Chambers and Kelly. "
Sometimes, we even sound like the Wes Montgomery Quartet."

-JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.
  Jimmy Cobb So Nobody Else Can Hear (1981)

Bill Cosby ,Gregory Hines and Freddie Hubbard join legendary jazz
drummer Jimmy Cobb. On the "So Nobody Else Can Hear" title track, Gregory sings!

In 1981 producer/ songwriter Eleana Tee teamed up with Miles Davis 'kind
of blue" drummer Jimmy Cobb to produce a music video special. Jimmy was joined by long time friend Bill Cosby and the great Gregory Hines (whom he had known since Gregory was a boy...having been friends with
his father, drummer Chic Hines). James Brown Alumna Pee Wee Ellis
(who wrote the infamous "cold sweat") was the musical director and arranger. Long time friends bassist Walter Booker pianist Larry Willis
and Pete Levin, vocalist Marilyn Redfield, saxophonist Dave Liebman, Victoria Berdy and Jimmy Strassberg on percussion with original songs
by Steve Satten, Pianist Bill Evans, Tex Allen and Eleana Tee. What took place those last few weeks in December of '81 was a special meeting of friends that created some original music and spirit that aired on The A&E network in 1986. It was A&E's first simulcast over 24 radio stations nationally...hooked up by jazz radio host Rick Petrone in Stamford CT.
The music soared and stayed on national playlists with the title tracks
"So nobody else can Hear and "My old friend ", both sung by the late and greatly missed Gregory Hines, who many don't know as a vocalist and will be wonderfully surprised at his gift for song. "So Nobody Else Can Hear"
is the soundtrack from the released in England in 2000 on the Expansion Label because the London crowd played "So Nobody Else Can Hear" the title track as a sort of "Old Lang Syne" at the end of the evening for a re-release at home...and abroad...the DVD is also available.