Blues Donald Byrd, trumpet; Lou Donaldson, alto sax; Hank Mobley, tenor sax; Jimmy Smith, organ; Eddie McFadden, guitar; Art Blakey, drums. The instruments are more lifelike. I meant that it's not fair to compare recordings that were made in the 1950s with 1960s recordings, in other words, you're comparing apples and oranges. Barclay Studios, Paris, France, July 12, 1969 4804 tk. The seller was taking no chances.
I've got the Mosaic set, and as Hans said, get the Mobley Mosaic set, it's a limited edition, and I'm sure it's soon to go out of print. Energized and focused upon his return, Mobley recorded extensively during 1965, showcasing a slightly harder-edged tone and an acumen for tricky, modal-flavored originals that challenged his sidemen. In 1986, he mustered up the energy to work on a limited basis with Duke Jordan; however, he died of pneumonia not long after, on May 30, 1986. Mobley cut two more high-quality hard bop albums, Roll Call and Workout, over 1960-1961, as well as some other sessions that went unreleased at the time. It was an interesting process that was done frequently after that. The music is more believable.
Mosaic has always been one of my most respected companies, so I strongly recommend supporting them, and treating yourself to the Mosaic set. He was previously married to an English woman and they had two daughters. The rhythm sections would also take on a newer outlook with such youngsters as Sonny Clark, Bobby Timmons, Art Taylor, and Wibur Ware on board. I had been playing at the Village Vanguard when I was in New York, but the music was starting to bore me because I didn't like what Hank Mobley was playing in the band. This is surely one of the saxophonist's early triumphs, due in no small way to the company he kept, including Milt Jackson, Horace Silver, Doug Watkins, and Art Blakey.
Playing with Hank just wasn't fun for me; he didn't stimulate my imagination. So first of all: thanks for that! This was about the time I started playing real short solos and then leaving the bandstand. That led to a job with Max Roach, who hired both Mobley and Davis after performing with them; they all recorded together in early 1953, at one of the earliest sessions to feature Roach as a leader. Some friends of mine put the information on the net about Hank Mobley on the net for me. It will be a historic event and a concert you will not want to miss. The next two sessions, from April and May of 1957, would opt for a larger ensemble augmented by a second saxophone. I agree and play all my records and take care of them.
Unfortunately, the association was a stormy one; Mobley came under heavy criticism from the bandleader, and wound up leaving in 1962. By the time of this 1964 set, Stan Getz had already issued a few bossa nova experiments on Verve — but this pairing with. At the same time, Dippin' found a funkier soul-jazz sound starting to creep into his work, an approach that reached its apex on the infectious A Caddy for Daddy later that year. Lee Morgan, trumpet; Jackie McLean, alto sax; Hank Mobley, tenor sax; Cedar Walton, piano; Paul Chambers, bass; Billy Higgins, drums. By the way, I also replied to theron d's question.
I thought, if you shared my enthusiasm, they perhaps could be linked somehow to your blogspot. A Philadelphia native and has played and recorded with many jazz giants including Grover Washington. The solos were good, and the band played good. The reference there to Nietzsche supposedly commenting on Mobley's style was a would-be serious joke. In fact, I like it better than my stereo Liberty pressing of Roll Call in fact although I suspect that is end of stamper. I thought at first the tenor was Zoot, and then I thought, no. Clark leads the soloists with a grace that recalls Count Basie, and his own lines, with their heartbreakingly pure lyricism, make him the hard bop equivalent of Duke Jordan.
The sound of the recording was very good. The records for his Blindfold Test were more or less paired off, the first a stereo item by a big band, the next two combo tracks by hard bop groups, the third pair bearing a reminder of two early tenor giants, and the final two sides products of miscellaneous combos. This is sprightly bebop with Mobley proving that he could handle the changes just about as well as any other tenor man around at the time. There's a bit of funk here, but not. The instruments are more lifelike. Poppin' was one of many sessions tenor saxophonist Hank Mobley recorded in the late '50s and early '60s but remained unreleased until the late '70s and '80s. Mobley's solo is a single, sweeping gesture, with each chorus linked surely to the next as though, with his final goal in view, he can proceed toward it in large, steady strides.
He departed in 1951 and joined the house band at a Newark nightclub, where he played with pianist Walter Davis, Jr. However, in the years that followed Mobley's death, Blue Note hard bop enjoyed a positive reappraisal; with it came a new appreciation for Mobley's highly developed talents as a composer and soloist, instead of a focus on his shortcomings. His comeback session as a leader was 1960's classic Soul Station, near-universally acknowledged as his greatest recorded moment. He's one of the great jazz saxophonists of our time, I think, in my opinion, very creative and very inventive, always full of ideas, a lot of feeling when he plays. On the title track, Mobley's second eight-bar exchange with Jones is one of the tenorman's perfect microcosms, an example of how prodigal his inventiveness could be. As a charter member of Horace Silver's Jazz Messengers, Mobley helped inaugurate the hard bop movement: jazz that balanced sophistication and soulfulness, complexity and earthy swing, and whose loose structure allowed for extended improvisations.