Hank Mobley – S/T ( BLP 1568) - 1957 Hard Bop Jazz - Japan issue - Stereo LP + Obi + Insert
Hank Mobley – Hank Mobley
Blue Note – BN 1568, Blue Note – BST 1568
Blue Note LP Last Reissue – 65, Blue Note BLP 1500 Revival – 65
Vinyl, LP, Album, Stereo, Reissue, Limited Edition
Very First “Stereo” release from original master tape.
Record is VG++ clean (listen to our copy)
Cover is VG++ clean (see our pic)
Includes Obi strip and insert, both are VG++
26 Dec 1990
A1 Mighty Moe And Joe
A2 Falling In Love With Love
A3 Bags' Groove
B1 Double Exposure
Manufactured By – Toshiba EMI Ltd
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Alto Saxophone – Curtis Porter
Bass – Paul Chambers
Drums – Art Taylor
Piano – Sonny Clark
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Curtis Porter, Hank Mobley
Trumpet – Bill Hardman
A-1 - Unedited take. Different from MONO issue.
B-1 - Slightly shorter than MONO issue.
Recorded on June 23, 1957.
“Blue Note LP Last Reissue Part 4” (BLP 1500 Revival), Limited Edition, by Toshiba EMI.
Barcode and Other Identifiers
Matrix / Runout ((Side A)): BNST-1568-A 1S
Matrix / Runout ((Side B)): BNST-1568-B 1S
During the 1950s and '60s Hank Mobley was an especially prolific musician. In addition to many dates as a sideman, his string of 26 or so records under his own name for Blue Note certainly makes him the one of, if not the label's productivity champion. Most of his dates are excellent performances, yet somehow his name has faded from the public conscious. Jazz people know him of course—we thrive on even the smallest esoteric historical details, after all—but Mobley doesn't register with the broader public the way, for example, John Coltrane does. Most people at least recognize the name Coltrane. Mention Mobley and unless you're in a very specific group of like-minded people you'll get nothing but blank stares.
Damned shame about that, too.
"Mighty Moe And Joe" opens it with a little native-American war cry leading into a memorable up-tempo hard bop melody. Mobley's solo is taken at or more slowly than the beat, a subtle but effective technique that places his solo into high relief against the rest of the band. As always, on this track and the rest of the album, Mobley has impeccably good taste.
Hardman, all of twenty-four years old on this recording, shows great chops and tone. It's clear that he could have been an heir to Clifford Brown and a real competitor to Lee Morgan had be managed to achieve the kind of commercial success of either. His playing here is fiery and smart: tight and fast in places, loose and rubato in others. He had a lot of stylistic range and his overall performance is excellent.
Clark, always a blues player on steroids, comps tightly with the rhythm section throughout and relies on his right hand for sharp, concise improvisational statements. He had a relatively narrow bag of tricks, but he played those tricks with great individual character: a pianist who's always worth hearing.
Hank Mobley's BN-1568 is a bona-fide jazz classic and a record that's easy to recommend. It's high-style late 1950s modern jazz by some of period's finest practitioners. It would be impossible to go wrong with this one.
|Label||Blue Note Records|