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Topic: Hank Mobley

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In the News (Fri 19 Jul 19)

  Hank Mobley - Wikipedia, the free encyclopedia   (Site not responding. Last check: 2007-11-07)
Henry (Hank) Mobley (July 7, 1930 - May 30, 1986) was an American hard bop and soul jazz tenor saxophonist.
Mobley was described by Leonard Feather as the "middleweight champion of the tenor saxophone", a metaphor used to describe his tone that was neither as aggressive as John Coltrane nor as mellow as Stan Getz.
Though criticized by some for not having the improvisational fire of his predecessor in the group, John Coltrane, Mobley was still a major voice on tenor saxophone.
en.wikipedia.org /wiki/Hank_Mobley   (278 words)

 Hank Mobley biography : albums : icebergradio.com   (Site not responding. Last check: 2007-11-07)
Any characterization of Mobley invariably begins with critic Leonard Feather's assertion that he was the "middleweight champion of the tenor saxophone," meaning that his tone wasn't as aggressive and thick as John Coltrane or Sonny Rollins, but neither was it as soft and cool as Stan Getz or Lester Young.
Mobley stayed with Silver until 1957, by which time he had begun to record prolifically as a leader for Blue Note, completing eight albums' worth of material over the next 16 months.
Mobley recorded steadily for Blue Note through the '60s, offering slight variations on his approach, and continued to appear as a sideman on a generous number of the label's other releases (especially frequent collaborator Lee Morgan).
www.icebergradio.com /artist/7149/annihilator.html   (1202 words)

 CMT.com : Hank Mobley : Biography   (Site not responding. Last check: 2007-11-07)
characterization of Mobley invariably begins with critic Leonard Feather's assertion that he was the "middleweight champion of the tenor saxophone," meaning that his tone wasn't as aggressive and thick as John Coltrane or Sonny Rollins, but neither was it as soft and cool as Stan Getz or Lester Young.
Mobley led his first session for Blue Note, The Hank Mobley Quartet, in 1955, and recorded for Savoy and Prestige during 1956.
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.
www.cmt.com /artists/az/mobley_hank/bio.jhtml   (1203 words)

 The Complete Blue Note Hank Mobley Sessions (#181)
This incredible Hank Mobley box set was my introduction to the wonderful folks at Mosaic Records, and I am looking foward to purchasing many more of their box sets if they are all half as great as this one.
Hank Mobley is one of the most prolifically recorded instrumentalists in the history of jazz, mostly as a side-man with the likes of Art Blakey, Horace Silver, and Miles Davis.
Hank Mobley was one of the greatest and yet primarily unknown tenor saxophonist of all-time.
www.mosaicrecords.com /prodinfo.asp?number=181-MD-CD   (2164 words)

 Hank Mobley: The Hard Bop Homepage
Hank Mobley was born on July 7, 1930 in Eastman, Georgia, and raised in Elizabeth, New Jersey.
Mobley's jazz recording debut was the product of a job he held in the house band of a Newark nightclub after leaving Gayten in 1951.
His work was often downgraded as a lesser version of Sonny Rollins; and in 1960 and '61, when he worked with Miles Davis and recorded what are his greatest sessions under his own name, he was dismissed for not measuring up to his predecessor in the Davis band, John Coltrane.
members.tripod.com /~hardbop/mobley.html   (818 words)

 Review   (Site not responding. Last check: 2007-11-07)
Hank led 27 sessions for Blue Note, and each displays a high level of consistency, warmth and passion.
Mobley - an original member of the Jazz Messengers, along with Horace Silver, Art Blakey, Kenny Dorham, and Doug Watkins - was at the forefront of Bop.
However, Mobley plays with such feeling and imagination while sticking close to the melody that this song demands you pay close attention to his tenor.
www.cosmik.com /aa-june00/reviews/review_hank_mobley.html   (208 words)

 A Caddy for Daddy
Mobley flashes his adept songwriting skills in the last two numbers, the tricky "Ace Deuce Trey" (Mobley also keeps his string of great song-titles intact) and the closer, the avant-hard bop "3rd Time Around." Both songs cook.
This is the sound of Hank Mobley in his mid-thirties, simultaneously honing and evolving his simmering tone and sound while showing his keen awareness of the changes that had swept through jazz by the time of this recording in late 1965.
Hank Mobley isn't generally viewed as a great innovator, but a listener can hear him responding, in his own voice, to the rapidly changing musical form with an always listenable, rolling harmonic style; in other words, one can hear him aiming and hitting his mark.
www.nuris.us /A-Caddy-for-Daddy-24611923900480306546.jsp   (633 words)

 Music: Round Sounds (The Boston Phoenix . 11-02-98)
Hank Mobley (1930-1986) is rarely at the top of that list, and given his aesthetic, it's little wonder.
Back in the mid '50s, Mobley was one of the new tenors on the scene, along with John Coltrane (who though just four years younger wasn't nearly as mature as Mobley was in 1955), and Rollins (also born in 1930), to whom Mobley was often and unfairly compared.
But Mobley's subtle sense of time and the harmonic richness of his solos were all his own.
weeklywire.com /ww/11-02-98/boston_music_4.html   (723 words)

 Hank Mobley @ The Jazz Files
Tenor saxophonist Hank Mobley was a key proponent of hard bop, but his sometimes dry and detached sound and challenging rhythmic agility set him apart from the more aggressive, robust style of many of his contemporaries.
Mobley was born on July 7, 1930, in Eastman, Georgia.
Mobley also worked briefly but significantly with Miles Davis and with some of the other great boppers of the time; Kenny Dorham, Freddie Hubbard, Art Farmer and Elvin Jones.
www.thejazzfiles.com /JazzMobley.html   (322 words)

 Amazon.co.uk: Music: Soul Station [Original recording remastered]   (Site not responding. Last check: 2007-11-07)
Mobley plays slightly behind the beat, and his subtle use of harmonics and slightly foggy undertone make him an acquired taste, but this album is funky, soulful, swinging and tough.
Hank Mobley was more than workman-like, to be sure, and he was well used to playing with Wynton Kelly and Paul Chambers (listen to him with Miles Davis at the Blackhawk, for instance, where he sounds really good), but never really took off on his own.
Hank Mobley had a famously disorganised, drug-oriented lifestyle that maybe prevented him getting a longer slot in the Miles Davis band (he joined in 1961 and left the year afterwards), but he had a wonderful style and big, rich tone that this recording, made in 1960, showcases on mainly his own compositions.
www.amazon.co.uk /exec/obidos/ASIN/B00000I8UI   (539 words)

 * Dusted Reviews - Hank Mobley *
Hank Mobley was never an innovator or a star, but he was more than just a journeyman.
Mobley responded by carrying on with business as usual; no one on this sextet session colors very far outside the lines of hard bop.
Mobley’s tone on his tenor tended towards lightness; he uses that quality to good advantage on the ballad “No More Goodbyes,” sounding at once pleading and intimate.
www.dustedmagazine.com /reviews/2230   (429 words)

 NewToJazz.com | Artist Profile | Hank Mobley
Accurately described by critic Leonard Feather as "the middleweight champion of the tenor" due to his sound (not as light as Lester Young's or as heavy as Sonny Rollins), Hank Mobley tended to be taken for granted during his career but recorded a long string of valuable albums for Blue Note.
Mobley was back with Blakey for a bit in 1959 and spent an unhappy period with Miles Davis (1961-62) but mostly worked as a leader in the 1960s.
He was in Europe during much of 1968-70 and recorded with Cedar Walton in 1972 but by the mid-'70s was largely retired due to bad health.
www.newtojazz.com /artist.asp?id=59   (160 words)

 Review - Hank Mobley: Complete Jazz Message Sessions   (Site not responding. Last check: 2007-11-07)
The Complete Jazz Message Sessions is a reissue of early Hank Mobley material from a Savoy date in 1956 involving Mobley on tenor saxophone, Donald Byrd on trumpet, Doug Watkins on bass, Kenny Clarke on drums, and either Barry Harris or Ronnie Ball on piano.
Hank's my favorite tenor player." I must confess, Hank Mobley is my favorite tenor player as well.
Mobley is one of those jazz artists who deserves greater attention.
www.cosmik.com /aaa-archives/reviews/040109_review_hank_mobley.html   (275 words)

 Hank Mobley   (Site not responding. Last check: 2007-11-07)
Hank has never gotten the credit for his wonderful contributions to hard bop jazz and this site is a small attempt to help redress things.
Some friends of mine put the information on the net about Hank Mobley on the net for me. His wife, or at least the woman he was with at the time I visited them, was named Darice.
The concert is a tribute to the late “Hank Mobley” who considered by many jazz educators and fans all over the world as one of most soulful, lyrical, melodic and prolific composers in the history of modern jazz.
hankmobley.blogspot.com   (4146 words)

 Blue Note Records
Hank Mobley Was Building His Style Behind Blakey’s Beat All That Time.
The jazz is solid and tight,while Mobley is his fine self; Chambers is solid throughout; Kelly just flows with the aura around him and Blakey is faultless and innovative.
hank mobley is one of the all time greatest jazz musician, a true hero, underrated as are so many others (think of sonny clark, kenny dorham, herbie nichols, cliff jordan...
www.bluenote.com /detail.asp?SelectionID=9429   (1282 words)

 Amazon.ca: Music: Soul Station (Rm)   (Site not responding. Last check: 2007-11-07)
Pianist Wynton Kelly and bassist Paul Chambers were working regularly with Mobley in Miles Davis's band, while the explosive drummer Art Blakey had worked with him in the original, cooperative form of the Jazz Messengers, and the familiarity shows.
Mobley was one of the most talented saxophonists of his generation, a superbly lyrical artist who blended an inventive tunefulness with taut rhythmic attentiveness.
mobley was a prolific artist for blue note turning out a myriad of albums, some good, others not (at times it seemed he got bored).
www.amazon.ca /exec/obidos/ASIN/B00000I8UI   (690 words)

 Respect for Hank Mobley
Hank Mobley always suffered from the perception in some quarters that he was neither an innovative nor particularly gifted improviser.
Mobley’s very first solo on the title track demonstrates his ability to convert rhythmic and melodic conceptions into a fluent, well-constructed solo in an almost intuitive manner.
Mobley’s compositions, including “The Flip” and “Feelin’ Folksy” pay tribute to the emergence of soul jazz and the Latin samba feel without trying too hard to sound trendy, which is one reason they still sound so good today.
www.allaboutjazz.com /php/article.php?id=1204   (880 words)

 Soul Station
Fans and critics will reel off their list of tenor players, a list that is as easily changed by fashion as not, and then the musician over in the corner will say, "Yes, but have you heard Hank Mobley?" The musician saying that, in this particular case, might very well be a drummer.
The groups Hank works with are often led by drummers--Art Blakey and Max Roach, to name two men who need, as they say, no introduction.
This is not to say that any of these men, or Hank Mobley either, "play for dancing," but that the qualities that are essential to dance--a lightness, flow, and flexibility, all within the confines of a definite form and overall sense of structure--are essential to their music.
member.tripod.com /~hardbop/sstation.html   (672 words)

 HANK MOBLEY: Hank Mobley (Classic Records / Blue Note)   (Site not responding. Last check: 2007-11-07)
Classic Records has been touting their new Quiex SV-P pressings for about a month or so now, and we finally got the chance to check one of them out.
'Exhibit A' in this case is the label's new mono pressing of Hank Mobley's excruciatingly rare sixth album (and the fourth of six that the tenor saxman would record for Blue Note that year), simply entitled Hank Mobley.
If you were looking for a reason to spring for a high-end mono system, this is it.
www.thenightowl.com /reviews/mobley2.htm   (432 words)

 Hank Mobley Press Bio (1968)   (Site not responding. Last check: 2007-11-07)
Hank was born in Eastman, Georgia, July 7, 1930, but was raised in New Jersey.
Hank remained with Art and Horace until September, 1956, when he and Horace quit Art to join forces in the latter's new group.
Hank has also recorded numerous Blue Note dates under the leadership of other musicians, including Jimmy Smith, Curtis Fuller, Johnny Griffin, Dizzy Reece, and of course Silver and Blakey.
www.jazzdiscography.com /Artists/Blakey/mobley.htm   (257 words)

 Amazon.com: Music: Dippin'   (Site not responding. Last check: 2007-11-07)
Also of note: Mobley's own compositions, which as usual are fresh and exciting; the beautiful sound of Mobley and Morgan on "I See Your Face Before Me"; and last but not least, the knock-your-socks off technique of Harold Mabern Jr.
Hank Mobley is probably one of the most under-rated tenor saxophonists of the post-bop era because of his introspective, non-intrusive style.
The tunes by Mobley are characteristic, he puts little twists and turns in his compositions that keep you on your toes as a listener.
www.amazon.com /exec/obidos/tg/detail/-/B000005H4T?v=glance   (832 words)

 Hank Mobley - The Flip: Reviews, Track Listing, Audio Clips, and more ||| Music.com   (Site not responding. Last check: 2007-11-07)
Flip [+] is Mobley's second-to-last date, and he cut the session in a Paris studio with trombonist Slide Hampton [+], trumpeter Dizzy Reece [+], pianist Vince Benedetti [+], Philly Joe Jones [+] on drums, and a young French bassist named Alby Cullaz [+].
The title track opens the set and it lays deep in the soul-jazz cut, tempered by hard bop sensibilities: the solos by Reece, Hampton, and Mobley are top-notch, but it is Benedetti's muscular comping and blues-wailing piano that drives the tune.
But the personality of the tune, with its gloriously bluesy swing, is all Mobley.
www.music.com /release/the_flip/1   (398 words)

 Unsung Recordings by Hank Mobley
Mobley is joined by pianist Wynton Kelly, bassist Paul Chambers, and, on the drums, Abdullah Ibn Buhaina himself, Mr.
Mobley is his mellow-toned self, and he finds a perfect partner in Green, whose electrically-charged lines take Mobley's quiet fire and run with it.
This disc is the tragedy of Hank Mobley in miniature.
www.allaboutjazz.com /php/article.php?id=1205   (491 words)

 Metroactive Music | Hank Mobley Tribute
Mobley (1930-1986) was not on a par with, say, Sonny Rollins, but neither was he just another sideman.
Tenor Conclave (the name is derived from one of Mobley's own ensembles) represents something of a supergrouping; Grand Central's lineup includes tenor/soprano saxophonist Ravi Coltrane (son of tenor legend John Coltrane), tenor player Craig Handy, pianist Billy Childs, drummer Cindy Blackman and bassist Dwayne Burno.
Mobley's version boasted four horns, including the elder Coltrane's, in a wild free-for-all.
www.metroactive.com /papers/metro/11.20.97/jazz-9747.html   (633 words)

 Guardian | Hank Mobley: Thinking of Home   (Site not responding. Last check: 2007-11-07)
Hank Mobley and Tina Brooks were two, now largely overlooked, American hard-bop tenor saxophonists from the Blue Note label's 1960s lineup.
Neither of these two reissues represent the best of the short catalogues of either, but they do reveal how engagingly both men were trying to steer hard bop away from its standbys of gospel-jazz and hot licks.
Hank Mobley's Thinking of Home is less directly bluesy and structurally bolder - it starts with a three-part suite opened spectacularly with the saxophonist's dry, brooding tone and the thunder of mallets, before turning into a Milestones-like bounce.
www.guardian.co.uk /print/0,3858,4556498-108884,00.html   (243 words)

 Tower Records - The Turnaround [Remaster] - Hank Mobley
It also omits two tracks, "Hank's Waltz" and "Third Time Around," which were recorded at the February 1965 session that produced the remainder of the tracks.
Hank Mobley's later Blue Note sessions took on a much harder edge than his earlier efforts.
In contrast, Mobley is at his smoky best on the moving ballad "My Sin." Freddie Hubbard, too, is exceptional throughout, coming in at his peak of performance.
www.towerrecords.com /product.aspx?pfid=1914808   (394 words)

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