Tuesday, March 22, 2005
Liberty Records Press Office
Blue Note Records
Henry (Hank) Mobley has been called "The middleweight champion of the tenor saxophone."
That is to say, he is not to be compared (and this judgment is made in terms of size of sound as well as such values as fame, fortune and poll victories) with heavyweights like Coleman Hawkins or John Coltrane; nor is there any necessity to relate him to the tonal lightweights, headed by Stan Getz and the various artists of this school who came to prominence around the same time.
Hank is the middleweight champion because his sound, as he once put it himself, is "not a big sound, not a small sound, just a round sound" and because, while fads and fancies change, he has remained for some 15 years a consistently successful performer, working almost exclusively as a sideman except on records, and retaining a firm, loyal following.
Hank was born in Eastman, Georgia, July 7, 1930, but was raised in New Jersey. He studied with a private teacher. When he was 20 years old he played in Paul Gayten's orchestra. A year later he came to the attention of jazz fans and critics through an association with Max Roach that lasted off and on for two or three years.
After working with Dizzy Gillespie for six months in 1954, he began jobbing with Horace Silver later that year at Minton's Play House and other New York clubs. This group evolved into the Jazz Messengers, under the leadership of Art Blakey. Hank remained with Art and Horace until September, 1956, when he and Horace quit Art to join forces in the latter's new group.
During the next four years Hank was heard with Silver, Roach and Thelonious Monk, rejoining Blakey in 1959. During the next year or two he appeared at many of the special Monday night sessions at Birdland, worked with the British trumpeter Dizzy Reece, and was heard for a while with Miles Davis.
As critic Joe Goldberg once observed, Mobley is not a musician who can easily be classified or categorized: "Writers on jazz like to trot out such phrases as Hawkins-informed, Young-derived, Rollins-influenced and the like, and then, having formed their pigeon-hole, they proceed to drop the musician under discussion into it…Mobley, to be sure, is associated with East Coast musicians and material, but he has never had the so-called "hard bop" sound that is generally a part of the equipment of such tenor men." Mobley, Goldberg went on to point out, worked out a style of his own, unspectacularly but with unmistakable success.
Mobley has been a recording bandleader for Blue Note since 1960, when his first album, Soul Station, was received with critical acclaim. Sidemen on his dates have included Blakey, Silver, Wynton Kelly, Grant Green, Lee Morgan, Freddie Hubbard, Milt Jackson and Donald Byrd. 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.
Monday, October 11, 2004
I am curious? on how many blue note lps did Hank Mobley play?
(the 5000 series are 10 inch lps)
5058 Horace Silver Quintet, Vol. 1, November, 1954
5062 Horace Silver Quinet, Vol. 2, February, 1955
5064 Julius Watkins Sextet, Vol. 2, March 1955
5065 Afro-Cuban/Kenny Dorham, March 1955
5066 Hank Mobley Quartet, March 1955
5070 The Eminent J.J. Johnson, Vol. 3, June 1955
1506 The Eminent J.J. Johnson, Vol. 2 June 6, 1955
1507 The Jazz Messengers at the Cafe Bohemia, Vol. 1 November 1955
1508 The Jazz Messengers at the Cafe Bohemia, Vol. 2 November 1955
1518 Horace Silver and the Jazz Messengers, Nov 1954/Feb 1955
1535 Afro-Cuban/Kenny Dorham, January 1955/March 1955
1539 6 Pieces of Silver/Horace Silver, November 1956
1540 Hank Mobley with Donald Byrd and Lee Morgan, November 1956
1541 Lee Morgan, Vol. 2, December 1956
1544 Hank Mobley and his All Stars, January 1957
1547 A Date with Jimmy Smith, Vol. 1, February 1957
1548 A Date with Jimmy Smith, Vol. 2, February 1957
1550 Hank Mobley Quintet, March 1957
1559 A Blowing Session/Johnny Griffin, Vol. 2, April 1957
1560 Hank, April 1957
1562 The Stylings of Silver/Horace Silver, May 1957
1567 The Opener/Curtis Fuller, June 1957
1568 Hank Mobley, June 1957
1570 Dial "S" for Sonny, July 1957
1574 Peckin' Time/Hank Mobley, Lee Morgan, February 1958
4015 At the Jazz Corner of the World, Vol. 1/Art Blakey, April 1959
4016 At the Jazz Corner of the World, Vol. 2/Art Blakey, April 1959
4023 Star Bright/Dizzy Reece, November 1959
4031 Soul Station, February 1960
4048 Byrd in Flight/Donald Byrd, January 1960
4056 Goin' Up/Freddie Hubbard, November 1960
4058 Roll Call, November 1960
4059 Undercurrent/Kenny Drew, December 1960
4063 Whistle Stop/Kenny Dorham, January 1961
4080 Workout, March 1961
4123 A New Perspective/Donald Byrd, January 1963
4126 My Point of View/Herbie Hancock, March 1963
4149 No Room for Squares, March 1963/October 1963
4158 Good Move/Freddie Roach, December 1963
4186 The Turnaround, March 1963/February 1965
4196 Blue Spirits/Freddie Hubbard, February 1965
4202 I Want to Hold Your Hand/Grant Green, March 1965
4209 Dippin', June 1965
4222 Cornbread/Lee Morgan, September 1965
4230 A Caddy for Daddy, December 1965
4236 Mustang!/Donald Byrd, June 1966
4241 Slice of the Top, March 1966 (not released)
4259 Blackjack/Donald Byrd, January 1967
84273 Hi Voltage, October 1967
84288 Reach Out!, January 1968
84312 Charisma/Lee Morgan, September 1966
84329 The Flip, July 1969
84367 Thinking of Home, July 1970 (not released)
84425 Far Away Lands, May 1967
84426 The Rajah/Lee Morgan, November 1966
84431 Another Workout, March 1961/December 1961
84435 Straight No Filter, March 1963/February 1965/June 1966
BN LA 224 G Lee Morgan Memorial Album, September 1965
LT 1081 Third Season, February 1967
BNJ 61005 Senor Blues/Horace Silver, November 1953
BNJ 61006 Hank Mobley Quintet Featuring Sonny Clark, August 1957
BNJ 61007 The Jazz Messengers at the Cafe Bohemia Vol. 3, November 23, 1955
GXF 3052 K.B. Blues/Kenny Burrell, February 1957
GXF 3056 My Conception/Sonny Clark, March 1959
GXF 3066 Poppin', October 1957
so about 50 legitimate sessions (ie., released around when recorded.. ) plus 13 or so released later on.... i wonder how many other blue note artists recorded as much for the legendary label.. grant green comes to mind but there aren't many others that recorded as much for blue note..that is for sure..
Friday, October 01, 2004
From two postings from early September 2000 by Pat Hamby
"I met hank Mobley in 1979 in Washington DC. It was August 17th. He was married to an Italian woman named Denesch, or something like that. she was a beautiful, brilliant woman. I would love to get in contact with her. We were discussing some very important things during our meeting. all these years later, they are more clear to me then they were in 1979. could anyone tell me how to contact her? Thank you. Pat"
"Hi To Hank Mobley Fans and Friends. 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. I can't remember her last name if it was not Mobley. I spent an entire weekend with them at their home in Washington. D.C. I am trying to locate Darice. She was a beautiful, Italian woman; much younger than Hank. She and I worked for Junior Achievement and that's how we got acquainted. I spent an entire weekend meeting famous musicians. Hank was an incredible person who was responsible for changing my life forever. I would appreciate any information that might be available concerning his former wife Darice. She was much younger than Hank. I have tried, unsuccessfully,to get in touch for several years. I was stunned to learn of Hank's death. I would still like to learn of Darice's whereabouts. He was previously married to an English woman and they had two daughters. I may have some unusual information to exchange. Can anyone out there help me?"
Hank Mobley "Turnaround" LP cover knock-off by hip hoppers the Beatnuts 1993 ep "Intoxicated Demons"
Miles' mentions Mobley very briefly in his autobiography and this is the very little he had to say:
"Sonny Stitt left the band sometime around the beginning of 1961. I replaced him with Hank Mobley, and we went into the studio to record Someday My Prince Will Come in March 1961. I brought Coltrane to play on three or four of those tunes and Philly Joe to play on one. But the rest of the band was the same: Wynton Kelly, Paul Chambers, Jimmy Cobb and Hank Mobley on two or three tunes. Teo Macero, my producer, had started to splice tape together on Porgy and Bess and then on Sketches of Spain, and he did it on this album, too. We post-recorded solos on those albums, with Trane and me doing some extra horn work. It was an interesting process that was done frequently after that."
"That spring of 1961- April I think it was- I decided to drive out to California, for a gig in San Francisco at the Blackhawk. 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. Gil and I were working a little bit on an album we wanted to do for Columbia. But other than that, everything was slow.
Playing with Hank just wasn't fun for me; he didn't stimulate my imagination. This was about the time I started playing real short solos and then leaving the bandstand."
"But as good as my home life was, the music wasn't going too good for me during this period. Hank Mobley left the band in 1961 and I replaced him for a hot minute with a guy named Rocky Body, but he didn't work out either."
all this material is copyrighted by simon and shuster
Charlotte Observer: The album's title is a play on jazz saxophonist Hank Mobley's 1963 album, "No Room for Squares." Why did you create your own version of Mobley's title?
John Mayer: I'm a jazz fan and I was flipping through a Blue Note Records coffee-table book and saw Mobley's album. There was something about the words. I'm kind of a word guy, and it just looked great.
Hurry up and get the Complete Hank Mobley Blue Note Fifties Sessions 6-CD set, limited to 7500 copies, which can be purchased at www.mosaicrecords.com!
"When the jazz world turned on to the harsher sound of Coltrane, the gentler tones of Mobley- described by critic Leonard Feather as 'the middleweight champion of the tenor'- were relatively undervalued and overlooked by history. But those searching for something different will find this blue chip Blue Note date (featuring Wynton Kelly, Paul Chambers and Art Blakey) a glorious testament to some subtle medium-bop skills."
Thursday, September 30, 2004
Yes, that is Hank Mobley on the cover of the book about Francis Wolff's Blue Note photography! Looking good as usual!
from the link http://home.earthlink.net/~eskelin/leftbank.html i have borrowed the information below:
"The following information comes from the 1967 Left Bank Jazz Society of Baltimore yearbook. Many of these concerts were held at the legendary "Famous Ballroom" located on Charles Street in Baltimore, Maryland. The "Famous" was a charming place (note the painted clouds on the ceiling in the photo previous to this page) and was not unlike an indoor picnic in which folks from all over the city came together every Sunday afternoon from 5pm to 9pm to share in the great sounds. I heard many fabulous concerts at the "Famous" in the late '70s and early '80s including Woody Shaw's group, Jack DeJohnette's Special Edition, Phil Woods, Big Nick Nicholas and many others."
and below the specific dates on which Mobley played (the yearbook apparently covers the period between 8/16/64 to 5/7/67):
11-28-65 HANK MOBLEY, tenor sax; JOHNNY COLES, trumpet; WILBUR LITTLE, bass; BERTELL KNOX, drums; RUBEN BROWN, piano
4-10-66 HANK MOBLEY, tenor sax; McCOY TYNER, piano; JACK DEJOHNETTE, drums; EDDIE MARSHALL, bass (Crystal Ballroom)
5-15-66 FREDDIE HUBBARD, trumpet; HANK MOBLEY, tenor sax; PHILLY JO JONES, drums; PAUL CHAMBERS, bass; RONNIE MATTHEWS, piano
3-36-67 JIMMY HEATH, tenor sax; HANK MOBLEY, tenor sax; MICKEY ROKER, drums; CEDER WALTON, piano
email addresses for contacts at end of article:
THE 1ST ANNUAL TRENTON JAZZ SUMMIT "Remembering Hank Mobley" September 18, 2004 Two shows 6:00 & 8:00pm @ Amber Cafe, Trenton N.J., will be musically nutritious for everyone who attends. 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. Hank recorded extensively with Blue Note records. Sharing the stage with many jazz greats including Miles Davis, Lee Morgan, Max Roach, McCoy Tyner, John Coltrane, Sonny Rollins, Barry Harris, Herbie Hancock, Paul Chambers, Philly Joe Jones, Art Blakey, John Hicks, Freddie Hubbard, Wynton Kelly and the list goes on.
I’ve listen extensively for many, many, many hours and days to Hank’s music and have written lyrics to over 40 of his compositions. The stories talk about our everyday experiences and of course stories that we can all relate to. Hank possessed that gift that could you make you laugh, cry and dance all night long. We will transform that same spirit at the 1st Annual Trenton Jazz Summit. The cast of musicians on the bill will make everyone happy with memories that will last forever. I recommend to everyone to go to your local jazz store and purchase “Soul Station”. I guarantee you will be hooked on MOBLEY.
BOOTSIE BARNES a master saxophonist from Philadelphia and a close friend of the late Hank Mobley was very excited about the idea. He told me he hung with Hank to the end and would love to honor his musical buddy. Most of you probably remember watching the Cosby cartoon series. While growing up in Philadelphia Bootsie was a childhood friend with Bill Cosby since grade school. They're still close today. Cosby featured his childhood buddy as was one of the original characters in the cartoon. Bootsie Barnes.... can also swing and play that horn! He's Philadephia's diamond gem shinning bright as ever!
DON SICKLER a master musician, producer and arranger will be the featured on trumpet. He was also a close friend of Hank Mobley. He's written arrangements for me on over 25 of Hank Mobley’s classic compositions that I’ve had the honor of writing lyrics to. This will be treat for everyone who attends. Over the years Don has been involved with several Grammy award-winning recordings for Verve records. Most recently he received a Grammy Award for his work on the late Joe Henderson last CD "Lush Life" the music of Billy Strayhorn. Don Sicker is also the musical director for the Thelonious Monk competitions, which features some of today’s brightest stars. He works closely with Thelonouis Monk’s son T.S. Monk. Many musicians who have participated in the Monk competitions have gone on to stardom and have had very prosperous careers. You can hear Don’s arrangements on many major artists recordings. He's appeared on over 150 recordings. Don was also the music director for drummer Philly Joe Jones band “DAMERONIA“. Our pianist will be none other than
SID SIMMONS. A Philadelphia native and has played and recorded with many jazz giants including Grover Washington. KING JAMES will play the contra bass. I’ve been playing with him since my early developmental days in Washington DC during the early 70‘s at the Jazz Club called Pig Foot. We both started in the Jazz Workshop conducted by the late pianist John Malachi. Who happened to have played with gave the name to Sarah “Sassy” Sarah Vaughn back during the early 50‘s. James is a great bassist and you’ll love him.
RONNIE BURRAGE will be the drummer for the evening. I first met Ronnie when I was singing with James Moody “Moody’s Moody For Love” during the early 80’s. One particular week we were appearing at the Village Vanguard in NYC and McCoy Tyner’s group was playing at Sweet Basil one block away. Everyone was running back and forth between sets to see this young dynamic drummer that was setting the club on fire. It was Ronnie Burrage. I’ve been writing lyrics to Hank Mobley’s music for the past few years and recorded one of his most notable compositions “This I Dig of You” aka “Jazzinn Around” on my recent CD Live@JazzInn. www.jazzinn.com During the process I found out that Don Sickler publishes Hank’s music and several 100 other artist at Second Floor Music and he has given me permission to help myself with Hank’s compositions. To this day I’ve written lyrics to over 40 of his songs and have also recently finished writing a new JAZZICAL “Down By The River-East of the Village”. It’s an urban story of love, sadness, death, happiness and triumph with a script written around over 20 of Hank Mobley’s compositions. It will go into production after Don finishes producing my newest CD offering at none other than Rudy Van Gelder’s. Stay tune. Please show your support and attend the 1st Annual Trenton Jazz Summit. “Remembering Hank Mobley”. It will be a historic event and a concert you will not want to miss. Remember 2 shows and only 100 seats per show. Everyone is invited.The Hippest New Spot in the City of TrentonA Brand New EstablishmentAMBER CAFE, 905 Brunswick Ave @ Olden Ave, Trenton NJ, email@example.com or firstname.lastname@example.orgCharge tickets by phone 609-695-7333www.jazzinn.com or www.phillyjazz.org
Fred Jung: The Horace Silver Quintet has quite an impressive alumni roll. Your thoughts on Hank Mobley, who appears on Six Pieces of Silver and The Stylings of Silver.
Horace Silver: Oh, a great musician, very underrated. 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. He is one of my favorite tenor saxophone players, Hank Mobley.
Blindfold Test: John ColtraneAn Exclusive Online Extraby Leonard Feather — 02/19/1959
The Blindfold Test below is the first interview of its kind with John Coltrane. The reason is simple: though he has been a respected name among fellow musicians for a number of years, it is only in the last year or two that he has reached a substantial segment of the jazz-following audience.
It is the general feeling that Coltrane ranks second only to Sonny Rollins as a new and constructive influence on his instrument. Coltrane’s solo work is an example of that not uncommon phenomenon, an instrumental style that reflects a personality stikingly different from that of the man who plays it; for his slow, deliberate speaking voice and far-from-intense manner never would lead on to expect from him the cascades of phrases that constitute a typical Coltrane solo.
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. John was given no information before or during the test about the records played.
1. Woody Herman. "Crazy Rhythm" (Everest Stereo). Paul Quinichette, tenor saxophone; Ralph Burns, arranger.
Well, I would give it three stars on the merit of the arrangement, which I thought was good. The solos were good, and the band played good. As to who it was, I don’t know…The tenor sounded like Paul Quinichette, and I liked that because I like the melodic way he plays. The sound of the recording was very good. I’d like to make a guess about that arrangement—it sounded like the kind of writing Hefti does—maybe it was Basie’s band.
2. Art Farmer Quintet. "Mox Nix" (United Artists). Benny Golson, tenor; Farmer, trumpet, composer, arranger; Bill Evans, piano; Addison Farmer, bass; Dave Bailey, drums.
That’s a pretty lively sound. That tenor man could have been Benny Golson, and the trumpeter, I don’t know…It sounded like Art Farmer a little bit.
I enjoyed the rhythm section—they got a nice feeling, but I don’t know who they were. The composition was a minor blues—which is always good. The figures on it were pretty good, too. I would give it three-and-a-half.
3. Horace Silver Quintet. "Soulville" (Blue Note). Silver, piano, composer; Hank Mobley, tenor; Art Farmer, trumpet.
Horace…Is that "Soulville?" I;ve heard that—I think I have the record. Horace gave me that piece of music some time ago…I asked him to give me some things that I might like to record and that was one of them. I’ve never got around to recording it yet, though. I like the piece tremendously—the composition is great. It has more in it than just "play the figure and then we all blow." It has a lot of imgination. The solos are all good…I think it’s Hank Mobley and Art Farmer. I’ll give that four-and-a-half stars.
4. Coleman Hawkins. "Chant" (Riverside). Idrees Sulieman, trumpet; J.J. Johnson, trombone; Hank Jones, piano; Oscar Pettiford, bass.
Well, the record had a genuine jazz feeling. It sounded like Coleman Hawkins…I think it was Clark Terry on trumpet, but I don’t know. The ‘bone was good, but I don’t know who it was. I think the piano was very good…I’ll venture one guess: Hank Jones. It sounded like Oscar Pettiford and was a very good bass solo. And Bean—he’s one of the kind of guys—he played well, but I wanted to hear some more from him…I was expecting some more.
When I first started listening to jazz, I heard Lester Young before I heard Bean. When I did hear Hawkins, I appreciated him, but I didn’t hear him as much as I did Lester…Maybe it was because all we were getting then was the Basie band.
I went through Lester Young and on to Charlie Parker, but after that I started listening to others—I listened to Bean and realized what a great influence he was on the people I’d been listening to. Three and a half.
5. Ben Webster–Art Tatum. "Have You Met Miss Jones?" (Verve).
That must be Ben Webster, and the piano, I don’t know. I thought it was Art Tatum…I don’t know anybody else who plays like that, but still I was waiting for that thunderous thing from him, and it didn’t come. Maybe he just didn’t feel like it then
The sound of that tenor…I wish he’d show me how to make a sound like a that. I’ve got to call him up and talk to him! I’ll give that four stars…I like the atmosphere of the record—the whole thing I got from it. What they do for the song is artistic, and it’s a good tune.
6. Toshiko Akiyoshi. "Broadway" (Metrojazz). Bobby Jaspar, tenor; Rene Thomas, guitar.
You’ve got me guessing all the way down on this one, but it’s a good swinging side and lively. I thought at first the tenor was Zoot, and then I thought, no. If it isn’t Zoot, I don’t know who it could be. All the solos were good…The guitar player was pretty good. I’d give the record three stars on it liveliness and for the solos.
7. Chet Baker. "Fair Weather" (Riverside). Johnny Griffin, tenor; Benny Golson, composer.
That was Johnny Griffin, and I didn’t recognize anybody else. The writing sounded something like Benny Golson…I like the figure and that melody. The solos were good, but I don’t know…Sometimes it’s hard to interpret changes. I don’t know whether it was taken from another song or if it was a song itself.
Maybe the guys could have worked it over a little longer and interpreted it a little truer. What I heard on the line as it was written, I didn’t hear after the solos started…It was good, though—I would give it three stars, on the strength of the composer mostly, and the solos secondly…I didn’t recognize the trumpeter.
Blue Note 1544 VG+/VG+ $238 West 63rd
Caddy for Daddy
Blue Note 4230 M-/M- $171 NY USA
Blue Note 1544 VG/VG $94 West 63rd
Blue Note 1544 M-/M- $233 West 63rd
Blue Note 84209 M-/M- $91 NY USA Stereo
Blue Note 4209 M-/M- $97 NY USA
Blue Note 1560 M-/M- $455 West 63rd
Blue Note 1560 VG+/VG+ $273 West 63rd
Blue Note 1560 VG+/VG++ $374 West 63rd
Blue Note 1560 VG++/VG+ $405 West 63rd
Blue Note 1568 M-/VG $1,300 West 63rd
Blue Note 1540 VG+/VG+ $535 Lex Ave
Prestige 7061 M-/VG+ $293 NY Yellow
Prestige 7082 M-/M- $661 NY Yellow
Prestige 7082 VG/VG+ $229 NY Yellow
Prestige 7082 VG-/VG $109 NY Yellow
No room for squares
Blue Note 84149 M-/M- $89 NY USA Stereo
Blue Note 4149 M-/VG++ $158 NY USA
Blue Note 1574 M-/M- $910 West 63rd
Blue Note 1574 VG/VG+ $144 West 63rd
Blue Note 4058 M-/M- $250 Stereo
Blue Note 4058 VG/VG $181 West 63rd
Blue Note 4058 VG++/VG++$184 West 63rd
Blue Note 4058 VG++/VG++$204 West 63rd
Blue Note 1540 M-/VG++ $1,136 Lex Ave
Blue Note 4031 M-/M- $1,137 West 63rd
Blue Note 4031 M-/M- $889 West 63rd
Blue Note 4031 M-/VG $405 West 63rd
Blue Note 4031 VG+/VG+ $213 West 63rd
Blue Note 4031 M-/M- $620 West 63rd
Prestige 7074 VG+/VG $114 NY Yellow
Blue Note 84186 M-/M- $97 NY USA Stereo
Blue Note 84186 VG+/VG++ $45 NY USA Stereo
Blue Note 4186 VG++/VG++ $125 NY USA
Blue Note 4080 VG++/VG++ $293 West 63rd
Blue Note 4080 VG+/VG+ $136 NY USA
Blue Note 84080 VG/VG+ $46 NY USA Stereo
Blue Note 4080 VG++/VG++ $165 NY USA
Blue Note 84080 M-/VG++ $104 NY USA Stereo
Blue Note 4080 VG++/VG++ $142 NY USA
Now this copy (a current reissue) was purchased on ebay by a buyer in the US for US$ 6.25 including shipping. Its going to have to do until i win the lottery!
This Blue Note 1568 just sold to a buyer from Japan (don't they all!) on ebay for US$ 2605.55! It was advertised as being in VG++/M- (record/cover) condition.