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Jazz - Verschenen op 2 oktober 1963 | Blue Note (BLU)

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Hi-Res Audio
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Jazz - Verschenen op 7 februari 1960 | Blue Note Records

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 1 januari 2006 | Blue Note Records

Onderscheidingen Stereophile: Record To Die For
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Jazz - Verschenen op 2 oktober 1963 | Blue Note (BLU)

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Jazz - Verschenen op 26 maart 1961 | Blue Note

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Jazz - Verschenen op 1 januari 1960 | Blue Note Records

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Jazz - Verschenen op 4 februari 1965 | Blue Note Records

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The Hank Mobley of the Turnaround album was a markedly different one from a few years earlier. This session issued in early 1965 was the product of two different sessions. The first was in March of 1963, immediately after Mobley left the Miles Davis band. Those recordings produced "East of the Village," possibly the greatest example of Mobley's "round tone" on record, and the other was "The Good Life," a ballad. The rest was recorded nearly two years later in February of 1965. The title cut was produced here -- an Alfred Lion answer to Lee Morgan's "Sidewinder," which was burning up the charts -- as well as the beautiful "Pat 'n' Chat," with "Straight Ahead" and "My Sin" rounding out the program. On the earlier material, Donald Byrd, Herbie Hancock, Butch Warren, and Philly Jo Jones helped Mobley out, and on the latter it was Freddie Hubbard, Barry Harris, Paul Chambers, and Billy Higgins. In each case, there were alumnus members of the Miles band Mobley had played in. The main thing about "East of the Village" is the striking difference between the gorgeous melding of Latin and post-bop, straight-ahead rhythms, and the easy, loping blues feel that is cheered on by Jones. This track contains one of Mobley's most memorable solos. On the title track and "Pat 'n' Chat," there are elongated blues structures; in the former -- it is an unusual 18 bar figure -- and in the latter, there is the major 44 bar pattern that sounds like a blues with a bridge when the AABA pattern is invoked. Here is the evolution of Mobley's tone in full flower, all but gone is the rounded, warm sound, and in its place is a shorter, declarative, bluesier tone with real bite that is perfect for pianists like Harris, who were used to the deeper funk of the Detroit sound. In all this is a solid date, despite its time lapse, and one that gives us a solid picture of the two Mobleys. © Thom Jurek /TiVo
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Jazz - Verschenen op 1 januari 1999 | Blue Note Records

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Jazz - Verschenen op 1 januari 1957 | Prestige

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Jazz - Verschenen op 1 januari 1965 | Blue Note Records

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Jazz - Verschenen op 1 januari 2000 | Blue Note Records

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Jazz - Verschenen op 1 januari 2005 | Blue Note Records

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Jazz - Verschenen op 3 februari 1985 | CM BLUE NOTE (A92)

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Jazz - Verschenen op 18 juli 2013 | Ornithology Rec

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Jazz - Verschenen op 23 juni 1957 | Blue Note

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Although his is a rather less charming sound than that of a John Coltrane or a Sonny Rollins, Hank Mobley is still a master of the tenor saxophone. The famous critic Leonard Feathers, the author of many album liner notes, would describe him "the middleweight champion of tenor sax". With daring solos, often of pleasing complexity, this Georgian who grew up in New Jersey was one of the great standard bearers for that unique hard bop that rang out on several Blue Note albums in the 50s and 60s. It was on this famous label that Mobley, a marathon runner of the recording studio, put out thirty records or more. On this record in particular, the then-27-year-old jazzman is accompanied by Bill Hardman on the trumpet, Curtis Porter on the saxophone, Sonny Clark on the piano, Paul Chambers on double bass, and Art Taylor on drums. A flawless session (as were almost all the Blue Note productions of that era), recorded in a single day (23 June 1957) throughout which Hank Mobley (one year on from leaving the Jazz Messengers, which he had founded with Horace Silver and Art Blakey) carefully ensures that his former bandmates stay focussed on a soothing swing. Across the following decade, with masterpieces like Soul Station (1960), Workout (1961), No Room For Squares (1963) and The Turnaround! (1965), Mobley took another step with an even more original and unique style and sidemen of quite a different calibre (Lee Morgan, Donald Byrd, Andrew Hill, Herbie Hancock, Philly Joe Jones). While we wait for more, this eponymous Hank Mobley and its superb sleeve make for a fine rediscovery. © Marc Zisman/Qobuz
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Jazz - Verschenen op 1 januari 2008 | Blue Note Records

Jazz - Verschenen op 20 november 2020 | UMG Recordings, Inc.

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Jazz - Verschenen op 1 januari 1980 | CM BLUE NOTE (A92)

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Jazz - Verschenen op 1 januari 2008 | Blue Note Records

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Jazz - Verschenen op 1 januari 2006 | Blue Note Records