Thanks, Bret, for your writing about my all time favorite tenor player (ever since I in 1961 bought the album Meet You At The Jazz Corner Of The World with the Jazz Messengers). Hank Mobley's qualities as a composer can not be overrated, lots of hard bop and bluesy tunes not often played to day. Listen to Hipsippy Blues and Just Coolin'.
One of my all-time favourite studies in contrast is Someday My Prince Will Come by Miles Davis.
John Coltrane is in particularly potent, steamrolling form on that track yet Hank Mobley more than holds his own with an unflashy, earthy and lyrical grace.
That was my introduction to Mobley and I've loved his playing ever since.
I've read at least 2 separate accounts. One was that Coltrane was in the building on another matter and Miles bumped into him and asked him to sit in. The other one is that Miles invited Coltrane to the session in advance. In any case, Coltrane had already left the group the year before.
Brillant breakdown of Mobley's architectural approach to improvisation. The point about his solos having internal logic rather than just flashy technique realy captures what makes him special. I got hooked on Mobley when a friend insisted I listen to Soul Station on repeat and the compositional thinking in his lines became more obvious each time. That kind of patient development is rare tbh.
This is a great clip, Mobley displays everything you have described about his playing. A player better be sure they know their voice to take on Summertime. I’ve always admired Tootie Heath and he’s definitely doing his thing on this piece. Appreciate being reminded of Mobley. Another great post.
If we're talking historically, Charlie Parker is the undisputed heavyweight, not middleweight. He revolutionized the instrument and the music itself.
But for the "middleweight" tier - the brilliant players who aren't quite Bird but are absolute masters - you might be thinking of someone such as:
Cannonball Adderley - Soulful, bluesy, incredibly swinging. He had that big, warm sound and could play his heart out without the angular complexity of Bird.
Art Pepper - West Coast cool, deeply emotional, a gorgeous lyrical player with his own distinct voice.
Lou Donaldson - Hard bop master, funky and accessible, never trying to be Bird but carving out his own groove-oriented territory.
Phil Woods - Technically brilliant, clearly influenced by Parker but with his own muscular, confident approach.
In the modern era, you might consider Gary Bartz or Kenny Garrett or Vincent Herring in that category - major players who command respect without claiming to be revolutionaries.
But here's the thing: "middleweight" might be unfair to any of these cats. They're all heavyweights in their own right. They just had the misfortune of existing in the same universe as Charlie Parker, who redefined what was possible on the alto.
well, "middleweight" is just as unfair to Mobley but theres some sense to that...so lets think in terms of those in Bird's orbit...maybe Stitt is the middleweight champ but again, yes, it is to an extent, unfair!
Leonard Feather, the critic, coined the “middleweight champ” reference to Hank. It was not meant as a slight, but of course it turned out to be because it was misunderstood. It referenced tone and volume comparatively, not improvisational or composing skills. Feather could do damage!
I think Mobley is one of the giants of the tenor sax from the post-bop era.
Thanks, Bret, for your writing about my all time favorite tenor player (ever since I in 1961 bought the album Meet You At The Jazz Corner Of The World with the Jazz Messengers). Hank Mobley's qualities as a composer can not be overrated, lots of hard bop and bluesy tunes not often played to day. Listen to Hipsippy Blues and Just Coolin'.
One of my all-time favourite studies in contrast is Someday My Prince Will Come by Miles Davis.
John Coltrane is in particularly potent, steamrolling form on that track yet Hank Mobley more than holds his own with an unflashy, earthy and lyrical grace.
That was my introduction to Mobley and I've loved his playing ever since.
I've read at least 2 separate accounts. One was that Coltrane was in the building on another matter and Miles bumped into him and asked him to sit in. The other one is that Miles invited Coltrane to the session in advance. In any case, Coltrane had already left the group the year before.
Someday My Prince Will Come - studio album, no? Must have been a weird scene with Coltrane showing up as well.
what do you mean by "showing up?"
Brillant breakdown of Mobley's architectural approach to improvisation. The point about his solos having internal logic rather than just flashy technique realy captures what makes him special. I got hooked on Mobley when a friend insisted I listen to Soul Station on repeat and the compositional thinking in his lines became more obvious each time. That kind of patient development is rare tbh.
This is a great clip, Mobley displays everything you have described about his playing. A player better be sure they know their voice to take on Summertime. I’ve always admired Tootie Heath and he’s definitely doing his thing on this piece. Appreciate being reminded of Mobley. Another great post.
Sweet tribute to Mr Mobley!!! so who's the middleweight alto champ?
If we're talking historically, Charlie Parker is the undisputed heavyweight, not middleweight. He revolutionized the instrument and the music itself.
But for the "middleweight" tier - the brilliant players who aren't quite Bird but are absolute masters - you might be thinking of someone such as:
Cannonball Adderley - Soulful, bluesy, incredibly swinging. He had that big, warm sound and could play his heart out without the angular complexity of Bird.
Art Pepper - West Coast cool, deeply emotional, a gorgeous lyrical player with his own distinct voice.
Lou Donaldson - Hard bop master, funky and accessible, never trying to be Bird but carving out his own groove-oriented territory.
Phil Woods - Technically brilliant, clearly influenced by Parker but with his own muscular, confident approach.
In the modern era, you might consider Gary Bartz or Kenny Garrett or Vincent Herring in that category - major players who command respect without claiming to be revolutionaries.
But here's the thing: "middleweight" might be unfair to any of these cats. They're all heavyweights in their own right. They just had the misfortune of existing in the same universe as Charlie Parker, who redefined what was possible on the alto.
I had the privilege of seeing Cannonball Adderley, Gary Bartz and Kenny Garrett live.
well, "middleweight" is just as unfair to Mobley but theres some sense to that...so lets think in terms of those in Bird's orbit...maybe Stitt is the middleweight champ but again, yes, it is to an extent, unfair!
Leonard Feather, the critic, coined the “middleweight champ” reference to Hank. It was not meant as a slight, but of course it turned out to be because it was misunderstood. It referenced tone and volume comparatively, not improvisational or composing skills. Feather could do damage!
I think Mobley is one of the giants of the tenor sax from the post-bop era.