Hank Mobley Mobley's Message (1956) Flac

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…

Hank Mobley - Eight Classic Albums (2013) {4CD Set Real Gone Jazz RGJCD262 rec 1955-1960}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.81 Gb | MP3 @320 -> 713 Mb
Full Artwork @ 300 dpi (jpg) -> 21 Mb | 5% repair rar
© 1955-60, 2013 Real Gone Jazz | RGJCD262 | Digitally Remastered & Enhanced
Jazz / Hard Bop / Mainstream Jazz / Saxophone

Four CD set containing eight albums from the Jazz legend. Includes the albums Hank Mobley Quartet, Tenor Conclave, Hank Mobley All Stars, Hank, Hank Mobley Quintet, Hank Mobley Sextet, Soul Station and Roll Call. With no disrespect toward Hawk, Bean, Prez, Trane, Rollins, Getz, Shorter, Henderson, Dexter and Brecker, Hank Mobley is the tenor player I listen to more than any other (were Sonny Stitt exclusively a tenor player, his recordings would be a close second, with Harold Land, Charlie Rouse, Oliver Nelson and Paul Gonsalves in the 3rd spot). Mobley doesn't so much "impress" as "seduce" the listener with ceaselessly melodic, lyrical, soulful inventions each time out. He was no "innovator" or trailblazer. Nor, like so many "showier" tenors, did he introduce "artifacts" into his sound–wobbles, growls, squeals and screeches, etc., approaches as common during the '30s and '40s as in the adventurous experimentation of modal and free players in the '60s and beyond.

Mobley was born in Eastman, Georgia, but was raised in Elizabeth, New Jersey, near Newark. When he was 16, an illness kept him in the house for several months. His uncle thought of buying a saxophone to help him occupy his time, and it was then that Mobley began to play. He tried to enter a music school in Newark, but couldn't, since he was not a resident, so he kept studying through books at home. At 19, he started to play with local bands and, months later, worked for the first time with musicians like Dizzy Gillespie and Max Roach. He took part in one of the earliest hard bop sessions, alongside Art Blakey, Horace Silver, Doug Watkins and trumpeter Kenny Dorham. The results of these sessions were released as Horace Silver and the Jazz Messengers.

These four sides should not be hard to locate, as the primary participants in this November 30, 1956, session have all issued them within their individual catalogs. However Tenor Conclave was first released as credited to the "leaderless" Prestige All-Stars - consisting of tenor saxophonists John Coltrane, Hank Mobley, Al Cohn, and Zoot Sims. Providing support are pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor. The Mobley-penned title track commences the effort with the quartet of tenors showing off their stuff in high-flying style. It takes a couple of passes and somewhat of a trained ear to be able to link the players with their contributions, but as is often the case, the whole tends to be greater than the sum of the parts…

Hank Mobley - The Complete Hank Mobley Blue Note Sessions 1963-1970 (2019) {8CD Box Set, Mosaic MD8-268}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 3.32 Gb | MP3 @320 -> 1.22 Gb
Full Artwork @ 600 dpi (jpg) -> 199 Mb | 5% repair rar
© 1963-70, 2019 Blue Note / Mosaic Records / UMG | MD8-268
Jazz / Hard Bop / Saxophone

An amazing run of music – some of our favorite albums ever recorded for the Blue Note label, and the legendary second chapter of the career of tenor genius Hank Mobley! Hank was already a hell of a tenor player when he came on the scene in the 50s – graced with this deeply soulful style that helped usher in a whole new generation of talents on the instrument – but during his final years at Blue Note, he really took off with amazing new ideas, unusual rhythms, mindblowing arrangements, and the kind of compositional skill she never showed at the start!