MAX ROACH — The Complete Mercury Max Roach Plus Four Sessions (2000) RM | 7xCD BOX-SET | MONO | FLAC (tracks+.cue), lossless

This seven-CD box set features 95 tracks from legendary drummer Max Roach's small group, consisting of the 1956-1960 recordings for Emarcy and Mercury Records, as these noteworthy sessions also represent the drummer's post Max Roach-Clifford Brown Quintet output. In 1956 the jazz world witnessed the tragic and untimely deaths of the great trumpeter Clifford Brown and pianist Ritchie Powell. Within these seven CDs, we find Roach maintaining his assault on jazz along with trumpeter Kenny Dorham, pianist Ray Bryant, and the drummer's bandmates from the Clifford Brown years, tenor saxophone giant Sonny Rollins and bassist George Morrow. Jazz aficionados will find a wealth of fantastic music here, as Roach also employed renowned artists such as tenor saxophonists Hank Mobley, Stanley Turrentine, and George Coleman, along with trumpeter Booker Little and many others of note. Essentially, Mosaic Records continues to excel in the reissue department, as they seemingly take great pains to portray or perhaps enhance the original LP recordings for modern day audiophiles and jazz connoisseurs. This collection also includes extensive annotations, biographies of the artists, interviews, recollections, and categorical documentation of the sessions presented in a matrix format. Here, the listener is treated to hard bop renditions of Charlie Parker's "Billie's Bounce" and "Koko," where trumpeter Kenny Dorham and tenor saxophonist George Coleman trade vicious, fierce fours, as the various aggregations and ensembles also tackle standards and originals. The infamous union of Max Roach and Buddy Rich originally titled, "Roach vs. Rich" presents an added bonus to this all encompassing package, as these works are further enhanced by Gigi Gryce's bold, fiery arrangements along with the addition of 14 previously unreleased alternate takes. Simply stated, Roach and Rich perform via a firebrand approach as the musician's distinct styles provide contrast and symmetry to Gryce's radiant horn charts. Basically, these pieces offer a glimpse of two masters/innovators whose respective techniques have often been imitated yet never duplicated. Suffice to state, Rich's blazing speed and unfathomable dexterity counterbalances Roach's complex, melodically constructed rolls, impeccable timing and bop-induced fills. Hence, the two are remarkable as they reciprocate impossibly fast motifs with cataclysmic fury. Overall, this 2000 release should be deemed required listening for astute observers of late-50's bebop and the continuing evolution of modern jazz. Highly recommended! Glenn Astarita    All Tracks & Credits :

FREDDIE ROACH — Good Move! (1963-2000) FLAC (tracks+.cue), lossless

Laid-back and loosely swinging, Good Move captures organist Freddie Roach near the peak of his form. Roach never leans too heavily on his instrument, preferring a calmer, tasteful attack, yet he is never boring because he has a strong sense of groove. He keeps things moving on slower numbers like Erroll Garner's "Pastel" and Gershwin's "It Ain't Necessarily So," but the true highlights are on originals like "Wine, Wine, Wine" and "On Our Way Up," where the bluesy structures and fluid rhythms give Roach a chance to stretch out. Throughout the record, he is capably supported by guitarist Eddie Wright and drummer Clarence Johnston, as well as trumpeter Blue Mitchell and tenor saxophonist Hank Mobley, who both contribute fine solos. Stephen Thomas Erlewine
Tracklist :
1. It Ain't Necessarily So (5:02)
 George Gershwin / Ira Gershwin
2. When Malindy Sings (5:21)
 Paul Lawrence Dunbar / Oscar Brown, Jr.
3. Pastel (4:31)
 Erroll Garner
4. Wine, Wine, Wine (6:32)
 Freddie Roach
5. On Our Way Up (6:20)
 Freddie Roach
6. 'Tain't What You Do (4:59)
 Sy Oliver / Trummy Young
7. Lots of Lovely Love (4:59)
 Richard Rodgers
8. I.Q. Blues (5:21)
 Freddie Roach
Credits :
Freddie Roach - Organ
Blue Mitchell - Trumpet
Hank Mobley - Tenor sax
Eddie Wright - Guitar
Clarence Johnston - Drums

ELVIN JONES — Midnight Walk (1966-2012) RM | Limited Edition | Serie Jazz Best Collection 1000 – 3 | FLAC (tracks+.cue), lossless

Tracklist :
1    Midnight Walk 3:30
Composed By – Arif Mardin
2    Lycra Too ? 4:50
Composed By – Stephen James
3    Tintiyana 5:45
Composed By – Dollar Brand
4    H.M. On F.M. 5:00
Composed By – Hank Mobley
5    Cross Purpose 6:00
Composed By – Thad Jones
6    All Of Us 6:25
Composed By – Thad Jones
7    The Juggler 4:30
Composed By – Elvin Jones
Credits :
Bass – Donald Moore
Drums – Elvin Jones
Electric Piano – Steve James (tracks: 2 to 4, 7)
Percussion – George Abend (tracks: 1, 5, 6)
Piano – Dollar Brand
Tenor Saxophone – Hank Mobley
Trumpet – Thad Jones

JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

J.J. JOHNSON — The Eminent Jay Jay Johnson, Volume 2 (1956-2001) RM | Modern Jazz Series, RVG Edition | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

CURTIS FULLER — The Opener (1957) Two Version (1996, RM | MONOAURAL | The BN Works 1500 Series) + (1999, RM | Serie 24 Bit By RVG) FLAC (tracks+.cue), lossless

The Opener is trombonist Curtis Fuller's first album for Blue Note and it is a thoroughly impressive affair. Working with a quintet featuring tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor, Fuller runs through a set of three standards -- "A Lovely Way to Spend an Evening," "Here's to My Lady," "Soon" -- two originals and an Oscar Pettiford-penned calypso. The six songs give Fuller a chance to display his warm, fluid style in all of its variations. "A Lovely Way to Spend an Evening" illustrates that he can be seductive and lyrical on ballads, while the brassy "Hugore" and hard-swinging "Lizzy's Bounce" shows that he can play hard without getting sloppy. His backing musicians are equally impressive; in particular, Mobley's robust playing steals the show. In all, The Opener, along with his three earlier sessions for Prestige and New Jazz, establishes Fuller as one of the most distinctive and original hard bop trombonists of the late '50s. Stephen Thomas Erlewine

Tracklist :
1 A Lovely Way To Spend An Evening 6:50
Written-By – H. Adamson, J. McHugh
2 Hugore 6:41
Written-By – Curtis Fuller
3 Oscalypso 5:37
Written-By – Oscar Pettiford
4 Here's To My Lady 6:40
Written-By – J. Mercer, R. Bloom
5 Lizzy's Bounce 5:21
Written-By – Curtis Fuller
6 Soon 5:35
Written-By – G. Gershwin-I. Gershwin
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Bobby Timmons
Tenor Saxophone – Hank Mobley
Trombone – Curtis Fuller

DIZZY GILLESPIE — The Verve/Philips Dizzy Gillespie Small Group Sessions (2006) RM | 7CD | APE (tracks+.cue), lossless

 Dizzy Gillespie's career soared with the surge of interest in bop, but after the failure of his independent Dee Gee label, his career was in the doldrums. In 1953, Norman Granz added the trumpeter to his successful Jazz at the Philharmonic all-star roster for tours and also signed him to a non-exclusive recording contract, where the producer was very open to most anything Gillespie wished to record. This seven-CD boxed set, a limited edition of 10,000 compiled by Mosaic, draws material from selected studio and live sessions made for Granz between 1954 and 1961, in addition to a number of studio dates made for Philips, all of which featured his working bands of the time.

The Verve tracks are a treasure trove, as a good deal of these performances were not reissued on CD until this compilation, with six selections appearing for the first time in this collection. Aside from some of the early novelty songs like "Hey Pete! Let's Eat More Meat," the calypso-flavored "Money Honey," and the perennial jive number "Swing Low, Sweet Cadillac," which wear out their welcome quickly, the remaining material is very strong. Up and coming musicians in his bands include saxophonists Hank Mobley, Gigi Gryce, and Benny Golson, along with pianists Ray Bryant and Junior Mance. One of the obvious highlights is alto sax great Johnny Hodges' guest appearance on "Squatty Roo," which bolsters Gillespie's playing to its highest level. The addition of the relatively unheralded Leo Wright (who doubles on flute and alto sax) and young pianist Lalo Schifrin for a brief concert at the Museum of Modern Art marks the end of his association with Verve, which was sold by Granz that very same year.

Several of the earliest Philips sessions find Gillespie incorporating Brazilian influences and exploring the music of Antonio Carlos Jobim, Luiz Bonfá, and even one extended work by Schifrin, "Mount Olive." Dizzy Gillespie & the Double Six of Paris features collaborations with a group of French vocalists arranged by Lalo Schifrin, with most of the songs utilizing Bud Powell, Pierre Michelot, and Kenny Clarke, with the trumpeter's regular group of the time on two selections. The Double Six of Paris' leader Michel Perin's vocalese interpretations of Charlie Parker's instrumental solos from Gillespie's well-known records of "Hot House" and "Groovin' High" are outstanding, as are the big-band arrangements recast for small group and voices. The final sessions feature James Moody and Kenny Barron, with Chris White and Rudy Collins. The tracks from Dizzy Goes Hollywood are enjoyable but far too brief, as most of them hover around the three-minute mark. Better are the songs from Original Score from the Cool World, an updated look at music Dizzy composed for the film, with fine arrangements by Tom McIntosh. This collection should be considered essential for any Dizzy Gillespie fan. Ken Dryden
Tracklist + Credits :

DIZZY GILLESPIE — Afro (1955-2002) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria. "Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan." Both of the Latin versions of these pieces are far more interesting than "Con Alma," as the excessive percussion and dull piano accompaniment add little to this normally captivating theme. Long out of print, this 2002 CD reissue will only be available until May 2005; it is well worth acquiring. Ken Dryden 
Tracklist :
1 Manteca Theme 4:11
2 Contrastes 2:46
3 Jungla 4:44
4 Rhumba-Finale 4:39
5 A Night In Tunisia 4:15
6 Con Alma 5:01
7 Caravan 7:20
Credits :
Alto Saxophone – George Dorsey (tracks: 1 to 4), Hilton Jefferson (tracks: 1 to 4)
Arranged By, Conductor – Chico O'Farrill (tracks: 1 to 4)
Baritone Saxophone – Danny Bank (tracks: 1 to 4)
Bass – Roberto Rodriguez, Lou Hackney (tracks: 1 to 4)
Bongos – José Manguel
Congas – Candido Camero, Mongo Santamaria (tracks: 1 to 4)
Drums – Charlie Persip (tracks: 1 to 4)
Flute – Gilberto Valdez (tracks: 5, 7)
Percussion – Rafael Miranda (tracks: 5 to 7)
Piano – Ray Concepcion (tracks: 1 to 4), Rene Hernandez (tracks: 5 to 7), Wade Legge (tracks: 1 to 4)
Tenor Saxophone – Hank Mobley (tracks: 1 to 4), Lucky Thompson (tracks: 1 to 4)
Timbales – Ubaldo Nieto
Trombone – George Matthews (tracks: 1 to 4), J.J. Johnson (tracks: 1 to 4), Leon Comegys (tracks: 1 to 4)
Trumpet – Dizzy Gillespie, Ernie Royal (tracks: 1 to 4), Jimmy Nottingham (tracks: 1 to 4), Quincy Jones (tracks: 1 to 4)
Notes
Tracks 1-4: Recorded May 24, 1954 at Fine Sound, New York City
Tracks 5-7: Recorded June 3, 1954 at Fine Sound, New York City

DIZZY GILLESPIE – 1953-1954 | The Classics Chronological Series – 1424 (2006) FLAC (image+.cue), lossless

Volume ten in the Classics Dizzy Gillespie chronology documents this trumpeter's recording activities from December 9, 1953 to June 8, 1954. As one of producer Norman Granz's many star players, Diz was able to organize both hard bop and Cuban-styled bop bands comprised of able improvisers. The opening track, "Impromptu," is a nearly-eight-minute jam taken at 75mph by the "Dizzy Gillespie-Stan Getz Sextet" with lightning-fingered pianist Oscar Peterson, guitarist Herb Ellis (heard here in an unusually rambunctious mood); bassist Ray Brown, and drummer Max Roach. The 20-piece big band assembled on May 24, 1954 recorded a piquant 16-and-a-half-minute "Manteca" suite in five movements using arrangements by Chico O'Farrill. The personnel listing is extraordinary, with J.J. Johnson, Ernie Royal and Quincy Jones in the brass section with Diz; Hilton Jefferson, Hank Mobley, Lucky Thompson and Danny Bank in the reed department, as well as two bassists and four expert Latin American percussionists augmenting the kit drumming of Charlie Persip. On the following day, four members of this mammoth ensemble returned to form a quintet; in addition to pianist Wade Legge and bassist Lou Hackney, Hank Mobley was the designated saxophonist for this assignment, a relaxed blowing session with two vocals by the leader. Gillespie put together an octet for the next date, which took place on June 3, 1954, using flautist Gilbert Valdez and a lively Latino rhythm section including conga master Candido Camero. Four titles cut on June 8, 1954 by the Dizzy Gillespie Sextet featured trombonist Jimmy Cleveland in addition to the five men who comprised the Quintet from two weeks earlier. (Although a note in the enclosed discography claims that Cleveland is omitted on "Rumbola," he is clearly audible throughout). This last session, and indeed this entire segment of Gillespie's career, resulted in substantial music of great passion and depth. "Blue Mood" is particularly satisfying because Gillespie, like Charlie Parker, was an adept bluesman. arwulf arwulf    Tracklist :

ARCHIE SHEPP - Poem for Malcolm (1969-2004) RM | FLAC (tracks+.cue), lossless

This LP from the English Affinity LP is a mixed bag. Best is "Rain Forrest" on which tenor saxophonist Archie Shepp, in a collaboration with trombonist Grachan Moncur III, pianist Vince Benedetti, bassist Malachi Favors, and drummer Philly Joe Jones, perform some stirring free jazz; the interplay between Shepp and Jones is particularly exciting. On a four-and-a-half minute "Oleo," Shepp "battles" some bebop with fellow tenor Hank Mobley, but the other two tracks, a workout for the leader's erratic soprano on "Mamarose," and his emotional recitation on "Poem for Malcolm," are much less interesting, making this a less than essential release despite "Rain Forrest." Scott Yanow
Tracklist :
1     Mama Rose/Poem for Malcolm 13'13
(Archie Shepp)
Bass – Malachi Favors
Drums – Philly Joe Jones
Piano [Oleo] – Vince Benedetti
Tenor Saxophone [Oleo] – Hank Mobley
Tenor Saxophone, Piano, Written-By [Rain Forest] – Archie Shepp
Trombone [Oleo] – Grachan Moncur III
2     Rain Forrest/Oleo 19'21
(Miles Davis / Archie Shepp)
Bass – Alan Silva
Drums – Philly Joe Jones, Claude Delcloo
Piano – Burton Greene
Soprano Saxophone, Voice [Recitation] – Archie Shepp

HANK MOBLEY - The Complete Blue Note Hank Mobley Fifties Sessions (1998) 6xCD, BOX-SET | MONO | FLAC (tracks+.cue), lossless

This is a typically remarkable box set from Mosaic. The six-CD limited-edition package has all of tenor saxophonist Hank Mobley's recordings as a leader for Blue Note from a three-year period, all of the music originally included in the albums titled The Hank Mobley Quartet, Hank Mobley Sextet, Hank Mobley & His All-Stars, Hank Mobley Quintet, Hank, Hank Mobley, Curtain Call, Poppin', and Peckin' Time; not a lot of imagination went into these records' original titles. There is only one previously unissued selection (the alternate take of "Barrel of Funk"), but two of the albums were only out previously in Japan, and most of the others had not been previously available on CD. Mobley, an underrated player with a distinctive sound (influenced at times by Sonny Rollins), would continue to grow as an improviser and composer throughout the 1960s, but even on his earliest date here, he is a strong (if unsung) soloist. Featured along with the leader is a who's who of 1950s hard bop, including trumpeters Donald Byrd, Lee Morgan, Bill Hardman, Kenny Dorham, and Art Farmer, pianists Horace Silver, Bobby Timmons, Sonny Clark, and Wynton Kelly, vibraphonist Milt Jackson, bassists Doug Watkins, Paul Chambers, Wilbur Ware, and Jimmy Rowser, and drummers Art Blakey, Charlie Persip, Philly Joe Jones, and Art Taylor. A must for Hank Mobley and 1950s Blue Note fans, but this deluxe box (released in 1998) promises to go out of print quickly. Scott Yanow  
All Tracks & Credits :

HANK MOBLEY - Complete The Jazz Message Sessions With Kenny Clarke (2003) FLAC (tracks), lossless

This set features four different sessions which tenor saxophonist Hank Mobley recorded as a leader before he got to Blue Note label. Recorded in 1953 and 1956, Mobley is in four distinct settings here. The first two sessions are with Max Roach on drums, and one has a front line with Idrees Sulieman on trumpet, Gigi Gryce on alto, Franklin Skeete on bass, and Walter Davis, Jr. on piano. The second with Roach, also from that year, strips away the other horns into a quartet. This material is notable for its three Mobley compositions -- "Kismet," "Mobleyization," and "Orientation," as well as several by Roach, including the stellar "Cou-Manchi Cou." The latter material is significant because Mobley's sidemen include drummer Kenny Clarke, and Donald Byrd, as well as two different pianists (depending on the session), either Barry Harris or Ronnie Ball. Doug Watkins swings hard in the bass chair on both sessions. Mobley's compositional chops are way up here, and the interplay between the two is remarkable. They dovetail, go head to head, and complement each other as the hard bop wunderkinds they were, with the sheer joy of invention and competition everywhere present. This pairing of front-line players is, perhaps, the reason the folks at Jazz Factory chose to place the Byrd and Clarke material first on the disc, despite the fact that it was recorded later than the Roach sides. In any case, it's all very fine indeed, and brings to light some little-known early Mobley.
>| This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' |<
Tracklist :
1     There Will Never Be Another You 5:49
Mack Gordon / Harry Warren    
2     Cattin' 4:36
Hank Mobley    
3     Madeline 4:41
Hank Mobley    
4     When I Fall in Love 3:45
Edward Heyman / Victor Young    
5     B. For B.B. 6:29
Hank Mobley    
6     Space Flight 4:13
Hank Mobley    
7     Blues Number Two 4:57
Hank Mobley    
8     Orientation 2:53
Hank Mobley
9     Mobleyzation 2:45
Hank Mobley    
10     Glow Worm 2:29
Paul Lincke / S. Wright    
11     Sfax 2:19
Max Roach    
12     Just One of Those Things 3:11
Cole Porter    
13     Cou Manchi-Cou 3:04
Max Roach    
14     Kismet 2:42
Hank Mobley    
15     Chi-Chi 3:03
Charlie Parker    
16     I'm a Fool to Want You 3:16
Joel Herron / Frank Sinatra / Jack Wolf    
17     Drum Conversation 2:41
Max Roach

HANK MOBLEY — Messages (1956-1989) RM | FLAC (tracks+.cue), lossless

With the exception of Hank Mobley's original "Alternating Current," which was left out due to lack of space, this single CD has all of the music from the two Prestige LPs Mobley's Message and Hank Mobley's Second Message; a two-LP set from 1976 which had the same Messages title and catalog number, but also the complete program, is actually the preferred acquisition, but will be difficult to locate. The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work. Scott Yanow
Tracklist :
1     Bouncing with Bud 6:57
Bud Powell    
2     52nd Street Theme 5:41
Thelonious Monk    
3     Minor Disturbance 6:15
Hank Mobley    
4     Au Privave 7:31
Charlie Parker    
5     Little Girl Blue 8:41
Lorenz Hart / Richard Rodgers    
6     These Are the Things I Love 6:37
Harold Barlow / Lewis Harris    
7     Message from the Border 6:03
Hank Mobley    
8     Xlento 5:36
Hank Mobley    
9     The Latest 5:48
Hank Mobley    
10     I Should Care 10:01
Sammy Cahn / Axel Stordahl / Paul Weston    
11     Crazeology 6:56
Benny Harris
Credits :
Alto Saxophone – Jackie McLean (tracks: 4)
Bass – Doug Watkins
Drums – Art Taylor
Piano – Barry Harris (tracks: 1 to 5), Walter Bishop (tracks: 7 to 11)
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 1 to 4), Kenny Dorham (tracks: 6 to 11)

HANK MOBLEY - Music For Lovers (2006) FLAC (image+.cue), lossless

These nine ballads were recorded by Hank Mobley between 1955 and 1967. Apart from being a genuinely wonderful set of romantic tunes, Music for Lovers showcases a different side of the great hard bop tenor's playing. Mobley's approach to ballads was reverent, but it was loose, too. Mobley brought a big helping of soul to his readings of standards such as "Darn That Dream," "I Should Care," and even the ethereal "Deep in a Dream." However, as this small collection illustrates, it is in his own tunes that Mobley shines brightest. First, there's the beautiful "No More Goodbyes," recorded with Bob Cranshaw, Billy Higgins, and John Hicks from a late date in 1967. His solo touches on Ben Webster's breathy tone for a moment, and then winds out gently with blues accents in each chorus. But perhaps the finest moment here is on his "My Sin," recorded in 1965 with Freddie Hubbard (a wonderful match for Mobley on the front line), bassist Paul Chambers, Barry Harris, and Higgins once again. Here is where Mobley actually sings though his horn, as Hubbard and Harris prod him to go deeper. For the price, this is a solid little comp that achieves its objective and then some.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    The Good Life    5:09
2    Darn That Dream    6:09
3    I Should Care    7:45
4    I See Your Face Before Me    5:29
5    No More Goodbyes    5:37
6    Deep In A Dream    5:59
7    My Sin    6:54
8    Fin De L'Affaire    6:35
9    Alone Together     4:15

HANK MOBLEY - The Best of Hank Mobley : The Blue Note Years (1996) FLAC (tracks+.cue), lossless

Part of Blue Note's quality series of artist samplers, The Best of Hank Mobley surveys the great tenor saxophonist's prime stretch from 1955-1965. Originally overshadowed by the likes of Joe Henderson, Wayne Shorter, and, of course, Coltrane, Mobley nevertheless gained the respect of his peers, thanks to his richly fluid phrasing and smooth, caramel tone -- in lieu of trying to impress you, he seduced you slowly from afar. And while one is advised to dive in directly with any one of his Blue Note discs -- especially Soul Station, No Room for Squares, and A Slice of the Top -- this ten-track overview still works well as a launching pad. Backed by a stellar array of "Blue Note" regulars like Lee Morgan, Curtis Fuller, Billy Higgins, Freddie Hubbard, and Horace Silver, Mobley ranges effortlessly from early hard bop favorites ("Funk in a Deep Freeze") to mature, solo-rich material from the mid-'60s ("The Turnaround"). In between, there are two stunning originals from his banner year of 1960 ("This I Dig of You," "Take Your Pick") and one of the best of his several bossa nova numbers ("Recado Bossa Nova"). For listeners who just want a taste, this best-of collection will do the trick just fine. Stephen Cook
Tracklist :
1     Avila and Tequila 4:29
Hank Mobley    
2     Funk in Deep Freeze 6:45
Hank Mobley    
3     Fin de l'Affaire 6:35     
Hank Mobley    
4     Take Your Pick 5:20
Hank Mobley    
5     This I Dig of You 6:22
Hank Mobley    
6     Smokin' 7:28
Hank Mobley / Tom Scholz    
7     Recado Bossa Nova 8:11
Luiz Antonio / Djalma Ferreira
8     No Room for Squares 6:55
Hank Mobley    
9     The Turnaround 8:16
Hank Mobley    
10     3rd Time Around 6:10
Hank Mobley

HANK MOBLEY - Newark 1953 (2012) 2CD | FLAC (tracks+.cue), lossless

While major jazz record labels chase the latest crossover fad with borderline jazz content and ignore historical, significant, unissued jazz performances in their vaults, smaller labels like Uptown regularly surprise jazz fans with live recordings that few knew existed at all, such as this evening taped by jazz industry veteran Ozzie Cadena. Hank Mobley is heard leading a house band with pianist Walter Davis, Jr., drummer Charlie Persip, and the obscure bassist Jimmy Schenck, with trombonist Bennie Green as the guest for the week. These two sets recorded at The Piccadilly in Newark come from a single night in 1953, making them among Mobley's earliest known recordings. Green was the senior man on the date and likely the one calling the tunes, though the house band matches him throughout the evening with their potent solos and strong rhythm. The extended workout of "Ow" is marked by a number of humorous quotes in the solos of Green and Davis, while the ballad medley (a regular feature in Jazz at the Philharmonic concerts and numerous club dates) showcases each man in turn save Persip. The extended rendition of "All the Things You Are" incorporates Dizzy Gillespie's famous B-flat introductory vamp, with Green's languid playing swinging, in addition to Mobley's mellow choruses and fine work by Davis as well. Green is showcased in a rhapsodic setting of "Embraceable You" and his own uptempo "Blues Is Green," with the band providing plenty of fire on the latter song. Though Mobley was only 23 at the time of these performances, he is already showing plenty of confidence on the bandstand and is hardly overshadowed by the more widely known Green. The fidelity is typical for night club recordings, giving the listener the feeling of being near the stage, though without excessive crowd noise. Like earlier historical recordings on the label, this two-CD set has detailed liner notes (by Bob Blumenthal) and lots of period photographs. These recordings are the first of several made at The Piccadilly by Cadena to be issued commercially, so hopefully more will follow this valuable release on Uptown. Ken Dryden  
Tracklist 1 :
1     Ow 12:59
John Birks Gillespie    
2     There's a Small Hotel 13:09
Lorenz Hart / Richard Rodgers    
3     Ballad Medley: Darn That Dream/Where or When/In Love in Vain/Stardust 10:04
Hoagy Carmichael / Eddie DeLange / Lorenz Hart / James Van Heusen / Jerome Kern / Mitchell Parish / Leo Robin / Richard Rodgers    
4     All the Things You Are 9:10
Oscar Hammerstein II / Jerome Kern    
5     Jumpin' with Symphony Sid 9:36
Lester Young
Tracklist 2 :
1     Announcement 0:19     
2     Lullaby of Birdland 3:51
George Shearing    
3     Embraceable You 4:23
George Gershwin / Ira Gershwin    
4     Keen and Peachy 10:25     
Ralph Burns / Shorty Rogers    
5     Pennies from Heaven 16:21
Johnny Burke / Arthur Johnston    
6     Blues Is Green 8:39
Bennie Green    
7     'S Wonderful 8:20
George Gershwin / Ira Gershwin
Credits :
Bass – Jimmy Schenck
Drums – Charli Persip
Piano – Walter Davis, Jr.
Tenor Saxophone – Hank Mobley
Trombone – Bennie Green

HANK MOBLEY | AL COHN | JOHN COLTRANE | ZOOT SIMS - Tenor Conclave (1957-2014) RM | MONO | SACD, Hybrid | FLAC (tracks+.cue), lossless

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. After a brief introduction with all four rapidly reeling off short riffs, Mobley charges ahead into truly inspired territory. The midtempo take of "Just You, Just Me" keeps things lively with a light swinging pace that is custom-made for bringing the combo's jocular side to the surface, particularly toward the end as they "trade fours," with each tenor blowing four bars before passing the melody on. The other Mobley composition is "Bob's Boys," and by all accounts it is the most compelling piece on the outing. The blues-based tune rollicks as Coltrane, Mobley, Cohn, and Sims find themselves configured in a seeming myriad of sonic face-offs. Wrapping up Tenor Conclave is an ultra-cool and sophisticated "How Deep Is the Ocean?" Cohn commences the long and luscious reading with a subtle strength, suggesting the powerful undercurrent flowing throughout the number. Also, listeners are treated to what is possibly Garland's finest interaction, leading right into Sims, Chambers, and finally a sublime Coltrane caboose. Lindsay Planer
Tracklist :
1     Tenor Conclave 11:05
Hank Mobley
2     Just You, Just Me 9:29
Jesse Greer / Raymond Klages    
3     Bob's Boys 8:21
Hank Mobley    
4     How Deep Is the Ocean? 15:04
Irving Berlin    
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording Engineer] – Rudy Van Gelder
Piano – Red Garland
Tenor Saxophone – Al Cohn, Hank Mobley, John Coltrane, Zoot Sims

HANK MOBLEY - Hank Mobley Quartet (1955-2015) RM | 24 Bit By RVG | MONO | 24bits-192hz | FLAC (tracks), lossless

Horace Silver on piano and Doug Watkins on bass, plus someone named Art Blakey on drums. Ron Wynn

 Tracklist :
1 Hank's Prank 4:29
Hank Mobley
2 My Sin 3:48
Hank Mobley
3 Avila and Tequila  4:31
Hank Mobley
4      Walkin' the Fence 3:38
Hank Mobley
5 Love for Sale 4:30
Cole Porter
6 Just Coolin' 4:11
Hank Mobley
Credits :
Bass – Doug Watkins
Drums – Art Blakey
Engineer [Recording], Remastered By – Rudy Van Gelder
Piano – Horace Silver
Tenor Saxophone – Hank Mobley

HANK MOBLEY — Mobley's Message (1956-2012) RM | SACD, Hybrid MONO | The Prestige Mono Series | FLAC (tracks+.cue), lossless

Saxophonist Hank Mobley's 1956 date for Prestige, Mobley's Message, is an often overlooked gem of the era. Joining Mobley here is an all-star cast of musicians including trumpeter Donald Byrd, alto saxophonist Jackie McLean, pianist Barry Harris, bassist Doug Watkins, and drummer Art Taylor. Essentially a high-energy blowing session, the album features some stellar bop-oriented improvisation and is well worth seeking out. AllMusic
Tracklist :
1    Bouncin' With Bud    7:01
Written-By – Bud Powell
2    52nd Street Theme    5:44
Written-By – Thelonious Monk
3    Minor Disturbance    6:19
Written-By – Hank Mobley
4    Au Privave    7:34
Alto Saxophone, Guest – Jackie McLean
Written-By – Charlie Parker
5    Little Girl Blue    8:45
Written-By – Rodgers-Hart
6    Alternating Current    6:36
Written-By – Hank Mobley
Credits :
Bass – Doug Watkins
Drums – Art Taylor
Piano – Barry Harris
Recorded By – Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 1 to 4, 6)

HANK MOBLEY - The Jazz Message Of Hank Mobley # 2 (1956-1992) RM | MONO | FLAC (tracks+.cue), lossless

Impressive lineups, both in the front line and the rhythm section, fuel the two 1956 sessions on this Savoy reissue. The players are committed, the writing is good, and the performances reward repeated listening. The result is a worthwhile precursor to the industry-standard hard bop Mobley would later record for Blue Note.Lee Morgan, then 18, joins Mobley on two tracks that have pianist Hank Jones, bassist Doug Watkins, and drummer Art Taylor in the rhythm section. Even if Morgan at this time was audibly still growing as a trumpet player, his poise, execution, and resourceful imagination were already the tools of a master. Donald Byrd, on form and playing with crispness and authority, moves into the trumpet chair for the three remaining tracks. This time it's Barry Harris on piano, Kenny Clarke on drums, and Watkins (again) on bass. The influence on Mobley of swing era tenors, from Lester Young to Illinois Jacquet, can be clearly heard on these tracks. Mobley's respect for and understanding of the pre-bebop style serve him well in his contribution to the development of the predominant jazz style that followed bebop. In addition to three Mobley originals, there is a blues by Thad Jones and another from Watkins. The standout track is Mobley's "Space Flight," a bright, up-tempo bop number that has memorable solos from Mobley, Byrd, Harris, and Clarke. The recording on this CD is very good but, as is common on Savoy reissues, the running time isn't long -- 32 minutes in the case of this jazz message. Jim Todd  
Tracklist:
1     Thad's Blues 9:48
Thad Jones    
2     Doug's Minor B' Ok" 6:40
Doug Watkins    
3     B. For B.B. 6:31
Hank Mobley    
4     Blues Number Two 5:00
Hank Mobley    
5     Space Flight 4:15
Hank Mobley
Credits:
1-3
Bass – Doug Watkins
Drums – Art Taylor
Piano – Hank Jones
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan
3-5
Tenor Saxophone – Hank Mobley
Drums – Kenny Clarke  
Piano – Barry Harris   
Trumpet – Donald Byrd