A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan - and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period - but that doesn't stop it from being a full-on, open-fire groover - lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums.

A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan - and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period - but that doesn't stop it from being a full-on, open-fire groover - lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums.

Introducing Lee Morgan is a 1956 hard bop record by the heralded jazz trumpeter, originally release on the Savoy label. Also featuring Hank Mobley, Hank Jones, Doug Watkins and Art Taylor the album, recorded when Morgan was just 17, features 7 cuts including the Mobley penned “Hank’s Shout”.

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended.

Dippin' is one of Hank Mobley's finer moments, even considering that his entire Blue Note catalog is masterful, particularly his 1960s dates that reveal the depth and dimension of his understanding of harmonic invention - all in the name of groove and swing, of course. This date, recorded on a single day in June of 1965, netted four Mobley originals as well as two covers. The band included trumpeter Lee Morgan, pianist Harold Mabern, bassist Larry Ridley, and drummer Billy Higgins. The two-horn front line always served Mobley well. Here, with Morgan, the groove commences from the first notes of the title cut that opens the set. The short bluesy lines burst from the horns, and are turned inside out with elegant yet knotty lines that move the tune almost into pop territory but never venture far from the blues…

Jazz saxophonist Hank Mobley’s 1957 album Jazz Message #2 was originally released on Savoy in 1957. Featuring five cuts, including three Mobley compositions, the album features an ensemble of players, including Lee Morgan (trumpet), Hank Jones (piano), and Doug Watkins (bass).

After both John Coltrane and Cannonball Adderley left Miles Davis' quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and "Teo." The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an "elfin" feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it's coming from somewhere else.

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.

Count yourself fortunate to get your hands on this session, originally released on Blue Note, and not simply for the incredibly hip photo of Mobley on the cover. On this Toshiba-EMI International reissue, the liner notes are in Japanese, the audio is merely ”good” (undoubtedly a Van Gelder remastering would provide more presence to both piano and drums), and the front line is probably unknown to many listeners. But in terms of the program, and the execution by the ensemble, as well as the performances of individual soloists, this eponymously titled album belongs with some of Mobley's best sessions.

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 - a commonly if stupidly held view among the eggheads who do this for a living - is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back"…

For what would be his final of over 20 Blue Note albums, tenor saxophonist Hank Mobley uses a sextet that also includes trumpeter Woody Shaw, the obscure guitarist Eddie Diehl, pianist Cedar Walton, bassist Mickey Bass, and drummer Leroy Williams for a typically challenging set of advanced hard bop music. For the first and only time in his career, Mobley recorded a "Suite" (consisting of "Thinking of Home," "The Flight," and "Home at Last"); the remainder of the set has three of his other attractive originals plus Mickey Bass' "Gayle's Groove." This music was not released for the first time until 1980. It is only fitting that Hank Mobley would record one of the last worthwhile Blue Note albums before its artistic collapse (it would not be revived until the 1980s) for his consistent output helped define the label's sound in the 1960s. Mobley's excellent playing and the adventurous solos of Woody Shaw make this LP (his last as a leader) one to hunt for.

While not as groundbreaking as A Caddy For Daddy, Dippin' or Soul Station, Flip is nonetheless a solid hard groove date for Mobley, who wrote all five of its selections. Flip is Mobley's second-to-last date, and he cut the session in a Paris studio with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Vince Benedetti, Philly Joe Jones on drums, and a young French bassist named Alby Cullaz. All but Cullaz and Reece were expatriated Americans. (Reece came to Paris from New York, but is Jamaican). The title track opens the set and it lays deep in the soul-jazz cut, tempered by hard bop sensibilities: the solos by Reece, Hampton, and Mobley are top-notch, but it is Benedetti's muscular comping and blues-wailing piano that drives the tune…