Part: 1 : Rapidshare hank mobley and his all-stars (1957) Hank Mobley And His All-Stars (1957) MP3 ~320Kbps ~ Covers + Scans ~ RS.com ~ 76mb ~ 5% File Recovery Genre: Jazz / hard bop Audio CD: November 26, 1999 Original Release Date: January 13, 1957 Time: 38:00 Label: Blue Note Allmusic.com: This CD is a straight reissue of a Hank Mobley LP that features the "Who's Who" of late-'50s hard bop: the tenor-leader, vibraphonist Milt Jackson, pianist Horace Silver, bassist Doug Watkins and drummer Art Blakey. The quintet performs five Mobley compositions (best is the lyrical "Mobley's Musings"), songs that are generally more interesting for their chord changes than for their melodies, which is probably why none of them became standards. One's attention is constantly drawn to the inventive solos and Art Blakey's roaring "accompaniment." An above-average effort from some of the best. ~ Scott Yanow Cduniverse.com reviewer: Mobley was a pro who knew how to choose sidemen and whose every recorded effort is worth owning. ! Here, however, Horace Silver edges out the pack with his deep groove comping and pared down solos that demonstrate why he infuenced so many pianists and pulled the rug out from under the keyboard technocrats. Bags' vibes sound a bit watery, but his playing is immense in every respect. Hank hangs in there throughout, bolstered by Blakey's amazing beat. You will never tire of digging this music. Personnel: Hank Mobley (tenor saxophone); Milt Jackson (vibraphone); Horace Silver (piano); Doug Watkins (bass); Art Blakey (drums) Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 13, 1957. Includes liner notes by Leonard Feather. Tracks: 1. Reunion 2. Ultra Marine 3. Don't Walk 4. Lower Stratosphere 5. Mobley's Musings Code:
Part: 2 : Rapidshare hank mobley - a caddy for daddy (1965) Hank Mobley - A Caddy For Daddy (1965) MP3 ~ 320Kbps ~ RS.com ~ 102mb ~ 5% File Recovery Genre: jazz / hardbop Audio CD: July 16, 1990 Original Release Date: December 18, 1965 Time: 39:15 Label: Blue Note This album presents a number of top muicians associated with Blue Note at the top of their form on a blowing date. Consequently, it is oriented more toward great playing than complex compositions -- although the compositions themselves are nothing to sneeze at. The result is a collection of cuts that feature really confident, inventive jazz playing by true masters. Rarely did Lee Morgan take better solos on record than he did here. McCoy Tyner is luminous, creative and articulate and Billy Higgins swings throughout in his own inimitable, buoyant way. This is a special and underappreciated album that should be heard more widely. Amazon.com reviewer: As with many of Hank Mobley's early-mid '60s Blue Note recordings, this effort leads off with the Rumproller-like titl! e cut. What follows is a near ode to John Coltrane, the wonderfully haunting "The Morning After", augmented by Curtis Fuller's trombone. This and the fact that the pianist McCoy Tyner, who had recently split from the expanded classic Coltrane group, appears ought to arouse one's curiosity. But the tenor sax solo on "The Morning After" is no mere imitation - and, indeed, nothing of Mobley's ever is. The recording careens with Wayne Shorter's "Venus Di Mildew" evoking the feel produced in three of the group members' Blakeyan bands of the previous decade. Mobley flashes his adept songwriting skills in the last two numbers, the tricky "Ace Deuce Trey" (Mobley also keeps his string of great song-titles intact) and the closer, the avant-hard bop "3rd Time Around." Both songs cook. This is the sound of Hank Mobley in his mid-thirties, simultaneously honing and evolving his simmering tone and sound while showing his keen awareness of the changes that had swept t! hrough jazz by the time of this recording in late 1965. Tyner,! Fuller and Mobley join the usual brand of high achievers, ever-steady Bob Cranshaw on bass, the joyous and bouncy Billy Higgins on drums and, naturally, Lee Morgan, the great trumpeter, to produce five lithe pieces that will swing forever. Hank Mobley isn't generally viewed as a great innovator, but a listener can hear him responding, in his own voice, to the rapidly changing musical form with an always listenable, rolling harmonic style; in other words, one can hear him aiming and hitting his mark. This CD is a rollicking, more risk-taking companion to the equally recommended "Dippin'", recorded earlier that year. With Hank Mobley's posthumous star growing brighter, it's no wonder his recordings seem more prescient now than ever. Cduniverse.com: Like many of Hank Mobley's mid-'60s Blue Note dates, A CADDY FOR DADDY features Lee Morgan, Billy Higgins, and an attempt to recapture the funky backbeat of Morgan's hit "The Sidewinder." What's different he! re is that Mobley leads a quintet with the addition of the fabulous Curtis Fuller on trombone, Coltrane's pianist McCoy Tyner, and veteran bassist Bob Cranshaw rounding out the group. The vibe is bluesy and swinging, like most Mobley dates, with plenty of choice hard-bop moments from the assembled crew. The "Sidewinder" of this disc is the title track, which once again finds Higgins easing into a quasi -Latin funk under a gutbucket melody by the horns. Beyond this opening resides the meat of the session. The dark, bouncing waltz "The Morning After" is a curiously flighty groove with crisp ensemble work by the horns and tasty solos all around. The comically titled swinger "Venus Di Mildew" follows and continues the laid-back groove that permeates the session. The most driving cut is the punchy "Ace Deuce Trey," an intricate piece that offers some of Mobley's best soloing of the date. Finally, the bopping "3rd Time Around," an uptempo burner, closes the set with a fre! nzy. Personnel: Hank Mobley - Sax (Tenor) Lee Morgan - Trumpet! Curtis Fuller - Trombone McCoy Tyner - Piano Bob Cranshaw - Bass Billy Higgins - Drums Tracks: 1. A Caddy For Daddy 2. Morning After, The 3. Venus De Mildew 4. Ace Duece Trey 5. 3rd Time Around Code:
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