Описание CD

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  Наименование CD :

Год издания : 1961

Компания звукозаписи : Blue Note, Planet Music, (ru)

Музыкальный стиль : Hard Bop

Время звучания : 46:22

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Saxophone - Bop)      

This is one of the best-known Hank Mobley recordings, and for good reason. Although none of his four originals ("Workout," "Uh Huh," "Smokin'," "Greasin' Easy") caught on, the fine saxophonist is in top form. He jams on the four tunes, plus "The Best Things in Life Are Free," with an all-star quintet of young modernists - guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers and drummer Philly Joe Jones - and shows that he was a much stronger player than his then-current boss Miles Davis seemed to think. This recommended CD reissue adds a version of "Three Coins in the Fountain" from the same date, originally released on Another Workout, to the original LP program.

All Music Guide

========= from the cover ==========

Henry Mobley is the middleweight champion of the tenor saxophone.

That is to say, he is not to be compared (and this judgment is made in terms of size of sound as well as fame/fortune and poll victories) with such heavyweights as Coleman Hawkins or John Coltrane, both of whom, in their respective eras, can be considered the most consistently unvan-quished. Nor is there any necessity to relate Hank to the lightweights, headed by Stan Getz and the various brothers, step-brothers and half-brothers of the 1950s.

Hank is the middleweight champion because his sound, as he once put it himself, is "not a big sound, not a small sound, just a round sound" And because, while fads and fancies change, while poll winners come and go, he has remained for the past decade a consistently successful performer, working almost exclusively as a sideman except on records, and retaining a firm, loyal following.

Perhaps the reason for this steady reputation is that Hank through all these years has remained more or less unclassifiable. Though he has worked with musicians of the hard bop school, his tone and conception scarcely qualify for the "hard" definition. Nor is it possible for the experts to categorize him as a member of this or that school of tenor players. His only major influence has been an alto saxophonist, Charlie Parker. There is little in him of Hawkins, Young or Rollins, and not more than a trace of Coltrane, as far as I can detect. The lack of a classification must be counted as a virtue rather than a shortcoming, since it indicates what many of us suspected all along: that Mobley has been basically his own man, with no restrictive allegiance to any one source of inspiration.

Hank was just 21 when he first came on the big time scene in 1951. At that time he was beginning an association with Max Roach that lasted off and on for two or three years. He had been with Dizzy Gillespie for a few months, and had just joined Horace Silver, when I heard him in the fall of 1954 with a quartet Horace was leading at Minton's Play House.

It was around that time that Hank began to acquire a full grasp of what he wanted to do, a definite direction in terms of style and sound, plus the necessary technique with which to carry out his precepts. At least, that was the way it seemed to me at the time.

As his numerous Blue Note appearances through the years make clear, this sense of direction became even more conspicuous as Hank matured in the late 1950s. Space prohibits a full listing, but a representative sampling of his progress can be gleaned from a study of the Jazz Messengers sets under Horace's direction on 1518,Horace's own quintet date on 1539, Mobley's All Stars with Bags, Blakey and Horace on 1544, and the more recent Sou/Srarion on 4031.

The present set is of particular interest since it brings Hank together with a somewhat different personnel. The most interesting feature is the presence of Grant Green, the remarkable 30-year-old guitarist from St. Louis who, though he has only been in New York and the big time for a very short while, already has gained the acceptance and respect of every musician with whom he has come in contact. Grant's own LPs to date are Grant's First Stand, 4064,and Green Srreer,4071.

The rest of the personnel comprises longer-established associates of Hank. Wynton Kelly has been heard on dates with Lee Morgan, Johnny Griffin and others as well as in previous work with Mobley. Paul Chambers, at 26, probably has more first-rate record sessions to his credit than this album has grooves. Philly Joe, now 38, has been a well known jazz figure since 1952, when he joined Miles Davis; a vital force in modern music since about 1955, and today has precisely the kind of influence on other drummers that Chicago Jo Jones had after he came East from Kansas City with Basie in 1936.

It is Philly who sets the groove for Workout, the opening track. This minor theme is composed of two-bar phrases that leave alternating two-bar gaps for Philly to fill. Hank is relatively reserved in his first blowing chorus, but gathers steam during the second, in which, by the way, you'll notice a couple of Bird-like phrases showing the Parker impact has not been lost along the way. An expressive moment is the series of short, gasping notes in the release of the third chorus. Grant Green arid Wynton follow, then Philly has a solo for sticks in which you may notice that everything, even the hi-hat, achieves rhythmic variety.

Uh Huh, another Mobley original, is intriguing in its simplicity, basing the melody almost entirely on B Flat, D Rat and E Rat (including the release). Hank has some voluble moments that spill over into sixteenth notes at times without ever destroying his sharp sense of continuity and ability to maintain a flowing melodic line. Green is at his most Christianesque and Wynton, as is often the case, is strongly blues-oriented. Paul Chambers' solo, inventive and fluent, gains suspense from the device (often used by the late Oscar Pettiford) of hesitating for a beat or two and starting a phrase on or just before the third beat of the measure.

Smokin' is an up-tempo blues in which Hank consistently lives up to the title. Grant Green gets a light, easy sound yet is never overbalanced by Philly Joe or any of the rhythm section-a credit to Rudy Van Gelder's engineering, which gives full life to soloists and accompaniment while achieving all the necessary separation. Wynton has an extraordinary degree of control, mentally and manually, at tough tempos. You'll notice during his fifth 12-bar go-round that he hits on a little descending figure: then repeats it rhythmically but alters it melodically,to give a sense of symmetry to much of the next eight bars. Hank is brilliant on this track: dynamic in his solo, varied and relaxed in the fours with Philly.

The Best Things in Life Are Free, the only standard in the set, is ancient history, a 1927 pop song, treated by Hank in a manner I always find attractive: the melody played more or less straight for the opening chorus, with the bass in two to give it a loping feel, but walking in four during the release for a swinging contrast. Hank, Grant,Wynton and Paul all seem equally at home with the agreeable changes in their blowing passages.

Hank's tune Greasi'n' Easy is a moderate, modern-with-traditional-roots blues, funky without any of the tonal degeneration or derisive condescension that sometimes goes along with the younger modernists' concept of funk. Hank, it seems to me, demonstrates his confidence and ingratiating warmth most completely when he plays blues at this tempo. Grant Green's solo has two aspects, thanks to Philly Joe, who throws him into dual relief by playing for a while in double time and then relaxing into a regular four. Wynton builds a deft solo, graduating from single-note lines into what is, toward the last 12, mainly a full-chorded statement.

After listening to these sides,and recalling too the impression Hank made on me a couple of months ago when I caught him with Miles Davis' combo, I decided out of idle curiosity to dig back into some of the record reviews in which Hank had been mentioned in the past few years. I found, not much to my surprise, that he had been called all the following things, by a dozen of the leading jazz writers: fluent, tasty,assured, mature, authoritative, individual, big, bustling, hard, virile, very masculine, sinuous, sinewy, muscular, thoughtful, modern (yet rooted in tradition), imaginative, sensitive, consistently fine.

These, Hank, are all the things you are. Or at least some of the things you are. I'm sure there will be many more such bouquets tossed your way with the release of this album and of others to follow it in the years ahead. That is, if we critics don't run out of adjectives.

-Leonard Feather (Author of The New Encyclopedia of Jazz)

This is one of Hank Mobley's four great recording sessions in 1960 and 1961, all of which also feature Paul Chambers and Wynton Kelly. WORKOUT was the third session and included Grant Green and Philly Joe Jones. One additional tune from this album remained unissued until 1985. It is a swinging, unique version of "Three Coins In The Fountain" which was issued on Another Workout. Green is not heard on this selection.

-Michael Cuscuna

  Соисполнители :

Grant Green (Guitar)
Paul Chambers (Bass)
Philly Joe Jones (Drums)
Wynton Kelly (Piano)

№ п/п

Наименование трека



   1 Workout         0:10:06 Hank Mobley
   2 Uh-Huh         0:10:52 -"-
   3 Smokin'         0:07:35 -"-
   4 The Best Things In Life Are Free         0:05:22 Brown / DeSylva / Henderson
   5 Greasin Easy         0:07:05 Hank Mobley
   6 Three Coins In A Fountain         0:05:22 S. Cahn / J. Styne


 T   'щелкнуть' - переход к тексту композиции.

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