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  Исполнитель(и) :
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  Наименование CD :
   Dippin'



Год издания : 1965/2004

Компания звукозаписи : Blue Note

Музыкальный стиль : Hard Bop

Время звучания : 42:41

Код CD : 0946 3 55508 2 5

  Комментарий (рецензия) :

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

Recording Date: Jun 18, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

from Sleeve Notes:

"The classic Blue Note albums which span the mid 1950's to late 1960's were recorded directly on to two track analog tape. No multitrack recording was used and consequently no mixing was required. Therefore, this CD was made by transferring the one step analog master to digital".

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. The sprightly "Recado Bossa Nova," written by Djalma Ferreira, moves the band outside its comfort zone rhythmically, but Mobley's horn chart is brilliant. Higgins and Ridley keep the bossa groove natural and steaming as the soloists begin taking the tune apart and putting it back together. There is one ballad on the set, "I See Your Face Before Me" composed by Arthur Schwartz and Howard Dietz. On it, Mobley does his best Ben Webster, blowing low and smoky and sweet, but the truth is that it doesn't belong on a program with so many hard bop swingers. The rest of the session is a pure joy and a fine document of Mobley's abilities as a bandleader and composer. The 2006 Rudy Van Gelder Edition on CD features spectacular sound, but contains no bonus material.

All Music Guide

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

As I write this, Hank Mobley is playing an engagement at the It Club, a well known jazz club in Los Angeles, California. It could just as easily have been at the famous jazz emporium in London, England - Ronnie Scott's. It so happens that Mobley has a goodly following among the musicians and fans that make up the British jazz community. I first became aware of this when a friend of mine - an American - was based in London for several years in the first half of this decade. Once a year, he would return to New York for a visit and would use the opportunity to pick up on the new LPs for himself and some of his English friends. One of these records was Hank Mobley's Soul Station (Blue Note 4031). In due course, I received a letter from him requesting that I send him two more copies of the same, one of which was for a chap that had worn his first one out. Subsequently there were impassioned calls for Roll Call (Blue Note 4058) and Workout (Blue Note 4080) as they were issued.

During this period I had occasion to meet a young British bassist who was spending some time in New York soaking up sounds. He also spoke to me of Mobley and how many of the modern musicians in England dug him. Specifically, this had stemmed from the records that Hank had made while a member of Miles Davis's group, and the Blue Notes of his own, named above.

What does all of this mean, you ask? Well, obviously Mobley has more of a following in the United States than in England, but it appears as more concentrated there because of the relative size of the countries. However, it is significant that he has had such an impact in another country. It is a partial testimony to his talent's strength. Curiously, while he led his own group at Slug's in New York in 1965, and recorded another album for Blue Note - The Turnaround (4186) - the general appreciation of his playing was not up to the level it deserves.

When I reviewed his next-to-last Blue Note album, No Room for Squares (4149), in the August 27, 1964 Down Beat, I wrote: "Mobley has long been my choice as recipient of that overused word, underrated. Fellow musicians have realized his worth for a number of years, but others seemed oblivious to his talent. A trio of albums for Blue Note [Soul Station, Roll Call, and Workout) should have remedied this, but they did not get the recognition due them, perhaps because they were not radical statements of the avant garde."

It is ironic that when a man spends years developing his craft to the point where he is a completely mature artist, musicians who could not meet the demands of an intricate music are garnering the publicity by making strange sounds on their instruments in the name of "freedom."

In the No Room for Squares review, another point I made was that, "Mobley, who came first from Charlie Parker, absorbed from Sonny Rollins and John Coltrane at different points in his career, but long ago developed his own sound and style." I also mentioned the "heated, connective flow of his attack and the tensile muscularity of his sound."

The way in which Hank has developed his sound is indicative of his general growth as a player. When, after hearing him at a club in the early-fifties, I said of him, "He sounded as if he was inhaling notes from the field between the microphone and the bell of his horn and transmitting them through the loudspeaker at our left by means of a magnetic reed," he became disturbed. I characterized the texture of his sound as more like a pulling in than a blowing out. While the comment was not offered in a derogatory sense, but rather as a piece of writer's imagery, Hank took it as cue to say that this was not the kind of sound he was trying to get and that he was going to make even a greater effort to achieve the one he wanted. Although I still hear some of the old edge - and find it most attractive - now the Mobley sound is more full-blown, assertive, and representative of the confidence with which he communicates his ideas. You can literally feel the surge of raw power as he sinks his teeth into the beat.

That same kind of strength is evident in the playing of Lee Morgan. For all its puissance, his style, like Mobley's, is never harsh or ugly. Its brilliant, brassy bite is in the tradition of the best of jazz trumpeting. Lee's recording The Sidewinder (Blue Note 4157) heralded a reawakening in a career that had begun at the age of 18 in Dizzy Gillespie's 1956 band. Morgan, the young veteran who, like Mobley, played prominently with Art Blakey's Jazz Messengers (for the most part they were in different editions although there was one unit that found them together in the front line), reaffirms here the high caliber of his recent work.

Harold Mabern, Jr. is a vigorous pianist with a two-handed attack that gets very bluesy but in a very personal way. Even when "funky" jazz was at the height of its vogue in the early-sixties, Mabern had his own thing going and never got into the self-conscious rut that many pianists did. First heard with the MJT out of Chicago, he moved to New York and has since been part of both The Jazztet and J. J. Johnson's group, among others.

Larry Ridley and Billy Higgins are not featured in solo here - Higgins does get into some exchanges with the horns on "The Break Through" - but both contribute greatly to the cohesiveness of the date. In fact, this quintet sounds more like a working group, in terms of being "together," than many units that are operating on a regular basis. Ridley's wide range of experience in the last few years, including a stay with Roy Haynes's quartet, has made him a seasoned performer; and Higgins is merely one of the very best drummers in jazz. With Mabern, they give the horns support of a most sympathetic stripe.

Dippin' begins, appropriately with "The Dip," Mobley's contemporary version of what Jelly Roll Morton once called the "Spanish tinge."

Although 12-bar constructions are employed, this is not a conventional blues design, and when the soloists commence, the rhythm does not revert to 4/4 either. Mobley, Morgan, and Mabern all make good use of the rhythmic thrust in their improvisations as Higgins rolls and boils underneath.

"Recado Bossa Nova" by Djalma Ferreira might be termed the "Brazilian tinge" for it was from that Latin American neighbor that we imported this "new wrinkle" a few years ago. Tenorman Zoot Sims first did this particular bossa nova in the midst of this form's great popularity. Although the fad has ended, b.n. has taken its place in the scheme of American music and is still very enjoyable, especially when it is swung like Hank and Lee swing it here. This is not "pure" bossa nova, but rather a marvelous combination of the best in North and South American music.

"The Break Through," by Hank, is an unabashed, straightahead cooker with its roots planted firmly in bop. As in most Mobley compositions, there are interesting harmonic twists and turns, and the writer-leader makes good use of them. After Morgan's short solo, Mabern alternates a single-line with his two-fisted style before Higgins and the horns trade "fours."

"The Vamp" is not dedicated to Theda Bara, but derives its title from the suspension that is used extensively in stating the theme, and also utilized behind the soloists on this minor-key number. Morgan leads off, and then Hank shows why he has few peers when it comes to generating genuine emotional heat.

The ballad of the date finds a serene Mobley in the spotlight. "I See Your Face Before Me," the evergreen by Dietz & Schwartz, has not been done that often by jazzmen. One version that comes to mind is Miles Davis's of about 1955. After Hank's tender theme statement, Lee enters muted. Then some cologned chords by Harold lead Mobley back in for a reprise.

Mabern leads off the soloing on the last of Mobley's four pieces, "Ballin'," another intriguing theme, this time in flowing 3/4 with an emphasis put exactly between 2 and 3, dividing the measure in half. Lee comes sweeping in, followed by a climactic solo by Hank. All of this is strongly underlined by Ridley and Higgins. Not too much can be said in praise of Billy. No matter what the meter or the tempo is, he makes his presence a highly creative, positive force.

As for Hank Mobley, in Dippin' he has once again dipped into his bag of goodies and pulled out some plums. While adding this achievement to his growing list of successes for Blue Note, he reiterates what people who really listen (New York, California, England, or anyplace else) have known for some time - that he is an extremely virile lyricist of the tenor saxophone and among the very best playing that instrument today.

- Ira Gitler (original liner notes)


  Соисполнители :

Billy Higgins (Drums)
Harold Mabern (Piano)
Larry Ridley (Bass)
Lee Morgan (Trumpet)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 The Dip         0:07:57 Mobley
   2 Recado Bossa Nova         0:08:11 Antonio, Ferreira
   3 The Break Through         0:05:52 Mobley
   4 The Vamp         0:08:21 -"-
   5 I See Your Face Before Me     T       0:05:29 Dietz, Schwartz
   6 Ballin'         0:06:51 Mobley

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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