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Ltd. Edition 3 CD Sets
“While Mosaic never does wrong, this set is absolutely perfect. Three CDs of Andrew Hill, almost all of it previously unheard by the public. While these sessions probably sat in the vaults to lack of commercial viability at the time, they are every bit as good as Hill's contemporary Blue Note releases that have been released. Some of the lineups are chock full of heavy hitter sidemen- Sam Rivers, Lee Morgan, Woody Shaw, etc. Overall the set is a good indicator of the diversity of Hill's compositonal ideas in the late 60s. He is heard in large group settings, trio settings, and most amazingly working with a string quartet. I find the string quartet sessions to be the most remarkable on the set.” - Customer Review
"A remarkable burst of creativity over a two week span. Of course the Chet Baker reunion is marvelous. The Vinnie Burke strings are a great complement to Mulligan. I have to admit I was a bit worried about it. To be honest, while I love Gerry, I really bought this set for the Annie Ross session. Just fantastic! Her version of "I Feel Pretty" was worth the price for me. Transcendent.” - Customer Review
“ I've been purchasing Mosaic sets since the 90s and this is among my top five. Tyner's vision comes into focus on these sessions--powerful piano, extended modal songs, Eastern influences, and beautiful melodies. Remastering is top-notch as are the sidemen throughout.” - Customer Review
“This is such a great session. It is still so surprising that this lineup of the Messengers is overlooked and underrated. This lineup deserves to be heralded as one of Blakey's best alongside the Golson/Morgan/Timmons/Merritt '58 and the Shorter/Hubbard/Fuller/Walton/Merritt or Workman '61-'64 lineups. And, of course, this set has all of Mosaic's usual exemplary production hallmarks.” - Customer Review
“ The mastering on this disc is fantastic. Excellent sonic clarity all around. That, combined with Lloyd's great sense of melody and forward-thinking songwriting make for a satifsying listening experience. Lloyd's cool and progressive style is a joy, and the interplay between all the band members is superb. Tony Williams was one of the funkiest jazz drummers around, too! Buy this and you will find yourself seeking out more Charles Lloyd. Not to be missed! ” - Customer Review
The Complete Blue Note Hank Mobley Fifties Sessions (#181)Mosaic Records Limited Edition Box Set
"His 1950s sessions for Blue Note have long been sought after and all of us at Mosaic are very proud to finally make this music available again." - Charlie Lourie, Mosaic Records
Limited Edition: 7500 copies
6 CDs - $96.00
As one of the founding members of the original Jazz Messengers, tenor saxophonist Hank Mobley was part of a brilliant innovation. Bebop's second generation of players had pulled the music into a tailspin of virtuosity. But there was a new inspirational sound taking hold, with roots in gospel and blues. By combining the best of bebop with the soulful new thing springing up, Horace Silver, Art Blakey, Kenny Dorham, Hank Mobley and Doug Watkins fashioned a sound with a percussive, street feel inspired by the hot steam grates and pavement they walked, the propulsive drive of the lives they were leading.
The world came to know it as hard bop. It was the sound of its day, and it codified what came to be called the "Blue Note sound"
Hank Mobley became a key player in the Blue Note orbit at a point when his particular skills and the emerging format for studio jazz recording were in a most complimentary zone. The sidemen reads like a "Who's Who of Hard Bop". The musicians who participated in one or more of Hank's nine `50s sessions include Donald Byrd, Lee Morgan, Kenny Dorham, Art Farmer, Sonny Clark, Horace Silver, Wynton Kelly, Paul Chambers, Philly Joe Jones and Art Blakey,
This yielded music that has been doggedly sought out by many jazz fans and has eluded too many more through limited availability. Of the 9 albums collected on this 6 CD Limited Edition set, two were never released and four others were never reissued domestically.
Read More About Hank Mobley:
Track Listing, Personnel & Recording Dates »
“This beautifully recorded set by Rudy Van Gelder makes an overwhelming case for Mobley's insertion into an immortal triumvirate with Trane and Rollins. Not as declamatory as the other two, he nevertheless matches them for inspired improvisation. Additionally his splendid compositions that abound in this set reflect the subtlety of his playing…The string of pianists here is unbelievable and even if there were not so many fine delights from Mobley, the box would be worth buying for Silver, Clark, Timmons and Kelly, all at or near to their best. Which is to say nothing of Farmer, Morgan, Byrd and Hardman…Mosaic specializes in hitting the listener with overwhelming collections of good music. This must be one of their best yet.“ - Steve Voce, Jazz Journal International
- Audio Quality
- Sample Session Notes
In the age of microsizing, every Mosaic Records Box Set booklet is still 11 x 11 inches to allow our customers to appreciate all the extras we put into printing them (and for easier reading).
The set was mastered in 20-bit by Ron McMaster at Capitol Mastering using Rudy Van Gelder’s beautiful-sounding original masters.
Photo Copyright © Protected
Thirty-three beautiful photographs, many never before published, from the actual sessions taken by Blue Note co-founder and master photograph Francis Wolff grace the booklet.
(c) January 13, 1957
This is one of the high points in the Mobley discography. It reunites the saxophonist and the original Jazz Messengers rhythm section, and uses Milt Jackson in the front line instead of a second horn. Jackson's participation may have resulted from a reciprocal arrangement with Atlantic, as Silver had just recorded Jackson's great Plenty, Plenty Soul sessions. The vibes wizard is not using his own instrument here, yet hardly seems inhibited by the borrowed set. Mobley provides a blue-ribbon program, and the quintet responds with one of the definitive albums of the era. Reunion, the first piece tackled, sets an extremely happy mood. The piece is built on a descending chord cycle, sort of a short-form Lover, and there is a striking modulation in the melody at bar 20 (midway through the bridge). Mobley begins and takes the leader's share of choruses, settling hand-in-glove into the velvet groove of the rhythm section and peeling through the changes. Jackson enters his solo singing, and overcomes the tonal deficiencies of the unfamiliar vibes set with his familiar impassioned engagement. Silver rolls through the piano solo on Blakey's high-hat, and Mobley provides a written shout chorus for the first of Blakey's two choruses. Beyond the quality of the individual solos, the brilliant difference Art Blakey's presence makes is immediately felt in this performance.
There may be no better example of the harmonic inventiveness that Silver found in Mobley's writing than Ultramarine. Another of the saxophonist's inspired eight-bar introductions is followed by a smoky minor melody made even more haunting through the use of pedal point. The tempo and extended length of the performance encourage relaxed blowing that is commenced by Jackson, who bends himself to the fertile changes with the concentration displayed on his 1955 Prestige quartet date with Silver and contemporaneous sessions with Miles Davis. Silver is in his lyrical bag, less percussive than usual, and his choruses provide a great opportunity to focus on Watkins' self-effacing yet essential contribution. Mobley delivers the main event in a marvel of balance and irresistible pulse. The subtlety and ease of his ideas allow him to hit several peaks without shouting. Litweiler has referred to the tenor playing on Ultramarine as immensely sophisticated and stunning, and it probably captures exactly what Dexter Gordon had in mind when he described Mobley as "s-o-o-o-o-o hip." Vibes and tenor sax trade fours together before Blakey joins in for a collegial closing.
Don't Walk, which is actually a signal to move at a comfortably brisk pace, quickly upsets expectations in the theme chorus with stop-time breaks (or should we say brakes?) after Blakey's opening foray. The tune is another classic, stated this time by tenor and rhythm section without vibes. Mobley takes advantage of the elemental Blakey groove and quickly reaches full stride, coming up with new ways to cast his favorite ideas. Jackson dances through in his solo as well. Hard driving of this stripe was not really so alien to Jackson in the Modern Jazz Quartet, where he also enjoyed active piano comping from John Lewis and a then supremely swinging Percy Heath/Connie Kay rhythm cushion, yet he seems to crank it up an extra notch here - particularly when Blakey's rim shots carry him surging into the final vibes chorus. Silver sustains the level of invention with his patented brand of riffing and quoting before Mobley, Blakey and Jackson kick it around with four-bar exchanges. The entire band sounds like it is having what Blakey often referred to as a ball.
Blue Seven and other medium-slow blues of the time that featured Doug Watkins got off the ground with a couple of his walking choruses. In contrast, Mobley sets up Lower Stratosphere with the bassist playing pedal point for an eight-bar melody repeated twice, once by tenor with vibes commentary and then the other way around. It is obvious from Mobley's responses during the second half of the theme that he means business, a sentiment shared by all when the solos begin over a standard 12-bar blues chorus. Silver, to the funky manner born, carries on an internal dialogue in spots. Mobley grabs ideas from the piano support and tosses them back, double-times faultlessly, and gets effectively nasty in a couple of places, making the entire brilliant statement sound easy. Watkins steps forward briefly before Jackson demonstrates why he is one of jazz's all-time blues interpreters (and thus all-time giants). Silver's stretch of straight quarter-notes at the start of the second vibes chorus foreshadows the trademark Jackson repetitions that follow. And this is Jackson on a studio set of vibes!
Mobley's Musings completes as perfect a program of original music as Mobley ever assembled. In the original liner notes Feather cites the ballad as an effective example of how to employ the flatted fifth melodically, and the resulting atmosphere is starkly tender. Great sensitivity is applied by all three soloists, with Silver and Jackson blowing for 24 bars each in the three-chorus exposition. Mobley takes the entire first chorus, the last 16 bars of chorus three and the coda, and justifies the extra space in this exalted company. His ravishing coda can stand against the vulnerable beauty of Stan Getz as well as the best of his fellow hard-boppers. The only thing this classic album lacks is alternate takes.
Now Mobley was back in stride with Blue Note's recording schedule. February found him taping two sessions for the label in as many days. One was a Kenny Burrell quintet (with Silver, Watkins and Louis Hayes) and produced two tracks issued on a 45 (the rest of the session surfaced decades later in Japan). The second was Jimmy Smith's first album with horns (Byrd is also present), and Mobley's first with a Hammond B-3 organ. He contributed Groovy Date, which is basically a fanfare that sets up blowing on Rhythm changes.
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"I have many Mosaic sets,and this is one of my favs. If you dig 50's Hardbop with the Blue Note Sound-this set is for you!"
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