Album Reviews

No one suggests this is among the "essential Blue Notes," especially since it really wasn't issued as an album when the session was first recorded. In fact, it sat on the shelf for 24 years, much to astonishment of annotator and distinguished jazz producer Michael Cuscuna. It wasn't issued until 1986.

These recordings are from 1961, otherwise known as Mobley's "middle period" with Blue Note. That's when he made the classics Soul Station with Wynton Kelly, Paul Chambers and Art Blakey (see review: http://www.musicangle.com/album.php?id=862 ) and Roll Call as well as Workout. 

Cuscuna argues that Mobley's later period (1963-1970) was one in which he went for a harder, more rhythmic sound, influenced by Coltrane and MIles, and that that era was not as musically satisfying as the earlier period.

Here in the middle, Cuscuna claims, is the greatest Mobley. And when you hear the snappy opener "Out of Joe's Bag"— you'll fall in line. Mobley is backed by Kelly, Chambers and Philly Joe Jones, who's referenced in the song title. It's an uptempo bop-style, twisty, catchy tune with everyone getting in something interesting—including Jones's drum solo. 

Mobley manages a big sound packed with long, complex lines that's midway between mellifluous and edgy. It's where your listening ears want to be.

That's followed by an absolutely gorgeous rendering of the oft-covered standard "I Should Care," wherein Mobley manages to saturate the melodic line while dancing around it in dazzling, angular fashion. Those two sublime tunes comprise side one of the double 45 and they alone make this set worth having.

Even "Hello Young Lovers," the set's other standard and one you can live without for sure, has its worthwhile moments. "Gettin' And Jettin'" takes up all of side two and it's a fast-paced number reminiscent of some Miles and/or Coltrane of that era, in which Mobley pushed forth with an unending stream of new ideas around the main melodic line.

Mobley's other original, "Hank's Other Soul" is a slinky, mid-tempo number with a vaguely  middle-eastern feel to my ears, while the closer, a cover of "Three Coins in the Fountain" featuring Grant Green is a leftover unissued tune from Mobley's Workout album.

Cover or original, the chronically underappreciated Mobley shines throughout. Michael Cuscuna claims this album is one of Mobley's best. Who am I to argue? 

Sonically, this is a very good Rudy recording. Even the piano sounds remarkably natural and not at all boxy. Mobley has the left channel to himself  while Philly Joe has the right and he's also extremely well miked and sounds lively as hell.

Perhaps the most attractive aspect of this album is what kept it from being released in the first place: it's a workman-like session where everyone's just grooving along and not trying to make grand statements. The relaxed, low key nature of the proceedings helps give it great weight and charm all these years later.