Greasin' Easy
Hank Mobley - Tenor sax
Freddie Hubbard - Trumpet (tracks 1-6)
Grant Green - Guitar (tracks 7-11)
Wynton Kelly - Piano
Paul Chambers - Bass
Art Blakey - Drums (tracks 1-6)
Philly Joe Jones - Drums (tracks 7-11)
This two-CD, four album, selection from Avid really does live up to
the description 'classic'. A couple of tenorist Hank Mobley's
finest recording sessions, in Soul Station and Roll Call, are to be found here, together with two other
occasions where there is also much to admire. It's not simply about
Mobley's consummate stylings, whether of standards, or, more often,
of his own bop-inspired originals. There's a mouth-watering
collection of jazz musicians as sidemen at the top of their game
here, practically all of whom were leaders in their own right at
one time or another. The fact that they tended to play and record
together on a regular basis meant that a high degree of empathy is
apparent. Sadly, another common thread among several of the
performers who play with such distinction on these albums were
those, such as Paul Chambers, Grant Green and Philly Joe Jones, who
all had drug-related problems that contributed to their
comparatively early demise. Mobley himself was to be off the scene
for ten years, through ill-health precipitated by his life-style,
before dying of double pneumonia in 1986 whilst still in his
mid-fifties, at a time he was contemplating a come-back.
The highlights of the first album, Peckin' Time, are Kurt
Weill's Speak Low and Mobley's own composition, Git-Go Blues. There's a Latin feel to Speak Low,
accentuated by Mobley's rich sound, the inventive Wynton Kelly on
piano and a lucid Lee Morgan on trumpet. Git-Go Blues,
meanwhile, shows Mobley and the youthful Morgan to be a formidable
front line backed by a rock-solid rhythm section where Charlie
Persip, something of a 'go-to' drummer for many a Blue Note artiste
in those days, makes his presence felt. Paul Chambers solos with
style and substance with Kelly as incisive as usual on piano.
Morgan is dynamic while Mobley elaborates on the theme with his
customary assurance. On the second album, Soul Station,
which features Mobley's quartet, This I Dig Of You is an
absolute stand-out. The theme is one of Mobley's most memorable and
he carries it off, as we might expect, with panache. There's a
rattling good solo from Kelly and Art Blakey is tremendous on
drums. Alongside that for quality is a peach of a standard, If I Should Lose You, which is given a consistently
engaging interpretation by Mobley. Wynton Kelly, as so often, shows
his mettle. I enjoyed, too, the group's jaunty and relaxed
treatment of Irving Berlin's Remember.
Trumpeter Freddie Hubbard, another musician on a hot streak, joined
the Soul Station line-up for Roll Call, towards
the end of the same year (1960). Once more, two Mobley originals
are to the fore. My Groove Your Move is a typically catchy
piece. Mobley is penetrating, Freddie Hubbard virile and expansive,
Kelly nimble and Chambers resonant. A Baptist Beat is both
blues and gospel inspired, with more than a hint of call and
response. Hank is very much at ease and Hubbard confident and
assertive. The standard, The More I See You, features some
warm tenor, muted trumpet and Art Blakey is busily effective in the
background. Kelly's take on the melody is quietly impressive. The
final album, Workout, doesn't lag behind when it comes to
appeal. Grant Green on guitar replaces Hubbard and Philly Joe Jones
takes over from Blakey on drums. Green's influences
included Charlie Christian, that virtuoso of modern jazz guitar who
died tragically young at 25, and another giant of jazz, Charlie
Parker. Grant's best showing here is on the blues-inspired final
track, Greasin' Easy, which actually serves well as a
showcase for the entire group. We have to wait four minutes in for
a laid-back Green solo on another Mobley original, Uh Huh,
but the wait proves worthwhile. The whole number swings along in a
carefree manner with Mobley producing an uninterrupted flow of
creative and punchy improvisation. Chambers contributes an
excellent solo while Wynton Kelly simply floats along. The Best Things In Life Are Free, meanwhile, is an
enjoyable take on the familiar song where Mobley illustrates
comprehensively that Sonny Rollins was not alone when it came to
joyous interpretations of popular songs. Fans of Philly Joe Jones
will savour his brush-work here. There's an extended solo from the
drummer on the title track, Workout, which confirms why he
was so highly rated.
These, then, are recordings which stand the test of time. They also
celebrate Hank Mobley's gifts as a musician, perhaps not as fully
appreciated as they might have been, compared with the acclaim John
Coltrane or Sonny Rollins attracted. Anyway, here he is in his
considerable prime and in the company of musicians whose
understanding, at times, seems almost telepathic. What's not to
like?
James Poore