- Albums
- curtain call - hank mobley
Curtain Call
- 1984
- 6 tracks
- 41 min
- hard bop
Album Description
Hank Mobley's 'Curtain Call' is a hidden gem in the jazz world, recorded on 18 August 1957 and finally released on the Japanese Blue Note label in 1984. This hard bop masterpiece features a stellar quintet, with Mobley on tenor saxophone, joined by Kenny Dorham on trumpet, Sonny Clark on piano, Jimmy Rowser on bass, and Art Taylor on drums. The six-track set boasts four Mobley originals, including 'Don't Get Too Hip', 'Curtain Call', 'The Mobe', and 'On The Bright Side', alongside two beautifully crafted standards, 'Deep In A Dream' and 'My Reverie'. With its straightforward, swinging style, 'Curtain Call' is a testament to Mobley's understated yet undeniable talent, making it an essential listen for fans of the genre. Clocking in at 41 minutes, this album is a concise yet captivating collection of jazz classics, showcasing the very best of Mobley's unique sound.
Tracks
- Don't Get Too HipHank Mobley, Sonny Clark
- Curtain CallHank Mobley, Sonny Clark
- Deep In A DreamHank Mobley, Sonny Clark
- The MobeHank Mobley, Sonny Clark
- My ReverieHank Mobley, Sonny Clark
- On The Bright SideHank Mobley, Sonny Clark
About Hank Mobley
Hank Mobley, the "middleweight champion of the tenor saxophone," carved out a unique niche in the jazz world with his laid-back, melodic style that perfectly embodied the hard bop genre. Born in Eastman, Georgia, Mobley's smooth and soulful sound stood out amidst the more aggressive tones of his contemporaries like John Coltrane and Sonny Rollins. His compositions, such as "Soul Station" and "Dig Dis," are staples of the hard bop canon, and his extensive work with Blue Note Records from the 1950s to the 1970s solidified his status as a jazz legend. Mobley's collaborations with giants like Dizzy Gillespie, Max Roach, and Art Blakey showcased his versatility and influence, making him a pivotal figure in the development of hard bop. His distinctive tone and subtle, melodic approach continue to inspire generations of musicians, cementing his legacy as one of the most underrated yet essential figures in jazz history.
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