Review
by Thom Jurek
Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back." Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley's strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan's "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley's solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill's open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.
https://www.allmusic.com/album/no-room-for-squares-mw0000097955
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Reseña
por Thom Jurek
El hecho de que cualquier crítico piense que Hank Mobley estaba en el final de su chispa creativa en 1963 -una opinión común, aunque estúpida, entre los cerebritos que se ganan la vida con esto- es ridículo, como demuestra esta excelente sesión. En 1963, Mobley había experimentado una transformación de tono. En lugar de la centelleante ligereza de sus lados de finales de los 50, había un tono más duro, más estridente, casi con bocinazos, debido en parte a la influencia de John Coltrane y en parte a la concentración más profunda de Mobley en el sentimiento expresivo del blues en sus temas característicos del hard bop. La versión en CD de este álbum deja constancia de ello, eliminando algunas melodías de una sesión realizada meses antes y sustituyéndolas por tomas alternativas del corte que da título al disco y de "Carolyn" para mantener la integridad histórica, además de añadir "Syrup and Biscuits" y "Comin' Back". Mobley reunió una banda de lujo para este conjunto de blues y rock duro, compuesto por material escrito por él o por el trompetista Lee Morgan. Otros miembros del conjunto eran el pianista Andrew Hill, el batería Philly Joe Jones y el bajista John Ore. El tema que da título al conjunto es una metáfora del resto: La fuerte y nudosa línea frontal de Mobley intercambiando cuatros con Hill que pasa a un breve pero agresivo solo para él y Morgan y que devuelve la melodía, alterada con los cambios de Hill. En "Me 'n' You" de Morgan, un agresivo pero corto vampiro de blues respaldado por un ritmo de samba mutado, sale directamente del libro de blues de Art Blakey y está articulado maravillosamente por el solo de Mobley, que alterna entre frases cortas y recortadas a lo largo de la línea de los cambios y trinos y ostinatos más largos en los que el final de una línea musical es dictado por su respiración en lugar de un cambio de acorde. Morgan está en el bolsillo de los tonos azules, coloreando los finales de sus líneas con trinos y breves estallidos de staccato, deformándolos en las votaciones abiertas y cromáticas de Hill. Los ocho cortes aquí se mueven con una fluidez similar y ofrecen un enfoque muy descarnado y realista de las raíces del hard bop. Muy recomendable.
https://www.allmusic.com/album/no-room-for-squares-mw0000097955
Tracks:
1 - No Room For Squares - 6:55
2 - No Room For Squares (Alternate Take) - 6:42
3 - Three Way Split - 7:50
4 - Comin' Back - 6:20
5 - Me 'N You - 7:15
6 - Carolyn (Alternate Take) - 5:35
7 - Carolyn - 5:30
8 - Syrup And Biscuits - 5:31
Credits:
Bass – John Ore
Design [Cover] – Reid Miles
Drums – Philly Joe Jones
Liner Notes – Joe Goldberg, Michael Cuscuna
Photography By [Cover Photo] – Francis Wolff
Piano – Andrew Hill
Producer – Alfred Lion
Recorded By – Rudy Van Gelder
Reissue Producer – Michael Cuscuna
Tenor Saxophone – Hank Mobley
Transferred By [Digital Transfers] – Ron McMaster
Trumpet – Lee Morgan
Written-By – H. Mobley (tracks: 1 to 4, 8), Lee Morgan (tracks: 5 to 7)
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on October 2, 1963.
The CD release of these tracks re-arrange the session in its entirety and in recording order.
Tracks 2, 4, 6 and 8: Previously unissued and does not appear on LP configuration.
Label: Blue Note – CDP 7 84149 2
Released: 1989
Genre: Jazz
Style: Hard Bop
https://www.discogs.com/release/4990206-Hank-Mobley-No-Room-For-Squares
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thank for the original uploader
Thanks for Hank.
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