Hank Mobkey : Mobley's 2nd Message

Hank Mobkey : Mobley's 2nd Message


Hank Mobley (tenor sax), Kenny Dorham (trumpet), Walter Bishop (piano), Doug Watkins (bass), Art Taylor (drums)  

Prestige 7082

Analogue Productions - Quality Records : LP 200 gram

Brand New and Sealed Record

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A1 - The Latest
A2 - Crazeology
A3 - I Should Care
B1 - Message from the Border
B2 - Xlento
B3 - These Are the Things I Love

Recorded on July 27, 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, one week after Mobley's Message. The two separate albums have to be considered as a double album.

Born in Eastman, Georgia in 1930, but raised in New Jersey, Hank made a small name for himself around the Newark area in the Garden State. After a stint with Paul Gayten's r&b band in 1950 he was formally introduced to a wider jazz audience with the Roach quartet. That he was following the Charlie Parker tradition was evident, and he had also been touched by Sonny Rollins. To these influences however, he brought a personal feeling and identifiable sound both of which have been further crystallized in the years that followed. The Parker lineage is still unmistakable but is more general than specific and the occasional references to Rollins are now no more than tips of the hat.

Many are familiar with the long-lined tenor offerings of Hank Mobley through his work with the Jazz Messengers. It was during his tenure with that group that he really came into his own. Prior to that he had been with several groups including Max Roach's intermittently during the 1951-3 period, Dizzy Gillespie's for most of 1954 and late in the year the Horace Silver group which grew into the Messengers.

Hank's sound is a distinctive one which serves well the emotional content and rhythmic bent of his ideas. Its texture is more like a pulling in than a blowing out and once prompted Ira Gitler to write after hearing him at a club, "He sounded as if he was inhaling notes from the field between the microphone and the bell of his horn and transmitting them through the loudspeaker at our left by means of a magnetic reed." 

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

Part of the ultimate audiophile Prestige mono reissues from Analogue Productions, 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All mastered from the original analogue master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at state-of-the-art plant Quality Record Pressings and plated by Gary Salstrom. Deep groove label pressings, tip-on jackets on thick cardboard stock.