This review is from: Hank Mobley (Audio CD) Count yourself fortunate to land a copy of this one, and not simply for the incredibly hip photo of Hank on the cover (though I'll admit that's got to be one of many compelling reasons for purchase). The liner notes are in Japanese, the audio is merely "good" (undoubtedly a Van Gelder remastering would provide more presence to both piano and drums), and the front-line is probably unknown to many listeners. But in terms of the program, and the execution by the ensemble as well as the performance of individual soloists, this eponymously titled album ranks with the best of many Mobley sessions. Even at three times the price of a regular CD, it offers that much more music for your buck.

Curtis Porter is a name I recall only from some of his appearances on Mingus recordings. On alto he has a thoughtful melodic approach and "cool," unforced sound that matches the unforced lyricism of Hank. On tenor, his more aggressive rhythmic phrasing is a complementary contrast to Mobley's seamless melodic stitching. Bill Hardman, rather than Kenny Dorham, is my candidate for most underrated trumpet player, if not musician, in jazz (three separate tours of duty with Blakey's Jazz Messengers). Originally a "crackling" hard bopper with blazing technique and a crisp, non-nonsense sound, at this time (1957) he's just beginning to play with some of the fuller, more extroverted "romantic" passion of a Clifford Brown, a direction he would take increasingly throughout the '60's and '70's. Dig his solo on "Double Exposure," played with a driving, practically prancing energy that's virtually unmatched by other masters of the horn and reason enough for Mobley to follow with his own best solo on the date.

Mobley sounds as lyrical, melodically inventive, and winsome as ever. Porter picks up a tenor and invites him to turn up the fire on "Bag's Groove," but Hank demurs, sticking to warmth, simplicity and pure musical substance. Sonny Clark's accompanying and soloing are both sterling (much more appealing to my ears than his own session, "Leapin' and Lopin'."). And though a blowing session, the ensembles are tight, yet featuring a cohesive flow between group and solo sections.

This one gets placed right alongside "Soul Station," "Workout," "Roll Call" and Mobley's other most frequently played recordings, though it's a shame that the Japanese seem to be the only ones thus far to have recognized its merits.