Third Time Around – Hank Mobley
This simple, melodic, swinging tune is typical of Hank's later compositions. Both the slower quintet and faster sextet recordings feature Billy Higgins on drums; transcriptions of Higgins' playing are available for both.
- Recording: Hank Mobley - Straight, No Filter
- Recorded on: February 6, 1965
- Label: Blue Note (CD 5-27459)
- Concert Key: B-flat
- Style: Swing (medium up)
- Trumpet - Freddie Hubbard
- Tenor Sax - Hank Mobley
- Piano - Barry Harris
- Bass - Paul Chambers
- Drums - Billy Higgins
Video
- The Hardbop Survivors: Jerry Weldon, tenor sax; Kenyatta Beasley, trumpet; Marcus Persiani, piano; Alex Hernandez, bass; Alvin Atkinson. drums. Shell's Bistro, NYC.
- Drummers Billy Drummond, Carl Allen and Kenny Washington discuss the drumming style of Billy Higgins.
Third Time Around is a versatile song that can work in a variety of arrangements, as evidenced by the two very different recordings here. As is true for many Hank Mobley compositions, this head is simple and lyrical with a memorable, singable melody. Changing the tempo produces completely different feelings.
For this quintet recording our audio excerpt starts with the melody, which is set up on the recording with an eight-measure Paul Chambers bass solo with Billy Higgins's hi-hat on 2 and 4. This arrangement is in a medium tempo as opposed to the uptempo sextet arrangement on "A Caddy For Daddy."
The melody chord progression moves down in whole steps for the A section with the two-measure horn melodic statements the same except for one note change. As the horn melody line ends, the piano starts the same line, but in a new key, as dictated by the chord progression. The B section melody is the same in both arrangements, except for a change in articulation. The sextet arrangement breaks into three-part harmony instead of the quintet two-part harmony.
This quintet arrangement was the first one recorded. The B-flat Trumpet 1st part is the B-flat lead sheet. If, like the recording, you have a trumpet/tenor sax front line, you will want this and the Tenor Sax 2nd part. The C treble and bass clef editions and the E-flat lead sheet have both melody & harmony notes. The C treble clef edition is labeled Guitar, because the melody is written an octave higher than it sounds. A flute or violinist might also like to play the melody in this higher register. If not, play it an octave lower.
We recommend the Concert Condensed Score for drummers and bass players: it contains melody and harmony and hits showing the interaction of the melody and the counter line. There is a separate Piano part edition. Remember, Hank wrote his compositions for specific drummers, so obviously Billy is on both sessions. Both tempos work great for a drummer. Be sure your drummer knows we have Billy's drum transcriptions available.
You have the best of all worlds with jazzleadsheets.com: either of these arrangements work great with just the melody part, or you can get parts for a quintet or a sextet arrangement. The condensed scores gives an overview of the whole arrangement.
CLIP DUET
Check out another way to explore this composition. Duets are fun for two people to play together, but you don't need two people to experience our duets. Our duets also offer Minus You tracks, so, when you're not sitting down with another player to play them, you can play either the 1st or 2nd part with our corresponding audio track. The guitar part is up an octave from the C treble clef part, so it's also good for flute.
For this quintet recording our audio excerpt starts with the melody, which is set up on the recording with an eight-measure Paul Chambers bass solo with Billy Higgins's hi-hat on 2 and 4. This arrangement is in a medium tempo as opposed to the uptempo sextet arrangement on "A Caddy For Daddy."
The melody chord progression moves down in whole steps for the A section with the two-measure horn melodic statements the same except for one note change. As the horn melody line ends, the piano starts the same line, but in a new key, as dictated by the chord progression. The B section melody is the same in both arrangements, except for a change in articulation. The sextet arrangement breaks into three-part harmony instead of the quintet two-part harmony.
This quintet arrangement was the first one recorded. The B-flat Trumpet 1st part is the B-flat lead sheet. If, like the recording, you have a trumpet/tenor sax front line, you will want this and the Tenor Sax 2nd part. The C treble and bass clef editions and the E-flat lead sheet have both melody & harmony notes. The C treble clef edition is labeled Guitar, because the melody is written an octave higher than it sounds. A flute or violinist might also like to play the melody in this higher register. If not, play it an octave lower.
We recommend the Concert Condensed Score for drummers and bass players: it contains melody and harmony and hits showing the interaction of the melody and the counter line. There is a separate Piano part edition. Remember, Hank wrote his compositions for specific drummers, so obviously Billy is on both sessions. Both tempos work great for a drummer. Be sure your drummer knows we have Billy's drum transcriptions available.
You have the best of all worlds with jazzleadsheets.com: either of these arrangements work great with just the melody part, or you can get parts for a quintet or a sextet arrangement. The condensed scores gives an overview of the whole arrangement.
CLIP DUET
Check out another way to explore this composition. Duets are fun for two people to play together, but you don't need two people to experience our duets. Our duets also offer Minus You tracks, so, when you're not sitting down with another player to play them, you can play either the 1st or 2nd part with our corresponding audio track. The guitar part is up an octave from the C treble clef part, so it's also good for flute.
"Straight, No Filter" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Alfred Lion, owner of Blue Note Records, was meticulous in choosing and combining takes for LPs. Remember, LPs weren't that long, so often times artist sessions ended up with more music than would fit on the LP. Something might have to go into "the can." Sometimes Alfred felt a track was fantastic but he didn't hear it fitting with the rest of the selections on the session, so he would hold it for a later album. If he wasn't himself moved by a track, he wouldn't put it on the recording, and it would go in the vault. Hank knew Alfred wasn't going to put out his quintet recording of Third Time Around for whatever reason, so Hank changed it up and made it an uptempo swinger for his next session ("A Caddy For Daddy"), and Alfred definitely dug it.
After Alfred sold the company, producer Michael Cuscuna created a new album configuration called "Straight No Filter": it was drawn from tracks that hadn't been used on three of Hank's sessions. The quintet Third Time Around arrangement was actually recorded on the same quintet session that produced Pat 'N Chat, Straight Ahead and The Turnaround. These last were part of the Hank Mobley album release named "The Turnaround."
Trumpeter/jazzleadsheets.com founder Don Sickler had the honor to play both of the arrangements many years later with Higgins on different occasions. Billy loved Hank's treatments and was glad that both recordings became available.
Alfred Lion, owner of Blue Note Records, was meticulous in choosing and combining takes for LPs. Remember, LPs weren't that long, so often times artist sessions ended up with more music than would fit on the LP. Something might have to go into "the can." Sometimes Alfred felt a track was fantastic but he didn't hear it fitting with the rest of the selections on the session, so he would hold it for a later album. If he wasn't himself moved by a track, he wouldn't put it on the recording, and it would go in the vault. Hank knew Alfred wasn't going to put out his quintet recording of Third Time Around for whatever reason, so Hank changed it up and made it an uptempo swinger for his next session ("A Caddy For Daddy"), and Alfred definitely dug it.
After Alfred sold the company, producer Michael Cuscuna created a new album configuration called "Straight No Filter": it was drawn from tracks that hadn't been used on three of Hank's sessions. The quintet Third Time Around arrangement was actually recorded on the same quintet session that produced Pat 'N Chat, Straight Ahead and The Turnaround. These last were part of the Hank Mobley album release named "The Turnaround."
Trumpeter/jazzleadsheets.com founder Don Sickler had the honor to play both of the arrangements many years later with Higgins on different occasions. Billy loved Hank's treatments and was glad that both recordings became available.
We've included two transcriptions of Billy Higgins playing Third Time Around. One was unreleased until a later CD compilation became available, the other was recorded and released on Hank Mobley's "A Caddy for Daddy." It is particularly interesting to see how Billy Higgins interprets the same song on different days. Both were recorded in 1965 at Rudy Van Gelder's studio in Englewood Cliffs, N.J., but with entirely different bands and feelings. Pay close attention to how Billy sets up the hits at the end of the melody. Always tasty, always swinging. See below for the details of two transcriptions.
Drum Transcription ("Straight No Filter" album): A seven-page in depth drum transcription of Billy Higgins' playing on Hank Mobley's composition "Third Time Around" from the "Straight No Filter" album.
-- everything Higgins plays through the head in, after the bass solo introduction, with melody shown above including the hits at the end that Higgins sets up
-- Higgins's set up for the first eight bars of Hank Mobley's sax solo
-- what he plays over the eight-measure rhythm section hits at the end of each solo chorus
-- everything Higgins plays through the out head, with the melody shown above
One thing that makes Billy's playing so special on this recording is what he plays at the end of each solo chorus when the time breaks down for the rhythm section hits clip. Even though the rhythmic pattern is the same for each chorus, Higgins plays different fills every time—pay attention to these variations; it's the real magic behind Third Time Around..
Drum Transcription ("Straight No Filter" album): A seven-page in depth drum transcription of Billy Higgins' playing on Hank Mobley's composition "Third Time Around" from the "Straight No Filter" album.
-- everything Higgins plays through the head in, after the bass solo introduction, with melody shown above including the hits at the end that Higgins sets up
-- Higgins's set up for the first eight bars of Hank Mobley's sax solo
-- what he plays over the eight-measure rhythm section hits at the end of each solo chorus
-- everything Higgins plays through the out head, with the melody shown above
One thing that makes Billy's playing so special on this recording is what he plays at the end of each solo chorus when the time breaks down for the rhythm section hits clip. Even though the rhythmic pattern is the same for each chorus, Higgins plays different fills every time—pay attention to these variations; it's the real magic behind Third Time Around..
- Recording: Hank Mobley - A Caddy For Daddy
- Recorded on: December 18, 1965
- Label: Blue Note (BLP 4230)
- Concert Key: B-flat
- Style: Swing (uptempo)
- Trumpet - Lee Morgan
- Trombone - Curtis Fuller
- Tenor Sax - Hank Mobley
- Piano - McCoy Tyner
- Bass - Bob Cranshaw
- Drums - Billy Higgins
Video
- Drummers Billy Drummond, Carl Allen and Kenny Washington discuss the drumming style of Billy Higgins.
Third Time Around is a versatile song that works in a variety of arrangements, as evidenced by the two very different recordings here. As is true for many Hank Mobley compositions, this head is simple and lyrical with a memorable, singable melody. Changing the tempo produces completely different feelings.
The sextet audio excerpt starts after the introduction at the beginning of the A section. You'll note the tempo is now uptempo swing, compared to the medium up swing of the quintet version. The full rhythm section intro is notated separately in each individual rhythm section part (Piano, Bass, Drums).
This sextet version has a slightly different melody, so it's worth checking out to see how Hank changed it several months after his first recording. At this much faster tempo, Hank changed the piano part to chordal rhythmic fills instead of playing transpositions of the horn melodic line.
Remember, Hank wrote his compositions for specific drummers, so obviously Billy is on both sessions. Both tempos work great for a drummer. Be sure your drummer knows we have Billy's drum transcriptions available for both albums. See our Drum Corner for all available transcriptions.
You have the best of all worlds with jazzleadsheets.com: either of these arrangements work great with just the melody part, or you can get parts for a quintet or a sextet arrangement. The condensed scores gives an overview of the whole arrangement.
The sextet audio excerpt starts after the introduction at the beginning of the A section. You'll note the tempo is now uptempo swing, compared to the medium up swing of the quintet version. The full rhythm section intro is notated separately in each individual rhythm section part (Piano, Bass, Drums).
This sextet version has a slightly different melody, so it's worth checking out to see how Hank changed it several months after his first recording. At this much faster tempo, Hank changed the piano part to chordal rhythmic fills instead of playing transpositions of the horn melodic line.
Remember, Hank wrote his compositions for specific drummers, so obviously Billy is on both sessions. Both tempos work great for a drummer. Be sure your drummer knows we have Billy's drum transcriptions available for both albums. See our Drum Corner for all available transcriptions.
You have the best of all worlds with jazzleadsheets.com: either of these arrangements work great with just the melody part, or you can get parts for a quintet or a sextet arrangement. The condensed scores gives an overview of the whole arrangement.
"A Caddy For Daddy" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Alfred Lion, owner of Blue Note Records, was meticulous in choosing and often combining takes from different sessions for LPs, as evidenced in our notes for the earlier quintet recording ((click on left record jacket for that album's Historical Notes). Remember, LPs weren't that long (Rudy Van Gelder didn't like to make them more than 20 minutes), so often artist sessions ended up with more music than would fit on the LP. Something had to go into "the can." For the original LP release of this album, only an untitled Curtis Fuller wasn't used. Everything else on the original release came from that session.
Trumpeter/jazzleadsheets.com founder Don Sickler had the honor to play both of these arrangements many years later with Billy Higgins. The 60th Anniversary of Blue Note was celebrated in many clubs in NYC in 1999. At the Jazz Standard night club a six-day engagement featured Billy Higgins as leader of a sextet, with five other Blue Note alumni. Don was musical director/trumpeter, and Hank's sextet arrangement of Third Time Around was performed that week with original sideman Curtis Fuller on trombone. Alto saxophonist James Spaulding played Hank's tenor sax part on alto sax. The other Blue Note artists along with Don that rounded out the sextet were jazzleadsheets.com's pianist Ronnie Mathews and bassist John Ore. Billy loved both of Hank's treatments and was glad that they became available on recordings.
Alfred Lion, owner of Blue Note Records, was meticulous in choosing and often combining takes from different sessions for LPs, as evidenced in our notes for the earlier quintet recording ((click on left record jacket for that album's Historical Notes). Remember, LPs weren't that long (Rudy Van Gelder didn't like to make them more than 20 minutes), so often artist sessions ended up with more music than would fit on the LP. Something had to go into "the can." For the original LP release of this album, only an untitled Curtis Fuller wasn't used. Everything else on the original release came from that session.
Trumpeter/jazzleadsheets.com founder Don Sickler had the honor to play both of these arrangements many years later with Billy Higgins. The 60th Anniversary of Blue Note was celebrated in many clubs in NYC in 1999. At the Jazz Standard night club a six-day engagement featured Billy Higgins as leader of a sextet, with five other Blue Note alumni. Don was musical director/trumpeter, and Hank's sextet arrangement of Third Time Around was performed that week with original sideman Curtis Fuller on trombone. Alto saxophonist James Spaulding played Hank's tenor sax part on alto sax. The other Blue Note artists along with Don that rounded out the sextet were jazzleadsheets.com's pianist Ronnie Mathews and bassist John Ore. Billy loved both of Hank's treatments and was glad that they became available on recordings.
We've included two transcriptions of Billy Higgins playing Third Time Around. One was unreleased until a later CD compilation became available, the other was recorded and released on Hank Mobley's "A Caddy for Daddy." It is particularly interesting to see how Billy Higgins interprets the same song on different days. Both were recorded in 1965 at Rudy Van Gelder's studio in Englewood Cliffs, N.J., but with entirely different bands and feelings. Pay close attention to how Billy sets up the hits at the end of the melody. Always tasty, always swinging. See below for the details of the "A Caddy For Daddy" album transcription.
Drum Transcription (A Caddy For Daddy): A seven-page in depth drum transcription of Billy Higgins' playing on Hank Mobley's composition "Third Time Around" as recorded on "A Caddy For Daddy."
-- eight-bar intro with drum fills
-- everything Higgins plays through the in head, with melody shown above staff
-- first eight bars of setup into Hank Mobley's tenor sax solo
-- one chorus of drums trading eights with Hank clip
-- everything Higgins plays through the out head, with melody shown above the staff
Drum Transcription (A Caddy For Daddy): A seven-page in depth drum transcription of Billy Higgins' playing on Hank Mobley's composition "Third Time Around" as recorded on "A Caddy For Daddy."
-- eight-bar intro with drum fills
-- everything Higgins plays through the in head, with melody shown above staff
-- first eight bars of setup into Hank Mobley's tenor sax solo
-- one chorus of drums trading eights with Hank clip
-- everything Higgins plays through the out head, with melody shown above the staff
Hank Mobley
July 7, 1930 – May 30, 1986
Hank Mobley is one of the most acclaimed tenor saxophonists in modern jazz history. He is recognized by musicians and critics alike as one of the most important and eloquent jazz instrumentalists of all time. He recorded well over 100 of his own original compositions and left an indelible mark on the post-bop jazz scene. Read more...