18th Hole – Hank Mobley
An exciting medium-up swinger full of breaks for the drums. Besides the original Hank Mobley version, it's also been recorded by baritone saxophonist David Schumacher with a different rhythm section arrangement; we have Concert Condensed Scores for both versions.
- Recording: Hank Mobley - The Flip
- Recorded on: July 12, 1969
- Label: Blue Note (BST 84329)
- Concert Key: F
- Vocal Range: , to
- Style: Swing (medium up)
- Trumpet - Dizzy Reece
- Trombone - Slide Hampton
- Tenor Sax - Hank Mobley
- Piano - Vince Benedetti
- Bass - Alby Cullaz
- Drums - Philly Joe Jones
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Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
An exciting stop-time drum feature in a classic Hank Mobley style. The A section theme is a snappy two-measure riff that launches a drum solo break. The two A sections are different: the two phrases of A1 have four-measure drum breaks, while in A2 the breaks are shortened to two measures and the first phrase is a half step higher. The bridge is 16 measures long (shown as two B sections; the melody of each begins the same) with pedal-like rhythm sections figures that imply a Latin groove. C has two-measure drum breaks like A2, but the riff stays in the key of F throughout.
The changes of the head are extremely simple—there's really only two chords! The A section riff is all on F6, going to G♭6 at the start of A2. The bridge is modal, staying on Fmaj7(♯11) or F Lydian; some of the piano voicings side-slip to G♭maj7(♯11) though the bass figure stays on F.
Solos are on F "rhythm changes" but with the bridge the same as that of the head including all rhythm section figures. Philly Joe Jones on the recording plays swing time around the bridge hits in the solos, but as on the head the bridge can have a Latin groove.
A Concert Condensed Score is available that shows all the rhythm section figures; our lead sheet only shows the melody. On the recording, the horns play the entire melody in octaves.
The changes of the head are extremely simple—there's really only two chords! The A section riff is all on F6, going to G♭6 at the start of A2. The bridge is modal, staying on Fmaj7(♯11) or F Lydian; some of the piano voicings side-slip to G♭maj7(♯11) though the bass figure stays on F.
Solos are on F "rhythm changes" but with the bridge the same as that of the head including all rhythm section figures. Philly Joe Jones on the recording plays swing time around the bridge hits in the solos, but as on the head the bridge can have a Latin groove.
A Concert Condensed Score is available that shows all the rhythm section figures; our lead sheet only shows the melody. On the recording, the horns play the entire melody in octaves.
There has been some confusion surrounding this song's title, as on this album the titles for 18th Hole and Early Morning Stroll were swapped. Other recordings of both songs have established their true titles—click on the second album cover for David Schumacher's version of 18th Hole.
For more Hank Mobley drum features that he recorded with Philly Joe Jones , check out Workout and Out Of Joe's Bag. Like 18th Hole, both feature rhythmic two-measure riffs alternated with drum breaks.
For more Hank Mobley drum features that he recorded with Philly Joe Jones , check out Workout and Out Of Joe's Bag. Like 18th Hole, both feature rhythmic two-measure riffs alternated with drum breaks.
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- Recording: David Schumacher - Endangered Species
- Recorded on: 2005
- Label: Summit (DCD 438)
- Concert Key: F
- Vocal Range: , to
- Style: Swing (medium up)
- Trombone - Robert Trowers
- Bari Sax - David Schumacher
- Organ - Rob Bargad
- Drums - Jimmy Cobb
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Buy MP3
Purchase 18th Hole - Hank Mobley
Purchasing this song through our affiliate links with certain retailers provides jazzleadsheets.com with additional support to help keep us bringing you the best lead sheets available. Thank you!
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
This faster version by baritone saxophonist David Schumacher has a different arrangement in the rhythm section. Everyone plays the A section melody in unison except the drums; the drums only solo in the breaks, not playing time for the melody riffs. In both the head and solos, the bridge has a samba groove with a 2-feel bass line, without the repeated rhythm section figures in Hank Mobley's version. As on the original recording, solos are on "rhythm changes" with the bridge the same as in the head.
We have a Concert Condensed Score for this recording showing all the differences from the first version; the lead sheets work for both arrangements.
We have a Concert Condensed Score for this recording showing all the differences from the first version; the lead sheets work for both arrangements.
Though Hank Mobley played with Jimmy Cobb in Miles Davis' quintet, Mobley never recorded any of his own compositions with Cobb.
"Endangered Species" is David Schumacher's third album as a leader. Rob Bargad also played piano on some of his second, 1997's "From Another Life." On some of "Endangered Species," Schumacher is joined by fellow baritone saxophonist Howard Johnson, who recorded (on tuba) on Mobley's 1966 album "A Slice Of The Top."
"Endangered Species" is David Schumacher's third album as a leader. Rob Bargad also played piano on some of his second, 1997's "From Another Life." On some of "Endangered Species," Schumacher is joined by fellow baritone saxophonist Howard Johnson, who recorded (on tuba) on Mobley's 1966 album "A Slice Of The Top."
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Email Send 18th Hole to a friend
Send this page to a friend via email. Add your name or email in the first field. In the second, add one or more email addresses, separated by a comma.
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...
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