Boss Bossa – Hank Mobley
A delicate, easy-going bossa—what's not to like?
All selected items will be available for download after purchase.
- Recording: Hank Mobley - Third Season
- Recorded on: February 24, 1967
- Label: Blue Note (LT 1081)
- Concert Key: B-flat
- Vocal Range: , to
- Style: Latin (Bossa)
- Trumpet - Lee Morgan
- Flute - James Spaulding
- Tenor Sax - Hank Mobley
- Piano - Cedar Walton
- Guitar - Sonny Greenwich
- Bass - Walter Booker
- Drums - Billy Higgins
This recording features James Spaulding on flute, which is a great instrumentation choice—if you're looking for a chart to play with a flautist, this should be it! Even without flute, the syncopated rhythms and interestingly shaped melody make Boss Bossa another addition to the wonderful oeuvre of Hank Mobley's work.
In 1965, after Billy Higgins' first two recording sessions with Hank (both Hank Mobley sessions: see Pat 'N Chat, Third Time Around, The Turnaround and Straight Ahead) , Billy & Hank played together on a Lee Morgan session where they recorded Lee's lovely bossa Ceora. Hank always loved Lee's composition. Inspired by it, in 1967 he wrote and recorded three lovely bossas of his own, starting with Boss Bossa, then, on different sessions, Bossa For Baby (May 26) and Bossa De Luxe (October 9).
Hank first recorded with James Spaulding on a Freddie Hubbard session in 1965. Spaulding also played flute and alto sax on Hank's March 18, 1966, "A Slice Of The Top" session. You can also check out Don't Cry, Just Sigh from this session.
Hank's Bossa De Luxe, with lyric added by Bebe Herring, became Garden In The Sand and was recorded by vocalist Gloria Cooper in 2004. On jazzleadsheets.com there's an accompaniment-only audio track in the key of G minor.
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...