Good Picken's – Hank Mobley
Hank Mobley's feature for guitarist George Benson is a driving, angular medium up swinger. The head is full of solo fills, with a break at the end of the bridge.
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- Recording: Hank Mobley - Reach Out!
- Recorded on: January 19, 1968
- Label: Blue Note (BST 84288)
- Concert Key: B-flat
- Vocal Range: , to
- Style: Swing (medium up)
- Trumpet - Woody Shaw
- Tenor Sax - Hank Mobley
- Guitar - George Benson
- Piano - Lamont Johnson
- Bass - Bob Cranshaw
- Drums - Billy Higgins
The head largely alternates between two measures of melody and two measures of solo, broken up by a solo break in the last two measures of the 14-measure bridge. The A sections are 16 measures long and feature angular melody phrases that rise in fourths—a similar "bag" to Mobley's earlier song The Break Through. On the bridge the melody phrases are simpler and more bluesy.
The changes are quite simple, almost modal with eight measures of B♭7 at the beginning. D♭m6 in the 11th and 12th measures, a passing chord preceded by C7 and followed by Cm7, can be thought of as G♭7/D♭.
Though recorded as a guitar feature, this song works just as well with a different solo instrument playing the fills. Alternatively, these fills can be broken up with multiple melody instruments trading.
Just three days before this track was recorded, Benson played on Miles Davis' "Miles in the Sky," where he can be heard on Paraphernalia. Though similar in their quick tempo, Paraphernalia and Good Picken's occupy different stylistic realms; the former has a much looser arrangement with more harmonic freedom than the latter's tighter form and changes. However, Benson shines on both as a versatile sideman. While he freely interprets an ostinato-like figure on Paraphernalia with octaves, adding to the background texture, on Good Picken's he asserts himself as the main feature, soloing throughout the head around Mobley's written melody.
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...