Peckin' Time – Hank Mobley
Hank's contrast: 2-feel A sections in the melody, straight-ahead rhythm changes soloing. Plus pianist/composer Cecilia Coleman's arrangement for solo piano. Cute, yet meaty.
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- Recording: Hank Mobley - Peckin' Time
- Recorded on: February 9, 1958
- Label: Blue Note (BLP 1574)
- Concert Key: G
- Vocal Range: , to
- Style: Swing (medium up)
- Trumpet - Lee Morgan
- Tenor Sax - Hank Mobley
- Piano - Wynton Kelly
- Bass - Paul Chambers
- Drums - Charli Persip
Our audio excerpt starts with the melody. The recorded arrangement starts with an eight-measure rhythm section introduction which is notated in the C treble clef lead sheet. Hank loved to play "rhythm changes," and this time he created a different type of melodic feel. The 2-feel A sections of the melody are intentionally supposed to have what we're calling a "cutesy" melodic feel. Hank tongues all the notes, and we've added small accents to help show how he phrases the melody. The soloing then makes for a great contrast, with its straight-ahead 4-feel "rhythm changes" using the bridge changes from the head.
Of the four Mobley originals from the album "Peckin' Time," only this one and High and Flighty have been recorded by other musicians, both in 1987. In August of that year, Peckin' Time along with several other jazzleadsheets.com songs (such as K. D.'s Motion) were recorded by the avant-garde trio of alto saxophonist John Zorn, trombonist George Lewis and guitarist Bill Frisell on the album "News for Lulu." Four months later, clarinetist/tenor saxophonist Ken Peplowski recorded High and Flighty on his debut album as a leader, "Double Exposure."
Solo Piano Arrangement: Pianist Cecilia Coleman's arrangement for solo piano is also available. As a medium up swing piece, it's a little challenging. At a slower tempo, however, it's not that hard, and it lets you experience a nice hard bop moving melodic line.
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...