Snappin' Out – Hank Mobley
This minor-key agressive bossa has a plaintive melody, but not without that rhythmic snap that defines Hank Mobley's later style. A sextet arrangement by Don Sickler is available, featuring exchanges based on Hank's solo from the recording.
- Recording: Hank Mobley - The Flip
- Recorded on: July 12, 1969
- Label: Blue Note (BST 84329)
- Concert Key: G minor
- Vocal Range: , to
- Style: Latin (Bossa)
- Trumpet - Dizzy Reece
- Trombone - Slide Hampton
- Tenor Sax - Hank Mobley
- Piano - Vince Benedetti
- Bass - Alby Cullaz
- Drums - Philly Joe Jones
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Hank Mobley's bossas all deserve wider recognition. Snappin' Out, like the earlier Bossa For Baby, has a plaintive and lyrical melody punctuated by those snappy rhythms that are a Mobley trademark. It's a catchy song, quite simple in both melody and changes in a classic post-bop bossa style.
On the recording, drummer Philly Joe Jones plays a brief solo and then eight measures of groove; the piano and bass enter for eight more measures of G minor vamp before the head. Our C treble clef lead sheet shows the piano voicings for these eight measures as an intro; the other lead sheets have the top notes of the voicings. The ending vamps and fades out.
About the arrangement: On the recording, the horns play the head in octaves throughout. However, there is a harmonized shout "chorus"—really only two A sections leading to an open drum solo into the out melody. This shout section is not included in our lead sheet, but it appears in a sextet (and/or quintet) arrangement by jazzleadsheets.com's Don Sickler (see album cover to the right).
On the recording, drummer Philly Joe Jones plays a brief solo and then eight measures of groove; the piano and bass enter for eight more measures of G minor vamp before the head. Our C treble clef lead sheet shows the piano voicings for these eight measures as an intro; the other lead sheets have the top notes of the voicings. The ending vamps and fades out.
About the arrangement: On the recording, the horns play the head in octaves throughout. However, there is a harmonized shout "chorus"—really only two A sections leading to an open drum solo into the out melody. This shout section is not included in our lead sheet, but it appears in a sextet (and/or quintet) arrangement by jazzleadsheets.com's Don Sickler (see album cover to the right).
Recorded in Paris, "The Flip" was Hank Mobley's only studio recording as a leader during his stay in Europe in 1968-'69. Slide Hampton had arrived in Europe in 1968; in March 1969 both Hampton and trumpeter Dizzy Reece recorded with Dexter Gordon (with Kenny Drew on piano) for Dexter's album "A Day In Copenhagen." Mobley had recorded with Reece ten years earlier on the latter's Blue Note album "Star Bright." Later in 1969, Reece returned to the US and played on another classic Blue Note recording, Andrew Hill's "Passing Ships."
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- Recording: Don Sickler - Snappin Out! (performance only)
- Recorded on: June 18, 2000
- Label: jazzleadsheets.com (JLS 1069)
- Concert Key: G minor
- Vocal Range: , to
- Style: Latin (Bossa)
- Trumpet - Don Sickler
- Alto Sax - James Spaulding
- Trombone - Slide Hampton
- Piano - John Hicks
- Bass - Ron Carter
- Drums - Winard Harper
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Don Sickler: "A 21-page Full Score, parts and alternate parts are available for this arrangement, which has not yet been recorded. The audio we're providing for the clips comes from Cubase audio. This version has a call-and-response intro between harmonized horns and piano (CLIP DS arr CLIP Mobley recording); the head is harmonized throughout. There is a chorus of backgrounds for the solos. After the solos, there are two choruses of eight-measure exchanges: I took melody figures from Hank Mobley's solo from his recording, and alternated those with eight measures of solo from each horn player. The exchanges lead to the shout chorus, which I expanded from Hank's AA to a whole AABC chorus with the bridge melody taken from Mobley's solo. A full chorus of drum solo leads to the out head, with a coda similar to the intro.
Here's an outline of the exchanges and shout chorus, with audio clips: 8 measures from Hank's original solo (Mobley) which become Don Sickler's orchestration (DS arr). On Don's score (and parts) there's a new letter cue every eight bars. Each horn player gets one eight-bar solo, the rest is orchestrated from lines played by Hank in his solo (labeled horns). Because it's an AABA song form, any A section can be used anywhere in the arrangement.
form = rehearsal letters
-- first chorus of exchanges
A1 = G CLIP Mobley CLIP DS arr
A2 = H 1st part solo
B = I CLIP Mobley CLIP DS arr
A3 = J 3rd part solo
-- second chorus of exchanges
A1 = K CLIP Mobley CLIP DS arr
A2 = L CLIP Mobley CLIP DS arr
B = M 2nd part solo
A3 = N CLIP Mobley CLIP DS arr
-- shout chorus
A1, A2 = O, O CLIP Mobley CLIP DS arr
B = P start of extended Drum Solo CLIP DS arr
A3 = Q Drum solo continues CLIP DS arr, same as O
Here's an outline of the exchanges and shout chorus, with audio clips: 8 measures from Hank's original solo (Mobley) which become Don Sickler's orchestration (DS arr). On Don's score (and parts) there's a new letter cue every eight bars. Each horn player gets one eight-bar solo, the rest is orchestrated from lines played by Hank in his solo (labeled horns). Because it's an AABA song form, any A section can be used anywhere in the arrangement.
form = rehearsal letters
-- first chorus of exchanges
A1 = G CLIP Mobley CLIP DS arr
A2 = H 1st part solo
B = I CLIP Mobley CLIP DS arr
A3 = J 3rd part solo
-- second chorus of exchanges
A1 = K CLIP Mobley CLIP DS arr
A2 = L CLIP Mobley CLIP DS arr
B = M 2nd part solo
A3 = N CLIP Mobley CLIP DS arr
-- shout chorus
A1, A2 = O, O CLIP Mobley CLIP DS arr
B = P start of extended Drum Solo CLIP DS arr
A3 = Q Drum solo continues CLIP DS arr, same as O
Don Sickler: "The Jazz Standard club in NYC was good to me, giving me several weeks over several years to put on six-day Hank Mobley Festivals. The format was always the same: same bassist and drummer were with me for the whole week. They were mostly Quintet evenings (different tenor sax, and sometimes pianist each night) but a few of the nights were Sextet adding trombonists like Curtis Fuller.
"For Hank's 70th Birthday Tribute week in 2000 I was able to get Slide Hampton {trombone) and James Spaulding (alto sax, flute) for the finale evening, so we did four songs from Hank's "The Flip" album. Slide is also one of my arranger heros. Snappin' Out and Feelin' Folksy on Hank's album had the melodies essentially in three-horn octaves I could them also envision them in three-part harmony. I went crazy on "Snappin' Out," and also added two elaborate exchange choruses and a shout chorus. I was elated after the concert when Slide told me he liked my harmonized three-horn arrangements.
"As you see, I try to use the songs my artists recorded with Hank on Hank Mobley albums for performances. You'll find that most of Hank's original recordings of the other songs we played on these two sets are already on jazzleadsheets.com (click on the blue titles for links to Hank's recording)."
HANK MOBLEY 70TH BIRTHDAY TRIBUTE - Don Sickler
The Jazz Standard, New York [6 days]
---------------------------------------------
Day 6, June 18, 2000
Don Sickler, trumpet; James Spaulding, alto sax, Slide Hampton, trombone;
John Hicks, piano; Ron Carter, bass; Winard Harper, drums; Roberta Gambarini, vocals
1st set [artist on original Hank Mobley recording]
01 EARLY MORNING STROLL [Slide Hampton]
02 BOSS BOSSA [James Spaulding]
03 18th HOLE [Slide Hampton]
04 NO MORE GOODBYES (VOCAL VERSION) [John Hicks]
05 SOFT IMPRESSIONS (VOCAL VERSION)
06 THIRD TIME AROUND
2nd set
01 SNAPPIN' OUT [Slide Hampton]
02 FEELIN' FOLKSY [Slide Hampton]
03 THE MORNING AFTER
04 BOSSA DELUXE (VOCAL VERSION) [John Hicks]
05 STRAIGHT AHEAD (VOCAL VERSION)
06 A SLICE OF THE TOP (W/VOICE) [James Spaulding]
"For Hank's 70th Birthday Tribute week in 2000 I was able to get Slide Hampton {trombone) and James Spaulding (alto sax, flute) for the finale evening, so we did four songs from Hank's "The Flip" album. Slide is also one of my arranger heros. Snappin' Out and Feelin' Folksy on Hank's album had the melodies essentially in three-horn octaves I could them also envision them in three-part harmony. I went crazy on "Snappin' Out," and also added two elaborate exchange choruses and a shout chorus. I was elated after the concert when Slide told me he liked my harmonized three-horn arrangements.
"As you see, I try to use the songs my artists recorded with Hank on Hank Mobley albums for performances. You'll find that most of Hank's original recordings of the other songs we played on these two sets are already on jazzleadsheets.com (click on the blue titles for links to Hank's recording)."
HANK MOBLEY 70TH BIRTHDAY TRIBUTE - Don Sickler
The Jazz Standard, New York [6 days]
---------------------------------------------
Day 6, June 18, 2000
Don Sickler, trumpet; James Spaulding, alto sax, Slide Hampton, trombone;
John Hicks, piano; Ron Carter, bass; Winard Harper, drums; Roberta Gambarini, vocals
1st set [artist on original Hank Mobley recording]
01 EARLY MORNING STROLL [Slide Hampton]
02 BOSS BOSSA [James Spaulding]
03 18th HOLE [Slide Hampton]
04 NO MORE GOODBYES (VOCAL VERSION) [John Hicks]
05 SOFT IMPRESSIONS (VOCAL VERSION)
06 THIRD TIME AROUND
2nd set
01 SNAPPIN' OUT [Slide Hampton]
02 FEELIN' FOLKSY [Slide Hampton]
03 THE MORNING AFTER
04 BOSSA DELUXE (VOCAL VERSION) [John Hicks]
05 STRAIGHT AHEAD (VOCAL VERSION)
06 A SLICE OF THE TOP (W/VOICE) [James Spaulding]
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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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