Two And One – Hank Mobley
A modal medium-up swinger with a strong rhythmic kick, accentuated by call-and-response between the melody and accompanying hits. Parts and condensed score are available for the sextet arrangement.
- Recording: Hank Mobley - Hi Voltage
- Recorded on: October 9, 1967
- Label: Blue Note (BLP 4273)
- Concert Key: E-flat
- Vocal Range: , to
- Style: Swing (medium up)
- Trumpet - Blue Mitchell
- Alto Sax - Jackie McLean
- Tenor Sax - Hank Mobley
- Piano - John Hicks
- Bass - Bob Cranshaw
- Drums - Billy Higgins
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Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
This catchy medium-up swinger uses a distinctive hard bop rhythmic vocabulary in a modal setting. The snappy rhythms of the head contrast with the open-ended harmonies to create a characteristic post-bop sound. The mode throughout this song is "Lydian dominant," the fourth mode of the melodic minor scale, on E♭ in the A sections and D♭ in the bridge. On the A section of the head the tonic piano chord is an F triad over E♭ and B♭, a simple version of E♭13(♯11) without the seventh. The A section melody is built around a simple two-measure pattern, with mostly only four notes: F, B♭, A, and G. A rising pair of rhythm section hits at the end of each two-measure phrase form a call-and-response with the melody; these hits are on the "ands" of beats 3 and 4 and really give the song its rhythmic kick. The bridge melody is smoother and accompanied by a bass pedal.
Our audio excerpt begins with the intro: eight measures in which the rhythm section plays the hits that, in the head, accompany the melody. The ending vamps these hits in the rhythm section, with the piano soloing. It fades out on the recording, but our lead sheets and parts add a further alternate ending in which the horns come in for six measures of the hits and a final chord.
About the arrangement: Our lead sheets are the first horn parts; we have second and third parts, a piano part, a bass part, and a condensed score which should also be used as a drum part. The second and third parts play the hits with the rhythm section in the A sections, with the first part alone on the melody; they play unison with the first part on the bridge until the last measure. Our horn parts also show a simple background figure, voiced in triads, which on the recording is played on the last chorus of the piano solo.
For rhythm section details, click on the Inside & Beyond tab.
Our audio excerpt begins with the intro: eight measures in which the rhythm section plays the hits that, in the head, accompany the melody. The ending vamps these hits in the rhythm section, with the piano soloing. It fades out on the recording, but our lead sheets and parts add a further alternate ending in which the horns come in for six measures of the hits and a final chord.
About the arrangement: Our lead sheets are the first horn parts; we have second and third parts, a piano part, a bass part, and a condensed score which should also be used as a drum part. The second and third parts play the hits with the rhythm section in the A sections, with the first part alone on the melody; they play unison with the first part on the bridge until the last measure. Our horn parts also show a simple background figure, voiced in triads, which on the recording is played on the last chorus of the piano solo.
For rhythm section details, click on the Inside & Beyond tab.
"Hi Voltage" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Two weeks before the "Hi Voltage" session, Jackie McLean, Bob Cranshaw, and Billy Higgins played together on pianist Jack Wilson's album "Easterly Winds". Wilson's and Mobley's sessions were Jackie McLean's only recordings with leaders other than himself or Lee Morgan since 1963. Jackie recorded one last time with Lee a month after "Hi Voltage" on the latter's album "The Sixth Sense;" another month later came Jackie's last issued session as a leader for Blue Note, "Demon's Dance."
"Hi Voltage" was also the second to last of Hank Mobley's five sessions with Bob Cranshaw and Billy Higgins, before January 1968's "Reach Out."
Two weeks before the "Hi Voltage" session, Jackie McLean, Bob Cranshaw, and Billy Higgins played together on pianist Jack Wilson's album "Easterly Winds". Wilson's and Mobley's sessions were Jackie McLean's only recordings with leaders other than himself or Lee Morgan since 1963. Jackie recorded one last time with Lee a month after "Hi Voltage" on the latter's album "The Sixth Sense;" another month later came Jackie's last issued session as a leader for Blue Note, "Demon's Dance."
"Hi Voltage" was also the second to last of Hank Mobley's five sessions with Bob Cranshaw and Billy Higgins, before January 1968's "Reach Out."
Our piano part shows the voicings in the intro, which are also used in the A sections; in these sections the melody is shown as a cue. The bridge has a countermelody based on what John Hicks plays on the recording. This line has some interesting dissonances with the melody: the melody actually goes outside the mode slightly, using A♮ instead of A♭, while Hicks' line stays within the D♭ Lydian dominant scale. This bridge countermelody is also shown as a cue in the bass part.
The bass walks throughout the A section, not playing the hits with the piano and drums. The walking bass really establishes the foundation over which the piano and drums play the hits. In addition to playing time between the hits, Billy Higgins adds a snare drum pattern between the hits that complements the melody phrases. He introduces this on the intro; it's shown in our condensed score.
On the bridge, the drums introduce a dotted quarter note pulse over the barline; on the recording bassist Bob Cranshaw pedals quarter notes on the bridge of the in head but plays dotted quarter notes with the drums in the out bridge. Both options are mentioned in our bass part.
The bass walks throughout the A section, not playing the hits with the piano and drums. The walking bass really establishes the foundation over which the piano and drums play the hits. In addition to playing time between the hits, Billy Higgins adds a snare drum pattern between the hits that complements the melody phrases. He introduces this on the intro; it's shown in our condensed score.
On the bridge, the drums introduce a dotted quarter note pulse over the barline; on the recording bassist Bob Cranshaw pedals quarter notes on the bridge of the in head but plays dotted quarter notes with the drums in the out bridge. Both options are mentioned in our bass part.
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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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