Up, Over And Out – Hank Mobley
This swinging 16-measure "blues" is a classic example of Hank's later style.
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- Recording: Hank Mobley - Reach Out!
- Recorded on: January 19, 1968
- Label: Blue Note (BST 84288)
- Concert Key: F minor
- Vocal Range: , to
- Style: Swing (uptempo)
- Trumpet - Woody Shaw
- Tenor Sax - Hank Mobley
- Guitar - George Benson
- Piano - Lamont Johnson
- Bass - Bob Cranshaw
- Drums - Billy Higgins
Our audio excerpt starts with the intro: another great Mobley two-measure rhythm section vamp figure, which also continues under the first eight measures of the melody. These figures are a "clave" pattern shifted over by one eighth note. To set off the first soloist, Hank wrote a swinging two-horn line while the rhythm section continues their two-measure figure. On the recording, Hank only uses this interlude to set of the first soloist, and for eight-measure exchanges with drums. The interlude can also be used to start any soloist. Both original horn parts are in all editions, so if you are playing it in a quartet format, the piano (or guitar) also play the bottom original horn part.
As you hear, this piece creates a lot of energy and excitement, making it a great set closer, or, if you really want to get your audience's attention, use it as a set opener.
Just a few weeks after this Hank Mobley session, George Benson recorded with Larry Young on the organist's album "Heaven and Earth." To get a sense of Benson's immense range as a sideman, listen to Call Me from this album—an energetic, lurching bossa. While his comping here is much more dense and active than on Up, Over and Out, where he contributes mostly single note lines to supplement the piano voicings, he never fails to blend seamlessly with the rest of the band.
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...