[SACD-R][OF] Hank Mobley - No Room For Squares - 1964/2010 (Hard Bop)

One of Mobley’s best, this album features 2 1963 all-star quintets: 1 with Lee Morgan & Andrew Hill, the other with Donald Byrd & Herbie Hancock. Philly Joe Jones is the driving force throughout.

Originally 1964 Blue Note BST-84149

AllMusic:
Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 — a commonly if stupidly held view among the eggheads who do this for a living — is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-’50s sides was a harder, more strident, almost honking 1, due in part to the influence of John Coltrane & in part to Mobley’s deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier & replacing them with alternate takes of the title cut & “Carolyn” for historical integrity.
Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, & bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley’s strong & knotty off-minor front-line trading 4s with Hill that moves into brief but aggressive soloing for he & Morgan & brings the melody back, altered with the changes from Hill. On Morgan’s “Me ‘n’ You,” an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues & is articulated wonderfully by Mobley’s solo, which alternates between short, clipped phrases along the line of the changes & longer trill & ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills & short staccato bursts, warping them in Hill’s open, chromatic voicings. All 8 cuts here move with similar fluidity & offer a very gritty & realist approach to the roots of hard bop. Highly recommended.

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