A cornerstone to listen to

Hank Mobley - A slice of the top

March 18, 1966

This is easily not only one of the best Mobley-albums ever (even if the high-ranking LP’s „Soul station“ or „Roll Call“ are quite good, too), it could also be one of the best Blue Note-albums as well.
Hank Mobley was one of the HardBop-cornerstone-tenor saxophonists for the label in the sixties and showed his talent on many recordings which became classic LP’s, like “A blowing session” altogether with the great Coltrane and the speedy Johnny Griffin.

“A slice of the top” is once again something like an oddity, because it features Mobley in a band setting he never before had, and even with musicians he has worked for the first time (as to my knowledge) on this recording session:

James Spaulding (as) (the flute is not mentioned on the jacket, but there’s a fine solo on “Cute ‘n pretty” for example.)
Lee Morgan (tp) (the other HardBop-cornerstone)
Kiane Zawadi (euph) (formerly known as Bernard McKinney)
Howard Johnson (tb)
McCoy Tyner (p)
Bob Cranshaw (b)
Billy Higgins (d)

This makes a unique combination out of HardBop-experienced lead-instruments playing, combined with an avantgardish but deep rooted rhythm section, paired with a really small brass-section, which functions as a deep-toned background filler (although all killer!).
Mobley wrote four of the tracks in 1966, while he was in prison for drug abuse and handed these compositions, as well as some detailed informations over to Duke Pearson - who also had some fine recordings on Blue Note and remained as a musician, arranger and A&R, after Ike Quebec’s death – who should arrange the tunes. So this means, that pretty much of the sound on this record is because of Pearson’s arrangements.

This album is amazing, because Mobley fits very well with all the other musicians and shows a deep, round and “fat” sound on his horn, while Lee Morgan plays more in an avantgardish Freddie Hubbard-tradition, that suits him well (other issues can be heard on “Delightfulee” for example). Usually Mobley was well known as a perfect HardBop artist, but on this session you can feel the deep influence of Coltrane, Miles Davis and even the one of Sonny Rollins, because he reveals a melodic creativity and unexpected changes, while he still shows his roots.
McCoy fits this session as well as all other sessions he was on, because he is always on point and shows melodic lines, that fit perfectly.

My personal highlights on this session are the minor waltz “Cute ‘n pretty”, where Spaulding shows beautiful lines on the flute and the brass section just finds the right accompaniment. There are thrilling changes between two main parts. One part is dominated by the melodic and sweet flute, whereas the other part shows off some darker colour, dominated by the brass section and remains as a tricky contrast to the lighter colours. They are divided by astonishing improvisations and soloes of the lead musicians – first Morgan, then Mobley, Spaulding on flute and McCoy - (the brass players only worked as accompanists) and Mobley shows one of his best works on this LP. Alfred Lion would have been very excited, because of the swing within the music and the driving beat.
In a similar manner, “A touch of the blues” comes along and it really lives through the brass-work, which immediately catches the listener straight from the beginning.
The only tune, not written by Mobley is the ballad “There’s a lull in my life” which silences Zawadi and Johnson a bit and shows the brilliance of the musicians on the slower scale. As well, the track is living through the beautiful handling of Spaulding’s flute and the light right hand-attack of McCoy Tyner.
If you are into the work of Spaulding and Zawadi, you should look for Freddie Hubbard’s recordings, like “Blue Spirits” or “Breaking point”, which are highly recommended.

Two last remarkable things: As I’ve already mentioned, the brass players are only “used” as accompanists, but because of the deep throated tone of Zawadi's euphonium especially you may think, that they’re everywhere. So they really contributed a main part to this session in surrounding the arrangements. I guess this was a difficult part for Mobley to write and for Pearson to arrange.
The other thing is, that this recording has not been released at the time it was made. It unbelievably stayed in the Blue Note-vault until 1979 and there’s no reason why!

In the 90’s the record was released on vinyl as part of the connoisseur-edition (limited edition 180gr.-pressings) with sleeve-design by Patrick Roques, who fit the tradition of Reid Miles. There was a Japan-only pressing before, which featured different artwork.
The original recording engineer was Rudy van Gelder (of course) and it was produced for release by Michael Cuscuna, the never tired Mosaic-crate digger.

My issue came in excellent condition with no corner dinges, blemishes and no scuffs or anything else. Like all other Connoisseur-LP’s it has the newer backcover design with a B1-catalogue-number and “The finest in Jazz since 1939” on the record-label. That's it. Now go listen!