HANK MOBLEY w/PAUL CHAMBERS BLUE NOTE 1568 INSANELY RARE ORIG '57 MONO LP NICE
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· HANK MOBLEY with SONNY CLARK, ART TAYLOR, PAUL CHAMBERS, CURTIS PORTER AND BILL HARDMAN – THE SELF-TITLED 1957 BLUE NOTE ALBUM (“HANK MOBLEY”) – ►MYTHICALLY RARE ORIGINAL 1957 BLUE NOTE MONO LP BLP-1568
· ORIGINAL U.S. PRESSING
THE PINNACLE OF HARD BOP, AND PROBABLY THE RAREST AND MOST COVETED JAZZ ALBUM IN HISTORY (CURRENTLY HOLDS THE WORLD RECORD AS THE HIGHEST-PAID JAZZ ALBUM OF ALL TIME)
· ORIGINAL WHITE AND BLUE 'BLUE NOTE' LABEL WITH '63RD STREET., NEW YORK', ADDRESS ON THE LABEL
· DEEP GROOVE PRESSING
· The record has an "EAR" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME jazz labels is associated with very early or first pressings)
· The record has a ►Rudy Van Gelder’s name or his initials (RVG) clearly stamped or hand-etched in the trail-off vinyl (dead wax)
· NO Registered Trademark symbol [®] at the bottom part of the label !
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)
· ORIGINAL LAMINATED COVER
· BELIEVE IT OR NOT, THE COVER COMES IN A LOOSE-FITTING PLASTIC BAGGY BLUE NOTE WAS USING FOR SEALING THEIR RECORDS IN THE LATE '50s. WE ARE SHOWING THE COVER WITHOUT THE PLASTIC BAGGY,AS IT INTERFERES WITH THE LIGHTING, BUT THE RUFFLED BAGGY WILL BE SHIPPED ALONG WITH THE COVER
· CLEAN, WEAR-FREE LABELS (A FEW SPINDLE MARKS NOTED)
· THICK, HEAVY VINYL PRESSING
(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
During the 1950s and '60s Hank Mobley was an especially prolific musician. In addition to many dates as a sideman, his string of 26 or so records under his own name for Blue Note certainly makes him the one of, if not the label's productivity champion. Most of his dates are excellent performances, yet somehow his name has faded from the public conscious. Jazz people know him of course—we thrive on even the smallest esoteric historical details, after all—but Mobley doesn't register with the broader public the way, for example, John Coltrane does. Most people at least recognize the name Coltrane. Mention Mobley and unless you're in a very specific group of like-minded people you'll get nothing but blank stares.
Damned shame about that, too.
There were fewer than 1,000 copies pressed when this record was originally released. On the rare occasions someone actually parts with one those original pressings they generally transact for over four grand per copy. Of course that's only important if the music is worth hearing, and 1568 certainly is. The date is shared with the somewhat under-recognized trumpet of Bill Hardman, as well as Curtis Porter on both alto and on some tracks a second tenor. The exceptional but ill-fated Sonny Clark massages the keys, while Blue Note house-bassist Paul Chambers keeps time with Art Taylor's skins.
"Mighty Moe And Joe" opens it with a little native-American war cry leading into a memorable up-tempo hard bop melody. Mobley's solo is taken at or more slowly than the beat, a subtle but effective technique that places his solo into high relief against the rest of the band. As always, on this track and the rest of the album, Mobley has impeccably good taste.
Hardman, all of twenty-four years old on this recording, shows great chops and tone. It's clear that he could have been an heir to Clifford Brown and a real competitor to Lee Morgan had be managed to achieve the kind of commercial success of either. His playing here is fiery and smart: tight and fast in places, loose and rubato in others. He had a lot of stylistic range and his overall performance is excellent.
Clark, always a blues player on steroids, comps tightly with the rhythm section throughout and relies on his right hand for sharp, concise improvisational statements. He had a relatively narrow bag of tricks, but he played those tricks with great individual character: a pianist who's always worth hearing.
Hank Mobley's BN-1568 is a bona-fide jazz classic and a record that's easy to recommend. It's high-style late 1950s modern jazz by some of period's finest practitioners. It would be impossible to go wrong with this one.
Track Listing: Mighty Moe & Joe; Falling in Love with Love; Bag's Groove; Double Exposure; News.
Personnel: Hank Mobley: tenor sax; Bill Hardman: trumpet; Curtis Porter: alto and tenor sax; Sonny Clark: piano; Paul Chambers: bass; Art Taylor: drums.
(EXCERPT FROM AN ONLINE REVIEW BY GREG SIMMONS, ALL MUSIC GUIDE /ALLMUSIC.COM/)
The original Jazz Messengers, who Mobley had help found, had just disbanded and the heavyweight tenor-man was splitting time between Horace Silver's new group and as an exclusive Blue Note recording artist. Calling on some of the cream of NYC's finest, Mobley opted for a sextet setting and the results became a classic. Including another sax player in Curtis Porter on alto and second tenor was a unique thought and added to the front-line punch of Bill Hardman's trumpet. The rhythm of Sonny Clark on piano, Paul Chambers at the bass and Art Taylor behind the drums is an all-star adhesive holding the group tightly together. Mobley's "dry and intimate" tone shines through in a subtle approach to the harmonies and cadence set in each selection.
Hank Mobley (Blue Note 1568) is the proverbial Holy Grail of Jazz collectors. The album was pressed in a very limited number of 500 copies only and for decades remained one of the most prized collectors items in existence. Most Jazz collectors live and die without EVER holding in their hands one of these precious specimens! We have had a privilege of holding three (this is our third) in the course of our 46-year collecting history.
For additional historical or discography information on this album, including track listing ►click here
(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 2 inches (1 inch = 2.5 centimeters) ; the two scuffs (on 'Mighty Moe and Joe' and 'Double Exposure' are superficial, barely feelable and do not affect playing; however, a tiny (1/4") scratch on "News" is both visible AND feelable and WILL cause some clicks and pops. There are no signs of any groove wear, the full gloss is present and the disc plays STRONG VG++ throughout, with only a minor surface noise here and there, and without any distortion whatsoever. This album was play-graded.
(b) The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings)
(c) The record has a ►Rudy Van Gelder name, or his initials (RVG) stamped or hand-etched in the trail-off vinyl (dead wax). On SOME Jazz labels (Blue Note, Savoy, Regent, Prestige, Impulse, Verve…) this stamp signifies highly professional masterings either done by - or personally authorized by - the legendary engineer himself.
(d) The record has an "ear" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME jazz and blues labels (such as Blue Note; Folkways; Period, etc…) is associated with very early or first pressings). The 'ear' symbol is actually a letter 'P' in italic script, denoting a pressing made by Plastilite Corporation’s pressing plant.
(e) The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(f) The record comes in the original stock inner sleeve.
(g) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):
THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++.
The following flaws or imperfections are noted on the cover:
- Minor glue stain noted on the front cover (less than 1/8 square inch in size); this is actually a minor cover construction flaw, not a result of careless handling: namely, the glue used to affix the fiber threads that bind the two cardboard plates (front and back) together has seeped through the laminated paper slick and left a small indelible mark on front side; this is a common problem with the surprising number of early Blue Note titles, particularly those released with laminated covers.
- Back cover has a few yellowish dust speckles scattered here and there (these tiny spots are not overly obtrusive or distracting) (BARELY VISIBLE)
- Cover shows some light yellowing on both sides, apparently from aging.
- The laminated cover has a slight loss (flaking) of lamination along the opening edge (this is a common problem with most laminated 50’s and 60’s covers; lamination is just beginning to peel-off along the opening edge (BARELY VISIBLE)
- Minor shelf wear noted on the bottom seam (nothing significant)
- Cover has one corner slightly dinged (nothing significant)
- Cover has a small quality control (inspection) stamp on the back panel
- Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 1.
NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE COVER
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