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Soul Station | 
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| Artist: Hank Mobley
Label: Blue Note Records
Category: Music
List Price: $11.98
Buy New: $10.99
You Save: $0.99 (8%)
New (49) Used (15) from $5.97
Rating:  38 reviews
Sales Rank: 19850
Format: Original Recording Reissued, Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 95343
UPC: 724349534322
EAN: 0724349534322
ASIN: B00000I8UI
Release Date: March 23, 1999
Shipping: Eligible for Super Saver Shipping
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| Tracks:
| • | Remember - Hank Mobley, Berlin, Irving | | • | This I Dig of You | | • | Dig Dis | | • | Split Feelin's | | • | Soul Station | | • | If I Should Lose You - Hank Mobley, Rainger, Ralph |
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| Editorial Reviews:
Amazon.com
This 1960 session broke the usual Blue Note quintet mold, with Mobley's tenor saxophone featured with just a rhythm section, one that happened to be the best of the era. Pianist Wynton Kelly and bassist Paul Chambers were working regularly with Mobley in Miles Davis's band, while the explosive drummer Art Blakey had worked with him in the original, cooperative form of the Jazz Messengers, and the familiarity shows. Blue Note had a reputation for producing "meat 'n' potatoes" jazz, and no musician would better fit the description than Mobley, who went about the task of making music with a workmanlike focus and a consistency that didn't attract nearly the attention it deserved. Mobley was one of the most talented saxophonists of his generation, a superbly lyrical artist who blended an inventive tunefulness with taut rhythmic attentiveness. The flowing blues of the title track is a particularly fine example of his art. And to say this session is exemplary would be an understatement. --Stuart Broomer
Album Description
Soul Station is Hank Mobley's acknowledged masterpiece. Mobley's hot, brilliantly constructed solos have a smooth sound and an easy feel. With Miles Davis at the time, Mobley is joined by bandmates Wynton Kelly and Paul Chambers along with a magnificent Art Blakey. A true classic.
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| Customer Reviews: Read 33 more reviews...
Sublime, timeless, perfect February 27, 2008
3 out of 3 found this review helpful
The first of four wonderful albums Hank made in 60-61 with pianist Wynton Kelly and Mr PC Paul Chambers on bass, and either Philly Joe or Art Blakey on drums. Soul Station is a quartet including Art Blakey. Hank really came into his own for this set. It is highly accessable yet never boring with four originals bookended by two well chosen covers. The music swings and grooves with the feeling 4 greats in their prime, in communion with each other and making it sound easy. There are so many great RVG releases out now and this is top shelf. Hanks solos are sweet both in that round, unique, one-of-a-kind tone and the way they flow. He was great before and after Soul Station, but this is sublime. Very recommended.
Timeless Masterpiece February 19, 2008
2 out of 2 found this review helpful
For me, Hank Mobley's smooth tone sets the standard for what the tenor saxophone should sound like. This album provides the perfect jumping off point for anyone interested in exploring the works of this underrated jazzman. It was the first of his works I purchased and I continue to enjoy it. Since then I have added several of Mobley's albums and sideman appearances to my record collection. This one still stands out, showcasing Hank in a quartet session with an able group of musicians: the always tasteful Wynton Kelly on piano, Paul chambers on bass, and the fiery Art Blakey on drums. Art is a little more restrained here than he would be on Mobley's later session Roll Call, but that restraint serves the material presented here. None of these songs are real burners, all are laid back, smooth jazz. Mobley's solos are elegant, never a note out of place. Unlike some of his contemporaries, Hank didn't use flurries of notes when just one would do. He always seems to know what to play to perfectly complement both the song and the performances of the musicians around him, and I think that's one of the things I enjoy so much about his work. He may not have been as adventurous as Coltrane, Rollins, or Gordon, but he didn't need to be. He seemed to be satisfied with his own style of music, at least until he began to feel pressure from the label to change later in his career. But all that would come later. Here on these six songs, he's perfectly in focus, the master of his element. To paraphrase, dig on this.
Awesome tenor sax jazz. January 1, 2008
2 out of 2 found this review helpful
I have been collecting Bebop, Hard-Bop, and West-Coast jazz from the 50's and 60's for a while now. This was one of my recent buys. I'm very happy with it. Its very smooth, and very accessible. Its important to note that Art Blakey from the Jazz Messengers plays the drums on this and Paul Chambers plays the bass-both legends in this period of jazz.
I like this album just a little bit more than "No Room for Squares", but that is another good album by Hank you would like if you like this album. I have found that any time you find a Blue-Note album with the Rudy Van Gelder Edition, you can almost be guaranteed that it will be good stuff.
Fantastic... September 29, 2007
1 out of 1 found this review helpful
Mobley sounds fantastic on this, his supporting crew are in top form. Enjoy a classic!!!
Underpraised Giant of the Tenor's Masterpiece. September 20, 2007
4 out of 4 found this review helpful
Aside from the fact that the Rhythm section Wynton Kelly (piano), Paul Chambers (bass) and Art Blakey (drums) consisted of some the greatest men ever to practice the musical art we call jazz and each has contributed to a mountain of beautiful music in their own right. This album is special; it has that quality that even friends of mine who don't regularly choose to listen to jazz find enjoyable. It possesses a feeling throughout the entire recording that invites any listener to enjoy it; like better known works by other artist, "Kind of Blue", "Saxophone Colossus", and "My Favorite Things", come to mind. This album may be the best representation of Hank Mobley's warmer and playfully graceful sound. His technique was huge but he didn't flaunt it, his tone was beautiful but he didn't rest on it, and his creativity with melody was exceptional but he didn't lose the soul of the songs he interpreted. His melodic invention is a textbook of good and still surprising choices throughout, and at the same time easy to follow and enjoy for almost anyone even on the first listening. Even if you don't usually like jazz there is more than a good chance you'll appreciate this. I still can't figure out why more people haven't discovered this fantastic recording yet, but I'm glad I did. Mobley's "Workout", his work with Grant Green and with Miles Davis on "Live at the Blackhawk" are highly recommended but not of this level. Hank Mobley is an under-sung hero of the tenor who deserves all the praise I can offer. This one is in my personal top twenty favorite jazz recordings.
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