michel1969 Posted April 27, 2008 Report Share Posted April 27, 2008 (edited) I wanted to start a topic about this book. It is interesting to note that it is focused exclusively on Mobley's music. Nothing new will be found about about his life and in general and in the jazzlife. After having red this book, Mobley's life and thoughts will remain mysterious. Basically the book focuses on Hank's recording sesssions (both as leader and sideman) from the 50's to the begining of 70's. Each record is analysed with more or less accuracy and interest. Enlightment on non issued sessions like "Poppin" or "Curtain call" or later "Slice of the Top" is interesting. BLP 1568 Is totally forgotten, anyway (p.43) Seems like this session has never existed (but it is listed in the discography at the end of the book (p.168). On p.35, the original "Informal Jazz" title for the Elmo Hope session reissued as "Two tenors" is apparently not known by the author.. Anyway, i believe many of you will have more interesting things to say about the book... Edited April 27, 2008 by Michel Quote Link to comment Share on other sites More sharing options...
Dan Gould Posted April 27, 2008 Report Share Posted April 27, 2008 I wanted to start a topic about this book. It is interesting to note that it is focused exclusively on Mobley's musing. Nothing new will be found about about his life and in general and in the jazzlife. After having red this book, Mobley's life and thoughts will remain mysterious. Basically the book focuses on Hank's recording sesssions (both as leader and sideman) from the 50's to the begining of 70's. Each record is analysed with more or less accuracy and interest. Enlightment on non issued sessions like "Poppin" or "Curtain call" or later "Slice of the Top" is interesting. BLP 1568 Is totally forgotten, anyway (p.43) Seems like this session never exists (but is lised in the discography at the end of the book (p.168). on p.35, the original "Informal Jazz" title for the Elmo Hope session reissued as "Two tenors" is apparently not known by the author.. Anyway, i believe many of you will have more interesting things to say about the book... Thanks for the description; I'll confidently cross this book off of the list. I'm interested in learning about Hank's "life and thoughts" - I'll listen to the music rather than read what someone thinks of it. Quote Link to comment Share on other sites More sharing options...
sidewinder Posted April 27, 2008 Report Share Posted April 27, 2008 (edited) I didn't personally agree with some of the opinions regarding merits or otherwise of various sessions. 'Dippin' and 'A Caddy For Daddy' (especially) are better than pedestrian, IMO. Having said that, the book was an enjoyable read and did point me back in the direction of some lesser known Mobley sessions (including 'Curtain Call' and 'Poppin'). Strange that there's no mentionof some of the sideman dates, including Freddie Roach 'Good Move' and Grant's 'I Want To Hold Your Hand'. A bit too much repetition of facts in places too - got a bit annoying after a while. Michelle Mercer's Book about Wayne Shorter fell into this trap too. Edited April 27, 2008 by sidewinder Quote Link to comment Share on other sites More sharing options...
JohnS Posted April 27, 2008 Report Share Posted April 27, 2008 I've never thought very much of Ansell's writing and reviews in Jazz Journal (not that I read it these days). He just states the obvious and doesn't get into the music. Quote Link to comment Share on other sites More sharing options...
jlhoots Posted April 27, 2008 Report Share Posted April 27, 2008 I wanted to start a topic about this book. It is interesting to note that it is focused exclusively on Mobley's musing. Nothing new will be found about about his life and in general and in the jazzlife. After having red this book, Mobley's life and thoughts will remain mysterious. Basically the book focuses on Hank's recording sesssions (both as leader and sideman) from the 50's to the begining of 70's. Each record is analysed with more or less accuracy and interest. Enlightment on non issued sessions like "Poppin" or "Curtain call" or later "Slice of the Top" is interesting. BLP 1568 Is totally forgotten, anyway (p.43) Seems like this session never exists (but is lised in the discography at the end of the book (p.168). on p.35, the original "Informal Jazz" title for the Elmo Hope session reissued as "Two tenors" is apparently not known by the author.. Anyway, i believe many of you will have more interesting things to say about the book... Thanks for the description; I'll confidently cross this book off of the list. I'm interested in learning about Hank's "life and thoughts" - I'll listen to the music rather than read what someone thinks of it. I agree. Quote Link to comment Share on other sites More sharing options...
Tom 1960 Posted April 28, 2008 Report Share Posted April 28, 2008 Sorry to read some of the negative comments concerning the upcoming book. I was looking to purchase this in the next month or so. Looks like my money might be best served elsewhere. I do appreciate the input. Quote Link to comment Share on other sites More sharing options...
andybleaden Posted April 28, 2008 Report Share Posted April 28, 2008 Got my copy through today (used too!) So I will give it a whirl...had a quick glance and found out 2 new things about Hank already so I am keen! Quote Link to comment Share on other sites More sharing options...
gaston Posted April 29, 2008 Report Share Posted April 29, 2008 I'have just finished the book of derek ansell. infortunately if i can read english i'm not able to write properly. so my contribution in french fot the happy few... Je viens de terminer ( c'est une lecture très rapide :160 pages toutes mouillées ) l'essai de derek ansell sur hank mobley, seul bouquin à ma connaissance consacré, jusque là , à l'ami Hank. Lecture faite le débonnaire ansell n'en sait pas plus que moi. La vie de hank, et singulièrement les 15 dernières années de sa vie demeurent un mystère total. Ansell en est réduit ( comme moi ) à exploiter les « liner notes « de ses ( heureusement ) nombreux albums, chez blue note essentiellement, trois interviews données en tout et pour tout, une à val vilmer de melody maker et une à down beat en 73. les explications de cette incroyable obscurité pour ce musicien unique par son originalité et son abondante production sont diverses. Évidemment le style de hank était très loin de la flamboyance de ses contemporains du même niveau, rollins et coltrane. Idem pour ses ainés comme dexter gordon. De plus , hormis à charlie parker, comme tout le monde, il ne se rattachait réellement à aucune école. Pourtant ce musicien qui a joué avec miles, monk, ellington, dizzy, art blakey et créé une oeuvre considérable est toujours resté dans l'ombre. Une autre explication tient sans doute à sa personnalité, extrêmement introvertie. Une anecdote que nous révèle ansell est significative. Lors de ses passages en club, après les sets, au lieu de rester avec les autres musiciens, hank se réfugiait dans sa vieille buick sur le parking et ne revenait que pour jouer. Évidemment ça ne facilite pas le business. De fait il n'a jamais dirigé, autrement que sur disque, d'orchestre, il en était incapable. D'autres musiciens ont connu ce type de trajectoires ( pepper, chet baker, bix ) mais ils étaient blancs et donc pouvaient endosser le costume de héro romantique. A l'époque, pour les noirs , ce costume n'existait pas. Quoiqu'il en soit revenons au bouquin; il faut le lire bien sur.Ansell est pénétré de l'idée de l'importance considérable de hank mais, hormis des analyses techniques et/ou artistiques de son oeuvre, vous n'en apprendrez pas plus. Cedar walton avance l'idée que, au début des années 70, hank conscient de son incapacité à survivre musicalement dans le monde free jazz/ fusion est allé se cacher à philadelphie pour ne pas monter sa déchéance à new york. Quote Link to comment Share on other sites More sharing options...
BruceH Posted April 29, 2008 Report Share Posted April 29, 2008 You said it. Quote Link to comment Share on other sites More sharing options...
BillF Posted April 30, 2008 Report Share Posted April 30, 2008 I'have just finished the book of derek ansell. infortunately if i can read english i'm not able to write properly. so my contribution in french fot the happy few... Je viens de terminer ( c'est une lecture très rapide :160 pages toutes mouillées ) l'essai de derek ansell sur hank mobley, seul bouquin à ma connaissance consacré, jusque là , à l'ami Hank. Lecture faite le débonnaire ansell n'en sait pas plus que moi. La vie de hank, et singulièrement les 15 dernières années de sa vie demeurent un mystère total. Ansell en est réduit ( comme moi ) à exploiter les « liner notes « de ses ( heureusement ) nombreux albums, chez blue note essentiellement, trois interviews données en tout et pour tout, une à val vilmer de melody maker et une à down beat en 73. les explications de cette incroyable obscurité pour ce musicien unique par son originalité et son abondante production sont diverses. Évidemment le style de hank était très loin de la flamboyance de ses contemporains du même niveau, rollins et coltrane. Idem pour ses ainés comme dexter gordon. De plus , hormis à charlie parker, comme tout le monde, il ne se rattachait réellement à aucune école. Pourtant ce musicien qui a joué avec miles, monk, ellington, dizzy, art blakey et créé une oeuvre considérable est toujours resté dans l'ombre. Une autre explication tient sans doute à sa personnalité, extrêmement introvertie. Une anecdote que nous révèle ansell est significative. Lors de ses passages en club, après les sets, au lieu de rester avec les autres musiciens, hank se réfugiait dans sa vieille buick sur le parking et ne revenait que pour jouer. Évidemment ça ne facilite pas le business. De fait il n'a jamais dirigé, autrement que sur disque, d'orchestre, il en était incapable. D'autres musiciens ont connu ce type de trajectoires ( pepper, chet baker, bix ) mais ils étaient blancs et donc pouvaient endosser le costume de héro romantique. A l'époque, pour les noirs , ce costume n'existait pas. Quoiqu'il en soit revenons au bouquin; il faut le lire bien sur.Ansell est pénétré de l'idée de l'importance considérable de hank mais, hormis des analyses techniques et/ou artistiques de son oeuvre, vous n'en apprendrez pas plus. Cedar walton avance l'idée que, au début des années 70, hank conscient de son incapacité à survivre musicalement dans le monde free jazz/ fusion est allé se cacher à philadelphie pour ne pas monter sa déchéance à new york. Interessant! Merci de votre petite critique. Quote Link to comment Share on other sites More sharing options...
andybleaden Posted April 30, 2008 Report Share Posted April 30, 2008 Been reading this on and off now for 2 days and find it a good read. Could have used some of the internet based anecdotes about Hank with more gusto I think especially around the latter part of his career. Seen much of that on here especially with relation to the last years/the Blue Note concert etcetc However it is a very very interesting read I must say and one which I intend to finish soon Quote Link to comment Share on other sites More sharing options...
mikeweil Posted October 3, 2009 Report Share Posted October 3, 2009 Any new opinions about this? Quote Link to comment Share on other sites More sharing options...
fomafomic65 Posted October 11, 2009 Report Share Posted October 11, 2009 Michelle Mercer's Book about Wayne Shorter fell into this trap too. Generally agreed and aware of the problem, when it comes to jazz biographies... Quote Link to comment Share on other sites More sharing options...
BruceH Posted October 11, 2009 Report Share Posted October 11, 2009 Any new opinions about this? Rather nice title... Quote Link to comment Share on other sites More sharing options...
Brad Posted May 21, 2018 Report Share Posted May 21, 2018 There was an article in Jazz Profiles yesterday about the book Hank Mobley: Workout Quote Link to comment Share on other sites More sharing options...
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