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Hank's new record- its own thread


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Sounds pretty good. Thanks for posting. Any guesses as to how many pages the Uptown booklet will be, and the big issue - will you be able to get it back in the jewel case once you've removed it!?

I just got the pre-release of volume one of the booklet. Further volumes at bi-monthly intervals.

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Sounds pretty good. Thanks for posting. Any guesses as to how many pages the Uptown booklet will be, and the big issue - will you be able to get it back in the jewel case once you've removed it!?

I just got the pre-release of volume one of the booklet. Further volumes at bi-monthly intervals.

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What's that? The Obamacare law? Just joking with our American friends. :)

Edited by John Tapscott
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Judging by the clips it sounds more like it was Bennie Green's date, he seems to take the lead in most of the samples

I like Bennie Green, so if it was, that's OK with me. I'm sure the liner notes will reveal all. Hank's name on the cover no doubt sells more. Looking forward to hearing Walter Davis Jr., too.

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Judging by the clips it sounds more like it was Bennie Green's date, he seems to take the lead in most of the samples

I like Bennie Green, so if it was, that's OK with me. I'm sure the liner notes will reveal all. Hank's name on the cover no doubt sells more. Looking forward to hearing Walter Davis Jr., too.

It's fine with me too but does make me wonder how much Hank we will hear. Looking forward to it anyway. Sound quality sounds really pretty good for 1953.

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apparently guest star Bennie Green with a local house band... (though the recording is from a Monday night)

"Red Foxx came to town," Persip remembers, "and he was M.C. of a club in Newark called the Piccadilly, which was a very big, cabaret style club. And he had a jazz night. And so every Tuesday he would bring in a star – a major name in jazz. And he hired Hank Mobley and Walter Davis, Jr., and myself, and a bass player named Jimmy Skank. And we were the house quartet for that night. And one night, Benny Green, the trombonist, was the featured performer. And we had a really good night, and the band was groovin’. And after the gig, Green told me he liked my playing and would I like to have a gig? And I said, ‘Yeah,’ and he said, ‘Well, call this number…’"

from here

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Bennie was the star soloist hired to front the house band so no surprise that he might lead off most solos. But I figure with 12 songs over 140+ minutes, there's plenty of space for Hank.

God I wish I could leave work right now so I can run home to hear these clips.

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Hi folks,

Maybe you will be interested by the following session (also from Ozzie Cadena)

HANK MOBLEY QUINTET

Howard McGhee (tp), Hank Mobley (ts), Stan Hope (p), Curley Bell (b), Milton Hayes (dm)

The Picadilly, Newark, NJ, November 2, 1953

Donna Lee 5:00

Lady be good 9:00

April in Paris 9:00

Whispering (incomplete) 9:00

Billie's bounce 7:50

How high the moon 7:45

Howard McGhee (tp), Hank Mobley (ts), Stan Hope (p), Larry Goins (b), Milton Hayes (dm)

The Picadilly, Newark, NJ, November 2, 1953

Anthropology 11:15

Howard McGhee (tp), Hank Mobley (ts), Stan Hope (p), Larry Goins (b), Charlie Persip (dm)

The Picadilly, Newark, NJ, November 2, 1953

Black velvet 6:45

Body and soul 7:20

Wee dot 9:45

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apparently guest star Bennie Green with a local house band... (though the recording is from a Monday night)

"Red Foxx came to town," Persip remembers, "and he was M.C. of a club in Newark called the Piccadilly, which was a very big, cabaret style club. And he had a jazz night. And so every Tuesday he would bring in a star – a major name in jazz. And he hired Hank Mobley and Walter Davis, Jr., and myself, and a bass player named Jimmy Skank. And we were the house quartet for that night. And one night, Benny Green, the trombonist, was the featured performer. And we had a really good night, and the band was groovin’. And after the gig, Green told me he liked my playing and would I like to have a gig? And I said, ‘Yeah,’ and he said, ‘Well, call this number…’"

from here

Thanks for the link. Very interesting article. I must quote the conclusion of that story:

And what of that phone number that Benny Green handed to him back in 1953?

"Well," remembers Persip, his eyes twinkling, "Green gave me the number on a slip of paper, but never told me whose number it was. I called…and a male voice answered the phone. And the voice said, ‘Hello?’ and I said, ‘Uh, hello, who is this?’ And the voice said, ‘Well, who are you?’ And I said, ‘Well, I’m Charli Persip, and Benny Green gave me this number.’ And the voice said, ‘Oh, Benny Green,’ he said. ‘Benny told you to call me?’ I said, ‘Yeah.’ And the voice said, ‘Well, I’m Dizzy.’ And I said, ‘Dizzy who?’ He said, ‘Dizzy Gillespie!’ And I almost dropped the phone. Because by that time, Dizzy Gillespie, he was like my idol. And the rest, as they say, is history."

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Well this is my hope, that Ozzie had a lot of tapes (and who knows what other artists he recorded?) and that Uptown made a deal for the whole kit and caboodle, and we're going to see many amazing releases in the coming years.

I don't know how many tapes are in the collection but I do know another label was interested in acquiring them and they had to get the whole lot (but lost out) so I assume it was the same deal for Uptown.

I guess we can expect a lot of good things from them in the future (and not only from this source)

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Hi folks,

You want more?

As I asked him about Bud Powell, Ozzie Cadena sent me the following information:

Johnny Coles (tp), Jay Jay Johnson (tb), Jimmy Tyler (as), Bud Powell (p, voc), Stan King (b), Charlie Persip (dm)

The Picadilly, Newark, NJ, September 24, 1953

Bud’s original ballad-vocBP (2:40)

Ornithology (11:45)

Little Willie leaps (4:30)

Stella by starlight “Atempo” (???)

Note: Bud played also at Birdland on September 24,1953.

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Da Bastids say Yes I CAN Haz Hankburger!

http://www.dustygroove.com/item.php?id=2wxxr8fxh4&ref=index.php

You know, I think Dusty Groove Madlibs could have done much better than they did ...

The recording quality's aged a bit with time, but the genius of Mobley shines through right away – that bold, soulful approach to tenor sax that's unlike anyone else – and which went onto raise the standard for generations of players to come! Hank really gets to stretch out here, as most of the tracks are nice and long, and help show a side of Mobley's world that didn't always appear in the more polished setting of the studio.

Edited by Dan Gould
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