Some ruminations on the original poster's question.
Yes, I am also confused by the near idolatry that Mobley gets particularly on the old BNBB. I acknowledge his talent, but I think we would all agree that he is not the improvisor that we have with Rollins or Coltrane. Given that we could call him a "second tier" tenor player of his generation, I marvel at the amount of cyber ink Mobley gets over players such as Sonny Stitt and George Coleman, also "second tier" tenor players who in my opinion are much more talented.
I think that the Blackhawk recordings (I only have the late 80's releases and don't plan to upgrade)points out some of Mobley's weaknesses. I was playing the tune Walkin' from those Cds. I note Mobley's solo is about 6 minutes, longer than Miles's solo or Wynton Kelly's,which is by the way, longer than his solos from his Blue Note recordings. I note a certain rhythmic uncertainty, and that band demands you get into the pocket so to speak. Also I note a fair number of hard bop cliches and then after about 4 minutes, I thought really Hank you don't need to play another chorus, but he does and then does again and I find my attention wavering, because he's not really adding anything.
I then jumped to his justly acclaimed Soul Station cd (also with Kelly and Chambers, by the way)to play "this I dig of you" and note the solo is shorter, more cohesive, and he seems in the pocket, and great composition and good solos.
I then played "four and more" and "my funny valentine" from a couple of years later and marvel at how much more riveted I am by George Coleman's solos.
SO, bottom line, I recognize the talent, but yes I am also mystified at the level of fanaticism that surrounds him.