Hank Mobley was one of the most lyrical and swinging tenor saxophonists in jazz history, and his 1960 album “Soul Station” is a masterpiece of hard bop that showcases his musical personality and creativity. The album features a superb rhythm section of Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums, who provide the ideal backdrop and contrast for Mobley's smooth and soulful lines.
The album opens with “Remember”, a catchy tune by Irving Berlin that Mobley turns into a hard bop gem. He plays with a clear and crisp tone, using catchy phrases, subtle variations, and dynamic accents to express the melody and improvise over the form. Kelly follows him with a sparkling solo that displays his harmonic and rhythmic mastery, while Chambers and Blakey keep the groove tight and swinging.
The next track, “This I Dig Of You”, is an original composition by Mobley. It is a fast-paced tune with a catchy riff where Mobley and Kelly trade fiery solos, displaying their agility and inventiveness, while Blakey adds some explosive fills and cymbal crashes. The interplay between Mobley and Blakey is especially impressive, as they anticipate and respond to each other's ideas.
The third track, "Dig Dis", is another original by Mobley, and one of his most popular tunes. It is a medium-tempo blues with a simple but effective melody that sets the mood for some relaxed and swinging solos. Mobley demonstrates his ability to create long and coherent lines that flow seamlessly over the changes, using some bluesy and funky elements, such as bends, slurs, and repeated notes, to add some flavor and spice to his solo. Kelly complements him with a tasteful and supportive solo, adding some contrast and variety to the track.
The first track on side two, “Split Feelin's”, is a fast and energetic tune that showcases Mobley's versatility and agility. He plays with a crisp and clear tone, executing complex and rapid phrases with ease and precision. He also displays his harmonic knowledge, using chromatic and modal devices to create tension and resolution. Kelly follows him with an equally impressive solo. Then, Mobley and Blakey engage in a thrilling trading of fours, where they exchange four-bar phrases with each other, demonstrating their virtuosity and creativity. The track is a thrilling example of hard bop at its best, with a high level of musicianship and communication.
The title track, “Soul Station”, is a medium-tempo “classic” 16-measure blues with a catchy and soulful melody. It is one of Mobley's most famous compositions, and one that reflects his personality and style. He plays with a relaxed and confident attitude, expressing himself with grace and swing. He also uses some bluesy and funky elements, such as bends, slurs, and repeated notes, to add some flavor and spice to his solo. Kelly follows him with a skillful and elegant solo. Blakey provides a steady and swinging accompaniment, enhancing the groove and the mood of the tune. And Chambers also gets a chance to shine, with a brief but brilliant bass solo that showcases his impeccable technique and tone. The track is a perfect example of Mobley's soulful and elegant approach to the blues, and one that has become a jazz standard.
The last track, “If I Should Lose You”, is a beautiful ballad by Ralph Rainger and Leo Robin, and one of the two standards on the album. Mobley plays it with a warm and tender tone, expressing the melody with grace and emotion. He also adds some subtle embellishments and variations, without losing the essence of the tune. Kelly follows with a sensitive and tasteful solo, while Chambers and Blakey provide a gentle and steady accompaniment.
“Soul Station” is a timeless classic of hard bop, and a testament to Hank Mobley's talent and creativity. It is an album that deserves to be heard and appreciated by all jazz lovers, as it captures the essence of Mobley's style and personality. It is also a great example of how a routine recording session can become a masterpiece, thanks to the skill and chemistry of the musicians involved. The album has received rave reviews from critics, such as Pete Welding of DownBeat, who described it as “a well-balanced and tasty blowing session that benefits from thoughtful preparation, [and which] finds the tenor saxophonist fronting a quartet composed of three of the finest rhythm men in the business.” Awarding the album five stars, AllMusic reviewer Stacia Proefrock concluded: “Overall, this is a stellar set from one of the more underrated musicians of the bop era.” Bob Blumenthal goes on to describe the recording as “one of the finest programs of music on Blue Note or any other label.”
“Soul Station” is not only one of Hank Mobley's best albums, but also serves as a wake-up call to just how bad-ass Mobley was, breaking free from his usual style here and crafting a subtle masterpiece.
It is a treat to see and read this piece about Hank Mobley. He was a very important voice in the post-bop movement, with many Blue Note albums as leader and several as a sideman. I believe his four best albums for Blue Note are “Soul Station”, “Roll Call”, “Workout”, and “Another Workout”. He composed prolifically, as cited in this piece, and his improvisations are studied and transcribed by serious students of jazz regularly. I believe he doesn’t get a deserved amount of recognition as a true giant in the history of jazz.