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2013 Waxtime Direct Metal Mastering Stereo Reissue of Classic 1961 Blue Note Release of Bandleader/Composer/Tenor Saxophone Master Hank Mobley Entitled Workout, Original Session Produced by Alfred Lion, Original Session Recorded by Rudy Van Gelder, Recorded at Englewood Cliffs, New Jersey on March 26 in 1961 - "One of the Blue Note label's definitive hard bop artists, tenor saxophonist  remains somewhat underappreciated for his straightforward, swinging style. Any characterization of  invariably begins with critic 's assertion that he was the "middleweight champion of the tenor saxophone," meaning that his tone wasn't as aggressive and thick as  or , but neither was it as soft and cool as  or . Instead, 's in-between, "round" (as he described it) sound was controlled and even, given over to subtlety rather than intense displays of emotion. Even if he lacked the galvanizing, mercurial qualities of the era's great tenor innovators,  remained consistently solid throughout most of his recording career. His solo lines were full of intricate rhythmic patterns that were delivered with spot-on precision, and he was no slouch harmonically either. As a charter member of 's Jazz Messengers,  helped inaugurate the hard bop movement: jazz that balanced sophistication and soulfulness, complexity and earthy swing, and whose loose structure allowed for extended improvisations. As a solo artist, he began recording for Blue Note in the latter half of the '50s, and hit his peak in the first half of the '60s with hard bop cornerstones like , , and .  was born on July 7, 1930, in Eastman, GA, and grew up mostly in Elizabeth, NJ. Several family members played piano and/or church organ, and  himself learned piano as a child. He switched to the saxophone at age 16, initially modeling his style on players like , , , , and . He soon started playing professionally in the area, and built enough of a reputation that trumpeter  recommended him for a job without having heard him play. That job was with 's Newark-based R&B band, which he joined in 1949, doubling as a composer. He departed in 1951 and joined the house band at a Newark nightclub, where he played with pianist  and backed some of the era's top jazz stars. That led to a job with , who hired both  and  after performing with them; they all recorded together in early 1953, at one of the earliest sessions to feature  as a leader. Meanwhile,  continued to gig around his home area, playing with the likes of , , and , among others; he also served two weeks in 's orchestra in 1953. Mobley spent much of 1954 performing and recording with . He left in September to join pianist 's group, which evolved into a quintet co-led by  and dubbed the Jazz Messengers. Their groundbreaking first album for Blue Note, 1955's , was a landmark in the genesis of hard bop, with its sophisticated solos and bright, almost funky rhythms.  led his first session for Blue Note, , in 1955, and recorded for Savoy and Prestige during 1956. In the middle of that year, the original lineup of the Jazz Messengers split, with  keeping the name and  forming a new group.  stayed with  until 1957, by which time he had begun to record prolifically as a leader for Blue Note, completing eight albums' worth of material over the next 16 months. Some of his best work, such as  and , was cut with a selection of old Messengers mates. Not all of his sessions were released at the time, but some began to appear as import reissues in the '80s. Often composing his own material,  was beginning to truly hit his stride with 1958's , when a worsening drug problem resulted in an arrest that took him off the scene for a year. Upon returning to music in 1959,  oriented himself by rejoining  in the Jazz Messengers for a short period. His comeback session as a leader was 1960's classic , near-universally acknowledged as his greatest recorded moment.  cut two more high-quality hard bop albums,  and , over 1960-1961, as well as some other sessions that went unreleased at the time. In 1961,  caught what looked to be a major break when he was hired to replace  in ' quintet. Unfortunately, the association was a stormy one;  came under heavy criticism from the bandleader, and wound up leaving in 1962. He returned to solo recording with 1963's , often tabbed as one of his best efforts, before drug and legal problems again put him out of commission during 1964. Energized and focused upon his return,  recorded extensively during 1965, showcasing a slightly harder-edged tone and an acumen for tricky, modal-flavored originals that challenged his sidemen. At the same time,  found a funkier soul-jazz sound starting to creep into his work, an approach that reached its apex on the infectious  later that year. recorded steadily for Blue Note through the '60s, offering slight variations on his approach, and continued to appear as a sideman on a generous number of the label's other releases (especially frequent collaborator ). 1966's  found  fronting a slightly larger band arranged by , though it went unissued until 1979. After cutting the straightforward  in 1967,  embarked on a brief tour of Europe, where he performed with . He returned to the U.S. to record the straight-ahead  and  that year, and tried his hand at commercially oriented jazz-funk on 1968's . Afterward, he took 's advice and returned to Europe, where he would remain for the next two years. 1969's  was recorded in Paris, and  returned to the States to lead his final session for Blue Note, , in 1970 (it wasn't released until ten years later). He subsequently co-led a group with pianist , which recorded the excellent  in 1972. Sadly, that would prove to be 's last major effort. Health problems forced him to retire in 1975, when he settled in Philadelphia. He was barely able to even play his horn for fear of rupturing a lung; by the dawn of the '80s, he was essentially an invalid. In 1986, he mustered up the energy to work on a limited basis with ; however, he died of pneumonia not long after, on May 30, 1986. During 's heyday, most critics tended to compare him unfavorably to , or dismiss him for not being the innovator that  was. However, in the years that followed 's death, Blue Note hard bop enjoyed a positive reappraisal; with it came a new appreciation for 's highly developed talents as a composer and soloist, instead of a focus on his shortcomings." - "This is one of the best-known  recordings, and for good reason. Although none of his four originals ("Workout," "Uh Huh," "Smokin'," "Greasin' Easy") caught on, the fine saxophonist is in top form. He jams on the four tunes, plus "The Best Things in Life Are Free," with an all-star quintet of young modernists -- guitarist , pianist , bassist , and drummer  -- and shows that he was a much stronger player than his then-current boss  seemed to think." -  Spectacular Personnel for the Quintet Features Legendary Composer Hank Mobley on Tenor Saxophone, the Great Grant Green on Guitar, the Talented Wynton Kelly on Piano, the Brilliant Paul Chambers on Bass and the Amazing Philly Joe Jones on Drums! - Selections on Side A Are Original Hank Mobley Compositions Workout & Uh-Huh at 10 Minutes 49 Seconds - Tracks for Side B Consist of the Hank Mobley Penned Smokin' at 7 Minutes 32 Seconds, the Lew Brown/Buddy DeSylva/Ray Henderson Standard the Best Things in Life Are Free and the Hank Mobley Song Greasin' Easy - Used Copy, Cover Near Mint Still in Plastic Sealant Wrap, Record Mint- - Worktime 180 Gram Audiophile Grade Pure Virgin Vinyl, Stereo Recording, Product Code 771853 - California Residents Add 9.75% Sales Tax - International S & H Extra -