HANK MOBLEY NO ROOM FOR SQUARES LP on BLUE NOTE VAN GELDER NICE

$

50

Here is an EXCELLENT PLUS! copy of the LP from HANK MOBLEY titled NO ROOM FOR SQUARES. This LP is pressed on the BLUE NOTE, LIBERTY label, catalog #BST 84149 in STEREO sound. This LP was originally released in 1963. The vinyl is in EXCELLENT PLUS! condition shiny and black with a few wispy non-sounding sleeve marks that should not affect the excellent playback. The original cardboard cover is in EXCELLENT MINUS! condition with some light edge, corner and ring wear. It is an EXCELLENT PLUS! copy of this LP for you to own. It is an opportunity to purchase this LP in this condition. It’s a true gem for the HARD BOP JAZZ collector! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. Thanks for Looking & Good Luck!

Music Review from AllMusic.com by Thom Jurek

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley's strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan's "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley's solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill's open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.