A Caddy for Daddy

Artist: Hank Mobley
Label: Blue Note Records
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 1

UPC: 077778423027
EAN: 0077778423027
ASIN: B000005HD3

Release Date: 1990-07-16

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Listmania:

Hank Mobley: My Favorites, In Order
Good time music from rockin' rhythm'n'blues to jumpin' jazz
Bluenote's Best
Some of my favorite Blue Note albums on CD
HEY, ISN'T THAT MY ALBUM COVER...
10 Great Jazz Albums (my favorites)
Billy Higgins on Drums

Tracks:

A Caddy For Daddy
The Morning After
Venus Di Mildew
Ace Deuce Trey
3rd Time Around

Similar Items:

No Room for Squares
The Turnaround!
Dippin'
Another Workout
Leapin' and Lopin'

Customer Reviews:

This would rate 5 stars just for Lee Morgan's solo on Venus de Mildew.......2006-12-28

This album presents a number of top muicians associated with Blue Note at the top of their form on a blowing date. Consequently, it is oriented more toward great playing than complex compositions -- although the compositions themselves are nothing to sneeze at. The result is a collection of cuts that feature really confident, inventive jazz playing by true masters. Rarely did Lee Morgan take better solos on record than he did here. McCoy Tyner is luminous, creative and articulate and Billy Higgins swings throughout in his own inimitable, buoyant way. This is a special and underappreciated album that should be heard more widely.

Not worth remastering........2006-11-19

The overly done separation between Morgan's trumpet and Mobley's horn could use a better mix, though the substance of the music hardly justifies another Van Gelder remastering (moreover, the new editions do little to address the problem of the "bottled-up" piano sound characterizing virtually every Van Gelder date). Ira Gitler, along with the other writers of Mobley's liner notes after 1963, can expatiate and prattle on about the tenor man's "development," "evolution," "growth," but it's painfully clear to anyone who discovered this brilliant musician's ceaselessly inventive melodic language and unforced, soulful sound in the '50's and early '60's that "Caddy" is another depressing record of compromise and concession by an artist who deserved far better.

The modal compositions and addition of McCoy Tyner, recently replaced by Alice in Coltrane's group, did nothing to expand Mobley's commercial appeal or earn him the "modernist" respect he felt compelled to court beginning in the sixties, especially after his brief, unenviable role as Coltrane's successor in Miles Davis' quintet (where he actually acquits himself handsomely when judged in terms of his own unique talent). Even the attempt (a rather feeble one) at a hip title for the recording (today, it might me "pimp my ride") betrays the confused nature of the session and its intended audience.

The man still can play, and some of the "old" Mobley emerges on "Venus di Mildew," but all followers of this towering giant (impossible to overrate, in my judgment) should rejoice that the brass at Capitol/Emi (i.e. Blue Note) recently saw fit to release (effectively, for the first time) "Another Workout," which would have to be titled "Exceptional Workout" were it a date by any other musician.

Another step ahead, another cut above.......2001-08-24

As with many of Hank Mobley's early-mid '60s Blue Note recordings, this effort leads off with the Rumproller-like title cut. What follows is a near ode to John Coltrane, the wonderfully haunting "The Morning After", augmented by Curtis Fuller's trombone. This and the fact that the pianist McCoy Tyner, who had recently split from the expanded classic Coltrane group, appears ought to arouse one's curiosity. But the tenor sax solo on "The Morning After" is no mere imitation - and, indeed, nothing of Mobley's ever is. The recording careens with Wayne Shorter's "Venus Di Mildew" evoking the feel produced in three of the group members' Blakeyan bands of the previous decade. Mobley flashes his adept songwriting skills in the last two numbers, the tricky "Ace Deuce Trey" (Mobley also keeps his string of great song-titles intact) and the closer, the avant-hard bop "3rd Time Around." Both songs cook. This is the sound of Hank Mobley in his mid-thirties, simultaneously honing and evolving his simmering tone and sound while showing his keen awareness of the changes that had swept through jazz by the time of this recording in late 1965. Tyner, Fuller and Mobley join the usual brand of high achievers, ever-steady Bob Cranshaw on bass, the joyous and bouncy Billy Higgins on drums and, naturally, Lee Morgan, the great trumpeter, to produce five lithe pieces that will swing forever. Hank Mobley isn't generally viewed as a great innovator, but a listener can hear him responding, in his own voice, to the rapidly changing musical form with an always listenable, rolling harmonic style; in other words, one can hear him aiming and hitting his mark. This CD is a rollicking, more risk-taking companion to the equally recommended "Dippin'", recorded earlier that year. With Hank Mobley's posthumous star growing brighter, it's no wonder his recordings seem more prescient now than ever.

Dynamic Duo.......2000-09-14

This cd is one of the few combinations of this dynamic duo. By duo I'm refering to the great Hank Mobley and the delightful Lee Morgan. I actucally purchased the cd because I'm a Lee Morgan fan. The combination of both these remarkable jazz greats is uncanny and unparalleled. You have to listen to the album to hear what I mean . Track #2, "The Morning After" is a masterfull flow of genius, demonstrated by both Morgan and Mobley. They simultaneously create a perfect rapture of Saxaphone and Trumpet on this selection that can never be recreated. This cd is a must, in order to complete the collection of any true jazz lover. None can compare with this combination of both Sax and Trumpet, except maybe when Miles Davis played with John Coltrane. Please see for yourself!

Dynamic Duo.......2000-09-14

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