Tag Archives: Hank Mobley

Transcribed: Hank Mobley – Cattin’

Here is Hank Mobley’s solo from Cattin’ from The Jazz Message of Hank Mobley, Vol. 1. Cattin’ is a 12-bar blues in Bb. On Hank Mobley’s and Donald Byrd’s solos, there is a 16-bar tag added at the end. It’s 14 bars of a G pedal (F concert) It lands on C (Bb concert) on bar 15 and sets up the break for the next soloist to begin. There is also a measure and a half solo break before the beginning of the first chorus.

I really enjoyed learning this solo. There were a lot of little twists and turns that were revealed in the process. Hank Mobley superimposes some other chords over what the rhythm section is playing in a number of spots. For example, measures 9 and 10 of the first chorus could be interpreted as | Dmin7 / Eb7 / | Abmin7 / Db7 / | played over Dmin7 – G7. There are also cases of tritone substitution in bars 8 and 10 of the second chorus. There are a couple of other things in there too, but I won’t ramble on and risk being too pedantic.

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Videos: Mulgrew Miller – Advice for Young Jazz Musicians and Learning to Improvise

Here are two videos of jazz pianist Mulgrew Miller speaking and answering questions at a master class. The basic point he makes in these videos is that you must actively listen to the music to understand it and to learn to play it. Good stuff from a master musician.

Transcribed Lead Sheet: Cattin’ – Hank Mobley

I’m working my way through Hank Mobley’s solos on The Jazz Message of Hank Mobley and this is the next installment of sharing that process. Cattin’ is a 12-bar blues in Bb written by Mobley. As you can see on the leadsheet, the 5th-8th measures have a note to play an improvised fill. On the recording, Donald Byrd plays the fill on the 1st chorus and Hank Mobley plays it on the out chorus.

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Transcribed: Hank Mobley – There Will Never Be Another You

 

 

I just finished writing out Hank Mobley’s solo on There Will Never Be Another You from The Jazz Message of Hank Mobley. I’ve been working on and learning this solo for a few weeks now and made sure I had it down in a really solid way before committing it to paper or even trying to play it on the horn. First, using Audacity, I edited the sound file so that it only contained the solo. After that, I loaded it onto itunes and burned a cd of the solo. Next, I listened. I listened in the car. I listened at work. I listened when I ate. I listened…. you get the idea. Following that was singing along with the solo, and when I could do that and felt like I was getting everything, I started playing it on the saxophone. It may sound like overkill, but I think there’s a lot of value in this kind of immersive learning. I feel like this solo is burned into my brain now.
Anyway… Hank Mobley takes a 2-chorus solo and then later on splits a chorus of fours with Donald Byrd, who is playing trumpet. There Will Never Be Another You is a 32-bar ABAC form song, usually played in Eb concert. The transcribed solo is written for tenor saxophone in the transposed key of F.

In bar 58, there are ° and + written above each F in the measure. The ° is the regular fingering. For the +, finger low Bb to get the overtone F. If you keep your tongue and throat in the same position and keep your airstream steady, you shouldn’t have many problems going back and forth between the regular and overtone fingerings.

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ii-V of the day: Hank Mobley – 9.21.10

Today’s ii-V was played by Hank Mobley on There Will Never Be Another You from the 1956 The Jazz Message of Hank Mobley album. This album can be tough to come by. I could only find a Japanese import (expensive) when I was looking for it and ended up buying it because was about the only choice available at the time.

Hank Mobley’s lines are a good source of bebop vocabulary. He really outlined the harmony well and used the melodic devices of the time in a way that are accessible to the student (self-included!) looking to understand the mechanics of a good eighth-note line.

The ii-V starts off on the root of the Dmin7 followed by a chromatic lower neighbor tone. We then move up to the 3rd (F) and back down to the root. We then have an enclosure going to the C# (#11) on the downbeat of the G7 bar (D>C>C#). The C# can be analyzed as the beginning of an enclosure to the D 0n beat 2 (C#>E>D). We then move down in scalar motion until we get to the Ab (b9) on beat 4. This begins another enclosure, this time going to the G on beat 1 of the CMaj7 measure (Ab>F#>G). The line ends with 5-1 (G>C).

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