Requisites
Peckin’ Time ~ Hank Mobley and Lee Morgan | By Eddie Carter
This morning’s record from the library is a perfect description of the term “two heads are better than one.” During the fifties and sixties, tenor saxophonist Hank Mobley and trumpeter Lee Morgan collaborated on several jazz albums. Peckin’ Time (Blue Note BLP 1574/BST 81574) is a 1959 release and one of their earliest dates together. Hank composed four of the five tunes on this album. They are joined by a fabulous rhythm section: Wynton Kelly on piano, Paul Chambers on bass, and Charlie Persip on drums. My copy is the 1978 King Record Company Japanese Mono reissue (Blue Note BLP 1574 – GXK 8095).
Side One takes off with the quintet’s brisk melody to High and Flighty. Hank starts right out of the gate quickly. Lee gets into a robust reading next, and then Wynton gives an enthusiastic statement. Charlie shares the closing solo with both horns in a vigorous conversation until the ensemble’s lively climax. The album’s only standard, Speak Low by Kurt Weill and Ogden Nash comes to life with the rhythm section’s Latin introduction to Lee beginning the theme and Hank completing the melody. Mobley opens with a warm tone in a delicate statement. Wynton enters next with a fine flow of ideas, then Lee eases into the finale before the theme’s restatement and finish.
Peckin’ Time is a catchy original beginning in a medium groove for the quintet’s melody. Wynton breaks the ice with a joyous and carefree solo. Hank approaches the following reading with confidence; then, Lee cooks in the third statement. Paul takes a short walk toward the front line’s final exchange into the closing chorus. Stretchin’ Out raises the temperature to begin Side Two with the ensemble’s fleet theme. Morgan takes flight first with a festive solo. Kelly fuels the second statement with energy, and then Mobley heats things up further before exchanging a few riffs with Persip. The drummer has a short workout until Morgan and Mobley add a few last thoughts to the ending.
Git Go Blues begins with the trio’s introduction leading to the quintet’s easygoing theme, giving way to Hank’s cheery opening statement. Lee continues the good feelings in the following solo. Wynton follows them both with a relaxing performance. Paul adds a concise comment next; then Hank ties it all together until the quintet takes it out after the theme reprise. Alfred Lion produced Peckin’ Time, and Rudy Van Gelder recorded the session. The album’s sound quality is excellent with a superb soundstage in the highs, midrange, and low end that’s sure to stand out on any good mid-fi or high-end audio system.
Hank Mobley and Lee Morgan always worked well together, and they consistently complimented each other’s playing. Lee appeared on seven additional Blue Note LPs with Mobley. Hank appeared on three records with Morgan. If you’re a fan of either musician and in the mood for excellent hard-bop jazz, I highly recommend and offer for your consideration, Peckin’ Time by Hank Mobley and Lee Morgan, the next time you’re out record shopping. It’s an enjoyable and entertaining album that’s sure to please any jazz lover and demonstrates why “two heads are better than one” fits this duo perfectly!
A Caddy For Daddy (Blue Note BLP 4230/BST 84230), A Slice of The Top (Blue Note LT-995), Charisma (Blue Note BST 84312), Cornbread (Blue Note BLP 4222/BST 84222), Dippin’ (Blue Note BLP 4209/BST 84209), Hank Mobley Sextet (Blue Note BLP 1540/BST 81540), No Room For Squares (Blue Note BLP 4149/BST 84149), Straight No Filter (Blue Note BST 84435), The Rajah (Blue Note BST 84426), Third Season (Blue Note LT-1081) – Source: Discogs.com
~ Speak Low – Source: JazzStandards.com
© 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Walt Yoder was born on April 21, 1914 in Hutchinson, Kansas. A piano player from age ten, he switched to bass as a teenager. Early in the 1930s he worked in the bands of Joe Haymes, Tommy Dorsey, and Jimmy Dorsey.
Yoder played with Woody Herman in the Isham Jones band in the middle of the 1930s. After this ensemble dissolved in 1936, Herman formed a new group with five of Jones’s former sidemen, including Walt. He remained with Herman through 1942 and played with him again in 1947-48.
Following his tenure with Herman, Yoder played with Ben Pollack, Russ Morgan, Bob Crosby, and Red Nichols. He did some works as a bandleader and in the studios near Los Angeles later in his life, playing into the 1970s.
Double bassist Walt Yoder, best known for his association with Woody Herman, died on December 2, 1978 in Los Angeles, California.
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Daily Dose Of Jazz…
Beaver Harris was born William Godvin Harris on April 20, 1936 in Pittsburgh, Pennsylvania. Coming from an athletic family, he played baseball as a teenager for the Kansas City Monarchs, which was part of the Negro American League, and was scouted by the Brooklyn Dodgers and New York Giants.
After his Army service, Beaver began playing drums. Moving in 1963 to New York City and was encouraged to pursue a musical career by Max Roach. The city did him quite well as he worked and/or toured with Marion Brown, Dexter Gordon, Albert Ayler, Joe Henderson, Freddie Hubbard, Clifford Jordan, Howard Johnson, Sheila Jordan, Lee Konitz, Thelonious Monk, Roswell Rudd, Sonny Rollins, McCoy Tyner, Sonny Stitt, Clark Terry, Chet Baker, Doc Cheatham and Larry Coryell among other musicians.
Harris founded a world music band calling it the 360 Degree Music Experience. The band included Buster Williams, Hamiet Bluiett, Don Pullen, Jimmy Garrison, Ron Carter, Ricky Ford, and many others.
Drummer Beaver Harris, who worked extensively with Archie Shepp, died of prostate cancer in New York City at the age of 55 on December 22, 1991.
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Daily Dose Of Jazz…
Piers Lawrence was born on April 19th in Manhattan, New York and raised in Palo Alto, California and Switzerland. He attended the Conservatoire de Musique de Lausanne. After finishing his studies he made San Diego, California his new home and established himself as a solo guitarist, band leader and session musician.
An alum of the Harlem-based Jazz-Mobile Orchestra he studied with Barry Galbraith and Ted Dunbar. Piers has played Broadway shows including Guys and Dolls, Dancin’, Eubie, and Your Arms Too Short to Box With God. He has toured and recorded with Wilson Picket, The Main Ingredient, Esther Phillips, Phyllis Hyman, The Caribbean All-Stars and Merl Saunders and the Rainforest Band.
He is the lead guitarist for the San Diego based Soul Jazz AllStars and the Piers Lawrence Quartet. He established a record label, JazzNet Media, which produces independent projects and Ambient Music for film and television.
Guitarist and songwriter Piers Lawrence continues to grace the stages of venues and festivals across the nation, service his corporate clients, and perform and record with Narada Michael Walden, Sammy Figueroa, Jerry Garcia and Tommy Flanagan, to name a few of the many.
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The Jazz Voyager
In the air once more leaving Philadelphia on my way back to the Emerald City on the West Coast to see a Philly born bassist I have seen perform since the Seventies. It will take place in a little spot called Dimitriou’s Jazz Alley in downtown Seattle, Washington at the corner of 6th and Lenora. The intimate atmosphere sets everyone no more than fifty feet from the stage and I’m looking forward to some calamari and gelato.
So one of my favorite bassists is NEA Jazz Master, four-time Grammy winner and living legend Stanley Clarke will be on stage tonight. He is a virtuoso on both acoustic and electric bass and the first jazz-fusion bassist ever to headline tours. Co-founder of the seminal fusion group Return to Forever with Chick Corea and Lenny White, in 2012 Return to Forever won a Grammy Award and Latin Grammy for Best Jazz Instrumental Album, Forever.
The downtown location is at 2033 6th Avenue, 98121. Reservations are recommended. For more information go to https://notoriousjazz.com/event/stanley-clarke.
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