Album Info
| Artist: | Hank Mobley |
| Album: | Third Season |
| Gatefold: | Yes |
| Released: | Worldwide, 7 Mar 2025 |
Tracklist:
| A1 | An Aperitif | 6:52 |
| Written-By - Hank Mobley | ||
| A2 | Don't Cry, Just Sigh | 6:51 |
| Written-By - Mobley | ||
| A3 | Steppin' Stone | 5:36 |
| Written-By - Lee Morgan | ||
| B1 | The Third Season | 6:44 |
| Written-By - Mobley | ||
| B2 | Boss Bossa | 5:11 |
| Written-By - Mobley | ||
| B3 | Give Me That Feelin' | 6:33 |
| Written-By - Mobley |
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Description
Hank Mobley's album "Third Season" is a fascinating entry in the jazz saxophonist's discography. Recorded in February 1967 but not released until 1980, this album showcases Mobley's signature hard bop style while also hinting at the modal and post-bop influences that were becoming prominent in jazz during the late 1960s. The delay in its release is not uncommon for Blue Note Records, as the label often shelved recordings for years before bringing them to the public, and "Third Season" is a prime example of a hidden gem that might have been overlooked in its time.
The album features a stellar lineup of musicians, including Lee Morgan on trumpet, Cedar Walton on piano, Walter Booker on bass, and Billy Higgins on drums. This ensemble brings a cohesive and dynamic energy to the recording, with each musician contributing their unique voice while maintaining a unified sound. Mobley's tenor saxophone playing is as lyrical and soulful as ever, and his compositions on this album are both intricate and accessible, showcasing his talent as both a performer and a writer.
One of the standout tracks on "Third Season" is the title track, which opens the album with a driving rhythm and a memorable melody. Mobley's soloing here is particularly inspired, weaving through the harmonic structure with a sense of purpose and creativity. Another highlight is "Don't Cry, Just Sing", a piece that balances a bluesy feel with a more modern harmonic approach, allowing the musicians to explore a wide range of emotions and textures. The interplay between Mobley and Morgan is especially noteworthy, as the two horn players complement each other beautifully throughout the album.
The production on "Third Season" is classic Blue Note, with Rudy Van Gelder's engineering capturing the warmth and immediacy of the performances. The sound is crisp and clear, allowing each instrument to shine while maintaining a sense of intimacy. This is particularly important for an album like this, where the subtleties of the musicians' interactions are a key part of the listening experience.
While "Third Season" may not be as well-known as some of Mobley's earlier works, such as "Soul Station" or "No Room for Squares", it is a valuable addition to his catalog and a testament to his enduring artistry. The album serves as a reminder of Mobley's ability to adapt to the changing landscape of jazz while staying true to his own voice. For fans of hard bop and post-bop, "Third Season" is a must-listen, offering a glimpse into the creative process of one of jazz's most underrated saxophonists.
In conclusion, "Third Season" is a compelling album that deserves more recognition than it has received. Its delayed release may have contributed to its relative obscurity, but it stands as a testament to Hank Mobley's talent and vision. Whether you're a longtime fan or new to Mobley's music, this album is well worth exploring for its rich compositions, stellar performances, and timeless appeal.
