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Soul Station


Price: $19.47 & FREE Shipping on orders over $35. Details
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Product Details

  • Vinyl (May 27, 2014)
  • Original Release Date: 2014
  • Number of Discs: 1
  • Label: Blue Note (Universal)
  • ASIN: B00JGWKN9G
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (55 customer reviews)
  • Amazon Best Sellers Rank: #10,622 in Music (See Top 100 in Music)

Customer Reviews

4.9 out of 5 stars
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One of my favorite albums.
Mick_Under the Influence
His tone is incredible, as if he is blowing melodic, lyrical lines of warm satin out of his horn.
Pharoah S. Wail
Hank Mobley was a great sax player.
Mark Anderson

Most Helpful Customer Reviews

57 of 58 people found the following review helpful By Pharoah S. Wail VINE VOICE on January 7, 2005
Format: Audio CD
Recorded by Rudy Van Gelder in February of 1960, Hank Mobley (tenor sax), Wynton Kelly (piano), Paul Chambers (bass) and Art Blakey (drums) created one of the best Blue Note albums of all time. Or at the very least, one my my favorites. =)

I feel like I always say the same thing about Hank's playing, but I'll say it again. He had remarkable restraint. He never has what I would call "ecstatic emotional highs", but he is calmly emotionally powerful almost all the time. He doesn't work himself up into a froth and a frenzy, buliding up to any sort of freewheeling burst of saxophonic energy as some other tenor players might do. I guess that can be a good or a bad thing, depending on your mood at the time, or your tastes as a whole, but I think it's fascinating. His tone is incredible, as if he is blowing melodic, lyrical lines of warm satin out of his horn.

There isn't one tune here I could say anything bad about. Everyone is ON... ALL the time. Art Blakey was swing incarnate on this date, and Wynton Kelly was Wynton Kelly... lyrical, playful, bluesy as all get-out. I love Wynton's playing. There's just no other way to put it. He was one of the most tuned-in pianists ever. His touch and approach feel like they were tailor-made for my soul. Honestly, even if you didn't much like Hank himself I could still see you liking this album just by focusing on Wynton, Paul and Art. They are a killer band in and of themselves... everyone just milking every ounce of style and heart out of every tune presented here. You didn't think I had forgotten about Paul, did you? The great bassist at the core of probably more fantastic sessions than any other bassist in history. James Jamerson of Motown is (well, was) the only other bass player I can think of who may rival that number.
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30 of 30 people found the following review helpful By Samuel Chell HALL OF FAMETOP 500 REVIEWERVINE VOICE on September 7, 2001
Format: Audio CD
Hank Mobley is one of the most prolifically recorded instrumentalists in the history of jazz, mostly as a side-man with the likes of Art Blakey, Horace Silver, and Miles Davis. Yet seldom does his name arise in discussions of the great tenor players. In some respects, the oversight is understandable. He did not approach music with an agenda, a persona, a gimmick or any sort of extra-musical purpose. His tone is warm, exquisitely "natural" and soulful--not husky, penetrating, or dipped in excess testerone. I'm not sure about his background, but if there's any such thing as a natural, "born" musician it's Mobs. He's perhaps the most "reactive" player the music has known. There are tenor players who construct solos out of more or less "set" phrases or formulae (Sonny Stitt); who deliberately create harmonic complexity (Coltrane) or test the limits of a single motif (Rollins). But Mobs is a player who simply takes what he's given--he hears the chord change and reacts to it. And his responses are invariably fresh, lyrical, ceaselessly stirring and surprising in their sheer melodic inventiveness. Listen to his solo on "Bye Bye Blackbird" on Miles Davis' "Live at the Blackhawk" if you want to hear improvisation at its very best. The man may have had great technique. The point is that his musical imagination was of an order that didn't require it. The melody just pours out his horn with such inspiration that the familiar arsenal in most tenors' repertoires--the top tones, harmonics, alternate fingurings, wobbles and other articulations--is completely beside the point in a Mobley solo.
In 1961-62 Blue Note had the foresight to record Mobley as leader on 4 priceless albums.
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20 of 21 people found the following review helpful By Rob Watkins on June 16, 2000
Format: Audio CD
mr. mobley was a prolific artist for blue note turning out a myriad of albums, some good, others not (at times it seemed he got bored). this is one of the best. backed by wynton kelly, paul chambers, and art blakey, mr. mobley is focused, bluesy, and hard swinging. the opening three tracks are worth the price of admission alone. 'remember' sets the groove, and 'this i dig...' and 'dig dis' keep it going. if you're not wiggling your hips by the time these three tracks are done, you may need to check your pulse. this is hard bop at its best, blending the beat of r-n-b with the swing and drive of classic jazz. the solos are outstanding and the rhythm section's time impeccable (and you've got to love art blakey's rim shots that keep the fire stoked). the second half of the album settles into the blue note sound: solid modern jazz with be-bop edginess. 'split feelin's'is a classic. the title track returns to the groove, and the album closes out with a solid ballad. all in all, a very satisfying session from one of the best of blue note's tenor men.
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11 of 11 people found the following review helpful By Spiros Glikas on March 12, 2000
Format: Audio CD
If you're looking for high quality easy-listening jazz, then you're spot on. Everything goes here, beautiful melodies, soft and at times agressive playing but never harsh. Top notch sidemen, what else can you ask. A record to listen anytime & everywhere. Go get it!
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14 of 15 people found the following review helpful By C. Devine on August 29, 2002
Format: Audio CD
If you're like me, you've heard Mobley play on many different albums and with many different musicians: "Walkin'" with Miles Friday Night at the Blackhawk, "Doodlin'" with Horace Silver & the Jazz Messengers, Etc. (If you don't have those albums, you best be warming up your credit card!) I'd heard of the Soul Station album previously, but avoided it because I worried it would be too far towards the "soul jazz" movement side of things. Maybe a little too pop oriented like some (not all!) of the soul-jazz albums seemed to be. Because I've never heard any music come from Mobley's horn that wasn't genuine, I bit the bullet and bought this album - I was NOT disappointed. If you haven't bought this album yet, all I can say is "wait no longer" If you liked Mobley on Walkin' and Doodlin', you will flip over this album. His playing is superb, honest, creative, and no BS. Further, listening to Wynton Kelly's solos, as well as his playing behind Hank, are reason enough to buy the album. Throw in Art Blakey and Paul Chambers, and I'm done talking.
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