Hank Mobley
Dippin'

A record of lights and slightly blurred lights.

Shadows, no, certainly; but there are plenty of records of this kind, without particular stylistic or other types of shocks.

Indeed, there are few moments of instant tangibility, an essential prerogative that facilitates a certain assimilation of a record even after very few listens; even of a record with a not easy approach. Of course, everything eventually reverts to the realm of subjectivity. But this record certainly holds within it some swerves, in general ready for a change of pace: such as a solid rhythm, essentially excessive in the repetitiveness of the structure but engaging, like that of "Recado Bossa Nova" by Djalma Ferreiro, which brings both Lee Morgan and Hank Mobley to unleash many of the best arrows they have at their disposal in this record.

Or, with different criteria, the famous standard "I See Your Face Before Me", a delicate moonlit ballad written by Arthur Schwartz. These two expressions at opposite ends, according to me, represent two separate moments in the disc's genesis. Indeed, "I See Your Face Before Me" will gift us with a romantic Mobley and a nocturnal and deftly muted Lee Morgan. At least they have the task of breaking the recurring static monotony of the record. However, the tracks are good, well played, and taking them one by one they would certainly add further value to many other records; but placed on a single record and with an order like that, they seem not to have that unwritten guiding thread that helps the listener form a precise idea of the overall structure of the record, besides the individual tracks.

The instinct for the craft certainly helps the still very young Mobley and Morgan come out well on the record, even if not as excellently as on other well-known occasions. As the saying goes, neither shame nor praise. Speaking more generally, all the strongly marked Hard Bop stylistic elements are present. In the extroverted but rigorous rhythm, in the scales, in the unison themes laid out by the two, in the reprises of the same, in the alternating solos, and so forth. A mix with a concentrate of freedom put under regulation pertinent to hard bop coordinates; subsequently, everything is in the hands of the musicians. It is up to them to manipulate, compose and break down the elements as the case demands with strokes of technical, conceptual, and expressive acumen. Morgan's trumpet is sharp and clear, like the reflection of a spring sun on a blade, ringing and dizzying through the lively rhythm built by Harold Mabern on Piano, Larry Ridley on Bass, and Billy Higgins on drums. Sidemen capable of carving out their own spaces with small but significant little moments of glory.

Do you have some cash to spend without taking risks? Same producer - the legendary Alfred Lion of Blue Note -, same recording studios in New Jersey, same year, and even the same photographer for the photo sessions? "Right Now!" by Jackie McLean. Besides, McLean's is a spiritual record, distressing, hypnotic, frantic, and far more interesting than "Dippin'", in my humble opinion. An exquisite blend of Free and Hard Bop. But that's the usual, old, different story... If you have some extra cash, get them both. They will be two records that will balance your instant thirst for Jazz in different ways.