Search - Cedar Walton, Hank Mobley :: Breakthrough!

Breakdown

Samuel Chell | Kenosha,, WI United States | 11/16/2006

(3 out of 5 stars)

"As a Mobley devotee (from 1954-1962 there is no more inventive, consistently fresh master of the mainstream jazz language), I had both heard on record and witnessed in person his sad descent from his glorious period (the Blakey dates or his own "Soul Station"). I picked up this one not expecting much, and got better than I deserved (but not by much). On the opener he sounds like he's "trying" to sound like Dexter, Henderson, Shorter, Shepp, or anyone but himself. His fertile melodic imagination is reduced to tentative, repetitive chromatic riffs; his tone is undisciplined and unfocused (even shaky in terms of intonation), seeking primarily to purge itself of anything that might be viewed as wimpy, reactionary, or not "with it."



The second tune is a neglible period piece with Walton moving to Fender Rhodes for this and the succeeding number (at least the latter doesn't employ a fade-out). Then to capture any jazz-listener "pretenders," the program moves to Cedar's take on "Love Story" sans saxophones, followed by a tune as elemental as the blues, Gershwin's "Summertime" (no surprises, other than Hank's hard-edged, suddenly annoying sound and stuck-in-a-rut constructions punctuated by his (desperate) shouts of self-encouragement between phrases).



About this time, I saw Hank behave the same on stage at the Brown Shoe in Chicago, where he had to be escorted off the stage before the end of the first tune. At least he appears to have been fairly straight for this recording session, sufficiently so to go the distance. The set closes (mercifully) with an innocuous swinger based on a couple of modal scales. The presence of Charles Davis does little for ensemble cohesion or the intonation of either saxophonist.



Recommended for Mobley completists not averse to hearing a genius of American music continue his self-destructive ways (aided and abetted by the pressures of the market-place, with its ridiculous, deplorably ignorant musical tastes). In fact, this is essentially Hank's "last gasp" on record. The rhythm section is first-rate, not out to make a "statement," with Walton perfect (albeit predictable) as always and Higgins maintaining his claim as house drummer for Blue Note, Muse or anyone fortunate to secure his services. Audio quality is non-problematic.



Very few listeners--even jazz aficionados--are aware that the real progressive action in music at this time was not with modal, free, funky, or fusion music but with the neglected Art Blakey 1970's ensembles, performing Walter Davis Jr. compositions that towered above the rest of the trendy sonic mayhem.



If you're new to Mobley, don't even consider this one. Start with anything featuring Blakey, Silver, or Miles as leader--or his own Blue Note sessions, 1956-1963, when his was (still is) the most welcome, inexhaustible sound in music."

Thoroughly entertaining

Tyler Smith | Denver, CO United States | 09/28/2000

(4 out of 5 stars)

""Breakthrough," recorded in 1972, might not fully live up to its name, in that the release plows tried-and-true hard bop ground. I'd say rather that it lays a few more solid and original blocks in the very sturdy foundation of mainstream modern jazz music. The release's leaders, saxophonist Hank Mobley and pianist Cedar Walton, are among the most consistent contributors to the canon, and on "Breakthrough" they play with exuberance and vitality.Mobley managed to find a thoroughly original voice in the '50s and '60s, despite being a contemporary of tenor giants Coltrane, Rollins and Gordon. His was a mellower, funkier sound, and the ease with which he played belied the complexity of his ideas. Walton's piano sound featured shimmering runs, fleeting quotes and a good dose of humor that is in evidence on this disc. They are joined by underrated baritone man Charles Davis, who also takes some nice turns at the other end of the aural spectrum on soprano, most notably on "The House on Maple Street.""Breakthrough" jumps from the word go with the steaming title cut, mellows through a Latin-flavored "Sabia" and Walton even manages to wring some lyrical life from the now-dated "Theme from Love Story." The windups, a cooking version of "Summertime" and a superb blues, "Early Morning Stroll," bring the session to an invigorating close with some of Mobley's best playing.Don't miss throughout the fine drumming of the ubiquitous Billy Higgins, who fires up the title tune and displays superb taste and adds value to every tune with his shifting rhythms. He's a drummer who listens."Breakthrough" shows that the '70s wasn't all about fusion. Mobley and Walton keep the spirit of jazz alive with this fine effort and make sure to let you know musician and listener alike should have a little fun along the way."