"In 1956, trumpeter Thad Jones was making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for some smaller labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath's bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. The musicianship being at such a lofty plateau, so intelligently selected and executed, this CD is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding. " (Michael G. Nastos, Allmusic)
"The Hank Mobley heard here was a markedly different one from a few years earlier. This album issued in early 1965 was the product of two different sessions. The first was in March of 1963, immediately after Mobley left the Miles Davis band. Those recordings produced "East of the Village," possibly the greatest example of Mobley's 'round tone' on record, and the other was "The Good Life," a ballad. The rest was recorded nearly two years later in February of 1965. Among others the title cut was produced here -- an answer to Lee Morgan's "Sidewinder". In each case, there were alumnus members of the Miles band Mobley had played in. The main thing about "East of the Village" is the striking difference between the gorgeous melding of Latin and post-bop, straight-ahead rhythms, and the easy, loping blues feel that is cheered on by Jones. In all this is a solid date, despite its time lapse, and one that gives us a solid picture of the two Mobleys." (Thom Jurek, Allmusic)
"This single CD has nearly all of the music from "Message" and "Second Message". The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work." (Scott Yanow, Allmusic)
Debuutalbum uit 1961 van toen 22-jarige, nu nog steeds actieve vibrafonist. Misschien geen wereldverschuivend, wel een erg prettig hardbop-album van een mooie band, met Barry Harris (p), Reggie Workman (b) en Billy Higgins (d).
"Nieuwe opnamen in flistende 60-iespostbopstijl van de altsaxofonist. Oude toppers Terry (t) Benny Powell (tr), Frank Wess (ts), Barry Harris (p), Peter Washington (b) & Curtis Boyd (d). Glasser schreef de arrangementen en speelt aangenaam als Johnny Hodges." (Jazz-Nu)
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