【Jimmy Cobb - The Original Mob】(2014)

CD REVIEW (410) 

Jimmy Cobb - The Original Mob(2014)


By Takaaki Kondo, Tokyo Jazz Review


You can also read this review @:



Facebook Page of Tokyo Jazz Review 






Amazon Japan






  • Musical Performance    ★★★★★
  • Songs/Compositions     ★★★★☆
  • Arrangement                  ★★★★☆
  • Sound Quality                ★★★★☆
  • Overall Enjoyment        ★★★★★




The Legendary Jazz Drummer and Elder Statesman長老、生けるお手本

であるMr. Jimmy Cobb (1929Washington D.C.生まれ) の最新作です。


 The Original Mob』というタイトルが示す通り、御大が90年代から率いているグループ“The Cobb’s Mob”の初代ラインナップによる復活セッション。メンバーはPeter Bernstein (g)Brad Mehldau (p)John Webber (b)。このメンバーでのアルバムは無かったので貴重なレコーディングですね。



Mehldau Junior Manceに師事し、Mr. Cobbの伝説の盟友である故Winton Kellyがアイドルでした(今のスタイルからは想像も付きませんね)。Mr. CobbとはNYの名門 The New Schoolで教師と生徒の関係にあり





だからでしょうか、本作でのMehldauは、Debut作『When I Fall In Love』に近いHard Bop色の濃いプレイを展開しています。



Drummerでも音色は大事ですね。Loudに演奏するDrummerの中には音色にあまり気を使わない人が居る。でもさすがに御大は音色もダイナミクスも精緻にコントロールしています。そしてそのフレーズと音色は、一聴しただけで「あ、Jimmy Cobbだ!」とわかる強烈なオリジナリティーを持っている。Jazzの歴史を作ってきた本物の「The Legendary Jazz Drummer」たる所以ですね。

Peter Bernstein (g)も現代的かつBluesyHard BopishImprovisationと、WarmRichな音色が素晴らしいです。

そして要所要所に轟くMr. Cobbのヘビーかつエネルギッシュなソロも見事に唄っています。






『現代Hard Bopの銘盤』と云って良いでしょう。


Highly Recommended!


Jimmy Cobb (ds)

Peter Bernstein (g)

Brad Mehldau (p)

John Webber (b)

  Track Listing

1. Old Devil Moon

2. Amsterdam After Dark (George Coleman)

3. Sunday In New York (Carroll Coates / Peter Nero)

4. Stranger In Paradise (George Forrest / Robert Wright)

5. Unrequited (Brad Mehldau)

6. Composition 101 (Jimmy Cobb)

7. Remembering U (Jimmy Cobb)

8. Nobody Else But Me (Oscar Hammerstein II / Jerome Kern)

9. Minor Blues (Peter Bernstein)

10. Lickety Split (John Webber) 


  Jimmy Cobb - Website

 Official Website














 Amazon (MP3)








【Jimmy Cobb, Brad Mehldau, Peter Bernstein, John Webber at Smoke Jazz Club】





As the Smoke Sessions list of titles continues to grow, so too do we get to check out some of the country's greatest drummer. The much in-demand Joe Farnsworth has been featured on the label's releases by Harold Mabern and David Hazeltine. Furthermore, one of the most recent titles is a headlining date for the legendaryLouis Hayes. Now, comes along a new set that puts the spotlight on renowned drummer Jimmy Cobb, a gentleman that for most of his career worked almost exclusively as a sideman. However, since the late '90s, Cobb has had more than several occasions to step out as a leader with several versions of an ensemble he calls Cobb's Mob. 

So the story goes, the original line up of Cobb's Mob mentioned in the title goes back some 20 years when the drummer worked with pianist 
Brad Mehldau, bassist John Webber, and guitarist Peter Bernstein at The Village Gate. Since each musician is a leader in their own right and quite busy, it's no surprise that the opportunities to work with Cobb have been limited in the ensuing years. That's what makes this album so special. 

It should be noted that unlike all the previous releases from Smoke Sessions, this date was not recorded before a live audience. Instead, the tables were removed and things were set up like a studio session. Cobb mentions in the liners that it reminded him of recording in the home of Rudy Van Gelder back in the '50s when the living room served as the studio. The overall sound seems lazar etched, but with a sense of warmth and just the right amount of reverberation to make things sound natural. In fact, Cobb's drums have rarely sounded better. 

The repertoire is nicely balanced between choice standards and originals by Cobb, Bernstein, Mehldau, and Webber. There are also some fine solos from Cobb and he trades fours on occasion, sounding particularly musical on "Sunday in New York." It is also a treat to hear Mehldau away from the introverted type of performances that constitute much of his work as a leader. On his original piece, "Unrequited," Bernstein drops out and the pianist delivers a piquant bossa that ever so tastefully integrates bebop lines with classically-inspired runs. 

Bernstein finds his own time in the spotlight, sounding particularly fine on "Composition 101," where he delivers the melody in the Blue Note style of Grant Green, then goes on to weave some wonderful lines that span the upper and lower registers of the guitar. The guitarist's own "Minor Blues" is the type of engaging waltz tempo that has become somewhat of his own trademark. It is set off nicely against the rest of the program, which is made up of medium to brisk swingers. 

Much has been made lately of the idea that jazz has to somehow eschew key elements of its identity to mature and advance itself. Cobb and crew create the kind of timeless and rewarding jazz that satisfies on so many levels and yet is accessible enough for even the most neophyte listeners. If that isn't advancing the art form, then I don't know what is.