ension and release in Hank Mobley's playing have been too often ignored by critics and academics alike. Few attempted to study Mobley as it was much easier to pigeon hole his playing to that of a “Charlie Parker-influenced” hard bop player. Mobley's overall playing aesthetics were hard to be categorized into hard bop. This is supported by the fact that he once told journalist John Litweiler that he was “working on his own style” (Litweiler 1973). Most of the online publications or studies focused on very little or the bare surface of his playing. In Derek Ansell's biography Workout: The Music of Hank Mobley, he wrote a great deal about Mobley's life and musical development. However, the analytical part was quite limited. To date, there are two main studies about Mobley's composition and improvisation.