HAROLD LAND

Hard Bop / Post Bop / Fusion • United States
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Harold de Vance Land (December 18, 1928 – July 27, 2001) was an American hard bop and post-bop tenor saxophonist. Land developed his hard bop playing with the Max Roach/Clifford Brown band into a personal, modern style. His tone was strong and emotional, yet displayed a certain fragility that made him easy to recognize.

Land was born in Houston and grew up in San Diego. He started playing at the age of 16. He made his first recording as the leader of the Harold Land All-Stars, for Savoy Records in 1949. In 1954 he joined the Clifford Brown/Max Roach Quintet. Because of family problems he moved to Los Angeles in 1955. There he played with Curtis Counce, led his own groups, and co-led groups with Bobby Hutcherson, Blue Mitchell, and Red Mitchell. From the 1970s onwards his style showed the influence of John Coltrane. In the early 1980s through to the
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Thanks to JS for the addition and snobb for the updates

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HAROLD LAND Discography

HAROLD LAND albums / top albums

HAROLD LAND Harold in the Land of Jazz album cover 3.50 | 2 ratings
Harold in the Land of Jazz
Hard Bop 1958
HAROLD LAND The Fox album cover 3.50 | 1 ratings
The Fox
Hard Bop 1959
HAROLD LAND Eastward Ho! Harold Land in New York album cover 3.00 | 1 ratings
Eastward Ho! Harold Land in New York
Hard Bop 1960
HAROLD LAND West Coast Blues! album cover 3.50 | 1 ratings
West Coast Blues!
Hard Bop 1960
HAROLD LAND Harold Land Quintet : Jazz Impressions Of Folk Music album cover 0.00 | 0 ratings
Harold Land Quintet : Jazz Impressions Of Folk Music
Hard Bop 1963
HAROLD LAND Harold Land Quintet : The Peace-Maker album cover 3.00 | 1 ratings
Harold Land Quintet : The Peace-Maker
Hard Bop 1968
HAROLD LAND A New Shade Of Blue album cover 4.88 | 3 ratings
A New Shade Of Blue
Post Bop 1971
HAROLD LAND Choma (Burn) album cover 4.00 | 1 ratings
Choma (Burn)
Fusion 1971
HAROLD LAND Damisi album cover 0.00 | 0 ratings
Damisi
Post Bop 1972
HAROLD LAND The Harold Land / Blue Mitchell Quintet : Mapenzi album cover 3.75 | 2 ratings
The Harold Land / Blue Mitchell Quintet : Mapenzi
Hard Bop 1977
HAROLD LAND Take Aim album cover 4.50 | 1 ratings
Take Aim
Hard Bop 1980
HAROLD LAND Xocia's Dance album cover 0.00 | 0 ratings
Xocia's Dance
Hard Bop 1982
HAROLD LAND A Lazy Afternoon album cover 4.00 | 1 ratings
A Lazy Afternoon
Hard Bop 1995

HAROLD LAND EPs & splits

HAROLD LAND live albums

HAROLD LAND Harold Land, Eiji Kitamura ‎: Live At Junk album cover 0.00 | 0 ratings
Harold Land, Eiji Kitamura ‎: Live At Junk
Hard Bop 1981
HAROLD LAND Jazz At The Cellar 1958 album cover 0.00 | 0 ratings
Jazz At The Cellar 1958
Hard Bop 2007
HAROLD LAND Live at the Penthouse album cover 0.00 | 0 ratings
Live at the Penthouse
Hard Bop 2016
HAROLD LAND Westward Bound! album cover 0.00 | 0 ratings
Westward Bound!
Hard Bop 2021

HAROLD LAND demos, promos, fans club and other releases (no bootlegs)

HAROLD LAND re-issues & compilations

HAROLD LAND Greatest Hits album cover 0.00 | 0 ratings
Greatest Hits
Hard Bop 2015

HAROLD LAND singles (0)

HAROLD LAND movies (DVD, Blu-Ray or VHS)

HAROLD LAND Reviews

HAROLD LAND Choma (Burn)

Album · 1971 · Fusion
Cover art Buy this album from MMA partners
Steve Wyzard
MAELSTROM: LITTLE BIG BAND

The listener, upon viewing this album's lineup of musicians, would be forgiven for assuming the two drummers and two keyboardists are performing on alternating tracks, except for one little intrusive fact: they aren't. That's right, the full septet plays on all four compositions, with the two drummers and the two keyboardists simultaneously pounding up a storm. Add on top the busy bass work of Reggie Johnson, the vicious vibes of Bobby Hutcherson, and the spikey tones of the one and only Harold Land, and you have a wall of sound that could occasionally be described as "cluttered".

Which is NOT to say this is a bad album. Oh no, far from it. But it needs to be said this is not a "starter" album, or even for the very faint of heart. And while I certainly haven't heard everything Harold ever recorded, a much closer comparison can be made with his performances as part of the big sounds of Gerald Wilson's larger ensembles in the 1960s.

So for the new listener, please be advised that Choma (Burn) is not a big-band album or an avant-garde album, but rather one of his more over-the-top performances of the 1970s. A much higher recommendation can be made for A New Shade of Blue (sadly STILL not available on CD), recorded and released the same year (1971). Also take into account that on the opening title track, Harold does not play the tenor sax, but one ferocious flute!

HAROLD LAND A New Shade Of Blue

Album · 1971 · Post Bop
Cover art Buy this album from MMA partners
Steve Wyzard
WHY OH WHY

.....is the late, great Harold Land almost forgotten today? Many condescending reasons have been offered (thorny, abrasive tone, spent too much time in Europe, recorded for obscure labels, the "Eastern" influenced sound) but none can take away from the fact that one simply can't compare Harold to anybody. In a world of copycats and "influenced by", he was a true original. Those who have attempted to trace his musical lineage and/or descendants usually start with Coleman Hawkins and Charlie Parker, and then veer off into many disparate directions (Pharoah Sanders? Ornette Coleman? Joe Henderson?). Nice tries, but it really can't be done. There was only one Harold, and the world of jazz is a much better/more unique place for it.

While much of Land's work from the 1950's is usually available, the albums recorded under his own name in the 1960's and 1970's are inexplicably much harder to find. Take a run-of-the-mill masterpiece like A New Shade of Blue, for example. There is absolutely nothing difficult or inaccessible on this album, but its total obscurity would make one think it's an avant-garde, dissonant blowing session. But it's not. The critics will quickly cite the opening austerity of the title track, but when the tempo picks up, Harold launches into a snarly solo that leads one to think he's playing an alto, not a tenor sax (yet another quality of his distinctive tone). Bobby Hutcherson adds a marvelously melodic solo, and Bill Henderson and Buster Williams have their moments in the spotlight as well. "Mtume", named after its namesake percussionist is an excellent example of Harold's "ethnic/world" sound. With percussion all over the place and Williams spending most of his time in the upper registers, Land broods in the background before jumping into this album's wildest solo. After the lighter, laid-back "Ode to Angela" comes the faster, jaggedly intense "De-Liberation". For those who dismiss Harold's playing as "dispassionate", you simply must hear his ELECTRIC soloing here. Billy Hart bludgeons his drums with a Tony Williams fire while producer Bobby Shad plays with the faders on Buster's solo. Built on ascending piano chords, the snappy "Short Subject" closes the album in memorable style.

If you consider yourself a tenor sax aficionado, you truly owe it to yourself to track down this hard-to-find album. And those who say they can enjoy Land's playing on any number of Bobby Hutcherson albums are just plain missing out. Spare no expense - this one's worth it! And why oh why has this never been released on CD?!?

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snobb wrote:
more than 2 years ago
added
Steve Wyzard wrote:
more than 2 years ago
Where are The Peace-Maker (Cadet, 1967), A New Shade of Blue (Mainstream, 1971), and Choma (Burn) (Mainstream, 1971)? Yes, they are difficult to find, but well worth it to those that do!

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