Harold Land

Clifford Brown & Max Roach Quintet - Clifford Brown & Max Roach

Clifford Brown & Max Roach Quintet Clifford Brown & Max Roach (EmArcy 1954)

- Francois Leave a comment

One of the must-haves. Clifford Brown & Max Roach is a brilliant, textbook example of balanced storytelling, responsive interplay and vital, fluent swing.

Clifford Brown & Max Roach Quintet - Clifford Brown & Max Roach

Personnel

Clifford Brown (trumpet), Harold Land (tenor saxophone), Richard Powell (piano), George Morrow (bass), Max Roach (drums)

Recorded

on August 2, 3 & 6, 1954 at Capitol Studios, Los Angeles

Released

as MC 26043 in 1954

Track listing

Side A:
Delilah
Parisian Thoroughfare
Side B:
Daahoud
Joy Spring
Jordu


Straight from the short-lived 10-inch era of the early/mid-fifties, Clifford Brown & Max Roach. Five tunes, two instant classics and standards, 30 minutes of sizzling, masterful modern jazz. What more could one ask for? If you can’t say it in a mere half hour, you better cut it out… To be sure, when EmArcy switched to the 12-inch format in the slipstream of bigger labels like Columbia, three tunes of the August 1954 session were added. Max Roach and rising trumpet star Clifford Brown initially formed a quintet with, respectively, Sonny Stitt and Teddy Edwards.

The quintet finally gelled into a subtle, driving cooperative unit with Harold Land, who was relatively unknown at that time but immediately made his name through his excellent work with Brown/Roach. Finally, Land was followed up by Sonny Rollins, who completed a notorious outfit that came to its abrupt end in 1956 when Clifford Brown and pianist Richard Powell were tragically killed in a car crash.

The stays of some jazz legends on planet Earth were cut short much too soon. Charlie Christian, Scott LaFaro and… Clifford Brown. But the impact of these searchers for new vistas has been penetrating and everlasting. Clifford Brown displayed a balanced vitality that is rarely if ever matched. He transformed tragedy into a smile. His music comes out cleanly and gaily through his horn. Bit of a heir to Louis Armstrong, if you ask me… A bittersweetly happy, completely authoritative virtuoso. The Crown Prince, if you will.

Max Roach was thirty years old at the time of recording Clifford Brown & Max Roach, veteran of bop that took the revolutionary rudiments of Kenny Clarke and fulfilled the quintet format with Charlie Parker, a blaze of new accents, motives, melodicism. He’s the glue of the quintet, which delivers an unusual brew of virility, balance and fluent swing. Once Delilah is underway for barely one minute, you know you’re in for a treat. As in a bee colony, proceedings go as planned, there’s a definite sense of order while all members dart this and that way frivolously and seemingly at random. Roach succinctly supports the movement of the changes, Morrow and Powell provide the solid framework for the soloists, a simultaneously smooth and driving flow and a paradise for Harold Land, who takes a wonderful first shot, simultaneously at ease and insistent.

Clifford Brown is the queen bee. Daahoud is his habitat. Daahoud was an instant classic. Uptempo bouncing ball… A wave of fresh air, springtime breeze accompanying the swarm of bees at the country farm… Clifford Brown is the frivolous bee, giving birth to lean flights in the upper register that serve as the apex of a brilliant package of honey notes, deceptively simple, fluent phrasing, relentless swing that makes us very… happy. His attack is ferocious yet smooth. The ideas keep coming. Brown plays a Socrates-que discours of question and answer with himself and talks shop with his partners, intuitively, a game of hi-level split seconds. Max Roach hits the pocket almost Blakey-style, a kick start to the soloist’s story on the one hand, a crash cymbal bash to signal the next in line on the other hand.

Talkin’ about Spring. Joy Spring cannot be left unmentioned. The other instant classic, the lovely melody that Clifford Brown wrote for his wife, nicknamed “Joy Spring”. Don’t you want to be called Joy Spring? Joy Spring, you’re the sweetest… Joy Spring, dinner is ready!… Joy Spring, I warmed your spot, please come on up… None of that seven-year itch with husband and Joy Spring! The mid-tempo, relaxed bounce underlines Brown’s affectionate, sweet but tart words of love.

Bud Powell’s Parisian Thoroughfare offers more vital features by Brown and Roach, whose effective simplicity as a soloist is admirable. Roach plays like a horn player. Richard Powell, brother of Bud, hooks up with the strikingly boogie-woogie-ish drive of the bop anthem. The quintet rounds off the 10inch platter with Duke Jordan’s contagious blues-based Jordu, a version as lovely and enticing as a Lotus flower. It is as if these men contaminated each other with the fever of nuanced storytelling, virile swing, fluidity, ideas… Clifford Brown And Max Roach is a very “ill” album indeed! Not to mention “dope” or “master” or whatever youngsters call spectacular these days. Something I’m not aware of I’m sure. I’m old-fashioned and I don’t mind it…

Harold Land - Jazz Impressions Of Folk Music

Harold Land Jazz Impressions Of Folk Music (Imperial 1963)

- Francois Leave a comment

Get acquinted with Jazz Impressions Of Folk Music, the underappreciated gem in the discography of tenor saxophonist Harold Land.

Harold Land - Jazz Impressions Of Folk Music

Personnel

Harold Land (tenor saxophone), Carmell Jones (trumpet), John Houston (piano), Jimmy Bond (bass), Mel Lee (drums)

Recorded

on July 3 & 17 at Radio Recorders, Los Angeles

Released

as Imperial 12247 in 1963

Track listing

Side A:
Tom Dooley
Scarlet Ribbons
Foggy, Foggy Dew
Kisses Sweeter Than Wine
Side B:
On Top Of Old Smokey
Take This Hammer
Hava Nagila
Blue Tail Fly


We love Harold Land, one of the finest tenor saxophonists of his generation, who fills the void between Rollins and Mobley. He employs a hard but clean tone and is rarely short on ideas. His fluent playing makes it feel as if the changes do not exist. Taste written all over Mr. Land, who loves chili pepper, goes easy on salt. Land came into his own just before Charlie Parker passed away early in 1955, the era of the burgeoning hard bop style, when the tenorist from Houston, Texas was part of the Clifford Brown/Max Roach Quintet, partaking in the making of the group’s essential albums. His stint with the challenging, popular outfit sealed Land’s reputation as a major voice on the tenor saxophone.

Land spent a large part of his career on the West Coast, where he recorded the eponymous The Fox with trumpeter Dupree Bolton and pianist Elmo Hope. He enjoyed a fruitful cooperation with vibraphonist Bobby Hutcherson on a string of Blue Note albums in the late 60s and early 70s. A number of albums by Land, who passed away in 2001, are popular items, particularly West Coast Blues – with guitarist Wes Montgomery – and The Peacemaker.

Jazz Impressions Of Folk Music owns its rightful place in that category. Folk music? Sure, why not. The folk boom was at its height in the mid-sixties, Pete Seeger a working class hero, Seeger’s former copycat Bob Dylan was making a big name for himself, folkies flocked the streets of Greenwich Village. Jazz jumped on the bandwagon. Even big names like Duke Ellington did Blowin’ In The Wind. The great Bud Shank dug in too, on his Folk Flute album, a forgettable commercial affair, by the way. But jazz interpretations of folk tunes weren’t always specifically designed to try to cash in. Sonny Rollins famously posed as an old cowhand and recorded Way Out West in 1957, one of the prime examples of the transformative potential of jazz. A couple of albums that were released during the era of Land’s album were Art Farmer’s To Sweden With Love, Clifford Jordan’s Plays Leadbelly and Shelly Manne’s My Son The Drummer, a set of Jewish and Hebrew songs. Good company.

Land chose a bit of everything, sneaking into the skin of cowboy, Hebrew cat and John Henry. The repertoire consists of Tom Dooley, Scarlet Ribbons, Foggy, Foggy Dew, Kisses Sweeter Than Wine, On Top Of Old Smokey, Take This Hammer, Hava Nagila and Blue Tail Fly. It’s consistently excellent. The frontline sparkles with warm unison melodies and spontaneous ad-libs. The underrated Carmell Jones, a trumpeter with a shiny full tone, delicately using slurs and bends, rides on the waves of a solid rhythm trio, that moves with ease and urgent swing and responds merrily to Land and Jones, who secretly pass canned heat to one another in a smoke-filled corner of the saloon. Pianist John Houston adds a number of nimble, lively lines.

The story of Land’s Tom Dooley is a rare thing of beauty. The warmth and fluidity of Land’s playing not only pervades that opening tune, but the entire program of his sincere jazz folk album.

Jazz Impressions Of Folk Music is unfortunately not released on CD or streamed as yet, but it is part of The Mosaic Select set of Carmell Jones. Find (here).

Listen to Kisses Sweeter Than Wine on YouTube (here).

Mystery Man

- Francois Leave a comment

If you’d care to take a listen to the trumpet player on Harold Land’s 1960 album The Fox without knowing the line-up, you’d undoubtly ask yourself the question: “Who the hell is this guy?! He’s brilliant.” He’s Dupree Bolton, a mystery man of modern jazz if ever there was one. On the outstanding album of tunes by Harold Land and pianist Elmo Hope – it’s a major league hard bop fest, Read the review here – Dupree Bolton, who’d appeared on the scene from nowhere, displayed chops and fireworks on par with the likes of Clifford Brown, Howard McGhee and Lee Morgan. Bolton only recorded just once after that on Curtis Amy’s Katanga (1963) – click for some great live footage here What happened to Bolton? Why did he vanish into obscurity instead of becoming a new great kid on the block? Jazz historian Ted Gioia asked the question in 2009 and did a great job finding out. Read his article here Bolton passed away in 1993.

Harold Land Quintet - The Fox

Harold Land The Fox (HiFi Jazz 1960)

- Francois 1 Comment

Hold on tight when the fox is loose! The Fox, tenorist Harold Land’s greatest solo album, contains a title track that in my opinion is one of the all-time classic hard bop cuts. The rest of the album is filled with fine originals mainly written by pianist Elmo Hope. It’s also memorable for the appearance of trumpet enigma Dupree Bolton.

Harold Land Quintet - The Fox

Personnel

Harold Land (tenor saxophone), Dupree Bolton (trumpet), Elmo Hope (piano), Herbie Lewis (bass), Frank Butler (drums)

Recorded

on August 1959 at Radio Recorders, Los Angeles

Released

as HiFi Jazz SJ-612 in 1960 and Contemporary S7619 in 1969

Track listing

Side A:
The Fox
Mirror-Mind Rose
One Second, Please
Side B:
Sims-A-Plenty
Little Chris
One Down


Land moved to Los Angeles in 1955 because of illness in his family, cutting short his engagement with the Max Roach/Clifford Brown Quartet. (Sonny Rollins took his place) When Elmo Hope left NYC for the West Coast after losing his cabaret card due to a drug bust, the bop piano wizard soon checked out Land. Planning a recording and in search of a trumpeter, they were adviced the unknown Dupree Bolton. A great pick, as Bolton surprised everyone with quicksilver phrasing and a fiery, cocksure tone. He also turned out to be a smart reader of Hope and Land’s deceptively straighforward tunes.

The driving rhythm section also handles the pretty and characteristic changes of the composers Hope and Land very well. They kickstart the title track, written by Harold Land, at breakneck speed, pushed along by a string of boisterous, descending runs from Elmo Hope. Harold Land delivers a fluent, crackerjack solo. Dupree Bolton is in staccato mood. His blend of virtuosity and buoyancy is on par with Clifford Brown. Elmo Hope’s solo is stunning. He’s ‘out there’ and makes intelligent use of dynamics, alternating between soft/hard and low/high, yet his brainy statements never lose the sense of harmonic stability. The horn bits behind Hope stimulate his proceedings considerably near the end. The Fox is a very tricky tune and the way the group succeeds at letting it flow unaffectedly is fantastic.

Hope’s Mirror-Mind Rose (Hope contributes four tunes to The Fox, Land two) is an exquisite, warm-hearted ballad. Land’s tone can be both pleasantly round and sweet-tart and his sound is forceful without excessive strain. Hope’s impressionistic solo is pure comfort, evokes the image of a warm glow that embraces you in front of the fireplace. It has tinges of both Monk and Bill Evans.

Another Hope tune, the uptempo One Second, Please, evolves from a Night In Tunesia-type intro into a nice, long flowing theme. Harold Land’s tale is relaxed but strong and reveals a special feeling for melody. Dupree Bolton’s statements are out of sight. The Fox turned out to be the prime studio achievement of one of jazz’ most obscure top-notch cats; nobody knew where he came from and nobody knew what happened to him afterwards. Bolton’s only other recording is Curtis Amy’s Katanga! (1963)

Both Sims A-Plenty and Little Chris are uptempo, intriguing tunes that possess a good sense of groove. Harold Land’s ability to construct series of coherent, rich ideas catches the ear in particular in Sims A-Plenty. His approach is simultaneously cerebral and temperamental and strikes me as similar to the style of Benny Golson. Hope is outstanding, injecting ‘trinkle tinkles’ and Middle-Eastern accents into swift changes. Bolton’s flair, meanwhile, is highly contagious.

The album is rounded off with the latin-type composition One Down. It’s a solid ending of a session of great teamwork, remarkable performances of leader Land and virtual co-leader Hope and, last but not least, the rabbit that was pulled out of the hat, Dupree Bolton.

MRL314-autoxauto

Harold Land A New Shade Of Blue (Mainstream 1971)

- Francois 2 Comments

For those who came out of the sixties bruised and/or (almost) out of work, and without the stardom attached to fusionytes as Miles, Headhunters and Weather Report, for a period Bob Shad’s Mainstream Records was a shelter of sorts. For a big part, Mainstream concentrated on re-issuing a hodge podge of fifties material. But its 300 series involved recordings of (either as leader or sideman) household names as Blue Mitchell, Roy Haynes, Art Farmer, Billy Higgins, Cedar Walton and Curtis Fuller.

MRL314-autoxauto

Personnel

Harold Land (tenor sax), Bobby Hutcherson (vibraphone), Bill Henderson (piano, electric piano) Buster Williams (bass), Billy Hart (drums), Mtume (congas)

Recorded

in 1971

Released

as MRL 314 in 1971

Track listing

Side A
Side A:
A New Shade Of Blue
Mtume
Side B:
Ode To Angela
De-liberation
Short Subject


And Harold Land. It is fairly obvious where he came from. One only has to take a listen to De-liberation, a fast-paced bop piece in which Land fluently flies through the changes, to be reminded of a late fifties winner such as The Fox.

Musically, Land and co-operator Bobby Hutcherson – who together made a series of acclaimed records on Blue Note in the late sixties – certainly weren’t out of fashion. Contrary to many who dabbled in adventurous jazz, they relied on skill and feeling to bring about a kind of avantgarde hardbop. It’s not wholly satisfying (read: a bit longwinded, a tad lame production-wise) but competent.

Side A is particularly wide-ranging. Arguably, Wayne Shorter’s methods cast their shadows on A New Shade Of Blue; Mtume is part Spanish part world music. A large part of the album has Buster Williams’ intricate bass playing grabbing attention; in general, the two authoritative voices of Land and Hutcherson, plus an artful gatefold cover, certainly make A New Shade Of Blue worth buying.

YouTube: A New Shade Of Blue