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6 Classic Albums Plus Bonus Tracks [Box set]

Harold Land Audio CD
5.0 out of 5 stars  See all reviews (3 customer reviews)
Price: £7.87 & FREE Delivery in the UK on orders over £10. Details
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Frequently Bought Together

6 Classic Albums Plus Bonus Tracks + Seven Classc Albums
Price For Both: £21.57

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  • Seven Classc Albums £13.70

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Product details

  • Audio CD (8 Feb 2013)
  • Number of Discs: 4
  • Format: Box set
  • Label: Real Gone Jazz
  • ASIN: B00AP5M51W
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 4,558 in Music (See Top 100 in Music)

Product Description

Product Description

Includes the following albums - Harold In The Land Of Jazz Montgomeryland The Fox Eastwood Ho! West Coast Blues Hear Ye

Customer Reviews

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Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Six Classic Albums with fifty four tracks on four CDs for the price of just one CD and digitally You get an awful lot for not a lot of money.

The albums are
Harold In The Land Of Jazz,
Montgomeryland ,
The Fox,
Eastward Ho!
West Coast Blues and
Hear Ye.

The added bonus on this set is that there are bonus tracks on the CDs. So if you already have a couple of the albums on CD already the 4 others and the bonus tracks may just tip you over into buying this excellent set.

The Real Gone Jazz label has garnered some really good reviews for sound quality.
The digitally enhanced sound is a good indicator but for a proper review I really suggest you read other, more knowledgeable people's reviews.
The collection is on 4 CDs encased in a double wide jewel case. enhanced to boot makes this a tempting buy.
Amazon, at the time of writing, have not provided a track list.
So this may be of interest and use?

If any kind person can let me know the split I would be grateful- just add a comment and I will adjust and give you the credit for putting me right!

The Real Gone Jazz label has garnered some really good reviews for sound quality.
The digitally enhanced sound is a good indicator but for a proper review I really suggest you read other, more knowledgeable people's reviews.
The collection is on 4 CDs encased in a double wide jewel case.

As always if you see any typos add a note and I will correct and credit you with the correction- just add a comment......

The Tracks over the 4 CDs are

01. "Speak low"
02. "Delirium"
03. "You don't know what love is"
04. "Nieta"
05. "Grooveyard"
06. "Lydia's lament"
Read more ›
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5 of 6 people found the following review helpful
5.0 out of 5 stars Harold Land 2 Oct 2013
Verified Purchase
He is certainly one of the best tenor men opf his era. Grossly underrated.
I recommend it to everybody who loves West Coast jazz.
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5.0 out of 5 stars Excellent collection. 4 Jun 2014
By hadjazz
Verified Purchase
First rate compilation no complaints re: lack of sleeve notes, if you intend to buy this then
you know all need you to know about the jazz, all the musicians are listed what more do you need!
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.5 out of 5 stars  4 reviews
10 of 10 people found the following review helpful
5.0 out of 5 stars Clifford's Awesome Twin 14 Nov 2013
By Samuel Chell - Published on Amazon.com
The jazz world's coronation of Clifford Brown alongside the comparative neglect shown Harold Land would be amusing if it were not such a bad reflection on the public's lack of awareness of its greatest musicians, or those who followed in the footsteps of Louis, Hawk and Prez, Bird and Diz, Bud Powell and Thelonious Monk, contributing their own voices to an art that was of a such a high level it could no longer get "better": it could only be made "different." But if the music didn't improve, the same couldn't be said about the technology. Coincidentally with the public's attention to the art of improvisation as practiced in the groups of Dave Brubeck, Miles Davis, the MJQ, Gerry Mulligan and Chet Backer, was the equipment for recording the music. "Hi Fi" "Stereophonic Sound, the new 33rpm long-playing vinyl record--all were not mere coincidences but inventions of necessity, driven in part by the new attention to extended improvisation and the public's desire to hear this music recorded faithfully and fully. And one of the most exciting and celebrated improvisors in his brief 25-year lifetime was trumpeter Clifford Brown, who shared leadership honors with Max Roach, the "Dean of Modern Jazz Drummers," in arguably the most fiery, hard-driving modern jazz group of the early 1950s.

Harold Land was not only a member of the Clifford Brown/Max Roach Quintet: he appeared on every single album by the group with the exception of the last one, when Harold returned to California on family matters and Sonny Rollins replaced him. Clifford was considered by many leading musicians as not only the most brilliant trumpet player in jazz but the greatest improvisor, period. But such sentiments necessarily extended to Harold Land, who shadowed Clifford note for note on the most intriciate and up-tempo tunes. Moreover, rather than become rattled by Roach's forward-pushing, phrase-chopping drive, Land invariably created thoughtful, carefully shaped and "shaded" solos of striking originality, freshness and structural wholeness.

The trumpeter Carmel Jones (Horace Silver's "Song for My Father") was one of the younger musicians who considered Harold Land the greatest living improviser, pulling up his East Coast stakes and going to the West Coast to be able to play with and learn from Harold. Another champion of Land was the British pianist-drummer-vibist, Victor Feldman. Even after playing with the Adderleys and Miles Davis, Feldman stated that he considered Harold Land the greatest living improviser on either coast (this was after the death of Clifford and before the rise of Coltrane).

Having heard Land extensively on record and only twice in person, I suspect that in a club Rollins would "overshadow" Land with his physical presence and forceful, fully "embodied" tone. Harold was comparatively diminutive, with a hard-edged but narrower, more subtle and nuanced tone. On record it's doubtful that any other player could have stayed with Clifford as consistently and supportively as Harold. In fact, an inferior audio recording of Clifford and Max at the Beehive in Chicago captures both tenor players on the same bandstand playing the same tune. Rollins finds a motif and bulls his way through the chord sequence with striking authority; Land by contrast acknowledges each chord in the progression (I believe it's on "I'll Remember April"), effortlessly negotiating his melodic narrative with such detailed precision and expressive finesse that it's all too easy to take each of his statements for granted. Listeners can also compare the 4-bar exchanges between Clifford and Land with those of Clifford and Rollins.

As for the 6 "Classic Albums" of this box set: they're primarily from Land's 10-12 years, after his time with the Brown-Roach group, when he recorded for Lester Koenig's Contemporary Label, which employed one of the best sound engineers in the business: Roy DuNan (the contrast with Van Gelder's East Coast sound is at times striking and instructive).

After his tenure with the Brown-Roach Quintet (documented on all of the Mercury/RCA recordings save one), Harold would be featured more prominently in groups born largely of his own making. The goal of the first group was to become the West Coast's equivalent of more celebrated East Coast groups like that of Miles Davis. The present collection captures some of this group's most essential, revelatory recordings--all under the leadership of bassist Curtis Counce. Even before the presence of a white man (Bill Evans) in the group of Miles Davis produced controversy among MIles' fans and placed extra pressures on the budding star, Harold Land was taking under his wing the distinctive, inimical trumpet voice of Jack Sheldon. Listeners of this set of recordings will have a chance to compare Sheldon's inerrant technique and always identifiable voice--full of sunlight and bubbling good humor--with several other trumpet players with whom Land shares the frontline. (My main disappointment is not to see among the Counce recordings Harold's understated yet haunting ballad interpretation of Jule Styne's "Time After Time.")

The near-perfect balance of the Curtis Counce group was rendered permanently broken when the brilliant pianist, Carl Perkins, died of a drug overdose, prompting Counce to declare an end to several golden years that produced some of the most extraordinary yet representative and enduring modern jazz of the 1950s. Perkins had overcome polio and a withered left arm by developing a style that was an amalgamation of Bud Powell's bebop lines and Errol Garner's rich, orchestral approach. His raptruous chords behind Land on the aforementioned ballad, "Time After Time," are but one example of the fresh timbres he brought to the group. Moreover, the rhythm team of Counce, Perkins, and the singularly gifted Frank Butler (whom Miles had rejected in favor of Tony Williams) was a closely-knit team of players of unequaled subtlety, precision, and dynamic versatility. (Tracks 39-43, which comprise Land's scintilating composition and solo on "Landslide" and Butler's seamless control of his kit while moving from sticks to fingers and back again (on "A Fifth for Frank) are alone worth the price of the total package).

Although I'm partial to Land's immediate work in creating, with Curtis Counce, his own version of the Brown-Roach group (in which the bass of George Morrow was sometimes difficult to detect); others will find much of value in Land's later work--his own eponymous triumph ("The Fox") as well as with West Coast stars like trombonist Frank Rosolino.

Harold Land was not an overpowering player: but he was a player capable of exerting a lasting, powerful impact on the listener through his vision of the entire playing field prior to his "exploding" out of the gate like Bird (the last 2-4 bars of the introduction), and his purposeful story-telling during the course of a journey in which, rather than impress us, he invites us to be his traveling companions. His work in the '70s, like that of most jazz musicians, is less even, though there were a couple of good outings with vibist Bobby Hutcherson. His last twenty years found him playing competently but with less breath support and a thinner, weaker tone than was the case on his recorded work before 1980.

All told, Harold Land was, like Hank Mobley, an underappreciated giant. With players like Hawk, Prez, Getz, Rollins, Dexter and Coltrane getting most of the jazz savants' attention, Harold was, like Hank Mobley, another "Middleweight Champion" of the tenor saxophone--except to numerous other musicians. Mention his name or a recording like "The Fox" to West Coast musicians with longer memories, and they're often as speechless about his enormous facility as those whose uninformed silent voices made Land an "unsung hero." This set should help set the record straight. (I recently saw a presentation about the "Tenor Titans" of jazz hosted by Branford Marsalis, and there was no mention of Harold Land. I frankly don't see how you can listen to the music of this set and the recordings with Clifford that preceded these 6 albums without coming away with renewed respect for an American musician of the first order. He may not be in the Top 5 Tenors of all time, but any list of the Top 10 would be remiss not to include the name of Harold Land, one of the most instantly identifiable voices of all time on the quintessential jazz instrument.
12 of 14 people found the following review helpful
5.0 out of 5 stars Bargain priced collection of one of the great tenor saxophonists 16 Jun 2013
By Mike Tarrani - Published on Amazon.com
Verified Purchase
If you are on this page you probably have the same appreciation for Land as I, so I won't bore you with a gushing recitation of his virtues. Here is what you probably want to know about this set: (1) How is the sound quality? (2) What is in it?

The sound quality is adequate. Not spectacular, and certainly not to audiophile standards. There is no over mastering, nor is this some mindless needle drop transfer from scratchy LPs. I have ripped this entire album to my MP3-enabled phone, which by its nature causes some loss in fidelity and I still enjoy this set immensley.

As for contents, I am listing the six albums in this collection below, along with links to the product pages of the albums which are compiled on the four discs. In all cases the tracks reflect what was originally on the album when it was released. Bonus tracks that are on most reissues - including albums to which I have linked are missing. But that is expected.

What is an unexpected delight is the last four tracks are actually from a seventh album (detailed below) that is a bonus of sorts since it is not mentioned elsewhere.

Here is what you will get:

The first seven tracks are from Land's first album as a leader titled In the Land of Jazz. Harold is backed by Rolf Ericson on trumpet, Carl Perkins on piano, Leroy Vinnegar on bass and Frank Butler on drums. These tracks were recorded in Los Angeles on January 13 and 14, 1958, and epitomize West Coast jazz.
1. Speak Low
2. Delirium
3. You Don't Know What Love Is
4. Nieta
5. Grooveyard
6. Lydia's Lament
7. Smack Up

Next are tracks from tne album titled Montgomeryland. These were recorded in Los Angeles on October 1, 1959 and featured Wes Montgomery as the leader on guitar is the leader. Pony Poindexter on alto sax on tracks 8 and 11. The rest of the ensemble is Buddy Montgomery's piano and Monk Montgomery's Fender Jazz bass. Louis Hayes on drums.
8. Monk's Shop
9. Summertime
10. Falling In Love With Love
11. Renie

The remaining tracks on this album were on April 18, 1958 in Los Angeles. Wes Montgomery on guitar is the leader. Harold's tenor is backing Buddy Montgomery's piano and Monk Montgomery's Fender Jazz bass. Tom Bezley is on drums.
12. Far Wes
13. Leila
14. Old Folks
15. Wes' Tune

Tracks 16 through 21 are the original tracks on a 1960 album titled The Fox. These tracks were recorded in August 1959 and have Harold with Dupree Bolton on trumpet backed by Elmo Hope on piano, Herbie Lewis on bass and Frank Butler on drums.
16. The Fox
17. Mirror-Mind Rose
18. One Second, Please
19. Sims-A-Plenty
20. Little Chris
21. One Down

An album titled Eastward Ho! Harold Land in New York comprises tracks 22 through 26. There were recorded at the Plaza Sound Studios in NY on July 5 & 8, 1960. Land is backed by the great Kenny Dorham on trumpet, AMos Trice on piano, Clarence Jones on bass and Joe Peters on drums.
22. So In Love
23. Triple Trouble
24. Slowly
25. On A Little Street In Singapore
26. Okay Blues

Another 1960 album, West Coast Blues!, comprises tracks 27 through 32. These feature Harold backed by Joe Gordon on trumpet, Wes Montgomery on guitar, Barry Harris on piano, Sam Jones on bass and Louis Hayes on drums.
27. Ursala
28. Klactoveedsedstene
29. Don't Explain
30. West Coast Blues
31. Terrain
32. Compulsion

Hear Ye!, recorded in Los Angeles on October 14, 1961, comprises tracks 33 through 38 and is the last complete album in this set. This album was not released until 1962 - it features Harold backed by Carmell Jones on trumpet, Frank Strazzeri on piano, Red Mitchell on bass and Leon Petties on drums.
33. Triplin' Awhile
34. Rosies Spirit
35. Hear Ye!
36. Somara
37. Catacomb
38. Pari Passu

The remaining tracks are a bonus that is from an album titled Complete Studio Recordings. See that page for some excellent reviews and in depth information.
40. A Fifth For Frank
41. Sonar
42. Pink Lady
43. Love Walked In

This is a bargain for any Harold Land fan, and especially so if you consider the prices of each album individually. I treasure my copy.
1 of 1 people found the following review helpful
5.0 out of 5 stars This is the best CD set! 6 May 2014
By EllaJazz - Published on Amazon.com
Verified Purchase
My husband has known about Harold Land for many years, but I discovered him since we've been playing the Max Roach Quintet CD. So when I saw this deal, I picked it up. We are really enjoying all the music, and we still have 2 more discs to listen to. Harold Land is just great!
3.0 out of 5 stars Three Stars 25 July 2014
By Erma Russell - Published on Amazon.com
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