Harold Land, as some musicians know, was a formidable as they come--not a "power player" but simply as inventive, as technically gifted, as responsive (he's practically Clifford's shadow on all but one of the Brown-Roach recordings) as they come. It was only when I caught him live that I understood (as did Miles) that presentation counts in jazz practically as much as pop music. Rollins always puts on a good show--his athletic frame and movements seeming to fit in with his huge (but not particularly attractive) sound. And Coltrane soon began to assume a practically other-worldly persona that attracted thousands of listeners of every stripe to his music. Land, on the other hand, is admittedly more of a musician's musician, a player whose brilliance is most likely to be appreciated by the "hard core" jazz follower.
But Harold Land was "there" before either of the other two players, playing with thought, soul, and total command each time out, serving up forever inviting, even spine-tingling solos. This is yet another of his recordings that can be recommended without reservation (I'm afraid the same can't be said about all of his work, especially after 1980). At the very least, download "Somara."
Red Mitchell was a dominant bassist who, upon seeing what the '60s were about, retired to Sweden, recording with ex-patriots such as Spike Robinson, among others. As you'll soon discover, he was a "monster musician," not content to merely walk lines but frequently doubling up with Land on some of the latter's most intricate melodic inventions. Bass players are not supposed to be front-line members of the group, but apparently Red never got, more likely refused, the suggestion.