Listen Now
Go Unlimited
Start your 30-day free trial
Amazon Music Unlimited subscribers can play 40 million songs, thousands of playlists and ad-free stations including new releases. Learn More
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to (UK).

4 used & new from £27.76

Have one to sell? Sell on Amazon
Available to Download Now
Buy the MP3 album for £12.98

Complete Studio Recordings [Spanish Import]

5.0 out of 5 stars 1 customer review

See all 2 formats and editions Hide other formats and editions
Listen Now with Amazon Music
Complete Studio Recordings
"Please retry"
Amazon Music Unlimited
Amazon Price
New from Used from
Audio CD, 3 Oct 2006
"Please retry"
£85.65 £27.76
Available from these sellers.
2 new from £85.65 2 used from £27.76

Amazon's Harold Land Store

Product details

  • Audio CD (3 Oct. 2006)
  • Number of Discs: 2
  • Label: Lonehill Jazz
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 658,166 in Music (See Top 100 in Music)
  • If you are a seller for this product, would you like to suggest updates through seller support?

Product description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

5.0 out of 5 stars
5 star
4 star
3 star
2 star
1 star
See the customer review
Share your thoughts with other customers

Top Customer Reviews

Format: Audio CD Verified Purchase
This excellent 2-CD set collects the studio recordings of tenor saxophonist Harold Land(1928-2001) and trumpeter Carmell Jones(1936-96) between 1961 & 1963.
Disc 1, tracks 1-7('The Remarkable Carmell Jones') were recorded in Los Angeles during June, 1961 with Land(tenor sax); Jones(trumpet); Frank Strazzeri(piano); Gary Peacock(bass) & Leon Petties(drums).
Disc 1, tracks 8-12 & Disc 2, tracks 1-3('Hear Ye!') were recorded in Los Angeles on October 14 & December 13, 1961 with Land(tenor sax); Jones(trumpet); Frank Strazzeri(piano); Red Mitchell(bass) & Leon Petties(drums).
Disc 2, tracks 4-7(from 'Business Meetin'') were recorded in Hollywood during 1962 with Land(tenor sax); Jones(trumpet); Frank Strazzeri(piano); Gary Peacock(bass) & Donald Dean(drums).
Disc 2, tracks 8-15('Jazz Impressions of Folk Music') were recorded in Los Angeles on July 3 & 17, 1963 with Land(tenor sax); Jones(trumpet); John Houston(piano); Jimmy Bond(bass) & Mel Lee(drums).
The 27 tracks are a mix of standards/traditional numbers and originals from Land, Jones, Duke Ellington, Benny Golson, Jimmy Bond, Red Mitchell & Frank Strazzeri and these two near-80 minute CDs contain plenty of swinging and inventive hard bop which deserves to be much better known.
Comment One person found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Helpful Customer Reviews on (beta) (May include reviews from Early Reviewer Rewards Program) 4.7 out of 5 stars 4 reviews
6 of 6 people found the following review helpful
4.0 out of 5 stars Harold Land-Carmell Jones Quintets Complete Studio Recordings 11 Oct. 2008
By Stuart Jefferson - Published on
Format: Audio CD Verified Purchase
Two discs-79 minutes each approximately. Sound is clean and clear with a slight emphasis on the high end. Does not say if these tracks have been remastered. This is another one of those groups that was popular in it's time,and have now slipped between the cracks. That's to bad because this music is still as vital and exciting as it was when released.

Harold Land (tenor sax) is fairly well known even today,mainly because of his association with Max Roach and Clifford Brown and his excellent playing in the Curtis Counce Group(if you like straight ahead jazz pick up Counce's "Complete Master Takes")from the late fifties. Camell Jones(trumpet) has largely been forgotten and thats also to bad because he could play anything he was called upon to play. For a short time he played with Horace Silver,recording the original "Song For My Father". Moving to Europe didn't help his profile any but he did record on the west coast for a short time.

The other players on the four albums are collectively Gary Peacock,Red Mitchell and Jimmy Bond on bass;Leon Petttis,Donald Dean and Mel Lee on drums;Frank Strazzeri and Jimmy Houston on piano. The songs range from traditional to standards to originals from group members. The emphasis is on Land and especially Jones,whose beautiful sound is out front on most of these sides. Land,as usual,plays just enough notes to get his meaning across or comps in the background while Jones solos. However,when Land solos it always seems to sound just right. The rhythm section is always there but never intrusive. For those of you who are familiar with the "Blue Note" sound,Jones' at times sounds like Alfred Lion could have recorded him. As for Land,the fact that he isn't more well known is a crime. His playing is always of the highest caliber,and time after time he plays the right notes at just the right time.

The booklet includes reprints of the original liner notes for all four albums and gives a short overview of Jones and Land. For those of you looking for some great straight ahead jazz from the early sixties that sounds contemporary-pick this up-you will not be sorry. As an aside,look into "J.R.Monterose-Original Quartet and Quintet Complete Studio Recordings",another somewhat forgotten tenor sax player who deserves to be heard. This,too,is jazz played at a high level and is very rewarding.
13 of 14 people found the following review helpful
5.0 out of 5 stars An Embarrassment of Riches! 5 Feb. 2009
By Wayne Dawson - Published on
Format: Audio CD Verified Purchase
This compilation is full to the brim of fantastic music making. The running order is chronological and spans a three year four album period of creativity that started in 1961 with The Remarkable Carmell Jones and Hear Ye!, followed by four quintet tracks lifted off Business Meetin' (the rest of that 1962 session involved a larger ensemble) and concludes with Jazz Impressions of Folk Music in '63.

The abundance of fabulous ensemble writing is given an added surprise by the presence of Gary Peacock on bass for almost half the material. His vitality catapults the whole band, making these sessions a great snapshot of his ability before he linked up with Albert Ayler.

These recordings easily hold their own with the legendary Clifford Brown/Max Roach band and The Curtis Counce Group. Carmell's warm and generous tone coupled with his inventive soloing sounds wonderful but the awesome legacy of Harold Land is insane. Not only was he a vital ingredient to the staggering brilliance of those aforementioned groups including these sessions and the high standard of excellence they achieved, but other recordings under his own name are equally superb: Harold in the Land of Jazz; The Fox; West Coast Blues; Eastward Ho; The Peace Maker. Surely he remains one of the greatest uncelebrated legends in all jazz. This compilation helps redress the neglect of both Carmell and Harold, a bouquet for those responsible!
3 of 3 people found the following review helpful
5.0 out of 5 stars Not truly 'Complete', but a wonderful find anyway 17 Jun. 2013
By Mike Tarrani - Published on
Format: Audio CD
These tracks are by no means the complete studio recordings that were a collaboration between Harold Land and Carmell Jones. Indeed, even a cursory look at their discographies will show many tracks that did not make it into this set. I am not quibbling though because Land and Jones were remarkable musicians and well regarded by their peers on their respective instruments. Like is not always fair and that is evidenced by the fact that Land should have the same standing as Coleman Hawkins, Ben Webster and Lester Young. Likewise, Jones should at least be as well known as Kenny Dorham or Freddy Hubbard. But I am getting off point.

What is important is knowing what is in this set and how it sounds. Sound first - it's more than adequate. It's clear and obvious that some remastering was done. But it's not overly processed and the tracks are noise free. Not audiophile quality to be sure, but definitely good enough to sit back and enjoy.

Since there is no tracklist at the time of this review, and I also claimed that these are not complete studio recordings I am providing detailed information about what is in this set. When possible I have linked to product pages that contain sound samples so you can explore the music itself.

From The Remarkabale Jones (refer to the combined album titled The Remarkable Carmell Jones / Business Meetin' for these, plus tracks 4 through 7 on disc two.) This was recorded in Los Angeles on June 1961. Land on tenor and Jones on trumpet are backed by Frank Strazzeri on piano, Gary Peacock on bass and Leon Pettis on drums. Also note that Tracks 1 and 7 are not on the, but were recorded during this session.
1. Blues march
2. I'm gonna go fishin'
3. Come rain or come shine
4. Night Tide
5. Sad march
6. Stellisa
7. Full moon and empty arms

Tracks 8 through 10 and track 1 on disc 2 are from an album titled Hear Ye!. It was recorded in Los Angeles on October 14, 1961, but not released until 1962. Harold backed by Carmell Jones on trumpet, Frank Strazzeri on piano, Red Mitchell on bass and Leon Petties on drums. Also from the same album are tracks 11 and 12, and 2 and 3 on disc 2. These were recorded in Los Angeles on December 13, 1961 by the same personnel.
8. Tripplin' awhile
9. Somara
10. Catacomb
11. The way I feel
12. I'm old fashioned

Continued from the session cited above.
1. Hear Ye!
2. Pari passu
3. Rosie's spirit

Tracks 4 through 7 are from an album titled Business Meetin' (see the combo album cited above). This session was recorded either late 1961 or early 1962 (sources vary) at Pacific Jazz Studios in Los Angeles. Land and Jones are backed by Frank Strazzeri on piano, Gary Peacock on bass and Donald Dean on drums.
4. That's good
5. Suearl
6. Hip trolley
7. Beautiful love

The remaining tracks were recorded in two sessions for an out-of-print album titled Jazz Impressions of Folk Music. Both sessions were recorded for Imperial Records at Radio Recorders in Los Angeles. The first session was on July 3, 1963 with Land and Jones backed by John Houston on piano, Jimmy Bond on bass and Mel Lee on drums.
8. Kisses sweeter than wine
9. Tom Dooley
10. Scarlet Ribbons

The second session was on July 17, 1963 by the same personnel:
11. Take this hammer
12. Foggy, foggy dew
13. Hava nagali
14. On top of old smokey
15. Blue tail fly

I hope I have provided sufficient information to make an informed purchase decision. Another related set that I recommend for Harold Land fans is this value-priced compilation titled 6 Classic Albums. It was the last four tracks in that set that led me to this one.
1 of 1 people found the following review helpful
5.0 out of 5 stars Genius at Work 11 Jun. 2013
By Samuel C. - Published on
Format: Audio CD
So almighty was the talent of Clifford Brown that it became all too easy too overlook the one player capable of "shadowing" him note for note--on all of the Brown/Roach Quintet albums except one (Rollins replaces him on "At Basin Street"). I have a track on which both Land and Rollins perform with Clifford. There's no question about who makes the most of the occasion--Land, as usual, constructs a solo with a beginning, middle and end, each note played with the purpose of realizing an end result that he seems to have in mind from the first note of his solo. Moreover, Land had few peers at fast, clean articulations and dynamic contouring of individual notes as well as whole sections of his solos. Striking examples include Vol. 1-Landslide and The Fox, both of which are "desert island discs."

It's not surprising that two musicians went on record circa 1960 to proclaim Harold Land the "greatest improviser in jazz on either coast." One was pianist Victor Feldman; the other was Carmel Jones, who went out to the West Coast as a man on a mission--to play with the greatest there was. The present collection, while not Land's best work, is nevertheless representative of his musicianship and validation of the judgements of the two aforementioned proteges. Carmel Jones sounds like a liberated, completely different player compared to the "role" he had been asked to fill as a member of the Horace Silver Quintet.

It was not until seeing Harold in person with 3 other "boss tenors" that I realized why Harold was not always given the credit he so richly deserved. Of the 4 tenor players, he was the most diminutive in physical stature and the most "understated" when it came time to "juice" the audience with testosterone-soaked sounds. Unfortunately, most jazz artists are highly mindful of the "show business" aspect of the music (e.g. Miles' studying and copying the "live" personae of Orson Welles and Sinatra; Monk dancing around the piano; Keith's "singing" along with himself). Rollins was (and is) an imposing, continually in-motion, bigger-than-life presence on stage, a player whose physical stature, if nothing else, was a "metaphor" complementing the overwhelming talent of Clifford Brown. Fortunately, on recordings such as this the listener can have Harold all to himself, knowing it rarely if ever gets any better, except for the aforementioned Land recordings (his best work, imo, can be found on any of his recordings made in the '50s and '60s).
Were these reviews helpful? Let us know

Look for similar items by category