Land upstages himself on this unusual disc (featuring great
Samuel Chell | Kenosha,, WI United States | 07/26/2007
(4 out of 5 stars)
"Any recording by Harold Land, especially from the mid-50s through the '60s, is enough cause to sit up and listen. The liner notes get it wrong in emphasizing his "big sound," since compared to, say, Rollins, his was a smaller but edgier, "cutting" sound, matched to the no-nonsense quality of each purposeful solo. Also surprising is that the notes list his credits but make no mention of his stellar contributions to the three Curtis Counce recordings on Contemporary.
This recording isn't as satisfying as the Contemporary dates partly because the accompanying cast isn't in the same league as Sheldon, Perkins, Butler, and Counce, nor do they sound as tight and rehearsed. Also, the recorded sound lacks the balance and spaciousness of the Contemporary sessions. The bass is boomy, and the drums sound quite distant, especially the ride cymbal.
As for the tunes, Land's "As You Like It" is an up-tempo, attention-getting opener, though the composer's solo lacks the customary assured fluency. He's heard to better advantage on the ensuing numbers, none of which is especially memorable.
The session was produced by Leonard Feather, but the audio engineer isn't identified. It's definitely not a Lester Koenig date--possibly Van Gelder--and very likely the bass was boosted by some tone-deaf non-musician for this CD release. The bonus track, a 21-minute "Straight No Chaser," raises it from a three to a 4-star session--with Land taking the first solo backed by a "dream" rhythm section of Ray Brown (his bass never obtrusive), Ed Thigpen (whose ride cymbal is much more audible), and Tommy Flanagan (the Oscar Peterson Trio minus Oscar). The order of solos is not identified in the liner notes, so here they are: Bobby Bryant follows Land with a smooth and riffing solo, more conservative than Land's; then it's Pete Christlieb's turn, his fuller sound and harmonic virtuosity on tenor giving him away; then it's the unmistable precision of the trombonist's trombonist, Carl Fontana, who practically steals the show with his extended statement, becoming more fiery and dramatic with each note. Now it's Harry Edison, playing with the cup mute. Next, it's Frank Rosolino's pyrotechnics that take center stage, his playing flashier and brassier than Fontana's but not as "clean" and precise. Finally, the inimitable Mr. Flanagan, his touch and phrasing a clear identifier, even though the piano sound overall is somewhat squeezed and distorted (it's definitely not the greatest audio, but at least the sound is better "balanced" than the first six tracks).
If the audio quality were better, this last track alone would elevate "Take Aim" to a five-star disc."
Aim straight, no chaser
Bomojaz | South Central PA, USA | 04/14/2007
(4 out of 5 stars)
"TAKE AIM was recorded for Blue Note in 1960 but never released on LP until 1980. There are all kinds of reasons why material recorded doesn't see the light of day when expected, but I think this one sat in the vaults so long because it just didn't cut it interest wise. The tunes, all originals except for the ballad YOU"RE MY THRILL by Burton Lane, are not that great. Things start off well: AS YOU LIKE IT is an up-tempo swinger as is the title track, which also happens to be a nice little composition (by pianist Amos Trice). But the material gets iffy after that. The playing is good, however, especially the open trumpet playing of Martin Banks, who had ears then for Nat Adderley. The real winning track here, though, is the bonus one, STRAIGHT, NO CHASER, which comes off a "Jazz in the Afternoon" LP (there were 3 of them) on Solid State done in 1968, in this instance featuring a gang of West Coast giants including Harry Edison, Victor Feldman, Frank Rosolino, and Land, to mention only a few. It's a 20-minute romp that after the theme statement has very little to do with Monk's composition. It alone is worth the price of the CD."
Track Listings (7) - Disc #1