Terrain – Harold Land

Before this May recording session, Harold had already recorded within the last month with vocalist King Pleasure, pianist Thelonious Monk and trumpeter Shorty Rogers. After Harold's "West Coast Blues" session, in July he headed to NYC to record another date for Jazzland ("Harold Land In New York - Eastward Ho!"). Later that same month he was back in LA doing his own date for Blue Note ("Take Aim"). He also recorded with pianist Gerald Wiggins before the end of the year.

Piano Comping Voicings
Pianist Michael Cochrane has provided one chorus of voicings using the solo chord progression (footballs). This set of voicings builds steadily over the course of the chorus. A1 is in a lower register, with voicings generally including the root and a half- or whole-step rub between the 3rd and 2nd, or 7th and 6th. A2's voicings are higher, not always with the root, with a combination of third- and fourth-based structures. The bridge has hits, which are given large voicings including the root. C starts even higher than A2 and descends. Also of note is the resolution between the second and third measures of A1 and A2: the third measures both have F on the top, but on A1 it is approached with G-flat and then A-flat on top while on A2 it is the reverse

These footballs show one way Michael hears the solo chord progression move from chord to chord. When studying them, your concentration can be focused solely on the chord progression and how chords move from one to another. Rhythmically, it's simple whole notes and half notes, or the basic harmonic rhythm of the chord progression of the solo section. The footballs are also annotated, showing the original chord symbol above the voicing, as well as any extensions below the voicing. The idea is that these voicings could be of varied uses to any level of pianist—a beginner pianist could play the music exactly as on the page and provide a supportive and harmonically hip sounding accompaniment to a soloist, while a more advanced pianist could use these same voicings with varied rhythms in the style of the recording. Ultimately, a pianist would be able to absorb how these voicings were derived from the chord symbols, and then be able to create their own.

"Inner Urge" is the third of Larry's five albums for the High Note label, produced by jazzleadsheets.com's Don Sickler. All but the fifth of these High Note albums feature a quartet with Yoron Israel on drums, plus different guests on each album. John Hicks and Santi Debriano also played on the first of these albums, 1998's "Monk, Trane, Miles, And Me." Both the latter album and "Inner Urge" have Santi Debriano compositions: Patience and Abra Cadabra, respectively.

Piano Comping Voicings
Pianist Michael Cochrane has provided one chorus of voicings using the solo chord progression (footballs). This set of voicings builds steadily over the course of the chorus. A1 is in a lower register, with voicings generally including the root and a half- or whole-step rub between the 3rd and 2nd, or 7th and 6th. A2's voicings are higher, not always with the root, with a combination of third- and fourth-based structures. The bridge has hits, which are given large voicings including the root. C starts even higher than A2 and descends. Also of note is the resolution between the second and third measures of A1 and A2: the third measures both have F on the top, but on A1 it is approached with G-flat and then A-flat on top while on A2 it is the reverse

These footballs show one way Michael hears the solo chord progression move from chord to chord. When studying them, your concentration can be focused solely on the chord progression and how chords move from one to another. Rhythmically, it's simple whole notes and half notes, or the basic harmonic rhythm of the chord progression of the solo section. The footballs are also annotated, showing the original chord symbol above the voicing, as well as any extensions below the voicing. The idea is that these voicings could be of varied uses to any level of pianist—a beginner pianist could play the music exactly as on the page and provide a supportive and harmonically hip sounding accompaniment to a soloist, while a more advanced pianist could use these same voicings with varied rhythms in the style of the recording. Ultimately, a pianist would be able to absorb how these voicings were derived from the chord symbols, and then be able to create their own.