Terrain – Harold Land
Harold Land's bop tunes are fascinating and challenging, especially in minor keys. This one is no exception, full of wide-interval peaks and valleys.
- Recording: Harold Land - West Coast Blues!
- Recorded on: May 17, 1960
- Label: Jazzland (JLP 20)
- Concert Key: B-flat minor
- Vocal Range: , to
- Style: Swing (medium up)
- Trumpet - Joe Gordon
- Tenor Sax - Harold Land
- Guitar - Wes Montgomery
- Piano - Barry Harris
- Bass - Sam Jones
- Drums - Louis Hayes
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Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Our audio excerpt starts with the melody. The rhythm section intro from the recording is notated in the C treble clef lead sheet. Harold simplified the melody chord progression for the solo section, giving you a real chance to groove in B-flat minor (concert). A separate page of solo changes comes with each lead sheet.
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.
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.
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- Recording: Larry Coryell - Inner Urge
- Recorded on: February 23, 2000
- Label: HighNote (HCD 7064)
- Concert Key: B-flat minor
- Vocal Range: , to
- Style: Swing (medium)
- Trumpet - Don Sickler
- Guitar - Larry Coryell
- Piano - John Hicks
- Bass - Santi Debriano
- Drums - Yoron Israel
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Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
The arrangement of this version is rather different from the original. The tempo is much slower. Where the original began with a piano intro (although not in our audio teaser) and ended on the last measure of the head out, this arrangement lacks an intro and, at the end, adds a bluesy tag of the last two measures. As with Compulsion, the guitar plays the melody, unlike the original recording.
Note: the lead sheets available here are the same editions as shown under Harold's album.
Note: the lead sheets available here are the same editions as shown under Harold's album.
"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.
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.
Related Songs
Email Send Terrain to a friend
Send this page to a friend via email. Add your name or email in the first field. In the second, add one or more email addresses, separated by a comma.

Harold Land
February 18, 1928 – July 27, 2001
Many people only know of Harold Land as the great tenor saxophone soloist who made the classic quintet recordings with the Clifford Brown - Max Roach Quintet: Joy Spring, Daahoud, The Blues Walk and other classics—many of which are available from jazzleadsheets.com. Harold is far more than just a great tenor saxophonist sideman. Read more...
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