Harold Land: The Peace-Maker (1967) Chess

harold-land-the-peace-maker-chess-1967-cover-1920-ljc1Selection 1: The Peace-Maker (Land) 5:10


Selection 2: Stylin’ (Land) 3:34


It’s rapidly approaching, Christmas/Thanksgiving/Holiday/whatever-you-wanna-call-it, so a seasonal bonus from LJC – Selection 2,Stylin’, and what a track! Outrageous! Harmonica, flute, vibes – it even smells of 1967, the faint whiff of joss-sticks and incense, patchouli oil, and …  thanks, but just tobacco in mine


Harold Land (tenor sax) Bobby Hutcherson (vibes) Joe Sample (piano) Buster Williams (bass) Donald Bailey (drums, harmonica) recorded Annex Studios, Los Angeles, CA, December 11, 1967 & February 26, 1968, recording engineer Dave Wiechman.

Bobby Hutcherson and Harold Land  have been covered extensively at LJC before, so a quick peek at who joins them on this not well known album.

Joe Sample (piano) on leave from The Jazz Crusaders, the group who would later to become simply The Crusaders, when I caught up with them in the early ’70s. Up in the attic, boxes of electronic jazz-funk-fusion LPs:  Yellowjackets, Spyrogyra, Special EFX, Brecker Brothers, Larry Carlton, David Sanborn, Bob James, many GRP and MCA albums – the list is embarrassingly long, but no Kenny G.

Sample  eventually moved over to various electric keyboards, Wurlitzer, Fender Rhodes and clavinet, a  long illustrious career as session man with many stars. But here on acoustic piano, fluid and rhythmic, echoes of Wynton Kelly, Horace Silver, Duke Pearson, but wholly versatile, adapting to the drifting floating cool direction set out by Land and Hutcherson.

Buster Williams on bass, who would shortly join Herbie Hancock Sextet, largely electric post-Miles, which evolved into  synthesiser-based post-modal impressionism. Music forever on the move.The experimentation dates it on the cusp of electrification but Buster can walk.

Donald Bailey, drums and harmonica. Bailey is best known for his appearance on twenty one Jimmy Smith Blue Note albums. But the harmonica? The most portable instrument in the jazz repertoire, fits neatly in a shirt pocket with room for a pack of Luckies.  Belgian Toots Thielemans is about the only widely recognised exponent of jazz harmonica, a very small field compared with its’ natural home, the blues. Quirky, but against all expectations, it adds a different sound which works well with Hutcherson and Land, quite endearing.


Recorded on the cusp of 1967/8, this merger of East and West coast into a new landmark.

AllMusic (awarded 4½ stars): “one of the finest if little-known jazz LPs of its era. The Peace-Maker is a particularly apt title. The record’s serene, supple contours glow with a lyricism that eschews the angularity of bop.

Land’s graceful sax melds perfectly with Hutcherson’s warm, shimmering vibes to create a deeply soulful, even divine sound. His original compositions are no less thoughtful, galvanized by a yearning for harmony that embraces all senses of the term “.

1967The Peacemaker was first of ten albums Land recorded with Bobby Hutcherson over the following eight years. The tunes here are not show-tunes or bop standards, but a new genre, jaunty staircase headline motifs  that run up and down the scales while the modal canvas shifts with each repetition.

Hutcherson has metallic cool ringing-tones, while Land delivers hard-edge gritty tenor , leaving the propulsion to the rhythm section, which acquits itself honourably. You have to breathe in that 1967 smoke to really get this album. First reaction was – eh? It took more than a few repetitions to get into the zeitgeist. I’m off up the thrift shops looking for a pair of purple loon pants.

Vinyl: Chess LPS 813 original pressing on the Chicago label.

A small amount of recycled vinyl in the mix, not as bad as some Prestige/New Jazz, but an underlying crackle persistent between the tracks, dubious industry practice of the day – payola to disc jockeys, adulterating vinyl by adding recycled to cut cost, perhaps no-one at the time could hear, but quite audible with a sensitive modern cartridge.

That aside, a nice stereo soundstage, generally well engineered by Dave Weichman of Radio Recorders, best known as “Elvis’s engineer” 1962-6 with a respectable list of jazz recordings to his credit, including Harold Land’s The Fox, MJQ, Elmo Hope, Dave Pell, Emil Richards, and…Canned Heat.



Collector’s Corner

This one is “rare”, I concluded, the devil to get hold of, and very fully priced, from across the pond, perhaps it didn’t sell well. You might have some views on it.

UPDATE December 6, 2016

I noticed this copy being sold on Ebay as though it was the original.  Original Cadet it is not – it is a Cadet reissue by All Platinum Records Group, a specialist Soul and R&B label who took over the Chess catalogue in 1975.


This All Platinum “Cadet” is mid to late ’70s second issue. The few I have are poor quality manufactured for cheapness, and the covers are often as seen here, black and white copies, not recommended.


Faster than a speeding bullet train, LJC reader Moko fires off a Japanese copy, label dated 1984. Could be the alternative of choice. Thanks, Moko, nice shooting.


Any more alternatives out there? Send ’em. This album deserves to be better known.


I read we just lost Phil Woods, a fine altoist, one of the finest.


16 thoughts on “Harold Land: The Peace-Maker (1967) Chess

  1. One minor addition: I recently bought one of the b/w GRT reissues of Cadet LPS 813 – and it actually plays Cadet 815 by Lou Donaldson (“At His Best”). Sounds great, though.


    • Hey Klaus, I also have one of the Cadet 815 “Lou Donaldson at His Best” platters hidden inside my black & white reissue cover for “The Peace-Maker!” It DOES sound really good for one of these mimeograph cover-quality later Cadets–I haven’t researched the Argo / Cadet pressings, but it looks and sounds like it might be a first 1969 vinyl pressing. I’ve seen a few incorrectly placed record labels before, but it’s very strange that the matrix numbers in the wax actually match the Harold Land record perfectly. I guess quality control was getting REALLY lax at “All Platinum Records Group” (sounds like a name you can trust, doesn’t it?) by the mid-seventies. Maybe they had some surplus stock acquired from Argo / Cadet lying around? I was inspired to pull my copy of the Harold Land LP out for the first time after reading this excellent write-up today–I bought it for a couple of bucks with a bunch of other albums a couple of years ago, but it fell through the cracks, as inexpensively acquired large batches of LPs often do. Oh well–here’s hoping I’ll actually hear “The Peace-Maker” someday!


      • I actually did acquire a “real” copy of “Peace-maker” in the meantime. And yes, there were mistakes during the GRT/All Platinum Chess years, but they also put out a number of great blues reissue albums and of course the Jazz two-fers, which back then were my first introduction to people like Lou, Max Roach and Sonny Stitt. Long time ago …


  2. Very shocking to know that recycled vinyl was used in labels other than Prestige. I checked my “not for sale” copy of this record and found that it also has crackling noise between tracks, although less severe. It is quite perceptive of you to notice it. Do you know any other examples?


    • The main culprit was Prestige in the early/mid ’60s, and especially their New Jazz label, they had a rogue pressing plant on their later supplier list (not Abbey), but it is by no means universal. All my soft and gentle Walt Dickerson NJ albums hissss.

      I have found a few examples like this Chess/Cadet, but it is not common. Even with Prestige, I have heard the same LP with hiss and without, so it is all down to individual batches of adulterated vinylite supplied to individual plants.

      The majors like Columbia never went down this route, but the independents who scratched a living and shopped around independent plants for pressing deals, like Prestige, fell for this lower cost adulterated vinylite, if indeed they ever knew why it was cheaper.

      Weinstock retired to Florida, I read, and moved on to CD as his personal listening medium. I doubt he would even have recognised the discussion.


      • Thank you very much for the updates. I have also checked the Japanese reissue. It is of course quiet throughout, but to my ears slightly lacking the airy and open feeling of the original. I prefer the US copy in spite of its pressing problem.
        Meanwhile, I listened to these records several times and really enjoyed the music. Thank you LJC for a nice post.


        • Prestige also used recycled vinyl on their other budget labels, Swingville, Moodsville, and Status.
          It’s almost a crime as some of the Moodsville sessions are quiet ballad sessions that deserve a better playing surface. The Status label was the bottom of the bunch…


  3. Land and Hutcherson is an irresistible lineup. In later years, Buster Williams could really dominate a session, so it’s nice to hear him fit in here. I obtained a copy of Peace-Maker about a month ago at a local store – light blue promo label, DG, “Promotion Copy, Not for Sale”, and a DJ suffix on the LPS-813 at the bottom of the label. Matrix codes are identical to those you presented. But I can’t comment on the sound quality – my tonearm has been out for repair/upgrade for the last 2 months (yes, it’s driving me nuts). So thank you for playing two cuts on a record I’ve been itching to hear.


  4. Enjoyed those two tunes, although over my system, they sounded a bit emphasized in the upper midrange. Really liked the stereo separation, with drums and piano panned hard left and right. I know, that’s not how they mix now, but I don’t mind.


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