Harold Land ‎– Damisi (1991)

Style: Post Bop
Format: CD, Vinyl
Label: Mainstream Records, Solid Records

Tracklist:
1.   Step Right Up To The Bottom
2.   In The Back, In The Corner, In The Dark
3.   Pakistan
4.   Chocolate Mess
5.   Damisi
6.   Dark Mood
7.   Up And Down

Credits:
Bass – Reggie Johnson
Congas – Mtume
Drums – Billy Hart, Ndugu, Woody Theus
Electric Bass, Acoustic Bass – Buster Williams
Electric Piano, Piano – Bill Henderson
Piano – Harold Land Jr.
Tenor Saxophone, Oboe – Harold Land
Trumpet, Flugelhorn – Oscar Brashear
Vibraphone – Bobby Hutcherson
Producer – Bob Shad

Bobby Hutcherson Featuring Harold Land ‎– San Francisco (1971)

Style: Free Jazz
Format: CD, Vinyl
Label: Blue Note

Tracklist:
A1.   Goin' Down South
A2.   Prints Tie
A3.   Jazz
B1.   Ummh
B2.   Procession
B3.   A Night In Barcelona

Credits:
Vibraphone, Marimba, Percussion – Bobby Hutcherson
Bass, Bass – John Williams
Drums – Mickey Roker
Piano, Electric Piano – Joe Sample
Tenor Saxophone, Flute, Oboe – Harold Land
Producer – Duke Pearson
Engineer – David Brand

Bobby Hutcherson's late-'60s partnership with tenor saxophonist Harold Land always produced soulful results, but not until San Francisco did that translate into a literal flirtation with funk and rock. After watching several advanced post-bop sessions gather dust in the vaults, Hutcherson decided to experiment with his sound a bit, but San Francisco still doesn't wind up the commercial jazz-funk extravaganza that purists might fear. Instead, Hutcherson and Land stake out a warm and engaging middle ground between muscular funk and Coltrane-style modality; in other words, they have their cake and eat it too. Joined by pianist/keyboardist Joe Sample (also of the Jazz Crusaders), acoustic/electric bassist John Williams, and drummer Mickey Roker, Hutcherson and Land cook up a series of spacious, breezy grooves that sound unlike any other record in the vibist's discography (even his more commercial fusion sessions). The selections -- all group-member originals -- often skirt the edges of fusion, but rarely play it as expected; they might float some spare tradeoffs over a loping, heavy bass groove, throw in an oboe solo by Land, or -- as on the slowest piece -- keep time only with intermittently spaced piano chords. It's all done with enough imagination and harmonic sophistication to achieve the rare feat of holding appeal for traditional jazz and rare-groove fans alike. It's a shame Hutcherson didn't explore this direction more, because San Francisco is not only one of his best albums, but also one of his most appealing and accessible.

Steve Huey / AllMusic