» » Grant Green - Idle Moments

Grant Green - Idle Moments Album

FLAC MP3 WMA
Grant Green - Idle Moments Album
Bop, Hard Bop
  • Performer:
    Grant Green
  • Title:
    Idle Moments
  • Genre:
  • Style:
    Bop, Hard Bop
  • Release date:
    27 May 2014
  • Country:
    US
  • Size FLAC version
    1105 mb
  • Size MP3 version
    1188 mb
  • Size WMA version
    1150 mb
  • Rating:
    4.8
  • Votes:
    302
  • Record from:
    Vinyl, LP, Album, Reissue, Remastered, Stereo

Tracklist

1Idle Moments
Written-By – Duke Pearson
2Nomad
Written-By – Duke Pearson
3Django
Written-By – John Lewis
4Jean De Fleur
Written-By – Grant Green

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
BLP 4154Grant Green Idle Moments ‎(LP, Album, Mono)Blue NoteBLP 4154US1964
CBNJ 84154 SA, ST-84154Grant Green Idle Moments ‎(SACD, Hybrid, Album, RE)Analogue Productions, Blue NoteCBNJ 84154 SA, ST-84154US2010
7243 4 99003 2 5Grant Green Idle Moments ‎(CD, Album, RE, RM)Blue Note7243 4 99003 2 5USUnknown
UCCQ-9255Grant Green Idle Moments ‎(CD, Album, Ltd, RE, RM)Blue NoteUCCQ-9255Japan2016
BST 84154, 65Grant Green Idle Moments ‎(LP, Album, Ltd, RE, 180 + LP, box)Blue Note, DeAGOSTINI JapanBST 84154, 65Japan2019

Credits

  • BassBob Cranshaw
  • Design [Cover]Reid Miles
  • DrumsAl Harewood
  • GuitarGrant Green
  • Lacquer Cut ByIS
  • Mastered ByBernie Grundman
  • Photography By [Cover]Francis Wolff
  • Piano, Liner NotesDuke Pearson
  • Recorded ByRudy Van Gelder
  • Tenor SaxophoneJoe Henderson
  • Vibraphone [Vibes]Bobby Hutcherson

Notes

℗ 2013 © 2014
US release with NO download card. First catalog number comes from the top of the spine. Second catalog number comes from back cover. 'Blue Note Stereo 84154' printed on bottom of the spine. Has the simple white and blue 'Blue Note 75' sticker on the front (see the logo for this series). Full color paper '75 years' inner sleeve. Recorded on November 4, 1963.

Barcodes

  • Barcode: 6 02537 78207 9
  • Matrix / Runout (Side A, Stamped): MASTERED BY CAPITOL
  • Matrix / Runout (Side A, Handwritten): B0020424-01 A G1 エ∽ ⓤ
  • Matrix / Runout (Side B, Handwritten): B0020424-01 B G1 エ∽ ⓤ
  • Matrix / Runout (Side A Matrix/Runout Variant): B0020424-01 A G1 H with S in lower half MASTERED BY CAPITOL
  • Matrix / Runout (Side B Matrix/Runout Variant): B0020424-01 B G1 H with S in lower half C within a Circle
  • Rights Society: BMI
  • Other (Side A, Cat. #, on label): BNST 84154-A
  • Other (Side AB Cat. #, on label): BNST 84154-B

Companies

  • Distributed By – Universal Music Distribution
  • Phonographic Copyright (p) – Blue Note Records
  • Copyright (c) – Blue Note Records
  • Published By – Gailantcy Music Co.
  • Published By – Blue Horizon Music, Inc.
  • Published By – MJQ Music, Inc.
  • Pressed By – United Record Pressing
  • Lacquer Cut At – United Record Pressing

Video


MarF
I find it a sincere shame that there is not more jazz where the primary instrument is the guitar. That said, I’ve heard fine soling jazz where there’s been no other instrument other than those relying on wind, and of course the piano … yet guitar, that’s a different breed, one requiring the delete balance and interplay of others, supporting members who understand how to enhance a guitar, bringing out it’s full sound and allowing it to flower without being stepped on.If anyone understood that concept, it was Grant Green, whom on Idle Moments, which is anything but, surrounded himself with an assemblage of some of the best musicians from the time, including Joe Henderson on sax, Al Harewood on drum, Duke Pearson on piano, Bob Cranshaw holding down the double bass and Bobby Hutcherson on vibes, all players we’ve come to know an love; featured on the recordings of others. This assemblage use all of the be-bop licks, though they manage to bend the presentation ever so slightly in order to expand not just Green’s guitar, but the sonic nature of the entire band. With Green being ever present, in the same breath he’s not, where at times Hutcherson and Green share the platform of playing lead (or the head), where each come off as nearly co-equal partners, sharing and creating spaces for melodic runs within the confines of the space available. Considering that, I was swept back when unmistakable blues licks ebbed from my speakers, at times even reaching into his pockets and going blues heavy within the construct of his developing melodic ideas, ideas that support the notion of allowing the bass and drums to shine without taking over one’s listening space. This brings me to the point where I want to say that Joe Henderson is delightful and prominent in a fashion I’ve never been aware of before, I might even say elegant, though within that beauty he manages to hold back, using a restraint developed over years of playing that allows Green to always sound in control.Perhaps this is the single most significant pure jazz album Green has ever made, a captured treasured moment in time, recorded in two session in November of 1963, where without a doubt the seminal track “Idle Moments,” a nearly fifteen minute serene instrumental penned by pianist Duke Pearson, with the unheard of length coming about nearly by accident, being the last track laid down, sometime around midnight, where according to Pearson, the story goes, “‘Idle Moments’ was the final track to be recorded during the first night, where with the playing times of the other three tracks already being in the can, meant that ‘Idle Moments’ could be no more than seven minutes in length, as anything over that would burst the maximum LP playing time of around forty minutes. But due to a misunderstanding, Green soloed for 64 rather than the planned 32 bars, where Henderson and I, along with Hutcherson followed suit, each soloing for twice as long as had been expected. Fortunately, producer Alfred Lion had both the ears and wit to keep the tape machine running.” And as if that weren’t enough, two of the numbers “Jean De Fleur” penned by Green, and John Lewis’s “Django,” were re-worked and re-recored nearly two weeks later in shorter versions, thus allowing for the “Idle Moments” opus to be included in it’s entirety. (laughing) I’ve never been one for alternate takes, yet these two songs are the alternate takes, with the delicious longer versions for “Django,” which itself runs over thirteen minutes, along with “Jean De Fleur” had been hidden away, lost to all but a few privileged folks until compact discs come along, where you are able to hear those two sensational sessions in their entirely, as they were laid down … where I assure you, it’s a dream come true.The album is sincerely tight, yet still finds ways of infusing breath and improvisation into it, proving that combos featuring guitarists are more than worthwhile, a hidden gem of understated chord progression splendor. Idle Moments is a record that came as close as one could get to greatness at the time, where over the years, the divine chemistry and unselfishness of all players involved have taken it far beyond greatness, where this record stands firmly in the top 50 albums of all time for any sincere jazz listener.*** The Fun Facts: Grant Green played on a Gibson ES-330 until the mid 1960s. This thinline, double cutaway guitar had P-90s (single coil elements) instead of the Humbuckers of the more popular ES-335 model. Later, Grant Green played a Gibson L7 with a Gibson McCarty pickup/pickguard. Grant achieved his tone by turning off the bass and treble settings of his amplifier and maximizing the midrange. And yes, that's a Gibson featured on the album jacket.There are countless versions of this album one may choose from, some selling for as much as $350US, though if it’s the sound quality and enjoyment your after, with out compromising or breaking the bank this presentation (Blue Note – ST-84154, Blue Note – B0020424-01, UMe – B0020424-01, Blue Note – 84154, Blue Note – BST 84154) is just fine for my ears and my total McIntosh system and B&W speakers, the album’s nice and quiet, there was little if any distortion on my copy and very acceptable surface noise.Review by Jenell Kesler
Reemiel
Strange that you recommend stereo versions when the original recording was mono. I always fear a wrong stereo balancing as I could hear on Curtis Counce Group first LP, so I usually go for mono represses...
Darkshaper
Funny you wrote this yesterday when I was thinking about writing a review today. I've got nothing to add but confirmation: A nice album, the alternate versions are the winners for me. Sound quality on the cheap-as-chips Grant Green - Idle Moments is perfectly fine to my ears. What's not to like!What surprised me is that seemingly only few people recorded covers of Pearson's composition: In 1993 by/on Joshua Breakstone - Remembering Grant Green which is nice; Peter Bernstein took on Grant Green's role and re-recorded it for the 2009 Blue Note release The Blue Note 7 - Mosaic: A Celebration Of Blue Note; and then in 2014 Gerald Beckett - The Messenger which is very soft with Gary Zellerbach's guitar accompanying Beckett's Bass Flute.
jorik
The Blue Note anniversary pressings are a hit and miss. My brand new copy of this had so much residue from the pressing on the surface of side A that the first 30 seconds of "Idle Moments" sounded like they came from a REALLY bad flee market copy.
Iraraeal
Sonically, I think this album is fine. Especially for the price point, it would be very difficult to find a copy of this that sounds better. However, the biggest flaw of this and all the Blue Note 75 reissues is the pressing defects. URP is fine for alt rock like Jack White, but for jazz, it seems like it'll be a source of endless frustration. For what it's worth, the record is pretty quiet most of the time, but get ready to hear random loud pops, streaks of noise, and even electric sounding buzzes. And I will say, I have never had a problem with a record skipping before, I thought that's only something that happens with weak turntable setups. I will say it is worth $14 to have such a great album. If you're a big fan, maybe it might be worth it to buy a couple to see which is best, as enviromentally inefficient as that is, because pressings will probably vary. To sum it up, the mastering is great, the pressing is whatever URP's dice roll
X-MEN
This is my second review on this album, apparently someone does not like what I wrote here but for the benefit of the fellow record enthusiasts I will carry on posting the same review. This is a nice version of a great album actually and probably one of the very few latest versions which do not produce distortion or sibilance, unlike recent European pressings. Nice & quiet album with decent noise floor, allowing you to crank up the volume if needed. Apart from the Analogue Production version which is the must get copy this one will satisfy you without harming your budget.