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Grant GreenIdle Moments

Label:Blue Note – ST-84154, Blue Note – B0020424-01, UMe – B0020424-01, Blue Note – 84154, Blue Note – BST 84154
Series:Blue Note Records 75th Anniversary Vinyl Initiative
Format:
Vinyl, LP, Album, Reissue, Remastered, Stereo
Country:US
Released:
Genre:Jazz
Style:Bop, Hard Bop

Tracklist

A1Idle Moments
Written-ByDuke Pearson
A2Jean De Fleur
Written-ByGrant Green
B1Django
Written-ByJohn Lewis (2)
B2Nomad
Written-ByDuke Pearson
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℗ 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.

Barcode and Other Identifiers

  • Barcode (Text): 6 02537 78207 9
  • Barcode: 602537782079
  • Matrix / Runout (Side A etched runout variant 1): B0020424-01 A G1 エ∽ ⓤ MASTERED BY CAPITOL
  • Matrix / Runout (Side B etched runout variant 1): B0020424-01 B G1 エ∽ ⓤ MASTERED BY CAPITOL
  • Matrix / Runout (Side A runout variant 2): B0020424-01 A G1 H with S in lower half MASTERED BY CAPITOL
  • Matrix / Runout (Side B runout variant 2): B0020424-01 B G1 H with S in lower half C within a Circle
  • Rights Society: BMI
  • Matrix / Runout (Side A label matrix): BNST 84154-A
  • Matrix / Runout (Side B label matrix): BNST 84154-B
  • Matrix / Runout (Stamped in runouts, variant 1): MASTERED BY CAPITOL

Other Versions (5 of 53)

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Title (Format)LabelCat#CountryYear
Recently Edited
Idle Moments (LP, Album, Stereo)Blue NoteBST 84154US1965
New Submission
Idle Moments (LP, Album, Mono)Blue NoteBLP 4154US1965
Recently Edited
Idle Moments (LP, Album, Repress, Mono)Blue Note, Blue Note4154, BLP 4154US1966
Recently Edited
Idle Moments (LP, Album, Repress, Stereo)Blue NoteBST 84154US1967
New Submission
Idle Moments (LP, Album, Reissue, Stereo)Blue NoteBST 84154US1968
  • pyrogenique's avatar
    pyrogenique
    Great album. Tried twice to get a decent copy. First skipped and popped, second sounded cleaner but was warped and still had periods of distorted sound.
    • digsydining's avatar
      digsydining
      As usual most of the Blue Note 75th anniversary reissues are no worth buying. Terrible pressing. Better off listening to cd reissues.
      • mrkoto's avatar
        mrkoto
        Avoid. Bad glitching through out and many clicks and pops. Hope the BN Classics pressing is better.
        • vercingeterix's avatar
          The hole is a little off center, giving right channel noise on start of side B. Side A has a pop right as it engages the audio track.
          • VineshM's avatar
            VineshM
            Avoid this pressing at all costs! Terrible and very disappointing. Too noisy and full of clicks, better off with the CD.
            • drwdyr's avatar
              drwdyr
              My noisiest Blue Note reissue to date. Lots of pops and clicks. Plays like a neglected record from the 70s...
              • thepicker's avatar
                thepicker
                I have a handful of the Blue Note Anniversary pressings - and this one is by far the best. I am sure you can find better, but this pressing is quiet, flat, well-centred, and most of all, has real depth. I have a low-end hi-fi set-up, and you know you are on to something when you find a record that makes your low-rent set-up sound like a million bucks. Also - the music. One of my favourite jazz records... period.
                • streetmouse's avatar
                  streetmouse
                  Edited 2 years ago
                  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
                  • cterhechte's avatar
                    cterhechte
                    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.
                    • hrobb's avatar
                      hrobb
                      Edited 2 years ago
                      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