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Idle Moments Grant Green Pdf Idle moments grant green pdf Continue MeLCat is back! Plus other new services. Details here. Ann Arbor District Library about us Collection Events Services Christopher Is no insult to say jazz guitarist Grant Green favored to feel over the technique. He didn't play double phrases or flames with extended chords, instead favoring a langulic, minimalist style that feels more like a blues singer's phrase conveyed by a fretboard. Green's one-line game has always been lyrical, melodic and funky, which is one of the reasons why he was one of the most recorded musicians in the history of Blue Note Records. Alex Arrest, leader of the guitar trio Ann Arbor, was so fascinated with Green's play that he decided to study the 1965 album Of The Idle Moments in full, which he will present on Friday, October 12, at the Kerrytown Concert House with Gayelin McKinney (drums), Eric Nachtrab (bass), Janelle Reichman (tenor) and Alexis Lomre (piano). The record is one of the most famous in Green's career, mainly because the title track is such a cold charmer. As the pianist Duke Pearson, who also wrote the song, told Idle Moments that the melody's nearly 15-minute work time was the result of a happy accident: Green mistakenly played a 16-bar melody twice, creating a longer solo structure for the rest of the musicians, all of whom followed suit. The rest of the album, which includes songs by Jean De Fleur (Green), Django (John Lewis), and Nomad (Pearson), is equally winsome and easy to digest why the record is so beloved. The CD reissue uncovered alternative versions of Jean De Fleur and Django (which is four minutes longer), and Arrest based his arrangements for the concert on these berets. I talked to Anest about what inspired him to cover the entire Idle Moments album and what he likes about Green's game. The question is: How did you decide to do a Grant Green/Idle Moments concert? A: When I took a class from Benny Green in U-M, I was impressed by his encyclopedic knowledge of Blue Note records. One of the reasons that Benny is such a great player is that he really understands music on a deep level. I studied the songs of Idle Moments and realized that I only knew one track from the album, so I decided to listen to the entire recording while driving to Cleveland for a concert. I immediately fell in love with the other three tunes and thought I should learn them. The problem is that even if I did, it's not the way I'll ever be able to play them. No one calls Nomad at the concert. At that point I realized that if I was going to play these tunes I would need to create an opportunity to perform them. It made me think that this might be a great chance to work with some really amazing musicians I don't often perform with. I was sure I could find it. a place where I could get enough money to hire the best players around. That's when I came up with the idea to make this show. A: This is the second concert I know about where you dedicated the concert to a particular guitarist; Emily Remler's tribute at the Old Town Tavern is another I know with earlier this year. What inspired this kind of concerts and this kind of show is harder to pull off because the band has to learn the repertoire? A: The Moments without a Case project was already in the works when Ingrid Rasin invited me to a concert with Emily Reamler with her. It's not what I've done in the past. There are several reasons why this type of show is appealing. First, it is an opportunity to honor the memory of our musical ancestors and save the lives of some of the less often played repertoire. It is also easier to promote a show like this because the public has a starting point. They may not know who I am, but they know if they like Grant Green or Emily Reimler. It's also a great way to get people together to play. Everyone I asked to do this project immediately agreed. I'm honored to work with people like Gaileen McKinney, and I would never ask her to come to Ann Arbor to play with me if I couldn't afford to pay her. As for the difficulty of shooting a show like this, it's important to rehearse, but the most important thing is to just hire musicians who can play well. There was a fair amount of transcription work in getting the chart ready, but I did it in advance. The charts were made before I hired the band. Once we're on the podium the goal is to have fun and be creative. The question is: Do you keep with the LP arrangements, or have you switched them up some for the show? Are you playing a longer version of Django or the original version of the LP? A: I haven't changed much in arrangements, but I don't expect everyone to try to sound like a record. I just wanted the charts to relate to the recording for the simplicity of practice when we were learning tunes. I based my arrangements on longer versions of Django and Jean de Fleur. The album doesn't have a bass or drum solo so obviously we had to add some of them! What do you like about Green's game? A: I got into Grant Green through his record Feelin' Spirit. Grant's game has that feeling. It's not too flashy, and it's definitely not far-fetched. He and Joe Henderson, who plays tenor on Idle Moments, are very different players, but they both have a way of playing what I would describe as honest and they are two of my favorite musicians. When I first heard Grant, I had just graduated from my student at BGSU, and I think jazz was still a technical puzzle for me. I cared more about playing the right notes than about saying something. Grant sometimes just play three notes over and over again with such an attitude that said: I'll play that phrase until I'm ready on, and not a minute more or less. It really took me out of my head and into my body, at the same time playing lines that were interesting. I love his tone as well. It's just so present. There are many guitarists with more chops than Grant, but none of them ever reached out inside me like Grant did. Christopher Porter is a library technician and editor of Pulp magazine. The Idle Moments Project will perform at 8 p.m. on October 12 at Kerrytown Concert House, 415 N. Fourth Ave., Ann Arbor. Visit kerrytownconcerthouse.com tickets and more information. Read our interview with Anest about Ann Arbor Guitar Trio Tides' debut album. Ann Arbor District Library, 2020. All CC-by-NC content, unless otherwise stated. Terms of Use (en) Privacy Policy 1965 studio album by Grant GreenIdle MomentsStudio album by Grant GreenReleasedFebruary 1965'1'Recorded4 and November 15, 1963StudioVan Gelder Studio, Englewood Rocks, NJGenreJazzLength42:45 Original LP64:06 CD reissueLabelBlue NoteBST 84154ProducerAlfred LionGrant Green Chronology Am I Blue (196 3) Idle Moments (1965) Matador (1964) Professional RatingsRevue RatingsSource:Encyclopedia of Popular Music, 1963 jazz album released in 1965 by guitarist Grant Green. It includes performances by Joe Henderson on tenor saxophone, Bobby Hutcherson on vibes, Blue Note at the home of producer Duke Pearson on piano, Bob Cranshaw on bass and Al Harwood on drums. It was released in early 1965. The album is best known for its title piece, a slow track in C minor that lasts almost 15 minutes. Pearson, who wrote the song, explains in his notes to the album that the melody should have been much shorter. However, due to the fact that the musicians twice repeated the main melody, there was some confusion as to whether one choir would consist of 16 or 32 measures. Producer Alfred Leo was pleased with the take, although he suggested they do a re-delivery to put the song within a seven-minute limit. However, the song had a special feeling for it, which no subsequent capture could return, so it was decided to release a first look at the album. Two other songs, Jean De Fleur and Django, were renamed shorter performances to compensate for the length of the title track; Extended performances of both songs can be heard on CD-re-releases of the album. The list below follows the 1998 RVG edition of the album. The album was identified by Scott Yanou in his allmusic hard bop essay as one of the 17 major Hard Bop Recordings. Track list Idle Moments (Pearson) - 14:56 Jean De Fleur (Green) - 6:49 Django (John Lewis) - 8:44 Nomad (Pearson) - 12:16 Bonus Tracks on CD Reissue: Jean De Fleur (Alternative Take) - 8:09 Django (Alternative Take) - 13:12 Record 4 November (#1 4-6) and November 15 (#2-3), 1963. Grant Green Green Joe Henderson's guitar - tenor saxophone Duke Pearson - piano Bobby Hutcherson - vibraphone Bob Cranshaw - bass al Harewood - Drums Links - Billboard March 6, 1965 - Huey, Steve (2011). Festive Moments - Grant Green AllMusic. allmusic.com. received on July 17, 2011. Colin Larkin (2007). Encyclopedia of popular music (4th place). Oxford University Press.
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