Shop now Shop now Shop now Shop All Amazon Fashion Up to 70% off Fashion Cloud Drive Photos Shop now Shop Amazon Fire TV Shop now Shop Fire HD 6 Learn More Shop now Shop now Shop now
Includes FREE MP3 version of this album.

More Options
I Want To Hold Your Hand
See larger image

I Want To Hold Your Hand

9 Oct. 1997 | Format: MP3

£7.59 (VAT included if applicable)
Buy the CD album for £13.14 and get the MP3 version for FREE. Does not apply to gift orders.
Provided by Amazon EU Sàrl. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations. Complete your purchase of the CD album to save the MP3 version to your Amazon music library.
Song Title
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to (UK).

Product details

  • Original Release Date: 9 Oct. 1997
  • Release Date: 9 Oct. 1997
  • Label: Blue Note Records
  • Copyright: (C) 1997 Blue Note Records
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 41:27
  • Genres:
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 113,969 in Albums (See Top 100 in Albums)

Customer Reviews

4.0 out of 5 stars
5 star
4 star
3 star
2 star
1 star
See the customer review
Share your thoughts with other customers

Most Helpful Customer Reviews

5 of 6 people found the following review helpful By A Customer on 15 April 2001
Format: Audio CD
"I Want To Hold Your Hand" was the fourth album recorded for Blue Note by the power trio of Grant Green, Larry Young and Elvin Jones, and the third under Green's leadership. Whereas Larry Young's "Into Somethin'" and Green's "Street of Dreams" (the second and third albums respectively) are indisputable five star efforts, this one falls a little short. "I Want To Hold Your Hand" adds Hank Mobley to a group that performs all covers/standards, including the Beatles song and Antonio Carlos Jobim's "Corcovado." The album overall is enjoyable, but this lineup was clearly running out of ideas by the time a fourth session rolled along. That being said, it's far more creative than Green's later material on Blue Note.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

Most Helpful Customer Reviews on (beta) 13 reviews
18 of 19 people found the following review helpful
Green cookin......Young is not bad either 19 Jun. 2001
By Anders Jonasson - Published on
Format: Audio CD
I can not agree with one of the other reviewers, that this is mediocre one. I have all his records and this one is one of my favourites, that also goes for one of the"Green specialists" the world class player Dave Stryker.In my ears I hear a Grant Green in top shape.Greens tone is more beautiful than ever, his playing is very direct and he is grooving. The best track is "this could be a start of something new" Greens takes chorus after chorus,and digs deeper and deeper into the groove, and his solo is one of his very best ever,it is not easy for Young to do his solo right after Green but he handles it well.It is amazing how much Larry Young must have influenced another of my favourite players, namely Larry Goldings, I think that is very obvious on this CD. It is also pretty easy to understand how much Green has influenced Peter Bernstein when you listen to this CD. yeah least for musicians this recording has been an important one.
11 of 13 people found the following review helpful
Nice, low-key farewell to a great trio 23 April 2004
By N. Dorward - Published on
Format: Audio CD
The Grant Green/Larry Young/Elvin Jones trio made four discs for Blue Note, the first (Green's _Talkin' About_) on their own, the next three with a succession of guests: Sam Rivers on Young's _Into Something_, Bobby Hutcherson on Green's _Street of Dreams_, & tenor saxophonist Hank Mobley on this disc. Mobley plays very well but he is unmistakeably a bit of an interloper--for the most part he just drops by for an improvised chorus & otherwise stays out of the way of the trio. The program is rather blander than on the other three albums, though Green was the kind of player who could make even banal material sound wonderful. There are no originals, but instead a couple bossas (including a bossa arrangement of the Beatles' "I Want to Hold Your Hand"), a couple less-covered tunes by Cole Porter & Steve Allen, & the familiar warhorses "Speak Low" & "Stella by Starlight". The Beatles tune starts out a little too low-key but prompts some surprisingly pungent solos from the players; "Speak Low" hits hard, & the trio feature on "This Could Be the Start of Something New" cooks mightily. The other three tracks are pretty but comparatively uneventful. Hard to claim this as one of Green's shining moments (though I see that someone else has made the effort on this page) but it's a good album nonetheless. Just don't expect fireworks!
4 of 4 people found the following review helpful
Green-Young-Jones Hold Your Hand 15 Nov. 2012
By D.R.L. - Published on
Format: Audio CD
~ During the autumn 1964 - spring 1965 period the trio of Grant Green (guitar), Larry Young (organ), and Elvin Jones (drums) recorded four stellar sessions for Blue Note records. This review summarizes the four resulting albums / CDs so that the reader can make an informed buying decision.
~ At the time of these recordings, Grant Green was already an established star and served as `the house guitarist' for Blue Note. Over the years, Green would record with a virtual who's who of the jazz organ (including Brother Jack McDuff, Sam Lazar, Baby Face Willette, Gloria Coleman, Big John Patton, and Jimmy Smith); however, nothing surpasses his guitar-organ-drums sessions with Larry Young and Elvin Jones. At the time of these recordings, Jones was best known as the hard-driving drummer in the John Coltrane band, while Larry Young was earning a reputation as "the John Coltrane of the organ" because of his distinctive modal approach to the Hammond B-3 at a time when Jimmy Smith's blues-based soul-jazz style defined the sound of the organ. Indeed, the Young-Green-Jones recordings represent a significant departure from the earlier soul-jazz recordings that Green made with organist Big John Patton and drummer Ben Dixon. While Green and Young get much of the credit for the harmonic and melodic success of these four albums, the contribution of Elvin Jones is significant and invaluable.
~ Green's 41 minute "Talkin About" album was recorded on 11 September 1964 and features the Young-Green-Jones trio. Green had recently recorded "Matador" and "Solid", two of his most advanced albums, with McCoy Tyner and Elvin Jones of the John Coltrane quartet. With "Talkin' About", Green continued to advance in the modal direction he started exploring with the two previous outings; Young and Jones provide there perfect partners for Green's progress. The trio finds a suitable middle ground between the soul-jazz of Green's early days and the modal flavor of his most recent work. Though Young's style was not fully developed yet, he is no longer simply a Jimmy Smith disciple; his playing here is far more adventurous than the typical soul-jazz date, both harmonically and rhythmically. Jones and Young often play off one another to create an intricate pulse that is far removed from the standard soul-jazz groove. The trio's interplay is best showcased on Young's 12 minute tribute to Coltrane, "Talkin' About J.C." and the playful "I'm an Old Cowhand". Young and Green show particularly effective interactions on the ballads "People" and "You Don't Know What Love Is".
~ Young's 48 minute debut as a leader on Blue Note was the wonderful "Into Somethin" album recorded 12 November 1964. Tenor sax man Sam Rivers adds his distinctive voice to the Young-Green-Jones trio. The quartet performs four Young originals plus Green's Other than the blues "Backup," the music is fairly complex, grooving in its own fashion and showing that Young was absorbing Coltrane's modal excursions. Stand outs include Young's relaxed groove "Tyrone", Green's Spanish-tinged "Plaza de Toros", Young's gentle "Paris Eyes", and the blues "Backup". Two versions of Young's "Ritha" are included; one with and one without sax.
~ The Young-Green-Jones trio recorded again on 16 November 1964, this time with Bobby Hutcherson on vibes. The results of this session were released as Green's 35-minute album "Street of Dreams". Compared to other recordings by the Young-Green-Jones trio, "Street of Dreams" presents a rather mellow, dreamy atmosphere. There are only four selections, all standards and all around eight to ten minutes long. The musicians approach the tunes as extended mood pieces, creating a marvelously light, cool atmosphere. Hutcherson is the perfect addition for this project, able to blend in with the modal advancement of the rest of the ensemble while adding his clear, shimmering tone to the overall texture of the album. All the musicians play with a delicate touch that is distinct from the modal soul-jazz on "Talkin' About". There are no fireworks or funky grooves here; the general feel of the album is thoughtful and introspective rather than romantic.
~ On 31 March 1965, the Young-Green-Jones trio recorded their last session as a unit; this time with Hank Mobley added on tenor sax. The resulting 41 minute "I Want to Hold Your Hand" album continues the soft, easy style of the "Street of Dreams" album. However, this time the music is less reflective and more romantic and outwardly engaging. Mobley's breathy, sensuous warmth keeps the album simmering at a low boil, especially on "Speak Low". The repertoire mixes romantic ballad standards like "Stella By Starlight"and gently undulating bossa novas. The title track by Lennon and McCartney is cleverly adapted and arranged into perfectly viable jazz that suits Green's elegant touch with pop standards. The other bossa nova, Jobim's "Corcovado," is given a wonderfully caressing treatment. Even with all the straightforward pop overtones of much of the material, the quartet's playing is still subtly advanced, both in its rhythmic interaction and the soloists' harmonic choices.
~ All four of these CDs are excellent, albeit brief. If you can afford all four, go for it. If you can only afford one or two of the CDs, hopefully the descriptions above are helpful.
4 of 4 people found the following review helpful
A Minor Masterpiece (this is one reassuring hand you won't want to let go of) 12 Jun. 2008
By Caponsacchi - Published on
Format: Audio CD Verified Purchase
The Beetles and jazz are about as likely a combination as Southern Comfort and prune juice. Compound the crime with an inferior Beetles song used as the title of the session and it's a wonder this one ever saw reissue as a CD. Thank goodness it did, because the date is a sheer groovin' delight.

Grant Green's technical skills are, in some respects, relatively modest, yet I can't recall anyone coming any closer to Wes Montgomery than Green does while extracting from the guitar a fat, resonant sound, getting extra color and interest from the vibrations of each string, as though the tone were doubling itself. Even when he gets a bit hung up in his lines, or hooked on a riff, he's rewards attentive listening. The previous Swedish reviewer is on target about the inventiveness of the guitar solo on "This Could Be the Start," but Green's production of sound is equally arresting.

Why do Russell Malone, Ulf Wakenius, Herb Ellis, Jimmy Raney, Jim Hall, Frisell and any number of players settle for such a light, "surfacy," frequently "muted" sound? And it's not a matter of electronics, amplification or flirting with distort pedals. Green "grabs" the string and wrings every last juicy overtone from a note. (Wish I'd known about this version when I had dinner and a long conversation with the composer of "This Could Be the Start," Steve Allen--I couldn't think of much to say about the song other than it sounded like a "vaudeville" opener, an observation Allen assured me was mine alone.) Green also comes up with an inspired, emotional statement on another tune which, like the Beetles and Allen songs, is rarely performed as an instrumental: on Cole Porter's "At Long Last Love" his melodic lines breathe with vocal-like expressiveness.

Larry Young is the organist who during this period succeeded more completely than any other in removing the instrument from the church. If you can't take too much of J. Smith, Groove Holmes, J. McGriff, etc., don't throw out the baby with the bath water. Young at this time had a modernist approach rivaled only by Wes' organist, Melvin Rhyne. He makes the sanctified behemoth sound like a sedate, smoldering (not sizzling) siren, incapable of overstaying and wearing out its welcome.

The recording was made around the time of "A Love Supreme" and of Elvin's parting company with Coltrane. But you'd never guess he was "THE" progressive, eruptive, polyrhythmic drummer extraordinaire from the tasteful, in-the-pocket work (mostly on brushes) he submits on this occasion. Elvin's straightahead playing here makes more understandable his decision to hook up with the Ellington band for a brief stint in '65 (of course, Duke wasn't about to fire Sam Woodyard, so Elvin had to endure being a side-kick which, I know from talking to both drummers, went down no better with Sam than Elvin).

Hank Mobley--for my money there was none better before 1966 (notwithstanding his apparent anemic showing on the two-tenor match-up with Coltrane on Miles' Columbia date "Someday My Prince Will Come"). Count on Mobley to make melodic magic out of any harmonic progression, even some of the nasty ones selected on this session. Dig his simple but eloquent solo on the title tune, in effect "setting the stage" for Green; then listen to his flowing, continually inventive and melodically-rich work on the following, uptempo "Speak Low." The man can do no wrong. Unfortunately, Mobs doesn't get an opportunity on "This Could be the Start," and as good as Green is on the tune, the date suffers for the brief absence of the tenor great.

"I Want to Hold" was obviously another of Blue Note's desperate attempts to replicate Wes' success at A&M records. It's a refreshing change from the label's repeated efforts to come up with yet another "Sidewinder" (the original wasn't that great). But Alfred Lion, Francis Wolf, and Van Gelder had run out the string once Jimmy Smith got a better offer--a glorious run, approximately 30 years, beginning with Sidney Bechet and ending with the "Incredible" (Lion's designation) Boss of the B3. Today, the label is precisely that--a label, or rubric, employed by EMI records for marketing purposes.

Imagine the unlikelihood, if not completely absurdist notion, that a 1965 guitar/B3 jazz session featuring "I Want to Hold Your Hand" would sound fresh, vital, inexhaustible nearly half a century later! This recording is a minor masterpiece, a glittering gem, a timeless honey of a session, a constant companion and welcome friend that you'll want to keep close at hand at all times. However you store and play your music, be extra careful that this deceptively innocuous and polite little recording doesn't become "parted out" and subsequently buried in that vast virtual junkyard of MP3 files that fragments human experience and levels life's meaningful musical moments to the same muted monotone.
9 of 11 people found the following review helpful
Good not Great Green 9 July 2000
By Michael Brad Richman - Published on
Format: Audio CD
"I Want To Hold Your Hand" was the fourth album recorded for Blue Note by the power trio of Grant Green, Larry Young and Elvin Jones, and the third under Green's leadership. Whereas Larry Young's "Into Somethin'" and Green's "Street of Dreams" (the second and third albums respectively) are indisputable five star efforts, this one falls a little short. "I Want To Hold Your Hand" adds Hank Mobley to a group that performs all covers/standards, including the Beatles song and Antonio Carlos Jobim's "Corcovado." The album overall is enjoyable, but this lineup was clearly running out of ideas by the time a fourth session rolled along. That being said, it's far more creative than Green's later material on Blue Note.
Were these reviews helpful? Let us know

Look for similar items by category