Thick-toned tenor Ike Quebec is in excellent form on this CD reissue of a 1961 Blue Note date. His ballad statements are quite warm, and he swings nicely on a variety of medium-tempo material. Unfortunately, organist Freddie Roach has a rather dated sound, which weakens this session a bit; bassist Milt Hinton and drummer Al Harewood are typically fine in support. Originals alternate with standards, with "Just One More Chance," "The Man I Love," and "Nature Boy" (the latter an emotional tenor-bass duet) being among the highlights. ~ Scott Yanow, All Music Guide
Artist Biography
“This incontestably superior musician has been almost totally ignored
in the chronicling of the musical form to which he has contributed so
much. Quebec was a tenor man of the Hawkins school with a big tone and
firm, vigorous style. I hope this new perspective of the contribution
Ike Quebec has made to jazz will help to bring a little lightness to his
soul and much more recognition to his name.” Leonard Feather
An accomplished dancer and pianist, he switched to tenor sax as his
primary instrument in his early 20s, and quickly earned a reputation as a
promising player. His recording career started in 1940, with the Barons
of Rhythm. He recorded or performed with Frankie Newton, Hot Lips Page,
Roy Eldridge, Trummy Young, Ella Fitzgerald, Benny Carter and Coleman
Hawkins. Between 1944 and 1951, he worked with Cab Calloway. He recorded
for Blue Note records in this era, and also served as a talent scout
for the label (helping pianists Thelonious Monk and Bud Powell come to
wider attention) and, due to his exceptional sight reading skills, was
an uncredited impromptu arranger for many Blue Note sessions.
Quebec recorded only sporadically during the 1950s, though he still
performed regularly. He kept abreast on new developments in jazz, and
his later playing incorporated elements of hard bop and soul jazz.
In 1959 he began what amounted to a comeback with a series of albums on
the Blue Note label. Blue Note executive Alfred Lion was always fond of
Quebec's music, but was unsure how audiences would respond to the
saxophonist after a decade of low visibility. In the mid-to-late 1950s,
Blue Note issued a series of Quebec singles for the juke box market;
audiences responded well, and this was recently reissued as “The
Complete Blue Note 45 Sessions.” As strange as it sounds, these cuts are
all excellent, as Quebec rose to the occasion and delivered the goods.
///////
El tenor de tonos gruesos Ike Quebec está en excelente forma en esta reedición de un CD con fecha de 1961 Blue Note. Sus declaraciones de balada son bastante cálidas, y se balancea muy bien en una variedad de material de ritmo medio. Desafortunadamente, el organista Freddie Roach tiene un sonido bastante anticuado, lo que debilita un poco esta sesión; el bajista Milt Hinton y el baterista Al Harewood son típicamente buenos en apoyo. Los originales se alternan con los estándares, con "Just One More Chance", "The Man I Love" y "Nature Boy" (este último un emotivo dúo de tenor y bajo) entre los más destacados. ~ Scott Yanow, Guía de Música
Biografía del artista
"Este músico indiscutiblemente superior ha sido casi totalmente
ignorado en la crónica de la forma musical a la que tanto ha
contribuido. Quebec era un tenor de la escuela Hawkins con un gran tono y
un estilo firme y vigoroso. Espero que esta nueva perspectiva de la
contribución que Ike Quebec ha hecho al jazz ayude a traer un poco de
ligereza a su alma y mucho más reconocimiento a su nombre". Leonard
Feather
Un bailarín y pianista consumado, cambió al saxo tenor como su
instrumento principal a principios de sus 20 años, y rápidamente se ganó
una reputación como un intérprete prometedor. Su carrera discográfica
comenzó en 1940, con los Barones del Ritmo. Grabó o tocó con Frankie
Newton, Hot Lips Page, Roy Eldridge, Trummy Young, Ella Fitzgerald,
Benny Carter y Coleman Hawkins. Entre 1944 y 1951, trabajó con Cab
Calloway. Grabó para Blue Note Records en esta época, y también sirvió
como buscador de talentos para la disquera (ayudando a los pianistas
Thelonious Monk y Bud Powell a llamar la atención) y, debido a sus
excepcionales habilidades de lectura a la vista, fue un arreglador
improvisado no acreditado para muchas de las sesiones de Blue Note.
Quebec grabó sólo esporádicamente durante la década de 1950, aunque
todavía tocaba regularmente. Se mantuvo al tanto de los nuevos
desarrollos en el jazz, y su posterior interpretación incorporó
elementos de hard bop y soul jazz.
En 1959 comenzó lo que supuso un regreso con una serie de álbumes en el
sello Blue Note. El ejecutivo de Blue Note Alfred Lion siempre fue
aficionado a la música de Quebec, pero no estaba seguro de cómo
respondería el público al saxofonista después de una década de baja
visibilidad. A mediados y finales de los años 50, Blue Note publicó una
serie de sencillos quebequenses para el mercado de las cajas de juke
box; el público respondió bien, y esto fue recientemente reeditado como
"The Complete Blue Note 45 Sessions". Por extraño que parezca, todos
estos cortes son excelentes, ya que Quebec estuvo a la altura de las
circunstancias y entregó la mercancía.
Tracks:
1. Acquitted (Ike Quebec)
2. Just One More Chance (Coslow-Johnston)
3. Que's Dilemma (Ike Quebec)
4. Brother Can You Spare A Dime (Harburg-Gorney)
5. The Man I Love (Gershwin)
6. Heavy Soul (Ike Quebec)
7. I Want A Little Girl (Moll-Mencher)
8. Nature Boy (Ahbez)
Credits:
Ike Quebec, tenor sax
Freddie Roach, organ
Milt Hinton, bass
Al Harewood, drums
Label: Blue Note – CDP 7243 8 32090 2 6
Series: Blue Note Connoisseur Series –
Released: 1995
Genre: Jazz
Style: Hard Bop
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on November 26, 1961
Recorded By – Rudy Van Gelder
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