Review by Stephen Thomas Erlewine
Working with the same quartet that cut Heavy Soul -- organist Freddie Roach, bassist Milt Hinton and drummer Al Harewood -- Ike Quebec recorded another winning hard bop album with It Might As Well Be Spring. In many ways, the record is a companion piece to Heavy Soul. Since the two albums were recorded so close together, it's not surprising that there a number of stylistic similarities, but there are subtle differences to savor.
The main distinction between the two dates is that It Might As Well Be Spring is a relaxed, romantic date comprised of standards. It provides Quebec with ample opportunity to showcase his rich, lyrical ballad style, and he shines throughout the album. Similarly, Roach has a tasteful, understated technique, whether he's soloing or providing support for Quebec. The pair have a terrific, sympathetic interplay that makes It Might As Well Be Spring a joyous listen.
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.
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Reseña de Stephen Thomas Erlewine
Trabajando con el mismo cuarteto que cortó Heavy Soul -- el organista Freddie Roach, el bajista Milt Hinton y el baterista Al Harewood -- Ike Quebec grabó otro álbum de hard bop ganador con It Might As Well Be Spring. En muchos sentidos, el disco es una pieza complementaria de Heavy Soul. Como los dos álbumes fueron grabados tan juntos, no es de extrañar que haya un número de similitudes estilísticas, pero hay sutiles diferencias para saborear.
La principal diferencia entre las dos fechas es que It Might As Well Be Spring es una fecha relajada y romántica compuesta de estándares. Esto le da a Quebec la oportunidad de mostrar su rico y lírico estilo de balada, y brilla a lo largo de todo el álbum. De manera similar, Roach tiene una técnica de buen gusto y sobriedad, ya sea en solitario o como apoyo a Quebec. La pareja tiene una interacción fantástica y simpática que hace que It Might As Well Be Spring sea una escucha alegre.
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.
Tracklist:
1 - It Might As Well Be Spring - 6:16
2 - A Light Reprieve - 5:19
3 - Easy - Don't Hurt - 6:04
4 - Lover Man - 5:53
5 - Ol' Man River - 6:31
6 - Willow Weep For Me - 5:19
Credits:
Art Direction [Reissue], Design [Reissue] – Michael Boland
Composed By – Ike Quebec (tracks: 2, 3)
Creative Director [Reissue] – Gordon H Jee
Design [Cover] – Reid Miles
Double Bass – Milt Hinton
Drums – Al Harewood
Organ – Freddie Roach
Photography By [Cover And Liner] – Francis Wolff
Producer – Alfred Lion
Recorded By, Remastered By [2006] – Rudy Van Gelder
Reissue Producer – Michael Cuscuna
Tenor Saxophone – Ike Quebec
Notes:
Recorded on December 9, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey.
Label: Blue Note – BST-84105
Released: 1962
Genre: Jazz
Style: Hard Bop
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