Ike Quebec Albums (8)
'From Hackensack to Englewood Cliffs'
Release Date 1/1/2000
Tracks 10
Label Blue Note
See Album Tracklist and Review
What The Critics Say
With Mosaic's terrific Complete Blue Note 45 Sessions box now out of print, From Hackensack to Englewood Cliffs rescues the earliest of Ike Quebec's jukebox-oriented comeback recordings, covering all eight tracks from the initial July 1959 session and adding two more cuts that weren't on the box. Of course, that's nowhere near complete (the box featured three additional sessions and 18 more master takes), but as the title hints, this reissue isn't completely focused on the music -- the added significance of Quebec's first 45 session was that it marked the last time a Blue Note artist would record in the label's original Hackensack studio. Hence, the two bonus cuts are basically loose jams experimenting with the more spacious sound of the new Englewood Cliffs facility, which would house the label's myriad '60s classics. Historical and technical trivia aside, though, this is a chance to hear Quebec in a mostly grooving, swinging context, before his unerring feel for ballads began to dominate his recordings (see the moody "Blue Monday" for evidence why). The sound of the session lies somewhere in between hard bop and soul-jazz, though the group instrumentation -- organist Edwin Swanston, guitarist Skeeter Best, bassist Charles Sonny Wellesley, and drummer Les Jenkins, all veterans of the Harlem club scene -- certainly pushes it toward the latter. Perhaps more importantly, it also captures Quebec regaining his confidence after a long period away from active performance; he sounds positively thrilled to be back in a recording studio, blowing passionately throughout the date. That's enough to make the music on From Hackensack to Englewood Cliffs essential; it's just a shame that the scope of this reissue wasn't wider, though at least it's better than nothing. ~ Steve Huey, All Music Guide
'It Might as Well Be Spring'
Release Date 1/1/1998
Tracks 6
Label Blue Note
See Album Tracklist and Review
What The Critics Say
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. ~ Stephen Thomas Erlewine, All Music Guide
'Blue and Sentimental'
Release Date 1/1/1988
Tracks 8
Label Blue Note
See Album Tracklist and Review
What The Critics Say
Ike Quebec's 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note dates, but Blue and Sentimental is the most exquisitely perfected. Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green's similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through. His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, "Don't Take Your Love From Me," is in a similarly melancholy vein. Green contributes a classic-style blues in "Blues for Charlie," and Quebec's two originals, "Minor Impulse" and "Like," have more complex chord changes but swing low and easy. Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It's enough to make Blue and Sentimental a quiet, sorely underrated masterpiece. (The CD reissue adds three bonus cuts, all standards, which fit the program very nicely indeed.) ~ Steve Huey, All Music Guide
What The Critics Say
With his thick, engaging sound and elegant romanticism, it only made sense for Ike Quebec to try his hand at the bossa nova boom Stan Getz kick-started in 1962, and that's what he did with Soul Samba. However, Quebec makes the session much more than mere bandwagon-jumping. He takes some chances with the repertoire and consciously adds a heavy blues inflection that makes Soul Samba one of the more unique interpretations of the bossa nova style. It's also one of the more sensuous, thanks in part to the combination of Quebec's natural tendencies and the soft, light style itself, but even more so with the extra bit of meat added via the blues. The music is warm and danceable, yet with a late-evening hush that's more suggestive of winding down and getting cozy with someone. Quebec's choices of material are never obvious -- the Brazilian selections do not include any Jobim standards, for one thing, and both Quebec and guitarist Kenny Burrell (absolutely stellar in support) contribute original material that ranks among the album's best performances (particularly Quebec's "Blue Samba" and Burrell's "Loie"). What's more, Quebec adapts some unlikely sources -- the traditional standard "Liebestraum" and the Dvorak theme "Goin' Home" -- into surprisingly effective samba pieces. The whole project is thoughtfully conceived and beautifully executed, treating bossa nova as a new means of personal expression, not just a fad to be cashed in on. Sadly, Soul Samba was Quebec's final album, but at least his career ended on a high note. ~ Steve Huey, All Music Guide
What The Critics Say
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
What The Critics Say
The release history behind Ike Quebec's Easy Living session is pretty convoluted. Eight songs were recorded in all, five of them bluesy sextet jams and three of them ballad standards in Quebec's trademark romantic style. The LP was slated to feature three of the blues tunes and all of the ballads, but remained unissued; in 1981, all five blues were released as Congo Lament, and in 1987, Easy Living was issued on LP in its originally intended, six-song form. Blue Note's CD reissue cuts through all the confusion by gathering all eight songs, grouping the blues cuts together in the first part of the album for continuity's sake. The sextet lineup is absolutely stellar, featuring fellow tenor Stanley Turrentine, trombonist Bennie Green, pianist Sonny Clark, bassist Milt Hinton, and drummer Art Blakey -- all extremely well suited to the blues material that leads off the album. On the standards, Quebec performs with the rhythm section only, and Clark's soft touch takes over the backdrops. His lines on these selections are long and lyrical, full of harmonic details as well as atmosphere. Contrast that with the album's exuberant first half, highlighted by a raucous romp through "See See Rider," where Quebec's wide swing-era vibrato meshes fantastically with Green's down'n'dirty trombone slides. Green's two originals, "Congo Lament" and "B.G.'s Groove Two," are both winning and rhythmically infectious, while Quebec's "I.Q. Shuffle" is the most bop-tinged sextet workout. The mood isn't as unified as some of his carefully calibrated romantic dates, but Easy Living offers the two strongest sides of Quebec's musical personality in one place, encapsulating a great deal of what he did best. ~ Steve Huey, All Music Guide
What The Critics Say
Africa meets Harlem with soul in a rousing Quebec date. ~ Ron Wynn, All Music Guide
