Search - Ike Quebec :: Bossa Nova Soul Samba

Blues in a Brazilian Tint

Todd M. Stellhorn | baltimore, MD | 09/01/2007

(5 out of 5 stars)

"Ike Quebec released a string of albums for blue note (for whom he was an A&R man as well as friend to owner Alfred Lion) during the early sixties, all of which are fantastic showcases for the deepest tenor sound this side of Ben Webster. Keeping in mind the overall greatness of the entire series of these albums the question becomes, for the Quebec fan who is looking to pick through his discography or the uninitiated looking for a place to start, what setting would you prefer to hear him in? If you like the organ-combo backing go with Heavy Soul and it's companion It Might as Well Be Spring. If you prefer a more conventional setting, though done so well as to make it unconventional, than hear Ike shine on the awe-inspiring Easy Living where Quebec shares the stage on some tracks with Stanley Turrentine and Bennie Green, and is backed up by Art Blakey and Sonny Clark. If it's shortish tracks and goodtime blowing you're in the mood for go with the excellent Complete Blue Note 45 Sessions . But if it's space in which to hear Quebec roam you seek, and that relaxed but vital romanticism that snaked it's way from his tenor, full of reflective passion and hard-living wisdom embedded in the spite and grease, than you have two options. One is his acknowledged masterpiece: Blue and Sentimental , and the other is his last album, an odd take on the bossa nova craze that Stan Getz helped to popularize: "Soul Samba". Despite the virtues of the wildly popular albums that Stan Getz did (Getz/Gilberto, Jazz Samba) "Soul Samba" is an entirely different bag. So much so that I would warn bossa nova fans away from this album, this one is firmly grounded in Jazz with a capital "J". Unlike Stan Getz, who sublimated himself to the overall ambiance of his bossa nova albums, Quebec and his tenor are front and center on "Soul Samba", so much so that I sometimes have to make a conscious effort to listen to what the other musicians are doing here (with the exception of Kenny Burrell who makes himself felt through out). The other big difference between the two albums is whereas the first was noticibly lacking in anything resembling the blues, this album is drowning in it. Every note Quebec plays is so thick with it that could you reach out into the air and cut one it would bleed a heavy blue. This is a laid back album and it's greatest virtue is that it showcases The Sound that only Ike could coax from the tenor, that gravel-voiced wonderful sound. Think of it as vintage Quebec blue note in the tint of a relaxed Brazilian glow. It might have been an attempt to popularize Quebec on the back of the bossa nova craze of the time, but it wouldn't have mattered as Ike would die a short three months later from cancer. If he was feeling the effects of his illness here it really doesn't show, or maybe it does in the voice of his tenor, but if that's the case then Mr. Quebec wanted to go out on top with a warm life-affirming romantic note. Highly recommended."

Soul Samba Sublime

JoeyD | los gatos, ca | 10/12/2007

(5 out of 5 stars)

"I can't believe I am only the second person to review this beautiful recording. Todd Stellhorn's review (see below) can't be topped, it's a perfect description of what most of you are missing out on by not owning this 1962 recording led by Ike Quebec. My applause goes out to R.V.G. and Blue Note for re-releasing this gem.



Quebec's playing is perfect as he emits so much tranquil, sensuous emotion from his bluesy tenor. And what truly is amazing about his flawless, tender performance is the fact that he was dying of cancer at the time and in intense pain. Yet, you would never know by listening to this serene, sunny recording. Quebec adds a flavor of blues and sultriness to his own unique interpretation of the bossa nova. Kenny Burrell co-stars on guitar and proves to be more than an exceptional subordinate to the great tenor. This is Burrell at his best, a bit restrained, but one of my favorite performances of his ever (which is saying a lot!). He compliments Quebec and the fine, rhythm section - Wendell Marshall (bass), Willie Bobo (drums), and Garvin Masseaux (chekere) - impeccably. As Quebec stated in the liner notes "Kenny was able to be more free with the beat. He helped a lot to create that floating feeling of bossa nova and he was able to feed me more flexibly and more subtly." And to elaborate a bit more on the other players, all three lay down the rhythms smoothly, never too flashy or bold, seemingly more than content to let Ike and Kenny shine (it really is all about these two on this particular effort).



I sincerely can't say enough about this one. Along with "Blue & Sentimental" this is my personal favorite of Quebec's work as a leader. If you are a fan of Quebec and/or Burrell you will really be in for quite a treat. I can promise you with every fiber of my being that you will not be disappointed for one minute of just over 48 minutes of soulful, bluesy, bossa nova jazz.



I would add another star if I could!

"

Samba sublime indeed

K. R. Williams | melbourne, australia | 01/12/2008

(5 out of 5 stars)

"I can't improve on the comments of the two previous reviewers, but I can endorse their acclaim for this superb album. The telepathy between Quebec and Burrell is marvellous. This is a thoroughly stimulating work. I would also put in a word for Paul Chambers' Blue Note album "Bass On Top", where Burrell is again exemplary."