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*Super Audio CD* |
Kérjen
árajánlatot! |
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| 1. | Loie
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| 2. | Lloro Tu Despedida
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| 3. | Goin' Home
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| 4. | Me 'N You
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| 5. | Liebestraum
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| 6. | Shu Shu
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| 7. | Blue Samba
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| 8. | Favela
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| 9. | Linda Flor
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| 10. | Loie [Alternate Take][*]
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| 11. | Shu Shu [Alternate Take][*]
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| 12. | Favela [Alternate Take][*]
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Jazz
Ike Quebec - Arranger, Sax (Tenor)
Alfred Lion - Producer
Garvin Masseaux - , Chekere
Kenny Burrell - Guitar
Michael Cuscuna - Producer, Reissue Producer
Nat Hentoff - Liner Notes
Patrick Roques - , Design, Redesign
Reid Miles - Design, Photography
Ron McMaster - Mastering
Rudy Van Gelder - Engineer, Recording Technician
Wendell Marshall - Bass
Willie Bobo - Drums
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
Ike Quebec
Active Decades: '40s, '50s and '60s
Born: Aug 17, 1918 in Newark, NJ
Died: Jan 16, 1963 in New York, NY
Genre: Jazz
Styles: R&B, Soul-Jazz, Jump Blues, Hard Bop
Influenced by Coleman Hawkins and Ben Webster but definitely his own person, Ike Quebec was one of the finest swing-oriented tenor saxman of the 1940s and '50s. Though he was never an innovator, Quebec had a big, breathy sound that was distinctive and easily recognizable, and he was quite consistent when it came to came to down-home blues, sexy ballads, and up-tempo aggression. Originally a pianist, Quebec switched to tenor in the early '40s and showed that he had made the right decision on excellent 78s for Blue Note and Savoy (including his hit "Blue Harlem"). As a sideman, he worked with Benny Carter, Kenny Clarke, Roy Eldridge, and Cab Calloway. In the late '40s, the saxman did a bit of freelancing behind the scenes as a Blue Note A&R man and brought Thelonious Monk and Bud Powell to the label. Drug problems kept Quebec from recording for most of the 1950s, but he made a triumphant comeback in the early '60s and was once again recording for Blue Note and doing freelance A&R for the company. Quebec was playing as authoritatively as ever well into 1962, giving no indication that he was suffering from lung cancer, which claimed his life at the age of 44 in 1963.
---Alex Henderson, All Music Guide |
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