Tracklisting:
B.G.’s Groove Two
Congo Lament
Que’s Pill
See See Rider
I.Q. Shuffle
Personnel & Notes:
Bennie Green (tb)
Ike Quebec, Stanley Turrentine (ts)
Sonny Clark (p)
Milt Hinton (b)
Art Blakey (d)
Recorded at VGS, Englewood Cliffs, NJ, January 20, 1962
Africa meets Harlem with soul in a rousing Quebec date.
Biography
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.
By Alex Henderson (AMG)
B.G.’s Groove Two
Congo Lament
Que’s Pill
See See Rider
I.Q. Shuffle
Personnel & Notes:
Bennie Green (tb)
Ike Quebec, Stanley Turrentine (ts)
Sonny Clark (p)
Milt Hinton (b)
Art Blakey (d)
Recorded at VGS, Englewood Cliffs, NJ, January 20, 1962
Africa meets Harlem with soul in a rousing Quebec date.
Biography
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.
By Alex Henderson (AMG)
By Pier
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