Blue & Sentimental (Remaster) Ike Quebec

• 1Blue And Sentimental07:26
• 2Minor Impulse06:34
• 3Don't Take Your Love From Me07:03
• 4Blues For Charlie06:48
• 5Like05:20
• 6Count Every Star06:17
• Total Runtime39:28

Info for Blue & Sentimental (Remaster)

Although not as well known as other big tenor men like John Coltrane, Hank Mobley, or Benny Golson, Ike Quebec was a major contributor to the classic era of jazz and this 1961 Blue Note date captures him in his prime. „Blue & Sentimental“ is indeed one of but a few discs that Quebec recorded for Blue Note, although he was involved with the legendary label as an A&R man and performed on many sessions by other artists. His huge, velvety tone and bluesy swagger are Quebec's signature as he lopes and swings through several classic tunes like Count Basie's lazy title track, the bouncing "That Old Black Magic," and Cole Porter's hauntingly melodic "It's Alright With Me." Filling out the quartet are no less than Grant Green, Paul Chambers, and Philly Joe Jones, Blue Note regulars all, who shine brightly as always. Other choice moments on this disc include Quebec and Green's tight interaction on Quebec's catchy "Minor Impulse," the smoky ballad "Don't Take Your Love From Me," and the easy-going closer "Count Every Star."

„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.“ (Steve Huey, AMG)

Ike Quebec, tenor saxophone, piano
Grant Green, guitar
Paul Chambers, bass (tracks 1-7)
Sam Jones, bass (track 8)
Louis Hayes, drums (track 8)
Philly Joe Jones, drums (tracks 1-7)
Sonny Clark, piano (track 8)

Recorded December 16 and 23, 1961 at Van Gelder Studio, Englewood Cliffs
Engineered by Rudy Van Gelder
Produced by Alfred Lion

Digitally remastered

Ike Quebec
(August 17, 1918 – January 16, 1963) was an American jazz tenor saxophonist. His surname is pronounced KYOO-bek.

Critic Alex Henderson writes, "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 down-home blues, sexy ballads, and up-tempo aggression." Born Ike Abrams Quebec in Newark, New Jersey, and an accomplished dancer and pianist, he switched to tenor sax as his primary instrument in his early twenties, and quickly earned a reputation as a promising player. His recording career started in 1940, with the Barons of Rhythm. Later on, 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 intermittently 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). Due to his exceptional sight reading skills, Quebec was also an uncredited impromptu arranger for many Blue Note sessions.

Due in part to struggles with drug addiction (but also due to the fading popularity of big band music), 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, bossa nova, and soul jazz.

This album contains no booklet.