Ike Quebec Blue & Sentimental (Blue Note 1961)

Ike Quebec’s resonant, breathy tone, deep as if coming from a velvet cave, is plainly irresistable. It’s in full bloom on Blue & Sentimental, one of Quebec’s 1961 comeback albums on Blue Note, a set of moving ballads and gutsy blues performances.

Ike Quebec - Blue & Sentimental


Ike Quebec (tenor saxophone, piano A2, A4), Grant Green (guitar), Sonny Clark (piano B3), Paul Chambers (bass), Sam Jones (bass B3) Philly Joe Jones (drums), Louis Hayes (drums B3)


on December 16 & 23, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey


as BLP 4098 in 1962

Track listing

Side A:
Blue And Sentimental
Minor Impulse
Don’t Take Your Love From Me
Blues For Charlie
Count Every Star

Quebec was a veteran of the swing era who recorded with Benny Carter, Coleman Hawkins, Hot Lips Page, Trummy Young, Ella Fitzgerald and Cab Calloway. In the late forties, Quebec recorded for Blue Note while also serving as an arranger and talent scout, stimulating the careers of Thelonious Monk and Bud Powell in the process. Both the decline of big bands and the struggle with a drug addiction kept Quebec under the radar in the fifties. At the end of the decade, Alfred Lion issued a series of Ike Quebec singles for the jukebox market, checking out if Quebec would gain audience attention after years of low visibility. The singles were well-received. Subsequently, the albums that Blue Note released in 1961 and ‘62, Heavy Soul, It Might As Well Be Spring, (with organist Freddie Roach) Blue & Sentimental and Bossa Nova Soul Samba (the latter with Kenny Burrell) were good sellers. Easy Living was released posthumously in 1987. Quebec’s comeback was cut short by lung cancer. He passed away in 1963.

Ike Quebec’s style is accesible but not plain, his sound imposing but not theatrical. A lusty mix of elegant phrasing and a tone with a slight vibrato that switches suavely from breathy whispers to solid honks. Ben Webster-ish, containing that same blend of tenderness and hot swing, with a whiff of romance borrowed from Coleman Hawkins. Do you ever put on Blue & Sentimental on a bright sunny morning? Of course not. It’s a full-blooded after-midnight album. Can’t you see yourself sunk into a battered old chesterfield chair with a 10 year-old single malt and Hajenius cigar in hand? Smoke billows upwards to the ceiling. Ponderings of the incompatible natures of Venus and Mars billow upwards to the ceiling as well, as Quebec delivers an achingly romantic version of Don’t Take Your Love From Me. The demons of a grinding working day and a general mood of nausea are driven out by the lithe, jumpin’ blues of Minor Impulse. Can’t you see? Well, I can. Battered Old Chesterfield is my middle name.

As far as ballads go, they rarely come as smoky as Blue & Sentimental. Quebec’s husky tenor carries the tune, with just the right punch to add steam. Guitarist Grant Green, finishing his first – prolific – year at Blue Note headquarters, is a perfect companion to Quebec’s warm-blooded blowing. Just slightly dragging the beat with his fat-toned, sustained Gibson licks and spicy excursions into bluesland, Green’s balladry is delightful. On the faster tunes, Green’s propulsive lines sparkle. Chambers and Philly Joe Jones also comprise an outstanding match with the veteran tenorist. No need to introduce Mr. PC. From his magnificent, allround package, Chambers chooses tasteful, chubby, blues-drenched notes for the ballads and fat-bottomed, lively walkin’ bass lines for the uptempo tunes. Philly Joe Jones provides sensitive and sprightly support, presenting a bonafide Papa Jo Jones beat in Quebec’s original tune, the lurid cooker Like.

The album ends with Count Every Star, a take from the December 23 session including Green, Sonny Clark, Sam Jones and Louis Hayes. Excellent stuff, but one wonders why Alfred Lion thought the inclusion necessary. The CD re-issue (also available on Spotify) reveals a spirited uptempo take of Cole Porter’s That Old Black Magic. Another sparse, piano-less gem that shows the fine rapport between the underrated master of the tenor saxophone and his illustrious supporting crew.

Sonny Clark Leapin’ And Lopin’ (Blue Note 1961)

Find me a bummer moment in Sonny Clark’s discography and I’ll buy you a drink. But I won’t because it’s a fruitless search. One of the essential hard bop pianists, Clark had taste written all over him. His swan song as a leader, Leapin’ And Lopin’, includes some of his most enduring tunes and classiest performances.

Sonny Clark - Leapin' And Lopin'


Sonny Clark (piano), Tommy Turrentine (trumpet), Charlie Rouse (tenor saxophone), Ike Quebec (tenor saxophone A2), Butch Warren (bass), Billy Higgins (drums)


on November 13, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey


as BLP 4091 in 1962

Track listing

Side A
Something Special
Deep In A Dream
Melody In C
Side B
Eric Walks
Midnight Mambo

Does it top 1958’s Cool Struttin’, Clark’s best known (and best-selling) album? A foolish question, perhaps. Brilliant Clark moments weren’t reserved for his leadership dates only but occured just as frequently when he appeared as a sideman for the myriad of fellow legends of the day, particularly for Blue Note, where Clark was a more than welcome pianist in his heyday of 1958-62.

Take his tremendously swinging and inspiring accompaniment and soloing on Dexter Gordon’s masterpieces Go and A Swingin’ Affair. Or that fabulous solo on Airegin from the sessions that would be released posthumously (for both of them) as Grant Green albums Nigeria (Airegin spelled backwards) and Oleo, wherein both musicians really get down with it. It’s a typical Clark mix of elegance and raw power.

I guess it’s this mix, steeped in the blues, that has kept luring musicians and incrowd into the Sonny Clark realm both during his lifetime and for decades thereafter. Clark, one of the most infamous jazz casualties, died from an overdose in New York City on January 13, 1963. To name but a few admirers, note that Bill Evans composed a touching tribute to Clark in 1963, the anagram NYC’S No Lark, and that John Zorn recorded Clark or ‘Clarkian’ tunes for years. 1985’s Voodoo is a well-known album of Zorn’s The Sonny Clark Memorial Quartet.

Also very attractive are Clark’s long, fluent lines that often stretch over bars extensively. Like those your hear in Leapin’ And Lopin’s third cut, Melody For C, a shuffle that swings both smoothly and intensely, all the while showing enough eccentricity to make you laugh and leap sideways.

In the uptempo Something Special, a very attractive melody that, not unlike a Horace Silver tune, benefits from effective use of stop time, Clark leaves plenty of space as an accompanist for Charlie Rouse and Tommy Turrentine to freely swing their way through the changes. The manner in which Rouse starts his solo, building on the melody, suggests the influence of Thelonious Monk, whose outfit Rouse had been part of since 1959. Voodoo is jazzified blues at its very best: intricate enhancements on the blues form coupled with heartfelt blowing. It’s the one track that would fit right in on Cool Struttin’.

The abovementioned tracks are accompanied by Deep Dream, a ballad that combines wry wit with pathos (including Ike Quebec’s breathy tenor), bassist Butch Warren’s quirky, intricate Eric Walks and Midnight Mambo, a buoyant Tommy Turrentine composition. They round off the most diverse album in the brilliant pianist’s book.