Requisites
Heavy Soul ~ Ike Quebec | By Eddie Carter
A few nights ago, I was thinking about my mom and reflecting on some of the records she loved to play while cooking dinner when my sister and I were younger. I listened to one of her favorite albums by tenor saxophonist Ike Quebec, which led me to this morning’s choice from the library. Heavy Soul (Blue Note BLP 4093/BST 84093) is a quartet date and the third of four records the label released in 1962. His bandmates on this record are Freddie Roach on organ, Milt Hinton on bass, and Al Harewood on drums. Their first appearance together was on an earlier release that year; It Might As Well Be Spring. My copy is the 1990 Toshiba-EMI Limited Japanese Stereo reissue sharing the original catalog number.
Side One kicks off with the first of three originals by Ike Quebec. Acquitted is a catchy tune that begins with a lively groove for the quartet’s theme. Ike kicks off the solos with a driving rhythm, and Freddie treats the listener to a zesty performance. The leader returns to share a few more thoughts preceding the ending theme, fading into nothingness. Just One More Chance by Sam Coslow and Arthur Johnston first appeared in the 1931 featurette, One More Chance. Quebec and company make an indelible impression on the melody, then the saxophonist leads off with a stylish performance. Freddie adds a deep sense of nostalgia in the second statement, leading to the tenor’s elegant conclusion.
Que’s Dilemma, also by Quebec, moves the beat upward for the saxophonist’s agile melody. He begins the song’s only solo with Milt and Al in the background, Freddie joins the festivities next, and Ike completes his invigorating statement into the closing chorus and disappearance. Brother, Can You Spare A Dime? by Jay Gorney and E.Y. Harburg poignantly gives a glimpse into the times during the Great Depression. The quartet presents the melody with a sad simplicity that serves as a springboard into Ike’s deeply affecting opening solo. The following presentation by Freddie is equally gentle and stunningly executed with Milt and Al’s assistance. Ike sums up the song’s story with a gorgeous reprise and finish.
Side Two gets underway with George, and Ira Gershwin’s, The Man I Love. The ensemble states the theme slowly; next, the tempo quickens for Ike to wail on the song’s only interpretation. The group slows the beat down for the closing chorus and finale. Ike’s third tune, Heavy Soul, is a down-home blues that commences with an introduction, first by Milt. Then, Ike, Al, and Freddie enter with subtly conceived statements to complete the theme. Ike draws an exceptionally tender tone from his tenor sax in the first presentation. Freddie maintains a therapeutic mood with one of his most relaxed performances. Milt has the last word and effectively walks toward the saxophonist’s ending theme, which disappears into oblivion.
I Want a Little Girl by Murray Mencher, and Billy Moll is a beautiful ballad that hasn’t been over-recorded. Ike and the rhythm section establish an affectionately exquisite theme, and he continues telling a sensitive story in the opening interpretation. Freddie emerges next with a delicately expressed reading, then Ike returns to add a heartfelt exclamation preceding the quartet’s return for the gentle climax. The album’s closing track, Nature Boy by Eden Ahbez, is a two-instrument conversation between tenor and bass. Ike creates an enchanting illustration on the opening and closing melody, and Milt provides supportive warmth and sensitivity into a charming finale. Alfred Lion produced the initial session, and Rudy Van Gelder was the recording engineer.
The reissue’s sound quality is fantastic, with a spacious soundstage that’s clear and detailed. Toshiba-EMI has also done an excellent job on the remastering, and the vinyl is quiet until the music begins. Ike Quebec was an accomplished dancer and pianist before taking up the tenor sax in his twenties. In 1940, his recording career began with the Barons of Rhythm, and he’s performed with Cab Calloway, Benny Carter, Roy Eldridge, Ella Fitzgerald, Coleman Hawkins, Hot Lips Page, and Trummy Young. Most of Ike’s discography as a leader and sideman is on Blue Note, and he also served as an arranger and talent scout for the label. He occasionally recorded during the fifties due to heroin addiction but began a comeback in 1959. Four years later, he lost his battle with lung cancer on January 16, 1963, at age forty-three.
If you’re in the mood for mellow tenor sax, I invite you to add Heavy Soul to your list the next time you are out vinyl shopping. It’s an excellent place to start discovering the music of Ike Quebec and a delightful album perfect for late-night listening or long drives with the windows down. The fast numbers crackle with excitement, and the slow tunes reveal the depths of Ike Quebec’s creative ingenuity, resulting in an easy choice for any jazz lover’s library that’s hard to beat!
~ It Might As Well Be Spring (Blue Note BLP 4105/BST 84105) – Source: Discogs.com
~ Nature Boy, The Man I Love – Source: JazzStandards.com
~ Ike Quebec, Brother, Can You Spare a Dime? – Source: Wikipedia.org
~ © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Christine Rosholt was born January 3, 1965 in Minneapolis, Minnesota. Graduating from the Minneapolis Children’s Theater Company & School, she went on to earn a bachelor’s degree in performance art and photography from the Art Institute of Chicago.
Her training in theater helped her become adept at working and holding a room. She was a consummate entertainer, connecting instantly with her audience, bantering with her band, telling stories, laughing at herself.
She first appeared in theaters as an actress and singer. By the early 2000s she began performing as a jazz vocalist in clubs in her hometown, as the band singer of Beasley’s Big Band. Influences from Anita O’Day, Ella Fitzgerald, Billie Holiday, Blossom Dearie and Frank Sinatra were prevalent in her delivery.
She recorded and released three full-length CDs between 2006 and 2011, Detour Ahead, Lipstick: Live at the Dakota, and Pazz with British songwriter Kevin Hall, featuring a new direction blending pop, jazz and R&B.
Beyond a packed performance schedule which took her across the twin cities and as far as Fargo, or cramming in rehearsals for fundraisers, she was an avid volunteer, activist, committee member, craftspeople recruiter. Vocalist Christine Rosholt transitioned suddenly on December 27, 2011 in Minneapolis.
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Daily Dose Of Jazz…
Patt Casion was born on December 31, 1963. She graduated from Berklee College of Music in Boston, Massachusetts and pursued a career that led her around the world, working in multiple genres. Along with playing with her own band, IOC with its rotating membership, she performed regularly in every kind of venue. Her versatility also made her an in-demand musical instructor.
Casion returned to the sound of the 50s and 60s, and introduced African based music into the post bop era music. Her music is also rooted in the Black church gospel idiom as she weaved improvisation into all her music.
Soprano saxophonist Patt Casion, who performed in both gospel and jazz genres, transitioned from cancer in Monterey, California on December 31, 2017. She was 55.
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Requisites
Cannonball Adderley Live! | By Eddie Carter
Alto saxophonist Cannonball Adderley steps into the spotlight of this morning’s discussion with his first live album after leaving Riverside. Cannonball Adderley Live! (Capitol Records T 2399/ST 2399) is a live date highlighting his sextet’s performances over three nights at Shelly’s Manne Hole in 1964! It hit the stores a year later and he’s joined on stage by brother Nat Adderley on cornet, Charles Lloyd on flute and tenor sax, Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums. Lloyd joined Cannonball’s group after Yusef Lateef left, and this is the only album I’m aware of that he recorded with the sextet. My copy used in this report is the original US Stereo release.
Cannonball introduces the set’s first tune, Little Boy With The Sad Eyes by Nat Adderley. Charles sets the introduction for the sextet’s collective theme on flute with a tender interlude by Joe. Nat paves the way for the others with a vivacious statement. Cannonball plants some firm roots on the second reading, next Charles adds an abundance of swinging ideas preceding leading the ensemble into a soft summation. Up next is Nat’s contemporary jazz classic, Work Song. Cannonball begins this tune with a concise introduction anchored by the group ahead of their feisty melody. The altoist is up first with a mesmerizing interpretation. Nat responds with a spirited solo leading to the ending theme and the leader’s remarks.
Sweet Georgia Bright, the first of two tunes by Charles Lloyd begins Side Two at a frenzied pace as the sextet rips into the torrid theme furiously. Charles has the first say and wails like the Road Runner traveling at breakneck speed. Nat moves with the fury of a violent whirlwind preceding the ensemble’s swift reprise and abrupt exit. The Song My Lady Sings is a very pretty ballad that could fit perfectly in a love story soundtrack. Cannonball and the rhythm section open the song tenderly. Nat and Charles add their haunting horns to complete the melody. Cannonball caresses each note of the first solo delicately. Nat enters next using the mute to build a warm, moving reading, next Joe delivers a luxuriously rich four-minute performance ahead of Cannonball’s postscript and gentle ending.
The Theme aka Unit 7 by Sam Jones allows Cannonball to address the audience and acknowledge his bandmates who end the set on an upbeat note. Cannonball Adderley Live! was produced by David Axelrod. It’s unknown who the recording engineer was, but the sound quality is quite good, placing the listener in the audience each night. A decade after this album was released, Cannonball suffered a stroke from a cerebral hemorrhage. He passed away at age forty-six on August 8, 1975. He also recorded for Blue Note, EmArcy, Fantasy, Mercury, and Riverside over his two-decade career and his legacy is an extensive discography including some albums as a leader and sideman that have stood the test of time. If you’re in the mood for some good live jazz, I invite you to check out Cannonball Adderley Live! It’s an underappreciated and overlooked gem deserving of a wider audience and a title I recommend for your library!
~ Cannonball Adderley – Source: Wikipedia.org ~ © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Frank J. Valeriani was born in Newark, New Jersey on November 26, 1966. He started studying saxophone at age of 15. When his family moved to Italy he put together his first mediterranean blues oriented band. While living in Italy he graduated magna cum laude from the music conservatory in Naples. After the conservatory years he started several bands, including jazz, fusion and latin jazz, and peformed at several festivals before moving north to Milano, Italy.
In Milano He studied songwriting, arranging and jazz at the alternative contemporary music school, Professional Music Center, graduating with excellent scores. During his Italian years he performed with Wess, Rocky Roberts, Cristiano Malgioglio, Peppino Gagliardi, Nello Daniele and others. He was music coordinator and conductor of the folk show Quanno Tramonta ‘o Sole that toured all over Italy for several years. He also toured with Maestro Gianni Mazza and performed on Italian tv networks.
Deciding to move back to the states he chose Las Vegas, Nevada for its musical activity. He performed with some of the best musicians in town, such as The Platters, The Drifters, jazz singers Nancy Kelly and Tony Bennett. Frank also performs with the Frank Valeriani Band all over the town.
He plays jazz, smooth jazz, and pop, doubles on percussion, rhythm guitar & keyboards and enjoys back up singing when required. As an educator he teaches saxophone and harmony in music schools. Saxophonist Frank Valeriani is also a composer and arranger and continues to perform and teach.
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