Ike Quebec 의 'Soul Samba' 구입~

Ike Quebec 의 'Soul Samba' 앨범을 드디어 구입했다..

케니버렐에 빠져 있던 중, 우연히 같이 연주한 곡을 듣고..
섹스폰의 맛을 알게 된 Ike Quebec 의 곡..

Liebestraum..

아마존에서 세달이나 기다리다가 툇짜맞고 우울해했는 데
재발매되었다...아...
행복해..

근데...
이러고 보니 또 구하고 싶은 앨범이 생겼다...;;;;
아...인간의 욕심이란...
다음 타자 31불짜리 'Easy Living' ..ㄷㄷㄷ

1. 05 - Liebestraum.mp3

- Soul Samba By All Music -
This was veteran tenor saxophonist Ike Quebec's final recording as a leader. It was cut in October 1962 and produced by Alfred Lion a little more than three months before the saxophonist's death. Bossa Nova Soul Samba was recorded and released during the bossa nova craze, as Brazilian music was first brought to the attention of pop listeners via Stan Getz and Charlie Byrd's smash hit with Tom Jobim's "Desafinado," on their Jazz Samba record for Verve in February. After that, seemingly everyone was making a bossa nova record. Quebec's effort is a bit unusual in that none of the musicians (guitarist Kenny Burrell, bassist Wendell Marshall, drummer Willie Bobo, and percussionist Garvin Masseaux) was associated with Brazilian (as opposed to Afro-Cuban) jazz before this, and that there isn't a single tune written by Jobim on the set. Quebec emphasizes warm, long tones (reminiscent of Coleman Hawkins in a romantic fashion), and his sidemen play light and appealing but nonetheless authoritative bossa rhythms. Standout tracks here include Burrell's own "Loie," which opens the disc, Goin' Home," based on a tune by classical composer Antonin Dvorák and arranged by Quebec — he does the same with "Liebestraum" two tunes later — and the stunning "Favela," by the crack composing team of Joraci Camargo and Heckel Tavares. The result is high-quality melodic Brazilian dance music with Burrell shining in particular.



- Ike Quebec By All Music -

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.