This fine recording leans toward the bluesy side of the Blue Note ’60s catalog, but there is nothing commercial in its approach. Ike Quebec possessed one of the best tenor sounds ever, and he is much more a swing than a modern player. He makes you think in terms of Lester, harmonically, and Don Byas, Coleman Hawkins, or Illinois Jacquet may come to mind briefly, but he really is himself. He transfixes the listener with his vast, sweeping tone and really talks to you, phrasing melodies like a great singer bent on delivering every word. I’m not enthusiastic about Freddie Roach’s organ work, but Milt Hinton and Harewood (again) do a fine job. Truth to tell, Quebec brings so much focus to what he’s doing he makes you forget the rest of the band.
Ike Quebec: It Might as Well Be Spring
JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
