1944 - July 18

 Ike Quebec Quintet – July 18 1944 

 

Michael Cuscuna - Blue Note Records Discography 

As big bands died an eccentric death, many fine swing soloists began to organize swingtets (usually three horns and four rhythm), which were affordable formats for small clubs and independent jazz labels like Keynote, HRS and Blue Note. One of the first such Blue Note sessions in 1944 was by the magnificent, underrated tenor saxophonist Ike Quebec, and it bore another jazz classic, “Blue Harlem.” 

Richard Cook - Blue Note Records: The Biography – Secker and Warburg 2001

A … telling signing to the label was Isaac Abrams Quebec, a tenor saxophonist from Newark who had worked with Hot Lips Page and Roy Eldridge. Ike Quebec is a footnote in jazz history now, but he was important to Blue Note. Born in 1918, he was young enough to appreciate the direction that jazz was going in, even if his own style leaned towards the more classical approach of Coleman Hawkins, a big, mostly jovial sound that would have been comfortable in small-group swing or the surroundings which he seems to have eventually disappeared into, the R&B combos of the fifties. In July 1944, Quebec cut his first session for Blue Note, a quintet session with Ram Ramirez, Tiny Grimes, Milt Hinton and J.C. Heard. 'Blue Harlem', a luxurious blues, was one side of Quebec's manner; the other was the one to be heard in rambunctious settings such as that for 'The Masquerade Is Over’. Like Ben Webster, Ike had a tone which turned from thick and romantic to harsh and growling when the tempos went up. But at this point at least, he lacked either Webster’s judgement or Hawkins's controlled finesse. His five sessions for Blue Note between 1944 and 1946 are some of the most unfettered music which the label had produced up to that point, and certainly some remove from the cloistered atmosphere of the solo piano sessions; but they also had a whiff of modernity, even if stylistically Quebec had little to do with bebop. He was, though, a young musician who knew instinctively that jazz was heading dramatically away from the classic feel of Blue Note's first period, and Lion and Wolff took note of what he had to tell them - that bop was the way forward for small-group jazz. 

Dan Morgenstern - The Complete Forties Recordings of Ike Quebec and John Hardee Mosaic Box Set 

Ike’s first session produced a 'hit' (for jazz of the day) in Blue Harlem, which could be found on many uptown jukeboxes and was used by Fred Robbins, one of the the best jazz disc jockeys of that or any day, as the theme for his "Blue Monday" blues hour. Tiny Grimes is again on hand. Pianist Roger "Ram" Ramirez must have been a close friend, for Ike used him on four of his five early Blue Note sessions. He was a good choice: sensitive, adaptable, and equally accomplished as soloist and sectionman. Like Marlowe Morris, Ram later worked as an organist in New York clubs; he had spent some years in Europe before World War II, and is known as the composer of Lover Man. Still active today, Ram should be much better known. Milt Hinton and J.C. Heard were Ike's colleagues in Cab Calloway's band; both, of course, are still active. Milt is one of the most famous and frequently recorded of all bassists, while J.C. most recently worked with Dizzy Gillespie, with whom he first recorded in 1945. At this time, he was inspired by Big Sid Catlett and Jo Jones and had  few peers.  

Dan Morgenstern - Blue Note Swingtets CD Notes 

From the spring of 1944 to the fall of 1946, swing ruled the Blue Note roost. This was primarily due to the influence of tenor saxophonist Ike Quebec (1916-63), who not only recorded a number of sessions for Blue Note as a leader but also became a confidant and advisor to Lion and his partner, Frank Wolff. (Quebec's influence extended well beyond the period under survey here; he was to introduce Blue Note to the music of Tadd Dameron, Thelonious Monk and many others, and he himself recorded marvelous music for the label during his final years.) 

At the time of these swing sessions, Quebec had recently joined Cab Calloway's band and had become its star soloist. (On the band's studio and air check performances, there's hardly a number without at least a brief Quebec solo spot.) Calloway had a fine band, and Quebec brought many of his colleagues to the studio with him, notably trumpeters Jonah Jones and Shad Collins, trombonists Tyree Glenn and Keg Johnson, bassist Milt Hinton, and Drummer J.C Heard. But Quebec and Lion also drew from the wonderful talent pool of 52nd Street, Harlem and Newark—the latter Quebec's home town. 

Quebec's debut date provided Blue Note with one of its rare hits—by independent jazz label standards. This was "Blue Harlem," a slow, groovy blues—a classic of its kind. Grimes is in hand again, as is Ike's piano favorite in those days, Roger "Ram" Ramirez Both these gentlemen solo in "Tiny's Exercise" (from the guitarist's Tatum Trio days), a catchy riff number properly propelled by the Messrs. Hinton and Heard. 

Max Margulis - Blue Note Brochure 37/38 

BLUE NOTE, in its preoccupation with meaningful expression in the jazz field, is no more limited in its scope by sentimental predilections for any particular style of playing than it is swayed by publicity-motivated fashions in taste. In these new records, it introduces a wholly fresh, authentic musical invention. What is more, it introduces as soloists on records a group of very original and serious musicians. Three members of the Quintet are currently playing with Cab Calloway': Orchestra: Ike Quebec, tenor saxophonist, Milton Hinton, bassist, and J. C. Heard, drummer Tiny Grimes is guitarist with the Art Tatum Trio; Roger Ramirez is pianist with John Kirby's Orchestra. All dazzle with new resources, while the playing style of lice Quebec is especially noteworthy. 

The music is closely-knit rather than lavish, expressive rather than merely exciting, and yet ii issues out of sheer virtuosity. Complex patterns are derived from virtuosity, but the patterns produced on these records are anything but decorative. 

Purposeful virtuosity and complexity of an expressive, probing kind define She's Funny That Way, which is literally a Fantasia for tenor saxophone. A Fantasia, likewise, but for all five instruments, is Indiana, which evolves from an initial straight melody into an object of multiple facets and implications. 

Blue Harlem, for all its apparently involved musical thinking, is surprisingly simple, eschewing as it does all arabesque-like cliches. The saxophone probes desolately, while the piano and guitar play limpidly. The final chorus is a canny piece of tersely stated relationship. Lastly, Tiny’s Exercise is technically breathtaking, bright with humor and satire, and in general intention not unlike Debussy's little piano compositions after Czerny's five finger exercises. The ensemble playing is unparalleled.  

—MAX MARGULIS 

The Record Changer – February 1948 

When "Blue Harlem" by Ike Quebec's quintet was recorded on Blue Note a few years ago, it came to be a minor landmark. Certain records just seem to take firm root in people's imaginations as representative,  
and “Blue Harlem" is one of them.  

It has been unusually popular for a 12-inch disc, and its popularity will. undoubtedly increase now, because it has been re-issued on a 10-inch two-sided record, Blue Note 544.  

Something highly unusual has been done in the process: Ike's beautiful solo and What follows it (Ram Ramirez's nice, unspectacular piano, the groovy ensemble, and out) have been lifted from the original 12-inch to make the second side of the new one, and a second master has been neatly cut to fit the first side. Comes out well, too.  

The new, or first, side doesn't rock any better than the old, nor is it greatly different in any way—except that Ram's trilling behind Tiny Grimes’ solo comes through a little better, and Ike sounds more excited. I meant to say that this side ends with an Ike chorus, so that the familiar one on the other side sounds like an extension 

Downbeat Magazine – 15 November 1944 Volume 11 Issue 22 

Indiana, always a fine tune receives excellent treatment from five deserving jazz sidemen. Tenorman Quebec, bassist Milt Hinton, and drummer Heard play with Calloway; pianist Ramirez plays with Kirby, guitarist Grimes with Tatum. Ike's first chorus is pleasantly straightforward, his second stepped up considerably in drive and intensity. Roger takes a fair piano chorus, Tiny follows with a fair guitar chorus. Two chase choruses come next, with Ike. Ram, Tiny and J. C. alternating in rapid succession. Quebec returns for another solo, then passes on to a coda divided between Ram and himself. The reverse which hasn't served as a vehicle for a Saxophone concerto since Freeman waxed it for Commodore some years back. demonstrates the tremendous difference between the best white sax and colored sax. Bud and Ike are worlds but both good. Quebec opens with a solo in which Hawkins and Webster appear as the chief influences. Ike hasn't Coleman's inspiration or Ben's intimacy but he compares favorably with the late Chu Berry in that he isn't so extreme as either of the other two. Ram nicely up to the bridge of next chorus, where Tiny comes in with some expressive and exploring guitar, and Ike takes it over from the bridge on. Ike's coda is strictly in the Hawk's manner. He's a real find, that man! 

Dan Morgenstern B-6507 Liner Notes 

The outstanding tenorist here is Ike Quebec, whose untimely death at 44 in 1963 snuffed out one of the warmest sounds in jazz, Born in Newark, N.J., Ike had been a pianist and entertainer before taking up tenor in 1940. He progressed rapidly and among his early affiliations were the bands of three outstanding swing trumpters, Roy Eldridge, Hot Lips Page, and Frank Newton. At the time of the first of his recordings for Blue Note (his debut as leader), he was featured with Cab Calloway's band. (In later years, he was to play a considerable role behind the scenes at Blue Note, working as talent scout, organizer, and assistant a&r man.) His career, ironically, concluded on its highest note, with a series of beautiful albums for this label. 

Session Information 

Ike Quebec, tenor sax; Roger Ramirez, piano; Tiny Grimes, guitar; Milton Hinton, bass; J.C. Heard, drums. 

WOR Studios, NYC, July 18, 1944 

BN985-1, Tiny's Exercise, Blue Note 37 

BN985-2, Tiny's Exercise (alternate take), Blue Note B-6507 

BN986-0, She's Funny That Way, Blue Note 38, BLP 5001 

BN987-0, Indiana (alternate take), Blue Note B-6507 

BN988-0, Blue Harlem (alternate take), Blue Note 544 

BN988-1, Blue Harlem, Blue Note 37, 45-1634, BLP 5001, B-6507; Blue Note BST2 84433 

BN987-2, Indiana, Blue Note 38