Bossa Nova Music

I like my jazz 'crunchy'; not 'smooth'. The smooth jazz you hear on the radio these days could make an elevator ride hellacious. LOL

Having said that, Ike Quebec managed to nail the Bossa style with much feeling (soul) in a mellow groove. There's nothing pretentious in his playing.

G Geder

Oh, this album from Ike Quebec is just fabolous. It's not so common to write a review with an idea so clear of what you want to pass to your readers. But this is the case. This "Soul Bossa", taken from Quebec's Blue Note comeback albums of the sixties is just one of the Blue Note albums you want to own. And please take note, that every album from Blue Note Quebec's discography is exceptional. For real. Blue and sentimental, Heavy soul, It might as well be spring are all well worth getting. But this is probably the most original of the bunch. It is a splendid album in the Stan Getz bossa vein, but its not just another player playing the style. Ike transform this stuff to a thing of his. Believe me, Soul Bossa is just perfect from its first note to the last. The line up is perfect, the overall sound of the combo is perfectly balanced, the repertoire is perfect (he didn't choose any Jobim's tunes that are beautiful but played to death) and what the guys play here is just perfect. It's a bossa album yes, but it's something different. It's a bossa album infected with the Blues (thanks to Ike and Mr Burrell mainly). It's a portrait, an exceptional vivid painting of a warm and comfortable feeling. It's so sixties that you can't do nothing but love it. Quebec's playing is just perfect, he plays with a sensuos, masculine, marvellous, lovely, romantic tone extremely beautiful lines that always tell a story. I appreciate a lot the contribution of Mr. Burrell that here plays one of his best sessions for sure (I own many of his). This is a jazz album that you can't do nothing but love. You have to own it absolutly. It would be a gem in the most complete jazz enthusiast discography.

For all you retro types out there, this is possibly one of THE tastiest jazz albums you can buy. Ike is an impeccable sax player and musician, and this album captures all that is great about loungy jazz without dipping into the cheese. Never boring, never repetitive, this album constantly delivers.

(Of course, seeing the price tag on this puppy, I want to KILL whoever stole my original copy!)

If you like jazz or lounge, don't hesitate for a moment to buy this album.

I like my jazz 'crunchy'; not 'smooth'. The smooth jazz you hear on the radio these days could make an elevator ride hellacious. LOL

Having said that, Ike Quebec managed to nail the Bossa style with much feeling (soul) in a mellow groove. There's nothing pretentious in his playing.

G Geder

Oh, this album from Ike Quebec is just fabolous. It's not so common to write a review with an idea so clear of what you want to pass to your readers. But this is the case. This "Soul Bossa", taken from Quebec's Blue Note comeback albums of the sixties is just one of the Blue Note albums you want to own. And please take note, that every album from Blue Note Quebec's discography is exceptional. For real. Blue and sentimental, Heavy soul, It might as well be spring are all well worth getting. But this is probably the most original of the bunch. It is a splendid album in the Stan Getz bossa vein, but its not just another player playing the style. Ike transform this stuff to a thing of his. Believe me, Soul Bossa is just perfect from its first note to the last. The line up is perfect, the overall sound of the combo is perfectly balanced, the repertoire is perfect (he didn't choose any Jobim's tunes that are beautiful but played to death) and what the guys play here is just perfect. It's a bossa album yes, but it's something different. It's a bossa album infected with the Blues (thanks to Ike and Mr Burrell mainly). It's a portrait, an exceptional vivid painting of a warm and comfortable feeling. It's so sixties that you can't do nothing but love it. Quebec's playing is just perfect, he plays with a sensuos, masculine, marvellous, lovely, romantic tone extremely beautiful lines that always tell a story. I appreciate a lot the contribution of Mr. Burrell that here plays one of his best sessions for sure (I own many of his). This is a jazz album that you can't do nothing but love. You have to own it absolutly. It would be a gem in the most complete jazz enthusiast discography.

For all you retro types out there, this is possibly one of THE tastiest jazz albums you can buy. Ike is an impeccable sax player and musician, and this album captures all that is great about loungy jazz without dipping into the cheese. Never boring, never repetitive, this album constantly delivers.

(Of course, seeing the price tag on this puppy, I want to KILL whoever stole my original copy!)

If you like jazz or lounge, don't hesitate for a moment to buy this album.

It's soulful and relaxing. Can not believe this sound was created more than 40 years ago and better than come so-called lounge music nowadays.

I can play it all day long without getting tired of it.

Ike Quebec released a string of albums for blue note (for whom he was an A&R man as well as friend to owner Alfred Lion) during the early sixties, all of which are fantastic showcases for the deepest tenor sound this side of Ben Webster. Keeping in mind the overall greatness of the entire series of these albums the question becomes, for the Quebec fan who is looking to pick through his discography or the uninitiated looking for a place to start, what setting would you prefer to hear him in? If you like the organ-combo backing go with Heavy Soul and it's companion It Might as Well Be Spring. If you prefer a more conventional setting, though done so well as to make it unconventional, than hear Ike shine on the awe-inspiring Easy Living where Quebec shares the stage on some tracks with Stanley Turrentine and Bennie Green, and is backed up by Art Blakey and Sonny Clark. If it's shortish tracks and goodtime blowing you're in the mood for go with the excellent Complete Blue Note 45 Sessions . But if it's space in which to hear Quebec roam you seek, and that relaxed but vital romanticism that snaked it's way from his tenor, full of reflective passion and hard-living wisdom embedded in the spite and grease, than you have two options. One is his acknowledged masterpiece: Blue and Sentimental , and the other is his last album, an odd take on the bossa nova craze that Stan Getz helped to popularize: "Soul Samba". Despite the virtues of the wildly popular albums that Stan Getz did (Getz/Gilberto, Jazz Samba) "Soul Samba" is an entirely different bag. So much so that I would warn bossa nova fans away from this album, this one is firmly grounded in Jazz with a capital "J". Unlike Stan Getz, who sublimated himself to the overall ambiance of his bossa nova albums, Quebec and his tenor are front and center on "Soul Samba", so much so that I sometimes have to make a conscious effort to listen to what the other musicians are doing here (with the exception of Kenny Burrell who makes himself felt through out). The other big difference between the two albums is whereas the first was noticibly lacking in anything resembling the blues, this album is drowning in it. Every note Quebec plays is so thick with it that could you reach out into the air and cut one it would bleed a heavy blue. This is a laid back album and it's greatest virtue is that it showcases The Sound that only Ike could coax from the tenor, that gravel-voiced wonderful sound. Think of it as vintage Quebec blue note in the tint of a relaxed Brazilian glow. It might have been an attempt to popularize Quebec on the back of the bossa nova craze of the time, but it wouldn't have mattered as Ike would die a short three months later from cancer. If he was feeling the effects of his illness here it really doesn't show, or maybe it does in the voice of his tenor, but if that's the case then Mr. Quebec wanted to go out on top with a warm life-affirming romantic note. Highly recommended.

I can't improve on the comments of the two previous reviewers, but I can endorse their acclaim for this superb album. The telepathy between Quebec and Burrell is marvellous. This is a thoroughly stimulating work. I would also put in a word for Paul Chambers' Blue Note album "Bass On Top", where Burrell is again exemplary.

I can't believe I am only the second person to review this beautiful recording. Todd Stellhorn's review (see below) can't be topped, it's a perfect description of what most of you are missing out on by not owning this 1962 recording led by Ike Quebec. My applause goes out to R.V.G. and Blue Note for re-releasing this gem.

Quebec's playing is perfect as he emits so much tranquil, sensuous emotion from his bluesy tenor. And what truly is amazing about his flawless, tender performance is the fact that he was dying of cancer at the time and in intense pain. Yet, you would never know by listening to this serene, sunny recording. Quebec adds a flavor of blues and sultriness to his own unique interpretation of the bossa nova. Kenny Burrell co-stars on guitar and proves to be more than an exceptional subordinate to the great tenor. This is Burrell at his best, a bit restrained, but one of my favorite performances of his ever (which is saying a lot!). He compliments Quebec and the fine, rhythm section - Wendell Marshall (bass), Willie Bobo (drums), and Garvin Masseaux (chekere) - impeccably. As Quebec stated in the liner notes "Kenny was able to be more free with the beat. He helped a lot to create that floating feeling of bossa nova and he was able to feed me more flexibly and more subtly." And to elaborate a bit more on the other players, all three lay down the rhythms smoothly, never too flashy or bold, seemingly more than content to let Ike and Kenny shine (it really is all about these two on this particular effort).

I sincerely can't say enough about this one. Along with "Blue & Sentimental" this is my personal favorite of Quebec's work as a leader. If you are a fan of Quebec and/or Burrell you will really be in for quite a treat. I can promise you with every fiber of my being that you will not be disappointed for one minute of just over 48 minutes of soulful, bluesy, bossa nova jazz.

I would add another star if I could!

There are stories that only become better with time. Depending on who tells them, of course.
Eliane Elias is not only a talented pianist, but also a wonderful singer, reminescent of Astrud Gilberto, but in her own right.
This disk has such wonderfully fresh takes on classic bossa nova as "The Girl From Ipanema" and "Desafinado", as well as jazz standards like "They Can't Take That Away From Me" or "Day By Day". And even a great version of Stevie Wonder's "Superwoman".
Also pay attention to Ivan Lins, brilliant as ever, in "I'm Not Alone". Another special guest star is Toots Thielmans and Oscar Castro Neves is an exceptional guitar player.
This is music both for bossa nova lovers and those who have never even heard of it before. After listening to it they are going to become obsessed with the music.

Any CD that Eliane Elias brings out is guaranteed to be a best seller. She is a terrific pianist, singer and performer and this CD doesnt disappoint in any way. Toots Thielman's rendition on one track is goose- bump making. This is a must for all Eliane Elias fans to have in their collection.

A terrific album with some American standards in a Bossa Nova style and beautifuly performed by Eliane and her musicians.She also plays " Garota de Ipanema" and other Bossa Nova classics!
Congrats Eliane! And I thought no other cd could be better than "Dreamer"!!! Wow!!! My mistake !!!

The music of Eliane Elias is deeply harmonic and sensual. At its heart is utterly superb jazz piano - rhythmic, gently propulsive and essentially (though not overtly) Brazilian. Elias infuses her sonorous, vibrant playing with some pleasingly melodic, whispery-delicate vocals - always pitch-perfectly complementing her sumptuous piano verve.

'Bossa Nova Stories' combines loving interpretations of Brazilian jazz classics with some popular American standards, all quality-assured by the formidable rhythm section of top-level bassist Marc Johnson (her husband) and percussionist Paulo Braga. About half the tracks are enriched by subtle orchestral arrangements conducted by Rob Mathes - reminiscent to me of those that embellish Diana Krall's 'The Look of Love'.

'Bossa Nova Stories' is essential listening to all who like, or certainly who love, Brazilian jazz. Track no 6, 'Estate (Summer'), can only be described as sublime - one of the most exquisite of jazz-samba melodies taken assuredly by Elias to a new level with the help of Toot Thieleman's passionate, playful harmonica. Further album standouts include 'Girl from Ipanema', 'Desafinado', 'Superwoman' and 'Rã (The Frog)'.

The album may not be as accomplished in jazz terms as the powerful 'Paulistana' or as innovative as the highly recommended 'Kissed by Nature', which comprises some wonderful Elias originals. Yet as an uplifting virtuoso homage to Brazilian jazz, 'Bossa Nova Stories' is a wise investment in complete musical enjoyment.

This is without a doubt one of the most important (if not the most important) modernizing face lift to one of the most fascinating rhythms in the world: Bossa Nova.
And the most interesting part of this effort is the fact that there are no electronic enhancements, no techno rhythms added; is just a modernization of these ever-lasting classics faithful to their original formulas; just with up-to-date sounds/techniques. In other words; this is the way (to our own perspective) these Bossa Nova gems would have sounded to people 40 years ago but transported to the now-future.
Also, these recordings feature some of the still-living Bossa Nova heroes that made these songs super famous +- 40 years ago, and still sounding very sharp.
Every cut in this double CD is special; no weak numbers; all of them hand-picked, recorded, supervised and produced by one of the most active Bossa Nova monsters: Roberto Menescal. Here he's joined by Raymundo Bittencourt, Reginaldo Vargas, Fernando Merlino, and many more playing the music.
This double CD includes a booklet in French and English with a brief history of Bossa Nova.
Absolutely worth every single penny if you love Bossa Nova, Brazilian Jazz, Jazz and/or any of the artists here.

A CD reissue of a three-LP set from 1975, this one digs pretty deep into bossa's roots... Includes dozens of long-lost artists, such as Mario Reis, Lennie Dale, Billy Blanco and Doris Monteiro who don't make it on many top ten lists anymore. Some of these tracks I don't care for -- the more lightweight stuff by Tamba Trio, for example, but for a taste of artists such as Carlos Lyra or Dick Farney, this is definitely worth it. Also has the superstars, and the super songs. The liner notes are the clincher -- they're rambunctiously affectionate and enthusiastic, random and sloppy. It's like reading a really great DIY zine on Brazilian pop, with little articles on artists, producers, styles, etc. Definitely recommended.