In a musical career that has spanned seven decades, Quincy Jones has earned his reputation as a renaissance man of American music. Jones has distinguished himself as a bandleader, a solo artist, a sideman, a songwriter, a producer, an arranger, a film composer, and a record label executive, and outside of music, he's also written books, produced major motion pictures, and helped create television series. And a quick look at a few of the artists Jones has worked with suggests the remarkable diversity of his career – Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin.
An enormous commercial success, 1981's The Dude is a cross-cultural success blending jazz, Latin music, soul ballads, and straight pop into an admittedly slick but never over-produced or soulless stew. The album opens with a surprise: "Ai No Corrida" is a synthesizer-driven yet still funky Latin dance track written by Chaz Jankel of Ian Dury & the Blockheads, suggesting that unlike a lot of musicians his age, Quincy Jones kept his ears open to new music. The proto-rap title track accomplishes the same thing. The rest of the album is more conventional, with James Ingram and Patti Austin trading vocals on a smooth collection of tracks highlighted by the masterful love ballads "One Hundred Ways" and "Just Once," staples of adult contemporary stations, and the haunting Stevie Wonder-penned instrumental "Velas." The Dude is an outstanding collection that was massively influential on the '80s R&B scene.
In a musical career that has spanned seven decades, Quincy Jones has earned his reputation as a renaissance man of American music. Jones has distinguished himself as a bandleader, a solo artist, a sideman, a songwriter, a producer, an arranger, a film composer, and a record label executive, and outside of music, he's also written books, produced major motion pictures, and helped create television series. And a quick look at a few of the artists Jones has worked with suggests the remarkable diversity of his career – Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin…
Love, Q features some of producer/composer/arranger/trumpeter and music legend Quincy Jones' best-known love songs. Spanning a nice swath of time from the '70s through the '90s, the collection focuses on Jones' R&B-oriented material. Included here are such stellar tunes as the steamy Leon Ware/Bruce Fisher number "Body Heat," Patti Austin's lyrical "Love Me By Name," and the Tevin Campbell feature "Everything." While this isn't the definitive Jones compilation, or even as complete a picture as Hip-O's previous Jones package, Ultimate Collection, it is still nice to have all these "quiet storm"-ready tracks in one place.
The groove is loose and deep on these studio sessions recorded as backing music for the original Bill Cosby Show sitcom in 1969. Despite the title, Bill Cosby appears on only one track here, the vocal version of "Hikky-Burr," where he improvised his entire part. Quincy Jones directed these sessions with bassist Ray Brown acting as bandleader on all but one cut (the Cosby selection). Other players came from a revolving cast that included Joe Sample on Fender Rhodes; pianists Les McCann, Clare Fischer, and Monty Alexander; drummers Paul Humphries and John Guerin; bassist Carol Kaye; guitarist Arthur Adams; vibists Milt Jackson and Victor Feldman; saxophonists Eddie Harris, Ernie Watts, and Tom Scott…
Quincy Jones had jazz fans wondering when he released his killer Gula Matari album in 1970. That set, with gorgeous reading of Paul Simon's "Bridge Over Troubled Water" with a lead vocal by none other than Valerie Simpson, pointed quite solidly into the direction Jones was traveling: unabashedly toward pop, but with his own trademark taste, and sophistication at the forefront of his journey. Its follow-up, Smackwater Jack, marked Jones, along with Phil Ramone and Ray Brown in the producer's chair, and knocked purist jazz fans on their heads with its killer meld of pop tunes, television and film themes, pop vocals, and big-band charts.
Features 24 bit digital remastering. Comes with a mini-description. Although Miles Davis did not live to participate in Gerry Mulligan's reunion recordings featuring the nonet that played on the famous late-'40s and early-'50s cool sessions, he participated in a reunion concert held at Montreux in 1991. This featured both the Gil Evans Orchestra and George Gruntz Concert Jazz Band, plus additional guests Benny Bailey, Grady Tate, Carlos Benavent and various European players teaming with a gravely ill Davis to perform Gil Evans' marvelous arrangements.
Miles Davis and storied producer/arranger Quincy Jones shared a long friendship and working history, despite the jazz trumpeter's legendary reputation as an intimidating and difficult collaborator. Their last partnership comes to light Tuesday in Miles Davis With Quincy Jones and the Gil Evans Orchestra Live at Montreux 1991, a concert from the Montreux Jazz Festival captured shortly before Davis died. Evans died in 1988.
Q's Jook Joint blends the latest in hip-hop-flavored productions with sleek urban ballads, vintage standards, and derivative pieces; everything's superbly crafted, though few songs are as exciting in their performance or daring in their conception as past Jones epics like Gula Matari or the score from Roots. Still, you can't fault Jones for his choice of musical collaborators: everyone from newcomer Tamia to longtime stars like Ray Charles, rappers, instrumentalists, male and female vocalists, percussionists, and toasters. The CD really conveys the seamless quality one gets from attending a juke joint, though it lacks the dirt-floor grit or blues fervor of traditional Southern and chitlin circuit hangouts. But no one's more knowledgeable about the spectrum of African-American music, nor better able to communicate it via disc, than Quincy Jones.