Artist: Quincy Jones
Genre(s):
R&B: Soul
Pop
Jazz
Rap: Hip-Hop
Discography:
Walk on the Wild Side
Year: 2006
Tracks: 14
Big Band Bossa Nova
Year: 2005
Tracks: 11
Back on the Block
Year: 2005
Tracks: 14
Walking in Space
Year: 2000
Tracks: 6
The Quintessence
Year: 1997
Tracks: 8
Miles and Quincy Live at Montreux
Year: 1993
Tracks: 16
This Is How I Feel About Jazz
Year: 1992
Tracks: 12
The Dude
Year: 1990
Tracks: 9
The Best
Year: 1990
Tracks: 1
Gula Matari
Year: 1990
Tracks: 4
Body Heat
Year: 1974
Tracks: 8
Music From The Motion Picture Dollar
Year: 1971
Tracks: 12
Soul Bossa Nova - Full Album
Year:
Tracks: 11
From Q with Love (cd1)
Year:
Tracks: 14
In a musical life history that has spanned sixer decades, Quincy Jones has earned his report as a renascence man of American medicine. Jones has magisterial himself as a bandleader, a solo artist, a sideman, a songwriter, a manufacturer, an adapter, a moving picture composer, and a record label administrator, and outside of music, he's as well written books, produced major question pictures, and helped create tV series. And a ready 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.
John Paul Jones was natural in Chicago, IL, on March 14, 1933. When he was still a minor, his kin moved to Seattle, WA, and he before long developed an stake in music. In his early teens, Jones began scholarship the trumpet, and started vocalizing with a local church doctrine group. By the prison term he gradational from heights school in 1950, Jones had displayed sufficiency promise to win a scholarship to Boston-based medicine schoolhouse Schillinger House (which afterward became known as the Berklee School of Music). After a year at Schillinger, Jones resettled to New York City, where he launch act as an organizer, writing charts for Count Basie, Cannonball Adderley, Tommy Dorsey, and Dinah Washington, among others. In 1953, Jones scored his first big break up as a performer; he was added to the brass section of Lionel Hampton's orchestra, where he found himself playing aboard jazz legends Art Farmer and Clifford Brown. Three age later, Dizzy Gillespie tapped Jones to play in his striation, and afterward in 1956, when Gillespie was invited to assign together a boastful set of outstanding international musicians, Diz chose Quincy to star the ensemble. Jones also released his low record album under his own name that year, a set for ABC-Paramount fittingly entitled This Is How I Feel About Jazz.
In 1957, Jones touched to Paris in order to study with Nadia Boulanger, an expatriate American composer with a astral path record in educating composers and bandleaders. During his visit in France, Jones took a job with the French disk label Barclay, where he produced and ordered sessions for Jacques Brel and Charles Aznavour, as easily as travel American artists, including Billy Eckstine and Sarah Vaughan. Jones' operate for Barclay impressed the management at Mercury Records, a American label affiliated with the French imprint, and in 1961, he was named a vice president for Mercury, the first prison term an African-American had been chartered as an high-level executive director by a major U.S. recording society. Jones scored one of his low major bulge successes when he produced and arranged "It's My Party" for teenaged vocaliser Lesley Gore, which pronounced his low important step aside from jazz into the larger domain of popular music. (Daniel Jones too freelanced for other labels on the side, including arrangement a number of memorable Atlantic sides for Ray Charles.) In 1963, Jones began exploring what would turn a fruitful medium for him when he composed his first-class honours degree film account for Sidney Lumet's controversial dramatic event The Pawnbroker; he would go on to write medicine for 33 characteristic films, including In Cold Blood, In the Heat of the Night, Bobsled & Carol & Ted & Alice, and The Getaway. In 1964, Jones's work with Count Basie light-emitting diode him to stage and lead sessions for Frank Sinatra's album It Might as Well Be Swing, recorded in collaborationism with Basie and his orchestra; he as well worked with Sinatra and Basie again as an adapter for the award-winning Sinatra at the Sands set, and would bring about and arrange one of Sinatra's final albums, L.A. Is My Lady, in 1984.
While Jones maintained a busy schedule as a composer, producer, and organizer through the 1960s, he also re-emerged as a transcription creative person in 1969 with the album Walking in Space, which found Jones recasting his big band influences within the framework of the budding spinal fusion movement and the influences of present-day stone, down, and R&B sounds. The album was a commercial and critical success, and kick started Jones's calling as a recording creative person. At the same time, he began on the job more closely with modern-day pop artists, producing sessions for Aretha Franklin and arranging string section for Paul Simon's In that respect Goes Rhymin' Simon, and while Jones continued to work with nothingness artists, many strict idle words fans began to accuse Jones of turning his back on the genre, though Jones invariably contended his sterling fealty was to African-American musical acculturation rather than any specific elan. (Jones did, however, make one major jazz motion in 1991, when he persuaded Miles Davis to revisit the classic Gil Evans arrangements from Miles Ahead, Sketches of Spain, and Porgy and Bess for that year's Montreux Jazz Festival; Jones coordinated the concert and lED the orchestra, and it proven to be one of the last major events for the unwell Davis, world Health Organization passed on a few months later on.) In 1974, Jones suffered a severe brain aneurism, and spell he made a full convalescence, he as well made a decision to cut back on his schedule to spend more time with his category. While Jones may get had fewer projects on his plate in the recent '70s and early '80s, they tended to be higher profile from this head on; he produced major chart hits for the Brothers Johnson, Rufus and Chaka Khan, and his have albums grew into all-star productions in which Jones orchestrated top players and singers in work out pop-R&B confections on sets like Body Heat, Sounds...And Stuff Like That!!, and The Dude. Jones' biggest mainstream success, however, came with his exercise with Michael Jackson; Jones produced his prisonbreak solo album, Off the Wall, in 1979, and in 1982 they teamed up again for Thriller, which went on to suit the biggest-selling album of all time. Jones was too on hand for Thriller's reexamination, 1987's Tough, the notable USA for Africa session which produced the benefit single "We Are the World" (written by Jackson and Lionel Richie), and he produced a rare album in which Jackson narrated the news report of the moving-picture show E.T.: The Extra-Terrestrial.
Having risen to the high of the recording diligence, in 1985 Jones moved from grading films to producing them; his first filmdom project was the screen adaptation of Alice Walker's novel The Color Purple, which was directed by Steven Spielberg and asterisked Whoopi Goldberg. 1991 found him moving into video production with the office comedy The Fresh Prince of Bel Air, which gave Will Smith his first stellar role. Jones' production party besides launched several early successful shows, including In the House and Mad TV. He too produced a massive concert to help immortalize the 1993 startup of united States President Bill Clinton, and at the 1995 Academy Awards won the Jean Hersholt Humanitarian Award, a prize that undoubtedly establish its place beside Quincy's 26 Grammy Awards.
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