THIS WEBSITE MAKES THE WORLD AWARE famous musician, Quincy Jones, was lost. Jones was born in Chicago in 1933 and died 91 years later at his home in Los Angeles. In his decades of active music, Jones achieved as much as few others of his time – and not only African Americans, because he was a pioneer and unrivaled, and even in a very difficult time for the race, such as the 50’s and ’60.
Among the very basic things that should be remembered about Quincy Jones, especially from the past many years, are those related to his composition-orchestral work, as well as the work of the producer, when he worked with Frank Sinatra, Count Basie , Ella Fitzgerald, Sarah Vaughan, Peggy Lee and many others and others, too, were behind the big hits of the time (always as a producer), like “It’s my party” (1963) by Lesley Gore.
Jones works endlessly on record, film and television, fusing jazz with every form of pop that would emerge. That is, it is mixed in works that show jazz as well as lounge, bossa nova, the sound of pop-rock bands, soul, funk, disco, etc. In all forms of black music, and pop music more broadly, he exists to spread his own word and his own sound.
How great Quincy Jones was can definitely “speak” with his records and productions (all of which we have mentioned briefly), and of course his awards (say the 28 Grammys or the 80 nominations).
As a composer for the cinema, he has already been distinguished since the time of “The Pawnbroker” (1964), the famous Sidney Lumet film, with Rod Steiger, although no one can forget films like the spy “The Deadly Affair” (1967). ) again by Lumet, the drama “In the Heat of the Night” (1967) by Norman Jewison, the title “In Cold Blood” (En Psychro) (1967) by Richard Brooks, from the novel by Truman Capote, the western ” Makena’s Gold” (1969) by J. Lee Thompson, the drama-comedy “Bob & Carol & Ted & Alice” (1969) by Paul Mazursky, which was also of particular importance in the field of culture, the name famous “The Getaway” (1972) by Sam Peckinpah or even “The Color Purple” (1985) by Steven Spielberg – in other words, films for which Quincy Jones would write great and memorable soundtracks. Even his part of music in the first episode of the TV series “Roots” (1977), which you could also see here in Greece, or on his production for “The Wiz” (1978), with Diana Ross, Michael Jackson and many others…
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Meanwhile, Quincy Jones’ discography is “endless”, there are many, many albums of his, from every year (even from the fifties, that is, from his beginning), and this is how we would stand out, in the first degree. , “Birth of a Band!” [Mercury, 1959]”Big Band Bossa Nova” [Mercury, 1962]”The Quintessence” [Impulse!, 1962]”Play the Hip Hits” [Mercury, 1963]”Golden Boy” [Mercury, 1964] (with a great symphonic groove on all these LPs) and of course “Body Heat” [A&M, 1974]which moves in a soul-pop style, “Sounds… and Stuff Like That!! [A&M, 1978]featuring jazz combined with disco, and of course “The Dude” [A&M, 1981]which would lead to his successful cover of “Ai no corrida” (with Jankel and Young).
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INSTRUMENTAL SOUL – (Quincy Jones – home baby)
Quincy Jones achieved worldwide fame in the late seventies and eighties, as a producer, through Michael Jackson’s all-time classic records, “Off the Wall” [Epic, 1979]of “Thriller” [Epic, 1982] and “bad” [Epic, 1987]which cannot be easily described (and) in words. A man is always at the forefront of sound, he plays at his fingertips all the developments in technology and somehow, with his talent and knowledge, he has a way to create new data, which has an impact on the world.
Facebook Twitter In all forms of black music, and pop music more broadly, he exists to spread his own word and his own sound.
Among his achievements, in terms of direction and production, “We are the world” (1985), can only be counted the song with Michael Jackson and Lionel Richie that would make USA for Africa – a few dozen, that is, singers and instrumentalists, the leading names of the time. How the distinctive features of voices such as Bob Dylan, Lionel Richie, Stevie Wonder, Paul Simon, Billy Joel, Michael Jackson, Diana Ross, Willie Nelson and all the rest came together is a question that is only a musician’s. power and knowledge of Quincy Jones, he could succeed.
the album “Miles & Quincy: Live at Montreux” deserves a special mention. [Warner Bros., 1993]which describes the collaboration of the two jazz giants, a few months before Miles’ death, with old material revisited by the two, and even Jones’ appearance on “We All Love Ennio Morricone” [Sony Classical, 2007].
How great Quincy Jones was can definitely “speak” with his records and productions (all of which we have mentioned briefly), and of course his awards (say the 28 Grammys or the 80 nominations).
Another very important thing about this great musician is the influence he could have on jazz and pop music in different countries of the world. I’m sure the French, the Swedes and others can talk about his contribution to French pop music, Swedish jazz, etc., and on that basis we Greeks can also claim to have had an influence by Quincy Jones on me in the way of our own music and sounds.
So let’s not forget to say that Quincy came to Greece for the first time in 1956, as a member of the Dizzy Gillespie band – which (band) would appear in the Kotopoulis Theater, between 12-21 May, when there was a panic in Athens in relation to the Cyprus issue. Two days before, the British, in Cyprus, hanged the EOKA fighters Karaolis and Dimitriou, with the “burnt” capital from the demonstrations (there were at least three demonstrators dead and more than 200 injured, ordinary people and police). Within this setting, a jazz concert may seem somewhat “luxurious” or out of place and time. Despite this, the program was kept and it is clear that students – some of whom would also take part in the demonstrations – were watching this famous orchestra. In the audience was Mimis Plessas, who would always talk about… the fourth trumpet in Gillespie’s band, who was none other than Quincy Jones! Of course, as a trumpet player and arranger, Jones would also take part in the historic LP “Dizzy in Greece” [Verve, 1957]perhaps not recorded in Greece, but echoed by those concerts.
Quincy Jones was behind another LP in which Greece was also very interested, entitled “The Girl from Greece Sings” [Fontana, 1962] and signed by Nana Mouschouri, when the Greek singer would perform, under the instructions of the American producer, the great book of American songs – that is, songs by Harold Arlen, Ray Noble, Arthur Kent, Jerome Kern and others. A great moment for Mouschouri as well
And of course Quincy Jones was the man behind Manos Hadjidaki’s top album, for many, “Giconda’s Smile” [Fontana, 1965]the famous “The Smile of Gioconda” [Columbia]as we would learn it in Greece, presented in America with the subtitle “new, more exotic musical impressions by a famous cinema composer / creator of the great film score “Never on Sunday””. Certainly, without Jones’ sound, those haunting melodies of Hadjidaki would not be the same.
The death of Quincy Jones certainly closes a very large chapter, perhaps the largest, in what we call “music production” – although his records and of course his hundreds of “students” will always be here, to project and they remind us of his. achievements.
Ai No Corrida
E has a special connection: the album “Dizzy in Greece” [Verve, 1957]. This work, although it was not recorded in Greece itself, symbolizes the profound relationship between Jones and the country. His early visit to Greece in 1956 with the Dizzy Gillespie band left a lasting impression not only on him but also on the local music scene. The concert took place amidst the political turmoil surrounding the Cyprus issue, showcasing the power of music to transcend difficult times. Young audiences, some of whom were engaged in demonstrations, found a moment of solace and inspiration in the rhythms of jazz, with Quincy Jones as a key player in that experience.
Throughout his illustrious career, Quincy Jones has been a driving force behind numerous influential projects that shaped the landscape of modern music. His ability to blend genres and adapt to changing musical trends has not only garnered him critical acclaim but has also allowed him to leave an indelible mark on various music styles around the globe. This adaptability is reflected in his expansive discography, featuring collaborations across genres and cultures.
As we reflect on Quincy Jones’s contributions to music, it’s clear that his legacy extends beyond his numerous awards and recognitions, including 28 Grammy Awards and 80 nominations. His work continues to inspire generations of musicians and listeners alike, bridging gaps between different musical traditions and fostering a greater appreciation for the art form. The impact of his music can be felt across continents, resonating in the sounds that artists produce, even in places like Greece, where his journey began in the world of jazz.
In tribute to his extraordinary life, it’s important to celebrate not just his past achievements but also the ongoing influence he has on both contemporary music and the cultural landscape worldwide. Quincy Jones has indeed been a monumental figure in the creation and evolution of sound—his extensive body of work serves as a testament to his genius and unwavering passion for music.