Quincy Jones
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I have to embarassingly admit that Quincy Jones had a marginal presence in my life. I owned THE COLOR PURPLE on CD, as well as KILLER BY NIGHT (but only because I got it as a “bonus” on Williams’ NIGHTWATCH). I knew about his formidable past, of course, be it the jazz years or his stint as producer for Michael Jackson and “We Are The World”. And the oddball piece, like “Soul Bossa Nova” that became a hit again when it was attached to the AUSTIN POWERS movies. I also remember watching THE PAWNBROKER with my dad at our summer house in Denmark, some time in the late 80s or early 90s, and taking note of the name.
But that’s basically it. So naturally, when he died earlier this year, I decided to explore his back catalogue more systematically (this was pre-tinnitus, when I had the stamina to do so). Several great scores entered my collection in the process…THE PAWNBROKER, THE SLENDER THREAD, WALK DON’T RUN, THE DEADLY AFFAIR, IN THE HEAT OF THE NIGHT, IN COLD BLOOD, THE ITALIAN JOB, THE LOST MAN, JOHN & MARY and THEY CALLED ME MR. TIBBS. Most of them great fusions of jazz, funk, classical and beyond.
However, there is still a large body of Quincy Jones work waiting to be explored, especially the non-film music stuff. I had hoped maybe some of our resident experts on Jones, and this era/style in general, would crawl out of the woodwork and give some recommendations.
Yeah, he’s mostly know in the pop music realm especially for producing Michael Jackson. I have to admit I am not so into his non film score stuff. But he id a fun Mancini cover album (I think Mancini supported him, too).
I think he is a bit underrated as a film composer as he is quite versatile although most have a jazz/groove vibe. I first got to know him via IN THE HEAT OF THE NIHGT/THEY CALL ME MR. TIBBS. The most famous COLOR PURPLE and ROOTS (with lots of Gerald Fried anyway…) I find a bit overrated (haven’t listend to them in a while). But there are plenty of other scores besides those you named like DOLLARS or – as a western (score) fan – his only(?) western score MACKENNA’S GOLD.Also for me Quincy Jones was a name that popped up here and there in the world of popular music.
Not too long ago he even collaborated with french chanteuse Zaz on this track:And somewhere in the 90s he made some albums under his name with many people he produced like Stevie Wonder, Chaka Kahn, Brandy, Ray Charles etc.
But I also never dipped into his work. Tbh, in general I am quite bad with Black Music. I like some Motown stuff from the 60s and I loved Chaka Kahn with Rufus and Prince in the 80s. But it’s mostly uncharted territory for me.
I think that’s the wrong track actually Jones did produced the track “I love Paris” (a Cole Porter cover) on that album:
https://en.wikipedia.org/wiki/Paris_(Zaz_album)Oh. Seems you are right. When I am back home I will check the album credits again. I thought, there it was written differently.
Edit: I checked it here and it seems we are both right:
ZAZ – Paris Lyrics and Tracklist | Genius https://share.google/7iTx8NLvDGG2ZCiWNI think one of the reasons for why I always postponed checking out his stuff, until after he had died, was that I had this vague notion that most of his film scores from the 60s and 70s were these gruelling contemporary jazz things with growling/blaring brass and dissonance aplenty. But then when I started listening to the albums, they were mostly smooth listening. Some even with a Mancini-esque flair (WALK DON’T RUN and THE DEADLY AFFAIR, for example). Far more lyrical and accessible than I had thought. So the lesson is — never trust your preconceptions!
IN COLD BLOOD is probably the most “difficult”?
Edit: I checked it here and it seems we are both right:
Indeed! Acutally both our sources are not fully correct. The actual album art proofs that Jones produced three tracks: “Champs Elysees and both versions of “I Love Paris”: https://www.discogs.com/de/master/754542-Zaz-Paris/image/SW1hZ2U6MTUzODYwODE=
One “Produced by” and the other “Executive produced by”, whatever the difference is actually 😉I think “produced” is a more hands-on approach, while “executive produced” is overseeing things from afar. That’s how I’ve always believed it, anyway.
I think “produced” is a more hands-on approach, while “executive produced” is overseeing things from afar. That’s how I’ve always believed it, anyway.
I would think so as well. But I guess these credits are all not really set to stone anyway.
On to THE LOST MAN (1969) now, and am I crazy or does the main title remind you of John Williams’ “Yub Nub”/”Celebrate the Love” ewok music from RETURN OF THE JEDI a little bit?
I’m sure it’s just coincidental. On the other hand, Williams and Jones were friends going way back. 😉
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