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Extrait de l'album
BIG BAND BOSSA NOVA (1962)
avec: Conductor: Quincy Jones, Alto Saxophone:
Phil Woods, Tenor Saxophone: Paul Gonsalves,
Trumpet: Clark Terry, Flugelhorn: Clark Terry,
Flute: Roland Kirk, Flute & Woodwind: Jerome
Richardson, Piano: Lalo Schifrin, Guitar: Jim
Hall, Bass: Chris White, Drums: Rudy Collins,
Percussion: Jack Del Rio, Carlos Gomez,
Jose Paula.
Album notes:
" Recorded at A&R Studios, New York,
New York on September 4, 7, 8, 13, 1962. "
(source http://music.yahoo.com/)
Biographie:
" b. Quincy Delight Jones Jnr., 14
March 1933, Chicago, Illinois, USA. Jones began playing
trumpet as a child and also developed an early interest
in arranging, studying at the Berklee College Of Music.
When he joined Lionel Hampton in 1951 it was as both performer
and writer. With Hampton he visited Europe in a remarkable
group that included rising stars Clifford Brown, Art Farmer,
Gigi Gryce and Alan Dawson. Leaving Hampton in 1953, Jones
wrote arrangements for many musicians, including some of
his former colleagues and Ray Anthony, Count Basie and Tommy
Dorsey. He mostly worked as a freelance but had a stint
in the mid-50s as musical director for Dizzy Gillespie,
one result of which was the 1956 album World Statesman.
Later in the 50s and into the 60s Jones wrote charts and
directed the orchestras for concerts and record sessions
by several singers, including Frank Sinatra, Billy Eckstine,
Brook Benton, Dinah Washington (an association that included
the 1956 album The Swingin' Miss 'D '), Johnny Mathis and
Ray Charles, whom he had known since childhood. He continued
to write big band charts, composing and arranging albums
for Basie, One More Time (1958-59) and Li'l Ol' Groovemaker...Basie
(1963). By this time, Jones was fast becoming a major force
in American popular music. In addition to playing he was
busy writing and arranging, and was increasingly active
as a record producer. In the late 60s and 70s he composed
scores for around 40 feature films and hundreds of television
shows. Among the former were The Pawnbroker (1965), In Cold
Blood (1967) and In The Heat Of The Night (1967), while
the latter included the long-running Ironside series and
Roots. Other credits for television programmes include The
Bill Cosby Show, NBC Mystery Series, The Jesse Jackson Series,
In The House and Mad TV. He continued to produce records
featuring his own music played by specially assembled orchestras.
As a record producer Jones had originally worked for Mercury
's Paris-based subsidiary Barclay, but later became the
first black vice-president of the company's New York division.
Later, he spent a dozen years with A&M Records before starting
up his own label, Qwest. Despite suffering two brain aneurysms
in 1974 he showed no signs of reducing his high level of
activity. In the 70s and 80s, in addition to many film soundtracks,
he produced successful albums for Aretha Franklin, George
Benson, Michael Jackson, the Brothers Johnston and other
popular artists. With Benson he produced Give Me The Night,
while for Jackson he helped to create Off The Wall and Thriller,
the latter proving to be one of the bestselling albums of
all time. He was also producer of the 1985 number 1 charity
single 'We Are The World'. Latterly, Jones has been involved
in film and television production, not necessarily in a
musical context. As a player, Jones was an unexceptional
soloist; as an arranger, his attributes are sometimes overlooked
by the jazz audience, perhaps because of the manner in which
he has consistently sought to create a smooth and wholly
sophisticated entity, even at the expense of eliminating
the essential characteristics of the artists concerned (as
some of his work for Basie exemplifies). Nevertheless, with
considerable subtlety he has fused elements of the blues
and its many offshoots into mainstream jazz, and has found
ways to bring soul to latter-day pop in a manner that adds
to the latter without diminishing the former. His example
has been followed by many although few have achieved such
a level of success. A major film documentary, Listen Up:
The Lives Of Quincy Jones, was released in 1990, and five
years later Jones received the Jean Hersholt Humanitarian
Award at the Academy Awards ceremony in Los Angeles. This
coincided with Q's Jook Joint, a celebration of his 50 years
in the music business with re-recordings of selections from
his extraordinarily varied catalogue. The album lodged itself
at the top of the Billboard jazz album chart for over four
months. The film Austin Powers prompted a release of his
60s classic 'Soul Bossa Nova' in 1998. "
(source http://music.yahoo.com/)
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