The Remarkable Quincy Jones: 5 Icons Whose Lives Where Changed by Jones
Quincy Jones' Best Stories About Working With MJ, Sinatra and Ray What did you learn from Ray Charles? Well, everything. We met when I was 14 years old and he was He used to teach me stuff in braille. He sang. Ray Charles, Frank—those guys could party. Jones met Charles in Seattle when Jones was 14 and Charles was 16; he was 25 when he met. Quincy Jones did heroin with Ray Charles, drank six double Jack . After meeting, according to Time Magazine, whilst working on the film The.
Audio interviews with Jones are included in the special editions of Off the Wall, Thriller, and Bad. In a interview, when asked if he would work with Jones again, Jackson suggested he might.
We already did that. I have talked to him about working with him again but I've got too much to do. I've got products, I'm 74 years old.
I am absolutely devastated at this tragic and unexpected news. For Michael to be taken away from us so suddenly at such a young age, I just don't have the words. Divinity brought our souls together on The Wiz and allowed us to do what we were able to throughout the '80s. To this day, the music we created together on Off the Wall, Thriller and Bad is played in every corner of the world and the reason for that is because he had it all He was the consummate entertainer and his contributions and legacy will be felt upon the world forever.
I've lost my little brother today, and part of my soul has gone with him. Jones said that MJJ Productions, a song company managed by Jackson's estate and Sony Music Entertainment, improperly re-edited songs to deprive him of royalties and production fees and breached an agreement giving him the right to remix master recordings for albums released after Jackson's death.
Jones was reported to be filing the suits against Michael Jackson Cirque du Soleil productions and the 25th-anniversary edition of the Bad album. Jones conducted and arranged the singer's live album with the Basie Band, Sinatra at the Sands Louis, Missouri, in a benefit for Dismas House.
The fund-raiser was broadcast to movie theaters around the country and eventually released on Vhs. I worked with him until he passed away in ' He left me his ring. I never take it off. Now, when I go to Sicily, I don't need a passport. I just flash my ring. Jones was a guest actor on an episode of The Boondocks. The episode was notable for having 10 musical guests  the most any SNL episode has had in its 40 plus years on the air: Two years later he made a cameo appearance as himself in the film Austin Powers in Goldmember.
Daly informally floated the idea that Jones should become the first minister of culture for the United States, pending the inauguration of Barack Obama as president. Daly noted that only the US and Germany, among leading world countries, did not have a cabinet-level position for this role.
Commentators on NPR  and in the Chronicle of Higher Education have also discussed the topic of a minister of culture. In the film, Terry introduces Jones to his protege, Justin Kauflinwhom Jones then signs to his band and label.
Dre 's The Pharmacy on Beats 1 Radio. Pretty Young Thing ". Jones is one of the founders of the Institute for Black American Music IBAMwhose events aim to raise enough funds for the creation of a national library of African-American art and music.
Jones is also one of the founders of the Black Arts Festival in his hometown of Chicago. Meeting at the Los Angeles Landmark Variety Arts Center, the workshops educated and honed the skills of inner-city youth in musicianship, acting, and songwriting. He is the founder of the Quincy Jones Listen Up Foundation,  a nonprofit organization that built more than homes in South Africa and which aims to connect youths with technology, education, culture, and music.
I believe that a hundred years from now, when people look back at the 20th century, they will look at Miles, Bird, Clifford Brown, Ella and Dizzy, among elders as our Mozarts, our Chopins, our Bachs and Beethovens. Quincy Jones started his career as a trumpeter in Lionel Hampton's big band in the early s. Jones never became a noted instrumentalist. What made him famous and wealthy was his work as an arranger, composer, producer and media mogul, work that spans from the big bands through bebop, pop, movie soundtracks, TV themes and hip-hop.
Singing Another bride, another June, another sunny Honeymoon, another season, another reason for making whoopee. Singing I never cared much for moonlit skies.
I never wink back at fireflies. But now that the stars are in your eyes, I'm beginning to see the light. Singing Look at me, I'm as helpless as a kitten up a tree, and I feel like I'm clinging to a cloud I can't understand.
I get misty just holding your hand. Singing Fly me to the moon, let me play among the stars and let me see what spring is like on Jupiter and Mars. In other words, hold my hand; in other words, baby, kiss me. Singing You don't own me. I'm not just one of your many toys.
You don't own me. Don't say I can't go with other boys. And don't tell me what to do, don't tell me what to say, and please when I go out with you, don't put me on display GROSS: One of the first musicians Quincy Jones became good friends with was Ray Charles.
They met when Charles was 16 and Jones was I asked Quincy Jones how they met. I think it was at the Elks Club, Terry, where after we played two jobs - we'd worked from 7 to 10 in the white tennis clubs and the - well, we'd play a couple of - music of the popular music of the day, "To Each His Own" and "Room Full of Roses.
And we played for strippers. As kids, we were pretty cocky because we had a great band. We could read music very well. And we did everything.
It was a show band, too. So we got most of the jobs that came around. We played with Billie Holiday in '48, behind her. And then in '49, we played with Billy Eckstine and Cab Calloway and all the bands that came through, so we were pretty confident in those days. And the band just kept getting tighter because we rehearsed a lot.
You said that you admired Ray Charles' independence. He was 16 years old, he was blind, but he had his own apartment, he got around town himself, he had a girlfriend; I mean, he had a lot of things that you wanted. He had his own apartment, too, and two suits. But I guess what impressed me the most with Ray is that he was so independent, and his sightlessness did not hinder him at all. It's one of the treasured, cherished friendships that I really have because as kids we used to talk about everything.
He'd show me how to write music in Braille, Dizzy Gillespie songs like "Emanon" and bebop, etc.
How Seattle Helped Create R&B And Rock And Roll
And we used to dream about the future, like wouldn't it be great to work with a symphony orchestra? One day we're going to do that.
One day we're going to have three girlfriends each, you know? One day we're do movies together. We're going to do all of that stuff, and we did it. We did, you know, "In the Heat of the Night" together.
And we did "We Are The World," all of those things, everything, the girls. I thought I'd play a recording that you arranged for Ray Charles, and this is from "The Genius of Ray Charles" album, which was recorded in We're going to hear "Let the Good Times Roll. I would just like to add that we had half of Count Basie's band on that session, and half of Duke Ellington's band on that session.Ray (2/12) Movie CLIP - I Might Be Blind, But I Ain't Stupid (2004) HD
And in those days, that's when I first started to work with Phil Ramone, the engineer, who's now producer. It wasn't about fixing in the mix. There was nothing to mix so - because it was mono. And we went in the booth to listen to a playback of that tune. I remember this very vividly. And when it was playing back, I said what's that, Phil. And he said that there was something coming out of the left speaker and a different thing coming out of the right speaker.
He said it's called stereophonic sound. Never forgot it because I had heard it earlier in Portland put on earphones, and it was called binaural sound by the man that invented stereo. Singing Get everybody, let's have some fun, you only live but once, and when you're dead, you're done, so let the good times roll. I said let the good times roll. I don't care if you're young or old, you ought to get together and let the good times roll.
- History Lesson: The Seattle Music Scene – Ray Charles and Quincy Jones
- Quincy Jones
Don't sit there mumbling, talking trash, if you want to have a ball, you got to go out and spend some cash, and let the good times roll now.
I'm talking about the good times.
Well, it makes no difference whether you're young or old, all you got to do is get together and let the good times roll. Your first important music job was with the Lionel Hampton big band. You got that job while you were still in high school. How did he hire you when you were still in school? Well, he - I had written a suite I had been working on for a long time called "From The Four Winds," and it was almost a descriptive piece.
And I didn't understand theory too well then, but I just went ahead straight. It didn't stop me from writing. I didn't understand key signatures or anything, you know. I'd say silly things at the top of a trumpet part like note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals. And some guy said: Idiot, just put a flat on the third line and it's a key signature, you know? And so - because it didn't bother me that I didn't understand that, because I knew eventually I'd learn it.
And so I gave this arrangement to - submitted this to Lionel Hampton. And he said you wrote this, huh. He said yeah, you play the trumpet, too. He said, yeah, well, he said how'd you like to join my band, please. And so they had little brown leather bags for your trumpet then.
I had that and just very few toilet articles and so forth. And I went and sat on that bus so nobody would change their mind, and I wouldn't have to ask the people at home whether I could go or not. And sure enough, everybody got on one by one.
Hamp said hi, and I felt secure. Then Gladys Hampton got on the bus and says uh-uh, what is that child doing on this bus. Ashe said no, son, you get off the bus and said we'll try to talk later, but you go to school.
And I was destroyed. A friend named Janet Thurlow was singing with the band, and she reminded them, and they called and said we'd like you to be with the band. I was 18 then, and I was ready. And I told the school I'd be back, but I guess down inside, you know, when you go with a band like that you never go back.
Now you say that you were afraid that when you were playing with Hampton that Parker or Thelonious Monk might show up in the audience, and you were worried they'd laugh at what you had to wear in the band. Well, that incident happened when we were playing at a place on Broadway called - right next door to Birdland; I mean, totally like adjacent. And it was down - both places were downstairs.
And we had to wear Tyrolean hats, purple shawl collar coats and Bermuda shorts.
Quincy Jones: The Man Behind The Music
Oh, my God, the whole band. Why did you have to wear shorts? That's just Hamp's idea. But he - Hamp was like a rock-'n'-roll band. He was the first rock-'n'-roll band because he attacked an audience like a rock-'n' roll-band; no prisoners, and he knew how to get them, too. Well, some of the tenor solos are almost like a rock-'n' roll-band, too; yeah. They'd walk - in the theaters, they'd walk - they had thin-soled shoes.
They'd walk over the audience's heads with these thin-soled shoes on top of the chairs, you know. It was absolutely incredible.
And he had this sense of show business, but he had a lot of music in the band, because, you know, they had people like Wes Montgomery and Charlie Mingus and Fats Navarro and Clifford Brown - amazing musicians in the band. And I loved Hampton for having that ambidexterity because he liked great music, but he also liked to level his audience and take no prisoners.
Until they were wrung out, he was not satisfied. So did any of your bebop friends end up seeing you in that band that night? Well, that particular night, he had his favorite thing that he'd like to do. He'd have everybody - he'd get his drumsticks and start a whole line, almost like a conga line. The saxophone section would follow him around the audience, and he'd go around and beat the drumsticks on everybody's table.
From Ray Charles To Jimi Hendrix: How Seattle Helped Create R&B And Rock And Roll
The trumpets and trombones were right behind him playing "Flying Home. I said oh, my God. And Hamp went upstairs and he's playing his drumsticks all over the awnings and the guys are saying what is going on here. He'd even go so far as to get in a taxi cab with the saxophone section and go to another club maybe three blocks away and play with the saxophone section there.
Meanwhile, back at the ranch, we're still playing. So it was quite an experience. He had no shame, and he was a great musician - one of the great times of my life. So but did Parker see in your Bermuda shorts?