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| Sounds... and Stuff Like That!! |
| Quincy Jones |
első megjelenés éve: 1978
36 perc |
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| (1990)
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CD |
| 3.501 Ft
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| 1. | Stuff Like That
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| 2. | I'm Gonna Miss You in the Morning
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| 3. | Love, I Never Had It So Good
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| 4. | Tell Me a Bedtime Story
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| 5. | Love Me by Name
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| 6. | Superwoman (Where Were You When I Needed You)
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| 7. | Takin' It to the Streets
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Jazz / Soul, Funk, Crossover Jazz, Smooth Soul
Quincy Jones - Producer, Arranger
Alan Raph - Trombone (Bass)
Anthony Jackson Guitar (Bass), Bass
Arnold Belnick Violin
Arthur Maebe French Horn
Aubrey Bouck French Horn
Bernie Grundman Mastering
Betty LaMagna Violin
Bill Eaton Vocals (Background)
Bill Lamb Trumpet
Bill Perkins Flute, Sax (Tenor), Saxophone
Bill Watrous Trombone
Brian Davis Illustrations
Bruce Swedien Mixing, Engineer
Bud Shank Saxophone, Flute, Sax (Tenor)
Buddy Collette Flute, Sax (Tenor), Saxophone
Carl LaMagna Violin
Chaka Khan Vocals
Charles Loper Trombone
Charles May Vocals
Chauncey Welsch Trombone
Chuck Findley Trumpet
Clark Spangler Programming, Synthesizer
Connie Kupka Violin
David Duke French Horn
David Schwartz Viola
David T. Walker Guitar
David Tofani Saxophone
Dennis Karmazyn Cello
Donald Waldrop Trombone
Eric Gale Guitar
Frank Floyd Vocals (Background)
Gayle Levant Harp
George Young Sax (Tenor), Flute, Sax (Alto), Saxophone
Gloria Strassner Cello
Gwen Guthrie Vocals
Harold Fick Saxophone
Harold Vick Trumpet, Saxophone, Flugelhorn
Harry Bluestone Violin
Harry Lookofsky Violin
Henry Sigismonti French Horn
Herbie Hancock Piano, Piano (Electric), Keyboards
Howard Johnson Saxophone, Tuba
Hubert Laws Saxophone, Flute, Sax (Tenor)
Israel Baker Violin
Jerome Reisler Violin
Jerome Richardson Flute, Sax (Tenor), Saxophone
Jim McCurdy Engineer
Jimmy Cleveland Trombone
John Wittenberg Violin
Johnny Mandel Arranger
Jon Faddis Flugelhorn, Trumpet
Leonard Selic Viola
Luther Vandross Vocals
Mark Hanauer Photography
Marvin Limonick Violin
Melvin Watson Guitar
Meyer Bello Viola
Michael Boddicker Synthesizer
Michael Brecker Sax (Tenor)
Nathan Ross Violin
Nickolas Ashford Percussion, Vocals
Niels Erik Lund Assistant Engineer
Ollie Cotton Assistant Engineer
Oscar Brashear Trumpet
Patti Austin Vocals
Ralph MacDonald Percussion
Richard Tee Piano, Organ, Keyboards
Robert Payne Trombone
Roger Bobo Tuba
Roland Young Design, Art Direction
Samuel Boghossian Viola
Sheldon Sanov Violin
Sidney Muldrow French Horn
Snooky Young Trumpet
Steve Gadd Drums
Tom Bahler Vocals, Arranger
Tom Scott Sax (Alto), Sax (Tenor), Lyre, Sax (Soprano), Lyricon, Flute
Tommy Johnson Tuba
Valerie Simpson Vocals
Virgil Jones Flugelhorn, Trumpet
Vivian Cherry Vocals
Wah Wah Watson Guitar
Wilbert Nuttycombe Violin
Yolanda McCullough Vocals (Background), Vocals
Zachary Sanders Vocals (Background)
With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" -- which is several cuts above the norm for that genre -- along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. ~ Richard S. Ginell, All Music Guide
Quincy Jones
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Mar 14, 1933 in Chicago, IL
Genre: Jazz
Styles: Big Band, Urban, Bop, Swing, Pop, Jazz-Pop, Crossover Jazz, Traditional Pop
In a musical career that has spanned six decades, Quincy Jones has earned his reputation as a renaissance man of American music. Jones has distinguished himself as a bandleader, a solo artist, a sideman, a songwriter, a producer, an arranger, a film composer, and a record label executive, and outside of music, he's also written books, produced major motion pictures, and helped create television series. And a quick 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.
Jones was born in Chicago, IL, on March 14, 1933. When he was still a youngster, his family moved to Seattle, WA, and he soon developed an interest in music. In his early teens, Jones began learning the trumpet, and started singing with a local gospel group. By the time he graduated from high school in 1950, Jones had displayed enough promise to win a scholarship to Boston-based music school Schillinger House (which later became known as the Berklee School of Music). After a year at Schillinger, Jones relocated to New York City, where he found work as an arranger, writing charts for Count Basie, Cannonball Adderley, Tommy Dorsey, and Dinah Washington, among others. In 1953, Jones scored his first big break as a performer; he was added to the brass section of Lionel Hampton's orchestra, where he found himself playing alongside jazz legends Art Farmer and Clifford Brown. Three years later, Dizzy Gillespie tapped Jones to play in his band, and later in 1956, when Gillespie was invited to put together a big band of outstanding international musicians, Diz chose Quincy to lead the ensemble. Jones also released his first album under his own name that year, a set for ABC-Paramount appropriately entitled This Is How I Feel About Jazz.
In 1957, Jones moved to Paris in order to study with Nadia Boulanger, an expatriate American composer with a stellar track record in educating composers and bandleaders. During his sojourn in France, Jones took a job with the French record label Barclay, where he produced and arranged sessions for Jacques Brel and Charles Aznavour, as well as traveling American artists, including Billy Eckstine and Sarah Vaughan. Jones' work 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 time an African-American had been hired as an upper-level executive by a major U.S. recording company. Jones scored one of his first major pop successes when he produced and arranged "It's My Party" for teenage vocalist Lesley Gore, which marked his first significant step away from jazz into the larger world of popular music. (Jones also freelanced for other labels on the side, including arranging a number of memorable Atlantic sides for Ray Charles.) In 1963, Jones began exploring what would become a fruitful medium for him when he composed his first film score for Sidney Lumet's controversial drama The Pawnbroker; he would go on to write music for 33 feature films, including In Cold Blood, In the Heat of the Night, Bob & Carol & Ted & Alice, and The Getaway. In 1964, Jones's work with Count Basie led him to arrange and conduct sessions for Frank Sinatra's album It Might as Well Be Swing, recorded in collaboration with Basie and his orchestra; he also worked with Sinatra and Basie again as an arranger for the award-winning Sinatra at the Sands set, and would produce and arrange one of Sinatra's last albums, L.A. Is My Lady, in 1984.
While Jones maintained a busy schedule as a composer, producer, and arranger through the 1960s, he also re-emerged as a recording artist in 1969 with the album Walking in Space, which found Jones recasting his big-band influences within the framework of the budding fusion movement and the influences of contemporary rock, pop, and R&B sounds. The album was a commercial and critical success, and kick started Jones's career as a recording artist. At the same time, he began working more closely with contemporary pop artists, producing sessions for Aretha Franklin and arranging strings for Paul Simon's There Goes Rhymin' Simon, and while Jones continued to work with jazz artists, many hard-and-fast jazz fans began to accuse Jones of turning his back on the genre, though Jones always contended his greatest allegiance was to African-American musical culture rather than any specific style. (Jones did, however, make one major jazz gesture 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 proved to be one of the last major events for the ailing Davis, who passed on a few months later.) In 1974, Jones suffered a life-threatening brain aneurysm, and while he made a full recovery, he also made a decision to cut back on his schedule to spend more time with his family. While Jones may have had fewer projects on his plate in the late '70s and early '80s, they tended to be higher profile from this point on; he produced major chart hits for the Brothers Johnson, Rufus and Chaka Khan, and his own albums grew into all-star productions in which Jones orchestrated top players and singers in elaborate 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 work with Michael Jackson; Jones produced his breakout solo album, Off the Wall, in 1979, and in 1982 they teamed up again for Thriller, which went on to become the biggest-selling album of all time. Jones was also on hand for Thriller's follow-up, 1987's Bad, the celebrated 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 story of the film E.T.: The Extra-Terrestrial.
Having risen to the heights of the recording industry, in 1985 Jones moved from scoring films to producing them; his first screen project was the screen adaptation of Alice Walker's novel -The Color Purple, which was directed by Steven Spielberg and starred Whoopi Goldberg. 1991 found him moving into television production with the situation comedy The Fresh Prince of Bel Air, which gave Will Smith his first starring role. Jones' production company also launched several other successful shows, including In the House and Mad TV. He also produced a massive concert to help commemorate the 1993 inauguration of president Bill Clinton, and at the 1995 Academy Awards won the Jean Hersholt Humanitarian Award, a prize that doubtless found its place beside Quincy's 26 Grammy Awards.
---Mark Deming, All Music Guide |
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