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| 1. | Hikky-Burr (Kincaid Kinfolk)
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| 2. | Groovy Gravy
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| 3. | Oh Happy Day
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| 4. | Jimmy Cookin' On Top (Interlude)
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| 5. | Toe Jam
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| 6. | Jive Den
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| 7. | Eubie Walkin'
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| 8. | Monty, Is That You?
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| 9. | The Drawing Room (Interlude)
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| 10. | Hikky-Burr
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| 11. | Hikky-Burr (Mix Master Mike Remix)
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Jazz / Soul-Jazz, Hard Bop
Quincy Jones - Producer
Arthur Adams - Liner Notes, Guitar
Bill Cosby Vocals
Carol Kaye Bass
Clare Fischer Piano, Fender Rhodes
Dan Hirsch Mastering
Dan Wallin Engineer
Danielle Brancazio Package Design
Eddie Harris Sax (Tenor)
Ernie Watts Sax (Tenor)
Jimmy Cleveland Trombone
Jimmy Smith Organ (Hammond)
Joe Sample Fender Rhodes
John Burk Executive Producer
John Guerin Drums
Les McCann Piano
Marc Cazorla Executive Producer
Mario Caldato, Jr. Mixing
Marvin Stamm Trumpet
Milt Jackson Vibraphone
Mix Master Mike Producer
Monty Alexander Piano
Nancie Stern Executive Producer
Paul Humphrey & The Cool Aid Chemists Drums
Ray Brown Bass
Get ready for some of the funkiest, most groovin’ jams you've ever heard. Unearthed from Quincy Jones' vaults, here are the original all-star jam sessions recorded for the 1969 TV sitcom, The Bill Cosby Show. Produced by Quincy Jones, these soulful jazz-funk gems feature an array of music legends, including Ray Brown, Herb Ellis, Victor Feldman, Eddie Harris, Milt Jackson, Les McCann, Joe Pass, Joe Sample, Jimmy Smith and many others. Also featured is the Cos himself in some classic mumble-scatting on the show’s theme song "Hikky Burr."
The groove is loose and deep on these studio sessions recorded as backing music for the original Bill Cosby Show sitcom in 1969. Despite the title, Bill Cosby appears on only one track here, the vocal version of "Hikky-Burr," where he improvised his entire part. Quincy Jones directed these sessions with bassist Ray Brown acting as bandleader on all but one cut (the Cosby selection). Other players came from a revolving cast that included Joe Sample on Fender Rhodes; pianists Les McCann, Clare Fischer, and Monty Alexander; drummers Paul Humphries and John Guerin; bassist Carol Kaye; guitarist Arthur Adams; vibists Milt Jackson and Victor Feldman; saxophonists Eddie Harris, Ernie Watts, and Tom Scott; and assorted others. Jimmy Smith makes a brief impromptu appearance playing an organ solo as well. These are, true to title, jam sessions; the feel is everything, and whether it's funky ("Groovy Gravy," "Oh Happy Day,") bluesy hard bop ("Toe Jam"), or down-and-dirty soul-jazz ("Hikky-Burr," "Jive Den"), the intention is the same: to grease up the proceedings for maximum groove quotient. These are not terribly adventurous sessions, and the transferred sound isn't perfect either, since these were rehearsals and never intended for release. But then, they are what they are, relaxed yet lively, full of delight and surprise. ~ Thom Jurek, 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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