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| Q's Juke Joint |
| Quincy Jones |
első megjelenés éve: 1994
70 perc |
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| (1994)
[ LIMITED ]
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CD |
| 5.893 Ft
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| 1. | Jook Joint Intro
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| 2. | Let the Good Times Roll
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| 3. | Cool Joe, Mean Joe (Killer Joe)
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| 4. | You Put a Move on My Heart
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| 5. | Rock with You
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| 6. | Moody's Mood for Love
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| 7. | Stomp
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| 8. | Jook Joint (Reprise)
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| 9. | Do Nothin' Till You Hear from Me
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| 10. | Is It Love That We're Missing?
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| 11. | Heaven's Girl
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| 12. | Stuff Like That
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| 13. | Slow Jams
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| 14. | At the End of the Day (Grace)
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| 15. | Jook Joint (Outro)
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Jazz / Crossover Jazz, Jazz-Rap
Quincy Jones - Introduction, Producer, Liner Notes, Drum Programming, Arranger, Song Descriptions, Author
Aaron Hall
Al Schmitt Engineer
Alex Brown Vocals (Background)
Alvin Chea Vocals (Background)
Andre Scott Vocals (Background)
Andrew Scheps Sound Design
Annie Leibovitz Photography
Arnold Robinson Editing
Babyface
Barry White
Bill Airey Smith Assistant Engineer
Bill Reichenbach Jr. Trombone
Bono Vocals
Brad Warnaar French Horn
Brandon Fields Soloist, Saxophone
Brandon Harris Assistant Engineer
Brandy Performer, Vocals
Brian Carrigan Engineer
Brian McKnight Performer, Vocals
Bridgette Bryant Vocals (Background)
Brooks Larson Assistant Engineer
Bruce Swedien Author, Engineer, Mixing
Carl Smith
Cedric Dent Vocals (Background)
Chad Fridirici Assistant Engineer
Chaka Khan
Charles Loper Trombone
Charlie Paakari Assistant Engineer
Charlie Wilson
Cheryl Gamble Vocals (Background)
Chris Brooks Assistant Engineer
Chris Fogel Engineer
Chris Tergesen Engineer
Chuck Findley Trumpet
Cirocco Assistant Engineer, Programming
Claude McKnight Vocals (Background)
Coolio Rap
Dan Higgins Saxophone
David Foster Keyboards
David Nottingham Assistant Engineer
David Schiffman Assistant Engineer
Dylan Carter Assistant Engineer
Ed Simeone Technical Support
Edwin Bonilla Percussion
Eric Kirkland Vocals (Background)
Eric Schilling Engineer
Erik Hanson Synthesizer Programming, Drum Programming
Everett Bradley
Francis Buckley Engineer
Fred Jackson, Jr. Saxophone
Freddie Jackson Saxophone
Funkmaster Flex
Gary Grant Trumpet
Gavin Lurssen Mastering
George Bohanon Trombone
Gerardo Lopez Assistant Engineer
Ghery Fimbres Assistant Engineer
Glenn Phoenix Technical Support
Gloria Estefan Vocals, Performer, Vocals (Background)
Graeme Boone Writer, Research
Grandmaster Melle Mel
Grant Geissman Soloist, Guitar
Greg Phillinganes Synthesizer Programming, Synthesizer, Keyboards, Soloist, Arranger, Synthesizer Bass
Greg Ross Design, Art Direction
Gregory Williams French Horn
Gus Garcas Assistant Engineer
Heavy D Rap, Performer
Henk Korff Engineer
Herbie Hancock Keyboards, Soloist
Hubert Laws Flute, Solo Coordinator
Ian Underwood Synthesizer Programming
Irving Washington III Vocals (Background)
Jack Nimitz Saxophone
James Clyde Sellman Research, Writer
James Flamberg Sound Design
James Moody Vocals, Soloist, Saxophone, Performer
Jeff Clayton Saxophone
Jeff Minnich Technical Support
Jerry Hey Trumpet, Synthesizer Programming, Arranger
Jess Sutcliffe Engineer
Joey Kibble Vocals (Background)
John "4 Daddman" Robinson Drum Programming, Drums
John "J.R." Robinson Drums
John Clayton Conductor, Arranger
Johnny Mandel Arranger
Jolie Jones Levine Music Contractor, Project Coordinator
Jon Wolfson Engineer
Joshua Redman Soloist, Saxophone
Karen Krause Production Assistant
Keith Henderson Guitar
Kevin Donan Technical Support
Kidada Jones Creative Consultant
Kim Hutchcroft Saxophone
Kirk Whalum Soloist, Saxophone
Kurt Jackson Vocals (Background)
Kyle Bess Assistant Engineer
Larry E. Williams Saxophone
Larry Williams Saxophone
Leanne Lyons Vocals (Background)
Leslie Ann Jones Assistant Engineer
Lisa Taylor Vocals (Background)
Louise McCormick Engineer
Luis Miguel Vocals (Background)
Luke Cresswell Performer
Mark Hammond Drum Programming
Mark Kibble Vocals (Background), Arranger
Mark Onks Technical Support
Mervyn Warren - Arranger, Vocals (Background), Synthesizer Bass, Synthesizer, Keyboards
Michael Angelo Saulsberry Vocals (Background)
Michael Hart Thompson Guitar, Soloist
Mike Scotella Assistant Engineer
Mike Stock Assistant Engineer
Mr. X
Nancy Wilson Vocals
Naomi Campbell
Nate Giorgio Illustrations
Neil Stubenhaus Bass
Nickolas Ashford Vocals (Background)
Nigel Crowley Engineer
Orion Crawford Chart Preparation
Oscar Brashear Trumpet
Patti Austin Vocals (Background)
Paul Barrett Vocal Producer, Engineer
Paul Jackson, Jr. Arranger, Guitar
Paula Salvatore Technical Support
Paulinho Da Costa Percussion
Pete Christlieb Sax (Tenor), Saxophone, Soloist
Peter Mokran Synthesizer Programming, Drum Programming
Phil Collins
Portrait Vocals (Background)
QDIII Arranger, Producer, Keyboards, Drum Programming
Queen Latifah Performer, Rap
R. Kelly Producer, Arranger, Performer
Rachelle Ferrell Vocals, Performer
Randy Kerber Synthesizer Programming, Keyboards
Ray Brown Trumpet
Ray Charles Vocals, Performer
Reggie C. Young Trombone
Reginald Bell Vocals (Background)
Rich Rauh Engineer
Richard Huredia Assistant Engineer
Richard Redd Vocals (Background)
Rick Todd French Horn
Rob Hoffman Engineer, Mixing Assistant, Keyboards, Drum Programming
Robert L. Watt French Horn
Rod Temperton Arranger, Associate Producer, Percussion, Keyboards
Rodney Chambers Vocals (Background)
Ronald Isley
Ross Hogarth Assistant Engineer
Sammy Nestico Arranger
Sekou Bunch Bass
Shaquille O'Neal Rap
Shari Sutcliffe Production Assistant
Siedah Garrett Vocals (Background)
Simon Franglen Synthesizer Programming
Snooky Young Trumpet
Stephanie Gylden Engineer, Technical Director, Assistant Engineer
Stephen George Assistant Engineer
Steve Dewey Sound Design
Steve Porcaro Drum Programming
Stevie Wonder Vocals, Soloist, Harmonica, Performer
Suzie Katayama Chart Preparation
SWV
Take 6 - Vocals (Background), Vocals
Tamara Johnson Vocals (Background)
Tamia Performer, Vocals
Ted Blaisdell Engineer
Terri Wong Assistant Engineer
The Luniz Rap
Thea Inoue Production Assistant
Tom Scott Saxophone
Tommy Johnson Tuba
Tommy Vicari Mixing, Engineer
Tone-Loc Vocals
Toots Thielemans
Valerie Simpson Vocals (Background)
Victor Giordano Engineer
Victor McCoy Assistant Engineer
Wah Wah Watson Guitar, Talk Box
Warren Wiebe Vocals
Will Wheaton Vocals (Background)
Willie R. Norwood Vocals (Background)
Worms "Tender Roddy" Temperton Liner Notes
Yo-Yo Rap
The multi-talented Quincy Jones has excelled at idiomatic combinations in his albums since the '60s, when his mix-and-match soundtracks for television and films alerted everyone that he'd switched from a pure jazz mode to a populist trend. Q's Jook Joint blends the latest in hip-hop-flavored productions with sleek urban ballads, vintage standards, and derivative pieces; everything's superbly crafted, though few songs are as exciting in their performance or daring in their conception as past Jones epics like Gula Matari or the score from Roots. Still, you can't fault Jones for his choice of musical collaborators: everyone from newcomer Tamia to longtime stars like Ray Charles, rappers, instrumentalists, male and female vocalists, percussionists, and toasters. The CD really conveys the seamless quality one gets from attending a juke joint, though it lacks the dirt-floor grit or blues fervor of traditional Southern and chitlin circuit hangouts. But no one's more knowledgeable about the spectrum of African-American music, nor better able to communicate it via disc, than Quincy Jones. ~ Ron Wynn, 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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