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| 1. | The Quintessence
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| 2. | Robot Portrait
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| 3. | Little Karen
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| 4. | Straight, No Chaser
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| 5. | For Lena And Lennie
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| 6. | Hard Sock Dance
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| 7. | Invitation
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| 8. | The Twitch
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Jazz / Modern Big Band, Mainstream Jazz
Quincy Jones - Vocals, Trumpet, Conductor, Producer, Arranger
Quincy Jones & His Orchestra
Al DeRisi Trumpet
Billy Byers Trombone
Billy Gene English Drums
Bob Thiele Producer
Bobby Arnold Engineer
Bobby Scott Piano
Buddy Catlett Bass
Cameron Mizell Production Coordination
Clark Terry Trumpet
Clyde Reasinger Trumpet
Curtis Fuller Trombone
Earl Chapin French Horn
Eric Dixon Saxophone, Reeds, Sax (Tenor)
Erick Labson Remastering
Ernie Royal Trumpet
Frank Abbey Engineer
Frank Wess Reeds, Sax (Tenor), Saxophone
Freddie Hubbard Trumpet
Gloria Agostini Harp
Harry Weinger Reissue Supervisor
Harvey Phillips Tuba
Hollis King Art Direction
Isabelle Wong Package Design
Jack Bradley Photography
James "JJ" Johnson Drums
James Buffington French Horn
Jerome Richardson Sax (Alto), Saxophone, Sax (Tenor), Reeds
Jerry Kail Trumpet
Jimmy Johnson, Jr. Drums
Joe Newman Trumpet
Julius Watkins French Horn
Kevin Reeves Mastering
Lena Horne Liner Notes
Lennie Hayton Liner Notes
Melba Liston Trombone
Michael Cuscuna Reissue Producer
Milt Hinton Bass
Oliver Nelson Saxophone, Reeds, Sax (Tenor)
Osie Johnson Drums
Patricia Brown Piano
Patricia H. Bown Piano
Patti Bown Piano
Paul Faulise Trombone
Phil Woods Sax (Alto), Saxophone, Reeds
Ray Alonge French Horn
Robert Flynn Cover Design
Rod Levitt Trombone
Snooky Young Trumpet
Stu Martin Drums
Thad Jones Trumpet
Thomas Mitchell Trombone
Tommy Mitchell Trombone
Before his breakthrough into the pop mainstream (and success as a composer of film soundtracks), Quincy Jones had a reputation as an ace jazz composer and arranger. THE QUINTESSENCE, recorded in 1961, is one of Jones's finest undiluted jazz outings. The album is a tasty mixture of Jones originals and standards by Thelonious Monk and Benny Golson. Jones's dapper, economical, and swinging arrangements feature superb soloists, including Phil Woods (merely one of the finest alto saxophonists in jazz history), Clark Terry, and Freddie Hubbard.
If it were not for this CD reissue's extreme brevity (under 31 minutes), it would receive a much higher rating. One of arranger/composer Quincy Jones' finest recordings, this 1961 set features such top players as trumpeters Clark Terry, Thad Jones and Freddie Hubbard, Julius Watkins on French horn, and most notably altoist Phil Woods in several big-band settings. Jones' three originals include "Quintessence" and "For Lena and Lennie"; plus, there are reworkings of "Invitation" and pieces by Benny Golson and Thelonious Monk, among others. The music swings, and the solos are logical outgrowths of the arrangements; if only more than one piece were over 4.5 minutes long.
---Scott Yanow, Courtesy All Music
The Quintessence is perhaps the most accurate title ever given to a Quincy Jones & His Orchestra recording. Issued in 1961 for Impulse!, this is the sound of the modern, progressive big band at its pinnacle. Recorded in three sessions, the core of the band consists of Melba Liston, Phil Woods, Julius Watkins, and bassist Milt Hinton and pianist Patricia Brown on two sessions, with bassist Buddy Catlett and pianist Bobby Scott on another. The trumpet chairs are held alternately by players like Freddie Hubbard, Clark Terry, Thad Jones, and Snooky Young, to name a few. Oliver Nelson is here, as are Frank Wess and Curtis Fuller. Despite its brevity -- a scant 31 minutes -- The Quintessence is essential to any appreciation of Jones and his artistry. The deep swing and blues in his originals such as the title track, "Robot Portrait," and "For Lena and Lennie" create staggering blends. They are beautifully warm, with edges rounded, but the brass section is still taut and punchy. The reeds cool the heat enough to give the rhythmic dialogue in these tunes its inherent strolling swing. Elsewhere, on Thelonious Monk's "Straight, No Chaser," the time is speeded up to nearly dizzying intensity, and it's played like a big band popping bebop with incredible counterpointed double solos happening between trombone, muted trumpet, and Brown's piano. Though only 2:27 in length, the piece packs an entire harmonic universe into its furious pace. Benny Golson's "Little Karen," is, by contrast, held in character: lithe, limpid, and fluid, it's the ultimate laid-back, midtempo ballad. That said, with the brass charts being notched up just enough, it's got the kind of finger-popping groove that makes it irresistible. The solo spot taken by Nelson is pure knotty bop. What is beautiful about this recording -- and every second of the music -- is that because of its brevity, there isn't a wasted moment. It's all taut, packed with creativity and joy, and without excess or unnecessary decorative arrangement. It doesn't get much better than this. ~ 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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