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| The Great World of Quincy Jones - The Studio & Live Sessions |
| Quincy Jones |
spanyol
első megjelenés éve: 2009
77 perc |
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| (2009)
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CD |
| 4.581 Ft
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| 1. | Lester Leaps In
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| 2. | Ghana
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| 3. | Caravan
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| 4. | Everybody's Blues
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| 5. | Cherokee
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| 6. | Air Mail Special
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| 7. | They Say It's Wonderful
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| 8. | Chant of the Weed
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| 9. | I Never Has Seen Snow
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| 10. | Eesom
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| 11. | Air Mail Special
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| 12. | Banja Luka
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| 13. | Bess, You Is My Woman Now
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| 14. | Solitude
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| 15. | Stolen Moments
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| 16. | Moanin'
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Jazz
QUINCY JONES & His Orchestra
1-10] The Great Wide World of Quincy Jones
Recorded: New York, November 4 & 9, 1959
Lee Morgan, Art Farmer, Ernie Royal, Jimy Maxwel, Nick Travis, Lenie Johnson (tp), Jimy Cleveland, Frank Rehak, Urbie Green, Bily Byers (tb), Julius Watkins (fhr), Phil Wods, Porter Kilbert (as), Jerome Richardson (fl, ts, pic), Bud Johnson (ts), Sahib Shihab (bar), Patti Bown (p), Les Spann (g, fl), Budy Catlet (b), Don Lamond (d), Quincy Jones (cond)
Arrangements by Bill Potts, Al Cohn, Ralph Burns & Ernie Wilkins.
[11-16] The Great Wide World of Quincy Jones Live!
Recorded: Live in Zurich, Switzerland, March 10, 1961
Fredie Hubard, Beny Bailey, Rolf Ericson, Paul Cohen (tp), Curtis Fuler, Melba Liston, Ake Persson (tb), Julius Watkins (fhr), Phil Wods, Joe Lopes (as), Eric Dixon, Bud Johnson (ts), Sahib Shihab (bar, fl), Patti Bown (p), Les Spann (g, fl), Budy Catlet (b), Stu Martin (d), Quincy Jones (arr, cond)
2 LPs On 1 CD!!
Digitally remastered and expanded edition of the complete original classic 1959 album The Great Wide World of Quincy Jones. As a bonus, a complete live performance in Zurich by the same band has been added.
This edition presents the complete original classic album "The Great Wide World of Quincy Jones", presenting the outstanding 1959 Quincy Jones orchestra. Also, it have been added a live performance in Zurich by the same band filled with superlative stars. It was issued under the same title with the addition of the word "Live!"
*****Downbeat
The Great Wide World of Quincy Jones "This LP grows on you. Play it over once, and it's nice, twice ain't bad. But keep at it, and the first thing you know, you're flipping." - Ralph J. Gleason
Although Quincy Jones was only 26-years old when he made these recordings (he is currently 76 at this writing), he was already a veteran musician with a lot of experience under his belt. In his dual role of trumpet player and arranger, he began working with Lionel Hampton's orchestra in 1951, where he made his debut recordings on May 21 of that year. Although he was a competent trumpet player, Jones always saw himself (and was seen by his musical peers) more in the role of arranger, composer, and later band leader and musical producer. His musical conception, however, as Dizzy Gillespie states in his liner notes for The Great Wide World of Quincy Jones, was clear from the beginning, and his long career and recognition both from audiences and the musical industry speaks of its quality.
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, 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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