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Jazz on Film​.​.​.​Quincy Jones (Part 1)

by Quincy Jones

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Coordinator [Album Coordination] – Elena Picone Design [Cover] – Jack Lonshein Mastered By – Gene Thompson Music By – Quincy Jones Orchestrated By – Jack Hayes, Leo Shuken Orchestrated By [Vocal Orchestrations] – Dick Hazard Producer [Production Coordinator] – Mavis Barton
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Coordinator [Album Coordination] – Elena Picone Design [Cover] – Jack Lonshein Mastered By – Gene Thompson Music By – Quincy Jones Orchestrated By – Jack Hayes, Leo Shuken Orchestrated By [Vocal Orchestrations] – Dick Hazard Producer [Production Coordinator] – Mavis Barton
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about

Over an extraordiany career Quincy Jones is considered to be one of the greatest minds in music and television history...
A Jazz On Film collection has been an ambition for quite a few years - but has been difficult to navigate, with film scores on various labels... but part one is now complete and features 75 track classics, from a collection of classic 60's films, such as 'In The Heat of The Night' & 'They Call Me Mr Tibbs', as well as some lesser know gems, such as 'The Boy in The Tree', 'Hows To Steal a Diamond in Four Uneasy Lessons' (aka Hot Rock), 'Mirage' and the raw jazz/funk/blaxploitation style score to 'The Lost Man'...! all great movies and classic scores...

Quincy Delight Jones, Jr. was born on March 14, 1933 in Chicago, Illinois. He is the son of Sarah Frances (Wells), a bank executive, and Quincy Delight Jones, Sr., a carpenter.

Jones found his love for music while he was enrolled in grade school at Seattle's Garfield High School, this is also where he had met Ray Charles whom he later worked and became friends with. In 1951, Quincy Jones had won a scholarship to the Berklee College Of Music in Boston, Massachusetts. Jones however dropped out when he got the opportunity to tour with Lionel Hampton's band as a trumpeter and conductor. Jones also worked for the European production of Harold Arlen's blues opera, Free and Easy in 1959. After Jones had worked on several projects overseas he returned to New York where he composed and arranged, and recorded for artists such as Duke Ellington, Ray Charles, Sarah Vaughan, Count Basie, Dinah Washington, LeVern Baker, and Big Maybell. Jones was working with these artists while holding an executive position at Mercury Records, being one of the very few African Americans at the time to have such a position.

In 1963, Quincy Jones won his first Grammy award for his Count Basie arrangement of "I Can't Stop Loving You". In 1964, by the request of director Sidney Lumet, Jones composed the music for his movie, The Pawnbroker. This would be the first of many Jones composed for film scores. By the mid-1960's Quincy Jones became the conductor and arranger for Frank Sinatra's orchestra. Jones also conducted and arranged one of Sinatra's most memorable songs, Fly Me To The Moon. Jones appeared on a lot of film credits for his music such as The Slender Thread, Walk, Don't Run, In Cold Blood, In The Heat Of The Night, A Dandy In Aspic, Mackenna's Gold, and The Italian Job

Quincy Jones in 1978 worked on music for the Wiz, this is where he met icon, Michael Jackson. Jackson at the time was looking for a producer, Jones recommended some producers but in the end asked Jackson if he could do it, Jackson said yes. In 1982 as a result of this partnership, Jones had formed a tapestry with Jackson which was unbreakable it was called, Thriller. The Thriller album sold more than 100 million records world-wide. Jones continued working with Jackson with his Bad album in 1987. However after Jones recommended Jackson seek other producers to update his music. Jones referred Jackson to producer, Teddy Riley. This ended a partnership between two-greats, Jackson and Jones would never collaborate again.

In 1981 Jones had an album called, The Dude. In 1985 Jones scored the film adaptation of The Color Purple. Jones also was a philanthropist, in 1985 gathering multiple stars to participate in the song We Are The World to help raise money to help the victims of the Ethopian disaster.

In 1990 Jones composed a theme song for the new sitcom which was centered around Will Smith, The Fresh Prince Of Bel Air. Jones was also the executive producer of the show.

Quincy Jones will forever be remembered as someone who helped sculpt music in every form, he refined music and through the music he helped sculpt brought messages of peace, justice, love, funk, and hope, films that his dearest soul brother Sidney Poitier starred in and an amazing legacy of films were made which included both their talents...

after Sidney Poitier's death last year, Quincy led the tributes with this heart warming message...
"I couldn’t even begin this morning…Losing my dearest of brothers, Sidney Poitier, is like losing a piece of myself. We were joined at the hip from our times scraping to get by, coming up in New York in the 50’s, to achieving all of our dreams & working together in Hollywood, to standing up to use our voices in support of the things that truly mattered. And through it all, it will be the countless hours we spent traveling the world, eating, laughing, & talking into the wee hours, that I will treasure the most.
Sidney had an aura of royalty & regalness about him unlike any that I had ever seen before or after. And I’ve known Counts & Dukes & Heads of State. It was a royal stature that sucked the air out of the room when he walked into it, & left the ladies swooning in his wake.
It was a regalness that no mere actor could ever conjure, so you knew it was bestowed unto him by a higher power & could never be replicated. And it won’t be.
From those dues-paying days in New York to having you present the Best Picture category when I produced the Academy Awards in 1996, you were always there for me Sidney. Through thick & thin we shared the highest peaks & the lowest valleys of life together.
You were there for me during the darkest moments of my life, always in my corner rooting for me. I will miss you forever my dear brother…& when I feel like my soul needs to smile, I will think of you & our decades of memories shared together."


QUINCY JONES AND HIS SWEDISH BAND - THE BOY IN THE TREE
It's Quincy's first EVER soundtrack, made in Sweden and only ever issued in once in Sweden. Features the superb "Boy IN The Tree" cue which is all spooky and wordless and soulful and odd. Amazing...
The Boy in the Tree (Swedish: Pojken i trädet) is a 1961 Swedish drama film written and directed by Arne Sucksdorff, starring Tomas Bolme, Anders Henrikson, Heinz Hopf and Björn Gustafson. It tells the story of a troubled 16-year-old boy who seeks liberation in nature and teams up with two poachers... Quincy Jones approach came from his love of Scandinavian big band music and change meeting with director Arne Sucksdorff, at a concert in Stockholm.,..

The Hot Rock a.k.a. How to Steal a Diamond in Four Uneasy Lessons
Quincy concocts some snazzy caper music for this peak-period Redford caper flick, which features primo instrumentation from Grady Tate, Clark Terry and Gerry Mulligan, as well as members of L.A.’s famed Wrecking Crew. They lay down some great beats and breaks throughout – no wonder it’s been sampled by the likes of Eminem.

The Slender Thread
From the same year as The Deadly Affair may be short on time but not quality. All smooth jazz grooves and rollicking vibes and gorgeous orchestrations, it’s a nice summation of the talents Jones acquired as a jazz music student in Paris in the late 1950s...

They Call Me Mister Tibbs! / In the Heat of the Night
Two scores with a tone of righteous fury woven throughout. While there are differences in the approach to the two scores, Quincy Jones did manage to provide a unifying style - no mean feat, considering that the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture, while They Call Me Misters Tibbs! had a more open, urban attitude from its San Francisco setting. The music throughout has an edge (the lighter music in the second score is generally source music), with some interesting musical experiments going on (Jones, as one example, used cimbalom to reflect Tibbs' feelings in They Call Me Mister Tibbs!.) These remasters sound better than ever...

Mirage
often over looked as the masterpiece it is... Mirage is an edgy, noir classic and a blueprint for so many albums that followed...

A Dandy in Aspic is a 1968 neo-noir British spy film, directed by Anthony Mann, based on the 1966 novel of the same name by Derek Marlowe and starring Laurence Harvey, Tom Courtenay, and Mia Farrow. Costumes by Pierre Cardin. It was Mann's final film.
Set against the backdrop of 1960s Cold War Europe, it is the story of a spy known to his superiors in British Intelligence by his code name, "Eberlin" (Laurence Harvey).


The Lost Man...
In the strict sense of the word, The Lost Man was not a blaxploitation film, but its soundtrack (arranged by Quincy Jones) might lead you to think otherwise. That said, there are no radio-ready soul jams here, like, say, "Freddy's Dead" or "Theme from Shaft." Instead, Jones takes the sparse, groove-oriented route heard on the J.J. Johnson scores for Cleopatra Jones and Across 110th Street. This is most evident on downtempo numbers like the sultry "Sweet Soul Sister" (featuring Nate Turner & the Mirettes) and the opening theme. "Main Squeeze," however, is a funk bomb if ever there was one and, thankfully, its bass-driven motif runs throughout the LP..!

credits

released May 17, 2023

THE BOY IN THE TREE
Alto Saxophone – Arne Domnérus, Rolf Bäckman
Arranged By, Conductor – Quincy Jones
Bass – Jimmy Woode
Drums – Egil Johansen
Flute – Yngve Sandström
Flute Baritone Saxophone – Sahib Shihab
French Horn– Carl Nyström, Åke Björkman
Guitar – Rune Gustafsson
Piano – Gunnar Svensson
Tenor Saxophone – Bjarne Nerem, Rolf Blomquist
Trombone – Eje Thelin, Jörgen Johansson, Olle Holmqvist, Åke Persson
Trumpet – Bengt-Arne Wallin, Benny Bailey, Maffy Falay, Sixten Eriksson
Tuba – Uno Hurtig
Vibraphone – Christer Jägerhuldt
Vocals – Margit Teimar

IN THE HEAT OF THE NIGHT
Banjo, Vocals – Glen Campbell
Bass – Ray Brown
Flute – Roland Kirk
Human Beatbox – Don Elliot
Organ – Billy Preston
Piano – Bobby Scott
Vocals – Gil Bernal, Ray Charles

THE SLENDER THREAD
Plas Johnson - tenor sax
David Grusin - piano
Howard Roberts - guitar
Carol Kaye - electric bass
Emil Richards - percussion

IN THE HEAT OF THE NIGHT
Quincy Jones - Piano
Flute – Roland Kirk
Vocals - Ray Charles, Glen Campbell,Gil Bernal, Boomer Clarke, Travis Lewis

THE HOT ROCK/ HOW TO STEAL A DIAMOND IN FOUR UNEASY LESSONS
Quincy Jones, Carol Kaye, Chuck Rainey, Clare Fischer, Clark Terry, Dennis Budimir, Emil Richards, Frank Rosolino, Gerry Mulligan, Grady Tate, Jerome Richardson, Mike Melvoin, Milt Holland, Ray Brown, Tommy Tedesco, Victor Feldman

WALK DON'T RUN
Music By – Quincy Jones
Orchestrated By – Jack Hayes, Leo Shuken
Orchestrated By Vocal Orchestrations – Dick Hazard
Al Cohn, Al De Risi, Al Grey, Anthony Ortega, Bill English,Clark Terry, Curtis Fuller, Danny Bank, Don Elliott, Don Lamond, Earl Chapin, Eddie "Lockjaw" Davis, Grady Tate, Hal McKusick, Jewell Grant, Jo Hrasko, Jo Jones, Travis, Oliver Nelson, Pat Patrick, Patti Bown, Paul Faulise, Phil Woods, Rodney Levitt, Snooky Young, Thad Jones, Urbie Green, Wally Kane

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Moochin' About England, UK

Launched 2011,by Barrow Producer & musician,
Jason Lee Lazell, the world & jazz buyer for Tower Records (1993-2003) the largest record store in Europe…the critically acclaimed label Moochin’ About has gained admiration from Cerys Matthews,Huey Morgan,Giles Peterson,Jamie Cullum,Stuart Marcone,Johnny Trunk,Robert Elms,Iggy Pop… ... more

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