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| mUSic fOr bODy aNd sOUl |______________________|| |
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|| rELEASe iNFOs |
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| + ARTiST ........... Quincy Jones |
| + ALBUM ............ The Quincy Jones All-Star Big Band |
| + LABEL ............ Jazz Door |
| + CAT .............. JD12134 |
| + YEAR ............. 2003 |
| + GENRE ............ Jazz |
| + SOURCE ........... CDDA |
| + QUALiTY .......... 192kbps / 44,1Khz / Full Stereo |
| + RELEASE.DATE ..... 03.01.2004 |
| + SiZE ............. 57,9 MB |
| + LiNK ............. |
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|| tRACKLiSt |
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| |
| 01.They Say It's Wonderfull 03:22 |
| 02.Desafinado 02:56 |
| 03.Bossa Nova Usa 02:59 |
| 04.Watermelon Man 02:44 |
| 05.Gravy Waltz 02:40 |
| 06.Stormy Weather 03:15 |
| 07.Osie's Oasis 04:25 |
| 08.Johnson's Whacks 03:51 |
| 09.Walk On Wild Side 03:08 |
| 10.Lester Leaps In 03:34 |
| 11.Cherokee 03:09 |
| 12.Serenata 03:18 |
| 13.Air Mail Special 02:44 |
| |
| |
| (T!) TOTAL 42:05 min |
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|| rELEASe nOTEs |
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| |
| The Quincy Jones all-star Big Band Session |
| Quincy Jones | Jazz Door |
| |
| |
| 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 ù |
| Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael |
| Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin. |
| |
| Quincy Jones was born in Chicago, Illinois on March 14, 1933. When |
| he was still a youngster, his family moved to Seattle, Washington, |
| 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, ones took a job with the French record label Barclay, |
| where he produced and arranged sessions for Jacques Brel and |
| Charles Aznavour, as well as travelling 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 free-lanced 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 thirty-three 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 1960's, 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 kickstarted 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 70's |
| and early 80's, 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's 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's 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. |
| |
.| |
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|| gROUp nOTEs |
'| |
| MBS is a new and free music's lovers association on the net |
| We only please to share with the people the music we love. |
| If you find something like emotion and feeling in our mp3s... |
| Dont be afraid that's normal...cause there's pieces of love |
| in our releases. |
| That's a kind of artistic promotion we're doing, cause you MUST |
| buy an original copy, if you like the artists's work. |
| Wanna help ? MBS is always looking for new openminded rippers. |
| Keep your mind, your body and your soul open...Peace... |
| _ _________________________\\\\
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