By Leigh Carriage, Southern Cross University, The Conversation
The legendary composer, musical arranger and producer Quincy Jones has died at 91.
Over his long career, Jones arranged and produced for a broad range of genres. His work blended the traditions of jazz, popular, world music and Western classical music.
This was perhaps most present in his 1989 album Back on the Block. It features jazz improvisation, Zulu language, gospel and rapping. The album won seven Grammy Awards, including album of the year.
But even more than his own albums, Jones will be familiar to listeners across decades of popular music, for his work as a producer and arranger with legendary artists such as Ella Fitzgerald, Barry White, Chaka Khan, Frank Sinatra and Michael Jackson.
Finding his feet in jazz
Jones was born in Chicago in 1933, right in the middle of the depression. Around 11 years old, Jones found music.
In high school, Jones sang in a capella groups and played in school bands on the trumpet.
By 13, he was beginning to demonstrate a strong musical ability and musicianship skills, writing arrangements for his bands.
When Jones was a teenager, his family moved from Chicago to Seattle. In these early years, Jones had two pivotal mentors. One was the jazz trumpeter Clark Terry; the other was his contemporary and friend Ray Charles.
By the late 1940s, Jones was working as a trumpeter and as composer and arranger for bandleaders such as Dizzy Gillespie and Lionel Hampton.
A jazz big band bandleader in the 1950s, Jones quickly became a sought-after arranger.
Over his career, he worked on numerous jazz recordings with Count Basie, Duke Ellington, Tony Bennett, Sarah Vaughan (including a great swingin’ arrangement of the song
Witchcraft), Frank Sinatra (with popular favourites Fly Me To The Moon and Mack the Knife) and the Dinah Washington recording They Didn’t Believe Me with the Quincy Jones Orchestra.
The move into pop
By the 1960s Jones began transitioning into popular music.
In 1961 Jones became the first African American in the position of vice president at a major label, Mercury Records. In 1963 Jones selected and produced Lesley Gore’s hit song It’s My Party from more than 200 demos.
Elements of the previous decades expertise in jazz arranging are apparent with touches of brass and reharmonising (or modifying the harmonic structure – the chords) of a song. Jones’ production approach here was to double-track the melody (duplicating, and placing the second track with a slight delay), enhancing the richness of Gore’s voice.
In 1968, Jones received his first Oscar nomination for Best Original Score for the soundtrack to In Cold Blood. The following year his composing and arranging versatility was demonstrated when he wrote the music for The Italian Job.
In 1979 Jones began working with Michael Jackson on the album Off The Wall.
By the 1980s, Jones was receiving high acclaim and success immersed in many diverse projects including Jackson’s Thriller (1982) and Bad (1987), in which Jones masterfully fuses pop with rhythm and blues, rock and funk.
His innovation in producing was in his broad understanding of multiple genres of music, adoption of technology and his constant musical invention.
‘A great gift’
In 1985 Jones and Michael Omartian were asked to produce the song We Are The World, written by Lionel Richie and Jackson. It was released to worldwide acclaim.
Jones conducted the recording and left a sign on the studio door: “Check your egos at the door”.
Also in 1985, Jones wrote the original score and produced the music for Steven Spielberg’s The Colour Purple, including the song Miss Celie’s Blues, written collaboratively with Jones, Rod Temperton and Richie. The score and Miss Celie’s Blues each received another Oscar nomination for Jones.
Jones was requested on many large projects as a conductor. A great example is Handel’s Messiah: A Soulful Celebration (1992) conducted by Jones. This album featured some of the music industry’s best arrangers Mervyn Warren and Shelton Kilby as well as a stellar list of vocalists such as Gladys Knight, Take 6, Sounds of Blackness, Pattie Austin, Johnny Mathis, Chaka Khan and Al Jarreau.
In an interview with culture journalist David Marchese in 2018, Jones was asked what he was proudest of in his musical career. He told Marchese:
That anything I can feel, I can notate musically. Not many people can do that. I can make a band play like a singer sings. That’s what arranging is, and it’s a great gift.
Beyond his own work as an artist, Jones undertook humanitarian work, mentored new generations of musicians, and was often a commentator on jazz history or the significance of African Americans in the entertainment and recording industry.
Jones’ artistic innovation and highly effective collaborations, spanning a 70-year career, has made an indelible contribution to music and culture globally.
Leigh Carriage, Senior Lecturer in Music, Southern Cross University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
