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Jazz - Verschenen op 1 januari 1962 | Verve

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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R&B - Verschenen op 1 januari 1989 | Universal Music Enterprises

Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 28 maart 1981 | A&M

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Jazz - Verschenen op 10 maart 2011 | BDMUSIC

A musician to his core! Quincy Jones has criss-crossed trends and decades, but he has always stayed centre-stage. From the production of Michael Jackson's 1982 Thriller to the hit Soul Bossa Nova on his 1962 album Big Band Bossa Nova, the 28-time Grammy Award winner can boast of having worked with pretty much everybody. Jazz, soul, film soundtracks and pop records; he’s done it all. In his autobiography he declared that he was a be-bopper at heart and always would be. That affiliation is what is explored in this compilation of recordings, dating back to the period 1951-1959. The compilation foregrounds two memorable facets of Quincy Jones's career: as a leader and arranger for one of the finest big bands in the history of jazz (disc 1); and as an orchestrator for jazz virtuosos like Lionel Hampton, Art Farmer, Anthony Ortega, King Pleasure, Lucky Thompson, Helen Merrill, Clark Terry, Dinah Washington, Jimmy Cleveland, Cannonball Adderley, Sonny Stitt, Dizzy Gillespie, Eddie Barclay, Count Basie, Ray Charles and even Henri Salvador (disc 2)! A fascinating double volume that fizzes and sparks with swing. © Max Dembo / Qobuz
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Jazz - Verschenen op 1 januari 1978 | A&M

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With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" -- which is several cuts above the norm for that genre -- along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. © Richard S. Ginell /TiVo
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Jazz - Verschenen op 1 januari 1973 | A&M Jazz

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Jazz - Verschenen op 1 januari 1974 | A&M

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At the time, Body Heat was a breathtaking leap for Quincy Jones, right into the very heart of mainstream commercial soul -- and it turned out to be very lucrative, rising to number six on the pop album charts. Jazz per se has been left far behind but the same musical sensibility, the same brilliant production skills, and the same knack for what will appeal to a wider audience are still at work, and the result is a surprisingly pleasing album. Amazingly, Jones still draws a constellation of jazz stars into his studio bands (Herbie Hancock, Frank Rosolino, Hubert Laws, Jerome Richardson, Grady Tate, Bob James), plus soul names like Billy Preston, Bernard Purdie and the soon-to-be-ubiquitous guitarist Wah Wah Watson. The emphasis, though, is first on the honeyed soul vocals from a variety of newcomers, and second on the funky grooves laced with the buzz of now-prized analogue synthesizers and wah-wah guitars. There is one reminder of Jones' big-band days, a busy electronic retro-fitting of his classic chart of Benny Golson's "Along Came Betty," where one can hear Laws blow at some length. Otherwise, to paraphrase Jones himself, if you check your jazz boots at the door, you might enjoy this. © Richard S. Ginell /TiVo
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Jazz - Verschenen op 1 januari 1969 | Verve

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Jazz - Verschenen op 28 april 2015 | Rhino - Warner Records

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Jazz - Verschenen op 1 januari 2007 | Impulse!

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R&B - Verschenen op 9 februari 1999 | A&M

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Jazz - Verschenen op 1 januari 2011 | Verve Reissues

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R&B - Verschenen op 1 januari 1995 | Universal Music Enterprises

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Jazz - Verschenen op 1 januari 1971 | A&M Jazz

Quincy Jones had jazz fans wondering when he released his killer Gula Matari album in 1970. That set, with gorgeous reading of Paul Simon's "Bridge Over Troubled Water" with a lead vocal by none other than Valerie Simpson, pointed quite solidly into the direction Jones was traveling: unabashedly toward pop, but with his own trademark taste, and sophistication at the forefront of his journey. Its follow-up, Smackwater Jack, marked Jones, along with Phil Ramone and Ray Brown in the producer's chair, and knocked purist jazz fans on their heads with its killer meld of pop tunes, television and film themes, pop vocals, and big-band charts. The personnel list is a who's- who of jazzers including Monty Alexander, Jim Hall, Pete Christlieb, Joe Beck, Bobby Scott, Ernie Royal, Freddie Hubbard, Jerome Richardson, Ray Brown, Jaki Byard, Toots Thielemans, and many others. But it also hosted the talents of new school players who dug pop and soul, such as Grady Tate, Bob James, Joe Sample, Chuck Rainey, Paul Humphries, Eric Gale, and others. And yes, Simpson was back on this session in an epic reading of Marvin Gaye's "What's Goin' On,'" that featured Carol Kaye and Harry Lookofsky on soulful, psychedelic jazz strings and a smoking harmonica solo by Thielemans. The title cut, of course, is a reading of the Gerry Goffin and Carole King number, done in a taut, funky soul style with Rainey's bassline popping and bubbling under the entire mix and James' Rhodes and Thielemans' harmonica leading the back until the funky breaks by Tate, and some tough street guitar by Arthur Adams host an enormous backing chorus and a "mysterious" uncredited male lead vocal. Other highlights include a rocking version of the television theme from Ironside, and "Hikky-Burr," the now infamous theme from the Bill Cosby Show with a guest vocal from Bill. The version of Vince Guaraldi's "Cast Your Fate to the Wind" is one of the loveliest tracks here, and sets in stone a gorgeous model for the meld of complex jazz harmonics and a lithe pop melody. The album's final cut is a Jones original that sums up the theme of the entire album. Entitled "Guitar Blues Odyssey: From Roots to Fruits," it travels the path of Robert Johnson and Skip James through toJimi Hendrix and Eric Clapton with stops along the way at Charlie Christian, Wes Montgomery, and Grant Green. Guitarists Beck, Hall, and Gale, as well as Freddie Robinson, all do their best mimicking on this lovely, musical, labyrinthine montage that moves back and forth across musical history. It works like a charm with Brown's upright and Rainey's Fender (electric) bass work (alternately), and the beatcraft of Tate. This set has provided some key samples for rappers and electronic music producers over the years -- and there's plenty more to steal -- but as an album, it is one of Q's true masterpieces, recorded during an era when he could do no wrong, and when he was expanding not only his musical palette, but ours. © Thom Jurek /TiVo
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R&B - Verschenen op 12 juni 2015 | ZYX Music

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Jazz - Verschenen op 1 januari 1963 | Verve Reissues

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Originele soundtracks - Verschenen op 1 januari 1969 | A&M

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At the time, Body Heat was a breathtaking leap for Quincy Jones, right into the very heart of mainstream commercial soul -- and it turned out to be very lucrative, rising to number six on the pop album charts. Jazz per se has been left far behind but the same musical sensibility, the same brilliant production skills, and the same knack for what will appeal to a wider audience are still at work, and the result is a surprisingly pleasing album. Amazingly, Jones still draws a constellation of jazz stars into his studio bands (Herbie Hancock, Frank Rosolino, Hubert Laws, Jerome Richardson, Grady Tate, Bob James), plus soul names like Billy Preston, Bernard Purdie and the soon-to-be-ubiquitous guitarist Wah Wah Watson. The emphasis, though, is first on the honeyed soul vocals from a variety of newcomers, and second on the funky grooves laced with the buzz of now-prized analogue synthesizers and wah-wah guitars. There is one reminder of Jones' big-band days, a busy electronic retro-fitting of his classic chart of Benny Golson's "Along Came Betty," where one can hear Laws blow at some length. Otherwise, to paraphrase Jones himself, if you check your jazz boots at the door, you might enjoy this. © Richard S. Ginell /TiVo
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Jazz - Verschenen op 1 januari 1959 | Verve Reissues

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R&B - Verschenen op 1 januari 1996 | A&M

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R&B - Verschenen op 9 november 2010 | Interscope