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Quincy Jones|John And Mary (Original Motion Picture Score)

John And Mary (Original Motion Picture Score)

Quincy Jones

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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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John And Mary (Original Motion Picture Score)

Quincy Jones

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1
Maybe Tomorrow (From "John And Mary" Soundtrack)
00:03:14

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Marilyn Bergman, ComposerLyricist - Alan Bergman, ComposerLyricist - Evie Sands, Vocals, FeaturedArtist, AssociatedPerformer - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

2
Bump In The Night (From "John And Mary" Soundtrack)
00:01:59

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Taylor-Gorgoni Productions, Producer - The Strange Things, Vocals, FeaturedArtist, AssociatedPerformer

℗ 1969 UMG Recordings, Inc.

3
Lost In Space (From "John And Mary" Soundtrack)
00:03:18

Quincy Jones, Conductor, MainArtist - Jeff Bridges, Vocals, FeaturedArtist, AssociatedPerformer, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

4
Silent Movies (From "John And Mary" Score)
00:02:14

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

5
Maybe Tomorrow (From "John And Mary" Score)
00:04:23

Quincy Jones, Conductor, Producer, MainArtist, ComposerLyricist - Marilyn Bergman, ComposerLyricist - Alan Bergman, ComposerLyricist - Morgan Ames Singers, FeaturedArtist

℗ 1969 UMG Recordings, Inc.

6
Main Title (From "John And Mary" Soundtrack)
00:02:52

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Marilyn Bergman, ComposerLyricist - Alan Bergman, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

7
J.S. Bach (22nd Fugue For Well Tempered Clavichord) (From "John And Mary" Soundtrack)
00:01:35

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

8
Wolfgang Mozart (Rondo No. 1) (From "John And Mary" Soundtrack)
00:02:01

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

9
Mendelsohn (Opus 54, Serieuses) (From "John And Mary" Soundtrack)
00:02:08

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

10
Handel (Allegro From Royal Fireworks Suite) (From "John And Mary" Soundtrack)
00:03:09

Quincy Jones, Conductor, MainArtist, ComposerLyricist - Taylor-Gorgoni Productions, Producer

℗ 1969 UMG Recordings, Inc.

11
Maybe Tomorrow (Instrumental)
00:04:00

Quincy Jones, Conductor, Producer, MainArtist, ComposerLyricist - Marilyn Bergman, ComposerLyricist - Alan Bergman, ComposerLyricist

℗ 1969 UMG Recordings, Inc.

Album review

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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