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Jazz - Uscito il 01 gennaio 1962 | Verve

Hi-Res Riconoscimenti La discoteca ideale Qobuz
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R&B - Uscito il 01 gennaio 1989 | Universal Music Enterprises

Riconoscimenti La discoteca ideale Qobuz
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Jazz - Uscito il 28 marzo 1981 | A&M

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Jazz - Uscito il 10 marzo 2011 | BDMUSIC

Che incredibile musicista! Quincy Jones ha attraversato mode e decenni rimanendo all'avanguardia della scena musicale mondiale. Dalla produzione di Thriller di Michael Jackson nel 1982 alla hit Soul Bossa Nova del suo album Big Band Bossa Nova del 1962, l'uomo che ha vinto ben 28 Grammy Awards può vantare di aver lavorato con artisti provenienti da tutti gli angoli del mondo, per progetti che vanno dal jazz al soul, dalle colonne sonore ai dischi puramente pop. Ma come scrisse nella sua autobiografia, “Sono un bopper nell'anima e lo sarò sempre.” È intorno a questa definizione che è nata questa compilation di registrazioni del periodo 1951-1959, che sottolinea due aspetti che vale la pena ricordare: il Quincy Jones leader e arrangiatore di una delle più belle big band della storia del jazz (disco 1) e il Quincy Jones che ha orchestrato i grandi virtuosi del jazz come 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 e persino Henri Salvador (disco 2)! Un affascinante doppio volume di swing incandescente. © Max Dembo/Qobuz
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Jazz - Uscito il 01 gennaio 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 - Uscito il 01 gennaio 1973 | A&M Jazz

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Jazz - Uscito il 01 gennaio 1969 | Verve

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Jazz - Uscito il 01 gennaio 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 - Uscito il 28 aprile 2015 | Rhino - Warner Records

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Jazz - Uscito il 01 gennaio 2007 | Impulse!

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R&B - Uscito il 09 febbraio 1999 | A&M

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Jazz - Uscito il 01 gennaio 2011 | Verve Reissues

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R&B - Uscito il 01 gennaio 1995 | Universal Music Enterprises

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Jazz - Uscito il 01 gennaio 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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Jazz - Uscito il 01 gennaio 1963 | Verve Reissues

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Colonne sonore - Uscito il 01 gennaio 1969 | A&M

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Jazz - Uscito il 01 gennaio 1959 | Verve Reissues

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R&B - Uscito il 01 gennaio 1996 | A&M

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R&B - Uscito il 09 novembre 2010 | Interscope

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R&B - Uscito il 13 gennaio 2004 | A&M