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Quincy Jones, in his own words for the L.A. Times: ‘If it can’t get funky, brother, you don’t touch it’

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Quincy Jones, in his own words for the L.A. Times: 'If it can't get funky, brother, you don't touch it'

As I delve into the life and career of Quincy Jones, I am struck by his incredible resilience, versatility, and unwavering commitment to music. From his humble beginnings as an arranger to his monumental success as a producer, Jones has navigated the ever-changing landscape of the music industry with grace and determination.

Quincy Jones’ lifespan encompassed the entirety of contemporary American pop music, a legacy he embraced, shaped, and modernized for numerous generations. Reflecting on his life is astounding when you consider his friendships and collaborations with figures like Sidney Poitier, Lena Horne, Ella Fitzgerald, Stevie Wonder, Michael Jackson, Tupac Shakur, and countless others.

Over the course of several years, The Times had numerous conversations with Jones (who passed away at 91 on Sunday), during which he shared stories from various stages of his career. These included memories of being a Black composer in Hollywood during a less progressive mid-century era, producing what is arguably one of the most successful pop albums of the century with Michael Jackson, and expressing sorrow over the violent reality of gangsta rap that had a personal impact on his family.

From the outset, Jones’ approach to music was broad-minded and inquisitive. He embarked on extensive journeys, and as a musician, he absorbed knowledge from both European classical and folk music genres, integrating them with the inventive aspects of African-American musical styles such as jazz.

Back in 2001, I shared with The Times my belief that traditional music nourishes the soul. You see, most countries’ musical evolution is deeply rooted in their folk music, just as ours is. For instance, Béla Bartók was inspired by Hungarian folk music, and the Scandinavian folklore is nothing short of amazing. The melodies Miles Davis and Stan Getz played, like ‘Dear Old Stockholm,’ are simply breathtaking – you won’t believe how beautiful they are! Traveling is the best education one can get. It allows you to taste their local cuisine, learn their language, and immerse yourself in their music. That’s the essence, that’s the heart of a culture. They would warn us not to visit the marketplace or the old city – those were places we often sought out. Those areas were like the ‘hood! I can’t wait to dive into it more deeply.

Jazz, one of his early passions, deeply influenced every aspect of his work in film compositions, pop music, and education. As he stated, “[Count] Basie, Clark Terry, it was an incredible learning experience.” He often remained silent, absorbing their wisdom because “old folks know what they’re talking about, they’ve been there.” Critics who belittled Louis Armstrong, such as those who called him a ‘Tom,’ should remember that he is the pioneer of our genre. He created jazz with no samples, no radio stations, nothing but his own genius. Art Blakey once told Branford Marsalis, “We had to suffer so you can do your fancy stuff.” Indeed, there’s been much hardship in the creation of jazz.

In his words, he expressed a desire to contribute to making American music more accessible to its people before his time ends. He lamented that many Americans don’t fully appreciate their rich musical heritage. He suggested that we engage with the administration to establish a Ministry of Culture. Although he doesn’t wish to do it himself, he believes such a role is necessary. He emphasized that the culture of this country serves as a universal language, much like Esperanto. Unfortunately, it’s often the first subject cut from schools. However, if nurtured, it would foster a more harmonious atmosphere within the nation.

Jones gained early acclaim as a movie score composer, creating themes for films like “In the Heat of the Night,” “The Wiz,” “In Cold Blood,” and “The Color Purple,” to name just a few. However, carving out a path in mid-century Hollywood was frequently a solitary journey for a Black artist in the film industry.

Jones remarked, “Sidney Poitier and I stood alone,” being a frequent collaborator on many of his movies with Poitier, a dear friend. He passed the torch to me in the field of composition.

As recording technology evolved away from simply documenting live performances to an artistic craft of its own, Jones adapted his methods for a new era. But he always tried to emphasize the human qualities of being in a room together with a band, reading each other.

In 2001, he stated that true interaction in music isn’t found in the use of synthesizers and drum machines, but rather when musicians perform together, such as when he recorded with Frank Sinatra. He emphasized that they would look each other directly in the eye during recording, which was their traditional method. However, he is open to new ways of working, having collaborated with various generations of artists. The music industry continues to evolve, and while some resisted change, he has embraced it, now working with modular setups, layers, overdubs, and more.

Nevertheless, Jones swiftly recognized the promise in emerging electronic devices and, with an early version of the Moog synthesizer, composed the theme for “Ironside” in 1967.

Robert Moog once asked me, ‘Quincy, why aren’t your group members using my device?’ He explained in 2017. I responded, ‘The main reason is that we shape an electronic signal into either a smooth sine wave or a rough sawtooth. However, the issue with these waves is they don’t bend. If they don’t bend, they can’t be funky, and if they can’t be funky, then I wouldn’t consider using it.’ Later on, Moog developed a pitch-bender and portamento for his instrument, which I quickly adopted.

Jones’ collaboration with Jackson, notably on the groundbreaking album “Thriller,” revolutionized the realm of pop music. In a heartfelt reflection following Jackson’s demise in 2009, he stated, “It was the ideal meeting of talents.” He further explained that every decade in the music industry produces an extraordinary figure. For instance, in the ’40s it was Sinatra, in the ’50s it was Elvis Presley, in the ’60s it was the Beatles, and in the ’80s, it was Michael Jackson.

Jones spoke about how he honed the talents that made Jackson a powerful performer. “We ruled the ’80s and our spirits would be bonded eternally,” he stated. “By emulating Fred Astaire, Sammy Davis Jr., and James Brown simultaneously, he’d labor tirelessly, fine-tuning every leap, gesture, and motion so that they harmoniously synced as planned. I experimented with various techniques I had gathered over the years to aid him in his artistic development, such as lowering keys slightly to give him a broader range in higher and lower tones, and numerous tempo changes. Additionally, I encouraged him to explore songs with greater depth, some of which addressed genuine relationships…

At a certain moment during the discussion, the speaker on the right suddenly ignited. Quite an unusual occurrence, he noted. “Interestingly,” he said, “even after nearly three decades have passed, in any club or karaoke bar I visit around the globe, without fail, you’ll hear songs like ‘Billie Jean,’ ‘Beat It,’ ‘Wanna Be Starting Something,’ ‘Rock With You,’ and ‘Thriller.’

Following Jackson’s commercial peak in the ’80s, as hip-hop took over as the primary influence in popular music, he expressed both sadness and wisdom about how music meant to mirror real-world suffering could itself become a victim of it. Jones, founder and chairman of Vibe magazine whose daughter Kidada was engaged to Shakur at the time of his demise, declared that for the remainder of his existence, he would strive for peace within Black music.

He suggested forming an alliance with the hip-hop community, stating that it has been more reflective of street culture than any other music genre for quite some time. It’s not just about the beats and rhymes; it’s also about the sociological insights, which aligns with the historical role of black music in America. Books on musicology might not always provide the complete picture.

If significant music corporations share in the earnings during times of violence, it’s important to note that they also bear a responsibility for such occurrences. Continuing forward is crucial, one can hardly choose to succumb. If not for optimism, then what else is there? To sink would not be a wise choice given my dedication to this cause. The community must strive towards unity and support these young artists as they pursue their skills and aspirations. We aim to aid them in surviving and realizing their dreams.

Reflecting on his professional journey, Jones took offense at suggestions that his later success was a result of his status or relationships, instead attributing it to his unwavering creativity as a musician.

In 2001, he expressed his frustration that people, regardless of age, tend to underestimate him by stating, “Quincy’s greatest asset is his extensive contacts list and the ability to call anyone!” However, this is quite amusing. Throughout my life, I have dedicated myself to mastering my craft as an arranger, orchestrator, and composer. This ambition started at age 13, and I have spent decades honing my skills. I’ve worked tirelessly on numerous arrangements, movies, and collaborations with a multitude of singers worldwide, from Stevie Wonder to Nana Mouskouri and Charles Aznavour. To suggest that all I need is a phone book and the ability to call talented individuals is not only disrespectful but also far from accurate. Such an approach would earn minimal recognition, unlike the hard work I’ve invested in my career which has spanned over 40,000 arrangements and 40 movies.

Jones never shied away from speaking up when people questioned his loyalty, trying to label him as a sellout. However, by consistently remaining dedicated to the art of music in all its forms, he didn’t sell out – instead, his work left an undeniable impact and was incredibly successful.

In 2001, he mentioned that his journey began as an arranger, which eventually led him to become a producer. He explained that the process of arranging music offers a wealth of knowledge and exposure. Throughout his career, he collaborated with numerous artists such as Dinah Washington, Billy Eckstine, Tony Bennett, Paul Simon, Sinatra, Aretha Franklin, Sarah Vaughan, Ella Fitzgerald, and Carmen McRae. This diverse experience was like a unique education that is hard for others to comprehend today. He traveled extensively for years, covering seven hundred miles nightly with the band bus and performing in various locations, including the Carolinas, California, and many other places. Getting stuck with a big band in Europe didn’t stop him from being accused of selling out. In his words, “Please, give me a break. Yo mama!

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2024-11-05 05:01

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