Playlist: Modal and Midsummer Evening Jazz

As summer sets in, dusk lingers and warm evening air pulses through open windows. I wanted a playlist to evoke that atmoshphere and I think this one does it justice.

Featured are Yusef Lateef and Horace Silver as well as the sound engineering of Rudy Van Gelder. A wider range of artists and labels are represented, some popular favourites and some recordings I had never heard before.

I drew ideas from Gilles Peterson’s “The 20” series on Modal Jazz at Worldwide FM, some from browsing the catalog of artists knew, and others from exposure through radio play, especially Jason Palma’s Higher Ground radio program, heard on ciut.fm Thursdays at 8pm ET.

One conspicuous absence is a wonderful new recording from Nat Birchall’s new album, Mysticism of Sound. The track, “Celestial Spheres” would be a perfect opener to this playlist but it is not available on Spotify. I made a point of purchasing a digital download from Birchall’s bandcamp page directly.

Midsummer Evening Jazz Spotify Playlist, by TorontoArm. I hope you enjoy it on a warm summer’s night of your choosing.

 

Album Review: Boy, RAC (Counter Records, May 8 2020)

RAC or Remix Artists Collective is the stage name of André Allen Anjos, a Portland Oregon based artist who started out remixing songs and became a recording artist in his own right. RAC’s last full length album, Ego (Counter 2017) featured a beautiful track that was in my top five that year, “Heavy” featuring Anjos’ long-time collaborator Karl Kling. RAC’s last outing, the Closer EP from 2018, used much quieter and simpler piano arrangements, creating a more cinematic vibe.

Boy offers synth pop, heartfelt ballads, and quite a range of styles in between. Overall, the album and indeed most of RAC’s original work evokes the brighter side of the 80s synth pop. Whenever I listen to RAC, I get the urge to listen to “Together In Electric Dreams” by Human League’s Philip Oakey and Giorgio Moroder.

“Oakland” featuring the Winnetka Bowling League is a lilting tune that could have been used in a John Hughes coming-of-age montage. “Together” featuring Evalyn, demonstrates Anjos’ ability to blend synth pop with contemporary R&B production choices a la Drake and his Ovo label sound.

Boy has a more melancholic side as well, with tracks like “Solo,” “Boomerang,” and probably my favourite cut at the moment, “Sweater” featuring Maddie Jay.

 

Related Listening: 

Feature: 20 Albums 

A friend of mine nominated me on facebook to post 20 album covers in 20 days of albums that really had an impact on me. While I’m not big on facebook chain letters, I do find the idea inviting so I thought I’d explore it here instead.

Here we go in no particular order…

Live at the Bijou, Grover Washington Jr. (Kudu, 1977)

First heard in the late 80’s on Paul E. Lopez and Mike Tull’s excellent radio program, Vibes & Stuff on CIUT 89.5FM, the track “Funkfoot” immediately struck me as a perfect combination of jazz and funk. It took years for me to find the record and it remains in high rotation for me to this day.

 

Arias & Symphonies, The Spoons (Ready, 1982)

This album was released in 1982 as I was just awakening to my own musical consciousness and taste. I became a faithful fan of this local band for a good part of 40 years. This album in particular set the bar for me when it came to 80’s new wave. In an older post, I dare to argue that it was the best album of the 80’s.

 

My Ever Changing Moods (Cafe Bleu), The Style Council (Polydor, 1984)

In adolescence, we all look for “our thing.” In the 80’s, cliques formed around musical taste. There was the Duran Duran bunch, the Pink Floyd bunch, The Cure bunch and so on. Like many teenagers, I fancied myself an original and adopted this enigmatic and short-lived group that sprung out of The Jam and the rise of Brit soul. The Style Council was my gateway to jazz, a genre that influences virtually all music I listen to today.

 

Places and Spaces, Donald Byrd (Blue Note, 1975)

I just love the sound Donald Byrd cultivated in his long partnership with producers Fonce and Larry Mizell (a.k.a. the Mizell Brothers). They created a body of work in the 70’s that bridged jazz and popular music. This album is the apex of that sound and is definitely on my desert island list.

 

Headhunters, Herbie Hancock (Columbia, 1973)

I first heard the opening riff of “Chameleon” when i was in my 8th grade brass band at school. The 9th grade stage band (the cool kids) were warming up and the bassist started playing the iconic clavinet line from this seminal album. Herbie Hancock is one of my musical heroes and I’ve been fortunate to see him live on a couple of occasions.

 

 

Togethering, Kenny Burrell & Grover Washington Jr. (Blue Note, 1985)

This is one of those records I owned on cassette and listened to so much, it wore out. By the time the CD revolution came around, the album was out of print. Years later, I bought the vinyl on Discogs and digitized it. It still appears to be out of print at Blue Note and maybe was never highly regarded but Burrell’s and Washington’s virtuosity and chemistry sealed it as one of my all-time favourite jazz records.

Minute by Minute, The Doobie Brothers (Warner Bros., 1978)

I was never a rocker and was generally unaware of country and folk rock growing up. This album was in my sister’s collection and was The Doobie Brothers’ foray into an R&B sound. I still love the lush keyboards, Michael McDonald’s vocals, and the songwriting.

 

 

Brown Sugar, D’Angelo (EMI, 1995)

This album was my introduction to R&B and more specifically neo soul. It opened a new appreciation for me for R&B from every decade prior and since.

 

 

Baduizm, Erykah Badu (Kedar, 1997)

If D’Angelo introduced me to R&B, Erykah Badu locked me in as an eternal fan. This album has become my yardstick for songwriting, style, and performance for an R&B record.

 

 

Lover’s Rock, Sade (Epic, 2000)

Sade was huge in the 1980’s but I was too preoccupied with new wave to take them seriously. By the time this album dropped, I was all in. It was also a treat seeing them live in 2011.

 

 

Brother Sister, The Brand New Heavies  (Delicious Vinyl, 1994)

This group introduced me to “Acid Jazz.” As a genre, it is still illusive to define but The Brand New Heavies merged pop, jazz, and soul to form what would be coined as Acid Jazz. Ambitious multi-instrument arrangements and dance-influenced beats won me over. It wasn’t until later in life that I came to appreciate Earth, Wind, and Fire as the pioneers and all-time masters of this sound.

 

The Renaissance, Q-Tip (Motown, 2008)

This is the album that developed my taste in hip hop. Q-Tip remains one of my favourite hip hop artists. I loved the merger of R&B and hip hop on this record. Because of this record, I devoured A Tribe Called Quest’s back catalogue. Incidentally, this album is produced by the late, great J Dilla, another artist I discovered much later in life.

 

Tribes, Vibes, and Scribes, Incognito (Talkin’ Loud, 1992)

I think I heard the instrumental track, “Colibri” from this album used in a TV show and I sought it out. Incognito has a knack for songwriting and jazz performances that draw the best from R&B, Funk, and Dance genres. They are my favourite band today and this album was what brought me to them.

 

Return of the Space Cowboy, Jamiroquai (Sony, 1994)

Probably my favourite group in the 90’s (after Incognito). I think this is still their best album.

 

 

 

A Charlie Brown Christmas, Vince Guaraldi Trio (Fantasy, 1965)

I think one of the most perfect recordings I’ve heard to this day is the instrumental version of “Christmas Time Is Here.” The tune and the simple but enchanting treatment by this talented trio never gets old for me.

 

 

The Music Man Original Soundtrack, Meredith Willson (Warner Bros., 1962)

A guilty pleasure, yes but also a remarkable musical book. Not only are the show tunes among the most playful and enduring from that era, Willson weaves a clever consistency among the songs. The interplay during “Lida Rose / Will I Ever Tell You” is a wonderful example.

 

 

Reggae Hits, Volume 24, Various Artists (Jet Star, 1999)

In the mid 90’s, a friend of mine introduced me to the expanse of reggae music. Before then, Bob Marley was all I knew. This compilation, random though it seems, was a perfect sampling and I grew my reggae collection prodigiously from what inspired me on this record.

 

 

Heavy Weather, Weather Report (Columbia, 1977)

I was a band nerd in high school, so yeah, this album. Still holds up today as one of the finest jazz fusion albums ever. Wayne Shorter and Josef Zawinul are both disciples of Miles Davis.

 

 

 

Glengarry Glen Ross, Music From and Inspired by The Motion Picture, James Newton Howard (Elektra, 1992)

One of my favourite films and one of my favourite albums. Wayne Shorter’s genius permeates the soundscape of the film. This was another album that I wore out on cassette. It was hard to find on CD but I found a Japanese version and it is one the most coveted in my collection.

 

 

Blade Runner Soundtrack, Vangelis (Atlantic, 1994)

This is my favourite film and one of the reasons is the music. I don’t think there has ever been a film that so effectively melds music, mood, and story.

 

 

 

 

Album Review: It Is What It Is, Thundercat (Brainfeeder, April 2020)

Thundercat (a.k.a. Stephen Bruner) is a widely respected bassist, songwriter, and performer. His debut album, Golden Age of Apocalypse (Brainfeeder) in 2011, launched his solo career. Since then, he has released two studio albums and is featured in numerous collaborations with the likes of Anderson .Paak and Kendrick Lamar, and the late Mac Miller.

It Is What It Is marks a return in a way to his breakthrough debut. The melody, vocals, and songwriting make for perhaps his most accessible album. Unlike Apocalypse (Brainfeeder, 2013) and Drunk (Brainfeeder 2017), this release features several full-length tracks with more conventional structures and production choices. It should be noted, “conventional” in the context of a Thundercat record is still delightfully several degrees askew.

The first single, “Dragonball Durag” showcases what I mean on melody and songwriting. Bruner has cultivated a signature sound with his falsetto vocals and playful production choices grounded in a velvety low end. There’s an AOR vibe about this record. “Black Qualls” disguises complex arrangements and song structure in a thoroughly enjoyable 3-minute song.

Bruner’s frenzied solo prowess and his signature Thundercat bass sound are showcased on “How Sway” and “Unrequited Love.” “King of The Hill” is a particularly original track, alternatively haunting and soothing.

Thundercat can always be counted on to bring something new to the intersection of funk, jazz, and R&B. With It Is What It Is, he delivers in his weirdly groovy way.

Best of 2019

Unlike 2018’s deluge, new music crept up on me this year. It was a steady stream of high quality albums and songs, with a few surprises. Album of the year for me was Beautiful Vinyl Hunter from UK jazz pianist, Ashley Henry. The new album from my all-time favourite band,  Incognito, Tomorrow’s New Dream places a close second.

Herbie Hancock | Kamasi Washington, Toronto August 7 2019

I saw a good amount of live music. My sophomore experience with Herbie Hancock had an added bonus with Terrace Martin in his touring band. It was also a double-bill with Kamasi Washington, so yeah, concert of the year. I also enjoyed Toronto’s own Daniel Caesar on a chilly autumn night at Toronto’s Budweiser Stage. Opening for him, another personal favourite, Charlotte Day Wilson.

A couple of surprises were albums from Sara Bareilles and the Spoons. I had never heard of Bareilles until I saw her perform on Saturday Night Live. Her album, Amidst the Chaos, really resonated with me, which was a little surprising since it is bordering on country, a genre I don’t usually explore or focus on. When I discovered T-Bone Burnett produced Bareilles’ album, it all made sense (I’m a fan of his musical direction on the now defunct TV show, Nashville). Another pleasant surprise was New Day New World from the Spoons, a band I’ve followed since I was in my teens. Late comers in the year were from Kaytranada (BUBBA, Kaytranada Music) and what seems like an independent and mostly instrumental release, Visions, from Jarrod Lawson on his bandcamp page, released under the artist name, Orpheus.

Albums

  1. Ashley Henry, Beautiful Vinyl Hunter (Sony Music)
  2. Incognito, Tomorrow’s New Dream (Bluey Music)
  3. Daniel Caesar, Case Study 01 (Golden Child Recordings)
  4. Salaam Remi & Terrace Martin, Northside of Linden, Westside of Slauson (Flying Buddha / Louder Than Life)
  5. Taylor McFerrin, Love’s Last Chance (FromHereEntertainment)
  6. Daniel Maunick, Macumba Quebrada (Far Out Recordings)
  7. Shafiq Husayn, The Loop (Nature Sounds)
  8. Shigeto, Versions EP (Ghostly International)
  9. Sara Bareilles, Amidst the Chaos (Epic)
  10. Flying Lotus, Flamagra (Warp Records)
  11. Jarrod Lawson, Visions (jlawson.bandcamp.com)
  12. Spoons, New Day New World (Sparks Music)
  13. Marcos Valle, Sempre (Conecta)

 

Songs (Listen to this playlist on Spotify)

My favourite songs of the year were from a wide swath of artists, some of them new to me this year. I was really taken with “Flying,” by Dawn Tallman. It’s a beautifully written, produced, and performed song. Tony Momrelle’s duet with his Incognito compadre, Maysa, is another. Jazz trumpeter, Yazz Ahmed was a new discovery for me this year. Her Arabic-influenced and atmospheric jazz is a fresh sound. There are some selections from the dance/house genre as well, “Sim City” being one of my favourites from the year.

  1. Flying, Dawn Tallman, For Me (Honeycomb Music)
  2. We Had Searched for Heaven, Tony Momrelle feat. Maysa, Best is Yet to Come (Vibe 45 Records)
  3. What You Need, Kaytranada & Charlotte Day Wilson, BUBBA (Kaytranada Music)
  4. Sim City, Space Ghost, Aquarium Nightclub (Tartelet Records)
  5. Don’t Stop, Monodeluxe & Jaidene Veda (Vibe Boutique Records)
  6. Lahan al Mansour, Yazz Ahmed, Polyhymnia (Ropeadope)
  7. To B, Da Lata, Birds (Da Lata Music)
  8. Dance with You, Sunlightsquare feat. Omar, Dance with You EP (Sunlightsquare Records)
  9. Afeni, Rapsody feat. PJ Morton, Eve (Jamla Records)
  10. Mesosphere, Ryan Porter, Force for Good (World Galaxy / Alpha Pup Records)
  11. Life is a Dancefloor feat. Kimberly Davis, Shapeshifters (Glitterbox Recordings)
  12. How Long Does it Take, Mildlife (Heavenly Recordings)
  13. Asa no Yume, Mark de Clive-Lowe, Heritage (Ropeadope)

 

New to Me (Re)discovered

Photo: patricerushen.com

In September of this year, BBC’s Gilles Peterson hosted an all vinyl special of his must-listen radio show with Patrice Rushen as his guest. Until then, I thought Forget Me Nots (and its ubiquitous sampling) was her singular claim to fame.

After I heard the program, I rushed to explore the rest of her catalogue and was bowled over by the impact she has made on jazz, R&B, and funk. Do yourself a favour listen to a Patrice Rushen marathon on your favourite streaming service or better yet, buy some albums. My current favourites are Patrice (Elektra, 1978), Pizzazz (Elektra, 1979), and Straight from the Heart (Elektra, 1982). Ms Rushen is still an active musician and music educator.

 

Passings

Some notable losses to the world of music this year: Ranking Roger of The English Beat and General Public, Johnny Clegg of Juluka and Savuka, Art Neville of the Neville Brothers, and Canada’s own John Mann, of Spirit of the West.

Aaron Neville. Photo: Erika Goldring/Getty Images

 

Anticipating in 2020

Terrace Martin has been hinting on his social media for some time that he has been working on his new album, DRONES. I’m also keen to see what Martin will do as producer on Herbie Hancock’s next album, which is also reportedly in the works.

 

Album Review: Beautiful Vinyl Hunter, Ashley Henry (Sony Music, September 2019)

Beautiful Vinyl Hunter is Ashley Henry’s debut full-length album. Having just celebrated his 28th birthday, Henry has produced an album rich beyond his years.

Listening end to end, three modes emerge on this album. Contemporary piano jazz leads off with “STAR CHILD” featuring Judi Jackson on vocals. Jackson also appears on “Lullaby (Rise and Shine),” which sounds like it came out of the Cole Porter songbook. “Cranes (In the Sky)” is an upbeat piano jazz anthem, not unlike something you might hear from Shaun Martin. My favourite track in the jazz mode of this album is “Ahmed.” The melody, rhythm, and improvisation stand up to repeated listens and remind you why the piano is perhaps the most expansive instrument in jazz music.

Henry’s second mode is hip hop, with tracks like “Between the Lines” featuring Keyon Harrold and “COLORS” featuring Joshua Idehen. They meld seamlessly into the album’s soundscape, ever decorated by Henry’s keyboard work.

The third mode is electric. Henry plays a Rhodes electric piano for tracks like “Introspection” and “Dark Honey (4thestorm),” echoing atmospheric 1970s fusion.

Already in his young career, Ashley Henry has cultivated a sound and shown us he knows how to use a range of collaborations and styles to create an irresistible work.

 

 

Album Reviews:

CASE STUDY 01, Daniel Caesar (Golden Child Recordings, June 2019)

Love’s Last Chance, Taylor McFerrin (FromHereEntertainment, August 2019)

 

 

 

 

These two albums took a hold of me recently. Daniel Caesar’s CASE STUDY 01 is a powerful album, rich with well-crafted songs, minimalist production, and Caesar’s distinctive vocal performance. Taylor McFerrin’s Love’s Last Chance is a marvel of songwriting, sprinkled with electronic production that evokes the work of Flying Lotus a.k.a Steven Ellison. Ellison’s Brainfeeder label put out Mcferrin’s debut album, Early Riser (Brainfeeder, 2014) so the influence is happily expected.

Both are sophomore albums and both are from young male R&B vocalists who have distinguished themselves stylistically with their production choices. A Yin and Yang if you will, of modern urban music: Caesar with an acoustic sensibility, McFerrin an electronic one, both uncompromising in their songwriting.

McFerrin’s “Now that you need me” features multiple synth sounds, beats, and vocal effects that electrify the vibe while the melody and soul of the song keep it grounded. Caesar’s “Too deep to turn back” is simultaneously an acoustic sing-along, a sullen ballad, and just plain beautiful. These two tracks are the most striking examples of what characterizes each album but there is of course, a spectrum within each.

I think that’s why these albums appealed to me as a pair, rather than individually. They swirl around together, not quite dissolving into one another but playing off their differences, elevating each other.

Album Review: North Side of Linden, West Side of Slauson, Salaam Remi & Terrace Martin (Flying Buddha Records / Louder Than Life Records)

I’ve been following Terrace Martin since his Velvet Portraits album (Ropeadope, 2016) so when I came across this project with highly decorated hip-hop producer and keyboardist Salaam Remi, I had to give it a quick listen. Twenty-four minutes later, I hit repeat.

The album has a nightime jazz vibe, driven by hip-hop beats, coloured by Remi’s keys and Martin’s reeds. Remi and Martin showcase a variety of sounds, from the broad-spectrum opener, “Carrot Juice” to the organ-infused “ChickenNWaffles Baptist Church” to the sparse and trancey “Sativa Park.”

What makes this album work so well is the combination of beats, Remi and Martin’s improvisation, and the production choices, which are the sharpest around in jazz and hip-hop.

Make time for this album. Leave room for replays.

Related:

Terrace Martin Presents the Pollyseeds: Sounds of Crenshaw Vol. 1

Album Review: New Day New World, Spoons (Sparks Music, 2019)

This is the Spoons’ first studio release since Static in Transmission (All My People, 2011). From the opening piano intro on the title track to the broken electronic beats bookending this album in the title’s reprise, New Day New World emits a kind of magic.

The Spoons posess an alchemy that has endured through their 40 history: the interplay between Gord Deppe’s and Sandy Horne’s vocals; the edgy guitar; and most of all the synthesized soundscape born in the 80s and ably refreshed with each outing. There is also solid songwriting on this album with chart worthy pop songs, thoughtful down tempo numbers like “Life on Demand” and “Landing Lights,” and the wonderfully synth-laden “Snowglobes.”

An early fan favourite is “For the First and the Last Time.” It is a charming melody with a love song at its heart – bottled happiness. A clever variation on the same tune is “Paint by Numbers Day,” with Horne taking the lead on vocals.

I’ve been a fan of the Spoons since I heard Arias & Symphonies for the first time. I spent my adolescent years adoring the band and their sound. It is exceptionally satisfying, so many years later, to hear such an objectively good and entirely fresh album from start to finish.

I’ll be marvelling at this new magic for some time.

 

The Players: Gordon Deppe (guitar, vocals), Sandy Horne (bass guitar, vocals), Casey MQ (keyboards), Chris McNeill (drums)

 

Related Posts

Best Album of the 80’s: Arias & Symphonies

Arias & Symphonies 30th Anniversary Concert

Static in Transmission

Toronto Retrograde: A Geo Nostalgic Playlist

Playlist: The Autobiography of Quincy Jones, Quincy Jones (Doubleday, 2001)

Having recently read this account of producer Quincy Jones, a.k.a. ‘Q’s life, I’m inspired to assemble a playlist from his far-reaching and remarkable career. Taken from moments that struck me in the book as particularly germane to his becoming a living legend, the playlist covers influences, legacy recordings, and turning points that slingshotted him further and further into the straosphere of jazz and pop music.

The book itself is a quick read, especially for those like me who are jazz history wonks. Jones has worked, it seems, with nearly everyone to make a mark on jazz music and has set the stage for countless pop sensations, notably Michael Jackson. Jones writes about his humble beginnings, his brother Lloyd, his beloved father, and the troubling mental health saga that plagued his relationship with his mother. Various chapters are also contributed by guest writers and offer insights into his life story from those that see him differently than he does himself.

The book is a few years old but I found it timely and a fitting complement to the “Quincy” documentary currently streaming on Netflix (2018). Jones turns 86 on March 14, 2019.

My Quincy Jones Playlist

Listen on Spotify

[Jones’ credits: PD-Producer, CP-Composer, AR-Arranger]

“Fly me to the moon,” Frank Sinatra with the Count Basie Orchestra, 1965 [AR] // Jones had idolised and met Basie at the age of 13; they enjoyed a long professional and personal friendship.

“What I’d Say,” Ray Charles, 1959 // Charles was one of the first musicians that inspired Jones; they were 16 and 14 respectively when they first met.

“Kingfish,” Lionel Hampton, 1951 [CP] // Written by Jones at the age of 18; He joined Hampton’s band around this time, which was one of the hottest big bands of the time.

“Wail Bait,” Clifford Brown, 1954 [CP] // Jones toured Europe with Clifford Brown while they were both part of Lionel Hampton’s band; Brown included this Jones composition on his first album.

“L’il Darlin’,” Count Basie, Composed and Arranged by Neal Hefti, 1957 // Hefti wrote and arranged this number for Count Basie; Jones states that it was a master class of “in-the-pocket tempo,” and served as a lesson that stayed with him all through his life.

“My Old Flame,” Dinah Washington from the album, For Those in Love, 1955 [AR] // The first album Jones did with Dinah Washington, who had advocated for him with her record label before he gained widespread notoriety as an arranger.

“I Can’t Stop Loving You,” Count Basie, 1963 [AR] // This recording earned Jones his first Grammy award.

“Firebird Suite,” Igor Stravinsky, 1910 // Jones has a second-degree connection to Stravinsky, via his tutelage by the great French teacher, Nadia Boulanger; Boulanger was a contemporary and friend of Stravinsky’s and was a teacher to many modern arrangers, including Aaron Copland, Philip Glass, and Michel Legrand; Jones had gone to Paris in part to work on arranging strings, an opportunity not afforded to black musicians in America.

“The Birth of a Band,” Quincy Jones, 1959 [CP] // Jones toured intensely through Europe with his own band and created this album around the same time period; The tour was a financial drain and lead to more commercial priorities for Jones upon his return to the USA.

“It’s My Party,” Leslie Gore, 1963 [PD] // Jones’ first hit as a Producer and of a pop song.

“Theme from ‘The Pawnbroker’,” Quincy Jones, 1965 [CP, AR] // Jones’ first major film score.

“Theme from ‘Ironside’,” Quincy Jones, 1967 [CP, AR] // The synthesizer used in the opening phrase was the first time the instrument was used for a TV score; In this period of his life, Jones was in demand for scoring but was simultaneously leading Frank Sinatra’s band at his residency at The Sands in Las Vegas.

“Walking in Space,” Quincy Jones, 1969 [CP, PD] // Shifting away from scoring and moving back toward Jazz, Jones recorded this early jazz fusion album. This was a year prior to Miles Davis‘ release of Bitches Brew, often said to mark the arrival of electric instrumentation in jazz music.

“Body Heat,” Quincy Jones, 1974 [CP, AR, PD] // Jones assembled a remarkable group of musicians for this steamy R&B/Jazz/Funk recording including Herbie Hancock, Hubert Laws, Bob James, and vocalist Leon Ware; The album was near-platinum, selling over 800,000 copies.

“Stomp!” The Brothers Johnson, 1980 [PD] // Jones produced all four multi-platinum albums by The Brothers Johnson; This song was co-written by Rod Temperton, a collaborator that would work with Jones and pen many of Michael Jackson’s monster hits, including “Rock with You” and “Thriller.”

“The Girl Is Mine,” Michael Jackson feat. Paul McCartney, 1982 [PD] // The first single from Thriller was a “red herring” according to Jones who worked with the team finishing the album while this track rose to Number 2 on Billboard’s Hot 100; Once released, the album and monster hits like “Billy Jean” and “Beat It” ‘inhaled the charts,’ writes Jones.

“We Are the World,” USA for Africa, 1985 [PD] // Jones’ account of this project and the now iconic recording session is a fun read.

“Beautiful Black Girl,” Quincy Jones, 1975 [PD, AR, CP] // This track from Jones’ Mellow Madness album featured spoken verse overtop beats and was a precursor to hip-hop. The rap on this track is courtesy of The Watts Prophets;  Q has often remarked that his generation and their fascination with be-bop is echoed in today’s hip-hop culture. The difference, he writes, is that hip-hop made it to the mainstream.

“Give Me the Night,” George Benson, 1980 [PD] // The only album Jones produced for Benson garnered three Grammy awards. The title track, which topped both R&B and Jazz charts was written by Rod Temperton. 

“Back on the Block,” Quincy Jones, 1989 [PD] // Jones won yet more Grammy’s, including Album of the Year, for this fantastic project that brought together masters of jazz and a newer generation of hip-hop artists. The album included a re-imagined version of Weather Report’s Birdland and featured its composer and Miles Davis protegee, Joseph Zawinul. Other greats like Ray Charles, Chaka Khan, George Benson and Miles himself also appeared on the album. 

“The Fresh Prince of Bel-Air,” DJ Jazzy Jeff and The Fresh Prince, 1992 [CP] // By this time, Jones had diversified into print media (Vibe Magazine) and numerous projects under his Qwest production banner. This foray into television was tremendously successful and, like many things Jones touched, made an indelible mark on pop culture.

“How Do You Want It,” 2Pac, 1996 // Tupac Shakur happened to date one of Jones’ daughters for a time. This track samples the title track from Jones’ Body Heat album and was released not long before Tupac’s murder.

“Setembro,” Quincy Jones, 1989 [PD] // This was the last recording by Sarah Vaughan; Jones has outlived many of his contemporaries and mentors; He was at Sinatra’s bedside in his final days and with Vaughan, who wanted to sing to the last.

 

Link to this playlist on Spotify