How did ray charles meet quincy jones

Quincy Jones - Wikipedia

how did ray charles meet quincy jones

They met when Charles was 16 and Jones was GROSS: This is Ray Charles' arrangement by Quincy Jones, "Let The Good Times Roll.". Thanks to talents like Ray Charles and Jimi Hendrix, the story of the 'Seattle sound' His best friend was a young Quincy Jones who spent rainy day after rainy day . Jones did meet Lionel Hampton, though, and Hampton. Quincy Delight Jones Jr. (born March 14, ), also known as "Q", is an American record Jones cites Charles as an early inspiration for his own music career, noting that Charles overcame a disability Vaughan, Dinah Washington, Count Basie, Duke Ellington, Gene Krupa, and Ray Charles, by then a close friend.

The platform features a handpicked selection of ad-free concerts, interviews, documentaries, and exclusive, original content, all in HD or 4K. While working on the film The WizMichael Jackson asked Jones to recommend some producers for his upcoming solo album. Jones offered some names but eventually offered to produce the record himself.

Jackson accepted and the resulting record, Off the Wallultimately sold about 20 million copies. This made Jones the most powerful record producer in the industry at that time. Jones and Jackson's next collaboration, Thrillersold million copies and became the highest-selling album of all time. Jones also worked on Jackson's album Badwhich has sold 45 million copies.

Bad was the last time the two men worked together in the studio.

History Lesson: The Seattle Music Scene – Ray Charles and Quincy Jones

Audio interviews with Jones are featured in the special editions of Off the Wall, Thriller, and Bad. In a interview, when asked if he would work with Jones again, Jackson suggested he might. But inwhen Jones was asked by NMEhe said: We already did that. I have talked to him about working with him again but I've got too much to do. I've got products, I'm 74 years old. I am absolutely devastated at this tragic and unexpected news.

For Michael to be taken away from us so suddenly at such a young age, I just don't have the words. Divinity brought our souls together on The Wiz and allowed us to do what we were able to throughout the '80s. To this day, the music we created together on Off the Wall, Thriller and Bad is played in every corner of the world and the reason for that is because he had it all He was the consummate entertainer and his contributions and legacy will be felt upon the world forever.

I've lost my little brother today, and part of my soul has gone with him. Jones said that MJJ Productions, a song company managed by Jackson's estate and Sony Music Entertainment, improperly reedited songs to deprive him of royalties and production fees and breached an agreement giving him the right to remix master recordings for albums released after Jackson's death.

Jones was reported to be filing the suits against Michael Jackson Cirque du Soleil productions and the 25th-anniversary edition of the Bad album. Jones conducted and arranged the singer's live album with the Basie Band, Sinatra at the Sands Idiot, just put a flat on the third line and it's a key signature, you know?

And so - because it didn't bother me that I didn't understand that, because I knew eventually I'd learn it. And so I gave this arrangement to - submitted this to Lionel Hampton. And he said you wrote this, huh. He said yeah, you play the trumpet, too. He said, yeah, well, he said how'd you like to join my band, please.

And so they had little brown leather bags for your trumpet then. I had that and just very few toilet articles and so forth. And I went and sat on that bus so nobody would change their mind, and I wouldn't have to ask the people at home whether I could go or not.

And sure enough, everybody got on one by one. Hamp said hi, and I felt secure. Then Gladys Hampton got on the bus and says uh-uh, what is that child doing on this bus. Ashe said no, son, you get off the bus and said we'll try to talk later, but you go to school. And I was destroyed. A friend named Janet Thurlow was singing with the band, and she reminded them, and they called and said we'd like you to be with the band.

I was 18 then, and I was ready. And I told the school I'd be back, but I guess down inside, you know, when you go with a band like that you never go back. Now you say that you were afraid that when you were playing with Hampton that Parker or Thelonious Monk might show up in the audience, and you were worried they'd laugh at what you had to wear in the band.

Well, that incident happened when we were playing at a place on Broadway called - right next door to Birdland; I mean, totally like adjacent. And it was down - both places were downstairs. And we had to wear Tyrolean hats, purple shawl collar coats and Bermuda shorts. Oh, my God, the whole band.

Quincy Jones: The Man Behind The Music

Why did you have to wear shorts? That's just Hamp's idea. But he - Hamp was like a rock-'n'-roll band. He was the first rock-'n'-roll band because he attacked an audience like a rock-'n' roll-band; no prisoners, and he knew how to get them, too. Well, some of the tenor solos are almost like a rock-'n' roll-band, too; yeah.

They'd walk - in the theaters, they'd walk - they had thin-soled shoes. They'd walk over the audience's heads with these thin-soled shoes on top of the chairs, you know. It was absolutely incredible. And he had this sense of show business, but he had a lot of music in the band, because, you know, they had people like Wes Montgomery and Charlie Mingus and Fats Navarro and Clifford Brown - amazing musicians in the band.

And I loved Hampton for having that ambidexterity because he liked great music, but he also liked to level his audience and take no prisoners. Until they were wrung out, he was not satisfied. So did any of your bebop friends end up seeing you in that band that night?

Well, that particular night, he had his favorite thing that he'd like to do. He'd have everybody - he'd get his drumsticks and start a whole line, almost like a conga line. The saxophone section would follow him around the audience, and he'd go around and beat the drumsticks on everybody's table.

The trumpets and trombones were right behind him playing "Flying Home. I said oh, my God. And Hamp went upstairs and he's playing his drumsticks all over the awnings and the guys are saying what is going on here. He'd even go so far as to get in a taxi cab with the saxophone section and go to another club maybe three blocks away and play with the saxophone section there.

Quincy Jones: The Fresh Air Interview : NPR

Meanwhile, back at the ranch, we're still playing. So it was quite an experience. He had no shame, and he was a great musician - one of the great times of my life. So but did Parker see in your Bermuda shorts? But on top of that, Parker would come next door. Bird would come next door. He loved to read music. And he was starring next door with like the 52nd Street All-Stars, the BeBop All-stars, and they were looking for him next door.

It was time for him to play his set. And he's sitting over there in our band playing second tenor because he loved to read music. And he's sitting in for an hour while people next door are waiting to hear him as this genius of the 20th century. And he's over there playing second tenor parts to practice his reading because all the musicians read music back then.

So playing with the Hampton band, did you get an appreciation of the value of like show business in music? Or did you come to hate it and want something that threw that out the window, kind of like Parker threw show business values, you know, out the window?

No, no, no, no because we were weaned and, I mean, trained in Seattle. That's the way we had to do it in Seattle, too.

We had to play shaudises ph. We had to play rhythm and blues. We had to play stripper music. I mean, the trombone player and myself had a comedy team called Dexedrine and Benzedrine, unintelligible. We used to steal all of the comedy lines from the older guys, and we'd imitate them and wear hats and wine bottles in our pockets and stuff. But, no, not at all.

We were used to that. He'd have gloves for the whole trumpet section that would shine in the dark, and you'd do kind of a hand choreography and so forth. And it was ironic because the underlying attitude with all of the bebop musicians is that we have heard Stravinsky now, we've done this, and we want to be pure artists. We don't want to entertain anymore, we don't want to sing, we don't want to have to dance and move or entertain an audience.

how did ray charles meet quincy jones

We're listening back to our interview with Quincy Jones. There's more after a break. Let's get back to our interview with musician, composer, arranger and producer Quincy Jones. Well, you know, one of the things you say about the Lionel Hampton band bus, and this might have something to do with why Gladys Hampton wanted you off the bus, was that there were four different sections of guys on the bus.

Why don't you describe how that broke down? Well, they had - up front were the holy rollers, I guess, and then they had the drinkers, and then they had the guys that indulged in sweet wheat and giggle grass, and they had the guys that were the hard core, you know, that dealt with - like mainliners really, and the And which section did you sit in? We were very young then and - I was 18 when I went with that band.

And you'd bounce back between that and trying to figure out how to make that work with Logan David wine or Manishevitz. Well, the first recording that you made was with the Lionel Hampton band. He agreed to go to rehab to avoid jail time and eventually kicked his habit at a clinic in Los Angeles.

His cover version of " Crying Time ", originally recorded by country singer Buck Owens, reached number 6 on the pop chart and helped Charles win a Grammy Award the following March. Inhe had a top-twenty hit with another ballad, " Here We Go Again ". Atkins Charles's renewed chart success, however, proved to be short lived, and by the s his music was rarely played on radio stations. Charles nonetheless continued to have an active recording career.

Most of his recordings between and evoked strong reactions: Charles was often criticized for his version of "America the Beautiful" because it was very drastically changed from the song's original version. However, the label had now begun to focus on rock acts, and some of their prominent soul artists, such as Aretha Franklinwere starting to be neglected.

Later years[ edit ] InCharles signed a contract with Columbia. He recorded a string of country albums and had hit singles in duets with singers such as George JonesChet AtkinsB. Prior to this, Charles returned to the pop charts with " Baby Grand ", a duet with the singer Billy Joel. InCharles appeared in commercials for the New Jersey Lottery to promote its campaign "For every dream, there's a jackpot".

InCharles performed "Georgia on My Mind" and "America the Beautiful" at a televised annual banquet of electronic media journalists held in Washington, D. His final public appearance was on April 30,at the dedication of his music studio as a historic landmark in Los Angeles. He died at his home in Beverly Hills, California of complications resulting from acute liver disease[3] on June 10,at the age of His final album, Genius Loves Companyreleased two months after his death, consists of duets with admirers and contemporaries: The album included a version of Harold Arlen 's and E.

Harburg 's " Over the Rainbow ", sung as a duet with Johnny Mathis, which was played at Charles's memorial service.

how did ray charles meet quincy jones

His first child, Evelyn, was born in to his companion, Louise Flowers. His first marriage was to Eileen Williams Robinson and lasted from July 31,until the following year, Their first child together, Ray Jr. Charles was not in town for the birth because he was playing a show in Texas. The couple had two more children, David and Robert Charles felt that his heroin addiction took a toll on Della during their marriage. His affair with Mae Mosley Lyles resulted in another daughter, Renee, born in He later became addicted to heroin for sixteen years.

He was first arrested in the s, when he and his bandmates were caught backstage with loose marijuana and drug paraphernalia, including a burnt spoon, syringe, and needle. The arrest did not deter Charles's drug use, which only escalated as he became more successful and made more money. The detectives seized heroin, marijuana, and other items. Charles, then 31, stated that he had been a drug addict since the age of The case was dismissed because of the manner in which the evidence was obtained, [44] but Charles's situation did not improve until a few years later.