Quincy Jones - The Dude (1981)

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“The Dude” is a 1981 album by American music impresario, conductor, record producer, musical arranger, film composer and trumpeter Quincy Jones. 

The album featured the debut of vocalist James Ingram on the singles "Just Once" and "One Hundred Ways", and Patti Austin on the single "Razzamatazz". 

Three singles were released from the album in the US, all of which charted on the US Top 40. "Just Once" and "One Hundred Ways" both feature vocalist James Ingram's debut and reached No. 17 and 14, respectively, on the Billboard Hot 100. 

The album gained moreover heavy dance airplay for lead single "Ai No Corrida", which reached No. 28 on the Top 40 and 14 in the UK Singles Chart. 

The album also contains "Razzamatazz" (with vocals by Patti Austin) which reached No. 11 in the United Kingdom, Jones's biggest solo hit in that country. 

He won the Grammy award for best R&B vocal performance for his work on the album. 

Belgian harmonica player and puccaloist Toots Thielemans also contributed to the album, appearing on the instrumental track "Velas". 

The album also gained heavy dance airplay for the songs "Ai No Corrida" (a remake of Chaz Jankel's song), is the Quincy Jones hit method par excellence -- great pacing, superb sound, a catchy tune, a hot Ernie Watts tenor sax solo and you can dance to it, too. Stevie Wonder's irresistible synthesizer hooks lift his "Betcha Wouldn't Hurt Me," and Q and omnipresent composer Rod Temperton are far-seeing enough on the title track to anticipate the rise of rap. 

Obviously, though, the main purpose here is to make hit pop singles, and The Dude does a pretty good job of that.

Tracklist

1. "Ai No Corrida" - (6:18)
2. "The Dude"  (with James Ingram, Michael Jackson) - (5:35)
3. "Just Once"  (with James Ingram) - (4:32)
4. "Betcha Wouldn't Hurt Me"  (with Patti Austin) - (3:33)
5. "Somethin' Special" (with Patti Austin - (4:03)
6. "Razzamatazz" (with Patti Austin) - (4:20)
7. "One Hundred Ways" (with James Ingram) - (4:19)
8. "Velas"  (with Toots Thielemans) - (4:05)

9. "Turn On The Action"  (with Patti Austin) - (4:17)

Personnel

• Quincy Jones – producer, backing vocals (2), vocal arrangements (1–4, 7), rhythm arrangements (1, 3, 4, 7, 8), synthesizer arrangements (1, 4, 6)
• Patti Austin – lead vocals (4–6, 9), backing vocals (1–6, 9), vocal arrangements (1)
• Tom Bahler – backing vocals (1, 5)
• Michael Boddicker – synthesizer and vocoder (2)
• Robbie Buchanan – acoustic piano and string synthesizer (3)
• Mike Butcher – engineer for Toots Thielemans (8)
• Lenny Castro – handclaps (2, 9)
• Ed "Big Julie" Cherney – assistant engineer
• Kasey Cisyk – backing vocals (6, 9)
• Paulinho da Costa – percussion (1–6, 8, 9), mouth percussion (1)
• Chuck Findley – trumpet (1, 3, 5–7, 9)
• David Foster – acoustic and electric piano (3)
• Jim Gilstrap – backing vocals (1, 2, 5)
• Bernie Grundman – mastering
• Herbie Hancock – electric piano (1, 5, 6, 9)
• Jerry Hey – trumpet (1–3, 5–7, 9), horn arrangements (1–3, 5–7, 9), string arrangements (6, 9), synthesizer arrangements (1, 4, 6, 9)
• Craig Hundley – beam-microtonal tubulons (1)
• Kim Hutchcroft – saxophone (1–3, 5–7), flute (2, 3, 5–7)
• James Ingram – lead vocals (2, 3, 7), backing vocals (2)
• Michael Jackson – backing vocals (2, 5, 9)
• Louis Johnson – bass (1, 2, 4, 5, 7, 8), handclaps (1, 2, 4, 9)
• Abraham Laboriel – bass (3, 9)
• Yvonne Lewis – backing vocals (6, 9)
• Steve Lukather – guitar (1–7, 9), guitar solo (1, 6)
• Johnny Mandel – string and synthesizer arrangements (3, 7, 8)
• Charles May (Dune) – lead vocals (1)
• Greg Phillinganes – synthesizer (1, 3–6, 8, 9), electric piano (2–4, 7–9), handclaps (1, 4), synthesizer solo (7)
• Bill Reichenbach Jr. – trombone (1, 3, 5–7, 9)
• John Robinson – drums, handclaps (1, 2, 4, 9)
• Bruce Swedien – engineering and mixing
• Rod Temperton – vocal and rhythm arrangements (2, 5, 6, 9), synthesizer arrangements (5, 6, 9)
• Jean "Toots" Thielemans – guitar, harmonica and whistle (8)
• Ian Underwood – synthesizer (1, 3, 5-9), synthesizer programming (1, 3–9)
• Gerald Vinci – concertmaster (3, 6–9)
• LaLomie Washburn – backing vocals (2)
• Ernie Watts – saxophone (1–3, 5–7), flute (2, 3, 5–7), tenor saxophone solo (1, 2, 9), alto saxophone solo (5), tenor saxophone solo fills (7)
• Larry Williams – saxophone and flute (2)
• David J. "Hawk" Wolinski – Clavinet (1, 9), mini-Moog synthesizer (5), Yamaha CS-80 synthesizer bass (6), synthesizer programming (5, 9)
• Stevie Wonder – Yamaha CS-80 synthesizer (4), rhythm arrangements (4), Yamaha CS-80 synthesizer solo (2, 4), Yamaha CS-80 synthesizer solo fills (4)
• Syreeta Wright – backing vocals (2)

Notes

Released:  March 26, 1981 

Recorded:  1981 Studio Westlake, Los Angeles, California 

Genre:  Soul, Funk

Length:  41:02 

Producer:  Quincy Jones 

Label - A&M Records 

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Quincy Jones - Q´s Jook Joint (1995)

Q’s Jook Joint is an album by Quincy Jones that was released by Qwest Records. The album reached No. 1 on the Billboard jazz albums chart on December 30, 1995. Q’s Jook Joint won the Grammy Award for Best Engineered Album, Non-Classical in 1997.

The multi-talented Quincy Jones has excelled at idiomatic combinations in his albums since the ’60s, when his mix-and-match soundtracks for television and films alerted everyone that he’d switched from a pure jazz mode to a populist trend.
Q’s Jook Joint blends the latest in hip-hop-flavored productions with sleek urban ballads, vintage standards, and derivative pieces; everything’s superbly crafted, though few songs are as exciting in their performance or daring in their conception as past Jones epics like Gula Matari or the score from Roots. Still, you can’t fault Jones for his choice of musical collaborators: everyone from newcomer Tamia to longtime stars like Ray Charles, rappers, instrumentalists, male and female vocalists, percussionists, and toasters.
The CD really conveys the seamless quality one gets from attending a juke joint, though it lacks the dirt-floor grit or blues fervor of traditional Southern and chitlin circuit hangouts. But no one’s more knowledgeable about the spectrum of African-American music, nor better able to communicate it via disc, than Quincy Jones.

A lot of the songs on this album had been recorded by Q before, some more than once. All the tracks are produced as usual with care, almost to the point of over-production; one wouldn’t expect anything less than that on a Quincy Jones album.
For anybody else, Q’s Jook Joint would have been a smash. Not for Q, though, not at all. The idea to reload old hits from the glamor days with old friends and survivors of the biz was already successfully carried out on Back On The Block – and then Q was right on time as a lot of those stars passed away soon after the recording (Miles, Ella, Sarah).
And now, at a time when the man starts to retreat from active participation in show biz, he decides to record – Rock with You –  he recorded it with Michael Jackson, why would he expect to top that? He doesn’t. Is It Love That We’re Missing? from his Mellow Madness album already appeared on compilations, and it’s really not such a great song. So it goes on with almost the entire set. It would have been so much more creative for Q to reconsider his Jazz roots…

One song, however, has that old Quincy Jones magic, At The End Of The Day: casually loaded with heavies like Barry White and Take 6, it features Toots Thielemans at the top of his powers. His harmonica is not from this world.

Looking back to this release, the song At The End Of The Day sounds like an aptly titled swan song for Q’s true gifts. The R&B releases that followed were totally superfluous, as far as creativity is concerned. (There was a release, the labor of love, Basie & Beyond, from the year 2000, that was worth the effort, but that’s another story).

 

Track listing

1   “Jook Joint” (Intro)  (feat. Kid Capri, James Moody, Stevie Wonder, Lester Young, Brandy, Funkmaster Flex) - 1:32 
2   “Let the Good Times Roll”  (feat. Stevie Wonder, Bono, Ray Charles) - 2:55 
3   “Cool Joe, Mean Joe (Killer Joe)”  (feat. Queen Latifah, Tone Loc) - 7:32 
4   “You Put a Move on My Heart”  (feat. Tamia) - 6:13 
5   “Rock with You”  (feat. Brandy, Heavy D) - 4:08 
6   “Moody’s Mood for Love”  (feat. Brian McKnight, Rachelle Ferrell, Take 6, James Moody) - 4:18 
7   “Stomp”  (feat. Luke Cresswell, Everett Bradley, Melle Mel, Coolio, Fiona Wilkes) - 6:16 
8   “Jook Joint” (Reprise)  (feat. Ray Charles, Funkmaster Flex) - 0:56 
9   “Do Nothin’ Till You Hear from Me”  (feat. Phil Collins) - 3:57 
10   “Is It Love That We’re Missing”  (feat. Gloria Estefan, Warren Wiebe) - 4:45 
11   “Heaven’s Girl”  (feat. R. Kelly, Ron Isley, Aaron Hall, Charlie Wilson) - 5:26 
12   “Stuff Like That”  (feat. Charlie Wilson, Ray Charles, Brandy, Chaka Khan, Ashford & Simpson) - 5:45 
13   “Slow Jams”  (feat. Babyface, SWV, Tamia, Barry White) - 7:30 
14   “At the End of the Day (Grace)”  (feat. Toots Thielemans, Barry White) - 7:42 
15   “Jook Joint” (Outro)  (feat. Barry White, Tamia, Toots Thielemans) - 0:49

 

Companies, etc.

• Phonographic Copyright (p) – Qwest Records
• Copyright (c) – Qwest Records
• Licensed To – UMG Recordings, Inc.
• Distributed By – Universal Music & Video Distribution, Corp.

 

Credits

• Art Direction, Design – Greg Ross
• Edited By [Song descriptions] – Arnold Robinson
• Engineer [Additional Engineering] – Brian Carrigan, Chris Fogel, Chris Tergesen, Eric Schilling, Henk Korff, Jess Sutcliffe, Jon Wolfson, Louis McCormick*, Nigel Crowley, Paul Barrett, Rich Rauh, Rob “Phydeaux” Hoffman, Stephanie Gylden, Ted Blaisdell, Victor Giordano
• Engineer [Assistant] – Bill Smith, Brandon Harris, Brooks Larson, Chad Fredirici, Charlie Paakari, Chris Brooke, David Nottingham, Dave Schiffman, Dylan Carter, Gerardo Lopez, Ghery Fimbres, Gus Garces, Kyle Bess, Leslie Ann Jones, Mike Stock, Mike Scotella, Rich Hureda, Ross Hogarth, Stephen George, Terri Wong, Victor McCoy
• Illustration – Nate Giorgio
• Liner Notes – Graeme Boone, James Clyde Sellman
• Mastered By – Bernie Grundman
• Mixed By – Bruce Swedien, Tommy Vicari (tracks: 1, 5, 8, 10, 15)
• Mixed By [Assistant] – Rob Hoffman
• Photography By – Annie Leibovitz
• Producer – QDIII* (tracks: 5), Quincy Jones, R. Kelly (tracks: 11)
• Recorded By – Francis Buckley
• Recorded By [Assistant] – Stephanie Gylden
• Recorded By [Big Band] – Al Schmitt
• Technician [Technical Director] – Stephanie Gylden

 

Notes
Released:  November 7, 1995
Genre:  R&B
Length:  73:01

Label - Qwest, Warner Bros.

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Quincy Jones - Ndeda (1972)

Not much is known about this 2 LP set in a gatefold jacket.

This is Quincy Jones in mostly a big band jazz format and each track laid down is nothing short of amazing. If big band jazz is you bag, then this often overlooked and obscure Lp should be at the top of your list. Twenty two selections and all have that magic touch that he has become known for.

Despite the fact that this album's got an African-sounding name, and features a painting of Quincy in tribal garb, the album's actually a compilation of his 60's stuff for Mercury which was not very Afro-funky, but which is still pretty darn groovy! The record's got his stunning cut "Soul Bossa Nova" (as used in Austin Powers!), plus lots of other groovy groovy stuff like "Jive Samba", "Lalo's Bossa Nova", "Rack 'em Up", "Harlem Drive", and "Gravy Waltz". Very nice stuff, and a great batch of material you can't find easily.

Track listing

01.  "Soul Bossa Nova"  (Quincy Jones)  - 2:40 
02.  "Gravy Waltz"  (Steve Allen / Ray Brown)  - 2:36 
03.  "The Witching Hour"  (Quincy Jones)  - 3:40 
04.  "Theme From Golden Boy"  (Lee Adams / Charles Strouse)  - 2:47 
05.  "Mr. Lucky"  (Henry Mancini)  - 2:24 
06.  "Peter Gunn"  (Henry Mancini)  - 2:52 
07.  "Jive Samba"  (Nat Adderley)  - 2:38 
08.  "Seaweed"  (Quincy Jones)  - 2:24 
09.  "The Midnight Sun Will Never Set"  (Dorcas Cochran / Quincy Jones / Henri Salvador)  - 4:29 
10.  "Dreamsville"  (Ray Evans / Jay Livingston / Henry Mancini)  - 3:46 
11.  "Back At The Chicken Shack"  (Jimmy Smith)  - 2:58 
12.  "Theme From The Pawnbroker" (Quincy Jones)  - 4:07 
13.  "Mirage"  (Quincy Jones / Bob Russell)  - 3:34 
14.  "Air Mail Special" (Charlie Christian / Benny Goodman / Jimmy Mundy)  - 4:24 
15.  "The Slender Thread"  (Quincy Jones)  - 2:14 
16.  "Harlem Drive"  (Quincy Jones)  - 1:56 
17.  "I Had A Ball"  (Stan Freeman / Jack Lawrence)  - 5:00 
18.  "Rack 'Em Up"  (Quincy Jones)  - 2:40 
19.  "(I Can't Get No) Satisfaction"  (Mick Jagger / Keith Richards)  - 3:28 
20.  "The Boy In The Tree"  (Quincy Jones)  - 4:05 
21.  "Lalo's Bossa Nova (Samba Para Dos)"  (Lalo Schifrin)  - 3:10 
22.  "Birth Of A Band"  (Quincy Jones)  - 2:53 

Credits
Mastered By – Gilbert Kong

Notes
Genre:  Jazz, Bossa Nova, Big Band
Lenght:  01:10:45
Label:  Mercury Records

© 1972

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Quincy Jones - Back On The Block (1989)

"Back On The Block" is a 1989 studio album produced by Quincy Jones. It features many famous and important musicians and singers, including Ella Fitzgerald, Miles Davis, Joe Zawinul, Ice-T, Big Daddy Kane, Sarah Vaughan, Dizzy Gillespie, George Benson, Luther Vandross, Dionne Warwick, Barry White, Chaka Khan, Take 6, Bobby McFerrin, Al Jarreau and Ray Charles.

Having let eight years pass since his last A&M album, Quincy Jones made his debut on his own label with his most extravagant, most star-studded, most brilliantly sequenced pop album to date which could have only been assembled by the man who put together "We Are the World." Jones was one of the first establishment musicians to embrace rap, and one of the first to link rap with his jazz heritage; it's hard not to be moved by the likes of Miles Davis, Dizzy Gillespie, James Moody, Ella Fitzgerald, Joe Zawinul, Sarah Vaughan, and George Benson electronically appearing on "Birdland" and trading brief licks with the likes of Kool Moe Dee and Big Daddy Kane on "Jazz Corner of the World." Later, jazz buffs would vilify Jones for not taking fuller advantage of this one-time constellation of jazz stars, but at the time, it seemed like a marvelous dialogue between the old and the new. Of course, as he well knew, celebrating jazz history is not the surest route to a blockbuster hit record, so there are plenty of radio-friendly urban pop productions here, with Herbie Hancock and George Duke on keyboards, and Siedah Garrett and 12-year-old Tevin Campbell on vocals. Despite the presence of an enthused Ray Charles, Chaka Khan, and the Brothers Johnson, the overly busy techno remake of "I'll Be Good to You" doesn't cut the Johnsons' original nor does "Tomorrow." Ultimately the most popular track would be the most tedious for the jazz listener, "The Secret Garden," with a parade of smooth soul balladeers producing make-out music at length. Yet Back on the Block remains a strikingly durable piece of entertainment, and in hindsight, a poignant signpost of the changing of the guard.

 

01.  "Prologue (2Q's Rap)" (Lead Vocals: Quincy D. III)   - 1:04

02.  "Back on the Block"  (Lead Vocals by: Tevin Campbell)  - 6:34

03. "I Don't Go for That"  (Lead Vocals: Siedah Garrett)  - 5:11

04. "I'll Be Good to You"  (Lead Vocals: Chaka Khan, Ray Charles)  - 4:54

05. "The Verb To Be (Introduction to Wee B. Dooinit)"  (Mervyn Warren)  - 0:29

06. "Wee B. Dooinit (Acapella Party by the Human Bean Band)"  (Lead Vocals: Siedah Garrett)  - 3:34

07. "The Places You Find Love"  (ocals: Chaka Khan, Siedah Garrett)  - 6:25

08. "Jazz Corner of the World (Introduction to "Birdland")"  (Vocals: Big Daddy Kane, Kool Moe Dee)  - 2:54

09. "Birdland"  (Vocals: Ella Fitzgerald, Sarah Vaughan)  - 5:33

10. "Setembro (Brazilian Wedding Song)"  (Vocals: Sarah Vaughan, Take,  Mark Kibble, Mervyn Warren etc.)  - 5:05

11. "One Man Woman"  (Lead Vocals: Siedah Garrett)  - 3:44

12. "Tomorrow (A Better You, Better Me)"  (Lead Vocals: Tevin Campbell)  - 4:46

13. "Prelude to the Garden"  (Jorge Calandrelli)  - 0:54

14. "The Secret Garden (Sweet Seduction Suite)"  (Vocals: Al B. Sure, Barry White, El DeBarge, James Ingram)  - 6:41

Released:  November 8, 1989

Recorded at:  Oceanway Record One, Lighthouse Studios, Westlake Audio (Los Angeles, California,)Digital Recorders (Nashville, Tennessee), Tarpan Studios (San Rafael, California)

Genre:  Hip hop, R&B, Jazz

Length:  57:54

Label:  Qwest

Producer:  Quincy Jones

Personnel

Quincy Jones - vocals, keyboards, programming

Bobby McFerrin - vocals, bass, percussion

Ella Fitzgerald, Sarah Vaughan, Chaka Khan, Dionne Warrick, Al Jarreau, Luther Vandross, Barry White, Take 6, Tevin Campell, James Ingram, El DeBarge, Al B. Sure! - vocals

Ice-T, Big Daddy Kane, Kool Moe Dee, Melle Mel - rap vocals

James Moody, Gerald Albright - alto saxophone

Dizzy Gillespie, Miles Davis - trumpet

Herbie Hancock, George Duke - keyboards

George Benson, Steve Lukather, Paul Jackson, Jr., - guitar

Nathan East - bass

Harvey Mason - drums

Steve Porcaro, Josef Zawinul, Rod Temperton - programming

Paulinho Da Costa - percussion

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