Herb Alpert: ‘He placed tempos in a spot where they resonated within your body‘
The 89-year-old musician and bandleader was born in the same era as Quincy Jones, as jazz transitioned to pop in the mid-20th century. He co-founded A&M Records, which soon became home to artists like Burt Bacharach, Joan Baez, and Jones himself.
In 1963, he produced „It’s My Party“ by Lesley Gore, which seemed different from Quincy’s style – Alpert was primarily a jazz musician who came up through those roots. When I heard that record and learned Quincy had produced it, I was intrigued; he clearly had a diverse range of interests.
When I had my first hit record, „The Lonely Bull“, Quincy reached out to me, and I got to spend time with him. He was truly unique – he had an authenticity that was contagious. He exuded positive energy and always seemed to be reaching for the stars.
We signed him at A&M, and he made some incredible albums for us. He had impeccable taste: he was the one who brought Ray Charles into the spotlight, and they remained close friends until Ray’s passing. Quincy had the honor of conducting Frank Sinatra, who called him one of the greatest musicians he ever worked with; Quincy even wore Frank’s personal ring after his passing.
Quincy taught me a valuable lesson: even the best singers can’t make a bad song successful. He emphasized the importance of getting the melody and music right. When he worked on Michael Jackson’s albums, he was relentless in finding the perfect songs, discarding any that lacked a memorable melody. One of his true talents was his ability to find the perfect tempo – placing it in a way that resonated with your body, making you feel the music move.
He arranged „Last Tango in Paris“ for me in 1973, and Quincy and I produced a record for Billy Eckstine. Quincy’s arrangement included a grand intro to the song, which led to a humorous moment with Billy Eckstine in the studio. Quincy’s sense of humor and likable nature made him a joy to work with, and his ability to uplift and support young artists struggling to find their voice was truly admirable.
For „We Are the World“, recorded in our A&M Studio A, Quincy brought together an array of superstars under one roof. The sign at the studio read: „Leave your ego at the door.“ Quincy managed to work with artists of all different energies, from Bob Dylan to Bruce Springsteen to Tina Turner, and pull off a successful collaboration that sold millions of records. He leaves behind a remarkable legacy as a genuinely good person with exceptional talent.
A founding member of the band Toto, Lukather is also an esteemed session guitarist who played on a series of Jones projects, including Michael Jackson’s Thriller.
I was 23 years old when my friend, David Foster, recommended me to Quincy for the album „The Dude.“ Quincy had a knack for selecting the right musicians for each project, creating a unique and magical atmosphere in the studio. He allowed us the freedom to explore our creativity, only stepping in to guide us when necessary.
Quincy’s ability to create a comfortable and enjoyable environment in the studio, combined with his exceptional directing skills, resulted in memorable and successful collaborations. He had a gift for bringing together talented individuals and allowing them to shine, ultimately creating music that resonated with audiences worldwide. „We couldn’t believe it – Quincy, Michael, and Paul McCartney, it doesn’t get bigger than that in 1982. So naturally, we were thrilled. Sure, the song was a bit silly, let’s be honest. But it marked my first encounter with one of the Beatles, which was a big deal for me as they are the reason I started playing music. When Paul and Linda walked into the room, the energy shifted palpably.
We had a simple song with some chords written on it, and we started playing, finding our groove and individual parts. People often have misconceptions about studio musicians. For records, we typically receive a sketch with chords and maybe some rhythmic notation. We can all read music, but that’s not why we were hired. We listen for chords, grooves, and find our parts organically. By the end of the first take, we were all in sync. The third take usually turned out to be the magical one. The sessions weren’t long and gruelling because the songs were great, the musicians were great, and the right chemistry just happened. This human element is what makes music exciting and unpredictable, unlike programmed music.
When we worked on ‚Beat It,‘ we approached it differently. Michael’s vocals and Eddie Van Halen’s guitar solo were recorded without a click track. Quincy wasn’t even present initially, but he guided us over the phone to make adjustments for pop radio. Quincy had a unique sound and style that transcended his involvement in the actual performance. He was a true director.
Terrace Martin, a producer-musician, shared how Quincy Jones helped bridge the gap between older generations and hip-hop by blending genres in his music. Terrace described Quincy as artistically fearless and inspired by his boundary-breaking approach to music.
Throughout their working relationship, Terrace and Quincy collaborated on various projects and shared a strong bond. One memorable moment was recording with jazz trumpeter Clark Terry in Arkansas, where Quincy’s organic and spiritual-based approach to producing shone through.
Quincy’s musical legacy is like an action-packed movie, filled with love, drama, and heroism. He broke barriers and emphasized the importance of taking care of the music business while staying true to one’s taste and brand.“ Aber das Hauptding, das jeder von Quincy mitnehmen kann, Gott habe seine Seele, ist, dass das größte Ego im Raum immer das Lied sein sollte. Marc Kinchen, auch bekannt als MK: ‚Sein einziger Fehler war, nicht genug Zeit mit seinen Kindern zu verbringen‘. Kinchen hatte großen Erfolg als Produzent und DJ in der House-Szene der frühen 90er Jahre – und erzielt auch heute noch Top-10-Hits, nachdem er zur Tanzmusik zurückgekehrt ist. Aber ein Treffen mit Jones Mitte der 90er Jahre half ihm, über ein Jahrzehnt lang einen anderen Weg einzuschlagen. Please rewrite the following text: