14 Songs, 57 Minutes

EDITORS’ NOTES

Quincy Jones gathered several generations' worth of musicians for Back On the Block, his 1989 salute to street music and culture. Not least of these was old friend Ray Charles, who won major R&B chart success with the album's "I'll Be Good to You," a teaming with Chaka Khan on the old Brothers Johnson hit. Of course, the good music and good feeling hardly stopped there. Another big hit came in the form of "The Secret Garden (Sweet Seduction Suite)," a meeting of smooth voices that included Barry White, James Ingram and El DeBarge. Elsewhere, the likes of Miles Davis, Dizzy Gillespie, and Ella Fitzgerald sit alongside New Breed-ers such as Big Daddy Kane. With Back on the Block, Jones mixes the old and the (then) new, the modern and the classic, with satisfying results.

EDITORS’ NOTES

Quincy Jones gathered several generations' worth of musicians for Back On the Block, his 1989 salute to street music and culture. Not least of these was old friend Ray Charles, who won major R&B chart success with the album's "I'll Be Good to You," a teaming with Chaka Khan on the old Brothers Johnson hit. Of course, the good music and good feeling hardly stopped there. Another big hit came in the form of "The Secret Garden (Sweet Seduction Suite)," a meeting of smooth voices that included Barry White, James Ingram and El DeBarge. Elsewhere, the likes of Miles Davis, Dizzy Gillespie, and Ella Fitzgerald sit alongside New Breed-ers such as Big Daddy Kane. With Back on the Block, Jones mixes the old and the (then) new, the modern and the classic, with satisfying results.

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About Quincy Jones

Trumpet-blasting sideman to the stars. Frank Sinatra’s go-to arranger. Oscar®-winning soundtrack composer. Entertainment-industry mogul. Celebrity activist. Perennial hit-making pop producer. Across a uniquely varied, multidisciplinary career dating back to the early '50s, Quincy Jones has not only assumed countless roles, he’s set the gold standard for each. In the 60s, the Chicago-born Jones' bold, brassy arrangements exuded an uncanny mix of cocktail-clinking sophistication and in-your-face swagger, whether they were gussying up Sinatra’s historic set at the Sands, buoying Lesley Gore’s subversively empowering sad-girl anthem “It’s My Party,” or driving Jones' own “Soul Bossa Nova” (a.k.a. the Austin Powers theme). Just as effortlessly, Jones imbued his score for the racially charged 1967 drama In the Heat of the Night with ominous symphonic soul, tapping into the dark undercurrents of an unsettled America and offering an implicit rumination on the Black experience that would be rendered more vividly through his funky ’70s recordings. (Those louche, smoky grooves, in turn, became the foundation for countless hip-hop classics.) But Jones’ Midas touch had never been more potent than on Michael Jackson’s game-changing 1982 LP, Thriller. Its fusion of taut, post-disco dance grooves, sharp R&B hooks, and rock attitude redefined the sound and scope of the modern pop album—and cemented Jones’ status as the link between popular music’s jazzy big-band past and its studio-sculpted, club-hopping future.

HOMETOWN
Chicago, IL
GENRE
Jazz
BORN
March 14, 1933

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