TERRY GROSS, HOST:
That is FRESH AIR. I am Terry Gross. Immediately, we bear in mind Quincy Jones. He died Sunday on the age of 91. In his New York Instances obit, music critic Ben Ratliff described Jones as one of the vital highly effective forces in American in style music for greater than a century. Jones began his profession as a trumpeter in Lionel Hampton’s massive band within the early ’50s, however he by no means grew to become a famous instrumentalist. What made him well-known and rich was his work as an arranger, composer and document producer, work that spans from the large bands by means of bebop, pop, film soundtracks, TV themes and hip-hop.
He organized or produced recordings for Sinatra, Ray Charles, Aretha, Dinah Washington, George Benson and Ice-T. And he produced the Michael Jackson albums “Off The Wall,” “Dangerous” and the bestselling album of all time, “Thriller.” His music has been sampled in lots of hip-hop recordings, and his 1962 recording “Soul Bossa Nova” was used because the theme to the “Austin Powers” movies. The multimedia firm Quincy Jones Leisure produced the sitcoms “The Contemporary Prince Of Bel Air,” “In The Home” and the sketch present “Mad TV.”
I spoke with him in 2001, after the discharge of his memoir, “Q,” and a four-CD field set by the identical title of music that includes him as a trumpeter, arranger, composer or producer. We began with a sampling of tracks from that assortment.
(SOUNDBITE OF SONG, “MAKIN’ WHOOPEE”)
DINAH WASHINGTON: (Singing) One other bride, one other June, one other sunny honeymoon, one other season, another excuse for making whoopee.
(SOUNDBITE OF SONG, “MISTY”)
SARAH VAUGHAN: (Singing) Take a look at me. I am as helpless as a kitten up a tree, and I really feel like I am clinging to a cloud. I am unable to perceive. I get misty simply holding your hand. Stroll my manner.
(SOUNDBITE OF SONG, “I’M BEGINNING TO SEE THE LIGHT”)
ELLA FITZGERALD: (Singing) I by no means cared a lot for moonlit skies. I by no means winked again at fireflies. However now that the celebs are in your eyes, I am starting to see the sunshine. I by no means went in for afterglow.
(SOUNDBITE OF SONG, “FLY ME TO THE MOON”)
FRANK SINATRA: (Singing) Fly me to the moon. Let me play among the many stars. Let me see what spring is like on Jupiter and Mars. In different phrases, maintain my hand. In different phrases, child, kiss me.
(SOUNDBITE OF SONG “BEAT IT”)
MICHAEL JACKSON: (Singing) They informed him, do not you ever come round right here – do not need to see your face. You higher disappear. The fireplace’s of their eyes, and their phrases are actually clear, so beat it. However you need to be dangerous. Simply beat it. Beat it.
(SOUNDBITE OF SONG, “BACK ON THE BLOCK”)
BIG DADDY KANE, ICE-T, KOOL MOE DEE, TEVIN CAMPBELL AND MELLE MEL: (Rapping) Again, again on the block. Again, again on the block. I am again on the block so we are able to rock with soul, rhythm, blues, bebop and hip-hop. Again on the block, again on the block.
ICE-T: (Rapping) Ice-T. Let me kick my credentials, a younger participant bred in South Central LA.
GROSS: That is the sampling of music from the four-CD field set “Q” that was launched similtaneously his memoir “Q.” That was again in 2001, once I spoke with him. One of many first musicians he grew to become good pals with was Ray Charles. They met when Charles was 16 and Jones was 14. I requested Quincy Jones how they met.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
QUINCY JONES: I feel it was on the Elks Membership, Terry, the place we used to, after we performed two jobs – we might work from 7 to 10 within the white tennis golf equipment, the place we might play music of the – in style music of the day, “To Every His Personal” and “Room Full Of Roses.” After which at 10 o’clock, we might go play the Black golf equipment, the Black and Tan, the Rocking Chair and the Washington Instructional and Social Membership. And we might play for strippers, and we sang.
GROSS: Oh, actually (laughter)?
JONES: We had choreography. We had all the things. As children, we have been fairly cocky as a result of we had an important band. We may learn music very properly, and we did all the things. It was a present band, too, so we obtained a lot of the jobs that got here round. It was good. We performed with Billie Vacation once we have been – in ’48, behind her. After which in ’49, we performed with Billy Eckstine and Cab Calloway and all of the bands that got here by means of. So we have been fairly assured in these days. And the band simply stored getting tighter as a result of we rehearsed so much.
GROSS: You stated that you simply admired Ray Charles’ independence. He was 16 years outdated. He was blind, however he had his personal house. He obtained round city himself. He had a girlfriend. I imply, he had loads of issues that you simply wished.
JONES: Sure, he did (laughter). He had his personal house, too, and two fits. It was wonderful. And I assume what impressed me essentially the most with Ray is that he was so unbiased, and his sightlessness didn’t hinder him in any respect. It is one of many treasured, cherished friendships that I actually have as a result of as children, we used to speak about all the things. He’d confirmed me how one can write music in brail, Dizzy Gillespie songs like “Emanon” and “Be Bop,” et cetera.
And we used to dream concerning the future. Like, would not or not it’s nice to work with a symphony orchestra? Someday, we’ll do this. Someday, we’ll have three girlfriends every, you recognize (laughter)? Someday, we’ll do films collectively – we’ll do all of that stuff. And we did it. That is what’s wonderful. We did, you recognize, “In The Warmth Of The Night time” collectively. And we did “We Are The World,” all of these issues, all the things – the women (laughter). So it is wonderful to dream and have your desires executed like that.
GROSS: Effectively, I believed I might play a 1959 recording that you simply organized for Ray Charles. And that is from “The Genius Of Ray Charles” album, which was recorded in 1959. We’ll hear “Let The Good Instances Roll.” Would you prefer to say something about this monitor?
JONES: I’d identical to so as to add that we had half of Rely Basie’s band on that session and half of Duke Ellington’s band on that session. And in these days, that is once I first began to work with Phil Ramone, the engineer, who’s now a producer. And Ahmet Ertegun, Nesuhi Ertegun and Jerry Wexler got here by as a result of in these days, what you heard was what you bought. It wasn’t about fixing within the combine. There was nothing to combine.
GROSS: That is Ray Charles, association by Quincy Jones, “Let The Good Instances Roll.”
(SOUNDBITE OF SONG, “LET THE GOOD TIMES ROLL”)
RAY CHARLES: (Singing) Hey, everyone. Let’s have some enjoyable. You solely dwell however as soon as, and once you’re useless, you are accomplished. So let the nice instances roll. I stated let the nice instances roll. I do not care when you’re younger or outdated. You should get collectively and let the nice instances roll. Do not sit there mumbling, speaking trash. If you wish to have a ball, you bought to exit and spend some money and let the nice instances roll now. I am speaking concerning the good instances. Effectively, it makes no distinction whether or not you are younger or outdated. All you bought to do is get collectively and let the nice instances roll.
GROSS: Your first essential music job was with the Lionel Hampton massive band. You bought that job when you have been nonetheless in highschool. How did he rent you once you have been nonetheless in class?
JONES: I had written a collection that I have been engaged on for a very long time referred to as “From The 4 Winds.” And it was virtually a descriptive piece. And I did not perceive principle too properly then, however I simply went forward straight. It did not cease me from writing. I did not perceive key signatures or something, and I’d say foolish issues on the highest of a trumpet half, like a word. If you play B naturals, make B naturals a half-step decrease ‘trigger they sound humorous in the event that they’re B naturals. And a few guys stated, fool. Simply put a flat on the third line, and it is a key signature. And so I did – as a result of it did not hassle me that I did not perceive that ‘trigger I knew ultimately I might study it.
And so I gave this association to – submitted this to Lionel Hampton. And he stated, you wrote this? I stated, yeah. I performed trumpet, too. He stated, yeah. Effectively, he stated, how’d you want to hitch my band? Please. Are you kidding? And they also had little brown leather-based luggage on your trumpet then. I had that and simply only a few bathroom articles and so forth. And I went and sat on that bus so no one would change their thoughts. And I would not must ask the individuals at dwelling whether or not I may go or not. And positive sufficient, everyone obtained on one after the other. Hamp stated hello, and I felt safe. Then Gladys Hampton obtained on the bus and stated, uh-uh (ph). What’s that little one doing on this bus? And she or he stated, no, sonny. You get off the bus. She stated, We’ll attempt to discuss later, however you go to high school.
And I used to be destroyed. And so I obtained a scholarship to Boston, to the Berklee Faculty of Music. And I obtained the decision. A pal named Janet Thurlow was singing with the band, and she or he reminded them. They usually referred to as, stated, we might such as you to be with the band. I used to be 18 then, and I used to be prepared. I informed the varsity I might be again, however I assume down inside, you recognize, once you go along with a band like that, you by no means return.
GROSS: Now, you stated that you simply have been afraid that, once you have been taking part in with Hampton – that Parker or Thelonious Monk would possibly present up within the viewers, and also you have been apprehensive they’d giggle at what you needed to put on within the band. What did it’s important to put on within the Hampton band?
JONES: Effectively, that incident occurred once we have been taking part in at a spot on Broadway referred to as – proper subsequent door to Birdland, I imply, completely adjoining. And each locations have been downstairs. And we needed to put on Tyrolean hats, purple scarf collar coats and Bermuda shorts.
GROSS: Bermuda shorts. Why?
JONES: Oh, my God. The entire band…
GROSS: Why did it’s important to put on shorts?
JONES: I do not know. That is simply Hamp’s concept of – Hamp was like a rock ‘n’ roll band, and he was the primary rock ‘n’ roll band ‘trigger he attacked an viewers like a rock ‘n’ roll band – no prisoners. And he knew how one can get them, too.
GROSS: Effectively, among the tenor solos are virtually like a rock ‘n’ roll band, too. Yeah.
JONES: Sure. They usually’d stroll within the theaters. They’d stroll – they’d thin-soled footwear and stroll over the viewers’s heads with these thin-soled footwear on prime of their chairs, you recognize? It was completely unimaginable. He had this sense of present enterprise, however he had loads of music within the band as a result of, you recognize, they’d individuals like Wes Montgomery and Charlie Mingus and Fat Navarro and Clifford Brown – wonderful musicians within the band. And I liked Hamp for having that ambidexterity as a result of he appreciated nice music, however he additionally appreciated to stage his viewers and take no prisoners. Till they have been wrung out, he was not happy.
GROSS: So did any of your bebop pals find yourself seeing you in that band that night time?
JONES: Effectively, that specific night time, he had this favourite factor he’d love to do. He’d have everyone – he’d get his drumsticks and begin a complete line, virtually like a conga line. And the saxophone part would comply with him across the viewers, and he’d go round and beat the drumsticks on everyone’s desk. The trumpets and trombones have been proper behind. We’re taking part in “Flying House.” Then he’d go upstairs. I stated, oh, my God. Clifford Brown and I stated, if he goes upstairs, we might run into Charlie Parker and Bud Powell and Mingus and all these nice musicians.
And Hamp went upstairs, and he is taking part in his drumsticks everywhere in the awnings. And the blokes are saying, what’s going on right here? He’d even go as far as to get in a taxicab with the saxophone part and go to a different membership possibly three blocks away and play with the saxophone part, the band again on the – in the meantime again on the ranch, we’re nonetheless taking part in. So it was fairly an expertise. He had no disgrace. And he was an important musician – one of many nice instances of my life.
GROSS: So did Parker see you in your Bermuda shorts?
JONES: Oh, sure. However on prime of that, Parker would come subsequent door. Hen would come subsequent door. He liked to learn music, and he was starring subsequent door with, like, the 52nd Avenue All Stars, the Bebop All Stars. They usually have been in search of him subsequent door. It is time for him to play a set, and he is sitting over there in our band, taking part in second tenor ‘trigger he liked to learn music. And he is sitting for an hour whereas individuals are subsequent door, ready to listen to him as this genius of the twentieth century. And he is over there, taking part in second tenor elements to follow his studying ‘trigger all of the musicians learn music again then.
GROSS: So taking part in with the Hampton band, did you get an appreciation of the worth of, like, present enterprise in music? Or did you come to hate it and need one thing that threw that out the window form of like Parker threw present enterprise values, you recognize…
JONES: No.
GROSS: …Out the window?
JONES: No, no, no as a result of we have been weaned and, I imply, educated in Seattle. That is the way in which we needed to do it in Seattle, too. We needed to play schottisches. We needed to play rhythm and blues. We needed to play stripper music. We performed – did comedy. I imply, the trombone participant and myself had a comedy workforce referred to as Dexedrine and Benzedrine. Main Pickford – we used to do – we used to steal the entire comedy strains from the older guys, and we might imitate them and put on hats and wine bottles in our pockets and stuff. It was insane.
However, no, in no way. We have been used to that. We have been used to that. He’d have gloves for the entire trumpet part that will shine in the dead of night, and also you’d do form of hand choreography and so forth. And other people may overlook, you recognize, that these bands again there have been mainly to – dance bands to simply make individuals need to really feel good dancing. And coincidentally, an important innovation crawled by means of that platform like Charlie Parker and the Billy Eckstine band and other people in Miles Davis and so forth, Dizzy Gillespie from Cab Calloway. However these monsters, main musicians, occurred to be in bands who have been mainly there for individuals to have a superb time and dance, and it was about leisure.
JONES: And it was ironic as a result of the underlying angle with the entire bebop musicians is that we now have heard Stravinsky now. We have accomplished this, and we need to be pure artists. We do not need to entertain anymore. We do not need to sing. We do not need to have to bounce or transfer or entertain an viewers.
GROSS: We’ll hear extra of my 2001 interview with Quincy Jones after a brief break. That is FRESH AIR.
(SOUNDBITE OF BILL COSBY AND QUINCY JONES’ “MONTY, IS THAT YOU?”)
GROSS: That is FRESH AIR. We’re remembering Quincy Jones. He died Sunday. Let’s get again to the interview we recorded in 2001. Once we left off, we have been speaking about his early profession, when he performed in Lionel Hampton’s massive band.
Effectively, you recognize, one of many stuff you say concerning the Lionel Hampton band bus – and this might need one thing to do with why Gladys Hampton wished you off the bus – was that there have been 4 completely different sections of fellows on the bus. Why did not you describe how that broke down?
JONES: (Laughter) Effectively, they’d up entrance have been the holy rollers, I assume. After which they’d the drinkers. You recognize, then they’d the blokes that indulged in candy wheat, in giggle grass. They usually had the blokes that have been the hardcore, you recognize, like, mainliners, actually.
GROSS: Which part did you sit in?
JONES: The candy wheat (laughter). We have been very younger then, and I used to be 18 once I went with that band. And also you’d bounce again between that or making an attempt to determine how one can make that work with Mogen David wine or…
GROSS: (Laughter).
JONES: Manischewitz. It was ridiculous.
GROSS: Effectively, the primary recording that you simply made was with the Lionel Hampton band. This was in 1952. It is also your first recorded composition and first recorded association. It is referred to as “Kingfish.” Why do not you say one thing about what you consider this musically now?
JONES: I have a look at the entire guide and my complete life, I assume, because it’s like anyone else. I do not know the place I had the spirit or the stick-to-itiveness to write down one thing like that then as a result of, you recognize, No. 1, I knew that music was my ticket out of the life that I had, you recognize, the thug life and dysfunctional household life. And it was like wonderland to rearrange, and the concept of orchestration and preparations and composition. And that to at the present time is what my core ability is an arranger and orchestrator and composer. I used to be simply so blissful to have a surrounding setting the place that was inspired on a regular basis.
GROSS: OK, so right here it’s. 1952, Quincy Jones with the Lionel Hampton band, “Kingfish.”
(SOUNDBITE OF LIONEL HAMPTON AND HIS ORCHESTRA’S “KINGFISH”)
GROSS: From the early Nineteen Fifties, that was Quincy Jones’ first recording with the Lionel Hampton orchestra. It is referred to as “Kingfish.”
JONES: Terry, by the way in which, I feel that is the primary recorded solo I ever had on document – the primary document I used to be ever concerned with, and I feel it is one of many solely solos I’ve on document.
GROSS: Why did not you solo extra typically?
JONES: I do not know. I used to be getting an increasing number of pulled into the quicksand of writing. After which a couple of yr or so later, after we begged Hamp to get Gigi Gryce and Benny Golson and Clifford Brown within the band, sitting subsequent to Artwork Farmer and Clifford Brown and Benny Bailey helped me get into writing rapidly (laughter) as a result of they have been – Clifford Brown was in all probability one of many biggest trumpet gamers that ever lived. Unbelievable.
GROSS: We’re listening to my 2001 interview with Quincy Jones. He died Sunday on the age of 91. We’ll hear extra of the interview after a break. I am Terry Gross, and that is FRESH AIR.
(SOUNDBITE OF SONG, “BROADWAY”)
LIONEL HAMPTON: Thanks. Thanks, women and gents. That is Lionel Hampton talking, and welcome to our bandstand right here. And this tune we’re taking part in now known as “Broadway.” You higher imagine it.
(SOUNDBITE OF QUINCY JONES’ “SANFORD AND SON THEME (THE STREETBEATER)”)
GROSS: That is the theme from the TV collection “Sanford And Son,” composed by Quincy Jones. Arising, we proceed our dialog with Quincy Jones.
(SOUNDBITE OF QUINCY JONES’ “SANFORD AND SON THEME (THE STREETBEATER)”)
GROSS: That is FRESH AIR. I am Terry Gross. We’re remembering composer, arranger and producer Quincy Jones. He died Sunday on the age of 91. His work spanned from the large bands by means of bebop, pop, film soundtracks, TV themes and hip-hop. He organized or produced recordings for Sinatra, Ray Charles, Aretha, Dinah Washington and Ice-T, and he produced the Michael Jackson albums “Off The Wall,” “Dangerous” and “Thriller.” His music has been sampled in lots of hip-hop recordings, and his 1962 recording “Soul Bossa Nova” was used because the theme for the “Austin Powers” movies. His multimedia firm produced the TV exhibits “The Contemporary Prince Of Bel Air,” “In The Home” and “Mad TV.”
Now, I’ve obtained to maneuver to a 1962 recording. That is the “Soul Bossa Nova,” which grew to become the theme for “Austin Powers,” the film…
JONES: Sure, it did.
GROSS: …Which simply goes to point out how this epitomizes a sure ’60s sound. What was the event for scripting this initially?
JONES: We had simply come again from two State Division excursions with Dizzy Gillespie. The primary was within the Center East, some place in Pakistan, proper there, you recognize? Abadan in Iran, and Syria, Beirut. And we got here again to the White Home correspondents’ ball in Washington, and so they appreciated what we had accomplished, and they also despatched us out to South America after that. And, naturally, a Black man goes to play all these kamikaze locations. They’d have the Cypriots stoning the embassy in Athens, and so they’d rush us over from Ankara, Turkey – get in there fast, you recognize, virtually like floor troops, and ship the Black man over there. And so the identical college students that stoned the embassy have been all down entrance within the entrance row and all the things else. And it was fairly scary, actually, ‘trigger we did not know what their battle was all about, actually.
And after the live performance, the identical college students began crawling excessive of the stage and, like, straight in direction of the band. I stated, that is it now. We’re in massive hassle right here. The identical ones who have been stoning the embassy, and so they grabbed Dizzy. We had no concept what was on their thoughts. They usually put him on their shoulders, and so they have been strolling round saying, Dizzy, Dizzy, Dizzy. I used to be so relieved, you recognize, ‘trigger it was terrifying to look at them come in direction of the band, particularly with the repute they’d within the papers the day earlier than. And so we went all the way down to – getting again to Latin America, we went all the way down to Argentina first and Buenos Aires.
And after our first live performance, we met an attractive younger musician named Lalo Schifrin, who was a young person then, too. And he had informed me all about he’d studied with Olivier Messiaen, and that is the place I first heard the title Nadia Boulanger, and it simply despatched electrical energy by means of me. He additionally informed – we additionally recorded down there with Astor Piazzolla, who was, like, a really experimental composer engaged on what they name a contemporary metropolis tango.
After which he warned us concerning the new motion that was popping out of Brazil, and we have been very enthusiastic about listening to this new music. It was bossa nova. And once we obtained to Brazil, Dizzy performed with the rhythm part, samba rhythm part on the Gloria Resort one afternoon, and sitting within the entrance row have been three youngsters, a married couple, Astrud and Joao Gilberto, and Antonio Carlos Jobim, who began a complete bossa nova motion.
And, sarcastically, the primary document that got here out in the USA was “Desafinado.” And the melody and the primary, simply the opening pressure was simply virtually pure Dizzy Gillespie. That is why they referred to it at the moment as jazz and samba, earlier than they even referred to as it bossa nova. And so we got here dwelling all enthusiastic about this new music. That they had moved the clave beat, which is admittedly, like, the muse of Latin music straight up and down Latin America. That is the muse. The clave beat is the guiding power.
And I wished to document some of these items, and so I made a factor referred to as “Massive Band Bossa Nova,” and I wrote, in about 20 minutes – this was 1962 – a tune referred to as “Soul Bossa Nova.” And we had Brazilian rhythm part and all the things else. And I assume 38 years handed, and so now Austin Powers is that this large star, and he is caught with this theme. That is his theme eternally. (Vocalizing). And it is wonderful ‘trigger they did two films with the theme, and he opened it with a marching band taking part in on the primary time. Now he needs me to be within the subsequent movie.
GROSS: So, have been you flattered once you came upon that Mike Myers wished to make use of your “Soul Bossa Nova” because the theme for “Austin Powers”? Or did you suppose, oh, now it’ll be camp – now it’ll be seen as camp?
JONES: Effectively, no, it was camp, however, you recognize, it would not matter, although, as a result of, you recognize, it is – a tune like that was form of a campy tune anyway. So I liked it, you recognize? I used to be very blissful that he discovered a complete new dwelling for this, you recognize, on this era.
GROSS: Effectively, let’s hear your 1962 recording of “Soul Bossa Nova,” which later grew to become the theme for “Austin Powers.”
JONES: Shagadelic (ph). Behave.
(LAUGHTER)
JONES: He’s so humorous.
(SOUNDBITE OF QUINCY JONES’ “SOUL BOSSA NOVA”)
GROSS: That is Quincy Jones’ 1962 recording of his composition, “Soul Bossa Nova,” additionally recognized now because the theme for “Austin Powers.” Different music you have been doing within the Nineteen Sixties – you additionally had a pop music profession. Certainly one of your greatest successes was Lesley Gore. You produced her first massive hit, “It is My Social gathering,” and produced different data of hers as properly. Inform us the way you found Lesley Gore.
JONES: Effectively, I obtained form of – it was a type of a problem, actually, as a result of I used to be – I had come again from Europe, and I had misplaced some huge cash, and I needed to take – Irving Inexperienced, the president of Mercury, stated, come over right here as an A&R man since you are an artist on Mercury anyway, an artist who developed repertoire. He employed me, after which he promoted me to vice chairman. And through that point, I used to be recording all of the divas and, you recognize, Nina Simone and Sarah Vaughan and Shirley Horn, Dinah Washington. And we have been doing issues with Robert Farnon – massive strings, costly dates and so forth. They usually have been lovely musical albums.
However Irving stated to me one time – he says, you recognize, all of the pop guys I ship you and Hal Mooney, who have been the arrangers, are finances busters since you do all this massive music, however we want some extra assist with the underside line with hit data. And I used to be somewhat presumptuous and stated, properly, I do not suppose it is such a giant deal to make a pop hit. He says, properly, why do not you begin making some then?
And we have been at a gathering on the Oxford Home, the place we had our A&R conferences usually in Chicago. And he stated, this is a tape that Joe Glazer despatched me, and his pal, a struggle supervisor or anyone, has a niece that sang one thing. Simply say you listened to it, and we’ll ship it again, you recognize? I grabbed it, and I stated, I might like to do that as a result of she had an important sound as of a rock singer in these days. She may sing actually in tune. She was 16 years outdated. And we went again to New York and talked to Joe Glazer, and he stated, make her a star and, you recognize, all of that Hollywood stuff.
And we went in on a Saturday, and we recorded two songs – “It is My Social gathering” and with a B-side written by Paul Anka, younger Paul Anka, referred to as “Danny.” And on the way in which to Carnegie Corridor, I noticed Phil Spector. Phil Spector stated, I simply minimize a smash, man, with The Crystals referred to as “It is My Social gathering.” I stated, what? I had by no means skilled that form of competitors earlier than. I went again to the studio with the engineer, and we mastered 100 acetates to ship out to the radio. And the remaining – you recognize, and I needed to go to Japan proper after that. And I informed Lesley, we have got the good document and all the things. All we have to do is repair that title as a result of I do not suppose this title’s going to work with a pop document, you recognize, so…
GROSS: You did not just like the title Gore.
JONES: No, I did not prefer it.
GROSS: I will not inform Al Gore about that.
JONES: (Laughter) And Tipper. And so I went to Japan to do a tv present, and we’re doing somewhat appearing and scoring it. And so I obtained a name from Irving Inexperienced later, and he stated, did anyone name you but? I stated, no. I stated, did she get that title collectively but? Did she provide you with any recommendations? And he stated, the document’s primary. Do you actually care? I stated no. It sounds simply tremendous. It is wonderful. That was a giant lesson.
GROSS: No matter occurred to The Crystals’ recording of “It is My Social gathering” that Phil Spector was producing?
JONES: I do not suppose it got here out. I do not suppose it got here out. Lesley’s factor was – had such influence. I do not know. I could also be mistaken, however I do not suppose it got here out.
GROSS: Effectively, I believed I might play “You Do not Personal Me.” That is the Lesley Gore monitor that is featured in your four-CD field set. I additionally suppose it is only a notably good recording and in addition a form of proto-feminist anthem.
JONES: And a very long time in the past, too.
GROSS: Yeah, yeah, yeah. With loads of strings – you recognize, you have been speaking about the way you have been utilizing strings with jazz singers you have been working with. I do know that is Claus Ogerman’s association and never…
JONES: Precisely.
GROSS: …Not yours, however nonetheless, it is…
JONES: He is fantastic.
GROSS: …You recognize, a really string-oriented association.
JONES: He is a tremendous musician.
GROSS: OK, properly, that is “You Do not Personal Me,” produced by my visitor, Quincy Jones, sung by Lesley Gore.
(SOUNDBITE OF SONG, “YOU DON’T OWN ME”)
LESLEY GORE: (Singing) You do not personal me. I am not simply certainly one of your many toys. You do not personal me. Do not say I am unable to go along with different boys. And do not inform me what to do. Do not inform me what to say. And, please, once I exit with you, do not put me on show ‘trigger you do not personal me. Do not attempt to change me in any manner. You do not personal me. Do not tie me down ‘trigger I might by no means keep. I do not inform you what to say. I do not inform you what to do. So simply let me be myself. That is all I ask of you. I am younger, and I like to be younger. I am free, and I like to be free to dwell my life the way in which I need, to say and do no matter I please.
GROSS: That is Lesley Gore, a recording produced by Quincy Jones in 1963. We’re remembering Quincy Jones on as we speak’s present. He died Sunday on the age of 91. We’ll hear extra of my 2001 interview with him after a brief break. That is FRESH AIR.
(SOUNDBITE OF MUSIC)
GROSS: That is FRESH AIR. We’re remembering Quincy Jones. He died Sunday. Let’s get again to the interview we recorded in 2001.
Let’s speak about your childhood. Your early years have been spent on the South Aspect of Chicago. Your father was a carpenter, and also you say that he labored for the blokes who ran the rackets within the South Aspect. How did he find yourself being their carpenter?
JONES: Effectively, you recognize, that was the Chicago in the course of the Melancholy within the ghetto. No person requested any questions. You recognize, and Chicago additionally was the spawning floor of each – in all probability the headquarters reporting (ph) floor of each gangster in America, Black or white – Roger Touhy, Dillinger, Capone, everyone. So the Jones boys have been simply – they have been the primary – one of many first Black gangsters. They began a coverage racket. They usually additionally had a five-and-dime retailer chain, the Jones 5 and Dime, which they used to name the Vs and Xs. So one thing to make a visit over to the Vs and Xs as we speak.
GROSS: So these have been the Jones boys your father labored for. This is not the Quincy Jones household you are speaking about.
JONES: No, no, no, no, no.
GROSS: Proper.
JONES: They have been the gangsters within the – again within the day.
GROSS: Your mom was a Christian scientist. Did she convey you up in your early years as a Christian scientist?
JONES: I feel so. If I can bear in mind, she went to Boston College in all probability within the ’20s, which was very uncommon, you recognize, for an African American feminine in these days. And she or he – very sensible woman. She spoke and wrote, like, 12 languages, together with Hebrew, all the things. And she or he may sort 100 phrases a minute. And so she was, like, form of the administrator, superintendent of one of many locations we lived in, just like the Rosenwald, earlier than we obtained right into a home.
GROSS: Your mom was later identified as schizophrenic, and she or he was institutionalized for some time. What have been a few of her issues at dwelling earlier than she was really identified, issues that you simply discovered disturbing?
JONES: Effectively, it is dementia praecox, which is schizophrenia. She was obsessive about faith. She would stare out of the window, and she or he would sing spirituals. She’d play spirituals and was simply erratic at instances. And I bear in mind once I was about 5 years outdated, she – my celebration – she threw my coconut cake out off the again porch. And it was actually a giant deal to me then. I do not know why I do not forget that a lot, nevertheless it was actually one thing that I could not perceive as a result of the cake was speculated to be, like, the image or the metaphor for the enjoyment of the celebration. And she or he threw it out, and it simply actually shocked me. And it was a really traumatic second, and I do know it sounds prefer it’s nothing.
GROSS: No, it would not sound prefer it’s nothing.
JONES: At 5 years outdated, it freaked me out. And I noticed my brother – and I each realized one thing was mistaken. I imply, each day we realized one thing was mistaken as a result of it was simply – it simply wasn’t like different individuals’s dad and mom. Even the dangerous dad and mom – it wasn’t the identical as that. It was…
GROSS: Proper.
JONES: As a result of she was very sensible. And so lastly, she was dedicated, and I did not know or form of blanked out what the method was till I went again there, like, 50 years later, once I did “Pay attention Up.” All of it got here again. And I assume that is the a part of the guide that was cathartic. There have been lacking items in my reminiscence, and it obtained clarified.
GROSS: After she was dedicated, she escaped from the hospital 3 times. After which when she was launched from the hospital, you say she adopted you round from city to city for the remainder of your life and typically displaying up on the oddest instances. Apparently, I assume you wanted extra distance from her than she wished.
JONES: Oh, completely. Effectively, we had a really exhausting time speaking. We could not have a dialog with out it being – turning into a giant argument. And I did not know – I assume Lloyd and I each have been so hungry for…
GROSS: Lloyd’s your brother. Lloyd’s your brother.
JONES: Lloyd is my brother, yeah, my youthful brother. We have been so hungry for the mom stuff and simply to be patted on the again or head or one thing that we simply by no means may talk. We did not understand how to connect with her, you recognize? At the moment, I assume you want validation and steering and love and nurturing and people phrases that weren’t round within the ghetto in the course of the impression. Nurturing by no means got here up fairly often.
GROSS: Proper.
JONES: It is like ldl cholesterol.
(LAUGHTER)
JONES: Please. Ldl cholesterol feels like one thing to drink, you recognize?
(LAUGHTER)
GROSS: Effectively, one of many strangest locations your mom confirmed up – one of the vital shocking instances was at Birdland once you have been performing. Inform us what occurred.
JONES: Oh, my God. I could not imagine it. That was the primary time I ever performed Birdland with my very own band. I used to be actually proud as a result of I might seen all my idols there – Charlie Parker and Dizzy, Duke, Basie, everyone. And lo and behold, right here come – I see her at – you recognize, it is an enormous entrance stair that comes downstairs. And the common host there was named Pee Wee Marquette, who was actually a personality. He had 4 watches on and about three coats of powder on his face and a few jackets on and a vest and all the things else – an actual character with loads of angle.
And also you’d see, like, parting of the group, you recognize, as he is strolling by means of ‘trigger he was so quick. And he’d stroll by means of. And she or he stated, no. Come on woman. You recognize, you’ll be able to’t are available in. She stated, shut up. You recognize, when you did not drink a lot, you would not be so quick. And she or he had a tongue like a laser beam. She turned the place out for about an hour. You knew she was down there. And she or he took nothing from anyone.
GROSS: You recognize, I used to be studying the obituary on your mom. She died in 1999 on the age of 94. And one of many issues that talked about about her was that she was a grasp typist and that she as soon as typed the New Testomony as a present to her youngsters.
JONES: Sure, she did.
GROSS: Do you bear in mind getting that as a present?
JONES: Completely. And I stated to her – I stated, that is – I am very touched, you recognize? However, you recognize, you should buy this for, like, $3 or $4 or one thing like that. And she or he – you recognize, however she meant it as one thing that she was actually making an attempt to provide. And an increasing number of, Lloyd and I began to appreciate, you recognize, that the issues that she did – she could not assist it. And within the last evaluation, she in all probability went by means of extra hell than anyone – all of us mixed as a result of, having children, I understand how that will need to have felt no matter how tough she made it for herself and for us. We did not know how one can be youngsters. She did not know how one can be a mom. And it was very painful.
GROSS: We’re listening to my 2001 interview with Quincy Jones. We’ll hear extra of it after a break. That is FRESH AIR.
(SOUNDBITE OF QUINCY JONES SONG, “SUMMER IN THE CITY”)
GROSS: That is FRESH AIR. We have been remembering composer, arranger and producer Quincy Jones. He died Sunday on the age of 91. This is the ultimate a part of my interview with him, which we recorded in 2001.
I need to get again to your music and to get to essentially the most colossal success that you simply had, and that was the album “Thriller” with Michael Jackson. You first met him in 1972 at Sammy Davis’ home. You labored collectively on “The Wiz.” What was his or yours or, you recognize, the each of yours authentic idea for “Thriller”?
JONES: Effectively, it begins earlier than that. It begins in the course of the film, you recognize, of once we first met after – initially at 12 years outdated. It was – he was about 19, so about ’77 or so. And he came to visit to the home. And that is the primary time we actually met on knowledgeable foundation. And he was rising up then. And he stated, happy to fulfill you, and so forth. and was very candy. And he stated, I am doing a – I’ve a brand new contract with Epic Information. And The Jackson 5, I am nonetheless working with them. However I will do a solo album, and I used to be questioning when you may assist me discover a producer. I stated, nice, Michael, however proper now, we have got a mammoth job right here to prerecord all of the songs with you and Nipsy Russell, Richard Pryor, Lena Horne and Diana Ross and everyone else – to prerecord the songs earlier than you make the movie.
That is simply the character of what movies are about. You prerecord the voice, all the things, and it’s important to actually guess proper concerning the dramatic context of how a music begins and stops, how lengthy it’s as a result of it is all going to be filmed. And that is what the movie’s going to be. It is a slave to that monitor. So you actually have to pay attention. And so I stated, when you be affected person and simply wait till we get by means of this, possibly we are able to discuss concerning the producer.
So we completed the prerecords. We begin preparing, getting ready for the movie. Sidney Lumet is on the St. George Resort in Brooklyn in the future, and he is blocking out a scene with the 4 principals. And Michael’s the scarecrow. And he had pulled – out of his straw chest, he’d pull out little quotes from – dah, dah, dah, dah, dah (ph), Confucius; dah, dah, dah, dah, dah, dah, dah, Aristotle; dah, dah, dah, dah, dah, dah, Socrates. And he stored saying, Socrates. And concerning the third day, I simply took him apart and stated, Michael, the phrase is Socrates. And he stated, actually? And he was actually stunned, you recognize, ‘trigger he is been a star since he was 5, you recognize, so he is been on the highway since then. So he is like an outdated man in a single sense. He is like a child in one other sense.
And there was one thing concerning the look in his eye – and I might been watching him – the self-discipline he had. He’d stand up at 5 within the morning for his make-up assessments and all the things else – very, very conscientious and disciplined younger individual, I imply, one of the vital I’ve ever seen. He knew everyone’s strains, everyone’s music, everyone’s lyrics, everyone’s dance steps, everyone’s motion, all the things. And essentially the most wonderful, absorbing and concerned individual I’ve ever – artist I’ve ever seen earlier than.
And I really like the data they made on Motown, you recognize, the bubblegum issues, you recognize, dance machine and people issues. However after seeing this different aspect of him, I felt that there was rather more within Michael that hadn’t been touched since you have a look at Michael at first. You’d say, there’s nothing else to do with him. He is accomplished all the things, and he did it at 9. You recognize, he is singing a love music to a rap, you recognize, then and all the things. And he was fearless and honest about it. He had a really robust sense of maturity.
GROSS: What was your strategy to producing “Thriller”? What did you consider as your main contributions to the sound of that document?
JONES: In fact, “Thriller” was a mix of all my expertise as an orchestrator and selecting the songs and Michael’s – all the skills he has – as a dancer, as a singer, as a tremendous entertainer. It was like us throwing all the things we – amassed expertise, placing all of it collectively.
GROSS: Effectively, let’s hear “Billie Jean.” I actually remorse we’re out of time. I want we may discuss some extra. I need to thanks a lot for speaking with us.
JONES: It is a pleasure, Terry.
GROSS: My interview with Quincy Jones was recorded in 2001. He died Sunday on the age of 91.
(SOUNDBITE OF MICHAEL JACKSON SONG, “BILLIE JEAN”)
GROSS: Tomorrow on FRESH AIR, our visitor will probably be Oscar nominee Saoirse Ronan. She has two new movies in theaters – “The Outrun,” a couple of younger alcoholic making an attempt to get sober, and “Blitz,” a couple of mom in London in the course of the World Warfare II German bombardment looking for her misplaced son. Her different movies embody “Little Ladies,” “Girl Hen,” “Brooklyn” and “Atonement.” I hope you may be a part of us. FRESH AIR’s government producer is Danny Miller. Roberta Shorrock directs the present. Our cohost is Tonya Mosley. I am Terry Gross.
(SOUNDBITE OF SONG, “BILLIE JEAN”)
JACKSON: (Singing) She was extra like a magnificence queen from a film scene. I stated, do not thoughts, however what do you imply, I’m the one who will dance on the ground within the spherical? She stated I’m the one who will dance on the ground within the spherical. She informed me her title was Billie Jean, as she triggered a scene. Then each head turned with eyes that dreamed of bein’ the one who will dance on the ground within the spherical. Folks all the time informed me, watch out of what you do, do not go round breaking younger women’ hearts. Hee-hee. And mom all the time informed me, watch out who you’re keen on, and watch out of what you do ‘trigger the lie turns into the reality. Hey. Billie Jean isn’t my lover. She’s only a lady who claims that I’m the one. Oh, child. However the child isn’t my son.
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