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OT: Quincy Jones interview out today


cedar
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I guess this is the week where I post interviews.

 

Here is one out today with Quincy Jones.

 

http://www.vulture.com/2018/02/quincy-jones-in-conversation.html?utm_source=fb

 

Aside from his credits, I don't know much about Quincy. I never saw the documentary made about him some time ago. But I've always been intrigued.

 

In this interview, I think he comes across as an a***hole. Disses a lot of people. But perhaps the interview doesn't capture his tone. Whenever I've seen brief snippets of him, he seems nice enough.

 

Also, he's pushing 85. When I'm that age, I plan to be very crotchety (even without any serious credentials). And with his resume, I'll cut the guy some slack.

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There's an even better one from GQ that dropped last week. The tone in the GQ one is more measured and conversational. The tone that comes across in the Vulture one seems more of a result of their editing Q and A down to almost Soundbyte level. Either way, both articles are almost mandatory reading.

 

GQ:: Quincy Jones Has a Story About That

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Well he has the right to his opinions and I would value his knowledge more than anyone's I guess...Both interviews said about the same thing. It was a different time back then so it's probably hard for people to relate. No internet for one thing. I agree about the producers and musicians "not caring if they even have it" comment. I wish more musicians had his honesty because I wouldn't have to deal with half the drama I do having a band.

"Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello"

 

 

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In this interview, I think he comes across as an a***hole.

 

I've often been described the same way. I will say however that some time ago I had a PM session with another forum member(obviously won't mention who it was) who described QJ exactly the same way. Despite this I purchased "Playground Sessions" for my youngest son about 14 months ago.

He has quite the accomplished career.

:nopity:
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I've seen that video before. It's a lot of fun.

 

As I said in the OP, I am inclined to give Q the benefit of the doubt. But I found his judgments about modern day artists (and producers) somewhat startling (though not necessarily wrong), in part because he has been involved in so many different genres. That has led me to assume that he would be exceptionally open-minded and generous in his evaluations.

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I found his judgments about modern day artists (and producers) somewhat startling (though not necessarily wrong), in part because he has been involved in so many different genres. That has led me to assume that he would be exceptionally open-minded and generous in his evaluations.

I thought his comment about Hendrix was unnecessary, though probably true. JH probably wasn't comfortable playing with all the jazz cats in QJ's band because it wasn't his genre, but the way he put it seemed mean spirited.

Whenever you find yourself on the side of the majority, it is time to pause and reflect.

-Mark Twain

 

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It turns out that there is a way to somehow "buy" a Quincy endorsement. I can think of no other way for a partly fake (bow-syncing to a track recorded by someone else) revue violinist to earn that video. You just have to look at the Youtube channel.

 

[video:youtube]

Life is subtractive.
Genres: Jazz, funk, pop, Christian worship, BebHop
Wishlist: 80s-ish (synth)pop, symph pop, prog rock, fusion, musical theatre
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Anyone knows what he means by this?

the best example of me trying to feed the musical principles of the past Im talking about bebop is Baby Be Mine. [Hums the songs melody.] Thats Coltrane done in a pop song.

Life is subtractive.
Genres: Jazz, funk, pop, Christian worship, BebHop
Wishlist: 80s-ish (synth)pop, symph pop, prog rock, fusion, musical theatre
Gear: NS2 + JUNO-G. SP6 at church.

 

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Asked what his first impressions of John, Paul, George and Ringo were, Jones didnt hold back, declaring that they were the worst musicians in the world. They were no-playing motherfers.

 

 

Jones reserved his harshest criticism for Paul McCartney and Ringo Starr.

 

Paul was the worst bass player I ever heard, Jones assessed. And Ringo? Dont even talk about it.

 

Jones then shared an anecdote where he said that Starr, unable to nail down a four-bar thing during a studio session, was replaced on the track by another drummer as he took a break.

 

I remember once we were in the studio with George Martin, and Ringo had taken three hours for a four-bar thin he was trying to fix on a song. He couldnt get it, Jones said.

 

We said, Mate, why dont you get some lager and lime, some Shepherds pie, and take an hour-and-a-half and relax a little bit. So he did, and we called Ronnie Verrell, a jazz drummer. Ronnie came in for 15 minutes and tore it up, the producer continued. Ringo comes back and says, George, can you play it back for me one more time? So George did, and Ringo says, That didnt sound so bad. And I said, Yeah, motherfer because it aint you.

 

Great guy, though, Jones added.

 

Wasnt Hendrix supposed to play on Gula Matari?

He was supposed to play on my albumApparently, Hendrix was supposed to lend guitar work to Joness 1970 album Gula Matari, which arrived at a time when the guitarist was expanding his musical vocabulary beyond rock and blues and into jazz and funk. Sadly, he didnt get far, dying of asphyxiation in September of that same year. and he chickened out. He was nervous to play with Toots Thielemans, Herbie Hancock, Hubert Laws, Roland Kirk those are some scary motherfuckers. Toots was one of the greatest soloists that ever fucking lived. The cats on my records were the baddest cats in the world and Hendrix didnt want to play with them.

 

Whatd you think when you first heard rock music?

Rock aint nothing but a white version of rhythm and blues, motherfucker. You know, I met Paul McCartney when he was 21.

 

 

 

 

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What Paul may have lacked in bass skills at that time I'd say he more than made up for in songwriting ability.

 

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What Paul may have lacked in bass skills at that time I'd say he more than made up for in songwriting ability.

 

Yes, indeed.

 

And that, I think, is the biggest divide between the "serious" (Jazz/Classical) musicians and the "Pop" guys.

The former insist on musical proficiency at all times (because their music demands that), whereas the latter tend to view proficiency as a means to an end, which is usually the song or what the song intends to convey.

 

There's no right or wrong here, just different approaches. the end result (good music) is all that matters.

 

 

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What Paul may have lacked in bass skills at that time I'd say he more than made up for in songwriting ability.

Yes. Plus, he was 21. I seem to remember McCartney himself saying something like he didn't put a lot of thought into his parts until later, because on the early songs, the way stuff was produced/mixed then, you hardly heard the bass anyway.

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And that, I think, is the biggest divide between the "serious" (Jazz/Classical) musicians and the "Pop" guys.

 

Pop musicians play 4 chords for 1000 people; jazz musicians play 1000 chords for 4 people. :) I kid....I kid.....

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Asked what his first impressions of John, Paul, George and Ringo were, Jones didnt hold back, declaring that they were the worst musicians in the world. They were no-playing motherfers.

 

 

Jones reserved his harshest criticism for Paul McCartney and Ringo Starr.

 

Paul was the worst bass player I ever heard, Jones assessed. And Ringo? Dont even talk about it.

 

Jones then shared an anecdote where he said that Starr, unable to nail down a four-bar thing during a studio session, was replaced on the track by another drummer as he took a break.

 

I remember once we were in the studio with George Martin, and Ringo had taken three hours for a four-bar thin he was trying to fix on a song. He couldnt get it, Jones said.

 

We said, Mate, why dont you get some lager and lime, some Shepherds pie, and take an hour-and-a-half and relax a little bit. So he did, and we called Ronnie Verrell, a jazz drummer. Ronnie came in for 15 minutes and tore it up, the producer continued. Ringo comes back and says, George, can you play it back for me one more time? So George did, and Ringo says, That didnt sound so bad. And I said, Yeah, motherfer because it aint you.

 

Great guy, though, Jones added.

 

Wasnt Hendrix supposed to play on Gula Matari?

He was supposed to play on my albumApparently, Hendrix was supposed to lend guitar work to Joness 1970 album Gula Matari, which arrived at a time when the guitarist was expanding his musical vocabulary beyond rock and blues and into jazz and funk. Sadly, he didnt get far, dying of asphyxiation in September of that same year. and he chickened out. He was nervous to play with Toots Thielemans, Herbie Hancock, Hubert Laws, Roland Kirk those are some scary motherfuckers. Toots was one of the greatest soloists that ever fucking lived. The cats on my records were the baddest cats in the world and Hendrix didnt want to play with them.

 

Whatd you think when you first heard rock music?

Rock aint nothing but a white version of rhythm and blues, motherfucker. You know, I met Paul McCartney when he was 21.

 

 

 

 

At least he was honest.

"Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello"

 

 

noblevibes.com

 

 

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A bit too much hypocrisy in the interview with regard to women, that bothered me.

 

And this hits closer to home- "Greedy, man. Greedy. Dont Stop Til You Get Enough Greg Phillinganes wrote the c section. Michael shouldve given him 10 percent of the song. Wouldnt do it".

 

In spite of the fact there's been some stuff go down with one of my close friends and him, I generally agree with most everything he said about pop music today.

 

Beatle fans should not read though.

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And this hits closer to home- "Greedy, man. Greedy. Dont Stop Til You Get Enough Greg Phillinganes wrote the c section. Michael shouldve given him 10 percent of the song. Wouldnt do it".

Derail here, but Greg tells the story in this great interview that I don't believe has been mentioned on the forum:

 

 

The interview is almost an hour & a half long. The link above takes you right to the section where he talks about "Don't Stop", but the whole thing is interesting. It's marred by the uploader editing out the musical examples, presumably due to copyright/licensing concerns.

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I love Q. Enjoyed his autobiography. I follow him on FB and he always comes off as extremely positive.

 

The interviewer is from rollingstone.com and in a lot of the interview I felt Quincy a) he didn't have much respect for the guy and b) wanted to him to know he didn't much care for the people he normally interviews and writes about, i.e. rockers. The questions are vague/superficial. He doesn't know the breadth of his music. I see that as being disrespectful. Quincy's anger makes perfect sense to me.

 

Busch.

 

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"We need songs, not hooks!"

 

Uh huh, like Billie Jean and Smooth Criminal weren't repetitive. :poke:

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I love the Beatles and yet I think Quincy's comments are both true and may very well have been edited and cherry picked.

 

When he says they were copying black American music, he's right.

When he disparages a 21 year old McCartney's playing ability, he's kinda right.

When he says Ringo couldn't play, ESPECIALLY when juxtaposed to some session cats, he's kinda right.

 

Nowhere did the interviewer ask if Q thought they could or couldn't write songs. Nowhere did he say that they didn't get better as they progressed. Or that the albums aren't masterful.

 

I can live with both this interview and my love of the Beatles.

Kawai C-60 Grand Piano : Hammond A-100 : Hammond SK2 : Yamaha CP4 : Yamaha Montage 7 : Moog Sub 37

 

My latest album: Funky organ, huge horn section

https://bobbycressey.bandcamp.com/album/cali-native

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