1-"Soul Bossa Nova"		Quincy Jones     2:44
2-"Boogie Stop Shuffle"		Charles Mingus     2:41
3-"Desafinado" 		Antônio Carlos Jobim, Newton Mendonça     2:53
4-"Manhã De Carnaval (Morning Of The Carnival)"	Luiz Bonfá, Antonio Maria     2:55
5-"Se É Tarde Me Perdoa (Forgive Me If I'm Late)"	Ronaldo Boscoli, Carlos Lyra     4:21
6-"On the Street Where You Live"		Frederick Loewe, Alan Jay Lerner     2:32
7-"One Note Samba (Samba De Uma Nota So)"	Antônio Carlos Jobim, Newton Mendonça     2:00
8-"Lalo Bossa Nova" 	Lalo Schifrin     3:12
9-"Serenata"	Leroy Anderson, Mitchell Parish     3:18
10-"Chega de Saudade (No More Blues)"	Antônio Carlos Jobim, Vinicius de Moraes     5:30
11-"A Taste of Honey"	Bobby Scott, Ric Marlow     2:56

Rudy Collins 	Drums
Carlos Goméz 	Percussion
Paul Gonsalves 	Sax (Tenor)
Jim Hall 	Guitar
Quincy Jones 	Arranger, Composer, Conductor, Piano, Producer, Trumpet
Rahsaan Roland Kirk 	Flute
Jose Paula 	Percussion
Jerome Richardson 	Flute, Flute (Alto), Woodwind
Jack Del Rio 	Percussion
Lalo Schifrin 	Piano
Clark Terry 	Flugelhorn, Trumpet
Chris White 	Bass
Phil Woods 	Sax (Alto)

A byproduct of the bossa nova fad that followed the success of "Desafinado" (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flügelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on "Soul Bossa Nova") the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest. ---Scott Yanow, Rovi

Quincy is rather like Duke Ellington, as both men picked musicians with individual voices to give their arrangements personality. Jones actually used two Ellingtonians on this album: Clark Terry and Paul Gonsalves, whose distinctive sounds are evident in such tracks as Boogie Bossa Nova. This tune is not actually a bossa nova but an adaptation of Charles Mingus's Boogie Stop Shuffle. Another distinctive musician is Roland Kirk, whose instantly recognisable flute adds a down-to-earth solo in the opening Soul Bossa Nova. This track became a British hit in 1998, probably because it was used in the first of the "Austin Powers" films.

Quincy Jones made sure that the best-known bossas were included, four of them duplicating numbers from the Stan Getz album: Desafinado, Manha de Carnaval. One Note Samba and Chega de Saudade. Sadly, not all the soloists are listed, but there is mellow flute on Manha de Carnaval (Jerome Richardson?) and serpentine alto sax (probably by Phil Woods) on Chega de Saudade. But Quincy also turned other tunes into bossa-style tracks such as On the Street Where You Live and A Taste of Honey.

The soloists are not the only attraction on this album. Quincy's orchestrations also demand attention: for the punchy brass and the inventive use of all the musicians. --- Tony Augarde, musicweb-international.com

Album Quincy Jonesa „Big Band Bossa Nova” jest ważnym elementem historii światowej muzyki. Płytę otwiera zupełnie niezauważona w 1962 roku kompozycja Quincy Jonesa „Soul Bossa Nova”. Ten napisany w 20 minut w czasie przerwy w nagraniach utwór po latach dostawał kolejne życia. Niedawno sam Quincy Jones przypomniał go nagrywając nowoczesną wersję na płycie „Soul Bossa Nostra” w wykonaniu najlepszych amerykańskich raperów. Dwa lata po premierze przebój tytułowy stał się elementem ścieżki dźwiękowej filmu Sydneya Lumeta „The Pawnbroker”, później trafił do jednego z filmów Woody Allena, a nowe życie dostał jako superprzebój kanadyjskiej grupy hip-hopowej Dream Warriors.

Pozostałe nagrania z tego albumu to genialnie zorkiestrowane przeboje bossa novy – Antonio Carlos Jobina, Newtona Ferreira De Mendonca’i, Luiza Bonfy i Viniciusa De Moraesa, uzupełnione kompozycją Lalo Schifrina i przebojowym boogie woogie napisanym przez Charlesa Mingusa.

Drugim historycznie ważnym elementem tego albumu jest pierwsze użycie na taką skalę wracającego dziś do łask zupełnie niezwykłego urządzenia dźwiękowego – płyty pogłosowej niemieckiej firmy EMT. W czasach nagrań analogowych kontrolowanie pogłosu w studiu było w zasadzie niemożliwe i mogło odbywać się jedynie poprzez przeniesienie nagrań do mniejszego lub większego studia. Mało wówczas znana niemiecka firma EMT wymyśliła proste, choć spore urządzenie, którego najważniejszym elementem była kilkusetkilogramowa metalowa płyta zawieszona na sprężynach na solidnej ramie. W płytę wbudowano specjalne mikrofony. Urządzenie ustawiało się pionowo w studiu i nagrywało dźwięk odbity od wibrującej płyty. W ten sposób można było w małym pomieszczeniu kontrolować pogłos. Mistrzem niełatwego strojenia tego urządzenia, które już za kilka lat miało być ważnym elementem każdego bogatego studia (w tym choćby Abbey Road) byli Quincy Jones i jego inżynier – Phil Ramone. To właśnie pierwszemu zastosowaniu EMT Reverb Plate i zupełnie niezwykłemu pomysłowi nagrania fletu i trąbki w odstępie jednej oktawy „Big Band Bossa Nova” zawdzięcza swój unikalny charakter. To właśnie dlatego, kiedy producenci serii filmów o Austinie Powersie chcieli użyć melodii „Soul Bossa Nova” jako tematu przewodniego, nie dali rady nagrać wersji lepszej niż oryginał, mimo, że dysponowali doskonałymi komputerami i cyfrowymi efektami. Dziś działające egzemplarze urządzenia EMT są na wagę złota i to dosłownie, a ich unikalne właściwości dźwiękowe pomogły George’owi Martinowi stworzyć brzmienie The Beatles, dały światu najwybitniejsze dźwięki Pink Floyd i Radiohead. Trochę się rozgadałem o technice, ale w tym wypadku muzyka broni się sama… --- Rafał Garszczyński, jazzpress.pl

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1. Baby Elephant Walk 2:54
2. Charade 3:18
3. Dreamsville 3:51
4. Bird Brain 4:08
5. Days Of Wine And Roses 2:45
6. Mr. Lucky 2:28
7. Pink Panther 3:26
8. (I Love You) Dont You Forget It 2:53
9. Soldier In The Rain 3:12
10. Odd Ball 3:48
11. Moon River 2:35       play
12. Peter Gunn 2:55       play

Reeds - Roland Kirk, Jerome Richardson, Stan Webb, Phil Woods, Seldon Powell, 
Romeo Penque, George Berg
Trumpet  - Ernie Royal, Jimmy Maxwell, Snooky Young,Clark Terry,John Bello
Trombone - Quentin Jackson, Billy Byers, Urbie Green, Dick Hixon, Tony Studd
Flugehorn - Jimmy Buffington, Tony Miranda, Bob Northern, Ray Alonge
Tuba  - Harvey Phillips
Vibraphone - Gary Burton
Harmonica  - Toots Thielemans
Guitar  - Mundell Lowe, Vincent Bell
Piano - Bobby Scott
Bass  - Major Holley, Milt Hinton
Drums - Osie Johnson
Percussion - Martin Groupp, Phil Kraus
Arranger, Conductor  - Quincy Jones

Arranger Quincy Jones utilizes three overlapping studio bands to perform swinging renditions of a dozen Henry Mancini tunes on this Mercury LP. Bassist Major Holley, Toots Thielemans on harmonica, and Rahsaan Roland Kirk's reeds are three of the many voices that Jones employs, along with altoist Phil Woods, tenorman Zoot Sims, trumpeter Ernie Royal, and vibraphonist Gary Burton. Although generally brief (only one of the 12 songs is over four minutes), the renditions of such tunes as "Baby Elephant Walk," "Dreamsville," "Days of Wine and Roses," and "Moon River" are fresh and often lively.

As modern big-band leaders go, Quincy Jones in the '60s would be first choice for many composers who wrote for a television series or the cinema. Though not the original themes, Jones was quite able to produce a full album featuring Henry Mancini's famous songs from movies and the small screen. This collection of the familiar and obscure Mancini done in 1964, preceded famed epic scores written by Jones from films The Pawnbroker and The Deadly Affair. It comprises several well-known hit tunes and a smattering of cuts not easily identifiable as the hummable and memorable Mancini classics. Taken from three separate sessions, the bands assembled by Jones are loaded, including Jerome Richardson, Billy Byers, Urbie Green, Clark Terry, Ernie Royal, Snooky Young, Mundell Lowe, Zoot Sims, Phil Woods, and Seldon Powell, Drummer Osie Johnson plays on all tracks, pianist Bobby Scott is a central figure, as are bassists Milt Hinton and Major Holley. A young saxophonist and flutist named Roland Kirk appears on four tracks, and the emerging vibraphonist Gary Burton is on another eight. A burgeoning talent, Jones was 31 when these recordings were made, and gaining momentum for his talents in Hollywood and Los Angeles. Though everybody knows "Baby Elephant Walk," they might not have heard the thorny electric guitar, staccato bells, and bowed bass and vocals via Holley and Hinton that Jones inserts into this version. Where the cool and slinky theme from "Pink Panther" also has the bassists jiving vocally and using their arco techniques under flutes and finger snaps, "Mr. Lucky" is the epitome of Count Basie like cool, while the spy music of "Peter Gunn" retains the bassists trickery as Burton's electrically echoed marimba and a Phil Woods alto sax solo broaden the scope of "Peter Gunn"'s field. "Dreamsville" is a luscious ballad with harp and piano featured, "Days of Wine & Roses" starts typically pristine but runs into detailed, progressive interpretations, and "Moon River" is completely changed up into a waltz with Kirk's irresistible small saxello solo. The very hip, easy swinging "Odd Ball" is certainly the least-known Mancini piece not related to any cinematic connection, as quickened horns contrast against the slower beat and the choppy chords of Scott. The obscure "Charade" is really a jewel of the brilliance in re-arrangement Jones proffers, and perfectly deserving of its title. As slowed 3/4 in quicker 6/8 time signatures surface via an obtuse ostinato bassline, the horns accent fully juxtaposing lines swinging amongst a bit of psychedelia. A cute waltz is "Bird Brain," bouncy and fun with the flutes ricocheting off the walls, while "And Don't You Forget It" is a cowboy samba appropriate for any spaghetti western. Harmonicist Toots Thielemans is featured on one track, the ballad "Soldier in the Rain," with the sighing horns as the precipitation. How Jones is able to interpret Mancini's music with such diversity and new ideas is positively amazing, providing a unique listening experience for even the staunchest Q fan.

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1.  Bridge Over Troubled Water (Paul Simon) 5:09
2.  Gula Matari (Quincy Jones) 13:02
3.  Walkin' (Richard Carpenter) 8:02
4.  Hummin' (Nat Adderley) 8:07

Quincy Jones (Arranged and Conducted)
Pepper Adams (Baritone Saxophone)
Danny Bank (Bass and Baritone Saxophone)
Hubert Laws (Flute)
Jerome Richardson (Soprano Saxophone)
Freddie Hubbard (Trumpet)
Danny Moore (Trumpet and Flugelhorn)
Ernie Royal (Trumpet)
Marvin Stamm (Trumpet and Flugelhorn)
Gene Young (Trumpet and Flugelhorn)
Wayne Andre (Trombone)
Al Grey (Trombone)
Benny Powell (Trombone)
Tony Studd (Trombone)
Eric Gale (Guitar)
Toots Thielemans (Guitar and Whistle)
Herbie Hancock (Piano)
Bob James (Piano)
Bobby Scott (Piano)
Grady Tate (Drums)
Don Elliott (Bass Marimba) - 2
Jimmy Johnson (Percussion)
Warren Smith (Percussion)
Ray Brown (Double Bass) - 1,3,4
Ron Carter (Double Bass) - 2
Richard Davis (Double Bass) - 2
Major Holley (Double Bass and Voice)
Milt Jackson (Vibraphone)
Seymour Barab (Cello)
Kermit Moore (Cello)
Lucien Schmit (Cello)
Alan Shulman (Cello)
Valerie Simpson (Vocals)
Marilyn Jackson (Vocals)
Maretha Stewart (Vocals)
Barbara Massey (Vocals)
Hilda Harris (Vocals)

With his second and last album under the Creed Taylor aegis, the complexities of Quincy Jones' catholic, evolving tastes start to reveal themselves. We hear signs of his gradual gravitation toward pop right off the bat with the churchy R&B cover of Paul Simon's mega-hit "Bridge Over Troubled Water," dominated by Valerie Simpson's florid soul vocal and a gospel choir. His roots fixation surfaces in the spell-like African groove of the title track, a dramatic tone poem that ebbs and flows masterfully over its 13-minute length. From this point on, it's all jazz; the roaring big band comes back with a vengeance in "Walkin'," where Milt Jackson, Herbie Hancock, Hubert Laws, and other jazzers take fine solo turns, and things really get rocking on Nat Adderley's "Hummin'." Major Holley is a riot with his grumble-scat routine on bass. The whole record sounds like they must have had a ball recording it. --- Richard S. Ginell, Rovi

This is a must have Album/CD. Quincy has assembled an incredible group of musicians for this work. Toots Thieleman, Valerie Simpson, Major Holly, the list goes on and on. Each selection is awesome. My favorite was Valerie Simpson singing Bridge Over Troubled Waters in a full blown gospel style. Major Holly goes wild on Hummin' with his bass and Toots' whistling. I've been trying to find this CD for over ten years and wish they'd re-issue it. It is the bomb. --- Wilbert R Taylor, amazon.com

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1.  Smackwater Jack (Gerry Goffin/Carole King) 3:22
2.  Cast Your Fate to the Wind (Vince Guaraldi/Carl Rowe) 4:27
3.  Ironside (Theme from Ironside) (Quincy Jones) 3:54
4.  What's Going On? (Renaldo Benson/Al Cleveland/Marvin Gaye) 9:56
5.  Theme From the Anderson Tapes (Quincy Jones) 5:16
6.  Brown Ballad (Ray Brown) 4:21
7.  Hikky-Burr (Theme from The Bill Cosby Show) (Bill Cosby/Quincy Jones) 4:04
8.  Guitar Blues Odyssey: From Roots To Fruits (Quincy Jones) 6:44

Musicians:
Quincy Jones (Arrangement and Vocals)
Jerome Richardson (Soprano and Tenor Saxophone)
Hubert Laws (Flutes and Tenor Saxophone)
Peter Christlieb (Tenor Saxophone)
Ernest Royal (Trumpet and Flugelhorn)
Eugene Young (Trumpet and Flugelhorn)
Marvin Stamm (Trumpet and Flugelhorn)
Joe Newman (Trumpet and Flugelhorn)
Buddy Childers (Trumpet and Flugelhorn)
Freddie Hubbard (Trumpet and Flugelhorn)
Wayne Andre (Trombone)
Garnett Brown (Trombone)
Dick Hixon (Trombone)
Alan Raph (Trombone)
Tony Studd (Trombone)
Toots Thielemans (Harmonica and Guitar)
Eric Gayle (Guitar)
Jim Hall (Guitar)
Joe Beck (Guitar)
Arthur Adams (Guitar)
Freddie Robinson (Guitar)
Grady Tate (Drums)
Paul Humphries (Drums and Percussion)
Larry Bunker (Percussion)
George Devens (Percussion)
Bobby Scott (Piano)
Bob James (Fender Rhodes)
Jakie Byard (Fender Piano)
Monty Alexander (Tack Piano)
Joe Sample (Fender Piano)
Jimmy Smith (Organ)
Dick Hyman (Electric Harpsichord and Piano)
Paul Beaver (Synthesizer)
Edd Kalehoff (Synthesizer)
Ray Brown (Double Bass)
Chuck Rainey (Bass Guitar)
Bob Crenshaw (Double Bass)
Carole Kaye (Bass Guitar)
Milt Jackson (Vibes)
Harry Lookofsky (Violin)
Valerie Simpson (Vocals) - 4
Maretha Stewart (Vocals) - 4
Marilyn Jackson (Vocals) - 4
Barbara Massey (Vocals) - 4
Joshie Armstead (Vocals) - 4
Bill Cosby (Vocals) – 7

Quincy Jones had jazz fans wondering when he released his killer Gula Matari album in 1970. That set, with gorgeous reading of Paul Simon's "Bridge Over Troubled Water" with a lead vocal by none other than Valerie Simpson, pointed quite solidly into the direction Jones was traveling: unabashedly toward pop, but with his own trademark taste, and sophistication at the forefront of his journey. Its follow-up, Smackwater Jack, marked Jones, along with Phil Ramone and Ray Brown in the producer's chair, and knocked purist jazz fans on their heads with its killer meld of pop tunes, television and film themes, pop vocals, and big-band charts. The personnel list is a who's- who of jazzers including Monty Alexander, Jim Hall, Pete Christlieb, Joe Beck, Bobby Scott, Ernie Royal, Freddie Hubbard, Jerome Richardson, Ray Brown, Jaki Byard, Toots Thielemans, and many others. But it also hosted the talents of new school players who dug pop and soul, such as Grady Tate, Bob James, Joe Sample, Chuck Rainey, Paul Humphries, Eric Gale, and others. And yes, Simpson was back on this session in an epic reading of Marvin Gaye's "What's Goin' On,'" that featured Carol Kaye and Harry Lookofsky on soulful, psychedelic jazz strings and a smoking harmonica solo by Thielemans. The title cut, of course, is a reading of the Gerry Goffin and Carole King number, done in a taut, funky soul style with Rainey's bassline popping and bubbling under the entire mix and James' Rhodes and Thielemans' harmonica leading the back until the funky breaks by Tate, and some tough street guitar by Arthur Adams host an enormous backing chorus and a "mysterious" uncredited male lead vocal. Other highlights include a rocking version of the television theme from Ironside, and "Hikky-Burr," the now infamous theme from the Bill Cosby Show with a guest vocal from Bill. The version of Vince Guaraldi's "Cast Your Fate to the Wind" is one of the loveliest tracks here, and sets in stone a gorgeous model for the meld of complex jazz harmonics and a lithe pop melody. The album's final cut is a Jones original that sums up the theme of the entire album. Entitled "Guitar Blues Odyssey: From Roots to Fruits," it travels the path of Robert Johnson and Skip James through toJimi Hendrix and Eric Clapton with stops along the way at Charlie Christian, Wes Montgomery, and Grant Green. Guitarists Beck, Hall, and Gale, as well as Freddie Robinson, all do their best mimicking on this lovely, musical, labyrinthine montage that moves back and forth across musical history. It works like a charm with Brown's upright and Rainey's Fender (electric) bass work (alternately), and the beatcraft of Tate. This set has provided some key samples for rappers and electronic music producers over the years -- and there's plenty more to steal -- but as an album, it is one of Q's true masterpieces, recorded during an era when he could do no wrong, and when he was expanding not only his musical palette, but ours. --- Thom Jurek, Rovi

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1.    What's New Pussycat?
2.    A Taste of Honey
3.    Sermonette
4.    A Walk in the Black Forest
5.    Mack The Knife
6.    Moon River
7.    Take Five
8.    Gravy Waltz
9.    I Hear A Symphony
10.    Mr. Lucky
11.    Cast Your Fate to the Wind

Released in 1965, Quincy Plays for Pussycats is a bright, cheeky big-band album done in a more commercial pop style than previous Quincy Jones albums. Nonetheless, there's plenty to enjoy here. From the hipster reworking of the Tom Jones hit "What's New Pussycat?" to the buoyant lounge music version of "The Hucklebuck," this is swinging '60s jazz for the martini set. ---Matt Collar, AllMusic Review

Very groovy stuff from Quincy – a mix of jazz, soundtrack, and popular themes, all done in that soulful swinging style that Quincy virtually helped invent back in the 60s! The album's got plenty of great groovers that take a popular tune and kind of turn it on its ear – takes on tracks like "What's New Pussycat", "Non-Stop To Brazil", "The In Crowd", "Mack The Knife", "The Gentle Rain", and "Satisfaction" – all of which are souped-up by Quincy, and done in a rhythmic style that takes them past familiar versions you might know. The album also features the very groovy "Blues For Trumpet & Koto" – a slightly exotic number that we really like! --- dustygroove.com

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1.    Don't bug me 
2.    Stormy Weather 
3.    Back at the chicken shack 
4.    Cast your fate to the wind 
5.    Bossa Nova USA 
6.    Gravy Waltz 
7.    Abstractions 
8.    Walk on the wild side 
9.    Exodus 
10.    Osie's Oasis 
11.    The Jones Bash 
12.    Watermelon Man 
13.    Take Five 
14.    Johnson's Whacks 
15.    Ondine 

Quincy Jones Orchestra

Considered to be one of the greatest minds in music and television history, Quincy Delight Jones, Jr. was born on March 14, 1933 in Chicago, Illinois. He is the son of Sarah Frances (Wells), a bank executive, and Quincy Delight Jones, Sr., a carpenter.

Jones found his love for music while he was enrolled in grade school at Seattle's Garfield High School,this is also where he had met Ray Charles whom he later worked and became friends with. In 1951, Quincy Jones had won a scholarship to the Berklee College Of Music in Boston,Massachusetts. Jones however dropped out when he got the opportunity to tour with Lionel Hampton's band as a trumpeter and conductor. Jones also worked for the European production of Harold Arlen's blues opera, Free and Easy in 1959. After Jones had worked on several projects overseas he returned to New York where he composed and arranged, and recorded for artists such as Duke Ellington,Ray Charles, Sarah Vaughan,Count Basie, Dinah Washington,LeVern Baker, and Big Maybell. Jones was working with these artists while holding an executive position at Mercury Records, being one of the very few African Americans at the time to have such a position.

In 1963, Quincy Jones won his first Grammy award for his Count Basie arrangement of "I Can't Stop Loving You". In 1964, by the request of director Sidney Lumet, Jones composed the music for his movie, The Pawnbroker. This would be the first of many Jones composed for film scores. By the mid-1960's Quincy Jones became the conductor and arranger for Frank Sinatra's orchestra. Jones also conducted and arranged one of Sinatra's most memorable songs, Fly Me To The Moon. Jones appeared on a lot of film credits for his music such as The Slender Thread,Walk,Don't Run,In Cold Blood,In The Heat Of The Night, A Dandy In Aspic,Mackenna's Gold,and The Italian Job. In 1972 Quincy Jones was the theme song composer for the hit-sitcom, Sanford And Son.

Quincy Jones in 1978 worked on music for the Wiz, this is where he met icon, Michael Jackson. Jackson at the time was looking for a producer, Jones recommended some producers but in the end asked Jackson if he could do it, Jackson said yes. In 1982 as a result of this partnership, Jones had formed a tapestry with Jackson which was unbreakable it was called, Thriller. The Thriller album sold more than 100 million records world-wide. Jones continued working with Jackson with his Bad album in 1987. However after Jones recommended Jackson seek other producers to update his music. Jones refereed Jackson to producer, Teddy Riley. This ended a partnership between two-greats,Jackson and Jones would never collaborate again.

In 1981 Jones had an album called, The Dude. In 1985 Jones scored the film adaptation of The Color Purple. Jones also was a philanthropist, in 1985 gathering multiple stars to participate in the song We Are The World to help raise money to help the victims of the Ethopian disaster.

In 1990 Jones composed a theme song for the new sitcom which was centered around Will Smith, The Fresh Prince Of Bel Air. Jones was also the executive producer of the show.

Quincy Jones will forever be remembered as someone who helped sculpt music in every form, he refined music and through the music he helped sculpt brought messages of peace,justice,love,funk,and hope. ---Peter Sean, imdb.com

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