I'm probably the only one in the world you can name that's worked with Billie Holiday, Louie Armstrong, Ella, Duke, Miles, Dizzy, Ray Charles, Aretha, Michael Jackson, rappers. 'Fly Me to the Moon' was played on the moon by Buzz Aldrin. Sinatra. Paul Simon. Tony Bennett. I'm the only one.
Interpretation
Quincy Jones emphasizes his unique experience and contributions in the music industry alongside legendary artists.
In this quote, Quincy Jones reflects on his exceptional career in music, highlighting the notable artists he has collaborated with and the unprecedented moments he has been part of, such as 'Fly Me to the Moon' being played on the moon. This statement not only showcases his vast connections and accomplishments but also serves as a testament to the rich history of music and the impact of influential artists across genres.
In practice
This quote can be referenced during a music history class to discuss influential figures.
Just blow in it and sound bad for about a year and then make it sound a little bit better, and you get a little band together, and then you get a few jobs. You take four guys that sound half bad, but if they're 25 percent each, they can give 100 percent, you know?
Music in movies is all about dissonance and consonance, tension and release.
When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.
You can study orchestration, you can study harmony and theory and everything else, but melodies come straight from God.
I got a scholarship to Seattle University and I was writing arrangements for singers and everybody. But the music course was too dry and I really wanted to get away from home.
I tell my kids and I tell proteges, always have humility when you create and grace when you succeed, because it's not about you. You are a terminal for a higher power. As soon as you accept that, you can do it forever.
We'd like to think that our music will always be bigger than any one of our individual personalities.
Without Tony Allen, there would have been no Afrobeat.
Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play.
There was this moment when we made 'Superunknown': the Seattle music scene had suddenly ended up on an international stage with huge success.
When I was young and very green, I worte that tune, Sister Kate, and someone said that's fine, let me publish it for you. I'll give you fifty dollars. I didn't know nothing about papers, and business, and I sold it outright.
There are people these days who can do things on the guitar which are beyond my reach. There's one guy who plays with Queen who can do things I would dream of doing. I sincerely mean that.
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