Quincy Jones

I think it was at the Elks Club, Terry, where we used to, after we played two jobs, we'd work from 7 to 10 in the white tennis clubs where we'd play cup music of the popular music of the day, To Each His Own and Room Full of Roses. And then at 10 o'clock, we'd go play the black clubs, the Black and Tan, the Rock and Chair, and the Washington Educational and Social Club.

I think it was at the Elks Club, Terry, where we used to, after we played two jobs, we'd work from 7 to 10 in the white tennis clubs where we'd play cup music of the popular music of the day, To Each His Own and Room Full of Roses. And then at 10 o'clock, we'd go play the black clubs, the Black and Tan, the Rock and Chair, and the Washington Educational and Social Club.

I think it was at the Elks Club, Terry, where we used to, after we played two jobs, we'd work from 7 to 10 in the white tennis clubs where we'd play cup music of the popular music of the day, To Each His Own and Room Full of Roses. And then at 10 o'clock, we'd go play the black clubs, the Black and Tan, the Rock and Chair, and the Washington Educational and Social Club.

And we played for strippers. We sang. Oh, really? We had choreography. We had everything. As kids, we were pretty cocky because we had a great band. We could read music very well. And we did everything. It was a show band, too. So we got most of the jobs that came around. It was nice. We played with Billie Holiday when we were in 48, behind her.

And we played for strippers. We sang. Oh, really? We had choreography. We had everything. As kids, we were pretty cocky because we had a great band. We could read music very well. And we did everything. It was a show band, too. So we got most of the jobs that came around. It was nice. We played with Billie Holiday when we were in 48, behind her.

And we played for strippers. We sang. Oh, really? We had choreography. We had everything. As kids, we were pretty cocky because we had a great band. We could read music very well. And we did everything. It was a show band, too. So we got most of the jobs that came around. It was nice. We played with Billie Holiday when we were in 48, behind her.

And in 49, we played with Billy Eckstein and Cab Calloway and all the bands that came through. So we were pretty confident in those days. And the band just kept getting tighter because we rehearsed a lot.

And in 49, we played with Billy Eckstein and Cab Calloway and all the bands that came through. So we were pretty confident in those days. And the band just kept getting tighter because we rehearsed a lot.

And in 49, we played with Billy Eckstein and Cab Calloway and all the bands that came through. So we were pretty confident in those days. And the band just kept getting tighter because we rehearsed a lot.

Yes, he did. He had his own apartment, too, and two suits. It was amazing. But I guess what impressed me the most with Ray is that he was so independent and his sightlessness did not hinder him at all. It's one of the treasured, cherished friendships that I really have because as kids we used to talk about everything.

Yes, he did. He had his own apartment, too, and two suits. It was amazing. But I guess what impressed me the most with Ray is that he was so independent and his sightlessness did not hinder him at all. It's one of the treasured, cherished friendships that I really have because as kids we used to talk about everything.

Yes, he did. He had his own apartment, too, and two suits. It was amazing. But I guess what impressed me the most with Ray is that he was so independent and his sightlessness did not hinder him at all. It's one of the treasured, cherished friendships that I really have because as kids we used to talk about everything.

He'd show me how to write music in Braille, Dizzy Gillespie songs like Eminem and Bebop, etc., And we used to dream about the future. Like, wouldn't it be great to work with a symphony orchestra? One day we're going to do that. One day we're going to have three girlfriends each, you know. One day we're going to do movies together. We're going to do all of that stuff. And we did it.

He'd show me how to write music in Braille, Dizzy Gillespie songs like Eminem and Bebop, etc., And we used to dream about the future. Like, wouldn't it be great to work with a symphony orchestra? One day we're going to do that. One day we're going to have three girlfriends each, you know. One day we're going to do movies together. We're going to do all of that stuff. And we did it.

He'd show me how to write music in Braille, Dizzy Gillespie songs like Eminem and Bebop, etc., And we used to dream about the future. Like, wouldn't it be great to work with a symphony orchestra? One day we're going to do that. One day we're going to have three girlfriends each, you know. One day we're going to do movies together. We're going to do all of that stuff. And we did it.

That's what's amazing. We did, you know, In the Heat of the Night together. And we did... With the world, all of those things. Everything. The girls. So it's amazing to dream and have your dreams executed like that.

That's what's amazing. We did, you know, In the Heat of the Night together. And we did... With the world, all of those things. Everything. The girls. So it's amazing to dream and have your dreams executed like that.

That's what's amazing. We did, you know, In the Heat of the Night together. And we did... With the world, all of those things. Everything. The girls. So it's amazing to dream and have your dreams executed like that.

I would just like to add that we had half of Count Basie's band on that session and half of Duke Ellington's band on that session. And in those days, that's when I first started to work with Phil Ramone, the engineer, who's now a producer. And Ahmet Ertegun, Neshuwe Ertegun, and Jerry Wexler came by because in those days, what you heard was what you got. It wasn't about fixing in the mix.

I would just like to add that we had half of Count Basie's band on that session and half of Duke Ellington's band on that session. And in those days, that's when I first started to work with Phil Ramone, the engineer, who's now a producer. And Ahmet Ertegun, Neshuwe Ertegun, and Jerry Wexler came by because in those days, what you heard was what you got. It wasn't about fixing in the mix.