Quincy Jones

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.

There was nothing to mix.

There was nothing to mix.

There was nothing to mix.

I had written a suite that I'd been working on for a long time called From the Four Winds. And it was almost a descriptive piece. And I didn't understand theory too well then. But I just went straight. It didn't stop me from writing. I didn't understand key signatures or anything. And I would say silly things on the top of a trumpet part like...

I had written a suite that I'd been working on for a long time called From the Four Winds. And it was almost a descriptive piece. And I didn't understand theory too well then. But I just went straight. It didn't stop me from writing. I didn't understand key signatures or anything. And I would say silly things on the top of a trumpet part like...

I had written a suite that I'd been working on for a long time called From the Four Winds. And it was almost a descriptive piece. And I didn't understand theory too well then. But I just went straight. It didn't stop me from writing. I didn't understand key signatures or anything. And I would say silly things on the top of a trumpet part like...

A note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals. And some guy said, idiot, just put a flat on the third line and it's a key signature. Because it didn't bother me that I didn't understand it because I knew eventually I'd learn it. And so I gave this arrangement to, submitted this to Lionel Hampton.

A note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals. And some guy said, idiot, just put a flat on the third line and it's a key signature. Because it didn't bother me that I didn't understand it because I knew eventually I'd learn it. And so I gave this arrangement to, submitted this to Lionel Hampton.

A note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals. And some guy said, idiot, just put a flat on the third line and it's a key signature. Because it didn't bother me that I didn't understand it because I knew eventually I'd learn it. And so I gave this arrangement to, submitted this to Lionel Hampton.

And he said, you wrote this, huh? I said, yeah. He played trumpet too. He said, yeah. Well, he said, how'd you like to join my band, please? I said, are you kidding? And so they had little brown leather bags for your trumpet then. I had that and just very few toilet articles and so forth.

And he said, you wrote this, huh? I said, yeah. He played trumpet too. He said, yeah. Well, he said, how'd you like to join my band, please? I said, are you kidding? And so they had little brown leather bags for your trumpet then. I had that and just very few toilet articles and so forth.

And he said, you wrote this, huh? I said, yeah. He played trumpet too. He said, yeah. Well, he said, how'd you like to join my band, please? I said, are you kidding? And so they had little brown leather bags for your trumpet then. I had that and just very few toilet articles and so forth.

And I went and sat on that bus so nobody would change their mind, and I wouldn't have to ask the people at home whether I could go or not. And sure enough, everybody got on one by one. Hamp said hi, and I felt secure. Then Gladys Hampton got on the bus and said, uh-uh.

And I went and sat on that bus so nobody would change their mind, and I wouldn't have to ask the people at home whether I could go or not. And sure enough, everybody got on one by one. Hamp said hi, and I felt secure. Then Gladys Hampton got on the bus and said, uh-uh.

And I went and sat on that bus so nobody would change their mind, and I wouldn't have to ask the people at home whether I could go or not. And sure enough, everybody got on one by one. Hamp said hi, and I felt secure. Then Gladys Hampton got on the bus and said, uh-uh.

what is that child doing on this bus and she said no son you get off the bus and so we'll try to talk later but you go to school and uh i was destroyed and so i got a scholarship to boston to the berkeley college of music and uh i got the call a friend named janet thurlow was singing with the band and she reminded them And they called and said, we'd like you to be with the band.

what is that child doing on this bus and she said no son you get off the bus and so we'll try to talk later but you go to school and uh i was destroyed and so i got a scholarship to boston to the berkeley college of music and uh i got the call a friend named janet thurlow was singing with the band and she reminded them And they called and said, we'd like you to be with the band.

what is that child doing on this bus and she said no son you get off the bus and so we'll try to talk later but you go to school and uh i was destroyed and so i got a scholarship to boston to the berkeley college of music and uh i got the call a friend named janet thurlow was singing with the band and she reminded them And they called and said, we'd like you to be with the band.

I was 18 then, and I was ready. I was told at school I'd be back. I guess down inside, you know when you go with a band like that, you never go back.