Quincy Jones

And people could forget, you know, that those bands back there were basically dance bands to just make people want to feel good dancing. And And coincidentally, great innovation crawled through that platform, like Charlie Parker and the Billy Eckstine Band, the people in Miles Davis and so forth, Dizzy Gillespie from Cab Calloway.

But these monsters, major, major musicians, happened to be in bands who were basically there for people to have a good time and dance. And it was about entertainment. And it was ironic because the underlying attitude with all of the bebop musicians is that we have heard Stravinsky now, we've done this, and we want to be pure artists. We don't want to entertain anymore. We don't want to sing.

But these monsters, major, major musicians, happened to be in bands who were basically there for people to have a good time and dance. And it was about entertainment. And it was ironic because the underlying attitude with all of the bebop musicians is that we have heard Stravinsky now, we've done this, and we want to be pure artists. We don't want to entertain anymore. We don't want to sing.

But these monsters, major, major musicians, happened to be in bands who were basically there for people to have a good time and dance. And it was about entertainment. And it was ironic because the underlying attitude with all of the bebop musicians is that we have heard Stravinsky now, we've done this, and we want to be pure artists. We don't want to entertain anymore. We don't want to sing.

We don't want to have to dance and move or entertain an audience.

We don't want to have to dance and move or entertain an audience.

We don't want to have to dance and move or entertain an audience.

Well, they had up front were the holy rollers, I guess, and then they had the drinkers, and then they had the guys that indulged in sweet wheat and giggle grass. And they had the guys that were the hardcore, you know, like mainliners really.

Well, they had up front were the holy rollers, I guess, and then they had the drinkers, and then they had the guys that indulged in sweet wheat and giggle grass. And they had the guys that were the hardcore, you know, like mainliners really.

Well, they had up front were the holy rollers, I guess, and then they had the drinkers, and then they had the guys that indulged in sweet wheat and giggle grass. And they had the guys that were the hardcore, you know, like mainliners really.

The sweet wheat section. We were very young then, and I was 18 when I went with that band. And you'd bounce back between that or trying to figure out how to make that work with Mogan David Wine or Manischewitz. It was ridiculous.

The sweet wheat section. We were very young then, and I was 18 when I went with that band. And you'd bounce back between that or trying to figure out how to make that work with Mogan David Wine or Manischewitz. It was ridiculous.

The sweet wheat section. We were very young then, and I was 18 when I went with that band. And you'd bounce back between that or trying to figure out how to make that work with Mogan David Wine or Manischewitz. It was ridiculous.

I look at the whole book and the whole life, I guess, as if it's like somebody else. I don't know where I had the spirit or the stick-to-itiveness to write something like that then. Because, you know, number one, I knew that music was my ticket out of this... other life that I had, you know, the Doug life and a dysfunctional family life.

I look at the whole book and the whole life, I guess, as if it's like somebody else. I don't know where I had the spirit or the stick-to-itiveness to write something like that then. Because, you know, number one, I knew that music was my ticket out of this... other life that I had, you know, the Doug life and a dysfunctional family life.

I look at the whole book and the whole life, I guess, as if it's like somebody else. I don't know where I had the spirit or the stick-to-itiveness to write something like that then. Because, you know, number one, I knew that music was my ticket out of this... other life that I had, you know, the Doug life and a dysfunctional family life.

And it was like a wonderland to arrange and the idea of orchestration and arrangements and composition. And that to this day is what my core skill is as an arranger and orchestrator and composer. I was just so happy to have a surrounding and environment where that was spawned, that was encouraged all the time.

And it was like a wonderland to arrange and the idea of orchestration and arrangements and composition. And that to this day is what my core skill is as an arranger and orchestrator and composer. I was just so happy to have a surrounding and environment where that was spawned, that was encouraged all the time.

And it was like a wonderland to arrange and the idea of orchestration and arrangements and composition. And that to this day is what my core skill is as an arranger and orchestrator and composer. I was just so happy to have a surrounding and environment where that was spawned, that was encouraged all the time.

Terry, by the way, I think that's the first recorded solo I ever had on record. The first record I was ever involved with, and I think it's one of the only solos I have on record.