Quincy Jones

a composer working on what they call a modern city tango. And then he warned us about the new movement that was coming out of Brazil. And we were very excited about hearing this new music. It was Bossa Nova. And when we got to Brazil, Dizzy played with the rhythm section, Samba rhythm section at the Gloria Hotel one afternoon. And sitting in the front row were three teenagers,

a composer working on what they call a modern city tango. And then he warned us about the new movement that was coming out of Brazil. And we were very excited about hearing this new music. It was Bossa Nova. And when we got to Brazil, Dizzy played with the rhythm section, Samba rhythm section at the Gloria Hotel one afternoon. And sitting in the front row were three teenagers,

a composer working on what they call a modern city tango. And then he warned us about the new movement that was coming out of Brazil. And we were very excited about hearing this new music. It was Bossa Nova. And when we got to Brazil, Dizzy played with the rhythm section, Samba rhythm section at the Gloria Hotel one afternoon. And sitting in the front row were three teenagers,

a married couple, Astrid and Joao Gilberto, and Antonio Carlos Jobim, who started a whole Bossa Nova movement. And ironically, the first record that came out in the United States was Desafinado. And the melody on the first, just the opening string was just almost pure Dizzy Gillespie. That's why they referred to it at that time as jazz ensemble. before they even called it Bossa Nova.

a married couple, Astrid and Joao Gilberto, and Antonio Carlos Jobim, who started a whole Bossa Nova movement. And ironically, the first record that came out in the United States was Desafinado. And the melody on the first, just the opening string was just almost pure Dizzy Gillespie. That's why they referred to it at that time as jazz ensemble. before they even called it Bossa Nova.

a married couple, Astrid and Joao Gilberto, and Antonio Carlos Jobim, who started a whole Bossa Nova movement. And ironically, the first record that came out in the United States was Desafinado. And the melody on the first, just the opening string was just almost pure Dizzy Gillespie. That's why they referred to it at that time as jazz ensemble. before they even called it Bossa Nova.

And so we came home all excited about this new music. They had moved the clave beat, which is really like the foundation of Latin music, straight up and down Latin America. That's the foundation of the clave beat. It's the guiding force. And I wanted to record some of this stuff.

And so we came home all excited about this new music. They had moved the clave beat, which is really like the foundation of Latin music, straight up and down Latin America. That's the foundation of the clave beat. It's the guiding force. And I wanted to record some of this stuff.

And so we came home all excited about this new music. They had moved the clave beat, which is really like the foundation of Latin music, straight up and down Latin America. That's the foundation of the clave beat. It's the guiding force. And I wanted to record some of this stuff.

So I made a thing called Big Band Bossa Nova, and I wrote into about 20 minutes, this is 1962, a tune called Soul Bossa Nova. We had Brazilian rhythm section and everything else, and I guess 38 years passed. Now, Austin Powers is this huge star, and he's stuck with this thing. This is his theme forever. Da-da-da-da-da, da-da-da-da-da.

So I made a thing called Big Band Bossa Nova, and I wrote into about 20 minutes, this is 1962, a tune called Soul Bossa Nova. We had Brazilian rhythm section and everything else, and I guess 38 years passed. Now, Austin Powers is this huge star, and he's stuck with this thing. This is his theme forever. Da-da-da-da-da, da-da-da-da-da.

So I made a thing called Big Band Bossa Nova, and I wrote into about 20 minutes, this is 1962, a tune called Soul Bossa Nova. We had Brazilian rhythm section and everything else, and I guess 38 years passed. Now, Austin Powers is this huge star, and he's stuck with this thing. This is his theme forever. Da-da-da-da-da, da-da-da-da-da.

And it's amazing, because they did two movies with the theme, and he opened it with a marching band playing it the first time. Now, he wants me to be in the next film.

And it's amazing, because they did two movies with the theme, and he opened it with a marching band playing it the first time. Now, he wants me to be in the next film.

And it's amazing, because they did two movies with the theme, and he opened it with a marching band playing it the first time. Now, he wants me to be in the next film.

Well, it was camp. But, you know, it doesn't matter, though, because, you know, a tune like that was kind of a campy tune anyway. So I loved it, you know. I was very happy that he found a whole new... a home for this, you know, in this generation.

Well, it was camp. But, you know, it doesn't matter, though, because, you know, a tune like that was kind of a campy tune anyway. So I loved it, you know. I was very happy that he found a whole new... a home for this, you know, in this generation.

Well, it was camp. But, you know, it doesn't matter, though, because, you know, a tune like that was kind of a campy tune anyway. So I loved it, you know. I was very happy that he found a whole new... a home for this, you know, in this generation.

Well, it was sort of a challenge, really, because I had come back from Europe, and I had lost a lot of money, and I had to say, Irving Green, the president of Mercury, said, come over here as an A&R man, because you are an artist on Mercury anyway, an artist in repertoire. He hired me, and he promoted me to vice president. And

Well, it was sort of a challenge, really, because I had come back from Europe, and I had lost a lot of money, and I had to say, Irving Green, the president of Mercury, said, come over here as an A&R man, because you are an artist on Mercury anyway, an artist in repertoire. He hired me, and he promoted me to vice president. And