This Is How I Feel About Jazz is a 1957 album by Quincy Jones. Jones arranged and conducted three recording sessions during September 1956, each with a different line-up, from a nonet to a fifteen piece big band. Musicians on the album include Art Farmer, Phil Woods, Lucky Thompson, Hank Jones, Paul Chambers, Milt Jackson, Art Pepper, Zoot Sims, and Herbie Mann. The bonus tracks on the CD release include compositions by Jimmy Giuffre, Lennie Niehaus and Charlie Mariano.
This early 90's anthology packs a lot of Quincy Jones' many hits, from various eras up to the mid-80's. It is notable for being the only way to obtain "Midnight Soul Patrol" from his 1976 album "I Heard That" which for some reason was only released in CD format in Japan circa 1986 and now commands a stratospheric price on the second-hand market when it can even be found.
It was during the 1960s that Quincy Jones became a world renowned Jazz musician and composer of film soundtracks, but it was not until about the middle of the decade that success of this nature began to come his way, soon after he had composed the score for Oscar nominated The Pawnbroker. Indeed, during the first few years of the 1960s he lived as a working musician, bandleader and the musical director of Barclay Records - the French imprint of Mercury - but could barely earn enough to pay the bills. This however, did not prevent Quincy from continuing to perform and release music of a quite superlative nature.
Terrific, limited edition box set collecting all the recordings made by this one of a like group of superstar musicians including: Art Farmer, Phil Woods, Zoot Sims, Curtis Fuller, Phil Woods, Freddie Hubbard, Benny Golson, Art Blakey, and Hank Jones. The set includes 5 CDs covering all of his 1959-60 studio and 1961 live Mercury sessions, as well as an earlier set from 1956 for ABC-Paramount and a 1961 date for Impulse. Also includes an exhaustive essay by Brian Priestley and a complete discography, as well as many rare photographs by Chuck Stewart.
In a musical career that has spanned seven decades, Quincy Jones has earned his reputation as a renaissance man of American music. Jones has distinguished himself as a bandleader, a solo artist, a sideman, a songwriter, a producer, an arranger, a film composer, and a record label executive, and outside of music, he's also written books, produced major motion pictures, and helped create television series. And a quick look at a few of the artists Jones has worked with suggests the remarkable diversity of his career – Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin. Quincy Jones was inducted into the Rock & Roll Hall of Fame as the winner, alongside Lou Adler, of the Ahmet Ertegun Award. Among his awards, Jones was named by Time Magazine as one of the most influential jazz musicians of the 20th century.
Quincy Jones' edition of Universal's 20th Century Masters: The Millennium Collection is hardly a comprehensive overview of Jones' career – that, as they say, would take a box set – but it does narrow in on the chart hits he had for A&M during the '70s and early '80s. Pretty much all of his pop crossovers of that era – outside of "'Roots' Medley," "Ai No Corrida," and "Money Runner," a theme song for the movie of the same name, released on Reprise – are here, which means this is very heavy on jazzy funk and jazzy quiet storm. Nothing here doesn't sound like its era, which isn't a bad thing – some of it may not transcend the era, but it's dated in a nice way, and the very best songs, such as the seductive James Ingram-sung "One Hundred Ways," rank among the best of their kind. This may not be among Jones' most influential music, but it's certainly among his best crossover material, and while it may miss a hit or two, it's a fine representative overview of his records of the '70s.