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Use the seatch engine........
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I'm amazed Jones is spawning all these threads.
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Posted: |
Feb 8, 2018 - 1:30 PM
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By: |
SchiffyM
(Member)
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Jones's collaborators are identified on the album. Chris Boardman, Jorge Calendrelli, Andrae Crouch, Jack Hayes, Jerry Hey, James Ingram, Randy Kerber, Jeremy Lubbock, Lionel Richie, Joel Rosenbaum, Caiphus Semenya, Fred Steiner, and Rod Temperton all contributed music to the film.
Jones also only wrote a bit of music for "Roots," despite receiving a good deal of credit for it at the time. Gerald Fried wrote nearly all the underscore for that miniseries.
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He had a bunch of orchestrators.
He had a lot more than orchestrators. He used George's Delerue for "inspiration". Listen to Delerue's Our Mother's House. You be the judge. In Hollywood it was known as Purplegate.
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Yeah, I don't understand why we need to have separate threads for each and every quote.
One thread on the interview itself would suffice.
Exactly. Especially for someone who...well, he really ISN'T that important in the film score scheme of things now, is he?
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Not that important in the scheme of things?
Explain.
I've seen threads devoted to almost literally every individual living or dead who ever had his/her name attached to the music credit of a film and you choose Quincy Jones to single out because he's not, what, scoring Marvel flicks, space operas, 50s tv sci-fi, or because he was not known for composing symphonic scores?
There is more originality in Quincy Jones's jazz/soul/pop influenced scores for In Cold Blood, In the Heat of the Night, The Pawbroker, and The Deadly Affair than in dozens and dozens of scores that get released, released again in expanded form, released again in complete form, endlessly praised, and so on.
For a brief time, from the mid-sixties into the early-seventies, Quincy Jones was one of the most important composers in film music. He chose not to stick with it, so he did not have that multi-decade career that the greats did, but while he was there, he was something else. So leave him the hell alone.
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Not that important in the scheme of things?
Explain.
I've seen threads devoted to almost literally every individual living or dead who ever had his/her name attached to the music credit of a film and you choose Quincy Jones to single out because he's not, what, scoring Marvel flicks, space operas, 50s tv sci-fi, or because he was not known for composing symphonic scores?
There is more originality in Quincy Jones's jazz/soul/pop influenced scores for In Cold Blood, In the Heat of the Night, The Pawbroker, and The Deadly Affair than in dozens and dozens of scores that get released, released again in expanded form, released again in complete form, endlessly praised, and so on.
For a brief time, from the mid-sixties into the early-seventies, Quincy Jones was one of the most important composers in film music. He chose not to stick with it, so he did not have that multi-decade career that the greats did, but while he was there, he was something else. So leave him the hell alone.
No. And kiss my ass.
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Posted: |
Feb 8, 2018 - 8:52 PM
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By: |
connorb93
(Member)
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Not that important in the scheme of things?
Explain.
I've seen threads devoted to almost literally every individual living or dead who ever had his/her name attached to the music credit of a film and you choose Quincy Jones to single out because he's not, what, scoring Marvel flicks, space operas, 50s tv sci-fi, or because he was not known for composing symphonic scores?
There is more originality in Quincy Jones's jazz/soul/pop influenced scores for In Cold Blood, In the Heat of the Night, The Pawbroker, and The Deadly Affair than in dozens and dozens of scores that get released, released again in expanded form, released again in complete form, endlessly praised, and so on.
For a brief time, from the mid-sixties into the early-seventies, Quincy Jones was one of the most important composers in film music. He chose not to stick with it, so he did not have that multi-decade career that the greats did, but while he was there, he was something else. So leave him the hell alone.
No. And kiss my ass.
Wow you're really mad about this lol
Anyway, no matter who wrote it, it's a wonderful score. At least the contributors got their credit finally. Apparently Alexander Courage also wrote a cue. I'm amazed that a producer like Zimmer can get sole credit and an oscar nomination despite his crew of "composers"...
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[start
No. And kiss my ass.
Wow you're really mad about this lol
...
..
....I'm amazed that a producer like Zimmer can get sole credit and an oscar nomination despite his crew of "composers"...
.....and you can kiss MY Ass!
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