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Posted: |
Nov 19, 2007 - 5:48 PM
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By: |
ahem
(Member)
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He's one of my favourites, and I'm talking heroes not film composers.
A much better arranger/producer than a composer though, both in pop and filmscore. He's all about the orchestration. I learn so much about art just listening to how he chooses to adapt and structure already exisiting material. His judgement, ambition and timing is unbeatable. Even in situations where he was dropped in to replace someone much loved at the last minute (THE GETAWAY or the Donna Summer album), he does what he does better than anyone.
Although best known for the jazz, big band, bosa nova and funk, Q also crammed in quite a bit of "edu-tainment" in bridging black musical heritage with contemporary pop on his later albums. He showed a generation brought up on rap and new jack the genius of Sarah Vaughn, Miles Davis, Ella Fitzgerald and James Moody with Kool Moe Dee on his 1989 cover of BIRDLAND. Q's constant fight to enlighten the world about black music and cultural heritage leaves me in awe. HIGHLY inspiring. That neutral, warm feeling of equality on everything he touches...
Sometimes when I'm SERIOUSLY down, I pop on one of the Michael Jackson records or one of the Q soundtracks/pop albums, and all the inspiration all comes back.
I still think Q is due a James Bond score (and song).
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My own personal fave:
. . . a damn good M.E.!
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Y’know, there was a tyme when we had virtually all of Q’s soundtracks (in prehistoric album form) and other musical ventures with A&M before our entire collection – we mean, EVERYTHING, you hear? – was stolen, tossed away or sold by some sub-humans we grievously put our profoundly misplaced trust in. Modern barbarity at its most unwholesome. Still, as Katharine Hepburn says in The Lion in Winter, “My losses are my work.” So the blame is fully on our doorstep. Anyway, onwards und upwards …
Oh, and Heath Old Son, for those of us who haven’t yet caught The Pawnbroker, we forgive your innocent faux pas (at least now we’ll know what to anticipate aurally!) 
And you’re aces on, Onya, these two efforts
are wondrously well-worth seeking out.
We also fervently feel with Od
is a delightful hidden surprise for those who haven’t sampled its pleasures; it sounds totally unlike anything Q unveiled (and was the earliest indication it would’ve been bond-fully intriguing if he ever had been allowed to take a crack at the 007 code).
As for the never-ending envelope of exposure to all that awaits within our wacky wondrous world of film-music, Le, hay, don’t feel bad, amigo. That’s part of the profound fun attached to our endless enjoyment; the layers never stop unraveling, always bringing forth stimulating new tidbits we never knew but now do – and the really KOOL part about it all is: it’s infinitely expanding! Kinda like Christmas everytime, all the time. 
Nah, this ain’t one of his soundtracks; aside from the usual unique assortment of melodies, it just happens to be our favorite Q cover … 
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Quincy? Lovely city in eastern Massachusetts.
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or Sydney Pollack’s 
or J. Lee Thompson’s
through Richard Brooks’s 
not to mention a little notable called 
or 
YOUR takes on this – 
