The protean Quincy Jones returned to the recording studio as a leader after a long stretch in Hollywood with this triumphantly contemporary big band album. He re-established himself firmly with his big band jazz base while casting a keen eye on the pop scene and the world of electric instruments (even Ray Brown is caught playing superb electric bass here). The diplomat also unveils his uncanny ability to attract some of the biggest names in jazz as sidemen (Freddie Hubbard, Roland Kirk, Hubert Laws, J.J. Johnson, Kai ...
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The protean Quincy Jones returned to the recording studio as a leader after a long stretch in Hollywood with this triumphantly contemporary big band album. He re-established himself firmly with his big band jazz base while casting a keen eye on the pop scene and the world of electric instruments (even Ray Brown is caught playing superb electric bass here). The diplomat also unveils his uncanny ability to attract some of the biggest names in jazz as sidemen (Freddie Hubbard, Roland Kirk, Hubert Laws, J.J. Johnson, Kai Winding, etc.), a quality that will be put to use again and again in the following decades. For jazz buffs, the long, dramatic title track from the then-raging musical Hair is the highlight; Hubbard positively sizzles on muted trumpet, and the brash Kirk blasts through the grooving rhythm section under heavy reverb. You also get Jones' classic, swaggering arrangement of Benny Golson's "Killer Joe" -- practically the definitive version -- and a rendition of Edwin Hawkins' freak hit "Oh Happy Day" that bursts with wit and sheer joy. This is one of the great peaks of Creed Taylor's A&M period, and it still sounds spectacular today. ~ Richard S. Ginell, Rovi
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