When we place ourselves back in an era when Miles Davis, John Coltrane, and Thelonious Monk triumphed, when great minds fiercely debated the merits of Ornette Coleman, Cecil Taylor, and Eric Dolphy, when people were preparing to welcome the spectacular arrival of Archie Shepp, who was already performing with the New York Contemporary Five, and of the mysterious figure who, in Sweden, had just (in January) recorded "My Name Is Albert Ayler"—when we recall that environment, it seems clear that incorporating, one after another into his repertoire, as trends shifted, soul music, funk, rock, disco, rap, and numerous up-to-date variants of rhythm and blues, contributing as a producer to Michael Jackson's irresistible rise and to the "We Are The World" movement, and winning 27 Grammy Awards over the course of his career, could only discredit him in the eyes of the purists who have always viewed excessive success with disdain. Yet, there is no doubt that Quincy Jones's success was not achieved without talent, as evidenced by the brilliant "Birth Of A Band" and the smooth "Big Band Bossa Nova." Text by Alain Gerber
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