Speaker Let me about coming into his van. So Joe Wilson had been a member of the. Great Lakes Naval Band, only some to drink.

Speaker Good, yeah, he mentioned.

Speaker He got it right here. I got one. But he said, bless you.

Speaker What goes with the small Basey group when we've met Quincy, right? Yeah. Yeah. Go to the Civil War. It the civil field.

Speaker Well, Quincy, you it throws them all together. Palomar and. He didn't say in this interview where he saw you guys. But the first time is he said, you know, I first on our car news with Charlie Burnett, I almost had a heart attack. I couldn't believe these guys were playing like that. Clearly, it was something that band must have just been cooking the Charlie Barnett Group. But we ran it, right.

Speaker So tell me about meeting Quincy just very briefly when you're with the.

Speaker You're with the band in Seattle, you don't have to it doesn't have to be the civil war. Who is this young guy? It's interesting. We're now rolling. So you can't just be direct. You know your answers to me.

Speaker Yeah, I remember meeting Quincy Jones in Seattle.

Speaker I'm not so sure about the exact year, but judging from his age agenda, from the period, he must have been about fifteen, fourteen, fifteen, sixteen at the most. He was a young teenager and he was always on the scene. We were playing places like the Palomo and Seville and other places in the area, and he was always shown up. And finally this little kid comes to me, skinny little kid, but nice looking little kid and very nice and said, Mr. Teria, I'd like to take some trumpet lessons with you. I'm beginning to want to own and learn how to play the trumpet. So I said, well, could it be very difficult because you're in school and you go to school to whole day? And I'm sleeping all day. And I work all night. And you sleep all night. So I said, what period would revive? He said, well, could I come in the morning? So we settle for morning. And he came at six o'clock in the morning. I had gone to bed about five, five thirty, but it was fun working with him right now.

Speaker He said he said when he was first trying to learn how to play trumpet.

Speaker I'm just going to share it this way.

Speaker You can move this all the way to the foot. Yeah.

Speaker OK, good.

Speaker So what Quincy said, this is this is why we got your trumpet video. He said that he tried to learn how to play trumpet himself when he hit these high notes.

Speaker His lip would believe and he said you helped him learn about, you know, how to position the trumpet properly. Can you just walk us through that, Quincy? Yeah. Do you say. Well.

Speaker Well, I told Quincy just about everything beginning trouble. Who would have to know? One of the problems that he did have was that he was before I started to tutoring him. He has a habit of playing sort of incorrectly. And he would play like a nut would a popular armature. Then it's a known fact that you use too much of the report when you're on, which you you can't get any rain. So you have to use what we refer to as tuck and roll and let it slide down to an area where it will burst and after we work with it. By playing on the soap or lip of joy was having problems, maybe even bleeding over. But we finally got it to put the mouth and the proper position to formally ambush it is not certain to make the buzz.

Speaker And he had a beautiful, almost perfect little armature straight down the middle.

Speaker And he must have very great restricted teeth for you were very conducive to producing the sound and the buzz. So we had a great, great on the show. He had he wanted to continue as a jungler. I'm sure he would have been one of the better ones around.

Speaker Great. Perfect. Oh, good. What were some of the other. You know, we're just going to let the phone fun finish ringing.

Speaker Let's see what up happening place back then. Nowadays, I think Seattle's we think of it back then is way out there. But Quincy said all these bands would come through here.

Speaker Seattle, Seattle, back in those days was a tone that for some strange reason, all the musicians loved to go to Seattle. And I think one of the things that was very conducive to getting kids to an interstate was to a lot of pretty girls, you know, and older. All the musicians would love to go to Seattle. It was the food was very good, restaurants were great. The hotels were reasonably priced and so forth. And these pretty girls were there was always an incentive to bring the kids back to Seattle.

Speaker Now, tell me first your teaching, Quincy, but beyond just playing trumpet. He wants to do more. Yeah. I mean, what you're teaching him?

Speaker Yeah, well, after we happened to be in Seattle for quite a long period of time, off and on, it was one of our stomping graphs, so. Oh. After one of his lessons, one day, Quincy said to me, I'm still here. I'm learning how to write music to an arrangement composer. Do you think that your band would try one of my charts? So that's a quote. Yeah. Q We can we can give it a whirl. So. Now was it. Yes, I got one here. So that's great because this weekend we're going down to San Francisco for a gig. And I'll take it down. And Wardell and goes Johnson and Jimmy lose. Our bass player goes Drummer and Waddle Turner and Buddy Franco was with the band at the time. So we'll give it a whirl and geodes answers. Oh, that's great, he said. So we took it down. Pass it out. To make a long story short, we played. It was very good, but I wouldn't dare discourage him by telling him it was horrible. So when it came back after we put Petzold played with the kids left and it got so mad or left and I made the bass aware of who the kid was, who was a big move. A little kid. Yeah. I said, well, this is is route. Yeah. Okay. And he wasn't in favor of video we took took it back. We went back. And the first thing he has before is listen. How did they like my job. That's. I'll tell you. Q You were on a very triggermen. You got some beautiful things going. And I can tell you're really thinking in the right direction, I'd say. But a couple of mistakes you got that you made. And don't. Don't be discouraged, because when you really got something that I feel that someday you're going to be a fantastic writer and you say, I told him, tell them all and said I was afraid to discourage him and tell him what the guys thought of it is the reason that he said, oh, thank you. So that, I'm sure, was an incentive for him to continue at least not be dropped by the wayside.

Speaker Great story. Yeah. Recently you did this game with quinsy, which which was for kids with basically these kids orchestra. Yeah. I'm wondering, do you think in a way that, you know, the way you mentored Quincy, he's now really interested in nurturing kids and being a music educator. Can you speak to that? Just maybe in the same way that I helped Quincy now?

Speaker Yeah. Yeah. One beautiful thing that I was remember about Q that he responded to those of us who helped him when he was a kid. And I'm sure that in the back of his mind, he was thinking all the time. When I am in position to repay some of this, I'm going to get involved with helping kids get involved in the perpetuation of the craft of jazz. And he's always felt that way. And I'm sure that anytime he runs into a young musicians who musician who needs help and encouragement and motivation and inspiration, he's the first one to do to do so. He'll answer the bell every time.

Speaker What did and what was your sense of that concept? What was going places there? Well, what was going on with that in your mind?

Speaker Well, we did a thing recently at the Hamptons, and this was a project that was started by lady for whom this school was named Courtney. Courtney Ross. Courtney Ross. Yeah. And Courtney had come up with the idea that she should get some students from different countries, from Chelsea chose China. She chose Sweden and Merck, of course. And to have some talented kids who write some compositions and some just little venues and and to have banked on a violin, who's as Sweden's top musician to compile all this music pulled together. Then they got Quincy Jones to conduct the piece. So they put this together and did this project and in China and Switzerland. And it was basically like folklore things, you know, folk songs. And they came to America as, you know, what can we do to to sort of represent folklore in America? Had to go back to to beginnings. Slave cries It's so, so, so big donor and Quincy being good friends of mine said, well, let's give Clark to do some mumbling. So that's that's where I came in. And the funny part about the whole thing was that some of the combination of the whole program was like a do it or tree or rather with the Chinese girl, the Swedish girl and me holding a mumbling conversation. And it was solid.

Speaker Are you high? Well, I don't know. Nimona guy.

Speaker And he moves up and they look like we were actually holding the conversation. I'd say to me. Just. I mean, you got to go. And that it was just sort of the thing that cracked people up.

Speaker I can't wait to see it right now. Going back to making, you know, different people such as yourself mentor Quincy Neighborhood Band. That's what band hires you first. And what do you think he took away from the leader of that band? Of course.

Speaker Well, I think that one of his first experiences as far as getting involve big time people was with Ray Charles. Ray Charles happened before that area. And Ray was a great piano player and a great singer, and he played a great saxophone as well. So Quincy got involved with them. And I'm sure that he learned a lot of things from having been associated with Ray Charles. Matter of fact, on one of his Ray Charles first successful albums, Quincy wrote, the music was just fantastic.

Speaker And what about him? He joins HAMP's band as a trumpeter, Lionel Hampton. Yes. He says that's where he meets Clifford Brown. Yeah, but what do you think when Hampton Hampton pulled him out of Berklee School? Well, his band in New York. Yeah. What do you think he learned from Hampton?

Speaker Well, Quincy happened to be a student at Berklee College of Music. So years ago, and little Hampton's band came along and he heard him in being a very popular and very talented young man in the Boston area, Boston area, basically over the counter. Hampton got all his names mixed up because he was associate with all of you. So and so Hampton heard. Heard it plainly in entice him to come with the band, which he was very happy about because he needed the experience.

Speaker And at the same time, I was kind of close to a younger trumpet player by the name of the.

Speaker Brown, no, no. Bonnie also, but art farmer, Art Farmer and Clifford Brown were members of the Hampton Band and isolated Dodd Volman encourage him the same as I would with Quincy. And so they're both out there together in the Hampton band. And I thought it'd be a great thing for him. And it turned out that it was because his dad's experience of sitting there in a section and playing parts and learning how to phrase jazz was and interpreted the language in a proper fashion well, along with the Volney and the farmer. So it proved to be a great, great experience for him and a great overall thing that he could put into his bag. Know to play with a little help. And he did. And he did a beautiful job. I think of other things start happening beautifully for him and kind of sidelined him. Basically his writing.

Speaker Tell me that way towards Hampton through the south. People forget how rough that was. I'm sure you will hear your talk. Just speak if you would. What was it like to tour with the jazz band, especially the South? Well, you know, somewhere in the sheet.

Speaker It we were touring in the South Will with a big band of black band, was a tour. It was an experience that those of us who were victims of it will never forget.

Speaker You could have a pocket full of money and you could find a place to eat. You know, you were relegated to going into the back doors of restaurants, eating in the kitchen. When it came to finding a place to stay after you traveled for so many hours, you couldn't stay at the hotels. You had to go to Miss Jones. I was Miss Green's house, Miss Browns and so forth. Then on one particular occasion, we. What would the would the would the group fun places to stay? And ever before this was taken and they had a habit of changing faces, you know, only so bad. Come on. I knew you had no choice. So they changed the prices to double the prices and everything. And the many times we would just have to sleep in the police station, in a park, on a bus or anywhere, you know. And I'm sure that Quincy being a young person and not being exposed, having been exposed to this type of life before. I think it was very, very devastating to him. But he managed to pull through it and all these things help to make him what he is today. You know?

Speaker Great. Thank you. Close the door. Just tweaking the door back there, and then I'm hoping you can take us to New York City in the early 50s, which is just jumping. You know, I don't know any way to explain. Just sort of.

Speaker There are so many clubs that need the energy, not jazz. When he comes to New York, I guess it's, you know, three in there. What's it like? Paint the scene for us.

Speaker Well, when when you first arrived in New York, which in an early 50s, there was an almost non-stop and non-stop type of activity that went on in the jazz scene all the way up from Harlem. The rhythm club would catch you used to go and have sessions to Fifty Second Street downtown to all the clubs Bird landed in.

Speaker The clubs you think of back in those days was popular and Verver were very busy. So I'm sure that this was an amazing eye opener to you. But somehow he fit right into the program. He just melted right in and became a part of that scene. And as a result of having been associated with that scene back in those days, it had some influence on the way that he wrote in the way that you got involved in the music and jazz.

Speaker He also goes with Lionel Hampton, I think, first in 53 in Paris. How was Paris different? Paris, supposedly for Quincy is this incredible place where those issues were touring in the south. You know, the jazz player and composer Nans are elevated in a different way. Help us understand. What was it like in Paris after the war for jazz player?

Speaker Well, many of the musicians who had visited Paris became intrigued and enchanted and just fell in love with Paris because of the way of life. There was a place where, unlike here in America, everybody was busy Minding Your Business, everybody's minds, their own business there. So it became a sort of a place of calling place for expatriates, you know. So a lot of the kids went back there because they loved the way of life and the freedom. And nobody's always watching them to see what they're going to do and try to put the food on, hold them down because of that love of cats wanted to live. Kenny Clarke for us. But Paul, does the Gordon Slide Hampton hold does a whole slew of people who came to be went there and became exposure's and stayed there. So all the listeners who would come from that point on, we would always feel very much at home because these people who became expeditious and live, they loved it, you know? So I'm sure that was a great experience for Quincy to get there and become a part of that scene. I'll never forget one. His first daughter was born Yoli Jolie. He lived the new, you know, the or the opposite end of the on one end of the show. So he's a little talented, but the both of the big circular thing circle with all the streets, one rough one around the Arc de Triomphe.

Speaker And Julie was so involved with France and the kids. She spoke French better than she did English. She's as a little kid in the should have put the bands together then have we worked at the Ocean Club and so forth and the kids, it became very, very ensconced in the scene there and that too became a part of it.

Speaker So he's a multifaceted man as far as the ways of life are concerned and different cultures, especially there.

Speaker I guess after he learned from you and learned from him and so on. Yet not yet also. Yeah, that's right. He ever talk to you about her and you know. Oh yeah.

Speaker Lola while he was just.

Speaker OK. OK.

Speaker So while in Paris you while in Paris, Quincy being a very interesting person, interested person in many, many things. As far as a Messing's Krafts concerned. He met and studied with Madame Baloji and she was a fantastic teacher. A lot of guys went out of their way to try to get to study with the metabolising and she was very particular about whom she chose to to teach.

Speaker And she liked teaching Quincy. So she liked quizzes. So she did my teaching a bit. I learned an awful lot from that. So he's had so many areas from which he. To all of his wealth of talent in ways and means of doing things, too. He could miss.

Speaker Right. What about.

Speaker Tell me about the free and easy tour. I guess you are working with another band in Quincy.

Speaker You said every time I see one of the greatest moments in his life. I don't look at that musician. But when you. Jackson.

Speaker Oh, you're both join him for his really his first big band. Yeah. Set that scene here. You get a call. What's Quincy trying to do?

Speaker Yeah, I'm not sure of the exact year, but Quincy decided to put together a band and he got to love hand-picked guys from studios and from New York scene and made the first his first album, which is called The Birth of a Band.

Speaker And yet people who vacuum of some people, people like Ken Jackson, Melba Liston, Occupier's song, who's a who's a Swedish trombone player, Bennie Bailey, trumpet player, Joe Harris on drums. Pettibone, one of his hometown friends on piano, and Buddy Catlett, I think was on bass. And the sisters, just to name a few of the guys. We put together this band and recorded the birth of a band, and it was absolute defense. I'm a bird. Johnson was also a move that band.

Speaker This was practically the nucleus of the band that went to Brussels, Belgium, to be the band for How Orleans show Free and Easy, which was a take of the old St. Louis woman, you know, about racetrack scene. And they had herel Nicolas's as a star, the male role. And Irene Williams was a lady who was a star in the milady's female role. And we put this band together and the good work it went out was big and was very successful. Then when we went over to her, to Paris, to to John, to to actually put the thing together and then to go to to to Belgium to really start bellbottom. And I couldn't it couldn't. Jackson was butter with Ellington's band. So he enticed us to come out and join his band. And we thought it was very courageous thing for us to do, but we wanted to try. So when Bono and I were in Europe over at the time with Ellington's band and we quit the band there. As a matter of fact, I worked around Paris for a little while putting together little groups and my first gig there, Duke was so beautiful till he came to my opening and the course Boehner was there and we were in Paris when the troops came over from New York, the all the free and easy troops. So Bob and I went to the airport to meet the troops and he came in, could see an entire entourage. And it was a beautiful homecoming scene and followed all the things just meters that the band was a part of the show, actually. You know, and the sorry thing about oh scene was that we were at an English speaking show. We opened the show in a French speaking country. We were Bolitho Morris Chevallier Theatre in Paris. And within the period of three weeks time, you could see the attendance just dropping off and the show folded right there. But then Quincy decided to keep the band together and on. But the Idol replacement for the band, we were going to the avenue or should this particular time in French trumpet by the name of it.

Speaker It's just slipped my mind at the moment. But he took my place because I had been offered a job at NBC. And so I took to grab that money. So could you and couldn't see Eddie would take that and go. So the.

Speaker Why was a wise move to get out when you did? I think it was a wise move here. You know, a very close friend of yours. The show closes. Mm. What do you hear about this tour where supposedly they're sleeping in train stations? Quincy's really hustling to keep it all together just to get it back. It was not easy.

Speaker It was it was a very difficult moment in his life, difficult period in his life. And he really tried to put everything. Money was strength was meant mentality and everything into it that he could possibly muster up, but it just wasn't the time, you know, he finally was enticed to get into get involved and make some money already.

Speaker And that's the route he chose. And I'm glad he did.

Speaker I'm sure he is to remember the moment when he decides to work for Mercury Records and do pop albums and stuff. Yeah, he got some he got some jazz stuff, but he's much more geared toward commercial stuff. Sounds like, oh, one of our promising young guys is leaving this world.

Speaker What was the feeling, the feeling for himself that people got about Quincy taking this job?

Speaker Well, when he was doing. Doing the food that he was writing real well and working for Bob Shedded Mercury workers and so forth, he made a very, very good, good impression on the whole scene as far as his writing was concerned. And he was a great jazz where he wrote to some things that were just unbelievable. But now he's about to make a move to sort of shift to the other side of the scene and get involve more commercial type of writing. And loaded cuts would put him down, say he he's selling out or do they call in all sorts of derogatory names towards the end? He, of course, just was treated and stuck to his guns and decided he was going to do what he wanted to do. And he did. And he did it just beautifully. Nobody could do what he did and what he does as well as not affect. If it comes to writing the best jazz album tomorrow, he could do that. He becomes avoiding the best type of commercial bands of backup. People like slots or whoever else is on scene at the time. He could still do that today. So he's a multitalented person. And just just as gracious about it as anybody is, you have to ask everybody, why are you OK?

Speaker You get a bit of swoll when you take the horn. Are you happy with the horn?

Speaker Oh, it's. It's OK.

Speaker Yeah. I just want to get rid of a little bit of shine.

Speaker Look at your nose. How's that mystery? Well, my joke is we don't want anyone to look like Nixon. Remember Nick? Oh, yeah.

Speaker A tricky, big Nixon. Tricky dick.

Speaker We talked about Quincy doing pop music. We talked about Paris. Well, some folks say. Let's cut for one second. I sort of lost my father.

Speaker So, you know, Quincy talks about AC. He said used to play the ponies. You get into trouble with that? Yeah. You know, there's different jazz scene with people could get into trouble. If you ever have any experience where Quincy was getting into trouble and needed help to get or is he always been is he somehow managed to avoid that? And if so, how?

Speaker He has always been the type of person who's managed to keep himself out of deep water. And I think it basically has been his association with the families of the four of the wives and the people that he was raised up with, you know, comes from very religious, very soulful family.

Speaker And first of all, he's a little bit too fearful to do anything to outlandishly wrong. So there was never any type of scandals. And you rudek ridiculing you did ridiculous things that happened with him. So the idea of a good, good handle on the whole sort of situation that nobody ever had to come to his rescue that I know of. He might have had a couple bucks here and there, but it was always pretty tight with the big people, folks in that. No, not all the people of illness on the Hollywood scene. So all they gave it too many real big pull. I'm sure he must've had some problems because everybody who's the inducers, the so Jarocin has run it so. But he has always been blessed somehow with ways and means to circumventing that particular situation.

Speaker You mentioned Sinatra. Were you with Base's band when he did the stuff with Sinatra? Or were you already doing your own thing?

Speaker I was gone from vs. bad for you were with NBC?

Speaker Yeah. Yeah. Because. Not to speak to that concert. Vegas is one of the high points of his career.

Speaker It was.

Speaker What do you think Quincy learned from Bass?

Speaker Well, Quincy learned from baozi as as talented as he was, as talented as Quincy was because he learned from business. This is one particular thing that all of us in jazz learned and all of us in jazz tried to pass on to younger people getting involved, giving vented their feelings and creating and improvising. He learned the utilization of space and time.

Speaker And if you listen to basic play, you'll find out exactly what I'm talking about. His plays. He had a rhythm section of overload page in a pub with Joe Jones and goes to the fiddler for while on guitar and fiddle in the Freddie Green for one time at one point.

Speaker And they would play to bring boom being boom. He was the split. He loved because of his socializing in this little club, the cherry blossom in Kansas City, little gingham tablecloth places. He had friends and taste on every table. Users average go where, you know, mouths even to glue takes over. Meanwhile, Bigland in the rhythm, it's still been booming. Then he goes back to be a blue beetle glued lude. He goes over to love the way you don't matter. Zeder La La La.

Speaker All the while the rhythm section is still going. Now this taught all of us that you don't go on the best and ticker's when to say it's a brave thing.

Speaker You know, you have to use space and time. And he was a great ones for his talents concert. Another good lesson that you told us about time is that at one point he had a writer, but only with Neal Hefti, who wrote for the band basically. And Neil brought in his chart, passed it out and kicked it off. Tibble Bing, bing, bing, bing, bing, bing, bing.

Speaker So he looked at it was a good shot. So he looked at base, said, What do you think Holy Holy was the nickname we had for Bass. He had a concept of being something very special. You lose your wife, your girlfriend, your instrument or whatever. So it's a wish thing only because he shook his head negatively. So said, you know, to engine. So what is it? So he said Tembo. So he says, well, what do you think? I think I should be right here.

Speaker He goes, What's the tune worth.

Speaker Bu bu bu bu bu bu. The little durland.

Speaker Well Neil brought it into pairs. B you could beat a deep doo doo doo doo doo. Boom boom boom did it. The basis shook his head, said no. Had it not been changed that a double. It would been an also ran. Forgotten do you know. But but just by basic put in a TiVo. So I'm sure the answer to what we talked about in the beginning hotsy learned a lot of those things from base. How to use space. How to use time. And plus many other things like he learned from Duke Duke as well, to establish an association between the bandstand or rapport between the bandstand and the audience, you know, had a different idea.

Speaker If you would just start a new answer. What did you learn from Jim?

Speaker Well, from Duke, he learned many beautiful things, such as establishing a rapport between the musicians on the bandstand and the audience psychologically handling people with attitudes and egos, which we call them. So sometimes we found a term called ego TUJ give us governance of the book. Also, how to program things you do could go on and read an audience. You might have had a program or book. Previti reads and orders and you change that program because this is what this audience needs, you know. So Quincy, all of these things rubbed off on him. So he's beautifully endowed with all of the best of Burlington and the best of Basey and the best of everybody who's out there.

Speaker Great. I just have a couple more question here. These are just to the music director.

Speaker Yeah, I remember the Touhy and Phil was in Melbourne this year, but I forgot Quincy once. Novelist and Hannibal.

Speaker Yeah. You see these women playing this band, which to my mind, maybe there were lots of other great women in jazz players out there. Quinsy care about whether, you know, whether you are man or woman or, you know, he didn't.

Speaker He didn't really care whether you were a man or woman when he hired you, put and associated himself with you. So see you with his band. But the people that he chose for his first band, Melba Liston and Pettibone, just happened to be two of the most outstanding players on the scene. You know, whether they were male or female vocalist was a great composer, great arranger and a great trombone player. And she had been tutored by Joe Wilson, who was also somebody that Quincy admired very much. So when he chose to use women in his band, he was doing so from a standpoint of talent to begin with, because I'm sure he wouldn't just pull a chick up on the bass census for the sake of being in the band with a woman. So but he did have great respect for women. And that is one of the people who as far back as then helped to perpetuate the scenes for getting women involved. I think it's great.

Speaker Right.

Speaker I asked this question of everybody because there's no perfect answer, buddy.

Speaker I love your sense of who is and who is he? Who is Quincy Jones?

Speaker Quincy Jones is a very, very complex question to answer because he is a complex person in that he's so magnificently endowed with all the things that are necessary to make a successful, beautiful, happy, loving person. And that's what he is.

Speaker That's great. Now, I always thought that with who is he to you? Absolutely. To the world. Well, it's Quincy.

Speaker You close it to me. Probably one of the dearest friends I could ever imagine anyone having. He's beautiful. I respect him so much for his talent. And I love him so much for for his consideration and his respect for me and his love for me and my recent problems.

Speaker He's been so verver beautiful in helping me. And I'm very, very grateful to him, not only for that, but even long before that, his type wasn't as successful as he is. He can hang out with heads of state, kings and queens, et cetera. But he never gets too big to to hang out with his old buddies, some of whom, you know, made it as big as he did, you know, will ever make it as big as he has made it. But he never forgets. He always is always available. You call him on the phone, he returns your call not only for me, but all of us is all acquaintances. So he's a person whose heart is as big as his body.

Speaker Right. What about looking at the future? Doesn't he have a special ability to sort of when he can't anticipate what's coming? But but still, you know, he's very forward looking.

Speaker Yeah, he is. But he still keeps that streak. Yeah. Tell me about that.

Speaker Well, he's good. He's always been a beautifully endowed with the capabilities of sensing things, you know? And I don't know, there must be some some sort of a mother work thing with you, which he was born with, you know, but he can sense things and he can sense trends.

Speaker He can sense traditions and he can sense styles and so forth. As a matter of fact, he could work with a person and write for a person who's totally disassociated with jazz. But he could put some little things in there that makes it interesting to everybody. Jazz lovers and even a person who thought they were a mom lover, you could do you could do that. So he's very, very beautifully endowed with the ways and means of Stan Hill. Who Veep.

Speaker All right, Jack. My question is, I think pretty much, yeah.

Speaker We just got to see. Okay.

Speaker Just to see if I just got some critical thing.

Speaker But I think we're all set. Really great.

Speaker No, it doesn't.

Speaker Let's just do it. Let's just do this last one to use the trumpet player, the ponys was rough idea. New York jazz scene.

Speaker Magical flat.

Speaker Yes, yes, no love story and just the fact that you say a thing like that.

Speaker You know, Casey taught him that thing about tempo. There anything that you think you he grabbed from you and just, you know, part of his own?

Speaker Well, the only thing I could think of that he really sort of promote to me was the ways and means of playing the trouble to him and says, I'm going say let me go.

Speaker So it's a perfect ambush. He had his step mom was were.

Speaker People look at the numbers you like to see, wow, that's perfect. That's right.

Speaker Centrally located right between the you know, the people at the bottom, equally divided. And all of this, you could see you look like you were smiling, you know, when he was playing. So only thing I could say that he might have gone on what it would do. He might have gotten.

Speaker But it would be that, you know, ways and means of getting involved, court type of pressure and handling of the topic.

Speaker Why do you think he's more interested ultimately in writing and arranging and stuff than playing? I think he just said something himself.

Speaker He he has a feeling love. I've asked him about this before. He had a feeling that he was not qualified or not endowed with love.

Speaker I don't know what would you would call it a desire to stay involved and give more to your feelings and experimentation. Either one out balance. The other is his desire to create a right. And after having absorbed all these ways and means of getting involved, kind of balanced the scale a little bit in behalf of writing over, over, over troubled playing, I think. And at the same time, I haven't been out there with people like Clifford Brown and and Art Farmer who were far more talented as far as giving vented their feelings to conserve solar was involved personally. I think they can overshadow the things and overshadow him as far as his ability to play. I think that kind of kind of hit him, too. So the two of them, together with the with the writing part of of sort of over balancing, is a built in his desire and his willingness to give more of himself an advance on trumpet.

Speaker I think that suit would tip the scales.

Speaker Last question. I know you guys are very close friends and I know anyone who hangs in Quincy gets his share of dirty jokes. Tell me, you know, you mentioned he does hang with Nelson Mandela. Kings. Queens. Yeah, but he he still has that that earthy.

Speaker Yeah. From jazz. The old me. Yeah. Just speak to that one closing thing.

Speaker There have it happen regardless of how royal and regal his sources may be. I mean, he's very, very close to a lot of very, very high people who in the world. He never lost his earthiness. He's a down-to-earth, fogginess and natural ability to deal with commoners and jazz.

Speaker All right.

Speaker Thank you so much. We just give a thing called Round Town or we sit here for fifteen seconds quietly and then we'll get out of the way. Mrs Roach.

Clark Terry
Interview Date:
American Archive of Public Broadcasting GUID:
cpb-aacip-504-tm71v5c879, cpb-aacip-504-tb0xp6vt26, cpb-aacip-504-wh2d79648w
"Clark Terry, Quincy Jones: In The Pocket." American Masters Digital Archive (WNET). 17 Jul. 2001,
(2001, July 17). Clark Terry, Quincy Jones: In The Pocket. [Video]. American Masters Digital Archive (WNET).
"Clark Terry, Quincy Jones: In The Pocket." American Masters Digital Archive (WNET). July 17, 2001. Accessed May 20, 2022


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