Q: The Musical Biography of Quincy Jones

Disc 1
1	Kingfish 2:49
2	Stockholm Sweetnin' 5:26
3	I'm Gone 3:31
4	Swingin' Till the Girls Come Home 3:56
5	Whole Lotta Shakin' Goin' On 2:58
6	The Song Is You 4:14
7	Let Me off Uptown 3:21
8	Makin' Whoopee / Quincy Jones & His Orchestra 2:26
9	Misty 3:00
10	Moanin' / Quincy Jones Big Band 3:38
11	One Mint Julep 3:05
12	As Time Goes By 2:49
13	Sophisticated Lady / Quincy Jones & His Orchestra 3:46
14	Quintessence / Quincy Jones & His Orchestra 4:19
15	The Midnight Sun Will Never Set 3:06
16	I Can't Stop Loving You 4:34
17	I'm Beginning to See the Light 4:03
18	Faith 2:43
19	Tribute to Benny Carter 6:27
20	Springsville 3:33
21	My Buddy 2:49
Disc 2
1	Soul Bossa Nova 2:44
2	In the Heat of the Night 2:33
3	The Pawnbroker 3:04
4	Ease on Down the Road 3:19
5	Eyes of Love 3:30
6	Sanford & Son Theme (The Streetbeater) 3:05
7	Come Back Charleston Blue 2:06
8	Hicky-Burr 4:01
9	Ironside 3:53
10	You Put It on Me 2:41
11	Who Needs Forever? 3:01
12	For Love of Ivy (End Title) 2:52
13	Call Me Mister Tibbs (Main Title) 4:32
14	The Time for Love Is Anytime Cactus Flower Theme 2:48
15	The Hot Rock (End Title) 3:11
16	Mirage 2:01
17	Theme from the Anderson Tapes 5:14
18	The Spell You Spin (the Web You Weave) 2:37
19	Lonely Bottles 2:39
20	Love Theme from "The Getaway" 2:34
21	Money Runner/Money Is [Medley] 2:35
22	Miss Celie's Blues Sister 2:29
23	Many Rains Ago Oluwa 4:45
Disc 3
1	Fly Me to the Moon 2:29
2	Thriller 5:19
3	Baby Come to Me 3:35
4	Give Me the Night 4:58
5	Yah Mo B There 4:29
6	You Don't Own Me 2:29
7	Stomp! 4:06
8	Do You Love What You Feel 4:01
9	Something So Right 4:28
10	Strawberry Letter 23 3:47
11	Somewhere 6:14
12	Don't Stop 'Til You Get Enough 6:04
13	How Do You Keep the Music Playing? 4:15
14	State of Independence 4:24
15	We Are the World 6:22
Disc 4
1	Killer Joe 4:06
2	Stuff Like That 3:04
3	Everything Must Change 6:00
4	I Heard That!! 2:05
5	Tell Me a Bedtime Story 6:46
6	Beautiful Black Girl 6:10
7	Takin' It to the Streets 4:23
8	Walking in Space 7:25
9	Just Once 4:32
10	One Hundred Ways 4:23
11	Let the Good Times Roll 3:27
12	Moody's Mood for Love 4:18
13	Back on the Block 6:32
14	Setembro Brazilian Wedding Song 5:03
15	The Secret Garden Sweet Seduction Suite 6:42

Barnes & Noble

Over the course of five decades in the music business, Quincy Jones -- Q to his friends -- has seen it all. More to the point, he's done it all, from arranging big-band sides to scoring films to producing many of pop music's most enduring icons to recording his own eclectic body of work. This chronologically arranged, four-disc box set tells Jones's story in sound every bit as effectively as his simultaneously released autobiography does in prose. One of the most illuminating elements of this handsomely packaged box is Disc 1, which focuses on Q's early, lesser-known jazz work, including Duke Ellington's recording of the Jones-penned "The Midnight Sun Will Never Set" and vivid arrangements for singers as diverse as Peggy Lee ("As Time Goes By") and Big Maybelle ("Whole Lotta Shakin' Goin' On"). The set's second disc showcases Q's mastery of mood, via nearly two dozen contributions to the lexicon of film and television. Here, the results are both elegant -- in themes from The Pawnbroker and The Deadly Affair -- and wacky, as in his junkyard funk theme from Sanford and Son. Disc 3 compiles the production work that he's best known for: tracks from Michael Jackson's Thriller and Frank Sinatra's "Fly Me to the Moon" as well as several songs that will leave listeners exclaiming, "That was him?" The latter category includes Lesley Gore's classic melodrama "You Don't Own Me" and the Brothers Johnson's' space-funk chestnut "Strawberry Letter 23." Q concludes with a career-spanning disc highlighting Jones's solo recordings, which stretch from the smoky jazz of "Killer Joe" (recorded with legendary reedmen Hubert Laws and Freddie Hubbard) to swelling ballads such as the James Ingram-sung "Just Once" and "One Hundred Ways" to the hip-hop extravaganza "Back on the Block," a jam laced with raps from Ice-T, Big Daddy Kane, and Kool Moe Dee. The 100-page companion booklet includes essays from journalists Nat Hentoff, Gerald Earley, and Don Heckman, as well as an annotated track listing, lots of photos, and appreciations from Maya Angelou, Michael Jackson, Bono, and others. Between 1951 and 1995, millions of music fans the world over have been touched by the musical compositions of Quincy Jones, and this 74-song collection reminds us just how deep Q's hands reach in the fertile soil of pop culture. David Sprague

All Music Guide

Although Rhino's four-disc box set, Q: The Musical Biography of Quincy Jones, was released to coincide with Quincy Jones' autobiography, and that's what gives the set the title, the set would have an appropriate moniker even if Jones hadn't put his life story to paper. That's because this box set really does tell his story, partially because its four discs are divided so cleanly. The first is Jumpin' in the Woodshed, devoted to Quincy Jones the jazzman, featuring sessions that he led and mostly sessions where he was a sideman. The second is Gone Hollywood, meaning that it contains selections of his work for motion pictures and television, including his productions for other artists (Ray Charles' "In the Heat of the Night," Diana Ross and Michael Jackson's "Ease on Down the Road") and songs he cut that later were popularized in movies ("Soul Bossa Nova," otherwise known as the theme to Austin Powers). The third is Hit Man, which is devoted to his productions and arrangements for other artists, including Michael Jackson, Frank Sinatra, George Benson, James Ingram, the Brothers Johnson, and Paul Simon. Finally, there's "The Dude Throws Down," consisting entirely of selections from his star-studded collaborations of the late '80s and '90s. That final volume may accurately represent the final chapter of his career, but apart from the great urban ballad "One Hundred Ways," it's pretty dull, illustrating why these meticulous studio concoctions of Jones are misconceived; but the other discs are pretty terrific, not just capturing the essence of his work in each style, but drawing connections where you might not think connections exist -- especially on Hit Man, as Lesley Gore's girl group "You Don't Own Me" rubs shoulders with the Brothers Johnson's "Stomp!," and it's possible to hear Quincy's work on both. This may not be a set that you'd put on a whole lot, even if the first three discs work expertly as collections spotlighting Jones' various strengths, but this set couldn't have told Quincy Jones' story better, and it's worthy of being called a musical biography. Stephen Thomas Erlewine