quincy jones
What is yacht rock? In the new HBO movie, Yacht Rock: A Dockumentary, no one can agree on a definition.
For the comedian Fred Armisen, yacht rock is “a very relaxing feeling.” But for the writer Rob Tannenbaum, yacht rock is a space where singers “could declare not just your sensitivity but your torment at how sensitive you are, your sense of being ravaged by having feelings.” He calls this “fairly unique to yacht rock,” which would be true if soul music did not exist.
How about another, more specific, definition: “One way to know if you’re listening to yacht rock is [if you hear] the sound of Michael McDonald’s voice,” according to Alex Pappademas, author of Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors From the Songs of Steely Dan. Then again, David Pack, lead singer of the band Ambrosia, calls McDonald’s style “progressive R&B pop,” while Questlove describes yacht rock as “utility more than it is music.”
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This all begs the question: If yacht rock is such a vague label, what makes it worth using?
J.D. Ryznar and Steve Huey helped coin this imprecise term in their 2005 mockumentary series Yacht Rock, long after the music it attempted to brand was out of style. Each episode traced the activities of goofy, fictionalized versions of McDonald, his contemporaries, and his collaborators — Hall & Oates love to dunk on “smooth music,” while Kenny Loggins’ character says pompous things like, “when a friend is drowning in a sea of sadness, you don’t just toss them a life vest, you swim one over to them.”
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As the yacht rock label caught on, it gave a set of younger listeners a way to explore and maybe embrace — even if ironically — music that had become a kind of cultural shorthand for uncool, the target of mainstream jibes in Family Guy and The 40-Year-Old Virgin. “For a long time, I thought Steely Dan, man, that’s just music for dorks and weirdos,” the critic Amanda Petrusich says in A Dockumentary. “You come to it jokingly,” Pappademas adds, discussing yacht rock. “But then you suddenly find yourself appreciating it sincerely.”
As yacht rock DJ nights and streaming playlists proliferated, this elevated the artists most closely associated with the style, helping to extend their careers. “I fully expected to be totally forgotten by the end of the 1980s,” McDonald says in A Dockumentary. Instead, the film shows him and Loggins collaborating with the bass virtuoso Thundercat in 2017 and performing at Coachella — one of the world’s most prominent stages.
That said: While the yacht rock label gave some artists a boost, it actually masks the lineage of the music it purports to describe. It serves as camouflage, rather than providing clarity.
Most notably, the term obscures the sizable debt that these records owe to contemporaneous Black music. Many of the tracks associated with the style are steeped in the language of 1970s R&B, conversant with Marvin Gaye‘s intricate, tortured funk, immaculate Quincy Jones productions, and the airy, wrenching ballads Earth, Wind & Fire and the Isley Brothers scattered like birdseed across the second half of the Seventies.
The dialog was facilitated by session musicians who moved easily between worlds. Chuck Rainey played bass with Steely Dan but also appeared on Gaye’s I Want You and Cheryl Lynn’s Cheryl Lynn. Greg Phillinganes handled keyboards for McDonald and Leo Sayer as well as Michael Jackson and Stevie Wonder. Horn player and arranger Jerry Hey hopped from Boz Scaggs and Michael Franks to Teena Marie and Janet Jackson.
A Dockumentary nods to yacht rock’s lineage. “Yacht rock is associated with white groups and white songwriters and producers, but I know more Black yacht rock than I do traditional yacht rock,” Questlove says, pointing to Al Jarreau, the Pointer Sisters’ “Slow Hand,” and George Benson’s “Turn Your Love Around.” That music doesn’t get much play in the typical yacht rock conversation, though — or in A Dockumentary.
What does it mean that one of the strands of white music that was most in touch with the Black music of the 1970s was reclaimed largely as a joke, even if it’s an affectionate one? Armisen believes that “there’s nothing greater, in a way, for any genre to be joked about, because it means that it’s relevant.”
This may be a sensible perspective for a comedian. It’s not surprising, though, that the subjects of the wisecracks don’t always feel the same way. “At first, I felt a little insulted, like we were being made fun of,” says Loggins. “But I began to see that it was also a kind of ass-backwards way to honor us.”
Unlike Loggins, Steely Dan’s Donald Fagen hasn’t reached this stage of acceptance. When the documentary’s director asked him about yacht rock, Fagen cursed at him and hung up the phone, an exchange that was recorded and included in the film. Steely Dan’s longtime producer Gary Katz expressed a similar disinterest in the yacht rock label — albeit using less-colorful language — this summer during an interview with the music manager Scott Barkham in Brooklyn Bridge Park.
It’s not unusual for artists to express hostility towards genre terms. In fact, they are constantly saying they don’t want to be “pigeonholed” or “put in a box.” When the critic Kelefa Sanneh published Major Labels, a book-length defense of musical genre, in 2021, he wrote that artists “hate being labeled. And they think more about the rules they break than about the ones they follow.”
There is certainly a case to be made against the whole idea of summing up a large body of art in a word or two. The result is, all too often, genre descriptors that are either all-encompassingly vague or simply inaccurate. Some labels, however, are at least fairly neutral — “post-punk,” “house music.” Some, on the other hand, have negative connotations, if they’re not downright sneering at the songs they claim to describe: Take “bro country” or “PBR&B.”
As A Dockumentary makes clear, “yacht rock” still reliably elicits chuckles. But even if that humor helped these musicians gain younger followers, it often runs contrary to the tone and themes of their songs. “The term emerged from what was essentially a comedy show,” which had “a really big impact on the way that the music is now ironically appreciated,” Petrusich points out. However, “the records that [these artists] were making were entirely sincere.”
Can those records — and the artists behind them — ever be taken seriously if they’re still being laughed at? Loggins is a surprisingly versatile songwriter with a sinuous delivery and a knack for unpredictable funk. McDonald’s voice stood out even during a time when commanding voices were ubiquitous; songs like “You Belong to Me” and “I Keep Forgettin’ (Every Time You’re Near)” are essential contributions to the soul canon. But when these acts are lumped into yacht rock, they are relegated to the minor leagues, stuck as purveyors of slick chill-out music for the aging and affluent.
“I’ve made peace with ‘yacht rock,’ but for the first few years, I just hated it,” Pack says in A Dockumentary. “I’m like, ‘Why did they pick our generation to make all of our music into a big joke?’”
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Rashida Jones, an actress and award-winining filmmaker, penned a moviing tribue to her father, the late producer Quincy Jones. Taking to social media, Rashida Jones remembered Quincy Jones as a protective and loving father, even in the midst of his creative endeavors.
Rashida Jones, 48, posted a photo of herself as an infant while being cradled by Quincy Jones, sharing how she would walk in on him creating music late at night yet never turned her away.
From Instagram:
My dad was nocturnal his whole adult life. He kept “jazz hours” starting in high school and never looked back. When I was little, I would wake up in the middle of the night to search for him. Undoubtedly, he would be somewhere in the house, composing (old school, with a pen and sheet music). He would never send me back to bed. He would smile and bring me into his arms while he continued to work…there was no safer place in the world for me.
Jones continued her tribute with “He was a giant. An icon. A culture shifter. A genius” before concluding that she was honored to be his child.
Rashida Jones won the Grammy Award for Best Music Film in 2019 for the biographic film, Quincy, which focused on the life of her father.
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Will Smith is one of the most recognizable celebrities of his era and much of his fame was earned during his days as an actor on The Fresh Prince of Bel-Air, produced by Quincy Jones. Taking to social media, Will Smith gave a loving tribute to the late Quincy Jones, naming the influential producer as a “mentor.”
On Instagram, Will Smith, 56, posted a photo of him and Quincy Jones on the set of The Fresh Prince of Bel-Air, with Jones flashing a big smile and pointing at the rapper-turned-actor. In a brief but emotionally packed message, Smith showered Jones with adoration.
From IG:
Quincy Jones is the true definition of a Mentor, a Father and a Friend. He pointed me toward the greatest parts of myself. He defended me. He nurtured me. He encouraged me. He inspired me. He checked me when he needed to. He let me use his wings until mine were strong enough to fly.
Among Jones’ many achievements, he served as an executive producer for the hit sitcom that made Smith a star and also appeared in an episode from the show’s fourth season. Along with music production, Jones had a hand in composing music for major films and created VIBE magazine among other creative endeavors.
Quincy Jones passed at the age of 91 this past Sunday (November 3).
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Michael Jackson needed some guidance. “The first time he came to my home he said to me, ‘I’m getting ready to do my first solo record for Epic Records,’” Quincy Jones recalled in Q, his 2001 autobiography. “‘Do you think you can help me find a producer?’”
Jones, a musician of unparalleled range and talent who had already overseen or arranged records for Frank Sinatra, Sarah Vaughan, and Aretha Franklin, ended up filling the role himself — over the objections of Jackson’s record label, who deemed the producer “too jazzy.” Thanks to Jackson’s collaborations with Jones on Off the Wall, Thriller and Bad, the two men are inextricably linked.
If there was a downside to helping Jackson become an icon and sell enough albums to populate a small planet, it’s that this achievement often obscures the breadth of Jones’ own accomplishments, reducing his career in the late 1970s and 1980s to a single sidekick role. Jackson did need Jones at his side to make the best music of his most classic period. But this dependency was not mutual: Jones’ productions during this era — for the Johnson Brothers, George Benson, Chaka Khan, and Donna Summer, among others — can hold their own against Jackson’s finest singles.
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Jones’ dance music is propulsive, but more than that, it levitates. It makes sense that when Jackson appeared to defy the laws of physics by moonwalking on national television in 1983, he did so to one of Jones’ productions. There is a lot of great disco, yet there are just a handful of songs from this period able to conjure the feeling that Jones reliably created: His productions seem to glide, reveling in the heady momentum of liftoff, cheerfully spurning the ground that the rest of us must rely on to generate forward movement.
Jones made this look easy. For him, producing was always a group effort. When preparing to work with Jackson, the producer rounded up what he called his “killer Q posse,” a group of musicians where “every one was a black-belt master in his own category:” the songwriter Rod Temperton, the engineer Bruce Swedien, the keyboard player Greg Phillinganes, the trumpeter/arranger Jerry Hey, the bassist Louis Johnson, the drummer John Robinson, and the percussionist Paulinho da Costa.
This group worked on Off the Wall, released in the summer of 1979, and most of them also contributed to Rufus & Chaka Khan’s Masterjam, which came out later that year. All Jones’ powers are on display in “Any Love,” the latter album’s second track, an indictment of a playboy — “You don’t really love from deep within,” Khan sneers — that’s as savage as it is danceable. In the first verse, the drums march stiffly, while the bass is excitable like the cad Khan targets, popping rudely and bounding showily into the chorus. Jones gradually ratchets up power, adding jolting brass and a string section that zigs and zags dramatically. This clears the way for a jaw-dropping eruption from Khan, the sort of vocal bulldozing that Jackson, with his more delicate register, couldn’t match.
The following year, the “killer Q posse” returned on a pair of albums produced by Jones, both of which aimed to conquer the nocturnal hours — the Brothers Johnson’s Light Up the Night and George Benson’s Give Me the Night. “Closer to the One That You Love,” from the former, is an intricate, slinky miracle, with a sudden, vertigo-inducing vocal climb from lead singer George Johnson. And on Give Me the Night, both the title track — which hit No. 4 on the Billboard Hot 100 — and “Love X Love” are frisky and strutting, with guitar figures that skim across the brisk beats like smooth pebbles skipping across a pond.
Summer turned to Jones and his posse for their wizardry in 1982, managing to bottle lightning with “Love Is in Control (Finger on the Trigger).” The soaring harmonies on the chorus, the nasty edge to the bass line, the way the horns add sizzle to an already piping-hot track; these are all the indelible hallmarks of Jones’ work.
“Love Is in Control” only made it to No. 10 on the Hot 100, which would surely have been a disappointment for its producer. “Number 1 is euphoric and addictive,” he wrote in Q. “Numbers 2, 6, and 11 are my least-favorite chart positions.” Of course, Jones enjoyed plenty of that “euphoric and addictive” feeling after Thriller came out in November 1982.
If Q is any indication, Jones didn’t seem to care much about his work with Summer and Benson and Khan — or even his longer association with the Brothers Johnson, for whom he produced four albums. Jackson, of course, looms large in the book. And Jones is proud of his work in jazz and film scoring. But vital albums he helmed in the 1970s and 1980s barely even merit a mention in his autobiography. Jones passes over these remarkable songs, which can still reliably light up the night, as if they were just another humdrum day in the office.
Play “Love Is In Control” for a casual listener, though. They’ll probably say, “that sounds like Michael Jackson!” In truth, it sounds like Quincy Jones.
Tributes from industry luminaries and executives are pouring in for legendary producer, arranger and composer Quincy Jones, who died Sunday (Nov. 3) at the age of 91. A jazz sideman who evolved into a bandleader, label executive, film composer, TV and movie producer and, of course, popular music savant as studio maestro to Michael Jackson, Jones’ considerable artistic wingspan during his seven-decade career — his picture should be in the dictionary under “multi-hyphenate” — will rightly be lauded by every nook of the entertainment world.
“Through his music and his boundless love, Quincy Jones’ heart will beat for eternity,” his family said following his passing.
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Here is a list of reactions, which we’ll update as they come in:
Guy Moot and Carianne Marshall (CEO and COO, Warner Chappell Music): “We join billions of music fans around the world, as we mourn the loss of the great Quincy Jones, and celebrate his immeasurable contributions to culture. Words like titan, genius, GOAT, will be used today and he deserves it all. Quincy was a producer, artist, composer, and activist, but above all, he was a songwriter. He leaves behind an extraordinarily powerful, diverse body of work that will light the way for future generations. Our deepest condolences go out to his family and friends.”
Rock & Roll Hall of Fame (he was inducted in 2013): “Quincy Jones excelled at every role he took on. Producer, arranger, trumpeter, executive, and more, Jones won 28 Grammy Awards and guided historic sessions with such giants as Frank Sinatra, Miles Davis, and Michael Jackson in addition to his groundbreaking work in film and television. Jones established the standard for innovation; accomplished and successful in every facet of the music industry, he set the model for the modern music mogul.”
Michael Huppe (president and CEO, SoundExchange): “Huge loss yesterday to the music world. A seminal force. From Michael Jackson to Count Basie to Frank Sinatra.”
Nile Rodgers (guitarist, producer and co-founder of Hipgnosis Songs Fund):
TIDAL (the streaming service): “Rest in peace to Quincy Jones, who, as a producer, film scorer and solo artist, quite simply did it all. He has been sampled by Mobb Deep and the Pharcyde; composed the music for ‘The Color Purple’; and produced both “We Are the World” and Michael Jackson’s ‘Thriller,’ the latter being the best-selling album of all time.”
Danyel Smith (former editor of VIBE, which Jones co-founded): “In addition to being one of the best producers in the history of American music, [Quincy Jones] is the founder of VIBE magazine. [He] launched VIBE because it was the change he wanted to see. He wanted glorious and rigorous storytelling. He wanted depth of design and imagery. He wanted hip hop and the history of American Blackness that informed it to receive the credit it is due. Always surrounded by genius teams, and predecessors, and successors, I was music editor, cover story warrior, and the first Black person and first woman to serve as VIBE’s editor-in-chief — so I am blessed to have known Quincy Jones. As an artist yes, but also as a negotiator, a conversationalist, a charmer. Quincy Jones is a person I often reported to, a person who encouraged me (without sentiment). He was a networker, a knower of his worth, and a valiant enforcer of the true value of Black music and culture. I’m lost this morning. And at a loss. Rest in everlasting peace, Quincy Jones — from me and your grateful VIBE family.” (Smith’s full post on X can be found here.)
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Quincy Jones, a legendary record producer and songwriter who worked with several musical greats, died over the weekend in his California home. The enormity of the loss of Quincy Jones is on full display on social media, most especially the X social media platform.
Quincy Jones was born on March 14, 1933, in Chicago, Ill. Music became a part of Jones’ life at a young age under the guidance of his mother and a next-door neighbor. The idea of becoming a professional bloomed when Jones was a teenager, crossing paths with a blind pianist and singer by the name of Ray Charles who was just a couple of years his senior.
In the early 1950s, Jones, who was a trumpet player early on, studied for a short while at the Schillinger House facility, now known today as the Berklee College of Music. At the age of 20 in 1953, Jones hit the road as a trumpeter and arranger for Lionel Hampton. This opened doors for Jones to become an arranger for Dinah Washington, Clifford Brown, Cannonball Adderley, Count Basie, and others. In 1956, Jones joined Dizzy Gillespie’s band as a trumpeter and became its musical director. In that same year, Jones released his first album as a band leader.
Jones’ ear for music and talents as an arranger created a pathway for him to join Mercury Records as its A&R director and in 1964, he was named a vice president at the label, becoming one of the top Black executives in music at the time. Jones would continue to work as an arranger for the likes of Frank Sinatra and Billy Eckstine and moved into composing music for the film industry.
After suffering a brain aneurysm, Jones briefly stepped away from the music industry but returned and found himself drawn to producing pop records. Jones created his record label, Qwest, in 1980. He would also become a film producer in 1985, helping bring The Color Purple to life along with creating the score for the award-winning film.
Source: David Hume Kennerly / Getty
Among Jones’ several achievements, his work with the late Michael Jackson remains notable to this day. Jones was the producer of Jackson’s Off The Wall, Thriller, and Bad which all were massive successes and added to the legacy of both Jones and Jackson alike. During this time, Jones also produced the star-studded fundraising “We Are The World” single. Jones also dabbled in bringing television shows to fruition, serving as a producer for The Fresh Prince of Bel-Air. In 1993, Jones founded Vibe magazine and owned the publication until 2006.
Source: William Nation / Getty
Jones has been awarded several honors, including the National Medal of Arts from President Barack Obama in 2011, the Ahmet Ertegun Award in the Rock and Roll Hall of Fame in 2013, 28 Grammy Awards, a Primetime Emmy Award, a Tony Award, seven Oscar nominations, the Los Angeles Press Club Visionary Award in 2014 to count just a handful of his accolades.
Source: Bettmann / Getty
In the Hip-Hop sphere, tracks that Jones produced have been the sonic backdrop to acts such as De La Soul, Nas, 2Pac, The Pharcyde, Mobb Deep, LL COOL J, Kanye West, Dr. Dre, Kendrick Lamar, and more. Jones also embraced Hip-Hop as a producer, working with Big Daddy Kane and Kool Moe Dee on his Back On The Black album in 1989, and Kid Capri, LL COOL J, Funkmaster Flex, Heavy D, and more on Q’s Jook Joint in 1995.
Quincy Jones is survived by seven children: Rashida Jones, Kidada Jones, Kenya Kinski-Jones, Quincy Jones III, Jolie Jones Levine, Martina Jones, and Rachel Jones. Jones is also survived by his grandchildren. Isaiah Jones Koenig, Quincy Renzo Delight Jones IV, and Nea Jones.
On X, the passing of Jones is the number one trending topic and we’ve got the reactions listed down below.
Quincy Jones was 91.
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The iconic Ramova Theatre is set to reopen in Chicago with the help of Quincy Jones, Jennifer Hudson and Chance The Rapper. The three natives of the city are now part of an ownership group that has reclaimed the theater which first opened in 1929.
The Ramova was a popular movie theater in the Bridgeport neighborhood of South Side Chicago until it shut down in 1985, according to Blavity.
“I believe the cultural divides in our communities will always be bridged and uplifted by music and the arts,” the 90-year-old Jones said in a statement. “With Ramova, I see a future where the rich cultural heritage of Chicago shines even brighter alongside the country’s most talented artists, which will inspire future generations to come and bring glory to America’s Second City.”
In her statement, Hudson referenced her late mother, Darnell Donnerson who was killed in the city in 2008. “My mother always taught us to take care of home first, so to support the rehabilitation of this extraordinary theater with such a rich history in Chicago means more to me than one could imagine,” Hudson said. “I am honored and thrilled to help build this new home for artists and highlight this special community in new ways that will reach far beyond the neighborhoods we call home.”
The Ramova Theater features an iconic sign and spanish-inspired architecture, it became the jewel of the neighborhood — a place for people to gather and communities to come together, according to the official website.
It will now be reimagined as a 1500+ person live concert hall, independent craft brewery, beer garden and grill.
“We’re doing a complete rehabilitation to this pillar in the community, bringing back its historic grill, creating a world-class entertainment space, adding a brewery where we hope people will meet their new best friends. We’re working closely alongside locals who have kept this space standing to allow us this opportunity to do something special for Bridgeport and Chicago,” developer Tyler Nevius wrote.
The Ramova Theater, which is recognized on the National Register of Historic Places, will also amplify educational programs and workshops, as well as community initiatives from local non-profits.
“Chicago will always be part of who I am,” Chance The Rapper said in his statement. “I joined the team at Ramova to give back to the city that’s given me so much and to provide a stage to showcase the incredible talent Chicago has to offer. This is our moment to revitalize Chicago neighborhoods through one of the most beautiful ways possible — the arts.”
The space is set to open in Fall 2023.
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