This 10 CD box set focuses on the early part of Quincy Jones' career and includes complete LPs, such as 'Go West, Man!', 'This Is How I Feel About Jazz' and 'The Great Wide World of Quincy Jones' and live recordings from France, Belgium, Switzerland and Sweden.Disc 10 includes two LPs 'The Music of Quincy Jones as Played By Benny Bailey, Joe Harris, Åke Persson and the The Quincetet' and 'Great Big Band and Friends' by Nat Adderley, Coleman Hawkins and Lucky Thompson with The Harry Arnold Orchestra. The box set features an array of jazz stars, such as Benny Carter, Art Pepper, Zoot Sims, Freddie Hubbard, Curtis Fuller, Oliver Nelson, Clark Terry, Phil Woods and many others.

I Heard That!! is a 1976 album from Quincy Jones. The album was released as a double album by A&M, a combination of newly-recorded material from the album plus previously-released songs that he released through A&M.

$ (also titled Dollar$) is the 1972 soundtrack album by Quincy Jones. Originally released on Reprise, it features vocal contributions from Little Richard and Roberta Flack in a few songs. A few of the songs featured have been sampled in hip-hop songs, well known and little known. This is taken from a French CD pressing released in 2001.

The Lost Man is the 1969 original soundtrack album to the film, put together by Quincy Jones. Released by the Uni label, Jones is assisted on the album by Ernestine Anderson, Venetta Fields, Geraldine Jones, The Mirettes, and many more.

The Hot Rock is the 1972 soundtrack album by Quincy Jones, released on Prophesy. Some of the musicians on the album include Grady Tate, Carol Kaye, Mike Melvoin, Clare Fischer, Gerry Mulligan, Clark Terry, and Victor Feldman among many. This is taken from an unofficial CD for the album ripped from vinyl, as it has not been digitally released.

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes!

Jazz Icons: Quincy Jones spotlights a young “Q” conducting his “dream band”—an 18-piece orchestra of world-renowned players such as Clark Terry, Phil Woods, Sahib Shihab, Budd Johnson and Benny Bailey. This 80-minute program, featuring 17 songs, is one of the finest examples of big band jazz ever to be captured on film. Shot in Switzerland and Belgium in 1960, these two concerts are the only known visual documents of this legendary tour—an important lost chapter in an illustrious career which has spanned six decades.

Get ready to click your heels-the smash-hit 1978 soundtrack to The Wiz is finally on CD! Quincy Jones, along with Ashford & Simpson, adapted the Tony Award-winning score for the film, and the list of performers is amazing: Diana Ross, a 19-year-old Michael Jackson, Lena Horne, Richard Pryor, Nipsey Russell and more. Includes Ease On Down the Road; You Can't Win; Is This What Feeling Gets? (Dorothy's Theme) , and all the rest of the numbers, plus a 24-page booklet with lyrics and original artwork and liner notes.

Jazz Icons: Quincy Jones spotlights a young “Q” conducting his “dream band”—an 18-piece orchestra of world-renowned players such as Clark Terry, Phil Woods, Sahib Shihab, Budd Johnson and Benny Bailey. This 80-minute program, featuring 17 songs, is one of the finest examples of big band jazz ever to be captured on film. Shot in Switzerland and Belgium in 1960, these two concerts are the only known visual documents of this legendary tour—an important lost chapter in an illustrious career which has spanned six decades.

41 Tracks. Cult TV and Film Themes by Mark Snow, John Barry, Quincy Jones, Lalo Schifrin, Jerry Goldsmith, John Carpenter, Vangelis, Bernard Herrmann, Henry Mancini, John Williams, Danny Elfman, James Horner, and more, more…

With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" – which is several cuts above the norm for that genre – along with a healthy quota of elegantly produced soul ballads.

The music made by Quincy Jones during the second half 1950s was a stunning example of contemporary jazz during that pivotal decade for the form. Listening back today to these groundbreaking records delightfully illustrate how the dynamic musician, performer, composer and arranger first introduced his extraordinary skills to the world. After spending the first half of the decade working for other musicians, including a number of freelance commissions arranging songs for renowned artists such as Dinah Washington, Duke Ellington, and his close friend Ray Charles, Jones soon decided it was time for him to take the lead. The first album release to feature Quincy as a named artist was the 1955 release on Mercury Records 'Jazz Abroad' on which he featured alongside jazz drummer Roy Haynes. Next up was, 'That's How I feel About Jazz' featuring an all star cast including Art Farmer, Lucky Johnson & Phil Woods - following which he would record and release a further six albums before the end of the 1950s, all for Mercury. Quincy Jones first eight albums, all released during this period, are featured on this 4CD set in their entirety, in glorious re-mastered sound, making this package the most complete Quincy Jones 1950s collection available today.

Having let eight years pass since his last A&M album, Quincy Jones made his debut on his own label with his most extravagant, most star-studded, most brilliantly sequenced pop album to date - which could have only been assembled by the man who put together "We Are the World." Jones was one of the first establishment musicians to embrace rap, and one of the first to link rap with his jazz heritage; it's hard not to be moved by the likes of Miles Davis, Dizzy Gillespie, James Moody, Ella Fitzgerald, Joe Zawinul, Sarah Vaughan, and George Benson electronically appearing on "Birdland" and trading brief licks with the likes of Kool Moe Dee and Big Daddy Kane on "Jazz Corner of the World"…

Two scores with a tone of righteous fury woven throughout. While there are differences in the approach to the two scores, Quincy Jones did manage to provide a unifying style – no mean feat, considering that the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture, while They Call Me Misters Tibbs! had a more open, urban attitude from its San Francisco setting. The music throughout has an edge (the lighter music in the second score is generally source music), with some interesting musical experiments going on (Jones, as one example, used cimbalom to reflect Tibbs' feelings in They Call Me Mister Tibbs!.) The Ryko CD release includes an Enhanced CD portion with film material. The sound throughout the disc is excellent, although the cues from In the Heat of the Night show their age, and the dialogue excerpts sound very rough.

Quincy Jones followed up Smackwater Jack and his supervision of Donny Hathaway's Come Back Charleston Blue soundtrack with this, a mixed bag that saw him inching a little closer toward the R&B-dominated approach that reached full stride on the following Body Heat and peaked commercially with The Dude. That said, the album's most notorious cut is "The Streetbeater" - better known as the Sanford & Son theme, a novelty for most but also one of the greasiest, grimiest instrumental fusions of jazz and funk ever laid down - while its second most noteworthy component is a drastic recasting of "Summer in the City," as heard in the Pharcyde's "Passin' Me By," where the frantic, bug-eyed energy of the Lovin' Spoonful original is turned into a magnetically lazy drift driven by Eddie Louis' organ, Dave Grusin's electric piano, and Valerie Simpson's voice…