The 1994 Polar Music Prize goes to American composer, arranger and producer Quincy Jones, a boundary-transcending musical magician.

Chapter: Jazz debut
Lionel Hampton & His Orchestra "Midnight Sun"

Quincy Jones was born in Chicago in 1933, but moved to Seattle with his family a an early age where he developed his interest in music and started to learn the trumpet. Jones played with Robert Blackwell, Ray Charles and Lionel Hampton, among others.

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Berklee College of Music, Boston MA. Photo by John Phelan, via Wikimedia Commons

 

After high school graduation in 1950, he got a scholarship to study at the Boston music school Schillinger House (which later became known as the Berklee School of Music).

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Vibraphonist Lionel Hampton, who added Quincy Jones to the brass section of his orchestra in 1953, which already included Art Farmer and Clifford Brown. The photo is form a concert at Aquarium, New York, in June 1946. Photo by William P. Gottlieb, via Wikimedia Commons

 

Chapter: Parisian studies

Studies in Paris

Nadia Boulanger, french composer and musician, the first woman ever to conduct the Boston Symphony and New York Philharmonic orchestras. Teacher of Quincy Jones and many others.
Nadia Boulanger, french composer and musician, the first woman ever to conduct the Boston Symphony and New York Philharmonic orchestras. Teacher of Quincy Jones and many others. Photo: Edmond Joaillier, via Wikimedia Commons

 

Three years later, Dizzy Gillespie tapped Jones to play in his band, and later in 1956, when Gillespie was invited to put together a big band of outstanding international musicians, he chose Quincy to lead the ensemble. In 1957, Jones moved to Paris in order to study with Nadia Boulanger, an expatriate American composer with a stellar track record in educating composers and bandleaders. He went on to start a music career in France and participated in building up the foundations of the modern French record industry.

First album
Dizzy Gillespie
Chapter: Record company career

Eddie Barclay, a jazz pianist and high profile within French popular music, opened clubs in Paris in the ’50s where Quincy Jones played with great European jazz musicians like Boris Vian, Louis Armstrong, Ella Fitzgerald, Dizzy Gillespie, Sacha Distel and Glenn Miller. He started his record company Disques Barclay in 1958, hiring writer and musician Boris Vian as “directeur des variétés” and Quincy Jones as arranger and A&R, Frank Ténot and Daniel Filipacchi as “jazz managers”, Raymond Lefevre and Michel Legrand as “orchestrators” and Philippe Bouvard, famous French journalist, as PR-manager. Quincy Jones then produced and arranged sessions for popular artists like Jacques Brel and Charles Aznavour, as well as traveling American artists. Jones’ work for Barclay impressed the management at Mercury Records, an American label affiliated with the French imprint, and in 1961, he was named vice president for Mercury, the first time an African-American had been hired as an upper-level executive by a major U.S. recording company.

Eddie Barclay and his great orchestra, arrangements by Quincy Jones (Photo: Disques Barclay)
French friends
Chapter: Pop and movies

Pop and movies

Jones scored one of his first major pop hits when he produced and arranged “It’s My Party” for teenage vocalist Lesley Gore, which marked his first significant step away from jazz into the larger world of popular music.

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Lesley Gore Bradford Timeline via Flickr/cropped

Jones also freelanced for other labels on the side, including arranging a number of memorable Atlantic sides for Ray Charles.

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Ray Charles at the Polar Music Prize press conference 1998. (Photo: © Polar Music Prize)

In 1963 Jones began exploring what would become a fruitful medium for him when he composed his first film score for Sidney Lumet’s controversial drama The Pawnbroker; he would go on to write music for 33 feature films, including In Cold Blood, In the Heat of the Night, Bob & Carol & Ted & Alice, and The Getaway.

Quincy Jones movie scores
Chapter: The recording artist

The recording artist

While Jones maintained a busy schedule as a composer, producer, and arranger through the 1960s, he also re-emerged as a recording artist in 1969 with the album Walking in Space, which found Jones recasting his big-band influences within the framework of the budding fusion movement and the influences of contemporary rock, pop, and R&B sounds.

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© Verve/Polygram/Universal Music

The album was a commercial and critical success, and kick started Jones’ career as a recording artist. At the same time, he began working more closely with contemporary pop artists, producing sessions for Aretha Franklin and arranging strings for Paul Simon’s There Goes Rhymin’ Simon, and while Jones continued to work with jazz artists, many hard-and-fast jazz fans began to accuse Jones of turning his back on the genre, though Jones always contended his greatest allegiance was to African-American musical culture rather than any specific genre.

Jones-rhyminsimon
© Sony Music Entertainment
Albums 1970s
Chapter: Jones & Jackson

Jones + Jackson

When the implements of electronic music came on the scene, Quincy Jones opened the way to a completely new world of sound. In the ’80s, his biggest mainstream success came from his work with Michael Jackson. Jones produced the artists breakout solo album, Off the Wall, in 1979, and in 1982 they teamed up again for Thriller, which went on to become the biggest-selling album of all time, having reached over 110 million copies around the world.

 

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Cover art for “We are the world” Sony Music

In 1985 Michael Jackson and Lionel Ritchie wrote in two hours, the world famous charity singel “We Are the World” recorded by 45 pop artists, including Cyndi Lauper, Paul Simon, Bruce Springsteen and many more. Quincy Jones and Lionel Ritchie returned to the same studio 25 years later to record “We Are The World 25 For Haiti,” this time to help Haiti and support the country after the massive earthquake in January 2010.

Michael Jacksons's smash hit albums produced by Quincy Jones
Chapter: The social activist

The Social Activist

Launched in 2004, the We Are the Future (WAF) initiative was the result of a strategic partnership between the Glocal Forum and the Quincy Jones Listen Up Foundation, with the support of the World Bank, UN agencies, and corporations. The Listen Up foundation is another Quincy Jones initiative, working on breaking cycles of poverty and violence by initiating children to music and creativity.

 

"We Are The World 25 For Haiti"
Quincy Jones takes off his tie at the World Economic Forum in Davos, 2004. (Photo: Andy Mettler, WEF)
Chapter: Reworks of classics

A rework of the classics

Soul Bossa Nostra, re-works of Q's classics, released in 2010.
Quincy Jones interviewed in 2012 for the Polar Music Prize's 20th anniversary
Chapter: Polar Music Prize ceremony

Polar Music Prize ceremony

Quincy Jones and Nikolaus Harnoncourt were the Laureates of the Polar Music Prize 1994.

Jones-Stikkan
With friend and founder of the Polar Music Prize Stig “Stikkan” Anderson. (Photo: © Polar Music Prize)
HM The Queen of Sweden, Quincy Jones, daughter Kenya JMS Jones and partner Nastassja Kinski (Photo: © Polar Music Prize)
The Laureates and the Royal Family (Photo: © Polar Music Prize)
Quincy Jones receives the prize from HM The King of Sweden (Photo: © Polar Music Prize)
Citation Quincy Jones
Titiyo performing at the Polar Music Prize ceremony
Hommage to Quincy Jones at the Polar Music Prize ceremony