"I believe very strongly that the divinity and creativity is the most powerful force there is." (Billboard, December 16, 1995 page 24)
"I think the basis of communication is basically being sincere." (ibid page 36)
"We're in a strange industry; our product is consumed even before it's purchased...People hear a record and if they don't like it, they don't buy it." (ibid, page 26)
"Rod Temperton, Greg Phillinganes, Jerry Hey, Bruce Swedien on the mixing side...we've been together almost 20 years... Without them, you can't be that adventurous. We can try anything, and we do, we go for it. Paul Jackson, The Brothers Johnson...it's definitely a family." (ibid, page 26)
"I must say that it's the music first. But we all have this junkie attitude: we don't care what gets in the way, we're not stopping. No matter how long it takes, how many times we have to do it over again, nobody cares. That's a great feeling because everybody is going for the moon. We all have that in common." (ibid, page 26)
"Ideas are the sustenance of creative life." (ibid, page 28)
"...the trick is to dream real big. But if you do that, you have to get off your ass and execute real big!...I think our higher power likes our dreams to be very specific. Don't just say, "Oh God, I wish I was happy." Give me a break, man! I think when you start dreaming and visualizing, you've got to be very specific or it won't happen." (ibid, page 28)
"I wanted to write for films, since I was 11 years old....Henry [Mancini] was my mentor. When I got into films, he helped me on some musical fronts and on some sociological fronts too. He was always trying to push the components and elements of what Americana was about, orchestrated to use in a dramatic context. I used to love that challenge because you couldn't get it any place else." (ibid, page 28)
"Let's face it, the music business is about eighteen-year-olds. I remember in 1959, when I was broke, and I was doing three weeks in Europe with Nat Cole, and Nat said, 'Somehow it all works out. You can have a big spurt of five years, or else you can take your time, and just ease on for fifty years and get bigger all the time.' That idea just knocked me out."
"It was Ray [Charles] who took me aside and explained that every form of music has its own soul; a level of emotional and spiritual musical value that is valid no matter who plays it. He also told me that the true test of a great musician comes with the person who can capture the essence of the soul of classical, German, folk, or even country and western music and make it flow within his own style."--Quincy Jones, Ray Charles and I, July 20, 1976, The Baltimore Afro-American
Quincy Jones signed to A&M Records in 1969.
Quincy Jones recorded his Walking in Space album in one week. It won the Grammy for best instrumental jazz performance, large group or soloist with large group.
While a recording artist for A&M, Quincy Jones served as the Musical Conductor and Arranger for the 43rd Annual Academy Awards in 1971.
Quincy Jones received his first platinum record in 1976 as the producer of the Brothers Johnson.
In 1977, Quincy Jones won an Emmy Award for Roots: the Saga of an American Family.
When he produced "We Are the World" in A&M Studio A in 1985, there was a sign that read "Check your ego at the door." Quincy had used that thought in many of his sessions. As he told Billboard in 1980,"...no start rips. That's the one thing I can't stand at sessions. We have an imaginary sign that says 'Check Your Ego At The Door.'"
- Big Band Arranger Quincy Jones Moves Into Realm of Voices and Smaller Groups. Leroy Robinson. Billboard, June 29, 1974.
- Quincy Jones, 30-Year Veteran, Now a Top Versatile Producer. Paul Grein. Billboard, February 23, 1980.
- Off the Record: An Oral History of Popular Music. Joe Smith. New York: Warner Books. 1988.