From his sumptuous vocal jazz with Sarah Vaughan and Helen Merrill to funk with Donna Summer and George Benson, the late producer had astonishing versatility
For all Quincy Jones’s astonishing versatility, straddling the analogue warmth of big band jazz and the sleek production of the early-digital 80s, there is one work that towers over them all: Thriller, the biggest-selling album of all time.
On its title track, Jones brings a half-century of music to bear on its lavish, theatrical, yet still funky arrangement: it is like something from the music hall or vaudeville days, scaled up for the maximalist 80s. The brass fanfares carry the song and Jones stuffs the rest, like a Hollywood film with budget to burn on extras, with everything from camp storytelling flourishes such as the wolf howls to deft jazz detailing.
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