Quincy Jones, who passed away on November 4th at 91, shaped the sound of popular music over seven decades in a way few others have.
From jazz to hip-hop, Jones elevated every genre he touched, working with artists at the top of their game and shaping moments that became musical milestones. Known for drawing out the best in those around him, Jones didn’t just make records—he crafted cultural moments.
As we look back on the music titan’s most iconic collaborations, we see how his work with the industry’s biggest names produced songs and albums that defined entire eras—masterpieces that still resonate deeply with fans around the world today.
Michael Jackson: A Pop Revolution
The partnership between Quincy Jones and Michael Jackson was nothing short of revolutionary, producing albums that not only broke records but redefined pop music.
Their collaboration began when Jackson was just 12, during a meeting at Sammy Davis Jr.’s house. Jones recalled the moment, saying, “Michael said, ‘I need you to help me find a producer. I’m getting ready to do my first album.'” That chance encounter ignited a creative partnership that would reshape the music world.
Their first major project together was Off the Wall (1979), which sold over eight million copies and firmly established Jackson as a solo superstar. Reflecting on the album, Jackson once shared, “Quincy Jones produced it, and we had a ball. It was the smoothest album I have ever been involved in. There was so much love, it was incredible. Everybody worked together so easily.”
With hits like “Don’t Stop ‘Til You Get Enough”, the album showcased Jones’s knack for helping Jackson carve out a distinct musical identity beyond his work with The Jackson 5.
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Then came Thriller (1982), an album that would become one of the best-selling records of all time, with more than 30 million copies sold worldwide.
Featuring iconic tracks like “Billie Jean”, “Beat It”, and, of course, “Thriller”, the album’s monumental success bridged racial divides in music, capturing black and white audiences alike. Thriller brought Jones a Grammy for Album of the Year, while “Beat It” won Record of the Year at the 1983 awards.
Their creative streak continued with Bad (1987), though Jones took a slightly lesser role by then. Altogether, the Jackson-Jones partnership yielded nine No. 1 hits and sparked a pop revolution, influencing countless artists and setting new standards for what pop music could achieve.
Frank Sinatra: The Voice Meets The Maestro
Long before Jackson, Jones was already a powerhouse, with Frank Sinatra as one of his closest collaborators.
With Jones by his side, Sinatra released some of his most celebrated work, starting with It Might As Well Be Swing (1964), which included the unforgettable “Fly Me to the Moon”. Their live album, Sinatra at the Sands, captured Sinatra’s electrifying performances alongside the Count Basie Orchestra, showcasing a chemistry that extended far beyond the studio.
By the time they reunited for L.A. Is My Lady (1984), they had built a friendship that Jones once described as “indescribable.” Sinatra even showed his affection by making Jones breakfast in the studio—a rare move from the legendary crooner.
“We Are the World”: A Global Anthem
One of Jones’s grandest projects came in 1985 with the charity single “We Are the World”.
Co-produced with Michael Jackson and organised alongside Lionel Richie, the song brought together an iconic lineup of 45 artists to record an anthem for humanitarian aid, with all proceeds directed to famine relief in Africa.
The track featured a remarkable mix of superstars: Stevie Wonder, Diana Ross, Ray Charles, Tina Turner, Cindy Lauper, Bruce Springsteen, Willie Nelson, Paul Simon, and Bob Dylan, to name just a few.
Recorded in a single, historic night after the American Music Awards, the atmosphere was charged with a sense of purpose. Jones famously reminded the artists to “check [their] ego at the door,” and they rose to the challenge, uniting in a song that transcended individual fame.
“We Are the World” quickly became a global sensation, raising over $75 million and winning four Grammy Awards, including Record of the Year and Song of the Year.
Ray Charles: Pioneering American Sound
Jones’ partnership with Ray Charles helped carve out a new space in American music, blending jazz, R&B, and soul in ways that shaped Charles’s sound and strengthened his status as a national icon.
Together, they created Genius + Soul = Jazz in 1961, a record that bridged jazz and soul, featuring standout tracks like “One Mint Julep”.
Jones’ jazz-infused arrangements paired seamlessly with Charles’s emotive voice, enhancing the album’s depth and appeal. The album was instrumental in highlighting Charles’s versatility and cemented his legacy as a pioneer who bridged multiple genres.
Aretha Franklin: A Soulful Bond
In the 1960s and beyond, Jones had a profound impact on Aretha Franklin’s career. His arrangements matched her powerful voice while preserving her authenticity.
His work on the soul classic “Ain’t No Way” exemplified this ability—creating a lush backdrop that allowed Franklin’s vocals to soar with emotional intensity. The song became one of Franklin’s definitive tracks, securing her reign as the “Queen of Soul.”
Lesley Gore: The Teen Queen’s Debut
In 1963, Jones produced “It’s My Party” for 17-year-old Lesley Gore—his first major hit as a producer.
The song spent two weeks at No. 1 on the Billboard Hot 100, was nominated for a Grammy and kickstarted both Jones’s and Gore’s careers. The catchy anthem about heartbreak resonated deeply with young audiences and set Gore on a path to stardom.
Donna Summer: Disco Meets Pop
In 1982, Jones produced Donna Summer’s self-titled album, which featured the Grammy-nominated hit “Love Is in Control (Finger on the Trigger)”.
This collaboration marked a significant moment for Summer as it was her first time working with a producer other than Giorgio Moroder and Pete Bellotte since 1974. Despite challenges during recording—Summer was pregnant at the time—she delivered powerful performances that continue to influence artists today.
