Quincy Jones's Quotes

I've met every freak in the business.

It's amazing how much trouble you can get in when you don't have anything else to do.

Music in movies is all about dissonance and consonance, tension and release.

My earliest memories are being pinned to a fence with a switchblade.

My son is a hip-hop producer.

The climate in the '50s and '60s for black performers or black people in the entertainment business was atrocious. It was atrocious.

We spent most of our life almost like street rats just running around the street until we were ten years old.

When I was 14, I was a passenger in a terrible accident.

You cannot get an A if you're afraid of getting an F.

You make your mistakes to learn how to get to the good stuff.

I got a scholarship to Seattle University and I was writing arrangements for singers and everybody. But the music course was too dry and I really wanted to get away from home.

We stole a box of honey jars one time and went out in the woods and took care of the whole box. I don't think I touched honey again for 20 years. I never wanted to see honey again.

After every war, there was a significant change in the music, and I can understand how that happened. If you participate in protecting the country, you think you can be part of it, but you come back home and it's worse than ever.

I got in the school band and the school choir. It all hit me like a ton of bricks, everything just came out. I played percussion for a while, and stayed after school forever just tinkering around with different things, the clarinets and the violins.

I guess hip-hop has been closer to the pulse of the streets than any music we've had in a long time. It's sociology as well as music, which is in keeping with the tradition of black music in America.

I was inspired by a lot of people when I was young. Every band that came through town, to the theater, or the dance hall. I was at every dance, every night club, listened to every band that came through, because in those days we didn't have MTV, we didn't have television.

I was raised in Chicago and I guess that was one of the special breeding grounds for gangsters of all colors. That was the Detroit of the gangster world. The car industry was thugs.

If you started in New York you were dealing with the biggest guys in the world. You're dealing with Charlie Parker and all the big bands and everything. We got more experience working in Seattle.

It slaps your dignity just right. I loved the idea of these proud, dignified black men, and I saw the older ones wounded, and it wounded me ten times as much because I couldn't stand seeing them hurt like this.

It's easy to get next to music theory, especially between your peers and music classes and so forth. You just pay attention. I had a good ear, so I realized that printed music was just about reminding you what to play.

Just blow in it and sound bad for about a year and then make it sound a little bit better, and you get a little band together, and then you get a few jobs. You take four guys that sound half bad, but if they're 25 percent each, they can give 100 percent, you know?

My father was a carpenter, a very good carpenter. He also worked for the Jones boys. They were not family members, we weren't related at all. They started the policy racket in Chicago, and they had the five and dime store.

We got into all the trouble you could ever imagine. We figured that if the Jones boys and all the gangsters ran Chicago, we had our own territory now. All the stores, all the crime, we were in charge of everything, my stepbrother and my brother.

When I was about five or seven years old my mother was placed in a mental institution and so we were with our father who worked very hard, and we had to figure a lot of things out.

Imagine what a harmonious world it could be if every single person, both young and old shared a little of what he is good at doing.

Every day, my daddy told me the same thing. 'Once a task is just begun, never leave it till it's done. Be the labour great or small, do it well or not at all.'