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But there’s another, related aspect of that experience, and it’s all over “The Complete Quincy Jones.” In just about every photo, he seems so happy to be wherever he is. Then there’s the intriguing shot of him looking heavenward with Leonard Bernstein at, we’re told, the Sistine Chapel. I know, I know: Sir, these are pictures. Those are as much Jones’s songs as Jackson’s. I learned that the rhythmic squeak on Jones’s “Soul Bossa Nova” (now immortalized as the “Austin Powers” ditty) is the cuica.
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Mr. Sebesky’s musical interests ranged far and wide. From the beginning, Mr. Taylor and CTI were on a mission to broaden the audience for jazz by exploring intersections with pop, rock and R&B, and by making music that was more accessible to mainstream audiences than some of jazz’s more esoteric strains. It was an approach that displeased some purists, but it sold records, and Mr. Sebesky’s arranging skills were pivotal to that success. Mr. Sebesky arranged the saxophonist Paul Desmond’s “Bridge Over Troubled Water” (1970), an album of interpretations of Simon & Garfunkel songs. Pairing Mr. Benson with that song was an idea Mr. Sebesky had proposed to Mr. Taylor, but with a twist.
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