Quincy Jones was very instrumental in the transformation from disco to pop/R&B for Michael. Yes, he was known for jazz and orchestra but in my opinion it was more of a collaboration. In listening to the special edition interviews, there was more to it than just MJ wanting Vincent Price or rock n roll. Temperton wrote that dialogue in entirety a few moments before Vincent showed up. Also, this sounds as if Jones was just a button pusher and that’s not the case. The quality control that you mention had a lot to do with narrowing down the songs to Thriller (initially called “Starlight”). Truth be told, he did defer to MJ in many instances because he’s an incredible artist. You can’t coach those adlibs and the heartbeat of most of his music (like “Who is It?”). As a producer, he had to focus that genius. Otherwise a genius will continue on and on without much direction.

The climate changed once Quincy left. There was still great music but honestly, some producers didn’t have the same handle on that genius. One good example is the idea that more music means better musics. Most of the Jackson albums never passed 9/10 tracks. The 90’s brought on the thought that 16+ was better. Not true. It leaves more room to wander off track. That’s partially the producer’s call. Just like in film, the actor can kick and scream but it’s up to the filmmaker to make the right choices. The problem is that most people won’t tell a star that they are wrong. They leave it. Same with MJ. It’s hard for a starstruck person to tell a star “NO”.

I DO like the direction that you used in this article. It should encourage people to think. Maybe you should do one about the child abuse charges as well. I won’t even go into that right now.

Tieuel Legacy! aka The DDAd
Writer and Filmmaker

He’s one of a long line of RnB/Jazz artists to push music forward.

Let’s not forget the African Americans who not only innovated but suffered great indignities in the name of civil rights,etc

Louis Armstrong, Ray Charles, Nat King Cole (pulled off stage then beaten up, he went back on to finish the show)

(whether they always wrote their own material or not was never an issue: nobody knocks Sinatra nor Elvis…)

Anyway how do you know who played on the demos? (does it matter?)

Stevie W had some of the best synthesizer programmers in the industry:

http://en.wikipedia.org/wiki/Tonto%27s_Expanding_Head_Band

Don’t ever underestimate the importance of producers session musicians and technicians.

Sometimes you just need them to keep things under control and in perspective…

A good creative partnership can be about a chemistry that enables ideas to flow freely.

The measure of artistic merit (pop or otherwise) is in the influence it has on other artists (have they any credibility or just lightweight imitators and dilettantes?) and affect society in a positive way.

Where was his family when he needed them to sort his head out.

Berry Gordy said he was like a son…

He should have grown up musically (crooning and songwriting/producing/choreographing with others).

I am not a fan but can see his place in the history of pop.

Jacko had a lot of interest