It seems Quincy Jones pops up everywhere. He produced the best-selling album of all time (Michael Jackson's Thriller, recently re-released in a 25th anniversary edition), played with jazz greats of the 50s and 60s, wrote music for everything from "Roots" to "Sanford and Son" and even had one of his '60s classics revived in Austin Powers.
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Jones, who turns 75 this March, was involved in many of music's great moments of the last 50 years. But that's not news to the Smithsonian Institution.
Both the National Museum of African American History and Culture and the institution's jazz and music scholars have sought out Jones for his expertise on a number of projects.
"Quincy has really been one of the people to shape American music in profound and dramatic ways since World War II," says Lonnie Bunch, director of the African American museum.
Jones is on the council of the museum, which is awaiting construction. Bunch says the entrepreneur's business instincts help Bunch come up with fundraising strategies; and since Jones travels around the world, he brings in ideas from things he's seen in museums from Sweden to Abu Dhabi. Jones' connections to hip-hop artists and the younger generation also help Bunch plan a "youth strategy" for the museum.
"He reminds me all the time of the array of audiences we have to serve," says Bunch.
David Baker, director of the Smithsonian Jazz Masterworks Orchestra, played trombone in Jones' band in the early 1960s. Jones also wrote the foreword to Baker's book Arranging and Composing for the Small Ensemble.
Jones is "a walking history book," Baker says. "He has marvelous retentive powers."
Jones has experienced 20th century history firsthand, from arranging music for Frank Sinatra to his rise as one of the first African-American executives at a major record company in the early 60s.
"The historian in me comes out and I like to listen to him tell stories about the time he traveled with Duke Ellington or Thelonious Monk," Bunch says. "He's really this wonderful treasure."