2025 NAACP Image Awards: Quincy Jones’ Greatest Genre-Bending Moments That Shaped Music
Quincy Jones was a musical architect who built bridges between genres long before it was common practice. His genius lay in his ability to blend styles seamlessly, making jazz swing with hip-hop, fusing classical elegance with soul, and injecting gospel’s raw emotion into pop.
The 56th Annual NAACP Image Awards recently honored his groundbreaking contributions to music, film, and culture, a well-deserved tribute to a man whose influence knew no boundaries.
From shaping the sound of Michael Jackson’s Thriller to orchestrating the global anthem “We Are the World,” Jones has always been ahead of the curve, proving that great music transcends labels.
Whether working with rap pioneers, R&B legends, or jazz icons, Jones never stayed in one lane—he redefined the road itself. As we look back at yet another amazing celebration of Black talent across the industry, revisit five times Jones’ blended genes and redefined music.
Mixing soul and Latin jazz on “Soul Bossa Nova”
Arguably one of his most recognizable instrumentals, the 1962 record “Soul Bossa Nova” is a global anthem that fuses jazz, soul, and Brazilian bossa nova. The track, later popularized by the film franchise “Austin Powers,” remains a testament to Jones’ ability to blend styles from around the world into a single infectious groove.
Bringing soulful gospel to pop with Aretha Franklin
Jones lent his production expertise to Aretha Franklin’s nineteenth album, “Hey Now Hey (The Other Side of the Sky)” co-producing the soulful ballad “Angel.” Released as a single in June 1973, the record soared to the top of the US R&B Singles chart, holding the No. 1 spot for two weeks and reaching No. 20 on the Pop chart.
“Angel” became one of Franklin’s standout gospel-infused hits, a testament to her emotive vocals and Jones’ signature ability to blend soul with pop sophistication.
Elevating Film Scores with Jazz on ‘The Italian Job’
When Jones entered the world of film scoring, he didn’t just compose—he revolutionized it. For “The Italian Job,” the late composer infused classic heist movie tension with jazz-inflected arrangements, setting a new standard for film scores that carried rhythm and soul.
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Orchestrating a global anthem
Only Quincy Jones could unite Michael Jackson, Lionel Richie, Stevie Wonder, Bruce Springsteen, and dozens more on one track. As the producer of We Are the World, he orchestrated a global humanitarian anthem that combined pop, rock, and gospel influences to raise millions for African famine relief.
Bridging African Rhythms and Funk with “The Dude”
Jones’ 1981 album “The Dude” is a masterclass in genre-blending, effortlessly weaving funk, soul, jazz, and African rhythms into a rich, dynamic soundscape.
With standout tracks like “Ai No Corrida” and “Just Once,” the album highlighted the legend’s genius for fusing diverse influences and transforming them into mainstream hits. More than just a collection of songs, “The Dude” was a testament to his visionary production, earning multiple Grammy Awards and solidifying his legacy as a trailblazer who was always ahead of his time.
