Renowned for his extraordinary collaborations, Quincy Jones worked alongside legendary icons such as Frank Sinatra and Michael Jackson, reshaping the musical landscape of his time. He was not only a pivotal figure in the iconic 1985 charity single “We Are The World,” which impressively sold over twenty million copies, but he also amassed a staggering twenty-eight Grammy Awards throughout his illustrious career. His creative genius transcended borders, as he ventured into film, contributing to Oscar-winning soundtracks. In the wake of his passing at the age of 91 this week, the world reflects in awe on Quincy Jones’s remarkable journey, marveling at the immense impact one individual could achieve in a lifetime. Without a doubt, he stands as one of the most influential music producers of his generation. For enthusiasts of cinematic soundscapes, his crowning achievement remains the unforgettable soundtrack he orchestrated for The Italian Job.
Marking its 55th anniversary, the classic British crime caper The Italian Job endures as one of the most thrilling and inventive films from the late 1960s. While James Bond had his sophisticated gadgets and polished tuxedos, audiences were drawn instead to the charm of a band of cheeky Cockney rogues navigating the streets in their iconic Minis. “The only way to get through it is we all work together as a team,” humorously quips Michael Caine’s Charlie Croker, adding, “And that means, you do everything I say.”
Now let’s chant it all together: You’re only supposed to blow the bloody doors off!
Yet, beneath the dazzling stunts, picturesque locations, and an unforgettable cast—both human and vehicular—is a pitch-perfect tapestry of a soundtrack meticulously crafted for this quintessentially British film by a man who hailed from the south side of Chicago. Quincy Jones often recounted an amusing anecdote about a young Elton John, who commented on the song Get A Bloomin’ Move On (widely recognized as the Self Preservation Society). Elton posited that such a score could only be penned by a Brit, to which Quincy threw down the challenge, “You wanna bet?”
This catchy tune, which serves as both the trailer’s backdrop and the film’s grand finale, is infused with authentic Cockney rhyming slang, some of which is even performed by Michael Caine himself. This level of detail is remarkable, especially given that Jones was a comparatively young American producer with roots in the world of jazz, where he had the privilege of collaborating with legends like Miles Davis and Dizzy Gillespie. Nonetheless, Jones possessed an uncanny ability to grasp diverse styles and a magpie’s curiosity in applying them whenever necessary.
Consider the film’s unforgettable opening sequence featuring a stunning Lamborghini Miura maneuvering along the picturesque Alpine switchbacks. For car enthusiasts, the sound of Giotto Bizzarrini’s V-12 masterpiece is pure symphony, yet Jones masterfully composed a soaring ballad that elegantly complements the enchanting Italian landscape, akin to savoring a fine bottle of Chianti. Remarkably, despite the song’s vocalist, Matt Monro, being a Londoner who performed under the name Terence Parsons, the harmonious blend remains seamless.
Notably, On Days Like These and Get A Bloomin’ Move On are the two signature lyrical pieces on The Italian Job soundtrack, bolstered by a rich array of instrumental music that injects drama, tension, and humor into the corresponding scenes. Jones expertly wove groovy sixties organ melodies with folk influences, incorporating charming harmonica riffs, and even rendered the sound of a mandolin ominously sinister during intense moments involving the mafia. Not to be overlooked, the harpsichord-laden theme for the criminal overlord Mr. Bridger—played in one of Noel Coward’s final performances—carries an unmistakably British tune that echoes Rule, Britannia. Everything aligns perfectly, ensuring that the viewer immerses fully in the action, even if they’re not intently focusing on the sound.
The choice to enlist Quincy Jones for the soundtrack of The Italian Job was a decision championed by the film’s visionary director, Peter Collinson, and legendary producer, Michael Deeley. Deeley, who had a hand in other iconic films like The Deer Hunter and Blade Runner, recognized the potential to showcase the Minis as the film’s stars, despite facing challenges from British Leyland. He smartly opted to set the thrilling heist in Turin, leveraging connections to curry favor with Fiat’s Gianni Agnelli, who generously offered to provide Fiats as a replacement for the Minis free of charge, an offer Deeley tactfully declined as it wouldn’t have the same impact.
Understanding the importance of a unifying element to link the film’s dazzling sequences—particularly its literal cliffhanger ending—Jones was persuaded to relocate to London with his family, anticipating the birth of his son, Quincy Jones III, to help create the soundtrack. He quickly became enamored with traditional East End tunes, the whimsical, slightly cheeky melodies that locals could easily resonate with, sparking the mischievous spirit found in Get A Bloomin’ Move On.
In the backdrop of London’s Olympic Studios, where musical legends from Jimi Hendrix to Queen had performed, Jones recorded the enchanting score for The Italian Job. Interestingly, while he directed his forty-four-piece orchestra during daylight hours, The Rolling Stones were busy laying down tracks for Sympathy For The Devil during the nighttime. Michael Caine was known to attend these recording sessions, charmed by an enchanting cellist, picking up lessons on the intricacies of Cockney rhyming slang along the way.
Fate smiled upon the two men, leading to a rare bond of friendship grounded in an astonishing coincidence. During production, they discovered to their surprise that they shared not only their birthdays but also the exact hour and day of their births, March 14, 1933. In the wake of Jones’s passing, Caine aptly referred to him as “My Celestial twin Quincy,” a heartfelt term the two had playfully employed over the years.
Though Quincy Jones may not have known how to drive, his influence permeates car culture in a manner reminiscent of his profound impact on the American songbook. He elevated The Italian Job, a classic heist film, to unprecedented heights of memorability. Each time audiences witness Charlie Croker and his crew artfully evading the Carabinieri in their Alfa Romeos while orchestrating a smooth getaway across the streets of Turin, they are reminded of Caine’s Celestial twin. Reflecting on his 91 remarkable years on this planet, it’s clear Quincy Jones didn’t just blow the doors off life—he burst through them with unparalleled flair.
**Interview with Music Historian and Quincy Jones Expert, Sarah Richards**
**Editor:** Today, we reflect on the profound influence of Quincy Jones, especially following his recent passing at the age of 91. Joining us is music historian Sarah Richards, who has extensively studied Jones’s impact on both music and film. Sarah, thank you for being here.
**Sarah Richards:** Thank you for having me. It’s an emotional time for many of us who grew up listening to Quincy’s work.
**Editor:** Quincy Jones’s career was nothing short of extraordinary. Can you tell us what makes his contribution to the soundtrack of *The Italian Job* particularly significant?
**Sarah Richards:** Absolutely. *The Italian Job* is not only a classic film; it’s also a remarkable showcase of Jones’s versatility as a composer. He managed to infuse his jazz background into a uniquely British film, creating a soundtrack that’s both catchy and atmospheric. Songs like “Get A Bloomin’ Move On” resonate with audiences even today, capturing the cheeky spirit of the film.
**Editor:** The film has such a unique charm with its British humor and the iconic Minis. How did Quincy manage to bridge the gap between American jazz and British musical sensibilities?
**Sarah Richards:** It’s fascinating! Quincy was a masterful collaborator, and he had this instinctive ability to blend different genres. He was very much attuned to the film’s cultural context. His anecdote about Elton John challenging him on the British feel of the score highlights his confidence and creative spirit. Quincy embraced the challenge, proving that he could capture that quintessential British vibe through his compositions.
**Editor:** The opening sequence with the Lamborghini Miura is quite memorable. How does the music during this scene enhance the overall viewing experience?
**Sarah Richards:** That opening scene is a brilliant example of how music can elevate visuals. The soaring ballad he composed there isn’t just a backdrop; it transforms the landscape into a character of its own. Jones’s choice of arrangements and instrumentation makes the viewers feel the thrill of the ride. Even if they’re not consciously listening, the emotions evoked by the music guide their reactions to the stunning visuals on screen.
**Editor:** You mentioned the seamless blend of different musical elements in the soundtrack. Can you elaborate on that?
**Sarah Richards:** Certainly! Jones incorporated jazzy organ tones and folk influences with sharp, playful harmonica riffs, creating an eclectic soundscape that perfectly matched the film’s tone. He understood how to use music to inject humor and tension. For instance, the theme for Mr. Bridger combines traditional British sounds with a menacing undertone, which adds depth to the character while creating an unmistakable signature for the film.
**Editor:** Quincy Jones’s collaborations have always shone through. His partnership with director Peter Collinson and producer Michael Deeley seems crucial. What was unique about this collaboration?
**Sarah Richards:** Yes, that partnership was instrumental. Deeley recognized the importance of a strong soundtrack and strategically brought Quincy on board to unify the film’s various elements. He understood that Jones’s creativity would provide the emotional backbone to the heist narrative, especially during pivotal moments. Quincy’s willingness to immerse himself in London culture, where he gained firsthand experience, fed directly into the authenticity of the soundtrack.
**Editor:** In light of Quincy Jones’s passing, what enduring legacy do you think he leaves behind?
**Sarah Richards:** Quincy Jones’s legacy is one of unparalleled innovation and cultural fusion. He not only reshaped the music industry but also set a precedent for how soundtracks could play a vital role in storytelling. His work continues to inspire future generations of artists and filmmakers, bridging gaps in musical traditions across borders. From pop hits to orchestral scores, his influence will undoubtedly be felt for years to come.
**Editor:** Thank you, Sarah. Your insights highlight the genius of Quincy Jones and the lasting impact of his work, particularly with *The Italian Job*.
**Sarah Richards:** Thank you for having me. It’s important we celebrate his remarkable journey and contributions as we reflect on his legacy.
