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Thanks to Rob and John for stepping up and sharing .
Even after life without Michael I`m afraid we`ll still see mudslinging and lawsuits and the beautiful testimony here will be an antidote to the pettiness.
I only hope this side of the story will find it`s way to the masses.
I have to admit to being influenced by so much bad press and am happy to hear these stories . As tragic as his life turned ,,,,he did experience joy through the music and wasn`t just a tool of the fame machine.
I`m surprised to hear he was so much of an arranger/composer/producer in his own right based on the "hands on" experience he had with the music as told here.
If I may .... could you fill us in on just where all that brilliant writing and arranging came from on the collaborations with Quincy?
I too was blown away by those records but being a bit of a jazz snob at the time, assumed that the greatness of the musical architecture of those songs was due to Quincy`s talent and experience as an arranger since Count Base and beyond.
After reading this great thread ....I`m left wondering ..Did Michael play a part in the hornlines,basslines,breakdowns ....all those great modal keyboard/vocal ideas ...etc.?
It`s really very jazz oriented if you take away the sonics. Almost has a Gil Evans vibe
And if MJ did indeed help to construct the songs in this way ... Did he choose not to do this any more after Quincy .?..because at least I (superficially I admit) don`t feel the same musical flavor of "depth" ( at the risk of being judgemental) in later stuff ...
"Black or White" for example.
Without speculation, I thought some of the people who witnessed and/or participated
in the process could shed some light on this ...thanks, Paul
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