Black History

California Leaders Pay Tribute to Quincy Jones

On Nov. 4, the celebrated life of music producer Quincy Delight Jones came to an end at his home in Bel Air. The cause of death has not been disclosed. Jones leaves behind a rich legacy of music and achievements that spans 70 plus years. His impact on multiple genres of music as well as his contributions to art and education will have a lasting impact.

Published

2 years ago

November 6, 2024

Oakland Post

Quincy Jones. UCLA Digital Library.

By Reginald S. Webb Jr.

California Black Media

On Nov. 4, the celebrated life of music producer Quincy Delight Jones came to an end at his home in Bel Air.

The cause of death has not been disclosed.

Jones leaves behind a rich legacy of music and achievements that spans 70 plus years. His impact on multiple genres of music as well as his contributions to art and education will have a lasting impact.

“Quincy Jones brought the world endless joy with his optimistic spirit and colossal imagination. Not a day goes by without hearing a masterpiece that Quincy produced or hearing about the good he created with his generous heart,” said Gov. Gavin Newsom. “Jen and I — and all of California — mourn the loss of this great humanitarian and artist.”

Jones was born on March 14, 1933, in Chicago. By 10 years old, Jones’s family relocated to Bremerton, Washington where he met his first formal music mentor, Robert Blackwell, a well-known arranger, bandleader, song writer, and producer. He was a vital part of Quincy’s growth as a musician.

In 1951, Jones earned a scholarship to study music at Seattle University. After a semester there, he transferred to Berklee College of Music in Boston. His stay at this college was short-lived because he left to tour with the jazz percussionist and bandleader Lionel Hampton.

“I’m deeply saddened to learn of Quincy Jones’ passing. His talent and resilience led him to not only break barriers but become one of the most successful producers of all time, touching countless lives through music,” said Congresswoman Sydney Kamlager (D-CA-37). “We’ll miss my fellow Chicagoan-turned-Angeleno.”

Los Angeles Mayor Karen Bass said Jones “broke barriers in an industry that had long worked to exclude artists that looked like him.”

“Quincy Jones brought laughter, celebration, happiness and joy into the homes of millions. As a musician, composer, producer, and arranger, he changed our culture, and he changed our world,” added Bass.

Film scoring led to another trailblazing moment for Quincy Jones. He became the first African American to be nominated for an Academy Award for best original film score in 1967 for In Cold Blood. The same year he was also nominated for best original song for, The Eyes of Love, from a film titled Banning.

“He was unmatched in the creativity of his many productions. I will never forget how he worked with me to present Nelson Mandela, where 90 thousand people showed up at the Los Angeles Coliseum following his release from prison in South Africa. Quincy Jones will never be forgotten,” remembers Congresswoman Maxine Waters (D-CA-43).

Over his career, Jones received 80 Grammy nominations and won 28 of them. He released 16 studio jazz albums, 24 soundtracks albums, three live albums, and four compilation albums.

1n 2011, President Barack Obama honored Jones with the National Medal of Arts.

Jones is survived by his seven children and six grandchildren.

“Jones has provided a soundtrack to the best moments of so many lives – and to the deepest movements of change in this country. Our city is forever bettered by his gifts. We celebrate his life, and we mourn this loss,” Bass paid tribute to Jones.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

21 hours ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.