The protean Quincy Jones returned to the recording studio as a leader after a long stretch in Hollywood with this triumphantly contemporary big band album. He re-established himself firmly with his big band jazz base while casting a keen eye on the pop scene and the world of electric instruments (even Ray Brown is caught playing superb electric bass here). Laid out is his uncanny ability to attract the biggest names in jazz as sidemen: such as Freddie Hubbard, Roland Kirk, Hubert Laws, J.J. Johnson, Kai Winding, Jimmy Cleveland, and Jerome Richardson. For jazz buffs, the long, dramatic title track from the then-raging musical Hair is a highlight; Hubbard positively sizzles on muted trumpet, and the brash Kirk blasts through the grooving rhythm section under heavy reverb. There’s some in-the-pocket drumming from Bernard Perdie on two of the six tracks, Jones' classic, swaggering arrangement of Benny Golson’s ‘Killer Joe’, and a rendition of Edwin Hawkins' freak hit ‘Oh Happy Day’ that bursts with wit and sheer joy. This is one of the great peaks of Creed Taylor's A&M period, and is a perfect blend of all the hippest currents that were cooking up in the scene at the time.
