Entertainment
Quincy Jones mastered the art of arrangement, transforming simple tunes into epic soundscapes
Jose Valentino Ruiz, University of Florida
On the sleeve notes of some of the most memorable and best-selling albums of all time, you’ll find the words “Produced and arranged by Quincy Jones.”
It was a hallmark of quality.
Jones, who died on Nov. 3, 2024, at the age of 91, transformed our understanding of musical arrangement. His work spanned decades and genres, from jazz and pop to hip-hop and film scoring. He worked with pop icons like Michael Jackson, Frank Sinatra, Ray Charles and Aretha Franklin, and also collaborated with lesser-known artists such as Lesley Gore and Tevin Campbell.
Each of his projects, collaborations and forays into new genres redefined what it meant to arrange music.
As a music business and entrepreneurship professor, I’ve studied and taught Jones’ techniques, which I hope can inspire the next generation of musicians.
A master musical architect
Musical arrangement might seem like an abstract concept.
Simply put, it’s the art of deciding how a song unfolds. While a composer writes the melody and harmony, an arranger shapes the experience, choosing which instruments play when, how textures build and where dynamics shift.
Arrangement transforms a song from notes on paper into a fully realized piece of art that resonates with listeners. In essence, an arranger acts as a musical architect, designing the structure of a song to tell a compelling story.
Jones brought a visionary approach to arranging. He wasn’t merely filling in the gaps around a melody with a drum beat here and a horn section there; he was crafting a musical narrative that gave each instrument a purpose, guiding listeners through an emotional journey.
From his early work in the 1950s and 1960s with jazz greats like Count Basie and R&B star Ray Charles, to his blockbuster productions with Michael Jackson, Jones saw arrangement as a tool to guide listeners from one musical moment to the next.
Elevating voices
His work on “Sinatra at the Sands” is but one example.
Jones created lush, energetic big-band arrangements that perfectly complemented Sinatra’s smooth, warm voice. The choice of brass swells and the dynamic shifts amplified Sinatra’s charisma, turning the album into a lively, almost-cinematic experience. Unlike many arrangements, which often stay in the background, Jones’ took center stage, blending harmoniously with Sinatra’s vocals while adding depth and excitement to the entire performance.
In Ray Charles’ “I Can’t Stop Loving You,” Jones used orchestral swells and background vocals to bring out the soul in Charles’ voice, creating a richly emotional experience for listeners. By intelligently pairing Charles’ gospel-tinged vocals with a polished, orchestral arrangement, Jones captured the tension between sorrow and resilience – a demonstration of his ability to communicate complex emotions through arrangement.
Turning songs into stories
Jones’ skill at using arrangement as a storytelling device was exemplified by his collaboration with Jackson.
Albums like “Thriller” and “Off the Wall” showcased Jones’ knack for inventively layering sounds. On “Thriller,” Jones combined electronic and acoustic elements to create a multidimensional soundscape that set a new standard for production.
His ability to incorporate textures, background vocals and unique instrument choices – such as horror actor Vincent Price’s iconic narration on the song “Thriller” – transformed pop music, setting the stage for future producers to experiment with storytelling in their own arrangements.
In Jackson’s “Bad,” Jones pushed the boundaries of genre by blending funk rhythms with pop structures, giving Jackson’s music a timeless appeal.
The title track’s arrangement has layers of rhythm and harmony that build a feeling of tension and power, enhancing Jackson’s message of confidence and defiance. Each instrument and background vocal in “Bad” serves a purpose, creating a sound that is bold, exciting and engaging.
Lessons for educators
For educators teaching music production and commercial music, Jones’ approach provides a gold mine of practical lessons.
First, his commitment to genre fusion teaches students the importance of versatility. Jones’ career demonstrates that blending jazz, pop, funk and even classical elements can create something innovative and accessible. Students can learn to break free from the constraints of single-genre production, seeing instead how various musical styles can work together to create fresh, engaging sounds.
Second, Jones’ emphasis on storytelling through arrangement offers students a framework for making music that resonates.
In my classes, I encourage students to ask themselves: How does each musical element support the emotional arc of the song? By studying Jones’ arrangements, students learn to think of themselves as storytellers, not just sound engineers. They can begin to see arrangement as an art form in itself – one that has the power to captivate audiences by drawing them into a musical journey.
Finally, Jones’ work shows the power of collaboration. His willingness to work across genres and with a variety of artists – each bringing unique perspectives – demonstrates the value of open-mindedness and adaptability.
His life’s work serves as a reminder that music is more than just sound; it’s an experience shaped by careful, intentional decisions, with every sound and silence in a piece of music serving a purpose. https://open.spotify.com/embed/playlist/2iOfY6JjW9bevw3dQLwq6a?utm_source=generator
Jose Valentino Ruiz, Associate Professsor of Music Business and Entrepreneurship, University of Florida
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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awards and contests
The Largest AI Film Competition Is a Snapshot of Where AI Filmmaking Is Headed
Higgsfield released results from its largest AI filmmaking competition: nearly 8,800 submissions from 139 countries and $500,000 in prizes—highlighting a fast-growing, global, creator-led filmmaking ecosystem.
Last Updated on April 25, 2026 by Daily News Staff
A year ago, “AI film” still sounded like a niche experiment—cool demos, rough edges, and lots of debate about whether it could ever look truly cinematic. Higgsfield’s latest competition results suggest we’ve crossed into a new phase: AI filmmaking is becoming a real, global production lane, driven by independent creators working outside traditional studio systems.
According to the company, its AI Film Competition drew nearly 8,800 submissions from 139 countries, with a $500,000 cash prize pool distributed to independent filmmakers. Beyond the winners, the dataset reads like a market signal: generative tools are lowering the cost of entry for high-end visuals, and the talent pipeline is no longer geographically locked to legacy production hubs.
A global creator map is replacing the old studio map
One of the most telling takeaways is where the work is coming from. Higgsfield reports the largest volume of entries came from:
- India (1,805)
- United States (1,041)
- Germany (278)
- France (230)
- Italy (228)
- Brazil (212)
- United Kingdom (196)
Historically, cinematic action and high-end VFX were concentrated in a handful of established centers—places with the budgets, infrastructure, and specialized crews to pull off complex sequences. Higgsfield’s results point to a different reality: subscription-based, production-grade AI tools are reducing geographic barriers, enabling creators across Latin America, Southeast Asia, and Eastern Europe to compete in the same visual arena.
Higgsfield CEO Alex Mashrabov framed it as a creator inflection point, arguing that the scale of participation signals the next breakout franchise “can come from anywhere on Earth.” Whether or not you buy the blockbuster prediction, the underlying shift is hard to ignore: global access is now a feature of the production model.
The judging criteria hints at what matters next
Another important detail: the prize pool wasn’t awarded for “best render” alone. Higgsfield says the jury—made up of both traditional production veterans and AI-native creators—prioritized storytelling and directorial intent over technical polish.
That’s a meaningful signal for where AI filmmaking is headed. As tools improve, the baseline for visual quality rises. What differentiates creators isn’t just the ability to generate a shot—it’s the ability to direct one: pacing, tone, character, and clarity of vision.
The jury included names and studios spanning both worlds, such as Secret Level (founded by Emmy-winning filmmaker Jason Zada), Buralqy, concept artist Jama Jurabaev, and PJ Ace of Genre.ai—who called it “the best-looking AI film contest” they’ve seen.
Decentralized production is no longer theoretical
The Grand Prize winner is also a case study in how AI changes collaboration. 1st Place ($150,000) went to Muhannad Nassar (Detroit) and Simon Meyer (Germany) for “GRANDMA vs WASP.” The pair reportedly never met in person, instead using an asynchronous workflow across time zones with Higgsfield’s Cinema Studio.
That’s not just a fun anecdote—it’s a preview of a parallel production ecosystem where teams form around taste and capability rather than geography. If the toolchain is centralized in the cloud, the “studio” becomes a workflow, not a building.
Winners show two pathways: new creators and experienced pros
The rest of the top placements reflect how broad the adoption curve is becoming:
- 2nd Place ($100,000): Nikolay Shestak for “CUPID,” using Higgsfield to execute concepts that would normally be budget-prohibitive. He plans to apply the prize toward an independent superhero film.
- 3rd Place ($50,000): Brothers Ash and Aram Gevorkyan for “SCRATCH,” created in five days. Ash noted audiences mistook it for a studio-backed theatrical release and asked for a link to the “full movie.”
What’s emerging is a two-lane future: newcomers using AI to enter filmmaking for the first time, and established creatives using it to expand what they can produce independently.
Money is starting to loop back into production
Higgsfield also highlights something that looks a lot like early-stage industry deal flow: one top winner is reportedly reinvesting prize money back into the platform to produce a feature-length film, and the project has already attracted involvement from a major Hollywood figure.
That matters because it suggests AI-generated work isn’t staying in a separate “AI corner.” It’s beginning to intersect with the traditional financing-and-distribution ecosystem—especially when the output looks cinematic enough to be taken seriously.
The market is growing—and the infrastructure is consolidating
The competition results land in a market that’s expanding quickly. Citing Grand View Research, Higgsfield notes the global AI video generator market was estimated at $788.5 million in 2025 and is projected to reach $3.44 billion by 2033 (a 20.3% CAGR).
Higgsfield is positioning itself as an all-in-one workflow layer, combining its own models with third-party options (including OpenAI’s Sora and Google’s Veo, among others) so creators can choose the best model per task without rebuilding pipelines. The company says it serves 20 million+ users who have generated 50 million+ videos, and it reports a most recent valuation of $1.3 billion.
What to watch for next
If you’re tracking where AI filmmaking is going, this competition offers a few clear “watch points”:
- More global breakout creators as the cost of cinematic visuals continues to fall
- Decentralized teams forming around projects, not locations
- A shift from “can it look good?” to “can you direct it?” as quality becomes more accessible
- Traditional industry crossover as AI-native projects attract recognizable partners
Want to see the winning films and action scenes? Higgsfield has them here: https://higgsfield.ai/contests/make-your-action-scene
Source: Higgsfield press release distributed via PRNewswire (March 18, 2026).
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Festivals
Presqu’ile Winery Partners With LAND to Bring Contemporary Art to Santa Maria Valley
Presqu’ile Winery and LAND are partnering to bring free, site-responsive contemporary art to the Santa Maria Valley estate in Santa Barbara Wine Country.
Santa Barbara Wine Country is about to get a fresh reason to linger a little longer. Presqu’ile Winery has announced a new collaboration with Los Angeles Nomadic Division (LAND), the nationally recognized nonprofit known for taking contemporary art out of traditional museums and galleries and placing it directly into the environments that shape it. The result: curated, site-responsive works—some created specifically for the property—installed across Presqu’ile’s Santa Maria Valley estate.
A winery becomes an open-air gallery—at no cost
Under the partnership, Presqu’ile will serve as a host site for LAND programming, opening its estate to the public for free. Visitors can expect contemporary art integrated into the vineyard setting, with select installations shaped by the landscape itself. The goal is simple and ambitious at the same time: expand no-cost access to contemporary art along California’s Central Coast while creating a cultural experience that feels inseparable from the place it inhabits.
LAND’s approach is rooted in the belief that art should be experienced where people actually live, work, and gather. Rather than building exhibitions around white walls and controlled lighting, LAND supports projects driven by place—work that engages the environment, the community, and the lived experience of the artists creating it.
“Nourishing reciprocity” between art, landscape, and community
Laura Hyatt, Director of LAND, emphasized how the Central Coast setting opens new creative possibilities for artists.
Hyatt noted that collaborating with Presqu’ile gives artists the opportunity to engage with the region’s natural beauty and unique ecology—placing artworks in what she described as “nourishing reciprocity” with the landscape and the visitors moving through it. She also highlighted the long-term potential of the partnership, which allows for deeper exploration over time, expands LAND’s geographic reach, and strengthens connections between Southern and Central California.
For Hyatt, the collaboration is personal as well: her family has roots in the area going back five generations, adding another layer of community connection to the work LAND hopes to cultivate.
A shared mindset: tradition, experimentation, and a sense of place
Presqu’ile framed the partnership as a natural extension of what the winery already does—balancing tradition with experimentation. In the same way winemaking can honor time-tested methods while still pushing toward new expressions, contemporary art can offer new ways of seeing familiar processes and landscapes.
Matt Murphy, co-founder of Presqu’ile Winery, said the family’s appreciation for the visual arts made the collaboration an easy “yes.” He pointed to the opportunity to create “fun, compelling and unexpected” ways for the community to engage with both the installations and the estate itself—and to experience Presqu’ile through each artist’s creative lens.
What happens next
In the near term, LAND will install artworks developed through its programming on the Presqu’ile property, with public access remaining free. The collaboration is designed with community benefit at its center, positioning the estate as a cultural and agricultural destination—not just a tasting room.
Looking ahead, Presqu’ile has submitted plans for approval to develop expanded spaces intended to support free public art, cultural programming, and community gathering. If approved, those improvements would signal a long-term commitment to integrating arts and culture into the estate experience and welcoming future partners whose work aligns with Presqu’ile’s values of openness, creativity, and place-based expression.
Additional details—including participating artists and installation timelines—will be announced as the collaboration progresses.
About the partners
Presqu’ile Winery
Presqu’ile (pronounced press-keel) is a family-owned estate winery in Santa Maria Valley on California’s Central Coast. Founded in 2007, the winery produces cool-climate wines from its sustainably farmed estate vineyard and from a select group of growers across Santa Barbara County. The name—French Creole for “almost an island”—reflects the Murphy family’s Gulf Coast heritage and the winery’s deep emphasis on place.
Los Angeles Nomadic Division (LAND)
Founded in 2009, LAND is a nonprofit arts organization dedicated to connecting people and places through site-responsive public art and programs. Over 15 years, LAND has presented more than 500 artists across 300+ programs and exhibitions, ranging from large-scale sculptural commissions to billboards, roadside screenings, workshops, and city-wide video presentations—reaching millions of people.
Why it matters
This collaboration isn’t just about adding art to a winery—it’s about rethinking where art belongs, who gets to access it, and how landscape can become part of the creative process. For the Central Coast, Presqu’ile and LAND are setting the stage for a new kind of cultural destination: one where a walk through the vines can also be a walk through contemporary ideas, made visible in the open air.
Source: Presqu’ile Winery
Organization: Los Angeles Nomadic Division (LAND)
- Presqu’ile media contact: diana@solterrastrategies.com
- LAND media contact: kyle@hellothirdeye.com
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Food and Beverage
NYC to Host 5th International Volcanic Wines Conference on June 10
New York City will host the 5th International Volcanic Wines Conference on June 10, 2026 at Manhatta, featuring global volcanic regions, masterclasses, a Grand Tasting, and the Volcanic Wine Awards with JancisRobinson.com.
New York City is about to get a crash course in “wines with a sense of place.” Volcanic Wines International (VWI) announced the 5th International Volcanic Wines Conference (IVWC), set for June 10, 2026 at Manhatta in Manhattan. The one-day event brings together producers, sommeliers, buyers, journalists, and educators for tastings and masterclasses focused on wines grown in volcanic soils—an increasingly talked-about category known for its tension, mineral-driven structure, and unmistakable origin.
Why volcanic wines are having a moment
Volcanic vineyards sit on some of the planet’s most dramatic landscapes—think steep slopes, black sand, and lava-strewn terrain. But the conference isn’t just about scenery. The IVWC is built around a simple idea: volcanic terroir can shape wine in distinctive ways, influencing everything from texture and acidity to aromatics and perceived “energy” in the glass.
As VWI co-founder John Szabo, MS put it, volcanic wines often stand out for their “energy, structure, and clear sense of origin,” making them a natural fit for wine lists that prioritize discovery.
A global tasting tour—without leaving Manhattan
Hosted in what VWI calls the largest and most influential wine market in the U.S., the conference offers a rare side-by-side look at volcanic regions from around the world. Participating producers are expected from territories including:
- Etna (Sicily)
- Santorini (Greece)
- Canary Islands (Spain)
- Hungary
- Pantelleria (Italy)
- Lake County (California)
Masterclasses, seminars, and a Grand Tasting
The June 10 program is designed for wine professionals who want to go deeper than a quick sip. Attendees can expect guided tastings and educational sessions exploring how different volcanic soils—and the climates that surround them—can influence grape varieties and wine styles.
Seminars are slated to spotlight volcanic wines from:
- Soave (Italy)
- Etna
- Hungary
- Canary Islands
- Lazio (Italy)
The day also includes a Grand Tasting, where exhibiting wineries will pour for a curated audience of sommeliers, buyers, importers, educators, and media.
A new “Volcanic Origin” certification will be announced in the U.S.
One of the headline moments: the conference will host the official U.S. announcement of a new Volcanic Origin certification, created by the Vinora association of Auvergne, France. The certification is designed to help recognize authentic expressions from volcanic regions worldwide—an important step as interest grows and consumers look for clearer signals of provenance.
Volcanic Wine Awards + JancisRobinson.com partnership
VWI also highlighted a major media partnership with JancisRobinson.com for the Volcanic Wine Awards, an international competition celebrating standout wines from volcanic regions.
Award-winning wines will be featured on JancisRobinson.com and showcased in a dedicated space during the NYC conference.
“Volcanic regions produce some of the most characterful wines in the world,” said Tara Q Thomas, Managing Editor at JancisRobinson.com, adding that the partnership aims to bring greater attention to these terroirs.
The big picture: story-driven wine in a crowded market
Beyond the technical details, the conference is tapping into something the wine world is actively chasing: narrative and identity.
“Today more than ever, the wine world needs compelling stories that reconnect wine lovers with place and identity,” said Gino Colangelo, President of Colangelo & Partners and partner in VWI. Volcanic wines, he noted, offer “dramatic landscapes, ancient soils, and wines with unmistakable character.”
How to attend or exhibit
For information about exhibiting or attending, VWI directs inquiries to Bianca Panichi at bpanichi@colangelopr.com. Updates are also available at www.volcanicwinesinternational.com, with social channels on Instagram (@volcanicwines_intl) and Facebook (Volcanic Wines International).
What to watch for (STM Daily News)
- Whether the new Volcanic Origin certification becomes a widely adopted benchmark
- Which regions and producers dominate the Volcanic Wine Awards spotlight
- How volcanic wines continue to move from “sommelier obsession” to broader consumer demand
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