Producing music for a production music library seems like an unusual gig for someone like Quincy Jones. After all, most composers and producers for this type of music are relatively unknown.

But Jones inked a deal to produce a nine-CD series for Famous Music's Extreme Music, which will license the music for film, television and commercial use.

Called the Q-Series, the first three CDs are expected to be available by summer.

Yours truly caught up with Jones via email to find out why he's doing this project. Here's what he had to say.

Billboard: Why are you doing this type of a project -- producing music for a production music house?

QJ: In 1964, at the invitation of Sidney Lumet, I scored my first film, "The Pawnbroker." It turned out to be my entrée into film. I would go on to score films like "In Cold Blood," "In the Heat of the Night," "The Color Purple," and television series like "Roots," "Ironside," "The Bill Cosby Show" and "Sanford & Son."

I was introduced to Extreme Music by my good friend Joel Sill, who I go way
back with. These guys are definitely no joke! I was blown away by their incomparable packaging and Web presentation. The ease with which film and television music supervisors can access all sorts of different types of production music is revolutionary. So I guess the answer to your question is twofold: (1) I was blown away by Extreme as a company, and (2) I think that this is representative of the paradigm shift we are currently seeing in music. For those of us who still love to make music in the age of P2P, this is a new and exciting way to get music out.

Billboard: What was your "hands on" role with this project?

QJ: On the jazz album, I went into the studio and produced the tracks just like they were any album I've produced over the past 50 years. With my team, I sifted through a pile of potential songs, we picked the best ones -- got
the best musicians -- and hammered it out. On the hip-hop album, on the other hand, it was a no-brainer. I reached out to my son, QD3, who is a serious hip-hop producer. He referred me to some young guys, JAM Music, who were absolutely exceptional and who helped us put together some really catchy grooves.

Billboard: How did you select who to work with on the project, like composers and musicians?

QJ: After doing this for so long, I definitely have my "go-to" guys, but
that said, a project like this mandates a whole new set of rules. For composers, I had the pleasure of working with guys like Kenny Werner -- and it doesn't get any better than that. For musicians, I had the pleasure of working with guys like Tom Scott -- guys who fly at 50,000 feet.

In some cases, for musicians, it was easy. I knew the right guys, and they were available. But sometimes, due to availability or restrictions in recording contracts, we had to go with the best referrals we could get. That's definitely something I've learned over the years -- you have to surround yourself with people you trust -- and listen to them. And at the end of the day, that's often how you discover a new talent.

Billboard: What do you hope to accomplish from this project?

QJ: "Soul Bossa Nova" was a song I wrote in 20 minutes in 1962. Never in a million years could I have imagined that 41 years later, it would be the theme song in all the "Austin Powers" movies and would be winning a VMA with Ludacris. When you write stuff like this, you really never know what's going to happen to it, but I've seen the way "Soul Bossa Nova" makes people groove and smile. And it all boils down to exactly that. We all know how important the sonic accompaniment to film and TV is, and I just love to see these brand new ways of getting music out to people.