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Tonight is a real classical music pick and mix. | :00:00. | :00:00. | |
We have Brazilian street music, a Norwegian folk melody and this. | :00:00. | :00:13. | |
It's just another swinging night for Proms Extra. | :00:14. | :00:40. | |
Think of us as the neat little shortcut to the main street | :00:41. | :00:45. | |
And inside the Royal Albert Hall, there are no dead ends. | :00:46. | :01:05. | |
# Oh, I'm going to have a good time... | :01:06. | :01:12. | |
# Lets get together and get some good times... | :01:13. | :02:08. | |
Can you believe there's only a fortnight left of the Proms? | :02:09. | :02:11. | |
In our penultimate show, Proms Extra is joined in our studio | :02:12. | :02:15. | |
at the Royal College of Music by some special guests. | :02:16. | :02:18. | |
By the end of August, our first guest will have | :02:19. | :02:20. | |
conducted three Proms in as little as three weeks. | :02:21. | :02:24. | |
So far, he's done Jamie Cullum and the Quincy Jones Proms, | :02:25. | :02:26. | |
Last year, he and the Heritage Orchestra had 6,000 people raving | :02:27. | :02:33. | |
all evening to the Radio 1 Ibiza Prom. | :02:34. | :02:40. | |
Right here, right now, it's Jules Buckley. | :02:41. | :02:44. | |
When Proms Extra was told that our next | :02:45. | :02:46. | |
guest was bringing a touch of the Latin | :02:47. | :02:48. | |
American spirit to the Proms, we were delighted, | :02:49. | :02:49. | |
and immediately put in our orders at the bar. | :02:50. | :02:52. | |
kind of spirit and vibes to the hall last Wednesday, | :02:53. | :02:58. | |
and no lime juice was involved. | :02:59. | :03:05. | |
Please welcome a pianist who can make a masterpiece out | :03:06. | :03:08. | |
of even the simplest tune - Gabriela Montero. | :03:09. | :03:14. | |
We can blame a meeting with the jazz trumpeter Wynton Marsalis | :03:15. | :03:17. | |
for getting our final guest into jazz as a schoolboy. | :03:18. | :03:19. | |
With his saxophone, he has gone on to record successful jazz albums, | :03:20. | :03:22. | |
win awards and perform in prestigious venues | :03:23. | :03:24. | |
And if that wasn't enough kudos, his talents also stretch | :03:25. | :03:27. | |
to organising an annual event underneath a flyover in Birmingham. | :03:28. | :03:30. | |
And to play us out at the end of the show are James Risdon | :03:31. | :03:43. | |
and Matthew Wadsworth, two members of the ParaOrchestra | :03:44. | :03:45. | |
who recently had the crowds clamouring for more | :03:46. | :03:47. | |
when they performed at the Glastonbury Festival. | :03:48. | :03:49. | |
Jules, two down and want to go, what is next? Kamasi Washington and well | :03:50. | :04:03. | |
under way with preparations at the moment but still a lot to do. Every | :04:04. | :04:10. | |
minute counts! And last week, the Prom, Grieg, you were a busy girl, | :04:11. | :04:17. | |
did you enjoy it? So much, I loved bringing Grieg to this incredible | :04:18. | :04:20. | |
arena that is the Royal Opera Hall and going into a different world | :04:21. | :04:25. | |
with the Jazz. ANDREW CASTLE: One debut, I cannot believe it! It was | :04:26. | :04:31. | |
incredible to walk out into this massive space -- and your Proms | :04:32. | :04:37. | |
debut. What about this flyover, what has been going on? I have been | :04:38. | :04:44. | |
running myself ragged. I have just really enjoyed checking out the | :04:45. | :04:47. | |
Proms and seeing in both these people how their skills traversed | :04:48. | :04:51. | |
difficult and different musical camps and I have had a lot of fun | :04:52. | :04:56. | |
watching the Proms after I finished my own festival! We love seeing | :04:57. | :05:00. | |
that! Lovely to have you here. Thank you very much. | :05:01. | :05:03. | |
For a change, we're going to start the show gently. | :05:04. | :05:09. | |
Last Wednesday, BBC Four saw the Sao Paulo Symphony Orchestra | :05:10. | :05:12. | |
under Marin Alsop return to the Royal Albert Hall. | :05:13. | :05:14. | |
The evening was a world tour that took in South America, | :05:15. | :05:16. | |
Russia and fire and ice from Norway with Grieg's Piano Concerto, | :05:17. | :05:19. | |
performed by our guest, Gabriela Montero. | :05:20. | :05:23. | |
Gabriela, tell us about your relationship with this, you have | :05:24. | :05:27. | |
been playing this since you were small. The first time I performed | :05:28. | :05:32. | |
this, I was 11 and I learned it a little bit before. It is a piece | :05:33. | :05:37. | |
that has been with me all of my life and it is a grand and noble | :05:38. | :05:43. | |
concerto, very undervalued. It has moments of incredible inspiration, | :05:44. | :05:46. | |
but also, incredible explosions as well. Which you might not expect so | :05:47. | :05:52. | |
much from a Norwegian but they have a different way of expressing | :05:53. | :05:58. | |
themselves. But it is all in the music, it is contained and ready to | :05:59. | :06:03. | |
be tapped into. And there is a beautiful anecdote about a great | :06:04. | :06:11. | |
Venezuelan pianist. When she played Grieg's Piano Concerto, he was in | :06:12. | :06:14. | |
the audience and said to her afterwards, madam, I did not know | :06:15. | :06:18. | |
that my concerto was so beautiful. That is a nice little link. If he | :06:19. | :06:23. | |
was listening last night, you are channelling the spirit of that | :06:24. | :06:25. | |
Venezuelan! I hope so. Grieg's Piano Concerto was shown | :06:26. | :06:26. | |
last Wednesday on BBC Four with the Sao Paulo Symphony Orchestra, | :06:27. | :07:16. | |
conducted by Marin Alsop, with our Given how wonderful this work is, | :07:17. | :07:19. | |
it's hard to believe Grieg only wrote the one piano concerto, | :07:20. | :07:23. | |
Gabriela. Why did he not keep going? I do not | :07:24. | :07:29. | |
really know the answer for that. It is better to have one great concerto | :07:30. | :07:33. | |
than several that are not anti-nailed it with this one. It is | :07:34. | :07:38. | |
a piece that has a little bit of everything. And it is also a piece | :07:39. | :07:43. | |
that can be performed in many different ways. And being glutton, I | :07:44. | :07:50. | |
guess I bring my own Latin rhythmic and emotional and harmonic | :07:51. | :07:57. | |
understanding of it -- Latin. I find it is a very complete work and also | :07:58. | :08:05. | |
a very exciting work. It is not at all Conservative, classical. It is a | :08:06. | :08:10. | |
romantic, open interpretation piece that everybody loves. The crowd | :08:11. | :08:16. | |
loved it in the hole, no question, what did you think, was this a new | :08:17. | :08:22. | |
work to you, Soweto? No, I think everybody recognises the first four | :08:23. | :08:27. | |
bars. It was so engaging, the particular moment with a big swell | :08:28. | :08:32. | |
of trumpets. And it broke down on the violence. And sections had me on | :08:33. | :08:37. | |
the edge of my seat. The way that any good music does sometimes. The | :08:38. | :08:41. | |
unexpected elements I really enjoyed hearing. What did you pick up, | :08:42. | :08:46. | |
Jules? It was quite a Nostalgia experience and it reminds me of | :08:47. | :08:50. | |
being at school and the first time I fell in love, there was the Grieg | :08:51. | :08:56. | |
and I was in love with a young pianist. She was able to rock both | :08:57. | :09:01. | |
these out. So I always wanted to see this life. It took me back. It was | :09:02. | :09:05. | |
amazing. And there was maybe a little tear! I need to know more, | :09:06. | :09:11. | |
who was she? I cannot reveal that. Is she still playing? She is, yes. | :09:12. | :09:16. | |
We can reveal at the end of the night's show, here she is! You are | :09:17. | :09:24. | |
too modest, Gabriela, we should not skirt round the fact you were | :09:25. | :09:28. | |
playing wonderfully. There was something of your spirit of | :09:29. | :09:33. | |
improvisation you could feel in the interpretation of the Grieg. I just | :09:34. | :09:37. | |
wondered if you as a jazz musician picked up on that, Soweto? Usually, | :09:38. | :09:42. | |
even before a note was played. I remarked at such a lack of tension | :09:43. | :09:47. | |
in your body. Like you were just having fun. You internalised the | :09:48. | :09:52. | |
music. You could feel the notes coming out before the execution. And | :09:53. | :09:55. | |
that is some think you have either spent a long time with your | :09:56. | :09:59. | |
instrument which is clear, or you have been into other forms of music | :10:00. | :10:03. | |
beside classical. Bits of rhythm that were beyond the music on the | :10:04. | :10:08. | |
page. That was quite obvious to me as a jazz guy. | :10:09. | :10:12. | |
Go on to the BBC iPlayer and you can find the full Proms concert that | :10:13. | :10:16. | |
Now, Gabriela, I want you to watch this next film very carefully | :10:17. | :10:23. | |
as we stay with Grieg's Piano Concerto. | :10:24. | :10:25. | |
This week, our own baby grand, David Owen Norris, lets us know | :10:26. | :10:28. | |
who's calling the tune in his latest Chord of the Week. | :10:29. | :10:39. | |
The moment the piano's patients wears out in Grieg's Piano Concerto, | :10:40. | :10:47. | |
the orchestra begins by playing a trick on the piano, they play this | :10:48. | :10:50. | |
court. And the correct resolution would be for this eve flat to fall | :10:51. | :10:55. | |
to this day. But that is the wrong key! Is semitone too high! The piano | :10:56. | :11:03. | |
has a split second to save the show. Luckily, pianos know a single two | :11:04. | :11:09. | |
about harmony. This might not be a E flat, it could be a de shop, no | :11:10. | :11:13. | |
difference on the piano keyboard. Eight D Sharpe must rise. Keeping us | :11:14. | :11:25. | |
in the correct key of a minor. So in effect, the piano must say, I see | :11:26. | :11:31. | |
your E flat and I raise you a D sharp. If that is a D sharp, it is a | :11:32. | :11:36. | |
German sixth because the Germans were the first to think of it. So | :11:37. | :11:41. | |
the piano can use the international language of music to change the | :11:42. | :11:46. | |
ambiguous French German sixth into a French six which is not ambiguous, | :11:47. | :11:51. | |
just one note different. See, falling to a B. So this must be a D | :11:52. | :12:00. | |
sharp. And with that angry flourish, the piano changes the entire | :12:01. | :12:03. | |
character of the concerto. It has always been the orchestra that has | :12:04. | :12:08. | |
thought of the tunes so far and they began with. And it was the strings | :12:09. | :12:12. | |
that thought of the slow movement melody. But now by changing the | :12:13. | :12:22. | |
German sixth into a French six, the piano takes control and for the | :12:23. | :12:25. | |
first time in the concerto, the piano calls the tune. | :12:26. | :12:42. | |
David Owen Norris and his Chord of the Week will be back for our next | :12:43. | :12:45. | |
show. Still to come on Proms Extra? | :12:46. | :12:49. | |
A performance by James Risdon and Matthew Wadsworth at the end | :12:50. | :12:52. | |
of the show and we'll be taking a look at the Quincy Jones Prom, | :12:53. | :12:55. | |
which Jules Buckley conducted. After their performance in the hall | :12:56. | :12:58. | |
last Wednesday, you'd think the Sao Paulo Symphony Orchestra | :12:59. | :13:00. | |
would have packed up their music cases and headed back | :13:01. | :13:03. | |
to their hotel for a cup of cocoa The night was still young | :13:04. | :13:05. | |
and one disco nap later, the orchestra were back on stage, | :13:06. | :13:10. | |
joined by members of the Sao Paulo Jazz Symphony Orchestra, | :13:11. | :13:13. | |
together with Marin, they hit the hall with | :13:14. | :13:14. | |
the rhythmic sounds of Brazil. Those fantastic musicians | :13:15. | :14:09. | |
from Brazil, performing with maestro Marin Alsop for a late night Latin | :14:10. | :14:11. | |
turn as part of the Proms. I think it did demonstrate the depth | :14:12. | :14:28. | |
of Brazilian popular Basic? Absolutely, Brazilian music is such | :14:29. | :14:31. | |
a rich source of harmonic, interesting, the way that this music | :14:32. | :14:38. | |
seems to have this error and freshness, it is something I have | :14:39. | :14:44. | |
loved all of my life and to join them with improvisation to lead into | :14:45. | :14:48. | |
the girl from eponym, that were so much fun, why be only the classical | :14:49. | :14:55. | |
pianist? Be everything you can be. There are no limits. I have always | :14:56. | :15:00. | |
been fascinated by Brazilian music, the different influences and | :15:01. | :15:06. | |
geographic and cultural roads that lead you to this music. Did that | :15:07. | :15:12. | |
work for you as a demonstration? I really enjoyed it and you are trying | :15:13. | :15:16. | |
to convince the music of a continent, considering how many | :15:17. | :15:21. | |
different regions you have got. All that happens in Salvador. Add all of | :15:22. | :15:26. | |
these different movements, into a short passage of music but that | :15:27. | :15:31. | |
works very well and it gave people a flavour and they will want to hear | :15:32. | :15:36. | |
more. Great to see classical musicians joined by the Jazz | :15:37. | :15:43. | |
Symphony Orchestra. Is that a nightmare? Different genres | :15:44. | :15:46. | |
altogether? No, that is totally cool. When you are working with | :15:47. | :15:52. | |
different musicians from different worlds, it is a case of changing | :15:53. | :15:56. | |
your mindset depending on what you want to work on. The rhythmic stuff | :15:57. | :16:01. | |
or the improvisation, knowing when to engage and went a step back and | :16:02. | :16:05. | |
let them do their thing. You cannot underestimate the power of the | :16:06. | :16:10. | |
Brazilian popular music history. For example, I am sure that Ipanema, the | :16:11. | :16:19. | |
second or third most recorded piece ever. And the Soul Bossa Nova | :16:20. | :16:25. | |
revolution and how that was related to the politics of the time... And | :16:26. | :16:34. | |
all of incredible artists. All of this skies and a link to the | :16:35. | :16:39. | |
American jazz, like Miles Davis, it is super cross pollinated and maybe | :16:40. | :16:44. | |
not enough people know about that. It is this hidden world and it is | :16:45. | :16:49. | |
easy from where we imagine how brilliantly it has just evolved and | :16:50. | :16:54. | |
everybody got along but there was also quite tense social | :16:55. | :16:59. | |
circumstances and there was an exile in Brixton, I believe! During the | :17:00. | :17:08. | |
military junta. The last country in the world to abolish slavery and | :17:09. | :17:12. | |
these relationships, these African tensions, they are hugely important | :17:13. | :17:23. | |
in the evolution of Brazilian music. After your concerto, you asked the | :17:24. | :17:27. | |
audience for some help with improvisation. They were quite shy! | :17:28. | :17:34. | |
What did you do? I decided that somebody backstage said, why not in | :17:35. | :17:40. | |
proviso Bud Cauley. Add off I went and I went into something that was | :17:41. | :17:49. | |
very like Bach and then right time, I love the contrasts and the | :17:50. | :17:53. | |
similarities between the styles and composers and that bridge that | :17:54. | :17:58. | |
connects us through time. I cannot resist, here is a little piece of | :17:59. | :18:03. | |
Hope and Glory, as he had never heard that before! -- as you have. | :18:04. | :18:21. | |
The crowd went bananas after that! Can you explain what is going | :18:22. | :18:29. | |
through your head? I removed myself, I love creative process to happen | :18:30. | :18:36. | |
without my intellectual involvement, somehow the music filters through me | :18:37. | :18:41. | |
and it was interesting because neurologically there is an | :18:42. | :18:43. | |
expression for this, it has to do with the big neuroscience study that | :18:44. | :18:49. | |
has been done on my brain and how it behaves whenever I improvised | :18:50. | :18:52. | |
compared to performing a written scorer and what happens is my brain | :18:53. | :19:01. | |
shuts down the function that I use to control whenever I play a written | :19:02. | :19:05. | |
piece, that shuts down and it co-opts the different part of my | :19:06. | :19:08. | |
brain, the part that improvises, which is not used for music. What I | :19:09. | :19:14. | |
am closing down is my brain behaving differently. It feels like I am | :19:15. | :19:21. | |
skydiving! In music. And Ireland and I love the journey. Is that how it | :19:22. | :19:27. | |
feels for you? I wonder is it also the same region of the brain where | :19:28. | :19:31. | |
language is concerned? They say that with improvising, I have assimilated | :19:32. | :19:37. | |
musical languages and it is interesting hearing that the | :19:38. | :19:46. | |
building blocks are quite distinct from B-bop, using Lex and phrases to | :19:47. | :19:49. | |
get around the series of chord changes. There are sometimes stuff | :19:50. | :19:53. | |
that has gone to the back of the brain and you cannot help meaning | :19:54. | :20:01. | |
that in. It is the bane of so many! Trying to escape Lex and doing | :20:02. | :20:05. | |
something elemental and pure. For me it is much like language and | :20:06. | :20:10. | |
discussion, I have learned English and I can improvise sentences based | :20:11. | :20:14. | |
on that knowledge of language. And then bewilder people, you are just | :20:15. | :20:21. | |
making stuff up as you go along! Absolutely. I wish I could speak | :20:22. | :20:29. | |
that language! I really do! Head online and at the rhythm of the | :20:30. | :20:30. | |
night into your life! Proms Extra makes no | :20:31. | :20:33. | |
apologies for being nosey. We like a little secret or two | :20:34. | :20:35. | |
and with so many orchestras coming in and out of the hall, | :20:36. | :20:38. | |
we asked ourselves this? When a classical musician takes | :20:39. | :20:41. | |
their instrument out of its case, what Proms Extra really wants | :20:42. | :20:43. | |
to know is, what's in the box? This is my little box of tricks. I | :20:44. | :21:05. | |
have a photograph of my children. This is my box of tricks. This is | :21:06. | :21:13. | |
what I have. Reeds, everyone feels different. I have some valve oil to | :21:14. | :21:24. | |
make sure these valves don't stick. Not because I smoke but I use these | :21:25. | :21:29. | |
papers to clean my instrument, slotting Matin, nice and thin and | :21:30. | :21:32. | |
that will absorb most of the water. I have got two bows, my main one and | :21:33. | :21:41. | |
the spare one whenever this one misbehaves in certain atmospheres. I | :21:42. | :21:45. | |
also have this little device which is useful to be able to shave the | :21:46. | :21:56. | |
reed. I have not gone into the dark recesses of my box for many a year, | :21:57. | :22:01. | |
there could be anything in there! Oil. The keys get very clicky after | :22:02. | :22:13. | |
lots of use. I have Greece. It is much better down here. Some earplugs | :22:14. | :22:19. | |
somewhere, I think. When the drum kit gets too loud. And to adjust, | :22:20. | :22:25. | |
some players. Screwdrivers. Some brochures. That was on tour to | :22:26. | :22:32. | |
follow. This is my case and that book is great, it keeps me fairly | :22:33. | :22:40. | |
amazed, whenever you need that. Stress Peg! That is a polishing | :22:41. | :22:44. | |
cloth, I cannot even remember what that is for! And that is everything | :22:45. | :22:49. | |
that is a box. That is everything. That is what is in my box! Soweto, | :22:50. | :22:57. | |
what is in your box? It is quite boring, spare reeds, I can empathise | :22:58. | :23:04. | |
but a great saxophone player but some scorers, some little scales to | :23:05. | :23:09. | |
practice and then I would fold it up and put that into my case, not out | :23:10. | :23:15. | |
of super sedition, then just untidy! -- superstition. I am just untidy. | :23:16. | :23:22. | |
Julz, do you carry anything? I don't have box. I do have a bag. I have a | :23:23. | :23:33. | |
little Buddha and for some reason it turned up one day and ever since he | :23:34. | :23:40. | |
stays there. Is that for good luck? Yes, I definitely have some | :23:41. | :23:43. | |
superstitions and I always try to wear the same pair of trainers in | :23:44. | :23:47. | |
concerts and I try to make it look like they are not trainers! These I | :23:48. | :23:53. | |
my well old ones, actually! Gabriela? Any traditions or good | :23:54. | :23:59. | |
luck charms? My life is so volatile. There was nothing I can call | :24:00. | :24:03. | |
routine. I would have to say that I always carry little letters that my | :24:04. | :24:07. | |
daughters or my husband have written to me, very sentimental, but there | :24:08. | :24:12. | |
is no schedule routine, nothing consistent. It works! Don't change | :24:13. | :24:19. | |
that! The Travelcards. That little card that tells airlines you can | :24:20. | :24:23. | |
bring your instrument on the plane! Not in my case! | :24:24. | :24:28. | |
Now, Quincy Jones may not be a familiar name to some of you, | :24:29. | :24:31. | |
but he is the brains behind iconic Michael Jackson albums such | :24:32. | :24:33. | |
as Thriller and Bad and the film score for The Italian Job | :24:34. | :24:36. | |
And if you still don't get who Quincy is, then have a listen | :24:37. | :24:41. | |
to what our past Proms Extra guest, Nitin Sawhney, | :24:42. | :24:43. | |
Quincy Jones is all of my favourite producers, he has worked with some | :24:44. | :24:49. | |
of my heroes, from Michael Jackson to George Benson, incredible artist. | :24:50. | :25:01. | |
I am old school, I have been listening to his music since I was | :25:02. | :25:08. | |
18. Quincy is such a thunderbolt of music. I was excited to see him | :25:09. | :25:15. | |
live. He is one of the greatest living musical impresarios, I didn't | :25:16. | :25:19. | |
know what you call him. He has a unique sound and it comes from his | :25:20. | :25:24. | |
attention to detail. What a great way to celebrate such a massive name | :25:25. | :25:29. | |
in music, the Albert Ball! I have grown up with Quincy Jones. I have | :25:30. | :25:34. | |
danced, sweated and cried. For me there is nobody else, he is the man. | :25:35. | :25:41. | |
It is only one day! Quincy! One-day? Should have been a week. It is going | :25:42. | :25:46. | |
to be so big because the whole place would just get up, wondered? If he | :25:47. | :25:51. | |
makes an appearance, I am sure the roof will just... Will paramedics? | :25:52. | :25:58. | |
If he does, I will pass out! -- will there be paramedics. | :25:59. | :26:03. | |
That gives you an idea into the excitement surrounding | :26:04. | :26:05. | |
the Quincy Jones Prom night last Monday. | :26:06. | :26:07. | |
Jules, you conducted the event and we'll discuss | :26:08. | :26:09. | |
the music much more shortly, but how did this come about? | :26:10. | :26:14. | |
It came about eight months ago. I was discussing with the team, trying | :26:15. | :26:23. | |
to come up with a cool idea for this season and I had a hit list and | :26:24. | :26:29. | |
Lindsey was at the top. Together with John Cumming, I put together a | :26:30. | :26:34. | |
brief of the idea, and we got in touch with his guys and they | :26:35. | :26:38. | |
responded very positively and from that point it was just a case of | :26:39. | :26:41. | |
trying to figure out what we were going to do. And with such a giant | :26:42. | :26:49. | |
of the 20th, 21st century, he is the man, really, there is no equal, what | :26:50. | :26:54. | |
do you do? Over the process of these eight months I basically kept gazing | :26:55. | :26:58. | |
with his team back and forth about the set and what we would do and | :26:59. | :27:02. | |
eventually we whittled that line to 90 minutes or maybe more. You | :27:03. | :27:07. | |
whittled down the music and he was happy from the start, this idea? He | :27:08. | :27:15. | |
was on board? Quincy always wanted to have a moment to celebrate his | :27:16. | :27:18. | |
music at the Albert Hall and this felt like the perfect opportunity | :27:19. | :27:22. | |
and also for the Proms. Let's take a look! # I want you... # I wish you | :27:23. | :27:50. | |
could tell me... # Seven macro. -- seven macro. | :27:51. | :27:59. | |
# All right. Going to feel all right... | :28:00. | :28:53. | |
I want to hear you play the Hammond organ like that! I would love to! | :28:54. | :29:13. | |
The possibilities! And this man just seems to enjoy every single physical | :29:14. | :29:22. | |
contact. Just incredible. Ella Fitzgerald, Michael Jackson, he just | :29:23. | :29:25. | |
keeps on finding amazing talent. How does he do that? Added as happened | :29:26. | :29:33. | |
in Iraq after era, in the early 90s, his album introduced Kevin Campbell | :29:34. | :29:36. | |
to the world at the same time as having Ella Fitzgerald, there are | :29:37. | :29:41. | |
many people who have an eye for the future as well as contextualising | :29:42. | :29:45. | |
what they do in the past and who else could traverse Lionel Hampton | :29:46. | :29:52. | |
up to the 90s. He is still rocking right buyer. Some of the pieces we | :29:53. | :29:56. | |
performed in the construct with the Cuban pianist, they were produced by | :29:57. | :30:02. | |
Quincy this very year. And we presented a concert version of that. | :30:03. | :30:07. | |
Crazy to think that it is two centuries he has been rocking. | :30:08. | :30:12. | |
What is the thread connecting these things? Routes to Ironside. These | :30:13. | :30:22. | |
cheeky motifs. Earworms, he is the genius of that. Getting you a little | :30:23. | :30:28. | |
rift you cannot help singing and you can establish your own personality | :30:29. | :30:32. | |
which is any great jazz composition, they allow you to be even more of | :30:33. | :30:37. | |
yourself. I found through the process of putting this programme | :30:38. | :30:42. | |
together that many people know Q as Michael Jackson's producers so in a | :30:43. | :30:47. | |
way from my childhood, I thought, he is this amazing pop music producer. | :30:48. | :30:52. | |
And at a certain point when I was a jazz trumpet player, I got into | :30:53. | :30:57. | |
arranging and you find the line or Hampton, Frank Sinatra. So you freak | :30:58. | :31:01. | |
out a second time. And you find his film scores, The Italian Job, The | :31:02. | :31:06. | |
Pawnbroker, The Pawnbroker, The Color Purple, so you freak out a | :31:07. | :31:11. | |
third time. And you find out he co-produced the fresh Prince of Bel | :31:12. | :31:18. | |
air. The TV series. And he did We are the World. Thriller. You are | :31:19. | :31:23. | |
stored in a nervous frenzy thinking, what am I going to do for 100 | :31:24. | :31:28. | |
minutes of national television? And you realise that he is the world. | :31:29. | :31:33. | |
That is right. A question from our team. We were watching you conduct, | :31:34. | :31:37. | |
what is with headphones, what you listen to? Sometimes in the Albert | :31:38. | :31:42. | |
Hall, it is quite a challenge. The space with more, much louder and | :31:43. | :31:48. | |
more amplified concerts, the sound needs to be right. With the Sao | :31:49. | :31:57. | |
Paulo project with Marin, everything was... You have synthesisers and you | :31:58. | :32:03. | |
have a big band from the Metropole Orkest and you have to balance it, | :32:04. | :32:07. | |
so sometimes it is better to reduce the monitoring levels on stage by | :32:08. | :32:11. | |
wearing headphones to get a better sound. And some of the hand gestures | :32:12. | :32:15. | |
you use, is that your style or a magic code? It goes back to that | :32:16. | :32:22. | |
good question you brought up about the Sao Paulo Symphony Orchestra and | :32:23. | :32:26. | |
jazz Orchestra. It is a case of bringing skill sets from different | :32:27. | :32:31. | |
worlds and putting them together and deciding when to be very direct and | :32:32. | :32:36. | |
very clear and when to do nothing, or went to be super expressive with | :32:37. | :32:41. | |
the strings and less movement. I guess it is like, you have a tool | :32:42. | :32:46. | |
belt of a skill set as a conductor. Depending on the repertoire you are | :32:47. | :32:51. | |
doing, you decide which two you will use. For example, Marin with | :32:52. | :32:59. | |
Gabriela, there is an absolute unity that some dosh so Marin is | :33:00. | :33:03. | |
translating with Gabriela for the orchestra. Because that is what it | :33:04. | :33:08. | |
is all about. Quincy Jones was there, we have talked about his | :33:09. | :33:12. | |
music and the man. Some of the influence he has had on society and | :33:13. | :33:15. | |
the Civil Rights Movement, he was very politically as well motivated. | :33:16. | :33:20. | |
Music comes from a culture and a community and it is easy to | :33:21. | :33:24. | |
extrapolate a style and think they have dropped fully formed from the | :33:25. | :33:29. | |
universe. I think it is great he is aware of the roughness of his | :33:30. | :33:32. | |
upbringing in Chicago and what an emblem he can be the other people | :33:33. | :33:36. | |
from other backgrounds similar to his. Been commissioned to write the | :33:37. | :33:40. | |
score for something like Routes is huge if you are African-American, | :33:41. | :33:46. | |
anywhere around the world. I am sure he is aware of the weight of history | :33:47. | :33:51. | |
but the music is not oppressive, it is epic and inspiring. I think he | :33:52. | :33:55. | |
has demonstrated how to be a civil rights activist in the best possible | :33:56. | :34:00. | |
way. That is celebrating those aspects and triumphant things and | :34:01. | :34:04. | |
excelling at what he does. Do go to the BBCi player to see the Quincy | :34:05. | :34:09. | |
Jones Prom and practice your swing moves and do a moonwalk to Billie | :34:10. | :34:14. | |
Jean. I thought you would do the moonwalk! Later! Stay tuned! | :34:15. | :34:18. | |
As it's the Bank Holiday weekend, l'm feeling generous. | :34:19. | :34:21. | |
Rather than gifting you a dodgy BBQ or a DIY workbench, l have | :34:22. | :34:24. | |
A clip from last night's Mozart Requiem. | :34:25. | :35:05. | |
That was Ivan Fischer conducting the Budapest Festival Orchestra, | :35:06. | :35:07. | |
And Mozart's Requiem can be easily found online alongside | :35:08. | :35:11. | |
many of the Proms broadcasts, including Proms Extra. | :35:12. | :35:13. | |
And remember that all of the Proms are broadcast live | :35:14. | :35:16. | |
Proms Extra and I will be back next week for our final show. | :35:17. | :35:22. | |
We have great guests, great performances and a look | :35:23. | :35:25. | |
Jules Buckley - good luck with Kamasi Washington's Late | :35:26. | :35:31. | |
Thanks to Gabriela Montero and to Soweto Kinch. | :35:32. | :35:37. | |
I'll leave you with a performance by two star soloists | :35:38. | :35:39. | |
who are also members of the British ParaOrchestra, | :35:40. | :35:44. | |
the world's first ensemble of professional disabled musicians, | :35:45. | :35:46. | |
who recently had the Glastonbury Festival audience going crazy | :35:47. | :35:49. | |
when they performed Philip Glass's Heroes Symphony. | :35:50. | :35:52. | |
Tonight, to play out the show, we have Matthew Wadsworth | :35:53. | :35:55. | |
on the lute and James Risdon on recorder playing Castello's | :35:56. | :35:58. |