0:00:12 > 0:00:15Annie Ross was just unbelievable, she sounded like a trumpet.
0:00:18 > 0:00:23Here she is back then. Beautiful and sexy.
0:00:23 > 0:00:25Probably one of the greatest jazz singers of all time.
0:00:25 > 0:00:28# Yeah. #
0:00:28 > 0:00:31Born into the Scottish showbiz family that gave us her brother
0:00:31 > 0:00:35Jimmy Logan, Annie Ross is a jazz legend.
0:00:35 > 0:00:39I've heard every singer of any consequence there is.
0:00:39 > 0:00:42Nobody could've done what Annie did.
0:00:42 > 0:00:44"My analyst told me" - You know that one?
0:00:44 > 0:00:45"That I was right out of my head."
0:00:45 > 0:00:48# My analyst told me That I was right out of my head
0:00:48 > 0:00:50# The way he described it
0:00:50 > 0:00:53# He said I'd be better dead than live
0:00:53 > 0:00:54# I didn't listen to his jive... #
0:00:54 > 0:00:57She was the one who always really got it.
0:00:57 > 0:01:01She swings really hard, that's the bottom line.
0:01:01 > 0:01:04Annie's more like a musician than a lot of singers.
0:01:04 > 0:01:06She's got diva, whatever that is,
0:01:06 > 0:01:09but she's one of the cats, like, as a musician.
0:01:09 > 0:01:14Oh, Annie's a legend, and she should be, rightfully so.
0:01:14 > 0:01:16No-one's done that before and no-one will do it again.
0:01:16 > 0:01:20Absolutely brilliant and a real one-off too.
0:01:20 > 0:01:22Nobody's ever done it like her.
0:01:22 > 0:01:25She could speak a song better than a lot of people could sing them.
0:01:25 > 0:01:28Can I get you and the fellows to sing something for us?
0:01:28 > 0:01:30Oh! All right.
0:01:30 > 0:01:33As a solo artist and as part of the vocal trio
0:01:33 > 0:01:37Lambert, Hendricks and Ross, Annie was loved and admired by the likes
0:01:37 > 0:01:41of Count Basie, Charlie Parker and Billie Holiday.
0:01:41 > 0:01:46She was the best trumpet section we could've had.
0:01:46 > 0:01:49There was no better on the planet.
0:01:49 > 0:01:51# Every night Yeah
0:01:51 > 0:01:53# Every noon Yeah
0:01:53 > 0:01:55# Every sun Yeah
0:01:55 > 0:01:57# Every moon Yeah
0:01:57 > 0:01:59# Every way Yeah
0:01:59 > 0:02:01# Everywhere Yeah
0:02:01 > 0:02:03# I get blues Yeah
0:02:03 > 0:02:04# And don't care
0:02:04 > 0:02:06# Yeah!
0:02:06 > 0:02:09# I run away and hide but find they follow me there
0:02:09 > 0:02:13# You run away and hide but find they follow you there... #
0:02:13 > 0:02:17Annie is one of the few survivors of the legendary bebop era.
0:02:17 > 0:02:21Now for the first time, she tells her own remarkable story.
0:02:21 > 0:02:25This is Annie Ross, unvarnished, in her own words.
0:02:37 > 0:02:40About 12 o'clock noon,
0:02:40 > 0:02:44and there's a woman sitting at the bar, nobody else.
0:02:47 > 0:02:51And she wants to talk,
0:02:51 > 0:02:55but there's no one to talk to.
0:02:55 > 0:03:02So she just starts telling her story, as it comes to her.
0:03:06 > 0:03:09I don't think anybody had a weirder upbringing than I did.
0:03:11 > 0:03:16My mother and father were totally stage-struck,
0:03:16 > 0:03:19as were many in our family.
0:03:24 > 0:03:27She comes from a very famous show-business family,
0:03:27 > 0:03:29a Scots family as a matter of fact.
0:03:29 > 0:03:36Her father told me that he put her on stage when she was three.
0:03:36 > 0:03:38HE LAUGHS
0:03:38 > 0:03:41She had to come in with her mother
0:03:41 > 0:03:45and her mother would sit down, you know, in the middle of the theatre.
0:03:45 > 0:03:48And her grandfather would do his act
0:03:48 > 0:03:52and then he'd say, "Can I get the little girl to come up,
0:03:52 > 0:03:56"I'll give you a currant bun if you sing a song!"
0:03:56 > 0:03:59And I'd sing at the drop of a hat.
0:03:59 > 0:04:05I mean, there's a story that my mother couldn't find me
0:04:05 > 0:04:09at a railway station. We were on our way somewhere by train.
0:04:11 > 0:04:17And she found me in the ladies' room on top of the basin,
0:04:17 > 0:04:19singing for the customers.
0:04:21 > 0:04:25I was like a precocious midget.
0:04:27 > 0:04:31My mum and dad wanted me to be a star.
0:04:31 > 0:04:35Like, they used to call me the Scottish Shirley Temple.
0:04:35 > 0:04:38# You take the high road
0:04:38 > 0:04:40# And I'll take the low road
0:04:42 > 0:04:46# And I'll be in Scotland afore you
0:04:46 > 0:04:51# Where me and my true love will never meet again
0:04:51 > 0:04:56# On the bonnie, bonnie banks De-da-de-da-da
0:04:56 > 0:05:01# Of Loch Lomond. #
0:05:01 > 0:05:03APPLAUSE
0:05:03 > 0:05:08For the first four years of my life, I lived in Glasgow.
0:05:08 > 0:05:14And then when I was four, I was told we were going to go to America.
0:05:17 > 0:05:23We came over by ship to New York.
0:05:25 > 0:05:31And we had to go through Ellis Island. And that was very scary.
0:05:31 > 0:05:35I had an aunt called Ella Logan and she was there,
0:05:35 > 0:05:38luckily enough, to claim us.
0:05:40 > 0:05:44# There's a small hotel
0:05:44 > 0:05:49# With a wishing well
0:05:49 > 0:05:55# I wish that we were there
0:05:55 > 0:06:00# Together. #
0:06:00 > 0:06:05My aunt was going to Los Angeles to do films.
0:06:05 > 0:06:09I went with my mother and my aunt to LA.
0:06:09 > 0:06:14After I guess a couple of weeks, my mother left.
0:06:15 > 0:06:18A lot of people at that time used to say,
0:06:18 > 0:06:22"Oh, I'd like to buy that wee girl."
0:06:22 > 0:06:26And I was terrified my mother would sell me.
0:06:26 > 0:06:30So when she took off and went back to Scotland,
0:06:30 > 0:06:32I felt like I'd been sold.
0:06:40 > 0:06:42Let's do a ballad.
0:06:49 > 0:06:55# Sing a song of sad young men Glasses full of rye
0:06:57 > 0:07:02# All the news is bad again
0:07:02 > 0:07:07# Kiss your dreams goodbye
0:07:07 > 0:07:10# All the sad young men... #
0:07:10 > 0:07:14I've just lost my earring.
0:07:14 > 0:07:17# ..Sitting in the bar.
0:07:25 > 0:07:28# Running... # What the fuck?
0:07:28 > 0:07:32# Let your gentle light
0:07:36 > 0:07:40# Guide them home again
0:07:43 > 0:07:51# All the sad young men. #
0:08:01 > 0:08:06And I grew to have a very acrimonious relationship with my aunt.
0:08:06 > 0:08:08She was a very complicated lady.
0:08:12 > 0:08:18You know, she was famous, and people were always...
0:08:18 > 0:08:23I had to be introduced as her daughter, which I wasn't.
0:08:23 > 0:08:26I didn't really want for anything
0:08:26 > 0:08:31except love, except roots, family.
0:08:31 > 0:08:38And gradually because you know you have to, you remove yourself.
0:08:38 > 0:08:42And life becomes LA.
0:08:42 > 0:08:46Memories were of Scotland.
0:08:48 > 0:08:51But you adapt, and I had to adapt.
0:08:54 > 0:08:59It was a song contest and Johnny Mercer was a judge.
0:08:59 > 0:09:04# Let's fly baby Let's fly away. #
0:09:04 > 0:09:08I wrote it when I was 14. It was pretty sophisticated.
0:09:08 > 0:09:12# Where love's free And there's no such thing
0:09:12 > 0:09:15# As a mailman, doorbell telephone... #
0:09:15 > 0:09:18# Let's fly baby Let's fly away
0:09:18 > 0:09:22# Across tropical seas
0:09:22 > 0:09:26# We'll have fun Underneath the sun
0:09:26 > 0:09:29# So come on baby, please. #
0:09:29 > 0:09:35And when I wrote songs, it was always about heartbreak,
0:09:35 > 0:09:41and I guess, in my mind,
0:09:41 > 0:09:44I wasn't a happy kid,
0:09:44 > 0:09:47and I think that's maybe how I got it out.
0:09:50 > 0:09:53One day I was growing up,
0:09:53 > 0:09:58and my aunt said to me, "Why don't you become a set designer
0:09:58 > 0:10:02"cos you can't sing - you haven't got the magic."
0:10:04 > 0:10:07So that affected me.
0:10:07 > 0:10:12And above all, I wanted her approval but I couldn't get it.
0:10:15 > 0:10:20I think in a way, I became a kind of competitor.
0:10:22 > 0:10:27And I think that didn't sit too well for her.
0:10:27 > 0:10:32# Pack up all my cares and woe
0:10:35 > 0:10:37# Cos here I go
0:10:37 > 0:10:40# And I'm singing low
0:10:40 > 0:10:43# Bye
0:10:43 > 0:10:48# Bye-bye blackbird
0:10:51 > 0:10:56# Where somebody waits for me
0:10:58 > 0:11:01# Sugar is sweet
0:11:02 > 0:11:05# So he is
0:11:05 > 0:11:09# Bye-bye... #
0:11:09 > 0:11:13I got a phone-call from this composer, Hugh Martin,
0:11:13 > 0:11:18and he said "Annie, I'm forming a trio in Paris.
0:11:18 > 0:11:21"Would you like to join?"
0:11:21 > 0:11:23I said "I'm there".
0:11:23 > 0:11:28# I love Paris in the spring-time
0:11:30 > 0:11:34# I love Paris in the fall
0:11:37 > 0:11:40# I love Paris... #
0:11:40 > 0:11:43I flew to Paris and it was bliss.
0:11:43 > 0:11:47And I lived in every arrondissement,
0:11:47 > 0:11:51from the very best to the "rargh!".
0:11:53 > 0:11:58I worked in many clubs there, and I met some wonderful people.
0:11:58 > 0:12:02Charlie Parker, Dizzy Gillespie
0:12:02 > 0:12:07James Moody, Kenny Clarke.
0:12:07 > 0:12:12And they were my idols. I totally adored them.
0:12:12 > 0:12:15And they liked what I did,
0:12:15 > 0:12:17and it really meshed.
0:12:17 > 0:12:21I mean, it was wonderful.
0:12:21 > 0:12:26What I found in Paris was love and acceptance.
0:12:26 > 0:12:32The French had no qualms about a white girl performing
0:12:32 > 0:12:39with black musicians, whereas in America it was very difficult.
0:12:42 > 0:12:46James Moody had this song, Le Vent Vert.
0:12:48 > 0:12:52It's without words, very modern.
0:12:55 > 0:12:59I don't know if Moody couldn't find anyone else to do it,
0:12:59 > 0:13:02but he called me and I was thrilled.
0:13:02 > 0:13:07There was a really great jazz scene in Paris.
0:13:07 > 0:13:09Wide open and hot as fire.
0:13:11 > 0:13:18You know, bebop was... such a creative thing.
0:13:21 > 0:13:27And once my ear got attuned, that's all I wanted to hear.
0:13:29 > 0:13:34People say to me, "What is swinging like?".
0:13:34 > 0:13:41And really, it's a feeling of being all contained in the same bubble.
0:13:45 > 0:13:48So you snap your fingers and you tap your foot,
0:13:48 > 0:13:51and you can't not move.
0:13:54 > 0:13:57The rhythm is very important.
0:13:59 > 0:14:01I love to swing.
0:14:06 > 0:14:09# Cheep, cheep, cheep
0:14:09 > 0:14:11# Nice. #
0:14:11 > 0:14:18You're in a kind of gel, and you all are on the same plane.
0:14:20 > 0:14:24I really feel blessed at having the facility to do that.
0:14:26 > 0:14:28# I wanna be
0:14:28 > 0:14:30# No-one but me
0:14:30 > 0:14:37# I'm in love with the lover Who loves me the way I am
0:14:37 > 0:14:40# I have my faults
0:14:40 > 0:14:43# He likes my faults
0:14:43 > 0:14:45# I'm not very bright... #
0:14:45 > 0:14:49Kenny Clarke was one of the greatest drummers ever.
0:14:49 > 0:14:56And we had an affair, which resulted in the birth of my son,
0:14:56 > 0:15:00Kenny Clarke Jr, who was born in Paris.
0:15:03 > 0:15:07And er...
0:15:07 > 0:15:11That was Klook, as he was known.
0:15:21 > 0:15:26We didn't have enough money, Kenny Clarke and I.
0:15:26 > 0:15:29He got an offer from Dizzy...
0:15:33 > 0:15:35To come back.
0:15:35 > 0:15:38There was only enough money for one ticket.
0:15:46 > 0:15:48Kenny came off the ship
0:15:48 > 0:15:55and in his hand, he had a baby, er, you know, cloth basinet.
0:15:56 > 0:16:02It was blue with white trim. And here was his son.
0:16:02 > 0:16:10Six months later, we had enough money to bring me over to New York.
0:16:15 > 0:16:20I needed somewhere where the baby would be looked after
0:16:20 > 0:16:23while I was working.
0:16:23 > 0:16:28And nobody would take what they called a "half-breed child".
0:16:31 > 0:16:38I boarded him at this woman's house and I got a phone-call,
0:16:38 > 0:16:42about two in the morning, saying, "You come and get this child!".
0:16:42 > 0:16:44I said "why?".
0:16:44 > 0:16:49"He won't stop crying and you never told me he was half black."
0:16:49 > 0:16:50I said "he's a child."
0:16:53 > 0:16:56Klook's brother was a railway porter.
0:16:56 > 0:17:00He lived in Pittsburgh in what they called the projects.
0:17:02 > 0:17:05So I went and got the baby,
0:17:05 > 0:17:08and then I had to take him back to Pittsburgh.
0:17:11 > 0:17:15Klook's brother said to me, "Don't be taking him
0:17:15 > 0:17:20"and then bringing him back and taking him again.
0:17:20 > 0:17:25"A child has to have a certain... basic..."
0:17:29 > 0:17:31It can't have been easy?
0:17:31 > 0:17:34It was horrible.
0:17:34 > 0:17:36It was horrible.
0:17:45 > 0:17:49With Lambert Hendricks and Ross, whenever we played Pittsburgh,
0:17:49 > 0:17:53we would be visited at wherever we were playing
0:17:53 > 0:17:57by Charles Spearman and his wife and Kenny Jr.
0:17:58 > 0:18:01Annie and her son with the cat.
0:18:01 > 0:18:04I don't know, they seemed to hit it off really well to me.
0:18:07 > 0:18:12And, er, they were both low-key, Kenny Jr and Annie,
0:18:12 > 0:18:16but yet I somehow sensed that they really got along
0:18:16 > 0:18:20and they cared for each other.
0:18:20 > 0:18:25But he was looked after beautifully. He was loved very much
0:18:25 > 0:18:29by Klook's brother and sister-in-law.
0:18:29 > 0:18:33And he's gorgeous and funny.
0:18:35 > 0:18:38Now he's got kids, so...
0:18:47 > 0:18:50# Speak low
0:18:52 > 0:18:55# When you speak love
0:18:58 > 0:19:03# Our summer day withers away
0:19:06 > 0:19:09# Too soon
0:19:09 > 0:19:11# Too soon
0:19:11 > 0:19:14# Speak low
0:19:17 > 0:19:21# When you speak love... #
0:19:23 > 0:19:26I don't even know where I got this record,
0:19:26 > 0:19:30all I know is it says "Late in 1952 Annie Ross had the idea
0:19:30 > 0:19:34"to write words to some of the selections in the prestige catalogue.
0:19:34 > 0:19:37"Farmer's Market was one of those chosen because of
0:19:37 > 0:19:42"the musical content and a title suggestion of a plot about an
0:19:42 > 0:19:47"out-of-work musician selling beans to a cool chick in a market who he met."
0:19:47 > 0:19:50# Once there was a girl She was right from the sticks
0:19:50 > 0:19:53# Thought she'd go out to the market one day
0:19:53 > 0:19:57# And hey, we could sure say of the town she was the toast
0:19:57 > 0:19:59# Really the most We don't want to boast
0:19:59 > 0:20:01# But scads of lads would all surround her
0:20:01 > 0:20:03# City slickers sure would hound her
0:20:03 > 0:20:05# She went to the market place and what did she see
0:20:05 > 0:20:07# Crew cut and cute with a crazy goatee... #
0:20:07 > 0:20:10He said we got string beans, snap beans, lima beans.
0:20:10 > 0:20:13We got the very kind of beans that I would like to put
0:20:13 > 0:20:16right in your pressure cooker, pretty baby.
0:20:18 > 0:20:24And it ends with "crazy scenes - blame it on the beans".
0:20:25 > 0:20:28# Crazy scenes Blame it on the beans. #
0:20:32 > 0:20:36Dave and I had heard Twisted and Farmer's Market.
0:20:36 > 0:20:38Annie was famous before we were,
0:20:38 > 0:20:42singing what now is known as Vocalese.
0:20:42 > 0:20:47You're putting words and you're singing the instrumental solos
0:20:47 > 0:20:52that you're kind of relating to an instrumental concept of phrasing.
0:20:52 > 0:20:55# My analyst told me That I was right out of my head
0:20:55 > 0:20:59# The way he described it He said I'd be better dead than live
0:20:59 > 0:21:02# I didn't listen to his jive
0:21:02 > 0:21:05# I knew all along He was all wrong
0:21:05 > 0:21:07# And I knew that he thought I was crazy
0:21:07 > 0:21:09# But I'm not... #
0:21:09 > 0:21:12I won the new star award.
0:21:12 > 0:21:16They loved what I did with Twisted.
0:21:16 > 0:21:18Twisted is a... Is a...
0:21:20 > 0:21:24It's a paean, it's a hymn.
0:21:24 > 0:21:27You know, it's got to do with her childhood.
0:21:27 > 0:21:29# I had a brain It was insane
0:21:29 > 0:21:31# Don't you let them laugh at me
0:21:31 > 0:21:34# When I refused to ride on all those double decker buses
0:21:34 > 0:21:37# All because there was no driver on the top. #
0:21:37 > 0:21:38LAUGHTER
0:21:40 > 0:21:43I was writing about my aunt
0:21:43 > 0:21:49and one night, I actually sang "my aunt always told me".
0:21:49 > 0:21:52# My aunt always told me That I was right out of my head
0:21:52 > 0:21:55# But I said dear doctor I think that it's you instead
0:21:55 > 0:21:58# Cos I have got a thing That's unique and new
0:21:58 > 0:22:02# It proves that I'll have the last laugh on you
0:22:02 > 0:22:04# Cos instead of one head
0:22:04 > 0:22:06# Ha, I got two
0:22:06 > 0:22:10# And you know two heads are better than one. #
0:22:10 > 0:22:12LAUGHTER AND APPLAUSE
0:22:32 > 0:22:36Joe Glazer was the real hard-nosed agent
0:22:36 > 0:22:40that was Louis Armstrong's agent, Billie Holiday's agent.
0:22:42 > 0:22:47They called me up at about 8:30 in the morning, he did.
0:22:47 > 0:22:51And said er, "This is Joe Glazer.
0:22:51 > 0:22:56"I want you to get up to the Apollo for the first show."
0:22:56 > 0:22:58I said "OK".
0:22:58 > 0:23:03So just before I put the phone down, I said "Excuse me?
0:23:03 > 0:23:06"What am I dong at the Apollo Theatre?"
0:23:06 > 0:23:10He said "You're replacing somebody".
0:23:10 > 0:23:13I said "who?". He said "Billie Holiday".
0:23:15 > 0:23:19# A cigarette that bears a lipstick's traces
0:23:19 > 0:23:23# An airline ticket to romantic places... #
0:23:27 > 0:23:29This was my dressing room.
0:23:37 > 0:23:43You'd... You would spray roach spray on the walls,
0:23:43 > 0:23:49the linoleum walls, and they'd go next door and come back,
0:23:49 > 0:23:53because next door would spray, and back they'd come.
0:23:58 > 0:24:00Let's see.
0:24:03 > 0:24:07Duke went out and he said "Ladies and gentlemen,
0:24:07 > 0:24:13"Sorry to inform you that our star Billie Holiday will not be appearing
0:24:13 > 0:24:15"at the first show."
0:24:15 > 0:24:18So a lot of people got up and walked out.
0:24:19 > 0:24:25Always at the Apollo at the first show, you get the real hard nuts
0:24:25 > 0:24:29who put their feet up on the seats in front of them
0:24:29 > 0:24:32and say, "OK, what can you do?".
0:24:32 > 0:24:35Well, thank God, I was doing very modern stuff,
0:24:35 > 0:24:41like Twisted and Farmer's Market, and it worked.
0:24:42 > 0:24:46And I came off and went into the wings
0:24:46 > 0:24:49and Lady had been there watching me.
0:24:52 > 0:24:59And she just held her arms out and we hugged one another and cried.
0:24:59 > 0:25:02And Duke came off and said,
0:25:02 > 0:25:07"You two beautiful...bitches...
0:25:07 > 0:25:09LAUGHS
0:25:09 > 0:25:11"..Come out here and take your bow."
0:25:13 > 0:25:15# Every morning find me moanin'
0:25:15 > 0:25:17# Yes, Lord
0:25:17 > 0:25:19# Cos of all the trouble I see
0:25:19 > 0:25:21# Yes, Lord
0:25:21 > 0:25:24# Life's a losin' gamble to me
0:25:24 > 0:25:25# Yes, Lord
0:25:25 > 0:25:28# Cares and woes have got me moanin'
0:25:28 > 0:25:29# Yes, Lord
0:25:29 > 0:25:32# Every evening find me moanin'
0:25:32 > 0:25:33# Yes, Lord
0:25:33 > 0:25:36# I'm alone and cryin' the blues
0:25:36 > 0:25:38# Yes, Lord
0:25:38 > 0:25:40# I'm so tired of payin' these dues
0:25:40 > 0:25:42# Yes, Lord
0:25:42 > 0:25:45# Everybody knows I'm moanin'
0:25:45 > 0:25:46# Yes, Lord
0:25:46 > 0:25:52# I spend plenty of days and nights alone with my grief... #
0:25:55 > 0:25:58When she was with Lambert Hendricks and Ross, I mean
0:25:58 > 0:26:00she was singing all the lead trumpet parts.
0:26:00 > 0:26:02I mean her range was astonishing.
0:26:02 > 0:26:07She was carrying the whole brass section, you know.
0:26:07 > 0:26:11And doing it brilliantly. I mean, it was just fantastic.
0:26:11 > 0:26:14Nobody else could do that in those days, only her and Jon Hendricks.
0:26:16 > 0:26:18# Cos weird designs
0:26:18 > 0:26:23# They only show what's goin' on in weirder minds
0:26:23 > 0:26:27# Cos when you doodle Then your noodle's flying blind
0:26:27 > 0:26:30# Every little thing that you write
0:26:30 > 0:26:32# Just conceivably might
0:26:32 > 0:26:34# Be a thought that you captured
0:26:34 > 0:26:37# While coppin' a wink
0:26:37 > 0:26:42# Doodlin' takes you beyond what you see
0:26:42 > 0:26:44# Then you draw what you think... #
0:26:44 > 0:26:50They became one of the hottest acts in this country.
0:26:50 > 0:26:54I mean, Lambert Hendricks and Ross - my God, you know.
0:26:54 > 0:26:56The stuff she did with Lambert Hendricks and Ross.
0:26:56 > 0:26:58I mean, it's fantastic.
0:26:58 > 0:27:02Maybe she's a bit above the general public's head in that sense,
0:27:02 > 0:27:03you know.
0:27:05 > 0:27:09"Halloween Spooks outside my window"
0:27:09 > 0:27:12and then she does, they all do a part and scat.
0:27:12 > 0:27:15Dave Lambert, he does a ghost scatting.
0:27:15 > 0:27:17Ooh, ooh, ooh.
0:27:17 > 0:27:23Then Jon Hendricks does an owl or something, scatting.
0:27:23 > 0:27:26Then when she comes on, she scats like a witch.
0:27:26 > 0:27:27Eeeh! Ehhh!
0:27:27 > 0:27:31ANNIE HUMS IN STYLE OF A WITCH
0:27:31 > 0:27:33Clever, great, wonderful.
0:27:33 > 0:27:38She saw, and heard, what was perfect for her,
0:27:38 > 0:27:41and she stepped right into it and never left.
0:27:41 > 0:27:43And she's still here now.
0:27:47 > 0:27:51Getting back together with Jon...
0:27:51 > 0:27:53is getting back together with Jon.
0:27:56 > 0:27:59# New York I dig.
0:27:59 > 0:28:01# New York is big
0:28:01 > 0:28:03# I flipped my wig
0:28:03 > 0:28:06# But I think I did... #
0:28:06 > 0:28:12Our voices are not the same range as they were
0:28:12 > 0:28:18because Jon is 90 or almost 90, and I'm going to be 81.
0:28:18 > 0:28:20THEY SCAT TOGETHER
0:28:36 > 0:28:42Well, there are some songs we can't do because the range is so high.
0:28:42 > 0:28:44So we do the ones we can do.
0:28:49 > 0:28:52Ah! Wooh, that's delicious!
0:28:52 > 0:28:55I'll have another glass of that.
0:28:57 > 0:28:59She was the only real vocalist of the group.
0:28:59 > 0:29:02Dave wasn't really a vocalist, he was an arranger,
0:29:02 > 0:29:04and his main instrument was the pen.
0:29:04 > 0:29:07And Jon was a poet who I think just dabbled in music
0:29:07 > 0:29:09but was really a musical talent.
0:29:09 > 0:29:16Dave says, "Why don't you put some words to ten Count Basie things
0:29:16 > 0:29:19"and we'll see if we can sell 'em."
0:29:19 > 0:29:20I said "Are you kidding?
0:29:20 > 0:29:25"Do you know how long it takes to write one band arrangement?
0:29:25 > 0:29:28"Do you know the detail?
0:29:28 > 0:29:32"You have to tell a story, it has to have a beginning, a middle
0:29:32 > 0:29:36"and an end, the horns have to be a cast of characters,
0:29:36 > 0:29:38"you must have a plot,
0:29:38 > 0:29:44"it must all fuse together in a dramatic way like a play."
0:29:44 > 0:29:48It's very difficult to write ten of those.
0:29:48 > 0:29:52And Dave says, "Well, what else you got to do?"
0:29:53 > 0:29:55# Two for the blues
0:29:55 > 0:29:57# Baby and me
0:30:00 > 0:30:03# Two for the blues
0:30:03 > 0:30:05# Blue as can be
0:30:07 > 0:30:10# Two for the blues
0:30:10 > 0:30:13# Couldn't agree
0:30:15 > 0:30:18# Two for the blues
0:30:18 > 0:30:20# Indigo hue. #
0:30:20 > 0:30:25I had a little tape, and I called Miles
0:30:25 > 0:30:29and I said, "What do you think of this?"
0:30:29 > 0:30:33and after about half a second, he said,
0:30:33 > 0:30:38(IMPERSONATING MILES) "Wait a minute. Mingus! Pick up the phone."
0:30:38 > 0:30:42So there was a click on the other end.
0:30:42 > 0:30:44Miles said, "Listen to this shit."
0:30:44 > 0:30:45SHE LAUGHS
0:30:46 > 0:30:50And he played it for Mingus. They just went crazy.
0:30:52 > 0:30:55They just went crazy.
0:30:55 > 0:30:56SHUFFLING PIANO
0:30:58 > 0:31:00Then, when it was played back to us,
0:31:00 > 0:31:05Annie, Dave and I...
0:31:05 > 0:31:10..sat down and cried like babies.
0:31:12 > 0:31:13We wept.
0:31:15 > 0:31:20And I can say to this day I have never heard anything
0:31:20 > 0:31:22so beautiful in my life.
0:31:23 > 0:31:25RECORD PLAYS
0:31:26 > 0:31:28HE LAUGHS
0:31:28 > 0:31:31That's definitely John and Dave and I guess Annie, too.
0:31:33 > 0:31:37DRUM BEAT KICKS IN
0:31:37 > 0:31:38That's Dave.
0:31:38 > 0:31:39SCAT SINGING
0:31:44 > 0:31:45HE LAUGHS
0:31:46 > 0:31:49That's patented Dave Lambert scat singing.
0:31:50 > 0:31:52Dave was beautiful.
0:31:52 > 0:31:55Do you remember, we were in Chicago, I think,
0:31:55 > 0:31:57and we had a little rehearsal or something,
0:31:57 > 0:32:00and Dave came and gave each of us a gift
0:32:00 > 0:32:04of one of them miniature pipes, and he'd filed off the bottom
0:32:04 > 0:32:06so it wouldn't tip over!
0:32:07 > 0:32:13You remember? He passed one out to all of us!
0:32:13 > 0:32:18I remember Dave in his apartment, taking out a brick...
0:32:18 > 0:32:22..out of the fireplace...
0:32:22 > 0:32:24- so he could stash...- Stasherooney!
0:32:24 > 0:32:26HE LAUGHS
0:32:26 > 0:32:29Annie was a free spirit, no doubt about it.
0:32:29 > 0:32:33At the same time, I thought she was really sophisticated.
0:32:33 > 0:32:36But, yeah, she liked to hang out. She definitely liked to hang out
0:32:36 > 0:32:38just like everybody else.
0:32:38 > 0:32:39It's like she never loses her cool.
0:32:39 > 0:32:42Never with Lambert, Hendricks and Ross.
0:32:42 > 0:32:45No matter how many times Dave or Jon would fly off the handle
0:32:45 > 0:32:47about who knows what,
0:32:47 > 0:32:50Annie just kept her cool about it all the time.
0:32:52 > 0:32:56You get with somebody and it's like a relationship.
0:32:57 > 0:32:59Sometimes you really...
0:33:01 > 0:33:05..think, "I can't do it. I can't go on."
0:33:07 > 0:33:08HE LAUGHS
0:33:08 > 0:33:11How you doing?
0:33:11 > 0:33:14- So what's going on? - I don't know.
0:33:14 > 0:33:17We're in the dressing room over here now,
0:33:17 > 0:33:22so we're just waiting for Jon. He's shaving.
0:33:22 > 0:33:25It's 8 o'clock now, so I guess we're going to go on a little bit after.
0:33:25 > 0:33:29He's impossible, she's impossible.
0:33:29 > 0:33:30Are you ready?
0:33:32 > 0:33:36This is like a family. What I'm saying, there's this common bond
0:33:36 > 0:33:40and dysfunction because there's 50 or 60 years of...
0:33:40 > 0:33:43..static, crap, bullshit. What ever you want to call it.
0:33:43 > 0:33:46- Whoa!- Annie Ross!
0:33:46 > 0:33:48Jon Hendricks!
0:33:48 > 0:33:49APPLAUSE
0:33:50 > 0:33:52It's very hard and a very rare thing
0:33:52 > 0:33:56if you're going to get those two to work together at this point.
0:33:56 > 0:33:57For a number of reasons.
0:33:57 > 0:34:00They don't want to be boxed into that repertoire
0:34:00 > 0:34:03and that range where their voices aren't any more.
0:34:03 > 0:34:06It's something they did that was great a long time ago
0:34:06 > 0:34:10and they'd love to revisit it, but they don't want to have to be that.
0:34:11 > 0:34:13# Later the waiter
0:34:13 > 0:34:15# Had me arrested
0:34:15 > 0:34:17# Took me to Bellevue
0:34:17 > 0:34:19# Where I was tested
0:34:21 > 0:34:23# Had me a doctor
0:34:23 > 0:34:24# Probing my noodle
0:34:24 > 0:34:26# Fore he was half done
0:34:26 > 0:34:28# Taught him to doodle
0:34:28 > 0:34:30# Showed him hidden thoughts that linger
0:34:30 > 0:34:33# Find an outlet through your finger
0:34:33 > 0:34:36# Doodling away
0:34:36 > 0:34:38# Doodling away
0:34:38 > 0:34:42# We just doodle all day. #
0:34:49 > 0:34:50Woo!
0:34:50 > 0:34:51CHEERING AND APPLAUSE
0:34:51 > 0:34:54- Whoa!- Annie Ross!
0:34:54 > 0:34:56- LENNY BRUCE:- Annie? Hey, baby, let's have you.
0:34:56 > 0:35:00That's the best jazz singer in the world sitting over there.
0:35:00 > 0:35:01Annie Ross.
0:35:03 > 0:35:06We started booking Lenny Bruce as the opening act for us
0:35:06 > 0:35:07in the Village Vanguard.
0:35:09 > 0:35:14And that's when Dave and I first came across Lenny Bruce.
0:35:14 > 0:35:16HE LAUGHS
0:35:16 > 0:35:24And it was Lambert, Hendricks and Ross, Terry Gibbs and Lenny Bruce.
0:35:24 > 0:35:26And that was the whole package tour.
0:35:26 > 0:35:32We had arrived early and it was maybe dinner time and the concert
0:35:32 > 0:35:37was at night and Terry Gibbs came and knocked on my door and he said,
0:35:37 > 0:35:42"Oh, I just came from Annie's room." I said, "Oh." And he said,
0:35:42 > 0:35:44"I knocked on the door and they said, 'Who is it?',
0:35:44 > 0:35:48"I said, 'It's Terry Gibbs', so they said 'Wait a minute'.
0:35:48 > 0:35:51"And then the door opens and there's Lenny standing there
0:35:51 > 0:35:54"in one of Annie's negligees."
0:35:54 > 0:35:59I met him in Chicago through friends and I told him a joke
0:35:59 > 0:36:03and he loved it. And that was the beginning.
0:36:03 > 0:36:06He was really funny.
0:36:06 > 0:36:09And very warm and tender. He was...
0:36:10 > 0:36:12..very special, Lenny.
0:36:16 > 0:36:19And crazy.
0:36:19 > 0:36:23He would put "I love you" on an airsick bag...
0:36:23 > 0:36:25SHE LAUGHS
0:36:25 > 0:36:27..and mail it to me.
0:36:28 > 0:36:31And that was so sweet.
0:36:31 > 0:36:34- PRODUCER:- You don't remember a telegram he sent you one time?
0:36:35 > 0:36:39"Dear, stop, Annie, stop.
0:36:39 > 0:36:47"You have the most beautiful, stop...
0:36:47 > 0:36:50"..pussy, stop, in the world.
0:36:53 > 0:36:54Well, how lovely!
0:36:59 > 0:37:00That was Lenny.
0:37:00 > 0:37:03- PRODUCER:- Was there a change in Annie after she met Lenny?
0:37:03 > 0:37:08Yes. She had somebody to get high with, you know.
0:37:08 > 0:37:10Well, I mean, there are so many people
0:37:10 > 0:37:14who I never would have believed would have used heroin.
0:37:15 > 0:37:19And I found out, well, you just can't stereotype anyone.
0:37:19 > 0:37:22There's no telling who will become addicted.
0:37:22 > 0:37:26The bebop era seemed to introduce the massive use of heroin,
0:37:26 > 0:37:29as well as the other drugs, you know.
0:37:29 > 0:37:33Someone described heroin as a warm blanket.
0:37:33 > 0:37:37And I think that's what it was to a lot of musicians.
0:37:37 > 0:37:44It took away a lot of fear, a lot of hurt.
0:37:45 > 0:37:49I had a lot of pain in my life.
0:37:52 > 0:37:57And at one point I said, "That's all I want to do...
0:37:57 > 0:37:59"..and that's the way I want to live my life."
0:38:00 > 0:38:03God, when I think of it now.
0:38:04 > 0:38:08It never helped anybody play any better, that's for sure.
0:38:09 > 0:38:11The problem was, I think,
0:38:11 > 0:38:14if you didn't have it you couldn't play at all.
0:38:14 > 0:38:16Annie missed a couple of gigs.
0:38:16 > 0:38:19She missed a couple of cues at the Apollo, and I said,
0:38:19 > 0:38:25"We're going to find a place and take a cure."
0:38:25 > 0:38:28We found a place in Switzerland,
0:38:28 > 0:38:33and when we got some time off we sent Annie there.
0:38:34 > 0:38:40The only thing about it was, it seemed to have worked,
0:38:40 > 0:38:44except being back on the scene, she went right back into the same thing.
0:38:44 > 0:38:48I was nuts.
0:38:48 > 0:38:50I was on drugs.
0:38:53 > 0:38:57I didn't want to do anything except take drugs.
0:38:57 > 0:39:04And I knew if I didn't get off and I didn't stop I'd probably die.
0:39:04 > 0:39:05And I wasn't ready to die.
0:39:05 > 0:39:06TRUMPET INTERLUDE
0:39:22 > 0:39:27Jim was a big, big brother.
0:39:27 > 0:39:35And he was my helper and he looked after me and took me
0:39:35 > 0:39:40to a little village called Fintry that is so beautiful and he rented
0:39:40 > 0:39:46a house and I learned to fish.
0:39:46 > 0:39:50And we had a vegetable garden. It was great.
0:39:53 > 0:39:57And it was just beautiful, but I had a big task.
0:39:57 > 0:40:02I had to stop doing what I was doing and get myself together.
0:40:03 > 0:40:05And one night my brother said to me,
0:40:08 > 0:40:11"I can't help you any more. That's it.
0:40:11 > 0:40:14"If you want to kill yourself..."
0:40:16 > 0:40:22And I think having the props knocked from under me.
0:40:23 > 0:40:28Because if I knew what made me stop using drugs, I would bottle it
0:40:28 > 0:40:29and sell it.
0:40:31 > 0:40:33But I knew I had to do it and I did.
0:40:34 > 0:40:36I did it without any help.
0:40:47 > 0:40:51I hated Scotland when I first came back,
0:40:51 > 0:40:54but that was the association, I think.
0:40:54 > 0:40:58Now I love Scotland. The reason I love it is
0:40:58 > 0:41:02because of my brother, Jimmy Logan.
0:41:05 > 0:41:08He was my best friend.
0:41:09 > 0:41:12I was so proud to have him as a brother.
0:41:15 > 0:41:19I admired him tremendously.
0:41:21 > 0:41:23And he had great compassion.
0:41:26 > 0:41:31And I would have done anything for him because he was so good to me.
0:41:37 > 0:41:40Fintry is a healing place.
0:41:40 > 0:41:45It was the most peaceful place.
0:41:45 > 0:41:46COCKEREL CROWS
0:41:49 > 0:41:53You want to get in on the act, huh?
0:41:53 > 0:41:56I saw very few people.
0:41:57 > 0:41:59I really was kind of secular here.
0:42:01 > 0:42:06And I read a lot and tried to sort my life out a lot.
0:42:08 > 0:42:10I'm pretty strong.
0:42:15 > 0:42:23I wasn't raised with my family, so I had to really...
0:42:23 > 0:42:29..put forth effort to, uh...
0:42:29 > 0:42:32..to remain sane.
0:42:32 > 0:42:34SHE LAUGHS
0:42:34 > 0:42:36And I did to an extent, I guess.
0:42:41 > 0:42:44- DAVE:- Let's go back to the end.
0:42:44 > 0:42:47Sit down on the bench.
0:42:47 > 0:42:51- Oh, is that what he wanted us to do? - No, but we will.
0:42:55 > 0:43:02And one night we stood about here, and he said to me,
0:43:02 > 0:43:04"Well, I've got to go back to work."
0:43:06 > 0:43:12"I just can't do it any more. You're on you own."
0:43:12 > 0:43:15And I said, "OK", and I think that's what got me better.
0:43:15 > 0:43:23And I had to get out and start living again.
0:43:33 > 0:43:36# I'm in the mood for love
0:43:39 > 0:43:44# Simply because you're near me
0:43:45 > 0:43:51# Funny, but when you're near me
0:43:52 > 0:43:57# I'm in the mood for love.
0:43:59 > 0:44:01# There I go, there I go There I go... #
0:44:01 > 0:44:02WOODWINDS PLAY
0:44:05 > 0:44:07# Let there be you
0:44:09 > 0:44:11# Let there be me
0:44:13 > 0:44:16# Let there be oysters... #
0:44:18 > 0:44:23I've never met a better man than Dave.
0:44:23 > 0:44:29The love of anybody, but especially someone you love...
0:44:29 > 0:44:32..is invaluable.
0:44:35 > 0:44:39And I've been lucky, because I have a wonderful man.
0:44:41 > 0:44:47'Every time I aim my arrows at the sun they always miss their mark'.
0:44:47 > 0:44:50- 'Just like...'- 'Leaving'.
0:44:50 > 0:44:55'Just a lonely little lady in the dark'.
0:44:55 > 0:44:59- 'Leaving?' I don't remember...- Yeah.
0:44:59 > 0:45:01OK, there I go down the hill again.
0:45:04 > 0:45:12# Every time I feel the little glow
0:45:12 > 0:45:19# I always get a little shy
0:45:19 > 0:45:26# Every time I stick my little chin out
0:45:26 > 0:45:30# Always get a little... #
0:45:30 > 0:45:32See that over there?
0:45:32 > 0:45:34Yeah.
0:45:34 > 0:45:38That used to be Annie's Room.
0:45:38 > 0:45:40So that's where it was.
0:45:40 > 0:45:43That's where it was. We were the first club in Covent Garden.
0:45:43 > 0:45:45'A new type of club is springing up,
0:45:45 > 0:45:48'jazz singer Annie Ross gives her name to such a club
0:45:48 > 0:45:50'in Covent Garden.'
0:45:52 > 0:45:53Wow!
0:45:54 > 0:45:59# You're going to miss your baby one of these lone rainy days
0:45:59 > 0:46:00# Well, goodbye
0:46:00 > 0:46:04# Goodbye, goodbye, goodbye, goodbye
0:46:04 > 0:46:08# Goodbye, goodbye, goodbye, goodbye...
0:46:13 > 0:46:19This used to be like a private bar with a window
0:46:19 > 0:46:22that you could see the show from,
0:46:22 > 0:46:27and you could talk, so that was convenient.
0:46:29 > 0:46:36# Baby, don't say goodbye! #
0:46:39 > 0:46:42Nah, they've changed it all.
0:46:42 > 0:46:48Opening night, they were standing around the corner, waiting to get in.
0:46:48 > 0:46:52And we'd had so many seats booked.
0:46:52 > 0:46:58And at the last minute, Judy Garland walked in with about five people.
0:46:59 > 0:47:04Basically, she fronted it, you know, and I just put up the dough.
0:47:04 > 0:47:08She was there and she was on the gig and taking care of business.
0:47:08 > 0:47:10She did beautifully.
0:47:10 > 0:47:16We had everybody. We had stars from all over.
0:47:18 > 0:47:22It was the place to go to.
0:47:22 > 0:47:26They were making Lawrence of Arabia and Peter O'Toole came in the club.
0:47:26 > 0:47:30Annie brought the whole cast from the film set back to the club.
0:47:30 > 0:47:33And they were all completely out of it.
0:47:33 > 0:47:36And O'Toole came over to Tony Kinsey's drum kit
0:47:36 > 0:47:39and picked up a stick and started playing on his cymbal
0:47:39 > 0:47:41in the middle of the gig.
0:47:41 > 0:47:43I said, "Hey, cut that out, cut that out."
0:47:43 > 0:47:47And he stopped for a bit and played a bit more and he'd do it again.
0:47:47 > 0:47:49Nothing to do with what we were playing.
0:47:49 > 0:47:51Tony sort of told him to F off.
0:47:51 > 0:47:56And he said to me, "Do you know who I am? I'm Peter O'Toole."
0:47:56 > 0:47:58And Tony said, "I couldn't give a fuck
0:47:58 > 0:48:00"if you're Lawrence of Arabia, get off my drum kit."
0:48:00 > 0:48:07One night down there, we had on the stage Duke Ellington's brass section
0:48:07 > 0:48:10who were playing at the Festival Hall that night.
0:48:10 > 0:48:13Tony Bennett was at the Albert Hall, he came down,
0:48:13 > 0:48:15cos he was big pals with Annie.
0:48:15 > 0:48:19Oscar Peterson came in and Jimmy Smith the organist
0:48:19 > 0:48:22and I put the lot of them on the stage at the same time for a jam.
0:48:22 > 0:48:24It must have gone on for an hour and a half.
0:48:24 > 0:48:28And we started songs and I was getting up and singing a song
0:48:28 > 0:48:29and Annie was getting up.
0:48:29 > 0:48:32That's the greatest night of jazz I ever heard in my life.
0:48:32 > 0:48:40The people who had the money wanted to make it more of a gambling club.
0:48:40 > 0:48:46And instead of the wonderful whitewashed walls,
0:48:46 > 0:48:51they wanted red velvet and gold and gambling.
0:48:51 > 0:48:54And so we left.
0:48:54 > 0:48:58The Beatles came along and the jazz scene really went down, you know.
0:48:58 > 0:49:01# Using the phone booth
0:49:01 > 0:49:02# Making a few calls
0:49:02 > 0:49:04# Doodlin' weird things
0:49:04 > 0:49:06# Using the booth walls
0:49:06 > 0:49:08# Got me a big date
0:49:08 > 0:49:10# Waiting for my chick
0:49:10 > 0:49:11# Putting her face on
0:49:11 > 0:49:13# So she can look slick
0:49:13 > 0:49:16# I enjoy procrastination
0:49:16 > 0:49:19# Doodlin' away
0:49:19 > 0:49:22# Doodlin' away
0:49:23 > 0:49:24# Sittin' and dinin'
0:49:24 > 0:49:26# Dinner beginnin'
0:49:26 > 0:49:27# Started designing
0:49:27 > 0:49:29# Using my linen
0:49:31 > 0:49:32# Talking to my date
0:49:32 > 0:49:34# Doodlin' my bit
0:49:34 > 0:49:35# Waiter got salty
0:49:35 > 0:49:37# Told me to please quit
0:49:37 > 0:49:39# Told the waiter, "Don't be dizzy
0:49:39 > 0:49:43# "Can't you see I'm very busy?" #
0:49:43 > 0:49:47Yeah, Annie's more like a musician than a singer in a lot of ways.
0:49:47 > 0:49:51She can tell you what she wants and you don't roll your eyes.
0:49:51 > 0:49:54You say, "Wow, she really knows what she's talking about."
0:49:54 > 0:49:57Even though she doesn't use a lot of musical terminology.
0:49:57 > 0:50:00She cannot lie to you.
0:50:00 > 0:50:03If I had a nickel for every singer I went to work with
0:50:03 > 0:50:06I didn't believe a word they were singing to me,
0:50:06 > 0:50:10I could retire now in a nice big house in California.
0:50:10 > 0:50:15You just don't find people with Annie's kind of honesty.
0:50:15 > 0:50:17Well, I mean, she's so hip, you know.
0:50:17 > 0:50:21She's had all that wealth of experience and knowledge that she
0:50:21 > 0:50:26puts into her music and it comes from the original source, you know.
0:50:26 > 0:50:33Everything she touches is full of absolutely great jazz, you know.
0:50:33 > 0:50:40# No-one here will love or understand me
0:50:41 > 0:50:49# The hard luck stories they all hand me
0:50:50 > 0:50:53# Come on and make my bed... #
0:50:53 > 0:50:56The one thing that always sticks in my mind
0:50:56 > 0:50:59most of all about Annie was how professional she was.
0:50:59 > 0:51:03She used to love to party, probably still does,
0:51:03 > 0:51:07but every time we did a show, she was right on it every single time.
0:51:07 > 0:51:09Total, total professional.
0:51:09 > 0:51:13# Come on, make my bed!
0:51:13 > 0:51:15# Light my lights
0:51:15 > 0:51:19# I'm gonna arrive kinda late tonight
0:51:19 > 0:51:22# Blackbird
0:51:22 > 0:51:27# Bye, bye, bye, bye, bye
0:51:27 > 0:51:32# Pretty blackbird
0:51:32 > 0:51:40# Bye! #
0:51:45 > 0:51:50OK. Er, the list that we have made is this one.
0:51:50 > 0:51:55What do you think of it? This afternoon's project.
0:51:55 > 0:51:59And also Blackbird, and also...
0:51:59 > 0:52:02Oh, Blackbird! We rehearsed it.
0:52:02 > 0:52:06Well, we go way back now. I mean, that's weird
0:52:06 > 0:52:12because she had already had a bunch of lives by the time I met her so...
0:52:12 > 0:52:16We've never succeeded in really annoying each other.
0:52:17 > 0:52:22# The mere idea
0:52:22 > 0:52:23# Of you
0:52:26 > 0:52:30# That longing
0:52:30 > 0:52:33# Here for you
0:52:34 > 0:52:37# You'll never know
0:52:37 > 0:52:39# How slow
0:52:40 > 0:52:43# The moments felt
0:52:44 > 0:52:49# Till I'm near to you
0:52:52 > 0:52:55# I see your face
0:52:57 > 0:52:59# In every flower
0:53:02 > 0:53:07# Your eyes in stars above
0:53:08 > 0:53:13# It's just the thought of you
0:53:15 > 0:53:18# The very thought of you
0:53:19 > 0:53:23# Oh, my love
0:53:23 > 0:53:25# Oh, my love... #
0:54:14 > 0:54:19I have arrhythmia, which is irregular heartbeat.
0:54:19 > 0:54:20Or...
0:54:20 > 0:54:23SHE SINGS I got rhythmia.
0:54:24 > 0:54:29I got to Glasgow and I went to the hospital
0:54:29 > 0:54:37and they said, "Maybe you'll go home tomorrow, maybe not."
0:54:42 > 0:54:47And I said, "I have to, I have to go into the city.
0:54:47 > 0:54:50"I've got a show on Friday night."
0:54:50 > 0:54:55So finally, after much pestering and pressure,
0:54:55 > 0:54:59they said, "OK, you can go."
0:54:59 > 0:55:04I was told something that Sean Connery said.
0:55:04 > 0:55:12Where he said, "Life is like a three act play, the first act is great,
0:55:12 > 0:55:15"the second act is great and the third act is shit."
0:55:15 > 0:55:17SHE LAUGHS
0:55:17 > 0:55:21And I really believe that. It's a drag.
0:55:21 > 0:55:24It's part of life,
0:55:24 > 0:55:29but it's a drag to say, "What did you say?"
0:55:29 > 0:55:32Or, "What does that say?"
0:55:33 > 0:55:37Anything like that. That's not a lot of fun.
0:55:37 > 0:55:39The golden years?
0:55:41 > 0:55:45She comes from a tough clan, I'll tell you that.
0:55:45 > 0:55:48HE LAUGHS
0:55:49 > 0:55:50Woo!
0:55:50 > 0:55:53She hits the stage, she gets her make up on,
0:55:53 > 0:55:56she's ready to go and she is alive.
0:55:56 > 0:56:04Before I go on, I say to myself, "I'm so happy to be here."
0:56:04 > 0:56:11Even if it is a little ironic and I'm feeling very tired or whatever.
0:56:11 > 0:56:15I just feel, "Yeah, let's hit it."
0:56:15 > 0:56:18AUDIENCE APPLAUD
0:56:31 > 0:56:34# I'm travelling light
0:56:37 > 0:56:41# Because my man has gone
0:56:42 > 0:56:47# So from now on
0:56:47 > 0:56:50# I'm travelling light
0:56:51 > 0:56:55# He said goodbye
0:56:57 > 0:57:00# And took my heart away...
0:57:02 > 0:57:08I've never gone with anything that is the popular belief.
0:57:08 > 0:57:12I think I was a bit of a rebel.
0:57:12 > 0:57:14And...
0:57:16 > 0:57:20I always was searching, searching.
0:57:22 > 0:57:25# So from today
0:57:26 > 0:57:29# I'm travelling light...
0:57:29 > 0:57:32Bandstand, stage lights, audience, that's home for her.
0:57:32 > 0:57:36I mean, ever since she was a little kid, that's maybe the closest thing,
0:57:36 > 0:57:39that she's home and she's alive and she's ready to swing.
0:57:40 > 0:57:43# No-one but me
0:57:43 > 0:57:48# And my memories
0:57:50 > 0:57:53# Some starry night... #
0:57:53 > 0:57:56That's the great thing, the healing thing about music
0:57:56 > 0:58:02is that you can feel like shit and you go on and do your thing
0:58:02 > 0:58:05and you feel better.
0:58:05 > 0:58:10# Until then, I'm travelling
0:58:10 > 0:58:16# Until then, I'm travelling light
0:58:17 > 0:58:21# Bye, bye! #
0:58:26 > 0:58:29One, two, three, four.
0:58:46 > 0:58:49Subtitles by Red Bee Media Ltd