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