0:00:02 > 0:00:03Hello!
0:00:05 > 0:00:08Hello, it's John W here.
0:00:08 > 0:00:09Williams.
0:00:09 > 0:00:10The guitar player.
0:00:13 > 0:00:17John Williams is able to sort of enrapture you,
0:00:17 > 0:00:20and wrap himself
0:00:20 > 0:00:23and the sound of the guitar around you.
0:00:23 > 0:00:26I've known John since he was about 11.
0:00:26 > 0:00:30He is a complete enigma to me as a person.
0:00:30 > 0:00:34But that doesn't mean to say we don't make good music together.
0:00:36 > 0:00:39One of the finest guitar players, ladies and gentlemen,
0:00:39 > 0:00:40in the world today - Mr John Williams.
0:00:40 > 0:00:42APPLAUSE
0:00:44 > 0:00:47This guy, there's nothing like it.
0:00:47 > 0:00:49I definitely think it was a kind of magic.
0:00:49 > 0:00:52I was voted something like 12th best electric guitarist,
0:00:52 > 0:00:55which is totally ridiculous.
0:00:55 > 0:00:57JW, what a man.
0:00:58 > 0:01:02John Williams? Brilliant guitarist.
0:01:02 > 0:01:04He liked a joke.
0:01:04 > 0:01:07I love it. And, you know, hopefully, if one is lucky,
0:01:07 > 0:01:09one can be good at something one loves doing.
0:01:46 > 0:01:47I remember it well.
0:01:47 > 0:01:51Because my father was more or less responsible for the huge
0:01:51 > 0:01:55popularity in the mid-'50s of the classical Spanish guitar,
0:01:55 > 0:01:59as opposed to all the other, you know, skiffle, pop, jazz etc.
0:02:02 > 0:02:05And his guitar school was quite a focal point.
0:02:08 > 0:02:10But it's far too fast.
0:02:12 > 0:02:15I've known John since he was about 11.
0:02:15 > 0:02:18I thought he was a remarkable player.
0:02:18 > 0:02:20But he'd been playing a long time.
0:02:20 > 0:02:21He'd been playing since six.
0:02:21 > 0:02:27He was taught beautifully and his father was a very fine teacher.
0:02:27 > 0:02:28Len.
0:02:28 > 0:02:32'The teacher, Mr Williams, is a dedicated man. His method is strict.
0:02:32 > 0:02:34'He stands no nonsense.'
0:02:35 > 0:02:39Yes, that's very good. Don't hurry from one phrase to another.
0:02:39 > 0:02:41You see, you did this.
0:02:41 > 0:02:45My father was actually very circumspect about
0:02:45 > 0:02:47sort of exploiting me.
0:02:49 > 0:02:52'A rock and roll guitarist can be turned out in 12 hours flat.
0:02:52 > 0:02:55'The classical player must devote at least 12 solid years to
0:02:55 > 0:02:57'patient study.
0:02:57 > 0:03:00'You pays your money and you takes your pick.'
0:03:00 > 0:03:04He was totally against the idea of the young so-called prodigy,
0:03:04 > 0:03:07or talented young person, whatever,
0:03:07 > 0:03:10being put out, you know, to do concerts.
0:03:25 > 0:03:29Seeing yourself, like, from 50 years ago - I mean, I'm 74 now -
0:03:29 > 0:03:32is, you know, a bit daunting, to be honest, you know.
0:03:32 > 0:03:34It's like, almost, seeing someone else.
0:04:15 > 0:04:18Will you please meet John Williams? Thank you!
0:04:18 > 0:04:20APPLAUSE
0:04:20 > 0:04:23The fantastic John Williams. And of course everybody knows
0:04:23 > 0:04:25that's Eric Clapton's father.
0:04:25 > 0:04:29Ladies and gentlemen, Mr John Williams.
0:06:13 > 0:06:14Thank you very much.
0:06:43 > 0:06:47We came together. I think it was my idea but it may have been John's.
0:06:47 > 0:06:50I certainly wanted us to play some duets
0:06:50 > 0:06:56because, over number of years, there were two camps.
0:06:56 > 0:07:00There was the Williams camp and the Bream camp, you see.
0:07:04 > 0:07:07It was... It wasn't very pleasant, really.
0:07:07 > 0:07:12And I thought the best thing John and I could do were to play duets.
0:07:12 > 0:07:14That would disperse them.
0:07:15 > 0:07:16And it duly did.
0:07:18 > 0:07:22With Julian it was great, because we're very different.
0:07:22 > 0:07:24And we mutually respect that.
0:07:49 > 0:07:52It's better than being, like, two people who play the same.
0:07:55 > 0:07:58But we used to feel, because we play differently,
0:07:58 > 0:08:00it gave it a real dynamic, you know.
0:08:00 > 0:08:03We'd have a phrase and we'd have to repeat it.
0:08:03 > 0:08:06Then it would come out differently. It would still be together, we hope.
0:08:12 > 0:08:16We were never a great duo, as such.
0:08:16 > 0:08:20We were just rather good players, who played well together.
0:08:28 > 0:08:31I liked the difference of our approach.
0:08:31 > 0:08:34Well, you're no good playing table tennis without a bit of competition.
0:08:34 > 0:08:36And I like the spontaneity.
0:08:36 > 0:08:40Spontaneity is very important when there are two of you.
0:09:24 > 0:09:29# Some of my best friends are songs. #
0:09:29 > 0:09:33I just loved the opportunity of getting the guitar over, you know.
0:09:33 > 0:09:36And a popular music show on Saturday night, for a classical musician,
0:09:36 > 0:09:40so-called classical musician, to agree to go on it.
0:09:40 > 0:09:44I mean, it's extraordinary to think nowadays, because no-one
0:09:44 > 0:09:45would dream of saying...
0:09:45 > 0:09:47Everyone's sort of... if there was a show like that,
0:09:47 > 0:09:50there'd be sort of queueing up to try and get on it.
0:09:50 > 0:09:52One of the finest guitar players, ladies and gentlemen,
0:09:52 > 0:09:54in the world today, Mr John Williams.
0:09:54 > 0:09:56APPLAUSE
0:09:56 > 0:09:59I just thought, "Oh, what an opportunity," you know,
0:09:59 > 0:10:02to play to 18 million people, live on a Saturday night.
0:13:18 > 0:13:22APPLAUSE
0:13:27 > 0:13:29Val loved the guitar.
0:16:08 > 0:16:12I think the popularity of the guitar itself, of the classical guitar,
0:16:12 > 0:16:18has a lot to do with me having been a guest on Val's show.
0:16:18 > 0:16:22I mean, he did an enormous amount, quite apart from the
0:16:22 > 0:16:25people that loved watching him every Saturday night.
0:16:25 > 0:16:29A lot of people whose shows I was on that were in popular entertainment,
0:16:29 > 0:16:32I was so impressed by their attitudes,
0:16:32 > 0:16:35their ease of personality, the way they related to people.
0:16:35 > 0:16:37The way they did their act.
0:16:45 > 0:16:47Can I have a chair, please?
0:16:47 > 0:16:49That's all I ask. Thank you.
0:16:49 > 0:16:53Eric Sykes was a real musician's comedian, you know.
0:16:53 > 0:16:55All the musicians loved him because of his timing.
0:16:55 > 0:17:00Something very close to music in miming.
0:17:03 > 0:17:06I was going to play a little piece, by Bach.
0:17:06 > 0:17:07And then I thought, why?
0:17:07 > 0:17:09He never plays any of mine.
0:17:09 > 0:17:11LAUGHTER
0:17:13 > 0:17:17It's a little piece called Amour, and it goes like this.
0:17:24 > 0:17:28LAUGHTER
0:17:28 > 0:17:33APPLAUSE
0:17:33 > 0:17:36LAUGHTER
0:17:47 > 0:17:50Our act started with him doing a Bach gavotte.
0:18:03 > 0:18:06GUITAR MUSIC CONTINUES
0:18:06 > 0:18:10APPLAUSE
0:18:10 > 0:18:14And he would be playing something on guitar, which he could do.
0:18:14 > 0:18:15He could play quite well.
0:18:18 > 0:18:20Enough to mime something. And it would fool you.
0:18:20 > 0:18:22It would even fool another guitarist, you know.
0:18:22 > 0:18:24I've got to be honest,
0:18:24 > 0:18:27that everybody mimes to records.
0:18:27 > 0:18:29Well, I don't mime to records.
0:18:29 > 0:18:32I have the real guy here, who's round the back.
0:18:32 > 0:18:36The greatest guitarist in the world, and we're going to play you a duet,
0:18:36 > 0:18:37John Williams.
0:18:37 > 0:18:40APPLAUSE
0:18:52 > 0:18:54I told you it was a classy act!
0:18:59 > 0:19:01It's all right.
0:19:01 > 0:19:02Fine, yes.
0:19:02 > 0:19:04- OK, John.- Same piece or...
0:19:10 > 0:19:11Lovely.
0:19:11 > 0:19:14- This one.- Yes.
0:19:14 > 0:19:17- HE CHANGES TUNE - Yes. That one?
0:19:17 > 0:19:18That one, yes.
0:19:20 > 0:19:24LAUGHTER AND APPLAUSE
0:20:36 > 0:20:38B.
0:20:38 > 0:20:40- E?- B.
0:20:43 > 0:20:44C.
0:20:54 > 0:20:57APPLAUSE
0:24:31 > 0:24:33# Kiss today goodbye. #
0:24:33 > 0:24:35Hello.
0:24:36 > 0:24:37Hello.
0:24:42 > 0:24:45'I think the word jazz is bandied around a lot, you know.
0:24:45 > 0:24:48'Especially these days. By people who sort of play AT it.
0:24:48 > 0:24:50'They play at jazz.'
0:24:50 > 0:24:53They like the jazzy feeling, but generally when classical
0:24:53 > 0:24:55people play anything popular or jazz,
0:24:55 > 0:24:57they don't get quite the right feel, I think.
0:24:57 > 0:25:00I'm not being conceited here.
0:25:00 > 0:25:02I say it's a little bit in my blood,
0:25:02 > 0:25:06'because my father was a 1930s, '40s session guitarist,
0:25:06 > 0:25:08'jazz guitarist.'
0:25:14 > 0:25:16We met him at Ronnie Scott's.
0:25:16 > 0:25:17We went to see him
0:25:17 > 0:25:21because we had heard that he was interested in doing something.
0:25:23 > 0:25:26He liked to know and learn from
0:25:26 > 0:25:29all these different people that we threw him into.
0:25:35 > 0:25:39Of course at first one didn't feel that he was particularly funny or
0:25:39 > 0:25:41had a sense of humour or something,
0:25:41 > 0:25:43and he needed someone like...
0:25:43 > 0:25:46say, like, John Dankworth, who had a great sense of humour
0:25:46 > 0:25:48and they brought each other out.
0:25:50 > 0:25:52Whereas I was never as good as them two.
0:25:52 > 0:25:56I would like to have been, but I never achieved it!
0:25:56 > 0:25:59I would like to introduce somebody
0:25:59 > 0:26:02who is an old friend of ours.
0:26:02 > 0:26:05Somebody who actually needs no introduction at all.
0:26:08 > 0:26:11I'd heard him playing it on the guitar.
0:26:11 > 0:26:15And I was quite happy to just sit and listen to it.
0:26:17 > 0:26:19And I said, oh, I love that.
0:26:19 > 0:26:21And there were no words to it then.
0:26:21 > 0:26:23And I thought, that really is very beautiful.
0:26:25 > 0:26:33# He was beautiful
0:26:33 > 0:26:37# Beautiful
0:26:37 > 0:26:41# To my eyes
0:26:41 > 0:26:46# From the moment
0:26:46 > 0:26:50# I saw him
0:26:50 > 0:26:57# Sun filled the skies
0:26:58 > 0:27:07# He was so, so beautiful
0:27:07 > 0:27:11# Beautiful
0:27:11 > 0:27:15# Just to hold
0:27:15 > 0:27:19# In my arms
0:27:19 > 0:27:24# He was springtime
0:27:24 > 0:27:32# Winter was cold
0:27:32 > 0:27:40# How could I tell him
0:27:40 > 0:27:45# What I so clearly could see. #
0:27:45 > 0:27:48I wrote that lyric in less than a week.
0:27:48 > 0:27:50It just came very, very easily.
0:27:50 > 0:27:54I didn't have to think about those lyrics whatsoever and a lot people
0:27:54 > 0:27:59say to me, they nudge me in the ribs and say, "Come on, girl, tell me."
0:27:59 > 0:28:01Who was he?
0:28:01 > 0:28:03It wasn't anybody!
0:28:09 > 0:28:11Except my husband and John Williams.
0:28:13 > 0:28:18He is a complete enigma to me as a person.
0:28:18 > 0:28:22But that doesn't mean to say we don't make good music together.
0:28:49 > 0:28:53We're very different performers.
0:28:53 > 0:28:55But that, I think, is good.
0:29:01 > 0:29:05There is a tendency for people to want to make
0:29:05 > 0:29:08a more uniform sound between two instruments,
0:29:08 > 0:29:11but I think that the difference is very important
0:29:11 > 0:29:17because, amongst other things, it adds a bit of pepper and salt.
0:29:20 > 0:29:22We had ideas.
0:29:22 > 0:29:25Not arguments.
0:29:25 > 0:29:27Discussion.
0:29:27 > 0:29:31And we put them in a hat and eventually it came out in the wash.
0:29:31 > 0:29:35Until we got something halfway decent by way of a programme.
0:33:14 > 0:33:15We were of our time.
0:33:16 > 0:33:20And that was the sort of thing people wanted to hear.
0:33:20 > 0:33:22Two good guitar players playing duets.
0:33:26 > 0:33:30And then, finally, we didn't do anything very much more.
0:33:30 > 0:33:32It...it...
0:33:32 > 0:33:35it had come to an end.
0:33:35 > 0:33:38We had said what we wanted to say as eloquently as we could.
0:33:40 > 0:33:42And that was it.
0:34:03 > 0:34:05It's very interesting.
0:34:05 > 0:34:07You see, when you're with someone else on stage,
0:34:07 > 0:34:10what you're communicating to the audience,
0:34:10 > 0:34:13and it can be in a room with friends or it can be in a public,
0:34:13 > 0:34:17you know, space, is you're communicating
0:34:17 > 0:34:20the togetherness of the two of you and the music you're making.
0:34:20 > 0:34:23Which is... OK, which seems obvious.
0:34:23 > 0:34:25But when you're on your own,
0:34:25 > 0:34:28a lot of the attention is on how well you are doing on your own.
0:34:28 > 0:34:30To...to express yourself.
0:34:30 > 0:34:33And, um... I'm sort of in two minds about that.
0:34:33 > 0:34:35POUNDING ROCK BEAT
0:34:50 > 0:34:53I met John on a recording session.
0:34:53 > 0:34:55I think it was for Stanley Myers.
0:34:55 > 0:35:00It was Francis Monkman on keyboard and we had such a rapport
0:35:00 > 0:35:06going between us that Stanley Myers said, "You lot should form a band.
0:35:06 > 0:35:09"You have a nice groove together when you're playing."
0:35:11 > 0:35:15I think John thought the idea of playing a different
0:35:15 > 0:35:20sort of music was quite... interesting.
0:35:20 > 0:35:23MUSIC: GIGUE FROM FRENCH SUITE No 5 by BACH
0:35:29 > 0:35:31I didn't want to be the only guitarist
0:35:31 > 0:35:34and we needed someone who could do different styles.
0:35:34 > 0:35:37I can only do the so-called classical style.
0:35:37 > 0:35:38And I'd already met Kevin Peek,
0:35:38 > 0:35:42an Australian guitarist who used to play backing for the Shadows
0:35:42 > 0:35:46and used to do session work like the Val Doonican show, etc.
0:36:02 > 0:36:07John was playing electric guitar with his fingers, which I think...
0:36:07 > 0:36:12that in itself was a huge jump, especially for John.
0:36:17 > 0:36:20I found with electric guitar, I thought
0:36:20 > 0:36:23at first I could use my classical, so-called classical technique
0:36:23 > 0:36:27on electric strings and then I found out later on that I couldn't.
0:36:27 > 0:36:30I did it, and I was voted something like, I think,
0:36:30 > 0:36:3312th best electric guitarist by Melody Maker one year,
0:36:33 > 0:36:35which is totally ridiculous.
0:36:35 > 0:36:37I mean, I wouldn't have been in the top thousand.
0:36:41 > 0:36:45I thought, I sensed a look of puzzlement.
0:36:45 > 0:36:50He was smiling, but I know he was out of his comfort zone,
0:36:50 > 0:36:54but often, you have to be if you're doing something that is original.
0:38:02 > 0:38:05Sky was... It was fantastic.
0:38:05 > 0:38:08I mean, we gelled terrifically.
0:38:08 > 0:38:10You know, we were very different,
0:38:10 > 0:38:13some of us from totally different backgrounds
0:38:13 > 0:38:15but we found a language of music.
0:38:17 > 0:38:18For us, there aren't any barriers.
0:38:18 > 0:38:22Were not actually consciously trying to do anything beyond doing
0:38:22 > 0:38:25what we ourselves like playing and believe in.
0:38:25 > 0:38:27We're not actually consciously trying to break down a barrier
0:38:27 > 0:38:30but we recognise that we are, in fact,
0:38:30 > 0:38:33probably helping people break down barriers.
0:38:39 > 0:38:44We were kind of confident and comfortable with, er,
0:38:44 > 0:38:47the music that we had to play, so we didn't need an image.
0:38:49 > 0:38:53I had a red and blue jumper that I used to wear
0:38:53 > 0:38:54because my mum knitted it.
0:39:01 > 0:39:05I think there was a gap between the classical guitar
0:39:05 > 0:39:09and the jazz guitar or the rock guitar,
0:39:09 > 0:39:12and suddenly, for John Williams to...
0:39:12 > 0:39:16lift over into another area,
0:39:16 > 0:39:19was brilliant for young guitarists.
0:39:27 > 0:39:29JW - what a man!
0:39:30 > 0:39:33Why is one of Britain's most celebrated classical guitarists
0:39:33 > 0:39:35suddenly becoming a rock guitarist?
0:39:35 > 0:39:38Well, I don't know that I'm that successful at actually
0:39:38 > 0:39:39becoming a complete rock guitarist.
0:39:39 > 0:39:42You know, when things get too rocky and sort of heavy
0:39:42 > 0:39:44and really rocky, I pass it all over to Kevin here, you see.
0:40:13 > 0:40:17Ultimately, with Sky, it really did, from the guitar point of view,
0:40:17 > 0:40:18break boundaries.
0:40:18 > 0:40:20I think it was a real trailblazer.
0:40:20 > 0:40:24It didn't mean that I stopped in any way my classical playing.
0:40:24 > 0:40:28In fact, later on I was doing many other things and people said,
0:40:28 > 0:40:31"Oh, you've, you know, you've switched horses.
0:40:31 > 0:40:32"You're doing the popular thing.
0:40:32 > 0:40:35"You're doing it for money, you're doing it for blah-blah-blah,"
0:40:35 > 0:40:37all of which is rubbish.
0:40:37 > 0:40:41Er... Because, it's quite an embarrassing thing to say.
0:40:41 > 0:40:43I didn't want to say it at the time but actually...
0:40:43 > 0:40:46if it was a financial thing, I would have been earning much more
0:40:46 > 0:40:48just sticking to my classical playing, you know.
0:40:48 > 0:40:51Please welcome a master of music.
0:40:51 > 0:40:55We are so proud to have on the show Mr John Williams!
0:40:55 > 0:40:58APPLAUSE
0:41:00 > 0:41:02'I did a Les Dawson guest bit.
0:41:02 > 0:41:04'Of course, it was Cavatina,
0:41:04 > 0:41:06'the Deer Hunter tune.'
0:41:06 > 0:41:08What better for him, you know?
0:41:08 > 0:41:10You know, it's strange, when you think of it,
0:41:10 > 0:41:14how two musical giants have never actually worked together.
0:41:14 > 0:41:16- It would be nice, though, wouldn't it?- I would love it.
0:41:16 > 0:41:18Actually, do you like Cavatina?
0:41:18 > 0:41:19I prefer Bolognese, myself.
0:41:19 > 0:41:21LAUGHTER
0:41:21 > 0:41:24He was naturally funny, naturally friendly.
0:41:24 > 0:41:25Now, don't be nervous
0:41:25 > 0:41:28because I do get a bit intricate in certain parts.
0:41:28 > 0:41:31- We do it in E, do we?- Pardon? - In E?- No, we'll do it in here.
0:41:31 > 0:41:33LAUGHTER
0:41:33 > 0:41:37So...just follow what I do.
0:41:37 > 0:41:40All right? I'll just limber up the digits.
0:41:40 > 0:41:41HE PLAYS A FEW NOTES
0:41:44 > 0:41:47THEY START TO PLAY CAVATINA
0:41:47 > 0:41:49LES PLAYS A WRONG NOTE
0:41:49 > 0:41:50LAUGHTER
0:41:50 > 0:41:52And to actually do it...
0:41:52 > 0:41:57do it wrong is actually quite difficult and make it funny as well.
0:41:57 > 0:41:59- Shall I show you? - If you think it's better.
0:41:59 > 0:42:01It's the B, then the...
0:42:01 > 0:42:03and then the C sharp...
0:42:03 > 0:42:05CRUNCH!
0:42:05 > 0:42:06I knew that would happen!
0:42:06 > 0:42:08I knew you'd get your thumb fast.
0:42:08 > 0:42:11I knew it. Thank God you didn't have it on your knee.
0:42:11 > 0:42:12So wait a minute.
0:42:12 > 0:42:13LAUGHTER
0:42:13 > 0:42:15You're totally wrong.
0:42:15 > 0:42:17Look, this is the way it was written. Please, John.
0:42:17 > 0:42:19I mean, I'm very embarrassed now.
0:42:21 > 0:42:23LES PLAYS A WRONG NOTE
0:42:23 > 0:42:25LAUGHTER
0:42:25 > 0:42:26Les, Les.
0:42:26 > 0:42:29Les, it really is not a C natural there.
0:42:29 > 0:42:30It sounds crazy.
0:42:30 > 0:42:32Look, I know you're supposed to know your business
0:42:32 > 0:42:35but quite frankly, I know it's not much but this is my show.
0:42:35 > 0:42:38As far as I'm concerned, I'm giving you no more support.
0:42:38 > 0:42:41If I did, you wouldn't wear it.
0:42:41 > 0:42:43As far as I'm concerned, Williams, you're on your own
0:42:43 > 0:42:45but just remember one thing.
0:42:45 > 0:42:46There's others available.
0:42:46 > 0:42:48You're not just on your own, you know.
0:42:48 > 0:42:50I can get anybody for that money.
0:42:51 > 0:42:52Be it on your own head, Williams.
0:42:52 > 0:42:54APPLAUSE
0:43:06 > 0:43:09HE STARTS TO PLAY
0:46:20 > 0:46:23APPLAUSE
0:46:32 > 0:46:35Thank you, the fantastic John Williams.
0:46:35 > 0:46:38And of course, everybody knows that's Eric Clapton's father.
0:46:38 > 0:46:41APPLAUSE
0:46:49 > 0:46:53I had a chance to collaborate with John Williams,
0:46:53 > 0:46:55accompanying him in the second movement
0:46:55 > 0:46:58of the Concerto de Aranjuez of Rodrigo,
0:46:58 > 0:47:02the quintessential guitar piece that everybody knows.
0:47:41 > 0:47:45The Rodrigo concerto is one of the great pieces of the 20th century.
0:47:45 > 0:47:48I mean, it's the one that's captured the public imagination,
0:47:48 > 0:47:50quite apart from the guitar public.
0:47:50 > 0:47:54And rightly so, because that slow movement is a wonder.
0:47:54 > 0:47:56It's a stroke of genius, the tune.
0:47:56 > 0:47:58To have it with just guitar chords
0:47:58 > 0:48:02and hearing it on the cor anglais, the tune, to start with,
0:48:02 > 0:48:05guitar is a great instrument for playing just chords.
0:48:05 > 0:48:08No other instrument plays chords that sound so nice.
0:48:19 > 0:48:23I was... really, really scared of,
0:48:23 > 0:48:27first of all, to... to play with him.
0:48:27 > 0:48:30I mean, he practically wrote this piece.
0:48:32 > 0:48:36And just because the music was so well known, I thought, well,
0:48:36 > 0:48:38I can't screw this up.
0:48:38 > 0:48:43But he made me feel so at ease and so comfortable and he said,
0:48:43 > 0:48:45"Just lay the tempo down.
0:48:46 > 0:48:49"Conduct, and I'll work around it."
0:49:04 > 0:49:07Now, I'm used to following singers all around
0:49:07 > 0:49:10and doing all kinds of cartwheels and I didn't have to with him.
0:49:10 > 0:49:13I was just, like, working with a great musician
0:49:13 > 0:49:16and with that instrument that creates intimacy
0:49:16 > 0:49:17like no other instrument.
0:49:28 > 0:49:33John is able to sort of enrapture you
0:49:33 > 0:49:37and wrap himself and the sound of the guitar around you.
0:49:59 > 0:50:01It was a unique experience for me
0:50:01 > 0:50:03because I haven't worked with him since, unfortunately.
0:50:04 > 0:50:06And I miss that.
0:57:16 > 0:57:18HE PLAYS FINAL NOTE AND MUSIC FADES
0:57:28 > 0:57:29LOUD APPLAUSE
0:57:29 > 0:57:31I enjoy the guitar in a huge space.
0:57:31 > 0:57:33I love it.
0:57:33 > 0:57:35And hopefully, if one's lucky,
0:57:35 > 0:57:38one can be good at something one loves doing.