:00:37. > :00:39.Hello and welcome to The BBC Proms at The Royal Albert Hall.
:00:40. > :00:41.I'm Clemency Burton-Hill and joining me again this year
:00:42. > :00:44.for what promises to be a fantastic show is the multi-talented
:00:45. > :00:45.actor, singer, writer and all-round legend,
:00:46. > :00:54.Hello and yes here we are reunited once more!
:00:55. > :00:57.Tonight is going to be incredibly special, a once in a lifetime
:00:58. > :01:00.opportunity to witness, in this wonderful space,
:01:01. > :01:04.the works of one of the most influential jazz musicians
:01:05. > :01:06.of the 20th century, I am talking about Quincy Delight
:01:07. > :01:11.Jones Jr, the master that is Mr Quincy Jones.
:01:12. > :01:18.A true musical pioneer, who's been providing
:01:19. > :01:22.to our lives for well over half a century.
:01:23. > :01:25.He's a composer, conductor, arranger, record executive and award
:01:26. > :01:26.winning producer; an innovator, an instrumentalist,
:01:27. > :01:36.influence is impossible to overstate.
:01:37. > :01:43.Chicago in the 1920s must have been a tough place to grow up. To go on
:01:44. > :01:50.from that to win 27 Grammys, a tremendous feat. He met Ray child
:01:51. > :01:54.when he was 16 years old. They played together and soon he was on
:01:55. > :01:57.the road with his hero, Lionel Hampton and his big band. -- Ray
:01:58. > :01:59.Charles. All of this was the groundwork
:02:00. > :02:02.for a music-master in the making. Q went on to tour Europe
:02:03. > :02:04.with Dizzy Gillespie, and towards the tail end
:02:05. > :02:06.of the 1950s, studied composition with the notable French
:02:07. > :02:08.composer, conductor He once had a chance meeting
:02:09. > :02:12.with another one of her students, In the 60s his works
:02:13. > :02:27.were commissioned for legendary artists like Count Basie,
:02:28. > :02:29.Dinah Washington, Sarah Vaughan, Duke Ellington, Frank Sinatra,
:02:30. > :02:31.Ella Fitzgerald and Peggy Lee. His film scores include
:02:32. > :02:36.In The Heat of The Night, In Cold Blood,
:02:37. > :02:38.The Color Purple, The Wiz, These
:02:39. > :02:42.films are just a fraction that From his production work
:02:43. > :02:47.on Soul Bossa Nova, to Thriller, the Michael Jackson
:02:48. > :02:49.album that is still the best-selling album of all time
:02:50. > :02:51.to his arrangement of Fly Me To The Moon, sung
:02:52. > :02:55.by Frank Sinatra and played by Buzz Aldrin during
:02:56. > :02:58.the Apollo 11 mission. He really has scaled
:02:59. > :03:04.stratospheric heights. Come on, the man has
:03:05. > :03:06.had his music played in space! We are about to embark on a Quincy
:03:07. > :03:10.orchestral journey and will hear new music inspired by Quincy,
:03:11. > :03:16.and arranged by his protegees. 22 year old Jacob Collier,
:03:17. > :03:19.a north Londoner who has new messiah, Cuban pianist
:03:20. > :03:33.Alfredo Rodriguez and Cameroonian Plus our own home-grown Laura Mvula
:03:34. > :03:36.and Cory Henry, bringing back that sound of the 70s on his Hammond
:03:37. > :03:38.organ. Plus, the great man himself
:03:39. > :03:41.is here at the Royal Albert Hall - Quincy Jones will be conducting
:03:42. > :03:43.the last piece in It's going to be an incredible
:03:44. > :03:55.night. heading onto the Royal Albert Hall
:03:56. > :03:58.stage, another ridiculously talented young man who's input
:03:59. > :04:00.is right at the heart He's arranged much of the music
:04:01. > :04:05.for this evening and will be It's composer,
:04:06. > :04:07.orchestrator and conductor, # "ROOTS MURAL, IRONSIDE,
:04:08. > :10:06.SANDFORD AND SON MEDLEY" # Metropole Orkest dedicates this
:10:07. > :10:10.piece to the memory of their dear friend Toots Thielemans, who
:10:11. > :10:13.passed away yesterday. He originally recorded Chump Change
:10:14. > :10:20.with Quincy Jones in 1973. # Perhaps I'll stop
:10:21. > :14:26.in some pawnbrokers shop # And see what he might pay
:14:27. > :14:33.for second hand hearts today # What other fool could be a fool
:14:34. > :15:08.like me and treasure them # Since you're gone
:15:09. > :15:17.I wear you on this heart # How could I pawn this heart
:15:18. > :15:44.that still loves you? # What other fool could be a fool
:15:45. > :15:59.like me and treasure them # Since you're gone
:16:00. > :16:06.I wear you on this heart # How could I pawn this heart
:16:07. > :16:19.that still loves you? # In the real early morning
:16:20. > :22:18.with the sun slowly risin' # I was walking out
:22:19. > :22:32.slowly wanderin' free # I saw an old friend waiting
:22:33. > :23:10.for me, waiting for me # She was everything
:23:11. > :24:33.an old friend could be # I said, "It's been such a long
:24:34. > :24:47.time since we have spoken # I wish you could tell me
:24:48. > :25:15.all that you've seen here # But we haven't got long now,
:25:16. > :25:22.for soon you'll be fading # There isn't much more that
:25:23. > :28:33.I wanted to know # "THE SEPARATION"
:28:34. > :33:16.(From: The Colour Purple) # # You're so smooth, I'm
:33:17. > :33:47.trying to keep my cool. # I can't help myself,
:33:48. > :33:50.you make me act a fool. # Oh the sweet things you say,
:33:51. > :33:55.The sexy way you move # I get so excited baby,
:33:56. > :33:59.I don't know what to do. # I really wanna be your only one,
:34:00. > :34:05.forget about the rest. # Why stop with good enough,
:34:06. > :34:10.when you can have the best. # Oh, what I'm trying
:34:11. > :34:17.to say, is won't you stay. # Please don't stop,
:34:18. > :35:22.don't stop loving me. # Cause honey I know,
:35:23. > :35:25.I can't stop loving you. # Give me a chance,
:35:26. > :35:40.chance just to show. # You need to stick with me,
:35:41. > :35:44.I can be more than you know. # I'll be your best
:35:45. > :35:48.friend, next of kin #
:35:49. > :36:36.I'll be everything you need # Please don't stop,
:36:37. > :36:46.# Cause I know I know I can't stop loving you.
:36:47. > :36:48.# I'm such a lucky guy, Got you next to me.
:36:49. > :37:43.# Baby no please don't go, You never ever have to leave.
:37:44. > :55:56.I'm beside myself, I can't stop dancing.
:55:57. > :55:59.What a fantastic first part of the show, this is too incredible
:56:00. > :56:01.and right now I don't want it to end.
:56:02. > :56:05.Luckily it's not going to end, we've still got the second
:56:06. > :56:10.I'm green with envy because Clarke, you got to meet the legend
:56:11. > :56:22.I did indeed and this cat told me that when he was a child,
:56:23. > :56:25.He didn't know where music came from. What part of the world did
:56:26. > :56:34.this young man come from? I didn't realise human beings played
:56:35. > :56:44.instruments. Who did you think played instruments? I didn't think
:56:45. > :56:50.about it, I wanted to be a dancer. But it's God, divine intervention.
:56:51. > :57:01.You've worked with Disney, Frank, Michael... Iconic composer in the
:57:02. > :57:07.20th century. And teacher. Mostly classical music. She explained it
:57:08. > :57:11.better than I could. She said, working with you jazz musicians
:57:12. > :57:18.whose delicate because you guys shack up with music first and marry
:57:19. > :57:29.it later! LAUGHTER Rishi turned my life around. -- she
:57:30. > :57:36.turned my life around. I'm so proud. She said, I'm going to teach you
:57:37. > :57:44.every genre of music, no type of music scares me. I've played
:57:45. > :57:50.everything. We had so much fun. You started out blowing the wind and
:57:51. > :57:57.wound up composing. You created songs. Would you say your main
:57:58. > :58:09.instrument is the studio? All of it, it's all the same thing. Like a film
:58:10. > :58:18.director... And I have some ... I see music before I hear it. I start
:58:19. > :58:21.out with charcoal water sketches and sketches, then we have the
:58:22. > :58:28.background and all this stuff going and then oil, because oil is
:58:29. > :58:34.permanent. Creativity is going to find its way, no matter what it is.
:58:35. > :58:43.The order of the blank page. When you have a blank page, all you have
:58:44. > :58:48.is God. Learn your science. The right brain is the science, the
:58:49. > :58:51.other is soul and science. Emotion you don't have to rehearse, it comes
:58:52. > :58:58.from God. But science, you have to study that. Looking back on your
:58:59. > :59:07.career, what have you enjoyed the most? Every step, every step,
:59:08. > :59:11.brother. You can't get a A if you can't laugh. You learn from
:59:12. > :59:15.mistakes, the more mistakes you can make, the smarty you get. As long as
:59:16. > :59:22.you don't make the same mistake? Don't make it twice and expect
:59:23. > :59:27.different results! I've made every mistake you can think of and I'm
:59:28. > :59:32.glad of it. Your music has been the backdrop of music to my life. Thank
:59:33. > :59:42.you. Is anything you wish you had written but didn't? No, I've done it
:59:43. > :59:46.all. I've got 20 more years, come on!
:59:47. > :59:49.I tell you, it was an absolute honour to meet his brother.
:59:50. > :59:52.He's 83 years old, and like he said he's going to live
:59:53. > :59:59.It's so amazing to see you both together.
:00:00. > :00:06.I loved what he said about learning from mistakes. He is as lit up with
:00:07. > :00:07.the love about the music than he was.
:00:08. > :00:10.We'll be seeing all those wonderful artists
:00:11. > :00:13.from the first half performing some of Quincy's own greatest hits
:00:14. > :00:15.and still to come - the main man will be
:00:16. > :00:32.Meanwhile, here comes Jules Buckley returning to the Royal Albert Hall
:00:33. > :00:34.stage to conduct the orchestra in the second half of this Quincy Jones
:00:35. > :01:13.from. -- Prom. WOLF WHISTLE FROM AUDIENCE four. I
:01:14. > :08:06.know! # But I guess my
:08:07. > :08:14.best wasn't good enough # Back
:08:15. > :08:17.where we were before # We're
:08:18. > :08:24.back to being strangers # Can't we figure out
:08:25. > :08:43.what we keep doin' wrong # Can't we figure out
:08:44. > :10:19.what we keep doin' wrong # Can't we find a way
:10:20. > :11:57.to finally make it right # Anything you can name,
:11:58. > :13:04.no shame # What makes you feel
:13:05. > :13:21.like doing stuff like that? # What makes you feel
:13:22. > :13:25.like doin' stuff like that? # Before my eyes was
:13:26. > :13:31.the promise of paradise # Is she real, can she
:13:32. > :13:37.feel, is she a dream # 'Cause she was built
:13:38. > :13:46.out of stuff like that # I did not want to leave,
:13:47. > :14:24.fever was in the air # And all of us sudden
:14:25. > :14:29.and I didn't care # And no reason why,
:14:30. > :14:33.I just had to testify # What makes you feel
:14:34. > :14:51.like doing stuff like that? # And though I felt naive I did
:14:52. > :15:32.want to play, fever was in the air # And all of us sudden
:15:33. > :15:36.and I didn't care # And no reason why,
:15:37. > :15:40.I just had to testify # What makes you feel
:15:41. > :18:04.like doing stuff like that? # Stepping out
:18:05. > :18:47.the weekends open wide # Fill it up let's
:18:48. > :18:54.blast the jams and ride # While we're cruising
:18:55. > :19:00.around in the street # Slap me five that's the place
:19:01. > :19:08.we've arrived it's alive # We're gonna stomp all night
:19:09. > :19:16.in the neighborhood # The set is hot there's
:19:17. > :19:46.people wall to wall # Old ones young things
:19:47. > :19:50.short ones standing tall # So grab the one with
:19:51. > :19:57.the smile on her face # And hit the floor
:19:58. > :20:00.and stay right on the case # The heat is on and the funk just
:20:01. > :20:06.won't leave us alone # Everybody take it
:20:07. > :20:09.to the top we're gonna # We're gonna stomp all night
:20:10. > :20:13.in the neighborhood # Wanna party till the morning
:20:14. > :20:23.light # We're gonna stomp
:20:24. > :20:26.all night in the neighborhood # Put your foot where
:20:27. > :20:51.you feel the fit # Put your heels where
:20:52. > :21:08.you're feeling it # Stomp all night in the
:21:09. > :21:09.neighborhood # Going to party till
:21:10. > :21:20.the morning light # Stomp all night in the
:21:21. > :21:27.neighborhood # Put your foot where you feel
:21:28. > :21:43.the fit, take it to the top # Put your heels where you're
:21:44. > :22:22.feeling it, take it to the top # We got,
:22:23. > :24:03.great big bottom for getting down # Oh, we can jam in
:24:04. > :24:11.the human being band # Come, let's go everybody
:24:12. > :24:23.to the acapella party # We be doing it
:24:24. > :24:25.(doing it, doing it up) # Ah doing it (doing it,
:24:26. > :24:28.doing it-doing it, doing it up) # Be slamming we be jamming
:24:29. > :24:30.on the one # We be doing it (doing
:24:31. > :24:37.it, doing it up) # Be grooving using
:24:38. > :25:07.what we got and why not, # Oh, we can jam in
:25:08. > :25:10.the human being band # Come, let's go everybody
:25:11. > :25:15.to the acapella party # We be doing it
:25:16. > :25:19.(doing it, doing it up) # Ah doing it (doing it,
:25:20. > :25:22.doing it-doing it, doing it up) # Be slamming we be jamming
:25:23. > :25:24.on the one # We be doing it (doing
:25:25. > :25:29.it, doing it up) # Be grooving using
:25:30. > :25:38.what we got and why not, # Ah doing it (doing
:25:39. > :26:02.it, doing it up) #. # Why, why, tell them
:26:03. > :28:08.that it's human nature # Why, why, does he do it
:28:09. > :28:10.that way # Why, why, tell them
:28:11. > :28:17.that it's human nature # Why, why does he do me
:28:18. > :28:34.that way # Why, why, tell them
:28:35. > :29:01.that it's human nature # Why, why, does he do me
:29:02. > :29:06.that way # Why, why, tell them
:29:07. > :29:11.that it's human nature # Where the city's
:29:12. > :29:52.heart begins to beat # I'm dreaming of the
:29:53. > :29:59.street # Why, why, tell them
:30:00. > :30:07.that it's human nature # Why, why, does he do me
:30:08. > :30:10.that way # Why, why, tell them
:30:11. > :30:19.that it's human nature # She's just a girl
:30:20. > :34:04.who claims that I am the one # She's just a girl
:34:05. > :34:22.who says that I am the one # She was more like a beauty
:34:23. > :34:38.queen from a movie scene # I said don't mind,
:34:39. > :34:42.but what do you mean I am the one # Who will dance on
:34:43. > :34:52.the floor in the round # She told me her name
:34:53. > :34:55.was Billie Jean, # Then every
:34:56. > :34:59.head turned with eyes that # Who will
:35:00. > :35:15.dance on the floor in the round # So take my strong advice,
:35:16. > :35:18.just remember to always think twice # People always
:35:19. > :35:24.told me be careful of what you do # And don't go around
:35:25. > :35:41.breaking young girls' hearts #
:35:42. > :35:51.Billie Jean is not my lover # She's just a girl
:35:52. > :35:54.who says that I am the one #
:35:55. > :36:00.But the kid is not my son # She says I am the one,
:36:01. > :36:33.but the kid is not my son # People always
:36:34. > :36:36.told me be careful of what you do # And don't go around
:36:37. > :36:50.breaking young girls' hearts # She's just a girl
:36:51. > :37:12.who says that I am the one # She says I am the one,
:37:13. > :37:44.but the kid is not my son # She's just a girl
:37:45. > :38:28.who says that I am the one # She says I am the one,
:38:29. > :44:27.but the kid is not my son # I said you wanna be
:44:28. > :44:31.# I said you wanna be startin' somethin'
:44:32. > :44:35.# It's too high to get over (yeah, yeah)
:44:36. > :44:41.# And the pain is thunder (yeah, yeah)
:44:42. > :44:43.# It's too high to get over (yeah, yeah)
:44:44. > :44:50.# And the pain is thunder (yeah, yeah)
:44:51. > :45:00.# Someone's always tryin' to start my baby cryin'
:45:01. > :45:04.# Sayin' you just wanna be startin' somethin'
:45:05. > :45:06.# I said you wanna be startin' somethin'
:45:07. > :45:09.# I said you wanna be startin' somethin'
:45:10. > :45:13.# It's too high to get over (yeah, yeah)
:45:14. > :45:19.# And the pain is thunder (yeah, yeah)
:45:20. > :45:21.# It's too high to get over (yeah, yeah)
:45:22. > :45:33.# And the pain is thunder (yeah, yeah)
:45:34. > :46:42.# They eat off of you, you're a vegetable
:46:43. > :46:44.# I said you wanna be startin' somethin' Our
:46:45. > :46:48.# I said you wanna be startin' somethin'
:46:49. > :46:52.# It's too high to get over (yeah, yeah)
:46:53. > :46:55.# Too low to get under (yeah, yeah) # you're stuck
:46:56. > :46:58.# And the pain is thunder (yeah, yeah)
:46:59. > :47:00.# It's too high to get over (yeah, yeah)
:47:01. > :47:02.# Too low to get under (yeah, yeah)
:47:03. > :47:04.in the middle (yeah, yeah)
:47:05. > :49:13.I have been coming to the Proms since owes a little girl and I don't
:49:14. > :49:21.think I've seen the crowd that wild! All the people partying hard. The
:49:22. > :49:28.atmosphere is dynamite. Wait, what's happening here? This place is
:49:29. > :49:34.rocking! It is absolutely on fire. Jules Buckley, conductor of the
:49:35. > :49:39.Metropole Orchestra, a word for him, what an amazing job he has done
:49:40. > :49:45.tonight? Absolutely. Look at them, their feet. Does it mean there might
:49:46. > :49:53.be another conductor coming onto the stage? You have to be kidding, there
:49:54. > :50:01.can't be another conductor! I think it might be time for Quincy Jones to
:50:02. > :50:06.make his Prom debut. Here he is! Look at this! What's going on here?
:50:07. > :50:17.Jules Buckley coming back on, taking a very, well deserved bow.
:50:18. > :50:21.Absolutely, it doesn't get much better than this! I hope he does
:50:22. > :50:33.have another 30 years, really. He'd better. What's been your highlight
:50:34. > :50:37.so far,? All of his proteges, in each of them you can hear a bit of
:50:38. > :50:55.his influence. Here they come. Here they come. Emma Mvula, Rory Henry,
:50:56. > :51:02.Richard Bona. Yes indeed. Alfredo Rodriguez. Look at the spectre of
:51:03. > :51:09.people up there. We've got the United Nations up there. Look at it,
:51:10. > :51:15.that's the United Nations of music. Brought to you by Quincy Jones!
:51:16. > :51:29.Listen to them! CHEERING There he is, oh, my! Quincy Jones,
:51:30. > :51:31.83 years old, 79 Grammys later and making his debut at the BBC Proms.
:51:32. > :52:33.Look at that! It's too much. You can party here!
:52:34. > :52:38.They told me you're not supposed a party at the Albert Hall, but you
:52:39. > :52:43.are going to do it anyway. There was a time unions, American and British
:52:44. > :52:48.unions wouldn't American performers into the Albert Hall. The first time
:52:49. > :52:56.I played I was conducting, Phil Jones and Tony Bennett for Mandela
:52:57. > :53:01.and the Royal family. CHEERING The next time was with my brother
:53:02. > :53:06.Michael Caine. Michael and I were born on the same
:53:07. > :53:19.day, month and hour. Celestial twins. He's up there, Michael Caine.
:53:20. > :53:27.And his beautiful wife. And Olivia, Marianne, and abroad, who wrote
:53:28. > :53:34.Thriller. You are the most beautiful audience I've ever felt in my life,
:53:35. > :53:39.it's unbelievable. And I didn't do a down the thing, I had nothing to do
:53:40. > :53:47.with this. It's great, unbelievable. I want you to give it up for a
:53:48. > :53:55.beautiful little dude, he's only 36, I've had hangovers longer than that.
:53:56. > :54:01.Jules Buckley! CHEERING Jules Buckley. And the orchestra,
:54:02. > :54:21.get up, up, up! CHEERING Suzi, where is Suzi? Jacob's mother.
:54:22. > :54:25.God bless you. What a night. I had no idea what was going to happen
:54:26. > :54:27.next at all, but thank you, because I grooved as much as you did. Thank
:54:28. > :55:19.you! CHEERING # I don't care if
:55:20. > :55:58.you're young or old, # You oughtta let
:55:59. > :56:13.# Baby let the good times roll, # Whether you're young or old
:56:14. > :58:00.# Let the good times roll # If you're done everybody
:58:01. > :58:14.Mr Quincy Jones is in town # Don't let anybody grabbed me cheap
:58:15. > :58:18.# I've got 50 cents more # I'm going to give us a good time,
:58:19. > :58:22.Lord # I don't care if you're young or
:58:23. > :58:24.old, # Lets get together and let the good
:58:25. > :59:26.times roll What a way to make your BBC Proms
:59:27. > :59:30.debut. Quincy Jones, absolutely raising the roof of the Royal Albert
:59:31. > :59:35.Hall, bringing so much joy, absolutely thrilling to hear him and
:59:36. > :59:39.his music brought alive at the BBC Proms.
:59:40. > :59:41.Leaving us in no doubt that having already inspired so many
:59:42. > :59:44.people from all walks of life, he will continue to inspire
:59:45. > :59:53.Yes, I'm exhausted. Remarkable, a remarkable night. No superlatives to
:59:54. > :59:56.express... Listen to that. The Royal Albert Hall
:59:57. > :00:12.is applauding so much, Here myself, here myself, hear
:00:13. > :00:14.myself speak! He looked like he was having a good time on that stage.
:00:15. > :00:16.The Metropole Orkest conducted by Jules Buckley
:00:17. > :00:34.What a night here at the Royal Albert Hall. Listen to it, baby! We
:00:35. > :00:36.don't want to leave but we're going to have to do.
:00:37. > :00:40.Clarke and I will be back here on Wednesday and even though
:00:41. > :00:42.the Olympics may be over, we've still got Brazil fever,
:00:43. > :00:44.as Marin Alsop brings her Sao Paulo Symphony Orchestra
:00:45. > :00:50.Meanwhile, tomorrow night it's another multi-talented jazz singer-
:00:51. > :00:56.songwriter Jamie Cullum, so do tune in at 10pm, but for now,
:00:57. > :01:06.with the good times having well and truly rolled,
:01:07. > :01:10.Thank you so much for watching and good night. Good night.