0:00:02 > 0:00:05You want me to describe big band swing music in three words?
0:00:05 > 0:00:08- It's the music of the people. - Dynamic.- Uplifting.
0:00:08 > 0:00:12- Almost physical.- Joyous. - Explosive.- Bang!
0:00:34 > 0:00:36APPLAUSE
0:00:54 > 0:00:56SONG: Milenberg Joys
0:06:18 > 0:06:20CHEERING AND APPLAUSE
0:06:41 > 0:06:45# I was alone on the shelf
0:06:45 > 0:06:49# In a world by myself
0:06:50 > 0:06:55# Oh, where could my Prince Charming be?
0:06:57 > 0:07:00# But then you came along
0:07:00 > 0:07:05# Made my life like a song
0:07:05 > 0:07:11# And taught me these words of ecstasy
0:07:12 > 0:07:15# Tenderly
0:07:15 > 0:07:18# I want some huggin' and some squeezin'
0:07:18 > 0:07:19# And some muggin' and some teasin'
0:07:19 > 0:07:22# And some stuff like that there
0:07:22 > 0:07:24# I want some pettin' and some spoonin'
0:07:24 > 0:07:26# And some happy honeymoonin'
0:07:26 > 0:07:28# And some stuff like that there
0:07:28 > 0:07:31# I used to think that love was just a lot of rubbish
0:07:31 > 0:07:34# A mess o' cabbage, a mess o' cabbage
0:07:34 > 0:07:37# But now my attitude is wholly lovey dovish
0:07:37 > 0:07:40# And, baby, you, you've done it
0:07:40 > 0:07:42# I want some kissin' and some hopin'
0:07:42 > 0:07:44# And some missin' and some mopin'
0:07:44 > 0:07:47# And some stuff like that there
0:07:47 > 0:07:49# I want some leapin' and some chasin'
0:07:49 > 0:07:51# And some weepin' and some pacin'
0:07:51 > 0:07:53# And some stuff like that there
0:07:53 > 0:07:56# And when I get a certain feelin' I confess it
0:07:56 > 0:07:59# There's really only one expression to express it
0:07:59 > 0:08:01# I want some huggin' and some squeezin'
0:08:01 > 0:08:03# And some muggin' and some pleasin'
0:08:03 > 0:08:05# And some stuff
0:08:05 > 0:08:07# Stuff like that there
0:08:07 > 0:08:09# Whoo!
0:08:33 > 0:08:37# I wanna be hugged and squeezed, mugged and teased
0:08:37 > 0:08:39# And stuff like that there
0:08:39 > 0:08:43# I wanna be petted, spooned, honeymooned
0:08:43 > 0:08:46# Stuff like that there
0:08:46 > 0:08:49# I used think romance was bunk
0:08:49 > 0:08:52# A double mickey for the ickey
0:08:52 > 0:08:55# But all at once my heart was sunk
0:08:55 > 0:08:58# And, baby, you, you've done it
0:08:58 > 0:09:00# I want some kissin' and some hopin'
0:09:00 > 0:09:02# And some missin' and some mopin'
0:09:02 > 0:09:04# And some stuff like that there
0:09:04 > 0:09:06# I want some leapin' and some chasin'
0:09:06 > 0:09:08# And some weepin' and some pacin'
0:09:08 > 0:09:11# And some stuff like that there
0:09:11 > 0:09:14# And when I get a certain feelin' I confess it
0:09:14 > 0:09:17# There's really only one expression to express it
0:09:17 > 0:09:21# I want some huggin', squeezin'
0:09:21 > 0:09:23# Muggin', teasin'
0:09:23 > 0:09:26# And some stuff
0:09:26 > 0:09:29# Stuff like that there
0:09:29 > 0:09:31# Yeah!
0:09:31 > 0:09:33# Stuff like that there! #
0:09:39 > 0:09:42CHEERING AND APPLAUSE
0:09:45 > 0:09:48Thank you! Thank you very much!
0:09:51 > 0:09:55It's very exciting! Hello, I'm Clare Teal.
0:09:55 > 0:09:59Welcome to the BBC Proms at the Royal Albert Hall.
0:09:59 > 0:10:01Our swing spectacular is back!
0:10:01 > 0:10:05These two roaring big bands led by Guy Barker and Winston Rollins!
0:10:05 > 0:10:07CHEERING AND APPLAUSE
0:10:12 > 0:10:15The stage is full of the finest musicians,
0:10:15 > 0:10:18and a whole heap of incredible talent is just waiting in the wings.
0:10:18 > 0:10:23So, each band will take it in turns to perform, but quiet often
0:10:23 > 0:10:28they're going to play together and I call this the big fat blast.
0:10:28 > 0:10:32We started with Milenberg Joys, that was composed by Jelly Roll Morton.
0:10:32 > 0:10:35The arrangement was based on two versions,
0:10:35 > 0:10:37written in 1928 and '38 by Don Redman,
0:10:37 > 0:10:41and he developed the foundations of early big band writing,
0:10:41 > 0:10:43how the different sections -
0:10:43 > 0:10:45the trumpets, the trombones, the saxophones, the rhythm -
0:10:45 > 0:10:47how they interact with each other,
0:10:47 > 0:10:51and his ideas were embraced by many arrangers throughout the swing era.
0:10:51 > 0:10:54Following Milenberg Joys,
0:10:54 > 0:10:57I sang Stuff Like That There with the Winston Rollins band,
0:10:57 > 0:10:59recorded by movie star Betty Hutton,
0:10:59 > 0:11:03who brought an explosive energy to pretty much everything she did.
0:11:03 > 0:11:08And for me, explosive energy is what big band music is all about.
0:11:08 > 0:11:12Look at Duke Ellington, he was a man of endless moods and tones,
0:11:12 > 0:11:14explosive and otherwise.
0:11:14 > 0:11:19Here's an absolute gem from his so-called jungle period of music.
0:11:19 > 0:11:22It was written with trumpeter Bubber Miley in 1926.
0:11:22 > 0:11:25You've got to listen out for the growling plunger mute trumpet
0:11:25 > 0:11:28played by Tom Rees-Roberts.
0:11:28 > 0:11:35Yeah! With the Guy Barker Band, this is East St Louis Toodle-Oo.
0:14:53 > 0:14:55CHEERING AND APPLAUSE
0:15:00 > 0:15:02The Guy Barker Big Band!
0:15:03 > 0:15:04Whoo!
0:15:07 > 0:15:10Over to the Winston Rollins Band now
0:15:10 > 0:15:12and the sweet sounds of Glenn Miller.
0:15:12 > 0:15:14Now, Glenn was the best-selling recording artist
0:15:14 > 0:15:16from 1939 through to 1943.
0:15:16 > 0:15:20A bit like Adele but with glasses and a trombone.
0:15:20 > 0:15:24A young Billy May wrote this gorgeous intro in 30 minutes flat
0:15:24 > 0:15:28and tagged it on to Bill Finegan's arrangement of Serenade In Blue.
0:15:28 > 0:15:31To sing it, our first guest will be Mads Mathias
0:15:31 > 0:15:34and our close harmony group the Accent Quartet.
0:15:34 > 0:15:37APPLAUSE
0:17:18 > 0:17:23# When I hear that serenade in blue
0:17:25 > 0:17:29# I'm somewhere in another world
0:17:29 > 0:17:33# Alone with you
0:17:33 > 0:17:39# Sharing all the joys we used to know
0:17:40 > 0:17:44# Many moons
0:17:44 > 0:17:46# Ago
0:17:49 > 0:17:56# Once again your face comes back to me
0:17:56 > 0:18:04# Just like the dream of some enchanted melody
0:18:05 > 0:18:11# In the album of my memory
0:18:12 > 0:18:19# Serenade in blue
0:18:21 > 0:18:25# It seems like only yesterday
0:18:25 > 0:18:29# A small cafe, a crowded floor
0:18:29 > 0:18:33# And as we danced the night away
0:18:33 > 0:18:37# I hear you say forever more
0:18:37 > 0:18:41# And then the song became a sigh
0:18:41 > 0:18:46# Forever more became goodbye
0:18:46 > 0:18:52# But you remained in my heart
0:18:52 > 0:18:56# So tell me, darling
0:18:56 > 0:19:01# Is there still a spark
0:19:01 > 0:19:05# Or only lonely ashes
0:19:05 > 0:19:09# Of the flame we knew
0:19:09 > 0:19:16# Should I go on whistling in the dark?
0:19:16 > 0:19:24# Serenade in blue. #
0:19:32 > 0:19:34CHEERING AND APPLAUSE
0:19:43 > 0:19:45SONG: Whatcha Know Joe
0:21:38 > 0:21:40# Hey, whatcha know, Joe?
0:21:40 > 0:21:43# Yeah, what do you know?
0:21:45 > 0:21:46# Whatcha know, Joe?
0:21:46 > 0:21:48# I don't know nothing
0:21:48 > 0:21:49# Whatcha know, Joe?
0:21:49 > 0:21:51# Tell me something
0:21:51 > 0:21:53# Whatcha know, Joe?
0:21:53 > 0:21:58# Ain't conniving, I ain't jiving, I don't know
0:21:58 > 0:21:59# Whatcha know, Joe?
0:21:59 > 0:22:01# Well, I don't know Latin
0:22:01 > 0:22:02# Whatcha know, Joe?
0:22:02 > 0:22:04# Ain't high-hattin'
0:22:04 > 0:22:05# Whatcha know, Joe?
0:22:05 > 0:22:10# I ain't foolin', I need schoolin', I don't know
0:22:10 > 0:22:13# I don't know
0:22:13 > 0:22:15# Mama tried to tell me so
0:22:15 > 0:22:19# Papa wouldn't let me go
0:22:19 > 0:22:22# Couldn't even see a movie show
0:22:22 > 0:22:24# Whatcha know, Joe?
0:22:24 > 0:22:26# Well, I just can't figure
0:22:26 > 0:22:27# Whatcha know, Joe?
0:22:27 > 0:22:29# I don't dig ya
0:22:29 > 0:22:31# Whatcha know, Joe?
0:22:31 > 0:22:36# Hey, quit your squawkin', just keep walkin' cos I don't know. #
0:23:28 > 0:23:31CHEERING AND APPLAUSE
0:23:36 > 0:23:38Georgina Jackson!
0:23:39 > 0:23:42Whoo! Accent!
0:23:42 > 0:23:46And the Guy Barker Big Band! Come on!
0:23:48 > 0:23:51I know! You're allowed to clap!
0:23:53 > 0:23:57Georgina not only a terrific singer but also a brilliant trumpet player.
0:23:57 > 0:24:00That was Whatcha Know Joe, written by Trummy Young
0:24:00 > 0:24:04and arranged by Sy Oliver for Tommy Dorsey in 1941.
0:24:04 > 0:24:09It wasn't uncommon for musicians to jump out of section and sing a tune.
0:24:09 > 0:24:12It's quite a common thing, and it's wonderful also to think that
0:24:12 > 0:24:15harmony singing like that was the norm.
0:24:15 > 0:24:17We're going to change the pace now -
0:24:17 > 0:24:19there's a lot of shuffling going on here -
0:24:19 > 0:24:23and we're going to recreate a beautiful ground-breaking moment
0:24:23 > 0:24:27in jazz history. We're going back to February the 4th 1927.
0:24:27 > 0:24:33It's hard to understand now how revolutionary this record was.
0:24:33 > 0:24:36Guy will assume the role of Bix Beiderbecke on cornet.
0:24:36 > 0:24:39Bix's playing style was unlike anything heard before
0:24:39 > 0:24:41and would influence so many of his contemporaries
0:24:41 > 0:24:43and players of future generations.
0:24:43 > 0:24:46Alan Barnes plays saxophonist Frankie Trumbauer.
0:24:46 > 0:24:48Chelsea Carmichael on clarinet.
0:24:48 > 0:24:52We've got Winston Rollins on trombone, Dave Archer on guitar,
0:24:52 > 0:24:57Joe Webb on piano, Alec Dankworth on bass and Shane Forbes on drums.
0:24:57 > 0:25:02Are we ready? This is Singing The Blues.
0:27:57 > 0:27:59CHEERING AND APPLAUSE
0:28:06 > 0:28:08Singing The Blues!
0:28:08 > 0:28:11What an amazing sound.
0:28:11 > 0:28:13Now, these great musicians and arrangers
0:28:13 > 0:28:16and composers that we're paying tribute to -
0:28:16 > 0:28:19the likes of Jelly Roll Morton, Don Redman,
0:28:19 > 0:28:22Duke Ellington, Glenn Miller, Bix Beiderbecke -
0:28:22 > 0:28:23all so brilliantly different,
0:28:23 > 0:28:27but they did have one thing in common - they were all men.
0:28:27 > 0:28:33So, where were the female musicians, arrangers and composers?
0:28:33 > 0:28:37Well, that's a whole other story and a whole other prom.
0:28:37 > 0:28:40But there is one outstanding woman we'd love to pay tribute to
0:28:40 > 0:28:43and that's Mary Lou Williams.
0:28:43 > 0:28:45Like so many heroes of the jazz age,
0:28:45 > 0:28:48Mary Elfrieda Scruggs had a tough start.
0:28:48 > 0:28:53She was born into abject poverty in Atlanta, Georgia, in 1910.
0:28:53 > 0:28:56Prodigiously gifted with perfect pitch
0:28:56 > 0:28:59and an unwavering sense of timing, she learned to play the piano
0:28:59 > 0:29:03by ear and was, by the age of eight, out gigging, supporting her family.
0:29:03 > 0:29:05Known in the local community as
0:29:05 > 0:29:08"the little piano girl from East Liberty."
0:29:08 > 0:29:13Duke Ellington called her a genius. He said, "She is like soul on soul."
0:29:13 > 0:29:17And we're going to demonstrate three areas of her mammoth talent -
0:29:17 > 0:29:22arranging, composition and Mary's virtuosity as a pianist.
0:29:22 > 0:29:26But to do this we need a woman on that piano.
0:29:26 > 0:29:28Now, when she plays,
0:29:28 > 0:29:33this artist lights up a room just like I know Mary Lou must have done.
0:29:33 > 0:29:37And I know that you are going to absolutely love her.
0:29:37 > 0:29:41Please welcome to the Royal Albert Hall the fabulous Hiromi!
0:29:41 > 0:29:44CHEERING AND APPLAUSE
0:32:33 > 0:32:35CHEERING AND APPLAUSE
0:32:40 > 0:32:43The Guy Barker Big Band and the Winston Rollins Big Band!
0:32:47 > 0:32:49And that was Mary Lou Williams' arrangement
0:32:49 > 0:32:53of Irving Berlin's Blue Skies. She wrote it for Duke Ellington in '43.
0:32:53 > 0:32:57It became known as Trumpets No End - for obvious reasons -
0:32:57 > 0:32:59and he played it for years.
0:32:59 > 0:33:03But remember, big bands are nothing without great-sounding arrangements
0:33:03 > 0:33:06and great musicians to play them.
0:33:06 > 0:33:09Mary didn't actually learn the rudiments of music theory
0:33:09 > 0:33:12till she was in her 20s, but she caught on quick.
0:33:12 > 0:33:13She wrote at work on the bandstand,
0:33:13 > 0:33:17playing piano with her left hand whilst composing music
0:33:17 > 0:33:20for an entirely different song with her right.
0:33:20 > 0:33:23Band leaders like Cab Calloway, Louis Armstrong, Tommy Dorsey,
0:33:23 > 0:33:25Bob Crosby, Glen Gray
0:33:25 > 0:33:28and Duke Ellington were queuing up to have Mary Lou write for them.
0:33:28 > 0:33:31Benny Goodman wanted her to write exclusively for him
0:33:31 > 0:33:33but she turned him down.
0:33:33 > 0:33:35Here's a song she composed
0:33:35 > 0:33:39and arranged for Andy Kirk & His Clouds of Joy in 1938.
0:33:39 > 0:33:41Mary played in the band, too.
0:33:41 > 0:33:45So, featuring Hiromi on piano, Mads Mathias on vocals
0:33:45 > 0:33:49and the Winston Rollins Big Band, What's Your Story, Morning Glory?
0:35:19 > 0:35:21# What's your story, morning glory?
0:35:21 > 0:35:24# What makes you look so blue?
0:35:24 > 0:35:26# The way that you've been acting
0:35:26 > 0:35:29# I don't know what to do
0:35:29 > 0:35:31# But I love you
0:35:31 > 0:35:33# Sure as one and one makes two
0:35:33 > 0:35:36# What's your story, morning glory?
0:35:36 > 0:35:40# Got a feeling there's a lot you're concealing
0:35:40 > 0:35:44# Won't you let me know your point of view?
0:35:47 > 0:35:51# What's your story, morning glory?
0:35:51 > 0:35:53# You got me worried, too
0:35:53 > 0:35:55# The postman came this morning
0:35:55 > 0:35:58# And left a note for you
0:35:58 > 0:36:00# Did you read it?
0:36:00 > 0:36:03# Then you know that I love you
0:36:03 > 0:36:05# What's your story, morning glory?
0:36:05 > 0:36:10# Give your answer to this patient romancer
0:36:10 > 0:36:14# Oh, won't you tell me that you love me, too? #
0:37:21 > 0:37:23CHEERING AND APPLAUSE
0:38:38 > 0:38:41NO AUDIBLE DIALOGUE
0:39:56 > 0:39:58CHEERING AND APPLAUSE
0:43:55 > 0:43:58CHEERING AND APPLAUSE
0:44:45 > 0:44:47SONG: Roll 'Em
0:48:50 > 0:48:53CHEERING AND APPLAUSE
0:48:56 > 0:49:00The Guy Barker Big Band, the Winston Rollins Big Band,
0:49:00 > 0:49:02and Hiromi!
0:49:07 > 0:49:08Wow!
0:49:15 > 0:49:19Roll 'Em composed and arranged for Benny Goodman by Mary Lou Williams,
0:49:19 > 0:49:24and before that Hiromi - oh! - with I Got Rhythm. And she does.
0:49:24 > 0:49:28One of Mary Lou Williams' piano exercises was playing through
0:49:28 > 0:49:31the chord changes of the Gershwin's I Got Rhythm,
0:49:31 > 0:49:34but she called her own version Kool, with a K.
0:49:34 > 0:49:38Now, Mary Lou Williams died in 1981, aged 71.
0:49:38 > 0:49:41She was a genius, she could do it all,
0:49:41 > 0:49:43and had she been born at a different time
0:49:43 > 0:49:47she would have been as famous and respected as Duke Ellington.
0:49:47 > 0:49:49And like Duke, Mary was always pushing musical boundaries,
0:49:49 > 0:49:53constantly trying new things, from stride to swing,
0:49:53 > 0:49:56boogie-woogie to bebop, blues and beyond.
0:49:56 > 0:50:01Always progressive and always able to retain her own voice.
0:50:01 > 0:50:05Now, Count Basie said of Lou, "Any time she was in the neighbourhood,
0:50:05 > 0:50:09"I used to find myself another little territory, cos Mary Lou
0:50:09 > 0:50:11"was tearing everybody up."
0:50:11 > 0:50:14In '36, when Count Basie's band hit New York,
0:50:14 > 0:50:16they were joined by a young singer
0:50:16 > 0:50:19who was causing quite a stir on the jazz scene.
0:50:19 > 0:50:21Billie Holiday, unlike most singers of the era,
0:50:21 > 0:50:25took complete control of the material she sang.
0:50:25 > 0:50:27She directed how the musicians should accompany her.
0:50:27 > 0:50:30Basie said she was totally uncompromising about preserving
0:50:30 > 0:50:33her own identity within his band,
0:50:33 > 0:50:36and the boys very much took a background supporting role.
0:50:36 > 0:50:39Now, Billie sadly never recorded with the Count Basie Orchestra,
0:50:39 > 0:50:42but there exists a couple of radio broadcasts of them
0:50:42 > 0:50:47performing together, including one from the 30th of June 1937,
0:50:47 > 0:50:51where Lady Day sang the Gershwin's They Can't Take That Away from Me.
0:50:51 > 0:50:56Here to sing it now, please welcome the fabulous Vanessa Haynes!
0:50:56 > 0:50:59APPLAUSE
0:51:13 > 0:51:16# The way you wear your hat
0:51:18 > 0:51:22# The way your sip your tea
0:51:23 > 0:51:26# The memory of all that
0:51:29 > 0:51:34# No, no, they can't take that away from me
0:51:34 > 0:51:39# The way your smile just beams
0:51:39 > 0:51:42# The way you sing off key
0:51:44 > 0:51:50# The way you haunt my dreams
0:51:50 > 0:51:56# No, no, they can't take that away from me
0:51:56 > 0:52:01# We may never, never meet again
0:52:01 > 0:52:05# On the bumpy road to love
0:52:06 > 0:52:13# Though I'll always, always keep the memories of
0:52:15 > 0:52:18# The way you hold your knife
0:52:20 > 0:52:23# The way we danced till three
0:52:25 > 0:52:29# The way you changed my life
0:52:31 > 0:52:36# No, no, they can't take that away from me
0:52:36 > 0:52:42# No, they can't take that away
0:52:42 > 0:52:47# From me
0:53:30 > 0:53:33# We may never, never meet again
0:53:33 > 0:53:38# On the bumpy road to love
0:53:38 > 0:53:45# Though I'll always, always keep the memories of
0:53:47 > 0:53:52# The way you hold your knife
0:53:52 > 0:53:55# The way we danced till three
0:53:57 > 0:54:02# The way you haunt my life
0:54:02 > 0:54:07# No, no, they can't take that away from me
0:54:07 > 0:54:10# No, they can't
0:54:10 > 0:54:16# Take that away
0:54:16 > 0:54:19# From
0:54:19 > 0:54:24# Me. #
0:54:24 > 0:54:27CHEERING AND APPLAUSE
0:54:33 > 0:54:35Vanessa Haynes!
0:54:37 > 0:54:41And the Winston Rollins Big Band! How beautiful they are.
0:54:44 > 0:54:47These days, I think it's harder for youngsters to get on in jazz.
0:54:47 > 0:54:51There just doesn't seem to be the amount of gigs around,
0:54:51 > 0:54:54so this year we invited a couple of vocalists just starting out
0:54:54 > 0:54:57to come and sing with our Hollywood Orchestra at various
0:54:57 > 0:55:01festivals around the country, and I thought you would absolutely
0:55:01 > 0:55:04love them and be really, you know... I can feel the love in the room.
0:55:04 > 0:55:08You can imagine they're a little bit nervous, eh?
0:55:08 > 0:55:13Yeah. Please say hello to Ben Cipolla and Cherise Adams-Burnett.
0:55:13 > 0:55:15CHEERING AND APPLAUSE
0:55:19 > 0:55:22Now, one of Ella Fitzgerald's early influences was Connee Boswell
0:55:22 > 0:55:26and the Boswell Sisters. They grew up in New Orleans
0:55:26 > 0:55:28and they were classically trained on a bazillion different
0:55:28 > 0:55:33kind of instruments, but they used to drive round town soaking up
0:55:33 > 0:55:37everything they heard - rag time, blues, stomps and shuffles.
0:55:37 > 0:55:39They were like little jazz sponges.
0:55:39 > 0:55:43And their unique blend of close harmony, varying tempos
0:55:43 > 0:55:47and syncopated rhythms made them stars of the radio.
0:55:47 > 0:55:50Tonight, Matthew, I'm going to be Connee Boswell,
0:55:50 > 0:55:54Cherise is Vet Boswell, which makes Ben Martha...
0:55:54 > 0:55:56LAUGHTER
0:55:56 > 0:55:59..or Martin Boswell.
0:55:59 > 0:56:01This is Roll On Mississippi.
0:56:12 > 0:56:16THEY SCAT
0:56:29 > 0:56:31# Hear that whistle
0:56:31 > 0:56:33# There goes the bell
0:56:33 > 0:56:36# That means we're on our way
0:56:37 > 0:56:41# All aboard, boy, I'm feelin' swell
0:56:41 > 0:56:44# This is my happy day
0:56:45 > 0:56:49# Paddle wheel, you're mighty, mighty slow
0:56:50 > 0:56:54# That's why I keep on shoutin', "Let her go!"
0:56:54 > 0:56:57- BOTH:- # Roll on, you Mississippi, roll on
0:56:57 > 0:56:59CHERISE SCATS
0:56:59 > 0:57:03- ALL:- # Come on, you lazy steamer, quit your stallin' and move along
0:57:03 > 0:57:07# Clear the river, here we come
0:57:07 > 0:57:09# Watch her smoke, boy
0:57:09 > 0:57:11# Hear that engine hummin', lawdy
0:57:11 > 0:57:15# Take a look at that shore
0:57:15 > 0:57:21# With the folks I adore
0:57:26 > 0:57:33# There's a spot around that bend
0:57:35 > 0:57:39# That's my home
0:57:39 > 0:57:44# My journey's end
0:57:44 > 0:57:48# Come on, you old man river, come on,
0:57:48 > 0:57:52# Roll on, you Mississippi, roll
0:57:52 > 0:57:55# New Orleans, hello
0:57:55 > 0:58:00# Bye-bye, New Orleans
0:58:00 > 0:58:03# Get along
0:58:03 > 0:58:05# Goin' strong
0:58:05 > 0:58:07# Baton Rouge
0:58:07 > 0:58:10# So long
0:58:10 > 0:58:17# Say, cap'n, tell me what's the next big town we'll see?
0:58:18 > 0:58:22# I'm so excited
0:58:22 > 0:58:29# I'm as happy as can be, oh
0:58:29 > 0:58:32# Roll on, you Mississippi, roll on
0:58:32 > 0:58:35# Come on, you lazy steamer, move on
0:58:35 > 0:58:39THEY SCAT
0:58:39 > 0:58:40# There that river, here we come
0:58:40 > 0:58:43# Watch that smoke, boy, hear that hum
0:58:43 > 0:58:47THEY SCAT
0:58:47 > 0:58:49# There's a spot
0:58:49 > 0:58:52# Round that bend
0:58:52 > 0:58:56# That's my home, my journey's end
0:58:56 > 0:58:58# Roll on, you old man river, come on
0:58:58 > 0:59:00# Move on, you lazy steamer, move on
0:59:00 > 0:59:05# Roll on, you Mississippi, roll on, you Mississippi, roll on! #
0:59:05 > 0:59:08CHEERING AND APPLAUSE
0:59:11 > 0:59:16The Guy Barker Big Band with me, Clare Teal and Ben Cipolla,
0:59:16 > 0:59:18Cherise Adams-Burnett.
0:59:23 > 0:59:27To close our first half both bands play a powerhouse tune
0:59:27 > 0:59:30created on the bandstand by the stars of Woody Herman's First Herd.
0:59:30 > 0:59:35Based again on the chords of I Got Rhythm, this is Apple Honey!
1:02:41 > 1:02:44CHEERING AND APPLAUSE
1:02:57 > 1:03:01Mary Lou Williams was one of the first female arrangers,
1:03:01 > 1:03:05and there's something very special about those arrangements.
1:03:05 > 1:03:08I remember listening to a couple of them and going,
1:03:08 > 1:03:12"What is that? Why is that so... Has that feeling?"
1:03:43 > 1:03:47Mary Lou's arrangements, when I look at them now, I begin to understand
1:03:47 > 1:03:50just how ahead of her time she was.
1:03:50 > 1:03:51You couldn't argue with her.
1:03:51 > 1:03:54All her contemporaries, they were terrified of her.
1:03:54 > 1:03:58It was hard enough for black musicians in that terrible time
1:03:58 > 1:04:03of segregation but for women it was also equally hard.
1:04:03 > 1:04:04If you were black and a woman,
1:04:04 > 1:04:08you stood very little chance of being taken seriously.
1:04:08 > 1:04:11She was never going to get the opportunity to lead her own band
1:04:11 > 1:04:16or to shine in the way that was, you know, effortlessly so and, you know,
1:04:16 > 1:04:17it drives me nuts.
1:04:25 > 1:04:30She was an amazing musician cos she really moved along with the times
1:04:30 > 1:04:33and was really doing really incredibly adventurous music.
1:04:41 > 1:04:42Just listening to her playing,
1:04:42 > 1:04:47stylistically she borrows from almost every part of her career
1:04:47 > 1:04:51so delicately and deliciously - she mixes it all up.
1:04:57 > 1:04:59And she could really play.
1:04:59 > 1:05:03That left hand of hers - really strong and powerful.
1:05:05 > 1:05:09She was a one-off. She was like that Ellingtonian genius. She had it all.
1:05:09 > 1:05:11APPLAUSE
1:05:11 > 1:05:14Very beautiful, very sweet, very gracious, very generous.
1:05:14 > 1:05:18And all the kids in the band want you know that we do love you madly.
1:05:27 > 1:05:32Duke Ellington was a genius and a giant of the music.
1:05:32 > 1:05:36He created the jazz orchestra.
1:05:41 > 1:05:46In jazz, if you have the small group where improvisation is happening
1:05:46 > 1:05:49all the time and the soloists are really important,
1:05:49 > 1:05:52and then in the big bands it's much regimented,
1:05:52 > 1:05:55it's much more structured,
1:05:55 > 1:05:59everybody's reading in an orchestral fashion, if you like.
1:05:59 > 1:06:02But Duke Ellington combined both of those.
1:06:22 > 1:06:25Obviously, you know, you've got the Duke Ellington Band.
1:06:25 > 1:06:28For swing music it was all about Count Basie.
1:06:33 > 1:06:35Essentially, he is jazz royalty.
1:06:37 > 1:06:42When his band starts playing and the rhythm sections groove in,
1:06:42 > 1:06:44Count comes in with a solo.
1:06:54 > 1:06:57So sparsely, very few notes,
1:06:57 > 1:07:00and then the band explodes into something.
1:07:17 > 1:07:19It's just one of the most exciting bands.
1:07:32 > 1:07:35His band is so dynamic. When I'm running my big band
1:07:35 > 1:07:39I like to get the extremes of the dynamics as well,
1:07:39 > 1:07:41and that gives the excitement
1:07:41 > 1:07:44and you can see it in the audience's faces.
1:07:48 > 1:07:50He's just influenced me that way and...
1:07:50 > 1:07:54if I could achieve a teeny bit of what he's done,
1:07:54 > 1:07:56I'll be happy forever.
1:11:04 > 1:11:06CHEERING AND APPLAUSE
1:11:17 > 1:11:18# Got no diamond
1:11:18 > 1:11:20# Got no pearls
1:11:20 > 1:11:23# Still I think I'm a lucky girl
1:11:23 > 1:11:27# I've got the sun in the morning and the moon at night
1:11:31 > 1:11:33# Got no mansion
1:11:33 > 1:11:35# Got no yacht
1:11:35 > 1:11:38# Still I'm happy with what I got
1:11:38 > 1:11:43# I've got the sun in the morning and the moon at night
1:11:47 > 1:11:54# Sunshine gives me a lovely day
1:11:54 > 1:11:59# Moonlight gives me the Milky Way
1:11:59 > 1:12:00# Whoo-ooh
1:12:02 > 1:12:04# Got no cheque books
1:12:04 > 1:12:06# Got no banks
1:12:06 > 1:12:09# Still, I'd like to express my thanks
1:12:09 > 1:12:13# I've got the sun in the morning and the moon at night
1:12:17 > 1:12:20# And with the sun in the morning and the moon in the evening
1:12:20 > 1:12:24# I'm all right
1:12:39 > 1:12:41# Got no girlfriend
1:12:41 > 1:12:43# Just don't dare
1:12:43 > 1:12:46# Tried to get one Can't stand the fare
1:12:46 > 1:12:51# And the one I'm looking for is never there
1:12:51 > 1:13:00# I don't mean Genie with the light brown hair
1:13:02 > 1:13:05# Sunshine
1:13:05 > 1:13:08# Gives me a lovely day
1:13:09 > 1:13:12# Moonlight
1:13:12 > 1:13:15# Helps me to hold my man
1:13:17 > 1:13:19# Got no groceries
1:13:19 > 1:13:21# Needs too high
1:13:21 > 1:13:24# Got no house I can rent or buy
1:13:24 > 1:13:28# But I've got the sun in the morning and the moon at night
1:13:32 > 1:13:34# With the sun in the morning
1:13:34 > 1:13:36# Moon in the evening
1:13:38 > 1:13:48# Baby, I'm all right. #
1:13:48 > 1:13:51CHEERING AND APPLAUSE
1:13:51 > 1:13:54The Accent Quartet.
1:13:54 > 1:13:58Myself and the Guy Barker Big Band.
1:14:00 > 1:14:02Whoo!
1:14:03 > 1:14:06That was another tune made famous by Betty Hutton -
1:14:06 > 1:14:09I've Got The Sun In The Morning from Irving Berlin's Annie Get Your Gun.
1:14:09 > 1:14:11Doris Day also sang it with Les Brown.
1:14:11 > 1:14:15Our version was by The Pied Pipers in 1946.
1:14:15 > 1:14:19Before that, both bands paid homage to the innovative
1:14:19 > 1:14:22and exciting Boyd Raeburn's Orchestra
1:14:22 > 1:14:24with Boyd Meets Stravinsky.
1:14:24 > 1:14:27Raeburn and his band were hugely revered and admired by musicians
1:14:27 > 1:14:32and other band leaders, but sadly not so much by the public.
1:14:32 > 1:14:34I don't know if Boyd ever did meet Stravinsky,
1:14:34 > 1:14:36but Woody Herman did.
1:14:36 > 1:14:39Igor wrote the Ebony Concerto for him in 1945.
1:14:39 > 1:14:42Together with Boyd Raeburn, Claude Thornhill, Stan Kenton,
1:14:42 > 1:14:46Woody Herman's band fell under the umbrella of progressive jazz.
1:14:46 > 1:14:50One of Woody's enduring hits was written by band-mate Jimmy Giuffre
1:14:50 > 1:14:53to feature the sax section involving three tenors and a baritone.
1:14:53 > 1:14:59Today those four brothers extend to six brothers and four sisters.
1:14:59 > 1:15:00Hmm.
1:18:26 > 1:18:29CHEERING AND APPLAUSE
1:20:13 > 1:20:19# I've flown around the world in a plane
1:20:19 > 1:20:25# I've settled revolutions in Spain
1:20:25 > 1:20:30# The North Pole I have charted
1:20:30 > 1:20:36# But can't get started with you
1:20:39 > 1:20:46# Around the golf course I'm under par
1:20:46 > 1:20:52# And all the movies want me to star
1:20:53 > 1:20:57# I've got a house, a show place
1:20:57 > 1:21:03# But I get no place with you
1:21:05 > 1:21:11# You're so supreme
1:21:11 > 1:21:15# Lyrics I write of you
1:21:15 > 1:21:21# Scheme, just for the sight of you
1:21:21 > 1:21:28# Dream, both day and night, of you
1:21:28 > 1:21:34# But what good does it do?
1:21:34 > 1:21:41# In 1929 I sold short
1:21:41 > 1:21:46# In England I'm presented at court
1:21:49 > 1:21:52# You've got me broken-hearted
1:21:52 > 1:21:59# Cos I can't get started with you. #
1:23:28 > 1:23:31CHEERING AND APPLAUSE
1:23:35 > 1:23:37Mads Mathias.
1:23:38 > 1:23:41The Guy Barker Big Band, The Winston Rollins Big Band,
1:23:41 > 1:23:43and our trumpet sections. Whoo!
1:23:48 > 1:23:52I can tell the Absinthe is kicking in now.
1:23:52 > 1:23:54I Can't Get Started, a beautiful record
1:23:54 > 1:23:59by ace trumpeter Bunny Berigan, recorded on 12 inch in 1937.
1:23:59 > 1:24:02Bunny worked with Benny Goodman and Tommy Dorsey.
1:24:02 > 1:24:03He was a real superstar.
1:24:03 > 1:24:07But, like Bix Beiderbecke and Bubber Miley, he burned too bright
1:24:07 > 1:24:08and left us too soon.
1:24:08 > 1:24:11That same year, Bunny's old boss Benny Goodman was,
1:24:11 > 1:24:14as this next tune would suggest, Riding High.
1:24:14 > 1:24:17This Jimmy Monday arrangement really got the crowd going.
1:24:17 > 1:24:21Winston's Band is in the hot seat. Watch out for solos from Benny
1:24:21 > 1:24:23Alan Barnes on clarinet and Harry James,
1:24:23 > 1:24:24Pat White on trumpet.
1:27:15 > 1:27:18CHEERING AND APPLAUSE
1:27:50 > 1:27:56# Don't know why
1:27:57 > 1:28:01# There's no sun up in the sky
1:28:01 > 1:28:04# Stormy weather
1:28:04 > 1:28:09# Since my man and I ain't together
1:28:11 > 1:28:16# Keeps rainin' all the time
1:28:22 > 1:28:25# Life is bare
1:28:25 > 1:28:31# Gloom and misery everywhere
1:28:31 > 1:28:33# Stormy weather
1:28:34 > 1:28:39# Just can't get my poor self together
1:28:41 > 1:28:47# So weary all the time
1:28:52 > 1:28:57# So weary all the time
1:28:59 > 1:29:04# When he went away the blues walked in
1:29:04 > 1:29:07# And met me
1:29:07 > 1:29:09# If he stays away
1:29:09 > 1:29:13# Old rockin' chair will get me
1:29:13 > 1:29:16# All I do is pray
1:29:16 > 1:29:22# The Lord above will let me
1:29:22 > 1:29:27# Walk in the sun once more
1:29:27 > 1:29:32# Can't go on
1:29:32 > 1:29:36# Everything I had is gone
1:29:36 > 1:29:38# Stormy weather
1:29:40 > 1:29:44# Since my man and I ain't together
1:29:46 > 1:29:53# It keeps rainin' all the time
1:29:54 > 1:29:59# Keeps rainin' all the time
1:30:01 > 1:30:06# I walk around heavy-hearted and sad
1:30:08 > 1:30:10# The night comes around
1:30:10 > 1:30:14# And I'm still feelin' bad
1:30:14 > 1:30:17# Rain's pourin' down
1:30:17 > 1:30:20# Blindin' every hope I had
1:30:20 > 1:30:24# This pitterin', patterin', beatin' and splatterin'
1:30:24 > 1:30:27# Drives me mad
1:30:27 > 1:30:31# Love, love
1:30:31 > 1:30:34# Love Love
1:30:35 > 1:30:41# This misery is just too much
1:30:41 > 1:30:47# For me
1:30:47 > 1:30:52# Can't go on
1:30:52 > 1:30:56# Everything I had is gone
1:30:56 > 1:31:00# Stormy weather
1:31:00 > 1:31:04# Since my man and I
1:31:04 > 1:31:07# Since we ain't together
1:31:07 > 1:31:13# Keeps rainin' all the time
1:31:14 > 1:31:21# Keeps rainin' all
1:31:21 > 1:31:34# The time. #
1:31:36 > 1:31:39CHEERING AND APPLAUSE
1:31:43 > 1:31:44Vanessa Haynes!
1:31:49 > 1:31:52The Guy Barker Big Band.
1:31:52 > 1:31:55Stormy Weather from 1943, as sung by Lena Horne,
1:31:55 > 1:31:57who was born 100 years ago.
1:31:57 > 1:32:01A great singer, dancer, actress and civil rights activist.
1:32:01 > 1:32:03Guy had the pleasure of working with her,
1:32:03 > 1:32:07and he said a lovelier woman you couldn't wish to meet.
1:32:07 > 1:32:11Now to a band admired and feared by all other leaders.
1:32:11 > 1:32:14Jimmie Lunceford's orchestra was the swingiest around,
1:32:14 > 1:32:16thanks to great arrangers like Sy Oliver.
1:32:16 > 1:32:20He was Jimmie's Chief Whip from 1934-1939.
1:32:20 > 1:32:23He wrote hit arrangement after hit arrangement,
1:32:23 > 1:32:25like our next song, My Blue Heaven.
1:32:25 > 1:32:30For each one, he was paid 2.50
1:32:30 > 1:32:31CHUCKLING
1:35:05 > 1:35:08- # When whippoorwill call - Whippoorwill
1:35:08 > 1:35:11- # The evening is night - Evening is night
1:35:11 > 1:35:17# I'll hurry to my blue heaven
1:35:17 > 1:35:20- # I turn to the right - Turn to the right
1:35:20 > 1:35:23- # Oh, a little white light - Oh, a little white light
1:35:23 > 1:35:29# That leads you to my blue heaven
1:35:29 > 1:35:31# You see a smiling face
1:35:31 > 1:35:34# A fireplace
1:35:34 > 1:35:36# Mm, cosy room
1:35:36 > 1:35:39# A little nest that nestles where
1:35:39 > 1:35:43# That nestles where the roses bloom
1:35:43 > 1:35:44# Molly and me
1:35:44 > 1:35:47# Baby makes three
1:35:47 > 1:35:49# It's mellow in my
1:35:49 > 1:35:52# Mellow in my blue heaven
1:35:53 > 1:35:55- # Molly - And me
1:35:55 > 1:36:01# We're happy just with three. #
1:36:01 > 1:36:04CHEERING AND APPLAUSE
1:36:09 > 1:36:12The Accent Quartet with the Winston Rollins Big Band
1:36:12 > 1:36:14and My Blue Heaven.
1:36:14 > 1:36:19Now for an artist who has lived through seismic musical changes.
1:36:19 > 1:36:23Born in 1941, he took weekly lessons from Sonny Rollins,
1:36:23 > 1:36:26who was a devotee of Coleman Hawkins.
1:36:26 > 1:36:29When the great Coleman Hawkins died in May 1969,
1:36:29 > 1:36:33our young tenor player went up to the funeral in Harlem
1:36:33 > 1:36:36to pay his respects and touch the man's hand.
1:36:36 > 1:36:40Please welcome the legendary Mr Pee Wee Ellis!
1:36:40 > 1:36:44CHEERING AND APPLAUSE
1:37:03 > 1:37:05Oh.
1:37:05 > 1:37:07I got a little bit teary then.
1:37:07 > 1:37:09Diana Washington gave him his first gig.
1:37:09 > 1:37:13At 24, he became James Brown's musical director.
1:37:13 > 1:37:16He's worked with some of the biggest names in the business
1:37:16 > 1:37:18and I'm proud to call him a friend.
1:37:18 > 1:37:23We've asked the co-creator of funk to reconnect with his jazz roots
1:37:23 > 1:37:26in a small band setting with Mike Gorman on piano,
1:37:26 > 1:37:30Tim Thornton on bass and Ed Richardson on drums,
1:37:30 > 1:37:34to pay tribute to Hawk and the tradition of the tenor saxophone.
1:37:34 > 1:37:36This is Body And Soul.
1:37:40 > 1:37:43CHEERING AND APPLAUSE
1:42:11 > 1:42:13CHEERING AND APPLAUSE
1:42:22 > 1:42:23Pee Wee Ellis!
1:42:46 > 1:42:48CHEERING CONTINUES
1:47:33 > 1:47:35CHEERING AND APPLAUSE
1:47:43 > 1:47:47Both our big bands there with the St Louis Blues March.
1:47:47 > 1:47:50Recorded on Victory Disc by Captain Glenn Miller
1:47:50 > 1:47:54and the 418 Army Air Force's Training Command Orchestra
1:47:54 > 1:47:57on the 29th of October 1943.
1:47:57 > 1:48:00WC Handy wrote that much-loved tune.
1:48:00 > 1:48:03It must feel brilliant to write a song
1:48:03 > 1:48:06singers are literally falling over themselves to record.
1:48:06 > 1:48:10Milton DeLugg would have experienced this in 1950.
1:48:10 > 1:48:14Betty Hutton, again, Doris Day, Patty Andrews and Danny Kaye
1:48:14 > 1:48:17all recorded his tune within a few weeks of each other.
1:48:17 > 1:48:19But it was Nat King Cole and his trio,
1:48:19 > 1:48:21backed by the Stan Kenton orchestra,
1:48:21 > 1:48:23who bagged the definitive version.
1:48:23 > 1:48:25Over to Winston Rollins' band now,
1:48:25 > 1:48:29and we introduce a young man with a very bright future.
1:48:29 > 1:48:32Mr Rob Green and Orange Coloured Sky.
1:48:32 > 1:48:35APPLAUSE
1:48:44 > 1:48:46# I was walking along
1:48:46 > 1:48:49# Minding my business
1:48:49 > 1:48:52# When out from an orange coloured sky
1:48:52 > 1:48:53# Flash
1:48:53 > 1:48:54# Bam
1:48:54 > 1:48:56# Alacazam
1:48:56 > 1:49:00# Wonderful you came by
1:49:00 > 1:49:02# I was humming a tune
1:49:02 > 1:49:04# Drinking in sunshine
1:49:04 > 1:49:08# When out of that orange coloured view
1:49:08 > 1:49:09# Flash
1:49:09 > 1:49:10# Bam
1:49:10 > 1:49:12# Alacazam
1:49:12 > 1:49:14# I got a look at you
1:49:16 > 1:49:19# One look and I yelled timber
1:49:19 > 1:49:23# Watch out for flying glass
1:49:23 > 1:49:25# Cos the ceiling fell in and the bottom fell out
1:49:25 > 1:49:27# I went into a spin and I started to shout
1:49:27 > 1:49:28# I've been hit
1:49:28 > 1:49:31# This is it, this is it I've been hit!
1:49:31 > 1:49:33# I was walking along
1:49:33 > 1:49:35# Minding my business
1:49:35 > 1:49:38# When love came and hit me in the eye
1:49:38 > 1:49:40# Flash
1:49:40 > 1:49:41# Bam
1:49:41 > 1:49:42# Alacazam
1:49:42 > 1:49:46# Out of an orange coloured sky
1:50:17 > 1:50:21# One look and I yelled timber
1:50:21 > 1:50:25# Watch out for flying glass
1:50:25 > 1:50:27# Cos the ceiling fell in and the bottom fell out
1:50:27 > 1:50:29# I went into a spin and I started to shout
1:50:29 > 1:50:30# I've been hit
1:50:30 > 1:50:32# This is it, this is it I've been hit!
1:50:32 > 1:50:35# I was walking along
1:50:35 > 1:50:37# Minding my business
1:50:37 > 1:50:40# When love came and hit me in the eye
1:50:40 > 1:50:42# Flash
1:50:42 > 1:50:43# Bam
1:50:43 > 1:50:44# Alacazam
1:50:44 > 1:50:48# Out of the orange coloured, purple striped
1:50:48 > 1:50:52# Pretty green polka-dot sky
1:50:52 > 1:50:53# Flash
1:50:53 > 1:50:54# Bam
1:50:54 > 1:50:55# Alacazam
1:50:55 > 1:50:59# And goodbye... #
1:51:00 > 1:51:03Wow! I thought love was much softer than that.
1:51:03 > 1:51:06What a most disturbing sound.
1:51:06 > 1:51:08LAUGHTER
1:51:16 > 1:51:18CHEERING AND APPLAUSE
1:51:54 > 1:51:58# Have you ever seen a church begin to rock?
1:52:00 > 1:52:05# Heard a sundown deacon preachin' to his flock?
1:52:07 > 1:52:11# Have you ever heard of Satan on the run?
1:52:13 > 1:52:15# Then follow me
1:52:15 > 1:52:18# See just how it's done
1:52:20 > 1:52:25# Have you ever heard a sermon stir your soul?
1:52:26 > 1:52:31# Make you crave the River Jordan as you go?
1:52:33 > 1:52:37# Have you ever felt as though you wanna shout?
1:52:39 > 1:52:44# Then come on and let them feelings out
1:52:44 > 1:52:47# Oh, Lord!
1:52:47 > 1:52:50# Just hear them sisters groanin'
1:52:50 > 1:52:53# Can you hear them fellas groanin'?
1:52:53 > 1:52:56# Rippin' and antonin'
1:52:56 > 1:53:00# On revival day
1:53:00 > 1:53:03# They talkin' to a spirit
1:53:03 > 1:53:06# As though you see and hear it
1:53:06 > 1:53:10# They're sinful and they fear it
1:53:10 > 1:53:12# On revival day
1:53:13 > 1:53:17# When that congregation starts to sing
1:53:17 > 1:53:19# Oh, Lord
1:53:19 > 1:53:24# Nothin' in this world don't mean a thing!
1:53:24 > 1:53:28# Oh, glory hallelujah!
1:53:30 > 1:53:33# Makes you feel so peculiar
1:53:33 > 1:53:36# The Devil cannot rule ya
1:53:36 > 1:53:39# On revival day!
1:54:05 > 1:54:09# When that congregation starts to sing
1:54:11 > 1:54:16# Nothin' in this world don't mean a thing!
1:54:16 > 1:54:18# Oh!
1:54:18 > 1:54:22# Glory hallelujah!
1:54:22 > 1:54:25# Makes you feel so peculiar
1:54:25 > 1:54:28# The Devil cannot rule ya
1:54:28 > 1:54:31# On revival day!
1:54:31 > 1:54:35# All the congregation
1:54:35 > 1:54:38# Is gonna shout and get salvation
1:54:38 > 1:54:41# Oh, this congregation
1:54:41 > 1:54:42# Is gonna shout and
1:54:42 > 1:54:45# Get salvation
1:54:45 > 1:54:47# Oh, this congregation
1:54:47 > 1:54:49# Is gonna shout and
1:54:49 > 1:54:51# Get salvation
1:54:51 > 1:54:53# On
1:54:53 > 1:54:57# Revival day
1:54:57 > 1:55:00# Hey, hey
1:55:00 > 1:55:06# Hey, yeah!
1:55:06 > 1:55:08# Oh, yeah
1:55:08 > 1:55:11# Yeah! #
1:55:11 > 1:55:15CHEERING AND APPLAUSE
1:55:18 > 1:55:21Vanessa Haynes! Come on!
1:55:21 > 1:55:23CHEERING
1:55:23 > 1:55:27The Guy Barker Band with On Revival Day,
1:55:27 > 1:55:30a tribute to the empress of the Blues, Bessie Smith.
1:55:30 > 1:55:35People of the Royal Albert Hall and surrounding areas,
1:55:35 > 1:55:36are you having a nice time?
1:55:36 > 1:55:38CHEERING
1:55:38 > 1:55:39This is our last song!
1:55:39 > 1:55:41BOOING
1:55:41 > 1:55:43Before the encore!
1:55:43 > 1:55:45CHEERING
1:56:46 > 1:56:49# When I was a kid about half past three
1:56:49 > 1:56:52# My daddy said Son, come here to me
1:56:52 > 1:56:56# I said Things may come and things may go
1:56:56 > 1:56:58- BOTH:- # But this is one thing you ought to know
1:56:58 > 1:57:00# T'ain't what you do
1:57:00 > 1:57:02# It's the way that you do it
1:57:02 > 1:57:03# T'ain't what you do
1:57:03 > 1:57:05# It's the way that you do it
1:57:05 > 1:57:06# T'ain't what you do
1:57:06 > 1:57:08# It's the way that you do it
1:57:08 > 1:57:10# That's what gets results
1:57:10 > 1:57:12# Mama, Mama
1:57:12 > 1:57:13# T'ain't what you do
1:57:13 > 1:57:14# It's the time that you do it
1:57:14 > 1:57:16# T'ain't what you do
1:57:16 > 1:57:17# It's the time that you do it
1:57:17 > 1:57:19# T'ain't what you do
1:57:19 > 1:57:21# It's the time that you do it
1:57:21 > 1:57:23# That's what gets results
1:57:23 > 1:57:26# You can try hard
1:57:26 > 1:57:28# It don't mean a thing
1:57:28 > 1:57:29# It don't mean a thing
1:57:29 > 1:57:32# Take it easy
1:57:32 > 1:57:34# Breezy
1:57:34 > 1:57:36# Then the jive will sing
1:57:36 > 1:57:37# Oh-oh
1:57:37 > 1:57:38# T'ain't what you do
1:57:38 > 1:57:40# It's the place that you do it
1:57:40 > 1:57:41# T'ain't what you do
1:57:41 > 1:57:43# It's the place that you do it
1:57:43 > 1:57:44# T'ain't what you do
1:57:44 > 1:57:45# It's the place that you do it
1:57:45 > 1:57:48# That's what gets results. #
1:58:55 > 1:58:57CHEERING AND APPLAUSE
1:59:00 > 1:59:01Whoo!
1:59:04 > 1:59:07The Guy Barker Big Band!
1:59:07 > 1:59:10The Winston Rollins Big Band!
1:59:10 > 1:59:11All our special guests!
1:59:13 > 1:59:15Whoo!
1:59:15 > 1:59:16T'ain't What You do.
1:59:18 > 1:59:20Are you ready for an encore?
1:59:20 > 1:59:22CHEERING
1:59:22 > 1:59:25I didn't quite hear that. Are you ready for an encore?
1:59:25 > 1:59:27CHEERING
1:59:27 > 1:59:31This year's Battle Royal celebrates some of the fantastic fusion
1:59:31 > 1:59:36of Latin sounds bubbling around the late '40s and early '50s.
1:59:36 > 1:59:39I want you to say hello to our percussionists,
1:59:39 > 1:59:41Roberto Pla and Satin Singh!
1:59:41 > 1:59:43APPLAUSE
1:59:43 > 1:59:46Do we love Perez Prado?
1:59:48 > 1:59:50Do we love Machito?
1:59:51 > 1:59:55Yes, we do. Yes, we do. We quite like Machito, yes.
1:59:55 > 1:59:57Do we like Stan Kenton?
1:59:57 > 1:59:58CHEERING
1:59:58 > 2:00:01Do we like Mambo?!
2:00:01 > 2:00:02CHEERING
2:03:34 > 2:03:36CHEERING AND APPLAUSE
2:04:53 > 2:04:55# Si si si
2:04:55 > 2:04:56# Yo quiero mambo
2:04:56 > 2:04:58# Mambo
2:04:58 > 2:05:00# Si si si
2:05:00 > 2:05:02# Yo quiero mambo
2:05:02 > 2:05:03# Mambo... #
2:05:49 > 2:05:52Tanga! Buro boya!
2:06:02 > 2:06:04# La tanga llego
2:06:04 > 2:06:06# La tanga llego
2:06:06 > 2:06:10# La tanga llego con su ritmo terrible
2:06:10 > 2:06:12# Una cosa sublime
2:06:12 > 2:06:15# Te invita te invita...
2:06:15 > 2:06:17# A bailar
2:06:17 > 2:06:19- # Mira mira mira tanga - Tanga!
2:06:19 > 2:06:21- # Tanga no no Tanga - Tanga!
2:06:21 > 2:06:24# Tanga no-no-no-no-no-no no-no-no-no-no
2:06:24 > 2:06:25# Tanga Tanga
2:06:27 > 2:06:28# Tanga
2:06:29 > 2:06:30# Tanga... #
2:08:08 > 2:08:10CHEERING
2:09:24 > 2:09:28Uno! Dos! Tres! Cuatro!
2:09:28 > 2:09:32Cinco! Seis! Siete! Ocho!
2:09:32 > 2:09:34Mambo!
2:11:07 > 2:11:11Uno! Dos! Tres! Cuatro!
2:11:11 > 2:11:15Cinco! Seis! Siete! Ocho!
2:11:15 > 2:11:17Mambo!
2:11:37 > 2:11:39# Tampico, Tampico
2:11:39 > 2:11:42# On the Gulf of Me-hico
2:11:42 > 2:11:45# Tampico, Tampico
2:11:45 > 2:11:47# Down in Me-hico
2:11:47 > 2:11:50# You buy a beautiful shawl
2:11:50 > 2:11:53# A souvenir for Aunt Flo
2:11:53 > 2:11:56# Authentic Mexican art
2:11:56 > 2:11:59# Made in Idaho
2:11:59 > 2:12:02# Ay, Tampico, Tampico
2:12:02 > 2:12:06# On the Gulf of Me-hico
2:12:06 > 2:12:08# Tampico, Tampico
2:12:08 > 2:12:11# Down in Me-hico
2:12:11 > 2:12:14# You buy some pottery there
2:12:14 > 2:12:17# To beat the luxury tax
2:12:17 > 2:12:20# You find that when you get home
2:12:20 > 2:12:22# They sell it cheaper at Sachs
2:12:46 > 2:12:49# You ask a Mexican band
2:12:49 > 2:12:52# To play a rumba-down-dare
2:12:52 > 2:12:55# He turns and says to the boys
2:12:55 > 2:12:57# Hey, fellas, dig that square!
2:12:57 > 2:13:01# Ay, Tampico, Tampico
2:13:01 > 2:13:04# On the Gulf of Me-hico
2:13:04 > 2:13:07# Tampico, Tampico
2:13:07 > 2:13:10# Down in Me-hico
2:13:19 > 2:13:30# Down in Me-hico! #
2:13:31 > 2:13:35CHEERING AND APPLAUSE