Big Band Swing with Clare Teal BBC Proms

You want me to describe big band swing music in three words?

-It's the music of the people.

-Dynamic.

-Uplifting.

-Almost physical.

-Joyous.

-Explosive.

-Bang!

APPLAUSE

SONG: Milenberg Joys

CHEERING AND APPLAUSE

# I was alone on the shelf

# In a world by myself

# Oh, where could my Prince Charming be?

# But then you came along

# Made my life like a song

# And taught me these words of ecstasy

# Tenderly

# I want some huggin' and some squeezin'

# And some muggin' and some teasin'

# And some stuff like that there

# I want some pettin' and some spoonin'

# And some happy honeymoonin'

# And some stuff like that there

# I used to think that love was just a lot of rubbish

# A mess o' cabbage, a mess o' cabbage

# But now my attitude is wholly lovey dovish

# And, baby, you, you've done it

# I want some kissin' and some hopin'

# And some missin' and some mopin'

# And some stuff like that there

# I want some leapin' and some chasin'

# And some weepin' and some pacin'

# And some stuff like that there

# And when I get a certain feelin' I confess it

# There's really only one expression to express it

# I want some huggin' and some squeezin'

# And some muggin' and some pleasin'

# And some stuff

# Stuff like that there

# Whoo!

# I wanna be hugged and squeezed, mugged and teased

# And stuff like that there

# I wanna be petted, spooned, honeymooned

# Stuff like that there

# I used think romance was bunk

# A double mickey for the ickey

# But all at once my heart was sunk

# And, baby, you, you've done it

# I want some kissin' and some hopin'

# And some missin' and some mopin'

# And some stuff like that there

# I want some leapin' and some chasin'

# And some weepin' and some pacin'

# And some stuff like that there

# And when I get a certain feelin' I confess it

# There's really only one expression to express it

# I want some huggin', squeezin'

# Muggin', teasin'

# And some stuff

# Stuff like that there

# Yeah!

# Stuff like that there! #

CHEERING AND APPLAUSE

Thank you! Thank you very much!

It's very exciting! Hello, I'm Clare Teal.

Welcome to the BBC Proms at the Royal Albert Hall.

Our swing spectacular is back!

These two roaring big bands led by Guy Barker and Winston Rollins!

CHEERING AND APPLAUSE

The stage is full of the finest musicians,

and a whole heap of incredible talent is just waiting in the wings.

So, each band will take it in turns to perform, but quiet often

they're going to play together and I call this the big fat blast.

We started with Milenberg Joys, that was composed by Jelly Roll Morton.

The arrangement was based on two versions,

written in 1928 and '38 by Don Redman,

and he developed the foundations of early big band writing,

how the different sections -

the trumpets, the trombones, the saxophones, the rhythm -

how they interact with each other,

and his ideas were embraced by many arrangers throughout the swing era.

Following Milenberg Joys,

I sang Stuff Like That There with the Winston Rollins band,

recorded by movie star Betty Hutton,

who brought an explosive energy to pretty much everything she did.

And for me, explosive energy is what big band music is all about.

Look at Duke Ellington, he was a man of endless moods and tones,

explosive and otherwise.

Here's an absolute gem from his so-called jungle period of music.

It was written with trumpeter Bubber Miley in 1926.

You've got to listen out for the growling plunger mute trumpet

played by Tom Rees-Roberts.

Yeah! With the Guy Barker Band, this is East St Louis Toodle-Oo.

CHEERING AND APPLAUSE

The Guy Barker Big Band!

Whoo!

Over to the Winston Rollins Band now

and the sweet sounds of Glenn Miller.

Now, Glenn was the best-selling recording artist

from 1939 through to 1943.

A bit like Adele but with glasses and a trombone.

A young Billy May wrote this gorgeous intro in 30 minutes flat

and tagged it on to Bill Finegan's arrangement of Serenade In Blue.

To sing it, our first guest will be Mads Mathias

and our close harmony group the Accent Quartet.

APPLAUSE

# When I hear that serenade in blue

# I'm somewhere in another world

# Alone with you

# Sharing all the joys we used to know

# Many moons

# Ago

# Once again your face comes back to me

# Just like the dream of some enchanted melody

# In the album of my memory

# Serenade in blue

# It seems like only yesterday

# A small cafe, a crowded floor

# And as we danced the night away

# I hear you say forever more

# And then the song became a sigh

# Forever more became goodbye

# But you remained in my heart

# So tell me, darling

# Is there still a spark

# Or only lonely ashes

# Of the flame we knew

# Should I go on whistling in the dark?

# Serenade in blue. #

CHEERING AND APPLAUSE

SONG: Whatcha Know Joe

# Hey, whatcha know, Joe?

# Yeah, what do you know?

# Whatcha know, Joe?

# I don't know nothing

# Whatcha know, Joe?

# Tell me something

# Whatcha know, Joe?

# Ain't conniving, I ain't jiving, I don't know

# Whatcha know, Joe?

# Well, I don't know Latin

# Whatcha know, Joe?

# Ain't high-hattin'

# Whatcha know, Joe?

# I ain't foolin', I need schoolin', I don't know

# I don't know

# Mama tried to tell me so

# Papa wouldn't let me go

# Couldn't even see a movie show

# Whatcha know, Joe?

# Well, I just can't figure

# Whatcha know, Joe?

# I don't dig ya

# Whatcha know, Joe?

# Hey, quit your squawkin', just keep walkin' cos I don't know. #

CHEERING AND APPLAUSE

Georgina Jackson!

Whoo! Accent!

And the Guy Barker Big Band! Come on!

I know! You're allowed to clap!

Georgina not only a terrific singer but also a brilliant trumpet player.

That was Whatcha Know Joe, written by Trummy Young

and arranged by Sy Oliver for Tommy Dorsey in 1941.

It wasn't uncommon for musicians to jump out of section and sing a tune.

It's quite a common thing, and it's wonderful also to think that

harmony singing like that was the norm.

We're going to change the pace now -

there's a lot of shuffling going on here -

and we're going to recreate a beautiful ground-breaking moment

in jazz history. We're going back to February the 4th 1927.

It's hard to understand now how revolutionary this record was.

Guy will assume the role of Bix Beiderbecke on cornet.

Bix's playing style was unlike anything heard before

and would influence so many of his contemporaries

and players of future generations.

Alan Barnes plays saxophonist Frankie Trumbauer.

Chelsea Carmichael on clarinet.

We've got Winston Rollins on trombone, Dave Archer on guitar,

Joe Webb on piano, Alec Dankworth on bass and Shane Forbes on drums.

Are we ready? This is Singing The Blues.

CHEERING AND APPLAUSE

Singing The Blues!

What an amazing sound.

Now, these great musicians and arrangers

and composers that we're paying tribute to -

the likes of Jelly Roll Morton, Don Redman,

Duke Ellington, Glenn Miller, Bix Beiderbecke -

all so brilliantly different,

but they did have one thing in common - they were all men.

So, where were the female musicians, arrangers and composers?

Well, that's a whole other story and a whole other prom.

But there is one outstanding woman we'd love to pay tribute to

and that's Mary Lou Williams.

Like so many heroes of the jazz age,

Mary Elfrieda Scruggs had a tough start.

She was born into abject poverty in Atlanta, Georgia, in 1910.

Prodigiously gifted with perfect pitch

and an unwavering sense of timing, she learned to play the piano

by ear and was, by the age of eight, out gigging, supporting her family.

Known in the local community as

"the little piano girl from East Liberty."

Duke Ellington called her a genius. He said, "She is like soul on soul."

And we're going to demonstrate three areas of her mammoth talent -

arranging, composition and Mary's virtuosity as a pianist.

But to do this we need a woman on that piano.

Now, when she plays,

this artist lights up a room just like I know Mary Lou must have done.

And I know that you are going to absolutely love her.

Please welcome to the Royal Albert Hall the fabulous Hiromi!

CHEERING AND APPLAUSE

CHEERING AND APPLAUSE

The Guy Barker Big Band and the Winston Rollins Big Band!

And that was Mary Lou Williams' arrangement

of Irving Berlin's Blue Skies. She wrote it for Duke Ellington in '43.

It became known as Trumpets No End - for obvious reasons -

and he played it for years.

But remember, big bands are nothing without great-sounding arrangements

and great musicians to play them.

Mary didn't actually learn the rudiments of music theory

till she was in her 20s, but she caught on quick.

She wrote at work on the bandstand,

playing piano with her left hand whilst composing music

for an entirely different song with her right.

Band leaders like Cab Calloway, Louis Armstrong, Tommy Dorsey,

Bob Crosby, Glen Gray

and Duke Ellington were queuing up to have Mary Lou write for them.

Benny Goodman wanted her to write exclusively for him

but she turned him down.

Here's a song she composed

and arranged for Andy Kirk & His Clouds of Joy in 1938.

Mary played in the band, too.

So, featuring Hiromi on piano, Mads Mathias on vocals

and the Winston Rollins Big Band, What's Your Story, Morning Glory?

# What's your story, morning glory?

# What makes you look so blue?

# The way that you've been acting

# I don't know what to do

# But I love you

# Sure as one and one makes two

# What's your story, morning glory?

# Got a feeling there's a lot you're concealing

# Won't you let me know your point of view?

# What's your story, morning glory?

# You got me worried, too

# The postman came this morning

# And left a note for you

# Did you read it?

# Then you know that I love you

# What's your story, morning glory?

# Give your answer to this patient romancer

# Oh, won't you tell me that you love me, too? #

CHEERING AND APPLAUSE

NO AUDIBLE DIALOGUE

CHEERING AND APPLAUSE

CHEERING AND APPLAUSE

SONG: Roll 'Em

CHEERING AND APPLAUSE

The Guy Barker Big Band, the Winston Rollins Big Band,

and Hiromi!

Wow!

Roll 'Em composed and arranged for Benny Goodman by Mary Lou Williams,

and before that Hiromi - oh! - with I Got Rhythm. And she does.

One of Mary Lou Williams' piano exercises was playing through

the chord changes of the Gershwin's I Got Rhythm,

but she called her own version Kool, with a K.

Now, Mary Lou Williams died in 1981, aged 71.

She was a genius, she could do it all,

and had she been born at a different time

she would have been as famous and respected as Duke Ellington.

And like Duke, Mary was always pushing musical boundaries,

constantly trying new things, from stride to swing,

boogie-woogie to bebop, blues and beyond.

Always progressive and always able to retain her own voice.

Now, Count Basie said of Lou, "Any time she was in the neighbourhood,

"I used to find myself another little territory, cos Mary Lou

"was tearing everybody up."

In '36, when Count Basie's band hit New York,

they were joined by a young singer

who was causing quite a stir on the jazz scene.

Billie Holiday, unlike most singers of the era,

took complete control of the material she sang.

She directed how the musicians should accompany her.

Basie said she was totally uncompromising about preserving

her own identity within his band,

and the boys very much took a background supporting role.

Now, Billie sadly never recorded with the Count Basie Orchestra,

but there exists a couple of radio broadcasts of them

performing together, including one from the 30th of June 1937,

where Lady Day sang the Gershwin's They Can't Take That Away from Me.

Here to sing it now, please welcome the fabulous Vanessa Haynes!

APPLAUSE

# The way you wear your hat

# The way your sip your tea

# The memory of all that

# No, no, they can't take that away from me

# The way your smile just beams

# The way you sing off key

# The way you haunt my dreams

# No, no, they can't take that away from me

# We may never, never meet again

# On the bumpy road to love

# Though I'll always, always keep the memories of

# The way you hold your knife

# The way we danced till three

# The way you changed my life

# No, no, they can't take that away from me

# No, they can't take that away

# From me

# We may never, never meet again

# On the bumpy road to love

# Though I'll always, always keep the memories of

# The way you hold your knife

# The way we danced till three

# The way you haunt my life

# No, no, they can't take that away from me

# No, they can't

# Take that away

# From

# Me. #

CHEERING AND APPLAUSE

Vanessa Haynes!

And the Winston Rollins Big Band! How beautiful they are.

These days, I think it's harder for youngsters to get on in jazz.

There just doesn't seem to be the amount of gigs around,

so this year we invited a couple of vocalists just starting out

to come and sing with our Hollywood Orchestra at various

festivals around the country, and I thought you would absolutely

love them and be really, you know... I can feel the love in the room.

You can imagine they're a little bit nervous, eh?

Yeah. Please say hello to Ben Cipolla and Cherise Adams-Burnett.

CHEERING AND APPLAUSE

Now, one of Ella Fitzgerald's early influences was Connee Boswell

and the Boswell Sisters. They grew up in New Orleans

and they were classically trained on a bazillion different

kind of instruments, but they used to drive round town soaking up

everything they heard - rag time, blues, stomps and shuffles.

They were like little jazz sponges.

And their unique blend of close harmony, varying tempos

and syncopated rhythms made them stars of the radio.

Tonight, Matthew, I'm going to be Connee Boswell,

Cherise is Vet Boswell, which makes Ben Martha...

LAUGHTER

..or Martin Boswell.

This is Roll On Mississippi.

THEY SCAT

# Hear that whistle

# There goes the bell

# That means we're on our way

# All aboard, boy, I'm feelin' swell

# This is my happy day

# Paddle wheel, you're mighty, mighty slow

# That's why I keep on shoutin', "Let her go!"

-BOTH:

-# Roll on, you Mississippi, roll on

CHERISE SCATS

-ALL:

-# Come on, you lazy steamer, quit your stallin' and move along

# Clear the river, here we come

# Watch her smoke, boy

# Hear that engine hummin', lawdy

# Take a look at that shore

# With the folks I adore

# There's a spot around that bend

# That's my home

# My journey's end

# Come on, you old man river, come on,

# Roll on, you Mississippi, roll

# New Orleans, hello

# Bye-bye, New Orleans

# Get along

# Goin' strong

# Baton Rouge

# So long

# Say, cap'n, tell me what's the next big town we'll see?

# I'm so excited

# I'm as happy as can be, oh

# Roll on, you Mississippi, roll on

# Come on, you lazy steamer, move on

THEY SCAT

# There that river, here we come

# Watch that smoke, boy, hear that hum

THEY SCAT

# There's a spot

# Round that bend

# That's my home, my journey's end

# Roll on, you old man river, come on

# Move on, you lazy steamer, move on

# Roll on, you Mississippi, roll on, you Mississippi, roll on! #

CHEERING AND APPLAUSE

The Guy Barker Big Band with me, Clare Teal and Ben Cipolla,

Cherise Adams-Burnett.

To close our first half both bands play a powerhouse tune

created on the bandstand by the stars of Woody Herman's First Herd.

Based again on the chords of I Got Rhythm, this is Apple Honey!

CHEERING AND APPLAUSE

Mary Lou Williams was one of the first female arrangers,

and there's something very special about those arrangements.

I remember listening to a couple of them and going,

"What is that? Why is that so... Has that feeling?"

Mary Lou's arrangements, when I look at them now, I begin to understand

just how ahead of her time she was.

You couldn't argue with her.

All her contemporaries, they were terrified of her.

It was hard enough for black musicians in that terrible time

of segregation but for women it was also equally hard.

If you were black and a woman,

you stood very little chance of being taken seriously.

She was never going to get the opportunity to lead her own band

or to shine in the way that was, you know, effortlessly so and, you know,

it drives me nuts.

She was an amazing musician cos she really moved along with the times

and was really doing really incredibly adventurous music.

Just listening to her playing,

stylistically she borrows from almost every part of her career

so delicately and deliciously - she mixes it all up.

And she could really play.

That left hand of hers - really strong and powerful.

She was a one-off. She was like that Ellingtonian genius. She had it all.

APPLAUSE

Very beautiful, very sweet, very gracious, very generous.

And all the kids in the band want you know that we do love you madly.

Duke Ellington was a genius and a giant of the music.

He created the jazz orchestra.

In jazz, if you have the small group where improvisation is happening

all the time and the soloists are really important,

and then in the big bands it's much regimented,

it's much more structured,

everybody's reading in an orchestral fashion, if you like.

But Duke Ellington combined both of those.

Obviously, you know, you've got the Duke Ellington Band.

For swing music it was all about Count Basie.

Essentially, he is jazz royalty.

When his band starts playing and the rhythm sections groove in,

Count comes in with a solo.

So sparsely, very few notes,

and then the band explodes into something.

It's just one of the most exciting bands.

His band is so dynamic. When I'm running my big band

I like to get the extremes of the dynamics as well,

and that gives the excitement

and you can see it in the audience's faces.

He's just influenced me that way and...

if I could achieve a teeny bit of what he's done,

I'll be happy forever.

CHEERING AND APPLAUSE

# Got no diamond

# Got no pearls

# Still I think I'm a lucky girl

# I've got the sun in the morning and the moon at night

# Got no mansion

# Got no yacht

# Still I'm happy with what I got

# I've got the sun in the morning and the moon at night

# Sunshine gives me a lovely day

# Moonlight gives me the Milky Way

# Whoo-ooh

# Got no cheque books

# Got no banks

# Still, I'd like to express my thanks

# I've got the sun in the morning and the moon at night

# And with the sun in the morning and the moon in the evening

# I'm all right

# Got no girlfriend

# Just don't dare

# Tried to get one Can't stand the fare

# And the one I'm looking for is never there

# I don't mean Genie with the light brown hair

# Sunshine

# Gives me a lovely day

# Moonlight

# Helps me to hold my man

# Got no groceries

# Needs too high

# Got no house I can rent or buy

# But I've got the sun in the morning and the moon at night

# With the sun in the morning

# Moon in the evening

# Baby, I'm all right. #

CHEERING AND APPLAUSE

The Accent Quartet.

Myself and the Guy Barker Big Band.

Whoo!

That was another tune made famous by Betty Hutton -

I've Got The Sun In The Morning from Irving Berlin's Annie Get Your Gun.

Doris Day also sang it with Les Brown.

Our version was by The Pied Pipers in 1946.

Before that, both bands paid homage to the innovative

and exciting Boyd Raeburn's Orchestra

with Boyd Meets Stravinsky.

Raeburn and his band were hugely revered and admired by musicians

and other band leaders, but sadly not so much by the public.

I don't know if Boyd ever did meet Stravinsky,

but Woody Herman did.

Igor wrote the Ebony Concerto for him in 1945.

Together with Boyd Raeburn, Claude Thornhill, Stan Kenton,

Woody Herman's band fell under the umbrella of progressive jazz.

One of Woody's enduring hits was written by band-mate Jimmy Giuffre

to feature the sax section involving three tenors and a baritone.

Today those four brothers extend to six brothers and four sisters.

Hmm.

CHEERING AND APPLAUSE

# I've flown around the world in a plane

# I've settled revolutions in Spain

# The North Pole I have charted

# But can't get started with you

# Around the golf course I'm under par

# And all the movies want me to star

# I've got a house, a show place

# But I get no place with you

# You're so supreme

# Lyrics I write of you

# Scheme, just for the sight of you

# Dream, both day and night, of you

# But what good does it do?

# In 1929 I sold short

# In England I'm presented at court

# You've got me broken-hearted

# Cos I can't get started with you. #

CHEERING AND APPLAUSE

Mads Mathias.

The Guy Barker Big Band, The Winston Rollins Big Band,

and our trumpet sections. Whoo!

I can tell the Absinthe is kicking in now.

I Can't Get Started, a beautiful record

by ace trumpeter Bunny Berigan, recorded on 12 inch in 1937.

Bunny worked with Benny Goodman and Tommy Dorsey.

He was a real superstar.

But, like Bix Beiderbecke and Bubber Miley, he burned too bright

and left us too soon.

That same year, Bunny's old boss Benny Goodman was,

as this next tune would suggest, Riding High.

This Jimmy Monday arrangement really got the crowd going.

Winston's Band is in the hot seat. Watch out for solos from Benny

Alan Barnes on clarinet and Harry James,

Pat White on trumpet.

CHEERING AND APPLAUSE

# Don't know why

# There's no sun up in the sky

# Stormy weather

# Since my man and I ain't together

# Keeps rainin' all the time

# Life is bare

# Gloom and misery everywhere

# Stormy weather

# Just can't get my poor self together

# So weary all the time

# So weary all the time

# When he went away the blues walked in

# And met me

# If he stays away

# Old rockin' chair will get me

# All I do is pray

# The Lord above will let me

# Walk in the sun once more

# Can't go on

# Everything I had is gone

# Stormy weather

# Since my man and I ain't together

# It keeps rainin' all the time

# Keeps rainin' all the time

# I walk around heavy-hearted and sad

# The night comes around

# And I'm still feelin' bad

# Rain's pourin' down

# Blindin' every hope I had

# This pitterin', patterin', beatin' and splatterin'

# Drives me mad

# Love, love

# Love Love

# This misery is just too much

# For me

# Can't go on

# Everything I had is gone

# Stormy weather

# Since my man and I

# Since we ain't together

# Keeps rainin' all the time

# Keeps rainin' all

# The time. #

CHEERING AND APPLAUSE

Vanessa Haynes!

The Guy Barker Big Band.

Stormy Weather from 1943, as sung by Lena Horne,

who was born 100 years ago.

A great singer, dancer, actress and civil rights activist.

Guy had the pleasure of working with her,

and he said a lovelier woman you couldn't wish to meet.

Now to a band admired and feared by all other leaders.

Jimmie Lunceford's orchestra was the swingiest around,

thanks to great arrangers like Sy Oliver.

He was Jimmie's Chief Whip from 1934-1939.

He wrote hit arrangement after hit arrangement,

like our next song, My Blue Heaven.

For each one, he was paid 2.50

CHUCKLING

-# When whippoorwill call

-Whippoorwill

-# The evening is night

-Evening is night

# I'll hurry to my blue heaven

-# I turn to the right

-Turn to the right

-# Oh, a little white light

-Oh, a little white light

# That leads you to my blue heaven

# You see a smiling face

# A fireplace

# Mm, cosy room

# A little nest that nestles where

# That nestles where the roses bloom

# Molly and me

# Baby makes three

# It's mellow in my

# Mellow in my blue heaven

-# Molly

-And me

# We're happy just with three. #

CHEERING AND APPLAUSE

The Accent Quartet with the Winston Rollins Big Band

and My Blue Heaven.

Now for an artist who has lived through seismic musical changes.

Born in 1941, he took weekly lessons from Sonny Rollins,

who was a devotee of Coleman Hawkins.

When the great Coleman Hawkins died in May 1969,

our young tenor player went up to the funeral in Harlem

to pay his respects and touch the man's hand.

Please welcome the legendary Mr Pee Wee Ellis!

CHEERING AND APPLAUSE

Oh.

I got a little bit teary then.

Diana Washington gave him his first gig.

At 24, he became James Brown's musical director.

He's worked with some of the biggest names in the business

and I'm proud to call him a friend.

We've asked the co-creator of funk to reconnect with his jazz roots

in a small band setting with Mike Gorman on piano,

Tim Thornton on bass and Ed Richardson on drums,

to pay tribute to Hawk and the tradition of the tenor saxophone.

This is Body And Soul.

CHEERING AND APPLAUSE

CHEERING AND APPLAUSE

Pee Wee Ellis!

CHEERING CONTINUES

CHEERING AND APPLAUSE

Both our big bands there with the St Louis Blues March.

Recorded on Victory Disc by Captain Glenn Miller

and the 418 Army Air Force's Training Command Orchestra

on the 29th of October 1943.

WC Handy wrote that much-loved tune.

It must feel brilliant to write a song

singers are literally falling over themselves to record.

Milton DeLugg would have experienced this in 1950.

Betty Hutton, again, Doris Day, Patty Andrews and Danny Kaye

all recorded his tune within a few weeks of each other.

But it was Nat King Cole and his trio,

backed by the Stan Kenton orchestra,

who bagged the definitive version.

Over to Winston Rollins' band now,

and we introduce a young man with a very bright future.

Mr Rob Green and Orange Coloured Sky.

APPLAUSE

# I was walking along

# Minding my business

# When out from an orange coloured sky

# Flash

# Bam

# Alacazam

# Wonderful you came by

# I was humming a tune

# Drinking in sunshine

# When out of that orange coloured view

# Flash

# Bam

# Alacazam

# I got a look at you

# One look and I yelled timber

# Watch out for flying glass

# Cos the ceiling fell in and the bottom fell out

# I went into a spin and I started to shout

# I've been hit

# This is it, this is it I've been hit!

# I was walking along

# Minding my business

# When love came and hit me in the eye

# Flash

# Bam

# Alacazam

# Out of an orange coloured sky

# One look and I yelled timber

# Watch out for flying glass

# Cos the ceiling fell in and the bottom fell out

# I went into a spin and I started to shout

# I've been hit

# This is it, this is it I've been hit!

# I was walking along

# Minding my business

# When love came and hit me in the eye

# Flash

# Bam

# Alacazam

# Out of the orange coloured, purple striped

# Pretty green polka-dot sky

# Flash

# Bam

# Alacazam

# And goodbye... #

Wow! I thought love was much softer than that.

What a most disturbing sound.

LAUGHTER

CHEERING AND APPLAUSE

# Have you ever seen a church begin to rock?

# Heard a sundown deacon preachin' to his flock?

# Have you ever heard of Satan on the run?

# Then follow me

# See just how it's done

# Have you ever heard a sermon stir your soul?

# Make you crave the River Jordan as you go?

# Have you ever felt as though you wanna shout?

# Then come on and let them feelings out

# Oh, Lord!

# Just hear them sisters groanin'

# Can you hear them fellas groanin'?

# Rippin' and antonin'

# On revival day

# They talkin' to a spirit

# As though you see and hear it

# They're sinful and they fear it

# On revival day

# When that congregation starts to sing

# Oh, Lord

# Nothin' in this world don't mean a thing!

# Oh, glory hallelujah!

# Makes you feel so peculiar

# The Devil cannot rule ya

# On revival day!

# When that congregation starts to sing

# Nothin' in this world don't mean a thing!

# Oh!

# Glory hallelujah!

# Makes you feel so peculiar

# The Devil cannot rule ya

# On revival day!

# All the congregation

# Is gonna shout and get salvation

# Oh, this congregation

# Is gonna shout and

# Get salvation

# Oh, this congregation

# Is gonna shout and

# Get salvation

# On

# Revival day

# Hey, hey

# Hey, yeah!

# Oh, yeah

# Yeah! #

CHEERING AND APPLAUSE

Vanessa Haynes! Come on!

CHEERING

The Guy Barker Band with On Revival Day,

a tribute to the empress of the Blues, Bessie Smith.

People of the Royal Albert Hall and surrounding areas,

are you having a nice time?

CHEERING

This is our last song!

BOOING

Before the encore!

CHEERING

# When I was a kid about half past three

# My daddy said Son, come here to me

# I said Things may come and things may go

-BOTH:

-# But this is one thing you ought to know

# T'ain't what you do

# It's the way that you do it

# T'ain't what you do

# It's the way that you do it

# T'ain't what you do

# It's the way that you do it

# That's what gets results

# Mama, Mama

# T'ain't what you do

# It's the time that you do it

# T'ain't what you do

# It's the time that you do it

# T'ain't what you do

# It's the time that you do it

# That's what gets results

# You can try hard

# It don't mean a thing

# It don't mean a thing

# Take it easy

# Breezy

# Then the jive will sing

# Oh-oh

# T'ain't what you do

# It's the place that you do it

# T'ain't what you do

# It's the place that you do it

# T'ain't what you do

# It's the place that you do it

# That's what gets results. #

CHEERING AND APPLAUSE

Whoo!

The Guy Barker Big Band!

The Winston Rollins Big Band!

All our special guests!

Whoo!

T'ain't What You do.

Are you ready for an encore?

CHEERING

I didn't quite hear that. Are you ready for an encore?

CHEERING

This year's Battle Royal celebrates some of the fantastic fusion

of Latin sounds bubbling around the late '40s and early '50s.

I want you to say hello to our percussionists,

Roberto Pla and Satin Singh!

APPLAUSE

Do we love Perez Prado?

Do we love Machito?

Yes, we do. Yes, we do. We quite like Machito, yes.

Do we like Stan Kenton?

CHEERING

Do we like Mambo?!

CHEERING

CHEERING AND APPLAUSE

# Si si si

# Yo quiero mambo

# Mambo

# Si si si

# Yo quiero mambo

# Mambo... #

Tanga! Buro boya!

# La tanga llego

# La tanga llego

# La tanga llego con su ritmo terrible

# Una cosa sublime

# Te invita te invita...

# A bailar

-# Mira mira mira tanga

-Tanga!

-# Tanga no no Tanga

-Tanga!

# Tanga no-no-no-no-no-no no-no-no-no-no

# Tanga Tanga

# Tanga

# Tanga... #

CHEERING

Uno! Dos! Tres! Cuatro!

Cinco! Seis! Siete! Ocho!

Mambo!

Uno! Dos! Tres! Cuatro!

Cinco! Seis! Siete! Ocho!

Mambo!

# Tampico, Tampico

# On the Gulf of Me-hico

# Tampico, Tampico

# Down in Me-hico

# You buy a beautiful shawl

# A souvenir for Aunt Flo

# Authentic Mexican art

# Made in Idaho

# Ay, Tampico, Tampico

# On the Gulf of Me-hico

# Tampico, Tampico

# Down in Me-hico

# You buy some pottery there

# To beat the luxury tax

# You find that when you get home

# They sell it cheaper at Sachs

# You ask a Mexican band

# To play a rumba-down-dare

# He turns and says to the boys

# Hey, fellas, dig that square!

# Ay, Tampico, Tampico

# On the Gulf of Me-hico

# Tampico, Tampico

# Down in Me-hico

# Down in Me-hico! #

CHEERING AND APPLAUSE