:00:24. > :00:26.Welcome to Proms Extra, we're your window on to the Proms
:00:27. > :00:30.Tonight we're all about passion and spirit as we reflect
:00:31. > :02:32.And inside the Hall the Proms action continues with a flourish.
:02:33. > :02:36.Inside our grand studio we have three award winning guests who have
:02:37. > :02:38.pledged to be enthusiastic, controversial and learned.
:02:39. > :02:40.No pressure then on not one but two saxophonists,
:02:41. > :02:42.YolanDa Brown and Soweto Kinch, plus the conductor, John Butt.
:02:43. > :02:57., Thank you for having us. YolanDa, you have been busy, got a new album
:02:58. > :03:04.out? It has been exciting, I have been putting ?1 in the job every
:03:05. > :03:11.time I say exciting. But sharing it with a new audience. Posh reggae. I
:03:12. > :03:16.am not calling it jazz, posh reggae. Something new for a good time
:03:17. > :03:21.feeling. It was nice to come into the Jazz Forum and be in The Royal
:03:22. > :03:26.Albert Hall and the auditorium for the Ella Fitzgerald and Dizzy
:03:27. > :03:30.Gillespie celebration. It was a great night. Talking of great
:03:31. > :03:36.nights, John, have you recovered, come down or are you still buzzing
:03:37. > :03:41.from your prom? Still buzzing, but I have been doing university work this
:03:42. > :03:48.week so I have had to put my brain into a certain degree of straight
:03:49. > :03:52.gear. Yes, up and down, basically. The variety of you like is
:03:53. > :04:04.interesting. It is interesting at times. And Soweto, you have had your
:04:05. > :04:10.festival? Yes, enjoying jazz now I getting up close and personal with
:04:11. > :04:13.the musicians I admire. Really enjoying that show.
:04:14. > :04:16.Last night BBC four hosted the Charles Mingus Prom,
:04:17. > :04:25.a tribute to the late, great, double bassist.
:04:26. > :04:31.Why is Charles Mingus such an important name in the name of jazz?
:04:32. > :04:37.He stands at a certain juncture in terms of how the music evolved. The
:04:38. > :04:44.outset of bebop, and he was considered an innovator among Dizzy
:04:45. > :04:50.Gillespie and Charlie Parker who co-defined what we call bebop. His
:04:51. > :04:55.approach was so broad and big in terms of scope, in terms of his
:04:56. > :05:00.albums, he didn't write conventional forms and it helped straddle
:05:01. > :05:07.different eras of jazz. If you hear Goodbye Pork Pie Hat, his other
:05:08. > :05:12.works, someone keen to integrate the full gambit of jazz history,
:05:13. > :05:17.somebody very serious about that. I love him for his political bent as
:05:18. > :05:25.well, his ability to speak out, musically, at a time of civil
:05:26. > :05:31.rights. He was passionate. He was a significant figure? Yes, somebody of
:05:32. > :05:35.authenticity when you look at his music.
:05:36. > :06:36.Let's look at what made Charles Mingus so and forgettable.
:06:37. > :06:39.That was a short snapshot of the music of Charles Mingus
:06:40. > :06:46.with the Metropole Orkest, conducted by our old friend Jules Buckley.
:06:47. > :06:53.YolanDa, amazing array of talent on that stage? Everybody brought
:06:54. > :06:57.something different and the music of Charles Mingus is something we know.
:06:58. > :07:02.Songs you would have heard parts of all alone in his repertoire. It was
:07:03. > :07:07.interesting to see what the different soloists brought to the
:07:08. > :07:12.table. The one thing I did like was the connection between them. I think
:07:13. > :07:18.there was always a smile, Charles Mingus loved when people traded
:07:19. > :07:21.solos and you really did grasp that from these soloists, they weren't
:07:22. > :07:25.afraid to play from each other, boost each other up. A lot of
:07:26. > :07:33.different styles of entertainment and showmanship on that stage.
:07:34. > :07:38.Soweto, you know some of them, what are your impressions? In one sense,
:07:39. > :07:43.it is not completely out of keeping with Charles Mingus. You have Frank
:07:44. > :07:49.Lacy, real performers as well as musicians. That is the thing, if you
:07:50. > :07:55.want big, bright loud colours and dance routines, you have got to be
:07:56. > :08:00.playing. Especially in the music we deal with. Authenticity is prime and
:08:01. > :08:06.we also look to see if somebody is faking the front, taking the jazz.
:08:07. > :08:13.Was there any faking going on? It is hard to tell. We don't just want
:08:14. > :08:19.impact. I don't want to berate something that could be ringing new
:08:20. > :08:22.people in. You want weight, you want depth and authenticity and I am not
:08:23. > :08:31.sure how much genuine affection for Charles Mingus I heard. Really, from
:08:32. > :08:42.some? From some. Where there any standout moments?
:08:43. > :08:48.Christian and Chewbacca. My brothers from other mothers. They understand
:08:49. > :08:55.themselves and push the boundaries forward from that perspective. I
:08:56. > :09:01.enjoyed hearing what they were doing. John, I am interested in
:09:02. > :09:08.knowing what you thought of that jazz, you could be a jazz cat for
:09:09. > :09:14.all we know? I wish I was. If I could do it, I would. I don't have
:09:15. > :09:22.the right ears. But I do appreciate jazz and it is very close to Baraka
:09:23. > :09:25.music, which I do a lot of. You have a difference between formalised
:09:26. > :09:31.sections which are notated and the bits which are more loose. That is
:09:32. > :09:36.what happens in 17th and 18th century music. There is a lot in
:09:37. > :09:40.common and the continuous baseline which is shared between 17th and
:09:41. > :09:46.18th century music and jazz in general. I have seen you improvise.
:09:47. > :09:53.I can fill in courts, but I wish I were better at it, but I do
:09:54. > :09:59.improvise. We will be talking about Bach later in the programme, if he
:10:00. > :10:04.were a musician today, maybe he would have been involved in this
:10:05. > :10:10.prom. You would have the right. Professional musician. Talking about
:10:11. > :10:15.Jules Buckley, they are on a roll with bringing this kind of music to
:10:16. > :10:18.a different audience, orchestrating it in a different way, was it
:10:19. > :10:23.something Charles Mingus would have appreciated? Evolving, using the
:10:24. > :10:28.music as a template and then letting it develop is something he would
:10:29. > :10:33.have endorsed. But it is how an steeped are you in that tradition?
:10:34. > :10:40.Lester Young, one of the generations that preceded him. There always has
:10:41. > :10:45.to be some historical credibility, even if you are not playing in the
:10:46. > :10:49.old style. It is what the Proms are about, we have seen a fantastic
:10:50. > :10:52.programme this year, the different types of Proms and people would say
:10:53. > :10:56.it is not the traditional way we would season the Proms, but the
:10:57. > :11:00.music they brought to the fore, the repertoire they brought to the fore
:11:01. > :11:04.has branched out and made it something that can appeal to another
:11:05. > :11:09.audience. I have to say, to this particular prom, from the very first
:11:10. > :11:14.solo, the audience were clapping, dancing and they were up. The
:11:15. > :11:20.response on social media and the response in the hall was electric.
:11:21. > :11:24.People loved it. Great clips of them getting into it and dancing and if
:11:25. > :11:29.that helps them go back to listen to the original repertoire of Charles
:11:30. > :11:35.Mingus, the prom has done its job. Sometimes the audience was silence,
:11:36. > :11:39.they had an awareness of where they could tune into the happenings and
:11:40. > :11:44.sometimes make noises. And sometimes their silence was very impressive.
:11:45. > :11:49.Brilliant. If you want to get beneath the underdog that is Charles
:11:50. > :11:54.Mingus, head to the BBC iPlayer. Soweto will be playing a number from
:11:55. > :11:58.Charles Mingus back catalogue at the end of the show. During the
:11:59. > :12:03.eight-week Proms season, the hall is a hive of activity from early
:12:04. > :12:08.morning into the late night. But for one select group, the hall is open
:12:09. > :12:12.all hours, and for them the witching hour is the only time to get their
:12:13. > :12:23.work done and get closer to their musical God.
:12:24. > :12:32.Bach is the most amazing brain and heart on any musician I have ever
:12:33. > :12:36.encountered. For all his massive intellect, Bach still charms us with
:12:37. > :12:45.beautiful harmonies and beautiful tones of phrase. A lot of the hard
:12:46. > :12:47.work has to go on at night. It is both the joy and the problem with
:12:48. > :13:07.being an organist. When it is the middle of the night,
:13:08. > :13:12.it is kind of weird to be here. You can't really play the organ during
:13:13. > :13:23.the day, there is too much going on, so you get used to working at
:13:24. > :13:27.unsocial hours. And it is very, kind of, well, spooky feeling. You are
:13:28. > :13:35.left in there on your own. There are ghosts about. The Royal Albert Hall
:13:36. > :13:47.organ is an mighty beast, it is enormous. It makes such a raw. You
:13:48. > :13:52.certainly dominate the building. Inside the organ, there are hundreds
:13:53. > :13:59.and thousands of pipes with four keyboards and pedals. It is many
:14:00. > :14:03.thousands. You sit at your console playing and sounds might be popping
:14:04. > :14:13.out round the corner, almost underneath you or, way above your
:14:14. > :14:21.head. The two little pieces of Bach I am playing tomorrow, it is
:14:22. > :14:27.translated from German into Little Organ Book. Bach left it almost
:14:28. > :14:33.unfinished. The project I have been running for nearly ten years is to
:14:34. > :14:38.commission contemporary composers to fill in the blank pages. Take the
:14:39. > :14:45.tune Bach intended and compose a short piece on that June. We are
:14:46. > :14:58.paying homage to music from 300 years ago. I will probably go on
:14:59. > :14:59.until 2:30am, 3am in the morning and then be up bright and early for the
:15:00. > :15:13.concert. I know you play the organ as well as
:15:14. > :15:18.conduct. Does that ring true for you? Have you played in the middle
:15:19. > :15:21.of the night in the Albert Hall? I have, yes. It happens all the time
:15:22. > :15:26.when you have to play something. When I was a student at Cambridge, I
:15:27. > :15:30.was in charge of letting the visiting recital players into the
:15:31. > :15:34.chapel in the evening to play the organ. I let him in at eight o'clock
:15:35. > :15:42.one night, went to the pub, went to the bed, and at three o'clock in the
:15:43. > :15:45.morning I was woken up by the porters because he had set for the
:15:46. > :15:49.Alliance. He could not get out. That is my best story, my worst story, in
:15:50. > :15:53.terms of that. The Royal Albert Hall in the middle of the night, a little
:15:54. > :15:57.bit eerie? The light is always on so it is not that different from
:15:58. > :16:02.daytime. It is the bits back on stage which are easily. The hall is
:16:03. > :16:08.the same as it ever is. There are no windows. I have been there a bit. As
:16:09. > :16:13.jazz musicians, we always assume that jazz recitals in jazz clubs
:16:14. > :16:20.stay open all night. Is that your time of day? It is. I have just come
:16:21. > :16:23.back from touring in Australia. Everyone talks about the jet lag.
:16:24. > :16:28.For the first few days I was fighting it, trying to stay up in
:16:29. > :16:33.the daytime, then I realised, I work at night. I was up until 5am. It is
:16:34. > :16:40.a good time to play. Do you work better at night? Much of a muchness.
:16:41. > :16:44.There are times when in terms of getting inspired, I love the
:16:45. > :16:49.late-night session. I might be going to win tonight. In terms of
:16:50. > :16:52.compositions, sometimes I like to wake up early and approach it like a
:16:53. > :16:54.normal working day. Sit behind the piano.
:16:55. > :16:57.Last Sunday, BBC Four showed the mammoth work that is Bach's St
:16:58. > :16:59.John Passion, which featured an array of soloists, and the
:17:00. > :17:01.Dunedin Consort led by their conductor, John Butt.
:17:02. > :17:07.It was more than just a concert, wasn't it? Yes, part of the brief
:17:08. > :17:12.was to celebrate the Reformation. I thought it would be quite nice to do
:17:13. > :17:18.what Luther, the first reformer in or give it did. Congregational
:17:19. > :17:23.singing on a large scale. That gives you the whole context for the find
:17:24. > :17:27.world of Bach and his contemporaries. What I did was
:17:28. > :17:33.reconstruct the liturgy, which is all song, but it goes around Bach's
:17:34. > :17:40.Passion. You can feel how the Passion comes in and out of a larger
:17:41. > :17:44.whole. The audience, having sung, are resonating in a way. I think
:17:45. > :17:48.they listen differently if they have already sung a little bit and will
:17:49. > :17:52.sing again at the end, even though they are not singing the most
:17:53. > :17:58.complex music. Later made music accessible to every level. All
:17:59. > :18:00.levels are catered for. That is something we benefit from in western
:18:01. > :18:00.culture still. Let's have a glimpse
:18:01. > :18:12.of this right now. Our sofa guest John Butt leading
:18:13. > :19:40.the Dunedin Consort and soloists inside the Proms' own place
:19:41. > :19:50.of worship, the Royal Albert Hall. John, you're already mentioned about
:19:51. > :19:54.the participation of the audience. It was striking, seeing how engaged
:19:55. > :19:58.in the faces in the arena where. How many do you reckon were singing? I
:19:59. > :20:04.counted from the film earlier, and directing it was one in five, over
:20:05. > :20:10.1000 people singing, which is bigger than I have conducted before. It was
:20:11. > :20:14.a wonderful sound. They kept together fantastically well.
:20:15. > :20:19.Amazing. It gives them a type of attention that is different from the
:20:20. > :20:23.standard classical music, occasionally antiseptic setting.
:20:24. > :20:28.It gives it more floor. People would read -- people would originally have
:20:29. > :20:31.gone to hear the St John Passion in church. It would not have been an
:20:32. > :20:35.entertainment. Although it is said that Bach was filling a hole in
:20:36. > :20:40.Leipzig, the lack of opera. The opera house had closed down. People
:20:41. > :20:44.went to appreciate the music, and the sermons. They went to the coffee
:20:45. > :20:51.houses in the evenings and marked them. There was a critical culture.
:20:52. > :20:56.It was not just blind adoration. It was a critical culture, where people
:20:57. > :21:00.really did think about the music in every respect. And also the
:21:01. > :21:05.preaching, which was an art form in its own right. We would have had
:21:06. > :21:08.about an hour's worth of salmon. We would. We had the interval and I
:21:09. > :21:13.told the audience they would have to preach to each other. Tell me why
:21:14. > :21:19.you put the choir where you put them. We're used to seeing them in
:21:20. > :21:24.the stalls, but not on your show? If you look at historical sources for
:21:25. > :21:28.singers and choirs as well, the singers are almost always at the
:21:29. > :21:33.front, not necessarily because it makes it louder, but you get much
:21:34. > :21:38.clear diction that way. I do it almost all the size, regardless of
:21:39. > :21:44.size, in most of the productions I am responsible for. I get as many of
:21:45. > :21:48.the singers as I can at the front. It is a completely different sound.
:21:49. > :21:51.The choir at the back is an invention of the 19th century when
:21:52. > :21:56.you had so many singers that there was no one else to put them. They
:21:57. > :22:02.are so loud they have a massive impact. With small professional
:22:03. > :22:05.performances like this, you lose so much if you put them there, it is
:22:06. > :22:09.money wasted for an expensive choir. YolanDa, last year you took part in
:22:10. > :22:15.the Gospel Prom which was musical worship of a different kind, or was
:22:16. > :22:22.it? The rate is the same, it is the same lard and Jesus. Interestingly,
:22:23. > :22:26.watching this Prom, when you approach it as if you were in the
:22:27. > :22:31.service, I think you do then worship in the same way. The feeling is the
:22:32. > :22:36.same. The style of music is different, but I think it is there.
:22:37. > :22:41.Hearing the evangelists really preach and tell the story, having
:22:42. > :22:46.the motion, especially when you have the subtitles, you do well up, that
:22:47. > :22:51.same emotion and reverence. Yes, a different style of music but the
:22:52. > :22:55.same feeling. The storytelling was very strong in this performance?
:22:56. > :23:02.Absolutely, especially when they got to the crucifixion. There was
:23:03. > :23:09.silence. That for me, that put the nail in the cross, if you like. It
:23:10. > :23:14.really was a poignant moment. Seeing Nicholas, his face. He really tells
:23:15. > :23:21.the story amazingly. Soweto, how does Bach fit into your world? On
:23:22. > :23:26.lots of different levels. His spiritual inspiration, the things he
:23:27. > :23:30.was doing at Leipzig, counterpoint, lots of specific things I draw
:23:31. > :23:32.inspiration from. Overall, you listen to something like the
:23:33. > :23:36.Goldberg variations and you can almost see the music. You see the
:23:37. > :23:43.logic of counterpoint, things that really inspire you, that almost let
:23:44. > :23:47.you reflect on a higher plane. Particularly with St John Passion, I
:23:48. > :23:51.have enjoyed the way it goes from really big movements, like the first
:23:52. > :23:56.one we were discussing earlier, one of the greatest introductory
:23:57. > :24:00.passages of music, and then to peer down to other sections. I cannot
:24:01. > :24:06.remember what they are called. You would have to help me out. Exactly.
:24:07. > :24:15.Equally affecting with small ensemble. Some pieces are just
:24:16. > :24:20.trios. Bach is always the composer is sated when people speak about
:24:21. > :24:29.this. Music and mathematics. Your last album was about the numbers
:24:30. > :24:32.around music? Yes, that inspired me for that album, exploring numbers,
:24:33. > :24:37.form, and the ability of our brains to create shapes, basic --
:24:38. > :24:38.basically, based on what we hear. If you want to, and you should,
:24:39. > :24:42.do head to the BBC iPlayer where And we're not done with the Passion
:24:43. > :24:46.yet, as in this penultimate Chord Of The Week, our resident
:24:47. > :24:54.preacher, David Owen Norris Our Chord Of The Week comes near the
:24:55. > :25:01.end of the first part of JS Bach's St John Passion. A terrible moment
:25:02. > :25:06.of betrayal where Peter denies Christ three times, the clock crows,
:25:07. > :25:17.Peter weeps bitterly, and the choir sings.
:25:18. > :25:23.Bach was a master of the rules of harmony, such a master that he could
:25:24. > :25:29.twist them to shockingly express events even in music just for four
:25:30. > :25:37.voices, 4-part harmony. When the six lane of the corral begins, the
:25:38. > :25:43.chords on correct, because the base, confronted with a particular discord
:25:44. > :25:53.performs a semitone. When the next thing we hear is the Stark we expect
:25:54. > :26:01.the same thing to happen. But featuring Bach has to harmonise is
:26:02. > :26:05.not this. But this. The top three voices, the soprano, the Alto and
:26:06. > :26:13.the tenor, find a way of harmonising that that makes perfect sense to
:26:14. > :26:18.them. But by doing that, they have betrayed the base, which, like
:26:19. > :26:26.Jesus, must follow its own destiny and form a semitone. And then Bach,
:26:27. > :26:39.still following all the rules of harmony, resolves that discord in
:26:40. > :26:45.the D minor. This one borough 4-part harmony -- this one bar of four
:26:46. > :26:53.part. It encapsulates all of the story so far.
:26:54. > :26:58.I am fascinated to know what you thought of that interpretation, from
:26:59. > :27:03.David. Fantastic. It brings out the visceral type in the music. We think
:27:04. > :27:09.of Bach as being a brain musician, but you can feel everything in this.
:27:10. > :27:14.I wish he had gone on one more phrase. There is a beautiful and
:27:15. > :27:17.prepared seventh in the next phrase. It comes with the words that mean
:27:18. > :27:23.something bad. Bach does something bad as well, which is stunningly
:27:24. > :27:28.bad. It works really well. I have the sudden image of you and David
:27:29. > :27:31.head-to-head, with the kind of musicology. When you listen to
:27:32. > :27:37.explanations of the music like that, does it bring to life -- does it
:27:38. > :27:42.bring it to life? It does for me. Absolutely. It puts the process to
:27:43. > :27:46.an effect that we understand, we understand the results when it is
:27:47. > :27:51.tension released. You feel that something is being stretched out and
:27:52. > :27:55.we find a resolution. To have somebody explain, thankfully it does
:27:56. > :27:59.not take the soul out of it. It helps me understand. I often think
:28:00. > :28:01.that only if I had a music teacher like him at school, I could have
:28:02. > :28:04.been composing like you guys. David Owen Norris returns next week
:28:05. > :28:08.to say, quite literally, Bon Voyage to the final
:28:09. > :28:11.Chord Of The Week. At Proms Extra, we love a tea break
:28:12. > :28:15.and imagine our delight when one of the world's classical stars
:28:16. > :28:17.made time in her schedule to So who else could deliver
:28:18. > :28:44.silver service to Renee Fleming St Anne, the
:28:45. > :28:48.world-renowned soprano and one of classical music's most inspirational
:28:49. > :28:53.singers. Everywhere from the Super Bowl to the Queen's Jubilee, to the
:28:54. > :28:59.Proms. I am lucky enough to have a cup of tea with her. You are here in
:29:00. > :29:04.London. I have got to get your cup of tea. I have got to offer you one
:29:05. > :29:09.at least. Thank you. What would you like, normal, builder's, terrible? I
:29:10. > :29:15.never drink tea at home. I drink coffee, but when I am here, I love
:29:16. > :29:21.Earl Grey. It is terribly boring. A splash of milk. A little milk and
:29:22. > :29:29.sweetener. I am armed with questions from your beloved fans. The first is
:29:30. > :29:34.from someone in Brighton. Do you get to keep all your posh frocks? Yes, I
:29:35. > :29:39.keep all of the concert dresses. By the time I finished doing with them,
:29:40. > :29:46.these dresses could walk away and have their own life. They really
:29:47. > :29:49.live around the world. This is a question from China. How long does
:29:50. > :29:55.it take to become a successful soprano? Is it training or are you
:29:56. > :29:59.born with it? I think I have an inkling.
:30:00. > :30:09.I think there are a lot of fantastic voices in the world, more than you
:30:10. > :30:14.will ever know. They work in supermarkets, everywhere. As a lyric
:30:15. > :30:24.soprano myself, this is a lady on Twitter, she says is it good to end
:30:25. > :30:30.up as a tree? That is a good point. Unequivocally, it is great to hand
:30:31. > :30:36.up as a tree. How many hours a day do you practice. That is from a
:30:37. > :30:41.little girl from Bethnal Green. When I was learning how to sing,
:30:42. > :30:47.typically an hour and a half. Rehearsals, can go for six hours.
:30:48. > :30:53.Question from Kirsty, what did you think of the rowdy rabble down at
:30:54. > :30:59.the front of the arena? I love the Proms, I wish more cities would find
:31:00. > :31:05.a way to do it. I always say to people, you should be in London, to
:31:06. > :31:10.see all of these people standing. What was your most embarrassing
:31:11. > :31:15.moment on stage? My skirt came. Cannot beat that. How is the tea?
:31:16. > :31:19.Excellent. Cheers, Renee. That was the opera superstar
:31:20. > :31:21.Renee Fleming and you can catch her Prom this Wednesday live
:31:22. > :31:31.on Radio 3. She said, John you couldn't beat her
:31:32. > :31:36.skirt falling off, have you had one of those moments? Yes. I was
:31:37. > :31:39.conducting a concert in Glasgow about ten years ago and it was in
:31:40. > :31:46.the middle of the Scottish winter when it is very hard to see. I went
:31:47. > :31:50.to collect my shirt from the floor of the kitchen, where we are clean
:31:51. > :31:54.clothes. They look fine, did the rehearsal and put the shirt on five
:31:55. > :32:00.minutes before the concert. It turned out to be a shirt owned by my
:32:01. > :32:05.ten-year-old son. I could just about squeeze it run, except I had a huge
:32:06. > :32:10.midriff Axel it was quite fortunate in the end, because I had tails and
:32:11. > :32:15.the audience didn't notice. But the choir could see everything,
:32:16. > :32:19.including when things got hotter and wetter, it got worse. They laughed
:32:20. > :32:28.so much, it was the best singing I had ever had from the choir. It was
:32:29. > :32:34.fantastic. That is a tremendous image but the most inventive use of
:32:35. > :32:39.a combo Bund. Soweto, I know you are getting ready for your performers,
:32:40. > :32:43.have you got any moments like that? Too many, I have fallen off the
:32:44. > :32:49.stage, embarrassing. In South Africa, I was giving my usual Thai
:32:50. > :32:53.raid against corporate interest and the banks and I was getting really
:32:54. > :32:58.political and then I looked over my back and I realise the event was
:32:59. > :33:08.sponsored by standard bank. That was embarrassing. Other sponsors and
:33:09. > :33:12.banks are available, of course. How about you, YolanDa? There is
:33:13. > :33:19.something to be said about being comfortable on the stage, maybe not
:33:20. > :33:25.in a ten-year-old's shirt. I do take my heels of invalid interval. I went
:33:26. > :33:30.to my dressing room took my shoes. Then I realised there was a big rush
:33:31. > :33:34.to get back on stage. My picked up my saxophone, and then I thought
:33:35. > :33:39.things felt comfortable, I didn't know why. I looked down and I still
:33:40. > :33:43.had my slippers on. The audience thought it was a costume change, I
:33:44. > :33:50.don't know, they were very gracious. I had to get somebody to get my
:33:51. > :33:56.heels. You are just being so jazz, so relax. I know, now I see people
:33:57. > :34:04.in slippers all the time, I was ahead of the game. This dream dinner
:34:05. > :34:08.date, dream cup of tea, who would it be for you, John? Dream cup of tea,
:34:09. > :34:13.I used to work a little bit four and Schiff back in the late 90s when I
:34:14. > :34:17.played some of his things. To get a cup of tea with him was fantastic in
:34:18. > :34:23.that period in particular because I was learning so many of the pieces
:34:24. > :34:32.he was playing, Bach in particular. Very useful, one thing he told me,
:34:33. > :34:45.he said play half of this music a day. You can hear him playing Bach
:34:46. > :34:51.on the 7th of September. I wrote the programme notes. Briefly, YolanDa
:34:52. > :34:56.who would your dream date be with? It would be a very strange capacity,
:34:57. > :35:02.but one I would like to have with Bob Marley. Herbal tea, maybe.
:35:03. > :35:04.Excellent, tell us all about it. As we career towards the end,
:35:05. > :35:08.don't forget that you can catch up on the Proms we've discussed tonight
:35:09. > :35:11.on the BBC iPlayer, Radio 3 broadcasts every single Prom
:35:12. > :35:14.and there is a weekly Proms podcast. For your TV Proms fix catch
:35:15. > :35:17.conductor, Mirga Grazinyte-Tyla with Then on the same channel next
:35:18. > :35:23.Friday it's a biggie, Clare Teal and the Big Band
:35:24. > :35:26.followed by Jools Holland's Thank you to YolanDa Brown
:35:27. > :35:33.and to John Butt for coming in. And it's thank you to our final
:35:34. > :35:36.guest who's about to pay tribute Accompanied by Nick Jurd,
:35:37. > :35:42.performing Boogie Stop Shuffle