:00:25. > :00:32.It's the final one in the current series but we're not going quietly.
:00:33. > :00:34.Stravinsky, Beethoven, Big Band and Stax Records will be
:00:35. > :00:37.making a joyous racket tonight and even though our time's up,
:00:38. > :00:53.it's good to know that the Proms continues to swing.
:00:54. > :01:02.# Hear that whistle # There goes the bell
:01:03. > :01:06.# That means we're on our way. # I am feeling swell.
:01:07. > :01:40.# This is my happy day. # Sitting on the dock of a bay
:01:41. > :01:45.# Watching the tide roll away #... Another fabulous week.
:01:46. > :01:48.Seated patiently in our studio, I have three guests who could only
:01:49. > :01:54.I have the queen of percussion, Dame Evelyn Glennie,
:01:55. > :01:56.saxophone princess, Jess Gillam and, in Proms Extra's
:01:57. > :01:57.opinion, the king of the piano, Stephen Hough.
:01:58. > :02:05.Jess, you must tell us, first of all, any update on the stolen sax?
:02:06. > :02:11.Unfortunately, not yet. I haven't heard anything. I hope it turns up
:02:12. > :02:15.but I might have to get used to a new friend. Oh, no, we have a
:02:16. > :02:20.picture of it there. If anybody has any clues, this is another chance to
:02:21. > :02:24.get in touch now. You say the police have done everything they can.
:02:25. > :02:28.They've closed the case pretty much now They were so helpful but they've
:02:29. > :02:31.no evidence. No leads. I am hoping maybe the person who has it tries to
:02:32. > :02:35.sell it and eventually it comes home. Meanwhile, you do have a spare
:02:36. > :02:43.which is a bit of luck because you are playing in the Proms in the park
:02:44. > :02:49.in Wales. Yes in Swansea next week. It's equally great saxophone but one
:02:50. > :02:56.I am in the used to but it will be a great night in Swansea. Stephen, no
:02:57. > :02:59.stolen pianos? No, it would be hard to carry that around. It's a
:03:00. > :03:03.terrible story. Really sorry about that. You had a wonderful Prom
:03:04. > :03:08.earlier in the season playing Brahms, how was that for you? It's
:03:09. > :03:12.always such a thrill. That piece is one of the biggest pieces in the
:03:13. > :03:15.repertoire played in one of the biggest halls in the world. It fits
:03:16. > :03:18.so well into that grand space. It was a great thrill. It seems it's a
:03:19. > :03:22.month ago now, seems like last season almost. I know you have
:03:23. > :03:25.actually had spare time this summer to enjoy the Proms in the audience.
:03:26. > :03:29.That's true. Has it been a good season for you? I have been to a few
:03:30. > :03:33.and other theatre things. I have seen some friends and I have lots of
:03:34. > :03:39.work done at home. It's been a great summer actually. Evelyn, you have
:03:40. > :03:44.another performance coming up at Proms in the park in Glasgow, is
:03:45. > :03:47.that right? Northern Ireland. Oh, my goodness, forgive me, actually I
:03:48. > :03:55.will never be forgiven for that! What are you performing there? Well,
:03:56. > :04:06.light classics as it were, a little bit of Vivaldi I have transscribed
:04:07. > :04:11.and the first movement of a Brazilian concerto and of course The
:04:12. > :04:15.Flight of the Bumblebee. And you are playing at the end of the show, as
:04:16. > :04:19.well. What are we hearing from you? I suppose it's a reduced version
:04:20. > :04:32.with a little bit of improvisation of a piece called Restless by an
:04:33. > :04:36.American composer Rich O Meara. Marvellous. It's a lovely scene here
:04:37. > :04:39.to have all on the sofa. Thank you for joining us.
:04:40. > :04:43.As you know, Proms Extra loves to swing and that appetite was sated
:04:44. > :04:45.thanks to Radio 2 presenter and singer Clare Teal's Big Band
:04:46. > :04:49.Music from the 1920s, 1930s and 1940s took centre stage
:04:50. > :04:52.at the Royal Albert Hall, performed by two big bands
:04:53. > :04:54.led by sultans of swing, Guy Barker and Winston Rollins.
:04:55. > :05:52.# I want to be hugged and squeezed. # Stuff like that there.
:05:53. > :05:54.Some of the sounds from the Big Band Prom.
:05:55. > :05:57.Just a taster there of music which on the night transported us
:05:58. > :05:59.to the world of Gershwin, Berlin, Duke Ellington
:06:00. > :06:02.and Glen Miller and the largely ignored Mary Lou Williams
:06:03. > :06:05.who perhaps in a different era would have got the credit
:06:06. > :06:16.As a sax player you must have been excited to see that Prom. It was
:06:17. > :06:20.fantastic and the level of professional lichl, with two big
:06:21. > :06:25.bands with leaders like Guy Barker, everybody on the stage obviously was
:06:26. > :06:30.loving being there, as well. The quality of the solos, almost
:06:31. > :06:33.everyone in both the bands took a solo. The energy and the bands
:06:34. > :06:37.conversing with each other, the conversation, it was just a real
:06:38. > :06:44.celebration of big band music. You are a big fan of the saxophonist Pee
:06:45. > :06:48.Wee Ellis. He is a legend. He has been a huge inspiration to me since
:06:49. > :06:53.I was about 11 or 12. All those years ago! The sound, he is just
:06:54. > :07:01.such - so connected to his instrument. It's really him speaking
:07:02. > :07:04.through the saxophone. I think having the smaller ensemble that he
:07:05. > :07:09.played with, I think it was a special moment. Stephen, how did
:07:10. > :07:11.this Prom grab you, to me it was joyful and nostalgic concert, that
:07:12. > :07:20.sound world is very much of its time. Very much. Yeah. Of course,
:07:21. > :07:27.what grabbed me and it's grabbed me again is that extraordinary piano
:07:28. > :07:30.solo. It was witty and wonderful and what incredible virto objectsity and
:07:31. > :07:34.that dress, it was just wonderful. We have another clip. I suspected
:07:35. > :07:53.that we might talk about her. Let's listen to her again in action.
:07:54. > :07:59.She's just phenomenal. Stephen, have you ever treated a piano like that?
:08:00. > :08:03.No, I haven't. I don't think I could. It's incredible. Everyone in
:08:04. > :08:08.the studio is smiling listening to that. It was fantastic. But also
:08:09. > :08:15.such a serious artist and I love that. I have to say, on the whole,
:08:16. > :08:19.jazz, I like my jazz best when it's in smaller places, closer in a sense
:08:20. > :08:22.to the roots. It's interesting, I love hearing jazz in a big space
:08:23. > :08:29.like this because I think it makes the connection with the composers
:08:30. > :08:33.who were influenced by it so much like Stravinsky indeed. I like the
:08:34. > :08:36.speak easies, the dives where there are just 50 people there, it's
:08:37. > :08:40.Smokey, you are get that connection to the suffering and the pain out of
:08:41. > :08:43.which it came. I think there is a sense sometimes in a concert when
:08:44. > :08:47.you lose that. You are looking back at jazz, almost as a museum rather
:08:48. > :08:51.than there where the grit of what's happening is there. But not to take
:08:52. > :08:57.anything away from this thrilling evening. Indeed. Evelyn, certainly,
:08:58. > :09:00.I think we could all understand Stephen's point but on the stain
:09:01. > :09:05.there was that level of musicianship -- on stage there was that level of
:09:06. > :09:10.musicianship and the way they were playing together, a team effort.
:09:11. > :09:14.Absolutely. Often you know when you have two entities like that they can
:09:15. > :09:18.be battling, we have famous drum battles and so on that are amazing
:09:19. > :09:22.from a percussionist's point of view. But this was a real
:09:23. > :09:27.celebration, I thought, of an era that perhaps a lot of young people
:09:28. > :09:34.may not be so aware of and to see that in a live situation was
:09:35. > :09:39.extraordinary. I agree with you, Stephen, that sometimes in a small
:09:40. > :09:43.compact kind of smoky room you can almost smell and taste that music.
:09:44. > :09:47.You can feel the contact of the breath on the instrument. On that
:09:48. > :09:52.mouthpiece. You can feel that drum stick coming down on the cymbal.
:09:53. > :09:57.It's a very different kind of connection there. What I found
:09:58. > :10:02.extraordinary was there seemed to be in this particular Prom really
:10:03. > :10:08.pushing the boundaries, as well, as regards to what a human being can do
:10:09. > :10:11.when they have that trumpet there or a saxophone or keyboard, whatever it
:10:12. > :10:18.is. The register of the trumpet seems to be getting higher. You felt
:10:19. > :10:25.the whole roof of the Albert Hall going to explode. It was absolutely
:10:26. > :10:29.fantastic, the musicianship. As you mentioned, the solos, it may only
:10:30. > :10:33.have been a bar or two bars, but they all stood up, it was
:10:34. > :10:38.acknowledged and the teamwork and the respect the other musicians had
:10:39. > :10:43.was fantastic. A lot of interaction I found between the two bands rather
:10:44. > :10:46.than it being a battle. They were all loving it. I was near the stage
:10:47. > :10:49.and they were enjoying themselves hugely.
:10:50. > :10:53.Take Route 66 to the BBC iPlayer where you will find the swinging
:10:54. > :10:57.We guarantee you will be transported to the sunny side of the street.
:10:58. > :11:00.Let's turn from the sounds of swing to Johann Sebastian Bach,
:11:01. > :11:02.who was one of our talking points last week.
:11:03. > :11:04.Anyone who has ever learnt the piano will know
:11:05. > :11:07.The Well-Tempered Clavier - two volumes of preludes and fugues
:11:08. > :11:11.The acclaimed pianist and Bach specialist, Sir Andras Schiff,
:11:12. > :11:14.will be performing the whole of book one in front of an expectant Royal
:11:15. > :11:19.Inspired by Schiff and by Bach, Proms Extra mischievously
:11:20. > :11:23.raised the piano lid, threw down the baton and challenged
:11:24. > :11:34.a few Bravehearts to take on this KEY challenge.
:11:35. > :11:43.It's one of the great classical texts. It's the Bible of the
:11:44. > :11:47.pianists. I think I learned it at the age of 11. I think I was seven
:11:48. > :11:51.when I played it. It's the mountain, all of us can have a go at the first
:11:52. > :12:07.one. It's very basic, but it's also very
:12:08. > :12:16.intricat. It's long and flowing. You can sing anything on top of it.
:12:17. > :12:22.One thing that's easy about it, essentially every phrase is
:12:23. > :12:29.repeated, so if you read you have time to look forward to the next
:12:30. > :12:33.part and see what that looks like. The piece is just continually
:12:34. > :12:42.flowing. It's always searching and trying to get to the end, just takes
:12:43. > :12:45.you on a nice journey. Bach knew how to create music of such profound
:12:46. > :12:50.beauty with simple means and that's a perfect example of it.
:12:51. > :13:04.I never played this piece before. I just play it the first time to see.
:13:05. > :13:13.The song is really like smooth. It just like, you don't really have to
:13:14. > :13:25.think. I don't really visualise very much but I find it very calming.
:13:26. > :13:29.It's like playing waves and it's beautifully melodious and fuel of
:13:30. > :13:33.music and fresh and beautiful to play really. It is simplicity at the
:13:34. > :13:41.beginning which catches people and if you stay with it love enough you
:13:42. > :13:49.can enjoy the fruity harmony later on. It's just the way the harmonies
:13:50. > :14:02.just blend into each other. You can make it ebb and flow.
:14:03. > :14:09.I have played all my life and my daughter played it and every pianist
:14:10. > :14:14.has played it when they were a child.
:14:15. > :14:28.Nice applause afterwards, that was jies. I would never give any advice
:14:29. > :14:33.to Andre, certainly not. Wonderful to hear so many people
:14:34. > :14:38.playing like that. Stephen, is this a piece that you have grown up with
:14:39. > :14:43.and still play now? Not really. I actually don't play any Bach. It's a
:14:44. > :14:46.terrible admission in a way. But of course it's the absolute beginnings
:14:47. > :14:50.in a way of all the keyboard works that came after it. Interesting, it
:14:51. > :14:53.wasn't published until 50 years after Bach's death which is
:14:54. > :14:56.extraordinary. He went out of fashion for those years and it was
:14:57. > :15:00.beginning of the 19th century people started looking at Bach again. I am
:15:01. > :15:04.intrigued why you don't play him. It's a long story. I think it's
:15:05. > :15:09.just, I recognise that he is the greatest genius of all the
:15:10. > :15:16.composers, but I don't feel enough of a personal connection to him to
:15:17. > :15:19.play him. I think people who play Bach really, they play everything
:15:20. > :15:22.and lots of it, and I think just to pick up a few little pieces and play
:15:23. > :15:24.them, I think I would have to immerse myself. I still have a few
:15:25. > :15:36.years left, so who knows. We will hold you to that, you know.
:15:37. > :15:40.Evelyn, a work like the Well-Tempered Clavier, is there
:15:41. > :15:46.anything like it for a percussionist? I have probably
:15:47. > :15:54.played more Bach venue but on a marimba. Early on, we were close to
:15:55. > :16:02.the rock music and of course Vivaldi and Bach, so we did delve into quite
:16:03. > :16:09.a lot of Bach but we had to imagine that Bach had a marimba layer to
:16:10. > :16:12.play for. We had to imagine that was the instrument he was composing for
:16:13. > :16:17.rather than to make it sound like something else. I think that really
:16:18. > :16:22.the repertoire for young percussionists learning is still
:16:23. > :16:28.quite sparse. There is a big gap there. So there isn't really a
:16:29. > :16:34.certain book or even study books as such that we go to and in my
:16:35. > :16:38.upbringing in the north-east of Scotland, we basically created our
:16:39. > :16:44.own exercises from pieces of Bach, so scales and arpeggios was all
:16:45. > :16:50.related to pieces of music, really. It was a wonderful thing, really.
:16:51. > :16:55.You always understood that musical sentence, in a way. So, I suppose,
:16:56. > :17:04.to answer your question, no, there isn't really a certain peace. What
:17:05. > :17:12.about it, it would work, wouldn't it? A lot of it would work but I
:17:13. > :17:16.think the advancement and how we can manipulate it has really developed
:17:17. > :17:24.to such a degree that in the early years we might have thought, it's
:17:25. > :17:26.impossible, to now, yes, it is possible. Not only that, the
:17:27. > :17:31.instrument has developed as well. So there you go. It's not a challenge
:17:32. > :17:36.for me, Katie, it's a challenge for you. No, it would be a big challenge
:17:37. > :17:42.for me. But I think it would be fascinating. The clarity you can get
:17:43. > :17:44.on marimba is greater than you can get on a concept Steinway. Next
:17:45. > :17:47.series, tell you. Ever since she burst
:17:48. > :17:50.onto the Proms scene last year, Mirga Grazinyte-Tyla has become one
:17:51. > :17:53.of the new conductors to watch. Her ability to inject a shot
:17:54. > :17:55.of adrenalin into core classical work, plus the fervent manner
:17:56. > :17:57.with which she handles new compositions, delivers
:17:58. > :18:00.a soundworld that would wake even Sleeping Beauty
:18:01. > :18:03.from her deep snoring. In her second year as Music
:18:04. > :18:05.Director to the City of Birmingham Symphony Orchestra,
:18:06. > :18:08.she returned with them to the Proms Shown last Sunday on BBC Four,
:18:09. > :19:19.that was a snapshot of the night's performance from the CBSO,
:19:20. > :19:20.featuring violinist Leila Josefowicz, Allan Clayton,
:19:21. > :19:38.all conducted by Mirga Jess, that reaction from Mirga, her
:19:39. > :19:43.laughing at the end of that new work, a work by Gerard Barry called
:19:44. > :19:49.Canada, we don't often see that level of entertainment and levity,
:19:50. > :19:56.do we, on a podium? Have you ever experienced that. No, not quite as
:19:57. > :20:01.extinct if as that. She is so immersed in everything she conducts.
:20:02. > :20:05.She is a musical being. Her movements almost dance-like, like
:20:06. > :20:08.their choreographed. She is so immersed in the character and the
:20:09. > :20:13.personality and emotion behind the music that this is obviously a very
:20:14. > :20:16.playful piece and I think it made the audience laugh and she just
:20:17. > :20:20.showed her instinctive reaction, which I think it's really great to
:20:21. > :20:24.see, because that's what music does. It changes people's emotions and
:20:25. > :20:30.moves us. To see an instinctive reaction like that was fun. New
:20:31. > :20:34.music can be playful but any music can be, but that was a lovely
:20:35. > :20:40.example of somebody having fun with it. Mirga's just brilliant. That is
:20:41. > :20:46.an outrageous piece, isn't it? I loved it. Gerard is a naughty boy. I
:20:47. > :20:55.watched it on the eye player and I thought, he can't be doing this.
:20:56. > :21:02.Because he repeats that Canada about 40 times and it's the sheer outrage
:21:03. > :21:10.of it. It's not just crazy, it's a wonderful concert piece and what a
:21:11. > :21:19.wonderful performance. Now, we had that wonderful moments of Stravinsky
:21:20. > :21:24.and its standard repertoire but somehow it felt very fresh. It's 100
:21:25. > :21:31.years old but it felt very new. I know and I have been a big fan of
:21:32. > :21:36.Leila for many years because it always feels that she is pushing the
:21:37. > :21:39.boundaries, like she is walking on a tightrope and you never quite know
:21:40. > :21:46.what is going to happen. She is a hugely intelligent musician, the
:21:47. > :21:52.nominal execute but the great explorer of music. She really is and
:21:53. > :21:56.she becomes that character. You know, you always feel that her main
:21:57. > :22:01.priority is to give this extraordinary journey to the
:22:02. > :22:06.audience and there's never anything that's too precious. She is really
:22:07. > :22:13.pushing those boundaries as far as the sound colour is concerned, as
:22:14. > :22:19.far as she can do physically and she sweeps us all along. I'm not a
:22:20. > :22:22.massive fan of that particular violin Concerto but under no
:22:23. > :22:29.circumstances could I ever say that when it's in the hands of Leila. She
:22:30. > :22:35.was quite extraordinary. And the CBSO sounding wonderful, Stephen? It
:22:36. > :22:43.was a great concept all the way the choreography, as Jess mentioned, was
:22:44. > :22:49.a reminder that it was made into a ballet twice. A reminder that at
:22:50. > :22:50.some of his finest work. Stravinsky, everything he wrote, it's an
:22:51. > :22:51.essential part of his style. If you want to see one of the UK's
:22:52. > :22:54.best orchestras conducted by a rising superstar
:22:55. > :22:57.then I have just one thing to say to you right
:22:58. > :22:59.now - iPlayer! And if you thought you'd heard
:23:00. > :23:01.enough about Stravinsky's violin concerto, then you couldn't
:23:02. > :23:03.be more wrong. Here is David Owen Norris
:23:04. > :23:20.with his final Chord of the Week. When Igor Stravinsky's publisher
:23:21. > :23:24.asked him to write a violin Concerto, he wasn't quite sure he
:23:25. > :23:30.could as he didn't say the violin himself. But he was urged to have a
:23:31. > :23:34.go, been told that because he was unfamiliar with the violin technique
:23:35. > :23:40.he might invent something new. So, at lunch in a Parisien restaurant,
:23:41. > :23:44.Stravinsky handed the violinist Samuel Disch came a chord written on
:23:45. > :23:51.a napkin and asked him if he could play it. No, he said, he had never
:23:52. > :23:54.seen a chord with the enormous interval at the 11th before and he
:23:55. > :24:01.wasn't sure his fingers could stretch. Quel Dommage said
:24:02. > :24:04.Stravinsky. But when Disch came got home to his violin, he found he
:24:05. > :24:13.could play it after all and he rang Stravinsky to tell him the good
:24:14. > :24:19.news. The cord opened each of the four movements. Stravinsky called it
:24:20. > :24:22.his passport to the Concerto and it takes us to special places. The
:24:23. > :24:45.first movement... In the third movement, it occurred
:24:46. > :24:55.four times and each time it takes us somewhere new. -- it occurs four
:24:56. > :25:16.times. Or... And... And finally... So when the last movement starts, we
:25:17. > :25:18.feel the passport cord is taking us around the world in 20 minutes, not
:25:19. > :25:25.so much Quel Dommage as bon voyage. We don't want to say goodbye,
:25:26. > :25:30.but we have to until to until the next time,
:25:31. > :25:32.David. Let's go from chords to a record
:25:33. > :25:35.label whose brand of southern soul was second only to Motown
:25:36. > :25:38.at the time in terms I'm talking about the Memphis
:25:39. > :25:49.based Stax Records. and Dave, Otis Redding,
:25:50. > :25:52.and Isaac Hayes. Last night in the hall Jools Holland
:25:53. > :26:17.and his Rhythm and Blues Orchestra # I believed with honeys and I
:26:18. > :26:22.proved with fear... # Ain't nobody crying now
:26:23. > :26:27.# I'll take you there # Ain't nobody worrying
:26:28. > :26:31.# Everybody, put your hands together #, on
:26:32. > :26:34.# Hold on # I'm coming
:26:35. > :26:44.# Hold on # I'm coming
:26:45. > :26:47.# Love her, squeeze her, never leave her...
:26:48. > :26:58.# Yeah... # That was just a taster of the some
:26:59. > :27:01.of the pioneering hits featured in last night's Stax Prom which went
:27:02. > :27:11.out live on BBC Four. Jess, I know you were there in the
:27:12. > :27:15.hall loving it. Tell us what you particularly enjoyed. The atmosphere
:27:16. > :27:18.in the hall was incredible. I think everybody that the connection from
:27:19. > :27:24.the performers and to see some of the legends of the Stax record
:27:25. > :27:27.label, to have William Bell Bear, Eddie Floyd, people who wrote those
:27:28. > :27:32.songs and lived it, to have them there in the room, you could feel it
:27:33. > :27:39.was a very special occasion. I know you went and sort out some of the
:27:40. > :27:47.fan -- the stars afterwards. What it William Bell? Yes, it was. That is a
:27:48. > :27:52.good one for your album. I was introduced to his music when I was
:27:53. > :27:55.about 12 and it's incredible. It really touches people's soul and it
:27:56. > :28:00.played such an important part in history as well. When there was
:28:01. > :28:04.segregation in America, Stax records was an oasis where musicians could
:28:05. > :28:09.go and it didn't matter if they were black or white. They made music that
:28:10. > :28:12.people loved together. It was a real home in Memphis. That it was
:28:13. > :28:16.celebrated at the Proms is just fantastic, one of the best things I
:28:17. > :28:19.have ever seen. Evelyn, I know it's not the sort of prom you are
:28:20. > :28:23.familiar with particularly but tell me your impression of the sound
:28:24. > :28:26.world will stop it must be something that you as a percussionist you look
:28:27. > :28:35.at and say, they are pretty important, they are driving this
:28:36. > :28:39.music. I am a big fan, for sure. When you have a really great sound
:28:40. > :28:44.person, it's almost like you don't see them but they make such a
:28:45. > :28:50.difference. Gilson is like that. He is the engine that drives the
:28:51. > :28:54.orchestra. All credit to every single musician there. Jules Holland
:28:55. > :29:00.just seems to tie everything together so well. Again, this is
:29:01. > :29:05.what the Proms do so well. They really present this marvellous
:29:06. > :29:11.occasion that you remember for the rest of your days. There is
:29:12. > :29:15.something there for all people. This was just a fantastic example of
:29:16. > :29:20.that. Stephen, there was a hit after hit after hit. I think people of any
:29:21. > :29:24.generation in the audience watching this now, there would be a song they
:29:25. > :29:29.recognise that. Whether anyone is with resonance there for you? I have
:29:30. > :29:34.to admit that I didn't recognise that many of them but I wish I had
:29:35. > :29:37.gone with just now, because when you were describing it it sounded so
:29:38. > :29:42.interesting. We could have had a drink before, you could have told me
:29:43. > :29:45.about it and then I could have taught you about it afterwards. I
:29:46. > :29:50.think I would have got more out of it. I think you probably have to be
:29:51. > :29:56.there, surrounded by all the lights and the atmosphere to fully
:29:57. > :30:04.experience it. I missed out. There is a whole education waiting for
:30:05. > :30:08.you. Just, I must just ask you, you have played with Jules and and you
:30:09. > :30:17.are now at the ripe old age of 18. 19. Please tell us how you met.
:30:18. > :30:24.I went to watch him in Carlisle. My dad said take your saxophone with
:30:25. > :30:28.you in case and we will meet them back stage and we did. I think I was
:30:29. > :30:33.14 at the time. We queued up and met Jools back stage. He said, well, I
:30:34. > :30:37.guess you don't have a CD but play to us. Took me back stage into the
:30:38. > :30:43.area where all the band were, they were having an Indian after the
:30:44. > :30:47.concert ap said just play, which was terrifying. The whole orchestra was
:30:48. > :30:50.there. I did play and they were so supportive and lovely warm people.
:30:51. > :30:55.He said come back next year and play with us. And you did. I did, didn't
:30:56. > :31:01.know what it was going to be, it was an amazing experience. Fabulous.
:31:02. > :31:06.Another great night. One all of us would enjoy in different ways. I
:31:07. > :31:07.want to test you next year, Stephen, on whether you have done your
:31:08. > :31:10.homework. As always, you can find
:31:11. > :31:12."Stax" of Proms on the iPlayer, and that is where
:31:13. > :31:15.you will find this soulful Prom featuring Jools Holland
:31:16. > :31:17.and the vocal talents of William Bell, Beverley Knight,
:31:18. > :31:19.Eddie Floyd, James Morrison Talking of talent, it's tradition
:31:20. > :31:23.on the final show of Proms Extra to reflect on some of the best bits
:31:24. > :31:44.of the series and indeed the season Yeah, the Albert Hall, I know, a
:31:45. > :32:01.Prom? Here we go from the top.
:32:02. > :32:22.Cheers. After you have finished performing do you have any rituals?
:32:23. > :32:27.Yes, as soon as I walk off stage I do a happy dance that I will not
:32:28. > :32:31.demonstrate right now. What's your most embarrassing moment on stage?
:32:32. > :32:34.My skirt fell off. Put the shirt on five minutes before the concert
:32:35. > :32:43.which is what I tend to do and it turned out to be owned by my
:32:44. > :32:49.ten-year-old son. You are the only person that cares right now.
:32:50. > :32:54.We just love him. Everything is revving up nicely. There was a
:32:55. > :32:57.moment where I was hoping it would go into the Pink Panther and it
:32:58. > :33:15.didn't. It's our roots really, it goes back
:33:16. > :33:20.to our roots. I like it very, very much
:33:21. > :33:32.You are always listening to see if somebody is faking the funk. You
:33:33. > :33:47.could be a secret jazz fan. I just don't have the right ears. Then you
:33:48. > :33:51.have the bit of the cruisification. All those young people making that
:33:52. > :33:55.wonderful sound. Let's shake on it live on TV. I wouldn't like to see
:33:56. > :34:01.you two on a night out, you would have to put me to bed early, that's
:34:02. > :34:06.for sure. I often feel very smug about it.
:34:07. > :34:18.# What a beautiful morning. You love him, don't you? He has some serious
:34:19. > :34:36.energy. They're like the Navy Seals for this kind of music.
:34:37. > :34:39.Can't believe all that has happened, incredible, and the Proms
:34:40. > :34:47.BBC Four is your friend this Friday as that's where you can
:34:48. > :34:52.see Sir Simon Rattle, followed by the Indian
:34:53. > :34:55.And on Friday, you can see Europe's first predominantly Black
:34:56. > :34:56.and Minority Ethnic orchestra, Chineke!
:34:57. > :35:13.With another phenomenal teenager, Sheku Kanneh-Mason.
:35:14. > :35:16.And then next Saturday the 9th, all roads lead to the Last Night
:35:17. > :35:20.of the Proms which starts on BBC Two, then it jumps to BBC One
:35:21. > :35:24.Evelyn Glennie is poised behind me, by her marimba, to play us out
:35:25. > :35:27.but there's still time to say that all of the Proms we have
:35:28. > :35:29.discussed tonight can be found on the BBC iPlayer.
:35:30. > :35:32.In the remaining eight days that are left of the season,
:35:33. > :35:35.you can listen to Radio 3, who broadcast every single Prom
:35:36. > :35:37.live, plus there is a magnificent podcast to listen to.
:35:38. > :35:41.Proms Extra is over for another year.
:35:42. > :35:45.It's time for me to say thank you to Stephen Hough and to Jess Gillam
:35:46. > :35:52.And thank you to our final guest, performing Restless,