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♪

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(male announcer) 
From New York,

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a special 
television presentation

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of one 
of the longest-running

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and most highly acclaimed 
public radio series,

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National Public Radio's 
Marian McPartland's 
"Piano Jazz."

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For eight years,

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this colorful kaleidoscope 
of great keyboard artists,

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hosted by renowned composer 
and pianist Marian McPartland,

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has offered audiences 
a rare insider's view

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of the world 
of jazz,

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featuring outstanding 
piano artists of our time.

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For this special televised 
edition of "Piano Jazz,"

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Marian welcomes the king 
of the cabaret singers,

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Bobby Short.

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♪

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Bobby, it's  great 
to see you again!

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It's wonderful seeing 
you again so soon.

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I know, 
so soon.

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Never too often, 
you know.

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How about 
raising the roof?

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Do one that you do 
at The Carlyle.

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Oh, well.

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I'll do a song 
that we do at The Carlyle

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by Duke Ellington.

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It's called 
"Drop Me Off In Harlem."

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That's 
a great tune.

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How's that 
strike you?

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Great!

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♪  
["Drop Me Off In Harlem"]

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♪ Drop me off 
in Harlem, ♪

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♪ anyplac 
in Harlem. ♪

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♪ There's someon 
waiting there ♪

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♪ who makes it see 
like heaven up in Harlem. ♪

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♪ I don't wan 
your Dixie. ♪

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♪ You can kee 
your Dixie. ♪

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♪ There's nothin 
down in Dixie ♪

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♪ that can take the plac 
of my old Harlem. ♪

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♪ Harlem has 
those southern skies. ♪

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♪ They're 
in my baby's smile. ♪

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♪ I idolize my baby's eyes, 
their classy, uptown style. ♪

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♪ If Harlem 
moved to China, ♪

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♪ there'd be 
nothing finer ♪

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♪ than to stow away 
on a plane someday  ♪

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♪ and let 'em 
drop me off in Harlem. ♪

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♪ Harlem has 
those southern skies ♪

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♪ in my baby's smile. ♪

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♪ I idolize my baby's eyes, 
their classy, uptown style. ♪

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♪ If Harlem 
moved to China, ♪

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♪ there'd be 
nothing finer ♪

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♪ than to stow away 
on a plane someday  ♪

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♪ and let 'em 
drop me off in Harlem. ♪♪

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♪

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♪

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Last second modulation, 
key of D natural.

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That's 
wonderful.

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♪

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I've got 
to learn that.

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It's wonderful, 
isn't it?

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I'll tell you 
about that song.

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I've loved it 
all my life,

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and I was in London 
in 1966,

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and I decided to buy the music 
to learn the words.

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I walked into a small, 
nondescript shop

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in New Bond Street, 
and it was right there.

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Nondescript 
on New Bond Street?

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There it was.

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Why do you 
sound so British?

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Do I 
sound British?

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You're going to 
have to teach me.

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I'm losing 
my accent.

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I sound mid-Atlantic 
most of the time

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and like Danville 
the rest.

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In Danville, did you go 
to church every Sunday?

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When I 
was a kid?

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Yes.

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I worked on Saturday nights 
very late as a kid,

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so I didn't get 
to church

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too often.

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My church was the African 
Methodist Episcopal Church.

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We sang all 
the standard Methodist hymns,

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but around 1940,

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Thomas A. Dorsey 
who had been the pianist for,

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of all people, 
Ma Rainey,

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began to write gospel music-- 
or before then, I suppose--

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but the ladies in our church 
got ahold of those songs

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because the songs ha 
such vitality and spirit.

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Then those songs 
crossed the color line

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and became standard 
in churches around the country.

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I was wondering if you 
ever did any of those.

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Oh, there's a wonderful 
song called, uh...

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the one 
I liked was...

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"Hide Me In Thy Bosom 
was marvelous.

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Ever hear that?

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No...why don't you 
do a little bit?

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♪ I'm so glad somehow 
I've found salvation now. ♪

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♪ It's touched my spirit, 
moving into my soul. ♪

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♪ Every now and then, 
my thoughts come back again, ♪

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♪ da, da, da, da-da, daaa, 
da-da, daaa. ♪

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♪ Hide me in thy bosom till 
the storm of life is o'er, ♪

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♪ and then rock me in 
the cradle of thy love. ♪

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♪ And just  feeeed  me 
till I want no more, ♪

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♪ and rock me 
in the cradle of thy love. ♪♪

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That's wonderful!

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Now, when the altos sang 
"Feeed  me"--

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when the sopranos 
sang that line,

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the altos all went,

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♪ Feed me, feed me, 
feed me, feed me... ♪

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[chuckling]

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That's 
wonderful.

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Pretty good song.

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'Cause I 
was brought up

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in such a different way 
from you.

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There were you 
in Danville, Illinois,

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and there was I 
in Windsor, England,

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never dreaming 
I was gonna come over here

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and be a part 
of the jazz scene.

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I'd love to hear you play 
a chorus of your blues,

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and then I'll do 
a chorus of mine.

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♪

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♪

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♪

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♪

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You like that?

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I love it.

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Knowing how you love 
Duke Ellington,

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it has a 
"Creole Love Call" flavor.

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Yes, it has.

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Now I'll do one; 
let's see.

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♪

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♪

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♪

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♪

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♪

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That's lovely.

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There's so many 
different harmonies.

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I love it.

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Nine thousand ways--

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But they're all akin, 
aren't they?

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They always get back 
to the same point.

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Oh, sure; 
it's funny.

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I remember hearing 
Thelonius Monk do one

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that went... 
let's see.

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♪

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♪

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Yes, yes, yes!

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It all 
comes back.

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That's 
kind of a cliche.

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♪

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♪

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♪

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♪

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It's kind of like 
"Mr. Freddie Blues."

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Oh, yes!

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I love the names 
for the blues.

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There'll all marvelous, 
aren't they?

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"Mr. Freddie Blues."

158
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Yeah, 
that's great.

159
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That's wonderful, 
isn't it?

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I'm trying 
to think of some more.

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And Duke's 
"Carnegie Blues."

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♪

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♪ 
Oh, yeah!

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♪

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♪

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♪

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♪

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Then 
the solos begin.

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I wonder if that's where 
Dave Brubeck got...

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♪

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Oh, I love that... 
called "The Duke."

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Yes.

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That's such 
a great thing with the...

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♪

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I just love that.

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♪

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That's Dave.

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♪

179
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That's marvelous.

180
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Isn't that a well 
put-together piece?

181
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It's beautiful.

182
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It's got a bass line 
and everything.

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♪

184
00:10:03,866 --> 00:10:12,000
♪

185
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♪

186
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♪

187
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And on 
and on and on.

188
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How about you 
doing a piano solo?

189
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All right.

190
00:10:34,433 --> 00:10:38,466
You know, there was once 
a very elaborate popular song

191
00:10:38,466 --> 00:10:41,466
in France calle 
"Couches Dans Le Foin,"

192
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and it was 
a very long song

193
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that all the French singers 
used to sing.

194
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"Sleeping 
in the--"

195
00:10:48,266 --> 00:10:50,533
And it came over here, 
reduced,

196
00:10:50,533 --> 00:10:52,533
as "Lying In The Hay."

197
00:10:52,533 --> 00:10:54,800
You want 
to hear that?

198
00:10:54,800 --> 00:10:56,600
I love 
that tune!

199
00:10:56,600 --> 00:10:58,366
Who 
wrote that?

200
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A French lady 
wrote it,

201
00:11:00,366 --> 00:11:03,433
and it was very funny 
because a duet,

202
00:11:03,433 --> 00:11:06,500
very, very popular 
in France, recorded it.

203
00:11:06,500 --> 00:11:10,533
Their names were so funny 
like Pills and...

204
00:11:10,533 --> 00:11:16,833
Clark and Tilson, 
and they became...

205
00:11:16,833 --> 00:11:20,533
Park and Tilson became 
Pills and Tarson or something.

206
00:11:20,533 --> 00:11:22,466
But here it is.

207
00:11:22,466 --> 00:11:32,266
♪  
["Lying In The Hay"]

208
00:11:32,266 --> 00:11:42,066
♪

209
00:11:42,066 --> 00:11:51,866
♪

210
00:11:51,866 --> 00:12:01,733
♪

211
00:12:01,733 --> 00:12:11,533
♪

212
00:12:11,533 --> 00:12:21,333
♪

213
00:12:21,333 --> 00:12:31,066
♪

214
00:12:31,066 --> 00:12:40,866
♪

215
00:12:40,866 --> 00:12:50,666
♪

216
00:12:50,666 --> 00:13:00,533
♪

217
00:13:00,533 --> 00:13:10,500
♪

218
00:13:10,500 --> 00:13:20,133
♪

219
00:13:20,133 --> 00:13:29,866
♪

220
00:13:29,866 --> 00:13:39,666
♪

221
00:13:39,666 --> 00:13:41,666
Very bluesy, 
isn't it?

222
00:13:41,666 --> 00:13:43,666
See, 
it is.

223
00:13:43,666 --> 00:13:47,033
I would've been sure 
it was from some show.

224
00:13:47,033 --> 00:13:49,666
That's a tune 
I learned in England.

225
00:13:49,666 --> 00:13:51,933
You probably knew 
the entire version.

226
00:13:51,933 --> 00:13:54,933
My friend Jean Sablon 
sang that in Paris.

227
00:13:54,933 --> 00:13:58,666
He said that there are 
parts we didn't get here.

228
00:13:58,666 --> 00:13:59,666
Oh, really?

229
00:13:59,666 --> 00:14:00,666
Yes.

230
00:14:00,666 --> 00:14:03,000
That's the only part 
I remember,

231
00:14:03,000 --> 00:14:05,633
and I thought 
I was very hip

232
00:14:05,633 --> 00:14:07,133
playing this 
bass line.

233
00:14:07,133 --> 00:14:08,466
It's wonderful.

234
00:14:08,466 --> 00:14:10,133
♪

235
00:14:10,133 --> 00:14:12,800
♪ Da, dee-da, 
dee-dum... ♪

236
00:14:12,800 --> 00:14:16,533
♪ lying in the hay 
on a summer day. ♪♪

237
00:14:16,533 --> 00:14:18,266
♪

238
00:14:18,266 --> 00:14:21,266
It's a marvelous song.. 
"Couches Dans Le Foin."

239
00:14:21,266 --> 00:14:23,466
Do you sing it 
in French?

240
00:14:23,466 --> 00:14:24,966
I wish I did.

241
00:14:24,966 --> 00:14:26,833
It's probably 
got great lyrics.

242
00:14:26,833 --> 00:14:28,100
Yes.

243
00:14:28,100 --> 00:14:30,366
Do you ever 
do that song

244
00:14:30,366 --> 00:14:33,733
that you sang when you 
were ten, "Hot Lips"?

245
00:14:33,733 --> 00:14:35,233
Oh!

246
00:14:35,233 --> 00:14:37,533
That is 
a terrible story.

247
00:14:37,533 --> 00:14:40,266
I was standing 
in this theater,

248
00:14:40,266 --> 00:14:42,266
and suddenly 
Cab Calloway said

249
00:14:42,266 --> 00:14:45,333
that I was in the wings 
and he said,

250
00:14:45,333 --> 00:14:48,333
"Get him out here 
to play and sing."

251
00:14:48,333 --> 00:14:50,200
I didn't even sing.

252
00:14:50,200 --> 00:14:52,833
I just played it, 
scared to death.

253
00:14:52,833 --> 00:14:54,333
How does it go?

254
00:14:54,333 --> 00:14:55,833
I wa 
about eight.

255
00:14:55,833 --> 00:14:57,000
Oh, yeah?

256
00:14:57,000 --> 00:14:58,500
How does it go?

257
00:14:58,500 --> 00:15:03,900
♪  
["Hot Lips"]

258
00:15:03,900 --> 00:15:09,233
♪

259
00:15:09,233 --> 00:15:11,233
♪ 
Hot lips!

260
00:15:11,233 --> 00:15:17,966
♪

261
00:15:17,966 --> 00:15:20,733
♪ 
[laughing]

262
00:15:20,733 --> 00:15:27,766
♪

263
00:15:27,766 --> 00:15:34,866
♪

264
00:15:34,866 --> 00:15:37,133
It was Henry Busse's 
theme song.

265
00:15:37,133 --> 00:15:38,300
That's the one!

266
00:15:38,300 --> 00:15:40,166
He played 
the muted trumpet.

267
00:15:40,166 --> 00:15:42,033
With kind 
of a shake.

268
00:15:42,033 --> 00:15:44,666
♪ I've got hot lips, 
duh, duh-duh, duh. ♪♪

269
00:15:44,666 --> 00:15:46,666
It was 
a hot number.

270
00:15:46,666 --> 00:15:48,933
We can do 
a hot number.

271
00:15:48,933 --> 00:15:50,566
Of course.

272
00:15:50,566 --> 00:15:53,200
My fingers can't keep 
off the keyboard

273
00:15:53,200 --> 00:15:54,733
when you're playing.

274
00:15:54,733 --> 00:15:57,000
What dost 
thou wish to play?

275
00:15:57,000 --> 00:16:00,000
I dost--I think 
an Ellington tune

276
00:16:00,000 --> 00:16:01,566
would be nice.

277
00:16:01,566 --> 00:16:02,733
Oh!

278
00:16:02,733 --> 00:16:04,733
Since we're talking 
about him.

279
00:16:04,733 --> 00:16:07,366
Should we play 
"In A Mellow Tone"?

280
00:16:07,366 --> 00:16:09,366
I love 
the melody.

281
00:16:09,366 --> 00:16:11,366
I'll give you 
Duke's introduction.

282
00:16:11,366 --> 00:16:14,000
He took that tune 
from "Rose Room."

283
00:16:14,000 --> 00:16:15,166
Absolutely.

284
00:16:15,166 --> 00:16:16,500
He's crafty.

285
00:16:16,500 --> 00:16:18,500
We'll try 
to interpolate that.

286
00:16:18,500 --> 00:16:19,833
All right.

287
00:16:19,833 --> 00:16:28,933
♪  
["In A Mellow Tone"]

288
00:16:28,933 --> 00:16:38,100
♪

289
00:16:38,100 --> 00:16:47,266
♪

290
00:16:47,266 --> 00:16:56,433
♪

291
00:16:56,433 --> 00:17:05,666
♪

292
00:17:05,666 --> 00:17:14,833
♪

293
00:17:14,833 --> 00:17:23,933
♪

294
00:17:23,933 --> 00:17:33,100
♪

295
00:17:33,100 --> 00:17:42,266
♪

296
00:17:42,266 --> 00:17:51,433
♪

297
00:17:51,433 --> 00:18:00,666
♪

298
00:18:00,666 --> 00:18:09,833
♪

299
00:18:09,833 --> 00:18:19,000
♪

300
00:18:19,000 --> 00:18:28,100
♪

301
00:18:28,100 --> 00:18:37,266
♪

302
00:18:37,266 --> 00:18:46,433
♪

303
00:18:46,433 --> 00:18:55,600
♪

304
00:18:55,600 --> 00:19:04,833
♪

305
00:19:04,833 --> 00:19:14,000
♪

306
00:19:14,000 --> 00:19:23,166
♪

307
00:19:23,166 --> 00:19:32,333
♪

308
00:19:32,333 --> 00:19:41,533
♪

309
00:19:43,633 --> 00:19:45,633
Just the way 
we intended.

310
00:19:45,633 --> 00:19:46,800
Perfecto!

311
00:19:46,800 --> 00:19:47,966
Wasn't it?

312
00:19:47,966 --> 00:19:49,133
It was 
marvelous!

313
00:19:49,133 --> 00:19:51,000
We should be 
recording this.

314
00:19:51,000 --> 00:19:52,500
We are, 
aren't we?

315
00:19:52,500 --> 00:19:55,133
I  mean  on direct-to-disc 
or something exciting.

316
00:19:55,133 --> 00:19:57,133
We'll arrange that.

317
00:19:57,133 --> 00:19:59,400
Yes, I think 
we're going to.

318
00:19:59,400 --> 00:20:02,400
I was thinking, 
watching you playing,

319
00:20:02,400 --> 00:20:05,766
one of the reasons 
you must be so popular

320
00:20:05,766 --> 00:20:07,766
at The Carlyle 
or everywhere

321
00:20:07,766 --> 00:20:10,033
is the way 
you come across

322
00:20:10,033 --> 00:20:12,300
just liking 
doing what you're doing,

323
00:20:12,300 --> 00:20:15,666
and you just have 
a way of showing it

324
00:20:15,666 --> 00:20:17,566
that's just lovely.

325
00:20:17,566 --> 00:20:19,300
What's really...

326
00:20:19,300 --> 00:20:22,200
your best kind 
of communication?

327
00:20:22,200 --> 00:20:24,833
In The Carlyle 
or at other places?

328
00:20:24,833 --> 00:20:28,133
Nothing can beat 
being in a room

329
00:20:28,133 --> 00:20:30,766
with people sitting 
very close around you.

330
00:20:30,766 --> 00:20:33,300
Do you get 
an invisible thread?

331
00:20:33,300 --> 00:20:34,800
It's a wonderful osmosis--

332
00:20:34,800 --> 00:20:37,433
they go right along 
with your thoughts--

333
00:20:37,433 --> 00:20:39,300
but on 
the other hand,

334
00:20:39,300 --> 00:20:41,933
there's something special 
about a concert stage

335
00:20:41,933 --> 00:20:44,566
with an audience 
in front of you,

336
00:20:44,566 --> 00:20:48,666
and best of all is having a 
symphony orchestra around you.

337
00:20:48,666 --> 00:20:50,333
That's 
a special feeling.

338
00:20:50,333 --> 00:20:53,333
You started that 
in the last few years.

339
00:20:53,333 --> 00:20:55,600
In 197 
with the Boston Pops.

340
00:20:55,600 --> 00:20:57,600
What a way 
to start!

341
00:20:57,600 --> 00:20:59,600
Now we play 
in Boston--

342
00:20:59,600 --> 00:21:02,366
in Buffalo 
with the Philharmonic,

343
00:21:02,366 --> 00:21:05,000
and we've been 
all over the country.

344
00:21:05,000 --> 00:21:07,266
We're going 
to be in Florida

345
00:21:07,266 --> 00:21:10,266
with Skitch Henderson 
and the New York Pops.

346
00:21:10,266 --> 00:21:12,900
We've been with 
the North Carolina Symphony

347
00:21:12,900 --> 00:21:15,766
in Raleigh.

348
00:21:15,766 --> 00:21:18,766
I've done those, 
and it's so much fun.

349
00:21:18,766 --> 00:21:20,266
Playing jazz 
of course.

350
00:21:20,266 --> 00:21:21,700
Sure.

351
00:21:21,700 --> 00:21:23,566
You're playing 
a Gershwin melody,

352
00:21:23,566 --> 00:21:25,833
and you hear 
all the fiddles.

353
00:21:25,833 --> 00:21:27,700
You fee 
like playing then.

354
00:21:27,700 --> 00:21:29,933
It's like 
no other feeling.

355
00:21:29,933 --> 00:21:32,933
Errol Garner said 
that after a symphony concert,

356
00:21:32,933 --> 00:21:36,666
he goes back to playing 
the piano by himself,

357
00:21:36,666 --> 00:21:40,033
it's like going 
to the kitchen from the parlor.

358
00:21:40,033 --> 00:21:42,366
I understand that 
so well.

359
00:21:42,366 --> 00:21:44,633
Speaking about playing 
something by themselves,

360
00:21:44,633 --> 00:21:47,633
could you stand 
to hear me do one?

361
00:21:47,633 --> 00:21:49,133
I woul 
love that.

362
00:21:49,133 --> 00:21:50,633
I need 
the exercise.

363
00:21:50,633 --> 00:21:52,500
I shall watch 
every movement.

364
00:21:52,500 --> 00:21:55,866
This one's called 
"The Things We Did Last Summer."

365
00:21:55,866 --> 00:21:57,066
Wonderful.

366
00:21:58,600 --> 00:22:08,233
♪  
["The Things 
We Did Last Summer"]

367
00:22:08,233 --> 00:22:17,800
♪

368
00:22:17,800 --> 00:22:27,300
♪

369
00:22:27,300 --> 00:22:36,866
♪

370
00:22:36,866 --> 00:22:46,433
♪

371
00:22:46,433 --> 00:22:56,000
♪

372
00:22:56,000 --> 00:23:05,633
♪

373
00:23:05,633 --> 00:23:15,200
♪

374
00:23:15,200 --> 00:23:24,700
♪

375
00:23:24,700 --> 00:23:34,266
♪

376
00:23:34,266 --> 00:23:43,833
♪

377
00:23:43,833 --> 00:23:53,400
♪

378
00:23:53,400 --> 00:24:03,033
♪

379
00:24:03,033 --> 00:24:12,600
♪

380
00:24:12,600 --> 00:24:22,100
♪

381
00:24:22,100 --> 00:24:31,666
♪

382
00:24:31,666 --> 00:24:41,233
♪

383
00:24:41,233 --> 00:24:50,800
♪

384
00:24:50,800 --> 00:25:00,433
♪

385
00:25:00,433 --> 00:25:10,000
♪

386
00:25:10,000 --> 00:25:19,566
♪

387
00:25:19,566 --> 00:25:29,066
♪

388
00:25:29,066 --> 00:25:38,633
♪

389
00:25:38,633 --> 00:25:40,166
[clapping softly]

390
00:25:40,166 --> 00:25:41,300
Lovely song.

391
00:25:41,300 --> 00:25:42,800
Thank you.

392
00:25:42,800 --> 00:25:45,700
It's one of my 
all-time favorites.

393
00:25:45,700 --> 00:25:47,966
You're 
an old sentimentalist.

394
00:25:47,966 --> 00:25:50,233
I am; 
romantic as can be.

395
00:25:50,233 --> 00:25:51,333
It's 
ridiculous!

396
00:25:51,333 --> 00:25:53,966
You know 
what I'd love to try?

397
00:25:53,966 --> 00:25:55,966
Can I 
play a song?

398
00:25:55,966 --> 00:25:58,600
You talk about being 
a stand-up singer.

399
00:25:58,600 --> 00:26:00,933
Will you be 
a sit-down singer?

400
00:26:00,933 --> 00:26:02,300
Sure!

401
00:26:02,300 --> 00:26:04,333
I'd like that 
very much!

402
00:26:04,333 --> 00:26:06,600
We had something 
picked out here.

403
00:26:06,600 --> 00:26:08,600
A Rodgers 
and Hart tune

404
00:26:08,600 --> 00:26:12,000
that your Jessie Matthews 
sang in 1930.

405
00:26:12,000 --> 00:26:15,466
I remember that so well, 
going to the...

406
00:26:15,466 --> 00:26:18,500
going to see her 
in the movies too.

407
00:26:18,500 --> 00:26:20,500
She was wonderful, 
wasn't she?

408
00:26:20,500 --> 00:26:23,433
She really was; 
that was a great show.

409
00:26:23,433 --> 00:26:26,266
I've got 
to get this right.

410
00:26:26,266 --> 00:26:27,433
Key of F?

411
00:26:27,433 --> 00:26:28,600
Key of G.

412
00:26:28,600 --> 00:26:30,866
Key of G; 
not too fast.

413
00:26:30,866 --> 00:26:32,100
Not too fast.

414
00:26:32,100 --> 00:26:33,600
Shall I set it?

415
00:26:33,600 --> 00:26:35,366
Yes, 
you set it.

416
00:26:35,366 --> 00:26:43,866
♪  
["Dancing On The Ceiling"]

417
00:26:43,866 --> 00:26:52,366
♪

418
00:26:52,366 --> 00:26:55,966
♪ She dances overhead ♪

419
00:26:55,966 --> 00:27:00,566
♪ on the ceiling 
near my bed, ♪

420
00:27:00,566 --> 00:27:04,333
♪ in my sight, ♪

421
00:27:04,333 --> 00:27:08,333
♪ through the night. ♪

422
00:27:08,333 --> 00:27:12,033
♪ I try 
to hide in vain ♪

423
00:27:12,033 --> 00:27:16,500
♪ underneath my counterpane. ♪

424
00:27:16,500 --> 00:27:20,566
♪ There's my love ♪

425
00:27:20,566 --> 00:27:24,133
♪ up above. ♪

426
00:27:24,133 --> 00:27:28,500
♪ I whisper, 
"Go away, my lover. ♪

427
00:27:28,500 --> 00:27:31,900
♪ It's not fair." ♪

428
00:27:31,900 --> 00:27:35,766
♪ But I'm 
so happy to discover ♪

429
00:27:35,766 --> 00:27:39,900
♪ she's still there. ♪

430
00:27:39,900 --> 00:27:43,633
♪ I like 
my ceiling more ♪

431
00:27:43,633 --> 00:27:48,066
♪ since it is 
a dancing floor ♪

432
00:27:48,066 --> 00:27:52,733
♪ just for my love. ♪

433
00:27:52,733 --> 00:28:01,533
♪

434
00:28:01,533 --> 00:28:09,733
♪

435
00:28:09,733 --> 00:28:17,933
♪

436
00:28:17,933 --> 00:28:26,066
♪

437
00:28:26,066 --> 00:28:31,333
♪ I whisper, 
"Go away, my lover. ♪

438
00:28:31,333 --> 00:28:33,866
♪ It's not fair." ♪

439
00:28:33,866 --> 00:28:37,566
♪ But I'm so grateful 
to discover ♪

440
00:28:37,566 --> 00:28:41,766
♪ she's still there. ♪

441
00:28:41,766 --> 00:28:45,433
♪ I like 
my ceiling more ♪

442
00:28:45,433 --> 00:28:49,666
♪ since it is 
a dancing floor ♪

443
00:28:49,666 --> 00:28:56,400
♪ just for my love. ♪♪

444
00:28:56,400 --> 00:29:00,466
♪

445
00:29:01,433 --> 00:29:05,166
In the movie, they turned 
the whole thing upside down

446
00:29:05,166 --> 00:29:07,433
and danced 
on the ceiling literally!

447
00:29:07,433 --> 00:29:08,566
I liked that.

448
00:29:08,566 --> 00:29:10,433
That was 
a nice effect.

449
00:29:10,433 --> 00:29:13,800
Years ago did you ever 
go to those parties

450
00:29:13,800 --> 00:29:16,000
at Sherman Fairchild's?

451
00:29:16,000 --> 00:29:17,633
No, I wasn't--

452
00:29:17,633 --> 00:29:20,633
Two-piano parties... 
maybe you weren't in New York.

453
00:29:20,633 --> 00:29:22,500
I don't think 
I'd arrived.

454
00:29:22,500 --> 00:29:24,766
I was thinking 
about that today,

455
00:29:24,766 --> 00:29:27,033
all the pianists 
who would assemble:

456
00:29:27,033 --> 00:29:30,033
Joe Bushkin, 
Hoagy Carmichael, Cy Coleman.

457
00:29:30,033 --> 00:29:31,933
Before my time.

458
00:29:31,933 --> 00:29:37,566
Well, I thought it might be 
that you were...

459
00:29:37,566 --> 00:29:41,100
very young, 
but when you were very young,

460
00:29:41,100 --> 00:29:42,933
you were 
somewhere else.

461
00:29:42,933 --> 00:29:44,500
Yes, 
probably in California...

462
00:29:44,500 --> 00:29:47,866
hearing about all 
the good times I was missing.

463
00:29:47,866 --> 00:29:50,500
You were 
probably at the Hague?

464
00:29:50,500 --> 00:29:53,733
Probably the Hague 
or the Café Gala;

465
00:29:53,733 --> 00:29:57,100
one of those places, you know, 
singing show tunes.

466
00:29:57,100 --> 00:29:59,100
It's funny 
because I think

467
00:29:59,100 --> 00:30:03,100
you would have made a great 
contribution to those parties,

468
00:30:03,100 --> 00:30:07,633
and I think that's 
one of the first places

469
00:30:07,633 --> 00:30:11,833
I got to like 
playing two pianos.

470
00:30:11,833 --> 00:30:14,833
Actually you had 
to play at those parties.

471
00:30:14,833 --> 00:30:16,833
Everybody 
was invited to play,

472
00:30:16,833 --> 00:30:19,833
and the first time 
I ever did this

473
00:30:19,833 --> 00:30:21,766
was on "Piano Playhouse,"

474
00:30:21,766 --> 00:30:24,400
and Sherman Fairchild 
was at the broadcast.

475
00:30:24,400 --> 00:30:25,933
Was Cy Walter 
there?

476
00:30:25,933 --> 00:30:27,933
Cy Walter 
and Stan Freeman.

477
00:30:27,933 --> 00:30:30,933
What a wonderful pianist; 
what a great show!

478
00:30:30,933 --> 00:30:32,966
It was!

479
00:30:32,966 --> 00:30:36,700
I was scared to death, 
but I did the show.

480
00:30:36,700 --> 00:30:39,700
So then we would go 
over to Sherman's.

481
00:30:39,700 --> 00:30:43,066
Cy would be there, 
and Lee Wiley would sing.

482
00:30:43,066 --> 00:30:46,066
But Sherman would 
come to the door saying,

483
00:30:46,066 --> 00:30:48,333
"Joe Bushkin 
will go on first.

484
00:30:48,333 --> 00:30:49,833
Then you're 
on second."

485
00:30:49,833 --> 00:30:51,200
Really?

486
00:30:51,200 --> 00:30:54,200
Like a real impresario 
at his own party.

487
00:30:54,200 --> 00:30:56,200
That's interesting, 
isn't it?

488
00:30:56,200 --> 00:30:58,066
Yeah, 
but it was fun.

489
00:30:58,066 --> 00:31:01,133
I learned a lot 
about playing two pianos.

490
00:31:01,133 --> 00:31:03,400
Sometimes Hoagy 
would get carried away.

491
00:31:03,400 --> 00:31:06,033
He'd do "Stardust," 
and then he'd say,

492
00:31:06,033 --> 00:31:09,033
"And then I wrote... 
and then I wrote..."

493
00:31:09,033 --> 00:31:10,533
He'd just 
play forever.

494
00:31:10,533 --> 00:31:13,600
[laughing]

495
00:31:13,600 --> 00:31:15,600
Why don't we-- 
oh!

496
00:31:15,600 --> 00:31:17,866
A lovely song 
by Billy Strayhorn.

497
00:31:17,866 --> 00:31:20,366
We'll play it 
together?

498
00:31:20,366 --> 00:31:22,300
You're gonna 
play this alone.

499
00:31:22,300 --> 00:31:23,466
Solo?

500
00:31:23,466 --> 00:31:24,633
Yes.

501
00:31:24,633 --> 00:31:26,633
I recorded this 
years ago.

502
00:31:26,633 --> 00:31:30,733
Billy used to sit at the bar 
in the Hickory House.

503
00:31:30,733 --> 00:31:34,833
I played it for him and said, 
"Is this all right?"

504
00:31:34,833 --> 00:31:37,466
He was 
so encouraging.

505
00:31:37,466 --> 00:31:38,633
He was 
wonderful.

506
00:31:38,633 --> 00:31:41,633
I was playing 
the wrong chord changes, but--

507
00:31:41,633 --> 00:31:45,000
A sweet, sweet person; 
I miss Billy a lot.

508
00:31:45,000 --> 00:31:47,633
I wish he were around 
right now.

509
00:31:47,633 --> 00:31:49,900
He'd be such 
a marvelous influence

510
00:31:49,900 --> 00:31:53,266
to have on the music scene 
right through here.

511
00:31:53,266 --> 00:31:55,266
Wouldn't it 
be nice?

512
00:31:55,266 --> 00:31:56,933
It would be 
heaven.

513
00:31:56,933 --> 00:31:59,566
We can do 
one of his songs.

514
00:31:59,566 --> 00:32:00,966
I will gladly.

515
00:32:00,966 --> 00:32:02,133
"After All"?

516
00:32:02,133 --> 00:32:03,300
Lovely song.

517
00:32:03,300 --> 00:32:04,466
Okay.

518
00:32:04,466 --> 00:32:14,200
♪  
["After All"]

519
00:32:14,200 --> 00:32:23,866
♪

520
00:32:23,866 --> 00:32:33,600
♪

521
00:32:33,600 --> 00:32:43,333
♪

522
00:32:43,333 --> 00:32:53,066
♪

523
00:32:53,066 --> 00:33:02,866
♪

524
00:33:02,866 --> 00:33:12,600
♪

525
00:33:12,600 --> 00:33:22,266
♪

526
00:33:22,266 --> 00:33:32,000
♪

527
00:33:32,000 --> 00:33:41,700
♪

528
00:33:41,700 --> 00:33:51,400
♪

529
00:33:51,400 --> 00:34:01,166
♪

530
00:34:01,166 --> 00:34:10,866
♪

531
00:34:10,866 --> 00:34:20,566
♪

532
00:34:20,566 --> 00:34:30,200
♪

533
00:34:30,200 --> 00:34:39,900
♪

534
00:34:39,900 --> 00:34:41,233
[clapping softly]

535
00:34:41,233 --> 00:34:42,400
"After All."

536
00:34:42,400 --> 00:34:44,666
How long 
since you played that?

537
00:34:44,666 --> 00:34:47,666
It's been at least 
five or six years.

538
00:34:47,666 --> 00:34:49,666
That's what's 
so amazing.

539
00:34:49,666 --> 00:34:53,400
I think...well, I do, 
and I know you do,

540
00:34:53,400 --> 00:34:56,766
have these songs in your head, 
and somebody says,

541
00:34:56,766 --> 00:34:59,400
"Play so-and-so," 
and you just play it.

542
00:34:59,400 --> 00:35:01,733
You don't have 
to rehearse it.

543
00:35:01,733 --> 00:35:04,000
But you make 
quick recovery sometimes.

544
00:35:04,000 --> 00:35:08,100
I almost got lost at the release 
the second time around,

545
00:35:08,100 --> 00:35:10,733
but I snapped back 
and recovered myself.

546
00:35:10,733 --> 00:35:11,900
On that tune?

547
00:35:11,900 --> 00:35:13,066
Yes!

548
00:35:13,066 --> 00:35:15,333
I covered 
it up too well.

549
00:35:15,333 --> 00:35:18,700
The other day I was asked 
to play something.

550
00:35:18,700 --> 00:35:21,666
I couldn't remember 
the bridge  at all,

551
00:35:21,666 --> 00:35:25,733
so I made up one, 
and it sounded perfectly nice.

552
00:35:25,733 --> 00:35:28,400
The people in the audience 
were quite hip.

553
00:35:28,400 --> 00:35:31,400
They knew what the bridge 
should have been,

554
00:35:31,400 --> 00:35:33,666
and they all 
kind of laughed.

555
00:35:33,666 --> 00:35:36,666
I was asking for requests 
from the audience,

556
00:35:36,666 --> 00:35:40,600
which is a hell of a thing 
to do anyway.

557
00:35:40,600 --> 00:35:43,533
It certainly is 
taking a big chance!

558
00:35:43,533 --> 00:35:48,366
You could get stuck 
with a tune like, uh...

559
00:35:48,366 --> 00:35:53,666
♪  
["Lambeth Waltz"]

560
00:35:53,666 --> 00:35:58,633
♪

561
00:35:58,633 --> 00:35:59,800
(both) 
Hey!

562
00:35:59,800 --> 00:36:03,233
There's an old Duke Ellington 
recording of that song.

563
00:36:03,233 --> 00:36:04,733
Did you 
know that?

564
00:36:04,733 --> 00:36:05,900
No!

565
00:36:05,900 --> 00:36:07,533
Speaking of bridges,

566
00:36:07,533 --> 00:36:10,900
I was on the stage 
at the Majestic Theater

567
00:36:10,900 --> 00:36:13,166
for the homage 
to Harold Arlen,

568
00:36:13,166 --> 00:36:15,800
and they had 
five composers on stage.

569
00:36:15,800 --> 00:36:18,433
Each one played 
his favorite Arlen song,

570
00:36:18,433 --> 00:36:21,066
and John Green 
was playing

571
00:36:21,066 --> 00:36:23,633
"The Devil 
and the Deep Blue Sea."

572
00:36:23,633 --> 00:36:26,266
And, you know, 
that bridge changes keys

573
00:36:26,266 --> 00:36:28,266
rather extravagantly.

574
00:36:28,266 --> 00:36:29,900
Oh, yes.

575
00:36:29,900 --> 00:36:32,533
I was off-stage, 
and I thought,

576
00:36:32,533 --> 00:36:34,800
Come on, John... 
make those changes.

577
00:36:34,800 --> 00:36:38,900
And in a flash, I thought, 
Wait just a minute, Short.

578
00:36:38,900 --> 00:36:42,633
Mr. Green did write the bridge 
to "Body and Soul,"

579
00:36:42,633 --> 00:36:45,533
so we 
shouldn't worry.

580
00:36:45,533 --> 00:36:47,533
He played it 
so well.

581
00:36:47,533 --> 00:36:48,700
Let's see.

582
00:36:48,700 --> 00:36:50,733
♪

583
00:36:50,733 --> 00:36:53,366
♪ 
I don't know 
what key it is.

584
00:36:53,366 --> 00:37:01,700
♪  
["Between The Devil 
And The Deep Blue Sea"]

585
00:37:01,700 --> 00:37:09,966
♪

586
00:37:09,966 --> 00:37:11,133
I love that.

587
00:37:11,133 --> 00:37:12,300
Good song.

588
00:37:12,300 --> 00:37:15,666
Why do I think that's 
taken from something else?

589
00:37:15,666 --> 00:37:20,100
♪

590
00:37:20,100 --> 00:37:22,033
That's a lot 
of changes.

591
00:37:22,033 --> 00:37:23,533
It really 
goes on.

592
00:37:23,533 --> 00:37:27,266
I keep thinking that 
that is taken from another tune.

593
00:37:27,266 --> 00:37:29,100
♪

594
00:37:29,100 --> 00:37:30,266
Never mind.

595
00:37:30,266 --> 00:37:32,266
There's an Arlen tune 
that...

596
00:37:32,266 --> 00:37:37,600
♪

597
00:37:37,600 --> 00:37:40,600
♪ 
I don't know 
that one.

598
00:37:40,600 --> 00:37:43,433
It was 
in "A Star Is Born."

599
00:37:43,433 --> 00:37:46,433
Do you know one 
called "Buds Won't Bud"?

600
00:37:46,433 --> 00:37:48,933
♪

601
00:37:48,933 --> 00:37:50,933
You would 
know that!

602
00:37:50,933 --> 00:37:53,433
That one?

603
00:37:53,433 --> 00:37:55,433
Let's see.

604
00:37:55,433 --> 00:37:57,033
Then it goes...

605
00:37:57,033 --> 00:38:06,333
♪  
["Buds Won't Bud"]

606
00:38:06,333 --> 00:38:15,566
♪

607
00:38:15,566 --> 00:38:16,733
You know that?

608
00:38:16,733 --> 00:38:17,900
No.

609
00:38:17,900 --> 00:38:26,233
♪

610
00:38:26,233 --> 00:38:34,633
♪

611
00:38:34,633 --> 00:38:43,033
♪

612
00:38:43,033 --> 00:38:45,100
♪ 
I'm getting lost.

613
00:38:45,100 --> 00:38:50,100
♪

614
00:38:50,100 --> 00:38:51,266
That's it.

615
00:38:51,266 --> 00:38:52,433
You're amazing!

616
00:38:52,433 --> 00:38:53,600
No, I'm not.

617
00:38:53,600 --> 00:38:56,966
I always had 
in the back of my mind

618
00:38:56,966 --> 00:39:01,533
that I wanted to hear 
the whole thing sung and played,

619
00:39:01,533 --> 00:39:04,533
and people look at me 
like I'm crazy.

620
00:39:04,533 --> 00:39:06,800
Well, the words 
are so defeating.

621
00:39:06,800 --> 00:39:10,166
I can never quite get 
all the rhymes together.

622
00:39:10,166 --> 00:39:13,533
E.Y. Harburg lyrics, 
and he could be very tricky.

623
00:39:13,533 --> 00:39:17,266
"Buds won't bud unless you 
say you love me, baby."

624
00:39:17,266 --> 00:39:18,500
Yes, 
that's right.

625
00:39:18,500 --> 00:39:21,500
"The one you love 
won't love back."

626
00:39:21,500 --> 00:39:23,000
♪ Buds won't bud. ♪

627
00:39:23,000 --> 00:39:24,333
All those songs--

628
00:39:24,333 --> 00:39:26,066
"Knicks won't knack."

629
00:39:26,066 --> 00:39:28,066
[laughing]

630
00:39:28,066 --> 00:39:29,400
What else?

631
00:39:29,400 --> 00:39:31,300
He went on 
and on.

632
00:39:31,300 --> 00:39:34,033
♪ Duh-duh, duh-duh, 
dee-dah, dee. ♪

633
00:39:34,033 --> 00:39:36,233
♪ Duh-duh, duh 
is IOU. ♪

634
00:39:36,233 --> 00:39:38,500
♪ Duh-duh, duh, 
duh-duh, duh. ♪♪

635
00:39:38,500 --> 00:39:40,500
It's a crazy song!

636
00:39:40,500 --> 00:39:43,133
Next time I come 
in The Carlyle,

637
00:39:43,133 --> 00:39:45,000
I'm gonna ask 
for that.

638
00:39:45,000 --> 00:39:48,366
Oh, please do; 
I'll flash you a big smile.

639
00:39:48,366 --> 00:39:51,733
The back of your hand 
is what I'll get.

640
00:39:51,733 --> 00:39:53,233
Let's do 
another duet.

641
00:39:53,233 --> 00:39:54,733
Oh, all right.

642
00:39:54,733 --> 00:39:56,733
Just one 
of them things.

643
00:39:56,733 --> 00:39:57,733
Fine.

644
00:39:57,733 --> 00:40:00,000
♪ 
Just one of them things, 
ducks.

645
00:40:00,000 --> 00:40:04,666
♪  
["Just One of Those Things"]

646
00:40:04,666 --> 00:40:14,533
♪

647
00:40:14,533 --> 00:40:24,333
♪

648
00:40:24,333 --> 00:40:34,200
♪

649
00:40:34,200 --> 00:40:44,066
♪

650
00:40:44,066 --> 00:40:53,933
♪

651
00:40:53,933 --> 00:41:03,866
♪

652
00:41:03,866 --> 00:41:13,733
♪

653
00:41:13,733 --> 00:41:23,533
♪

654
00:41:23,533 --> 00:41:33,400
♪

655
00:41:33,400 --> 00:41:43,266
♪

656
00:41:43,266 --> 00:41:53,133
♪

657
00:41:53,133 --> 00:42:03,066
♪

658
00:42:03,066 --> 00:42:12,933
♪

659
00:42:12,933 --> 00:42:22,733
♪

660
00:42:22,733 --> 00:42:32,600
♪

661
00:42:32,600 --> 00:42:42,466
♪

662
00:42:42,466 --> 00:42:52,300
♪

663
00:42:52,300 --> 00:43:02,200
♪

664
00:43:02,200 --> 00:43:12,033
♪

665
00:43:12,033 --> 00:43:21,800
♪

666
00:43:21,800 --> 00:43:31,633
♪

667
00:43:31,633 --> 00:43:41,466
♪

668
00:43:41,466 --> 00:43:51,300
♪

669
00:43:51,300 --> 00:43:52,600
How about that?

670
00:43:52,600 --> 00:43:53,900
That was amazing...

671
00:43:53,900 --> 00:43:56,166
like we know 
what we're doing.

672
00:43:56,166 --> 00:43:57,666
It's true, 
it's true.

673
00:43:57,666 --> 00:43:59,933
And you play 
in that key,

674
00:43:59,933 --> 00:44:03,000
and I do it 
in some other key.

675
00:44:03,000 --> 00:44:04,866
Where do 
you do it?

676
00:44:04,866 --> 00:44:06,266
Um, ah...

677
00:44:06,266 --> 00:44:08,266
♪

678
00:44:08,266 --> 00:44:11,566
♪ 
There, or...

679
00:44:11,566 --> 00:44:13,700
♪ 
Watch me.

680
00:44:13,700 --> 00:44:16,700
If I play a tune 
in one key,

681
00:44:16,700 --> 00:44:18,966
I get bored 
with the tune.

682
00:44:18,966 --> 00:44:23,000
You go to some strange key, 
and it comes up fresh.

683
00:44:23,000 --> 00:44:24,866
And oddly enough,

684
00:44:24,866 --> 00:44:27,866
some songs are 
more brilliant in other keys.

685
00:44:27,866 --> 00:44:31,966
I sing this song with the key 
I just played it,

686
00:44:31,966 --> 00:44:34,233
but it's fun 
to change around.

687
00:44:34,233 --> 00:44:36,233
It puts you 
into places

688
00:44:36,233 --> 00:44:39,233
where you're not 
as familiar with the patterns,

689
00:44:39,233 --> 00:44:43,733
so you either have to goof 
or find something else to do.

690
00:44:43,733 --> 00:44:46,366
But there's alway 
the chance of serendipity.

691
00:44:46,366 --> 00:44:47,633
Oh, sure.

692
00:44:47,633 --> 00:44:49,900
I always 
look at it positively

693
00:44:49,900 --> 00:44:52,533
and maybe take 
some key like this...

694
00:44:52,533 --> 00:44:59,100
♪

695
00:44:59,100 --> 00:45:00,666
That is some key.

696
00:45:00,666 --> 00:45:02,833
That is some key, 
lady.

697
00:45:02,833 --> 00:45:04,866
♪

698
00:45:04,866 --> 00:45:06,366
I think I--

699
00:45:06,366 --> 00:45:09,366
♪

700
00:45:09,366 --> 00:45:12,000
It would have 
to be a ballad.

701
00:45:12,000 --> 00:45:15,000
You could dig 
your own grave that way.

702
00:45:15,000 --> 00:45:16,500
What were 
those tunes...

703
00:45:16,500 --> 00:45:22,500
♪

704
00:45:22,500 --> 00:45:24,533
It's fun though.

705
00:45:24,533 --> 00:45:33,533
♪  
["Just One Of Those Things"]

706
00:45:33,533 --> 00:45:42,533
♪

707
00:45:42,533 --> 00:45:51,533
♪

708
00:45:51,533 --> 00:46:00,533
♪

709
00:46:00,533 --> 00:46:02,600
♪ 
[discordant note] 
Argh!

710
00:46:02,600 --> 00:46:11,366
♪

711
00:46:11,366 --> 00:46:20,133
♪

712
00:46:20,133 --> 00:46:21,966
That's enough of that, 
teacher.

713
00:46:21,966 --> 00:46:25,700
No, but--hey, you know, 
you'd be a wonderful teacher.

714
00:46:25,700 --> 00:46:27,700
We should 
do a seminar.

715
00:46:27,700 --> 00:46:29,700
We'd be 
a gas.

716
00:46:29,700 --> 00:46:31,700
Wh 
would have us?

717
00:46:31,700 --> 00:46:33,700
Well, we'd start 
with Harvard.

718
00:46:33,700 --> 00:46:37,400
My, you have 
grandiose ideas about our--

719
00:46:37,400 --> 00:46:41,500
All you have to do 
is think about it a bit.

720
00:46:41,500 --> 00:46:43,766
You can put it 
into practice.

721
00:46:43,766 --> 00:46:45,633
It could b 
very nice.

722
00:46:45,633 --> 00:46:47,900
Because there 
certainly is a need

723
00:46:47,900 --> 00:46:50,533
for kids to know 
about your specialty,

724
00:46:50,533 --> 00:46:53,533
which is...would you 
call it "cabaret singing?"

725
00:46:53,533 --> 00:46:55,800
I've lost trac 
of my specialty.

726
00:46:55,800 --> 00:46:57,300
I think it's just...

727
00:46:57,300 --> 00:47:00,733
raising lots of sand 
in smoky rooms sometimes.

728
00:47:00,733 --> 00:47:03,433
I've had an ide 
right this minute.

729
00:47:03,433 --> 00:47:05,300
I playe 
my solo piece.

730
00:47:05,300 --> 00:47:07,166
How abou 
your solo piece?

731
00:47:07,166 --> 00:47:09,433
I'm going 
to take a chance

732
00:47:09,433 --> 00:47:12,066
and play one 
of my own pieces.

733
00:47:12,066 --> 00:47:13,566
I'm really 
rather proud

734
00:47:13,566 --> 00:47:16,800
that Johnny Mercer 
put a lyric to it.

735
00:47:16,800 --> 00:47:19,033
You should 
be proud.

736
00:47:19,033 --> 00:47:22,466
And I just heard 
a wonderful title

737
00:47:22,466 --> 00:47:27,466
for a group of Mercer songs: 
"The Quality of Mercer."

738
00:47:27,466 --> 00:47:29,666
[chuckling]

739
00:47:29,666 --> 00:47:33,533
The quality of Mercer 
is always tops.

740
00:47:33,533 --> 00:47:36,166
This is a tune called 
"Twilight World."

741
00:47:36,166 --> 00:47:37,366
Wonderful.

742
00:47:38,333 --> 00:47:47,900
♪  
["Twilight World"]

743
00:47:47,900 --> 00:47:57,466
♪

744
00:47:57,466 --> 00:48:07,100
♪

745
00:48:07,100 --> 00:48:16,666
♪

746
00:48:16,666 --> 00:48:26,166
♪

747
00:48:26,166 --> 00:48:35,700
♪

748
00:48:35,700 --> 00:48:45,233
♪

749
00:48:45,233 --> 00:48:54,766
♪

750
00:48:54,766 --> 00:49:04,366
♪

751
00:49:04,366 --> 00:49:13,900
♪

752
00:49:13,900 --> 00:49:23,433
♪

753
00:49:23,433 --> 00:49:32,966
♪

754
00:49:32,966 --> 00:49:42,500
♪

755
00:49:42,500 --> 00:49:52,033
♪

756
00:49:52,033 --> 00:50:01,566
♪

757
00:50:01,566 --> 00:50:11,100
♪

758
00:50:11,100 --> 00:50:20,633
♪

759
00:50:20,633 --> 00:50:24,600
Very, very pretty; 
lovely song.

760
00:50:24,600 --> 00:50:28,766
I saw you employ a very 
intriguing attack there.

761
00:50:28,766 --> 00:50:30,766
You crossed 
your hands.

762
00:50:30,766 --> 00:50:32,033
Oh.

763
00:50:32,033 --> 00:50:33,300
Yes.

764
00:50:33,300 --> 00:50:36,300
It's because I can't 
really play the tenths.

765
00:50:36,300 --> 00:50:38,166
I wanted 
the bass note,

766
00:50:38,166 --> 00:50:40,433
and the bass player's 
not here.

767
00:50:40,433 --> 00:50:42,433
Ah... 
so you crossed over.

768
00:50:42,433 --> 00:50:45,066
I figured I'd play 
the bass note

769
00:50:45,066 --> 00:50:47,066
'cause I was 
up here

770
00:50:47,066 --> 00:50:49,333
and just wanted 
something down there.

771
00:50:49,333 --> 00:50:50,833
That's nice, 
though.

772
00:50:50,833 --> 00:50:53,833
A lot of classical pieces 
rely upon that.

773
00:50:53,833 --> 00:50:55,333
Don't you 
think so?

774
00:50:55,333 --> 00:50:56,500
Of course.

775
00:50:56,500 --> 00:50:58,000
A lot of Ravel.

776
00:50:58,000 --> 00:50:59,566
Of course.

777
00:50:59,566 --> 00:51:01,900
And Debussy woul 
require crossing over.

778
00:51:01,900 --> 00:51:03,766
After all 
that big talk,

779
00:51:03,766 --> 00:51:07,766
I should do as good 
playing for you

780
00:51:07,766 --> 00:51:09,766
on "Shining Hour."

781
00:51:09,766 --> 00:51:11,066
Oh, yes.

782
00:51:11,066 --> 00:51:12,566
Not hang you up.

783
00:51:12,566 --> 00:51:14,833
In the key of G, 
madam.

784
00:51:14,833 --> 00:51:15,966
All right.

785
00:51:15,966 --> 00:51:18,600
Let's see 
how we do on this.

786
00:51:18,600 --> 00:51:22,066
Now, is this... 
real slow?

787
00:51:22,066 --> 00:51:26,400
Well, sort of, 
as they say, legato.

788
00:51:26,400 --> 00:51:32,600
♪  
["Shining Hour"]

789
00:51:32,600 --> 00:51:38,800
♪

790
00:51:38,800 --> 00:51:45,800
♪ This will be 
my shining hour, ♪

791
00:51:45,800 --> 00:51:52,200
♪ calm and happy 
and bright. ♪

792
00:51:52,200 --> 00:51:57,700
♪ In my dreams 
your face will flower ♪

793
00:51:57,700 --> 00:52:04,133
♪ through the darkness 
of the night ♪

794
00:52:04,133 --> 00:52:10,033
♪ like the lights 
of home before me ♪

795
00:52:10,033 --> 00:52:16,066
♪ or an angel 
watching o'er me. ♪

796
00:52:16,066 --> 00:52:21,200
♪ This will be 
my shining hour ♪

797
00:52:21,200 --> 00:52:28,433
♪ till I'm 
with you again. ♪

798
00:52:28,433 --> 00:52:34,166
♪ Like the lights 
of home before me ♪

799
00:52:34,166 --> 00:52:42,000
♪ or an angel 
watching o'er me. ♪

800
00:52:42,000 --> 00:52:48,733
♪ This will be 
my shining hour ♪

801
00:52:48,733 --> 00:52:56,766
♪ till I'm 
with you again. ♪♪

802
00:52:56,766 --> 00:53:00,400
♪

803
00:53:00,400 --> 00:53:02,966
Not bad 
with no rehearsal.

804
00:53:02,966 --> 00:53:06,333
I think it's wonderful... 
and early in the day.

805
00:53:06,333 --> 00:53:09,700
I mean, it's actually 
before midnight, so....

806
00:53:09,700 --> 00:53:11,200
It's wonderful.

807
00:53:11,200 --> 00:53:14,566
I can't tell you 
what a kick this is!

808
00:53:14,566 --> 00:53:16,433
It could 
go on forever.

809
00:53:16,433 --> 00:53:18,300
I'm having 
so much fun.

810
00:53:18,300 --> 00:53:19,800
Creating tunes 
like this.

811
00:53:19,800 --> 00:53:21,233
And trying things...

812
00:53:21,233 --> 00:53:23,800
and in fact, 
talk about trying things,

813
00:53:23,800 --> 00:53:26,533
back to Duke Ellington.

814
00:53:26,533 --> 00:53:29,600
What about, um...

815
00:53:29,600 --> 00:53:32,300
♪

816
00:53:32,300 --> 00:53:34,666
Whatever key 
you do it in.

817
00:53:34,666 --> 00:53:37,800
♪

818
00:53:37,800 --> 00:53:39,300
How's that?

819
00:53:39,300 --> 00:53:44,800
♪

820
00:53:44,800 --> 00:53:46,300
How's that?

821
00:53:46,300 --> 00:53:48,166
"It Don't Mean 
A Thing."

822
00:53:48,166 --> 00:53:49,666
Should we 
do that?

823
00:53:49,666 --> 00:53:52,333
Let's do; 
this is our last tune.

824
00:53:52,333 --> 00:54:02,366
♪  
["It Don't Mean A Thing"]

825
00:54:02,366 --> 00:54:12,333
♪

826
00:54:12,333 --> 00:54:22,233
♪

827
00:54:22,233 --> 00:54:32,200
♪

828
00:54:32,200 --> 00:54:42,166
♪

829
00:54:42,166 --> 00:54:52,133
♪

830
00:54:52,133 --> 00:55:02,166
♪

831
00:55:02,166 --> 00:55:12,133
♪

832
00:55:12,133 --> 00:55:22,033
♪

833
00:55:22,033 --> 00:55:32,000
♪

834
00:55:32,000 --> 00:55:42,066
♪

835
00:55:42,066 --> 00:55:51,933
♪

836
00:55:51,933 --> 00:56:01,966
♪

837
00:56:01,966 --> 00:56:11,933
♪

838
00:56:11,933 --> 00:56:21,833
♪

839
00:56:21,833 --> 00:56:31,800
♪

840
00:56:31,800 --> 00:56:41,766
♪

841
00:56:41,766 --> 00:56:51,733
♪

842
00:56:51,733 --> 00:56:58,500
♪

843
00:56:59,466 --> 00:57:00,866
Et voilà!

844
00:57:00,866 --> 00:57:02,200
There!

845
00:57:02,200 --> 00:57:06,433
♪

846
00:57:06,433 --> 00:57:12,433
♪  
Captioned by: 
CompuScripts Captioning, Inc. 
www.compuscriptsinc.com

847
00:57:12,433 --> 00:57:21,666
♪

848
00:57:21,666 --> 00:57:30,966
♪

849
00:57:30,966 --> 00:57:40,266
♪

850
00:57:40,266 --> 00:57:49,600
♪