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(  soft piano jazz)

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♪

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(Narrator) Marian McPartland 
was a true minority

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in the jazz world of the '50s: 
English, White, and female.

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Not only 
did she master the art,

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she took jazz 
to new heights

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and became 
its biggest advocate.

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Marian McPartland is 
recognized worldwide

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for her knowledge 
and skills

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in presenting one of America's 
greatest art forms.

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♪

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(male announcer) So ladies and 
gentlemen, without further ado

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please join me in welcoming 
Ms. Marian McPartland.

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[applause]

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♪

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(narrator) Marian McPartland has 
performed professionally

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since the 1930s, delighting 
audiences with her artistry

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in clubs and concert halls 
around the globe

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and on scores 
of recordings.

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To millions of radio listener, 
she is also the lively host

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of "Marian McPartland's 
Piano Jazz,"

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the popular, 
Peabody Award-winning

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National Public Radio 
series,

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which has celebrated more 
than 30 years on the air.

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Additionally, Marian has 
mentored countless musicians,

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spearheaded efforts 
in jazz education,

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and served as one of the 
best ambassadors of jazz

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the world has ever known.

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♪

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♪

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The fact that 
Margaret Marian Turner,

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a middle-class girl 
from a small town in England,

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would become one 
of the leading proponents

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of America's greatest 
musical idiom

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is not as ironic 
as it may seem to be.

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Jazz had already 
crossed the pond in 1933

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when Margaret, then 15, was 
among the music's biggest fan.

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(Marian McPartland) 
When I was younger and, um...

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listening to the BBC,

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I had a boyfriend who 
brought records over

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so I could hear 
Benny Goodman

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and I could hear 
Teddy Wilson

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and James P. Johnson 
and Fats Waller.

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But as time went by, 
then I heard other people:

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Mary Lou Williams 
and Hazel Scott.

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I wanted so desperately 
to meet these people

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if I ever came 
to America.

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(narrator) 
Margaret was a musical prodigy

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who could play just 
about anything by ear

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from the time she 
could sit at the piano.

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♪

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>> Some tunes I just know, 
um, sort of by osmosis.

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I've never seen 
the music.

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I know 
thousands of tunes

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that I learned years ago 
off the BBC,

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and they just stayed 
with me.

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(narrator) It was evident at the 

Guildhall School

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of Music in London

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that Margaret preferred 
jazz over the classics

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and was headed 
for a career

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after the likes 
of Mary Lou Williams,

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Lil Hardin, Cleo Brown, 
and Hazel Scott.

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♪

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Billy Mayerl, a popular 
English music hall performer,

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asked her to join the Claviers 
in 1938, his four-piano act,

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and the young pianist assumed 
the stage name Marian Page

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and hit 
the Vaudeville circuit.

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♪

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World War II 
intervened.

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♪

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Marian volunteered, entertained 

the troops in her home country,

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and eventually found herself 
wading ashore at Omaha Beach

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a few days 
after D-Day

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to perform with USO shows 
on the continent.

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♪

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In Belgium, 
she met Jimmy McPartland,

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a Dixieland cornet player 
from Chicago

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who was 11 years 
her senior.

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♪

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The two musicians 
fell in love,

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and in 1945, they were married 
at a military base in Germany.

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As the couple 
played gigs in Europe

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before and after VE Day,

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Marian got her first taste 
of playing ensemble jazz

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and some tips from 
her new husband.

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(Jimmy McPartland) When you're 
playing, just hold it steady.

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Don't get excited.

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Jazz has got 
to get a good beat,

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It's got to swing. 
>> Yeah.

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It's got to swing 
or else forget it.

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(narrator) 
Marian and Jimmy returned

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to a new American landscape 
exploding with jazz talent.

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♪

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(Marian McPartland) When Jimmy 
and I arrived in New York,

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it was all 
I could do

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to not go racing 
around to all the clubs

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to see the people 
that I heard about so much...

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Louis Armstrong, a friend 
of Jimmy's from childhood,

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and Mary Lou,

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and, oh, everybody.

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(narrator) Jimmy McPartland's 
English bride

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was quite a novelty 
as they played

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in Jimmy's hometown of Chicago,

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as well as in Boston 
and Philadelphia,

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finally settling in Manhattan 
for good in 1949.

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♪

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Because there was 
already a jazz artist

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named Marian Page 
in New York,

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there was one 
final name change.

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♪

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Marian McPartland 
was a true minority

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in the jazz world of the '50s- 
English, White, and female--

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and she heard it said 
more than once,

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"You play like a man."

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(McPartland) I guess years ago, 

I was so happy

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to get what I thought 
was a compliment,

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I just 
would be pleased.

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But then afterwards, 
I started to think,

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Gosh, does that mean they think 
I'm very forceful and strong?

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Maybe there's something 
not too complimentary there.

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But gradually people 
stopped saying that.

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The other one was, 
"You play good for a girl."

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That's another one.

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But those things seemed 
to have gone away.

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Nobody... but there may be 
somebody thinking it,

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but they don't 
say it any more.

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I mean, when you think 

of Lil Armstrong, Lovie Austin,

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all the people who were 

such wonderful players years ago

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and the bands,

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like the International 
Sweethearts of Rhythm,

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I'm happy that they have been 
able to come into their own,

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and there will be more women 
musicians coming up continually.

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♪

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(narrator) Marian and Jimmy 
divorced in 1970,

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but they continued 
to work together,

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remained friends, 
and eventually remarried.

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♪

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♪

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From 1952 to 1960,

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Marian McPartland led a trio 
at the Hickory House

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on Manhattan's 
legendary 52nd Street.

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♪

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The pianist grew in stature 
among legions of jazz fans

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and among her peers.

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♪

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On any given night, 
those in attendance

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to hear her play

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might include Duke Ellington, 
Billy Strayhorn,

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Steve Allen, 
Oscar Peterson,

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Benny Goodman, 
Artie Shaw.

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♪

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(McPartland) 
Duke would, once in a while,

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get up and play 
with my trio.

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He was really a mentor 
to me in many ways.

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♪

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(narrator) The 1954-through-1956 

edition of Marian's combo

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included Bill Crow 
and Joe Morello.

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♪

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McPartland's style 
during this time

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moved from traditional 
to modern jazz.

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She made 
a careful study of artists

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such as Thelonious Monk 
and Dave Brubeck

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and hung out after hours 
at Charlie Parker's Birdland-

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the Jazz Corner 
of the World--

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and other 
New York clubs.

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♪

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She honed 
her extensive repertoire

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and was acclaimed 
by all

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as a superb interpreter 
and forceful improviser.

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It was said that she 
never played a song

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the same way twice.

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♪

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(McPartland)  If you're playing 
jazz, I think it's...

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at least from my thinking,

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you're supposed to try to do it 
in a fresh, new way every time.

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But of course, 
that's hard to do.

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You do tend to drop 
into certain habits and cliches.

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I like to change key a lot 
so I can get away from that.

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So in a way, 
I think I'm happy

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that I haven't fallen 
into some really...

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well-known style.

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This way, 
I can keep changing around

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and jumping 
from place to place.

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♪

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["Twilight World"]

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(narrator) In addition 
to playing music

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by other composers,

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Marian wrote many songs which 
have became jazz standards,

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such as "Twilight World," 
"With You in Mind,"

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"In the Days of Our Love," 
and "Ambience."

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♪

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In 1958, Marian was 
invited to participate

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in the now famous "Great 
Day in Harlem" photo shoot

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for "Esquire" magazine.

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♪

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(McPartland) Actually, I was 
at the Hickory House,

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and Nat Hentoff came by 
in a great hurry and said,

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"There's going to be 
a wonderful photograph

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"taken in Harlem tomorrow,

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and if you want to be there, 
you've got to be at 125th"--

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whatever it was; 
I forget the address--

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"But you've got to be there 
at 10:00."

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♪

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Well...

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that wasn't 
a very good hour.

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[laughter]

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Some musicians 
were heard to say

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that they didn't know 
there were two ten o'clocks.

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[laughter]

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(narrator) 
Marian McPartland 
had truly paid her dues.

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In spite of being English, 
white, and female,

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she was now a shining star

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in the world of jazz.

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(music fades)

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00:10:02,566 --> 00:10:05,600
(Elvis) ♪ You ain't nothin' 
but a hound dog, ♪

216
00:10:05,600 --> 00:10:08,266
♪ cryin' all the time. ♪♪♪

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00:10:08,266 --> 00:10:11,533
(narrator) With the emergence 
of rock and roll in the 1950s,

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jazz surrendered a lot 
of its audience.

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That's when Marian 
became an advocate

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for jazz 
in the schools.

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(McPartland) 
When I started playing

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in a school in the 1950s,

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and I asked for requests 
from the kids,

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one kid 
hollered out,

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"You Ain't Nothin' 
but a Hound Dog"!

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(host laughs)

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And I thought, 
My goodness,

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if this is all 
they listen to,

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I should try to let them know 
there's Duke Ellington

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and Coleman Hawkins 
and Count Basie

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and all the other 
great jazz people.

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♪

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I would say to anybody 
that can play an instrument,

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you can have somebody teach you 

certain aspects of jazz,

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and then if you're 
motivated enough,

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you can go on and discover 
more for yourself.

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I suppose part of it's 
a selfish reason.

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I mean, it's our new 
audience coming up,

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and I really feel that they 
should be exposed to jazz

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in the same way as they are 
to ballet and opera.

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I mean, for kids these are 
considered obligatory outings

242
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because it's cultural, 
but so is a jazz concert.

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So if they don't take them out 
to a jazz concert,

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I'd just assume, 
bring one into the school.

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Could you guys call 
out some notes for me?

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(students) C... 
A flat.

247
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B...  G...

248
00:11:33,766 --> 00:11:35,200
E. 
(McPartland) Oh!

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[laughter]

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♪

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(McPartland) 
C, A flat, B, G, E.

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00:11:47,600 --> 00:11:50,133
♪

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[playing improvised song]

254
00:11:53,833 --> 00:11:55,233
(narrator) 
Jazz education has been

255
00:11:55,233 --> 00:11:59,366
an important aspect of Marian 
McPartland's life ever since.

256
00:11:59,366 --> 00:12:07,733
♪

257
00:12:07,733 --> 00:12:09,566
♪

258
00:12:09,566 --> 00:12:12,466
(narrator) Another way Marian 
extended her musical influence

259
00:12:12,466 --> 00:12:16,366
was by performing with 
orchestras in concert halls.

260
00:12:16,366 --> 00:12:19,866
>> For a while, I was doing 
some classical things.

261
00:12:19,866 --> 00:12:24,433
I was doing "Rhapsody in Blue" 
as part of my program,

262
00:12:24,433 --> 00:12:26,433
or I would do 
the Grieg concerto.

263
00:12:26,433 --> 00:12:31,333
But I have other things, 
like Gershwin, Duke Ellington,

264
00:12:31,333 --> 00:12:34,200
and some pieces of my own 
arranged for symphony orchestra.

265
00:12:34,200 --> 00:12:36,600
♪

266
00:12:36,600 --> 00:12:38,033
(narrator) 
Her interest in larger

267
00:12:38,033 --> 00:12:41,433
performing venues continued.

268
00:12:41,433 --> 00:12:46,033
In 2007, McPartland premiered 

her "Portrait of Rachel Carson"

269
00:12:46,033 --> 00:12:51,000
with the University 
of South Carolina Orchestra.

270
00:12:51,000 --> 00:12:53,766
This symphonic 
piece pays tribute

271
00:12:53,766 --> 00:12:56,933
to the author who jump-started 
the environmental movement

272
00:12:56,933 --> 00:13:01,033
in 1962 with her book, 
"Silent Spring."

273
00:13:01,033 --> 00:13:02,800
♪

274
00:13:02,800 --> 00:13:06,266
In the '60s and '70s, Marian 
advanced the cause of jazz

275
00:13:06,266 --> 00:13:08,733
by starting 
her own record label

276
00:13:08,733 --> 00:13:10,733
and writing 
music reviews.

277
00:13:10,733 --> 00:13:12,833
♪

278
00:13:12,833 --> 00:13:15,066
All of this prepared her 
to become the host

279
00:13:15,066 --> 00:13:17,733
of "Marian McPartland's 
Piano Jazz,"

280
00:13:17,733 --> 00:13:19,966
a radio program 
developed and produced

281
00:13:19,966 --> 00:13:22,166
by South Carolina 
Educational Radio

282
00:13:22,166 --> 00:13:26,700
that has been heard on NPR 
since April 1979,

283
00:13:26,700 --> 00:13:30,833
with over 700 shows reaching 
listeners worldwide.

284
00:13:30,833 --> 00:13:33,100
♪

285
00:13:33,100 --> 00:13:36,600
(McPartland) Alec Wilder had 

an extremely successful series,

286
00:13:36,600 --> 00:13:38,566
"American Popular Song,"

287
00:13:38,566 --> 00:13:43,133
and that ended, 
and I think, a few people--

288
00:13:43,133 --> 00:13:44,666
I don't know who 
exactly--

289
00:13:44,666 --> 00:13:46,400
were sort of thinking 
it'd be nice

290
00:13:46,400 --> 00:13:48,033
to have something 
to follow that.

291
00:13:48,033 --> 00:13:54,066
So the easiest--and possibly 
the least expensive, too--

292
00:13:54,066 --> 00:13:57,233
thing that we could think 
of to do was two pianos,

293
00:13:57,233 --> 00:14:02,466
something which I considered 
myself pretty good at.

294
00:14:02,466 --> 00:14:03,833
♪

295
00:14:03,833 --> 00:14:08,200
(narrator) Marian had played 
with most of the jazz greats.

296
00:14:08,200 --> 00:14:11,000
(McPartland) 
I could think of ten people

297
00:14:11,000 --> 00:14:13,033
I wanted 
right off the bat--

298
00:14:13,033 --> 00:14:14,466
bang, bang, bang--

299
00:14:14,466 --> 00:14:16,400
you know, Hazel Scott, 
Mary Lou,

300
00:14:16,400 --> 00:14:18,566
Bill Evans, 
George Shearing,

301
00:14:18,566 --> 00:14:23,266
Oscar Peterson, 
and John Lewis and so on.

302
00:14:23,266 --> 00:14:24,900
The list 
was never ending.

303
00:14:24,900 --> 00:14:26,633
Play, another blues 
in another key.

304
00:14:26,633 --> 00:14:27,966
What's 
your favorite key?

305
00:14:27,966 --> 00:14:29,466
(Williams) It doesn't matter.

306
00:14:29,466 --> 00:14:30,966
It's according 
to what mood I'm in.

307
00:14:30,966 --> 00:14:32,333
(McPartland) 
What mood are you in now?

308
00:14:32,333 --> 00:14:34,800
Are you in a B-flat mood, 
or are you in a D-flat mood?

309
00:14:34,800 --> 00:14:36,466
(Williams) 
I don't know.

310
00:14:36,466 --> 00:14:38,866
I could just be flat, period. 
(laughs)

311
00:14:38,866 --> 00:14:40,066
♪

312
00:14:40,066 --> 00:14:41,533
(McPartland) 
When I started,  I thought it

313
00:14:41,533 --> 00:14:46,366
was just going to be 
13 shows and that's it.

314
00:14:46,366 --> 00:14:50,033
All of a sudden, 
they say,

315
00:14:50,033 --> 00:14:51,366
"We want you 
to do another one,"

316
00:14:51,366 --> 00:14:54,200
and time went on, 
and another one and another one.

317
00:14:54,200 --> 00:14:57,266
It's got to the point 
now where,

318
00:14:57,266 --> 00:15:00,366
if I didn't do it, 
it would be terrible!

319
00:15:00,366 --> 00:15:02,033
♪

320
00:15:02,033 --> 00:15:04,366
(narrator) Very quickly, the 
series became a favorite

321
00:15:04,366 --> 00:15:07,233
with listeners 
and a desired destination

322
00:15:07,233 --> 00:15:09,733
for every important 
jazz artist.

323
00:15:09,733 --> 00:15:12,000
"Piano Jazz" was 
a perfect fit

324
00:15:12,000 --> 00:15:14,166
for Marian's 
conversational skills

325
00:15:14,166 --> 00:15:18,200
and ability to complement 
the guest musically.

326
00:15:18,200 --> 00:15:28,200
♪

327
00:15:28,200 --> 00:15:38,200
♪

328
00:15:38,200 --> 00:15:43,833
♪

329
00:15:43,833 --> 00:15:45,633
(McPartland, voice-over) 
I was very nervous,

330
00:15:45,633 --> 00:15:50,000
and that's one of the things 
I think I've learned,

331
00:15:50,000 --> 00:15:54,200
was a skill in interviewing, 
although I had, had a-

332
00:15:54,200 --> 00:15:58,166
like a disc jockey show on 
another station years before,

333
00:15:58,166 --> 00:15:59,466
which I guess 
got me started.

334
00:15:59,466 --> 00:16:00,566
♪

335
00:16:00,566 --> 00:16:03,000
You're not, 
quote, "on."

336
00:16:03,000 --> 00:16:05,166
You know you can just sit there 

and be relaxed,

337
00:16:05,166 --> 00:16:06,866
try and be natural,

338
00:16:06,866 --> 00:16:09,900
or, actually, 
as being natural as I can.

339
00:16:09,900 --> 00:16:13,066
And the thing is, 
I am really interested

340
00:16:13,066 --> 00:16:16,066
in the other person.

341
00:16:16,066 --> 00:16:18,233
>> You know I was thinking about 
"A Child Is Born."

342
00:16:18,233 --> 00:16:20,233
Would you like to play that? 
(McPartland) I'd love to.

343
00:16:20,233 --> 00:16:22,033
(Mulgrew) 
Yeah, let's play that.

344
00:16:22,033 --> 00:16:24,466
(McPartland) I know how 
I'd feel if I was sitting there.

345
00:16:24,466 --> 00:16:28,300
I like to make them feel 
as good as possible.

346
00:16:28,300 --> 00:16:32,233
But then sometimes, to sit there 
and play a solo

347
00:16:32,233 --> 00:16:34,566
as I do on the show, I play two 
or three solos myself-

348
00:16:34,566 --> 00:16:37,566
to have to sit there 
to play a solo

349
00:16:37,566 --> 00:16:40,733
while somebody like 
Oscar Peterson is watching me,

350
00:16:40,733 --> 00:16:43,166
you know, that's not 
my favorite moment.

351
00:16:43,166 --> 00:16:51,400
But it has so it's taught me 
to think up a lot of tunes,

352
00:16:51,400 --> 00:16:53,133
how to play them, and how to...

353
00:16:53,133 --> 00:16:55,700
really simply relax 
about a thing like that.

354
00:16:55,700 --> 00:16:58,700
♪

355
00:16:58,700 --> 00:17:00,800
What makes a good show?

356
00:17:00,800 --> 00:17:02,666
Well, a mixture 
of things.

357
00:17:02,666 --> 00:17:05,066
If you get a guest 
that talks,

358
00:17:05,066 --> 00:17:08,000
that will be a good 
conversationalist,

359
00:17:08,000 --> 00:17:14,033
I mean, the one with Clint 
was good because he talked,

360
00:17:14,033 --> 00:17:17,066
and I played 
his pieces,

361
00:17:17,066 --> 00:17:19,900
and everything 
went very smoothly.

362
00:17:19,900 --> 00:17:21,133
♪

363
00:17:21,133 --> 00:17:24,000
(Narrator) South Carolina 
native Dizzy Gillespie

364
00:17:24,000 --> 00:17:25,766
was a memorable guest.

365
00:17:25,766 --> 00:17:29,666
(McPartland) Having Dizzy was 
a great experience for me.

366
00:17:29,666 --> 00:17:33,466
He's such a funny guy 
and such a sweet guy.

367
00:17:33,466 --> 00:17:37,566
I did write a great piece 
for him...really nice.

368
00:17:37,566 --> 00:17:38,933
(narrator) 
Marian is known

369
00:17:38,933 --> 00:17:42,333
for composing musical 
portraits of her guests.

370
00:17:42,333 --> 00:17:43,600
(McPartland) 
Well, it's funny

371
00:17:43,600 --> 00:17:46,533
because it started 
with Chick Corea years ago,

372
00:17:46,533 --> 00:17:50,933
and he said, um,

373
00:17:50,933 --> 00:17:54,566
"I've decided I'm going to do 
a musical portrait of you."

374
00:17:54,566 --> 00:17:57,066
(Chick Corea) 
I'm not gonna use words.

375
00:17:57,066 --> 00:17:59,233
I'll just try 
a sound portrait.

376
00:17:59,233 --> 00:18:00,566
I hear a melody.

377
00:18:00,566 --> 00:18:03,000
(McPartland) Please keep 
my nose out of this picture.

378
00:18:03,000 --> 00:18:05,966
(Corea) No nose. This is about 
you, not your nose.

379
00:18:05,966 --> 00:18:12,066
♪

380
00:18:12,066 --> 00:18:13,466
(McPartland) 
So he played a...

381
00:18:13,466 --> 00:18:15,800
a really nice piece,

382
00:18:15,800 --> 00:18:19,033
and I'd never thought 
of such an idea.

383
00:18:19,033 --> 00:18:22,700
And I said, "Well, maybe I 
should return the compliment

384
00:18:22,700 --> 00:18:27,100
and try to play a portrait 
of you," which I did.

385
00:18:27,100 --> 00:18:34,733
♪

386
00:18:34,733 --> 00:18:40,966
And that gave me the idea of 
doing that for certain guests.

387
00:18:40,966 --> 00:18:42,333
You know what I'd like to do,

388
00:18:42,333 --> 00:18:45,566
and maybe this is 
taking a chance,

389
00:18:45,566 --> 00:18:49,066
but that is to do 
a kind of improvised

390
00:18:49,066 --> 00:18:51,933
portrait 
of you right now.

391
00:18:51,933 --> 00:18:54,300
(Brubeck) I'll bet you don't 
know what you're gonna do.

392
00:18:54,300 --> 00:18:55,666
(McPartland) I haven't 
the faintest idea.

393
00:18:55,666 --> 00:18:57,466
(audience laughter)

394
00:18:57,466 --> 00:18:59,166
(Brubeck) 
But that's great!

395
00:18:59,166 --> 00:19:02,700
(McPartland) I just hope that 
it'll, it'll, um...

396
00:19:02,700 --> 00:19:04,466
please you, 
that you'll like it.

397
00:19:04,466 --> 00:19:05,800
(Brubeck) 
Already I'm pleased!

398
00:19:05,800 --> 00:19:07,200
(McPartland) 
All right, here goes.

399
00:19:07,200 --> 00:19:17,200
♪

400
00:19:17,200 --> 00:19:27,200
♪

401
00:19:27,200 --> 00:19:28,800
(narrator) 
Far from being exclusive,

402
00:19:28,800 --> 00:19:32,766
Marian enjoys inviting 
up-and-coming young musicians

403
00:19:32,766 --> 00:19:34,133
to be on the show.

404
00:19:34,133 --> 00:19:36,533
(McPartland) 
Hi, I'm Marian McPartland,

405
00:19:36,533 --> 00:19:39,333
and my guest today 
on "Piano Jazz"

406
00:19:39,333 --> 00:19:41,533
is pianist/composer

407
00:19:41,533 --> 00:19:44,266
Julian Waterfall Pollack,

408
00:19:44,266 --> 00:19:47,333
a young man, 
and I do mean young.

409
00:19:47,333 --> 00:19:57,333
♪

410
00:19:57,333 --> 00:19:59,666
♪

411
00:19:59,666 --> 00:20:00,866
(McPartland) 
Yeah!

412
00:20:00,866 --> 00:20:02,066
(Ray Charles) 
♪ Am I blue? ♪

413
00:20:02,066 --> 00:20:04,200
(McPartland) 
Okay, okay, in that key?

414
00:20:04,200 --> 00:20:06,333
♪

415
00:20:06,333 --> 00:20:08,466
(Charles) 
♪ Am I blue? ♪

416
00:20:08,466 --> 00:20:11,100
(narrator) And Marian includes 
all types of jazz

417
00:20:11,100 --> 00:20:12,233
in her programs.

418
00:20:12,233 --> 00:20:20,600
(Charles) ♪ Ain't these tears 
in these eyes ♪

419
00:20:20,600 --> 00:20:21,833
♪

420
00:20:21,833 --> 00:20:25,266
♪ tellin' you, baby? ♪

421
00:20:25,266 --> 00:20:28,466
♪

422
00:20:28,466 --> 00:20:30,066
(McPartland, voice-over) 
I know

423
00:20:30,066 --> 00:20:34,233
that there are so many different 
kinds of fans out there,

424
00:20:34,233 --> 00:20:38,233
some who like more 
traditional music,

425
00:20:38,233 --> 00:20:39,600
and we have somebody 
for them,

426
00:20:39,600 --> 00:20:42,533
like Norma Teagarden 
or Jess Stacy,

427
00:20:42,533 --> 00:20:45,600
somebody who loves 
Bill Evans.

428
00:20:45,600 --> 00:20:47,966
We were 
fortunate enough

429
00:20:47,966 --> 00:20:50,133
to have Bill Evans 
before he passed away.

430
00:20:50,133 --> 00:20:51,833
(Bill Evans) Now we've got 
to get back to C...

431
00:20:51,833 --> 00:20:53,466
see what's dominant 
♪

432
00:20:53,466 --> 00:20:57,300
[piano music]

433
00:20:57,300 --> 00:21:04,166
♪

434
00:21:04,166 --> 00:21:07,466
[piano music]

435
00:21:07,466 --> 00:21:11,900
♪

436
00:21:11,900 --> 00:21:15,366
(McPartland) 
I suppose I'm probably

437
00:21:15,366 --> 00:21:20,933
the all-time Bill Evans fan 
of the world.

438
00:21:20,933 --> 00:21:23,100
That's not to say

439
00:21:23,100 --> 00:21:27,366
that I don't enjoy 
and appreciate other styles.

440
00:21:27,366 --> 00:21:29,166
I mean, you know,

441
00:21:29,166 --> 00:21:30,833
there's so much 
in music,

442
00:21:30,833 --> 00:21:34,000
and there's so much that's 
different in all these people.

443
00:21:34,000 --> 00:21:38,266
To be able to absorb 
some of it myself,

444
00:21:38,266 --> 00:21:40,466
you know, it's really 
an education for me.

445
00:21:40,466 --> 00:21:43,833
(Tony Bennett) ♪ When skies 
are cloudy and gray, ♪

446
00:21:43,833 --> 00:21:46,333
♪

447
00:21:46,333 --> 00:21:48,533
♪ they're only gray 
for a day... ♪♪♪

448
00:21:48,533 --> 00:21:51,766
(narrator) Marian has hosted 
many non-piano players,

449
00:21:51,766 --> 00:21:55,066
such as Tony Bennett, 
Lionel Hampton,

450
00:21:55,066 --> 00:21:56,800
and Nnenna Freelon.

451
00:21:56,800 --> 00:21:59,266
(McPartland) What key 
do you do it in?

452
00:21:59,266 --> 00:22:01,266
(silence)

453
00:22:01,266 --> 00:22:04,133
Oh, you're playing it 
in the right key.

454
00:22:04,133 --> 00:22:05,400
>> In D?

455
00:22:05,400 --> 00:22:08,300
(McPartland) 

D...yeah.

456
00:22:08,300 --> 00:22:15,366
♪

457
00:22:15,366 --> 00:22:21,933
♪

458
00:22:21,933 --> 00:22:23,266
(narrator) 
Later, she branched out

459
00:22:23,266 --> 00:22:26,800
to include artists who are not 
usually associated with jazz

460
00:22:26,800 --> 00:22:30,533
but count it as one 
of their primary influences.

461
00:22:30,533 --> 00:22:37,966
(Elvis Costello) ♪ ...they're 
only made of clay, ♪

462
00:22:37,966 --> 00:22:42,933
♪ but our love ♪

463
00:22:42,933 --> 00:22:47,566
♪ is here... ♪

464
00:22:47,566 --> 00:22:52,366
♪ to... ♪

465
00:22:52,366 --> 00:22:55,433
♪ stay. ♪

466
00:22:55,433 --> 00:23:01,533
♪

467
00:23:01,533 --> 00:23:05,933
(song ends)

468
00:23:07,166 --> 00:23:10,300
♪  ["There Will Never 
Be Another You"]

469
00:23:10,300 --> 00:23:13,500
♪

470
00:23:13,500 --> 00:23:15,833
(narrator) Marian celebrated 
the 25th anniversary

471
00:23:15,833 --> 00:23:16,966
of "Piano Jazz"

472
00:23:16,966 --> 00:23:19,133
with a live taping 
at the Kennedy Center

473
00:23:19,133 --> 00:23:24,066
in Washington, D.C., 
on June 4, 2004,

474
00:23:24,066 --> 00:23:26,866
with special guest 
Peter Cincotti...

475
00:23:26,866 --> 00:23:28,533
♪

476
00:23:28,533 --> 00:23:29,700
and her 90th birthday

477
00:23:29,700 --> 00:23:33,733
with a special "Piano Jazz" 
at Lincoln Center.

478
00:23:33,733 --> 00:23:35,433
(Bill Clinton) Marian 
McPartland, as you all know,

479
00:23:35,433 --> 00:23:37,766
plays improvisational 
jazz piano

480
00:23:37,766 --> 00:23:40,133
and has now been playing 
it quite wonderfully

481
00:23:40,133 --> 00:23:42,533
for over seven decades...

482
00:23:42,533 --> 00:23:44,200
[laughter]

483
00:23:44,200 --> 00:23:46,533
with just as much 
energy and enthusiasm--

484
00:23:46,533 --> 00:23:48,133
I should not have said that! 
I should have...

485
00:23:48,133 --> 00:23:50,566
[laughter]

486
00:23:50,566 --> 00:23:52,800
I should... 
I had the chart here.

487
00:23:52,800 --> 00:23:55,433
That's the part where I should 
have ad-libbed, but I didn't.

488
00:23:55,433 --> 00:23:57,033
[laughter]

489
00:23:57,033 --> 00:24:02,000
♪

490
00:24:02,000 --> 00:24:06,333
(song fades)

491
00:24:06,333 --> 00:24:09,633
♪

492
00:24:09,633 --> 00:24:11,833
(narrator) Accolades followed 
Marian McPartland

493
00:24:11,833 --> 00:24:14,633
wherever she goes.

494
00:24:14,633 --> 00:24:18,866
"Piano Jazz" earned 
the coveted Peabody Award,

495
00:24:18,866 --> 00:24:22,533
and Marian received a Special 
Merit Award at the Grammys.

496
00:24:22,533 --> 00:24:27,566
She even is an Officer 
of the British Empire.

497
00:24:27,566 --> 00:24:28,900
Presenter> 
This is in recognition

498
00:24:28,900 --> 00:24:31,333
of the valuable services 
rendered to jazz

499
00:24:31,333 --> 00:24:33,900
and aspiring musicians 
in the U.S.A.

500
00:24:33,900 --> 00:24:36,933
that Her Majesty the Queen 
has appointed you, Marian

501
00:24:36,933 --> 00:24:39,233
to be an Officer of 
the Most Excellent Order

502
00:24:39,233 --> 00:24:40,800
of the British Empire.

503
00:24:40,800 --> 00:24:43,966
And I conclude by saying, 

It is with great, great pleasure

504
00:24:43,966 --> 00:24:46,566
that on Her Majesty's behalf, 
and her instructions

505
00:24:46,566 --> 00:24:49,033
I present you 
with the badge of the Order.

506
00:24:49,033 --> 00:24:51,733
May I congratulate you 
on this well deserved honor.

507
00:24:51,733 --> 00:24:55,833
[applause]

508
00:24:55,833 --> 00:25:00,900
[applause]

509
00:25:00,900 --> 00:25:07,366
(silence)

510
00:25:07,366 --> 00:25:12,333
♪

511
00:25:12,333 --> 00:25:14,133
(narrator) 
Marian McPartland's 
contribution

512
00:25:14,133 --> 00:25:18,300
to the world of jazz 
is unfathomable.

513
00:25:18,300 --> 00:25:22,533
From her beginnings as an 
obscure English piano player,

514
00:25:22,533 --> 00:25:24,933
not only did she 
master the art,

515
00:25:24,933 --> 00:25:27,000
but took jazz 
to new heights

516
00:25:27,000 --> 00:25:29,433
and became 
its biggest activist.

517
00:25:29,433 --> 00:25:31,433
♪

518
00:25:31,433 --> 00:25:33,766
Marian is recognized 
and appreciated

519
00:25:33,766 --> 00:25:35,933
for her knowledge 
and skills

520
00:25:35,933 --> 00:25:39,066
in presenting one of America's 
greatest art forms,

521
00:25:39,066 --> 00:25:42,933
jazz, to anyone who listens.

522
00:25:42,933 --> 00:25:47,433
♪

523
00:25:47,433 --> 00:25:49,466
(Brubeck) What you have to do 
is say your name

524
00:25:49,466 --> 00:25:53,700
in this rhythm: 
♪ Mar-i-an Mc-Part-land. ♪

525
00:25:53,700 --> 00:25:57,466
(audience) 
♪ Mar-i-an Mc-Part-land. ♪♪♪

526
00:25:57,466 --> 00:26:07,533
♪

527
00:26:07,533 --> 00:26:17,533
♪

528
00:26:17,533 --> 00:26:20,433
Captioned by: 
CompuScripts Captioning

529
00:26:20,433 --> 00:26:30,433
♪

530
00:26:30,433 --> 00:26:40,433
♪

531
00:26:40,433 --> 00:26:42,466
(silence)

532
00:26:42,466 --> 00:26:46,466
[applause]