WEBVTT
00:00.566 --> 00:01.833 align:left position:45% line:5% size:45%
( soft piano jazz)
00:01.833 --> 00:03.400 align:left position:87.5% line:5% size:2.5%
♪
00:03.400 --> 00:05.933 align:left position:15% line:83% size:75%
(Narrator) Marian McPartland
was a true minority
00:05.933 --> 00:11.266 align:left position:12.5% line:83% size:77.5%
in the jazz world of the '50s:
English, White, and female.
00:11.266 --> 00:13.433 align:left position:22.5% line:83% size:67.5%
Not only
did she master the art,
00:13.433 --> 00:15.100 align:left position:32.5% line:83% size:57.5%
she took jazz
to new heights
00:15.100 --> 00:17.266 align:left position:25% line:83% size:65%
and became
its biggest advocate.
00:18.566 --> 00:21.266 align:left position:25% line:83% size:65%
Marian McPartland is
recognized worldwide
00:21.266 --> 00:23.000 align:left position:30% line:83% size:60%
for her knowledge
and skills
00:23.000 --> 00:25.833 align:left position:12.5% line:83% size:77.5%
in presenting one of America's
greatest art forms.
00:29.533 --> 00:35.400 align:left position:87.5% line:5% size:2.5%
♪
00:35.400 --> 00:37.300 align:left position:12.5% line:83% size:77.5%
(male announcer) So ladies and
gentlemen, without further ado
00:37.300 --> 00:40.900 align:left position:17.5% line:83% size:72.5%
please join me in welcoming
Ms. Marian McPartland.
00:40.900 --> 00:44.900 align:left position:37.5% line:89% size:52.5%
[applause]
00:44.900 --> 00:46.666 align:left position:50% line:89% size:40%
♪
00:46.666 --> 00:49.966 align:left position:10% line:83% size:80%
(narrator) Marian McPartland has
performed professionally
00:49.966 --> 00:54.133 align:left position:17.5% line:83% size:72.5%
since the 1930s, delighting
audiences with her artistry
00:54.133 --> 00:57.466 align:left position:17.5% line:83% size:72.5%
in clubs and concert halls
around the globe
00:57.466 --> 00:59.933 align:left position:32.5% line:83% size:57.5%
and on scores
of recordings.
00:59.933 --> 01:04.433 align:left position:12.5% line:83% size:77.5%
To millions of radio listener,
she is also the lively host
01:04.433 --> 01:07.566 align:left position:22.5% line:83% size:67.5%
of "Marian McPartland's
Piano Jazz,"
01:07.566 --> 01:09.700 align:left position:25% line:83% size:65%
the popular,
Peabody Award-winning
01:09.700 --> 01:11.333 align:left position:25% line:83% size:65%
National Public Radio
series,
01:11.333 --> 01:15.800 align:left position:17.5% line:83% size:72.5%
which has celebrated more
than 30 years on the air.
01:15.800 --> 01:20.066 align:left position:15% line:83% size:75%
Additionally, Marian has
mentored countless musicians,
01:20.066 --> 01:22.800 align:left position:25% line:83% size:65%
spearheaded efforts
in jazz education,
01:22.800 --> 01:26.233 align:left position:20% line:83% size:70%
and served as one of the
best ambassadors of jazz
01:26.233 --> 01:28.266 align:left position:17.5% line:89% size:72.5%
the world has ever known.
01:28.266 --> 01:30.466 align:left position:50% line:89% size:40%
♪
01:30.466 --> 01:32.233 align:left position:87.5% line:5% size:2.5%
♪
01:32.233 --> 01:34.966 align:left position:42.5% line:5% size:47.5%
The fact that
Margaret Marian Turner,
01:34.966 --> 01:38.066 align:left position:15% line:83% size:75%
a middle-class girl
from a small town in England,
01:38.066 --> 01:40.666 align:left position:20% line:83% size:70%
would become one
of the leading proponents
01:40.666 --> 01:43.200 align:left position:25% line:83% size:65%
of America's greatest
musical idiom
01:43.200 --> 01:47.733 align:left position:25% line:83% size:65%
is not as ironic
as it may seem to be.
01:47.733 --> 01:51.666 align:left position:20% line:83% size:70%
Jazz had already
crossed the pond in 1933
01:51.666 --> 01:56.800 align:left position:12.5% line:83% size:77.5%
when Margaret, then 15, was
among the music's biggest fan.
01:56.800 --> 02:00.666 align:left position:15% line:83% size:75%
(Marian McPartland)
When I was younger and, um...
02:00.666 --> 02:03.100 align:left position:25% line:5% size:65%
listening to the BBC,
02:03.100 --> 02:05.866 align:left position:25% line:5% size:65%
I had a boyfriend who
brought records over
02:05.866 --> 02:08.466 align:left position:32.5% line:83% size:57.5%
so I could hear
Benny Goodman
02:08.466 --> 02:10.100 align:left position:30% line:83% size:60%
and I could hear
Teddy Wilson
02:10.100 --> 02:13.000 align:left position:25% line:83% size:65%
and James P. Johnson
and Fats Waller.
02:13.000 --> 02:16.100 align:left position:17.5% line:83% size:72.5%
But as time went by,
then I heard other people:
02:16.100 --> 02:19.933 align:left position:27.5% line:83% size:62.5%
Mary Lou Williams
and Hazel Scott.
02:19.933 --> 02:24.133 align:left position:22.5% line:83% size:67.5%
I wanted so desperately
to meet these people
02:24.133 --> 02:26.733 align:left position:32.5% line:83% size:57.5%
if I ever came
to America.
02:26.733 --> 02:29.233 align:left position:12.5% line:83% size:77.5%
(narrator)
Margaret was a musical prodigy
02:29.233 --> 02:32.400 align:left position:25% line:83% size:65%
who could play just
about anything by ear
02:32.400 --> 02:34.800 align:left position:22.5% line:83% size:67.5%
from the time she
could sit at the piano.
02:34.800 --> 02:35.933 align:left position:50% line:89% size:40%
♪
02:35.933 --> 02:41.233 align:left position:17.5% line:83% size:72.5%
>> Some tunes I just know,
um, sort of by osmosis.
02:41.233 --> 02:42.666 align:left position:32.5% line:83% size:57.5%
I've never seen
the music.
02:42.666 --> 02:43.900 align:left position:27.5% line:83% size:62.5%
I know
thousands of tunes
02:43.900 --> 02:46.833 align:left position:20% line:83% size:70%
that I learned years ago
off the BBC,
02:46.833 --> 02:49.700 align:left position:25% line:83% size:65%
and they just stayed
with me.
02:49.700 --> 02:52.400 align:left position:10% line:83% size:80%
(narrator) It was evident at the
Guildhall School
02:52.400 --> 02:53.666 align:left position:27.5% line:89% size:62.5%
of Music in London
02:53.666 --> 02:56.933 align:left position:20% line:83% size:70%
that Margaret preferred
jazz over the classics
02:56.933 --> 02:58.766 align:left position:32.5% line:83% size:57.5%
and was headed
for a career
02:58.766 --> 03:01.133 align:left position:25% line:83% size:65%
after the likes
of Mary Lou Williams,
03:01.133 --> 03:04.433 align:left position:22.5% line:83% size:67.5%
Lil Hardin, Cleo Brown,
and Hazel Scott.
03:04.433 --> 03:05.966 align:left position:87.5% line:5% size:2.5%
♪
03:05.966 --> 03:10.166 align:left position:15% line:83% size:75%
Billy Mayerl, a popular
English music hall performer,
03:10.166 --> 03:15.633 align:left position:12.5% line:83% size:77.5%
asked her to join the Claviers
in 1938, his four-piano act,
03:15.633 --> 03:20.066 align:left position:15% line:83% size:75%
and the young pianist assumed
the stage name Marian Page
03:20.066 --> 03:22.133 align:left position:22.5% line:83% size:67.5%
and hit
the Vaudeville circuit.
03:22.133 --> 03:23.533 align:left position:50% line:89% size:40%
♪
03:23.533 --> 03:25.933 align:left position:35% line:83% size:55%
World War II
intervened.
03:25.933 --> 03:28.766 align:left position:87.5% line:5% size:2.5%
♪
03:28.766 --> 03:32.766 align:left position:10% line:83% size:80%
Marian volunteered, entertained
the troops in her home country,
03:32.766 --> 03:37.566 align:left position:15% line:83% size:75%
and eventually found herself
wading ashore at Omaha Beach
03:37.566 --> 03:39.633 align:left position:37.5% line:83% size:52.5%
a few days
after D-Day
03:39.633 --> 03:43.366 align:left position:20% line:83% size:70%
to perform with USO shows
on the continent.
03:43.366 --> 03:44.533 align:left position:50% line:89% size:40%
♪
03:44.533 --> 03:47.033 align:left position:20% line:83% size:70%
In Belgium,
she met Jimmy McPartland,
03:47.033 --> 03:49.800 align:left position:20% line:83% size:70%
a Dixieland cornet player
from Chicago
03:49.800 --> 03:52.066 align:left position:30% line:83% size:60%
who was 11 years
her senior.
03:52.066 --> 03:53.466 align:left position:50% line:89% size:40%
♪
03:53.466 --> 03:55.566 align:left position:30% line:83% size:60%
The two musicians
fell in love,
03:55.566 --> 04:00.533 align:left position:12.5% line:83% size:77.5%
and in 1945, they were married
at a military base in Germany.
04:00.533 --> 04:03.200 align:left position:25% line:83% size:65%
As the couple
played gigs in Europe
04:03.200 --> 04:05.533 align:left position:20% line:89% size:70%
before and after VE Day,
04:05.533 --> 04:09.100 align:left position:17.5% line:83% size:72.5%
Marian got her first taste
of playing ensemble jazz
04:09.100 --> 04:12.433 align:left position:27.5% line:83% size:62.5%
and some tips from
her new husband.
04:12.433 --> 04:14.966 align:left position:12.5% line:83% size:77.5%
(Jimmy McPartland) When you're
playing, just hold it steady.
04:14.966 --> 04:16.700 align:left position:27.5% line:89% size:62.5%
Don't get excited.
04:16.700 --> 04:18.366 align:left position:27.5% line:5% size:62.5%
Jazz has got
to get a good beat,
04:18.366 --> 04:19.900 align:left position:27.5% line:5% size:62.5%
It's got to swing.
>> Yeah.
04:19.900 --> 04:21.766 align:left position:27.5% line:5% size:62.5%
It's got to swing
or else forget it.
04:21.766 --> 04:24.066 align:left position:20% line:83% size:70%
(narrator)
Marian and Jimmy returned
04:24.066 --> 04:28.866 align:left position:15% line:83% size:75%
to a new American landscape
exploding with jazz talent.
04:28.866 --> 04:30.200 align:left position:50% line:89% size:40%
♪
04:30.200 --> 04:32.566 align:left position:12.5% line:83% size:77.5%
(Marian McPartland) When Jimmy
and I arrived in New York,
04:32.566 --> 04:35.066 align:left position:37.5% line:83% size:52.5%
it was all
I could do
04:35.066 --> 04:38.633 align:left position:22.5% line:83% size:67.5%
to not go racing
around to all the clubs
04:38.633 --> 04:42.633 align:left position:15% line:83% size:75%
to see the people
that I heard about so much...
04:42.633 --> 04:48.666 align:left position:17.5% line:83% size:72.5%
Louis Armstrong, a friend
of Jimmy's from childhood,
04:48.666 --> 04:50.600 align:left position:32.5% line:89% size:57.5%
and Mary Lou,
04:50.600 --> 04:52.566 align:left position:25% line:89% size:65%
and, oh, everybody.
04:52.566 --> 04:55.133 align:left position:15% line:83% size:75%
(narrator) Jimmy McPartland's
English bride
04:55.133 --> 04:57.533 align:left position:27.5% line:83% size:62.5%
was quite a novelty
as they played
04:57.533 --> 04:59.466 align:left position:10% line:89% size:80%
in Jimmy's hometown of Chicago,
04:59.466 --> 05:01.766 align:left position:25% line:83% size:65%
as well as in Boston
and Philadelphia,
05:01.766 --> 05:06.733 align:left position:15% line:83% size:75%
finally settling in Manhattan
for good in 1949.
05:06.733 --> 05:09.066 align:left position:87.5% line:5% size:2.5%
♪
05:09.066 --> 05:11.466 align:left position:25% line:83% size:65%
Because there was
already a jazz artist
05:11.466 --> 05:13.833 align:left position:30% line:83% size:60%
named Marian Page
in New York,
05:13.833 --> 05:16.366 align:left position:27.5% line:83% size:62.5%
there was one
final name change.
05:16.366 --> 05:19.166 align:left position:50% line:89% size:40%
♪
05:19.166 --> 05:23.066 align:left position:27.5% line:5% size:62.5%
Marian McPartland
was a true minority
05:23.066 --> 05:27.433 align:left position:12.5% line:5% size:77.5%
in the jazz world of the '50s-
English, White, and female--
05:27.433 --> 05:29.700 align:left position:25% line:83% size:65%
and she heard it said
more than once,
05:29.700 --> 05:31.133 align:left position:22.5% line:89% size:67.5%
"You play like a man."
05:31.133 --> 05:33.900 align:left position:10% line:83% size:80%
(McPartland) I guess years ago,
I was so happy
05:33.900 --> 05:36.266 align:left position:25% line:83% size:65%
to get what I thought
was a compliment,
05:36.266 --> 05:37.466 align:left position:30% line:83% size:60%
I just
would be pleased.
05:37.466 --> 05:39.600 align:left position:25% line:83% size:65%
But then afterwards,
I started to think,
05:39.600 --> 05:48.466 align:left position:10% line:83% size:80%
Gosh, does that mean they think
I'm very forceful and strong?
05:48.466 --> 05:51.600 align:left position:15% line:83% size:75%
Maybe there's something
not too complimentary there.
05:51.600 --> 05:56.100 align:left position:25% line:83% size:65%
But gradually people
stopped saying that.
05:56.100 --> 05:58.800 align:left position:17.5% line:5% size:72.5%
The other one was,
"You play good for a girl."
05:58.800 --> 06:01.200 align:left position:27.5% line:5% size:62.5%
That's another one.
06:01.200 --> 06:04.000 align:left position:22.5% line:5% size:67.5%
But those things seemed
to have gone away.
06:04.000 --> 06:06.633 align:left position:17.5% line:83% size:72.5%
Nobody... but there may be
somebody thinking it,
06:06.633 --> 06:09.200 align:left position:30% line:83% size:60%
but they don't
say it any more.
06:09.200 --> 06:13.333 align:left position:10% line:83% size:80%
I mean, when you think
of Lil Armstrong, Lovie Austin,
06:13.333 --> 06:15.233 align:left position:10% line:83% size:80%
all the people who were
such wonderful players years ago
06:15.233 --> 06:16.933 align:left position:32.5% line:89% size:57.5%
and the bands,
06:16.933 --> 06:19.200 align:left position:22.5% line:83% size:67.5%
like the International
Sweethearts of Rhythm,
06:19.200 --> 06:23.266 align:left position:15% line:83% size:75%
I'm happy that they have been
able to come into their own,
06:23.266 --> 06:27.766 align:left position:10% line:83% size:80%
and there will be more women
musicians coming up continually.
06:27.766 --> 06:29.000 align:left position:50% line:89% size:40%
♪
06:29.000 --> 06:32.300 align:left position:17.5% line:83% size:72.5%
(narrator) Marian and Jimmy
divorced in 1970,
06:32.300 --> 06:34.600 align:left position:27.5% line:83% size:62.5%
but they continued
to work together,
06:34.600 --> 06:38.133 align:left position:20% line:83% size:70%
remained friends,
and eventually remarried.
06:38.133 --> 06:39.600 align:left position:50% line:89% size:40%
♪
06:39.600 --> 06:42.033 align:left position:87.5% line:5% size:2.5%
♪
06:42.033 --> 06:44.533 align:left position:27.5% line:89% size:62.5%
From 1952 to 1960,
06:44.533 --> 06:48.000 align:left position:15% line:83% size:75%
Marian McPartland led a trio
at the Hickory House
06:48.000 --> 06:51.300 align:left position:22.5% line:83% size:67.5%
on Manhattan's
legendary 52nd Street.
06:51.300 --> 06:52.966 align:left position:50% line:89% size:40%
♪
06:52.966 --> 06:56.866 align:left position:15% line:83% size:75%
The pianist grew in stature
among legions of jazz fans
06:56.866 --> 06:59.400 align:left position:25% line:89% size:65%
and among her peers.
06:59.400 --> 07:00.633 align:left position:50% line:89% size:40%
♪
07:00.633 --> 07:02.266 align:left position:25% line:83% size:65%
On any given night,
those in attendance
07:02.266 --> 07:03.433 align:left position:30% line:89% size:60%
to hear her play
07:03.433 --> 07:06.233 align:left position:15% line:83% size:75%
might include Duke Ellington,
Billy Strayhorn,
07:06.233 --> 07:08.466 align:left position:32.5% line:83% size:57.5%
Steve Allen,
Oscar Peterson,
07:08.466 --> 07:10.866 align:left position:32.5% line:83% size:57.5%
Benny Goodman,
Artie Shaw.
07:10.866 --> 07:12.366 align:left position:50% line:89% size:40%
♪
07:12.366 --> 07:13.600 align:left position:15% line:83% size:75%
(McPartland)
Duke would, once in a while,
07:13.600 --> 07:15.266 align:left position:32.5% line:83% size:57.5%
get up and play
with my trio.
07:15.266 --> 07:20.133 align:left position:22.5% line:83% size:67.5%
He was really a mentor
to me in many ways.
07:20.133 --> 07:21.400 align:left position:50% line:89% size:40%
♪
07:21.400 --> 07:25.900 align:left position:10% line:83% size:80%
(narrator) The 1954-through-1956
edition of Marian's combo
07:25.900 --> 07:28.666 align:left position:27.5% line:83% size:62.5%
included Bill Crow
and Joe Morello.
07:28.666 --> 07:29.933 align:left position:50% line:89% size:40%
♪
07:29.933 --> 07:32.066 align:left position:27.5% line:83% size:62.5%
McPartland's style
during this time
07:32.066 --> 07:35.166 align:left position:22.5% line:83% size:67.5%
moved from traditional
to modern jazz.
07:35.166 --> 07:37.700 align:left position:17.5% line:83% size:72.5%
She made
a careful study of artists
07:37.700 --> 07:40.533 align:left position:22.5% line:83% size:67.5%
such as Thelonious Monk
and Dave Brubeck
07:40.533 --> 07:44.233 align:left position:15% line:83% size:75%
and hung out after hours
at Charlie Parker's Birdland-
07:44.233 --> 07:46.566 align:left position:30% line:83% size:60%
the Jazz Corner
of the World--
07:46.566 --> 07:48.500 align:left position:32.5% line:83% size:57.5%
and other
New York clubs.
07:48.500 --> 07:49.766 align:left position:50% line:89% size:40%
♪
07:49.766 --> 07:52.166 align:left position:20% line:83% size:70%
She honed
her extensive repertoire
07:52.166 --> 07:53.966 align:left position:30% line:83% size:60%
and was acclaimed
by all
07:53.966 --> 07:57.566 align:left position:20% line:83% size:70%
as a superb interpreter
and forceful improviser.
07:57.566 --> 08:00.300 align:left position:25% line:83% size:65%
It was said that she
never played a song
08:00.300 --> 08:02.066 align:left position:25% line:89% size:65%
the same way twice.
08:02.066 --> 08:03.600 align:left position:50% line:89% size:40%
♪
08:03.600 --> 08:06.266 align:left position:12.5% line:83% size:77.5%
(McPartland) If you're playing
jazz, I think it's...
08:06.266 --> 08:08.233 align:left position:17.5% line:89% size:72.5%
at least from my thinking,
08:08.233 --> 08:12.933 align:left position:10% line:83% size:80%
you're supposed to try to do it
in a fresh, new way every time.
08:12.933 --> 08:14.133 align:left position:27.5% line:83% size:62.5%
But of course,
that's hard to do.
08:14.133 --> 08:19.900 align:left position:10% line:83% size:80%
You do tend to drop
into certain habits and cliches.
08:19.900 --> 08:23.233 align:left position:15% line:83% size:75%
I like to change key a lot
so I can get away from that.
08:23.233 --> 08:25.466 align:left position:30% line:83% size:60%
So in a way,
I think I'm happy
08:25.466 --> 08:28.866 align:left position:25% line:83% size:65%
that I haven't fallen
into some really...
08:28.866 --> 08:32.066 align:left position:30% line:89% size:60%
well-known style.
08:32.066 --> 08:33.866 align:left position:17.5% line:83% size:72.5%
This way,
I can keep changing around
08:33.866 --> 08:35.533 align:left position:25% line:83% size:65%
and jumping
from place to place.
08:36.366 --> 08:37.933 align:left position:87.5% line:5% size:2.5%
♪
08:37.933 --> 08:39.966 align:left position:27.5% line:89% size:62.5%
["Twilight World"]
08:39.966 --> 08:41.466 align:left position:22.5% line:83% size:67.5%
(narrator) In addition
to playing music
08:41.466 --> 08:42.833 align:left position:27.5% line:89% size:62.5%
by other composers,
08:42.833 --> 08:46.400 align:left position:15% line:83% size:75%
Marian wrote many songs which
have became jazz standards,
08:46.400 --> 08:50.866 align:left position:20% line:83% size:70%
such as "Twilight World,"
"With You in Mind,"
08:50.866 --> 08:55.333 align:left position:17.5% line:83% size:72.5%
"In the Days of Our Love,"
and "Ambience."
08:55.333 --> 08:57.066 align:left position:50% line:89% size:40%
♪
08:57.066 --> 09:00.766 align:left position:22.5% line:83% size:67.5%
In 1958, Marian was
invited to participate
09:00.766 --> 09:04.566 align:left position:17.5% line:83% size:72.5%
in the now famous "Great
Day in Harlem" photo shoot
09:04.566 --> 09:06.666 align:left position:20% line:89% size:70%
for "Esquire" magazine.
09:06.666 --> 09:07.900 align:left position:50% line:89% size:40%
♪
09:07.900 --> 09:09.966 align:left position:15% line:83% size:75%
(McPartland) Actually, I was
at the Hickory House,
09:09.966 --> 09:15.533 align:left position:17.5% line:83% size:72.5%
and Nat Hentoff came by
in a great hurry and said,
09:15.533 --> 09:18.433 align:left position:22.5% line:83% size:67.5%
"There's going to be
a wonderful photograph
09:18.433 --> 09:20.400 align:left position:17.5% line:89% size:72.5%
"taken in Harlem tomorrow,
09:20.400 --> 09:26.233 align:left position:15% line:83% size:75%
and if you want to be there,
you've got to be at 125th"--
09:26.233 --> 09:28.666 align:left position:22.5% line:83% size:67.5%
whatever it was;
I forget the address--
09:28.666 --> 09:30.666 align:left position:17.5% line:83% size:72.5%
"But you've got to be there
at 10:00."
09:30.666 --> 09:31.866 align:left position:50% line:89% size:40%
♪
09:31.866 --> 09:33.233 align:left position:40% line:89% size:50%
Well...
09:33.233 --> 09:35.300 align:left position:35% line:83% size:55%
that wasn't
a very good hour.
09:35.300 --> 09:38.266 align:left position:37.5% line:89% size:52.5%
[laughter]
09:38.266 --> 09:41.100 align:left position:30% line:83% size:60%
Some musicians
were heard to say
09:41.100 --> 09:44.200 align:left position:15% line:83% size:75%
that they didn't know
there were two ten o'clocks.
09:44.200 --> 09:47.800 align:left position:37.5% line:89% size:52.5%
[laughter]
09:47.800 --> 09:51.933 align:left position:20% line:77% size:70%
(narrator)
Marian McPartland
had truly paid her dues.
09:51.933 --> 09:55.800 align:left position:17.5% line:83% size:72.5%
In spite of being English,
white, and female,
09:55.800 --> 09:58.033 align:left position:17.5% line:89% size:72.5%
she was now a shining star
09:58.033 --> 10:00.000 align:left position:25% line:89% size:65%
in the world of jazz.
10:00.000 --> 10:02.566 align:left position:35% line:89% size:55%
(music fades)
10:02.566 --> 10:05.600 align:left position:17.5% line:83% size:72.5%
(Elvis) ♪ You ain't nothin'
but a hound dog, ♪
10:05.600 --> 10:08.266 align:left position:17.5% line:89% size:72.5%
♪ cryin' all the time. ♪♪♪
10:08.266 --> 10:11.533 align:left position:12.5% line:83% size:77.5%
(narrator) With the emergence
of rock and roll in the 1950s,
10:11.533 --> 10:14.400 align:left position:22.5% line:83% size:67.5%
jazz surrendered a lot
of its audience.
10:14.400 --> 10:17.133 align:left position:27.5% line:83% size:62.5%
That's when Marian
became an advocate
10:17.133 --> 10:19.500 align:left position:32.5% line:83% size:57.5%
for jazz
in the schools.
10:19.500 --> 10:21.433 align:left position:22.5% line:83% size:67.5%
(McPartland)
When I started playing
10:21.433 --> 10:25.066 align:left position:20% line:89% size:70%
in a school in the 1950s,
10:25.066 --> 10:27.366 align:left position:20% line:83% size:70%
and I asked for requests
from the kids,
10:27.366 --> 10:29.300 align:left position:35% line:83% size:55%
one kid
hollered out,
10:29.300 --> 10:31.033 align:left position:27.5% line:83% size:62.5%
"You Ain't Nothin'
but a Hound Dog"!
10:31.033 --> 10:32.200 align:left position:35% line:89% size:55%
(host laughs)
10:32.200 --> 10:33.600 align:left position:32.5% line:83% size:57.5%
And I thought,
My goodness,
10:33.600 --> 10:36.400 align:left position:32.5% line:83% size:57.5%
if this is all
they listen to,
10:36.400 --> 10:38.733 align:left position:15% line:83% size:75%
I should try to let them know
there's Duke Ellington
10:38.733 --> 10:42.600 align:left position:27.5% line:83% size:62.5%
and Coleman Hawkins
and Count Basie
10:42.600 --> 10:44.133 align:left position:27.5% line:83% size:62.5%
and all the other
great jazz people.
10:44.133 --> 10:45.633 align:left position:50% line:89% size:40%
♪
10:45.633 --> 10:50.133 align:left position:15% line:83% size:75%
I would say to anybody
that can play an instrument,
10:50.133 --> 10:56.066 align:left position:10% line:83% size:80%
you can have somebody teach you
certain aspects of jazz,
10:56.066 --> 10:57.533 align:left position:27.5% line:83% size:62.5%
and then if you're
motivated enough,
10:57.533 --> 10:59.966 align:left position:17.5% line:83% size:72.5%
you can go on and discover
more for yourself.
10:59.966 --> 11:02.933 align:left position:22.5% line:83% size:67.5%
I suppose part of it's
a selfish reason.
11:02.933 --> 11:05.466 align:left position:25% line:83% size:65%
I mean, it's our new
audience coming up,
11:05.466 --> 11:08.633 align:left position:17.5% line:83% size:72.5%
and I really feel that they
should be exposed to jazz
11:08.633 --> 11:13.066 align:left position:17.5% line:83% size:72.5%
in the same way as they are
to ballet and opera.
11:13.066 --> 11:19.300 align:left position:15% line:83% size:75%
I mean, for kids these are
considered obligatory outings
11:19.300 --> 11:22.000 align:left position:20% line:83% size:70%
because it's cultural,
but so is a jazz concert.
11:22.000 --> 11:24.200 align:left position:12.5% line:83% size:77.5%
So if they don't take them out
to a jazz concert,
11:24.200 --> 11:26.700 align:left position:17.5% line:83% size:72.5%
I'd just assume,
bring one into the school.
11:26.700 --> 11:29.366 align:left position:22.5% line:5% size:67.5%
Could you guys call
out some notes for me?
11:29.366 --> 11:31.233 align:left position:32.5% line:5% size:57.5%
(students) C...
A flat.
11:31.233 --> 11:33.766 align:left position:57.5% line:5% size:32.5%
B... G...
11:33.766 --> 11:35.200 align:left position:47.5% line:83% size:42.5%
E.
(McPartland) Oh!
11:35.200 --> 11:36.766 align:left position:37.5% line:89% size:52.5%
[laughter]
11:36.766 --> 11:41.433 align:left position:87.5% line:5% size:2.5%
♪
11:41.433 --> 11:47.600 align:left position:27.5% line:83% size:62.5%
(McPartland)
C, A flat, B, G, E.
11:47.600 --> 11:50.133 align:left position:87.5% line:5% size:2.5%
♪
11:50.133 --> 11:53.833 align:left position:20% line:89% size:70%
[playing improvised song]
11:53.833 --> 11:55.233 align:left position:22.5% line:83% size:67.5%
(narrator)
Jazz education has been
11:55.233 --> 11:59.366 align:left position:15% line:5% size:75%
an important aspect of Marian
McPartland's life ever since.
11:59.366 --> 12:07.733 align:left position:87.5% line:5% size:2.5%
♪
12:07.733 --> 12:09.566 align:left position:87.5% line:5% size:2.5%
♪
12:09.566 --> 12:12.466 align:left position:12.5% line:83% size:77.5%
(narrator) Another way Marian
extended her musical influence
12:12.466 --> 12:16.366 align:left position:15% line:83% size:75%
was by performing with
orchestras in concert halls.
12:16.366 --> 12:19.866 align:left position:17.5% line:83% size:72.5%
>> For a while, I was doing
some classical things.
12:19.866 --> 12:24.433 align:left position:12.5% line:5% size:77.5%
I was doing "Rhapsody in Blue"
as part of my program,
12:24.433 --> 12:26.433 align:left position:27.5% line:5% size:62.5%
or I would do
the Grieg concerto.
12:26.433 --> 12:31.333 align:left position:12.5% line:5% size:77.5%
But I have other things,
like Gershwin, Duke Ellington,
12:31.333 --> 12:34.200 align:left position:10% line:83% size:80%
and some pieces of my own
arranged for symphony orchestra.
12:34.200 --> 12:36.600 align:left position:87.5% line:5% size:2.5%
♪
12:36.600 --> 12:38.033 align:left position:22.5% line:83% size:67.5%
(narrator)
Her interest in larger
12:38.033 --> 12:41.433 align:left position:15% line:89% size:75%
performing venues continued.
12:41.433 --> 12:46.033 align:left position:12.5% line:83% size:77.5%
In 2007, McPartland premiered
her "Portrait of Rachel Carson"
12:46.033 --> 12:51.000 align:left position:15% line:83% size:75%
with the University
of South Carolina Orchestra.
12:51.000 --> 12:53.766 align:left position:27.5% line:83% size:62.5%
This symphonic
piece pays tribute
12:53.766 --> 12:56.933 align:left position:12.5% line:83% size:77.5%
to the author who jump-started
the environmental movement
12:56.933 --> 13:01.033 align:left position:22.5% line:83% size:67.5%
in 1962 with her book,
"Silent Spring."
13:01.033 --> 13:02.800 align:left position:50% line:89% size:40%
♪
13:02.800 --> 13:06.266 align:left position:15% line:83% size:75%
In the '60s and '70s, Marian
advanced the cause of jazz
13:06.266 --> 13:08.733 align:left position:25% line:83% size:65%
by starting
her own record label
13:08.733 --> 13:10.733 align:left position:32.5% line:83% size:57.5%
and writing
music reviews.
13:10.733 --> 13:12.833 align:left position:50% line:89% size:40%
♪
13:12.833 --> 13:15.066 align:left position:20% line:83% size:70%
All of this prepared her
to become the host
13:15.066 --> 13:17.733 align:left position:22.5% line:83% size:67.5%
of "Marian McPartland's
Piano Jazz,"
13:17.733 --> 13:19.966 align:left position:22.5% line:83% size:67.5%
a radio program
developed and produced
13:19.966 --> 13:22.166 align:left position:27.5% line:83% size:62.5%
by South Carolina
Educational Radio
13:22.166 --> 13:26.700 align:left position:17.5% line:83% size:72.5%
that has been heard on NPR
since April 1979,
13:26.700 --> 13:30.833 align:left position:15% line:83% size:75%
with over 700 shows reaching
listeners worldwide.
13:30.833 --> 13:33.100 align:left position:50% line:89% size:40%
♪
13:33.100 --> 13:36.600 align:left position:10% line:83% size:80%
(McPartland) Alec Wilder had
an extremely successful series,
13:36.600 --> 13:38.566 align:left position:20% line:89% size:70%
"American Popular Song,"
13:38.566 --> 13:43.133 align:left position:17.5% line:5% size:72.5%
and that ended,
and I think, a few people--
13:43.133 --> 13:44.666 align:left position:30% line:5% size:60%
I don't know who
exactly--
13:44.666 --> 13:46.400 align:left position:25% line:83% size:65%
were sort of thinking
it'd be nice
13:46.400 --> 13:48.033 align:left position:30% line:83% size:60%
to have something
to follow that.
13:48.033 --> 13:54.066 align:left position:15% line:83% size:75%
So the easiest--and possibly
the least expensive, too--
13:54.066 --> 13:57.233 align:left position:17.5% line:83% size:72.5%
thing that we could think
of to do was two pianos,
13:57.233 --> 14:02.466 align:left position:15% line:83% size:75%
something which I considered
myself pretty good at.
14:02.466 --> 14:03.833 align:left position:85% line:89% size:5%
♪
14:03.833 --> 14:08.200 align:left position:15% line:83% size:75%
(narrator) Marian had played
with most of the jazz greats.
14:08.200 --> 14:11.000 align:left position:35% line:83% size:55%
(McPartland)
I could think of ten people
14:11.000 --> 14:13.033 align:left position:27.5% line:83% size:62.5%
I wanted
right off the bat--
14:13.033 --> 14:14.466 align:left position:27.5% line:89% size:62.5%
bang, bang, bang--
14:14.466 --> 14:16.400 align:left position:22.5% line:83% size:67.5%
you know, Hazel Scott,
Mary Lou,
14:16.400 --> 14:18.566 align:left position:30% line:83% size:60%
Bill Evans,
George Shearing,
14:18.566 --> 14:23.266 align:left position:20% line:83% size:70%
Oscar Peterson,
and John Lewis and so on.
14:23.266 --> 14:24.900 align:left position:30% line:83% size:60%
The list
was never ending.
14:24.900 --> 14:26.633 align:left position:27.5% line:47% size:62.5%
Play, another blues
in another key.
14:26.633 --> 14:27.966 align:left position:27.5% line:5% size:62.5%
What's
your favorite key?
14:27.966 --> 14:29.466 align:left position:15% line:5% size:75%
(Williams) It doesn't matter.
14:29.466 --> 14:30.966 align:left position:25% line:5% size:65%
It's according
to what mood I'm in.
14:30.966 --> 14:32.333 align:left position:20% line:83% size:70%
(McPartland)
What mood are you in now?
14:32.333 --> 14:34.800 align:left position:17.5% line:83% size:72.5%
Are you in a B-flat mood,
or are you in a D-flat mood?
14:34.800 --> 14:36.466 align:left position:35% line:83% size:55%
(Williams)
I don't know.
14:36.466 --> 14:38.866 align:left position:15% line:83% size:75%
I could just be flat, period.
(laughs)
14:38.866 --> 14:40.066 align:left position:50% line:89% size:40%
♪
14:40.066 --> 14:41.533 align:left position:15% line:83% size:75%
(McPartland)
When I started, I thought it
14:41.533 --> 14:46.366 align:left position:25% line:83% size:65%
was just going to be
13 shows and that's it.
14:46.366 --> 14:50.033 align:left position:30% line:83% size:60%
All of a sudden,
they say,
14:50.033 --> 14:51.366 align:left position:27.5% line:83% size:62.5%
"We want you
to do another one,"
14:51.366 --> 14:54.200 align:left position:10% line:83% size:80%
and time went on,
and another one and another one.
14:54.200 --> 14:57.266 align:left position:25% line:83% size:65%
It's got to the point
now where,
14:57.266 --> 15:00.366 align:left position:25% line:83% size:65%
if I didn't do it,
it would be terrible!
15:00.366 --> 15:02.033 align:left position:50% line:89% size:40%
♪
15:02.033 --> 15:04.366 align:left position:15% line:83% size:75%
(narrator) Very quickly, the
series became a favorite
15:04.366 --> 15:07.233 align:left position:20% line:83% size:70%
with listeners
and a desired destination
15:07.233 --> 15:09.733 align:left position:27.5% line:83% size:62.5%
for every important
jazz artist.
15:09.733 --> 15:12.000 align:left position:30% line:83% size:60%
"Piano Jazz" was
a perfect fit
15:12.000 --> 15:14.166 align:left position:25% line:83% size:65%
for Marian's
conversational skills
15:14.166 --> 15:18.200 align:left position:20% line:83% size:70%
and ability to complement
the guest musically.
15:18.200 --> 15:28.200 align:left position:87.5% line:5% size:2.5%
♪
15:28.200 --> 15:38.200 align:left position:87.5% line:5% size:2.5%
♪
15:38.200 --> 15:43.833 align:left position:87.5% line:5% size:2.5%
♪
15:43.833 --> 15:45.633 align:left position:20% line:83% size:70%
(McPartland, voice-over)
I was very nervous,
15:45.633 --> 15:50.000 align:left position:15% line:83% size:75%
and that's one of the things
I think I've learned,
15:50.000 --> 15:54.200 align:left position:15% line:83% size:75%
was a skill in interviewing,
although I had, had a-
15:54.200 --> 15:58.166 align:left position:15% line:83% size:75%
like a disc jockey show on
another station years before,
15:58.166 --> 15:59.466 align:left position:32.5% line:83% size:57.5%
which I guess
got me started.
15:59.466 --> 16:00.566 align:left position:50% line:89% size:40%
♪
16:00.566 --> 16:03.000 align:left position:35% line:83% size:55%
You're not,
quote, "on."
16:03.000 --> 16:05.166 align:left position:10% line:83% size:80%
You know you can just sit there
and be relaxed,
16:05.166 --> 16:06.866 align:left position:27.5% line:89% size:62.5%
try and be natural,
16:06.866 --> 16:09.900 align:left position:17.5% line:83% size:72.5%
or, actually,
as being natural as I can.
16:09.900 --> 16:13.066 align:left position:22.5% line:83% size:67.5%
And the thing is,
I am really interested
16:13.066 --> 16:16.066 align:left position:25% line:89% size:65%
in the other person.
16:16.066 --> 16:18.233 align:left position:10% line:83% size:80%
>> You know I was thinking about
"A Child Is Born."
16:18.233 --> 16:20.233 align:left position:10% line:83% size:80%
Would you like to play that?
(McPartland) I'd love to.
16:20.233 --> 16:22.033 align:left position:10% line:83% size:80%
(Mulgrew)
Yeah, let's play that.
16:22.033 --> 16:24.466 align:left position:10% line:83% size:80%
(McPartland) I know how
I'd feel if I was sitting there.
16:24.466 --> 16:28.300 align:left position:20% line:83% size:70%
I like to make them feel
as good as possible.
16:28.300 --> 16:32.233 align:left position:10% line:83% size:80%
But then sometimes, to sit there
and play a solo
16:32.233 --> 16:34.566 align:left position:10% line:83% size:80%
as I do on the show, I play two
or three solos myself-
16:34.566 --> 16:37.566 align:left position:25% line:83% size:65%
to have to sit there
to play a solo
16:37.566 --> 16:40.733 align:left position:12.5% line:83% size:77.5%
while somebody like
Oscar Peterson is watching me,
16:40.733 --> 16:43.166 align:left position:25% line:83% size:65%
you know, that's not
my favorite moment.
16:43.166 --> 16:51.400 align:left position:15% line:83% size:75%
But it has so it's taught me
to think up a lot of tunes,
16:51.400 --> 16:53.133 align:left position:12.5% line:89% size:77.5%
how to play them, and how to...
16:53.133 --> 16:55.700 align:left position:20% line:83% size:70%
really simply relax
about a thing like that.
16:55.700 --> 16:58.700 align:left position:87.5% line:5% size:2.5%
♪
16:58.700 --> 17:00.800 align:left position:22.5% line:5% size:67.5%
What makes a good show?
17:00.800 --> 17:02.666 align:left position:30% line:5% size:60%
Well, a mixture
of things.
17:02.666 --> 17:05.066 align:left position:27.5% line:5% size:62.5%
If you get a guest
that talks,
17:05.066 --> 17:08.000 align:left position:25% line:83% size:65%
that will be a good
conversationalist,
17:08.000 --> 17:14.033 align:left position:17.5% line:5% size:72.5%
I mean, the one with Clint
was good because he talked,
17:14.033 --> 17:17.066 align:left position:35% line:5% size:55%
and I played
his pieces,
17:17.066 --> 17:19.900 align:left position:27.5% line:83% size:62.5%
and everything
went very smoothly.
17:19.900 --> 17:21.133 align:left position:50% line:89% size:40%
♪
17:21.133 --> 17:24.000 align:left position:20% line:83% size:70%
(Narrator) South Carolina
native Dizzy Gillespie
17:24.000 --> 17:25.766 align:left position:22.5% line:89% size:67.5%
was a memorable guest.
17:25.766 --> 17:29.666 align:left position:15% line:83% size:75%
(McPartland) Having Dizzy was
a great experience for me.
17:29.666 --> 17:33.466 align:left position:22.5% line:83% size:67.5%
He's such a funny guy
and such a sweet guy.
17:33.466 --> 17:37.566 align:left position:20% line:83% size:70%
I did write a great piece
for him...really nice.
17:37.566 --> 17:38.933 align:left position:32.5% line:83% size:57.5%
(narrator)
Marian is known
17:38.933 --> 17:42.333 align:left position:20% line:83% size:70%
for composing musical
portraits of her guests.
17:42.333 --> 17:43.600 align:left position:30% line:83% size:60%
(McPartland)
Well, it's funny
17:43.600 --> 17:46.533 align:left position:17.5% line:83% size:72.5%
because it started
with Chick Corea years ago,
17:46.533 --> 17:50.933 align:left position:30% line:89% size:60%
and he said, um,
17:50.933 --> 17:54.566 align:left position:15% line:83% size:75%
"I've decided I'm going to do
a musical portrait of you."
17:54.566 --> 17:57.066 align:left position:20% line:83% size:70%
(Chick Corea)
I'm not gonna use words.
17:57.066 --> 17:59.233 align:left position:30% line:83% size:60%
I'll just try
a sound portrait.
17:59.233 --> 18:00.566 align:left position:30% line:89% size:60%
I hear a melody.
18:00.566 --> 18:03.000 align:left position:15% line:83% size:75%
(McPartland) Please keep
my nose out of this picture.
18:03.000 --> 18:05.966 align:left position:12.5% line:83% size:77.5%
(Corea) No nose. This is about
you, not your nose.
18:05.966 --> 18:12.066 align:left position:87.5% line:5% size:2.5%
♪
18:12.066 --> 18:13.466 align:left position:30% line:83% size:60%
(McPartland)
So he played a...
18:13.466 --> 18:15.800 align:left position:25% line:89% size:65%
a really nice piece,
18:15.800 --> 18:19.033 align:left position:25% line:83% size:65%
and I'd never thought
of such an idea.
18:19.033 --> 18:22.700 align:left position:15% line:83% size:75%
And I said, "Well, maybe I
should return the compliment
18:22.700 --> 18:27.100 align:left position:17.5% line:83% size:72.5%
and try to play a portrait
of you," which I did.
18:27.100 --> 18:34.733 align:left position:87.5% line:5% size:2.5%
♪
18:34.733 --> 18:40.966 align:left position:12.5% line:83% size:77.5%
And that gave me the idea of
doing that for certain guests.
18:40.966 --> 18:42.333 align:left position:15% line:89% size:75%
You know what I'd like to do,
18:42.333 --> 18:45.566 align:left position:30% line:83% size:60%
and maybe this is
taking a chance,
18:45.566 --> 18:49.066 align:left position:25% line:5% size:65%
but that is to do
a kind of improvised
18:49.066 --> 18:51.933 align:left position:30% line:5% size:60%
portrait
of you right now.
18:51.933 --> 18:54.300 align:left position:15% line:83% size:75%
(Brubeck) I'll bet you don't
know what you're gonna do.
18:54.300 --> 18:55.666 align:left position:22.5% line:83% size:67.5%
(McPartland) I haven't
the faintest idea.
18:55.666 --> 18:57.466 align:left position:27.5% line:89% size:62.5%
(audience laughter)
18:57.466 --> 18:59.166 align:left position:30% line:83% size:60%
(Brubeck)
But that's great!
18:59.166 --> 19:02.700 align:left position:15% line:83% size:75%
(McPartland) I just hope that
it'll, it'll, um...
19:02.700 --> 19:04.466 align:left position:25% line:83% size:65%
please you,
that you'll like it.
19:04.466 --> 19:05.800 align:left position:40% line:83% size:50%
(Brubeck)
Already I'm pleased!
19:05.800 --> 19:07.200 align:left position:25% line:83% size:65%
(McPartland)
All right, here goes.
19:07.200 --> 19:17.200 align:left position:87.5% line:5% size:2.5%
♪
19:17.200 --> 19:27.200 align:left position:87.5% line:5% size:2.5%
♪
19:27.200 --> 19:28.800 align:left position:20% line:83% size:70%
(narrator)
Far from being exclusive,
19:28.800 --> 19:32.766 align:left position:15% line:83% size:75%
Marian enjoys inviting
up-and-coming young musicians
19:32.766 --> 19:34.133 align:left position:27.5% line:89% size:62.5%
to be on the show.
19:34.133 --> 19:36.533 align:left position:17.5% line:83% size:72.5%
(McPartland)
Hi, I'm Marian McPartland,
19:36.533 --> 19:39.333 align:left position:27.5% line:83% size:62.5%
and my guest today
on "Piano Jazz"
19:39.333 --> 19:41.533 align:left position:25% line:89% size:65%
is pianist/composer
19:41.533 --> 19:44.266 align:left position:20% line:89% size:70%
Julian Waterfall Pollack,
19:44.266 --> 19:47.333 align:left position:25% line:83% size:65%
a young man,
and I do mean young.
19:47.333 --> 19:57.333 align:left position:87.5% line:5% size:2.5%
♪
19:57.333 --> 19:59.666 align:left position:87.5% line:5% size:2.5%
♪
19:59.666 --> 20:00.866 align:left position:35% line:83% size:55%
(McPartland)
Yeah!
20:00.866 --> 20:02.066 align:left position:32.5% line:83% size:57.5%
(Ray Charles)
♪ Am I blue? ♪
20:02.066 --> 20:04.200 align:left position:20% line:83% size:70%
(McPartland)
Okay, okay, in that key?
20:04.200 --> 20:06.333 align:left position:50% line:89% size:40%
♪
20:06.333 --> 20:08.466 align:left position:32.5% line:83% size:57.5%
(Charles)
♪ Am I blue? ♪
20:08.466 --> 20:11.100 align:left position:12.5% line:83% size:77.5%
(narrator) And Marian includes
all types of jazz
20:11.100 --> 20:12.233 align:left position:47.5% line:89% size:42.5%
in her programs.
20:12.233 --> 20:20.600 align:left position:15% line:83% size:75%
(Charles) ♪ Ain't these tears
in these eyes ♪
20:20.600 --> 20:21.833 align:left position:50% line:89% size:40%
♪
20:21.833 --> 20:25.266 align:left position:22.5% line:89% size:67.5%
♪ tellin' you, baby? ♪
20:25.266 --> 20:28.466 align:left position:87.5% line:5% size:2.5%
♪
20:28.466 --> 20:30.066 align:left position:20% line:83% size:70%
(McPartland, voice-over)
I know
20:30.066 --> 20:34.233 align:left position:10% line:83% size:80%
that there are so many different
kinds of fans out there,
20:34.233 --> 20:38.233 align:left position:27.5% line:83% size:62.5%
some who like more
traditional music,
20:38.233 --> 20:39.600 align:left position:25% line:83% size:65%
and we have somebody
for them,
20:39.600 --> 20:42.533 align:left position:25% line:83% size:65%
like Norma Teagarden
or Jess Stacy,
20:42.533 --> 20:45.600 align:left position:27.5% line:83% size:62.5%
somebody who loves
Bill Evans.
20:45.600 --> 20:47.966 align:left position:30% line:83% size:60%
We were
fortunate enough
20:47.966 --> 20:50.133 align:left position:22.5% line:83% size:67.5%
to have Bill Evans
before he passed away.
20:50.133 --> 20:51.833 align:left position:17.5% line:5% size:72.5%
(Bill Evans) Now we've got
to get back to C...
20:51.833 --> 20:53.466 align:left position:42.5% line:5% size:47.5%
see what's dominant
♪
20:53.466 --> 20:57.300 align:left position:32.5% line:89% size:57.5%
[piano music]
20:57.300 --> 21:04.166 align:left position:87.5% line:5% size:2.5%
♪
21:04.166 --> 21:07.466 align:left position:32.5% line:89% size:57.5%
[piano music]
21:07.466 --> 21:11.900 align:left position:50% line:89% size:40%
♪
21:11.900 --> 21:15.366 align:left position:22.5% line:5% size:67.5%
(McPartland)
I suppose I'm probably
21:15.366 --> 21:20.933 align:left position:17.5% line:5% size:72.5%
the all-time Bill Evans fan
of the world.
21:20.933 --> 21:23.100 align:left position:27.5% line:89% size:62.5%
That's not to say
21:23.100 --> 21:27.366 align:left position:15% line:83% size:75%
that I don't enjoy
and appreciate other styles.
21:27.366 --> 21:29.166 align:left position:27.5% line:89% size:62.5%
I mean, you know,
21:29.166 --> 21:30.833 align:left position:32.5% line:83% size:57.5%
there's so much
in music,
21:30.833 --> 21:34.000 align:left position:12.5% line:83% size:77.5%
and there's so much that's
different in all these people.
21:34.000 --> 21:38.266 align:left position:25% line:83% size:65%
To be able to absorb
some of it myself,
21:38.266 --> 21:40.466 align:left position:25% line:83% size:65%
you know, it's really
an education for me.
21:40.466 --> 21:43.833 align:left position:17.5% line:83% size:72.5%
(Tony Bennett) ♪ When skies
are cloudy and gray, ♪
21:43.833 --> 21:46.333 align:left position:50% line:89% size:40%
♪
21:46.333 --> 21:48.533 align:left position:27.5% line:83% size:62.5%
♪ they're only gray
for a day... ♪♪♪
21:48.533 --> 21:51.766 align:left position:15% line:83% size:75%
(narrator) Marian has hosted
many non-piano players,
21:51.766 --> 21:55.066 align:left position:25% line:83% size:65%
such as Tony Bennett,
Lionel Hampton,
21:55.066 --> 21:56.800 align:left position:25% line:89% size:65%
and Nnenna Freelon.
21:56.800 --> 21:59.266 align:left position:10% line:5% size:80%
(McPartland) What key
do you do it in?
21:59.266 --> 22:01.266 align:left position:10% line:5% size:80%
(silence)
22:01.266 --> 22:04.133 align:left position:10% line:5% size:80%
Oh, you're playing it
in the right key.
22:04.133 --> 22:05.400 align:left position:70% line:5% size:20%
>> In D?
22:05.400 --> 22:08.300 align:left position:10% line:83% size:80%
(McPartland)
D...yeah.
22:08.300 --> 22:15.366 align:left position:87.5% line:5% size:2.5%
♪
22:15.366 --> 22:21.933 align:left position:87.5% line:5% size:2.5%
♪
22:21.933 --> 22:23.266 align:left position:22.5% line:83% size:67.5%
(narrator)
Later, she branched out
22:23.266 --> 22:26.800 align:left position:12.5% line:83% size:77.5%
to include artists who are not
usually associated with jazz
22:26.800 --> 22:30.533 align:left position:15% line:5% size:75%
but count it as one
of their primary influences.
22:30.533 --> 22:37.966 align:left position:15% line:5% size:75%
(Elvis Costello) ♪ ...they're
only made of clay, ♪
22:37.966 --> 22:42.933 align:left position:30% line:89% size:60%
♪ but our love ♪
22:42.933 --> 22:47.566 align:left position:32.5% line:89% size:57.5%
♪ is here... ♪
22:47.566 --> 22:52.366 align:left position:37.5% line:89% size:52.5%
♪ to... ♪
22:52.366 --> 22:55.433 align:left position:40% line:89% size:50%
♪ stay. ♪
22:55.433 --> 23:01.533 align:left position:87.5% line:5% size:2.5%
♪
23:01.533 --> 23:05.933 align:left position:62.5% line:5% size:27.5%
(song ends)
23:07.166 --> 23:10.300 align:left position:40% line:5% size:50%
♪ ["There Will Never
Be Another You"]
23:10.300 --> 23:13.500 align:left position:50% line:89% size:40%
♪
23:13.500 --> 23:15.833 align:left position:15% line:83% size:75%
(narrator) Marian celebrated
the 25th anniversary
23:15.833 --> 23:16.966 align:left position:30% line:89% size:60%
of "Piano Jazz"
23:16.966 --> 23:19.133 align:left position:25% line:83% size:65%
with a live taping
at the Kennedy Center
23:19.133 --> 23:24.066 align:left position:25% line:83% size:65%
in Washington, D.C.,
on June 4, 2004,
23:24.066 --> 23:26.866 align:left position:27.5% line:83% size:62.5%
with special guest
Peter Cincotti...
23:26.866 --> 23:28.533 align:left position:50% line:89% size:40%
♪
23:28.533 --> 23:29.700 align:left position:22.5% line:89% size:67.5%
and her 90th birthday
23:29.700 --> 23:33.733 align:left position:17.5% line:83% size:72.5%
with a special "Piano Jazz"
at Lincoln Center.
23:33.733 --> 23:35.433 align:left position:15% line:47% size:75%
(Bill Clinton) Marian
McPartland, as you all know,
23:35.433 --> 23:37.766 align:left position:25% line:47% size:65%
plays improvisational
jazz piano
23:37.766 --> 23:40.133 align:left position:20% line:47% size:70%
and has now been playing
it quite wonderfully
23:40.133 --> 23:42.533 align:left position:20% line:47% size:70%
for over seven decades...
23:42.533 --> 23:44.200 align:left position:37.5% line:89% size:52.5%
[laughter]
23:44.200 --> 23:46.533 align:left position:22.5% line:83% size:67.5%
with just as much
energy and enthusiasm--
23:46.533 --> 23:48.133 align:left position:15% line:83% size:75%
I should not have said that!
I should have...
23:48.133 --> 23:50.566 align:left position:37.5% line:89% size:52.5%
[laughter]
23:50.566 --> 23:52.800 align:left position:37.5% line:83% size:52.5%
I should...
I had the chart here.
23:52.800 --> 23:55.433 align:left position:12.5% line:83% size:77.5%
That's the part where I should
have ad-libbed, but I didn't.
23:55.433 --> 23:57.033 align:left position:62.5% line:47% size:27.5%
[laughter]
23:57.033 --> 24:02.000 align:left position:87.5% line:47% size:2.5%
♪
24:02.000 --> 24:06.333 align:left position:60% line:47% size:30%
(song fades)
24:06.333 --> 24:09.633 align:left position:87.5% line:47% size:2.5%
♪
24:09.633 --> 24:11.833 align:left position:15% line:83% size:75%
(narrator) Accolades followed
Marian McPartland
24:11.833 --> 24:14.633 align:left position:27.5% line:89% size:62.5%
wherever she goes.
24:14.633 --> 24:18.866 align:left position:17.5% line:83% size:72.5%
"Piano Jazz" earned
the coveted Peabody Award,
24:18.866 --> 24:22.533 align:left position:15% line:83% size:75%
and Marian received a Special
Merit Award at the Grammys.
24:22.533 --> 24:27.566 align:left position:22.5% line:83% size:67.5%
She even is an Officer
of the British Empire.
24:27.566 --> 24:28.900 align:left position:22.5% line:83% size:67.5%
Presenter>
This is in recognition
24:28.900 --> 24:31.333 align:left position:20% line:5% size:70%
of the valuable services
rendered to jazz
24:31.333 --> 24:33.900 align:left position:22.5% line:5% size:67.5%
and aspiring musicians
in the U.S.A.
24:33.900 --> 24:36.933 align:left position:17.5% line:83% size:72.5%
that Her Majesty the Queen
has appointed you, Marian
24:36.933 --> 24:39.233 align:left position:20% line:83% size:70%
to be an Officer of
the Most Excellent Order
24:39.233 --> 24:40.800 align:left position:22.5% line:89% size:67.5%
of the British Empire.
24:40.800 --> 24:43.966 align:left position:10% line:83% size:80%
And I conclude by saying,
It is with great, great pleasure
24:43.966 --> 24:46.566 align:left position:15% line:83% size:75%
that on Her Majesty's behalf,
and her instructions
24:46.566 --> 24:49.033 align:left position:15% line:83% size:75%
I present you
with the badge of the Order.
24:49.033 --> 24:51.733 align:left position:15% line:83% size:75%
May I congratulate you
on this well deserved honor.
24:51.733 --> 24:55.833 align:left position:37.5% line:89% size:52.5%
[applause]
24:55.833 --> 25:00.900 align:left position:37.5% line:89% size:52.5%
[applause]
25:00.900 --> 25:07.366 align:left position:40% line:89% size:50%
(silence)
25:07.366 --> 25:12.333 align:left position:87.5% line:5% size:2.5%
♪
25:12.333 --> 25:14.133 align:left position:27.5% line:77% size:62.5%
(narrator)
Marian McPartland's
contribution
25:14.133 --> 25:18.300 align:left position:25% line:83% size:65%
to the world of jazz
is unfathomable.
25:18.300 --> 25:22.533 align:left position:15% line:83% size:75%
From her beginnings as an
obscure English piano player,
25:22.533 --> 25:24.933 align:left position:30% line:83% size:60%
not only did she
master the art,
25:24.933 --> 25:27.000 align:left position:32.5% line:83% size:57.5%
but took jazz
to new heights
25:27.000 --> 25:29.433 align:left position:25% line:83% size:65%
and became
its biggest activist.
25:29.433 --> 25:31.433 align:left position:50% line:89% size:40%
♪
25:31.433 --> 25:33.766 align:left position:25% line:83% size:65%
Marian is recognized
and appreciated
25:33.766 --> 25:35.933 align:left position:30% line:83% size:60%
for her knowledge
and skills
25:35.933 --> 25:39.066 align:left position:12.5% line:83% size:77.5%
in presenting one of America's
greatest art forms,
25:39.066 --> 25:42.933 align:left position:15% line:89% size:75%
jazz, to anyone who listens.
25:42.933 --> 25:47.433 align:left position:50% line:89% size:40%
♪
25:47.433 --> 25:49.466 align:left position:17.5% line:83% size:72.5%
(Brubeck) What you have to do
is say your name
25:49.466 --> 25:53.700 align:left position:25% line:83% size:65%
in this rhythm:
♪ Mar-i-an Mc-Part-land. ♪
25:53.700 --> 25:57.466 align:left position:17.5% line:83% size:72.5%
(audience)
♪ Mar-i-an Mc-Part-land. ♪♪♪
25:57.466 --> 26:07.533 align:left position:87.5% line:5% size:2.5%
♪
26:07.533 --> 26:17.533 align:left position:87.5% line:5% size:2.5%
♪
26:17.533 --> 26:20.433 align:left position:22.5% line:83% size:67.5%
Captioned by:
CompuScripts Captioning
26:20.433 --> 26:30.433 align:left position:50% line:89% size:40%
♪
26:30.433 --> 26:40.433 align:left position:50% line:89% size:40%
♪
26:40.433 --> 26:42.466 align:left position:67.5% line:5% size:22.5%
(silence)
26:42.466 --> 26:46.466 align:left position:62.5% line:5% size:27.5%
[applause]