Southland Sessions

Barbara Morrison: Standing On Their Shoulders
Barbara Morrison pays musical tribute to the iconic jazz and blues singers, Billie Holiday, Sarah Vaughan, Dinah Washington and Ella Fitzgerald, and the songs they popularized in an intimate concert filmed at Beverly Hill's Wallis Annenberg Center for the Performing Arts.
TRANSCRIPT
ANNOUNCER: MAJOR FUNDING FOR
THIS PROGRAM WAS PROVIDED BY: A
GRANT FROM ANNE RAY FOUNDATION,
A MARGARET A. CARGILL
PHILANTHROPY; THE CITY OF
LOS ANGELES DEPARTMENT OF
CULTURAL AFFAIRS; AND THE RALPH
M. PARSONS FOUNDATION.
ADDITIONAL FUNDING WAS PROVIDED
BY THE NATIONAL ENDOWMENT FOR
THE ARTS AND THE LOS ANGELES
COUNTY DEPARTMENT OF ARTS AND
CULTURE.
[ELECTRICITY CRACKLING]
[LIGHTS HUMMING]
[CLICK]
[LIGHTS BUZZING]
[PIANO PLAYING JAZZ]
[INDISTINCT CHATTER]
CREWES: GOOD EVENING, AND
WELCOME TO THE WALLIS ANNENBERG
CENTER FOR THE PERFORMING ARTS
AND TO "THE SORTING ROOM
SESSIONS." MY NAME'S PAUL
CREWES, AND I'M THE ARTISTIC
DIRECTOR HERE AT THE WALLIS.
IT'S GREAT TO WELCOME YOU BACK
INTO THE GOLDSMITH THEATER,
WHICH HAS UNFORTUNATELY BEEN
DARK FOR THE LAST 8 MONTHS, AND
ALTHOUGH WE CAN'T INVITE YOU TO
COME AND SIT IN THOSE SEATS
AGAIN TONIGHT, IT IS GREAT TO
HAVE ARTISTS BACK ON OUR STAGE
AGAIN, BUT BEFORE I INTRODUCE
YOU TO THE ARTISTS, I'D LIKE TO
INTRODUCE YOU TO OUR CREATIVE
AND TECHNICAL TEAM THAT ARE ALL
SITTING OUT THERE IN THE
AUDITORIUM, WHO HAVE BEEN
RESPONSIBLE FOR RE-CREATING THE
SORTING ROOM HERE ON THE
GOLDSMITH STAGE AND WILL BE
TAKING CARE OF ALL THE FILMING
AND RECORDING THAT HAPPENS
TONIGHT. SO NOW, I'D LIKE TO
JUST WELCOME TO THE STAGE
BARBARA MORRISON AND STUART
ELSTER. THANK YOU SO MUCH FOR
BEING WITH US TONIGHT AND BEING
HERE AT THE GOLDSMITH.
MORRISON: THANK YOU, PAUL. I'M
GLAD TO BE HERE.
CREWES: IT'S WONDERFUL TO HAVE
YOU BOTH BACK ON OUR STAGE. SO
WITHOUT FURTHER ADO, LADIES AND
GENTLEMEN, BARBARA MORRISON AND
STUART ELSTER.
MORRISON: THANK YOU SO MUCH,
PAUL. TONIGHT, WE'LL BE BRINGING
YOU "STANDING ON THEIR
SHOULDERS," SOME OF THE STORIES
OF HOW POPULAR MUSIC BECAME
POPULAR FROM 4 GREAT LADIES--
ELLA FITZGERALD, BILLIE HOLIDAY,
DINAH WASHINGTON, AND SARAH
VAUGHAN. HEY, STU. LET'S START
WITH ELLA.
[PLAYING "I LOVE BEING HERE
WITH YOU"]
THIS IS TRUE.
♪ I LOVE THE EAST
I LOVE THE WEST
NORTH AND SOUTH
THEY'RE BOTH THE BEST
BUT I'LL ONLY GO THERE
AS A GUEST
BECAUSE I LOVE BEING HERE
WITH YOU
I LOVE THE SEA
I LOVE THE SHORE
I LOVE THE ROCKS
AND WHAT IS MORE
WITH YOU THERE
THEY WOULD NEVER BE A BORE
BECAUSE I LOVE BEING HERE
WITH YOU
I TELL YOU, SINGING
IN THE SHOWER
LAUGHING BY THE HOUR
LIFE IS SUCH A CRAZY GAME
I LOVE ALL KINDS OF WEATHER
AS LONG AS WE'RE TOGETHER
I LOVE TO HEAR YOU SAY MY NAME
I LIKE GOOD WINE
AND FINE CUISINE
CANDLELIGHT
I LOVE THE SCENE
HEY, HEY, WATCH IT
DON'T GET ME WRONG
YOU KNOW WHAT I MEAN
I LOVE BEING HERE WITH YOU
A LITTLE DANCE
WITH FRED ASTAIRE
BRANDO'S EYES
YUL BRYNNER'S HAIR
OOH
I THINK TO TELL YOU
THAT IT'S ONLY FAIR
THAT I LOVE
BEING HERE WITH YOU
CARY GRANT
OOH DO DA DAY
HIS UTTER CHARMS
THEY TAKE ME AWAY
YOU OUGHT TO HEAR ME
WHEN I SAY
THAT I LOVE BEING HERE WITH YOU
I TELL YOU, STU'S PIANO PLAYING
I LOVE ELLA'S SING
THEY'RE SOMETHING ELSE, YOU KNOW
HE KNOW HOW TO SAY IT
THEY KNOW HOW TO PLAY IT
THEY WIND IT UP AND LET IT GO
I LOVE THE THRILL
OF A NEW YORK SHOW
I'D STAND IN A LONG, LONG LINE
TO KISS COUNT BASIE'S NOSE
I WANT TO SAY BEFORE I CLOSE
THAT I LOVE BEING HERE WITH YOU
YEAH ♪
I KNOW YOU CAN.
I CAN HEAR YOU.
CLAP YOUR HANDS, COME ON.
THAT'S RIGHT.
STU ELSTER, LADIES AND
GENTLEMEN!
♪ I TELL YOU DUKE'S
SPANISH SWING
AND I LOVE SARAH'S SINGING
SHE'S SOMETHING ELSE YOU KNOW
SHE KNOW HOW TO SAY IT
THEY KNOW HOW TO PLAY IT
THEY WIND IT UP AND LET IT GO
I LOVE THE THRILL
OF A NEW YORK SHOW
I'D STAND IN A LONG, LONG LINE
TO KISS COUNT BASIE'S NOSE
I WANT TO SAY BEFORE I CLOSE
THAT I LOVE BEING HERE WITH YOU
I LOVE IT, I LOVE IT
I LOVE IT, I LOVE IT
I LOVE IT
I LOVE, I LOVE IT, I LOVE IT
YOU KNOW, I LOVE IT
I LOVE BEING HERE WITH YOU
YOU, YOU
YES, I DO
I LOVE BEING HERE WITH YOU
YEAH ♪
YOU LOVE BEING HERE WITH ME,
TOO, OR ELSE YOU WOULDN'T BE
HERE. IT'S A WONDERFUL,
WONDERFUL THING FOR US TO JOIN
TOGETHER AND LEARN THE STORIES
OF SOME OF THE MOST POPULAR
MUSIC IN THE MUSIC INDUSTRY, IN
THE HISTORY OF JAZZ AND BLUES
AND LOS ANGELES. YOU KNOW, ELLA
LIVED HERE IN LOS ANGELES RIGHT
DOWN THE STREET FROM HERE. I'M
NOT GONNA TELL WHERE SHE LIVED
BECAUSE YOU MIGHT GO OVER THERE
RIGHT NOW, BUT EVERY MONDAY
NIGHT, EVERY MONDAY NIGHT, SHE
USED TO HAVE WHAT THEY CALLED
ELLA'S PUB, AND INSTEAD OF AFTER
THEY GOT OFF WORK AT THE
HOLLYWOOD BOWL OR SOME IMPORTANT
PLACE IN THE WORLD, THEY DIDN'T
GO OUT TO EAT WITH OTHER PEOPLE
AND DRINK. THEY WENT TO ELLA'S
HOUSE, AND THEY SAT AROUND THE
PIANO, AND THEY DID ALL KINDS OF
THINGS LIKE SING BEAUTIFUL
SONGS. MAESTRO.
YEAH.
HERE'S ONE ELLA LOVED TO SING.
[PLAYING "SOMEONE TO WATCH
OVER ME"]
♪ THERE'S A SOMEBODY
I'M LONGING TO SEE
I HOPE THAT HE
TURNS OUT TO BE
SOMEONE TO WATCH
OVER ME
I'M A LITTLE LAMB
WHO'S LOST IN THE WOODS
I KNOW I COULD
ALWAYS BE GOOD
TO ONE WHO'LL WATCH
OVER ME
ALTHOUGH HE MAY NOT
BE THE ONE
SOME GIRLS THINK OF
AS HANDSOME
TO MY HEART
HE CARRIES THE KEY
OH, FOR ME
WON'T YOU TELL HIM PLEASE
TO PUT ON SOME SPEED
FOLLOW MY LEAD?
OH, HOW I NEED
SOMEONE TO WATCH
OVER ME
ALTHOUGH HE MAY NOT BE THE ONE
SOME GIRLS THINK OF
AS HANDSOME
TO MY HEART
HE CARRIES THE KEY
FOR ME
WON'T YOU TELL HIM, PLEASE
TO PUT ON SOME SPEED
FOLLOW MY LEAD?
OH, OH, HOW I NEED
SOMEONE TO WATCH
OVER ME
I NEED
SOMEONE
TO WATCH OVER
ME ♪
OH, THANK YOU, STU. YOU WERE
WONDERFUL. ISN'T HE GREAT,
LADIES AND GENTLEMEN? IT'S OK IF
YOU GIVE HIM A NICE ROUND OF
APPLAUSE. WE CAN HEAR YOU. HA HA
HA! WELL, YOU KNOW, ELLA
FITZGERALD DIDN'T REALLY HAVE
SUCH A HAPPY LIFE BECAUSE HER
MOM PASSED AWAY WHEN SHE WAS
REALLY, REALLY YOUNG, BUT, YOU
KNOW, ONE NIGHT, SHE HAD A
CHANCE TO GO TO THE APOLLO AND
DIDN'T--A LOT OF PEOPLE THINK,
"OH, SHE HAD THE BEST VOICE IN
THE WORLD." SHE DID, AND THAT'S
WHY THEY NAMED HER THE FIRST
LADY OF SONG. THEY CALLED HER
THE FIRST LADY OF SONG, AND SHE
WENT TO THE APOLLO ONE NIGHT TO
SING, AND SHE GOT ONSTAGE, AND
SHE FROZE. YOU KNOW HOW SOME
PEOPLE GET STAGE FRIGHT WHEN
THEY'RE ALL EXCITED ABOUT
SOMETHING? BUT SHE LOOKED OVER
AT THE BAND LEADER, AND IT WAS
BENNY CARTER, AND BENNY SAID,
"CAN YOU SING?" AND SHE SAID,
"Y-YES, I CAN--I KNOW HOW TO
SING." HE SAID, "DO YOU KNOW
'COW COW BOOGIE?'" SHE SAID,
"YEAH, I KNOW 'COW COW BOOGIE.'"
"COW COW BOOGIE" WAS DONE BY THE
BOSWELL SISTERS, AND THEY WERE
REALLY, REALLY POPULAR IN THOSE
DAYS, AND SHE SANG "COW COW
BOOGIE" AT THE APOLLO THAT
NIGHT, AND BAM! THE PLACE WENT
BERSERK, AND SHE DECIMATED THE
HOUSE. YEP, SHE DID JUST LIKE
WHEN NORMAN GRANZ STARTED JAZZ
AT THE PHILHARMONIC. WELL, HE
REALLY WASN'T ALL THAT CRAZY
ABOUT JAZZ SINGERS, FEMALE, BUT
ELLA HAD MARRIED RAY BROWN BY
THIS TIME. ALL THE YEARS WENT
PAST AFTER SHE LEFT CHICK WEBB'S
BAND, WHICH CHICK WEBB BECAME
THE MOST FAMOUS DRUMMER IN THE
WORLD AT THAT TIME, AND THEY
PLAYED AT THE SAVOY IN NEW YORK,
BUT WHEN SHE MARRIED RAY BROWN,
ONE NIGHT SHE WENT TO JAZZ AT
THE PHILHARMONIC, AND THEY
DIDN'T EVEN HAVE WOMEN AT THE
PHILHARMONIC AT THAT TIME, BUT
THE CROWD STARTED GOING, "ELLA,
ELLA," BECAUSE SHE HAD MADE A
LITTLE NAME FOR HERSELF, YOU
KNOW. BAM! SHE WAS ON HER WAY.
SHE WAS ON HER WAY. SHE BECAME
THE MOST FAMOUS JAZZ SINGER IN
THE WORLD--ELLA FITZGERALD, BUT
SHE HAD A LONG, LONG WAY TO GO
BECAUSE YOU KNOW WHO WAS ON THE
SCENE, BORN IN 1915 TWO YEARS
BEFORE ELLA? BECAUSE SHE
WASN'T BORN TILL 1917.
BILLIE HOLIDAY. BILLIE
HOLIDAY. BILLIE MADE IT FAMOUS
SINGING WITH LOUIE ARMSTRONG, A
LOT OF, A LOT OF SONGS, BUT
PEOPLE LOVED HER, AND SHE WAS
KIND OF LIKE A ORPHAN. HER NAME
WAS ELEANORA FAGAN. THAT WAS HER
REAL NAME. STU, LET'S DO
SOMETHING FROM BILLIE HOLIDAY
AND LOUIE ARMSTRONG. A 1, A 2,
AND YOU KNOW WHAT TO DO.
[PLAYING "I WAS DOING ALL
RIGHT"]
DO IT AGAIN.
OH, YEAH.
I LIKE IT WHEN YOU DO IT AGAIN.
♪ I WAS DOING ALL RIGHT
NOTHING BUT RAINBOWS IN MY SKIES
I WAS DOING ALL RIGHT
TILL YOU CAME BACK
HAD NO CAUSE TO COMPLAIN
LIFE WAS AS SWEET AS APPLE PIE
NEVER NOTICED THE RAIN
TILL YOU CAME BY
HEH
NOW WHENEVER YOU'RE AWAY
CAN'T SLEEP NIGHTS
SUFFER ALL DAY
I JUST SIT AND WONDER
IF LOVE ISN'T ONE BIG BLUNDER
BUT WHEN YOU HOLD ME TIGHT
TINGLING ALL THROUGH
I FEEL SOMEHOW
I WAS DOING ALL RIGHT
BUT I'M DOING BETTER
THAN EVER NOW
HEY, HEY ♪
[SCAT SINGING]
HA!
♪ NOW WHENEVER YOU'RE AWAY
CAN'T SLEEP NIGHTS
AND I SUFFER ALL DAY
I JUST SIT AND WONDER
IF LOVE ISN'T ONE BIG BLUNDER
[AS LOUIS ARMSTRONG] BUT WHEN
YOU HOLD ME TIGHT ♪
[NORMAL VOICE] THAT'S LOUIE!
[AS ARMSTRONG] ♪ I FEEL SOMEHOW
I WAS DOING ALL RIGHT
[NORMAL VOICE] BUT I'M DOING
BETTER THAN EVER NOW
I'M DOING BETTER
THAN EVER NOW
[AS ARMSTRONG] BA BA DO
BA BA DEE DEE DO ♪
[NORMAL VOICE] HEY. WHERE'D
LOUIE ARMSTRONG--HOW'D HE GET IN
THERE? HEH HEH HEH. AHH. A
LITTLE SOMETHING FROM LOUIE
SNEAKED IN, SO, YEAH. BUT SHE
HAD A BEAUTIFUL, BEAUTIFUL
VOICE, AND OF COURSE, YOU KNOW,
"DON'T EXPLAIN," ONE OF THE MOST
FAVORITE SONGS THAT MADE HER SO
FAMOUS. YOU KNOW WHAT? SHE WROTE
THAT SONG ABOUT HER BOYFRIEND.
HE CAME HOME ONE NIGHT WITH
LIPSTICK ON HIS COLLAR, AND SHE
SAID, "GO IN THERE AND TAKE A
BATH, AND I DON'T WANT TO HEAR
IT. DON'T EXPLAIN." HA HA HA!
BUT SHE ALSO WROTE--I MEAN, NOT
WROTE--SHE ALSO SANG THIS
BEAUTIFUL SONG. 2, 3, 4.
[PLAYING "CRAZY HE CALLS ME"]
OH, YEAH.
♪ I SAY I'LL MOVE THE MOUNTAINS
AND I'LL MOVE THE MOUNTAINS
IF HE WANTS THEM OUT OF THE WAY
CRAZY HE CALLS ME
SURE, I'M CRAZY
CRAZY IN LOVE, I SAY
I SAY I'LL GO THROUGH FIRE
AND I'LL GO THROUGH FIRE
AS HE WANTS IT, SO SHALL IT BE
CRAZY HE CALLS ME
SURE, I'M CRAZY
CRAZY IN LOVE, YOU SEE
LIKE THE WIND
THAT SHAKES THE BOUGH
HE MOVES ME WITH HIS SMILE
THE DIFFICULT
I'LL DO RIGHT NOW
THE IMPOSSIBLE
WILL TAKE A LITTLE WHILE
I SAY I'LL CARE FOREVER
AND I MEAN FOREVER
IF I HAVE TO HOLD UP THE SKY
CRAZY HE CALLS ME
SURE, I'M CRAZY
CRAZY IN LOVE AM I ♪
MR. STUART ELSTER.
♪ LIKE THE WIND
THAT SHAKES THE BOUGH
HE MOVES ME WITH HIS STYLE
THE DIFFICULT
I'LL DO RIGHT NOW
THE IMPOSSIBLE
WILL TAKE A LITTLE WHILE
I SAY I'LL CARE FOREVER
AND I MEAN FOREVER
IF I HAVE TO HOLD UP THE SKY
CRAZY HE CALLS ME
SURE, I'M CRAZY
CRAZY IN LOVE AM I ♪
OH, YEAH. BILLIE HOLIDAY. WELL,
MOVING RIGHT ALONG, IN NEW
JERSEY, 1924, SARAH VAUGHAN.
THEY CALLED HER SASSY BECAUSE
SHE HAD A MOUTH ON HER. HA HA
HA! ONE OF MY FRIENDS WHO USED
TO BE THE MUSICAL CONDUCTOR FOR
MARVIN GAYE, HE ASKED ME ONE
DAY--HE SAID, "BARBARA, DID YOU
EVER NOTICE THAT WEN ELLA WALKED
ONSTAGE AT THE HOLLYWOOD BOWL
THE OTHER DAY THE WHOLE BAND
STOOD UP, BUT WHEN SARAH WALKED
ONSTAGE, THEY STARTED
HIGH-FIVING?" HA HA HA! BECAUSE
THEY KNEW THEY COULD TALK CRAZY
TO SARAH. I WENT OUT ON THE ROAD
WITH JAMES MOODY, KENNY BURRELL,
ON DRUMS WE HAD GRADY TATE,
JIMMY SMITH, JOHN FADDIS, MONTY
ALEXANDER, JIMMY HEATH, UM, WHO
ELSE? NIELS ORSTED-HENNING
PEDERSEN, KENNY WASHINGTON, AND
WE WERE OUT THE ROAD, AND WE RAN
INTO SARAH. ON THE WAY BACK,
MOODY CAME TO TOWN, AND I WENT
TO SEE HIM, AND HE WAS ONSTAGE,
AND HE SAID, "BARBARA!" HE SAW
ME COME IN THE DOOR. HE SAID,
"SIT OVER AT MY TABLE." I SAID,
"OK." HEH HEH. I WAS EMBARRASSED
FIRST OF ALL. I WENT OVER, AND
THE WAITER SHOWED ME OVER TO
HIS TABLE, AND IT WAS DARK, AND
I WENT OUT WITH A GUY WHO HE
REALLY--I KNEW HE DIDN'T HAVE
MUCH MONEY, SO I SAID, "WHY
DON'T WE JUST ORDER A BOTTLE OF
WINE?" JUST IN CASE HE WANTED TO
GET SOMETHING EXPENSIVE AND I
WOULD HAVE TO PAY FOR IT. SO IN
THE DARK, I SAW THIS HAND REACH
OVER AND GRAB THE BOTTLE OF
WINE, AND "WHAT IS THIS?" AND
POURED SOME IN HER GLASS, AND I
LOOKED, AND IT WAS SARAH
VAUGHAN. I WAS SITTING NEXT TO
SARAH VAUGHAN AT JAMES MOODY'S
TABLE. THEN I LOOKED--I FOCUSED
IN ON EVERYBODY ELSE AT THE
TABLE, AND THERE WAS CHUCK
NILES, AND THERE WAS JEROME
RICHARDSON, AND I WAS SITTING AT
THE TABLE WITH A BUNCH OF STARS,
AND I DIDN'T EVEN KNOW WHAT WAS
GOING ON. YOU KNOW, I WAS ONLY
AHEM YEARS OLD--HEH HEH HEH--BUT
I KNEW WHO THESE PEOPLE WERE
BECAUSE I HAD STARTED STUDYING
ALL MY JAZZ PEOPLE AND GETTING
TO KNOW THEIR NAMES, AND I LOVED
HER, AND SOME CRITICS SAY THAT
IF SHE WANTED TO SHE COULD HAVE
BEEN ONE OF THE FINEST OPERA
SINGERS THAT EVER LIVED. HOW
ABOUT A LITTLE "BLUE SKIES,"
STU? 1, A 2, AND YOU KNOW WHAT
TO DO.
[PLAYING "BLUE SKIES"]
ALL RIGHT.
♪ BLUE SKIES SMILIN' AT ME
NOTHIN' BUT BLUE SKIES
DO I SEE ♪
[SCAT SINGING]
♪ BLUEBIRDS SINGIN' A SONG
NOTHIN' BUT BLUEBIRDS
ALL DAY LONG
NEVER SAW THE SUN
SHINING SO BRIGHT
NEVER HAD THINGS GOING SO RIGHT
NOTICING THE DAYS HURRYING BY
WHEN YOU'RE IN LOVE
OH, MY, HOW THEY FLY
THOSE BLUE DAYS
ALL OF THEM GONE
NOTHIN' BUT BLUE SKIES
ALL DAY LONG
OH ♪
OH, YEAH.
WONDERFUL! WONDERFUL!
♪ BLUE SKIES
SMILIN' AT ME
NOTHIN' BUT BLUE SKIES
DO I SEE ♪
[SCAT SINGING]
♪ BLUEBIRDS SINGIN' A SONG
NOTHIN' BUT BLUEBIRDS
ALL DAY LONG
I AIN'T NEVER SAW
THE SUN SHINING SO BRIGHT
NEVER HAD THINGS
GOING SO RIGHT
NOTICING THE DAYS HURRYING BY
WHEN THEY'RE IN LOVE
OH, MY, HOW THEY FLY
BLUEBIRDS
ALL OF THEM GONE
NOTHIN' BUT BLUE SKIES
ALL DAY LONG
NOTHIN' BUT BLUE SKIES
NOTHIN' BUT BLUE SKIES
NOTHIN' BUT BLUE SKIES
ALL DAY LONG
BLUE SKIES ♪
OH, YEAH. SARAH. YOU KNOW, ONE
OF HER MOST FAMOUS, FAMOUS SONGS
WAS WRITTEN BY ERROLL GARNER.
I HAVE A NICE, NICE RELATIONSHIP
WITH THE FACT THAT I KNEW WHO
SARAH VAUGHAN WAS BECAUSE ERROLL
GARNER WAS IN MY FAMILY. BEFORE
MY MOTHER AND FATHER--BEFORE
THEY GOT MARRIED, MY MOTHER'S
NAME WAS GARNER. CONSTANCE
GARNER, AND EARL--
DO YOU KNOW WHAT, STU?
I THINK I'D LIKE TO DO THIS
SONG. IT'S CALLED "MISTY."
ELSTER: HEH.
MORRISON: LET'S ADD IT INTO THE
SHOW. I'M IN C. 1, 2, 3, 4.
[PLAYING "MISTY"]
THIS IS SOMETHING--YOU KNOW HOW
SINGERS GET.
WELL, SOME OF THEM GET MISTY.
SARAH VAUGHAN.
♪ LOOK AT ME
I'M AS HELPLESS AS A KITTEN
UP A TREE
COULD IT BE THAT I'M CLINGING
TO A CLOUD?
I CAN'T UNDERSTAND
I GET MISTY
HOLDING YOUR HAND
WALK MY WAY
AND A THOUSAND VIOLINS
BEGIN TO PLAY
COULD IT BE JUST THE GLOW
OF YOUR HELLO
THAT MUSIC I HEAR?
I GET A LITTLE MISTY
THE MOMENT YOU'RE NEAR
YOU CAN SAY
THAT YOU'RE LEADING ME ON
BUT IT'S JUST WHAT
I WANT YOU TO DO
HAVE YOU NOTICED
HOW HOPELESSLY I'M LOST?
THAT'S WHY I'M FOLLOWING YOU
ON MY OWN
SHALL I WANDER
THROUGH THIS WONDERLAND ALONE
NEVER KNOWING MY RIGHT FOOT
FROM MY LEFT
MY HAND FROM MY GLOVE?
I GET MISTY
AND TOO MUCH IN LOVE ♪
THANK YOU, STU.
BEAUTIFUL. BEAUTIFUL STU. STU
ELSTER.
♪ YOU CAN SAY
THAT YOU'RE LEADING ME ON
BUT IT'S JUST
WHAT I WANT YOU TO DO
HAVE YOU NOTICED
HOW HOPELESSLY I'M LOST?
I'M FOLLOWING YOU
ON MY OWN
SHALL I WANDER
THROUGH THIS WONDERLAND ALONE
NEVER KNOWING MY RIGHT FOOT
FROM MY LEFT
MY HAND FROM MY GLOVE?
I GET MISTY
AND TOO MUCH IN LOVE
OOH, I GET MISTY
AND TOO MUCH
IN LOVE
LOOK AT ME ♪
AW. THAT WAS SARAH VAUGHAN'S
MOST FAMOUS SONG SHE EVER
RECORDED IN HER LIFE. NOW THE
NEXT LADY I WOULD LIKE TO TALK
ABOUT, WHO INFLUENCED ME A LOT,
WAS DINAH WASHINGTON. DINAH
PLAYED PIANO AT HER CHURCH RIGHT
FOR HER MOTHER. HER MOTHER WAS
THE CHOIR DIRECTOR, AND DINAH
PLAYED THE PIANO. ALL THE TIME
SHE WAS A LITTLE GIRL SINCE SHE
CAN REMEMBER, SHE ALWAYS SANG,
BUT WHEN SHE GOT TO BE A
TEENAGER, SHE STARTED SLIPPING
OUT OF THE HOUSE, GOING DOWN TO
THE LOCAL PUB, AND PLAYING PIANO
DOWN THERE. ONE NIGHT, SHE WAS
PLAYING IN THERE, AND LIONEL
HAMPTON WAS IN THERE.
AFTER HE GOT THROUGH, THE STAGE
MANAGER INTRODUCED HER "HEY.
THIS IS LIONEL HAMPTON," AND
LIONEL HAMPTON SAID, "WHAT IS
YOUR NAME?" SHE SAID, "DINAH.
DINAH WASHINGTON." "NO. WHAT IS
YOUR REAL NAME?" "RUTH. RUTH
JONES." "DINAH WASHINGTON'S MUCH
BETTER. YOU SEE, YOU WANT
SOMETHING THAT WILL ROLL OFF
YOUR LIPS LIKE FINE LIQUOR.
DINAH WASHINGTON." SO SHE DID.
SHE CHANGED HER NAME TO DINAH
WASHINGTON, AND SHE JOINED
LIONEL HAMPTON'S BAND. STAYED IN
THERE QUITE A WHILE, BUT HE
NEVER WOULD RECORD WITH HER, SO
SHE GOT TIRED, AND SHE DROPPED
OUT OF THE BAND AND STARTED
GOING OUT ON HER OWN, STARTED
MAKING A LIFE OF HER OWN. HERE'S
ONE OF THE SONGS FROM THE DINAH
WASHINGTON SONGBOOK, LADIES AND
GENTLEMEN. MAESTRO, 1, 2, 1, 2,
3.
[PLAYING "RELAX MAX"]
♪ RELAX, MAX
YOUR NERVES ARE JUST LIKE
JUMPIN' JACKS, MAX
YOUR HEART IS BEATING
WITH A CRAZY SOUND
UP AND DOWN
IT'S BUMPIN', THUMPIN'
BUMPIN', THUMPIN' ALL AROUND
STAY COOL, FOOL
JUST TAKE IT EASY
THAT'S THE RULE, FOOL
THE EVENING HASN'T
EVEN STARTED YET
SO, MY PET
CONTROL YOURSELF
CONTROL YOURSELF
DON'T GET UPSET
DON'T THINK I'M TOO COLD
WHEN I SAY YOU'RE TOO BOLD
I'VE BEEN FOOLED BY THE MOON
UP ABOVE
I WANT YOUR KISS JUST
AS YOU WANT MY KISS
BUT A KISS IS NOT A KISS
WITHOUT LOVE
SO RELAX, MAX
DON'T MAKE ME STOP YOU
IN YOUR TRACKS, MAX
BEFORE YOU THINK
YOU KNOW YOUR LOVE IS TRUE
WHEN YOU DO
I'LL LOVE YOU, LOVE YOU
LOVE YOU
LIKE YOU WANT ME TO
HEY ♪
YEAH.
♪ DON'T THINK I'M TOO COLD
WHEN I SAY YOU'RE TOO BOLD
YOU KNOW, I'VE BEEN FOOLED
BY THE MOON UP ABOVE
I WANT YOUR KISS
JUST AS YOU WANT MY KISS
BUT, OH, YEAH
JUST RELAX, MAX
DON'T MAKE ME STOP YOU
IN YOUR TRACKS, MAX
BUT FIRST YOU GOT TO PROVE
YOUR LOVE IS TRUE
WHEN YOU DO
I'LL LOVE YOU, LOVE YOU
LOVE YOU LIKE YOU WANT ME TO
OH, RELAX, MAX
WE GOT THIS COVERED
COME ON, MAX
DO IT RIGHT NOW ♪
[SCAT SINGING]
HA HA! RELAX, MAX. OH, BUT SHE
HAD A BIGGIE. SHE HAD A BIGGIE.
1924 WAS WHEN SHE WAS BORN. SHE
AND SARAH WERE BORN IN THE SAME
YEAR, SARAH IN MARCH AND DINAH
IN SEPTEMBER. HMM. OH, NO.
AUGUST. I'M SORRY. AUGUST 29. I
BLEW THAT ONE, DIDN'T I? DINAH
WASHINGTON. HER FAVORITE HIT OF
ALL THE HITS, ONE--SHE CHANGED
THE NAME OF THE SONG. IT BECAME
SO POPULAR, SHE MADE A MISTAKE
IN SINGING IT IN THE SONG, AND
THEY LEFT IT THAT WAY. 2, 3, 4.
[PLAYING "WHAT A DIFFERENCE A
DAY MAKES"]
♪ WHAT A DIFFERENCE A DAY MADE
24 LITTLE HOURS
BROUGHT THE SUN
AND THE FLOWERS
WHERE THERE USED TO BE RAIN
OH, MY YESTERDAY WAS BLUE, DEAR
TODAY, I'M A PART OF YOU, DEAR
MY LONELY NIGHTS WERE FEW, DEAR
SINCE YOU SAID YOU WERE MINE
WHAT A DIFFERENCE A DAY MAKES
THERE'S A RAINBOW BEFORE ME
SKIES ABOVE CAN'T BE STORMY
SINCE THAT MOMENT OF BLISS
THAT THRILLING KISS
IT'S HEAVEN WHEN YOU
FIND ROMANCE ON YOUR MENU
WHAT A DIFFERENCE A DAY MADE
AND THE DIFFERENCE IS YOU ♪
AW, YEAH.
♪ WHAT A DIFFERENCE A DAY MAKES
THERE'S A RAINBOW BEFORE ME
SKIES ABOVE CAN'T BE STORMY
SINCE THAT MOMENT OF BLISS
THAT THRILLING KISS
IT'S HEAVEN WHEN YOU
FIND ROMANCE ON YOUR MENU
WHAT A DIFFERENCE A DAY MADE
AND THE DIFFERENCE IS YOU
WHAT A DIFFERENCE A DAY MADE
AND THE DIFFERENCE IS YOU ♪
AW, YEAH. YOU KNOW, JAZZ REALLY
FLOATED ACROSS THE COUNTRY,
STARTING IN NEW YORK, YOU KNOW
WHAT I MEAN, BUT A LOT OF PEOPLE
CAME TO...
♪ LOS ANGELES ♪
THE CITY BY THE SEA, AND WHEN
MR. WATKINS DECIDED TO BUY THE
WATKINS HOTEL, AND HE PUT A
LITTLE NIGHTCLUB IN THERE CALLED
THE RUBAIYAT ROOM, AND ALL THE
BLACK SINGERS WOULD COME AND
SING THERE, AND HERE'S ONE OF
THE BEAUTIFUL SONGS THAT STU AND
I PUT IN OUR SHOW AFTER "WHAT A
DIFFERENCE A DAY MADE."
[PLAYING "NEVER LET ME GO"]
PICTURE DINAH AT THE RUBAIYAT
ROOM.
♪ NEVER LET ME GO
LOVE ME MUCH TOO MUCH
IF YOU LET ME GO
LIFE WOULD LOSE ITS TOUCH
WHAT WOULD I BE WITHOUT YOU?
THERE'S NO PLACE FOR ME
WITHOUT YOU
NEVER LET ME GO
I'D BE SO LOST IF YOU WENT AWAY
THERE'D BE A THOUSAND HOURS
IN THE DAY
WITHOUT YOU I KNOW
BECAUSE OF ONE CARESS
MY WORLD WAS OVERTURNED
AT THE VERY START
AND ALL MY BRIDGED BURNED
BY MY FLAMING HEART
YOU'D NEVER LEAVE ME
WOULD YOU?
YOU COULDN'T HURT ME
COULD YOU?
NEVER LET ME GO
NEVER LET ME GO ♪
PLAY FOR ME A LITTLE BIT, STU.
WELL, YOU NOW, WHILE DINAH WAS
AT THE RUBAIYAT ROOM, JAZZ WAS
BEGINNING TO GROW AND GROW, AND
PEOPLE STARTED TO MIGRATING TO
LOS ANGELES BECAUSE OF THE
WEATHER. THE WEATHER WAS SO
NICE. ALONG CAME GERALD WILSON
FROM DETROIT. ALONG CAME CLORA
BRYANT FROM TEXAS. THEY ALL CAME
TO LOS ANGELES. FAMOUS TRUMPET
PLAYERS. BILLY HIGGINS CAME ON
THE DRUMS, AND THEY REALLY
DIDN'T HAVE MANY PLACES TO WORK,
BUT THEY HAD THE BARRELHOUSE ON
CENTRAL AVENUE AND THE DUNBAR.
THE DUNBAR IS STILL, VERY, VERY
FAMOUS FOR HOUSING BLACKS AND
LETTING THEM PLAY THERE. EVERY
YEAR RIGHT NOW ON CENTRAL
AVENUE, THEY HAVE THE CENTRAL
AVENUE JAZZ FESTIVAL, AND PART
OF IT IS IN THE DUNBAR. IT'S THE
MOST HISTORICAL JAZZ CLUB IN
LOS ANGELES ALONG WITH THE
WATKINS HOTEL. THE WATKINS
HOTEL, BLACKS COULD STAY THERE,
TOO, AND THAT'S WHERE BILLIE
HOLIDAY PLAYED AND SARAH
VAUGHAN, AND THEN CAME THE
PARISIAN ROOM. I WAS OLD ENOUGH
TO GO THERE THEN. NOW IT'S THE
RAY CHARLES POST OFFICE, BUT THE
PARISIAN ROOM HOUSED ALL THE
BLACK ENTERTAINERS THAT CAME TO
LOS ANGELES TO HONE ON THEIR
CRAFT, AND I USED TO GO THERE,
AND I USED TO SING THERE, TOO,
WITH EDDIE "CLEANHEAD" VINSON
AND SARAH VAUGHAN AND DINAH
WASHINGTON. NOT SO MUCH ELLA
BECAUSE ELLA WAS REALLY, REALLY
HIGHLY ELEVATED IN THE JAZZ.
THAT'S WHY THEY CALLED HER THE
FIRST LADY OF SONG. SHE PLAYED
ALL THE BIG CARNEGIE HALLS. SHE
STARTED AT THE SAVOY WITH CHICK
WEBB AND A REAL GIG. YEP.
♪ BECAUSE OF ONE CARESS
MY WORLD WAS OVERTURNED
AT THE VERY START
ALL MY BRIDGES BURNED
BY MY FLAMING HEART
YOU'D NEVER LEAVE ME
WOULD YOU?
YOU COULDN'T HURT ME
COULD YOU?
NEVER LET ME GO
NEVER LET ME GO
NEVER LET ME GO ♪
YEAH. WHEN I WAS YOUNGER, I
HEARD THIS RECORDING OF ELLA
FITZGERALD AND GERALD WILSON
ORCHESTRA. A 1, A 2. I'M IN G.
SING, SING WITH ME. YEAH. I GOT
A LITTLE BLUES FOR YOU BEFORE I
GO.
[PLAYING "THINGS AIN'T WHAT
THEY USED TO BE"]
YEAH.
♪ HEY, HEY, HEY
GOT SO WEARY FROM BEIN' NOTHIN'
GOT SO DREARY FROM BEIN' NOTHIN'
GOT SO LONESOME
FROM DOIN' NOTHIN'
I FELT SO LOW
ON THE FAR HORIZON
I CAN SEE A GLOW
I TELL YOU THINGS
AIN'T WHAT THEY USED TO BE
NO USE BEIN' A DOUBTIN' THOMAS
KEPT MY EYE ON THE ROSY PROMISE
NOW I KNOW THERE'S
A HAPPY STORY YET TO COME
IT'S THE DAWN OF A DAY
OF GLORY, MILLENNIUM
ANNOUNCIN' THINGS AIN'T
WHAT THEY USED TO BE
NO
COME ON AND TICKLE THAT IVORY
5, 2, 3, IT DOESN'T BORE ME
IT'S GOT ME WALKIN' ROUND
WITH MY HEAD UP
EYES ALL AGLOW
NO TEARS SET UP
THAT'S WHY I SEE OPPORTUNITY
I TELL YOU THINGS
AIN'T WHAT THEY USED TO BE ♪
PLAY FOR ME, STU. PLAY FOR ME!
ALL RIGHT. THANK YOU, LADIES AND
GENTLEMEN. THANK YOU FOR
LISTENING, AND YOU KNOW WHAT?
♪ THINGS AIN'T WHAT
THEY USED TO BE ♪
HA HA!
BUT HOPEFULLY, WE'LL GET THEM
BACK, MAYBE EVEN BETTER. YEAH!
♪ GOT SO WEARY FROM
BEIN' NOTHIN'
GOT SO DREARY FROM DOIN' NOTHIN'
GOT SO LONESOME
FROM BEIN' NOTHIN'
I FELT SO LOW
ON THE FAR UP RISE
I CAN SEE A GLOW
THINGS AIN'T WHAT
THEY USED TO BE ♪
SO LONG. THANK YOU FOR TUNING
IN. I KNOW YOU'RE--GO AHEAD AND
CLAP. I WON'T BE ASHAMED. CLAP.
HA HA HA! THANK YOU, EVERYBODY.
THE SORTING ROOM HERE AT THE
ANNENBERG WALLIS THEATER.
THANK YOU SO MUCH, LADIES AND
GENTLEMEN, AND I REALLY, REALLY
HATE TO GO, BUT THEY'RE KICKING
ME OFF THE STAGE. THEY'RE DOING
IT ON PURPOSE, BUT THIS SONG IS
FOR YOU BECAUSE YOU DIG JAZZ AND
YOU DIG US, AND WE ALL LEARN AND
LOVE THE SORTING ROOM.
[PLAYING "EV'RY TIME WE SAY
GOODBYE"]
♪ EV'RY TIME
WE SAY GOODBYE
I CRY A LITTLE
EV'RY TIME WE SAY GOODBYE
I WONDER WHY A LITTLE
WHY THE GODS ABOVE ME
WHO MUST BE IN THE KNOW
THINK SO LITTLE OF ME
OH, THEY ALLOWED YOU TO GO
WHEN YOU'RE NEAR
THERE'S AN AIR
OF SPRING ABOUT IT
I CAN HEAR A LARK SOMEWHERE
BEGIN TO SING ABOUT IT
THERE'S NO LOVE SONG FINER
BUT HOW STRANGE THE CHANGE
FROM MAJOR TO MINOR
EV'RY TIME WE SAY GOODBYE
GOODBYE
EV'RY TIME WE SAY
GOODBYE ♪
GOODBYE TO THE WONDERFUL CREW
HERE AT THE ANNENBERG. GOODBYE
AT THE WALLIS. THANK YOU, STEVE
MOYER, THANK YOU, HERMINE
BROOKS. THANK YOU, STU ELSTER,
AND THANK YOU, EVERYBODY FOR
TUNING IN.
[CLICK]
[LIGHTS BUZZING]
[CLICK]
ANNOUNCER: MAJOR FUNDING FOR
THIS PROGRAM WAS PROVIDED BY: A
GRANT FROM ANNE RAY FOUNDATION,
A MARGARET A. CARGILL
PHILANTHROPY; THE CITY OF
LOS ANGELES DEPARTMENT OF
CULTURAL AFFAIRS; AND THE RALPH
M. PARSONS FOUNDATION.
ADDITIONAL FUNDING WAS PROVIDED
BY THE NATIONAL ENDOWMENT FOR
THE ARTS AND THE LOS ANGELES
COUNTY DEPARTMENT OF ARTS AND
CULTURE.
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