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.