Fanfare; 5; NET Presents Miss Peggy Lee. Part 1

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The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it.

The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it.

The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it.

The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it.

The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it.

The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it. The National Educational Television is proud to present Ms. Peggy Lee, the artistry and the story behind it.

The Rock and the Pop Rock and all that sort of thing. I mean, you've gone through era after era and change after change in music and have always emerged at the tops of the waves. How do you do it? But even now with the new trends in music, the component parts of it are really not new. But they sound new and different to me to this era.

There are different to the extent that they're put together in a new way. It's as though they've taken some of the old and then embellished that. For example, it might be, let's say, folk songs going into folk rock or country music becoming poetic. I remember that I can remember that I loved all that strawberry roll. Well, of course, the country music today doesn't say that at all. Those were almost folk songs over there. Well, I suppose they are now, but actually that was the country music. That's true. It was Hillbilly. But it's the same music, isn't it? Now when I mention Hillbilly and Colin, I get dozens of letters from young people saying that I'm insulting their music. They're great art, you know, something in the story. I suppose it's all acquired taste, is that right?

And B-bop came in. Now, doesn't that sound silly to say B-bop? But Dizzy Gillespie. It just seems like yesterday. Yes. Only yesterday B-bop. But Dizzy Gillespie being the foremost person in that field. Then they started this whole free form, almost selfish kind of music that left the younger generation with nothing to dance to and not to be able to really take part in it. And I've often wondered if that wasn't what caused the younger people to find something of their own, because we need music. The songs now are so interesting and colorful. I particularly like singing. I choose material that lets me tell a story, you know. It's a nice way to make a living. I once talked to a musician who said, your voice is one of the greatest musical instruments ever created.

Whoever that was, I love it. Forever. You were the whole world to me, losing you, really through me. You were the woman giving. You made my life worth living. Then I was cruel I had you. If there's a crucial time in all the long preparation for a show, it's here in the yellow room with the rhythm section when we start to bring our music to life. There are very important judgments to be made here. Rhythmic patterns, balance in the overall interpretation, whether a song plays best as a jazz waltz, bass and over, or a straight ballad. I use a microphone so we can hear my voice with the instruments and prepare for the full orchestration.

I love you so completely. Where are you now? I wonder. Oh Lord, I'm going under. I won't cry without you. Living is dying without you. The rising moon on summer nights, the glazing glow of city lights. We heard the sounds, we saw the sights. Now it's all gone but the pain lingers on. You were the whole world to you. Losing you, really through me. You were so warm and giving. You made my life worth living. Kiss me and I'll survive now.

I'll go on crying without you. Living is dying without you. I'll go on crying without you. Yeah, there's another phrase. I'll go on crying without you. Living is dying without you. I really like that song so much. I wish it would fit in the show. It just doesn't seem to.

Follow all of a sudden my heart sings. What else will we get for the balance? Let's do it some night. Singular. What's fun? It's a little too loud for you. Should we do is that all the rest? I did want to explain to Chet about this because it has a very crude, vile-ish feeling.

It's really just the bass drum and the sock symbol. Very strict. It's what we might have thought of before as funny but it isn't. No. No, I mean. This is a very serious song. I'll just take it on the piano pickups for that verse. Bar 15 and 16 the first time. Just like you did the second time. And if you got a rubato on the end, just mark it out entirely except the last bar on cue. Right, two chords on cue. Okay. Yeah, just stay some tempo right out. I remember when I was a little girl, our house caught on fire. I never forget to look on my father's face as he gathered me up in his arms, raced with the burning building under the pavement.

And I stood there shivering in my pajamas, watched the whole world go up in flames. And when it was all over, I said to myself, is that all there is to a fire? Is that all there is? Is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the boot and have a ball. If that's all there is. One, two, three, four.

Peggy has always been a very precise musician. She has very definite ideas about the phrasing and the color of the music behind her. If it doesn't work here with the rhythm section, it'll never work with the full orchestra. Lou Levy has been Peg's conductor for several years. Once the show is underway, he is responsible for maintaining the correct tempo, volume and timings. Chet Forest, his beat is the power that drives the orchestra. And then I fell in love with the most wonderful boy in the world. We'd take long walks down by the river, just sit for hours, gazing into each other's eyes. We were so very much in love. And then one day he went away, and I thought I'd die, but I didn't. And when I didn't, I said to myself, is that all there is to love?

Is that all there is? Is that all there is? If that's all there is, my friends, then let's keep dancing. I know what you must be saying to yourselves. If that's the way she feels about it, why doesn't she just end it all? Oh no, not me, I'm not ready for that final disappointment, because I know. Just as well as I'm standing here talking to you, that when that final moment comes and I'm breathing my last breath, I'll be saying to myself, is that all there is? Is that all there is? If that's all there is, my friends, then let's keep dancing. Let's break out the booze and have a ball.

If that's all there is. Short on the end, right? I know what you mean. No, I think that should be pretty tubeless. But keep mind-heavy and let him do the bouncing. Also, I think that symbol should be more circus-y, but that kind of thing, don't you agree? Only on the circus thing. Oh, you mean on the circus? Yes.

What's the lettermarking on that? I believe that would be starting at our 41, you got those three big beats on the ground. And that goes through the letter D. Then we go back to that shuffle. So, shall we go on? Clara Ward. Yeah. Put the pedal down. Be flat. Use a B flat, but use the rhythm of your nose. And make your change in bar 29, go then at 29, go back to the part that you have. So, there's four beats on this spinning wheel. And one, two, three, four. Yes, I read the genre all the time. Well, the time-jody is this. We photographed the original sketch here and reproduced it on 8 by 10 glossy. And we give it to them. They photographed for their ads. This will be her signature. Oh, and that's the best problem with the orchestra in the back. So, once you're going to have enough time to practice and choose, you know,

there are probably the tremendous number of cues in there. Hopefully, during the afternoon from 12 o'clock on, because at that point, they're going to be finished with their own, but this is what people reports. Right-of-painted pony, let the spinning wheel down. Did you find a directing sign on the straight and narrow highway? Did you find a reflecting sign just letting shine within your mind and show you the colors that are real? Someone is waiting just for you. Spinning wheel. Spinning true. Jump on your trouble by the riverside. They're building the hotel virtually up to the standard day to four days.

Okay. But it's vital that you get up there as soon as possible because of all that. I'll try to get all the columns set for the opening. Right? Someone is waiting just for you. Spinning wheel. Spinning true. Jump on your trouble by the riverside. Get your painted pony, let the spinning wheel ride. Let it ride. Let it ride. Let it ride. Let it ride. Let it ride. Let it ride. Let it ride. Let it ride. The brightness of the schedule between the Vegas opening and the Mark Taper show on Monday. Have we got any big problems facing us? No, just a matter of coordinate.

This show has a very difficult schedule. Tomorrow full orchestra rehearsal and preview here in Los Angeles at the Mark Taper Forum. Then on to Las Vegas, an opening night at the new international hotel. It takes a lot of people to get us there. They're pretty well set. They're pretty well set. They know the time of the rehearsal. They know what time they have to leave. What's your problem? Oh, I have a problem. Get us some sleep. There's my problem. I know it, but I'd like to get a little less. Tell me. I would like you to write an arrangement for me. If I could write in the car, maybe I could write it. I'm so swamped right now. This is all come up so fast that I don't really know whether I can do it. Up against the wall, there's things popping and I'm flying to New York. Could you write an arrangement later for me? Oh, yeah.

You could do that. Sure. For when? August 25th. Oh, this is the story of my life. Don't let me near the tape recorder or the machine. I understand there are a lot of studios alone that you wouldn't even know. They won't let me near the board. Just from really, from my own clarification, we've got the two things now. We've got the opening and Vegas. And then we've got the special preview performance of the new material at the Mark Taber. This is a pre-performance or an invitational performance to see her in advance of Las Vegas. Early tomorrow morning, I want to make a big, long list. Now we still have to find somebody to arrange that. Go ahead, what about those lighting cues? Really, it is a problem but colors and things with the lighting. Last night we sent out the 200 wires. No, we were speaking of a song for the taker and for Vegas. And that's at five. Your performance is at seven. Making sure that we have the vendor roads and the timpani.

And as I say, I'm going of an advance to cover all of the advance publicity in Las Vegas. Mr. Zoy is an entirely different artist for Vegas. It is. Going to all the columnists, to all the radio stations, television, newspapers, pictures, stories, features, etc. That I've got the limousine to take you from the airport out to the plane, and the airplane to get you up to Vegas. So we're all set with that. That is great. Because I think they dig the whole idea. Is everything set from your? I'd love to be able to say yes. I'm loving you.

You are to me. So many things. I should have said. I never told you. Quite on piano, though. So often, not the time, because everything else is going to die, die, die, die. You can play the introduction and then out until I never told you. Down beat them.

To me thing. Hey, fellas. Band, except for rhythm. Don't play anything until March 17th. Yeah. Okay, here we go, rhythm. The shadow of your smile when you are gone. Next cue. Down to 50-51. That's a backlight and a sidelight. Go. Look into my eyes.

My eyes. And see. You have to get acquainted with each new room. The sound, the lighting, the way I hear the orchestra behind me. All the pieces must go together before the audience arrives. So many things. What is the orchestra coming in? At the beginning of this piece. Right. The show. Try to make it mainly for rhythm section.

No, I think we should take five and discuss it. I really feel it will take too long. Since there is such a difference in the way I feel about the interpretation and what is written there, then I think we have problem. Five balls. Do you want to do the shadow of your smile part and then do the other with just the rhythm section and then go back in. No. For this spot in the show, I really feel this whole thing. When we did the shadow of your smile, just for the rhythm section. It gets a very tender, sweet kind of point, which is the way I feel about it. And I also feel that way about this new song that is written. But I feel that we have missed it here somehow. There wasn't enough communication there. It's lovely, but it's spooky. Well, the guitar parts are some of the eerie parts, some of those things. Well, we can knock out those high parts.

We take that out for now and just have the arpeggiated stuff underneath, which is kind of nice until we have a chance to mix this. You know what it is as an instrumental, beautiful, but it doesn't allow me to say what I feel with the lyrics. Yeah, it sounds very binding. It is. Turning around, he was creeping up again. Oh no, that one worked. I feel like they're learning how to say what I never told you. No. There's a kind of unseen form that develops from the music itself, a flow of moods which become special to this presentation. And if a song, no matter how fine it is,

breaks that flow, it must be taken out. I really love this song, and I will sing it at another time. That doesn't work. Sometimes you will. Sometimes you'll look for it. It's happened before a minute. No, I wouldn't know what this thing is. Remember? Do you remember? Never know what I love you. Never know what I care. I wouldn't put you under on me. I get a fever that's hard to beg in me fever. And you kiss me fever when you hold me tight. Beaver.

And I'm saving my life. Something lights up the daytime. A moon lights up the night. I let everybody call my name. And I'm going to trade you right. You give me fever when you kiss me. I really shouldn't sing too much. Everybody got the fever that is something you know. Fever is such a new thing. Fever started long ago. All the long time ago I don't know who started the day. Yes, I do. I wouldn't tell you. Roll me all of Juliet. Juliet, she found the same. When a boat is on the wrong side. He said, Julie, baby, you're my flame.

Now give us fever. When we kiss it's a fever that I'm flaming you. Fever, fire, fever, hey, hey, boy. For a suit like that, boy. Captain Smith, oh, God, I've had a very mild affair. But when I died, I tried to kill him. She said, daddy, oh, don't you dare give me fever. But it's kisses fever when he holds me tight. Fever, I miss Mrs. Daddy want you treated him right. Now you've listened to my story. Hear the point that I have made. Chicks are born to give you fever. Be it fan or a sandal grade to give you fever. When you kiss them, fever if you let you land.

Not the kiss chickens. I want a lovely way to go. I want a lovely way to burn. Wants out damn spot when I don't kiss. You all set? All set? It's good. Really? Yeah, this is like a 10 minute hairstyle. My little shot of time, didn't we? Who's there? Okay, it's, um, run through, okay? Yeah. Almost like being, uh, good evening. Natural woman.

Uh, all of a sudden my heart sings. It's all together. I think I'll do it all together. Because I have no idea what I'm going to say. And then poetry leading. That all there is. Oh, did you speak to them about, you know, they're very straight. Oh, I will. I will. Yeah, I will, it seems we didn't answer. Um, spinning wheel. Little talk spot. All right. I'm going to kiss my sitting position. Can we do that? Because we're really late. Oh, I've never done it that way before. Oh, I meant no. Chip a little chocolate-covered marble hull of safe choice. I can't.

Straight ahead. Straight up. Straight ahead. And strong. Oh, thank you. Oh, thank you. I'm really, uh, well, spinning wheel. All right. Gary. Moping guy. Mmm. Wheel. Yeah.

Stop your foot, Chip. And now, ladies and gentlemen, Miss Peggy Lee. Yeah. What a day this has been. What a rare mood I'm in. And it's almost like being in love. There's a smile on my face for the whole human race. And it's almost like being in love. I don't really think of life as seems to be like a bell

that is ringing for me. And from the way that I feel when that bell starts to feel I would swear I was falling. Oh, I would swear I was falling. It's almost like being in love. What a day, what a day. Oh, I'm glad I feel this way. And it's almost like being in love. And the smile on my face for the whole human race. And it's almost, almost like being in love. I don't think of life as seems to be like a bell that is ringing for me. And from the way that I feel when that bell starts to feel

I would swear I was falling. It's almost like being in love. I'm looking out on the morning rain. I used to feel so uninspired. And when I knew I had to face another day

I thought it made me feel so tired. Before the day I met you, the life was so unkind. And you're the key to my peace of mind. Because you make me feel. You make me feel. You make me feel like a knight to a woman. And when my soul was in the lost and found it came along to claim me. I didn't know just what was wrong with me. You kiss, help me name it. Now I'm no longer doubtful of what I'm living for.

And if I could make you happy I'd need to do more. Because you make me feel. You make me feel. You make me feel like a knight to a woman. Oh baby, what you done to me. It makes me feel so good as time. And I just want to be. Because to you you make me feel so alive. You make me feel. You make me feel. You make me feel like a knight to a woman. You make me feel.

You make me feel. You make me feel like a knight to a woman. A woman. A woman. This time we almost made the pieces fit. Didn't we love her?

This time we almost made some sense of it. Didn't we love her? This time I had the answer right here in my hand. Then I touched it, it had turned to sand, this time we almost. Sign the song into me, oh didn't we love?

This time we almost made it to the moment. Didn't we love? This time we almost made our poem right. This time we almost made love. Love. Didn't we love?

This time we almost made it to the moment. Didn't we love? I wonder if you like to hear some of the oldies and goodies. You stay right there and I'll go over here. This time we almost made our poem right.

I wonder if you like to hear some of the oldies and goodies. I fell for your dive and I took you in. Get out of here and give me some money too. Thank you.

This time we almost made our poem right. This time we almost made our poem right. This time we almost made our poem right.

This time we almost made our poem right. This time we almost made our poem right. This time we almost made our poem right. Thank you.

This time we almost made our poem right. This time we almost made our poem right. This time we almost made our poem right. This time we almost made our poem right.

This time we almost made our poem right. This time we almost made our poem right. This time we almost made our poem right. This time we almost made our poem right.

This time we almost made our poem right. Thank you. So many things today are wonderful little stars.