1 00:00:07,474 --> 00:00:08,175 >>> 2 00:00:08,175 --> 00:00:08,876 JAZZ 3 00:00:08,876 --> 00:00:10,777 VOCALIST 4 00:00:10,777 --> 00:00:11,578 TAMMY 5 00:00:11,578 --> 00:00:12,279 McCANN 6 00:00:12,279 --> 00:00:13,714 IS SHARING HER TALENT WITH 7 00:00:13,714 --> 00:00:14,481 THE 8 00:00:14,481 --> 00:00:16,183 CHICAGO JAZZ COMMUNITY. 9 00:00:16,183 --> 00:00:17,084 THIS YEAR 10 00:00:17,084 --> 00:00:22,523 McCANN IS AN 11 00:00:22,523 --> 00:00:23,290 ARTIVE-IN-RESIDENTS AT THE 12 00:00:23,290 --> 00:00:24,591 UNIVERSITY OF 13 00:00:24,591 --> 00:00:25,492 CHICAGO. 14 00:00:25,492 --> 00:00:26,960 WELCOME BOTH TO "CHICAGO 15 00:00:26,960 --> 00:00:27,461 TONIGHT." 16 00:00:27,461 --> 00:00:29,029 TAMMY, BEFORE WE TALK ABOUT WHAT 17 00:00:29,029 --> 00:00:30,497 YOU'RE DOING AT THE MUSIC 18 00:00:30,497 --> 00:00:31,899 INSTITUTE, A LITTLE BIT ABOUT 19 00:00:31,899 --> 00:00:33,166 YOUR BACKGROUND BECAUSE YOU 20 00:00:33,166 --> 00:00:35,035 STARTED OUT AS A CLASSICAL 21 00:00:35,035 --> 00:00:36,670 SINGER BUT THEN YOU HAD THIS 22 00:00:36,670 --> 00:00:37,871 EXPERIENCE IN COLLEGE THAT 23 00:00:37,871 --> 00:00:39,540 CAUSED YOU TO CHANGE 24 00:00:39,540 --> 00:00:39,940 DIRECTIONS. 25 00:00:39,940 --> 00:00:41,675 WHAT WAS THAT EXPERIENCE? 26 00:00:41,675 --> 00:00:42,876 >>THAT EXPERIENCE WAS WALKING 27 00:00:42,876 --> 00:00:44,878 DOWN THE HALLWAY, AND IN THE 28 00:00:44,878 --> 00:00:46,647 DISTANCE, IN A PRACTICE ROOM A 29 00:00:46,647 --> 00:00:47,347 YOUNG MAN WAS PLAY 30 00:00:47,347 --> 00:00:48,448 ING, AND I 31 00:00:48,448 --> 00:00:50,350 SAID WOW, WHAT AN INTERESTING 32 00:00:50,350 --> 00:00:51,084 PIECE. 33 00:00:51,084 --> 00:00:53,253 I ASKED HIM -- THAT'S SO 34 00:00:53,253 --> 00:00:53,787 INTERESTING. 35 00:00:53,787 --> 00:00:56,924 >>AND HE SAID NO, THIS IS 36 00:00:56,924 --> 00:00:58,125 FELONIOUS MONK. 37 00:00:58,125 --> 00:00:59,459 AND I SAID 38 00:00:59,459 --> 00:01:00,360 WHOSE 39 00:01:00,360 --> 00:01:01,895 FELONIOUS 40 00:01:01,895 --> 00:01:02,296 MONK? 41 00:01:02,296 --> 00:01:04,565 HE LOOKED AT ME LIKE I HAD THREE 42 00:01:04,565 --> 00:01:04,898 HEADS. 43 00:01:04,898 --> 00:01:06,400 IT TURNED OUT TO BE 44 00:01:06,400 --> 00:01:09,136 "AROUND 45 00:01:09,136 --> 00:01:09,937 MIDNIGHT." 46 00:01:09,937 --> 00:01:11,205 IT TURNED AROUND MY L 47 00:01:11,205 --> 00:01:12,039 IFE. 48 00:01:12,039 --> 00:01:13,640 >>UNTIL THEN WITH YOU WERE 49 00:01:13,640 --> 00:01:15,275 THINKING ABOUT AN ON 50 00:01:15,275 --> 00:01:16,844 RATTIC 51 00:01:16,844 --> 00:01:17,444 LIFE? 52 00:01:17,444 --> 00:01:18,645 >>LASER FOCUSED, L 53 00:01:18,645 --> 00:01:20,047 ASER 54 00:01:20,047 --> 00:01:20,480 FOCUSED. 55 00:01:20,480 --> 00:01:21,381 >>I 56 00:01:21,381 --> 00:01:22,616 WAS REALLY SURPRISED 57 00:01:22,616 --> 00:01:23,584 WHEN 58 00:01:23,584 --> 00:01:24,885 THEY APPROACHED ME, 59 00:01:24,885 --> 00:01:26,119 BUT 60 00:01:26,119 --> 00:01:26,987 MR. GEORGE HAD A 61 00:01:26,987 --> 00:01:28,622 VISION, YOU 62 00:01:28,622 --> 00:01:29,289 KNOW, OF 63 00:01:29,289 --> 00:01:30,457 CLASSICKING AND 64 00:01:30,457 --> 00:01:32,893 AL-JIZEERA IN A PARTNERSHIP 65 00:01:32,893 --> 00:01:34,094 TOGETHER, MUSICAL PARTNER 66 00:01:34,094 --> 00:01:34,528 SHIP, 67 00:01:34,528 --> 00:01:36,730 AND HE HAS COMPRISED SOME OF THE 68 00:01:36,730 --> 00:01:37,097 MOST 69 00:01:37,097 --> 00:01:38,065 AMAZING 70 00:01:38,065 --> 00:01:39,633 MUSICIANS, WORLD 71 00:01:39,633 --> 00:01:40,667 CLASS MUSICIANS 72 00:01:40,667 --> 00:01:41,502 TO 73 00:01:41,502 --> 00:01:42,970 HANDLE THIS, 74 00:01:42,970 --> 00:01:43,971 BE OVER 75 00:01:43,971 --> 00:01:45,706 THIS 76 00:01:45,706 --> 00:01:46,840 PROGRAM. 77 00:01:46,840 --> 00:01:48,942 AUDREY MORSE SON IS THE 78 00:01:48,942 --> 00:01:49,409 DIRECTOR. 79 00:01:49,409 --> 00:01:50,944 >>WHAT IS IT YOU DO AS PART OF 80 00:01:50,944 --> 00:01:52,946 THIS 81 00:01:52,946 --> 00:01:53,914 COLLECTIVE OF 82 00:01:53,914 --> 00:01:54,948 OUTSTANDING 83 00:01:54,948 --> 00:01:56,149 JAZZ PROFESSIONALS. 84 00:01:56,149 --> 00:01:57,184 WHAT DO YOU DO WITH THE 85 00:01:57,184 --> 00:01:57,718 STUDENTS? 86 00:01:57,718 --> 00:01:59,353 >>I BELIEVE WHAT WE DO IS -- WE 87 00:01:59,353 --> 00:02:02,189 ARE FOCUSED ON 88 00:02:02,189 --> 00:02:04,291 THE 89 00:02:04,291 --> 00:02:04,958 APPRENTICESHIP MESSAG 90 00:02:04,958 --> 00:02:05,225 E. 91 00:02:05,225 --> 00:02:07,494 WE'RE FOCUSED ON LETTING THESE 92 00:02:07,494 --> 00:02:08,195 KIDS GET A SENSE 93 00:02:08,195 --> 00:02:09,196 OF WHAT IT 94 00:02:09,196 --> 00:02:10,831 FEELS LIKE TO BE ON STAGE, AND 95 00:02:10,831 --> 00:02:12,232 THE ONLY WAY TO DO THAT IS 96 00:02:12,232 --> 00:02:12,799 TO 97 00:02:12,799 --> 00:02:14,301 HAVE THE ACTUAL 98 00:02:14,301 --> 00:02:15,235 MUSICIANS 99 00:02:15,235 --> 00:02:17,004 PLAYING THIS MUSIC ON A DAILY 100 00:02:17,004 --> 00:02:18,505 BASIS TAKING 101 00:02:18,505 --> 00:02:19,339 THEIR 102 00:02:19,339 --> 00:02:20,440 HANDS. 103 00:02:20,440 --> 00:02:21,108 >>THE 104 00:02:21,108 --> 00:02:23,110 MUSIC 105 00:02:23,110 --> 00:02:23,677 INSTITUTE, 106 00:02:23,677 --> 00:02:25,145 YOUR 107 00:02:25,145 --> 00:02:26,513 EMPHASIS HAS HISTORICALLY BEEN 108 00:02:26,513 --> 00:02:28,849 ON CLASSICAL 109 00:02:28,849 --> 00:02:30,551 MUSIC. 110 00:02:30,551 --> 00:02:31,351 >>ANY MUSICIAN IN THE 21ST 111 00:02:31,351 --> 00:02:32,119 SENT 112 00:02:32,119 --> 00:02:34,454 ROW NOW HAS TO BE 113 00:02:34,454 --> 00:02:35,322 CONVERSANT 114 00:02:35,322 --> 00:02:37,491 WITH JAZZ AND OTHER FORMS OF 115 00:02:37,491 --> 00:02:39,059 MUSIC. 116 00:02:39,059 --> 00:02:39,760 TAMMY'S THE 117 00:02:39,760 --> 00:02:40,894 PERFECT AMBASSADOR 118 00:02:40,894 --> 00:02:42,796 FOR THIS AND 119 00:02:42,796 --> 00:02:43,931 IT'S 120 00:02:43,931 --> 00:02:44,731 A 121 00:02:44,731 --> 00:02:45,632 HYBRID. 122 00:02:45,632 --> 00:02:46,767 WE CERTAINLY AS 123 00:02:46,767 --> 00:02:48,001 CLASSICAL MUSE 124 00:02:48,001 --> 00:02:49,803 EGGSES ARE TUNED TO 125 00:02:49,803 --> 00:02:51,471 EXCELLENCE 126 00:02:51,471 --> 00:02:52,105 AND 127 00:02:52,105 --> 00:02:53,307 TAMMY, FOR INSTANCE, 128 00:02:53,307 --> 00:02:54,608 GAVE A 129 00:02:54,608 --> 00:02:56,510 MASTER CLASS TO 130 00:02:56,510 --> 00:02:57,411 OUR 131 00:02:57,411 --> 00:02:58,345 VIOLINISTS 132 00:02:58,345 --> 00:02:59,313 AND 133 00:02:59,313 --> 00:03:00,180 PEENISTS 134 00:03:00,180 --> 00:03:01,882 BECAUSE WHAT TAMMY 135 00:03:01,882 --> 00:03:02,816 REALLY KNOWS HOW 136 00:03:02,816 --> 00:03:04,351 TO DO IS 137 00:03:04,351 --> 00:03:05,552 PERFORM DIRECTLY. 138 00:03:05,552 --> 00:03:06,954 SOMETIME THAT'S LAST ON THE LIST 139 00:03:06,954 --> 00:03:07,988 FOR THE VIOL 140 00:03:07,988 --> 00:03:08,889 INIST BECAUSE THEY 141 00:03:08,889 --> 00:03:12,125 ARE THINKING ABOUT THE 142 00:03:12,125 --> 00:03:13,293 TECHNIQUE. 143 00:03:13,293 --> 00:03:14,962 AND IN OUR YOUNG JAZZ PLAYERS 144 00:03:14,962 --> 00:03:15,762 -- 145 00:03:15,762 --> 00:03:18,332 >>LET ME 146 00:03:18,332 --> 00:03:19,366 MAKE SURE I UND 147 00:03:19,366 --> 00:03:20,067 ERSTAND 148 00:03:20,067 --> 00:03:21,702 WHAT SHE WAS DOING FOR YOU. 149 00:03:21,702 --> 00:03:22,803 AS A JAZZ 150 00:03:22,803 --> 00:03:23,704 MUSICIAN, HERE 151 00:03:23,704 --> 00:03:24,972 YOU'RE 152 00:03:24,972 --> 00:03:25,939 ENCOUNTERING CLASSICKING 153 00:03:25,939 --> 00:03:27,174 STUDENTS AND WHAT YOU'RE 154 00:03:27,174 --> 00:03:28,542 TEACHING THEM THINGS 155 00:03:28,542 --> 00:03:30,377 BEYOND JUST 156 00:03:30,377 --> 00:03:30,744 THE MUSIC 157 00:03:30,744 --> 00:03:31,745 -- 158 00:03:31,745 --> 00:03:32,813 >>ABSOLUTELY, ABSOLUTELY, THAT 159 00:03:32,813 --> 00:03:33,947 THERE IS AN 160 00:03:33,947 --> 00:03:35,282 ENERGY EXCHANGE THAT 161 00:03:35,282 --> 00:03:37,117 YOU GIVE, AND WHEN I MENTIONED 162 00:03:37,117 --> 00:03:38,652 TO THEM WHEN YOU 163 00:03:38,652 --> 00:03:38,952 GO 164 00:03:38,952 --> 00:03:40,921 SEE 165 00:03:40,921 --> 00:03:43,090 YO-YO 166 00:03:43,090 --> 00:03:44,758 MA, 167 00:03:44,758 --> 00:03:46,026 PEARLMAN, THEY ARE 168 00:03:46,026 --> 00:03:46,693 PRESENT 169 00:03:46,693 --> 00:03:47,861 WITH THE PERFECT, 170 00:03:47,861 --> 00:03:48,529 THEIR 171 00:03:48,529 --> 00:03:50,163 PRESENTATION DRAWS THE AUDIENCE 172 00:03:50,163 --> 00:03:51,765 IN AND THAT'S WHAT I WANTED TO 173 00:03:51,765 --> 00:03:52,966 INSTILL WITH THEM. 174 00:03:52,966 --> 00:03:55,135 >>SOMETIMES YOU'LL SEE YOUNG 175 00:03:55,135 --> 00:03:56,136 CLASSICAL 176 00:03:56,136 --> 00:03:56,436 MUSIC 177 00:03:56,436 --> 00:03:57,404 IANS THAT ARE 178 00:03:57,404 --> 00:03:59,406 BRILLIANT AT WHAT THEY DO BUT 179 00:03:59,406 --> 00:04:00,674 ARE KIND OF SHY. 180 00:04:00,674 --> 00:04:02,609 THOSE ARE THE KINDS OF SKILLS 181 00:04:02,609 --> 00:04:03,911 THAT YOU'RE TALKING ABOUT. 182 00:04:03,911 --> 00:04:04,745 >>WE'RE IN THE COMMUNICATION 183 00:04:04,745 --> 00:04:06,346 BUSINESS, SO IF YOU'RE NOT 184 00:04:06,346 --> 00:04:08,282 MOVING SOMEONE, THEN IT'S NOT 185 00:04:08,282 --> 00:04:09,483 WORTH DOING. 186 00:04:09,483 --> 00:04:11,785 >>TAMMY, TELL ME ABOUT THE 187 00:04:11,785 --> 00:04:13,654 UPCOMING PERFORMANCES THAT YOU 188 00:04:13,654 --> 00:04:14,321 HAVE. 189 00:04:14,321 --> 00:04:15,189 >>THE MAIN PERFORMANCE I HAVE 190 00:04:15,189 --> 00:04:17,291 COMING UP RIGHT NOW IS AT THE 191 00:04:17,291 --> 00:04:17,958 JAZZ SHOWCASE. 192 00:04:17,958 --> 00:04:20,127 I GOT A CALL FROM WAYNE AND JOE 193 00:04:20,127 --> 00:04:21,028 AND I SAID THIS WOULD B 194 00:04:21,028 --> 00:04:21,728 E A 195 00:04:21,728 --> 00:04:23,597 PERFECT TIME TO COME TOGETHER 196 00:04:23,597 --> 00:04:24,331 -- 197 00:04:24,331 --> 00:04:25,332 >>WAYNE AND 198 00:04:25,332 --> 00:04:28,702 JOE? 199 00:04:28,702 --> 00:04:30,437 >>SIEGEL AT THE JAZZ SHOWCASE. 200 00:04:30,437 --> 00:04:32,139 I SAID THIS WOULD BE 201 00:04:32,139 --> 00:04:32,673 A OAHU 202 00:04:32,673 --> 00:04:33,407 TIME 203 00:04:33,407 --> 00:04:35,342 FOR ME TO COLLABORATE WITH THE 204 00:04:35,342 --> 00:04:36,109 MUSICIANS AT 205 00:04:36,109 --> 00:04:37,344 THE MUSIC 206 00:04:37,344 --> 00:04:38,645 INSTITUTE 207 00:04:38,645 --> 00:04:39,546 OF 208 00:04:39,546 --> 00:04:40,480 CHICAGO. 209 00:04:40,480 --> 00:04:41,415 >>AND THE ALL- 210 00:04:41,415 --> 00:04:42,115 STARS. 211 00:04:42,115 --> 00:04:45,986 TODAY YOU'RE SINGING 212 00:04:45,986 --> 00:04:46,653 "EMBRACEABLE 213 00:04:46,653 --> 00:04:47,788 YOU." 214 00:04:47,788 --> 00:04:48,989 WHY DID YOU PICK IT? 215 00:04:48,989 --> 00:04:50,924 IT'S A SONG NEAR AND DEAR 216 00:04:50,924 --> 00:04:52,292 TO US 217 00:04:52,292 --> 00:04:53,660 ON "CHICAGO 218 00:04:53,660 --> 00:04:54,828 TONIGHT". 219 00:04:54,828 --> 00:04:55,629 >>ANN CALL 220 00:04:55,629 --> 00:04:57,164 AWAY WAS A DEAR 221 00:04:57,164 --> 00:04:58,131 FRIEND OF MINE 222 00:04:58,131 --> 00:04:58,532 . 223 00:04:58,532 --> 00:05:00,501 I KNOW THAT SONG WAS DEAR TO HER 224 00:05:00,501 --> 00:05:01,468 AND HER FAMILY. 225 00:05:01,468 --> 00:05:03,370 I SAT HER WATCHED HER FATHER ON 226 00:05:03,370 --> 00:05:05,072 THIS SHOW FOR MANY YEARS. 227 00:05:05,072 --> 00:05:07,441 I WENT TO SEE HER IN NEW 228 00:05:07,441 --> 00:05:08,242 YORK 229 00:05:08,242 --> 00:05:09,409 AND I SAID I'VE GOT TO 230 00:05:09,409 --> 00:05:10,177 SURPRISE 231 00:05:10,177 --> 00:05:10,677 YOU. 232 00:05:10,677 --> 00:05:12,145 >>IT WAS JOHN 233 00:05:12,145 --> 00:05:13,080 CALLAWAY'S 234 00:05:13,080 --> 00:05:13,747 SIGNATURE SONG. 235 00:05:13,747 --> 00:05:15,883 >>BUT THE FIRST SONG YOU'RE 236 00:05:15,883 --> 00:05:16,850 PERFORMING IS 237 00:05:16,850 --> 00:05:18,118 -- 238 00:05:18,118 --> 00:05:18,485 >>"I JUST FOUND 239 00:05:18,485 --> 00:05:20,954 OUT ABOUT 240 00:05:20,954 --> 00:05:21,822 LOVE." 241 00:05:21,822 --> 00:05:23,590 >>THAT'S A TITLE, NOT A 242 00:05:23,590 --> 00:05:24,024 STATEMENT. 243 00:05:24,024 --> 00:05:25,359 IF YOU WANT TO SEE TAMMY 244 00:05:25,359 --> 00:05:26,960 McCANN IN PERSON, YOU CAN SEE 245 00:05:26,960 --> 00:05:28,395 ONE OF HER UPCOMING SHOWS 246 00:05:28,395 --> 00:05:29,429 AT THE 247 00:05:29,429 --> 00:05:31,331 JAZZ SHOWCASE, AS SHE JUST 248 00:05:31,331 --> 00:05:33,333 MENTIONED, FROM MARCH 249 00:05:33,333 --> 00:05:34,268 21-24TH 250 00:05:34,268 --> 00:05:35,836 AND ALSO AT THE HARRIS THEATER 251 00:05:35,836 --> 00:05:37,004 ON APRIL 10TH. 252 00:05:37,004 --> 00:05:38,972 YOU CAN FIND DETAILS ON OUR 253 00:05:38,972 --> 00:05:39,606 WEBSITE. 254 00:05:39,606 --> 00:05:40,774 AND NOW 255 00:05:40,774 --> 00:05:42,442 TAMMY McCANN SINGS I 256 00:05:42,442 --> 00:05:43,510 JUST FOUND OUT ABOUT LOVE 257 00:05:43,510 --> 00:05:44,244 . 258 00:05:44,244 --> 00:05:46,947 SHE'S ACCOMPANIED BY 259 00:05:46,947 --> 00:05:48,682 JEREMY 260 00:05:48,682 --> 00:05:51,151 KAHN. 261 00:05:51,151 --> 00:05:55,151 ΒΆΒΆ