WEBVTT 00:07.474 --> 00:08.175 >>> 00:08.175 --> 00:08.876 JAZZ 00:08.876 --> 00:10.777 VOCALIST 00:10.777 --> 00:11.578 TAMMY 00:11.578 --> 00:12.279 McCANN 00:12.279 --> 00:13.714 IS SHARING HER TALENT WITH 00:13.714 --> 00:14.481 THE 00:14.481 --> 00:16.183 CHICAGO JAZZ COMMUNITY. 00:16.183 --> 00:17.084 THIS YEAR 00:17.084 --> 00:22.523 McCANN IS AN 00:22.523 --> 00:23.290 ARTIVE-IN-RESIDENTS AT THE 00:23.290 --> 00:24.591 UNIVERSITY OF 00:24.591 --> 00:25.492 CHICAGO. 00:25.492 --> 00:26.960 WELCOME BOTH TO "CHICAGO 00:26.960 --> 00:27.461 TONIGHT." 00:27.461 --> 00:29.029 TAMMY, BEFORE WE TALK ABOUT WHAT 00:29.029 --> 00:30.497 YOU'RE DOING AT THE MUSIC 00:30.497 --> 00:31.899 INSTITUTE, A LITTLE BIT ABOUT 00:31.899 --> 00:33.166 YOUR BACKGROUND BECAUSE YOU 00:33.166 --> 00:35.035 STARTED OUT AS A CLASSICAL 00:35.035 --> 00:36.670 SINGER BUT THEN YOU HAD THIS 00:36.670 --> 00:37.871 EXPERIENCE IN COLLEGE THAT 00:37.871 --> 00:39.540 CAUSED YOU TO CHANGE 00:39.540 --> 00:39.940 DIRECTIONS. 00:39.940 --> 00:41.675 WHAT WAS THAT EXPERIENCE? 00:41.675 --> 00:42.876 >>THAT EXPERIENCE WAS WALKING 00:42.876 --> 00:44.878 DOWN THE HALLWAY, AND IN THE 00:44.878 --> 00:46.647 DISTANCE, IN A PRACTICE ROOM A 00:46.647 --> 00:47.347 YOUNG MAN WAS PLAY 00:47.347 --> 00:48.448 ING, AND I 00:48.448 --> 00:50.350 SAID WOW, WHAT AN INTERESTING 00:50.350 --> 00:51.084 PIECE. 00:51.084 --> 00:53.253 I ASKED HIM -- THAT'S SO 00:53.253 --> 00:53.787 INTERESTING. 00:53.787 --> 00:56.924 >>AND HE SAID NO, THIS IS 00:56.924 --> 00:58.125 FELONIOUS MONK. 00:58.125 --> 00:59.459 AND I SAID 00:59.459 --> 01:00.360 WHOSE 01:00.360 --> 01:01.895 FELONIOUS 01:01.895 --> 01:02.296 MONK? 01:02.296 --> 01:04.565 HE LOOKED AT ME LIKE I HAD THREE 01:04.565 --> 01:04.898 HEADS. 01:04.898 --> 01:06.400 IT TURNED OUT TO BE 01:06.400 --> 01:09.136 "AROUND 01:09.136 --> 01:09.937 MIDNIGHT." 01:09.937 --> 01:11.205 IT TURNED AROUND MY L 01:11.205 --> 01:12.039 IFE. 01:12.039 --> 01:13.640 >>UNTIL THEN WITH YOU WERE 01:13.640 --> 01:15.275 THINKING ABOUT AN ON 01:15.275 --> 01:16.844 RATTIC 01:16.844 --> 01:17.444 LIFE? 01:17.444 --> 01:18.645 >>LASER FOCUSED, L 01:18.645 --> 01:20.047 ASER 01:20.047 --> 01:20.480 FOCUSED. 01:20.480 --> 01:21.381 >>I 01:21.381 --> 01:22.616 WAS REALLY SURPRISED 01:22.616 --> 01:23.584 WHEN 01:23.584 --> 01:24.885 THEY APPROACHED ME, 01:24.885 --> 01:26.119 BUT 01:26.119 --> 01:26.987 MR. GEORGE HAD A 01:26.987 --> 01:28.622 VISION, YOU 01:28.622 --> 01:29.289 KNOW, OF 01:29.289 --> 01:30.457 CLASSICKING AND 01:30.457 --> 01:32.893 AL-JIZEERA IN A PARTNERSHIP 01:32.893 --> 01:34.094 TOGETHER, MUSICAL PARTNER 01:34.094 --> 01:34.528 SHIP, 01:34.528 --> 01:36.730 AND HE HAS COMPRISED SOME OF THE 01:36.730 --> 01:37.097 MOST 01:37.097 --> 01:38.065 AMAZING 01:38.065 --> 01:39.633 MUSICIANS, WORLD 01:39.633 --> 01:40.667 CLASS MUSICIANS 01:40.667 --> 01:41.502 TO 01:41.502 --> 01:42.970 HANDLE THIS, 01:42.970 --> 01:43.971 BE OVER 01:43.971 --> 01:45.706 THIS 01:45.706 --> 01:46.840 PROGRAM. 01:46.840 --> 01:48.942 AUDREY MORSE SON IS THE 01:48.942 --> 01:49.409 DIRECTOR. 01:49.409 --> 01:50.944 >>WHAT IS IT YOU DO AS PART OF 01:50.944 --> 01:52.946 THIS 01:52.946 --> 01:53.914 COLLECTIVE OF 01:53.914 --> 01:54.948 OUTSTANDING 01:54.948 --> 01:56.149 JAZZ PROFESSIONALS. 01:56.149 --> 01:57.184 WHAT DO YOU DO WITH THE 01:57.184 --> 01:57.718 STUDENTS? 01:57.718 --> 01:59.353 >>I BELIEVE WHAT WE DO IS -- WE 01:59.353 --> 02:02.189 ARE FOCUSED ON 02:02.189 --> 02:04.291 THE 02:04.291 --> 02:04.958 APPRENTICESHIP MESSAG 02:04.958 --> 02:05.225 E. 02:05.225 --> 02:07.494 WE'RE FOCUSED ON LETTING THESE 02:07.494 --> 02:08.195 KIDS GET A SENSE 02:08.195 --> 02:09.196 OF WHAT IT 02:09.196 --> 02:10.831 FEELS LIKE TO BE ON STAGE, AND 02:10.831 --> 02:12.232 THE ONLY WAY TO DO THAT IS 02:12.232 --> 02:12.799 TO 02:12.799 --> 02:14.301 HAVE THE ACTUAL 02:14.301 --> 02:15.235 MUSICIANS 02:15.235 --> 02:17.004 PLAYING THIS MUSIC ON A DAILY 02:17.004 --> 02:18.505 BASIS TAKING 02:18.505 --> 02:19.339 THEIR 02:19.339 --> 02:20.440 HANDS. 02:20.440 --> 02:21.108 >>THE 02:21.108 --> 02:23.110 MUSIC 02:23.110 --> 02:23.677 INSTITUTE, 02:23.677 --> 02:25.145 YOUR 02:25.145 --> 02:26.513 EMPHASIS HAS HISTORICALLY BEEN 02:26.513 --> 02:28.849 ON CLASSICAL 02:28.849 --> 02:30.551 MUSIC. 02:30.551 --> 02:31.351 >>ANY MUSICIAN IN THE 21ST 02:31.351 --> 02:32.119 SENT 02:32.119 --> 02:34.454 ROW NOW HAS TO BE 02:34.454 --> 02:35.322 CONVERSANT 02:35.322 --> 02:37.491 WITH JAZZ AND OTHER FORMS OF 02:37.491 --> 02:39.059 MUSIC. 02:39.059 --> 02:39.760 TAMMY'S THE 02:39.760 --> 02:40.894 PERFECT AMBASSADOR 02:40.894 --> 02:42.796 FOR THIS AND 02:42.796 --> 02:43.931 IT'S 02:43.931 --> 02:44.731 A 02:44.731 --> 02:45.632 HYBRID. 02:45.632 --> 02:46.767 WE CERTAINLY AS 02:46.767 --> 02:48.001 CLASSICAL MUSE 02:48.001 --> 02:49.803 EGGSES ARE TUNED TO 02:49.803 --> 02:51.471 EXCELLENCE 02:51.471 --> 02:52.105 AND 02:52.105 --> 02:53.307 TAMMY, FOR INSTANCE, 02:53.307 --> 02:54.608 GAVE A 02:54.608 --> 02:56.510 MASTER CLASS TO 02:56.510 --> 02:57.411 OUR 02:57.411 --> 02:58.345 VIOLINISTS 02:58.345 --> 02:59.313 AND 02:59.313 --> 03:00.180 PEENISTS 03:00.180 --> 03:01.882 BECAUSE WHAT TAMMY 03:01.882 --> 03:02.816 REALLY KNOWS HOW 03:02.816 --> 03:04.351 TO DO IS 03:04.351 --> 03:05.552 PERFORM DIRECTLY. 03:05.552 --> 03:06.954 SOMETIME THAT'S LAST ON THE LIST 03:06.954 --> 03:07.988 FOR THE VIOL 03:07.988 --> 03:08.889 INIST BECAUSE THEY 03:08.889 --> 03:12.125 ARE THINKING ABOUT THE 03:12.125 --> 03:13.293 TECHNIQUE. 03:13.293 --> 03:14.962 AND IN OUR YOUNG JAZZ PLAYERS 03:14.962 --> 03:15.762 -- 03:15.762 --> 03:18.332 >>LET ME 03:18.332 --> 03:19.366 MAKE SURE I UND 03:19.366 --> 03:20.067 ERSTAND 03:20.067 --> 03:21.702 WHAT SHE WAS DOING FOR YOU. 03:21.702 --> 03:22.803 AS A JAZZ 03:22.803 --> 03:23.704 MUSICIAN, HERE 03:23.704 --> 03:24.972 YOU'RE 03:24.972 --> 03:25.939 ENCOUNTERING CLASSICKING 03:25.939 --> 03:27.174 STUDENTS AND WHAT YOU'RE 03:27.174 --> 03:28.542 TEACHING THEM THINGS 03:28.542 --> 03:30.377 BEYOND JUST 03:30.377 --> 03:30.744 THE MUSIC 03:30.744 --> 03:31.745 -- 03:31.745 --> 03:32.813 >>ABSOLUTELY, ABSOLUTELY, THAT 03:32.813 --> 03:33.947 THERE IS AN 03:33.947 --> 03:35.282 ENERGY EXCHANGE THAT 03:35.282 --> 03:37.117 YOU GIVE, AND WHEN I MENTIONED 03:37.117 --> 03:38.652 TO THEM WHEN YOU 03:38.652 --> 03:38.952 GO 03:38.952 --> 03:40.921 SEE 03:40.921 --> 03:43.090 YO-YO 03:43.090 --> 03:44.758 MA, 03:44.758 --> 03:46.026 PEARLMAN, THEY ARE 03:46.026 --> 03:46.693 PRESENT 03:46.693 --> 03:47.861 WITH THE PERFECT, 03:47.861 --> 03:48.529 THEIR 03:48.529 --> 03:50.163 PRESENTATION DRAWS THE AUDIENCE 03:50.163 --> 03:51.765 IN AND THAT'S WHAT I WANTED TO 03:51.765 --> 03:52.966 INSTILL WITH THEM. 03:52.966 --> 03:55.135 >>SOMETIMES YOU'LL SEE YOUNG 03:55.135 --> 03:56.136 CLASSICAL 03:56.136 --> 03:56.436 MUSIC 03:56.436 --> 03:57.404 IANS THAT ARE 03:57.404 --> 03:59.406 BRILLIANT AT WHAT THEY DO BUT 03:59.406 --> 04:00.674 ARE KIND OF SHY. 04:00.674 --> 04:02.609 THOSE ARE THE KINDS OF SKILLS 04:02.609 --> 04:03.911 THAT YOU'RE TALKING ABOUT. 04:03.911 --> 04:04.745 >>WE'RE IN THE COMMUNICATION 04:04.745 --> 04:06.346 BUSINESS, SO IF YOU'RE NOT 04:06.346 --> 04:08.282 MOVING SOMEONE, THEN IT'S NOT 04:08.282 --> 04:09.483 WORTH DOING. 04:09.483 --> 04:11.785 >>TAMMY, TELL ME ABOUT THE 04:11.785 --> 04:13.654 UPCOMING PERFORMANCES THAT YOU 04:13.654 --> 04:14.321 HAVE. 04:14.321 --> 04:15.189 >>THE MAIN PERFORMANCE I HAVE 04:15.189 --> 04:17.291 COMING UP RIGHT NOW IS AT THE 04:17.291 --> 04:17.958 JAZZ SHOWCASE. 04:17.958 --> 04:20.127 I GOT A CALL FROM WAYNE AND JOE 04:20.127 --> 04:21.028 AND I SAID THIS WOULD B 04:21.028 --> 04:21.728 E A 04:21.728 --> 04:23.597 PERFECT TIME TO COME TOGETHER 04:23.597 --> 04:24.331 -- 04:24.331 --> 04:25.332 >>WAYNE AND 04:25.332 --> 04:28.702 JOE? 04:28.702 --> 04:30.437 >>SIEGEL AT THE JAZZ SHOWCASE. 04:30.437 --> 04:32.139 I SAID THIS WOULD BE 04:32.139 --> 04:32.673 A OAHU 04:32.673 --> 04:33.407 TIME 04:33.407 --> 04:35.342 FOR ME TO COLLABORATE WITH THE 04:35.342 --> 04:36.109 MUSICIANS AT 04:36.109 --> 04:37.344 THE MUSIC 04:37.344 --> 04:38.645 INSTITUTE 04:38.645 --> 04:39.546 OF 04:39.546 --> 04:40.480 CHICAGO. 04:40.480 --> 04:41.415 >>AND THE ALL- 04:41.415 --> 04:42.115 STARS. 04:42.115 --> 04:45.986 TODAY YOU'RE SINGING 04:45.986 --> 04:46.653 "EMBRACEABLE 04:46.653 --> 04:47.788 YOU." 04:47.788 --> 04:48.989 WHY DID YOU PICK IT? 04:48.989 --> 04:50.924 IT'S A SONG NEAR AND DEAR 04:50.924 --> 04:52.292 TO US 04:52.292 --> 04:53.660 ON "CHICAGO 04:53.660 --> 04:54.828 TONIGHT". 04:54.828 --> 04:55.629 >>ANN CALL 04:55.629 --> 04:57.164 AWAY WAS A DEAR 04:57.164 --> 04:58.131 FRIEND OF MINE 04:58.131 --> 04:58.532 . 04:58.532 --> 05:00.501 I KNOW THAT SONG WAS DEAR TO HER 05:00.501 --> 05:01.468 AND HER FAMILY. 05:01.468 --> 05:03.370 I SAT HER WATCHED HER FATHER ON 05:03.370 --> 05:05.072 THIS SHOW FOR MANY YEARS. 05:05.072 --> 05:07.441 I WENT TO SEE HER IN NEW 05:07.441 --> 05:08.242 YORK 05:08.242 --> 05:09.409 AND I SAID I'VE GOT TO 05:09.409 --> 05:10.177 SURPRISE 05:10.177 --> 05:10.677 YOU. 05:10.677 --> 05:12.145 >>IT WAS JOHN 05:12.145 --> 05:13.080 CALLAWAY'S 05:13.080 --> 05:13.747 SIGNATURE SONG. 05:13.747 --> 05:15.883 >>BUT THE FIRST SONG YOU'RE 05:15.883 --> 05:16.850 PERFORMING IS 05:16.850 --> 05:18.118 -- 05:18.118 --> 05:18.485 >>"I JUST FOUND 05:18.485 --> 05:20.954 OUT ABOUT 05:20.954 --> 05:21.822 LOVE." 05:21.822 --> 05:23.590 >>THAT'S A TITLE, NOT A 05:23.590 --> 05:24.024 STATEMENT. 05:24.024 --> 05:25.359 IF YOU WANT TO SEE TAMMY 05:25.359 --> 05:26.960 McCANN IN PERSON, YOU CAN SEE 05:26.960 --> 05:28.395 ONE OF HER UPCOMING SHOWS 05:28.395 --> 05:29.429 AT THE 05:29.429 --> 05:31.331 JAZZ SHOWCASE, AS SHE JUST 05:31.331 --> 05:33.333 MENTIONED, FROM MARCH 05:33.333 --> 05:34.268 21-24TH 05:34.268 --> 05:35.836 AND ALSO AT THE HARRIS THEATER 05:35.836 --> 05:37.004 ON APRIL 10TH. 05:37.004 --> 05:38.972 YOU CAN FIND DETAILS ON OUR 05:38.972 --> 05:39.606 WEBSITE. 05:39.606 --> 05:40.774 AND NOW 05:40.774 --> 05:42.442 TAMMY McCANN SINGS I 05:42.442 --> 05:43.510 JUST FOUND OUT ABOUT LOVE 05:43.510 --> 05:44.244 . 05:44.244 --> 05:46.947 SHE'S ACCOMPANIED BY 05:46.947 --> 05:48.682 JEREMY 05:48.682 --> 05:51.151 KAHN. 05:51.151 --> 05:55.151 ΒΆΒΆ