1
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Hello!

2
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Hello, it's John W here.

3
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Williams.

4
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The guitar player.

5
00:00:14,400 --> 00:00:18,360
John Williams is able to
sort of enrapture you,

6
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and wrap himself

7
00:00:21,320 --> 00:00:24,000
and the sound of
the guitar around you.

8
00:00:24,000 --> 00:00:26,920
I've known John
since he was about 11.

9
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He is a complete enigma to me
as a person.

10
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But that doesn't mean to say
we don't make good music together.

11
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One of the finest guitar players,
ladies and gentlemen,

12
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in the world today -
Mr John Williams.

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APPLAUSE

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This guy, there's nothing like it.

15
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I definitely think it was
a kind of magic.

16
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I was voted something like 12th
best electric guitarist,

17
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which is totally ridiculous.

18
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JW, what a man.

19
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John Williams? Brilliant guitarist.

20
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He liked a joke.

21
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I love it. And, you know,
hopefully, if one is lucky,

22
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one can be good at something
one loves doing.

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I remember it well.

24
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Because my father was more or less
responsible for the huge

25
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popularity in the mid-'50s of the
classical Spanish guitar,

26
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as opposed to all the other,
you know, skiffle, pop, jazz etc.

27
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And his guitar school was
quite a focal point.

28
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But it's far too fast.

29
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I've known John
since he was about 11.

30
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I thought he was
a remarkable player.

31
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But he'd been playing a long time.

32
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He'd been playing since six.

33
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He was taught beautifully and his
father was a very fine teacher.

34
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Len.

35
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'The teacher, Mr Williams, is a
dedicated man. His method is strict.

36
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'He stands no nonsense.'

37
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Yes, that's very good. Don't
hurry from one phrase to another.

38
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You see, you did this.

39
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My father was actually
very circumspect about

40
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sort of exploiting me.

41
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'A rock and roll guitarist can be
turned out in 12 hours flat.

42
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'The classical player must devote
at least 12 solid years to

43
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'patient study.

44
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'You pays your money
and you takes your pick.'

45
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He was totally against the idea
of the young so-called prodigy,

46
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or talented young person, whatever,

47
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being put out, you know,
to do concerts.

48
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Seeing yourself, like, from 50 years
ago - I mean, I'm 74 now -

49
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is, you know, a bit daunting,
to be honest, you know.

50
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It's like, almost,
seeing someone else.

51
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Will you please meet John Williams?
Thank you!

52
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APPLAUSE

53
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The fantastic John Williams.
And of course everybody knows

54
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that's Eric Clapton's father.

55
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Ladies and gentlemen,
Mr John Williams.

56
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Thank you very much.

57
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We came together. I think it was
my idea but it may have been John's.

58
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I certainly wanted us
to play some duets

59
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because, over number of years,
there were two camps.

60
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There was the Williams camp
and the Bream camp, you see.

61
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It was...
It wasn't very pleasant, really.

62
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And I thought the best thing John
and I could do were to play duets.

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That would disperse them.

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And it duly did.

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With Julian it was great,
because we're very different.

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And we mutually respect that.

67
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It's better than being, like,
two people who play the same.

68
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But we used to feel,
because we play differently,

69
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it gave it a real dynamic, you know.

70
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We'd have a phrase
and we'd have to repeat it.

71
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Then it would come out differently.
It would still be together, we hope.

72
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We were never a great duo, as such.

73
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We were just rather good players,
who played well together.

74
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I liked the difference
of our approach.

75
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Well, you're no good playing table
tennis without a bit of competition.

76
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And I like the spontaneity.

77
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Spontaneity is very important
when there are two of you.

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# Some of my best friends
are songs. #

79
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I just loved the opportunity of
getting the guitar over, you know.

80
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And a popular music show on Saturday
night, for a classical musician,

81
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so-called classical musician,
to agree to go on it.

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I mean, it's extraordinary
to think nowadays, because no-one

83
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would dream of saying...

84
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Everyone's sort of...
if there was a show like that,

85
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there'd be sort of queueing up to
try and get on it.

86
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One of the finest guitar players,
ladies and gentlemen,

87
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in the world today,
Mr John Williams.

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APPLAUSE

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I just thought,
"Oh, what an opportunity," you know,

90
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to play to 18 million people,
live on a Saturday night.

91
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APPLAUSE

92
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Val loved the guitar.

93
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I think the popularity of the guitar
itself, of the classical guitar,

94
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has a lot to do with me
having been a guest on Val's show.

95
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I mean, he did an enormous amount,
quite apart from the

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people that loved watching him
every Saturday night.

97
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A lot of people whose shows I was on
that were in popular entertainment,

98
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I was so impressed by
their attitudes,

99
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their ease of personality,
the way they related to people.

100
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The way they did their act.

101
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Can I have a chair, please?

102
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That's all I ask. Thank you.

103
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Eric Sykes was a real musician's
comedian, you know.

104
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All the musicians loved him
because of his timing.

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Something very close to music
in miming.

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I was going to play a little piece,
by Bach.

107
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And then I thought, why?

108
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He never plays any of mine.

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LAUGHTER

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It's a little piece called Amour,
and it goes like this.

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LAUGHTER

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APPLAUSE

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LAUGHTER

114
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Our act started with him
doing a Bach gavotte.

115
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GUITAR MUSIC CONTINUES

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APPLAUSE

117
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And he would be playing something
on guitar, which he could do.

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He could play quite well.

119
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Enough to mime something.
And it would fool you.

120
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It would even fool another
guitarist, you know.

121
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I've got to be honest,

122
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that everybody mimes to records.

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Well, I don't mime to records.

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I have the real guy here,
who's round the back.

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The greatest guitarist in the world,
and we're going to play you a duet,

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John Williams.

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APPLAUSE

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I told you it was a classy act!

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It's all right.

130
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Fine, yes.

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OK, John. Same piece or...

132
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Lovely.

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This one. Yes.

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HE CHANGES TUNE
Yes. That one?

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That one, yes.

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LAUGHTER AND APPLAUSE

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B.

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E? B.

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C.

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APPLAUSE

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# Kiss today goodbye. #

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Hello.

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Hello.

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'I think the word jazz is
bandied around a lot, you know.

145
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'Especially these days.
By people who sort of play AT it.

146
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'They play at jazz.'

147
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They like the jazzy feeling,
but generally when classical

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people play anything
popular or jazz,

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they don't get quite the right feel,
I think.

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I'm not being conceited here.

151
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I say it's a little bit in my
blood,

152
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'because my father was
a 1930s, '40s session guitarist,

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'jazz guitarist.'

154
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We met him at Ronnie Scott's.

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We went to see him

156
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because we had heard that he was
interested in doing something.

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He liked to know and learn from

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all these different people
that we threw him into.

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Of course at first one didn't feel
that he was particularly funny or

160
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had a sense of humour or something,

161
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and he needed someone like...

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say, like, John Dankworth,
who had a great sense of humour

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and they brought each other out.

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Whereas I was
never as good as them two.

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I would like to have been,
but I never achieved it!

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I would like to introduce somebody

167
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who is an old friend of ours.

168
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Somebody who actually needs
no introduction at all.

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I'd heard him
playing it on the guitar.

170
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And I was quite happy to just sit
and listen to it.

171
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And I said, oh, I love that.

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And there were no words to it then.

173
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And I thought,
that really is very beautiful.

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# He was beautiful

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# Beautiful

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# To my eyes

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# From the moment

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# I saw him

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# Sun filled the skies

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# He was so, so beautiful

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# Beautiful

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# Just to hold

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# In my arms

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# He was springtime

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# Winter was cold

186
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# How could I tell him

187
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# What I so clearly could see. #

188
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I wrote that lyric in less
than a week.

189
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It just came very, very easily.

190
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I didn't have to think about those
lyrics whatsoever and a lot people

191
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say to me, they nudge me in the ribs
and say, "Come on, girl, tell me."

192
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Who was he?

193
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It wasn't anybody!

194
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Except my husband and John Williams.

195
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He is a complete enigma to me
as a person.

196
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But that doesn't mean to say
we don't make good music together.

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We're very different performers.

198
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But that, I think, is good.

199
00:29:01,920 --> 00:29:06,600
There is a tendency for people
to want to make

200
00:29:06,600 --> 00:29:09,240
a more uniform sound
between two instruments,

201
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but I think that the difference
is very important

202
00:29:12,560 --> 00:29:18,040
because, amongst other things,
it adds a bit of pepper and salt.

203
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We had ideas.

204
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Not arguments.

205
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Discussion.

206
00:29:27,960 --> 00:29:32,680
And we put them in a hat and
eventually it came out in the wash.

207
00:29:32,680 --> 00:29:36,320
Until we got something halfway
decent by way of a programme.

208
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We were of our time.

209
00:33:17,520 --> 00:33:20,960
And that was the sort of thing
people wanted to hear.

210
00:33:20,960 --> 00:33:23,200
Two good guitar players
playing duets.

211
00:33:27,840 --> 00:33:31,800
And then, finally, we didn't do
anything very much more.

212
00:33:31,800 --> 00:33:33,360
It...it...

213
00:33:33,360 --> 00:33:36,120
it had come to an end.

214
00:33:36,120 --> 00:33:39,480
We had said what we wanted to say
as eloquently as we could.

215
00:33:40,840 --> 00:33:42,960
And that was it.

216
00:34:04,720 --> 00:34:06,280
It's very interesting.

217
00:34:06,280 --> 00:34:08,840
You see, when you're
with someone else on stage,

218
00:34:08,840 --> 00:34:10,960
what you're communicating
to the audience,

219
00:34:10,960 --> 00:34:14,240
and it can be in a room with friends
or it can be in a public,

220
00:34:14,240 --> 00:34:18,280
you know, space,
is you're communicating

221
00:34:18,280 --> 00:34:21,880
the togetherness of the two of you
and the music you're making.

222
00:34:21,880 --> 00:34:24,320
Which is...
OK, which seems obvious.

223
00:34:24,320 --> 00:34:26,040
But when you're on your own,

224
00:34:26,040 --> 00:34:29,400
a lot of the attention is on
how well you are doing on your own.

225
00:34:29,400 --> 00:34:31,040
To...to express yourself.

226
00:34:31,040 --> 00:34:34,720
And, um...
I'm sort of in two minds about that.

227
00:34:34,720 --> 00:34:36,760
POUNDING ROCK BEAT

228
00:34:50,880 --> 00:34:53,880
I met John on a recording session.

229
00:34:53,880 --> 00:34:56,440
I think it was for Stanley Myers.

230
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It was Francis Monkman on keyboard
and we had such a rapport

231
00:35:01,360 --> 00:35:07,000
going between us that Stanley Myers
said, "You lot should form a band.

232
00:35:07,000 --> 00:35:10,240
"You have a nice groove together
when you're playing."

233
00:35:12,400 --> 00:35:16,720
I think John thought
the idea of playing a different

234
00:35:16,720 --> 00:35:20,880
sort of music was quite...
interesting.

235
00:35:20,880 --> 00:35:23,840
MUSIC: GIGUE FROM FRENCH SUITE No 5
by BACH

236
00:35:29,920 --> 00:35:31,960
I didn't want to be the only
guitarist

237
00:35:31,960 --> 00:35:35,520
and we needed someone who could do
different styles.

238
00:35:35,520 --> 00:35:38,080
I can only do the so-called
classical style.

239
00:35:38,080 --> 00:35:39,680
And I'd already met Kevin Peek,

240
00:35:39,680 --> 00:35:43,800
an Australian guitarist who used
to play backing for the Shadows

241
00:35:43,800 --> 00:35:47,000
and used to do session work
like the Val Doonican show, etc.

242
00:36:03,280 --> 00:36:08,760
John was playing electric guitar
with his fingers, which I think...

243
00:36:08,760 --> 00:36:13,400
that in itself was a huge jump,
especially for John.

244
00:36:18,640 --> 00:36:20,880
I found with electric guitar,
I thought

245
00:36:20,880 --> 00:36:24,680
at first I could use my classical,
so-called classical technique

246
00:36:24,680 --> 00:36:28,240
on electric strings and then I found
out later on that I couldn't.

247
00:36:28,240 --> 00:36:31,200
I did it, and I was voted
something like, I think,

248
00:36:31,200 --> 00:36:34,280
12th best electric guitarist
by Melody Maker one year,

249
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which is totally ridiculous.

250
00:36:36,000 --> 00:36:38,640
I mean, I wouldn't have been
in the top thousand.

251
00:36:42,640 --> 00:36:46,680
I thought, I sensed
a look of puzzlement.

252
00:36:46,680 --> 00:36:51,400
He was smiling, but I know
he was out of his comfort zone,

253
00:36:51,400 --> 00:36:55,280
but often, you have to be if you're
doing something that is original.

254
00:38:03,120 --> 00:38:06,360
Sky was... It was fantastic.

255
00:38:06,360 --> 00:38:09,320
I mean, we gelled terrifically.

256
00:38:09,320 --> 00:38:11,360
You know, we were very different,

257
00:38:11,360 --> 00:38:13,880
some of us
from totally different backgrounds

258
00:38:13,880 --> 00:38:16,480
but we found a language of music.

259
00:38:18,040 --> 00:38:19,840
For us, there aren't any barriers.

260
00:38:19,840 --> 00:38:22,880
Were not actually consciously
trying to do anything beyond doing

261
00:38:22,880 --> 00:38:25,920
what we ourselves like playing
and believe in.

262
00:38:25,920 --> 00:38:28,720
We're not actually consciously
trying to break down a barrier

263
00:38:28,720 --> 00:38:31,400
but we recognise that we are,
in fact,

264
00:38:31,400 --> 00:38:34,000
probably helping people
break down barriers.

265
00:38:39,880 --> 00:38:45,000
We were kind of confident
and comfortable with, er,

266
00:38:45,000 --> 00:38:48,040
the music that we had to play,
so we didn't need an image.

267
00:38:50,480 --> 00:38:53,840
I had a red and blue jumper
that I used to wear

268
00:38:53,840 --> 00:38:55,320
because my mum knitted it.

269
00:39:02,640 --> 00:39:06,560
I think there was a gap
between the classical guitar

270
00:39:06,560 --> 00:39:10,520
and the jazz guitar
or the rock guitar,

271
00:39:10,520 --> 00:39:13,720
and suddenly,
for John Williams to...

272
00:39:13,720 --> 00:39:17,480
lift over into another area,

273
00:39:17,480 --> 00:39:20,120
was brilliant
for young guitarists.

274
00:39:28,080 --> 00:39:29,960
JW - what a man!

275
00:39:31,520 --> 00:39:34,680
Why is one of Britain's
most celebrated classical guitarists

276
00:39:34,680 --> 00:39:36,400
suddenly becoming a rock guitarist?

277
00:39:36,400 --> 00:39:39,040
Well, I don't know that I'm that
successful at actually

278
00:39:39,040 --> 00:39:40,720
becoming a complete rock guitarist.

279
00:39:40,720 --> 00:39:43,000
You know, when things get too rocky
and sort of heavy

280
00:39:43,000 --> 00:39:45,400
and really rocky, I pass it
all over to Kevin here, you see.

281
00:40:14,120 --> 00:40:17,920
Ultimately, with Sky, it really did,
from the guitar point of view,

282
00:40:17,920 --> 00:40:19,440
break boundaries.

283
00:40:19,440 --> 00:40:21,560
I think it was a real trailblazer.

284
00:40:21,560 --> 00:40:25,280
It didn't mean that I stopped
in any way my classical playing.

285
00:40:25,280 --> 00:40:29,160
In fact, later on I was doing
many other things and people said,

286
00:40:29,160 --> 00:40:31,800
"Oh, you've, you know,
you've switched horses.

287
00:40:31,800 --> 00:40:33,480
"You're doing the popular thing.

288
00:40:33,480 --> 00:40:36,360
"You're doing it for money,
you're doing it for blah-blah-blah,"

289
00:40:36,360 --> 00:40:38,320
all of which is rubbish.

290
00:40:38,320 --> 00:40:42,160
Er... Because, it's quite
an embarrassing thing to say.

291
00:40:42,160 --> 00:40:44,480
I didn't want to say it
at the time but actually...

292
00:40:44,480 --> 00:40:47,440
if it was a financial thing,
I would have been earning much more

293
00:40:47,440 --> 00:40:49,680
just sticking to my classical
playing, you know.

294
00:40:49,680 --> 00:40:52,360
Please welcome a master of music.

295
00:40:52,360 --> 00:40:56,400
We are so proud to have on the show
Mr John Williams!

296
00:40:56,400 --> 00:40:58,920
APPLAUSE

297
00:41:01,080 --> 00:41:03,600
'I did a Les Dawson guest bit.

298
00:41:03,600 --> 00:41:05,120
'Of course, it was Cavatina,

299
00:41:05,120 --> 00:41:07,040
'the Deer Hunter tune.'

300
00:41:07,040 --> 00:41:09,080
What better for him, you know?

301
00:41:09,080 --> 00:41:11,480
You know, it's strange,
when you think of it,

302
00:41:11,480 --> 00:41:14,920
how two musical giants have
never actually worked together.

303
00:41:14,920 --> 00:41:17,280
It would be nice, though,
wouldn't it? I would love it.

304
00:41:17,280 --> 00:41:19,080
Actually, do you like Cavatina?

305
00:41:19,080 --> 00:41:20,760
I prefer Bolognese, myself.

306
00:41:20,760 --> 00:41:22,080
LAUGHTER

307
00:41:22,080 --> 00:41:25,240
He was naturally funny,
naturally friendly.

308
00:41:25,240 --> 00:41:26,640
Now, don't be nervous

309
00:41:26,640 --> 00:41:28,880
because I do get a bit intricate
in certain parts.

310
00:41:28,880 --> 00:41:32,120
We do it in E, do we? Pardon?
In E? No, we'll do it in here.

311
00:41:32,120 --> 00:41:34,080
LAUGHTER

312
00:41:34,080 --> 00:41:38,240
So...just follow what I do.

313
00:41:38,240 --> 00:41:41,360
All right?
I'll just limber up the digits.

314
00:41:41,360 --> 00:41:42,480
HE PLAYS A FEW NOTES

315
00:41:45,320 --> 00:41:48,400
THEY START TO PLAY CAVATINA

316
00:41:48,400 --> 00:41:49,960
LES PLAYS A WRONG NOTE

317
00:41:49,960 --> 00:41:51,440
LAUGHTER

318
00:41:51,440 --> 00:41:53,240
And to actually do it...

319
00:41:53,240 --> 00:41:58,480
do it wrong is actually quite
difficult and make it funny as well.

320
00:41:58,480 --> 00:42:00,560
Shall I show you?
If you think it's better.

321
00:42:00,560 --> 00:42:02,240
It's the B, then the...

322
00:42:02,240 --> 00:42:04,680
and then the C sharp...

323
00:42:04,680 --> 00:42:05,960
CRUNCH!

324
00:42:05,960 --> 00:42:07,600
I knew that would happen!

325
00:42:07,600 --> 00:42:09,280
I knew you'd get your thumb fast.

326
00:42:09,280 --> 00:42:11,920
I knew it. Thank God you didn't
have it on your knee.

327
00:42:11,920 --> 00:42:13,160
So wait a minute.

328
00:42:13,160 --> 00:42:14,800
LAUGHTER

329
00:42:14,800 --> 00:42:16,120
You're totally wrong.

330
00:42:16,120 --> 00:42:18,320
Look, this is the way
it was written. Please, John.

331
00:42:18,320 --> 00:42:20,640
I mean, I'm very embarrassed now.

332
00:42:22,280 --> 00:42:24,120
LES PLAYS A WRONG NOTE

333
00:42:24,120 --> 00:42:25,920
LAUGHTER

334
00:42:25,920 --> 00:42:27,400
Les, Les.

335
00:42:27,400 --> 00:42:29,880
Les, it really is not
a C natural there.

336
00:42:29,880 --> 00:42:31,520
It sounds crazy.

337
00:42:31,520 --> 00:42:33,720
Look, I know you're supposed
to know your business

338
00:42:33,720 --> 00:42:36,800
but quite frankly, I know
it's not much but this is my show.

339
00:42:36,800 --> 00:42:39,480
As far as I'm concerned,
I'm giving you no more support.

340
00:42:39,480 --> 00:42:42,160
If I did, you wouldn't wear it.

341
00:42:42,160 --> 00:42:44,400
As far as I'm concerned, Williams,
you're on your own

342
00:42:44,400 --> 00:42:46,160
but just remember one thing.

343
00:42:46,160 --> 00:42:47,400
There's others available.

344
00:42:47,400 --> 00:42:49,120
You're not just on your own,
you know.

345
00:42:49,120 --> 00:42:50,960
I can get anybody for that money.

346
00:42:52,120 --> 00:42:53,520
Be it on your own head, Williams.

347
00:42:53,520 --> 00:42:54,920
APPLAUSE

348
00:43:07,200 --> 00:43:09,920
HE STARTS TO PLAY

349
00:46:21,600 --> 00:46:23,920
APPLAUSE

350
00:46:33,600 --> 00:46:36,760
Thank you,
the fantastic John Williams.

351
00:46:36,760 --> 00:46:39,480
And of course, everybody knows
that's Eric Clapton's father.

352
00:46:39,480 --> 00:46:42,240
APPLAUSE

353
00:46:50,040 --> 00:46:53,880
I had a chance to collaborate
with John Williams,

354
00:46:53,880 --> 00:46:56,320
accompanying him
in the second movement

355
00:46:56,320 --> 00:46:59,720
of the Concerto de Aranjuez
of Rodrigo,

356
00:46:59,720 --> 00:47:03,720
the quintessential
guitar piece that everybody knows.

357
00:47:42,840 --> 00:47:46,680
The Rodrigo concerto is one of the
great pieces of the 20th century.

358
00:47:46,680 --> 00:47:49,480
I mean, it's the one that's captured
the public imagination,

359
00:47:49,480 --> 00:47:51,760
quite apart from the guitar public.

360
00:47:51,760 --> 00:47:55,040
And rightly so, because
that slow movement is a wonder.

361
00:47:55,040 --> 00:47:57,720
It's a stroke of genius, the tune.

362
00:47:57,720 --> 00:47:59,720
To have it with just guitar chords

363
00:47:59,720 --> 00:48:03,400
and hearing it on the cor anglais,
the tune, to start with,

364
00:48:03,400 --> 00:48:06,640
guitar is a great instrument
for playing just chords.

365
00:48:06,640 --> 00:48:09,600
No other instrument plays chords
that sound so nice.

366
00:48:20,560 --> 00:48:24,680
I was...
really, really scared of,

367
00:48:24,680 --> 00:48:28,800
first of all, to...
to play with him.

368
00:48:28,800 --> 00:48:30,760
I mean,
he practically wrote this piece.

369
00:48:33,000 --> 00:48:37,440
And just because the music was
so well known, I thought, well,

370
00:48:37,440 --> 00:48:39,240
I can't screw this up.

371
00:48:39,240 --> 00:48:43,960
But he made me feel so at ease
and so comfortable and he said,

372
00:48:43,960 --> 00:48:46,360
"Just lay the tempo down.

373
00:48:47,720 --> 00:48:49,920
"Conduct, and I'll work around it."

374
00:49:05,400 --> 00:49:07,880
Now, I'm used
to following singers all around

375
00:49:07,880 --> 00:49:11,400
and doing all kinds of cartwheels
and I didn't have to with him.

376
00:49:11,400 --> 00:49:14,080
I was just, like,
working with a great musician

377
00:49:14,080 --> 00:49:17,040
and with that instrument that
creates intimacy

378
00:49:17,040 --> 00:49:18,640
like no other instrument.

379
00:49:29,600 --> 00:49:33,960
John is able to sort of
enrapture you

380
00:49:33,960 --> 00:49:37,800
and wrap himself and the sound
of the guitar around you.

381
00:49:59,960 --> 00:50:02,160
It was a unique experience for me

382
00:50:02,160 --> 00:50:04,640
because I haven't worked
with him since, unfortunately.

383
00:50:05,800 --> 00:50:07,120
And I miss that.

384
00:57:16,880 --> 00:57:19,520
HE PLAYS FINAL NOTE AND MUSIC FADES

385
00:57:28,960 --> 00:57:30,320
LOUD APPLAUSE

386
00:57:30,320 --> 00:57:32,640
I enjoy the guitar in a huge space.

387
00:57:32,640 --> 00:57:34,080
I love it.

388
00:57:34,080 --> 00:57:36,160
And hopefully, if one's lucky,

389
00:57:36,160 --> 00:57:39,040
one can be good at something
one loves doing.