[ Traffic passing ] [ Piano plays mid-tempo jazz ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Whistling to piano music ] ♪♪ ♪♪ [ Speaking indistinctly ] ♪♪ Ohh.

♪♪ [ Speaking indistinctly ] ♪♪ [ Feet tapping floor rhythmically ] One and two and one.

♪♪ [Inaudible] ♪♪ Good.

♪♪ ♪♪ You see, I like my little language.

I like the classical-ballet language, but there's no reason why it only has to be Tchaikovsky.

Could be Wynton Marsalis.

[ Up-tempo jazz plays ] ♪♪ ♪♪ ♪♪ When we first met, he said he wanted the ballet to be about American life.

And that's very easy for jazz musicians because that's what our music is about.

And the jazz musicians have never had to try to escape being American by genuflecting too deeply toward Europe or any of that.

Our music is constructed from the American vernacular musics.

♪♪ ♪♪ ♪♪ When I first heard this music, I went, "Wynton, hat are you doing?"

And then I listened to it again and I thought, "This is fascinating.

This is very interesting.

But what on earth do you do to it?"

And I called him up and I said, "Wynton, I don't know if I can do this, because it's -- it's, um, -- I don't know what it is."

And he said to me, "This is exactly what you asked for."

And I said, "I asked for this?"

You know, you usually have to listen to something about, you know, 10 times at least.

And after 10 times or something like that, I still didn't know what the hell to do.

And I called him up and I said, "Wynton, I don't know, maybe we ought to postpone this.

Maybe I need more time.

This is not a -- It's not a comment on your music.

It's much more about me.

Maybe time is running out."

I did get it maybe a few weeks late, so I thought, "Maybe I can -- If I have another month or so, maybe I'll find a structure."

"Hey, man, you can't do this to me.

You've got to do this.

You can do it, man."

[ Chuckles ] So I -- I'm not one to give up.

So I said, "Okay, I'll call you back in a few days."

And I just launched in there and I -- I began to focus on one movement at a time, very severely, specific.

And I began to like it more.

You see, that's always the key.

If you like a piece of music more as you hear it, and then there's hope, then there's a chance.

So I realized it was just a matter of me having expected something else, you know, kind of very traditional.

And then I listened to it over and over, and really I went, "Wow.

This could be very interesting.

This could be very unique and kind of different."

And I called him up and I said, "Wynton, I don't promise this will be good, but I'm going to try it."

"Good man."

[ Tapping foot rhythmically ] Good.

No problem.

Can you give us this?

Oh, yeah.

I'll just have them play it on the snare drum.

I'll think of it.

Somebody will play four beats.

Four beats?

Maybe the whistle can blow four times.

♪ Wah, wah, wah, wah, wah, wah ♪ [ Piano plays ] Maybe it'll be like a whistle.

A whistle is great.

♪ Dumbo, dumbo, dumbo, dumbo ♪ Yeah, like a whistle.

♪ Wah, wah ♪ See if I get a good whistle.

Maybe... ♪ Pa pa, boom, boom, boom, boom ♪ Something.

Yeah, one of those.

I'll find a good whistle.

And so that'll be it.

♪♪ Be more like that.

♪♪ ♪♪ Okay.

Okay.

Okay.

Ooh.

Okay.

Thank you, everybody.

Thank you very, very much.

It'll be fun.

Yeah.

Nice opening.

It'll be fun.

Do you have anything that you want?

Excuse me?

Do you have anything that you want?

Do you have any other ideas that you want?

A dirge.

I need a repeat.

Okay.

Where do you mean?

Remember we discussed that?

Yeah.

I don't know where you would put it.

It's going to be slower, too, right?

Well... if you give me a repeat, it could be -- it's perfect tempo.

Okay, so, you like that tempo?

I'm not that crazy about that tempo.

I'd rather have a slower tempo, yeah.

Do you?

[ Slow, mournful jazz plays ] So this is the first -- If I were to get this again, what I'm listening to right now.

♪♪ Know what I mean?

That's not a problem.

I want to make sure that you're in the same place that you think that you're in, though.

Because the last time, we were in the third time, This is the second time you hear this.

♪♪ Do you follow me?

No.

You don't follow me?

I'm trying to follow you, but you saying two different things.

We think we know what you're saying.

You're saying 3 or 4 different things, man.

-What does he want?

-He wants a second.

So, for the second time, it happens, I get that twice.

I need to put something in here, though.

Okay.

I understand what you want now.

It gives me another minute.

But what it does -- it gives me a section with the girl and the Black boy, and the girl and the angel, and a section with the three of them.

Let me -- Let me -- Let me write that down.

♪♪ So, there you are.

It's good, man.

I don't know if you'll make it in time, but... We'll make it.

...if you keep disturbing us, we won't.

[ Laughter ] We'll make it, man.

We'll make it, we'll make it.

We'll make it real bad, won't we?

Oh, yeah.

We're gonna make it.

Don't worry.

It's gonna be alright.

"Bad" means "good."

It's like a syncopation.

He didn't understand.

Accent on the offbeat.

Richard: It makes life more interesting, doesn't it?

He's from Europe, you know?

[ Laughter ] I like it.

It's very interesting for me to see -- to see that the motion on top of the music, you know, and just to see the effect that the motion has on the actual rhythm.

So we will do that?

Are you're going to practice the solo?

[ Laughs ] It's gonna be hard to play that.

Didn't you play the tape?

But I was inventing it.

See the -- When you're inventing something, it's different from having to re-create it.

It does not have to be note by note.

Of course not.

Just the main events of the soloist.

No, it's just -- I mean, the shape is the same, of course, right?

Because that's what I'm counting on.

The structure, the form is going to be the same.

Just what I put on top of it now.

Well, from the pit, maybe -- Well, I can't see if I'm in the pit?

Well, you see, I have a very nice platform I made that has a little elevator.

Okay.

So maybe we could -- Remember that?

Yeah, that's a good idea.

When -- And then, obviously, we see your head and your little horn.

Right in the middle of your hair.

And if we don't like it, we'll just lower it a little bit.

[ Laughs ] Do you like that?

Oh, yeah.

He's a choreographer.

You know, he's used to just manipulating people.

He's not used to dealing with these jazz musicians.

Know what I mean?

You got to...

I may have to show him a little something, explain some things to him.

Before we finish with this, he's gonna have a better understanding of that, what that is.

[ Laughs ] [ Up-tempo music plays ] ♪♪ That's gonna be -- two times, I think he wants.

Don't forget to put this part in here.

♪♪ So, I guess it's three half notes.

And then after three -- three -- two half notes and a dotted quarter note, then I come in, so it's like... ♪ Doom, doom, doom, doom, doom ♪ ♪ Bo doombo, deembo ♪ deembo, deembo, deembo, deembo ♪ What's the tempo on this?

I asked him.

Man, I don't even know.

I guess it would be, uh, fast.

[ Both laugh ] ♪♪ [ Laughs ] Oh, man.

What are you gonna do about that, uh -- the solo Peter wanted you to play?

Oh, you're talking about an express cross?

Yeah.

Man, I think what I'll do is I'm just gonna play the first phrase.

Are we gonna have to rewrite it out?

Write it out?

No, don't worry about that.

I'll just play the first -- first phrase and do a lot of smiling, just give the impression that I'm doing what he wants me to do.

"Yeah.

Oh, that -- Yeah, this one with that."

The first phrase, I remember, goes... ♪ Doo dee-dee-dee boo bee ♪ So I'll do that, and then the rest of it, I'll just make up to just make it fast.

So, you sure you don't want to copy?

Yeah, don't -- Just write changes?

You don't have the time to copy it anyway.

You have to do all this other stuff.

Peter: Play the lift, please, the lift, And... Start here?

♪♪ ♪♪ Yeah, leaving it like this.

I'm going...

I hadn't known you were doing that.

Peter: You're just doing this.

You're lifting like this.

Just do the first one.

So it never stays.

It goes this... this.

Lift and... Peter: That's it.

Same here.

That's it.

Again.

That's it.

That's it.

♪♪ And now, boys, at the end, go like this with your heads.

Going on.

♪♪ ♪♪ Again, have a go.

And... ♪♪ Three, five, six.

Now spin it.

No, eight.

Now go.

One, two, three.

Now walk.

Four.

Five, six.

Okay.

You do... And you go... No, from... Other one.

Go this one, thumb, and then underneath.

Thumb.

That's right.

[ Blows without playing ] Okay?

[ Plays run of notes ] Well, let's see where the problems lie.

Let's just try it.

Okay.

Whenever you want to stop...

I'll just... go like this.

It's good for us, too, 'cause we need to see what y'all are doing.

Alright?

Okay.

[ Mid-tempo music plays ] ♪♪ ♪♪ [ Trumpet imitates laughter ] Too fast.

Fast.

It's too fast.

Can you look at me?

So, what is the tempo that you want the dirge movement to be?

[ Whistling and tapping foot ] ♪♪ Alright, so, now we have to realize that every time we go to F, we're going into a slower tempo.

Okay?

'Cause what we do is we go into the fast tempo and then we stay kind of in a medium-fast tempo.

Okay, now, about this, the Trail of Tears, what -- you want a section added, right?

Did you discuss with me?

Richard?

Yeah?

Richard, can you help him?

What do you need?

You remember when I asked you what was the section that we were gonna repeat on this?

Oh, yes.

Play E to G twice, exactly the same.

Yeah, Veal, when we get to letter F the first time, you're going solo.

Okay?

Wes, I want you to answer him.

Okay.

Answer Veal.

You're gonna be the woman, and he's gonna be the man.

Okay.

Veal.

Let him start first?

Yeah.

Let's see what they're doing.

Y'all can just look at them and make up whatever you want to play.

Okay.

♪♪ Where is the back?

♪♪ ♪♪ ♪♪ ♪♪ [ Clapping hands ] Stop.

Stop, stop.

Why can't you just play it twice the same way?

Is that what you want us to do?

Yes.

Alright, we'll play it... [ Laughter ] Go ahead, Veal.

We'll play that twice.

Alright.

Okay?

[ Laughter ] Okay, can we go from E?

Yeah.

Watch out, Veal.

Watch out.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Clapping ] That's enough.

That's enough.

And if that could be not so quick at that moment, is that possible?

Is it?

It's a question.

I'm sure.

Do you want to slow it down?

No, it's a tiny bit.

It's so little.

Let's try it.

Okay.

[ Mid-tempo music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music intensifies ] Alright.

Yeah, we'll put down the bars.

We'll put a full eight.

Thank you, guys.

Thanks.

Thanks a lot.

[ Applause ] But, you know, it's not really a problem.

Whatever changes he wants to make, we can -- we can make.

What song was that?

He want changes in "Express Crossing."

"Trail of Tears," he wanted me to stretch it out and make it longer.

So we just repeat that one section.

We're gonna run into a time bomb.

What, you talking about making the changes?

Yeah, me.

Really?

Hey, man, come on.

What's your name, man?

I know I'm not talking to Ronnie Carbo.

[ Laughs ] A time problem?

Time problem.

Come on, man, I thought they called you Always Ready.

Ain't that your nickname?

Always bailing out.

[ Both laugh ] Don't have the time.

Bailing you out.

You think we'll be able to pull this show off?

I can't tell.

I couldn't tell just from looking at the choreography, 'cause we're too close to it.

I mean, I like what I saw, but I don't -- I couldn't really tell, man.

A lot of times, it's just a communication problem.

But that's -- that's the -- that's the hard thing about working with people that come out of a different sensibility.

But that's the challenge of it.

And when it can work, it can be something great.

And when it doesn't work, you know, it's just -- it's sad.

But I don't really know.

I mean, I'm glad we're doing it, though.

It should work out.

It'll be alright.

The only way to do something good is you have to try different things.

And sometimes it's hard for me, though.

I'm not gonna lie to you, Father.

You know, man.

But, I mean, that's part of it.

You know, when you get used to working on your own and having your own thing, you get used to not being told what to do or dress a certain way.

So sometimes it's good to just say, "Okay, man."

I thought he kind of addressed you a little bit when you came in.

Yeah, I said, "Okay, okay."

It's like my dad always told me, "Learn how to work a job."

And also, you know, he used to say, "When you in a lesson or something, shut up.

Learn how to keep your mouth shut."

So sometimes when you have to work with people, you have to just...

It's not necessary for you to always... enforce your agenda on them.

So I think it may -- maybe it'll work.

But I don't know.

It seems like you're willing to give, but he's kind of etched in stone.

Like, this is what he wants, and that's it.

He might just be nervous.

What's hard about it -- the most difficult thing about it is that when you ask somebody to write a score, uh, you have no idea what's coming ultimately.

I mean, I would say we win, even though -- even though that I was very specifically written in what I wanted, what I thought it ought to be.

I remember saying to Wynton, "This has to be written out.

This cannot be improvisation.

I mean, I guess there will always be a certain amount of improvisation with your -- especially since it's your players."

But I said, "This must be written out.

It must be.

I have to know what I'm getting.

I have to know the amount of bars.

It can't be great var-- There can't be any variables.

It has to be the same performance.

It has to be written out."

[ Up-tempo music plays ] ♪♪ ♪♪ ♪♪ Once again, bruh, I just want us to say what it is that we're doing, just to reiterate it for a final time, it starts off, it's like the Revolutionary War, with the drums and the piccolo, but they're grooving.

Then, we got the march, which is just a straight march at D. ♪ Dee bee-doom boom ba-dum ♪ That should be almost corny, man.

It's a straight march.

We're going from home, we're playing a New Orleans march, to a straight march.

We got, like, those triplets and stuff, which is like the blues musicians.

Then we go to E, which is, like, some bagpipes.

That's because all that early American music had that Scottish sound to it.

And Veal and Ben Wolfe and Victor's part is like a fiddler's breakdown.

♪ Doo-doo-doo-boo doo-ba doo-ba doo ♪ So you have to play with that kind of feeling.

Then, we go to the West.

When Victor's playing, we in the Western region of the United States of America.

So when you're playing each section, it'll help if you try to really think about those regions of the country or those regions of the music or the psychological life of the march.

Then, the sections won't sound just like we just playing some music.

Each section will have a relationship to the overall form.

One, two, three.

[ Drum and piccolo play march ] ♪♪ [ Music intensifies ] ♪♪ ♪♪ [ Music intensifies ] ♪♪ [ Pool balls clatter ] Push that down there.

I had to.

I had to get him out.

With that stripes?

Yeah.

We've never heard any music like this.

I mean, we never... [ Baby fussing ] So it's a whole new experience just to play the music, because the music is very different from anything that we've ever played or heard before.

Key-signature changes, a lot of time changes.

It deals with a lot of different moods, you know?

It's not just, you know, regular four-four.

You count it off, you know?

And pretty much it's hard to play also, because when it comes to the dancers -- Aww -- to the dancers, they rehearse to a tape.

So they pretty much expect us to play it exactly at the tempos that are on the tape.

And then jazz, a lot of what you play is -- you know, it depends on, you know, feeling and, um, I guess, the emotion at the time.

Sometimes you just may want to take a piece and play it as a ballad.

Sometimes you may want to play it up-tempo.

But when you're doing a collaboration of this sort, and this kind of work, you're pretty much dealing -- with -- they're pretty -- they're mostly expecting it to be exact.

-Mnh, mnh, mnh.

-[Inaudible].

[ Scatting ] ♪♪ ♪♪ [ Laughs ] He look funny, don't he?

[ Baby babbling ] That's right.

Well, I'm happy -- I'm happy to come together with the -- with the dance world to do a project.

You know, I always like playing for dancers.

When I -- When I first started playing my first job, I played in a burlesque club, which, you know, for a drummer, that's -- that's another way of playing, because you have to watch everything.

Everything has to be -- You know, when the lady kicks her leg or when she bumps or when she grinds or whatever, you know, the drummer has to catch all those things.

Unfortunately, I mean, with this particular group, you know, that's -- that's not the case.

But still to be able to play for dance, I think music was -- was created for dance.

And so, you know, it's very natural for -- for -- for the two worlds to come together.

I think there's an enormous respect for the ballet from these musicians, in the sense that although what they would normally do is go crazy and do their thing, I think their respect -- I think they show us respect by trying very hard to adhere to our bylines or our perimeters.

That's been my experience with working with jazz musicians.

I mean, in a weird way, it's like that moment when you walk in and there's, you know, Wynton's band and they're looking at you like you're from Mars, and you're looking at them like, intrigued, but like they're from Mars.

But I think it goes from both sides, you know?

With Balanchine, you know, he would -- he would choreograph it to the tempo he wanted, how the score was marked.

Not that he wanted.

What the score was.

And he would discuss it with the conductor endlessly.

He and Robert Irving actually more than discussed it many times, fighting, you know, if the score is marked 68, to keep that.

And Balanchine started carrying a metronome in his pocket and checking them.

Or he used to stare at the clock out there on the stage, because that's 60.

And then he could tell if it was the right tempo.

Yes, the tempo, for a conductor, is the most important thing in a ballet performance.

[ Mid-tempo music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ Mm-hmm.

[ Mid-tempo music plays ] ♪♪ Okay.

[ Indistinct conversations in distance ] Yum bum bum bum.

No, no, one, two.

Three, four.

One, two, three, and four, five, six, seven, eight.

Five, six, go onto this leg?

No, just this.

-Okay.

Ready?

-Hold on, Wendy.

[ Mid-tempo music plays ] ♪♪ ♪♪ ♪♪ Okay, can I see this whole thing with this?

[ Sultry mid-tempo music plays ] Whoo.

♪♪ ♪♪ ♪♪ ♪♪ Whoa.

♪♪ ♪♪ ♪♪ ♪♪ [ Trumpet playing runs ] [ Piccolo playing runs ] ♪♪ Wynton: Todd, did you see Wes?

Are you okay with everything?

Yeah.

You alright?

You alright with this setup?

[ Indistinct conversations ] Let's begin with "Trail of Tears," okay?

Sure.

That's fine.

[ Dramatic music plays ] ♪♪ ♪♪ [ Trumpet imitates laughter ] ♪♪ [ Trumpet imitates laughter ] ♪♪ ♪♪ ♪♪ ♪♪ [ Up-tempo music plays ] ♪♪ ♪♪ ♪♪ Wynton: What was wrong with it?

Maybe you can look at us every once in a while in rehearsal?

Oh, uh, okay, I didn't realize.

When you see that little lady go like this.

That's all.

You just say -- Yeah, just say so.

Okay.

This was enough time for you?

Wynton: It was enough, but we were scuffling.

How is the tempo for you?

I think it was good.

It was good.

Is it sad enough?

Yeah.

There was -- There's one place, the chant.

Okay.

Do you -- Have you added him?

Yeah, we missed that.

It's alright.

But do we have to have it?

My question is, isn't it sadder if you have just a... ♪ Buh duh duh ♪ ...just a melody?

Do you think that gives too much activity?

This time, he was playing the snare drums.

So that's not the right part.

Yeah, it just sounds like it -- All of a sudden, it becomes swinging.

No.

It's not as sad as it was.

That's just because the wrong part was being played.

Okay.

Okay.

[ Up-tempo music imitates train ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ A little late.

Aha.

A little mistake, maybe, or what?

[ Laughs ] I'm not telling you what to do.

I'm just saying, a little earlier.

Robert: I know exactly what you're saying.

Let's concentrate and do this right, please.

[ Sultry mid-tempo music plays ] ♪♪ ♪♪ ♪♪ Well, my background is so old-fashioned.

And you know, it goes, the Royal Danish Ballet.

The Royal Danish Ballet School is, you know, from the last century.

The style and the dancing is from last century.

And this is totally new.

And nothing is steeped in any -- you know, there's no hang-ups, there's no old -- old layers, old flesh on -- on the movements or on the setting, the atmosphere.

It's not like you have to step into, um, some shoes that have been worn before and dance in those shoes.

[ Soft, sultry music plays ] ♪♪ ♪♪ ♪♪ The song "D in the Key of F" -- he wrote the song he knew specifically he wanted to use Todd and I and the rhythm section of the band.

And even though he has notes written, most of the time when we play it, we're not really looking at the music.

And he wants us to put more of a -- more of an impression in the music than trying to just keep it restricted just to notes, because any musician can come along and read the notes.

But the personality has to -- everybody's personality is so distinct, and everyone has a certain quality in their sound and their instrument.

So he writes the music according to the musicians, which makes it sound a lot better, brings it to life.

The feeling of having them right there, and -- and you really have to listen to them, because -- and see where they're taking it.

And then you have to go with it, with them.

It's, um -- I think it's a little more intimate, you know, kind of a ballet because of that.

You really have to be connected with them.

[ Mid-tempo music plays ] ♪♪ ♪♪ ♪♪ ♪♪ [ Indistinct conversations ] [ Chuckles ] [ Indistinct conversations ] Peter, is there gonna be a black arc, do you think, there?

Peter: I guess so.

[ Scatting ] So, we're done, right?

I have to finish this.

[ Indistinct conversations ] Again, right on it.

And... [ Mid-tempo music plays ] ♪♪ Is that right?

It's 2/8, right?

So, that's one, two.

One, two.

One, two, three, four, five.

One, two, three, four, five.

One -- Oh, wait.

One, two, three, four... five.

One, two, three, four, five.

Six in front.

Six, seven, eight, end.

Okay?

Five, six, seven, eight.

[ Mid-tempo music plays ] ♪♪ [ Feet tapping rhythmically ] From beginning, boys.

[ Mid-tempo music plays ] ♪♪ A little more hip.

♪♪ ♪♪ Thank you, guys.

Thank you.

♪♪ ♪♪ 20 seconds.

Did you have less to say?

[ Chuckles ] The boys have a very light program.

But now I'm fine, I did it.

Yeah.

Peter, you know, I'd rather have you do it over the weekend than do it on Tuesday.

Then we only have Wednesday and Thursday.

We have to start rehearsing sometime.

Can I have the whole company?

Yeah.

We'll pay them.

If you think about it and sort of know what you're going to do...

Okay.

When are you making the schedule, now?

Yeah.

Give me 15 minutes.

Okay.

You know, it's just the same always.

Whenever I do a new ballet, it's always, things are going smoothly -- well, more or less -- up to two days before.

And then it becomes -- I guess you'd call it nerves.

Man: Peter, there's your -- there's your host.

Charlie.

Nice to see you.

Thanks for doing this.

Thanks for having me back.

Where's Wynton?

Is he here?

No, he's fashionably late.

Alright.

I'll see you in just a minute.

[ Indistinct conversations ] Well, now, look at this.

Was I not to...

It's okay.

I could just...

Excuse me.

If you don't mind... No, no, You're finished.

Could you... Hi.

How are you?

Nice to see you.

Nice to see you.

Very good to see you.

You want me here?

Sure.

You could sit there for a moment.

I can sit over here and wait.

You're on after me.

I think I am.

What an act to follow.

Why don't you talk about foreign policy, let me talk about ballet?

My part would be very -- I tell you, my part would be very short.

I love ballet, but I don't know much about it.

You know more about ballet than I know about foreign policy.

You get your beard?

No makeup?

No, unh-unh.

I can't hope to be as cute as you, so I'm just gonna go ahead and go natural.

But you did dress up.

I didn't, man.

I just put a jacket on.

I did not get dressed up.

You have that frog on your belt?

[ Laughs ] Come on, man.

I actually have a jacket, too.

See what I'm saying?

Charlie: I'm trying to understand the collaboration and the fact that this has got six movements, and four of them have marches and all.

How did this take place?

He contacted me.

And I mean, I'm a big jazz fan since I was... And a big Marsalis fan.

That, too.

Could this start something new?

I mean, you know, you have said before that you want to take ballet to a new place.

Well, that's rather presumptuous.

I know, but that's what you said.

Ballet is kind of a small world.

It has its stigma attached to it.

And it's very important for us who live in the ballet world today and work in the ballet world to kind of expand and kind of get more people, new people, different kinds of people into the theater.

I want to collaborate with the New York City Ballet.

I'm not gonna say, "Well, man, that's some European or some ballet, they're dancing around."

I'm from New Orleans, Louisiana.

I grew up playing street parades.

Or, you know, I'm not gonna go sit down and listen to a Beethoven symphony and say, "Well, that's some German."

No, you know, you have to say, "Well, let me see what portion of me is in this," because we're all connected.

Thank you, Charles.

Thank you for having us.

Good to see you.

You got it.

I'm a regular here.

It's the man.

It's always good to come to Charles' show.

Peter: You have to upstage everybody.

Man up, man.

You were killing.

[ Both laugh ] We're on a good vibe, man.

It was good.

Yeah, that's it.

[ Loud tapping ] [ Indistinct conversations in distance ] [ Loud tapping ] [ Musicians warming up ] ♪♪ ♪♪ ♪♪ Oh, yeah, nice, Bill.

[ Indistinct conversations ] [ Musicians continue warming up ] ♪♪ Let's play with the same intensity and feeling, bro.

Let's not give a letdown.

Let's get on.

You know what I'm saying?

Like we be on a gig.

[ Musicians continue warming up ] ♪♪ [ Indistinct conversations ] [ Applause ] [ Sultry mid-tempo music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ [ Music intensifies ] ♪♪ [ Music softens ] ♪♪ ♪♪ ♪♪ ♪♪ [ Applause ] [ Music stops ] [ Whimsical mid-tempo music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ ♪♪ ♪♪ [ Music softens ] ♪♪ ♪♪ ♪♪ [ Applause ] ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ ♪♪ ♪♪ ♪♪ [ Cheers and applause ] [ Louder cheers and applause ] [ Louder cheers and applause ] [ Louder cheers and applause ]