soon, he was impersonating his heroes like louis armstrong, and studying under jazz master ellis marsalis. >> your singing wasn't there. >> it's okay. >> you are known as a tough guy up here. >> they need to go back spend few hours with ellis in that classroom. that was tough, tough. where you g g home cry because ey would say tough where you would go home and cry because they would say, "maybe you should think about another occupation, maybe music's not for you," kind of thing. that's tough. >> reporter: this, not so much. >> oh, this is baby food. >> reporter: talk about tough-- tough is sharing the piano with jazz great sweet emma barrett here at the famous preservation hall >> i would go up andlay with her, and she had one arm that was using about 90% of the keys, and she would give me the top and i couldn't do anything. ( laughs ) >> reporter: harar was just eighghyears old. >> i couldn't tell her, "hey, sweet emma, give me some more keys." and she would eat those sucrets, you know, those throat lozenges? and she would throw the wrappers at me when i was playing. she was... she was t

he and a musician friend, branford marsalis, came together with an idea to help. they dreamed up this village. it was for musicians displaced in the wake of katrina. this is a real legacy. >> if you can imagine what this looked like before katrina. >> reporter: the centerpiece is there are teaching studios, recording studios. >> it is one of the greatest sounding halls in the world. we have a facility that has the most incredible acoustics. it is unbelievable. imagine if you are a little kid, especially from a low income family, and you get to come and play on this stage? it is so empowering.[ music ] .>> reporter: harry connick junior plus searching for the real jack the ripper and money power upon -- monty python is all right here beginning at 9:00 on cbs2 less testing and more learning. president obama has called for an overhaul of classrooms around the country.>>> that is

, as katrina's flood water drowned his hometown, connick and fellow musician and friend branford marsalis came up with an idea to help preserve the musical future of new orleans. they dreamt up this place, the musicians' village-- 82 homes built by habitat for humanity for musicians displaced by katrina's wake. this is a real legacy. >> oh, man, i can't even believe it. it... it's... you know, if you can imagine what this looked like before katrina. >> reporter: the centerpiece of the village is the ellis marsalis center for music, with teaching rooms for students, recording studios and a 170-seat performance hall. this is just not a stage with, you know, some walls here and a piano. i mean, this is to spec. >> yeah. the greatest sounding halls in we're smack in the middle of the ninth ward in new orleans, and we have this state of the art facility that has the most incredible acoustics. it's just unbelievable. and so, imagine if you're a little kid-- especially from a low-income family-- and you get to come and play on this stage. like, it's... it's so empowering. >> reporter: connick ma

wynton marsalis said of her music: "grace kelly plays with intelligence, wit and feeling. she has a great amount of natural ability and the ability to adapt. that is the hallmark of a first-class jazz musician." here is grace kelly performing an original piece called "filosophical flying fish." we'll leave you now with grace kelly playing. that's all for this addition of asian focus. thanks for joining us. i'm mary sit. i'll see you again in four weeks.

they are a significant player in a variety of gas properties in the marsalis and utica shale.hey have been doing that for decades. dominion has been a very good stock and i think that other companies like duke look at their situation and realize that ofestors appreciate the kind growth that you get from a gas investment. it for them worth to get another billion customers? given a long-term plans, it makes sense. they focused in their call with investors on what they are doing overtime. they conceded to the pain of a significant premium, but they said -- let's look out a few years. we want a bigger footprint and we want to be able to make this investment while they are a smaller company. we can borrow the money, cheap capital, invested in a very good business, we have a bigger base to grow on and the future gets bigger and better from there. i want to ask you about that footprint. i grew up in north carolina, i know it as a southern company. other aspirations to get out of the northeast into a wider area? kit: they are. they said it's not just a regional idea, that this gives h

. >> jazz legend marsalis has been improvising since the 40's. >> a lot of music in jazz is based on lady's home journal says jazz brings sin and it is dangerous because it will it is dangerous beca breaking al rules. we are lucky america didn't have a u.s. department of music at the time says former rolling stone editor kurt loader. >> this is a mess. you can't have this. sounds weird. we can't have those rules they are wrong. >> but because central planners lack the power they have asked, we have got jazz. america gets so many good things through unplanned, spontaneous or medical innovations, the internet, new forms of entertainment new ways to share love with friends and family. jazz critic says the reason we have jazz, the reason we have most anything worth while is because of james madison and these i am providers. they left us mostly a free people. >> i say mostly free because in the last 200 years america has come a long ways from no plans no problem. fox and friends for more. >> have a great morning. see you tomorrow. >> everybody wave. >> bernie sanders planning to deliver a

[laughter] this.e: take a look at this is when marsalis. >> you are inventing it as it goes on.t you are playing to go with them, and they are doing it with you. it's like a dance. you are finding each other, and it's very fundamental and basic, but it's also complicated. charlie: it's true. you've got to let it happen. charlie: but you have to know your -- i've often believed, and jazz is the perfect example, the more you know, the better you are, the more schooled you are, the more spontaneous, the more you can go off, because you know how to come back. herb: absolutely. stan getz was a dear friend of mine, and stand used to say, i'm not sure where i'm going, but i know where i'm going to end up. he never played a note that he wasn't ready to come out with. you have to trust yourself. you have to trust your instincts. you have to let it go. if you try to be too cute with it and play for somebody else and see if you can do something someone else is going alike, it's not going to work. charlie: there is a concept in sports. sometimes, you have to let the game come to you. in mus

city he loves. 10 years ago with katrina's floodwater drowning his hometown, connick and branford marsalis came up with an idea to help preserve the music future of new orleans. they dreamt up this place, the musicians village, 82 homes built by habitat for humanity for musicians displaced by katrina. harry: if you can imagine what this looks like before katrina. ellis marsalis center for music teaching rooms for students, recording studios, and a 170 seat performance hall. harry: this is in my opinion one of the greatest sounding halls in the world. we have a state-of-the-art facility that has the most incredible acoustics. it is just unbelievable. so imagine if you are a little kid, especially from a low income family and you get to, and play on the stage. it is so empowering. alyx: music man harry connick, jr. plus, in search of the real jack the ripper, and monty python's john cleese, those stories and more this sunday morning right here on kcci at 8:00 a.m. let's check in with the forecast. it seems like this one is more consistently fall. frank: it is. definitely a chilly start this

>> i was one of three people along with wynton marsalis, who won grammys for spoken word. yeah. and it was -- it was a very long time ago. i think i was only 22 at the time. and someone kind of called my house and said, hey, we all won grammys. i was like, what -- what? >> jimmy: yeah. >> what are you talking about? >> jimmy: have you heard about the egots? >> well, now, you see, i have. and then that's going to be like a thing, isn't it? because then i'm gonna have to have a goal to kind of get the final piece of the puzzle. >> jimmy: 'cause you have emmy, grammy, oscar, tony. >> yeah, i know, but i don't have that last one. >> jimmy: i think you could win a tony. >> well, how am i gonna do that? >> jimmy: we need you in a a broadway play. >> okay, done. [ laughter ] [ cheers and applause ] >> jimmy: the zipper twins. go see us -- the zipper twins, on broadway. >> zipper twins, perfect. you zip me and i zip you and we zip all three of us let's have a pee let's have a pee a good old pee and a cup of tea [ cheers and applause ] >> jimmy: yeah, it's gonna be fantastic. we'll write

(laughter) >> rose: this is marsalis.z with other people, you're listening, inventing as it goes on, you're adjusting to go with them and they're doing it with you. it's like a dance, like you're finding each other and it's very fundamental and basic but also complicated. >> rose: it's true. you've got to let it happen. >> rose: i have often believed -- and jazz is a perfect example -- the more you know, the better you are, the more schooled you are, the more spontaneous, the more you can go off because you know how to come back. >> absolutely. yeah. all the great musicians -- stan goetz was a dear friend of mine who said i'm not sure where i'm going but i know where i'm going to end up. so it's always he never played a note he wasn't able to come out. but you have to trust your instinct. you have to let it go. if you try to be too cute with it and try to play for somebody else and see if you can do something that someone else is going to like, it's not going to work. >> rose: you know, there is also a concept in sports,