All language subtitles for TO Montreux-02 popravak

This programme contains
some strong language.

If you all just go calmly
towards the exit,

ladies and gentlemen.

I had the protection of
Mr Jaussi.

You know, even when...

Because it went on fire, a lot of
people were against me.

He stood beside me, even with
the mayor.

Mr Jaussi would go and fight for me.

And he was running the town.

Who would fight against him?

It was our playground.

And he would put the money
in the jazz festival

in Montreux.

I always have additional
love for singers.

The voice, which is even better
emotionally

than any instrument.

I am curious about something.

How many of you do speak English
or understand it?

Oh, right!

This is the first time that
I've played anywhere

outside the United States ever.

And it's really a gas.
I love it.

Thank you.

When you're down and troubled

And you need some lovin' care

And nothin'

Oh, nothin' is goin' right

Close your eyes and think of me

And soon I will be there

To brighten up

Even your darkest night

You just call out my name

And you know, wherever I am

I'll come runnin'

To see you again

Winter, spring, summer or fall

All you have to do is call

And I'll be there

Yeah, yeah, yeah, yeah

You've got a friend...

Thank you.

The casino was rebuilt within
three years

with one innovation that Claude
had again -

we should have a recording studio.

From the start, Claude was
a record man.

Claude recorded and taped
every show.

So it had that aura and reach that
other festivals didn't have.

David Richards, he went there
at the beginning in 1975.

Dave was in the studio recording
and mixing these things live.

The live mix that Dave would do

was just recorded onto videotapes,

and that's kind of what you hear
most of the time.

Each year, the Montreux
Jazz Festival

was a marathon for my dad.

It was two weeks' intense recording,

24 hours, seven days a week,

late night jams and sound checks.

When it was first built,

it was state of the art.

Beautiful studio, tape machines,

and then the Neve analogue
mixing console -

that was absolutely state
of the art

and it's a beautiful-sounding desk.

Because the studio was connected
to the concert stage,

everything was recorded
through the studio.

So you didn't need a mobile
recording truck.

The studio had its own
recording room

above the control room.

A lot of big acts would rent out
part of the concert hall.

Claude encouraged a lot of artists
to come and record.

Persuaded, then, the record
companies

that they should also encourage
and send the artists

to Montreux because it was
a quiet place.

They weren't going to be disturbed
by press.

The first act that came
was the Rolling Stones,

which wasn't a bad starting point.

I was living straight up the
mountain from Montreux.

I really couldn't at that point
leave Switzerland.

Ian Stewart, the piano player
from the Rolling Stones,

got me in touch with Claude,

who was like an oasis of culture.

Lo and behold, the Stones
came to Mountain Studios.

I think we broke that studio in,
which is a great room.

Queen came in as well,

and David Bowie moved into the area
to live.

He was often in.

AC/DC came to do an album.

That was fun.

Claude realised early on that
one of the ways

to put Montreux on the map

was to create live albums
from the festival.

Then the name Montreux would be
sitting in record bins

around the world.

Nobody knew where Montreux was.

Most people thought it was
a ski resort.

Albums are turning up in
the United States

that say "Bill Evans at Montreux".

Bill Evans, he recorded with the
trio with Jack DeJohnette,

and the recording was released
in America

and got a Grammy Award,

which was the first time
a jazz record

recorded outside America
got in and won.

And the jacket had a big
colour picture

of the castle of Chillon,

made famous by Lord Byron,
who wrote, you know,

The Prisoner of Chillon.

All the record shops around
the world

suddenly heard the name Montreux.

As I was coming up,

there were already a couple of
really famous

"Live in Montreux" albums.

We began to go, you know,

"What is this place,
and where is it?"

We had no idea where it was.

We had no idea what it was.

But we knew that the music
was awesome.

"Montrex". We didn't know
how to say it.

It's creating a mystique
in the United States.

What is this Montreux place?

What is this castle?

So the jazz fans here, you know,
their ears perked up

and they were equating Montreux
with elegance and top-level jazz.

Everybody was talking about it.

I just woke up in the morning

and I looked out at the lake
and at the mountains.

I couldn't believe I was here.

At that point, the old guys
were still around.

I got to hear some of
the old jazz greats

that were here from the
older generation.

I mean, it was one thing
playing in New York.

And then to come to Montreux -
it blew my mind.

It was a wonderful surprise
to receive an invitation

to go play music there.

Coming into Europe was like
a fairy-tale.

Because the Europeans struck me as
being even more appreciative

of our real American music.

The greatest American music is
this thing called jazz.

Claude Nobs became one of
the greatest producers

in the history of jazz.

How he brought the whole world to
that little town of Montreux

is an unbelievable experience
and accomplishment.

He provided a haven in Montreux.

I mean, Europe in many respects
saved American acoustic jazz,

gave these musicians a place
to earn a living,

gives them places to escape to.

Because if they didn't have that,

these American musicians would have
gone into academia,

they would have disappeared
into universities.

And I don't know that jazz would
have survived the way it did

without Montreux's role as a major
performing space.

The casino, when they rebuilt it,
allowed us a much bigger capacity

so we could grow with the growth
of the bands that were coming.

When the casino was newly built,

the ceiling for the stage
was too low.

The backstage was very funky.

I think the striptease club
at the casino

was then the regular dressing rooms.

The casino was a piece of shit.

The backstage was useless.

I mean, it had two dressing rooms

which were about two metres
by three metres.

There was no stage.

Every time a show was on

the stage had to be built up
in the public area.

I mean, to work there,
it was a nightmare.

You could not even go with
the upright bass

down the stairs because
it was too narrow.

It was not made for big concerts.

I mean, I wonder how we did it -

20 years in that building!

There's something about loading in
to a place like that

where you're almost walking
through the audience

to get to the stage, you know?

And it's little and funky.

You really, really get the intimacy
of what the music

is about in a venue like that.

And the little casino like that -
it was just always magical.

You could see, touch, feel, taste,

and all the senses were stimulated.

To this day, those are some of the
most exciting and fun times

I've ever had playing.

The casino experience -
that was pure magic!

A lot of freedom. A lot
of improvisation.

Claude's job was to make
the relation

between the audience
and the artist.

The artist was able to play in front

of real lovers of their music.

I saw so many people where the music
is their second skin.

Claude always preferred
to tell the artist,

"I give you carte blanche,"

because when the artists
are touring,

they play the same thing
in each city.

But Claude wanted something
very exclusive.

I never wanted Montreux
to be just a stopover

on a circuit of tours or, you know,
different festivals

that artists would do around Europe.

I tried to get the artists to stay
for more than one day -

possibly two or three days.

They found that it was
a relaxing place.

It was a different atmosphere
than big cities.

The record company said,

"Hey, if we go to Montreux, we can
do something different.

"Different set-up."

And Norman Granz was one
of the first to find out

that this would be a great place
to do the jam session.

That's where we got a lot
of great encounters.

You know, Count Basie with Peterson,
which is a very rare encounter.

I even had one year Oscar Peterson
and Herbie Hancock.

And I asked Herbie after the set
they did, I said,

"How was it to play with Oscar?"

And he said, "He laid velvet
under my finger."

Letting me go.

OK. Amen.

Amen.

Claude became like an oasis for me.

Going to Claude's library and
just look through

the record collection and play
Meade Lux Lewis,

you name it.

Blues, especially piano blues,
boogie-woogie

and barrelhouse piano blues -

I mean, this was incredible.

I think that his love for that
was the fulcrum

of everything that he did.

That was his thing, man.

Muddy and Buddy Guy, they loved
playing Europe,

but I have no doubt it was
an uphill struggle

in places for Claude to actually
get them there

and bring people that would never
have been heard otherwise.

He did a hell of a job, you know?

Those old blues guys had something
from the balls, from the blood,

from their whatever,
which is unique.

When you hear a Jimmy Reed,
Howlin' Wolf

or Sonny Boy Williamson -
all those guys -

it's something that nobody has ever
been able to copy.

I've got a gypsy woman

Giving me advice

I've got a gypsy woman

Giving me advice

I've got a whole lot of tricks

Keep her here all night

I'm going down to Louisiana

To get me a mojo hand

I'm going down to Louisiana

To get me a mojo hand

I'm going to have all you women

Getcha under my command

Got my mojo working

My mojo working

Got my mojo working

My mojo working

Got my mojo working

My mojo working

Got my mojo working

My mojo working

Got my mojo working

But it just don't work on you...

Got my mojo working

My mojo working

Got my mojo working

My mojo working

Got my mojo working

My mojo working

Got my mojo working

My mojo working

Got my mojo working

But it just don't work on you.

Claude had a vision
and he lived by it.

This passion that he had for music
was the heart

of the Montreux Festival.

You have the sense of freedom
and liberty

which affects the entire town.

Vous allez ou?
Je vais a Montreux.

When you have all these wild hippies
hanging out in sleeping bags

on this lakeside, it was a bit
hard to take at first.

So that was a bit of
a culture clash.

Hashish and LSD, and the image
was really shocking.

People were not necessarily
happy about that.

Anybody who had any criticism
of Claude,

and there were probably plenty
who did,

it was either born out of jealousy

or the fact that there were always
going to be people

who didn't want their town
overpopulated

for a couple of weeks of crazy time.

Claude is not representing the
Swiss culture or behaviour,

because he was too much.

Claude knew since the beginning
that he was not

going to be the friend of everyone
in the area.

When we opened the new
convention centre,

two guys came to me and said,
"Mr Nobs, follow us."

They had a police car.

And they showed me a pink paper,
saying, "You're under arrest."

I said, "What for? What did
I do wrong?"

"Why you had an affair with
some younger guys?"

I said, "What do you mean,
'younger guys'?"

"They were not 20."

Claude being gay was vulnerable
to being set-up

with a rendezvous in a hotel,

and then, you know, a detective
and a photographer burst in.

And then that was the scandal

that the elders in Montreux
perpetuated.

Some people find out that I was gay,

but I was very much, you know,
still hiding.

I don't go to parade.

I am what I am, and that's
the way I am.

And that's it.

They said, "You're under arrest.

"You have to go to prison."

In Switzerland, unless you could
prove that you were innocent,

they could put you in jail
as long as they wanted.

And they take my clothes away,

and they give me a toothbrush

and they give me a razor
to commit suicide.

In the meantime, in Montreux,
people heard about it.

All the newspaper headlines was

"The Pope of Rock arrested."

All over Switzerland,
all around the world.

And there was a petition circulating
in Montreux,

signed by hundreds of people,
to free me.

This is bullshit.

The day I got freed, Ahmet calls me.

He said, "Claude, fuck all of this,"
you know?

"You come and work for us.
We want you.

"We don't give a shit who you
sleep with," you know?

"I mean, that's your affair.

"So just split from Montreux,

"come and work with us."

And that was very touching.

I said, no, I just wanted
to carry on, to show that...

..you know, my private life's
my private life. It's my affair.

Claude being gay, at that time,
that was very complicated.

But, of course, he could
have escaped

and just lived in a big city.

The love of his hometown was
stronger than that,

and he decided to stay.

Instead of escaping,

he just brought the people
who interest him home.

I mean, he could've gone and worked
anywhere in the world,

that's for sure.

In '73, when Nesuhi said,

"I would like to have somebody
represent WEA in Europe,"

he made it as a condition that,
yeah, he would do it,

but it would have to be
in Montreux.

Claude - of course, he had
his own ego,

which is normal,

but he really did this for the town
where he was born.

I think we have to give him
this particular credit.

What it meant to Claude and how much
he had to fight

to establish this festival

and to keep it going after
a very ugly,

manipulated scandal was incredible.

There is Claude Nobs -
one in a million. One in a million.

But just being around him,
he was really a man

who had his own way of looking
at life.

Au revoir. Ciao, merci.

Jackie?

Yes? Do you have Barclays changed
number in Geneva?

Sorry? Barclay - the changed number
in Geneva?

Er...

It was 1974, beginning of July.

I'm living in Montreux.

I'm teaching French literature.

And Claude and Nesuhi came to me
and said,

"Well, Claude needs an assistant.

"What do you think?"

I needed somebody, and a friend
of mine told me about

this girl who speaks English,
and she's very nice.

This is how I met Claude.

I was like, "I have no idea
how I can help.

"But do you know what? I'll give you
six months and we'll see."

And it lasted 35 years.

At that time, Claude was still
living down in Territet

in an apartment.

Next to the kitchen,

there was this little couple
of rooms.

And we were just three of us.

It was Daniel Wihler, who was
doing the accounting,

Claude and I.

I did the tour with Bette Midler,
with AC/DC,

with the Stones,

and then with the other
Warner groups.

You know, with Paul Simon,
with Neil Young.

And this was heavy stuff to do

because I was alone and Jackie
was in the office.

It was a two-man operation.

Now this business has
become business,

but at the time

I would have not used the word
music business

the way we intend it now.

It was still done by a lot of people
who were passionate about music,

and everything was...

I wouldn't say amateur,

because obviously we had
a job to do,

but compared to what it has become,

it would look amateur,
that's for sure.

Who does the microphones?

Could I please see you?

There's too much reverb in this.

It's too much...

Oh, I see.

Down, down, down.

I mean, Claude will always stay

somebody who opened a whole
different world for me.

Was it easy to work with him?

Certainly not.

If you make the mistake to be afraid
of him,

boy, he would eat you alive and spit
the bones for breakfast.

I mean, he was not a tyrant,

but he was somebody who knew
what he wanted,

who had more ideas flying
in one minute

than some people in their
whole lives.

One thing I learned extremely
quickly

once I started working with Claude,

there was one word you just
could not use,

and that was,

"No, it's not possible."

"What do you mean,
'It's not possible?'

" 'Everything is possible.' "

Because he had that enthusiasm.

I mean, he would sweep you
off your feet.

That's the only way I can function,

is to say yes or no quickly.

And if I'm wrong, I'm wrong.
And if I'm right, I'm right.

It's a big puzzle, you know,

and you have to put all the pieces
together.

I don't want just to be
a big machine

where the control is pretty
much lost.

It was a big challenge
to work for him

because he was very demanding
and he had no limits.

You know? For him, it was,
"everything is possible".

That was his sort of mantra.

And he just went for it.

Claude loved chaos because
it's an adventure.

I'm sure he was astonished himself
sometimes

that it actually worked out.

Music first. A good concert.

That was his first aim.

Etta James!

For the first time in Europe,
Etta James!

Hi!

Hi!

Hi!

Hi!

I can't hear you! Hi!

Hi!

All right!

If you disrespect everybody
that you run into

Yeah

How in the world do you expect
anybody to respect you?

When you don't give a damn about
the man with the Bible in his hand

Just get out of here and let
the gentleman do his thing

Respect yourself

Respect yourself

Respect yourself, yeah

Worried for your love

If you don't respect yourself

# Ain't nobody gonna give
a good goddamn

No, no, no, no...

Talk about the forever dead

It won't stop the air pollution

Put your hand over your mouth
when you cough

That'll help the solution

Don't give a good goddamn

About the man with the Bible
in his hand

Oh, oh, oh

Just get out of the way and let
the gentleman do his thing

Respect yourself

Respect yourself

Respect yourself

Respect yourself

If you don't respect yourself

Ain't nobody gonna give
a good goddamn

No, no, no, no...

All these bands became so famous.

So we grew with them, and Claude was
very good at communication,

branding the festival.

The festival was part of
the internationalisation

of the name of Montreux.

Iya

Iya

Iya.

When you went to Montreux,

you realised that you were part
of this enormous community.

And all your little preconceptions
about race,

you had to let them go

and just really enjoy the mixing
of cultures.

The festival was his child
and it was his sandbox.

Everybody was invited to bring
their own shovel

Release ourselves towards
the skies.

Travelling in your rhythm,
sounds and colours,

atmospheric highs,

infinite vibrations through
finite minds.

Expressing expressions of
ultra super love,

vibrations,

time, space, evolutionary.

Check this out now.

Christ, Christ, infinite,
divine in nature,

all related to the first
great source

and universe centre of paradise.

From Africa to both the Americas

North and Latin

A jungle drum was brought

And got the white God to get in

A pagan dance until he had
no other chance

Unless the sin

Yes, the sin

Of black and white, day and night

Soul and mind magic

Woo!

The European Goddess fainted
under jungle drum's sound

Yeah, she fainted

She was fertilised
by some afro God

While on the ground

So the begotten sons as samba,
mambo, rumba, rhythm 'n' blues

Ah!

Became the ancestrals of what
today we call rock and roll

Rock and roll is magic, baby

Rock and roll is mixture...

The Montreux Jazz Festival
was like a laboratory

where people create alchemy,

create miracles and blessings
before your eyes.

Claude was Merlin.

He was the Merlin of jazz festivals.

I really believe that
he's a big part

of how the musicians from these
different worlds

got together.

Because he gave them the format
for that to happen

and created situations where
they would coexist.

I think that it's great to dip
into each other's

nationalistic reservoirs

and appreciated the differences
in each other.

People socially and creatively
like to come together

to mingle and merge the
diversified cultures.

And that's what's great about it.
It's all gumbo.

I call it global gumbo.

Everybody in the world wants
to play this festival.

It's just the most amazing evolution
I've ever seen.

The end result is the audience
being happy,

the artist being happy.

And you get this sort of great,
you know, atmosphere,

which is very unique to Montreux.

There's no security around,
no barrier.

It's not like the rock and roll
thing where the artist

is, like, in a cage onstage and
the audience is way back.

It's like a real big club.

And it has to be a festival,
it has to be a big fiesta.

Maajo, maajo

Maajo, maajo, maajo...

Give the creativity to the art.

That's my deepest respect,

is the artists,

that they have a place which is not
just a gig

on a set around Europe
or around the world,

and they can expand and do different
things and invite friends there.

"Come on, come with me and we'll do
something together."

And it started with the idea
that they are going to do

a masterpiece immediately,

but maybe it's going to happen.

And when Queen was living
in Montreux,

and David Bowie also,

I did a dinner at my house one day,
a barbecue,

and at midnight I said,

"Why don't you go to Mountain Studio
and do something together?"

"What do you mean?"

"Well, you're here. Just go
and do some work."

They went to the studio and they
came back two hours later

and said, "OK, we did it."

"What is this?"
"Under Pressure."

Pressure pushing down on me

Pressing down on you

No man ask for

Under pressure...

One, two, three, four!

You may find yourself living
in a shotgun shack

You may find yourself in another
part of the world

You may find yourself behind the
wheel of a large automobile

You may find yourself in
a beautiful house

With a beautiful wife

You may ask yourself

"Well, how did I get here?"

Letting the days go by

Let the water hold me down

Letting the days go by

Water flowing underground

Into the blue again

After the money's gone

Once in a lifetime

Water flowing underground

You may ask yourself

"How do I work this?"

You may ask yourself

"Where is that large automobile?"

You may ask yourself

"This is not my beautiful house."

You may tell yourself

"This is not my beautiful wife."

Letting the days go by

Let the water hold me down

Letting the days go by

Water flowing underground

Into the blue again

After the money's gone

Once in a lifetime

Water flowing underground

Same as it ever was

Same as it ever was

Same as it ever was

Same as it ever was

Same as it ever was

Same as it ever was

Same as it ever was

Same as it ever was...

A meeting of the minds
is the exact way

of saying what Montreux was.

Musicians stayed for five days
sometimes,

just because they loved
the place so much.

It's a beautiful scenery.

The artists could be amongst
themselves.

You wanted to spend time there

and you had time to get acquainted.

I was bumped into by Bob Dylan
cycling.

It's kind of like a membership.

If there was a hole in Europe
on the tour,

they all came here.

They hung out here because
it was a nice place. Private.

Claude invited everybody
to his house,

so it gave the artists,

who were the biggest artists
of these years,

familiarity with the place,
and they liked it.

Claude would be more than happy
to have them

for dinner or lunch.

We would take them up
in the mountains.

You know, it was just like sharing.

And when you have that kind
of relation with artists,

you trust each other.

It gave us that very special
possibility

of meeting them in a totally
different way.

I remember one evening we were
having dinner

at Claude's place, just a couple
of us.

The door rang, so, you know,
I went to open the door,

and there was Van Morrison
with his girlfriend.

They had decided to go on a holiday
to Switzerland.

And, of course, if you go
to Switzerland,

you go and say hello to Claude.

He was like a walking encyclopaedia
of jazz and blues.

So that's how I connected
with Claude.

I was kind of burnt out, so I was
just taking a break.

I think Montreux was the only gig
that I had booked.

At that point, I didn't have a band.

There were other musicians there

who sort of came to the rescue.

Pete Wingfield and Jerome Rimson

and Dallas Taylor.

So that's how that came together.

And we had a bit of a rehearsal

and then did the gig in the evening.

I'm kicking off from centre field

A question of being down
for the game

The one shot deal don't matter

The other one's all the same

Oh! My friend, I see you

Want you to come through

And you're standing in the shadows

Where the street lights
all turn blue

Leaving Pan American

Suitcase in her hand

Her brothers and her sisters

They're all on Atlantic sand

But you're screaming through
the alley way

I hear the lonely cry

Why can't you?

And her batteries are corroded

And her hundred watt bulb
just blew

La, la, la, la, la, la

Hu, hu, hu

La, la, la, la, la

La, la, la, la, la, la

La, la, la, la, la...

First he had a very little apartment
in Territet,

but there were extraordinary
parties there.

Then he bought a little chalet
up in Caux.

When he bought the chalet,

it was not for him.

It was to share.

That's all it was about.

He built his new chalet

not even 100 metres away
from the old chalet.

But the old chalet became
the archive and the museum,

and Claude's new chalet became
his private home.

Part of his joy, really, was to
show off his chalet

and his collection of stuff.

The only thing that was important
for Claude

was having people around him.

Cooking for them -

that's when he was the happiest.

He was such a connector.

It was really nice to share this
camaraderie backstage

and enjoy music and friendship
behind the scenes,

sharing the community spirit
in Montreux.

What Claude gave everybody
was an experience.

And that experience was born
not out of expertise

and entrepreneurial calculation.

It was born out of being a fan.

His passion was deep.

I mean, he loved music.

He loved musicians to the death.

His whole life,

his existence revolved
around the festival,

music and musicians.

He made his dreams come true.

He made lots of people's dreams
come true.

What a dream to have,

to take such a risk, you know,

for love and unbelievable passion.

And now I'd like to thank everybody.

Merci beaucoup.

But now, chante avec moi,
James Brown!

James Brown!
James Brown!

James Brown!
James Brown!

James Brown!
James Brown!

James Brown!
James Brown!

James Brown!
James Brown!

James Brown!
James Brown!

James Brown!
James Brown!

James...
James Brown!

..Brown!

Thank you!

Try me

Try me

Try me

Try me

Darling, tell me

"I need you."

Whoa, now, come on.

Try me

Try me

Oh, baby, try me

Try me

And your love

Will always be true

I need you

Oh, yeah

Sure enough, I do

Hold me

Hold me

Baby, hold me

Hold me

I want you right here

By my side

Whoa, now, come on

Hold me

Hold me

Oh, baby, hold me

Hold me

And your love

We won't hide

Whoa, I need you

I need you

Oh!

Sure enough, I do

Yeah!

Oh, yeah!

Me

You

Ooh!