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Just the ride up to the chalet
was an adventure.
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00:00:05,640 --> 00:00:08,360
You'd start winding up the little
mountain roads, and then next thing
3
00:00:08,360 --> 00:00:11,040
you know the view's just getting
better and better.
4
00:00:16,560 --> 00:00:19,840
When you finally arrived, you know,
it was like heaven.
5
00:00:21,600 --> 00:00:24,760
This programme contains some
strong language
6
00:00:28,440 --> 00:00:31,280
The afternoon before your concert,
he would invite you up
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00:00:31,280 --> 00:00:34,520
to his chalet, you know,
and this day became legendary.
8
00:00:35,680 --> 00:00:39,520
We'd go downstairs to where
the record archives are,
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00:00:39,520 --> 00:00:43,480
and he has his big bank vault kind
of things that move back and forth.
10
00:00:44,800 --> 00:00:47,200
He was able to tell those
personal stories.
11
00:00:48,480 --> 00:00:53,600
Claude's catalogue of videos
and recordings
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00:00:53,600 --> 00:00:57,920
had to be one of the greatest
treasures of all time.
13
00:00:57,920 --> 00:01:00,480
The great thing is the
open-mindedness all the way to this
14
00:01:00,480 --> 00:01:03,200
generation now, the new waves and
the punk rock, and all these
15
00:01:03,200 --> 00:01:05,720
different genres that have happened
in the last 20 years
16
00:01:05,720 --> 00:01:08,560
that Claude was also open to.
Incredible.
17
00:01:08,560 --> 00:01:13,840
Thanks to Claude, we have these
remarkable archives. Invaluable.
18
00:01:13,840 --> 00:01:17,320
That is a gift,
it is a gift to all of us.
19
00:01:17,320 --> 00:01:22,200
The archive represents a passage
of musical culture,
20
00:01:22,200 --> 00:01:24,480
some of which doesn't exist
any more.
21
00:01:24,480 --> 00:01:26,560
So it only exists on that tape.
22
00:01:28,040 --> 00:01:31,120
The legacy is in the performances.
23
00:01:32,280 --> 00:01:35,160
By having the audio and video
of the concert,
24
00:01:35,160 --> 00:01:37,040
we can share it with the world.
25
00:01:37,040 --> 00:01:40,160
The toughest one was Marvin Gaye,
because he said,
26
00:01:40,160 --> 00:01:42,840
"I never did live television,
I will never do one."
27
00:01:42,840 --> 00:01:45,920
So, finally, I showed him some
earlier shows from Montreux,
28
00:01:45,920 --> 00:01:48,480
from Nina Simone, Aretha Franklin,
and he said,
29
00:01:48,480 --> 00:01:51,760
"Wow, this is a great way of
shooting the concert,"
30
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and he signed the contract.
31
00:01:59,840 --> 00:02:04,040
# I've been really tryin', baby
32
00:02:05,640 --> 00:02:11,080
# Tryin' to hold back this feeling
for so long
33
00:02:11,080 --> 00:02:16,320
# And if you feel like I feel, baby
34
00:02:16,320 --> 00:02:18,240
# Then, come on
35
00:02:18,240 --> 00:02:19,600
# Oh! Come on
36
00:02:19,600 --> 00:02:21,280
# Woo
37
00:02:21,280 --> 00:02:24,200
# Let's get it on
38
00:02:24,200 --> 00:02:26,360
# Ow! Ooh
39
00:02:26,360 --> 00:02:29,360
# Let's get it on
40
00:02:29,360 --> 00:02:32,440
# Let's love, baby
41
00:02:32,440 --> 00:02:35,560
# Let's get it on
42
00:02:35,560 --> 00:02:37,520
# Sugar
43
00:02:37,520 --> 00:02:40,120
# Let's get it on
44
00:02:40,120 --> 00:02:42,160
# Oh, baby
45
00:02:42,160 --> 00:02:43,800
# Ooh ooh ooh
46
00:02:45,320 --> 00:02:48,880
# We're all sensitive people
47
00:02:48,880 --> 00:02:52,080
# With so much to give
48
00:02:52,080 --> 00:02:54,280
# Understand me, sugar
49
00:02:54,280 --> 00:02:56,480
# Ooh ooh
50
00:02:56,480 --> 00:03:00,040
# Since we've got to be here
51
00:03:00,040 --> 00:03:02,200
# Let's live
52
00:03:03,520 --> 00:03:05,080
# I love you
53
00:03:05,080 --> 00:03:06,680
# Oh
54
00:03:06,680 --> 00:03:11,560
# There's nothing wrong with me
55
00:03:11,560 --> 00:03:13,800
# Loving you
56
00:03:13,800 --> 00:03:15,480
# Baby, no, no, no
57
00:03:17,160 --> 00:03:22,160
# And giving yourself to me can
never be wrong
58
00:03:22,160 --> 00:03:24,960
# If the love is true
59
00:03:24,960 --> 00:03:26,520
# Oh, baby
60
00:03:26,520 --> 00:03:28,200
# Ooh ooh ooh
61
00:03:30,200 --> 00:03:36,040
# I know you are what I've been
dreamin' of
62
00:03:36,040 --> 00:03:38,400
# Don't you, baby?
63
00:03:38,400 --> 00:03:40,920
# Ooh ooh ooh
64
00:03:40,920 --> 00:03:46,680
# My whole body wants that
feeling of love
65
00:03:46,680 --> 00:03:51,280
# Let me love you
Let me love you
66
00:03:51,280 --> 00:03:54,840
# Let me love you
I ain't gonna worry
67
00:03:54,840 --> 00:03:57,960
# I ain't gonna push
Let me love you
68
00:03:57,960 --> 00:04:00,120
# I won't push you, baby
69
00:04:00,120 --> 00:04:01,920
# Ooh!
70
00:04:01,920 --> 00:04:05,240
# Come on, come on, come on,
come on, come on, darling
71
00:04:05,240 --> 00:04:13,040
# Stop beatin' round the bush... #
72
00:04:13,040 --> 00:04:18,960
Claude Nobs had this very, very
interesting vision from day one,
73
00:04:18,960 --> 00:04:23,920
saying that those artists,
they are the Picassos,
74
00:04:23,920 --> 00:04:26,920
they are the Shakespeares
of music,
75
00:04:26,920 --> 00:04:31,880
and it's got to be preserved
for generations to come.
76
00:04:33,400 --> 00:04:36,760
So, from day one of the festival,
77
00:04:36,760 --> 00:04:39,400
he wanted to tape, to record,
78
00:04:39,400 --> 00:04:41,560
to film those artists,
79
00:04:41,560 --> 00:04:44,480
to spread the word worldwide.
80
00:04:45,720 --> 00:04:50,720
He wanted people to love this music
so much, because he knew,
81
00:04:50,720 --> 00:04:58,440
he knew that he was living through a
special time in the history of art.
82
00:05:02,400 --> 00:05:06,560
Just being on that stage
really connected you
83
00:05:06,560 --> 00:05:10,240
with literally the history of jazz.
84
00:05:10,240 --> 00:05:14,200
As an American, I could really
connect to my whole musical history
85
00:05:14,200 --> 00:05:16,680
by being in Montreux.
86
00:05:18,200 --> 00:05:21,080
This festival was so important
in terms of
87
00:05:21,080 --> 00:05:23,800
illustrating the through-line.
88
00:05:23,800 --> 00:05:28,000
200 years, 300 years' time from now,
or 1,000 years' time from now,
89
00:05:28,000 --> 00:05:31,040
that'll still be somewhat of
a Holy Grail for musicians
90
00:05:31,040 --> 00:05:33,200
and everyone that's
interested in music.
91
00:05:33,200 --> 00:05:34,680
It's a staggering collection.
92
00:05:34,680 --> 00:05:36,360
Staggering.
93
00:05:36,360 --> 00:05:40,760
It's a strange thing, you know.
Music is the most ethereal art form.
94
00:05:40,760 --> 00:05:44,400
You can't smell it, taste it,
see it.
95
00:05:44,400 --> 00:05:46,840
You can hear it, but as soon as
you hear it, it's gone.
96
00:05:46,840 --> 00:05:49,760
Somehow he's managed to defy that
97
00:05:49,760 --> 00:05:53,080
and made it touchable and permanent.
98
00:05:53,080 --> 00:05:55,360
One, two, three, four!
99
00:05:55,360 --> 00:05:59,640
MUSIC: Rockit
by Herbie Hancock
100
00:06:02,800 --> 00:06:06,760
We were lucky to be very close to
Sony, and Sony had developed
101
00:06:06,760 --> 00:06:09,560
at the time
high-definition television.
102
00:06:14,760 --> 00:06:18,000
Claude was saying, "You know,
you need better pictures
103
00:06:18,000 --> 00:06:21,840
"than what you are showing.
You need live music."
104
00:06:21,840 --> 00:06:23,880
And they agreed.
105
00:07:08,880 --> 00:07:13,040
Claude was always a fan of
technology and a fan of media.
106
00:07:13,040 --> 00:07:15,760
But I highly doubt that he
could plug in a computer
107
00:07:15,760 --> 00:07:17,240
and get it rolling.
108
00:07:18,400 --> 00:07:21,520
Thierry Amsallem began
working with Claude.
109
00:07:21,520 --> 00:07:24,880
He became, really, the keeper
of the kingdom.
110
00:07:28,360 --> 00:07:31,360
I met Claude in the '80s.
111
00:07:31,360 --> 00:07:35,200
The first time I met him,
it made electricity, you know.
112
00:07:36,320 --> 00:07:41,080
And then I left with him to Montreux
directly, with no toothbrush.
113
00:07:43,880 --> 00:07:47,200
I spent my adult life with Claude
114
00:07:47,200 --> 00:07:50,560
and, of course, all the musicians
around him.
115
00:07:50,560 --> 00:07:55,120
I understood his message -
to share with an audience
116
00:07:55,120 --> 00:07:58,200
and to preserve this memory.
117
00:08:01,680 --> 00:08:05,920
He was loving music
and I was loving technology.
118
00:08:05,920 --> 00:08:10,640
In '87, the first job was to build
the bunker, the archive.
119
00:08:13,920 --> 00:08:17,120
I was able to buy from the Swiss TV
the entire archive.
120
00:08:17,120 --> 00:08:21,440
And after that, with my partner,
we were able to keep all the tapes,
121
00:08:21,440 --> 00:08:24,600
which otherwise would have
been just lost,
122
00:08:24,600 --> 00:08:28,240
and so a huge part of the history
of music would be lost.
123
00:08:28,240 --> 00:08:32,160
I came to a point...
it has to be digitalised.
124
00:08:32,160 --> 00:08:35,320
THIERRY AMSALLEM: He understood
that I was able to bring
125
00:08:35,320 --> 00:08:37,400
computer inside the story.
126
00:08:38,640 --> 00:08:42,960
He was always trying to get
the best technology to record.
127
00:08:44,760 --> 00:08:48,520
'68 was done in black and white,
we have a few glimpse of '68.
128
00:08:48,520 --> 00:08:52,440
'69, we have Ella Fitzgerald
and Les McCann.
129
00:08:52,440 --> 00:08:56,280
We have two major concerts well
protected in black and white.
130
00:08:56,280 --> 00:08:58,280
'71, we started colour.
131
00:08:58,280 --> 00:09:00,720
And I have all the important shows.
132
00:09:00,720 --> 00:09:03,560
Aretha and Roberta,
and all those guys.
133
00:09:03,560 --> 00:09:05,480
From that on, I have everything.
134
00:09:08,360 --> 00:09:11,960
When I look back and start to go
into the archive,
135
00:09:11,960 --> 00:09:14,240
there is still years I haven't seen.
136
00:09:14,240 --> 00:09:17,720
I have to go back and see the tapes
and see all the surprises,
137
00:09:17,720 --> 00:09:22,040
all the jam sessions, all the things
that I don't even remember.
138
00:09:22,040 --> 00:09:23,960
# Check it out!
139
00:09:23,960 --> 00:09:25,480
# Relax now
Check it out!
140
00:09:29,160 --> 00:09:31,360
# Funk it!
Just to see the look on their face
141
00:09:31,360 --> 00:09:33,640
# Funk 'em, just to see the look
on their face
142
00:09:33,640 --> 00:09:35,920
# Funk 'em! Just to see the look
on their face
143
00:09:35,920 --> 00:09:38,160
# Just to see the look
Yeah!
144
00:09:38,160 --> 00:09:40,280
# Funk 'em! Just to see
the look on their face
145
00:09:40,280 --> 00:09:42,640
# Funk 'em, just to see the look
on their face
146
00:09:42,640 --> 00:09:45,200
# Mother-funker, just to see
the look on their face
147
00:09:45,200 --> 00:09:47,360
# Everybody, everybody,
everybody say
148
00:09:47,360 --> 00:09:49,760
# Funk it!
Just to see the look on their face
149
00:09:49,760 --> 00:09:51,680
# Dancin' the night away
Mother-funker
150
00:09:51,680 --> 00:09:54,120
# Just to see the look on their face
151
00:09:56,360 --> 00:09:58,200
# Funk it! Just to see
152
00:09:58,200 --> 00:10:00,120
# Just to see the look on their face
153
00:10:00,120 --> 00:10:02,840
# Funk it!
Just to see the look on their face
154
00:10:04,960 --> 00:10:07,400
# Funk 'em!
Just to see the look on their face
155
00:10:07,400 --> 00:10:09,280
# Funk it, just to see the look
on their face
156
00:10:09,280 --> 00:10:11,640
# Everybody, I said funk it!
Just to see the look on their face
157
00:10:11,640 --> 00:10:13,360
# Just to see the look
158
00:10:13,360 --> 00:10:15,200
# Yeah!
159
00:10:15,200 --> 00:10:18,960
# Just to see the look on their face
Just to see the look on their face
160
00:10:18,960 --> 00:10:21,000
# Funk 'em! Just to see the look
on their face
161
00:10:21,000 --> 00:10:23,920
# Funk 'em, just to see the look
on their face
162
00:10:23,920 --> 00:10:25,160
# Huh!
163
00:10:35,240 --> 00:10:37,040
# Ain't it funky now?
164
00:10:40,840 --> 00:10:45,200
# Ye-e-e-eah!
165
00:10:45,200 --> 00:10:47,400
# Say it!
166
00:10:47,400 --> 00:10:50,400
Y'all gonna say it. Come on!
167
00:10:50,400 --> 00:10:54,320
# A-a-a-a-a-ah!
168
00:10:54,320 --> 00:10:55,920
# Say it!... #
169
00:10:57,680 --> 00:11:00,920
INDISTINCT CONVERSATION
170
00:11:06,640 --> 00:11:10,040
BRASS BAND PLAYS
171
00:11:11,760 --> 00:11:14,800
INDISTINCT CHATTER
172
00:11:18,520 --> 00:11:23,400
Willie Dixon and Little Walter
and Elmore James,
173
00:11:23,400 --> 00:11:26,120
all these guys had Chicago sewn up.
174
00:11:26,120 --> 00:11:28,920
If you didn't play like Muddy
Waters, you couldn't get a job.
175
00:11:28,920 --> 00:11:31,840
I remember it. Yeah, but you
changed it. Yeah, I changed it.
176
00:11:31,840 --> 00:11:34,160
Because you got into rock and roll.
That's it. I changed it.
177
00:11:34,160 --> 00:11:35,760
That was a big difference.
178
00:11:35,760 --> 00:11:38,120
Scared the hell out of everybody.
179
00:11:41,200 --> 00:11:45,320
I can't even explain how I feel
to be invited back.
180
00:11:45,320 --> 00:11:48,880
Because if you've been here before
and never get invited back
181
00:11:48,880 --> 00:11:51,200
there's something you didn't
do right.
182
00:11:51,200 --> 00:11:53,320
I must have hit the right notes.
183
00:11:53,320 --> 00:11:55,280
And I'm here.
184
00:11:55,280 --> 00:11:58,600
So, I got to lay it on you.
185
00:11:58,600 --> 00:12:01,320
# Baby, don't you wanna go
186
00:12:04,080 --> 00:12:05,680
# Come on
187
00:12:05,680 --> 00:12:07,280
# Baby, don't you...
188
00:12:07,280 --> 00:12:08,600
CROWD: # Wanna go
189
00:12:08,600 --> 00:12:10,280
Yeah, sing it.
190
00:12:11,560 --> 00:12:14,400
# Goin' to that same old place
191
00:12:14,400 --> 00:12:17,320
CROWD: # Sweet home Chicago
192
00:12:20,120 --> 00:12:22,200
# Four, five, six, seven!
193
00:12:22,200 --> 00:12:23,880
# Eight, nine, ten!
194
00:12:23,880 --> 00:12:26,000
# I can't love you if you
don't love me
195
00:12:26,000 --> 00:12:27,440
# You told me
196
00:12:27,440 --> 00:12:29,880
# And I was looking for
younger women...
197
00:12:32,280 --> 00:12:33,560
# Yeah
198
00:12:35,240 --> 00:12:37,240
# I know you don't love me, woman
199
00:12:37,240 --> 00:12:40,080
# Cos I said, Lord,
you don't come tell your man
200
00:12:42,680 --> 00:12:44,720
# One and one is two, you know
201
00:12:44,720 --> 00:12:46,720
# Two and two is four
202
00:12:46,720 --> 00:12:49,480
# I can't get close to you
if you don't open that door
203
00:12:49,480 --> 00:12:51,280
# I said hey
204
00:12:51,280 --> 00:12:55,080
CROWD: # Baby, don't you wanna go
205
00:12:57,280 --> 00:12:58,600
# Goin' to that...
206
00:12:58,600 --> 00:13:00,120
# Same old place
207
00:13:00,120 --> 00:13:03,240
# Sweet home Chicago... #
208
00:13:18,960 --> 00:13:23,040
Claude Nobs was fearless when he
came down to manifesting
209
00:13:23,040 --> 00:13:27,240
his higher ambitions into some
tangible, physical realities.
210
00:13:27,240 --> 00:13:29,360
Damn the rules.
211
00:13:29,360 --> 00:13:31,200
It's the feeling that counts.
212
00:13:31,200 --> 00:13:34,480
CLAUDE NOBS: Some would say, "How
can you say you change every year
213
00:13:34,480 --> 00:13:37,920
"when you have Herbie Hancock
for the 33rd time?"
214
00:13:37,920 --> 00:13:41,080
For the simple reason that -
if you check what he did -
215
00:13:41,080 --> 00:13:44,280
every single year for
the past 33 years,
216
00:13:44,280 --> 00:13:47,240
every time he's with new musician,
or different musician.
217
00:13:47,240 --> 00:13:49,480
It's new tunes, new arrangement.
218
00:13:49,480 --> 00:13:53,280
And it is a perfect way to
show the evolution
219
00:13:53,280 --> 00:13:56,320
and what an artist can
deliver to the audience.
220
00:14:29,640 --> 00:14:34,240
People if they come here,
they come to listen to music.
221
00:14:34,240 --> 00:14:37,400
Here, with the walls and being in
a room, it gives you a closeness
222
00:14:37,400 --> 00:14:40,080
to the artist, you see more what
he's up to,
223
00:14:40,080 --> 00:14:43,080
and he has better contact also.
224
00:14:43,080 --> 00:14:46,400
They have to get out of their
technical comfort zone
225
00:14:46,400 --> 00:14:49,120
and reduce the show.
226
00:14:49,120 --> 00:14:51,960
They cannot unpack six tracks.
227
00:14:51,960 --> 00:14:54,160
They get something else for it.
228
00:14:54,160 --> 00:14:58,760
We always had excellent crews,
and the artist will be happy.
229
00:14:58,760 --> 00:15:00,640
That's the biggest challenge, yeah?
230
00:15:00,640 --> 00:15:04,080
And they have to trust us -
and they do, fortunately.
231
00:15:05,280 --> 00:15:07,320
# The sun died
232
00:15:10,800 --> 00:15:13,920
# The sun died with my love
233
00:15:13,920 --> 00:15:17,160
# When I'm all gone... #
234
00:15:17,160 --> 00:15:19,240
Oh, it's just so beautiful
these songs.
235
00:15:19,240 --> 00:15:21,120
I love all of them.
236
00:15:21,120 --> 00:15:23,800
I wish I could play every
song like that.
237
00:15:27,520 --> 00:15:30,800
# I know... #
238
00:15:32,040 --> 00:15:34,560
Oh, it's so pretty.
239
00:15:42,600 --> 00:15:45,400
# She said, My son, I beg of you
240
00:15:46,400 --> 00:15:49,240
# I have a wish that must come true
241
00:15:50,600 --> 00:15:54,600
# The last thing you can do
242
00:15:54,600 --> 00:15:56,680
# For your mama... #
243
00:15:57,960 --> 00:15:59,600
Charles...
244
00:16:01,000 --> 00:16:04,200
# Please promise me that
you will stay
245
00:16:04,200 --> 00:16:07,000
# And take my place when I'm away
246
00:16:08,440 --> 00:16:11,200
# And give the children love
each day
247
00:16:11,200 --> 00:16:13,120
# I had to cry
248
00:16:14,280 --> 00:16:19,440
# What could I say?
What could I say?
249
00:16:19,440 --> 00:16:22,560
# I tried so hard to find a way
250
00:16:22,560 --> 00:16:26,600
# I prayed she would not see me cry
251
00:16:26,600 --> 00:16:29,600
# So much to say that
should be heard
252
00:16:29,600 --> 00:16:33,200
# But only time to say goodbye
253
00:16:34,840 --> 00:16:37,360
# To my mama
254
00:16:37,360 --> 00:16:41,560
# Lord, my mama, my mama... #
255
00:16:56,280 --> 00:16:58,640
# Everything's all right
256
00:16:59,720 --> 00:17:01,680
# Everything's all right
257
00:17:03,000 --> 00:17:05,200
# Everything's all right, right
258
00:17:05,200 --> 00:17:07,240
# It's all right
259
00:17:07,240 --> 00:17:09,200
# Hey now
260
00:17:09,200 --> 00:17:10,680
# Everything's all right
261
00:17:10,680 --> 00:17:12,320
# Go tell
262
00:17:12,320 --> 00:17:14,000
# Everything's all right
263
00:17:15,680 --> 00:17:17,240
# Everything's all right
264
00:17:17,240 --> 00:17:18,560
# I know
265
00:17:18,560 --> 00:17:20,480
# It's all right, yeah. #
266
00:17:23,920 --> 00:17:27,320
AUDIENCE CHEERS
267
00:17:39,920 --> 00:17:41,840
Ray Charles!
268
00:17:43,680 --> 00:17:45,440
Ray Charles!
269
00:17:47,640 --> 00:17:50,600
One and only, Ray Charles!
270
00:18:03,840 --> 00:18:06,840
I met Quincy through...
271
00:18:06,840 --> 00:18:09,120
when he was producing Donna Summer.
272
00:18:09,120 --> 00:18:11,320
Of course, he knew that I was doing
a festival,
273
00:18:11,320 --> 00:18:14,000
that I had a bunch of people
that he was very close to.
274
00:18:14,000 --> 00:18:17,720
And one day he called me and said,
"I am in Moscow.
275
00:18:17,720 --> 00:18:21,520
"I just finished the last album
with Michael Jackson.
276
00:18:21,520 --> 00:18:24,600
"I want to come to Montreux to
one of those sparkling lakes
277
00:18:24,600 --> 00:18:27,000
"to get healthy, etc."
278
00:18:27,000 --> 00:18:30,520
So, I go pick him up at the airport,
we go to the hotel.
279
00:18:30,520 --> 00:18:34,240
And I had in his room a complete
set of video cassettes
280
00:18:34,240 --> 00:18:36,840
of the previous Jazz Festival,
281
00:18:36,840 --> 00:18:41,240
and he checked all that the tapes,
from A to Z.
282
00:18:41,240 --> 00:18:44,200
Then he came up with some comments
and he said, you know,
283
00:18:44,200 --> 00:18:47,000
"One day, if you need me,
I'd love to work with you."
284
00:18:47,000 --> 00:18:51,160
We start in 1991
a three year collaboration.
285
00:18:51,160 --> 00:18:54,480
Claude's dream was to work
with Quincy Jones,
286
00:18:54,480 --> 00:18:56,440
and when he said yes, I mean,
287
00:18:56,440 --> 00:18:59,000
well, you had to fetch him
from the moon, you know.
288
00:19:00,760 --> 00:19:04,240
Quincy was like the perfect twin
for him to have, in a way.
289
00:19:05,800 --> 00:19:09,640
Their new ideas were a match.
290
00:19:09,640 --> 00:19:13,800
Their willingness to support
whatever might sound a little
291
00:19:13,800 --> 00:19:16,880
far-fetched or a little crazy to
other people, they would go for it.
292
00:19:16,880 --> 00:19:19,680
They just had a love for each other.
293
00:19:22,800 --> 00:19:27,160
When we were co-produced by
Quincy Jones in '91, '92 and '93,
294
00:19:27,160 --> 00:19:30,680
Quincy was involved in rap,
R&B and...
295
00:19:30,680 --> 00:19:33,560
I mean, being co-produced by Quincy
put the whole story
296
00:19:33,560 --> 00:19:35,760
on another level.
297
00:19:42,240 --> 00:19:46,720
The first year, I went to see
Quincy at his home, California.
298
00:19:46,720 --> 00:19:49,920
And he was co-producing the
festival, so he had a big table
299
00:19:49,920 --> 00:19:54,240
with a little piece of paper,
day by day, "July 1, 2, 3," etc,
300
00:19:54,240 --> 00:19:57,680
with names. And I look on the table
and I see, "Sting,
301
00:19:57,680 --> 00:20:01,800
"BB King, Miles Davis,"
and so on and so on,
302
00:20:01,800 --> 00:20:04,280
and I said, "Oh, it's very nice."
303
00:20:04,280 --> 00:20:06,120
He said, "Yeah, yeah, that's
the programme.
304
00:20:06,120 --> 00:20:08,960
"I did the programme.
Now you put it together."
305
00:20:11,640 --> 00:20:15,160
One of the big highlights was
the concert with Miles Davis
306
00:20:15,160 --> 00:20:17,880
doing the Gil Evans arrangement,
307
00:20:17,880 --> 00:20:21,120
that he refused to for many,
many years to do,
308
00:20:21,120 --> 00:20:23,760
because he said "I don't want
to do the old stuff.
309
00:20:23,760 --> 00:20:25,440
"I want to play my new stuff."
310
00:20:25,440 --> 00:20:28,000
And Quincy said,
"We have to get Miles to do it."
311
00:20:28,000 --> 00:20:30,480
So, we went to see Miles
in New York.
312
00:20:30,480 --> 00:20:32,560
We have his meeting in his house.
313
00:20:32,560 --> 00:20:35,000
Quincy gave him the list
of these songs.
314
00:20:35,000 --> 00:20:39,880
So, Miles said to Quincy, "It's
going to be incredibly expensive!"
315
00:20:39,880 --> 00:20:42,280
And Quincy said,
"Why? Everything is written.
316
00:20:42,280 --> 00:20:43,960
"Every note is written down."
317
00:20:43,960 --> 00:20:45,960
And Miles said, "Yeah, that's why!
318
00:20:45,960 --> 00:20:48,320
"I have to play every note!"
319
00:20:49,480 --> 00:20:51,200
This one's a high shoulder.
320
00:20:51,200 --> 00:20:53,120
You need me for
your clothes, Claude?
321
00:20:53,120 --> 00:20:56,080
Uh... No, I think it's
nearly together.
322
00:20:57,480 --> 00:21:00,360
And I think there is a...
323
00:21:00,360 --> 00:21:02,640
MILES DAVIS: Enough, Claude.
Come on, now.
324
00:21:02,640 --> 00:21:04,320
You make me feel bad.
325
00:21:04,320 --> 00:21:07,880
No, but I feel good I can share it.
I have too many.
326
00:21:07,880 --> 00:21:10,440
But it's nice. Different
kind of cut.
327
00:21:10,440 --> 00:21:12,360
A great shoulder.
328
00:21:13,920 --> 00:21:17,160
This is really nice. Really nice.
329
00:21:17,160 --> 00:21:20,400
I mean, if I was on the corner
and you were a lady,
330
00:21:20,400 --> 00:21:22,440
would you stop?
331
00:21:22,440 --> 00:21:24,720
You would? I would, I would.
332
00:21:26,880 --> 00:21:31,280
MUSIC: Summertime
by Miles Davis and Quincy Jones
333
00:22:25,440 --> 00:22:31,520
Quincy Jones comes and bring tons of
new artists that nobody knew.
334
00:22:31,520 --> 00:22:33,800
New sounds.
335
00:22:33,800 --> 00:22:37,800
The spectrum of Quincy, from
Ella Fitzgerald to Michael Jackson
336
00:22:37,800 --> 00:22:40,560
and hip-hop and all this,
it's so extraordinary.
337
00:22:40,560 --> 00:22:42,960
We lost money on all
of these things.
338
00:22:42,960 --> 00:22:47,280
But at the end, it gave a new wind
to the Montreux Jazz Festival.
339
00:22:49,320 --> 00:22:51,800
Come on. Uh, uh, uh.
340
00:22:51,800 --> 00:22:54,040
# La di da di
Who likes to party?
341
00:22:54,040 --> 00:22:56,640
# Like Slick Rick, the ruler
I'm cooler than an ice brick
342
00:22:56,640 --> 00:22:59,280
# Got soul like an afro pick
With the black fist
343
00:22:59,280 --> 00:23:01,760
# And leave a crowd drippin'
like John the Baptist
344
00:23:01,760 --> 00:23:03,400
# It's the cause of that "Oh shit!"
345
00:23:03,400 --> 00:23:05,320
# The skits I kick flows
like catfish
346
00:23:05,320 --> 00:23:07,280
# And got many emcees
on the blacklist
347
00:23:07,280 --> 00:23:10,480
# Sharper than a cactus
Quick to bust gymnastic tactics
348
00:23:10,480 --> 00:23:12,400
# Roots is true to the rap shit
349
00:23:12,400 --> 00:23:15,080
# Holla to the scholarly
Street skats that follow me
350
00:23:15,080 --> 00:23:17,680
# Back to the Soul Shack with
packs of rap colonies
351
00:23:17,680 --> 00:23:20,000
# Max that, foreign objects
is mad abstract
352
00:23:20,000 --> 00:23:22,760
# Make Shadrach, Abednego
want to go like Meshach
353
00:23:22,760 --> 00:23:25,640
# Black Thought the nappy cat
A bookworm, shoe styles like sperm
354
00:23:25,640 --> 00:23:28,160
# Cool as Malcolm Little with
the conch a la perm burn
355
00:23:28,160 --> 00:23:31,080
# The herb sticks like wicks
and flips when I slap the hand
356
00:23:31,080 --> 00:23:32,720
# Of my mellow my man, Malik B
357
00:23:32,720 --> 00:23:34,320
# Here I go. #
358
00:23:40,840 --> 00:23:44,160
All a sudden, Sting called in and
that he wanted to do a special
359
00:23:44,160 --> 00:23:48,200
acoustic project, but he could only
play a day that was two days before
360
00:23:48,200 --> 00:23:50,280
the official opening
of the festival.
361
00:23:50,280 --> 00:23:52,720
So we had to fill in these
other days, and somehow,
362
00:23:52,720 --> 00:23:54,560
because of the Quincy project,
363
00:23:54,560 --> 00:23:56,560
I think we have had 21 days
of festival.
364
00:23:57,840 --> 00:23:59,600
Full power.
365
00:24:07,120 --> 00:24:11,160
STING VOCALISES
366
00:24:29,560 --> 00:24:31,040
Here we go.
367
00:24:31,040 --> 00:24:32,480
Woo!
368
00:24:48,040 --> 00:24:51,520
# Giant steps are what you take
369
00:24:51,520 --> 00:24:54,720
# Walking on the moon
370
00:24:56,080 --> 00:24:59,720
# I hope my leg don't break
371
00:24:59,720 --> 00:25:02,440
# Walking on the moon
372
00:25:03,480 --> 00:25:06,560
# We could walk forever
373
00:25:06,560 --> 00:25:09,920
# Walking on the moon, yeah
374
00:25:11,480 --> 00:25:14,640
# We could live together
375
00:25:14,640 --> 00:25:17,000
# Walking on
376
00:25:17,000 --> 00:25:20,480
# Walking on the moon
377
00:25:28,160 --> 00:25:30,240
# Yeah!
378
00:25:32,280 --> 00:25:33,440
# Yeah
379
00:25:35,040 --> 00:25:37,680
# Walking back from your house
380
00:25:38,800 --> 00:25:41,640
# Walking on the moon, yeah
381
00:25:42,720 --> 00:25:46,040
# Walking back from your house
382
00:25:46,040 --> 00:25:48,840
# Walking on the moon
383
00:25:50,480 --> 00:25:53,960
# My feet don't hardly touch
the ground
384
00:25:53,960 --> 00:25:56,520
# Walking on the moon, yeah... #
385
00:25:58,160 --> 00:26:02,120
The Quincy Jones years, they were
obviously very prestigious,
386
00:26:02,120 --> 00:26:07,640
but they also put the Montreux Jazz
Festival in big financial trouble.
387
00:26:07,640 --> 00:26:11,160
Spending much more money
than it was earning.
388
00:26:14,400 --> 00:26:18,320
It led Claude to get back from
the red and into the black,
389
00:26:18,320 --> 00:26:21,320
and he had to make some
huge changes.
390
00:26:22,320 --> 00:26:24,960
The economy that goes with
the festival,
391
00:26:24,960 --> 00:26:27,480
it went along with the times,
392
00:26:27,480 --> 00:26:31,080
and the new site of the festival
at the Stravinski Hall
393
00:26:31,080 --> 00:26:33,880
was very much part of that.
394
00:26:35,960 --> 00:26:41,240
When it's that big, it's difficult
for one man to control everything.
395
00:26:41,240 --> 00:26:44,760
To get the whole running,
you need people,
396
00:26:44,760 --> 00:26:46,720
and you need a lot of people.
397
00:26:46,720 --> 00:26:50,320
When I started in 1967, there were
two or three friends with me.
398
00:26:50,320 --> 00:26:53,200
I was doing the cooking,
getting the people at the airport,
399
00:26:53,200 --> 00:26:55,240
trying to fix the light,
the microphone.
400
00:26:55,240 --> 00:26:58,080
Everything was going wrong,
everything was going late.
401
00:26:59,560 --> 00:27:01,960
He was one of the top promoters
in Europe,
402
00:27:01,960 --> 00:27:06,120
and the dream starts to lose
total reality.
403
00:27:06,120 --> 00:27:09,240
He would never had accepted
the change.
404
00:27:10,480 --> 00:27:12,920
I mean, he was very stubborn.
405
00:27:12,920 --> 00:27:15,880
When he wanted something,
he didn't listen to anybody.
406
00:27:16,960 --> 00:27:21,760
I mean, he started something which
he could not control at the end.
407
00:27:21,760 --> 00:27:27,040
Sorry to tell, but this is also
partly fault of Claude Nobs.
408
00:27:27,040 --> 00:27:29,960
He's part of that business.
409
00:27:29,960 --> 00:27:36,920
I knew he was frustrated how
the music business was changing,
410
00:27:36,920 --> 00:27:42,160
especially that human factor of
the music business that he was
411
00:27:42,160 --> 00:27:46,520
fighting for, the link with
the artists, making great music.
412
00:27:46,520 --> 00:27:49,800
Talking about what kind of concert
we can create,
413
00:27:49,800 --> 00:27:53,680
which could be totally different
from all the other concerts.
414
00:27:53,680 --> 00:27:57,040
He knew that the world was changing.
415
00:27:57,040 --> 00:27:59,600
That was something very painful
for Claude.
416
00:27:59,600 --> 00:28:01,480
That was his life.
417
00:28:01,480 --> 00:28:05,160
Passion for the musician,
the love he has for the musician.
418
00:28:08,400 --> 00:28:12,120
I always said, I worked 35 years
for a record company.
419
00:28:12,120 --> 00:28:16,240
For half of it - in this
expression, "music business" -
420
00:28:16,240 --> 00:28:19,600
"music" was the important word.
421
00:28:19,600 --> 00:28:23,320
And then "business" became
the important word.
422
00:28:24,920 --> 00:28:29,080
And when lawyers came about, we had
some situation where I thought,
423
00:28:29,080 --> 00:28:33,080
"Oh, thank God Claude isn't
there to see that."
424
00:28:33,080 --> 00:28:35,080
It would have broken his heart.
425
00:28:36,200 --> 00:28:38,760
He would not have understood it.
426
00:28:42,280 --> 00:28:46,960
All these sectors had become
professional, like touring,
427
00:28:46,960 --> 00:28:49,640
agencies, sponsoring.
428
00:28:49,640 --> 00:28:52,280
Before, we just head to
the next music store,
429
00:28:52,280 --> 00:28:55,480
"Do you have some drums that you can
loan us, and you get half a page
430
00:28:55,480 --> 00:28:58,680
"in the programme in exchange?"
You know, it was that easy.
431
00:28:58,680 --> 00:29:02,280
The evolution came that you needed
more people, all of a sudden.
432
00:29:03,600 --> 00:29:05,320
Three, four!
433
00:29:30,680 --> 00:29:32,840
# She's got legs
434
00:29:33,880 --> 00:29:36,160
# She knows how to use them
435
00:29:38,080 --> 00:29:41,280
# She never begs
436
00:29:41,280 --> 00:29:43,800
# She knows how to choose them
437
00:29:45,280 --> 00:29:47,520
# She's holdin' leg
438
00:29:49,360 --> 00:29:51,880
# Wonder how to feel them
439
00:29:53,160 --> 00:29:55,800
# Would you get behind them
440
00:29:56,960 --> 00:29:59,440
# If you could only find them?
441
00:30:00,880 --> 00:30:03,200
# She's my baby
442
00:30:04,600 --> 00:30:08,200
# She's my baby
443
00:30:08,200 --> 00:30:10,000
# Yeah, it's all right
444
00:30:12,280 --> 00:30:14,960
# Oh, yeah... #
445
00:30:21,800 --> 00:30:25,600
The golden years changed when
the record companies misjudged
446
00:30:25,600 --> 00:30:28,400
the influence of internet
and didn't get it.
447
00:30:28,400 --> 00:30:31,480
They fought it, instead of using it.
448
00:30:31,480 --> 00:30:36,200
So, that's where the payment
of the records stop to be
449
00:30:36,200 --> 00:30:38,600
the main source of income
for the artists,
450
00:30:38,600 --> 00:30:42,000
and it changed towards
the touring business.
451
00:30:42,000 --> 00:30:45,000
And, of course, in order to make it
viable you have to have
452
00:30:45,000 --> 00:30:47,480
a much heavier touring schedule.
453
00:30:49,280 --> 00:30:52,120
It was not his style,
because he needed musicians
454
00:30:52,120 --> 00:30:54,480
to have time to do special projects.
455
00:30:54,480 --> 00:30:58,520
And, you know, to mobilise a whole
tour now is too costly.
456
00:30:58,520 --> 00:31:00,040
They don't have the time.
457
00:31:00,040 --> 00:31:03,320
They need to play nearly every day
in order to bring some money home.
458
00:31:03,320 --> 00:31:06,120
Before an artist really has some
money on his bank account,
459
00:31:06,120 --> 00:31:08,080
he has to pay so many people.
460
00:31:09,320 --> 00:31:11,320
Agents and managers.
461
00:31:11,320 --> 00:31:14,360
There's all these costs that
are being deducted,
462
00:31:14,360 --> 00:31:18,000
and it's not that easy to make
a living being on tour.
463
00:31:18,000 --> 00:31:20,080
Not everybody makes it, actually.
464
00:31:20,080 --> 00:31:24,800
We limit ourselves to three bands
per evening, so they have more time,
465
00:31:24,800 --> 00:31:28,960
and you have a fantastic
musical event again.
466
00:31:38,480 --> 00:31:40,480
# Hey, now now
467
00:31:43,280 --> 00:31:45,000
# Hey, now now
468
00:31:48,240 --> 00:31:50,080
# I didn't know what time it was
469
00:31:50,080 --> 00:31:52,720
# The lights were low
470
00:31:52,720 --> 00:31:57,200
# I leaned back on my radio
471
00:31:57,200 --> 00:32:00,800
# Some cat was layin' down
some rock and roll
472
00:32:00,800 --> 00:32:01,840
# Lotta soul, he said
473
00:32:04,520 --> 00:32:08,920
# Then the loud sound did
seem to fade
474
00:32:08,920 --> 00:32:13,280
# Came back like a slow voice
on a wave of phase
475
00:32:13,280 --> 00:32:18,520
# That weren't no DJ,
that was hazy cosmic jive
476
00:32:21,840 --> 00:32:26,520
# There's a starman waiting
in the sky
477
00:32:26,520 --> 00:32:28,960
# He'd like to come and meet us
478
00:32:28,960 --> 00:32:31,200
# But he thinks he'd blow our minds
479
00:32:31,200 --> 00:32:35,640
# There's a starman waiting
in the sky
480
00:32:35,640 --> 00:32:38,120
# He told us not to blow it
481
00:32:38,120 --> 00:32:40,600
# Cos he knows it's all worthwhile
482
00:32:40,600 --> 00:32:43,120
# He told me
let the children lose it
483
00:32:43,120 --> 00:32:45,800
# Let the children use it
484
00:32:45,800 --> 00:32:48,680
# Let all the children boogie... #
485
00:33:22,760 --> 00:33:24,640
Yeah, help me out.
486
00:33:24,640 --> 00:33:26,200
AUDIENCE CLAPS ALONG
487
00:33:27,720 --> 00:33:30,040
Thank you. Yeah.
488
00:33:31,200 --> 00:33:33,080
# All right
489
00:33:33,080 --> 00:33:35,080
# OK
490
00:33:35,080 --> 00:33:38,040
# All right... #
491
00:33:38,040 --> 00:33:40,160
Now...
492
00:33:40,160 --> 00:33:43,000
Y'all are helping me so well
493
00:33:43,000 --> 00:33:45,400
that I need you to help me
one more thing.
494
00:33:47,480 --> 00:33:49,440
Let me hear you say...
495
00:33:49,440 --> 00:33:51,440
# Night and day
496
00:33:51,440 --> 00:33:53,240
CROWD: # Night and day
497
00:33:53,240 --> 00:33:54,520
Yeah.
498
00:33:54,520 --> 00:33:56,760
# Night and day
499
00:33:56,760 --> 00:33:58,240
# Night and day
500
00:33:58,240 --> 00:33:59,680
Sing.
501
00:33:59,680 --> 00:34:01,800
# Night and day, yeah
502
00:34:01,800 --> 00:34:04,320
# Night and day, yeah
503
00:34:04,320 --> 00:34:06,120
# Night and day
504
00:34:07,560 --> 00:34:12,320
# Cos you know the night-time
is the right time
505
00:34:12,320 --> 00:34:17,240
# To be with the one you love
506
00:34:17,240 --> 00:34:21,800
# You know the night-time
is the right time
507
00:34:21,800 --> 00:34:24,280
# To be with the one you love
508
00:34:24,280 --> 00:34:26,480
# Just me and my man
509
00:34:26,480 --> 00:34:28,920
# You know the night-time, oh!
510
00:34:28,920 --> 00:34:31,040
# Is the right time
511
00:34:31,040 --> 00:34:33,040
# To be in Switzerland
512
00:34:33,040 --> 00:34:36,400
AUDIENCE CHEERS
513
00:34:36,400 --> 00:34:38,680
# Baby!
Night and day
514
00:34:38,680 --> 00:34:40,760
# Baby!
Night and day
515
00:34:40,760 --> 00:34:43,400
# Baby!
Night and day
516
00:34:43,400 --> 00:34:45,800
# Baby!
Night and day
517
00:34:45,800 --> 00:34:48,120
# You know I love you
Night and day
518
00:34:48,120 --> 00:34:50,480
# I'm thinkin' of you
Night and day
519
00:34:50,480 --> 00:34:52,800
# Hold me tight
Night and day
520
00:34:52,800 --> 00:34:55,360
# All the through the night
Night and day
521
00:34:55,360 --> 00:34:57,040
# Cos you know the night-time
522
00:34:57,040 --> 00:34:59,920
# Oh, is the right time
523
00:34:59,920 --> 00:35:02,920
# To be in Switzerland
524
00:35:02,920 --> 00:35:06,160
# If you feel me, say yeah. #
525
00:35:10,560 --> 00:35:12,520
Yeah.
526
00:35:12,520 --> 00:35:14,200
Switzerland!
527
00:35:20,240 --> 00:35:25,800
Well, I just want to tell you
how excited and happy I am
528
00:35:25,800 --> 00:35:28,320
to be here with you tonight.
529
00:35:28,320 --> 00:35:33,640
So, I want to thank you for
having me at the Montreux,
530
00:35:33,640 --> 00:35:37,800
because this is something that's
really historical to me,
531
00:35:37,800 --> 00:35:41,240
and some of my favourite artists
of all time have played here,
532
00:35:41,240 --> 00:35:45,480
and I'm very honoured to be playing
here as well with you tonight.
533
00:35:47,640 --> 00:35:49,200
Thank you.
534
00:35:54,720 --> 00:35:58,440
CLAUDE NOBS: Now, of course,
I have a great team with me,
535
00:35:58,440 --> 00:36:01,440
mainly with Mathieu Jaton,
with secretary general.
536
00:36:01,440 --> 00:36:03,040
He could take over any minute.
537
00:36:03,040 --> 00:36:06,520
He knows music, he knows the people,
he loves them, he has a connection.
538
00:36:06,520 --> 00:36:10,400
And he give me a free hand to do
a lot of crazy projects.
539
00:36:12,080 --> 00:36:14,760
As an ex-cook,
I'm going to add on spices
540
00:36:14,760 --> 00:36:17,880
and put a little bit more pepper,
which is one band more,
541
00:36:17,880 --> 00:36:21,040
and have this artist here,
and make it a big dinner.
542
00:36:22,120 --> 00:36:27,000
We knew that the change of this
business were quite hard for Claude
543
00:36:27,000 --> 00:36:31,760
and we had the impression that
he even made his way out
544
00:36:31,760 --> 00:36:34,600
the best way he wanted.
545
00:36:34,600 --> 00:36:37,600
Because he was always telling us,
I don't want to be in bad shape.
546
00:36:37,600 --> 00:36:39,720
I just want to get out...
like that.
547
00:36:41,240 --> 00:36:44,360
At the time, he was on the top
of the world.
548
00:36:48,280 --> 00:36:51,360
We came home at midnight,
and he said to me,
549
00:36:51,360 --> 00:36:57,160
"I'm going to walk the dogs. Come
with me. We do it by country ski."
550
00:36:57,160 --> 00:37:01,000
And I said, "Claude, it's too late
for me. I need to sleep."
551
00:37:01,000 --> 00:37:02,720
It happened in the night.
552
00:37:18,640 --> 00:37:22,520
When I had the information on
December 23 that Claude
553
00:37:22,520 --> 00:37:27,080
had an accident skiing in
the mountain, and he's in coma,
554
00:37:27,080 --> 00:37:30,800
we understood quite early
that it was very grave.
555
00:37:30,800 --> 00:37:34,640
Even getting out of his coma,
his shape will be very, very bad.
556
00:37:35,920 --> 00:37:39,600
I saw this message from Mathieu,
"Please call me about Claude,"
557
00:37:39,600 --> 00:37:42,080
and so I called him,
and he told me what had happened,
558
00:37:42,080 --> 00:37:45,000
that he was in hospital
and not conscious.
559
00:37:45,000 --> 00:37:47,840
Some agents who were friends
with Claude, well,
560
00:37:47,840 --> 00:37:52,120
he warned them that Claude had an
accident and it didn't look good.
561
00:37:54,360 --> 00:37:57,280
Which was a shock to all of us.
562
00:37:57,280 --> 00:37:59,840
I mean, how was it possible?
563
00:37:59,840 --> 00:38:02,600
He was here yesterday.
564
00:38:02,600 --> 00:38:05,680
That was a difficult time
for everybody.
565
00:38:07,440 --> 00:38:11,080
We went to visit him every
two days in the intensive care.
566
00:38:11,080 --> 00:38:13,520
We tried to talk to him,
wake him up,
567
00:38:13,520 --> 00:38:17,400
have the dogs bark through
the telephone, put some music on.
568
00:38:17,400 --> 00:38:20,760
Trying to see if something
would wake up,
569
00:38:20,760 --> 00:38:24,240
but the prognosis was very bad,
the doctor said.
570
00:38:26,120 --> 00:38:28,320
And then, yeah...
571
00:38:34,680 --> 00:38:38,080
At the beginning of the year,
on January 20,
572
00:38:38,080 --> 00:38:41,440
Thierry took the most difficult
decision that it was over.
573
00:38:41,440 --> 00:38:43,560
Claude passed away.
574
00:38:46,240 --> 00:38:49,840
It hurt. You know, I mean, when
you lose somebody you love, it's...
575
00:38:49,840 --> 00:38:53,000
..there's always like a little hole
in your heart where that person
576
00:38:53,000 --> 00:38:55,280
used to be. And they're still there,
577
00:38:55,280 --> 00:38:57,920
but you don't get to see them
any more.
578
00:38:57,920 --> 00:39:00,840
There's part of you that gets buried
with them when they go away,
579
00:39:00,840 --> 00:39:02,840
and it's like that with Claude.
580
00:39:04,680 --> 00:39:07,640
We lost wings, a big pair of wings.
581
00:39:07,640 --> 00:39:10,600
Wings of aspiration and imagination.
582
00:39:10,600 --> 00:39:17,120
We lost a big general that commanded
gently, with grace and humility.
583
00:39:17,120 --> 00:39:21,280
And fun. I mean, this cat
was fun to be around.
584
00:39:21,280 --> 00:39:24,800
He's an artist of another stature.
585
00:39:24,800 --> 00:39:29,480
To me, he was Merlin, like Merlin.
586
00:39:32,520 --> 00:39:37,600
I would have understand very clearly
that all his network will have said,
587
00:39:37,600 --> 00:39:40,800
"OK, we loved Claude.
We love you all, guys.
588
00:39:40,800 --> 00:39:43,880
"Thank you very much for the time
we had together, but that's over."
589
00:39:43,880 --> 00:39:46,640
I would have understand that.
But it was not the case.
590
00:39:46,640 --> 00:39:50,880
All these contacts, they all called
me and say, "Now Claude passed away,
591
00:39:50,880 --> 00:39:56,960
"we have to help you continuing
Claude's legacy."
592
00:39:59,040 --> 00:40:02,200
All of a sudden, I got a call
from Prince's agent,
593
00:40:02,200 --> 00:40:04,360
"Would you be interested
in having Prince?"
594
00:40:04,360 --> 00:40:08,120
And so I proposed, "Three dates here
are open. Do you want one or two?"
595
00:40:08,120 --> 00:40:10,440
"Give me three."
596
00:40:10,440 --> 00:40:14,120
It made this first festival without
Claude's physical presence
597
00:40:14,120 --> 00:40:16,240
an extraordinary event.
598
00:40:19,960 --> 00:40:23,400
MUSIC: Purple Rain
by Prince
599
00:40:26,080 --> 00:40:28,880
I can't say that I knew
him well, but...
600
00:40:31,400 --> 00:40:35,160
..in my room there were four books
of all the people that played
601
00:40:35,160 --> 00:40:37,040
at Montreux Jazz Festival...
602
00:40:39,120 --> 00:40:42,000
..and I think I recognised
every one.
603
00:40:44,920 --> 00:40:48,800
So it must have something to do
with its founder,
604
00:40:48,800 --> 00:40:51,800
the man who put this together
605
00:40:51,800 --> 00:40:54,400
and kept it together all this time.
606
00:40:56,240 --> 00:41:00,200
A lot of musicians look forward to
playing here - I know I did -
607
00:41:00,200 --> 00:41:03,400
musicians you've seen tonight
on this stage.
608
00:41:03,400 --> 00:41:05,800
I'll have a memory that I'll
never forget.
609
00:41:07,840 --> 00:41:11,200
AUDIENCE CHEERS
610
00:41:14,600 --> 00:41:16,600
That's all I'm going to say
about that.
611
00:41:16,600 --> 00:41:19,280
But I just have one more thing
I want to say, all right?
612
00:41:25,680 --> 00:41:28,760
# Ooh ooh ooh
613
00:41:29,880 --> 00:41:32,400
# Ooh ooh ooh
614
00:41:33,800 --> 00:41:35,960
# Ooh ooh
615
00:41:35,960 --> 00:41:38,040
# Ooh
616
00:41:38,040 --> 00:41:42,040
# Ooh ooh
617
00:41:42,040 --> 00:41:45,720
# Ooh ooh ooh
618
00:41:45,720 --> 00:41:49,040
# Ooh ooh ooh ooh
619
00:41:50,360 --> 00:41:53,320
# Ooh ooh ooh
620
00:41:53,320 --> 00:41:54,920
# Oh
621
00:41:54,920 --> 00:41:57,120
# Ah ah
622
00:41:57,120 --> 00:41:59,840
# Ooh. #
623
00:41:59,840 --> 00:42:03,080
AUDIENCE CHEERS
624
00:42:15,880 --> 00:42:19,200
Love to Claude. Love to you.
Thank you.
625
00:42:31,520 --> 00:42:38,680
People always say, how can you trick
death and don't actually die?
626
00:42:38,680 --> 00:42:41,720
You know? And I think
he tricked death.
627
00:42:41,720 --> 00:42:45,680
Cos if you pay attention,
you can hear his voice all around,
628
00:42:45,680 --> 00:42:48,160
you can see his attitude.
629
00:42:48,160 --> 00:42:51,320
And that comes from when, you know,
you create something which
630
00:42:51,320 --> 00:42:55,880
is infinite, and when it's not
about you, but it's about people.
631
00:42:57,240 --> 00:42:59,800
They all come - different colour,
different ages,
632
00:42:59,800 --> 00:43:02,600
different religions. Seems to work.
633
00:43:04,320 --> 00:43:06,760
Try to find out how this can help.
634
00:43:06,760 --> 00:43:08,360
Hoping for peace and love.
635
00:43:10,280 --> 00:43:14,440
The festival should be something
joyful and bring people together.
636
00:43:21,800 --> 00:43:25,760
# A few years ago I had Claude
on my shoulder
637
00:43:27,680 --> 00:43:31,520
# I guess he went and joined
the angels
638
00:43:33,800 --> 00:43:37,640
# But Montreux Jazz Festival
live on
639
00:43:40,320 --> 00:43:44,320
# Cos you can't destroy
what he's created
640
00:43:47,080 --> 00:43:49,440
# Two years later
641
00:43:53,480 --> 00:43:55,560
# A few years ago
642
00:43:58,600 --> 00:44:01,560
# That was just a few years ago
643
00:44:01,560 --> 00:44:05,080
# When I rocked
the Montreux Jazz Festival
644
00:44:05,080 --> 00:44:08,040
# That was just a few years ago
645
00:44:08,040 --> 00:44:11,400
# When I had Claude on my shoulders
646
00:44:11,400 --> 00:44:14,520
# That was just a few years ago
647
00:44:14,520 --> 00:44:18,080
# When we turned it up at
the Montreux Jazz Festival
648
00:44:18,080 --> 00:44:20,680
# That was just a few years ago
649
00:44:25,440 --> 00:44:30,880
# And what Claude has built
is hard to destroy
650
00:44:32,840 --> 00:44:35,520
# He's with the angels
651
00:44:39,800 --> 00:44:43,960
# I remember when we used to sit
652
00:44:43,960 --> 00:44:48,240
# In the government yard in Brooklyn
653
00:44:51,320 --> 00:44:57,200
# Oba-observing the hypocrites
654
00:44:57,200 --> 00:45:01,160
# As they were mingled with
the good people we meet
655
00:45:03,960 --> 00:45:06,120
# Good friends we've had
656
00:45:07,200 --> 00:45:10,560
# Good friends we've lost
657
00:45:10,560 --> 00:45:15,120
# Along the way
658
00:45:16,920 --> 00:45:22,360
# In this great future
you can't forget your past
659
00:45:23,600 --> 00:45:28,040
# So dry your tears I say
660
00:45:28,040 --> 00:45:30,160
# Sing along with me, Montreux
661
00:45:30,160 --> 00:45:33,440
# No woman, no cry
662
00:45:36,120 --> 00:45:37,320
# No...
663
00:45:37,320 --> 00:45:39,560
CROWD: # No woman, no cry
664
00:45:39,560 --> 00:45:41,840
# Say, say, say, say
665
00:45:42,840 --> 00:45:46,480
# Hey, little sister
666
00:45:46,480 --> 00:45:49,120
# Don't shed no tears
667
00:45:49,120 --> 00:45:51,560
# No... #
668
00:45:51,560 --> 00:45:55,280
Everywhere you go, there's
a consciousness of Claude Nobs,
669
00:45:55,280 --> 00:45:57,040
his consciousness is here.
670
00:45:57,040 --> 00:45:59,960
You know, this wouldn't be what
it is without his vision,
671
00:45:59,960 --> 00:46:02,240
without his heart.
672
00:46:02,240 --> 00:46:03,920
I miss his heart.
673
00:46:08,880 --> 00:46:12,400
He was always the abiding spirit
of the festival.
674
00:46:12,400 --> 00:46:14,240
I don't think that will change.
675
00:46:14,240 --> 00:46:17,120
I think he is still, and always
will be, the abiding spirit
676
00:46:17,120 --> 00:46:19,600
of the Montreux Jazz Festival.
677
00:46:19,600 --> 00:46:21,960
It's sad that, you know,
I'm not going to shake his hand
678
00:46:21,960 --> 00:46:23,840
and give him a hug.
679
00:46:23,840 --> 00:46:26,640
But he's all around. I can tell!
680
00:46:26,640 --> 00:46:29,000
He was the father of this thing.
681
00:46:37,440 --> 00:46:41,120
With Claude Nobs, we are missing
a great missionary for the cause.
682
00:46:41,120 --> 00:46:44,160
What else can we do but pass it on,
man? You know, I mean,
683
00:46:44,160 --> 00:46:47,520
that's what we do, and that's what
Claude did - he passed it on.
684
00:46:49,120 --> 00:46:53,400
He lived his life for that festival.
His heart is there.
685
00:46:53,400 --> 00:46:55,320
And it's beating!
686
00:47:02,360 --> 00:47:04,280
Great, great, memories, man.
687
00:47:04,280 --> 00:47:07,440
What we can do is try and take care
of his legacy like a baby.
688
00:47:08,720 --> 00:47:12,160
So many good times.
So many beautiful memories.
689
00:47:12,160 --> 00:47:14,080
And they never go away.
690
00:47:14,080 --> 00:47:15,760
That's love.
691
00:47:19,120 --> 00:47:23,440
It's a huge pressure to have
Claude's legacy in your hands.
692
00:47:23,440 --> 00:47:25,520
Thierry has the other
part of the legacy.
693
00:47:27,800 --> 00:47:32,280
I decided that this archive must be
an active archive.
694
00:47:35,040 --> 00:47:37,600
Digitalisation is done now,
695
00:47:37,600 --> 00:47:40,240
14 years later.
696
00:47:40,240 --> 00:47:44,440
The end of my mission,
but the beginning of the next one -
697
00:47:44,440 --> 00:47:47,960
to preserve it for thousands
of years.
698
00:47:47,960 --> 00:47:54,000
It will be a resource for research,
culture and education.
699
00:47:54,000 --> 00:47:56,160
This is my duty.
700
00:47:58,280 --> 00:48:02,960
For the history of music,
it's definitely something unique
701
00:48:02,960 --> 00:48:05,440
and, for me,
maybe the biggest reward
702
00:48:05,440 --> 00:48:08,640
after doing the festival
for 42 years.
703
00:48:09,640 --> 00:48:12,200
He saw Montreux blowing up,
704
00:48:12,200 --> 00:48:15,560
and he went well beyond
that vision,
705
00:48:15,560 --> 00:48:19,400
but that vision that he had is what
keeps Montreux alive today.
706
00:48:21,160 --> 00:48:24,280
It's a special place for artists,
Montreux,
707
00:48:24,280 --> 00:48:26,400
and they still believe in it.
708
00:48:28,640 --> 00:48:32,440
Claude Nobs's legacy,
it's written in history.
709
00:48:50,560 --> 00:48:53,280
BOOGIE WOOGIE PIANO PLAYS
710
00:48:54,800 --> 00:48:57,480
HARMONICA ACCOMPANIMENT PLAYS
55067
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