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1
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[traffic whooshing]
2
00:00:29,581 --> 00:00:32,101
[horns honking]
3
00:00:38,797 --> 00:00:40,730
[drums tapping]
4
00:00:40,764 --> 00:00:43,043
[people chattering]
5
00:00:43,077 --> 00:00:44,975
- Hey, man!
6
00:00:45,010 --> 00:00:47,702
- Man, how you doin' bro?
7
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Hey man, wow!
8
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[quiet tuning music]
[people chattering]
9
00:00:59,645 --> 00:01:03,891
- Jacques was always a
friend of Dizzy Gillespie,
10
00:01:03,925 --> 00:01:07,619
big friend, and that's how,
you know, we got together
11
00:01:07,653 --> 00:01:10,104
because I was playing with Dizzy
a lot.
12
00:01:10,139 --> 00:01:13,763
We got to meet under those
circumstances,
13
00:01:13,797 --> 00:01:16,628
me traveling, him coming around,
14
00:01:16,662 --> 00:01:17,767
and when I played,
15
00:01:19,493 --> 00:01:20,942
in Switzerland.
16
00:01:20,977 --> 00:01:21,805
- [Interviewer] Yeah.
17
00:01:21,840 --> 00:01:23,738
- Always see Jacques around,
18
00:01:23,773 --> 00:01:25,602
and then I would see him in the
States
19
00:01:25,637 --> 00:01:27,501
when he'd come over here.
20
00:01:27,535 --> 00:01:30,780
He was a good friend of my
friend, Moody,
21
00:01:30,814 --> 00:01:32,816
James Moody and all of us.
22
00:01:32,851 --> 00:01:36,406
He's been a friend of jazz
for maybe, I don't know,
23
00:01:36,441 --> 00:01:38,581
30, 40 years.
24
00:01:38,615 --> 00:01:40,100
So we all know Jacques.
25
00:01:41,446 --> 00:01:42,861
- [Interviewer] So that's
why he's so respected
26
00:01:42,895 --> 00:01:44,104
by the musicians.
27
00:01:44,138 --> 00:01:45,450
- This is true.
28
00:01:45,484 --> 00:01:48,038
He respects the music and vice
versa.
29
00:01:48,073 --> 00:01:50,040
We respect him,
30
00:01:50,075 --> 00:01:54,114
because he's a good guy
and he supports the music
31
00:01:54,148 --> 00:01:56,426
in one way or the other.
32
00:01:56,461 --> 00:02:01,466
He had some watches with
some musicians' names made
33
00:02:01,811 --> 00:02:03,847
and things like that when nobody
else
34
00:02:03,882 --> 00:02:06,126
was doing anything like that.
35
00:02:06,160 --> 00:02:10,820
So he's a very important
man to the music of jazz.
36
00:02:10,854 --> 00:02:13,650
[sign clacking]
37
00:02:13,685 --> 00:02:16,860
- [Man] One, two, three, four.
38
00:02:16,895 --> 00:02:20,140
[slow jazz piano music]
39
00:03:16,541 --> 00:03:18,543
♪
40
00:04:08,696 --> 00:04:11,181
[radio static crackling]
41
00:04:11,216 --> 00:04:14,219
[upbeat jazz music]
42
00:04:20,294 --> 00:04:23,332
[car engine revving]
43
00:04:26,162 --> 00:04:28,095
- [Announcer] Time for jazz.
44
00:04:28,129 --> 00:04:33,134
Willis Conover with the
Voice of America Jazz Hour.
45
00:04:33,618 --> 00:04:37,346
[speaking in foreign language]
46
00:05:18,041 --> 00:05:20,630
[upbeat jazz music]
47
00:05:20,665 --> 00:05:24,324
[speaking in foreign language]
48
00:06:52,998 --> 00:06:56,139
[car engine whirring]
49
00:06:58,452 --> 00:07:02,042
[slow jazz trumpet music]
50
00:07:09,394 --> 00:07:13,329
[speaking in foreign language]
51
00:07:50,159 --> 00:07:53,542
[slow jazz trumpet music]
52
00:08:27,092 --> 00:08:31,027
[speaking in foreign language]
53
00:08:52,601 --> 00:08:56,225
[slow jazz trumpet music]
54
00:09:54,179 --> 00:09:57,113
[traffic whirring]
55
00:10:10,126 --> 00:10:13,647
- How you doing, man? [laughing]
56
00:10:13,682 --> 00:10:14,648
How you doing?
57
00:10:14,683 --> 00:10:15,545
- [Jacques] Very well.
58
00:10:15,580 --> 00:10:16,443
- Good.
59
00:10:16,477 --> 00:10:17,478
- We don't see you.
60
00:10:19,515 --> 00:10:22,932
- I wanna see the inside.
[laughing]
61
00:10:22,967 --> 00:10:24,934
- I'm little bit like you.
62
00:10:24,969 --> 00:10:28,110
You know, we're losing
what is most important for.
63
00:10:28,144 --> 00:10:29,939
[Randy laughing]
64
00:10:29,974 --> 00:10:31,492
- [Woman] Where's your son?
65
00:10:31,527 --> 00:10:33,978
- Huh, I'm losing, I'm losing in
the ears.
66
00:10:34,012 --> 00:10:34,668
- Yeah.
67
00:10:36,221 --> 00:10:40,536
- I always try to remember that
Snooky.
68
00:10:40,570 --> 00:10:43,021
Snooky played on the
band, you know, for years
69
00:10:43,056 --> 00:10:44,678
without hearing anything!
70
00:10:44,713 --> 00:10:47,647
- [laughing] How do you do that?
71
00:10:47,681 --> 00:10:48,993
- How do you do that?
72
00:10:49,027 --> 00:10:50,339
[both laughing]
73
00:10:50,373 --> 00:10:51,651
- When I had my club in Tangier,
74
00:10:51,685 --> 00:10:53,031
the African Rhythms Club,
75
00:10:54,515 --> 00:10:55,551
Jacques came in.
76
00:10:57,518 --> 00:11:01,661
And he had a tape recorder
about this big, you know.
77
00:11:01,695 --> 00:11:06,389
And he taped my son and I
playing on this little machine.
78
00:11:06,424 --> 00:11:09,358
This 1969, you know.
79
00:11:09,392 --> 00:11:11,015
And I was amazed.
80
00:11:12,223 --> 00:11:13,189
Then during this period,
81
00:11:13,224 --> 00:11:17,193
I got to know how much
he loved jazz music.
82
00:11:17,228 --> 00:11:22,233
In 1985, when they had Randy
Weston week in Brooklyn,
83
00:11:24,545 --> 00:11:27,065
and put together a big band,
84
00:11:27,100 --> 00:11:31,552
Melba Liston conducted her
arrangements of my music.
85
00:11:32,415 --> 00:11:37,248
And, it was great because we,
86
00:11:37,282 --> 00:11:40,354
the whole week, was Randy
Weston's week.
87
00:11:40,389 --> 00:11:42,046
We played for handicapped
children.
88
00:11:42,080 --> 00:11:44,289
We played with a smaller group.
89
00:11:45,152 --> 00:11:47,741
We did concerts, it was
wonderful.
90
00:11:47,776 --> 00:11:49,156
So Jacques was there.
91
00:11:50,054 --> 00:11:52,401
And Jacques arranged for
us to take the big band
92
00:11:53,747 --> 00:11:58,131
to Switzerland to do the same
program that we did here.
93
00:11:58,165 --> 00:11:59,546
- For the first time in the
history
94
00:11:59,580 --> 00:12:01,237
of the Montreux Jazz Festival,
95
00:12:01,272 --> 00:12:03,757
it was not a commercial
sponsor, but a jazz fan
96
00:12:03,792 --> 00:12:08,451
who had to have the
headliner, Randy Weston,
97
00:12:08,486 --> 00:12:10,730
and his big band on stage
tonight.
98
00:12:10,764 --> 00:12:14,250
And we are very grateful to Mr.
Muyal to make this possible.
99
00:12:15,251 --> 00:12:16,287
Thank you.
100
00:12:16,321 --> 00:12:19,152
[audience applauding]
101
00:12:19,186 --> 00:12:22,224
Now, of course, let's
welcome the one and only,
102
00:12:22,258 --> 00:12:23,743
Randy Weston!
103
00:12:23,777 --> 00:12:26,400
Randy Weston, African Rhythm
Orchestra!
104
00:12:26,435 --> 00:12:27,781
[audience applauding]
105
00:12:27,816 --> 00:12:30,750
For the first time in 11
years back to Montreux.
106
00:12:30,784 --> 00:12:33,511
Been too long overdue, thank
you.
107
00:12:35,444 --> 00:12:38,447
[exotic jazz music]
108
00:13:45,686 --> 00:13:50,243
- He's like a, kind of
a magic man, you know.
109
00:13:51,278 --> 00:13:53,384
He shows up in all these
different places.
110
00:13:54,523 --> 00:13:57,595
I can't tell you how many
places that I performed,
111
00:13:57,629 --> 00:13:59,355
he would show up, he would come.
112
00:14:00,874 --> 00:14:04,326
One of the sad things for me
was, when I played in Paris,
113
00:14:04,360 --> 00:14:06,846
me and Max Roach, did a duo,
114
00:14:08,468 --> 00:14:11,264
Jacques came from Switzerland
as always, you know.
115
00:14:12,196 --> 00:14:15,440
And I put his name, in
fact, my wife's name,
116
00:14:15,475 --> 00:14:19,582
on the list, but somehow
they lost the list.
117
00:14:20,445 --> 00:14:23,310
So he couldn't even get in
to come and hear the concert.
118
00:14:24,553 --> 00:14:26,727
I've been to his home many
times.
119
00:14:27,728 --> 00:14:29,799
Stayed over at his house many
times.
120
00:14:30,800 --> 00:14:34,874
His wife, Claire, cooked
beautiful food for us.
121
00:14:34,908 --> 00:14:37,566
I have never seen anybody love
our music
122
00:14:37,600 --> 00:14:39,568
more than Jacques Muyal.
123
00:14:39,602 --> 00:14:43,227
[upbeat jazz piano music]
124
00:15:21,437 --> 00:15:24,785
[quick jazz piano music]
125
00:16:02,478 --> 00:16:06,379
- Jacques Muyal, he
loved the music so much,
126
00:16:06,413 --> 00:16:10,314
said he was walking down
the street in Tangier
127
00:16:11,315 --> 00:16:12,937
and he saw Idrees Sulieman.
128
00:16:14,007 --> 00:16:17,528
Now Idrees Sulieman's a great
musician, great musician,
129
00:16:18,425 --> 00:16:21,290
but mostly only musicians know
him.
130
00:16:21,325 --> 00:16:23,983
He never got to be really
well-known,
131
00:16:24,017 --> 00:16:26,744
but he's one of the first to
create
132
00:16:26,778 --> 00:16:30,023
what they call bebop music.
133
00:16:30,058 --> 00:16:31,680
He's one of the originals.
134
00:16:32,888 --> 00:16:35,442
So who saw him, Jacques Muyal.
135
00:16:36,512 --> 00:16:39,032
And Jacques Muyal called his
name and he was in shock.
136
00:16:40,413 --> 00:16:42,725
The pianist, whose name was
Jamil.
137
00:16:42,760 --> 00:16:45,659
The piano's name was Oscar
Denard.
138
00:16:45,694 --> 00:16:48,938
Oscar Denard played with
Lionel Hampton's band
139
00:16:48,973 --> 00:16:52,011
about three years, a master
pianist,
140
00:16:52,977 --> 00:16:55,566
but Hamp would take all the
solos.
141
00:16:55,600 --> 00:16:58,500
So you'd have to really
realize how great he was.
142
00:16:58,534 --> 00:17:00,019
So Jacques was one of the few
143
00:17:00,916 --> 00:17:03,574
to record Oscar Denard on piano.
144
00:17:03,608 --> 00:17:06,887
[slow jazz piano music]
145
00:17:18,485 --> 00:17:22,420
[speaking in foreign language]
146
00:17:55,004 --> 00:17:56,144
The world is so,
147
00:17:59,699 --> 00:18:01,770
commercial is the word I wanna
use.
148
00:18:03,634 --> 00:18:07,086
But everything now is sell,
sell, sell, sell, sell, sell.
149
00:18:09,157 --> 00:18:11,849
And the young people are
not getting the information
150
00:18:11,883 --> 00:18:14,852
about this music, you know.
151
00:18:15,956 --> 00:18:18,131
And what better man than Jacques
Muyal,
152
00:18:18,166 --> 00:18:21,997
because he loves the music,
he's been with the greats.
153
00:18:23,447 --> 00:18:25,828
Who he hasn't been with, I can't
imagine.
154
00:18:26,829 --> 00:18:29,418
It's extremely important, yeah,
155
00:18:29,453 --> 00:18:34,147
because, like for me, with my
book,
156
00:18:35,804 --> 00:18:39,635
whole idea is we have to
document for our grandchildren.
157
00:18:39,670 --> 00:18:41,982
Not for us, you see.
158
00:18:42,017 --> 00:18:44,640
So if you do a documentary
on Jacques Muyal,
159
00:18:45,710 --> 00:18:49,990
young people look at
love in the pure state,
160
00:18:50,025 --> 00:18:53,028
because when you love
this music, that's it.
161
00:18:53,062 --> 00:18:54,788
There's no compromise.
162
00:18:54,823 --> 00:18:56,445
[aircraft engine roaring]
163
00:18:56,480 --> 00:19:00,173
[speaking in foreign language]
164
00:20:42,827 --> 00:20:45,692
[slow jazz music]
165
00:20:53,010 --> 00:20:56,979
[speaking in foreign language]
166
00:21:42,715 --> 00:21:46,650
[speaking in foreign language]
167
00:22:17,681 --> 00:22:21,340
[speaking in foreign language]
168
00:22:43,948 --> 00:22:47,918
[speaking in foreign language]
169
00:22:59,136 --> 00:23:02,898
[upbeat jazz trumpet music]
170
00:23:19,328 --> 00:23:23,263
[speaking in foreign language]
171
00:23:32,134 --> 00:23:36,035
[speaking in foreign language]
172
00:24:10,310 --> 00:24:14,314
[speaking in foreign language]
173
00:25:22,417 --> 00:25:23,970
- [Interviewer] I'll take a
scotch.
174
00:25:24,902 --> 00:25:28,009
- Notre Dame, what is this?
175
00:25:28,043 --> 00:25:30,183
Product of, produce of France.
176
00:25:30,218 --> 00:25:31,564
- [Interviewer] Good, that's
wine.
177
00:25:31,599 --> 00:25:33,393
- Know what that is?
178
00:25:35,982 --> 00:25:39,917
[speaking in foreign language]
179
00:25:42,057 --> 00:25:45,440
[interviewer laughing]
180
00:25:45,474 --> 00:25:47,442
[Dizzy spitting]
181
00:25:47,476 --> 00:25:52,551
- [laughing] I'm not supposed
to be drinking alcohol.
182
00:25:52,585 --> 00:25:53,586
- [Interviewer] Because me, you
know.
183
00:25:53,621 --> 00:25:55,243
- Let me put this away.
184
00:25:55,277 --> 00:25:57,038
- [Interviewer] I think you love
that part
185
00:25:57,072 --> 00:25:58,867
of the movie, 'Round Midnight.
186
00:25:58,902 --> 00:26:00,973
- [Dizzy] Yeah, when he fell.
187
00:26:01,007 --> 00:26:02,284
- [Interviewer] Yeah, yeah.
188
00:26:04,424 --> 00:26:05,874
How was that part?
189
00:26:05,909 --> 00:26:06,910
- That was something else.
190
00:26:06,944 --> 00:26:08,497
He walked up to the bar.
191
00:26:08,532 --> 00:26:11,915
This guy, this guy walked
up to the bar and said,
192
00:26:11,949 --> 00:26:13,502
"I'll have a double cognac."
193
00:26:16,920 --> 00:26:19,405
And he drank it, and he went
right down.
194
00:26:19,439 --> 00:26:21,062
Fell right on his face.
195
00:26:21,096 --> 00:26:25,929
And Dexter said, "I'll
take the same." [laughing]
196
00:26:27,931 --> 00:26:31,175
That was funny, man, it sounded
like that.
197
00:26:40,046 --> 00:26:42,946
[camera clicking]
198
00:26:44,188 --> 00:26:48,089
These are new, I mean,
they're old, but they're new
199
00:26:48,123 --> 00:26:50,332
'cause they have never
been out of the house.
200
00:26:51,299 --> 00:26:53,335
They never been out of this
house.
201
00:26:53,370 --> 00:26:58,340
So the old guy don't give none,
I was gonna get a new set.
202
00:26:58,375 --> 00:27:00,929
He said, "No, we don't do that
anymore."
203
00:27:00,964 --> 00:27:03,967
- [Interviewer] [laughing]
Conscience to see who
204
00:27:04,001 --> 00:27:05,554
hasn't got the experience.
205
00:27:05,589 --> 00:27:08,385
- So I told Louie Bellson,
I wanted some drum,
206
00:27:08,419 --> 00:27:11,284
and that's what he did, had
these sent.
207
00:27:11,319 --> 00:27:13,977
- [Interviewer] But that
leads me to a question,
208
00:27:14,011 --> 00:27:16,048
very important since we're
talking drums,
209
00:27:19,672 --> 00:27:24,608
you have, you have
invented modern jazz, and--
210
00:27:28,025 --> 00:27:29,061
- I don't know 'bout--
211
00:27:29,095 --> 00:27:31,339
- [Interviewer] Please
explain to us, you know,
212
00:27:31,373 --> 00:27:36,344
how much inventions you invented
213
00:27:36,378 --> 00:27:39,727
leading to what we call bebop.
214
00:27:41,073 --> 00:27:42,661
- The generation before us,
215
00:27:44,386 --> 00:27:46,665
the horn players played the
horns,
216
00:27:46,699 --> 00:27:49,046
didn't think about the piano.
217
00:27:49,081 --> 00:27:52,222
They played, but with us,
218
00:27:52,256 --> 00:27:54,327
we were trying to get new
harmonies.
219
00:27:54,362 --> 00:27:57,089
So you can't get no new
harmonies with a,
220
00:27:57,123 --> 00:28:00,506
a single note instrument.
221
00:28:00,540 --> 00:28:02,163
So I figured that out.
222
00:28:02,197 --> 00:28:06,719
I said, well the best thing to
do is go to the piano and so,
223
00:28:10,481 --> 00:28:15,486
so our music developed on the
piano, the harmonic structure,
224
00:28:18,282 --> 00:28:20,388
developed with the piano.
225
00:28:20,422 --> 00:28:23,702
The rhythmic structure
developed from the drums,
226
00:28:23,736 --> 00:28:28,707
from the bass drum, and from
the ten o'clock playing this,
227
00:28:30,570 --> 00:28:31,433
trap drum.
228
00:28:32,745 --> 00:28:37,577
And the style, which we think
is the most important of all,
229
00:28:38,682 --> 00:28:39,787
Charlie Parker.
230
00:28:41,133 --> 00:28:43,204
[sign clacking]
231
00:28:43,238 --> 00:28:48,243
- [Man] One, two, three, four.
232
00:28:49,589 --> 00:28:53,145
[quick drumming]
233
00:28:53,179 --> 00:28:56,113
[quick jazz music]
234
00:29:21,829 --> 00:29:25,764
[speaking in foreign language]
235
00:29:47,820 --> 00:29:50,789
[quick jazz music]
236
00:30:32,278 --> 00:30:36,213
[speaking in foreign language]
237
00:31:05,208 --> 00:31:07,279
[audience applauding]
238
00:31:07,313 --> 00:31:10,869
[audience members whistling]
239
00:31:31,510 --> 00:31:34,547
[speaking faintly]
240
00:31:34,582 --> 00:31:35,479
- Watch it.
241
00:31:37,619 --> 00:31:39,207
One, two, three.
242
00:31:39,242 --> 00:31:41,900
[scatting quickly]
243
00:31:47,491 --> 00:31:50,494
[upbeat jazz music]
244
00:31:59,503 --> 00:32:03,438
[speaking in foreign language]
245
00:32:27,635 --> 00:32:31,639
[speaking in foreign language]
246
00:32:45,687 --> 00:32:48,690
[upbeat jazz music]
247
00:33:07,433 --> 00:33:09,297
[group laughing]
248
00:33:09,332 --> 00:33:12,335
[upbeat jazz music]
249
00:33:54,101 --> 00:33:58,036
[speaking in foreign language]
250
00:34:45,428 --> 00:34:49,052
[quick playful trumpet music]
251
00:35:25,709 --> 00:35:29,679
[speaking in foreign language]
252
00:35:47,490 --> 00:35:50,493
[upbeat jazz music]
253
00:36:21,213 --> 00:36:24,182
[upbeat jazz music]
254
00:37:23,102 --> 00:37:24,759
- When I was playing with Dizzy,
255
00:37:26,105 --> 00:37:28,004
with the United Nation
Orchestra,
256
00:37:29,281 --> 00:37:31,179
Dizzy had a friend that was
traveling,
257
00:37:31,214 --> 00:37:35,080
coming to many of the
gigs, and then I realized
258
00:37:35,114 --> 00:37:36,840
that he spoke Spanish also,
259
00:37:38,117 --> 00:37:41,086
and consequently he kind of
gravitated
260
00:37:41,120 --> 00:37:44,952
towards all the people
that were Spanish-speaking,
261
00:37:46,781 --> 00:37:49,577
including myself, even though
it's not my main language,
262
00:37:49,612 --> 00:37:51,752
but it's close enough to
Portuguese,
263
00:37:51,786 --> 00:37:55,790
so that we started to hang
out and he became friends
264
00:37:55,825 --> 00:37:57,136
with Paquito D'Rivera also.
265
00:37:58,310 --> 00:38:01,658
Then Neilo Miero Rivera,
who played saxophone,
266
00:38:01,693 --> 00:38:03,142
and just a fantastic musician,
267
00:38:04,040 --> 00:38:06,042
and that's where the friendship
began.
268
00:38:06,974 --> 00:38:09,977
[upbeat jazz music]
269
00:39:16,802 --> 00:39:19,771
- Dizzy was very helpful in my
career.
270
00:39:19,805 --> 00:39:21,048
He was very generous.
271
00:39:21,082 --> 00:39:24,776
That man had not even created
a great career for himself,
272
00:39:24,810 --> 00:39:26,709
but also for others.
273
00:39:26,743 --> 00:39:29,056
He gave an opportunity to so
many people
274
00:39:29,090 --> 00:39:30,402
to develop their own career.
275
00:39:32,922 --> 00:39:35,890
Among the many wonderful
thing that happened to me
276
00:39:35,925 --> 00:39:40,032
with Dizzy, was the opportunity
to meet Jacques Muyal,
277
00:39:40,067 --> 00:39:41,931
who became a very dear friend,
278
00:39:41,965 --> 00:39:44,243
very close friend of all of us.
279
00:39:44,278 --> 00:39:47,281
[upbeat jazz music]
280
00:40:07,335 --> 00:40:11,270
Being a friend of Dizzy,
immediately you become part
281
00:40:11,305 --> 00:40:14,101
of the whole family, not only
musicians,
282
00:40:14,135 --> 00:40:17,069
but people who love
music like Jacques Muyal.
283
00:40:17,104 --> 00:40:21,419
But among all those guys in that
family,
284
00:40:21,453 --> 00:40:24,491
Jacques had a very special
place for some reason.
285
00:40:25,492 --> 00:40:29,427
He's very special, very
easygoing person,
286
00:40:31,774 --> 00:40:34,984
and he speaks so many languages
too.
287
00:40:35,018 --> 00:40:39,437
And had the knowledge of
the music and all that.
288
00:40:39,471 --> 00:40:41,266
He's very special.
289
00:40:41,300 --> 00:40:45,304
[speaking in foreign language]
290
00:41:32,835 --> 00:41:36,977
- This is not a good formidable
stand,
291
00:41:37,011 --> 00:41:39,531
but this stand that I
had it on that night,
292
00:41:39,566 --> 00:41:43,190
it was one of them heavy, heavy
stands.
293
00:41:44,363 --> 00:41:46,883
And it was on a stand like this,
294
00:41:46,918 --> 00:41:49,403
guys was on the stage fooling
around,
295
00:41:49,437 --> 00:41:52,820
and one pushed the other
one back and he fell back,
296
00:41:52,855 --> 00:41:56,375
over it like this, and it
just bent, didn't fall.
297
00:41:57,584 --> 00:42:00,414
Because it was going
against one of the legs
298
00:42:00,448 --> 00:42:05,384
when he fell back on it, it
went against a leg like this.
299
00:42:06,385 --> 00:42:09,527
And these things are sorta
fragile.
300
00:42:11,218 --> 00:42:15,118
This, because, sound.
301
00:42:16,050 --> 00:42:17,949
So he fell over it and it bent.
302
00:42:20,572 --> 00:42:22,091
I got back, it was bent.
303
00:42:23,886 --> 00:42:25,128
It was my wife's birthday.
304
00:42:26,233 --> 00:42:27,268
I didn't raise hell.
305
00:42:28,994 --> 00:42:29,892
I played it.
306
00:42:31,894 --> 00:42:35,414
And I liked the sound from,
307
00:42:36,243 --> 00:42:38,072
this sound here,
308
00:42:38,107 --> 00:42:40,247
it's closer to your ear than
this sound.
309
00:42:41,455 --> 00:42:43,595
So when you hit the note you
hit,
310
00:42:43,630 --> 00:42:46,564
you have to wait a while
till it gets around.
311
00:42:46,598 --> 00:42:50,050
So I said, hey I may definitely
have a horn made like that.
312
00:42:50,084 --> 00:42:52,431
I had it made from that.
313
00:42:54,606 --> 00:42:55,987
Alright.
314
00:42:56,021 --> 00:42:58,127
- [Interviewer] I heard another
story.
315
00:42:58,161 --> 00:42:59,024
- Where?
316
00:43:00,060 --> 00:43:03,511
From one day playing in
Chicago and there were--
317
00:43:03,546 --> 00:43:04,512
- I made that up!
318
00:43:07,170 --> 00:43:11,140
The guy took the horn and did
like that.
319
00:43:11,174 --> 00:43:16,041
That was a real good gangster
story, but it wasn't true.
320
00:43:19,631 --> 00:43:23,497
[speaking in foreign language]
321
00:46:01,551 --> 00:46:04,692
[audience applauding]
322
00:46:15,807 --> 00:46:17,498
- Thank you very much,
ladies and gentlemen.
323
00:46:17,533 --> 00:46:21,364
And now from one of our
latest Philips albums,
324
00:46:23,366 --> 00:46:26,231
Dizzy on the French Rivera.
325
00:46:27,232 --> 00:46:28,095
[audience laughing]
326
00:46:28,130 --> 00:46:28,786
Recorded live
327
00:46:31,685 --> 00:46:33,756
in Juan-les-Pins, mm-hmm!
328
00:46:36,138 --> 00:46:37,795
[audience laughing]
329
00:46:37,829 --> 00:46:41,626
Shake-a the salt, Daddy, or no
more blue!
330
00:46:41,660 --> 00:46:44,249
[scat singing]
331
00:46:55,226 --> 00:46:57,884
[steady drumming]
332
00:46:59,437 --> 00:47:02,440
[upbeat jazz music]
333
00:48:38,260 --> 00:48:41,988
[speaking in foreign language]
334
00:50:46,905 --> 00:50:50,426
[light jazz piano music]
335
00:51:01,437 --> 00:51:03,405
[speaking in foreign language]
336
00:51:45,447 --> 00:51:49,140
[speaking in foreign language]
337
00:52:27,005 --> 00:52:30,595
[upbeat jazz piano music]
338
00:52:44,022 --> 00:52:46,853
[slow jazz music]
339
00:52:48,026 --> 00:52:51,961
[speaking in foreign language]
340
00:53:50,296 --> 00:53:53,920
[upbeat jazz piano music]
341
00:54:05,311 --> 00:54:07,727
[crowd applauding]
342
00:54:07,761 --> 00:54:10,868
[party horns honking]
343
00:54:13,940 --> 00:54:15,735
- [Kid] Make a big wish!
344
00:54:15,769 --> 00:54:17,564
- [Man] You got a burning
permit?
345
00:54:17,599 --> 00:54:19,739
[group laughing]
346
00:54:19,773 --> 00:54:22,707
[group chattering]
347
00:54:31,129 --> 00:54:33,200
- [Woman] Almost, almost!
348
00:54:34,063 --> 00:54:35,996
[crowd cheering]
349
00:54:36,031 --> 00:54:39,172
[party horns honking]
350
00:54:42,140 --> 00:54:46,144
[speaking in foreign language]
351
00:55:15,070 --> 00:55:18,280
[slow saxophone music]
352
00:55:31,051 --> 00:55:35,021
[speaking in foreign language]
353
00:56:02,220 --> 00:56:06,155
[speaking in foreign language]
354
00:56:38,464 --> 00:56:41,398
[steady jazz music]
355
00:56:41,432 --> 00:56:45,402
[speaking in foreign language]
356
00:56:55,791 --> 00:56:57,724
- Nah, he start--
357
00:56:57,759 --> 00:57:00,762
[upbeat jazz music]
358
00:57:04,041 --> 00:57:04,938
- Okay.
359
00:57:07,872 --> 00:57:10,772
- [mumbles] is funny as shit.
360
00:57:10,806 --> 00:57:14,776
[speaking in foreign language]
361
00:57:29,307 --> 00:57:31,171
- Musician has a big ego,
362
00:57:32,518 --> 00:57:37,488
and they prefer to think
that we are ultra-sufficient.
363
00:57:38,316 --> 00:57:39,490
We are not.
364
00:57:39,525 --> 00:57:42,113
We don't have the club
owner, the dealer manager,
365
00:57:42,148 --> 00:57:45,220
the CD producer, we are nothing.
366
00:57:45,254 --> 00:57:49,120
We need the people that love us,
you know.
367
00:57:49,155 --> 00:57:51,468
Jacques Muyal is one of those.
368
00:57:51,502 --> 00:57:54,471
[playful jazz music]
369
00:57:59,993 --> 00:58:03,928
[speaking in foreign language]
370
00:58:25,122 --> 00:58:28,125
[upbeat jazz music]
371
00:59:06,577 --> 00:59:10,477
[speaking in foreign language]
372
00:59:57,179 --> 01:00:00,182
[upbeat jazz music]
373
01:00:48,990 --> 01:00:52,683
[speaking in foreign language]
374
01:02:04,168 --> 01:02:07,102
[traffic whirring]
375
01:02:09,070 --> 01:02:11,589
[horns honking]
376
01:02:15,593 --> 01:02:18,458
[slow jazz music]
377
01:06:54,700 --> 01:06:57,875
[audience applauding]
378
01:07:01,465 --> 01:07:04,468
[audience cheering]
379
01:07:07,471 --> 01:07:10,474
[upbeat jazz music]
25651
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