All language subtitles for IDEMO To Montreux-1 popravak

This programme contains
some strong language

I refer to Montreux Jazz Festival as
the Rolls-Royce of all festivals

in the world, the Rolls-Royce.

It's this golden gem tucked away.

It's really a place of
musical freedom.

Lots of people who really,
really love music, you know,

coming together -
it starts with that.

The partying is secondary
to the music.

When I go to Montreux,
no-one gives a fuck about

this person sold 100 million
records.

That don't have shit to do with it.

With Montreux,
you're stripped of everything,

and the only thing that keeps you
radiant is your raw talent.

The Montreux Jazz Festival
is that graduation,

that special place for musicians
that reach that plateau.

It blew my mind to be
accepted there.

This festival is the original
prestige festival.

All these performances
will come out,

and people see that we did
something important.

I feel so prestigious playing on
the same stage as Aretha,

Nina Simone, Prince.

The one and only...

..Etta James!

Nina Simone!

Gilberto Gil!

Herbie Hancock!

Marvin Gaye! Bob Dylan!

David Bowie!

Dizzy Gillespie!

Oscar Peterson!

Miles Davis!

Carlos Santana!

ZZ Top!

Que pasa, people? Que pasa?

Hit me!

Ow!

Get on down! Get on down! Get on!

I wanna get on the good foot

Get on the good foot

Get on the good foot!

The good foot

Going down to the crib
Let it all hang out

Where soulful people know
what it's about

Going down to the crib
And let it all hang out

Where soulful people know
what it's about

Where people do the sign
and take your hands

And dancin' to the music
of The JB's band

They're dancin' on the good foot

Get on the good foot

Do it with my good foot

Do it with the good foot

The long-hair hippies
and the afro blacks

They all get together
across the tracks

They party!

On the good foot

They do it on the good foot

Take the good foot

Get on the good foot

Do it on the good foot

Get funky!

INAUDIBLE

Excuse me.

How many tunes? You know?

That's the second tune.

Second.

How many?

Half an hour?
In fact, I'll go check it.

Get right in my gown.

I'm gettin' the spirit

In the dark

Gettin' the spirit

In the dark

People movin'

Oh, tell me! And they groovin'

Gettin' the spirit

Oh baby, in the dark

Tell me, sister

How do you feel?

Tell me, my brothers
My brother, my brother

How do you feel?

Do you feel like dancin'?

Get up and let's start dancin'

Start gettin' the spirit
Start gettin' in the spirit

Oh, spirit in the dark
In the dark

Do it one time!

It's like Sally Walker

Sittin' in a saucer

That's how ya do it

Just come and get on to it

Ride! Sally, ride!

Put your hand on your hips

Cover your eyes and move

Move with the spirit

Oh, move with the spirit

Well, move with the spirit

Oh, move with the spirit
Move

Are you gettin' the spirit?

Yeah!

Are you gettin' it in the dark?

Yeah!

Are you gettin' the spirit?
Yeah!

Are you gettin' it in the dark?

Ah ah ah
Yeah!

People movin'

Oh, and they groovin'

Just gettin' the spirit
Start gettin' in the spirit

Oh, gettin' it in the dark

In the dark

# I'm gonna tell you once more

Just like Sally Walker

Sittin' in her saucer

That's how you do it

Just come and get on to it

Ride! Sally, ride!

Put your hands on your hips

Cover your eyes and move

With the spirit

Whoa!

Move with the spirit

Go on and move

With the spirit

Oh, move!

With the spirit

I think I've got it!
I do, too!

All my brothers

And all my sisters

Move
Move with the spirit

Move
Move with the spirit

Yeah I think I've got it
Move with the spirit

Move with the spirit

Everybody

I can do it

I said move

Right there on the beat

Move

I got groove

Move

I got groove

Oh, move!

Yeah, move

Oh, move!

Yeah, move

Oh!

Show you what I want

Oh yeah!

I'm on my way

Oh!

Feel my love

I'm a-movin'

I'm a-walkin

I can feel it

Oh

Hey!

Yeah, yeah!

Going my way

Hey!

Oh, yeah!

ARETHA VOCALISES

Oh yeah!

Oh yeah! Oh yeah!

Oh!

Going my way

I can feel it

I can feel it, I can feel it

Coming through...

AUDIENCE CHEERS

The Lady of Soul,
Miss Aretha Franklin!

The person at the centre of this
great festival

was a crazy guy called Claude Nobs.

He was the festival's founding
father.

This festival should be named
Claude Nobs' Montreux Jazz Festival.

He turned that sleepy
village of Montreux, Switzerland,

into a miraculous playground

for great music.

Many people who
we count as stars today

had their early days in Switzerland
recorded via Claude Nobs.

We're going to have a good time
tonight.

TRANSLATION FROM FRENCH:

He brought a level of love
which was so abundant

that it almost felt like a love
story.

A love story through
creation of art.

He was like a walking encyclopaedia
of jazz and blues.

So that's how I connected
with Claude.

All he wanted to know
was how much do you care?

How much do you love music?

How much do you love your life?

And I think everybody, in the end,
wants the same thing.

We all want love and we all want
that feeling of passion

because that's what keeps us alive.

That's the amazing story of Claude.

He made his passion
and his love real.

What was quite unique with Claude
is that he was born here.

Claude is a boy from Montreux,

he's just linked to that area.

CLAUDE: It was like a magic place.

Games. Fun.

But I didn't really care
about school

and about homework.

All this sounded very unnecessary.

I thought I could learn from myself

and that all I needed to do
was to do what I like to do.

Hard work, clean living

was what life was about.

When Claude was all over the place
during school,

his father said,
"OK, now, enough."

CLAUDE: And I failed one examination
when I was 17 at the high school

in Lausanne, and that's when my
father decided to get rid of me

and said, "You're too lazy,
tomorrow you decide

"what you want to be in life."

And I decided to be a cook.

So he got me in touch with
an old chef and told me,

"I have a place for you in Basel."

SOFT JAZZ MUSIC PLAYS

The chef in Basel used to work
at the Grand Hotel in Territet,

and he was a wonderful chef to me.

We were cooking the old-fashioned
way, no machine,

everything had to be peeled by hand.

I learned a lot and I got
enthusiastic about cooking

to the point that when I finished,

I had the best note in all
of Switzerland with 1.1.

My big companion was my radio.

I was listening to Europe 1,
which was the first free radio.

The studio was in Paris,

but the broadcasting tower
was in Luxembourg, offland,

you know, like a free part
of Europe.

I discovered a show, a nightly show

called Pour Ceux Qui Aiment Le Jazz
- For Those Who Love Jazz.

and being a little kid,
you know, I was 17 years old,

this was my jazz education
because they were explaining,

you know, about jazz,
explaining about R&B.

On that radio station I heard the
first Ray Charles,

the first John Coltrane,

all the first contemporary stuff
and the first Atlantic recording,

that's really where suddenly my
favourite label became Atlantic.

It was a liberation, it was
an opening,

it was a window to the world

and it put me in touch with
all kinds of other people.

I could have carried on being
a chef,

maybe a pretty good chef,

but I wanted to travel,

I wanted to go into the hotel
business.

ARCHIVE: Introducing the
Swiss Riviera,

a beautiful playground and haven
for millions

since first the scenic and climatic
wonders

of this region were discovered.

Breathtaking mountain panorama faces
the peaceful resort town

of Montreux, where all
the advantages of a modern city

are coupled with the delights
of a quiet vacation spot.

It's the Swiss Riviera.
Happy holiday home.

When he came back to Montreux,

he met a gentleman called
Raymond Jaussi,

who we have to give some credit
for everything

because he was the man who did the
renaissance of Montreux.

His career was actually a military
career in the Swiss Army

and then he became a member
of the Montreux tourist office.

CLAUDE: Mr Jaussi saw what I was
doing

and "this is what you want to do
in your life,

"do you have a background in hotel
management

"and do you know about the banking
system?"

He said, "Well, I have a job
for you.

"Yeah, you can be the accountant at
the tourist office in Montreux."

He had this instinct and Claude
really, really was so thankful

to him to have given him
this chance.

Claude's mentor, really.

When he started here,
people thought,

"Oh, Montreux, beautiful,

"but so boring."

It was full at the time

of old English ladies
coming to retire.

It was very quiet.

So he wanted to shake this place.

Montreux, you know, I mean,
it's a...it's a funny town.

I think that's maybe why Claude
shone out so brightly,

because he was, for me, an island of
culture

in an otherwise fairly barren place.

I thought he would have outgrown it
or wanted to outgrow it,

but instead, he made it grow
up around him, you know?

Claude had in his head, "You know,
we should do something with jazz."

He thought we should do a jazz
festival

and so he went to Jaussi and said,
"Why don't we do that?"

And Jaussi said to him, "Well, look,
end of June, beginning of July,

"we have space in our hotels

"and, you know, we could do
something there.

"I'll give you 10,000 CHF."

Claude went to America
because we knew that America

had so much music potential.

Claude Nobbs,

I mean, it's incredible
when you think about it.

He decided that he wanted to have a
jazz festival

in this little tiny town in
Switzerland

and he got on a plane and had to
pitch this festival

that he was starting.
I don't know how he did it.

With Claude, it was maybe naive,
but it was the heart speaking.

You act like you feel.
You don't explain, you just do.

He went to Atlantic Records
and he says to the secretary,

"I need to see Mr Nesuhi Ertegun."

And the secretary said to him,

"But you don't have a meeting,
I can't disturb him."

And he says, "But I came all
the way from Switzerland to see him.

Ertegun's door was open

and he heard that this gentleman
speaking this French English,

and then he came out and
says "gruezi",

which means hello in Swiss-German.

Nesuhi Ertegun was the son of the
ambassador of Turkey in Bern,

and he spoke German, so there was
this immediate relationship.

Atlantic Records
became involved with Montreux.

They loved Claude and they made it
possible for their artists to go.

Nesuhi Ertegun was very visionary

and had this wonderful way to be
with the artists.

And Nesuhi saw in Montreux

an extraordinary European
platform for the artists.

And when you think about it,
I mean, here is this little kid

who certainly didn't
know anybody in this business,

who put this town really on the map.

It's mind-boggling,
when you think about it.

Bravo, I say.

The rest is history.

I love the lie and lie the love

Are hanging on with push and shove

Possession is the motivation

That is hanging up the
goddamn nation

Looks like we always
end up in a rut

Everybody, now

Trying to make it real,
compared to what?

Come on, baby

Slaughterhouses are killing hogs

Twisted children are killing frogs

Poor, dumb rednecks
are rolling logs

Tired old ladies, kissing dogs

I hate the human
love of that stinking mutt

He did it now

Trying to make it real,
compared to what?

Trying to make it real,
compared to what?

A real swinging cover,
a real swinging band.

Yeah. Woohoo!

No!

Oh, no.

I've a wife and kids!

Ladies and gentlemen,

I would like to say hello

to our foreign guests here.

I'd like to say hello to
all the musicians,

and we hope to hear the best
jazz you can give us.

Claude had to overcome
so many obstacles that it was

a miracle that he could hold
a festival in a place like Montreux.

He was a rather enterprising young
man who figured out what to do.

Jazz musicians loved going
to Europe.

They loved going to Montreux.

Europe had a better relationship
over the years

to African-American musicians.

They felt very comfortable
in Europe.

Europe was not perfect in any
respect but it was certainly better.

Everybody talked to
everybody in this business.

And the word just suddenly
goes around.

It's a great club, isn't it?

Thanks very much. Thank you for
being so generous, guys.

Thanks again.

All right. Thank you. All right,
bye-bye. I'm holding him up.

See you. You can go to dinner now.

Merci beaucoup.

I don't believe
in fretting or grieving

Why mess around with strife?

I never was cut out to step
and strut out

# Give me the simple life

Some find it pleasant,
dining on pheasant

Those things roll off my knife

Just serve me tomatoes
and mashed potatoes

Give me the simple life

A cottage small is all I'm after

Not one that's spacious and wide

A home that's full of
joy and laughter

And the ones you love inside

Some like the high road,
I'll take the low road

Free from the grief and strife

Sounds corny and seedy,
but yes, indeedy

Give me the simple life

I never was cut out to step
and strut out

Give me the simple life

Just serve me tomatoes
and mashed potatoes

Give me the simple life

A cottage small is all I'm after

Not one that's spacious and wide

A home that's full of
joy and laughter

The ones you love inside

Some like the high road,
I'll take the low road

Free from the grief and strife

Sounds corny and seedy

But yes, indeedy

Give me

The simple life.

Thank you!

One, two, a-one, two, three, four.

One more time. Particularly that
last one's got to be very "pow!",

right on the button.

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

One more time.

A-one, two,
a-one, two, three, four.

By the late 1960s,
rock was eclipsing

all other forms of popular music.

Opening the festival out to rock
bands, and away from

the purity of jazz, I think,

was a very important
statement to make.

Music grows, it evolves,
it's a living organism.

Good music is good music.

Claude wasn't afraid to invite
people who weren't jazz at all,

but they had a musical integrity
that allowed Claude

to feel like, you know what, these
people belong on this stage too.

The rise of the rock album,
the stereo system revolution

and the proliferation of FM radio

captured an entire
generation of new listeners,

and rock was able to connect with
that generation.

That really helped to expand
the audience.

I think a lot of people,
a lot of fans who went to

the Montreux Jazz Festival left
there after that week

with a much broader appreciation
of music, a much broader

awareness of the whole scene.

The jazz people used to have
little tables,

a little champagne glass, you know?

It was kind of old-style.

And then Claude basically responded,

actually, to what the youth of that
generation wanted.

And that's how the Jazz Festival
became different from others.

Claude invited Ten Years After
to come, and that was a revolution.

Going home, my baby

Going home, my baby

Going home, my baby

Ah, baby, baby, I'm going home

Baby, baby, I'm going home

Love you, baby,
I feel so good tonight

Going home, my baby

Going home, my baby

Going home, my baby

Ah, baby, baby, I'm going home

Baby, baby, I'm going home

Love you, baby,
I feel so good tonight

Going home, my baby

Going home, my baby

Going home, my baby.

CLAUDE: When I started to promote
rock concerts,

my vision was totally different than
when I listened

to their music prior to
seeing them live.

I discovered very quickly that
some of those guys were extremely

gifted and weren't just making
copies of American folk art

or blues or folk music. They were
really doing they're own thing.

People like Jethro Tull,
people like Pink Floyd,

they definitely had their own genre
and their own personality.

I went to London to see Peter Grant,
the manager of Led Zeppelin.

And Peter had a reputation to be
a very, very tough guy, very tough.

So we talk about Led Zeppelin,
how much I wanted them.

And they came in '71.

We want you to get free, yeah

They did two shows
and came back in '72.

It was a big sell-out,
their only show in Europe.

And I never had a contract.

Peter just said, you know,
"Make sure that the guys are happy."

And they just loved it.

It was a great, great, great time.

On the first show, there was
so many people without tickets

that Peter said, let's put some
extra speakers out by the pool,

so people can enjoy
the concert live.

I'd like to introduce Led Zeppelin.

On lead guitar, Jimmy Page.

And myself, Robert Plant.

I want you to

I want you to

Yes, I do!

Suddenly, Montreux became the Mecca
of pop and rock in Switzerland.

Suddenly, we had people
coming from Rome, from Berlin,

from Scandinavia,
because they were unique shows,

it was the only way, in a small
setting, to see those big groups.

And we had all the hippies,
so the people in Montreux

would go to the casino and there
was, like, a big barrier

around the swimming pool.

In the afternoon, of course,
all the hippies were sunbathing

and taking baths and the Montreux
people would go and look

through those grills,
like it would be in a zoo,

like it was the elephant and
the crocodile and this and that.

I remember that we had
thousands of tents in the garden,

where people would come
and sleep in those tents.

They could sleep in the garden,
nobody would bother them, they would

leave in the morning because the
police car would come and say,

"If you don't leave, then
you may be peed on by the dogs

"while taking their early walk."

This was our generation
and we were certainly a bit crazy

and maybe a bit naive.

Everybody was sitting down,
smoking their dope, what have you.

But that was the beginning.

This was kind of this brouhaha
of people coming from everywhere.

We had just done Woodstock,

and so everything we saw
at Woodstock was an affirmation

that humans can and will coexist
together with unity and harmony.

Being in Montreux Jazz Festival in
1970, I couldn't believe it had

so many different kind of bands.

And just walking around, looking at
the mountains and the lake

and everything, it was like being
inside of a dream, but you're awake.

You got persuasion

I can't help myself

You got persuasion

I can't help myself

Something about you, baby

Keeps me from going
to somebody else

Yeah, I'm where you want me now,
now, now, baby

You put me in a daze all the time

Look what you got for me, baby

Like the devil in disguise

Something about you, baby

You're one, you're one of a kind

Oh, this spell you put on me
is just like thunder, babe

I can't keep
the rain from coming down

Look out now,
can't get out from under

But I wouldn't want
to even if I can

Something about you, baby

Make me feel,
make me feel like a man.

Ah, d'accord. Jack?

Ready? OK.

Maybe some clapping hands?

One, two, uh...

It just needs to be a stomp.

I think that's what it is.

Claude's heart was in
taking chances.

And he cultivated an audience
that supported that.

He wanted to share his joy
and help them

to feel what he has felt
all his life about this music.

He worshipped the life force of the
artist that's making that music.

He had this vision half a century
ago to put that much

passion into a project like that.

Bringing people together

in situations that they wouldn't
necessarily normally be in.

I think if you have enough
of a thirst for

this knowledge and culture,
you eventually do find it.

You've not been hit by flying lead

You'd better close your eyes

Ah-ah

Bow your head

And wait for the ricochet

Ooh-ooh...

We first came to
Montreux on the regular circuit.

If you were playing any
tour of Europe,

chances are you'd play
the Montreux Casino.

We hated studios at the time,
we just didn't like the sound

we were getting in studios.

We looked around for a live setting
and the Casino came up,

it was available. Claude Nobs,
who ran it, said, yeah, you can,

there's no-one coming in.
And so that was the arrangement.

We had the Rolling Stones'
mobile truck and it arrived here

we all arrived here.
And he said, "Actually,

"there's one more gig to go before
you can start moving your gear in,

"and that's a Frank Zappa gig,
which is tomorrow afternoon at 3pm,

"matinee performance."

This guy came in,
right over my right shoulder,

two flares, like Roman candles,

from a flare gun,

just went into the trunking in
the back of the building.

Seemed to fizzle out
but then they caught fire.

That was it,
that was the venue gone.

We went down the lake
to the Eden au Lac hotel

and watched the wind from
the mountains

blowing the flames and smoke.

The shock of this whole place
burning down was pretty amazing.

I mean, that was Claude's life
going up in flames.

I woke up one morning in the hotel,
I said the words out loud,

smoke on the water.

Let's write the story
of how we made the album.

MUSIC: Smoke On The Water,
by Deep Purple.

We all came out to Montreux

On the Lake Geneva shoreline

To make records with a mobile

We didn't have much time

But Frank Zappa and the Mothers

Were at the best place around

But some stupid with a flare gun

Burned the place to the ground

Smoke on the water

A fire in the sky

Smoke on the water

It burned down the gambling house

It died with an awful sound

Funky Claude
was running in and out

Pulling kids out the ground

When it all was over

We had to find another place...