All language subtitles for Rewind and Play (Subs) small

Selenius Monk wrote this piece at the
beginning of the 40s, and yet he had to

wait until 1958 for his name to become
famous among jazz lovers.

Before that, indeed, before obtaining
the cover of Time, Selenius Monk was

of this Bauhaus of jazz that
revolutionized the world.

We went into this, we were in a terrible
plane connection.

in that small airport.

There were only about nine seats in this
bar in this airport.

And when we first got there, Melonius
and Johnny Griffin took two seats.

And we were sitting there for about two
hours. Slowly but surely, the whole bar

was taken over by the band.

You were carrying on with the bartender.

Finally, it was very sort of hot.

By the end of the thing, I'm...

Well,

they followed us. They were taking
pictures of the whole thing. They went

Canada. They went to Newport.

They were down in Atlanta.

And, well, just forever, you know, for
about three months.

They followed us.

They had this documentary. They sold it
to... A German teller. Oh, yeah.

You know... Ernest.

He did the... He bought it.

He did the... Did he look in America
too?

No, no, never seen him in America. No,
I've never seen him.

No, we've seen him in America.

He did come see in Germany, didn't he?
No, they just followed us all the way

around. They followed us all around.

Well, 10 others just came, and everybody
just kept walking right through. Nobody

there got inspired by the K -Man.

Yeah.

Give me that.

coming in right here.

There was one guy who was checking the
airline.

He was waiting at the other end.
Everybody else standing around.

What'd you say, what'd you say that
happened?

They can't go on site, can they?

Thank you very

much.

Thank you.

Thank you.

They don't have them.

You get them now?

Yeah,

but they don't have them at the... You
know, if you go into a bar at home, they

don't have them.

And you?

I had...

Well, it's perfect.

It will be better.

That would be a good thing.

The Navy.

The Navy.

The Navy. The Navy.

The Navy. The Navy.

The Navy.

The Navy.

No, I don't think so.

Thank you.

I'm going to try to ask you to start
over again if you don't want to. No,

I'm going to try to ask you to start
over again if you don't want to.

I'm going to eat.

The Capuscule for Nelly.

I ask you about the title of this
theorem.

So you don't like to say anything about
Nelly?

It's all right. You know, we're not
kids.

Do it your way.

Okay.

So we start with the cover school ice
cream with the title.

I'm going to say, what is the title of
this tune?

And you say, cover school ice cream.

Papier ne gêne pas, là?

Vous ne voyez pas?

Telling you, what's the title of this
last tune, please?

Crepescule with Nelly.

Crepescule with Nelly.

Nelly is your wife.

Right. And she told me once, you were
born in the same district.

Nelly is your wife.

And she told me one day that you were
born in the same city.

And that you grew up together. Can you
say something about that?

All I can say is she's my wife.

And mother of my kids.

Telling you, can you say something about
Nelly?

She's my wife and the mother of my kids.

That's all I can say.

I'm waiting for you. Why don't I call
Simone?

Yeah. I'll run up right away and get 5 o
'clock one.

5 o 'clock flight to New York.

Yeah. Maybe you go on with us when we're
gone. Yeah.

So I'll wait for you. So you call us.

Thank you.

Au début des années 40, la France...

Qu 'est -ce que je reprends?

Les auteurs de la pochette que nous
voyons maintenant n 'ont certainement

pensé à tout cela en nous présentant
Monck en résistant français.

On y trouve Monck armé d 'une
mitraillette, jouant du piano dans une

Derrière lui, un soldat allemand est
fait prisonnier, Ficelet XVI.

That's extraordinary.

And Thelonious, in this big room, seems
to be swinging like he's doing for us

tonight.

Yeah, Thelonious.

I've got your piano in your kitchen.

It's a finesse.

You don't like something about that?

Oh, that's nothing.

Oh, it's beautiful.

No?

I don't mind.

He then played on a small piano that he
had placed in his living room.

Later, when the success came, he changed
the piano. He bought a big concert

piano. And since only the kitchen was
able to hold this instrument, he didn't

hesitate for a second.

He placed it in the kitchen.

So, as you can see in this photo, when
you enter Chateauneuf, you can see the

piano surrounded by a sink, a gas
heater, ironing iron, things like that.

Chateauneuf.

Why did you put your piano in your
kitchen?

Because that was the largest room in the
apartment.

Bernard, I wonder if we should do that
again. I ask him this question first.

It's a bit stupid to repeat the same
thing twice.

Telling you, why did you put your grand
piano in your kitchen?

Because it was the largest room.

That's the only room the Baldwin Grand
could

get into.

All other rooms were too small for the
six foot three

inches grand to get into.

This is true. I had the opportunity to
visit Thelonious in 1954 in New York and

to go to his house frequently. At the
time, he did a little right foot in New

York.

Telenius, did you remember your first
concert in Paris in 54?

Yeah, it was somewhere in the early 50s.

Telenius, do you remember

your

first concert in Paris in 54?

I don't want to say it.

Do you remember your first concert?

Huh? In Paris in 54.

Oh, I had my first concert here. Yeah.
Right?

Sal Payet.

Sal Payet, yeah.

Do you remember? I think at the time,
your music was too... avant.

Not too... But it's...

Okay.

But it's interesting, man.

Tell the news.

Did you remember your first concert in
Paris in 54?

Yeah.

I think at the time your music was a
little bit too avant -garde for the

audience. What do you think of that?

I don't understand what you said.

What are you asking me?

I see.

Your music was a little bit too
difficult to avant -garde for the French

audience. What do you think of that?

Well, I mean, they had my... On the
magazine, they had my picture on the

front page.

I mean, they had Jerry Mulligan, they
had...

Jones is his name, a trumpet player.

And they had a lot of people, but they
had my picture on the front page.

It was too avant -garde of what it was.
I mean, whatever it was, it seemed like

that I was the star, but the people
would come and

see it. But I wasn't getting the money,
though.

Okay. Ten years. I'm sorry. I see my
question.

Bernard, on peut effacer ça.

D 'accord?

I had no idea, I mean, my popularity in
France until I got over here.

And when I got here, I mean, they had
Jerry Mulligan and

treating them as the stars, but they had
my picture on the

front page of the magazine for the
concert.

And all that. And I couldn't get no
musicians. I came over by myself.

And there was no musicians to work with
me or anything.

Nobody let their musicians work with me.

And I practically had to pay by myself.
Finally, I got some fellows to play with

me. And I was getting less money than
anybody.

That's what happened.

At that time, he completely ignored the
kind of popularity he had in France.

He found his picture on the front page
of a jazz magazine.

But he was disappointed to see that
there was no musician to accompany him.

And that on the other hand, he was
certainly the one who received the

score.

That's all he can say about it.

But Bernard, I'm sorry to come back to
that. I think it's better to erase it

this time.

There's nothing else to say because it's
really obligatory, everything he says,

so we can't talk about it.

Especially since the organization...

How about let's go on to this demo and
forget this TV program and read this all

over again for the demo.

Okay. Just one, just the last one.

Please, tell me the last one.

Yeah.

Yeah, about the, about piano.

You asked me about the first time I came
to France. No, no, no, no, no, no, no.

We don't do that.

And the first time I came to France, I
was ossified all the time I was here.

No, no, we don't say anything about
that, anyway.

That's why I made everything up.

It's no secret, is it?

No, but it's not nice.

It's not nice.

Yeah.

Can we talk a little bit about piano?

I'd like to know if you start, when you
were young, you start to play some

classic music?

Yeah, I started... Wait a minute.

What do you mean?

I learned how to read music, and in the
process of reading music, I mean I had

to learn to do classical music.

Please, I have to ask you.

When you were very young, did you start
to play some classic music on the piano?

Yes, I tried to play the piano.

I mean, I learned how to play the piano
on my own.

And then later on, I was just... I was
just...

It was...

It was overruled. I mean, it was also
sanctioned that I should take piano

lessons and study piano and learn how to
read music.

Classical music was used in learning how
to read.

Right.

It's okay now. It's okay.

Okay. Can you say something in French?

Merci beaucoup.

Bon, je vais encore dire un ou deux
trucs.

Durant l 'hiver 1954 à New York, nous
nous promenions un jour sur le port.

Thelonious and myself, and we looked at
the boats.

And I remember very well that at a
certain moment, Thelonious told me, ah,

I would like to take from these boats
and go to Europe.

Well, it turns out that at that time,
Charles de Launay and Jacques Souplet

prepared a great jazz festival, which
means that in the evening, I called

Charles de Launay, and Charles gave me
his agreement for Thelonious to come and

play at the Paris Jazz Festival 1954.

Unfortunately, I have to say that the
music of Monk at the time was a little

difficult to grasp and the Parisian
audience did not quite understand

that Monk played.

And the reception was not at all what it
should have been four or five years

later, of course.

Thank you.

hey uh

You know, they're doing...

Thank you.

Thank you.

Thank you.

Silence!

Silence!

Selenius Monk has just performed Hanabad
Milna, his most famous composition.

Selenius, do you remember exactly when
you composed the tune?

In the early 40s.

Bernard, I'm sorry, but I have to
resume.

The sequence is not going at all.

Thank you.

Everyone has one William Temple, okay?
One William Temple, two William Temple.

I don't see it.

One zone.

Yeah, you know, like...

Telenius, can you tell us, if you
remember, when you composed this piece?

Telenius Monk just told us that he
composed this piece at the beginning of

40s.

That is to say... Excuse me, I'm looking
through the camera.

Telenius wrote Around Midnight at the
beginning of the 40s. That is to say, to

what extent he was ahead of his
contemporary musicians.

If you believe Marie -Lou, Telenius had,
since 1939, a completely original

style. Two years later, in 1941,
Telenius Monk plays every evening at the

Minton, a Harlem club that will play the
greatest importance in the development

of modern jazz.

It's a kind of Bauhaus of jazz.

Musicians like Dizzy Gillespie come,
join them, to learn what will be their

language, the language of modern jazz
today.

Merde, pardon.

Inutile de parler de ça.

Nous retrouvons Telenius donc en 1946
-47 et il faut dire que

pendant une décade, il va vivre un petit
peu dans l 'ombre.

Si ses amis, pionniers du jazz moderne
comme Kenny Clark, Dizzy Gillespie,

Charlie Parker, Bud Powell et les
autres, ont fait carrière, ils sont déjà

célèbres dans le monde, Telenius, lui...

It stays in the shadows and it happens
very rarely at the head of a trio or a

small orchestra in some small clubs in
Harlem or Brooklyn.

And it has to wait until 1957.

It goes up, as they say, to a quartet
where John Coltrane plays. It happens in

New York at Five Spots. And there, we
start seriously to talk about Tennis

We record it in turn.

And its name is spread all over the
world.

In

1957,

Telenus formed a quartet with John
Coltrane at Five Spot in New York.

And from there began the international
success of Telenus. And then we see it

all over the world.

His success even became quite important
so that Roger Vadim, for example, asked

him to do, I think in 1958, the music of
his film, Les Liaisons Dangereuses.

Thelonious Monk has a face that
apparently inspires modelers and

with an astonishing physique, very
inspired.

Thelonious Monk is a truly extraordinary
character. He has an excessively

relaxed way of seeing things in life.

I'm going to tell you a little story
that I'm going to tell you now and in a

club in Brooklyn a while ago, Thelonious
Monk played in the company of Sonny

Rollin, a well -known tenor saxophonist.

The club was full of young blacks who
danced magnificently, and at a certain

moment, two of them were beaten.

They were beaten with a knife. It was a
fight, as we see in the most beautiful

American films of the youth.

The girls started screaming, the tables
were turned over, the chairs were

broken. We were in the middle of all
this incredible commotion.

Thelonious continued to play as if
absolutely nothing had happened.

Of course, the cabaret fell closed on
the evening. We went out with Thelonious

and I said to him, but finally
Thelonious, how did you know that you

chance to continue to play as if nothing
had happened?

And Thelonious replied to me, but if
nothing had happened, or almost, it was

absolutely not worth it.

One day, Il y a quelques années, un
critique s 'adresse à Thelonius en ces

termes.

Mon cher Thelonius, il me semble qu 'à
la 25e mesure de votre solo, de telle

place, de telle distance, de telle
année, de tel endroit.

A cette 25e mesure, donc, vous n 'êtes
pas sans remettre en question toute la

structure de vos conceptions rythmiques,
de vos... Thelonius s 'interrompt et

lui dit, oh, moi, vous savez, tout ce
que je fais, c 'est...

Or me, you know, I play without more.

It's not good. It turns out it's not
good, by the way.

Thelonious is a man petrified of the
tradition of guitar.

We see that in his youth, he listened to
musicians like Fats Waller or James

Johnson, all the great pianists of
Harlem, who played alone and who

rhythm with their left hand, making a
bass, an accord, a bass, an accord, and

that in all the pieces, all the evening.

Thelonious knows how to do it.

We realized it tonight.

But at that, but...

Mais à cela, dans cette base rythmique,
il ajoute tout ce que son talent

extraordinaire a pu apporter dans votre
cuisine.

Mais vous voyez, tellement qu 'il faut
noter aussi son toucher si puissant.

Il lui donne une sonorité si platée,
parce que c 'est magique.

Dans une cuisine, à côté d 'un réchaud à
gaz, d 'un évier, Raymond Thévenus, je

vous le disais tout à l 'heure, est un
personnage extraordinaire.

What about the...