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[traffic whooshing]
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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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[horns honking]
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[drums tapping]
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[people chattering]
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- Hey, man!
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- Man, how you doin' bro?
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Hey man, wow!
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[quiet tuning music]
[people chattering]
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- Jacques was always a
friend of Dizzy Gillespie,
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big friend, and that's how,
you know, we got together
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because I was playing with Dizzy
a lot.
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We got to meet under those
circumstances,
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me traveling, him coming around,
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and when I played,
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in Switzerland.
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- [Interviewer] Yeah.
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- Always see Jacques around,
20
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and then I would see him in the
States
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when he'd come over here.
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He was a good friend of my
friend, Moody,
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James Moody and all of us.
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He's been a friend of jazz
for maybe, I don't know,
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30, 40 years.
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So we all know Jacques.
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- [Interviewer] So that's
why he's so respected
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by the musicians.
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- This is true.
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He respects the music and vice
versa.
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We respect him,
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because he's a good guy
and he supports the music
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in one way or the other.
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He had some watches with
some musicians' names made
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and things like that when nobody
else
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00:02:03,882 --> 00:02:06,126
was doing anything like that.
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So he's a very important
man to the music of jazz.
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[sign clacking]
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- [Man] One, two, three, four.
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[slow jazz piano music]
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♪
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[radio static crackling]
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[upbeat jazz music]
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[car engine revving]
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- [Announcer] Time for jazz.
46
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Willis Conover with the
Voice of America Jazz Hour.
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[speaking in foreign language]
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[upbeat jazz music]
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[speaking in foreign language]
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[car engine whirring]
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[slow jazz trumpet music]
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[speaking in foreign language]
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[slow jazz trumpet music]
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[speaking in foreign language]
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[slow jazz trumpet music]
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[traffic whirring]
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- How you doing, man? [laughing]
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How you doing?
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- [Jacques] Very well.
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- Good.
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- We don't see you.
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- I wanna see the inside.
[laughing]
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- I'm little bit like you.
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You know, we're losing
what is most important for.
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[Randy laughing]
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- [Woman] Where's your son?
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- Huh, I'm losing, I'm losing in
the ears.
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- Yeah.
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- I always try to remember that
Snooky.
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Snooky played on the
band, you know, for years
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without hearing anything!
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- [laughing] How do you do that?
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- How do you do that?
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[both laughing]
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- When I had my club in Tangier,
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the African Rhythms Club,
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Jacques came in.
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And he had a tape recorder
about this big, you know.
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And he taped my son and I
playing on this little machine.
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This 1969, you know.
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And I was amazed.
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Then during this period,
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I got to know how much
he loved jazz music.
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In 1985, when they had Randy
Weston week in Brooklyn,
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and put together a big band,
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Melba Liston conducted her
arrangements of my music.
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And, it was great because we,
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the whole week, was Randy
Weston's week.
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We played for handicapped
children.
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We played with a smaller group.
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We did concerts, it was
wonderful.
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So Jacques was there.
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And Jacques arranged for
us to take the big band
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to Switzerland to do the same
program that we did here.
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- For the first time in the
history
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of the Montreux Jazz Festival,
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it was not a commercial
sponsor, but a jazz fan
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who had to have the
headliner, Randy Weston,
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and his big band on stage
tonight.
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And we are very grateful to Mr.
Muyal to make this possible.
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Thank you.
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[audience applauding]
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Now, of course, let's
welcome the one and only,
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Randy Weston!
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00:12:23,777 --> 00:12:26,400
Randy Weston, African Rhythm
Orchestra!
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[audience applauding]
107
00:12:27,816 --> 00:12:30,750
For the first time in 11
years back to Montreux.
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Been too long overdue, thank
you.
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[exotic jazz music]
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- He's like a, kind of
a magic man, you know.
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He shows up in all these
different places.
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I can't tell you how many
places that I performed,
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00:13:57,629 --> 00:13:59,355
he would show up, he would come.
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00:14:00,874 --> 00:14:04,326
One of the sad things for me
was, when I played in Paris,
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me and Max Roach, did a duo,
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Jacques came from Switzerland
as always, you know.
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And I put his name, in
fact, my wife's name,
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on the list, but somehow
they lost the list.
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So he couldn't even get in
to come and hear the concert.
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I've been to his home many
times.
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Stayed over at his house many
times.
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His wife, Claire, cooked
beautiful food for us.
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I have never seen anybody love
our music
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more than Jacques Muyal.
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[upbeat jazz piano music]
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[quick jazz piano music]
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00:16:02,478 --> 00:16:06,379
- Jacques Muyal, he
loved the music so much,
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00:16:06,413 --> 00:16:10,314
said he was walking down
the street in Tangier
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00:16:11,315 --> 00:16:12,937
and he saw Idrees Sulieman.
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00:16:14,007 --> 00:16:17,528
Now Idrees Sulieman's a great
musician, great musician,
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but mostly only musicians know
him.
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He never got to be really
well-known,
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but he's one of the first to
create
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00:16:26,778 --> 00:16:30,023
what they call bebop music.
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00:16:30,058 --> 00:16:31,680
He's one of the originals.
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00:16:32,888 --> 00:16:35,442
So who saw him, Jacques Muyal.
137
00:16:36,512 --> 00:16:39,032
And Jacques Muyal called his
name and he was in shock.
138
00:16:40,413 --> 00:16:42,725
The pianist, whose name was
Jamil.
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00:16:42,760 --> 00:16:45,659
The piano's name was Oscar
Denard.
140
00:16:45,694 --> 00:16:48,938
Oscar Denard played with
Lionel Hampton's band
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00:16:48,973 --> 00:16:52,011
about three years, a master
pianist,
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00:16:52,977 --> 00:16:55,566
but Hamp would take all the
solos.
143
00:16:55,600 --> 00:16:58,500
So you'd have to really
realize how great he was.
144
00:16:58,534 --> 00:17:00,019
So Jacques was one of the few
145
00:17:00,916 --> 00:17:03,574
to record Oscar Denard on piano.
146
00:17:03,608 --> 00:17:06,887
[slow jazz piano music]
147
00:17:18,485 --> 00:17:22,420
[speaking in foreign language]
148
00:17:55,004 --> 00:17:56,144
The world is so,
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00:17:59,699 --> 00:18:01,770
commercial is the word I wanna
use.
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00:18:03,634 --> 00:18:07,086
But everything now is sell,
sell, sell, sell, sell, sell.
151
00:18:09,157 --> 00:18:11,849
And the young people are
not getting the information
152
00:18:11,883 --> 00:18:14,852
about this music, you know.
153
00:18:15,956 --> 00:18:18,131
And what better man than Jacques
Muyal,
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00:18:18,166 --> 00:18:21,997
because he loves the music,
he's been with the greats.
155
00:18:23,447 --> 00:18:25,828
Who he hasn't been with, I can't
imagine.
156
00:18:26,829 --> 00:18:29,418
It's extremely important, yeah,
157
00:18:29,453 --> 00:18:34,147
because, like for me, with my
book,
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00:18:35,804 --> 00:18:39,635
whole idea is we have to
document for our grandchildren.
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00:18:39,670 --> 00:18:41,982
Not for us, you see.
160
00:18:42,017 --> 00:18:44,640
So if you do a documentary
on Jacques Muyal,
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00:18:45,710 --> 00:18:49,990
young people look at
love in the pure state,
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00:18:50,025 --> 00:18:53,028
because when you love
this music, that's it.
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00:18:53,062 --> 00:18:54,788
There's no compromise.
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00:18:54,823 --> 00:18:56,445
[aircraft engine roaring]
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[speaking in foreign language]
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00:20:42,827 --> 00:20:45,692
[slow jazz music]
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00:20:53,010 --> 00:20:56,979
[speaking in foreign language]
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00:21:42,715 --> 00:21:46,650
[speaking in foreign language]
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00:22:17,681 --> 00:22:21,340
[speaking in foreign language]
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00:22:43,948 --> 00:22:47,918
[speaking in foreign language]
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00:22:59,136 --> 00:23:02,898
[upbeat jazz trumpet music]
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00:23:19,328 --> 00:23:23,263
[speaking in foreign language]
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00:23:32,134 --> 00:23:36,035
[speaking in foreign language]
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00:24:10,310 --> 00:24:14,314
[speaking in foreign language]
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00:25:22,417 --> 00:25:23,970
- [Interviewer] I'll take a
scotch.
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00:25:24,902 --> 00:25:28,009
- Notre Dame, what is this?
177
00:25:28,043 --> 00:25:30,183
Product of, produce of France.
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00:25:30,218 --> 00:25:31,564
- [Interviewer] Good, that's
wine.
179
00:25:31,599 --> 00:25:33,393
- Know what that is?
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00:25:35,982 --> 00:25:39,917
[speaking in foreign language]
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00:25:42,057 --> 00:25:45,440
[interviewer laughing]
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00:25:45,474 --> 00:25:47,442
[Dizzy spitting]
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00:25:47,476 --> 00:25:52,551
- [laughing] I'm not supposed
to be drinking alcohol.
184
00:25:52,585 --> 00:25:53,586
- [Interviewer] Because me, you
know.
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00:25:53,621 --> 00:25:55,243
- Let me put this away.
186
00:25:55,277 --> 00:25:57,038
- [Interviewer] I think you love
that part
187
00:25:57,072 --> 00:25:58,867
of the movie, 'Round Midnight.
188
00:25:58,902 --> 00:26:00,973
- [Dizzy] Yeah, when he fell.
189
00:26:01,007 --> 00:26:02,284
- [Interviewer] Yeah, yeah.
190
00:26:04,424 --> 00:26:05,874
How was that part?
191
00:26:05,909 --> 00:26:06,910
- That was something else.
192
00:26:06,944 --> 00:26:08,497
He walked up to the bar.
193
00:26:08,532 --> 00:26:11,915
This guy, this guy walked
up to the bar and said,
194
00:26:11,949 --> 00:26:13,502
"I'll have a double cognac."
195
00:26:16,920 --> 00:26:19,405
And he drank it, and he went
right down.
196
00:26:19,439 --> 00:26:21,062
Fell right on his face.
197
00:26:21,096 --> 00:26:25,929
And Dexter said, "I'll
take the same." [laughing]
198
00:26:27,931 --> 00:26:31,175
That was funny, man, it sounded
like that.
199
00:26:40,046 --> 00:26:42,946
[camera clicking]
200
00:26:44,188 --> 00:26:48,089
These are new, I mean,
they're old, but they're new
201
00:26:48,123 --> 00:26:50,332
'cause they have never
been out of the house.
202
00:26:51,299 --> 00:26:53,335
They never been out of this
house.
203
00:26:53,370 --> 00:26:58,340
So the old guy don't give none,
I was gonna get a new set.
204
00:26:58,375 --> 00:27:00,929
He said, "No, we don't do that
anymore."
205
00:27:00,964 --> 00:27:03,967
- [Interviewer] [laughing]
Conscience to see who
206
00:27:04,001 --> 00:27:05,554
hasn't got the experience.
207
00:27:05,589 --> 00:27:08,385
- So I told Louie Bellson,
I wanted some drum,
208
00:27:08,419 --> 00:27:11,284
and that's what he did, had
these sent.
209
00:27:11,319 --> 00:27:13,977
- [Interviewer] But that
leads me to a question,
210
00:27:14,011 --> 00:27:16,048
very important since we're
talking drums,
211
00:27:19,672 --> 00:27:24,608
you have, you have
invented modern jazz, and--
212
00:27:28,025 --> 00:27:29,061
- I don't know 'bout--
213
00:27:29,095 --> 00:27:31,339
- [Interviewer] Please
explain to us, you know,
214
00:27:31,373 --> 00:27:36,344
how much inventions you invented
215
00:27:36,378 --> 00:27:39,727
leading to what we call bebop.
216
00:27:41,073 --> 00:27:42,661
- The generation before us,
217
00:27:44,386 --> 00:27:46,665
the horn players played the
horns,
218
00:27:46,699 --> 00:27:49,046
didn't think about the piano.
219
00:27:49,081 --> 00:27:52,222
They played, but with us,
220
00:27:52,256 --> 00:27:54,327
we were trying to get new
harmonies.
221
00:27:54,362 --> 00:27:57,089
So you can't get no new
harmonies with a,
222
00:27:57,123 --> 00:28:00,506
a single note instrument.
223
00:28:00,540 --> 00:28:02,163
So I figured that out.
224
00:28:02,197 --> 00:28:06,719
I said, well the best thing to
do is go to the piano and so,
225
00:28:10,481 --> 00:28:15,486
so our music developed on the
piano, the harmonic structure,
226
00:28:18,282 --> 00:28:20,388
developed with the piano.
227
00:28:20,422 --> 00:28:23,702
The rhythmic structure
developed from the drums,
228
00:28:23,736 --> 00:28:28,707
from the bass drum, and from
the ten o'clock playing this,
229
00:28:30,570 --> 00:28:31,433
trap drum.
230
00:28:32,745 --> 00:28:37,577
And the style, which we think
is the most important of all,
231
00:28:38,682 --> 00:28:39,787
Charlie Parker.
232
00:28:41,133 --> 00:28:43,204
[sign clacking]
233
00:28:43,238 --> 00:28:48,243
- [Man] One, two, three, four.
234
00:28:49,589 --> 00:28:53,145
[quick drumming]
235
00:28:53,179 --> 00:28:56,113
[quick jazz music]
236
00:29:21,829 --> 00:29:25,764
[speaking in foreign language]
237
00:29:47,820 --> 00:29:50,789
[quick jazz music]
238
00:30:32,278 --> 00:30:36,213
[speaking in foreign language]
239
00:31:05,208 --> 00:31:07,279
[audience applauding]
240
00:31:07,313 --> 00:31:10,869
[audience members whistling]
241
00:31:31,510 --> 00:31:34,547
[speaking faintly]
242
00:31:34,582 --> 00:31:35,479
- Watch it.
243
00:31:37,619 --> 00:31:39,207
One, two, three.
244
00:31:39,242 --> 00:31:41,900
[scatting quickly]
245
00:31:47,491 --> 00:31:50,494
[upbeat jazz music]
246
00:31:59,503 --> 00:32:03,438
[speaking in foreign language]
247
00:32:27,635 --> 00:32:31,639
[speaking in foreign language]
248
00:32:45,687 --> 00:32:48,690
[upbeat jazz music]
249
00:33:07,433 --> 00:33:09,297
[group laughing]
250
00:33:09,332 --> 00:33:12,335
[upbeat jazz music]
251
00:33:54,101 --> 00:33:58,036
[speaking in foreign language]
252
00:34:45,428 --> 00:34:49,052
[quick playful trumpet music]
253
00:35:25,709 --> 00:35:29,679
[speaking in foreign language]
254
00:35:47,490 --> 00:35:50,493
[upbeat jazz music]
255
00:36:21,213 --> 00:36:24,182
[upbeat jazz music]
256
00:37:23,102 --> 00:37:24,759
- When I was playing with Dizzy,
257
00:37:26,105 --> 00:37:28,004
with the United Nation
Orchestra,
258
00:37:29,281 --> 00:37:31,179
Dizzy had a friend that was
traveling,
259
00:37:31,214 --> 00:37:35,080
coming to many of the
gigs, and then I realized
260
00:37:35,114 --> 00:37:36,840
that he spoke Spanish also,
261
00:37:38,117 --> 00:37:41,086
and consequently he kind of
gravitated
262
00:37:41,120 --> 00:37:44,952
towards all the people
that were Spanish-speaking,
263
00:37:46,781 --> 00:37:49,577
including myself, even though
it's not my main language,
264
00:37:49,612 --> 00:37:51,752
but it's close enough to
Portuguese,
265
00:37:51,786 --> 00:37:55,790
so that we started to hang
out and he became friends
266
00:37:55,825 --> 00:37:57,136
with Paquito D'Rivera also.
267
00:37:58,310 --> 00:38:01,658
Then Neilo Miero Rivera,
who played saxophone,
268
00:38:01,693 --> 00:38:03,142
and just a fantastic musician,
269
00:38:04,040 --> 00:38:06,042
and that's where the friendship
began.
270
00:38:06,974 --> 00:38:09,977
[upbeat jazz music]
271
00:39:16,802 --> 00:39:19,771
- Dizzy was very helpful in my
career.
272
00:39:19,805 --> 00:39:21,048
He was very generous.
273
00:39:21,082 --> 00:39:24,776
That man had not even created
a great career for himself,
274
00:39:24,810 --> 00:39:26,709
but also for others.
275
00:39:26,743 --> 00:39:29,056
He gave an opportunity to so
many people
276
00:39:29,090 --> 00:39:30,402
to develop their own career.
277
00:39:32,922 --> 00:39:35,890
Among the many wonderful
thing that happened to me
278
00:39:35,925 --> 00:39:40,032
with Dizzy, was the opportunity
to meet Jacques Muyal,
279
00:39:40,067 --> 00:39:41,931
who became a very dear friend,
280
00:39:41,965 --> 00:39:44,243
very close friend of all of us.
281
00:39:44,278 --> 00:39:47,281
[upbeat jazz music]
282
00:40:07,335 --> 00:40:11,270
Being a friend of Dizzy,
immediately you become part
283
00:40:11,305 --> 00:40:14,101
of the whole family, not only
musicians,
284
00:40:14,135 --> 00:40:17,069
but people who love
music like Jacques Muyal.
285
00:40:17,104 --> 00:40:21,419
But among all those guys in that
family,
286
00:40:21,453 --> 00:40:24,491
Jacques had a very special
place for some reason.
287
00:40:25,492 --> 00:40:29,427
He's very special, very
easygoing person,
288
00:40:31,774 --> 00:40:34,984
and he speaks so many languages
too.
289
00:40:35,018 --> 00:40:39,437
And had the knowledge of
the music and all that.
290
00:40:39,471 --> 00:40:41,266
He's very special.
291
00:40:41,300 --> 00:40:45,304
[speaking in foreign language]
292
00:41:32,835 --> 00:41:36,977
- This is not a good formidable
stand,
293
00:41:37,011 --> 00:41:39,531
but this stand that I
had it on that night,
294
00:41:39,566 --> 00:41:43,190
it was one of them heavy, heavy
stands.
295
00:41:44,363 --> 00:41:46,883
And it was on a stand like this,
296
00:41:46,918 --> 00:41:49,403
guys was on the stage fooling
around,
297
00:41:49,437 --> 00:41:52,820
and one pushed the other
one back and he fell back,
298
00:41:52,855 --> 00:41:56,375
over it like this, and it
just bent, didn't fall.
299
00:41:57,584 --> 00:42:00,414
Because it was going
against one of the legs
300
00:42:00,448 --> 00:42:05,384
when he fell back on it, it
went against a leg like this.
301
00:42:06,385 --> 00:42:09,527
And these things are sorta
fragile.
302
00:42:11,218 --> 00:42:15,118
This, because, sound.
303
00:42:16,050 --> 00:42:17,949
So he fell over it and it bent.
304
00:42:20,572 --> 00:42:22,091
I got back, it was bent.
305
00:42:23,886 --> 00:42:25,128
It was my wife's birthday.
306
00:42:26,233 --> 00:42:27,268
I didn't raise hell.
307
00:42:28,994 --> 00:42:29,892
I played it.
308
00:42:31,894 --> 00:42:35,414
And I liked the sound from,
309
00:42:36,243 --> 00:42:38,072
this sound here,
310
00:42:38,107 --> 00:42:40,247
it's closer to your ear than
this sound.
311
00:42:41,455 --> 00:42:43,595
So when you hit the note you
hit,
312
00:42:43,630 --> 00:42:46,564
you have to wait a while
till it gets around.
313
00:42:46,598 --> 00:42:50,050
So I said, hey I may definitely
have a horn made like that.
314
00:42:50,084 --> 00:42:52,431
I had it made from that.
315
00:42:54,606 --> 00:42:55,987
Alright.
316
00:42:56,021 --> 00:42:58,127
- [Interviewer] I heard another
story.
317
00:42:58,161 --> 00:42:59,024
- Where?
318
00:43:00,060 --> 00:43:03,511
From one day playing in
Chicago and there were--
319
00:43:03,546 --> 00:43:04,512
- I made that up!
320
00:43:07,170 --> 00:43:11,140
The guy took the horn and did
like that.
321
00:43:11,174 --> 00:43:16,041
That was a real good gangster
story, but it wasn't true.
322
00:43:19,631 --> 00:43:23,497
[speaking in foreign language]
323
00:46:01,551 --> 00:46:04,692
[audience applauding]
324
00:46:15,807 --> 00:46:17,498
- Thank you very much,
ladies and gentlemen.
325
00:46:17,533 --> 00:46:21,364
And now from one of our
latest Philips albums,
326
00:46:23,366 --> 00:46:26,231
Dizzy on the French Rivera.
327
00:46:27,232 --> 00:46:28,095
[audience laughing]
328
00:46:28,130 --> 00:46:28,786
Recorded live
329
00:46:31,685 --> 00:46:33,756
in Juan-les-Pins, mm-hmm!
330
00:46:36,138 --> 00:46:37,795
[audience laughing]
331
00:46:37,829 --> 00:46:41,626
Shake-a the salt, Daddy, or no
more blue!
332
00:46:41,660 --> 00:46:44,249
[scat singing]
333
00:46:55,226 --> 00:46:57,884
[steady drumming]
334
00:46:59,437 --> 00:47:02,440
[upbeat jazz music]
335
00:48:38,260 --> 00:48:41,988
[speaking in foreign language]
336
00:50:46,905 --> 00:50:50,426
[light jazz piano music]
337
00:51:01,437 --> 00:51:03,405
[speaking in foreign language]
338
00:51:45,447 --> 00:51:49,140
[speaking in foreign language]
339
00:52:27,005 --> 00:52:30,595
[upbeat jazz piano music]
340
00:52:44,022 --> 00:52:46,853
[slow jazz music]
341
00:52:48,026 --> 00:52:51,961
[speaking in foreign language]
342
00:53:50,296 --> 00:53:53,920
[upbeat jazz piano music]
343
00:54:05,311 --> 00:54:07,727
[crowd applauding]
344
00:54:07,761 --> 00:54:10,868
[party horns honking]
345
00:54:13,940 --> 00:54:15,735
- [Kid] Make a big wish!
346
00:54:15,769 --> 00:54:17,564
- [Man] You got a burning
permit?
347
00:54:17,599 --> 00:54:19,739
[group laughing]
348
00:54:19,773 --> 00:54:22,707
[group chattering]
349
00:54:31,129 --> 00:54:33,200
- [Woman] Almost, almost!
350
00:54:34,063 --> 00:54:35,996
[crowd cheering]
351
00:54:36,031 --> 00:54:39,172
[party horns honking]
352
00:54:42,140 --> 00:54:46,144
[speaking in foreign language]
353
00:55:15,070 --> 00:55:18,280
[slow saxophone music]
354
00:55:31,051 --> 00:55:35,021
[speaking in foreign language]
355
00:56:02,220 --> 00:56:06,155
[speaking in foreign language]
356
00:56:38,464 --> 00:56:41,398
[steady jazz music]
357
00:56:41,432 --> 00:56:45,402
[speaking in foreign language]
358
00:56:55,791 --> 00:56:57,724
- Nah, he start--
359
00:56:57,759 --> 00:57:00,762
[upbeat jazz music]
360
00:57:04,041 --> 00:57:04,938
- Okay.
361
00:57:07,872 --> 00:57:10,772
- [mumbles] is funny as shit.
362
00:57:10,806 --> 00:57:14,776
[speaking in foreign language]
363
00:57:29,307 --> 00:57:31,171
- Musician has a big ego,
364
00:57:32,518 --> 00:57:37,488
and they prefer to think
that we are ultra-sufficient.
365
00:57:38,316 --> 00:57:39,490
We are not.
366
00:57:39,525 --> 00:57:42,113
We don't have the club
owner, the dealer manager,
367
00:57:42,148 --> 00:57:45,220
the CD producer, we are nothing.
368
00:57:45,254 --> 00:57:49,120
We need the people that love us,
you know.
369
00:57:49,155 --> 00:57:51,468
Jacques Muyal is one of those.
370
00:57:51,502 --> 00:57:54,471
[playful jazz music]
371
00:57:59,993 --> 00:58:03,928
[speaking in foreign language]
372
00:58:25,122 --> 00:58:28,125
[upbeat jazz music]
373
00:59:06,577 --> 00:59:10,477
[speaking in foreign language]
374
00:59:57,179 --> 01:00:00,182
[upbeat jazz music]
375
01:00:48,990 --> 01:00:52,683
[speaking in foreign language]
376
01:02:04,168 --> 01:02:07,102
[traffic whirring]
377
01:02:09,070 --> 01:02:11,589
[horns honking]
378
01:02:15,593 --> 01:02:18,458
[slow jazz music]
379
01:06:54,700 --> 01:06:57,875
[audience applauding]
380
01:07:01,465 --> 01:07:04,468
[audience cheering]
381
01:07:07,471 --> 01:07:10,474
[upbeat jazz music]
25629
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