Home » Jazz Articles » Book Review » 50 Summers of Music: Montreux Jazz Festival
50 Summers of Music: Montreux Jazz Festival
By
Arnaud Robert
398 Pages
ISBN: 978-2-84597-558-3
Montreux Jazz Festival/Editions Textuel
2016
It's neither the oldest nor the largest, but Montreux Jazz Festival is, arguably, the most famous music festival in the word. It's a notable and perhaps unlikely badge of honor for Montreux, described by Deep Purple in the early 1970s as "a sleepy little town full of old ladies and tea rooms."
To celebrate MJF's 50th edition, which was held over seventeen days in July 2016, the MJF has produced this handsome pictorial history, with illuminating mini-essays from an impressive cross-section of the musicians who have graced the MJF stages since its inception in 1967.
Even a casual perusal of the book's near-400 pages suggests that the MJF owes its fame to four principal factors: firstly, the quality and diversity of the music; secondly, the hundreds of live recordings from the MJF's unrivalled audio-visual archive that have been released since the late 1960s; thirdly, the hospitality accorded the musicians; finally, the late Claude Nobs, one of the MJF's original founders, and for forty seven years, a tireless ambassador for the festival and the tiny Swiss town of Montreux.
There's also the beauty of the festival's location, in itself a major draw for musicians and music lovers alike. Nestled on the shoreline of Lake Geneva, with vine- clad hills at its shoulder and Alpine mountains facing it across the water, Montreux is little short of idyllic. Danny Ginoux's double-page portrait of

Ray Bryant
piano1931 - 2011

Randy Weston
piano1926 - 2018
Then there's that song. Deep Purple's "Smoke On The Water," which testifies to the fire that destroyed the Montreux Casino in 1971, has immortalised both the festival and "funky Claude." Alain Bettex's stark black and white photograph of Swiss bassist Léon Francioliwho passed away a few months before MJF 2016standing in the rubble of the Casino's burnt-out shell, lugging his instrument, is a reminder that the MJF has overcome significant hurdles throughout its history, regrouping each time and carrying on with a mixture of on-the-fly improvisation and inspired planning.
In author Arnaud Robert's eloquently penned introduction, he describes MJF as ..."a tiny drunken boat that steers by relationships, sympathy and contacts." Nobs, from the off, made all the right contacts, notably Ahmet Ertegun, co-founder of Atlantic records, who sent all the Atlantic artists to Montreux, from Aretha Franklin to Led Zeppelin. In this respect, MJF paved the way for the growing inclusivity of many of the world's greatest jazz festivals. As James Blake observes: "Claude Nobs was one of the first people to understand that if jazz was to survive it had to open its borders."
In one of the book's sixty interviewswhich range in style from elegant essay to intimate confessionalErtegun describes Nobs' talent for getting his way: "He was incredibly good at appreciating musicians. He had a genius for seducing artists he wanted. He managed to sweet talk

Aretha Franklin
vocals1942 - 2018
Black and white photographs of Franklin,

Ella Fitzgerald
vocals1917 - 1996

Jack DeJohnette
drumsb.1942

Dizzy Gillespie
trumpet1917 - 1993

T-Bone Walker
guitar, electric1910 - 1975

Chuck Berry
guitar, electric1926 - 2017

Ray Charles
piano and vocals1930 - 2004

John Lee Hooker
guitar1917 - 2001

Charles Lloyd
saxophoneb.1938

Michel Petrucciani
piano1962 - 1999
Color photographs that stand out include ones of an angelic looking

Prince
multi-instrumentalist1958 - 2016

Miles Davis
trumpet1926 - 1991

Sarah Vaughan
vocals1924 - 1990

Etta James
vocals1938 - 2012

Dr. John
piano1940 - 2019
Some of the most effective photographs, however, are those that frame the musicians in moments of off-stage relaxation: Leonard Cohen standing on his head; Dizzy Gillespie and Zoot Sims playing poker; Ahmet Ertegun and Claude Nobs basking in the sun-kissed lake, a party at one of Nob's chateaus -all attest to MJF's famously chilled-out yet festive ambiance.
Many of the twenty or so photographers whose pictures feature have had long-standing relations with MJF, none more so than Georges Braunshweig -a regular at MJF since 1970. His 1975 picture of
Norman Granz
b.1918
Oscar Peterson
piano1925 - 2007

Roy Eldridge
trumpet1911 - 1989
Perhaps the book's greatest strength is the narrative of MJF's evolution that runs through photographs and texts alike. The changing musical fashionsfrom bebop to hip-hop and from blues to electronica and popare well documented. Also chronicled are the MJF's technological strides, which include being one of the very first festival's with an online-presence; in 1994 the MJF sold 150 tickets online. John and Helen Meyer, who have provided MJF's sound system for thirty years, describe sharing with Nobs ..."a sometimes irrational obsession with quality."
Colourfully anecdotal, the texts offer up numerous fascinating stories from MJF's fifty years, which are as revealing of the musician's sacrifices, doubts and inhibitions as they are of their ambitions, inspirations and passions.
Clearly, MJF means a lot to the musicians who have played there; above all, perhaps, MJF seems to have afforded musicians a sense of musical liberation. "If you want to understand my career," advices George Benson, "listen to my shows at Montreux." French journalist Yves Bigot remarks: "The festival made it feel like the music we lived for was really important."
The essays/interviews are not all by musicians, reflecting the numerous personalities that are part of the MJF tapestry: festival producer George Wein; long- standing Nobs collaborator Jaquelyne Ledent-Vilain; graphic designer Pierre Keller; journalist/producer Nancy Ypsilantis; world-renowned chef Fredy Girardet, and Thierry AmsallemNobs' life-partner and collaborator. Taken together, their testimonies throw light on the nuts and bolts of MJF, help paint a vibrant collage of Nobshis personality and driving forcesand ultimately, shed light on the abiding spirit of MJF.
The final forty pages are a photo album of the eclectic ephemera collected by Nobs over close to five decades. From a toy train, a contract with Miles Davis and a harmonica, to posters, LPs, a recipe book and ceramics, the images offer the outsider an insight into Nob's personality and will no doubt stir a thousand and one memories for those who knew him well.
A beautifully designed and presented coffee-table book that draws you back again and again, 50 Summers of Music is a wonderful souvenir for any music fan who has ever experienced MJFor who dreams of doing soand an important historical document of a festival that celebrates music without borders.
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