A brief history of the Montreux Jazz Festival!

Official website: http://www.montreuxjazz.com/

1967-1976 :
Charles Lloyd’s unmistakable tones and Keith Jarrett’s sensitive virtuosity touch the heart of the 1st Montreux Jazz Festival, launched with a daring budget of 8000 Chf. That’s when Claude Nobs makes the dream come to life on a famous June 16th, 1967: on that date the Montreux Jazz Festival was born. Then came the voices of the eternal ladies of song - the divine Nina Simone in 68, Ella Fitzgerald in 69, the queen of Soul Aretha Franklin and Roberta Flack in 1971 - which still resound in the memories. That year is remembered because of the fire of the Casino of Montreux, which started during Frank Zappa’s concert. This gripping sight inspired the group Deep Purple with their planetary tube "Smoke on the Water". The Mexican Carlos Santana, newly discovered in Woodstock, gave his 1st concert in Montreux in 1970. In love with this place, he has kept coming back to launch every new creation of his there. There is no possible doubt: acting as a pioneer, Montreux has established that jazz is a generic name, the name of all exciting, rhythmical and exhilarating musics. Miles Davis gave his first concert in 1973 at the Montreux Jazz Festival later to become one of its icons. In 1974, the Art Ensemble of Chicago led by the free trumpet player Lester Bowie, and in 1975, Charles Mingus’s double bass and Archie Shepp’s saxophone mesmerized their audience. 1976, year of the 10th anniversary, welcomed in particular the "voice of Jazz" Al Jarreau, while the mythical "Mountain Studio", chosen by Rolling Stones to record their album "Black and Blue", settled at the Casino.

1977-1986 :
The Festival gets longer and grows rich with the music of the World. In 1977, France is the guest of honour with Veronique Sanson. The Collaboration with the Festival of Sao Paulo brings a South American touch to Montreux and Brazil establishes its carnival night until the early hours in 1978. Both the Bossa and the Samba parade with Gilberto Gil. This is when the Montreux Jazz label starts spreading throughout the world. The same year, Ray Charles, "The Genius", gives a historical concert with Dizzy Gillespie. After Brazil, reggae takes its turn and enters the Festival in style with a "reggae night" in 1979, with Jimmy Cliff and Dennis Brown among others. Chick Corea and Herbie Hancock play a four-handed mythical concert. In 1980 Montreux joins with the Detroit Festival with unforgettable artists such as Marvin Gaye, Santana and Elvis Costello. In 1981 James Brown, the Godfather of Soul, explodes the Casino. Two years later, Claude Nobs invites for the 1st time to Europe a young Texan named Stevee Ray Vaughan, after having read a short advertisement in a local Texan newspaper. In less than one year, he becomes a superstar, giving performances in stadiums with David Bowie. In 1984, Miles Davis makes his great return to Montreux and gives one his best concert in a row. He becomes the emblem of the Festival. Leonard Cohen, Astor Piazzola the Master of tango as well as Nina Hagen set the Casino on fire in 1985. One year later, for its 20th anniversary, the Festival offers itself a poster created by both Keith Haring and Andy Warhol. Meanwhile, the pop rock turns up in Montreux with Eric Clapton and Friends whose gentleman drummer is Phil Collins.

1987-1996 :
The third decade becomes synonymous with great changes and eclecticism. These are first of all years of transition with the move of the Festival to the Centre des Congrès et des Expositions in 1993, which allows a new start and double programming thanks to the simultaneous use of the Stravinski Auditorium and of the Miles Davis Hall. Moreover, the whole event also becomes a true Festival in the city with its numerous happenings on the quays as well as the creation of the Montreux Jazz Coffee. This is followed by years rich with the profusion of musical events and the many stars, all joined together by the ardour of Quincy Jones - one of the greatest architects of sound of the century who came especially to co-produce the Festival with Claude Nobs. Under Mister Q, the Festival programs Sting, BB King, Ray Charles, Tracy Chapman, Lalo Schifrin as well as the only concert of Miles Davis with the Gil Evans Orchestra and the George Gruntz Concert JazzBand in Montreux. The Festival also opens its doors to the new musical genres: the world music which makes a triumph with Cheb Mami and Youssou Dour in 1995 or the hip hop with the historical nights of GangStarr, Ice T, Guru' S Jazzmatazz and Sens Unik, George Clinton and Roy Ayers being their precursors.

1997-2006 :
The opening night of the 1997 festival is entitled "Legends" and gathers the five giants Eric Clapton, Marcus Miller, Steve Gadd, David Sanborn and Joe Sample. A certain Brad Mehldau, discovered at the Palace Small Theatre within the framework of "Montreux Acoustic" is promoted to the main stage. The French singer community is sublimated by the moving triumph of Charles Aznavour, preceded by the "fou chantant" Charles Trenet. In 1998, Björk the Icelandic delivers with liveleness her opus Homogenic, while Herbie Hancock plays again with the Headhunters. They are followed by R.E.M and Alanis Morissette in 1999, without forgetting the memorable meeting of George Benson with Diana Krall in 2000 and the vibes grooves of Macy Gray which irradiate the public with positive waves. The new millenium opens with the Montreux Jazz One program, which tours 20 US cities. With this spirit of discovery, openness and sharing, the Montreux Jazz Festival establishes partnerships over the years with festivals throughout the world. Promoting music as a universal media, Montreux then shows a fertile eclecticism. In 2002 the rock'n'roll finds its Muse and the icon of Glamrock, David Bowie triumphs and gives himself to the public. This same year is remembered by the publication of a CD set, gathering all the recordings of Miles Davis in Montreux. In 2003, while the daily routine is sublimated by Radiohead and The Streets, Morcheeba and the intimacy of its vocals chill is discovered; the critical mass of the Trip-Hop of Tricky matches the flows of rap music with the riffs of rock'n'roll. In 2004, the Festival returns to its first loves for jazz by relocating at the Casino, the historical heart of the Festival. The same edition sees the fair sex of a whole nation go into ecstasies when listening to the sensitive chords of Jamie Cullum. Joss Stone becomes the future soul idol of the kids, while the Hip-Hop Black Eyed Peas phenomenon is being discovered in Montreux. In 2005 one goes back to Roots, one escapes to Havana with Buena Vista Ibrahim Ferrer, one gets boosted by the too human machines of Kraftwerk and attracted to the brutal shock-rock'n'roll of Alice Cooper; then one finally succumbs to the blazing melancholy pieces of music of Antony and The Johnsons or of James Blunt. The 40ieth edition of the Montreux Jazz Festival pays a tribute to all these creators who allow us to join the dream to reality. An anthology carried out by the British author Perry Richardson describes in more than 1200 pages the greatest moments of this "Ultimate Music Experience" and of the life of its creator: Claude Nobs.