MC: Thank you for being here in such great numbers for the third evening of the Montreux Jazz Festival Residency, which supports emerging artists in the jazz scene, in particular, though not exclusively.
Aino Salto: Copyright in jazz is such an important topic because jazz is such a vibrant music.
It's so alive.
Orphy: Okay, so here we go.
One, two, one, two, three, four...
(music starts playing) Stéphanie-Aloysia: The Montreux Jazz Residency is a nursery for young musicians.
The programming is never about choosing one group over another.
It's a blend -- a kind of cocktail.
As Claude Nobs used to say, it's like a bouquet of flowers.
And actually, it's interesting because it's made of elements that may seem mismatched, but where the sum outweighs any individual part.
So musicians from all over the world are all together under one roof.
We have them play with people they've never met under the guidance of mentors.
What we really liked about Aino Salto is that her work is quite intellectual.
She's used to stepping into other universes, and there's real depth in that.
I have a background mostly in jazz music.
I studied jazz composition as my masters, and now I'm doing different styles of music, I studied jazz composition as my masters, and now I'm doing different styles of music, but all of them are kind of influenced by jazz.
My definition of jazz is freedom.
And that can be anything.
It can go anywhere.
Can start anywhere, end anywhere, or never end.
So it's freedom.
Just remember, it's funk not think.
Funk.
Not think.
OK?
(Soft music playing) I think I have many questions about copyright.
One definitely being how I can deal with arrangement, knowing how to pay respect, through, for example, copyright, to the people whose music you're using is so important to know.
And then on the other hand, jazz is music that comes from an Afro-American background.
So basically I feel like I'm in the house of someone else's ancestors.
So I really want to know my way around.
I really have to check that what I'm doing pays respect to the music I play, pays respect to the people who play the music that I'm influenced by.
So I think that's why copyright, for me, is quite an important topic in my creative process.
I became an advocate for really championing the rights of musicians, composers.
I was very much interested in law.
It's a family thing.
And, through looking at years and years of people not really knowing what were the sort of things open to them in order to defend themselves...
So if I can help other people to discover themselves through music, that, for me, is my goal.
Coming from the point of view of an artist.
A lot of it sometimes seems confusing.
People kind of say, you know, "Is this important?" "I don't know if that's a part of my life." So the first thing I'd like to discuss is: What would a world without intellectual property look like?
I'll start by saying we wouldn't be here in this room.
None of this would be happening without intellectual property.
The reality is, it is part of your world.
You are going to be in that world whether you choose to learn about it or not.
Educating yourself, using platforms like CLIP, that is something that you need to take seriously, as you also take seriously the nurturing of your your creative craft.
Intellectual property is not a place where you want to improvise.
(Music playing) The platform CLIP covers any area that you need.
And it's really important -- That's as important as learning new scales.
