>> rose: welcome to the program, tonight aung san suu kyi the burmese pro-democracy activist in a conversation recorded early friday morning. >> i think the members of the u.s. congress have burma's best interests at heart. and the reason why they instituted sanctions is because they believed that it would help burma to proceed to its democracy. and now that i think most of them understand it's time for sanctions to be lifted to give us an opportunity to stand on our own feet. i'm sure they will be happy to do it. >> rose: also this evening wynton marsalis and garth fagan. their new piece is called "lighthouse/lighting rod" >> so i received a tremendous education from god and down through the years our companies are like

familiment we work together, we go to their shows, they come to ours. so after all of this time, we collaborate very easily because we have a sensibility and understanding. and we as musicians understand what his style is about. >> its music for me, i become a member winton accepted as a choreographer. i don't dance to the music, i dance with the music. and i play with his music to and from. and to my eye and my spirit, it's richer and more wonderful. and thank god critics around the world think that way. >> rose: we conclude this evening in a conversation with daniel humm on the making of a chef. he made his way from switzerland to san francisco and now to new york. >> 11 madison park, when you look at the room, the room is very unique and special. it has a real new york feel to it. it's an historic landmark building. and it's overlooking madison square park which has a really rich history, you

know, in the old days there was, you know the rules of baseball. >> rose: yeah. >> have been, you know, decided there. and the torch of the statue of liberty was held there before it got installed. >> rose: is this what infused you of doing a history of new york later. >> absolutely. we felt like we almost had to responsibility of you know, paying tribute to new york. >> rose: aung san suu kyi, winton marsalis, garth factan and daniel humm when we continue. >> funding for charlie yoes was provided by the following:

captioning sponsored by rose communications from our studios in new york city, this is charlie rose.

>> rose: myanmar also known as burma has long been considered one of the most repressive and isolated countries in the world. more recently though the nation has moved towards some degree of democracy since their new president took office in march 260118. they have eased hundreds of political prisoners. it also took steps toward political reconciliation with ethnic minorities, perhaps the biggest sign of hope is the government's decision to allow political opposition. it has paved the way for aung san suu kyi leader of the pro-democracy opposition to return to political light. she was released from detention in november 2010 after spending 15 years under house arrest. her party won 43 of the 45 open seats in parliament last april this week she arrived for her first official visit to the united states. her trip comes as the obama administration considers lifting remaining economic sanctions against her country. on wednesday she accepted the congressional medal of honor and met with president obama for the first time. i spoke with her earlier

today at the plaza hotel here in new york. and here is that conversation. >> rose: thank you for taking time in a very busy schedule to see us. >> pleasure. >> rose: i have two simple questions. where are you in your life at this moment? and where is your country? >> well, they're not simple questions at all. they're the most difficult questions to answer. if you are asking where i am, of course, i can say i am here. but i think my country and i, we are all at the beginning of the path to democracy. i've often said that this is something that we'll have to construct for ourselves. it's not there smooth and waiting it is something that we have to build up as we go along. >> rose: why dow believe that's true now? >> because we have been given the chance to do it. previously we were not given the chance even to start building the path. we had been struggling for the opportunity to start out

on such a path. >> rose: and when you talked to the president and you ask him about lifting sanctions, do you believe he will do it? >> actually, i talked to the members of congress about it. and i believe they will do it. >> rose: its president clearly understood that... . >> i think that members of the u.s. congress have burma's best interests at heart. and the reason why the institutioned sanctions is because they believe that it would help burma to proceed to its democracy. and now that i think most of them understand it's time for sanctions to be lifted to give us an opportunity to stand on our own feet, i'm sure they are happy to do it. >> rose: you are sure they will do that. >> i said i'm sure they will be happy to do it. >> rose: dow believe they will check in with the government and find out was's the right time to announce it and then announce it? >> i am sure the u.s. congress is quite cap kbl of deciding when the time is right for them.

>> rose: has it been for you any kind of delicate balance to be able to on the one hand, express your great passion for democracy. and at the same time, the delicate balance because you have a government in burma today that seems to be moving that way. i mean are there tensions for you at all? a delicate balance? >> of course poll particulars is always a delicate balance. but the fact that i believe we should go to it as a democracy and that this present government also feels the same way is, i think, good. >> rose: why are you convinced the government feels that way? >> because i think they have discovered that the previous military regime form of government did not really work well. >> rose: and your impression of the present leadership? >> i think we have to look at the whole of the government now, not just as an executive. we must look at the executive and we must look

at the legislature. i don't mention the judiciary because that's very weak in burma at the moment and that's what we're trying to build up. but i think we have to look at both the executive and legislature and then we can come to the conclusion how far we are proceeding to its democracy. i can speak more for the legislature because i happen to be in it. and i think it's going in the right direction. >> rose: how and why did democracy become so deeply embedded in your heart and brain? >> i was born into it. well, i was to the born into a democratic burma because i was born before independence. but an independent burma was a parliamentary democracy. and that is a country where i grew up. by the time the military regime took root in burma i was elsewhere abroad in countries where democracy was practiced. so i have lived with democracy practically all of my life. and while i've always accepted that it's not a

perfect system, it does allow for people to enjoy both security and freedom. and that to me is the right balance. >> rose: are you comfortable with the fact that the world sees you as a symbol? >> i do feel that the world is comfortable. >> rose: no you. >> it's embarrassing sometimes. >> rose: why is it embarrassing? >> perhaps i'm shier than you think i am. >> rose: probably so. but i mean at the same time does it give you a sense of responsibility. because the sacrifices you have made to stand for your beliefs have been huge. >> i have tried to keep my sense of responsibility quite apart from people's opinion of me. if you let people's opinions of yourself whether favorable or unfavourable impact on your sense of responsibility, then it's not as firm as it ought to be. >> rose: but all of us who admire you and all the people who have watched this

evolution in burma, what is if that causes you to be so steadfast in your commitment? >> i suppose they must see something in my genes, but also there is my upbringing. i have said repeatedly that my mother brought me up to develop a very strong sense of duty. and i can't say that i have never failed in my duties. i can't say that there have not been times when i do what was easy or what i thought... . >> rose: when was that. >> many times in my life, for example when reading a novel instead of studying for the exams and so on. >> rose: will you not be judged critically for that. >> well, i think i have chosen my own personal incantations above my duties for short periods of time. but always i knew i was aware of what i was doing when i was doing if. so i would return to my duties, as it were. >> rose: was religion a significant factor.

>> religion is a significant factor in my life. i suppose in the life of all who believe in any particular religion. >> rose: in moments that you were weak and wondered if you could go on? >> no. >> rose: never. >> no. because it was not a matter of weakness or strength t was just a matter of doing as much as you were able to do. >> rose: you get up in the morning and say this is what i have to do and go do it. >> i have a very strict timetable and that helps. you get up in the morning and know exactly what you have to do and so you go ahead. >> rose: what is the most important thing for to you do now. >> i have a number of different responsibilities. i have my duties as leader of my party. and then i have my duties as a member of the legislature. and i also have my duties as the chairman of the committee for the rule of law and tranquillity. and i have also my duty as somebody who is trusted by our people. so i have different sets of

duties. and i have to try to discharge them all as best i can. >> rose: talk about this level between leadership and trust and how that happens and how significant it is. you just said it. eth trust of your people. >> i've always thought that if you are in a position of leadership, you have to be honest with the people tha that... who have accepted your leadership. that is the thing. you must not give them false hopes. but at the same time you have to be able to inspire them to keep on going when times are hard. but you cannot do that through lies. you cannot do that through false promises. you have to be honest. and i found that the people of burma respond very well to this. they like honesty. i think people everywhere do. they like honesty. they like openness. >> rose: transparency and authenticity.

>> yes, very simple but not that simple to achieve. >> rose: yeah. but never... but never... not losing sight of the goal. >> of course not. but you have to be honest about your goal too. >> rose: and your goal is? >> as i said democracy by which i mean a system of government which not only gives the people rights but where the people are made to be prepared to shoulder their responsibility. >> rose: do you think that your country has... does it have been its dna the desire for freedom? >> yes there is this desire to be free but there is not always the apart. ness to shoulder the responsibilities of freedom and this is what you have to work at as well. i've always said it is a cultural weakness of our society that makes... that we do not... we are a not used to negotiated

compromise. and this is something we have to learn. >> rose: have to learn negotiated compromise. >> yes. >> rose: that you can't have everything. >> yes. we can't have everything. you have to see the other person's point of view and you have to settle for something that is best for everybody on the whole. >> your relationship today with the president? >> i hope i have a good relation with him, relationship with him. i think i do. but of course he must speak for himself. >> rose: china. >> yes. >> rose: you think china accepts and is pleased by change and progress in burma? >> i think china has its concerns about the engagement of the united states and burma. >> rose: what does that mean? >> because i think they are, well, people talk about the strategic distrust between the united states and china. >> rose: right and influence and sos on on. >> an because we are very close neighbor, just across-the-board frere china, obviously they will be concerned about what is going on within our country.

but i do not think that we should look upon burma as a bone of contention. i would like to think of burma as an area of where china and the united states can strengthen their understanding for one another. >> rose: would you be pleased or displeased if i said of you that there are two things about you. one that it is a passion for democracy. you talked about. secondly that you are a hardheaded politician. >> oh, i hope i am a hardheaded politician. i would need to be to survive what's coming in the years ahead. >> rose: and that hardheaded politician sees the roll of burma today in the world as what? >> we are in a very unique position. we're between china. we're between india. we're on the edge of south asia and southeast asia. and therefore we can be a country which is a success

story for everybody all around. >> rose: and you're here in new york, one of the capitals of capitalism. and i assume that part of the message has come to burma, come to burma, invest in burma, believe in burma. we are now on a path of openness, transparency. >> rose: i don't think this is my main message. i want investment in burma but in the right way. i'm not just saying invest in burma. what i am saying is invest in burma in the right way. >> rose: what's the right way? >> the right way is what i call democracy friendly, human rights friendly investment. and if you ask me about it, it has to begin with transparency. we want to know what kind of people are investing in burma and for what reason and how. whether in the long run it will be as beneficial for our people as for the

investors themselves. of cures they must benefit from the situation. >> rose: how is the cause of human rights today in your judgement. and where is it at its weakest. >> the cause of human rights will have to be supported for a long time. i don't think they will ever come a time when we can say that human rights are what they ought to be everywhere all over the world. i think they will always be areas where human rights trips up even in working democracies. >> how important is the idea that a world understands the might of people and the fact that they know the world hears their voice to giving them both the strength and the opportunity to achieve their own goals. >> understanding is the basis of a good human relationship. so if we want a good relationship with the world, our country or other countries, then we have to

build up understanding. but it doesn't happen just by sitting and wishing for it. we have to work to it. >> rose: thank you very much. much success as you go to see the secretary-general of the united nations. >> thank you. >> rose: thank you. winton marsalis and garth fagan collaborated on their first piece in 1991. it featured music by marsalis and choreography by fagan. at the time anna tithelgoth of the "new york times" called it one of the happiest and most poetic dance premiers of the season. and here it is. ♪ ♪.

>> rose: now more than 20 years later they have reunited to create a light house/lighting rod at the brooklyn academy of music on september 27th. here is a look at a rehearsal. ♪ ♪ joining me now two collaborators and long time friends winton marsalis, the managing and artistic director of jazz at lincoln center, grart fagan is the

founding director of garth fagan dance. welcome. >> glad to be here, charlie. >> this is my brother here, having said that, you have always loved jazz. >> absolutely. my parents loved jazz. my mother was ellington, my father was bassie and a grew up during the war. >> rose: one loved ellington and one loved bassie. so what brought you two back together. >> well, hi this piece burning, slight house/slighting rod. and i have adored winton when i heard him play as a wee babe in the teens. i watched his growth. heard him do classical music. people sometimes forget that. and that was who i wanted to work with. because he gets what i am doing. and i love what he's doing. and he was free so he sent me nine extraordinary pieces

of music. went off to europe on a tour and said choose what you want. >> rose: yeah. >> so i chose eight. >> rose: how does it normally work for you? >> the mover suspect most important for me. because movement is dance, and dance is movement. and move suspect the one things that's universal to all cultures, races, creeds, whatever. when you come out of the birth canal you're dancing, firt thing you do. >> rose: yes. >> so every human being has that. and the music for me, i become a member of winton accepted as a choreographer. i don't dance to the music, i dance with the music. and i play with his music to and from. and to my eye and my spirit it is richer and more wonderful. and thank god critics around the world think that way. >> rose: when you were writing this, were you

thinking dance? >> yeah, i was thinking about giving a certain number of cues. but ironically one i put a lot of changes in it, garth said no, this one has too many changes. (laughter) but i know he also comes from the spirit of the music. and jazz is naturally dance music. and because he really understands the full force swing rhythm we play in and the flexibility and freedom of the music, he embraces it and loves it t is very easy to collaborate. >> rose: why is jazz as you say for dance? why is it mostly akin to dance among all music. >> the music came up as dance music. people in the street, 1920ous, popular music, people dancing to jazz organize strass, duke ellington, count basie, great orchestras swinging and playing for dance, modern dance in the 1950s, all the great musicians. that is the style. >> rose: so garth how did you collaborate? >> he just sent me the music. >> rose: that was it.

he had done his part. >> that is it now. no no, but in two days time when he and the band comes up to rochester, first thing we'll do is show them the piece to the recorded music. and then he'll see what he likes and what he doesn't like. and then we'll collaborate. and the last time, he completely kposd a new section there because he didn't like what he had written for that section. you know so, i'm not worried. the best will come out of this gentleman. >> rose: now dow like dance as much as he likes jazz. >> oh, yeah, i love it. a large part of my... being from new orleans and playing in pop bands when i was growing up, we were always playing dances and we love dances because our music, our community muss sick always second line and people dancing with the band. and are you playing with the dancers and the dancers improvising. but with my understanding of the fine art of dance t actually i met garth when i was 22 or... i was 22 years old playing a gig in

rochester this was a rough time in my life, i was 23. i was just walking down the street and he turned around in the car. i had no idea who he was. and he said ask me if i was you, you wynton marsalis. i said how do you know me, i'm 22, nobody knew who i was. he said hayman, i want to show you something. i went with him, i could tell he was in the arts. i knew... he took me to a gim nassium and they were dancing. he took me and his company was there, and that began an education. i knew alvin ailly n the arts world there were so very few intense at a young age about the arts. so i received a tremendous education from garth and down through the years our companies are like family. we work together, we go to their shows, they come to ours. so after all of this time, we collaborate very easily because we have a sensibility and understanding. and we as musicians understand what his style is about. >> rose: tell me what the

sensibility is that we have an understanding of. >> the rhythm, the obvious rhythm. the rhythm that does not exist but we have to impose it on the rhythm that he gives us. the rhythm that the muses and the gods descend upon us in an instant and you have to hear it and recognize it. the accented beat. the accented movement, you know that comes out of the blue. but you have to be able to repeat it. and that's a problem. >> rose: when you hear the music tell me what you think about. >> first of all i listen it until i know that i love it and i have to listen 200 times. because when gi in the studio i choreograph in silence. and i show the dancers what to do and tell the dancers what to do. and then i put on-- . >> rose: you're not playing the music first. >> i'm playing it in my brain. >> but not for them. >> no, because i want to see if the movement is strong enough and rich enough. and for the work that i'm doing.

and then i put on the music and the magic occurs. and everybody applauds and we have a good time. and sometime, most of the times i'm thrilled and sometimes i say oh, how you could do that. you got to change that. and i go back and i change it. >> rose: tell us about the set, designed by what, allison... . >> she is an art frist california, absolutely brilliant. and i bought a piece of her work called inheritance. a little girl with... standing so strong and proud that nothing was going to stifle this child. and i lost a daughter as an infant and it's always affected me in life it still keeps going on. so once i started i fell in love. i said let me call allison. she came to portland to see us do great new york there and she came to rehearse, she came to the show and she got it. and martin purrier had done the wonderful sets for that. so she was on.

and her light house is the most beautiful stage we'll ever see. it's a woman with the light rods go in a horizontal position out of her head and she'd holding it in the right hand with light rods going out. and she's holding her breast as a feeding mother and you know that is still a controversy in the 21st century. 18 feet tall. and quite unlike any light house you ever saw. >> rose: tell me, you said in the passing that story that you had a daughter. >> yeah. >> rose: . >> she died in a car crash when she was almost three years old. >> rose: and it has motivated you forever. >> it's driven me through life. you think you have gotten over it, you go to therapy and everything, and nooirn nine happens and you fall apart. it is-- and that's why the women in my company so beautiful and so strong. my women jump and turn with the best of the men because i natalie rogers i tell her she is my daughter reborn,

born three days before my daughter. so god sent her to me, you know. and my great grandson is the image of my daughter so magic happens. >> rose: god works in mysterious ways. >> very mysterious. >> rose: in terms of being able to replace something you have love with an image or personality or spirit. >> when relatives come and meet him they all gasp. that is sherin. >> rose: let me talk about jazz. 25 years it seems. >> 25 years. >> rose: what does it mean to. >> community with a purpose. a lot of people from all over new york city came together to make jazz at lincoln center happen and then all over the world, lawyers, developers all types of people, great musicians from all over, older musicians, younger. peoples from all walks of life, took care, aed over it, loved it, we're still

dedicated to testimony. a lot of our original board members are still with us. a vast majority. we believe in it and have done a lot to transform the culture. >> rose: has it done what you wanted it to do. >> it has done more than i could have dreamed it would have done when we started. now of course no we have a lot of-- . >> rose: what's the hope. >> the hope is to transform our culture with the spirit of jazz and to let every one in our country, all the musicians see and understand and get the value that comes from the great people like ellington and armstrong. great dreams and hopes for our country and way of life and for the world. >> so in your panth onof plasters, geniuses, ellington. >> i mean there have so many of them, at that time up, duke ellington, louis armstrong, john cole train,

miles davis, cliffford brown, charlie parker. they will onuous monk, he grew up right behind lincoln center, benny carter who also grew up ironically right behind lincoln center. so many different types it of geniuses, billie holiday, bette carter. >> rose: is part of your drive, that spirit that they were so much an integral part of lives and thrives. >> that spirited does live and thrive. maybe it does not manifest itself in music but it lives and thrives in every corner of the earth in all professions. >> rose: what is it. >> a believe in the ascendance of human being. a belief in rising. a belief in the use of will. a belief in love. a belief in, it's not naive. we all have problems. we all have dysfunction. it's born in dysfunction but it's always looking up at the stars. it's always saying okay it's using that indomitiable will. that is what the blues is. they are saying we can come together.

we can be rational. we can enrich each other. there is a creativity in jazz which says your greatness only enhances mine. when we come together and recognize that, that is what swinging is. we come together, it's exponential growth and i believe in that and those musicians lived and died for it and they saw it in their time. we saw it in our time. we have seen it for jazz at len con center in 25 years. >> roll tape this is an excert from a video essay that you did for cbs this morning. louis armstrong. >> my favorite track on this recording is pops version he takes you through his history being born, in dire poverty and then developing, wanting the neighborhood to be proud of him. >> i join the band.

>> join those beautiful sounds. >> all over the land. >> this is something that was humility and a desire to please people with great quality music. >> and i think they were his gifts. he was able to turn the light of the human soul on and every time he breathed a note either playing or singing he could uplift our spirits and the heavens would open up and we would begin to see a world in a different way louis armstrong was one of the greatest human beings to ever live on this planet. he gave us a healing that still sits with us. thank you pops. >> rose: produced by the great page. >> yes, number one, it was. she is number one.

>> rose: 40 years, how has it changed? >> your dance company? to see people mature, steve who danced with me originally, first performances is still dancing, 60 years old and looks like he's 40. so that's important to bring that kind of knowledge, to bring that kind of knowledge to the stage. >> rose: there you go. >> and then with have the youngsters now who are very electronic and into their games and they push a button and everything changes, explodes. it's beautiful, whatever. so you've got to get them to understand that 70% good is not good enough for me, or good enough for garth fagan dancer wynton marsalis. they need to get back in the studio, work some more and get it up to 90%. then we can have a discussion and hopefully-- . >> rose: i want garth at my next staff meeting. >> you know, he's a task

master. you don't know. >> and then when you get it at 19 the sooner you get up on the stage, you push it up to 97. you know. and it's not perspection it is the pursuit of perfection that is exciting, especially in the arts and anything. but in the arts especially usain bolt, you know what i am talking about, good. >> boy, he has it. >> certainly has it. certainly has it. you know, so you can compete and present to the world the beauty, the breadth, the depth, the richness, the texture of your art form an contemporary dance has all of that in it and not the same old-fashioned dancing to the music stuff. >> rose: you guys are something. thank you. >> i'm very proud of them. >> rose: you should. you very proud of that young man. >> rose: proud of this young man. >> absolutely, absolutely. >> rose: don't you love this

threads. that is the inside. >> yeah. >> rose: you got some france dress maker, shirtmaker does that. >> no, no, this is robert graham, the great shirtmaker, robert, i want six shirts from you for free now. see here, charlie rose, good. >> rose: make that 12. >> yeah. >> rose: no, we're kidding. let me just give you the vital details here. here we go. light house/lighting rod premiers at the brooklyn academy of music september 27, september 27. jazz at lincoln center celebrating its 25th anniversary season. garth fagan dancing in the midst of a two-year celebration of at 40th anniversary. congratulations. >> thank you, sir. >> rose: thank you. back in a moment. stay with us. daniel humm is here. executive chef and co-owner

of the restaurant 11 madison park here in new york. in 2009 frank browny food critic of "the new york times" award the restaurant a koft 4d star rating, last year it was awarded 3 michelin stars this year they unveiled the new menu to create what "the new york times" said a four hour ode to romance and history of new york. i'm pleased to have daniel humm at this table. welcome. >> how are you. >> rose: pleasure to have you here. and i should say i had the great pleasure of having dinner last night in your restaurant. and i begin with this, take me back to the journey that has taken you from switzerland all the way to a restaurant in new york. >> absolutee-- ly. >> i grew up in switzerland an hour outside of zurich in a very small mountain town. and 1,000 people live in that to in. and the way i grew up, i grew up in a family of four kids. my mom is at home. and she cooked two meals a day. and very early on, you know,

during school you would come home for school for lunch. and when i was walking home from school, i would based on the smell in front of the house i would try to guess what it was for lunch. some of my favorite things, you know, a-- with olives and oranges and rosemary. and when i smelled that i was so excited. so the food for love, the love for food came very early on and then my mom also made me help in the kitchen. so we would go to the farms, pick up lettuces, pick up raddishes, pick up berries. and we would come back home and i didn't cook at early age but she made me help. like peel carrots, wash lettuces. one time i remember it was raining outside. and we hadletuses. and they were covered in dirt because of the rain,

you know, spilling. and then i had to wash the lettuce like nine times. and i was standing there. i was like eight years old. and i couldn't understand why i was needed to wash this lettuce. for nine times until it was clean. and then one thing i never forget, my mom told me, just taste this lettuce it is sweet. it is succulent. and you understand why. and then, you know, we went to other places in restaurants and even in supermarkets, she pointed out you see the difference in these lettuces. and they tasted different. and so that was maybe the biggest lesson at an early age. >> rose: you also like cycling. >> i also like cycling. i was a competitive cyclist. and i was training very hard. i was, you know, part of a

team and what it taught me is to be, you know, focused to get up early in the morning and to train and take it seriously, prepare for a raise. and always have these goals in mind. and today as a chef i think that has helped me a great deal. also cycling is an endurance sport. and i think so is cooking. you have to stay with it for a long time. and along the way there are successes but there are also times where it just really, really hard. >> you tell your parent you want to go away and be a cook, a chef. >> my dad is an architect. and he -- >> he said why not be an architect. >> he kind of wanted me to follow his footsteps. and he took me around, to his firm and to his offices and stuff. and i thought it was incredible boring. just sitting. everyone is sitting at the

desk and drawing. and for results it takes so long to see results. >> rose: sometimes you don't see it. >> sometimes you never see it. >> rose: if they don't build. take me to san francisco. >> so then i was did my training in switzerland, french part of swiss land. and i worked in the french part on lake geneva with a great chef. >> rose: who was that robet. and he really instilled the dedication in me. his kitchen was run on such a high level. in the morning, for example, he would come back from the markets and he would have garden peas, mushrooms and he would bring them and we had to sort them in five different sizesment but the first day i'm like well they're all the same size am but there was small

differences. so we had to sort them. and so he really... he was my mentor. and i was working there for six years. and i learned a great deal. and when i was done, i took a job outside of zurich to be the chef. i was 24 years old. i had a team of four people in this little restaurant on a hill of switzerland. and i started cooking. i started cooking rustic swiss cuisine and pretty quickly i got bored with the ingredients so i started to dde more ingredients that i worked with in the past. lobsters and fish from the oceans and stuff. and within the first year the restaurant became pretty popular and we received our first michelin star and i was discovery of the year. and then there was a guy who came often.

he was a regular guest. and one day he said, you know, a friend of mine runs a hot nell san francisco. and he's looking for a chef. and i was 24 years old, on this little mountaintop in switzerland. that really didn't have much more other than the restaurant, you know, the goats running around, the cows, and the grass. at 24, at times it got a little boring. and so then i'm like wow, going to san franciscoment i didn't speak english. i had never been to america. but i was really intrigued. and i'm like wow this say great opportunity. >> rose: what was the name of the restaurant in san francisco. >> it was called the campton place hotel. and i went there. and i was blown away by how far you know, justed culinary industry had come. >> rose: san francisco is a good restaurant town.

>> amazing. >> rose: yeah. >> and the farmers markets and the farmers. >> rose: in northern california. >> napa valley it was an incredible time for me. >> rose: and then danny myers shows up. >> and then one night danny mire. >> rose: well-known restaurateur, has been on this program. has a genius for being able to create restaurants. >> and he came to the restaurant and there was, at campton place. >> rose: you knew who he was. >> you know, i did not know who he was at that time. we received four stars from the san francisco chronicle. the weekend after he came and they approached me and they said, you know, they have 121-- 121-- 11 mat soon park and they are looking for a chef. and i said wow, i was just getting four stars. i don't know if this is the right timing. but long story short, i found out like two months later that the restaurant, the hotel of campton place

was being sold and there was a lot of transition. so i didn't want to be caught newspaper that. and danny was a wonderful person, as i met him and came to new york. >> rose: a unique sense of dedication to the customer. >> incredible. >> rose: so you come to 11 madison. >> i came. >> rose: in the meantime you had won some awards and had been celebrated for what you had done as a young chef. >> yes. >> rose: without going through all of them. you come to 11 madison. what is it you want to do there. >> 11 madison park, when you look at the room, the room is very unique and special it has a real new york feel to it. it's an historic landmark building. it's overlooking madison square park which has a really rich history know, in the old days, the rules of baseball have been, you know, decided there.

the torch of the statue of liberty was held there before it going installed. >> is this what infused you with doing the history of new york later. >> absolutely. we felt like we almost had the responsibility of paying tribute to new york and to history of new york. >> rose: you set about to learn it by talking to historians and others. >> yeah the famous restaurant dell mockica was across the park, jerry thomas had his first bar there. the broadway show so that's the environment did. you change the food that you were doing in san francisco? >> you know, it's interesting, as a young chef i was a student of the french gastronomy. i worked my way up to the french, through the french kitchens.

an as i came to new york i stilt was looking at other restaurants, what they were doing and being inspired by other restaurants. and we aimed to be a great restaurant so you look at the great restaurants to be inspired. but then also something interesting happened when i got to 11 madison. we got a review from 9 new york observer, and we got a really favorable review, three navistars out of four. but one of the lines was, i wish this place would have a little bit more miles. >> rose: and they meant what by that. >> they were like okay, that's coolment but we-- we like miles but what does l and we came up with a list of 11 words that were most commonly used to describe his music. >> rose: they were. >> some of the words were cool, endless reinvention, forward-moving, collaborative, fresh, and so

forth. we look at the list of words and we're like wow, these are the words. >> rose: so miles davis became your muse. >> it became our mission statement. it became our inspiration. and it also gave us our own point of view. because for the first time we got inspiration by something else than restaurants. and that really has started to give us our own identity. >> rose: but no miles davis music in the kitchen. >> we don't have miles davis music in the kitchen although we do play it in the dining room. >> rose: but not in the kitchen. >> not in the kitchen. >> rose: why not the kitchen. >> you know, the kitchen has its own music. and when i'm in the kitchen, based on the sound, i can... i know if we are having a good night or if we are struggling. >> rose: by the sounds of the kitchen. >> the way the cooks put the pans down, the way it is communicated, you can feel it it's under control.

you feel it is a controlled environment or you feel if it's... you know, if people are a little bit in the wods. >> rose: do you believe that good food is not enough. that you have to create an experience for the person who coming to your restaurant? >> you know, i think... i believe there needs to be restaurants on all different levels. there are restaurants to just feed people there are restaurants to just get together and then there are restaurants, i think they want to tell a story. i think eating at 11 madison park is definitely like similar than going to see a show. there is a narrative. it's a time commitment. >> what is the philosophy of showmanship? >>. >> i think as long as the guest is in the center of a dining experience, i think

it's really what we do. we take very, very serious. we are trying not to take ourselves too serious. >> you have magic and cards. >> rose: . >> but it's always in the mind of the guest. and i think one thing that's really important is in a fine dining restaurant we kind of try to break the rules. we don't want to be a... he want to bring people together. >> rose: you don't want to seem gimmicky. >> a lot of the dishes we serve family style which would you not expect at a restaurant on our level. >> rose: so you do something that seems to me indicative of who you are and your personality. you set out to learn what it was about those restaurants that had four stars. >> yes. >> rose: what do they do? what is the common denominator among all of them? what do they know that i don't know? >> i think all these restaurants are always striving to be better.

they're always pushing. they're always looking for new ingredients. they're always reinventing themselves. and early on when you got inspired by these restaurants and we took, we borrowed things that they did and kind of made it our own. >> rose: you're always changing. you have revamped 11 madison. >> yes. >> rose: but before that you bought 11 madison. here are you having put in business by danny mire. >> yeah. >> rose: and you tell danny mire we want to own a restaurant. >> yeah. >> rose: danny mire is smart enough and talked about it on this show to say, you know, i'll sell you the restaurant because he didn't want you out building restaurants that would be competitive with him. >> yeah. >> rose: wouldn't good for you, wasn't good for him, sow sells you the restaurant that is a good guy. >> really good guy. you know, i have been working with my business partner who runs the dining room. his name is will. and over the last six years

we've gotten really close. and we have built 11 mad son with the support of danny mire so we got really close and we knew that we wanted to work together. >> rose: and work for yourself. >> and work for ourselves. its with a dream for to us own a little business. and a restaurant in new york. to be part of, that is the reason why i came to new york. every time i came to new york i felt that on the streets, i felt the energy i felt that everyone who was in new york wanted to achieve something special, who wanted to be the best in what they do. you don't just come to new york to just sit. you come to achieve something. >> rose: so you decide you want to own another restaurant. >> yes. >> rose: dow want to duplicate 11 madison or go somewhere else. >> we wanted to just offer another opportunity of

dining. >> so you're not competing with yourself. >> exactly. and you know to be honest, we've been at 11 madison for seven years. we have build such an incredible team that at some point they hit the ceiling and there is no more ways to go up. so opening another restaurant allowed us to promote people, to become chefs and sous chefs and managers and gms. you know, at the restaurant nomad, everyone of the key employees has been working with us for many years. and so this was an incredible way for us to hold on to these people. also, it's in our neighborhood. it's only four blocks away from 11 madison park. and we love that neighborhood. and we would do anything to make that neighborhood better. we want to kind of, with both places. >> rose: how was it different, at the other restaurant, nomad. >> it's more casual. it's louder. it's looser.

>> rose: but the muse for this or the inspiration for this is mick jagger. >> that's right. we looked for again inspiration from somewhere else and since we have miles davis we looked into the music world. >> yes. >> rose: is the difference in miles davis and mick jag tore find the difference in the two restaurants. >> absolutely. i think the rolling stones are loud, they're looser but they're still deliberate. you know, satisfaction comes to mind. >> rose: yeah t does. >> but the rolling stones are some of the best musicians but they come across as very rock 'n' roll and wild. but everything they do is very delib raitt. >> rose: no add is more rock 'n' roll and wild. >> but by choice. >> rose: but you don't have to dress, you can dress the same way at both restaurants. >> absolutely. we don't believe in dress code. >> rose: so the one thing dow finally as we close this is you are making a switch with a chicago restaurant. >> yes, ellenia. >> rose: so for a week are

you going to go out there and run their restaurant and they will disappear and they come here. >> yeah. >> rose: is it the same week. >> it's not the same week. >> rose: that's what i thought. >> because we're very good close flends with the whole group there. and the idea was that we can spend more time together. so if we would switch it during the same week, it would defeat the purpose. >> rose: what's the purpose? >> the purpose is to spend time together to collaborate together, to bring ellenia to new york and to bring 11 madison to chicago. >> rose: you've got now two restaurants, the ratings and the stars and at wards, james beard and the rest of them so what next? >> you know, i really love to come to work still every single day. and i'm most comfortable in the kitchen. >> rose: are you to the going to lose the passion for the food because you develop a passion for business. >> no, definitely not. you know, that's why i have a great team surrounding me of amazing people, so i can

really be the chef and focus on being creative age, you know, just giving the guests experiences. >> rose: great to you have here. >> thank you so much. >> rose: congratulations. daniel humm, see you next time.

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