Director Bert Stern's documentary film of the 1958 Newport Rhode Island jazz festival is certainly one of the finest 'music films' I've ever seen - off the top of my head it's only comparator for me would be D A Pennebaker's Ziggy Stardust concert film. As well as covering the acts on the festival bill the film-makers have captured quite brilliantly the joyous ambience of the event, cutting frequently from the onstage performances to the smiling, laughing, (sometimes) frowning, applauding, etc. Audience members (who include a priest and whole rows of women wearing cat eye sunglasses!). There is footage of the musicians backstage preparing, as well as coverage of an open top vintage car touring the local environs with its occupants playing a trad jazz version of When the Saints Go Marching In, reinforcing the joyous mood (with an accompanying audience interview stating 'I just came here for the fun of it'). Stern, who was also the cinematographer for the film, also cuts frequently to some sublime shots of the natural world - frequently shimmering water - and to the Americas Cup sailing event, taking place in the vicinity at the same time.
Of the music on show, there is really not a duff moment here and the variety of the 'jazz' works in the film's favour. The opening sequence of sax player Jimmy Giuffre (with Bob Brookmeyer and Jim Hall) playing his superb Train and the River is hard to beat, even if the baritone sax of Gerry Mulligan on his own As Catch Can (with a superb Art Farmer on trumpet) comes close. Thelonius Monk is as enigmatic as you'd expect him to be with his signature Blue Monk and an accompanying commentary of 'he is unconcerned with any opposition to his music', whilst Chuck Berry bucks the 'jazz trend' with a vibrant Sweet Little Sixteen (throwing in his characteristic duckwalk to boot). As the event 'headliner', Louis Armstrong gets a four number slot in a performance not to be underestimated - the man was, of course, already a legend at this point (in his late 50s, Armstrong's playing is still astonishing!) and he clearly inspires much adoration in the audience (as well as in his band). For me, though, perhaps the absolute highlights (mainly because of their sheer surprise value) are the female vocal pairing of Anita O'Day, whose Tea For Two is mind-bogglingly brilliant, and the wonderful Mahalia Jackson, whose beautifully impassioned version of The Lord's Prayer is enough to bring a tear to the eye of an old curmudgeon like me!
Of the music on show, there is really not a duff moment here and the variety of the 'jazz' works in the film's favour. The opening sequence of sax player Jimmy Giuffre (with Bob Brookmeyer and Jim Hall) playing his superb Train and the River is hard to beat, even if the baritone sax of Gerry Mulligan on his own As Catch Can (with a superb Art Farmer on trumpet) comes close. Thelonius Monk is as enigmatic as you'd expect him to be with his signature Blue Monk and an accompanying commentary of 'he is unconcerned with any opposition to his music', whilst Chuck Berry bucks the 'jazz trend' with a vibrant Sweet Little Sixteen (throwing in his characteristic duckwalk to boot). As the event 'headliner', Louis Armstrong gets a four number slot in a performance not to be underestimated - the man was, of course, already a legend at this point (in his late 50s, Armstrong's playing is still astonishing!) and he clearly inspires much adoration in the audience (as well as in his band). For me, though, perhaps the absolute highlights (mainly because of their sheer surprise value) are the female vocal pairing of Anita O'Day, whose Tea For Two is mind-bogglingly brilliant, and the wonderful Mahalia Jackson, whose beautifully impassioned version of The Lord's Prayer is enough to bring a tear to the eye of an old curmudgeon like me!