NFR Project: 'Jammin' the Blues' (1944)

 

NFR Project: “Jammin’ the Blues”

Dir: Gjon Mili

Pho: Robert Burks

Ed: Everett Dodd

Premiere: Nov. 9, 1944

10 min.

It’s pretty amazing. Shot over four days by LIFE magazine photographer Gjon Mili, Jammin’ the Blues is an accurate a picture as exists of an expert panel of American jazz musicians in their prime and in sync, tearing up three tunes in a scant 10 minutes.

Reportedly the film developed from a series of West Coast concerts. Evidently omeone smart decided to record the musical moment (half of the producing duo was the legendary jazz producer and promoter Norman Granz). The tightly choreographed sessions gave an incredible roster of talent exposure. There is Lester Young on tenor sax, Red Callender on bass, Harry “Sweets” Edison on trumpet, Marlowe Morris on piano, “Big” Sid Catlett and Jo Jones on drums, John Simmons on double bass, Illinois Jacquet on tenor sax, and Marie Bryant singing and jitterbugging for the camera

Guitarist Barney Kessel was the only white member of the ensemble. His face and hands were stained with makeup to make him blend in. Such was the state of American culture that, as late as 1944, presenting the idea of an integrated ensemble was anathema to the general public.

 

The rest of the musicians, however, are brilliantly lit, shot in loving detail as they make their music. They launch directly into the first number, Young’s “Midnight Symphony,” a very blues-centric piece. The camera circles away from the crown of Prez’s distinctive porkpie hat, to take him in as he slays the opening solo. Edison is next, carving the air into intricate patterns.

The players move on to supporting vocalist Marie Bryant in her rendition of “On the Sunny Side of the Street” (1930). Fun fact: although nominally with music by Jimmy McHugh and words by Dorothy Fields, it is said that Fats Waller really wrote the music and sold the rights. Young slays again.

The band then swings into the title number, taking the short out with a bang. There is some quadrupling of images via camera trickery, and some beautiful silhouette work of jitterbugging. The soloists get their moment in the sun (except for Barney Kessel). The music itself stands at the intersection of the classic approach to jazz and the first hints of what would come to be known as bebop. The final solo by Illinois Jacquet, is in places, atonal sqonks.

It really works. It’s a remarkable document, a vibrant passage of music that only America could create.

The NFR is one writer’s attempt to review all the films listed in the National Film Registry in chronological order. Next time: Laura.