Tag Archives: Dinah Washington

JAZZ ON A SUMMER’S DAY

Yes, as Richard Brody and others have pointed out, JAZZ ON A SUMMER’S DAY—photographer Bert Stern’s indelible documentary of the 1958 Newport Jazz Festival—could have been a different kind of film. Sonny Rollins, Mary Lou Williams, Duke Ellington, Max Roach, and Miles Davis—with John Coltrane in his sextet—were also in Newport that year, but their performances didn’t make the final cut.

Yet the film remains one of the greatest jazz documentaries ever made, a picture of the art form at its peak just as rock and roll was about to replace it as the country’s most popular musical genre.

The performances of Dinah Washington and Anita O’Day alone are worth the price of admission, and Stern’s camera also captures the playing of Thelonious Monk, Louis Armstrong, Gerry Mulligan, Sonny Stitt, Chico Hamilton, Jimmy Guiffre, and Chuck Berry. The great gospel singer Mahalia Jackson closes the film.

JAZZ ON A SUMMER’S DAY is screening now on Kino Lorber’s Kino Marquee. See link below for details.

JAZZ ON A SUMMER’S DAY

Laemmle, Los Angeles

Bert Stern, Jazz on a Summer’s Day (1959), from top: Dinah Washington singing “All of Me”; Anita O’Day; Jack Teagarden (left) and Louis Armstrong; Thelonious Monk; Ralph Ellison (left), Langston Hughes, and James Baldwin at the 1958 Newport Jazz Festival; poster courtesy and © Kino Lorber; program from the first Newport Jazz Festival, 1954; Miles Davis at the 1958 festival.

QUINCY

“An ‘ego’ is usually just an over-dressed insecurity. I think you have to dream so big that you can’t get an ego, [or else] you’ll never fulfill those dreams.” — Quincy Jones

After witnessing the straitjacketed removal of his mother from his childhood home, Jones grew up fast on the streets of Chicago’s South Side, discovered music, joined Lionel Hampton’s jazz band, and got his first big break when Dinah Washington insisted he conduct and arrange her 1955 album For Those in Love.

Jones moved to Paris in 1957 to study orchestration under Nadia Boulanger. “France made me feel free as an artist and as a black man.” Returning to the States in the early 1960s, he became vice-president of Mercury Records. When Jones was 29, Frank Sinatra called.

(Sinatra, Jones, and Count Basie went to Las Vegas in 1966 for their legendary engagement at the Sands, Sinatra insisting that his collaborators stay in the same hotel they were gigging in, thereby integrating hospitality suites and casinos in the city for the first time.)

In the mid-sixties, Jones moved to Los Angeles and started a new chapter as an in-demand composer, arranger, and conductor of film scores. He started working with Michael Jackson at the end of the 1970s, and the rest is history.

If you miss the International Documentary Association presentation of Quincy—a new doc co-directed by Rashida Jones (Quincy’s daughter) and Alan Hicks, both of whom will be at the screening—you can catch it on Netflix.

 

QUINCY

Tuesday, October 16, at 7:30.

Landmark, 10850 Pico Boulevard, Rancho Park, Los Angeles.

And on Netflix.

From the top:

Quincy Jones and Sarah Vaughan in France. Photograph by Jean-Pierre Leloir.

Sinatra at The Sands album cover (1966). Image credit: Reprise.

Jones and Sinatra in the studio.

In Cold Blood, one of Jones’ many film scores. Image credit: Colgems.

Jones at the Olympia in Paris, 1960.