Jazz on a Summer's Day/A Summer's Day With Bert Stern

Here is the reconstructed list (missing from jacket and film) of the performers, in order of appearance:

1.The Jimmy Giuffre (ts) - Bob Brookmeyer (vtb) - Jim Hall (g) trio

2.Thelonious Monk (p), Henry Grimes (b), Roy Haynes (d)

3.The Sonny Still (ts) - Sal Salvador (g) group

4.Anita O' Day

5.The George Shearing Quintet

6.Dinah Washington, with probably Terry Gibbs (vibes), Urbie Green (tb), Max Roach (d)

7.The Art Farmer - Gerry Mulligan Quartet

8.Big Maybelle, with an ad-hoc orchestra

9.Chuck Berry

10.The Chico Hamilton Quartet, with Eric Dolphy (fl)

11.The Louis Armstrong All Stars, with Trummy Young(tb), Barney Bigard (cl), probably Arvell Shaw (b), Danny Barcelona (d), joined by Jack Teagarden on Rockin' Chair

12.Mahalia Jackson

All perform at the top of their form. This is not to say, however, that the video is not marred by some deficiencies. Most annoying is the talking on top of a performance, the excessive and lengthy shots of a not-too-competent public, lengthy extraneous scenes with unexciting landscapes, and a general attitude of putting jazz music in the background. There are some nonchalant omissions: such as the unmentioned band with a singer, not shown, between appearances 1. and 2., rehearsing "Do Nothing Till You Hear from Me" with an Ellington-sounding reed section. Also between 1. and 2., and between 4. and 5., we have to swallow the looks and music of a Dixieland band (Ely's Chosen Six ?) the members of which do not seem to know that jazz playing is about generating swing; and some other boring pseudo-classical and classical stuff between 2. and 3. (with flute, cello, guitar) and 4. and 5 (classical cello playing Bach).

In my subjective opinion, the best performances are those by:

Thelonious Monk, playing his masterpiece Blue Monk, unfortunately marred by some inconsequential and unnecessary talking (about the weather!) over his great solo. Notice the strange (for today) comment about his being "unconcerned", as well as the failure to recognize Monk's deep sense of the blues and respect for the tradition.

The Sonny Stitt's group playing Blues Walk, unfortunately cut at the beginning and again dented by a superimposed voice presentation. Notice the marvelous solo by Sal Salvador on guitar, while the camera moves to boats instead of focusing on his wonderful hands - funny also that we mostly see his left hand only, as if he were playing single-handed; same for Stitt. It seems the cameramen had not yet learned about zooms, movements etc. Enhanced by (short) shots of a beautiful black lady in blue.

Big Maybelle, who is as lovely as her voice is hoarse. Beautifully accompanied by Buck Clayton - great solo on his trumpet - and Jo Jones (d), both ex-Basie alumni well immersed in the spirit of the traditional blues. Too bad we do not hear more of that broad-toned saxophonist seen at the far right before the performance and heard in the riffs. Slightly marred by lengthy shots of a not-too-good-looking red-clad lady who does not seem to know how to dance.

Chuck Berry playing his Sweet Little Sixteen, who modestly demonstrates what king Elvis has never learned, with shots a man who does really know how to dance (cut above the head! maybe because he was dark-skinned?). Only slightly marred by a solo on the clarinet, probably by Peanuts Hucko, who tries hard to get in the heat of the mood without quite succeeding (perhaps the saxophonist mentioned above would have done better). All the same, a great performance.

Louis Armstrong's All Stars. Satchmo, in spite of the sorry state of his lips, well visible, shows his mastery of the trumpet: the note he slides and recaptures twice in Lazy River, and always the powerful presence of his no-nonsense and sensual tone, for which he is justly famous. Barney Bigard is heard little in Tiger Rag, Trummy Young practically not at all, Danny Barcelona does not get too much in the way - even the abused and fearsome When the Saints, heard last, gets through without problems - and Jack Teagarden is seen and heard singing Rockin' Chair with Louis. Of whom we admire also the initial jokes about his European acquaintances, with his colorful way of talking, which shines in its originality, opposed to the boring formality of the show master (Willis Conover?).

Mahalia Jackson, with the deep, moving intensity of a great jazz singer (even though she sings the gospel: about Our Heaven, Our Lord, etc.) and the tender freshness of a little girl - she was 47 at that time. A simple accompaniment of piano and bass lets her presence and soul dominate the place.

Of course one can't forget the dazzling, professional and exciting show by the great Anita O' Day, an example of exceptional vocal technique. The interventions by Art Farmer in the Gerry Mulligan group, the latter quite disappointing, and by Eric Doplhy in an otherwise boring and pretentious performance by the Chico Hamilton Quintet. Dinah Washington's interplay with the vibraphonist, probably Terry Gibbs, in All of Me is also a good moment - with a great trombone player, probably Urbie Green. While most of what was praised at the time, such as the music by Hamilton, Shearing (some Latin stuff, put to shame by any old Cuban or modern Salsa band), Mulligan and Giuffre, has terribly dated with time and lost universality - not so for Monk and the others singled out above.

To conclude, this is a video worth seeing. And studying. Many times. Even at the cost of closing one's eyes occasionally and glossing over some irritating poor choices of images and other esthetic misjudgments. But we can be happy the filmmakers allow us to see those great jazzmen in action, most of them dead by now, over forty years after the edition of the Newport Jazz Festival, in color and with excellent sound.

For the most part, he succeeds, although there is more than enough footage of a boat race on Chesapeake bay that day to last me for the rest of my life.

The film cuts from performances to reactions of the crowd, as any concert film would. It's interesting to see the wide difference in clothing styles that appealed to people in 1959. Everything from men in suits to greasers in denim can be seen dancing and grooving along with the music.

People living nearby the festival can be seen partying on their roofs and dancing, booze in hand, to the music. People of every age are shown bopping along with whoever is on stage at the time.

Highlights: Anita O'Day's spot-on performance, in spite of the fact that she's well into her much-ballyhooed drug and booze habit (in a recent radio interview she said she couldn't remember doing this gig after even watching the film); Louis Armstrong, Jerry Mulligan, and the rather out-of-place, clearly there-for-the-kids but dressed to the nines and behaving himself, Chuck Berry. Older jazz guys have no idea what to make of Chuck, and one guy, in an attempt to "jazz up" Berry's "Sweet Little Sixteen," starts playing some rather odd clarinet runs. Think "Sweet Little Bar Mitzvah."

There's a nice bunch of extras on here, too, including an interview with Stern that expalins a lot about what was going on.
If you like jazz, or documentaries, or just good music, this is a keeper.

The movie takes you through a figurative day, capturing the sea air of Newport, the quiet practice sessions, the ebb and flow of the crowd as it grows to its evening peak, with a rocking performance by Chuck Berry. The Satchmo takes a wonderful turn at the mike with Jack Teargarden joining him in a fun duet. Chico Hamilton is there in all his seriousness with Eric Dolphy highlighting the band's performance. George Shearer looks like he could be playing at the Hollywood Bowl.

I was hoping for more extras on the DVD. The movie leaves you craving for more music. The 50's were the peak of the hip jazz scene and this movie is as hip as they come.