by Jenna Colley

I love movies. I cruise the aisles of a video rental store like some walk down the aisles of a cathedral. I browse until I find the perfect movie and then I delve deep into my pockets and offer up the $2.50 communion to the one institution I know won't let me down. I am a disciple.

I also love jazz. I can turn on a little Duke Ellington after a hard day's work and my daily resurrection has begun.

One might conclude then, that the combination of the two -- jazz and cinema -- would be the perfect balance. Yet the blending of these two uniquely individual genres is far from that simple. These two entities, completely separated by form and medium, yet so incredibly fused by their ability to express, can create either total artistic bliss or complete chaos. This is why the fusion of music and film is such a frightening concept. It is incredibly hard to do, and even harder to do well.

Few are familiar with jazz and even fewer are familiar with jazz in cinema. It has been my mission to delve deep into the archives of Vulcan Video and search for the definitive jazz video. It hasn't been easy. There are a lot of pretty damn ridiculous movies out there by crazed film students who have listened to too many Louis Armstrong albums. But what I found surprised me. There can be a balance between the two muses and when achieved, it can be almost religious.

The Story of Jazz directed by Matthew Seig

This is by far the classiest and most structured video available on the history of jazz. It combines actual footage of such great performers from Billy Eckstine and Dizzy Gillespie to Ella Fitzgerald and Sarah Vaughn. It is the video textbook on the roots, rhythms and personality of jazz in America.

It begins with a brief background on the roots of jazz by exploring its foundation in the slave cultures of the South and Caribbean. It then takes this process further by tracing its evolution throughout the streets of New Orleans. Director Matthew Seig brilliantly cuts between shots of oil paintings depicting Caribbean slave markets to contemporary footage of New Orleans' famous Congo Square.

Now that he has provided the viewer with a base, he continues to march us through generations of jazz greats, bravely attempting to address the politics and economics of the era without losing sight of the film's purpose.

The narrating voice over is constantly interspersed with footage from Bud Freeman, Harry "Sweets" Edison, Dizzy Gillespie, Tony Bennett and Annie Ross to name just a few.

With each new sequence the viewer is given a more vivid window into the history of this American phenomenon. The Story of Jazz is so brilliant because it refuses to overemphasize one particular artist. Often musical documentaries tend to focus on the director's favorite musician and neglect the many other artists that had to struggle as well.

One of the many highlights of the film comes when Wynton Marsalis comments on the amazing talent of Louis Armstrong. Although Marsalis praises Armstrong's obvious genius he still says, "It took hundreds of trumpet players marching down the streets of New Orleans to produce his sound." This type of commentary runs rampant throughout the film. Here we have the rare opportunity to hear legends talking about legends. It is truly remarkable footage.

The Story of Jazz still manages to punctuate the most popular artists in jazz history. Any documentary would be incomplete without them. The segment on Duke Ellington is not only beautifully edited but beautifully written as well. At one point the narrator comments that "...the rhythm of American life was encompassed in his (Ellington's) music." It is difficult to find such remarks stated elsewhere so eloquently.

Although the film's more overriding tone is a serious one, at times it is quite humorous. One can't help but laugh when the narrator reads an official medical report from the 40's that states, "Jazz intoxicates like whiskey and releases strong animal passions." The film is a treasure chest of such anecdote.

The Story of Jazz offers viewers an amazing overview of the jazz scene as it has progressed throughout history. It is not only an effective tool for understanding the history of the great American movement, but an entertaining piece of cinema as well.

A Great Day in Harlem

A Great Day in Harlem opens with a still shot of a black and white photograph taken in 1958 on a brownstone at the corner of Lennox and 12th Street in Harlem. Unbeknownst to its originators, this photo would capture the greatest moment in jazz history. Taken for a special jazz issue of Esquire magazine, the photo is graced with such legends as Thelonious Monk, Milt Hinton, Art Farmer, Count Basie, and Oscar Pettiford and many more.

The film tells not only the story behind the photo taken that day in New York, but gives insight into the personality behind many of its subjects. The interview footage is priceless. It is a definite must-see in every sense of the word. It is easy to follow, and filled with wonderfully calculated montages of the separate musicians careers.

Jazz On A Summer's Day directed by Bert Stern

If you're looking for something that shies away from the documentary style, but still allows you to see actual footage of jazz greats,this is the film for you. Jazz on A Summer's Day is Bert Stern's kooky attempt to combine coverage of the Newport Jazz Festival and the American Cup Trials of 1959. If it sounds like a strange connection, it's because it is. It takes you until half-way through the film to realize what the hell is going on and then another 20 minutes to decide whether you like it or not.

Stern is constantly cutting between shots of the festival watchers and shots of endless streams of flowing water. Although these shots are striking, it is difficult to understand the dichotomy between the two. If Stern is suggesting that water, like sound, is an indefinable existence, then the movie makes a little more sense. If Stern just likes boats, then you kind of have to wonder.

Towards the end of the film, as night falls, Stern focuses solely on the festival. The irritating shifts in narrative are worth the irritation just to see the performances by Thelonious Monk, Louis Armstrong, Dinah Washington and Chuck Berry.

The film concludes with a knock-you-on-your-ass performance by Mahalia Jackson. It is not far fetched to say that Jazz on a Summer Day relies solely on these big name acts to give it substance. Stein is definitely capitalizing on Armstrong and Jackson, yet the power of this unique footage makes it all seem tolerable.

'Round Midnight directed by Bertrand Tavernier

'Round Midnight is an exploration into the life and psyche of an aged saxophonist, Dale Turner. It is 1959, and Dale has grown tired of Harlem. He hopes that by visiting Paris he will escape the years of accumulated pain that his own alcoholism, accompanied by society's ever present intolerance, has offered him in America.

Upon arriving in Paris, Dale is soon befriended by Francis, a distraught French art designer who completely idolized him. As the film progresses, Francis begins to learn that Dale is far from the mythic hero that his music would lead one to believe. He is tired and alone, and after several months, Dale eventually moves in with him and his daughter. Yet, Dale still can't find peace. After being brought to the hospital following a drunken night roaming the streets of Paris, a psychiatrist asks Dale why he is so unhappy. Dale responds, "When I have to explore every night, even the most beautiful things are painful."

The dialogue is by far the film's most powerful characteristic, yet the brilliant camera work perfectly compliments the script. The mise-en-scene facilitates viewers with the perfect feel. It seems that this is in fact Paris in the 1950's and we could easily walk outside and stumble into this story. Every character is brilliantly presented. Director Tavernier completely feeds the myth of the drunken jazz musician who only lives to hear the music.

The amazing Dexter Gordon plays Dale. The irony between the fictional and real lends an even more authentic feel to the story line.

These four films only touch on the overwhelming amount of material that is available on jazz. I found that for virtually every artist there was at least one biography shot about him or her. Some highlights are Celebrating Bird, The Life of Charlie Bird, John Coltrane-Coltrane Legacy, Dizzy Gillespie, and Thelonious Monk: American Composer. If you're not really into one particular artist then films like Lady Sings The Blues and The Sound of Jazz might be what you're looking for. Both present combinations of several different musicians, yet don't overwhelm with immense biographical information.

There are also numerous films available on many diverse topics within jazz. Jazz in Exile by Rhapsody films offers a very interesting look into the migration of many American artists to Europe. Jazz Parades directed by Alan Lomax of PBS is an interesting focus on the celebration of jazz throughout the social clubs of New Orleans.

It can be argued that the best way to experience the brilliance of jazz is through live performances, yet a rich understanding of the history can only serve as a tool in its appreciation. These videos provide us with a simple method of doing just that.

I know that I will never sit in a club and listen to the heavenly crooning of Billie Holiday or dance to the sweet rhythms of Duke Ellington, but just the slightest glimpse into what was, even if it is on the television set, is worth it.