Cecil Taylor - All The Notes (2006)

Cecil Taylor is the grand master of free jazz piano. All the Notes captures in breezy fashion the unconventional stance of this media-shy modern musical genius, regarded one of the true giants of post-war music. Taylor is first seen musing over Santiago Calatrava's architecture; the pianist's famed eclectic interests extend from soloing, combo and small orchestra work to spoken word performance.

''All the Notes'' captures in breezy fashion the unconventional stance of this media-shy modern musical genius, regarded as one of the true giants of post-war music. Seated at his beloved and battered piano in his Brooklyn brownstone the maestro holds court with frequent stentorian pronouncements on life, art and music.

Click on the video to go to a full screen mode

Charles Mingus - Triumph of The Underdog

Don McGlynn's uncompromising and soulful documentary look at the tumultuous life of musician and rebel Charles Mingus is fascinating stuff. Mingus said of himself "I am half black man, half yellow man, but I claim to be a Negro. I am Charles Mingus, the famed jazz musician--but not famed enough to make a living in America." His statement summed up the conflict that plagued this musical genius his entire life: volatility, pain, prescience, and raw rage roiled inside a complex man, composer, bass player, and trombonist who transcended labels and refused to be pigeonholed into a single musical style--and who did not achieve real fame until late in his career. The documentary is full of well-preserved footage and contains interviews with many Mingus followers like Wynton Marsalis as well as performances by icons Duke Ellington, Dizzy Gillespie, and Gerry Mulligan. The film traverses past the musical legend with insight and information into Mingus's personal life, his civil rights activism, and his final triumph in the music world--just as his body began to deteriorate from Lou Gehrig's disease--to his eventual death in 1979. Mingus left a legacy composed of genius, vulnerability, brilliance, anarchy, and, as one friend noted, "the entire range of human emotion that is reflected in his music. 

Don Cherry Swedish TV Documentary 1978

"It Is Not My Music"

Swedish TV documentary from 1978
Produced and directed by Urban Lasson

This film from 1978 is about Don and Moki Cherry and others who lived with them in the school house in Tågarp, Skåne, Sweden, in the 1970s and onwards. It includes sequences from SoHo, New York, and Moki Cherry’s textiles on the walls in Hästveda and Long Island City.

with Rashied Ali, James Blood Ulmer, Nana Vasconcelos, Denis Charles, Huss Charles, etc

Thelonious Monk: Straight, No Chaser (1988)

Thelonious Monk - Straight, No Chaser - 1/5 by anonymthinker
A documentary about the life of bebop pianist and composer Thelonious Monk. Produced by Clint Eastwood, Bruce Ricker, and directed/co-produced by Charlotte Zwerin, it features live performances by Monk and his group, and posthumous interviews with friends and family. The film was created when a large amount of archived footage of Monk was found in the 1980s.

1959 The Year that Changed Jazz (BBC Documentary)

1959 was the seismic year jazz broke away from complex bebop music to new forms, allowing soloists unprecedented freedom to explore and express. It was also a pivotal year for America: the nation was finding its groove, enjoying undreamt-of freedom and wealth social, racial and upheavals were just around the corner and jazz was ahead of the curve.

Four major jazz albums were made, each a high watermark for the artists and a powerful reflection of the times. Each opened up dramatic new possibilities for jazz which continue to be felt Miles Davis Kind of Blue Dave Brubeck, Time Out Charles Mingus, Mingus Ah Um; and Ornette Coleman, The Shape of Jazz to Come.

Rarely seen archive performances help vibrantly bring the era to life and explore what made these albums vital both in 1959 and the 50 years since. The programme contains interviews with Lou Reed, Dave Brubeck, Ornette Coleman, Charlie Haden, Herbie Hancock, Joe Morello (Brubecks drummer) and Jimmy Cobb (the only surviving member of Miles band) along with a host of jazz movers and shakers from the 50s and beyond.

The Eviction of Charles Mingus 1966

In November of 1966, the great jazz bassist and composer Charles Mingus was forcibly evicted from his apartment in New York City. Thomas Reichman’s documentary Mingus (above) captures the sad moment when the musician, with his five-year-old daughter Carolyn at his side, looks through his scattered belongings the night before city officials arrive to cart everything away.
With the camera rolling, Mingus plays a few notes on a piano and then picks up a rifle and shoots a bullet into the ceiling. He finds a bottle of wine and gives a sip to his daughter. He recites his own version of the Pledge of Allegiance:

I pledge allegiance to the flag–the white flag. I pledge allegiance to the flag of America. When they say “black” or “negro,” it means you’re not an American. I pledge allegiance to your flag. Not that I have to, but just for the hell of it I pledge allegiance. I pledge allegiance to the flag of the United States of America. The white flag, with no stripes, no stars. It is a prestige badge worn by a profitable minority.

Scenes from the apartment are intercut with footage of Mingus and his sextet performing at a little club in Peabody, Massachusetts called Lennie’s-on-the-Turnpike. The combo features Mingus on bass, Dannie Richmond on drums, Charles McPherson on alto saxophone, John Gilmore on tenor saxophone, Lonnie Hillyer on trumpet and Walter Bishop, Jr., on piano. The music includes parts of “All the Things You Are,” Take the ‘A’ Train” and “Secret Love.”
But the film is more about the man than the music. It records an especially painful moment in Mingus’s life. He had hoped to use the loft at 5 Great Jones Street in Greenwich Village as a music school. In the final sequence, a crowd of reporters and cameramen jostle for position to record the humiliating scene as Mingus’s belongings, including his musical instruments, are hauled out to the curb and loaded onto a truck. Tears appear in Mingus’s eyes when the police block him from going back into the building. When the cops find hypodermic needles among his things, Mingus himself is loaded into a police car and taken away.

My Name is Albert Ayler

With his documentary My Name Is Albert Ayler, Swedish filmmaker Kasper Collin pays unbridled homage to the titular musician, one of the most innovative and electric but least-known figures in contemporary jazz. Ayler's obscurity is at least as attributable to his short lifespan as it is to his musical iconoclasm -- he died under bizarre and inexplicable circumstances in late 1970; on November 5 of that year, Manhattan police found his 34-year-old body floating in the city's East River, possibly (though not definitively) a victim of suicide. Collin approaches Ayler's life as a straightforward narrative, segueing smoothly from touchstone to touchstone. The picture thus covers the musician's upbringing in Cleveland, OH; his performances on the saxophone and oboe in a military band; his critical, shaping experiences in touring R&B groups across the U.S.; and finally, his decision to spin that R&B music off into an unprecedented form of experimental jazz on the landscapes of New York City and Stockholm, Sweden. Collin's narrative ends, of course, with speculation on Ayler's death. Collin devotes much screen time to an exploration of Ayler's friendship with the legendary John Coltrane, and to the sad reality that during the 1960s, truly groundbreaking jazz by African-American artists could only flourish in über-progressive Europe. Throughout the picture, the documentarian works in extremely rare archival footage of Ayler, and roots much of his narrative in interviews with such key figures as Ayler's Sunday school teacher father (in his nineties at the time of this production); Ayler's brother Donald, also a musician, and one with a history of severe mental disturbance; and a number of Ayler's nonfamilial musical collaborators including Sunny Murray and Gary Peacock. (Ayler's romantic partner and sometime musical collaborator, Mary Parks, declined to appear onscreen, though Collin works in extracts from a telephone interview with her.) It goes without saying that My Name Is Albert Ayler represents the only documentary portrait to date of the wondrous musician. ~ Nathan Southern, Rovi

Kieran Hebden and Steve Reid

kieran hebden & steve reid -brain

This is seriously good. Like some of the best I have heard this year. The irony is the drummer (Steve Reid) died a few days ago aged 66. The man had a gift. He played with Sun Ra and lots more. Never heard of him. I have some catching up to do.


kieran hebden & steve reid - mom's marmalade


kieran hebden & steve reid - left handed left minded

For some explanation check out this interview and concert.

Celebrating Bird - The Triumph of Charlie Parker

Documentary film, 58 mins.

Charles Parker, Jr. (August 29, 1920 – March 12, 1955) was an American jazz saxophonist and composer.

Parker is widely considered one of the most influential of jazz musicians, along with Louis Armstrong and Duke Ellington. Parker acquired the nickname "Yardbird" early in his career, and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite" and "Ornithology."

Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuoso technique, and improvisation based on harmonic structure. Parker's innovative approaches to melody, rhythm, and harmony exercised enormous influence on his contemporaries. Several of Parker's songs have become standards, including "Billie's Bounce," "Anthropology," "Ornithology," and "Confirmation". He introduced revolutionary harmonic ideas including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on ballads. Although many Parker recordings demonstrate dazzling virtuoso technique and complex melodic lines — such as "Koko," "Kim," and "Leap Frog" — he was also one of the great blues players. His themeless blues improvisation "Parker's Mood" represents one of the most deeply affecting recordings in jazz. At various times, Parker fused jazz with other musical styles, from classical to Latin music, blazing paths followed later by others.

Parker also became an icon for the hipster subculture and later the Beat generation, personifying the conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. His style -- from a rhythmic, harmonic and soloing perspective-- influenced countless peers on every instrument. Like Louis Armstrong before him, Parker changed the sound of jazz music forever.

CHARLES MINGUS.Better Get In Your Soul (1959)

Bus music as journey through late autumn in crowded space. Cramped cockpit of faces in blond wood. Small red shack towns on the edge of tiger forest like green robe draped across the shoulders of the world. Sweden. Early in the century. Back again tomorrow.