Only a handful of films have ever perfectly communicated the concert experience as brilliantly as Bert Stern and Aram Avakian's extraordinary Jazz on a Summer's Day. Even if you've seen it multiple times, it's worth revisiting thanks to the new, gorgeous 4K restoration version that was funded by the National Film Preservation Board of the Library of Congress. This edition begins screening today via the Belcourt's site as part of a national celebration of the film's 60th anniversary.
The first and most striking thing about this concert documentary — then and now — is how completely it captures the mood and sensibility of Rhode Island's Newport Jazz Festival, which has always been as much a cultural happening as a music presentation. As with many festivals, Newport presented the opportunity for folks to see and hear some of the nation's and world's greatest artists performing in a more relaxed, less crowded atmosphere than a jazz club or concert hall. But Newport, with its maritime environment and lush pastoral setting, provided added allure.
Stern, a superb photographer, and Avakian, a world-class editor, shrewdly incorporate plenty of countryside scenes — boats in the background, kids and families interacting, folks exchanging pleasantries. These visual choices convey Newport's color and flavor, and show how the festival experience was enhanced by them. The atmosphere also often inspired the musicians, who'd get excited or invigorated seeing how their playing was delighting the audience.
George Wein, the longtime festival impresario, has for decades been criticized for lacking boldness and variety in his choices of featured performers. But for a late-'50s event, this roster runs the gamut from traditional New Orleans types to cutting-edge artists like Thelonius Monk, who splendidly led a marvelous trio with bassist Henry Grimes (who, sadly, recently died due to complications of COVID-19) and marvelous drummer Roy Haynes, who thankfully remains active today at 95. Their version of "Blue Monk" is among the numerous film highlights.
From Louis Armstrong to Anita O'Day, Max Roach to Sonny Stitt, Jazz on a Summer's Day captures the essence of jazz performance and audience response, showing fans at various points enthralled, dancing, highly engaged, bemused and thrilled. Each brilliant moment reaffirms jazz's elegance and vitality. But there are also segments featuring non-jazz magic. Chuck Berry's rendition of "Sweet Little Sixteen," complete with vintage duckwalk, brings edgy rock 'n' roll energy, while Dinah Washington again shows she was a once-in-a-lifetime diva, able to make anything a triumph as she blends blues fire and sensuality with jazz timing and control.
Then there's the finale, when Mahalia Jackson upholds her reputation as the world's greatest gospel singer. There's a stunning "Didn't It Rain," and a spectacular version of "The Lord's Prayer" that not only brings in a new day, but hypnotizes an audience that's already heard hours of greatness.
Whether you love, loathe or don't generally care about the music one way or another Jazz on a Summer's Day is a must-see. It communicates the qualities that the jazz lover perpetually seeks whenever they encounter this music.
