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Accompanied by a menagerie of products, Ken Burns's expansive 10-episode paean, Jazz, completes his trilogy on American culture, following The Civil War and Baseball. Spanning more than 19 hours, Jazz is, of course, about a lot more than what many have called America's classical music--especially in episodes 1 through 7. It's here that Burns unearths precious visual images of jazz musicians and hangs historical narratives around the music with convincing authority. Time can stand still as images float past to the sound of grainy vintage jazz, and the drama of a phonograph needle being placed on Louis Armstrong's celestial "West End Blues" is nearly sublime.

The film is also potent in arguing that the history of race in the 20th-century U.S. is at jazz's heart. But a few problems arise. First is Burns's reliance on Wynton Marsalis as his chief musical commentator. Marsalis might be charming and musically expert, but he's no historian. For the film to devote three of its episodes to the 1930s, one expects a bit more historical substance. Also, Jazz condenses the period of 1961 to the present into one episode, glossing over some of the music's giant steps. Burns has said repeatedly that he didn't know much about jazz when he began this project. So perhaps Jazz, for all its glory, would better be called Jazz: What I've Learned Since I Started Listening (And I Haven't Gotten Much Past 1961). For those who are already passionate about jazz, the film will stoke debate (and some derision, together with some reluctant praise). But for everyone else, it will amaze and entertain and kindle a flame for some of the greatest music ever dreamed. --Andrew Bartlett ... Read more

Reviews (118)

The Best Series on Jazz, Despite Its Flaws
I am a jazz musician, son of a jazz musician, am conservatory trained, and this series stands toe to toe with the best lectures by the best music historians and music theory experts I have studied with. If Ken Burns chose to follow a the pillars of jazz in depth rather than give ten minutes to every musician to come along in the past hundred years, we are better for it. If you want ten minutes on each musician, read liner notes. Mr. Burns series will be remembered precisely because it does go into such depth. Bird, Duke, Pops and Dizzie do not come clear to you without much study. We should be grateful for the fact that this series is anything but shallow. It is true to the art. If this series, because of such depth, asks more of viewers than they want to give, then let such viewers only seeking entertainment seek that. Americans, everything is not entertainment.

Jazz itself, from its outset and to this very day, asks more of you than any other music. A series about it should do no less.

This series is not perfect. Jazz is also imperfect. As Thelonius Monk said, there are no wrong notes. So are there no bad jazz documentaries, as long as they are unflinching, whole, and about the forces that shaped the music. This one is. It's only real flaw is that it is too in love with its own story and the music. That is entirely forgiveable.

If you have any interest in jazz, buy or rent this series and watch each one like a student, and learn in wonder at the extraordinary music brought to us by African Americans. It is one of the glories of American culture, and of the world, and we should join Ken Burns, his historians, critics and musicians in joyously celebrating the collective creation of the geniuses that graced our land in the past 100 years.

"History," "Documentary," "Theory of" are not in the title.
The negative reviews of this series assume that Burns is compiling a documentary, writing a historical survey, or undertaking some theoretical analysis of jazz. Burns is above all a biographer. His primary interest is in the life of a particular artist, solider, athlete, explorer, etc.: the overall trajectory of their lives--the choices they make, the risks they are or aren't willing to take, their sufferings in the face of prejudice, misunderstanding, and failure--and how the individual life fits within the larger social context. Hence his emphasis on annecdote, personal letter and photograph, character analysis, and why he has baseball players and actors and club owners as well as scholars and musicians commenting on these people. And why he traces the entire career of someone like Louis Armstrong or Billy Holiday, rather than devoting more time to contemporary muscians whose story it is still too young to be told. Everything else is secondary to this main concern, and to miss this focus is to miss the point of all Ken Burns' documentaries. To grasp it is to experience life within a wider, wiser, almost epic, context. The so-called jazz expert who is miffed over some apparent omission, or overemphasis, or seeming bias, is like the librarian who has all the books catalogued and all the facts at their fingertips but can't see that they might refer to something outside the four walls of their narrow expertise.

Provides a very useful orientation
Jazz is a relatively recent interest for me--maybe half a dozen years. I'd learned about scattered fragments of jazz, but never developed a systematic understanding, a clear orientation--though a couple of times I'd tried: I bought Gary Giddons' "Visions of Jazz," for instance, which is very good but just didn't capture my imagination.

Ken Burns' "Jazz" gave me what I've been wanting for years--a clear, evocative, comprehensive way into the genre as a whole.

Okay, it may not be the last word on the history of jazz. Yeah, some things really irritated me--like the slighting, mentioned by many, of Bill Evans, and the excessive excision of many white musicians to make the generally accurate point that jazz springs more from the experience of Black Americans. (Hint to Burns: You make your argument stronger by showing how apparently contrary data fit, not by leaving them out.) But over all, I found this a very helpful overview. And I enjoyed getting to know the biographies of, and the personal relations among, the players.

You won't likely get such an orientation from buying a few of the original CDs *instead* of the "Jazz" series. Few of us have the ears or training to discern what's taught in this series. You'd be highly unlikely to realize that, for instance, what was new with Be-Bop is improvising on the underlying chord changes rather than the melody. You'd really have to be perceptive and paying attention to notice what distinguishes Kansas City jazz from New Orleans jazz from New York jazz from West Coast jazz. And *no* album can place *itself* in history. For instance, you cannot learn from listening to an album featuring Coleman Hawkins-or Charlie Christian or Kenny Clarke--that *before* that album people played very differently. In short, you'd have to be far better trained musically and far more observant than most of us are, and listen to dozens (if not hundreds) of albums, to learn what this series teaches.

As I watched over a period of a couple of weeks, I bought several of the CDs that Burns produced to survey the music, and I found them very instructive. No, as listening experiences, they're not as good as some of the various albums on which the cuts originated. But that's not the point: They are very good ways to get an overview, to get oriented, to know where to go next.

After seeing this series and studying the accompanying CDs, when I go into the music store and start perusing the jazz disks, I find that I recognize a whole lot more and can surmise a whole lot better what's what and what would interest me. For instance, tonight I saw "From Spirituals to Swing," a three CD set of Carnegie Hall jazz concerts in 1938 and 1939. A month ago, the list of personnel would have meant near-nothing to me--I probably wouldn't have even known what I was looking at, and I doubt I would have looked at the thing for more than thirty seconds. Now, though, I studied and comprehended the personnel and got all excited--"This I gotta hear." So I bought it, and it's great.

Now, isn't that reason enough to recommend this series?

That the overall interpretive framework of the series may need correction is not a trenchant criticism, in my opinion. To get a comprehensive understanding of anything, you have to start with *some* systematic framework, which you can then modify, maybe even refute, as you encounter further data. Logically, the first such framework you acquire has to come from someone else, unless you are a genius of extremely wide learning.

No, Ken Burns' "Jazz" isn't the only guide to jazz you'll ever need--as others have noted, some of the omissions are glaring. But it's fine place to start.

If you really want to get a sense of jazz, this is an excellent investment, in my opinion. Yeah, it's pricey--but cheaper than, say, an adult education course on jazz appreciation at your local community college (if you include texts and other supporting material). And if you don't want to spend the money--well, you can hint real hard to your significant other that you'd like it for your birthday or Valentine or some such thing.

Postscript: I almost didn't buy this because of the characterization of Wynton Marsalis's role by several other reviewers here. I'd never much liked his music--it always seemed too cerebral, almost architectural, for my tastes--chilly, not very visceral. (That's just my personal taste--I also find most of Ella Fitzgerald--except her duo wok with Armstrong--a bit emotionally distant, unlike Sarah Vaughan or Billie Holiday or Carmen McRae or many others.)

I was skeptical about any documentary that made Marsalis the central story teller.

Well, two things: (1) He just isn't the central story teller here. He does not have anything approaching the majority of commentator air time. It is certainly true that he plays a role analogous to Shelby Foote's in "The Civil War"--he is a unifying presence, especially in the early going and toward the end. This is just good film making--to establish "characters" whose presence throughout helps give unity to the piece. (2) I really liked Wynton in this documentary. He came off as much earthier, more laid back, mischievous, funnier and more fun, than I ever would have imagined. And he is really quite illuminating, especially when he explains various musical concepts--like the "Big 4." (I went back and listened to "Thick in the South," thinking maybe I'd like his music more now. Nope. Still feels too thought-out, too chilly, to me. Oh, well.)

Could have been so much better
I guess it says something that I have gone back and watched Burns' "Civil War" documentary more than a dozen times since I first saw it, and have only watch "Jazz" once since the first time. The Civil War documentary certainly is rife with factual inaccuracies but by & large gets the essential story of the conflict right. "Jazz," on the other hand, treats its subject as though the last 40-50 years never happened. It is as though the Civil War documentary would have lingered over the years 1861-1863 incessantly, then sped through the last two years ("Oh yeah, there were a couple of battles, Atlanta burned, Lee surrendered, the war was over. The end." Something like that) as though they didn't matter.

As I found the documentary going into its umpteenth hour and we STILL weren't out of the 1930's yet, I had a bad feeling about where this was going. You would have thought that Louis Armstrong had been annointed as the Jazz Pope and he ruled over the world of jazz for 40 years. In his proper context, Armstrong is very important, but Burns seems positively fixated on him. He dwells on every facet of Armstrong's upbringing & early career. Unless he planned on making a 60-hour documentary, there was no way Burns could hope to do justice to the more recent history of the genre, and sure enough he basically hits the fast forward button once the be-bop era is coming to a close.

Personally, I cannot stand fushion jazz, but nonetheless some mention needs to made of a style that was dominant in jazz for almost as long as the swing style, for crying out loud. Also, relying almost exculsively on Wynton Marsalis (doing his best impression of a crochety old man on his front porch, railing at a world that has passed him by) really was not a good idea & imbues the entire documentary with a hopelessly retrograde flavor.

I watched it once, and came away disappointed. I watched it a second time, hoping that I could find more to appreciate, but only found that it continued to disappoint. I don't know if it merits any future viewings, and that is indeed a shame, because it is a subject that deserves better treatment than this.

Excellent for what it is
It's surprizing how vociferously some "snobs" condemn "Jazz" simply because it's not as comprehensive as they seem to think it should be. From reading these reviews you would think Ken Burns is a half-step above a holocaust-denier for not including Roland Kirk or Eric Dolphy. "Jazz" is a wonderful, inspiring and, yes, traditional look at the art form. Newcomers shouldn't be dissuaded because it's not as complete as it should be. ... Read more

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An epic in length and breadth, this documentary aims at nothing less than a full-scale portrait of the most dominant institution on the planet Earth in our lifetime--a phenomenon all the more remarkable, if not downright frightening, when you consider that the corporation as we know it has been around for only about 150 years. It used to be that corporations were, by definition, short-lived and finite in agenda. If a town needed a bridge built, a corporation was set up to finance and complete the project; when the bridge was an accomplished fact, the corporation ceased to be. Then came the 19th-century robber barons, and the courts were prevailed upon to define corporations not as get-the-job-done mechanisms but as persons under the 14th Amendment with full civil rights to life, liberty, and the pursuit of happiness (i.e., power and profit)--ad infinitum.

The Corporation defines this endlessly mutating life-form in exhaustive detail, measuring the many ways it has not only come to dominate but to deform our reality. The movie performs a running psychoanalysis of this entity with the characteristics of a prototypical psychopath: a callous unconcern for the feelings and safety of others, an incapacity to experience guilt, an ingrained habit of lying for profit, etc. We are swept away on a demented odyssey through an altered cosmos, in which artificial chemicals are created for profit and incidentally contribute to a cancer epidemic; in which the folks who brought us Agent Orange devise a milk-increasing drug for a world in which there is already a glut of milk; in which an American computer company leased its systems to the Nazis--and serviced them on a monthly basis--so that the Holocaust could go forward as an orderly process.

The movie goes on too long, circles too many points obsessively and redundantly, and risks preaching-to-the-choir reductiveness by calling on the usual talking-head suspects--Noam Chomsky, Howard Zinn, Michael Moore. And except for an endlessly receding tracking shot in an infinite patents archive, there's scarcely an image worth recalling. Still, it maps the new reality. This is our world--welcome to it. --Richard T. Jameson ... Read more

Reviews (30)

Review of the Corporation
Like the behemoths it chronicles, The Corporation is monstrous in scope, clocking in at nearly two and a half hours.While none of the footage seems dispendable, the documentary could certainly have used some tightening up.If it had remained comitted to its subject matter, the history and structure of the corporation, it would have been more effective.The most useful parts were in the begining of the film, which really made me look at history differently: we see how the post Civil War treatment of the Corporation as an individual, in one legal decision, was actually one of the hugest paradigm shifts of the modern age.However, The Corporation goes on to tackle every single aspect of globalized, late capitalist life: advertising, marketing, branding, intellectual property.There is plenty of scholarship on marketing and advertising out there, and while the segments here were well done, they made this documentary feel bloated and meandering.The argument, while devastating, loses its complexity as it moves along.The documentary begins with Corporations as monstrous structures that are not necesarily the sum of their parts.The most amazing footage is that of a CEO and his wife having their home surrounded by hippy protestors, only to bring them coffee and tea, and sit down to chat with them.This scene, in which consumer-citizens and corporate spokesmen form a genuine ecology, was pivotal and ultimately describes what corporate interface may have to become if they are to survive (or if we are to survive, for that matter), cut off from boardrooms, immersed in the environment of which they are a part.As the documetary progresses, however, the tone becomes one of Evil Empires and patholically insane citizens servicing institutions without understanding their actions.This may be partially true, but it leads to an argument for localized, community based consumer resistance, which may be less effective than corporation-based, intercommunity collaboration. The end of this documentary was a gnostic, transcendentalist veil lifting: we can fight the corporation, if we only take control of our Selves! Where it should have run a bit deeper than that:We ARE the corporation, and the survival, reformation or downfall of these structures relies on how we learn to treat one another.Additionally, blame on environmental destruction was placed squarely on the power of corporations, and not on the more guilty culprit: overpopulation.I believe it's possible to make corporations fiscally accountable for population growth, if only because it is in their immediate best interest.(The lower the population, the more money there is to go around.Every corporation on Earth would benefit from a population decrease in several generations' time.)Despite the overly broad approach, this is an absolutely neccesary documentary to view for anyone interested in corporations or the structures of late capitalism.

Excellent primer on corporate globalization
I saw this documentary twice in the theaters, and recently purchased a copy of the DVD from the film distributor's website, Zeitgeist Video, not Amazon.It's an excellent ethnography of corporations and their abuse of power in the U.S. and abroad.The film starts off with a history of corporate charters, and how they gained a definition of personhood through manipulation of the Supreme Court decision that freed slaves after the Civil War.And, as a person, the corporation can be diagnosed with a psychopathic personality disorder using the DSM-IV.A criticism that I have about the movie is that it doesn't deal with the fundamental problem with corporations: it's not corporations that's the problem, but the underlying economic system of capitalism.It's capitalism that causes corporations to look towards the global south to enslave cheap labor to make a profit.Capitalism that causes corporations to pollute the environment and spew toxins into the air.Capital interests that control the ruling ideology and prevent the voices of dissent from being heard.(The film shows two Fox reporters who were silenced for making a show about cow's milk laced with hormones produced by Monsanto.)The film stops short at pointing a finger at the real culprit for ecological destruction and global stratification today - capitalism.That being said, it's still a good primer on corporations, and I plan to use it in my intro sociology class for undergrads.It is a long movie, for other educators out there, at 145 minutes.The second disc of the movie has 5 hours of interviews with people from the film including Noam Chomsky, Naomi Klein, and the horrid Milton Friedman.And, the website for the film, TheCorporation.com, has a helpful instructor's guide.

Defamation DOES NOT equal credibility
This documentary is absolutely and categorically disgusting in every form of the word.This is a socialist onslaught against capitalist success and no one seems to care.Here's just an example of how radical and meritless this film is...it stretches to compare coporations with Nazi facism...its disgusting.Do not support the liberal lying media; boycot this crap.

Stunning Food for Thought, Whatever Your Politics
Mark Achbar, Jennifer Abbott, and Joel Bakan have collaborated in THE CORPORATIONto produce a documentary version of Bakan's book of the same name (subtitled "The Pathological Pursuit of Profit and Power"). In doing so, they have outlined the legal history of corporations in America and compiled a litany of concerns over the increasingly unregulated and growing power of that institution.

There can be no doubt that THE CORPORATION takes a left of center view of American business, as witnessed by the film's featured "talking heads:" Noam Chomsky, Naomi Klein, Howard Zinn, and Michael Moore. Viewers can argue over balance or the choice to "diagnose" the legal personhood of the corporate institution as pathological. Nevertheless, this movie raises important issues that deserve consideration regardless of the viewer's political leanings. When an organizational form accumulates as much power and influence as the corporation has, and when that institution is legally bound to consider first and foremost its profit maximization over all other factors, the consequences of disregard and lax regulation (and popular unawareness) may be dire indeed.

Achbar and Abbott begin with a brief history of corporations, noting that the origin of corporations' rights as "legal persons" arose out of judicial interpretations of the equal protections clause of the Fourteenth Amendment, which was written to end slavery. This interpretation granted corporations the rights of individuals, but overlooked many of the responsibilities and accountabilities of citizens. "Corporation as person" opens the door for Bakan's psychoanalysis, from which he deems the institution to qualify under DMS-IV as psychopathic.

THE CORPORATION is at its best and most revealing when it tells stories, such as the little-known plot to overthrow FDR in 1934 by a cabal of industrialists, including representatives of Bethlehem Steel, DuPont, Goodyear, and J.P. Morgan. Perhaps only the conscience of General Smedley Butler, the man approached by those industrialists to lead a 500,000-man, militarized march on Washington, prevented America from experiencing a military coup. Stories about GM, Ford, Coca-Cola and IBM under Hitler's regime are equally fascinating, and equally disturbing (did you know, for example, that Coke invented Fanta Orange to keep its German factories open in the 1930's?).

Three particular stories give THE CORPORATION its greatest impact and best serve to humanize the issues. The first concerns child labor in Asian sweatshops, particularly with regard to Kathy Lee Gifford's clothing line. The second story concerns the privatization of water in Cochabamba, Bolivia as a condition for that country's receipt of World Bank loans. Bechtel Corporation comes off as the bad guy here, particularly as a result of the extraordinary greed and hubris the company displayed in managing to make the collection of rainwater illegal in such a poor area. Finally, there is the story of Monsanto's rBGH bovine growth hormone, rejected throughout Europe and Canada for its cancer links but approved by the FDA. The story behind the story here is Fox News's blatantly coercive actions to suppress a report on rBGH compiled by its own staff from ever appearing on the air, presumably in order not to offend a major advertiser. Each of these three stories prove that "little people" can still be heroes - Charles Kernaghan (Director, National Labor Committee) in the first case, Oscar Olivera in the second, and Steve Wilson and Jane Akre in the Fox News story.

THE CORPORATION runs long (145 minutes) and can seem dry at times, but the story is too important to ignore. This movie is two and a half well-spent hours, and you will finish it with a lot to think about. The separate "Majority Report" interview of Joel Bakan by Janeane Garofolo provides a good summary and review of the many different topics covered by the full documentary. It would be nice to imagine NBC or even PBS airing this movie someday, just as it would be nice to imagine students at Harvard or Wharton business schools being required to view it in their coursework. Would that it were so. Hopefully, enough concerned citizens will watch it on their own to raise some consciouses.

Corporation - Politics, Economy, Society, and Logo Loyalty
The documentary Corporation provides an angry and dark image of the leading corporations of the world, and justly so.This image originates with the 14th Amendment, which the government generated in order to give the slaves the same freedoms as its owners.Somehow, similar corporations that exploited the slaves took the opportunity to maximize their powers through the very same document that helped slaves gain their freedom.Through the 14th Amendment, Corporations gained rights of individuals, yet without individual responsibilities for the actions of the corporation.

Cleverly, filmmakers Jennifer Abbott and Mark Achbar utilize the Diagnostic and Statistical Manual of Mental Disorders - Fourth Edition (DSM-IV), which psychological health professionals use to assess and diagnose mental disorders.The psychological profile of a corporation should be justifiable, if they intend to fall under the same category as an individual in a legal sense.Through the psychological profile of corporations, several deviant behaviors occur such as "failure of conforming to social norms with respect to lawful behaviors as indicated by repeatedly performing acts that are grounds for arrest" (see pp. 649-650 in DSM-IV.) In the film they checked of all seven criteria for Antisocial Personality Disorder, and only three of them need to be checked in order to receive this diagnosis, which in common mouth is referred to as being a psychopath.

The case studies in the film offer a more intricate view of how some of the ruthless corporations advance through the American and world community.For example corporations have been found guilty of performing deceitful exploitation of people, their money, and their health as the Monsanto corporation deceitfully informs the public that their rBGH drug does not have any side effects on cows or human beings while Canada and other European countries have banned the supplement for increased milk production.A FOX television news show did research the topic and tried to air the news in regards to the cancer inducing effect of rBGH and how cows suffered dire consequences of the drug.Nonetheless, the reporters could never air the show, as Monsanto methodically prevented the truth from reaching the people through the legal system.This triggers the notion that corporations are above the law while they can squelch the opportunity for all citizens to exercise their first amendment right through exercising economic fear within those who dare to speak up.

Numerous studies have suggested that milk cows injected with rBGH have a lowered immune system and higher bacteria level.Farmers in turn treat cows with high-level of antibiotics to prevent bacterial infestations in the cows, but it also increases the likelihood of the development of antibiotic resistant bacteria that could eventually cause people to die from simple illnesses.Corporations such as Monsanto do not have to carry responsibility, as they have the law on their side while they can externalize the damages (i.e., let someone else pay for the damages) when random health problems such as cancer could appear.Some corporations even take in consideration what it would cost if law enforcement would catch them, and they often deem it to be worth the risk when penalty fees would not exceed the profit margin.This raises the notion, where does society draw the line of biological attacks on a nation?

Besides the negative and dark image of the corporation the audience also gets to hear the CEO of Interface, Roy Anderson, expressing his concern of corporations continual plundering of the earth.The viewers also get to learn about Shell's concern about environmental issues, yet they do not seem willing to hastily find an alternative resource for oil.Even Michael Moore informs the audience that many corporations provide a good product, but it is the excessive profiteering that seems to upset him.

There are several other topics that are brought to the audience's attention such as the stock trading blindness that occur on Wall Street and places alike, as the only notion that crosses the trader's mind is the profit.Several intriguing examples are provided as many made big profits after 9/11 in gold while the first war in Iraq increased the price on oil that gave many a large dollar profit.The audience also learns how companies enter war, that they do not have to pay for while harvesting large profits on the situation.There is also a swift and detailed report on ownership of the patents of living things, as the judicial organ that ruled in the first case had no clue what it was talking about which resulted in people now being able to own the rights to certain genes or microbe essential for living.They even talk about ownership of space, water, and air, which displays an ugly event in Bolivia and how American corporations continued their business deals with the Nazis in Germany.An interesting question would be whether these companies or the people working for these corporations have committed any acts of treason .

Ultimately, the Corporation offers a cinematic experience that will unsettle all viewers without consideration for what side of the issue they stand.It is also remarkable how the film causes cerebral unrest, as if it tries to reach out to the audience to take action.If the audience wants to get more information in regards to the film or issues in the film they can visit the website www.thecorporation.com, which offers a little of everything for the interested.Otherwise, it provides some interesting notions to ponder in regards to current and future politics, economy, society, and corporate loyalty. ... Read more

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The key players in the radical movement known as the Weather Underground are skillfully brought to life in this Oscar-nominated documentary. The Weathermen were born of sixties protest, but took their scheme to overthrow the U.S. government to especially violent extremes. Never a well-populated movement, the Underground petered out as its leaders aged during the seventies; by decade's end, weary of hiding, most of them had turned themselves over to the authorities. That journey, by which a fire-breathing revolutionary such as Bernadine Dohrn became a (still fiery) gray-haired wife and mother, is an intriguing one. This film, rich in period footage (and some unnecessary sensationalism) captures the era somewhat broadly. But the present-day interviews with the participants, contrasted with their radical selves, provides an exceptionally detailed look inside the organization itself. It's not a nostalgic look back, and the overall mood is sobering rather than celebratory. Lili Taylor provides the narration. --Robert Horton ... Read more

Reviews (24)

Insightful look at American 60s radicals
In some ways, the group known as the Weather Underground (originally the Weathermen, an offshoot of Students for a Democratic Society) were more a symbol of 1960s radical idealism than a real revolutionary movement. Although they planted many bombs during a decade-long period, they never did anything that seriously threatened the government or power structure. Their goal, of course, was to spark a mass movement and inspire others to follow their example, but they remained essentially marginalized. The film, The Weather Underground does a good job at letting members of this group explain their motives and, in some cases, misgivings about their foray into revolution. Directors Bill Siegel and Sam Green seem to be sympathetic with the movement, and most of the material is told from the point of view of members. Leaders of the group Bernardine Dohrn and Bill Ayers have retained their radical views and are anything but apologetic about their past actions.

Most members of the group, despite the bombings, were committed to not harming people. This brings up a rather blatant omission in the film -Kathy Boudin, perhaps the group's most notorious member (for her participation in a robbery where a man was killed) is not mentioned at all. This was an unfortunate decision, apparently done to portray the Weathermen as essentially nonviolent. To leave out such a well known chapter in the group's history leaves a gaping hole. Still, the parts that are included are fascinating and give a glimpse into the idealism and naivete of these leftist radicals.

In retrospect, it is (at least from one perspective) a little sad to see how little long term effect the 1960s counterculture had on society. It seems that they were no match for the propaganda machine of the government and mass media. This film, of course, employs propaganda methods of its own, as when brutal footage from the Vietnam war is shown. Propaganda it may be, but it does serve to almost trivialize the violence committed by the Weathermen compared with that perpetrated by the government it was opposing. The other side to this argument is that the fact that these radicals are still alive and that a film like this has been allowed to be made is proof that America is not as oppressive as some would have us believe. Yet, this is only true to some extent; as the film explains, the FBI made a concerted (and mainly illegal) effort to destroy radical movements. There is also evidence that the government murdered members of the Black Panthers.

How you react to The Weather Underground depends on your political and cultural perspective. Regardless of this, this film is a compelling study of a radical group and gives us a glimpse into their world.

Nominated and should have taken the Oscar
Looks like McNamara won again with his anti-war doc. film. The insight and proggressive beliefs that the Weather Underground stayed true to act as a legitamite foundation for the liberated America we live in. If you are enticed by politics but are sick of corruption in America check out this film about a group derived from the SDS that took its war with the government to an extreme that had to be recognized. I never knew they busted Timmothy Leary out of jail and attacked symbols of American injustice without using murder (the tool those in power use to stress their point) don't think you've seen a film like this before, it left me energized with a tendency toward learning about political struggles of today! Who'd think a gen-Xer could look at a film about revolutionairy soldiers of the past and wonder what he could do today to maintain the liberation sparked by students from the 60's. A must have for any leftist, documentary fan, or anyone interested about the origins and movements of the "New Left"

Not Bias
Weather Underground doesn not seemed to be a bias look at the organization. It doesnt say their actions were good, they let the people speak for themselves. An interesting film on US history.

An excellent historical treatment
I am absolutely opposed to violence as a form of protest so the Weather Underground was not a group I agreed with, yet, one could agrue that they did play a role in the Vietnam protest era so this film is a good review of that.

The film is well done. I feel the Todd Gitlin, Mark Rudd and Brian Flannagan were the more realistic people on this DVD. Clearly they had come to see that the Weather Underground's methods were not ultimately the most effective and said so. They also saw the orgies as self indulgent and stupid.

In the end, all would truly admire a man of peaceful protest like the late David Dellinger for his methods as his were better than their methods.

This film should be seen as a great period piece. It should also be seen to affirm that violence wasn't the answer then and it isn't in Iraq now.

This is an educationally significant film that should be seen by all who are interested in the 60's.

Spoiled Brats
Where do I sign up for the FBI? And if a few rules are broken - shock! - to break these guys up, so be it. And if they use their rich connections to get out of jail time... the system can't be that bad, right? Most rich kids backback through Europe, and these guys went to Cuba and came back to blow up buildings... before going back to booshy comforts. If Hoover had went over the top to nail these guys, I'd have looked the other way. They are very, very, ugly. ... Read more

Amazon.com essential video

Part concert documentary, part pop-cultural time capsule, Bert Stern's Jazz on a Summer's Day chronicles the 1958 Newport Jazz Festival with an approach as deceptively relaxed, even impulsive, as the music itself. Still photographer Stern sidesteps more formal documentary conventions such as narrative voiceovers to wander purposefully from festival stage to boarding-house jam sessions, taking in the parallel color and motion of the America's Cup preparations when he isn't capturing rich color footage of the performances and the celebratory mood of the concertgoers. In the process, he documents American jazz at a notably golden moment in its development--diverse, adventurous, and still broadly popular, this was jazz not yet under the shadow of rock and youth culture, played by an integrated artistic community a few short years away from social and political turmoil that would boil divisively to the surface during the '60s. To say Stern was rolling film in a jazz Camelot is overstatement, but only slightly so.

Stern's circular approach and wonderful eye achieve a breezy languor at the expense of more comprehensive coverage of the festival's bumper crop of strong jazz, blues, and gospel musicians. Perhaps inevitably, the camera lingers on Louis Armstrong, Anita O'Day, Mahalia Jackson, Dinah Washington, Thelonious Monk, Gerry Mulligan, and George Shearing. Avid fans of later styles may be frustrated by the fleeting glimpses of other musicians such as Eric Dolphy and Art Farmer, or the honor roll of classic jazz stylists whose Newport sets weren't included in the film, but such omissions seem forgivable, if not necessary, to Stern's serendipitous design. --Sam Sutherland ... Read more

Reviews (25)

This isnt a "Concert Film", it is a time Capsule
A great Film, my only dissapointment was the ommision of theDuke Ellington set, closing the actual event. This is an art film, thecinemaphotography is outstanding. The use of shape and light is masterful. Musical Highlights that ARE included in my opinion, are Anita O'Day, Louis Armstrong, Mahalia Jackson, and Monk.

If you are a (open minded!) jazz fan, and a art genre fan this is the film you have been waiting for!

DVD Info: Excellent color and sharpness. Audio is in Dolby Digital Mono. Crisp clear tone. Extras include a complete playlist for all three days of the festival. An interview with Bert Stern (both text and audio) with accompanying documentary imagery relating to Mr. Stern's other works mentioned in interview. Much insightful discussion about the planning, filming and post production of the film. Very fascinating and well worth the price.

Now, it may be me, but it seems that i noticed some brief segments of footage in the DVD release that i never noticed on my VHS copy. But im not running the VHS again to check, this DVD is so much better!

Phenomenal Work of Art
Contrary to some comments on this list, this film is not a documentary or concert film. It is a visionary work of art. It's like Robert Franks' book THE AMERICANS coming to life. If you don't know what that is about, see for yourself. This is the America that Kerouac loved. And if you don't know what that means, find out before it's too late.

This film is really about a summers day in America in 1958. As a musician, a Jazz lover, a poet and a film buff, this film is the best of all worlds. It is pure poetry. It is like seeing the world through Kerouac's heart-filled eyes. Eyes we all have, but forget in our daily malaise. Notice the minute particulars, the spontaneous nature of life. Speaking of Beats, if you look real close you can see Gregory Corso in a couple of audience shots.

Jazz on a Summers day is about time and place. It freezes a moment in time and makes it eternal. A time when jazz was common music of american culture. A summers day when people living in the cold war and the Eisenhower era kick off their shoes and truly live. It is filled with moments of deep sighs, AH. Like, the shot of the young girl singing along with Satchmo, if that's not art I don't know what is. The performers too, Mahalia Jackson is a great bodhisattva/angel. The cinematography is vibrant. You've never seen the fifties this real.

I actually love the parts that digress from the festival. Even though I regret not seeing all of Monk. But it's still magnanimous, and contrary to another comment, the stage announcer that says Monk is "unconcerned" should be understood as Monk is on a different level. He makes music for different reasons. If you don't what that means, just listen. Monk will whisper to you in a dream.

This was a time when the music was more than just refined listening for museums and chamber halls, it oozed into everything. Seeing the boating footage with the Jazz, it's just poetic. Jazz is part of life. It is the expression of life. The people are having a good time on a summers day. A day that seems so far away. This will never happen again. Not like this. This is what great films and art are made of.

There is beauty in every waking moment my friends. Just look. Breathe. Feel. Thank you Bert Stern.

As hip as they come
Bert Stern has both an eye and an ear for jazz, par excellence, capturing the spirit of the Newport Jazz festival in its heyday. This is a wonderful showcase of performances, ranging from the detached Thelonius Monk to the super cool Anita O'Day. But, without doubt, the performance that stands out is that of Mahalia Jackson who brings the crowd to their feet with "40 Days" and then brings them to their knees with her closing psalm, so passionately felt.

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.

An absolutely wonderful documentary of Jazz
While I've not seen other Jazz movies or documentaries, I've seen Jazz on a Summer's Day on both VHS and on DVD and enjoy it so much that I've watched it several times and just had to purchase it on DVD.

I have always loved the classic Jazz of the 1950's and 1960's and this film documents one of the best Jazz festivals around, and I think this was the first Jazz festival in what we now know as the Newport Jazz festival.

What I love about this film is how Bert Stern uses his movie camera to shoot the film, much like a still camera and framed the shots just the same. I find it works on motion film as on still photography, especially in this kind of documentary where your documenting a concert. I love the B-roll shots of kids playing, grown ups sunbathing, the dixieland jazz band, the couples driving their vintage autos, and of course the Yaught(sp?) club races and overall, I find that Bert Stern does an incredible job of showing the general atmosphere of the concert and the weather of late summer in Rhode Island.

I find this an incredible film that is worthy of multiple viewings. Not just for it's incredible of shooting techniques, but for the music that is represented here. Lots of great names such as Anita O'Day, Thelonious Munk, George Shearing, Dina Washington etc. I love Bert's use of the reflections of the boats on the water for the opening sequence, mated to Jimmy Giuffrie's live rendition of the Train and the River. All in all, I rate this film a definate 5.

A piece of yesterday, live and in color
Bert Stern was a still photographer who got the opportunity to take a film crew to the 1959 Newport Jazz festival. With limited time and film, Stern and his crew set out not just to record a musical event, but to record a social experience.

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. ... Read more

Reviews (49)

Part three is a mixed blessing
Like its predecessor films, this is an exquisite blend of sight and sound, featuring eye-popping imagery and gorgeous music. Once again, composer Philip Glass (accompanied by master cellist Yo Yo Ma) brings his minimalist stylings to bear on a score that is almost perfectly married to the visual content. (The soundtrack is available, and I highly recommend it). It is the music that ultimately distinguishes this film, because director Godfrey Reggio comes very close to sabotaging an otherwise excellent effort. The message here--that the forces of information, technology, and violence are threatening the continued existence of life on this earth--is almost drowned in a sea of flashy graphics and hyperactive camera work, processed imagery and synthetic visuals, all connected by sometimes thin narratives. It borders on overkill, like an MTV video gone mad, and there are points where the message gets lost in a sea of graphic imagery. That's a shame, because Reggio's previous efforts ("Koyaanisqatsi" and "Powaqqatsi," both highly recommended) made extraordinary statements about social justice and humanity's place in the world. This one does as well, but comes very close to missing the mark.

In addition to this trilogy, I also recommend Ron Fricke's "Baraka," another mesmerizing blend of sight and sound.

Great End to A Great Trilogy
I bought the Naqoyqatsi DVD yesterday and have watched it two times since. My first impression was that this third in the Qatsi Trilogy was a lot like the first film only more hectic. I watched it a second time and it seemed a lot slower and not just a jumble of flashy digital images. On first viewing, I found the ending a bit disappointing but on the second viewing I was allowed to look more into the images. The film is great piece of art but still isn't as coheisive as Koyaanisqatsi. The music is probably what holds Naqoyqatsi together so well. The marriage of image and music is perfect.
The DVD has a extremely short clip of Steven Soderburg and Godfrey Reggio talking about the film which isn't all that important. There is a conversation with Yo-yo Ma and Phillip Glass which is nice to have on the DVD but really doesn't give that much insight on the movie. Probably the best extra of the DVD is the NYU Panel Discussion with Godfrey Reggio, Phillip Glass, and Visual Designer Jon Kane.
Some could call this just one long MTV video but I think it holds more substance than that. The message of the film could definitely be different for everyone but, I find that the message of the movie is that life is a stuggle, a struggle against technology, society, religion, and the future. Personally this is my second favorite "qatsi" film, second only to the first film. This is a great conclusion to a wonderful trilogy and should not be missed by fans of the Qatsi trilogy.

Psychonatigated blissfulness of the holly allah [gati]
A Journey for the minds eye, portal to the unknow. This shows you nothing and everything. Projecteed in a way to let you interpret the data in your own way. To view in as they say [eye candy] A psychodelic exploration of our world as a whole, a raw naked experience of our existence and fetish love. Or as a vissual interpretation of the spectrum of our world and what we do to it and or create. I do not believe in any way that watching all three of the films you are missing much that is out their in terms of what everything is catogorized in all of our american lives. Corperate greed, lusk, ideals, growth, poverty, raw, over stimulization, love beauty, hate, audio and visual awakenness, To really show us who we are and what we saposidelly need. The film is pressented in an all visual scences, some things we can just see to fully comprehend, some things are better unspoken. If you get tired of the current sound track change it feel free to breath new life into it everytime you watch it, our world changes why shouldnt this. Jah Wobbles solaris works very well, Or any Bill Laswells records. This Is by far the most raw psyconavigated piece of work ive ever come in contact with. Be awaken by this reality dream of beauty and dismay. Dont be afraid the future is hear now.

Effective
Reggio has been lambasted to no end regarding this film, with most arguments against it more or less in opposition to his use of digital tools and technology in the creation of the visuals, the necessary bi-products of a digital, commodified age, a dehumanising practise which he is ostensibly critiquing. That criticism notwithstanding, the unending parade of seemingly arbitrary and/or obvious visual signs which are thrust at the viewer without much differentiation or care seems to frustrate viewers of Reggio's "art". I think that it is quite a stroke of genius to do this; in this film the form closely matches the content. It reflects the dreary, non-individualised, cyber/hyper consumer world very well, a world where the arbitrary image of a giraffe/zebra (on, say, a nature programme) can be set alongside an ad for coca-cola. There is no necessary link between the two, but we, as unassuming consumers of signs and imagery, do not notice this problem, it has become 'natural'. I believe that the imagery has been modified, warped (etc) to scare us into a realisation of how un-natural many of the ways we consume and see the world are. The critique proffered here has to be looked for. It is all on the surface. There is, necessarily, no depth to the film and its imagery.

Last Thoughts on a Thirty Year Long Polemical Effort
Director Godfrey Reggio and Composer Philip Glass, in 1975, began work on a trilogy of films, that collectively take on as their dominant theme, the disintegration and fragmentation of modern civilized life. The trilogy begins with 1982's "Koyaanisqatsi", which deals with the "way of life" of the peoples of the northern hemisphere. 1988's "Powaqqatsi" speaks of the influence of that way of life on the more primitive peoples of the Southern Hemisphere. This 2002 film, "Naqoyqatsi", both explores and attempts to predict, what life will be like in the globalized world of the future.

All three films form an abstract wordless narrative structure, achieved solely through the use of traditional or digital cinematography, accompanied by a musical soundtrack from composer Philip Glass. The titles of these films come from Hopi Indian philosophies, yet the vision of the films is not that of the Hopi peoples, but primarily that of director Godfrey Reggio, who left a Christian monastic life during his teenage years in order to better engage with the world.

It is difficult to determine what influence that monastic upbringing had on Reggio's vision, however. In Christian apocalyptic literature, such as in "The Book of Revelations", a story is constructed "in which the secrets of the heavenly world or of the world to come are revealed by angelic mediation within a narrative framework". "Naqoyqatsi" is not properly a part of that tradition, though it's dominant theme still seems to be the disorder of a world which is rapidly approaching a tragic end.

Extreems of love and despair both achieve their psychological power in a person's mind by denying contradictory evidence of their opposite. Extreems of love deny any quality of flaw in the beloved, while extreems of despair deny any possibility of a future communion with goodness. Clearly, the theme of "Naqoyqatsi" is a kind of "totalism" of despair, which utterly denies any of the fragile joys we experience in this life.

The images we see in the film are all true, yet a viewer is compelled to make some sense of their own personal journey within this contemporary life. Indeed, one feels obligated to seek a meaning beyond the "Naqoyqatsi" message. Ultimately, that is why this reviewer does not find Reggio's vision to be personally satisfying, even though these films are an astonishing artistic success. Within the qatsi world view, Reggio leaves the audience with little hope of finding eventual solace. ... Read more

Reviews (5)

WOW! THIS HAS TO BE SEEN!
You won't be the same after watching this amazing well done documentary. There are moments that will move you to tears. It's a declaration that Black American history IS AMERICAN HISTORY! How can an American go through life not knowing so many famous names like Frederick Douglass and Sojourner Truth, you don't get more American than that. EXCELLENT, a must buy!

AFRICANS IN AMERICA!
Originally produced for PBS in 1998, this DVD includes all four installments of this POWERFUL DOCUMENTARY! The focus here is on SLAVERY IN AMERICA, starting with JAMESTOWN in 1607 and ending with the start of the CIVIL WAR in 1861! This documentary combines FIRST-PERSON ACCOUNTS and HISTORICAL DOCUMENTS with INTERVIEWS with not only historians but the descendants of those slaves! This might be the FINEST look at America's PECULIAR INSTITUTION available on DVD!

A very moving series
I actually watched this series when it was on PBS a couple of years ago and it almost brought me to tears. It was incredibly sad to hear about the way that the slaves were treated.

This video would be a great learning experience for classes. I am thinking about using it as an visual aide for my speech on slavery in NY.

This is a journey that every American must make.
Narrated by Academy Award nominee Angela Bassett, "Africans in America" is the first television/video documentary which works to chronicle the full history of slavery in America. The documentary is an incredibily ambitious effort that employs relevant scholarly data, interviews with noted historians, lively story-telling, and vivid accounts from slave descendants to detail, in four ninety-minute episodes, events from when Black and White indentured servants worked side by side (the colonial era) to the freedom from slavery that came at the end of the Civil War. "Africans in America" could not come at at a better time, when issues of racial strife continue to have a stranglehold on this nation. By looking at our racial past, we may be able to understand our racial present and future. The first part of the documentary, "The Terrible Transformation," details the origins of slavery in America. It dispels misconceptions that slavery was a sudden, full-blown institution. Rather, it shows that during the early 17th century slavery became institutionalized over many decades, law by law. Part two, "Revolution," focuses on the popularity of slavery in both the South and North, and on George Washington's role in legalizing slavery. Again, little known facts are highlighted, such as the role slaves played as combatants in the American Revolution. Part three, "Brotherly Love," turns to the then capital of the nation, Philadelphia, to recount how the government recommitted to slavery for Blacks while promising Whites liberty. This part also explores how the White scientific community worked to link the Black race with biological inferiority, thereby justifying the enslavement of African Americans. The final part of the documentary, "Judgment," covers antebellum and post-antebellum years. It reminds us of the constitutional amendment to free the slaves. More importantly, this final part challenges viewers to consider if slavery was really an inevitable institution, and, based on past behaviors, whether this country can ever gain racial harmony. "Africans in America" is thorough-- it took 10 years and millions of dollars to produce. It was shot on location across 12 states and 3 continents. It draws upon documents, scholars' insights, and a few well-knows such as Gen. Colin Powell. In all, it is a masterful educative effort. This is a journey that every American must make-- preferably through more than one viewing-- so that salient events are understood and so that we may begin to comprehend that the journey to racial reconcilation is far from over.

The best teaching instrument to date on the issue of slavery
I have always been interested in the issue of slavery. This video series is like none I have ever seen before, it is excellent! Its as if there are hundreds of slave narratives combined with countless facts and documents to back them up. These videos are more than history, they are windows into the the lives and hearts of American slaves. I would recommend this to any American, whether you are black or white. It is time for the truth. ... Read more

Reviews (17)

Too Pretty To Be A Fighter
I popped some popcorn and settled onto my couch - and was blown away - watched the entire thing in 1 day

Some of the rarest and greatest footage I've ever seen!

It felt like a treat to watch the fights I've only read about - I watched both Liston fights! - how many people can say that?

As the fights are concerned - you get to see them! - you get to watch Ali dance and dance - you get to watch him float like a butterfly and sting like a bee - you get to watch him apply his craft - I've never seen the amount of Ali fights as I did on the day I watched these videos. To be fair - some of the fights you only get a couple of important rounds - but as a whole this is the greatest of any Ali VHS/DVD I've ever seen.

You get to see some others interviewed about Muhammad Ali - from his brother - To Angelo Dundee - to Malcolm X - it' just incredable the amount of footage that this makes available to you.

I know it's said a lot, but if you're an Ali fan you HAVE to own this...you have to!

The best documentary of "The Greatest"
If you're a fan of the great Muhammad Ali, or have an interest in boxing history, or even just an interest in a fascinating period in American history, this 6-tape set (just under six hours total) will be worth the price. It contains a lot of rare footage of Ali in and out of the ring, as well as insightful commentaries by Angelo Dundee and others who knew him best. Of course it's impossible to separate Ali from his social impact and the turbulent times he lived in during his boxing days, and those are certainly covered in this set, but the main emphasis is really on his remarkable boxing career. Aside from his legendary fights with Sonny Liston, Joe Frazier, Ken Norton and George Foreman, there's extensive footage of many less-famous fights with boxers like Henry Cooper, Floyd Patterson, Archie Moore, George Chuvalo, Ernie Terrell, Jerry Quarry, Oscar Bonavena, and so on, and even his Olympic and early progessional fights. If you'd like the most complete Ali documentary available, this is the one you're looking for.

Amazing Footage
I have yet to view anything concerning Ali that surpasses this documentary. This is an absolute must have for any Ali fan.

The Greatest
Anyone who is a fan of Muhammad Ali, or who understands or admires his greatness, it would be unfair for them not to see this movie. The words really dont do it Justice as to the Depth of it's content. The fights, in depth interviews, and out of the ring footage is truly remarkable. This is a must see for any Boxing fan.....

Great Documentary
This documentary is very good, it has tons of fight footage. It has clips from some of Ali's bigger amateur fights, his Olympic fight, some of his bigger fights before fighting Liston. His fight with Liston, clips from all of his 9 title defenses. Clips from his first fight with Frazier, his fights with Norton. No clips of Ali-Frazier II which was kind of dissapointing, but most of the Rumble in the Jungle and most of the Thrilla in Manila. The only other dissapointing thing was that they didnt show clips of Ali-Spinks II which would have been interesting. Great documentary, 6 episodes an hour each, insights from Angelo Dundee, Jerry Izenberg, Ferdie Pacheco, Wali Muhamad, Howard Cosell etc deffinately worth buying. ... Read more

Description

"I have a dream today."On August 28, 1963, Martin Luther King spoke these words as he addressed a crowd of more than 200,000 civil rights protesters gathered at The Lincoln Memorial in Washington, DC. Two months earlier, President John Kennedy had sent a civil rights bill to Congress, but it was struck down. Although Kennedy was concerned about the possibility of widespread violence during this protest, he realized he was powerless to stop it and embraced the movement instead. Known as the "March on Washington for Jobs and Freedom," the country expected to hear King deliver strong words to his opponents. Instead, his "I Have a Dream" speech was one of heartfelt passion and poetic eloquence that still echoes in our memory. ... Read more

Reviews (5)

Content - Thumbs Up; Video - Thumbs Down
I do not remember seeing the entire length of Dr. King's famous "I Have A Dream" speech delivered on the steps of the Lincoln Memorial nearly forty years ago. As I was preparing to speak to a group of high schools students in a program titled AVID --- Advancement Via Individual Determination --- I was excited by the thought of seeing Dr. King's speech. What better example of a leader with an inspiring vision for the future? What better example of someone who put their skills and experience to their highest and best use to fulfill their dream? What better example of someone who gave their life to something of value and significance?

Dr. King did not disappoint me. As I strained to pick out his figure --- nearly lost in a sea of over 300,000 faces crowded beneath the Lincoln Memorial --- I heard the voice that stirred souls to action in tumultuous times. I heard the cadence, rhythm, and volume of it. I heard the phrases rising and falling like waves crashing on the shore. I felt a lump in my throat as I considered the power and importance of the message.

And I wondered if we are already too far removed from this message. Nearly two generations hence, are we closer to Dr. King's dream? Does today's generation understand the price paid for its freedom? Are we cultivating leaders who will rise to the needs of tomorrow? Leaders of character, integrity, vision, action, teamwork, and service? This was the example and spirit I sought to inspire those students.

I was, however, disappointed by the quality and integrity of the video. I was at first surprised to hear Peter Jennings of ABC News narrating the video. As I watched, it became clear the content of the video was an excerpt from a narrative on the life of Dr. King, yet I could find no credit to Mr. Jennings, ABC News, or other source material. It ended abruptly as if it had been hastily or carelessly editted. I found this distracting and disappointing.

If I had an opportunity to select an alternative source for Dr. King's speech, I would select a better one.

Surreal!
In many publications this speech was named the number one speech of the 20th Century. I will not disagree. I have never been able to see the whole speech until now. Dr. King's words ring true 37 years later. Guaranteed to give you chillbumps! A must for any collection!

Outstanding Archival Look at The Dream Speech
The video begins with a brief look at various 1960's era civil rights protests and the violence that often followed such demonstrations. Using footage (much of it somewhat raw) shot during the marches and demonstrations and narrated by Peter Jennings, the montage of video "highlights" of the 1960's civil unrest provides a strong setting for the showing of MLK's "I have a dream" speech at the foot of the Lincoln Monument.

The video does not show the entire speech, but it does present enough to gain a good understanding of its content. Perhaps the single most important reason to watch the video (as opposed to reading a text version of the speech) is to witness King's change in tone, demeanor and style as he reaches the end of the speech. As he begins to call for "letting freedom ring" he abandons his notes and begins to seemingly speak extemporaneously, and the passion in his voice begins to rise. It is a powerful visual, lost in any textual version.

The video concludes with a brief explanation of the assassination and memorial service.

a great speech
the power of mr king's words are timeless.they have shaped and influenced the world.it's a shame that to often only the excerpts of the speech are ever broadcast.the whole speech needs and deserves to be heard.the man had a vision for a better future for all.he has left a life lasting impression on me.this video is history and will last thru the end of all time.a must have for all people that respect human life.

Most effective speech ever
I have heard reference to this famous speech many times over the years but I had never seen the entire speech. After seeing the entire speech for the first time it was easy for me to conclude that this is the best speech ever given by any public speaker with respect to: -sense of urgency created -references for all stakeholders -appropriate emotion and sincerity -skillful use of voice (tone, inflection)

I recommend this speech to anyone who is interested in seeing a very skilfull speaker. In addition, the subject matter of the speech is moving and relevant to many of the issues facing America today. ... Read more

Amazon.com essential video

This exemplary documentary about seminal jazz pianist and composerThelonious Monk reaps the benefits of multiple blessings, including the skillededitorial hand of director Charlotte Zwerin and the patronage of executiveproducer (and erstwhile jazz pianist) Clint Eastwood. Most vital is the use ofextensive 1968 footage, shot by Michael and Christian Blackwood, documenting thesometimes moody, sometimes puckish Monk in the studio, on tour, and off stage,which on its own would make this essential jazz viewing.

In post-World War II America, few cultural upheavals matched bebop for sheerexhilaration. Spawned by jazz musicians whose paydays typically came with largerswing ensembles, bop was as much bastard as stepchild, refining the technicalambitions of its parent while breaking free of swing's formalism to play fastand loose with harmony, melody, and tempo. That mercurial spirit made heroes ofhigh-flying, technically flamboyant players like Charlie Parker, DizzyGillespie, and Bud Powell. Monk, by contrast, was as distinctive for hissilences, crafting often skeletal melodies distinguished by unexpected, skewedharmonies. At one point dubbed the "high priest of bebop," he was more Zenarcher, threading notes, warping chord structure, or stabbing "wrong" keys witha seeming looseness that in hindsight sounds as precise as haiku.

Thelonious Monk: Straight, No Chaser provides an intelligent portrait ofthis often reclusive, sometimes difficult artist, including telling glimpses ofhis volatility. A stormy studio session with Teo Macero, then Columbia Records'preeminent jazz producer, speaks volumes about Monk's very private approach tohis muse. Perceptive interviews and glimpses of Monk's sunnier moments provideadded depth, yet the real triumph is the generous catalog of classic Monk songscaptured on camera. --Sam Sutherland ... Read more

Reviews (17)

The Dead Sea Scrolls of Jazz?
Here it is-Clint Eastwood's *other* jazz film. The core of this biographical documentary about the innovative pianist and co-founder of bebop Thelonious Monk is footage of a recording date and tour from 1968, plus priceless scenes of Monk offstage. Filmmaker Bruce Ricker lets the 1968 film, shot by Michael and Christian Blackwood, speak for itself, interspersing stills, interviews, and some equally priceless early Fifties television footage. The 1968 film is shot in gorgeous black and white; the dark smoky club is especially impressive, visually.

Monk himself is imposing in black and white, with his greatcoat, pointy beard, and assorted headwear. In one scene he rolls into the recording studio wearing a lensless eyeglass frame and a Polish cavalry officer's cap. He shambles through the film, all sweat and bulk and cigarettes and raspy voice. There are a couple of great shots of his distinctive, spinning dancing, full of little surprises.

The recording studio scene is fascinating on a couple of levels. We get to see Monk and sax sideman Charlie Rouse go over the score of a song together. But we are also reminded that this is the late Sixties, when jazz isn't selling, and Monk is not a legend yet. The clueless producer and recording engineer, while friendly, keep telling him to play something to warm up, and then neglecting to record it. Monk finally loses patience and stomps off to a corner to angrily suck down a cigarette.

The film also records a European tour, which also has its problems. The octet that is supplied to him for the tour is oversized and under-rehearsed. They learn their parts on the plane to London, and can't get it together onstage the first night there. Much to the band's embarrassment, Monk has to stop songs to get everyone back on track. But in a day or two they shine, and receive rapturous applause.

The tour has its lighter moments. Perhaps the funniest moment is Monk lying in his bed in a Copenhagen hotel, trying to get his familiar down home cooking from room service. "Say, man; you got any chicken livers?" "Umm...Ve haff chicken sahlad." "You got any regular liver?" "Regular..." "Beef liver?" "Umm...Ja, ve haff beef liffer."

Here and there we meet a surprise guest. Some late Fifties/early Sixties New York club concert footage shows a room full of heavy-lidded white hipsters enjoying music by Monk and none other than John Coltrane. In a club kitchen, Monk clowns with Baroness Nica, who befriended many jazz musicians and in whose apartment Charlie Parker died. There's a montage of his records, including _Underground_, which boasts the single coolest album cover in the history of recorded music. The interview segments, with T. S. Monk, Jr. and Monk's manager are touching, giving insight as to how Monk struggled with the black dog, depression. And a couple of greybeards play some of Monk's music arranged for two pianos. It's lovely, fitting for the tribute it is. Just like this film.

The Dead Sea Scrolls of Jazz?
Here it is-Clint Eastwood's *other* jazz film. The core of this biographical documentary about the innovative pianist and co-founder of bebop Thelonious Monk is footage of a recording date and tour from 1968, plus priceless scenes of Monk offstage. Filmmaker Bruce Ricker lets the 1968 film, shot by Michael and Christian Blackwood, speak for itself, interspersing stills, interviews, and some equally priceless early Fifties television footage. The 1968 film is shot in gorgeous black and white; the dark smoky club is especially impressive, visually.

Monk himself is imposing in black and white, with his greatcoat, pointy beard, and assorted headwear. In one scene he rolls into the recording studio wearing a lensless eyeglass frame and a Polish cavalry officer's cap. He shambles through the film, all sweat and bulk and cigarettes and raspy voice. There are a couple of great shots of his distinctive, spinning dancing, full of little surprises.

The recording studio scene is fascinating on a couple of levels. We get to see Monk and sax sideman Charlie Rouse go over the score of a song together. But we are also reminded that this is the late Sixties, when jazz isn't selling, and Monk is not a legend yet. The clueless producer and recording engineer, while friendly, keep telling him to play something to warm up, and then neglecting to record it. Monk finally loses patience and stomps off to a corner to angrily suck down a cigarette.

The film also records a European tour, which also has its problems. The octet that is supplied to him for the tour is oversized and under-rehearsed. They learn their parts on the plane to London, and can't get it together onstage the first night there. Much to the band's embarrassment, Monk has to stop songs to get everyone back on track. But in a day or two they shine, and receive rapturous applause.

The tour has its lighter moments. Perhaps the funniest moment is Monk lying in his bed in a Copenhagen hotel, trying to get his familiar down home cooking from room service. "Say, man; you got any chicken livers?" "Umm...Ve haff chicken sahlad." "You got any regular liver?" "Regular..." "Beef liver?" "Umm...Ja, ve haff beef liffer."

Here and there we meet a surprise guest. Some late Fifties/early Sixties New York club concert footage shows a room full of heavy-lidded white hipsters enjoying music by Monk and none other than John Coltrane. In a club kitchen, Monk clowns with Baroness Nica, who befriended many jazz musicians and in whose apartment Charlie Parker died. There's a montage of his records, including _Underground_, which boasts the single coolest album cover in the history of recorded music. The interview segments, with T. S. Monk, Jr. and Monk's manager are touching, giving insight as to how Monk struggled with the black dog, depression. And a couple of greybeards play some of Monk's music arranged for two pianos. It's lovely, fitting for the tribute it is. Just like this film.

A Butterfly they tried to catch
"Straight No Chaser" offers an abundance of wonderful footage of Thelonious Monk in concert, in transit, at home, in rehearsal, eating, sleeping, spinning in circles, in the studio, signing autographs and of course creating magic at the keyboard. Watching this film is like watching the weather on any given day. At one moment it's cloudy and grey, the next sunny and blue and in between anything could happen, and does. Monk clearly had serious and long term mental health problems, but the music the man created is his real legacy and there is plenty of it here. Towards the end of the film Milt Jackson, Art Farmer, Tommy Flanagan and Barry Harris try to work out the chord progression to one on Monk's songs and as things get more and more complex Milt Jackson (who played with Monk) simply smiles to himself with a combination of perplexity and amusement at the sheer genius of the music.

The excitement and sense of discovery one feels in witnessing this precious footage does become tempered by the lack of insight into the nature of his music and the full impact of it upon other musicians. The interviews are revealing, especially Harry Colomby (Monk's manager) and a visibly emotional TS Monk Jr. who with understandable difficulty recalls his father's mental problems. Ultimately though, the uniqueness of Thelonious Monk's music shines through. His television performance of "Just A Gigolo" about half way through is inspiringly honest, utterly sincere (even in it's sardonic humour) and completely absorbing.

Monk's most lasting musical legacy was probably his honesty as a musician and as a man, the rarest quality of all.

THE Monk documentary
Whenever we see jazz-history programs on TV, we see very little of Thelonious Monk; there's always that short footage of him wearing slim sunglasses, sitting on a fold-out chair playing the piano, and stomping his foot. I had never even heard Monk talk prior to this presentation of him ...it's a good thing there are subtitles ;)
Watching this highly informative and well presented 90-minute documentary about him and his music got me so excited that I had to throw on the old "Straight No Chaser" record when it was over - I guess I actually needed a chaser.
A common mistake in presentations of musical documentaries is that there isn't enough music; people usually talk over it, but that is NOT the case here; footage from recording sessions and concerts are distinctly kept apart from interviews, which is a big plus. Something that isn't much discussed here, though, are the highlights of Monk's career, i.e. when he had success with certain compositions or recordings,--or even which recordings that were successful--he's more presented "on the whole", even though the documentary basically is chronological. There is, however, a "Monk Career Highlights" feature in text, but it's very short; the career-highlight feature of executive producer Clint Eastwood is twice as long.
"Straight No Chaser" is probably the most informative documentary made of Monk so far. There's a short theatrical trailer, and subtitles in four different languages, plus this DVD has no problems with either audio or picture, which is nice and unusual. Highly recommended! 4.5 stars!

"Why nobody just wanna do what I ask 'em to do?!"
So exclaims a frustrated Monk during a late 1960s Columbia recording session, after finishing a haunting run-through of "Ugly Beauty" and learning that producer Teo Macero neglected to record it. The movie is filled with wonderful private moments like these, though I can't say how much interest it will hold for those not familiar with Monk. For me, however, and for many others who are infatuated with him and his music, the footage in this documentary is gold. The character of Monk is rounded out for us, and we find that he was just as unique and strange in his life as he was in his music. He was truly in his own world, and though for 90 minutes we see him up close, with his musicians, with his wife Nellie, with the Baroness Nica, see his bizarre behavior backstage, at the airport, in the hotel, we are no closer to getting inside his head. For that, one simply needs to hear the music.
And the music collected in the movie is astonishing--An early television appearance where Monk is miffed by Count Basie staring at him across the piano during a performance...several shows with a quartet including Charlie Rouse...great footage of the big band sessions of the mid 60s, with Rouse, Johnny Griffin, and Phil Woods scrambling to learn the arrangements...and the great Columbia session, where Monk becomes visibly annoyed, but still has time for a wonderfully tender moment with pal Teo. There are interviews with Monk's managers, his son, Charlie Rouse, and a fine piano duet of "Well You Needn't" by Tommy Flanagan and Barry Harris, reminding one and all that not only was Monk one of the most distinctive piano players in jazz, but that, along with Ellington and Charles Mingus, he was one of the most brilliant composers as well. ... Read more

Description

Songs: Black or White, Heal The World (Super Bowl version), Remeber the Time, Will You Be There, In the Closet, Gone Too Soon, Jam, Heal the World, Give In to Me, Who Is It, Dangerous. 112 minutes. ... Read more

Reviews (32)

The best, baby!!!
As we all know, Michael Jackson is the KING OF POP! This number-one film was in the Guiness book of World Records as the highest selling music video on '94!! Containing never-before-seen footage, behind the sce