Highlights: Chico Hamilton Quintet -- visually stunning; Fred Katz practicing in a bedroom with light and smoke framing the Bach Cello #1; Anita O'Day in total synch with the audience; the interplay between Armstrong and his band; and many more. The iconic image of Anita O'Day is from “Jazz on a Summer's Day," shot at the 1958 Newport Jazz Festival, where she showed up for her afternoon set in heels, an audacious bonnet and a slinky black dress, treating the crowd (some of whom looked somnambulistic) to a … Newport is prominently featured in “Jazz on a Summer’s Day,” the classic, newly restored 1959 documentary now streaming at the Jane Pickens Theater. Anita O’Day (left) and gospel legend Mahalia Jackson deliver memorable performances in the documentary of the 1958 Newport Jazz Festival, “Jazz on a Summer’s Day.”Newport is prominently featured in “Jazz on a Summer’s Day,” the classic, newly restored 1959 documentary now streaming at the Jane Pickens Theater.Shot with multiple cameras and 35mm color film, “Jazz on a Summer’s Day” established the standard for future live concert films, starting with D.A. Her solo career got back on track after signing with Norman Granz's Norgran label in 1952. Copyright © 2013-2020 Island Communications.
By ohtadmin | on August 20, 2020. Filmed at the 1958 Newport Jazz Festival and directed by world-renowned photographer Bert Stern, Jazz on a Summer’s Day features intimate performances by an all-star line-up of musical legends including Louis Armstrong, Thelonious Monk, Gerry Mulligan, Anita O’Day, Chuck Berry, Dinah Washington, and closes with a beautiful rendition of “The Lord’s Prayer” by Mahalia Jackson at midnight to usher in … The camera captures the awestruck crowd as Jackson closes her set at midnight with her powerful rendition of “The Lord’s Prayer,” bringing Saturday night into Sunday morning and leaving the crowd in a state of rapture. There’s bass saxophonist Mulligan’s memorable “Catch as Catch Can” and Chico Hamilton’s mesmerizing drum solo on “Blue Sands.” The one and only Armstrong electrifies the crowd with “Rockin’ Chair,” delivering “Up the Lazy River” like you’ve never heard it before and playing trumpet for a rousing “When the Saints Go Marching In.”Festival founder George Wein, who teamed with the Lorillards to launch the festival in 1954, liked to mix acts that ran the musical spectrum. Stern teamed with Aram Avakian, who also edited the film. Avakian’s brother, Columbia Records jazz producer George Avakian, was the musical director of the film, which runs just under 90 minutes and easily could have been longer. But this provides interesting footage of Newport’s scenic roads and beaches.The press notes for the original 1959 release of the documentary may sound stilted now, but they make for fascinating reading. Coming out of a gentle piano solo, O'Day indulges in some abstract scatting and extrapolating on the melodic theme that twists the popular tune into surreal knots. Her last album, But Avakian apparently had control over which performers made it into the final cut, since some stellar acts, such as a young Miles Davis and Lester Young in his last Newport appearance, are not included.Loren King is an arts and entertainment writer whose work appears regularly in The Boston Globe and other publications.Stern wasn’t a jazz buff, which might account for the photography that makes for some of the more distracting parts of the film.
It’s a lush visual reminder of how casual elegance was common at the time for entertainment events, even those in the afternoon.The film soars when it’s about the performers. Any amount helps! Anita O’Day in a cocktail dress, hat and white gloves, steals the afternoon with her set including an up-tempo rendition of “Tea for Two” during which she switches to scat and duets with John Poole’s rhythmic drums. There’s also a goofy segment of a Dixieland band playing music as they tool around town in a vintage car. Please consider making a monetary contribution to help Newport This Week stay viable in the tough times ahead created by the COVID-19 pandemic. And she closes her set in dynamic fashion with a blazing scat rendition of "Four Brothers," the Jimmy Guiffre tune composed for the star sax section of the Woody Herman's Second Thundering Herd (comprised of tenor saxophonists Stan Getz, Herbie Steward and Zoot Sims along with baritone sax ace Serge Chaloff). Free LOCAL News matters. Original setting for the festival was Newport’s ancient and hallowed Casino … But the festival was soon forced to find other quarters and the Lorillards bought the Belcourt Estate, which is now used for seminars, lectures and parties, while the evening jazz performances are held at former baseball park, Freebody Park.”Stern, who’d later famously take the last photographs of Marilyn Monroe, focuses a bit too much on the crowd, especially young, attractive women. By Loren King. From that frisky opener they slide into a sublime reading of the poignant Jimmy Van Huesen-Johnny Burke ballad from 1953, "Here's That Rainy Day." "And Her Tears Flowed Like Wine" became a huge hit for the Kenton band and helped elevate O'Days profile during the post-War years. Described by Newport impresario George Wein as "one of the greatest singers in the world," Anita O'Day took the stage at Freebody Park on July 3 with a light rain falling on the crowd.
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