DVDs

BLACK WAX SUN RA: A JOYFUL NOISE DIRECTED BY ROBERT MUGGE (MVD Visual) The films of Robert Mugge engage crucially not only with the sounds but also the philosophies of the artists whose work they explore, and it is difficult to imagine two more philosophically engaged artists than the incendiary songwriter/vocalist Gil Scott-Heron (1949-2011) and the

exploratory keyboardist, composer and bandleader Sun Ra (1914-1993). In two ← classic documentaries, newly remas- “Caustic verbal thumbscrews to the American past”: Gil Scott-Heron, as seen tered for Blu-ray and DVD by MVD in Robert Mugge’s 1982 documentary Black Wax Visual, Mugge mounts the stages on which these ineffable creators plied evocative word pictures on the anti-drug concerns like money, politics—even their deeply felt trades. “Angel Dust,” the subliminally furi- the fate of the planet on which its In 1982’s Black Wax, Mugge captures a ous “Winter in America” and the still composer was born. In 1980’s Sun Ra: Washington, D.C., performance featur- too-sadly-relevant “Gun,” the Midnight A Joyful Noise, Mugge again inter- ing Scott-Heron and his Midnight Band Band, powered by Gordon, percussionist laces live performances of Ra and his (under the guidance of bassist and “Secre- Larry MacDonald and keyboardist Glenn Arkestra with sequences in which tary of Entertainment” Robert Gordon), “Astro” Turner, weave plush, inviting the bandleader expounds on his interspersed with casually graceful scenes grooves, deftly complemented by Mugge’s wildly cosmic visions of humanity, of the vocalist guiding the viewer on a butter-smooth camera. (Black Wax was space and the true meaning of music. “tour” of the nation’s capital. Scott-Heron one of the first films to make extensive “Whatever man thinks is the greatest puts caustic verbal thumbscrews to iconic use of then-new Steadicam technol- thing,” Ra declares, “I have to rise figures of the American past and, in po- ogy.) The film clarifies and strengthens above that, because I have to judge a etic verse, excoriates the poverty thriving Scott-Heron’s identity as a revolutionary tree by the fruit.” in the inner cities while “Whitey’s on the thinker who was also a potent, captivating The fruit Ra bore is present in the moon.” Scott-Heron is leftist in his views, entertainer. It’s a shot of bitter medicine film’s performance excerpts, fusing but he declares himself merely a member that goes down silky smooth. free- conceptions with Ra’s deep of the “Common Sense Party,” his cultural While Scott-Heron was slugging understanding of the totality of black role that of a “bluesologist.” it out at ground level, Sun Ra’s music music. The bandleader’s mandating

IMAGES COURTESY OF ROBERT MUGGE OF ROBERT IMAGES COURTESY As Scott-Heron weaves masterfully always sought to transcend petty of a regimented performance and

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rehearsal style, onstage wardrobe and read the definitive biography by Bill lifestyle for his musicians might lead Milkowski (interviewed in the film) THE UNITY SESSIONS (Eagle Rock) one to mistake Ra for a cult leader. or closely followed Pastorius’ work. The Unity Sessions strives But the proof of the creative free- From the get-go, the film thrusts to capture the connec- dom Ra afforded those musicians, a us into the initially enchanting world tions, both musical and freedom that belies the very nature of the man who “changed the rules of extramusical, shared by of a cult, is exemplified in interview what’s possible on the bass,” as Red Hot the members of guitarist segments with Arkestra tenor saxo- Chili Peppers bass player Flea puts it Pat Metheny’s most recent phonist John Gilmore, who praises near the start of JACO. Growing up in working group, the Unity Ra for introducing him to “higher the tropical climes of South Florida, Band: saxophonist Chris Potter, bassist forms of music,” and drummer James Pastorius heard the swanky big-band , drummer Antonio Jacson, who says Ra’s guidance led music of his dad, Jack, listened to late- Sanchez and keyboardist/vocalist/ him to achievements he never could night AM broadcasts from Cuba, saved multi-instrumentalist Giulio Carmassi. have imagined, such as building a paper-route money to buy his first set Metheny wanted to document the drum from the trunk of a lightning- of drums, and as a teenager played R&B musical and human rapport developing struck tree. But really, all the proof in local outfit Las Olas Brass and with within the unit, but he wanted the viewer one needs is in the faces of Ra’s blue-eyed-soulman Wayne Cochran to experience that dynamic up close, musicians, who beam with genuine and the C.C. Riders. Then came his rather than through the distant lens of a gratitude as they join their leader in astonishingly assured 1976 self-titled traditional concert film. communal audiovisual adventures debut album, produced by Blood, Sweat Shot at a New York City theater at like the exultant performance of Ra’s & Tears drummer Bobby Colomby, the end of the group’s 2014 tour, The iconic “We Travel the Spaceways” who says, “My goal was to bring Jaco to Unity Sessions presents the band per- that concludes the film. as many people as possible.” forming a two-hour-plus set without A Joyful Noise is a more abstract Jaco himself took his music to Joe an audience, on a dark stage illuminat- experience than Black Wax, fitting Zawinul, who engaged in creative and ed by dramatic lighting. The cameras the esoteric nature of its subject. personal sparring with the younger alternate between full-band angles and (No Steadicam here; the concert man as he watched him evolve into tighter shots that enable the viewer to footage is handheld, fast-moving, as one of three equals in Weather Report, gain an intimate perspective: focusing if trying to capture the creation of along with saxophonist Wayne Shorter. on Metheny’s hands, say, or offering every note.) But with both Ra and JACO faithfully follows the bassist’s close-ups of Sanchez as he listens and Scott-Heron, Mugge’s films honor the rapid rise, his brilliance as a player, responds to the music around him. singular worldviews of their subjects writer and arranger and, inevitably, Much of the material is drawn and the important sounds through his struggles with bipolar disorder from the group’s two albums, 2012’s which they expressed their hearts and addiction. During one of those Grammy-winning and and minds. MATT R. LOHR down-and-out periods, in September 2014’s KIN ( ), and the melodi- 1987, Pastorius was brutally beaten cally and rhythmically kaleidoscopic JACO into a coma by a nightclub manager compositions offer each band member DIRECTED BY PAUL MARCHAND and died. ample opportunities to shine. Potter in AND STEPHEN KIJAK (MVD Visual) The film itself is short on inter- particular serves as primary counter- It’s hard to overestimate view footage featuring its subject; the part to Metheny, a role similar to the how eagerly fusion fans most meaningful conversation with one keyboardist played in anticipated JACO, Pastorius comes from his landmark in- the . Metheny and the first full-length structional bass video of 1985, hosted Potter drive the escalating “Roofdogs,” documentary on Jaco by R&B session ace Jerry Jemmott. strum guitars on “Rise Up” and wax Pastorius, the game- Still, JACO is packed with sometimes lyrical on “This Belongs to You.” changing electric bass insightful interviews with Pastorius’ The set also reaches back to earlier virtuoso and gifted composer. musical colleagues and collabora- points in Metheny’s career. Potter puts Directed by Paul Marchand and tors—Zawinul, Shorter, Peter Erskine, his own stamp on “Police People,” Stephen Kijak, the film—nearly six Joni Mitchell, Mike Stern (but, oddly, from the Metheny/ years in the making—became a reality not Pat Metheny)—as well as family, collaboration Song X; the band jams thanks to its producer and cowriter, friends and admirers. The abundant on the folk-jazzy “Two Folk Songs,” Metallica bassist and Pastorius personal photos and rare performance from 80/81; and Metheny and Sanchez superfan Robert Trujillo. footage, not to mention one especially turn “(Go) Get It,” from Trio 99  00, It’s mostly worth the wait, as view- affecting phone recording, are a bonus. into a fiery rock-edged duet. Metheny ers get a clear understanding of how The DVD/Blu-ray’s second disc offers closes the show quietly, with a medley the fretless bass monster came by his even more interviews and concert of Metheny Group favorites performed musical influences and gained jazz- video. Trujillo’s labor of love is impos- solo on acoustic guitar. An interview world stardom. But there are probably sible not to like. with Metheny and company is offered few revelations here for anyone who PHILIP BOOTH as bonus content. LUCY TAUSS

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