An Introduction To Jazz Filmography

Mark Cantor

Introduction

The term “filmography” is a relatively new one, and there seems to be a lack of consistency in definition, at least where printed and on-line sources are concerned. Filmography, where it relates to jazz performance, might best be defined as the accumulation, evaluation, organization and presentation of facts regarding film, specifically where musical performance is concerned. An imprecise science at best, jazz filmography has been hampered in the past a by lack of precise information and appropriate research techniques, and sloppy research, all of which has resulted in far too many errors of omission and commission. It is time to change both our attitude toward jazz film research and the manner in which we share information. As a starting point, I would like to suggest the following.

General filmography is concerned with major aspects of film production: title, production dates, release dates, production personnel, cast and the like, and these categories are, of course, essential to the jazz filmographer. However, the addition of musical performance brings to the forefront a series of questions that the filmography must consider:

• When and where was the soundtrack recorded?
• When and where was sideline photography undertaken? (this if recording and photography were not simultaneous)
• Whom do we see on screen?
• Whom do we hear on screen?
• What do we know about the musical performances where composer, lyricist, arranger and soloists are concerned?

In filmography, the “primary source document” is, quite naturally, the film. In most cases of classic (pre-1960) jazz performance this will be a 35mm film or, in the case of kinescope, 16mm film. This is, of course, the place to begin when researching film, and many of the errors in published sources result because the primary source documents were not consulted. Unfortunately, this is rarely mentioned by the authors.

Having said that, even a screening of source material does not guarantee success. Many films have been edited over the years for a variety of reasons, and one cannot be sure that the print one is screening is complete, unless the viewing coincides with a reading of the shooting script and music cue sheet. Editing, for example, can be found on original 35mm nitrate features, 16mm re-release prints and subsequent transfers to videotape and DVD.

Therefore, studio and recording documents — scripts, cue sheets, American Federation of Musicians contracts and the like — become the second major source where documenting jazz on film is concerned. Even here, however, we must remain wary since many documents are prepared in advance of production and do not reflect last minute changes. While many such documents are available, far more are either no longer extant, or buried in studio archives, and not available to researchers.

The press, from general “trades” such as Variety to the specific jazz-oriented magazines such as Down Beat (and we shouldn't forget such marvelous compilations such as Franz Hoffmann’s Jazz Advertised) often provide important information. But since much of the input comes from the studio publicists’ and press releases, we much be careful not to accept anything at face value. Last-minute changes and substitutions were common enough that double-checking is a rule of the game.

Another essential source, although that with the passage of time one that has become less and less accessible, are the musicians and jazz experts themselves. Much of the information in my database are the direct result of communication — shared videos and pictures — with the people who appear in the films, or who were on the scene at the times. My list of resources is far too long to share in total, but we would know far less about jazz on film without the input of such musicians as Buddy Colette, Teddy Edwards, John Levy, and Al McKibbon, as well as experts Dan Morgenstern, Ira Gitler, George Avakian, Peter Vacher, and Howard Rye — these among many more.

We must always trust our eyes and ears, and temper our desires with our knowledge. Like the collectors of old who heard Bix or Joe Oliver on countless recordings with unknown personnel, we shouldn't accept an identification just because the shadowy figure looks like this musician, or sounds like that one. Verification and second opinions are always the order of the day.

The last resource, regrettably, are the published materials in the field. Hippenmeyer, Meeker, Yanow, and Stratemann are good places to start, but with the exception of the amazing Klaus Stratemann, all of the other sources have errors or omission or commission that should have been corrected years ago. No, Bud Powell isn’t in the Cootie Williams short from 1944; sorry, Frankie Newton is not in Lucky Millinder’s 1937 short. Look and listen: Lee Wiley does not appear in the 1938 short with Woody Herman’s orchestra, this despite on-screen billing. And it is hard to give a numerical rating to Ex-Flame since it has not been screened in decades. These details have been well known for many years, but continue to turn up in published sources.

Filmography, like discography, is an imprecise science, requiring considerable research, and then verification of suggested facts. This is not easy, but it is something that our music demands and deserves.

Notes

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Author Information: 
Mark Cantor has spent XX years researching jazz on film. He has contributed articles to IAJRC Journal and Names & Numbers. blah blah blah

Abstract: 
The author identifies aspects peculiar to researching and documenting jazz on film.

Keywords:
jazz, film, filmography, research

How to cite this article:

• Chicago 15th ed.: Cantor, Mark. "An Introduction To Jazz Filmography." Current Research in Jazz 1, (2009).
• MLA 6th ed.: Cantor, Mark. "An Introduction To Jazz Filmography." Current Research in Jazz 1 (2009).
• APA 5th ed.: Cantor, M. (2009). An introduction to jazz filmography. Current Research in Jazz, 1