The music documentary Play Your Own Thing provides a comprehensive history of European jazz. It explores the origins of the US-influenced jazz clubs after the Second World War, the first steps independent of American jazz and the various changes of direction that have repeatedly occurred in the search for that "own voice" that European jazz musicians have helped to form. Featuring the mastery of Chris Barber, Jan Garbarek, Juliette Greco, Stefano Bollani and Till Bronner, to ... (Full plot summary below)
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The music documentary Play Your Own Thing provides a comprehensive history of European jazz. It explores the origins of the US-influenced jazz clubs after the Second World War, the first steps independent of American jazz and the various changes of direction that have repeatedly occurred in the search for that "own voice" that European jazz musicians have helped to form. Featuring the mastery of Chris Barber, Jan Garbarek, Juliette Greco, Stefano Bollani and Till Bronner, to name but a few, the film provides a wealth of styles in jazz. For his third documentary on jazz, filmmaker Julian Benedikt travelled to a wide variety of European countries in search of an all-embracing documentation of European jazz music. His storytelling is not overly sophisticated, nor does he simply reproduce the known clichés; rather the movie engages its audience with very personal impressions of European jazz, past and present.
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| User ReviewChristopher CPLAY YOUR OWN THING is a 90-minute documentary film by Julian Benedikt on the spread of jazz in Europe. There's a portion at the beginning of PLAY YOUR OWN THING that I think is an excellent proof of what jazz has become after going international: a furious montage of concert clips with musical accompaniment that shows the range of instrumentation these days -- alpenhorn, kazoo, cowbells, toybells -- played by people of myriad nationalities. The history proper opens with several German and French musicians like Coco Schumann and Albert Mangelsdorff who speak of their joy at discovering jazz after the painful years of World War II. Though jazz had presumably visited Europe in the 1920s and 1930s, it was the liberation and the accompanying influx of American soliders that sparked the continuous European jazz tradition that we've inherited today. The visit of Miles Davis to France in the early 1950s is fondly remembered by his lover, Juliette Greco. Palle Mikkelborg recalls how a visit by Dexter Gordon thrilled the Danish jazz world, while Niels-Henning Orsted Pedersen remembers Bud Powell's residency in Copenhagen. There are some brief portraits of jazz musicians from behind the Iron Curtain. Joachim Kuhn reflects on the musical poverty of East Germany and how liberating his encounter with Ornette Coleman was. Tomasz Stanko represents the Polish perspective. The next big part of the documentary, however, is a series of illustrations of Europe coming into its own as a source of original contributions to jazz with some wild footage of Arve Henriksen playing two trumpets at the same time and Steano Bollani playing piano with spiky harmonies. Trevor Watts and Louis Sclavis speak of how free jazz came naturally to European players in the 1960s. PLAY YOUR OWN THING is a pretty entertaining and informative documentary. I watched it while I was exploring ECM, and it was quite helpful in understanding the motivations of some of the label's major figures and getting a feel for this community. Indeed, one of the last portions of the documentary is ECM head Manfred Eicher producing a Tomasz Stanko recording session. If I'd make one complaint about the documentary, it's that it seems to go out of its way to deny African influence on jazz. As the voiceover at the beginning claims and Robert Wyatt backs up later on, jazz supposedly is all European, the instruments and the techniques just happened to fall into the hands of African-Americans, and the genre's return to Europe is only a coming home ("After two World Wars, jazz came back to Europe"). I found this denial that jazz began as a fusion of two cultures in the American south rather strange. On the other hand, I do like how the documentary shows that the American debate over late 1960s developments like free jazz and fusion, where figures like Wynton Marsalis seem to want to freeze jazz in bebop played by African-Americans, isn't even on the radar in Europe. This is a sense that simply delights in the music, no matter who is playing it or how distant it is from New Orleans tradition. |
