Fascinating documentary on a great jazz singer who should be more well known. It was a tough life for Anita but the pluck which saw her through many hard times, some admittedly of her own making, is showcased front and center by reminiscences from the lady herself and backed by the people who either knew her when or admire her now. The documentary gives a sense of what kind of life was lived on the road by musicians when communities were scattered and touring was truly done in beat-up old buses and the sense of rootlessness that engendered. Some wonderful performances are highlighted and some terrific tales told of a certain kind of entertainment that is hard to find today.
10 Reviews
Amazing movie, but Anita wasn't the only great white jazz singer
mgconlan-15 January 2009
This is a marvelous film, a worthy tribute to one of the giants of jazz. I was a bit worried at the gimmicky opening -- in which a clip of Anita O'Day was subjected to bizarre color patterns, mirror images and re-editing -- but as the film went on it settled into a conventional but appealing music-documentary groove with O'Day's interviews (some archival, some done especially for this film) providing commentary and context to her career. Filmmakers Robbie Cavolina and Ian McCrudden deserve credit for presenting O'Day's performances, if not as complete songs start-to-finish, at least in long enough clips so you could appreciate her (all too many music documentarians just give us a few seconds here and there, or have people talking over the clips). Though this film is aimed mostly at O'Day's fans, "newbies" can watch it and at least get an idea of what made her so great.
One aspect of the film that fascinated me was O'Day's comment that in order to be a great jazz musician you had to live the "jazz life." I can think of quite a few people on her level of talent -- Louis Armstrong, Duke Ellington, Lionel Hampton, Ella Fitzgerald, Dizzy Gillespie -- who had long and prosperous careers by avoiding substance abuse and the other pitfalls of the so-called "jazz life." The only part of the movie that really rubbed me the wrong way, though, was the interview clip with the late Leonard Feather (with which the filmmakers seemed to agree) in which he said that O'Day was the only white woman jazz singer he regarded as the artistic equal of Billie Holiday, Ella Fitzgerald or Sarah Vaughan. What about June Christy, Chris Connor, Peggy Lee or -- in the generation just before O'Day's -- Mildred Bailey (an obvious influence on O'Day's style) and the Boswell Sisters?
One aspect of the film that fascinated me was O'Day's comment that in order to be a great jazz musician you had to live the "jazz life." I can think of quite a few people on her level of talent -- Louis Armstrong, Duke Ellington, Lionel Hampton, Ella Fitzgerald, Dizzy Gillespie -- who had long and prosperous careers by avoiding substance abuse and the other pitfalls of the so-called "jazz life." The only part of the movie that really rubbed me the wrong way, though, was the interview clip with the late Leonard Feather (with which the filmmakers seemed to agree) in which he said that O'Day was the only white woman jazz singer he regarded as the artistic equal of Billie Holiday, Ella Fitzgerald or Sarah Vaughan. What about June Christy, Chris Connor, Peggy Lee or -- in the generation just before O'Day's -- Mildred Bailey (an obvious influence on O'Day's style) and the Boswell Sisters?
Leonard Feather's comment... comment... comment
brenthosier8 December 2013
I've not seen the documentary in full, but I've seen a lot of the footage that I know to be on it. My comment is mainly about mgconlan's '09 comment about Leonard Feather's comment about Anita being the only white female Jazz singer to equal what we think of as "the big 3" female Jazz singers. I agree with Feather. mgconlan points out other white femmes of note. I'm not that familiar with the Boswells or Bailey. Christy is too cool, too icy. I don't mean that in a bad way, I just find her style limited. In the mid-Seventies I became a fan of Chris Connor. "Lonely Woman" was the first song I heard by her, which is about as "outside" as she got on record. But I collected Bethlehem for her early stuff ( what she was doing in the early Fifties was pretty advanced) and Atlantic, of which I've owned almost all of her releases. I love her, but she is no Anita O'Day. Color being the theme - listening to Ella, she very often sounds white, yet still has the Jazz feel. Anita may sound "blacker" in a sense, but it is more her sense of feeling - this woman could throw some curve balls melodically while fooling around with the time and deconstruct a tune like nobody else. She could really read 'em. I put her up there with the big 3.
A Well Deserved Tribute But Little New Information About An Exceptional Singer
alicegriffin30 April 2007
I saw this tonight at the Tribeca Film Festival in New York City.
Anita O'Day's story was well documented in her autobiography "High Times, Hard Times", which is respected for its unflinching candor. The best feature of this documentary is the clips of Anita's performances, many of which have never been seen before. It includes, of course, her landmark performance of 'Sweet Georgia Brown' from the 1958 Newport Jazz Festival, and several other performances that evidence her right to be considered one of jazz's finest vocalists. In addition to these clips there are interviews with jazz luminaries including George Wein (legendary founder of the Newport Jazz Festival), Margaret Whiting, and Dr. Billy Taylor. These experts credibly testify about Anita's genius and her standing relative to other jazz singers who obtained greater celebrity, such as Billie Holiday, Ella Fitzgerald, and Sarah Vaughn.
This documentary does not provide new information about either Anita's private life or career, but it is important as a tribute to a singer whose talent justified greater acclaim than she received.
Anita O'Day's story was well documented in her autobiography "High Times, Hard Times", which is respected for its unflinching candor. The best feature of this documentary is the clips of Anita's performances, many of which have never been seen before. It includes, of course, her landmark performance of 'Sweet Georgia Brown' from the 1958 Newport Jazz Festival, and several other performances that evidence her right to be considered one of jazz's finest vocalists. In addition to these clips there are interviews with jazz luminaries including George Wein (legendary founder of the Newport Jazz Festival), Margaret Whiting, and Dr. Billy Taylor. These experts credibly testify about Anita's genius and her standing relative to other jazz singers who obtained greater celebrity, such as Billie Holiday, Ella Fitzgerald, and Sarah Vaughn.
This documentary does not provide new information about either Anita's private life or career, but it is important as a tribute to a singer whose talent justified greater acclaim than she received.
A Love Letter To Jazz
Seamus282928 November 2008
Anita O'Day may not be as well known a Jazz singer as,oh say...Ella Fitzgerald,or even Sarah Vaughn, but over a period of sixty-odd years, she certainly made a name for herself,none the less. She started out as a singer with drummer/composer/band leader, Gene Krupa,moving on to a brief stint with Stan Kenton, and releasing a healthy legacy of recordings for Jazz legend Norman Grantz's Verve label,before entering a 15 year love affair with Heroin. This very well produced documentary features all of these facts & more. For it's relatively short running time (only about 90 minutes),it packs a treasure trove of film clips of performances (including the now legendary footage of O'Day singing 'Sweet Georgia Brown',at the 1958 Newport Jazz Festival),and in some examples,complete performances,and not just excerpts of songs, plus film & video footage of interviews of O'Day,from some rare early television kine scopes,to just prior to her death in 2006, as well as others. Although the film does make brief mention of her short lived marriages,it doesn't really go much into her private life (she regarded her private life as just that,so we don't get a whole lot about it). If you consider yourself a lover of Jazz,you owe it to yourself to seek this film out. No MPAA rating here (as it's being distributed as an art film),but does contain a few rude words & references to O'Day's rampant drug problems, but is basically okay for teens,and even pre-teens with an interest in Jazz.
100 % on rotten tomatoes for 2 years!
mickeysweeth11 December 2008
Hi, I learned so much about Anita that is not available anywhere else. I disagree with the comment prior to mine. I saw this film at the Tribeca Festival and then again when it opened Aug 08. This film is truly one of the best docs I have ever seen. It is fantastic and opened my eyes and ears to one of this country's national treasures. I have not seen any other footage of Anita before I saw this. I have looked and could not find anything out on her. Except the 30 seconds clips on her web page. This docs shows her in all of her incredible splendor and humor. She is feisty and honest and just plain cool. So Rotten Tomatoes gives her 100% since the Tribeca opening, pretty impressive and finally a film that really matches the critical acclaim.
Wonderful and unique
freshkidd11 November 2008
Warning: Spoilers
The movie didn't need to have anything new about O'Day. It had chronological full film versions of performing,not just clips. I had seen her only in Jazz on A Summer's Day. It was thrilling to see her jiving with Roy Eldrige in Let Me Off Uptown and the commentators remarking how daring it was in 1941 for a white chick and a black guy to be singing together. When you see her performing as opposed to just listening, you catch her femininity, seductiveness, liveliness. I have all her LPs and CDS but seeing them in order on the screen showed her huge body of work. She was incredibly versatile and her style is shown to change and diversify over the years.
I have read that the uvula explanation for lack of a vibrato was not true. It was great to hear her explain how she sang, why she used her unique timing. Contrasting with this are the sadness of the tiny trailer she ended up in, having to read the lyrics she used to know and her comment to the effect that she ends up either a singer or a bird without a song. She seems to dismiss the whole body of work that precedes that last CD.
I saw her live at the Rainbow Grill in 1994 for 2 shows and despite her being off heroin, she was not doing well at that time with alcohol as I myself witnessed. The multi-colored graphics were great and most of the interviewers interesting although a few more critical ones and less hagiographic ones would have been more interesting.
Great film, best singer ever!
I have read that the uvula explanation for lack of a vibrato was not true. It was great to hear her explain how she sang, why she used her unique timing. Contrasting with this are the sadness of the tiny trailer she ended up in, having to read the lyrics she used to know and her comment to the effect that she ends up either a singer or a bird without a song. She seems to dismiss the whole body of work that precedes that last CD.
I saw her live at the Rainbow Grill in 1994 for 2 shows and despite her being off heroin, she was not doing well at that time with alcohol as I myself witnessed. The multi-colored graphics were great and most of the interviewers interesting although a few more critical ones and less hagiographic ones would have been more interesting.
Great film, best singer ever!
The life of a Jazz Singer ...best jazz documentary
doughk527 June 2014
What a great forgotten talent ...the honesty of her life she presents should be a guide post to young talent and celebrities today. Her wit and wisdom...does not take the edge off what she did and how she did .A true breath of fresh air from truly one of the greats. To be truthful in regards to addiction ... Both hers and many of the Jazz greats that were her contemporaries, was insightful and sincere...with her brand of brashness that i am sure was her trademark. To have that long of a career , to play with most of the greatest in Jazz and to survive..is truly indicative of her stamina and stick to it-ness, that keeps her alive in the hearts of those that knew her and discovered her courtesy of this documentary. Anita's look and rebel attitude strikes familiar ....Mylie Cyrus.
Anita O'Day: The Life of a Jazz Singer... Jazz Allusion
juliankennedy2326 July 2009
Anita O'Day: The Life of a Jazz Singer: 6 out of 10: I had no idea who Anita O'Day was when I rented this film. I like Jazz well enough and enjoy having it as background music, but I am hardly what one describes as an aficionado.
Since viewing this film, I have watched the wonderful documentary "Jazz on a Summer's Day" and have downloaded some fine Anita O'Day jazz albums.
Therefore, from one point of view, the documentary is a stunning success. It got me interested enough in its subject, for me to take actions after viewing.
The film however suffers from uneven interviews and presentation. Film quality is all over the map and some of O'Day's last interviews were clearly filmed by folks unfamiliar with the workings of a motion picture camera.
Even more disappointing is the poor sound quality of many of the musical tracks and the lack of sampling from her albums.
You know if you have a 16-year heroin addiction and four failed marriages and you still manage to live until 87 despite grinding poverty and botched healthcare, you are the definition one tough bird. Unfortunately that also signifies most of your contemporaries are long dead. Many of the war stories as a result, tend to be second hand at best.
The film does contain one wonderful non-musical highlight. In a mid-seventies interview a young Bryant Gumbel states to O'Day "Your life story involves rape, failed relationships, drugs, and multiple abortions". O'Day's that is just they way it went down response is priceless.
Anita O'Day: The Life of a Jazz Singer is a decent film but I would recommend renting Jazz on a Summer's Day first. That concert seems to capture the magic better than anything else I have seen.
Since viewing this film, I have watched the wonderful documentary "Jazz on a Summer's Day" and have downloaded some fine Anita O'Day jazz albums.
Therefore, from one point of view, the documentary is a stunning success. It got me interested enough in its subject, for me to take actions after viewing.
The film however suffers from uneven interviews and presentation. Film quality is all over the map and some of O'Day's last interviews were clearly filmed by folks unfamiliar with the workings of a motion picture camera.
Even more disappointing is the poor sound quality of many of the musical tracks and the lack of sampling from her albums.
You know if you have a 16-year heroin addiction and four failed marriages and you still manage to live until 87 despite grinding poverty and botched healthcare, you are the definition one tough bird. Unfortunately that also signifies most of your contemporaries are long dead. Many of the war stories as a result, tend to be second hand at best.
The film does contain one wonderful non-musical highlight. In a mid-seventies interview a young Bryant Gumbel states to O'Day "Your life story involves rape, failed relationships, drugs, and multiple abortions". O'Day's that is just they way it went down response is priceless.
Anita O'Day: The Life of a Jazz Singer is a decent film but I would recommend renting Jazz on a Summer's Day first. That concert seems to capture the magic better than anything else I have seen.
Excellent, but one major flaw
ecapital4628 October 2011
You will find it difficult not to enjoy the story of Ms O'Day's life. She was the ultimate survivor; a solid representative of Tom Brokaw's 'Greatest Generation,' sans the uniformed military service. In the documentary she is shown singing a marvelous rendition of Billie Holiday's composition "Travelin' Light," an appropriate choice because they were birds of a feather in so many ways.
The major flaw in the documentary comes from the comments of a couple of individuals interviewed in the film - most notably the daughter of pianist Joe Albany - who give the impression that there is a correlation between the musical freedom in modern jazz (aka 'bebop') and the personal mental "freedom" that Ms O'Day and other musicians derived from narcotics use; that is, the narcotics somehow contributed to Ms O'Day's ability or effectiveness in singing in a "freer" modern style. It's understandable how this correlation can be mistakenly made. It is a charge that has plagued jazz musicians since the birth of the music. And, with the prominent number of modern jazz musicians who either did drugs or were alleged to, most noticeably the undisputed leader of modern jazz, Charlie Parker, one can see how easy it is to conclude there must be some truth that the drugs somehow aided the playing.
Pianist Joe Albany experienced a similar extended drug addiction as did Ms. O'Day, so I fully respect the opinion of his daughter regarding drug use by musicians during this era. She speaks from the inside. However, it was Parker himself on several well known occasions who dismissed the idea that drug use somehow enhanced or benefited his playing. In addition, there are too many examples of excellent and Hall of Fame level modern jazz musicians who did not succumb to drug use or addiction, yet were able to reach an exceptional playing proficiency.
Ms O'Day's drug use seems due more to issues haunting her from her fractured childhood and adult interpersonal relationships as well as the inevitable pressures that come with a career as a public performer, more so than anything having to do with trying to improve her musicianship. Not surprisingly, this is a consistent theme for drug use by all demographic and socio-economic groups, be they jazz musicians or not. For most of these individuals, the "freedom" drugs provide is from the anxieties and pain associated with bad relationships and work and living pressures - the drugs provide no direct aide to learning or playing the music.
Performance pressures are often underestimated, but can be insidious. Singer Jeri Southern, for example, suffered deteriorating health from extreme anxiety attacks resulting from her fear of performing in public. Her problem was so overwhelming that at age 35, while still near the height of her popularity, she completely retired from performing and returned home to Nebraska for a more quiet life away from the music performance stage. Maybe an argument can be made that once drugs have been used to suppress the anxieties and pain, the musician is then 'freer' to concentrate on the music unencumbered. Maybe so. But the implication that drug use directly aided in the improved facilitation of the music is inaccurate and should not have been implied in the film with regards to Ms O'Day, since it is a misnomer musicians have been battling for decades. Jazz musicians who took drugs largely did so for the same reasons others in our society took drugs: to suppress anxieties, pressures, and pain brought about by a variety of individual experiences.
The major flaw in the documentary comes from the comments of a couple of individuals interviewed in the film - most notably the daughter of pianist Joe Albany - who give the impression that there is a correlation between the musical freedom in modern jazz (aka 'bebop') and the personal mental "freedom" that Ms O'Day and other musicians derived from narcotics use; that is, the narcotics somehow contributed to Ms O'Day's ability or effectiveness in singing in a "freer" modern style. It's understandable how this correlation can be mistakenly made. It is a charge that has plagued jazz musicians since the birth of the music. And, with the prominent number of modern jazz musicians who either did drugs or were alleged to, most noticeably the undisputed leader of modern jazz, Charlie Parker, one can see how easy it is to conclude there must be some truth that the drugs somehow aided the playing.
Pianist Joe Albany experienced a similar extended drug addiction as did Ms. O'Day, so I fully respect the opinion of his daughter regarding drug use by musicians during this era. She speaks from the inside. However, it was Parker himself on several well known occasions who dismissed the idea that drug use somehow enhanced or benefited his playing. In addition, there are too many examples of excellent and Hall of Fame level modern jazz musicians who did not succumb to drug use or addiction, yet were able to reach an exceptional playing proficiency.
Ms O'Day's drug use seems due more to issues haunting her from her fractured childhood and adult interpersonal relationships as well as the inevitable pressures that come with a career as a public performer, more so than anything having to do with trying to improve her musicianship. Not surprisingly, this is a consistent theme for drug use by all demographic and socio-economic groups, be they jazz musicians or not. For most of these individuals, the "freedom" drugs provide is from the anxieties and pain associated with bad relationships and work and living pressures - the drugs provide no direct aide to learning or playing the music.
Performance pressures are often underestimated, but can be insidious. Singer Jeri Southern, for example, suffered deteriorating health from extreme anxiety attacks resulting from her fear of performing in public. Her problem was so overwhelming that at age 35, while still near the height of her popularity, she completely retired from performing and returned home to Nebraska for a more quiet life away from the music performance stage. Maybe an argument can be made that once drugs have been used to suppress the anxieties and pain, the musician is then 'freer' to concentrate on the music unencumbered. Maybe so. But the implication that drug use directly aided in the improved facilitation of the music is inaccurate and should not have been implied in the film with regards to Ms O'Day, since it is a misnomer musicians have been battling for decades. Jazz musicians who took drugs largely did so for the same reasons others in our society took drugs: to suppress anxieties, pressures, and pain brought about by a variety of individual experiences.
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