The Case of the Three-Sided Dream
Directed by Adam Kahan–2014–88 minutes
I’m not exactly sure when jazz became such an object of penny-ante scorn. Most recently, there was the witless “satire” of Sonny Rollins that made news after appearing on the blog of New Yorker magazine. It was a fake first-person confession of a man once touted as the “Saxophone Colossus” who admits that “I hate music. I wasted my life” and concedes that the Library of Congress should be burned to the ground because it contains a few of his records. Written by Django Gold, it is so devoid of authorial effort that it could not possibly have taken more time to write than it does to read. More generally, the name itself has become a by-word for a passé genre best ignored, even to the point where Jay Leno’s “who buys jazz?” tagline was accentuated by his showing cutout-bin CD covers of his own band leader, Kevin Eubanks.
So it is at least a bit heartening to see “America’s native art form” (per Dizzy Gillespie) enjoying a bit of a renaissance on film. This includes the highly-touted 2014 documentary “Keep on Keepin’ On” where Clark Terry, the much-honored trumpet player whose career dates back to Count Basie, helps a blind 23 year-old piano protégé prepare for an international competition while he himself is pushing 90. (Terry died last month). Also, John Coltrane’s masterpiece ballad “Naima” played a key part in this year’s foreign-film Oscar winner, “Ida.” Now add to that “The Case of the Three-Sided Dream”, Adam Kahan’s dazzling documentary about Rahsaan Roland Kirk that I saw in its Massachusetts premier this week at the great all-doc Salem Film Fest.
Kirk, who died way back in 1977, was certainly one of his era’s wildest innovators. The blind saxophonist built on the great leap forward of bebop pioneers like Coltrane and Charlie Parker, referring to himself as a “journey agent” exploring any and all avenues of sound with no “self-imposed barriers.” Rahsaan, as he wanted to be known, would show up on stage with several saxophones (some of his own invention) strapped on, as well as flutes, piccolos, whistles and who knows what all. Blowing on several reed instruments at one time was his trademark (some said “gimmick”) a sign of restless creativity that could hardly be contained.
Especially in the 70s footage, by which time he was dressing in African clothes and incorporating everything from gongs to smashed furniture into his performance, Kirk was a natural as a musician that benefited from being seen as well as heard and Kahan includes much live (and largely uninterrupted) footage. The viewer is treated to him doing his signature “Serenade to a Cuckoo” on the BBC in 1964, a titanic rendition of “Volunteered Slavery” at the 1972 Montreux Jazz Festival and a spot on the Ed Sullivan Show that came about after he and some colleagues creatively protested the lack of “black classical music” on the airwaves. Kirk assembled an all-star ten-piece outfit (including Archie Shepp, Charles Mingus and Roy Haynes) and did a bang-up job on “Haitian Fight Song” even though the producers requested they do “My Cherie Amour.”
Kahan includes some playful pop-art animation sequences to play along with Kirk’s recorded spoken-word pieces, which show his advocacy of populist self-realization and his puckish sense of humor as well. The affecting interview segments are with family, friends and musical collaborators—academic talking heads and celebrities are absent. Since most everything Rahsaan did seemed geared towards “connection to community” this all seems to the good.
During the Q&A time with Kahan that followed, many older viewers (several of whom had seen Kirk in concert back in the day) seemed impressed that a young guy like himself would be drawn to a subject that died around the same time period he was born. The director’s answer was interesting and one I could relate to. He reached a certain age in young adulthood and decided he would buy some jazz records because he felt it was something he should know. That this curiosity and openness to join into the larger cultural heritage would lead to something special—a national treasure like Rahsaan Roland Kirk getting his documentary day in the sun—is not surprising. Some 15 years after being captivated by a Kirk album he found at a yard sale, Kahan has paid it forward with a great film but for so many others I’m afraid this won’t be the case. Perhaps at the root of this easy-way-out dismissal of music genres like jazz is the fear of commitment to work for (or even bothering to understand) an aesthetic greater good. If you’re into music today why bother to master an instrument when you may be able to take the short-cut to the top by over-vocalizing a boilerplate pop song on “The Voice.” That mindset has largely replaced virtuosic and collaborative musical forms with a quest for personal celebrity that is hollow at its core. Now we can start talking about “a wasted life.”