Jazzeventyret

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen - through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things - that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers - that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

In this rotoscope animation, Tom Waits sings about "The One That Got Away."

Bizet's Carmen gets a modern adaptation. Seducting, provocating, sensual. All the ingredients for a perfect drama. With her charm, Karmen gets out of many situations.

Born on a sharecropping plantation in Northern Florida, Ray Charles went blind at seven. Inspired by a fiercely independent mom who insisted he make his own way, He found his calling and his gift behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer gained a reputation and then exploded with worldwide fame when he pioneered coupling gospel and country together.

A 1975 documentary on the great Blues pianist Earl Hines, one of the most influential figures in the development of jazz piano.

Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

In the Swedish city of Lethe, people from different walks of life take part in a series of short, deadpan vignettes that rush past. Some are just seconds long, none longer than a couple of minutes. A young woman remembers a fantasy honeymoon with a rock guitarist. A man awakes from a dream about bomber planes. A businessman boasts about success while being robbed by a pickpocket, and so on. The absurdist collection is accompanied by Dixieland jazz and similar music.

At the beginning of the 20th century, a new direction in music appeared in America. Although the word "jazz" came into use only in 1913, this music, distinguished by its loudness, audacity, and riot, was heard on the streets of New Orleans at least ten years earlier. Jazz possessed special rhythmic energy never seen before in folk music. In addition, jazz was bold and unpredictable - the same song sounded different with each performance, and this only made jazz attractive. The musicians improvised, following the inspiration and adapting the melody to the sounds of other instruments playing with them on stage.

Passing the Torch documents a ninety year old Jazz master, Jimmy Heath, mentoring teenage musicians with a thirst for knowledge and an appreciation of America's homegrown art form, Jazz. Director Bret Primack captures Heath's gentle, humorous sharing of life lessons and the non-threatening way he guides aspiring artists to musical excellence. An esteemed mentor, Mr. Heath reaches a much younger generation by understanding his role, to be dependable, engaged, authentic, and finely tuned to their needs.

During the same summer as Woodstock, over 300,000 people attended the Harlem Cultural Festival, celebrating African American music and culture, and promoting Black pride and unity. The footage from the festival sat in a basement, unseen for over 50 years, keeping this incredible event in America's history lost — until now.