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JazzTimes 10: Jazz on Film

Ten great examples of what happens when jazz goes to the movies—and the movies go to jazz

10. Jam Session (1942)
It’s three minutes long, and if you wished to be sardonic, you could say that its title is oxymoronic. But as Anton Chekhov knew—and certainly Duke Ellington too—there are all kinds of ways in this world for something to be long, well beyond the temporal. Emotionally long, spiritually long, packed and deep. This is all of that. In those three minutes, we see the Duke, Ray Nance, Rex Stewart, Ben Webster, Joe Nanton, Barney Bigard, and Sonny Greer—oh, is that all?—performing “C Jam Blues.” Ellington’s stabbing—but softly stabbing—piano notes take possession of you before the title cards have even been gotten out of the way. The musicians assemble as the music plays, then each gets a cut-in to feature them, with their name on the screen, music and image now synched—well, sometimes. Drummer Greer’s closeup is my favorite part, with body movements and music not in time but conjoined in some larger sense, like we are, as watchers, as listeners, of this film. The jazz movie dance—it never moved freer.

Originally Published

Colin Fleming

Colin Fleming writes fiction and nonfiction on myriad topics—art, film, music, sports, literature, current events—for a wide range of publications, and talks regularly on radio and podcasts. His most recent books are an entry in the 33 1/3 series on Sam Cooke’s Live at the Harlem Square Club, 1963, a volume about the 1951 film Scrooge as the ultimate work of cinematic terror, and the story collection, If You [ ]: Fabula, Fantasy, F**kery, Hope. Find him on the web at (where he maintains the unique online journal, the Many Moments More blog) and on Twitter @colinfleminglit. He lives in Boston and has contributed to JazzTimes since 2006.