My review was written in September 1992 after watching the movie on video cassette.
Actor-saxophonist John Lurie is captured in an enlightening, no-frills concert film shot at Berlin's Quartier Latin nightclub. Feature should serve to expand his musical audience rather than prove a box office attraction on its own.
Lurie, known for his roles in Jim Jarmusch's indie films, heads up a nonet that performs in a jazz-fusion style refreshingly close to pure jazz. Main concession to fusion is the funky rhythms relying upon Oren Bloedow's bass guitar.
Soloing on both soprano and alto sax, Lurie shows a strong influence of the late John Cotrane, especially in several free jazz sections. His minor key compositions are quite varied here, ranging from a figure resembling Coltrane's "A Love Supreme" theme to near-pastiches of "St. James Infirmary" and even Bob Dylan's electric folk sound of "Rainy Day Women Nos. 12 & 35". Debuting feature director Garret Linn occasionally overdoes the racking of focus or swish pan for effect but concentrates on recording the performance without audience shots or interview interruptions.
Lurie and Company minimize the on-stage clowning. He provides direct contact to the audience with a droll recitation of a shaggy dog story that has a dynamite political punchline, setting the stage for a torrid drum solo (plus chanting) by Grant Calvin Weston.
Ensemble playing is emphasized, with the band members getting to show off as soloists during a final number when Lurie introduces each of them. Notable contributions byh sidemen include vibraphonist Bryan Carrot, trumpet/cornetist Steven Bernstein and cellis Jane Scarpantoni, last-named fitting in well with the group's droning style.
