If you weren't looking for it, it was easy to miss the L.A. premiere of Bayou Maharajah, Lily Keber's magnificent new documentary about the New Orleans singer-pianist James Booker. It appeared at Outfest, the local LGBT film festival. At this point, it may be the only screening the picture will receive locally for some time: It still has not secured theatrical distribution. But it may show up at a film festival in your neck of the woods.
Even the most radically sensational aspects of Booker's life – his alcoholism, his addiction to heroin and cocaine – get measured treatment. One violent piece of Booker's legend – the loss of his left eye – receives widely divergent retelling from a host of witnesses, none of whom appears to have the real story. Every element of what could have been a luridly told tale is recounted even-handedly, with the heat turned down low.
The focus of Bayou Maharajah, as it should be, is on Booker's extraordinary music. He was a pure product of New Orleans, where he was born in 1939 and died, at the age of 43, in 1983. He stands in a line of Crescent City piano wizards that includes Edward Frank, Tuts Washington, Archibald, Professor Longhair, and Fats Domino, to name just a few. Jelly Roll Morton was clearly a model of sorts. But Booker's style, though rooted in New Orleans jazz and R&B, was sui generis. Perhaps that is why he still remains one of the city's least-known giants. The fact that he cut just two studio albums in his own right during his lifetime – Junco Partner (1976) and Classified (1982) – may have something more to do with his comparative obscurity.
It's a pity, for Booker is beyond compare. Reared in a family of Baptist ministers, he learned piano and organ (and saxophone as well) as a child, and showed prodigious skill on the keyboards. He was as at home with the classics as he was with the funk. He was just 14 when he recorded his first hit, "Doin' the Hambone," for Imperial Records. A No. 3 R&B hit, "Gonzo," followed in 1960. But his own preferences turned to hard drugs, and he wound up, in his words, "partying on the Ponderosa" – doing a stint at Louisiana's notorious Angola prison farm.
Booker had opportunities to record – the master tapes of a 1973 album cut with Dr. John's band disappeared after he absconded with them for "safe keeping" – but he found his greatest success as a performer on the European festival circuit.
After his Montreux moment, it was almost all downhill for Booker. He returned to New Orleans from Europe and found that he couldn't get a gig. Maple Leaf Bar owner John Parsons provided him with about the only steady work he would get for the remainder of his life. For a time, he took a job for the city of New Orleans, sitting at a desk behind a computer in a municipal finance department. A year after his last 1982 recording session (with producer Scott Billington, for Classified), he died, unattended, sitting in a wheelchair in a hallway of Charity Hospital. Though his death was reputedly the result of cocaine abuse, the truth is likely that his body just gave out after years of hard living.
Bayou Maharajah could easily have focused on the most sordid aspects of Booker's life. While there is no shortage of mind-boggling detail, first-time filmmaker Keber never leans on it for effect. The movie is emphatically about Booker's music, and you get to hear plenty of it.
Most of the interview subjects in the film – most notably Harry Connick, Jr., whose father, for a time New Orleans' district attorney, was exceptionally tight with the musician – are plainly in awe of his work. At one juncture, Connick sits at a piano and picks apart Booker's style, a flexible, wholly original amalgam of classical, R&B, and jazz. But the music resists analysis in the end, and you sit almost stupefied by its brilliance.
In all, it's a beautiful picture, and you should – must, actually – keep your eyes open for it. Bayou Maharajah is subtitled The Tragic Genius of James Booker, but the film never wallows in its hero's dark fate. It's a very poised piece of movie-making.
Even the most radically sensational aspects of Booker's life – his alcoholism, his addiction to heroin and cocaine – get measured treatment. One violent piece of Booker's legend – the loss of his left eye – receives widely divergent retelling from a host of witnesses, none of whom appears to have the real story. Every element of what could have been a luridly told tale is recounted even-handedly, with the heat turned down low.
The focus of Bayou Maharajah, as it should be, is on Booker's extraordinary music. He was a pure product of New Orleans, where he was born in 1939 and died, at the age of 43, in 1983. He stands in a line of Crescent City piano wizards that includes Edward Frank, Tuts Washington, Archibald, Professor Longhair, and Fats Domino, to name just a few. Jelly Roll Morton was clearly a model of sorts. But Booker's style, though rooted in New Orleans jazz and R&B, was sui generis. Perhaps that is why he still remains one of the city's least-known giants. The fact that he cut just two studio albums in his own right during his lifetime – Junco Partner (1976) and Classified (1982) – may have something more to do with his comparative obscurity.
It's a pity, for Booker is beyond compare. Reared in a family of Baptist ministers, he learned piano and organ (and saxophone as well) as a child, and showed prodigious skill on the keyboards. He was as at home with the classics as he was with the funk. He was just 14 when he recorded his first hit, "Doin' the Hambone," for Imperial Records. A No. 3 R&B hit, "Gonzo," followed in 1960. But his own preferences turned to hard drugs, and he wound up, in his words, "partying on the Ponderosa" – doing a stint at Louisiana's notorious Angola prison farm.
Booker had opportunities to record – the master tapes of a 1973 album cut with Dr. John's band disappeared after he absconded with them for "safe keeping" – but he found his greatest success as a performer on the European festival circuit.
After his Montreux moment, it was almost all downhill for Booker. He returned to New Orleans from Europe and found that he couldn't get a gig. Maple Leaf Bar owner John Parsons provided him with about the only steady work he would get for the remainder of his life. For a time, he took a job for the city of New Orleans, sitting at a desk behind a computer in a municipal finance department. A year after his last 1982 recording session (with producer Scott Billington, for Classified), he died, unattended, sitting in a wheelchair in a hallway of Charity Hospital. Though his death was reputedly the result of cocaine abuse, the truth is likely that his body just gave out after years of hard living.
Bayou Maharajah could easily have focused on the most sordid aspects of Booker's life. While there is no shortage of mind-boggling detail, first-time filmmaker Keber never leans on it for effect. The movie is emphatically about Booker's music, and you get to hear plenty of it.
Most of the interview subjects in the film – most notably Harry Connick, Jr., whose father, for a time New Orleans' district attorney, was exceptionally tight with the musician – are plainly in awe of his work. At one juncture, Connick sits at a piano and picks apart Booker's style, a flexible, wholly original amalgam of classical, R&B, and jazz. But the music resists analysis in the end, and you sit almost stupefied by its brilliance.
In all, it's a beautiful picture, and you should – must, actually – keep your eyes open for it. Bayou Maharajah is subtitled The Tragic Genius of James Booker, but the film never wallows in its hero's dark fate. It's a very poised piece of movie-making.