A Man called Adam

If you happen to be a fan of the energetic all-round performer Sammy Davis Jnr. AND Jazz music, then you should be in for a bit of a treat here! In this fully restored musical drama from 1966 Davis is here cast as temperamental cornet player Adam Johnson and appears in practically every scene.

Johnson is very much a top banana in his chosen field but his troubled personality – caused by demons of the past - is his undoing. The film starts with Adam's quintet gigging in a New York Club as Adam digs into an inspired solo when some drunk in the audience rudely interrupts, demanding Adam plays a happy tune (you can't help wondering what the idiot punter was doing there in the first place). Our man immediately loses his 'cool' before chucking the bum a nickel for the jukebox and finally storming offstage. The other fellow musicians go to the dressing room and attempt to remonstrate with Adam but he’s in a foul mood - he even punches the blind pianist Les (Johnny Brown) in the mouth (it was actually he who was responsible for Les' blindness as well) and walks out of the club.

Returning home, he is greeted by an old man named Willie Ferguson, emerging from one of the rooms (none other than legendary jazz trumpeter Louis Armstrong in a rare acting role). It appears he'd been ensconced by Adam’s best friend and long-suffering manager Nelson (Ossie Davies) who arrives minutes after the temperamental cornet player (somewhat drunk) had chucked poor old Willie out. He's actually in the corridor still in his pyjamas. Managing to get back into Adam's flat Nelson, accompanied by Willie’s granddaughter Claudia (Cicely Tyson), explains the situation. Old Willie is in town to do some gigs and Claudia is a Civil Rights campaigner (more could have been made of this). An inebriated Adam quickly makes a pass at her but Claudia is a strong-willed woman and puts him in his place - nevertheless romance is in the air. Nelson warns her of the dangers of getting involved with the self destructive Adam.

Later Claudia meets Vincent (Frank Sinatra Jnr.) in the flat who is a young white trumpet player being mentored by Adam. It is pretty clear that this rather innocent young man is much in awe of his talented tutor. Shortly after the three of them go on a vacation trouble starts thanks to a visit by a couple of cops, one of whom is a narrow minded racist bigot. A fight breaks out and Adam and Vincent get arrested (Vincent also gets involved in the fight standing up for his friend). To add insult to injury Adam is actually fined - well did any of us think he would get compensation? Nelson takes Adam along to see powerful agent Manny (fellow 'Ratpacker' Peter Lawford) who wants him to tour the South though we all know what this will mean - segregated audiences for heavens sake! Adam “I ain't having this shit” breaks a bottle threatening to stick it in Manny face unless he gets down on his knees and grovels. This happens much to the horror of Nelson; you can't treat agents like this (although most artists can identify with Adam's stance).

After explaining his guilt to Claudia about the death of his wife and kids due to his drunk-driving their relationship is even further intensified. He eventually agrees to play again with his band (Claudia has had a word) but is prevented ultimately by the police from playing (as he is a troublemaker) – the four other guys are okay. He then gets totally plastered, slags everyone off and eventually crawls into a New York restaurant on his hands and knees where Nelson and Manny are dining… pleading to do the Southern tour on the proviso he can take Vincent with him. Manny acquiesces - but isn’t to keen on Vincent going. Once in the Deep South, it’s Vincent who gets badly beaten up by white racists after the band’s performance before a large segregated audience. Claudia is disgusted that Adam does nothing as Vincent is battered; but as we all know by now, Adam is a complex character. Later a dishevelled and obviously ill Adam (the nature of Adam's illness is never specified though he is an alcoholic) turns up at the old club though is this a wise move?

This film has much to recommend it: Davis is as usual outstanding self and is well complimented by Tyson. The Miles Davis parallel will be only too obvious to Miles' legion of fans; coincidentally Miles was also married to Cicely Tyson. The rest of the cast all lend more than able support. And who didn't love old 'Satchmo' (short for Satchel Mouth in case you didn't know). Louis Armstrong is generally considered to be the greatest trumpeter ever and even has his own feature here ('Back O' Town Blues'). The score is by top Alto man Benny Carter (one of the best in the business) and Sammy's (check that fingering) cornet (occasionally Flugelhorn) playing was dubbed by another highly rated horn-man, Nat Adderley. Dig those high notes, man! Leo Penn (actor Sean Penn’s dad) directs with aplomb, Ike Jones scores a near first as a black co-producer and a thought-provoking script by Lester and Tina Pine make this film a real gem. The only complaint is that one feels a lot more could have been made of the issues at stake here - but that may have been the intention. A happy ending? What do you think dude?

Bonus material include an Audio Commentary by film historian Sergio Mims plus an Interview with Radio 3 broadcaster and jazz expert Jumoké Fashola.