User Reviews

I can't understand why Miramax isn't promoting this movie to the hilt. It's a wonderful concert film posing as a documentary about the history of latin jazz in the US. The director Fernando Trueba has an obvious jones for latin jazz and has chosen to focus on some of the genre's most influential performers and founders, keeping the narrative to a minimum and letting the music speak for itself. And that's where the movie really shines: over and over each artist gives a wonderful performance with lighting and simple set design to make them look their best. The film will probably draw inevitable comparisons to "Buena Vista Social Club", another film presenting latin artists making history through their music. However BVSC focused as much on Ry Cooder's involvement and the musicians' lives in Cuba as the music played. Here Trueba keeps the education brief, and when the performers play, you know why latin jazz changed his life. A terrific date film for anyone who loves music and the chance to see such giants as Tito Puente, Gato Barbieri, Paquito D'Rivera and historic moments shared by Bebo Valdes and his son Chucho as well as his lifelong friend Cachao.

"Calle 54", named after New York's 54th street where most of the studio filming was done, is a gift from director Fernando Trueba ("Belle Epoque") to lovers of Latin Jazz everywhere. The film features 90 minutes of music by some of the idiom's finest artists with bonus material including a director's voice over offering brief commentary and bio's on the featured artists and interviews which trace the origins of Latin jazz in general and Afro-Cuban jazz specifically. Artistry includes la musica picante of Tito Puente in his final weeks to the haunting sax of Gato Barbieri. However, such notables a Arturo Sandoval, Poncho Sanchez, etc. more were not included leaving plenty of room and yearning for another installment. A must see/hear for Latin jazz lovers. (B+)

I have not enjoyed a music film so much since `West Side Story'. Basically my musical preferences reside in classical music, but not at the cost of excluding other kinds. Such that in my collection of records and CDs I have music from Tomás Luis de Victoria to Vangelis. And a little jazz: not much, it is true, but the likes of Miles Davis or Dizzy Gillespie did not pass through this world unnoticed. Whereas I can sit through an opera or even 100 minutes of `Le Grande Messe des Morts' by Hector Berlioz, I tend to take certain kinds of music – such as jazz – in smaller doses, so that I do not get tired of it. Paco de Lucía, Janis Joplin, Dave Brubeck, John McLaughlin's Friday Night in San Francisco ……. Fine: but not more than about 30-40 minutes.

So I was a little worried about sitting through 100 minutes of `Calle 54'. On the one hand, I do not mind watching an opera, though preferably when listening to the great classics I am at home with my own equipment; but on the other, I love WATCHING jazz musicians! They seem to be having such a great time! You grunted along with Garner, thrilled at Armstrong when he got his trumpet going, and you felt the vibes the same as they did.

Fernando Trueba is a bit like me: you do not listen to music with your ears; you feel it with the whole of your body. At home I often get up and take a little stick and conduct the record I am listening to. Other people dance to music. I don't: I have to feel the music and make out I am directing the orchestra!

`Calle 54' is a pure joy from start to finish. It's a feast for the eyes and ears and all the adrenalin and corpuscles, which race around up and down finger-fired keyboards and sensual saxes, and throbbing with batteries and pulsing double-bases. And then there is the camera-work: six of them always on the move, closing in, panning out, every kind of imaginable angle, focussing on fingers caressing chords or dancing over sax and piano keys or following the sticks up and down the xylophone……… and then the miraculous task of editing all that, piecing all six together. Carmen Frías has done a wonderful job, indeed. And she declares she was not even a knowledgeable person in the world of jazz! Virtually all of it was from first takes; practically nothing was later `doctored': thus it all came out hot, just as it should be heard, not nicely rehearsed and then sewn together such that afterwards that would be what it would sound like – rehearsed and sewn together.

This Latin version of Afro-American jazz is an impressive document; from Río and Cuba and Puerto Rico, from Cádiz and Sweden to New York, Fernando Trueba has pieced together this delicious, delightful `concert', a real treat, a once-and-forever: some of the musicians taking part, like Tito Puente, have since died. Am I glad Sr. Trueba got in there in time to bring us this invigorating gem!

It was just by chance that my husband and I happened to see this movie and we were so glad we did. We are Puerto Ricans living in Texas, and we've enjoyed listening to Latin jazz and Afro Cuban music since we were younger, but we hadn't heard of this movie before. Watching this movie was like -or even better than- being at a live concert because we saw it in a big screen at a local theater (a more intimate environment), and you could tell everyone in the small audience felt the same way we did about the music. We were all so enthralled by the experience that we even applauded after every genially performed selection.

The music was superb, and the musicians... out of this world. What technique!!! The way the musicians felt while performing was vibrant and contagious, it kept you on the edge of your seat, keeping the beat, and you only realized that it was a movie when the camera was able to capture gestures and nuances seldom perceived in a concert. It was an unforgettable experience to see musicians that are not alive anymore perform their craft in a way that will remain a lifelong memory. Fernando Trueba was a visionary when he decided to pay homage to these musicians and we'll try to follow in his footsteps. We plan to purchase the DVD and CD so we can enjoy this wonderful music again and again.

Calle 54 is a small gem for music lovers. Well structured and easy to follow, it allows the viewer to get lost in the beautiful and evocative sounds of Latin Jazz. Special and rare appearances by the greats of the genre make the film even more unique.

I loved it. There are some amazing musical sequences and achievement in this film. It's probably not of much interest to people who aren't into music, but if you enjoy a bit of Jazz then feast your ears on this. The filmwork leaves a little to be desired but you don't really notice because the music is so good.

If you appreciate Latin Jazz, CALLE 54 is the film for you. Filmmaker Fernando Treuba presented all the pieces on screen each complete from the very first note to the last without any edits! Musicians get to express how they feel about the music, but this is kept to a minimum. It's not really a documentary per se like Wim Wenders' "Buena Vista Social Club". It is literally - visually - seeing the soundtrack LIVE in all its colors, and putting faces to the various musical artists featured. Of course you'd have to pick up the soundtrack (a total of 78:55 minutes worth) to thoroughly enjoy and fulfill your appetite of "Calle 54."

I was most impressed with Chucho Valdés (track 8: Caridad Amaro). His lyrical piano artistry is simply exquisite! Watching him playing - his magical fingers on the Steinway keyboard producing such tender striking rhythms, you'd forget he has such a looming physique. And it's such a treat to have a follow up session with him doing a "two piano dialogue" with his father, piano master Bebo Valdés. That was, of course, out of this world (track 12: La Comparsa) - wish it were longer!

The musical journey starts out at New Jersey with Paquito D'Rivera on the alto sax and clarinet, and his 11-person band with trumpet, guitar, piano, bass, drums, vibes, marimba, and batá drum sounds. Next is a samba from New York with Eliane Elías on the piano - barefoot on the pedals - with accompanists on bass and drums. We are treated to the blend of flamenco and jazz from Chano Dóminguez and co., with Chano's flowing piano notes, and a husky endearing vocal from "el Kejío", and a flamenco dancer in casual attire and comfy shoes equally producing the invigorating hands clapping, feet tapping Andalusian rhythm alright! We're back to the Bronx with 5-piece band sounds from Jerry González and the Fort Apache Band; Jerry's flugelhorn and congas, and the other instruments (piano, bass, drums, alto sax) are integrally conversational. Continuing is Michel Camilo delivering his piano artistry with bass and drums accompaniment. Reminiscing the sixties, Gato Barbieri gave us "Introducción, Llamerito y Tango/Bolivia" in his tenor sax, along with piano, bass, drums and percussion.

Yes, Tito Puente in his impish smile and white suit (his all stars combo also in white) provided an energetic performance as expected. Tito striking magic on his timbales and vibes, teamed with flute, piano, tenor sax, congas, and bass, all capably interchanged on timbales and cowbell to keep the rhythm a-lively! We then settle down to the superb improvisational piano solo by Chucho Valdés. Chico O'Farrill follows, conducting his big band with full orchestral sound, giving us the grand theatrical feel of Latin Jazz performed on stage with "Afro-Cuban Jazz Suite." Chucho's father Bebo Valdés' gem of a jam session with Cachao on bass is like two veteran dancers dancing the "Lágrimas Negras" - so nostalgic and impeccably smooth!

Along the dance vein, we have Puntilla and Nueva Generación, with voices, congas, batás, bass, percussion, and dance! Such lively beats! To wrap up, yes, two pianos: Chucho playing with his father Bebo Valdés. Four hands a-dancing on the Steinway keys simply transport you to a state too marvelous for words!

Enjoy CALLE 54!

If you are a music lover, any kind of music, this is a must see.

The introductions are brief and tasteful but the main strength of the film is that the performances are complete and very skillfully filmed, always in concordance with the rhythm and flow of each composition. Each performer gets to play in the same set in 54th street in Manhattan (hence the name) but with different colors reflecting the personality of the group or individual.

The common thread between all acts is that the music and performance is front and center, any context or description given are just a plus and the viewer is left alone to enjoy the virtuosos at work.

It's inevitable to pick favorites among all acts, for me Michel Camilo's dexterity, timing and taste are top.

For the jazz lovers, this is a must. Fabulous musicians doing their thing. The highlight being Michel Camilo in a performance which caused our audience to erupt in appreciative applause. Oh to see him perform live!!! Worth watching the movie for that performance alone.

This is a fine collection of performances. I enjoyed Tito Puente's segment most--it's a nice farewell to a great musician. He evokes the men who preceded him, like Mario Bauza, Machito and Chano Pozo (whose conga playing on records with Dizzy Gillespie was a great joy of my teenage years). Bebo Valdes was also wonderful; alone, or in duets with his son Chucho or with Cachao. The only sour note was provided by the schlockmeister Gato Barbieri, purveying dull world music (does anybody remember the soundtrack album for Last Tango In Paris? that was great make-out music from Gato).

I liked this a lot more than Carlos Saura's banal flamenco and tango films, which were the last gasps of a dying filmmaker.