I’ve never met filmmaker Spike Lee, and somehow I doubt the two of us would be friends if we did meet. Yet I’ve admired his work since seeing “She’s Gotta Have It” almost 30 years ago. More specifically, I’ve always admired the way Lee holds all of his characters to account for their actions, regardless of their color. In a business that treated African-Americans as alternately evil or magical, Lee gave them the freedom to be real people: flawed, damaged, inspirational.
His fifth film, Jungle Fever, has been politely ignored for the last couple of decades, largely because it asks questions that are no longer permissible to ask in our single-opinion modern media culture. At the time, however, it was intended to be a bold statement both of Lee’s status as a greenlight director and his willingness to use that status to put the audience in some deliberately uncomfortable situations. Part of that statement included having Stevie Wonder write an entire album’s worth of original music to serve as the soundtrack.
That album, too, has vanished into the Orwellian ether, partially because of the cringe-inducing title track, but mostly because the music didn’t meet the standards set by Stevie in the Seventies. There’s one exception: the ballad “Make Sure You’re Sure.” Joshua Redman was the first jazz musician to hop on the train, but he wasn’t the last.
Which brings us to today’s question: When it comes to a trackday, how sure do you want to be?
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