March 17, 2020 News & Features » Cover Story


Gospel Gold 

Local filmmaker scores a trove of rare footage of the Soul Stirrers shot by artist Bruce Conner.

click to enlarge A still from early ’80s footage of the gospel group, the Soul Stirrers, shot by postwar artist Bruce Conner. A VCU film professor is making a new doc out of 40 hours of footage.

A still from early ’80s footage of the gospel group, the Soul Stirrers, shot by postwar artist Bruce Conner. A VCU film professor is making a new doc out of 40 hours of footage.

If there’s one local documentary filmmaker whose work you should seek out and follow, it’s Sasha Waters Freyer.

The Virginia Commonwealth University film professor’s fascinating last documentary, “Garry Winogrand: All Things Are Photographable,” about the legendary Bronx street photographer, was a hit at South by Southwest (special jury prize winner) and Sundance, with New Yorker critic Richard Brody calling it one of the best films of 2018, “revelatory … probing and insightful.” She also is known for her experimental short films.

In late 2018, I met Waters Freyer, then chairwoman of the university’ photography and film department, and her husband through a mutual friend over dinner at Mom’s Siam. She mentioned her interest in making a documentary about Jonathan Richman, a musician I knew from living in the same small Northern California town. A known Luddite, Richman usually is not interested in media attention, or in looking back, and converses with most requests solely by snail mail.

That project, understandably, has yet to get off the ground, but Waters Freyer has begun working on her next, still untitled documentary, and it’s another thrilling subject featuring a 40-hour treasure trove of previously unseen footage.

In 1984, legendary artist Bruce Conner, one of America’s first true multidisciplinary talents, started shooting a documentary (“By and By”) about the Soul Stirrers, the early African-American traveling gospel group known for featuring the vocal talents of future soul sensation, Sam Cooke. Conner would die in 2008 before finishing his passion project, which began through a friendship with one of the group’s members and a planned reunion concert in Richmond, California.

“His other films are short and really defined by kinetic, fast-paced editing, so I think the project wasn’t well-suited to his style,” Waters Freyer speculates. “When you look at his work more broadly, so much is informed by cultural irreverence. But he was deeply respectful and reverent toward gospel. There’s a sincerity that marks it as distinctive from his other work.”

Now another director will get her turn with the material. Having received the approval of the Conner family estate, as well as the crucial participation of two of Conner’s close friends as producers, Waters Freyer will have access to all 40 hours and will be shaping them into a feature-length documentary that will “not be a posthumous Connor film,” she says, “but rather an entirely new work.”

The producers include San Francisco punk icon Henry Rosenthal, former drummer for the band Crime and producer of the doc “The Devil and Daniel Johnston” as well as Michelle Silva, Conner’s longtime assistant. Rosenthal owns the rights to the film while Silva helped run the film catalog for Jean Conner, the artist’s widow. Freyer met Rosenthal through her sister, who lives in San Francisco.

Many Conner fans consider this a lost holy grail of his film work, which includes early precursors to the music video. The footage had been stored for years at the University of California Los Angeles Film and Television Archive, so it was safe.

“We finally get to see this,” says veteran music writer Mike McGonigal, editor of Maggot Brain magazine, financed by Jack White of Third Man Records. “This is like a Venn diagram of my truest loves, which is a circle. Tell [Waters Freyer] I love her.”

All of the 16 mm “By and By” footage is from 1980s-era Betamax transfers, Waters Freyer explains, which are being transferred to a new edit that will be much more crisp and beautiful. This will be expensive, but Freyer notes that the university has given her a grant of $50,000 and she’s gotten another $20,000 from the Catapult Film Fund, while still waiting to hear back from National Endowment for the Arts. An example of one expense: She had to buy a 96-terabyte drive to store everything.

The director first became aware of the material at the San Francisco Film Festival in 2018 and has seen only an hour of footage so far. So she’s anxious to discover more.

“I feel like this friendship between Bruce and the Rev. Paul Foster [a member of the Soul Stirrers] is an important part of the story,” Waters Freyer says. “But I think the film will mainly focus on the Soul Stirrers. Henry [Rosenthal] was deeply involved, and Michelle has seen more footage than I have. We all are confident there is a film in there.”

She says they don’t want to do any more filming, but may end up doing some additional audio interviews to help provide context. The Soul Stirrers were an innovative group, but are still relatively unknown to modern audiences. That’s a shame because the group’s impact on popular music is undeniable; singer R.H. Harris once claimed to be the first male to sing falsetto in American music, noting he was just copying the birds.

Waters Freyer isn’t quite sure how long the project will take to complete, there may be some traveling in terms of interviews. But one thing is certain: She has a lot of editing in her future, so media management will be important.

“Keeping everything organized as I’m going through and looking at everything, taking really careful notes the first time I look at things,” she explains. “When dealing with a lot of material you can lose sight of what’s important. I like to take notes on my initial gut reaction and emotional response to something, which helps when I’m editing.”

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