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Given the prevalence of homophobia during Strayhorn's lifetime, one can understand and even sympathize with many of his difficult life choices. The film exposes the serious self-esteem issues that arise when gays deprive themselves of deserved recognition and visibility, or when they suppress their own sense of self in order to meet the expectations of their straight employers.

Did Strayhorn secretly harbor a sense of shame about himself? One cannot say for sure, and Strayhorn left no letters or diaries. But as many of his close friends and colleagues note in the film, toward the end of his short life Strayhorn became an alcoholic and chain-smoker. He also grew more reclusive and melancholy.

Viewers with an interest in the contradictory nature of gay life before Stonewall, particularly as it pertains to gay African Americans in the 1940s, will find Lush Life fascinating. On the one hand, it was simply not acceptable to be homosexual. As historian George Chauncey notes in Lush Life: “Gay bars were being raided all the time. Thousands of men were being arrested in New York City alone.”

Yet despite the repression, gay love still managed to flourish, especially in the world of arts, music and culture. This was the era of private parties, social clubs, “salons” and the Harlem Renaissance. In New York City, the young Strayhorn met jazz pianist Aaron Bridges, and the two lived together as lovers in Harlem for almost 10 years.

Lush Life is refreshingly open and thorough in discussing Strayhorn's homosexuality. As witnessed by those who knew him, Strayhorn was openly gay during America's highly homophobic mid-century era. Considering the anti-gay zeitgeist of the time, this is remarkable. One Ellington band member so resented Strayhorn's openly gay identity that he would not let Strayhorn physically hand him pages of musical arrangements — arrangements that Strayhorn had specifically written for the band member.

Lush Life also highlights Strayhorn's close relationships with several great female vocalist divas of his day, including Lena Horne, Eartha Kitt, Billie Holiday and Diahann Carroll.

Many original recordings of Strayhorn's songs and music have been lost, but the makers of Lush Life put together an ensemble of contemporary musicians to record a newly arranged versions of many Strayhorn gems. The recording sessions are featured in the film. Additionally, a companion CD from Blue Note Records has been released with the film and includes new recordings of Strayhorn's music. Some of the songs brought to light on this interesting CD, such as the enigmatic “The Flowers Die of Love,” are musical commentaries on both black and gay identity.

Ultimately, gay fans of great American songwriting will find an especially kindred voice in Billy Strayhorn. Sad yet soothing, his lyrics and melodies reflect that certain brand of resigned melancholy and passive loneliness sometimes found in certain gay outlooks on life. And Strayhorn was undoubtedly one of the 20th century's greatest jazz musicians, overcoming poverty, illness, homophobia and racism with his talents. Lush Life is an admirable tribute to his legacy.

For more on Strayhorn, visit the documentary's website.

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