There is a scene in “The King of In Between,” a documentary about musician Garland Jeffreys, that shows his name as the answer to a question on the TV show “Jeopardy!”
“This moment was the film in a nutshell,” said Claire Jeffreys, the film’s producer and director, and Garland’s wife of 40 years. “Nobody knows the answer,” she continued. “So, you’re cool enough to be a Jeopardy question, but you’re still obscure enough that not one of the contestants even had a glimmer of the answer.”
Garland Jeffreys never quite became a household name, but he carved out a singular place in American music by refusing to fit neatly into any category. A biracial New Yorker blending rock, reggae, soul and R&B, he used genre fusion as a kind of rebellion — against industry pigeonholes, racial boundaries and the musical status quo. Albums like “Ghost Writer” (1977) captured the tension of a post–civil rights America, while songs like “Wild in the Streets” made him an underground prophet of urban unrest. He moved alongside artists like Lou Reed and Bruce Springsteen but always in his own lane — part poet, part agitator, part bridge between cultures.
“I think what I tried to do with the film, wittingly or unwittingly, was just to show that we all have these lives and they don’t often meet our dreams of what we think we’re entitled to, we’re talented enough to get or whatever,” said Claire. “We all have these goals, but we’re sort of stymied. Often, it’s partly circumstance and luck, but it’s also very often something that we’re doing or not doing that’s impeding us.”
This is not the typical rock-and-roll redemption story. There are no smashed guitars, no heroic overdoses, no dramatic comeback tour. What we get instead is something quieter and more intimate: hours of archival footage that Claire spent years sorting through. The sheer effort behind the film is palpable — so much so that, as she admitted with a laugh, it cured her of any future ambitions in filmmaking.
“What I learned with this project was A, I’m never doing it again. It was just so hard. And B, you know, you can do anything if you collaborate with people that know what they’re doing.”
Claire worked with the editing team of Evan M. Johnson and Ben Sozanski and a slew of talented producers, and ended up with a truthful portrayal — a beautiful living document for Garland’s legions of fans and, perhaps most importantly, for the couple’s daughter, Savannah.
“She’s been in the audience with me maybe three or four times,” said Claire. “The last time, I could tell that she was beginning to feel very proud of the effort that went into it and also of being a part of it.”
Savannah pursued a career in music for a while herself but has changed tracks and become a video producer.
“I think she couldn’t quite see music happening for herself,” said Claire. “She was like, ‘I don’t know if I want to struggle the way I saw my dad struggling and I’m going to get a job with a salary.’”
The film doesn’t just track the arc of an underappreciated musician, however. The music, always playing, is the soundtrack of a life — of a man navigating racial, musical and personal boundaries while balancing marriage, parenthood, aging, addiction andrecovery. Garland and Claire speak plainly about getting sober in the film, a life choice that gave them both clarity and shows Claire as a co-conspirator in his survival.
“I did some work early on with a director,” said Claire. “He wanted the final cut, and I didn’t feel like I could do that — not because I wanted so much to control the story, but I didn’t want the story to be about Alzheimer’s.”
Diagnosed in 2017, Garland, now 81, is in the late stages of the disease. Claire serves as his primary caregiver. The film quietly acknowledges his diagnosis, but it doesn’t dwell — a restraint that feels intentional. Garland spent a career refusing to be reduced: not to one sound, one race or one scene. And so the documentary grants him that same dignity in aging. His memory may be slipping, but the film resists easy sentimentality. Instead, it shows what remains — his humor, his voice, his marriage, the echo of a life lived on the edges of fame and at the center of his own convictions.
The Moviehouse in Millerton will be screening “The King of In Between” on Sept. 20 at 7 p.m. Peter Aaron, arts editor of Chronogram Magazine will conduct a talkback and Q&A with Claire Jeffreys after the film. Purchase tickets at themoviehouse.net.
