Jazz in Germany

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The development of jazz in Germany and its public perception differs in several ways from that in the “motherland” of jazz , the USA . However, since the late 1960s, borders in Europe no longer play the role they did before; The general conditions for jazz musicians in Germany are completely different today: festivals, bands and other jazz projects are increasingly international.

The 1920s

In June 1919, the word “jazz” appeared for the first time in “Artist”, a magazine for entertainment musicians. The first German jazz record is generally considered to be the jazz title “ Tiger Rag ” ( recorded for the first time in the USA in 1917) ; its German cover version was created on December 12, 1919 with the original Excentric Band ( band leader Frank Groundsell ) on the Berlin record label Homokord (B-557) and was released on January 15, 1920.

As early as 1919, the first foreign jazz band engaged by the American dancer Fern Andra performed in Berlin, but first the “few jazz dancers were admired and laughed at.” According to Franz Wolfgang Koebner , the mood among the dancers changed , as did the demand for good jazz bands already in the following year. Two of the first books with the word “Jazz” in the title come from Germany, but are strongly related to jazz dancing. In his book Jazz - a musical question of time from 1927, Paul Bernhard also refers the term to dancing. In the "Dance Mania post-war" not only dances such as the foxtrot and tango, but in 1920 also were shimmy and 1922, the two-step state; In 1925 the Charleston dominated the dance halls.

Tea dance in the Esplanade (Berlin, 1926)

From 1922 the first authentic jazz records could be imported directly from the USA. But already in October 1920 the clarinetist and saxophonist Eric Borchard made his own recordings after a stay in the USA with Eric's Concerto Yankee-Jazz Band , which were of a higher quality. Borchard, who trained himself and his musicians with the help of listening to new record material, made recordings from 1924 that were comparable to those of American jazz greats. However, economic unrest and inflation made larger German orchestras playing the new jazz dances a rarity from 1920 to 1923. Trios with a pianist, a drummer and a violinist who also played the saxophone were more common at first . Only after economic stability was achieved in 1924, the economic basis for larger dance orchestras was given, which were now founded by Bernard Etté , Dajos Béla , Marek Weber , Mitja Nikisch and Stefan Weintraub . The formative element of improvisation in Germany, where people have always played according to specific guidelines, met with a lack of understanding. Marek Weber, for example, demonstratively left the podium when his band played jazz every evening. Other bands, like Fred Bird's , however, focused on jazz. Efim Schachmeister combined jazz and shtetl styles .

Jazz in Germany in the 1920s was above all a fad that, according to Klaus Mann , became an “obsession”: “A beaten, impoverished, demoralized people seeks to be forgotten in dance”. Salon orchestras turned to the new style because the dancers demanded it. Jazz was heard on the radio for the first time as early as October 1923: The Berlin Funk Hour from the Berlin Vox-Haus was followed in May 1924 by Radio Munich with the program “Jazz music from the Regina-Palast-Hotel ”. After 1926, when Paul Whiteman had a sensational success in Berlin, there were regular radio programs with live jazz. It was also available on vinyl and there were sheet music editions. Musicians from many musical camps through to composers of classical concert music such as B. Paul Hindemith , Ernst Krenek and Kurt Weill incorporated the new musical genre from America into their tonal language. For classical composers, the line-up, timbre, syncopation and blues harmonies of jazz were synonymous with modern times. This new genre of music was seen not just as fashion and popular music, but as real art. However, the composer Karol Rathaus had already spoken a little prematurely of a “jazz twilight” in 1927, and Theodor W. Adorno also made derogatory comments about jazz. It is part of the arts and crafts and at best "the music of the upper class".

1928 initiated Bernhard Sekles to Dr. Hoch's Conservatory in Frankfurt am Main, against violent protests, the first jazz class worldwide. (In the USA, such courses did not begin until 1945 and 1947.) Concerts by the jazz orchestra of the Hoch Conservatory, directed by Mátyás Seiber , were broadcast several times on the radio.

time of the nationalsocialism

In neighboring European countries, the trend continued into the 1930s. There, fan magazines for jazz and so-called "hot clubs" were created. However, the Nazi regime persecuted and banned the broadcast of jazz on the radio, partly because of the African roots of jazz and because many of the active jazz musicians were of Jewish origin. On the other hand, jazz with its spontaneity, improvisation and individuality, which also attracted the swing youth , represented a threat to the Nazis' worldview. However, the effect was initially rather the opposite: Therefore an anti-jazz radio program Vom Cakewalk zum Hot from 1935 with "particularly haunting music examples", which Erich Börschel and his orchestra provided on behalf of the Reichsmusikkammer , had a deterrent effect, but was enthusiastically received.

In 1935, jazz was banned from radio broadcasting, but for economic reasons it was often circumvented by Germanization and withholding the names of the authors. In 1937 the Reich Ministry for Public Enlightenment and Propaganda set up a music testing center on the basis of an order on undesirable and harmful music , which banned the sale of "undesirable and harmful products". In the area of ​​swing, the music of Benny Goodman, Tommy and Jimmy Dorsey, George Gershwin, Irving Berlin and Cole Porter was particularly affected. The jazz book by Alfred Baresel was in the exhibition " Degenerate Art denounced" from 1937th

The exhibition Degenerate Music (here a reconstruction) also dealt with jazz.

Although attempts were made under National Socialism to ban jazz as “ nigger music ” from Germany, for example through the journalistic activities of Fritz Stege or Hans Brückner , jazz was by no means generally forbidden. Dietrich Schulz-Köhn , who worked for the German subsidiary of the record company Brunswick and wanted to import American records, even began an economic “campaign for swing music” in sales and believed in 1936 “to have awakened Germany to swing awareness. A few months ago Swing was unknown to everyone, but now all the major record companies are using it. "

In the fight against swing and jazz, it stayed with theatrical thunder. The abrupt end and strict ban on jazz in Germany is a popular misconception. "But if an institution has taken root in the people like jazz, then it is almost impossible to achieve success with prohibitions alone, if you don't know how to put better things in the place of the jazz band," resigned Fritz Stege.

American musicians in Europe stopped at the German borders with their guest performances from 1937. In spite of the ban, it was still possible to buy (foreign) jazz records, at least in large music stores, until the beginning of the war; the contact to the American jazz world and with it the free musical development was largely interrupted. The 'popular German dance music', officially supported by the Reichsmusikkammer, had some features of swing. But listening to foreign stations that regularly played jazz was made a criminal offense in 1939.

In Germany at that time only relatively few people knew what jazz music in America - at that time swing - sounded like and that it was jazz. There were even pieces that were newly produced by the National Socialists in specially developed recording studios and given new text. An example of this is the title " Black Bottom ", which was presented as "Schwarzer Boden"; the “Organ Grinder's Swing” became the “Court Concert in the Secret Annex”. For some Germans, the forbidden international channels with jazz programs were very popular. The Allied broadcasters were on the one hand disrupted by the National Socialists, but on the other hand they were also copied. The band Charlie and His Orchestra , also known as Mr. Goebbels Jazz Band , is considered a negative example . Here the National Socialists replaced the original texts with their own provocative propaganda texts.

The situation worsened when the USA entered the war in 1942. A few jazz bars in Berlin were still open for diplomats from foreign embassies and Wehrmacht members. There were also individual, illegitimate venues and private parties where jazz was played. In 1943 the record production was stopped. Charlie and His Orchestra was relocated to the then still bomb-proof province.

Post war and 1950s

In the post-war period, many music fans as well as the musicians were very interested in the missed movements after almost 20 years of isolation. In jazz clubs , jazz lovers played important records to each other before they could organize concerts. Post-war jazz developed particularly well in the American, but also in the British and French zones of occupation. Berlin, Bremen and Frankfurt became jazz strongholds. Young German musicians were able to perform in front of larger audiences in American GI venues. Jimmy Jungermann created the first German jazz program on Radio Munich as early as 1945 and broadcast a jazz program with a wide impact between 1947 and 1956, Midnight in Munich . The Südwestfunk soon followed with Jazztime and the NWDR with the Jazz-Almanach ; from 1958 the NDR jazz workshop was added. Even if radio may have played a major role in the reception of jazz in Germany, jazz music did not play a particularly important role in West German radio: At that time, West German radio stations only spent around 100 minutes a week on jazz; For example, the proportion of jazz broadcasts on Südwestfunk in 1957 was only 1.05 to 1.02 percent.

In the 1950s, jazz cellars were built in numerous cities in the old Federal Republic, modeled on the existentialist cellars in Paris . From 1955 the number of live concerts in West Germany increased significantly, while the previously more common record evenings became fewer. The German Jazz Federation conducted its own tours.

On April 2, 1951, Erwin Lehn founded the dance orchestra of the Süddeutschen Rundfunk (SDR) in Stuttgart, which he directed until 1992. It developed from a radio band into a modern swinging big band within a short time: Erwin Lehn and his Südfunk-Tanzorchester. Together with Dieter Zimmerle and Wolfram Röhrig , Lehn founded the program Treffpunkt Jazz for the SDR in 1955 . Lehn played there with international jazz greats such as Miles Davis and Chet Baker . In addition to Kurt Edelhagen's band at Südwestfunk (SWF), the Südfunk-Tanzorchester became one of the leading swing big bands in the Federal Republic of Germany in the following years. In 1953 Edelhagen discovered Caterina Valente in Baden-Baden as a singer for his big band.

American jazz musicians could be heard in West Germany at the Jazz at the Philharmonic concerts and at concert events in large halls. Primarily local musicians played in the clubs; Concert tours were increasingly organized by the German Jazz Federation (the association of clubs) to raise the level and to gain cultural and political recognition . Until the end of the 50s, the German jazz scene was strongly fixated on imitating American jazz and catching up on the development it had missed. However, from 1954 in West Germany there were the first gentle steps towards detachment from the musical model. The quintet of pianist and composer Jutta Hipp played a central role. This formation included the saxophonists Emil Mangelsdorff and Joki Freund , who also contributed compositions. Although Hipps' music was strongly based on American models, it impressed American jazz critics like Leonard Feather with its confident and independent performances. One of the special features of their music was an asymmetrical melody in the improvisations, the beginning and end of which were placed in unusual places.

At a public event in the GDR Ministry for Post and Telecommunications, the Jazz-Berlin community tried to legitimize jazz in the GDR on June 11, 1956. The saxophonists Benny Mämpe (right) and Horst Deutschendorf played among others.

The rhythmically accentuated and rhythmically innovative bebop had its heyday in America until the mid-50s. Musicians working in the Federal Republic of Germany such as Hans Koller , Jutta Hipp, Helmut Brandt or the New Jazz Group Hanover could not really make friends with him, unlike with cool jazz , which was more current in the 50s . The cool jazz, less explosive, more gentle and slow, with an emphasis on wind melodies, was preferred by the West German musicians, both in terms of interplay and tone.

The Frankfurt sociologist Theodor W. Adorno criticized the belief of West German jazz fans that they had “leased the true spirit of the time”. He pointed out that “jazz, even in its more refined forms, belongs to light music ”. "Only the bad habit of making a grandiose worldview out of everyone and everything obscures that in Germany and installs it as ... the norm of what thinks it is rebelling against the musical norm."

On the part of the GDR government, jazz was viewed more and more skeptically because of its American roots. At the end of 1950, Heinz Kretzschmar and his tentet were banned from working because their music practice would be culturally hostile and endanger public order and security. Karlheinz Drechsel was dismissed as an employee of the GDR radio station in 1952 because of his preference for jazz and was only able to do jazz programs again in 1958. In 1956 Hanns Eisler warned against "the unrestrained jazz propaganda of the West"; it should not become a cult and gelatinize the brains of young people. In the same year, Peter Dittrich created his hidden object “Jazz is on the loose” for Eulenspiegel , in which he emphasized the positive aspects. The founder of the Jazzkreis Leipzig , Reginald Rudorf , gave well-attended lectures on jazz, which also highlighted the culture of the USA. But they were stopped by disruptive actions by the state security . The Dresden interest group Jazz was also banned in 1957 in connection with the trial of Rudorf, who was suspected of being a spy by the regime.

While the GDR dance orchestras continued to play individual swing numbers, the official side viewed modern jazz , which could hardly be integrated into the dance combo, critically. It was later even branded as "snobbish jazz" by Andre Asriel

In 1956 the clarinetist Rolf Kühn moved to America and made a guest appearance in New York with Caterina Valente. From 1958 to 1962 Kühn worked in Benny Goodman's orchestra and as principal clarinetist with Tommy Dorsey . In 1962 Rolf Kühn returned to West Germany and played a. a. with the German Allstars , with whom he is also going on an extensive tour of South America for the Goethe-Institut as a kind of German “cultural ambassador”.

The 1960s

Albert Mangelsdorff (1987)

On August 13, 1961, the Berlin Wall was built in East Berlin . West and East German jazz musicians were separated from each other for many years.

The great American musicians were presented at prime time on German television. By contrast, around 1960 West German music producers' interest in recordings by musicians like Wolfgang Lauth ended ; Jazz music appeared to be no longer salable. At the beginning of 1964 Horst Lippmann had to state: “The German record industry has neglected all modern German jazz musicians for years and only occasionally presented records with amateur bands in the Dixieland area. No German record company seems to have prepared itself for the artistic obligation to adequately publish modern German jazz, as is the case in the fields of symphonic and chamber music . ”At his own risk, Lippmann convinced CBS to make long-playing records with music by Albert Mangelsdorff , Joki Freund and Wolfgang Dauner . As a result, a new generation of jazz producers such as Siegfried Loch and Hans Georg Brunner-Schwer came on the scene - records by Ingfried Hoffmann , Klaus Doldinger , Attila Zoller , Hans Koller and Gunter Hampel came onto the market shortly afterwards. The music critic and producer Joachim Ernst Berendt occupies a special, outstanding position at this time; after all, he had a major impact on German jazz in the 1960s and 1970s. Without him, neither European free jazz nor individual musicians like Albert Mangelsdorff, Rolf and Joachim Kühn and others would have the importance they have for German jazz today. Berendt was the first and so far only global player among the jazz critics and producers of the German jazz scene who campaigned for jazz from Germany abroad.

The well-known jazz groups in the old Federal Republic were the quintets of Albert Mangelsdorff (with Heinz Sauer and Günter Kronberg ) and Michael Naura (with Wolfgang Schlüter ) and the quartet of Klaus Doldinger (with Ingfried Hoffmann). The Wolfgang Lauth Quartet with Fritz Hartschuh and the Trio by Wolfgang Dauner (with Eberhard Weber and Fred Braceful ) were also newer . Musically, there was a conscious but cautious demarcation from the American model and the development of own approaches. This made it possible to “really free yourself from stereotypes and use the freedoms” that jazz offers. Doldinger and Mangelsdorff were able to appear abroad and publish records with increasing popularity. Naura had to withdraw from active music life due to illness and became a jazz editor at NDR . In the GDR, the Manfred Ludwig Sextet should first be mentioned here, for a long time the only combo that had dedicated itself to the style of modern jazz.

Eberhard Weber

In 1965, Gunter Hampel's quintet, who cultivated moderate free jazz, entered the German jazz scene with musicians such as Manfred Schoof , Alexander von Schlippenbach , Buschi Niebergall and Pierre Courbois and also gave numerous concerts in the “province”. Uncompromising free jazz was then heard from the Manfred Schoof Quintet ( Voices ) and an octet around Peter Brötzmann ( Machine Gun 1968). Especially in the smaller towns of West Germany, the jazz clubs disappeared with the advent of beat music . From the mid-1960s, the trios of Joachim Kühn - who migrated to the West in 1966 - and Friedhelm Schönfeld , as well as Manfred Schulze, found their own way into free jazz.

The 1970s

The 1970s were shaped by the internationalization and commercialization of the German jazz world. Jazz has been combined with various other musical genres. Jazz musicians like Christian Burchard ( Embryo ), Wolfgang Dauner ( Et Cetera ), Klaus Doldinger ( Passport ), Volker Kriegel and the United Jazz and Rock Ensemble followed this trend towards rock music in the old FRG . At the same time, younger musicians such as Herbert Joos , Alfred Harth and Theo Jörgensmann appeared in public and attracted the attention of the jazz scene with their music. It is noteworthy that the German musicians were just as popular with the local audience as American jazz musicians. The Theo Jörgensmann Quartet z. B. even made it into the Popular Music Best-of lists in the music yearbook Rock Session . At the same time, the German record companies FMP , ECM and ENJA established themselves . Acoustically romantic performances by Joachim Kühn and other pianists such as Rainer Brüninghaus also came into fashion at the time. In Moers and other places in West Germany, festivals were set up that focused on the new developments in jazz.

At the beginning of the 1970s, the GDR state power gave up its reserved attitude towards jazz music and "declared" jazz an integral part of GDR cultural policy. Klaus Lenz and the Modern Soul Band found their own way of merging rock and jazz music.
Especially in free jazz, the GDR developed its own gesture and improvised initially on apparently GDR-specific material, so that the idea of ​​"Eisler-Weill-Folklore-Free-Jazz" could arise abroad. The self-assertion was more pronounced than in West Germany. The better-known artists of this era include Conny Bauer and Ulrich Gumpert ( central quartet ), Manfred Hering , Manfred “Catcher” Schulze and Günter “Baby” Sommer . This music appealed to a particularly broad, young audience there and was very successful. In the new Sorrows of Young W. recalls Plenzdorf hero to Monday's jam sessions in the "Great melody," and counts the aforementioned musicians. The musicians “gradually strengthening musical self-confidence” while trying to find their own way of jazz, “expressed a serious contradiction to the prevailing monoculture.” Events with free jazz therefore became “meeting and gathering points for a critical audience between resignation and Rebellion ". According to an analysis by Bert Noglik , some of the listeners understood the new musical path as a “medium of being or thinking differently”; for another part of the audience it was certainly a “substitute” for other music and subculture that were not tangible in the GDR.

Manfred “Catcher” Schulze in Schwerin in the early 1980s.

Jazz began to play an important role in cultural life - this is how an extremely popular carnival event, Jazz blues' mer los! where music from boogie woogie to free jazz was played. On the occasion of the Peitz jazz workshop , 2,500 people attended a nine-hour jazz marathon in 1979 and 4,000 in 1980 with mostly free music. From the mid-1970s onwards, AMIGA published numerous albums with jazz musicians and bands from the GDR; performances by musicians from western countries were also recorded on record. The jazz journalist Bert Noglik states in retrospect: “During the development of jazz in the GDR in the course of the 1970s, free jazz (broadly speaking) emerged as the most important direction in jazz, both in terms of quantity and quality. This statement relates to the musicians, the audience and also to the organizational structure of the concerts and tours. All of this is all the more astonishing when you consider that a relatively strong mainstream always flowed in neighboring areas to the east and west . "

The 1980s

Barbara Dennerlein - her career began here in Vienna's Jazzland in the 1980s

In the 1980s, the jazz audience as well as the jazz scene in West Germany split into many different directions. There were formations with traditional repertoire, the various currents of free jazz and fusion music, a turn to neobop but also style elements that hint at modern creative and neoclassical jazz. In the city of Cologne there was a strong initiative for jazz, which led to the establishment of the Kölner Jazz Haus initiative , from which projects such as B. the Cologne Saxophone Mafia became known. There was a new interest in the work of big bands. Jazz arrangers such as B. Peter Herbolzheimer raised this genre in Germany to an international level. New venues emerged in medium-sized cities. Due to the large number of different directions, these concerts were poorly attended, especially in the larger cities.

In the GDR, however, it remained clear. In the 1980s there was an increased exchange between jazz musicians from West and East Germany. If the collaboration took place within the borders of the GDR, a non-German musician was usually invited to give the event an international feel. In 1982 the Peitz jazz workshop was banned. Economically, the jazz musicians of the GDR lived relatively secure because they worked in a culture-subsidized environment and, unlike their Western colleagues, did not have to follow the laws of the free market economy . The audience was also very curious and came to the events in large numbers. In addition to a comparatively broad scene in the Dixie area and in mainstream jazz with American influences, free improvisational music developed here in a way that led Fred Van Hove to the (later relativized) expression of the "promised land of improvised music". Immediately after the fall of the Berlin Wall, there was a previously unknown drop in visitors to jazz concerts in the GDR. According to Matthias Creutziger's observations , viewers in eastern Germany only came back after five years, "after they had satisfied their first, great desire to travel."

1990s to today

Max Greger 2008

In 1992, the jazz researcher Ekkehard Jost identified two basic trends in the jazz scene: jazz as repertoire music and jazz in constant and dynamic development. The latter lives from musical practice and is based on the origins of jazz. In the 1990s, even more than in the 1980s, the marketing of musical styles dominated. Jazz was particularly affected. A well-known entertainer knew how to integrate jazz into his comedy art in his own way: Helge Schneider . Another well-known German jazz musician and entertainer is Götz Alsmann . Trumpeter Till Brönner is also successful . In addition to Brönner, there are a number of other jazz musicians who have made a name for themselves in the entertainment jazz scene . However, it is not only these musicians who sometimes work as jazz musicians in Germany under difficult conditions and who decisively shape jazz in all its diversity. - The 2016 Jazz Study provides detailed information on the living and working conditions of jazz musicians in Germany .

In addition, there was an alignment between East and West Germany, clearly at the expense of East German jazz culture. Over time, elements of jazz were often integrated into other musical styles such as hip-hop, later into drum and bass, and others. These results are rated as acid jazz or nu jazz if there is sufficient jazz emphasis . Jazz can be found today in many well-known and unknown music productions; in German hip-hop , in house , in drum and bass and many other musical styles.

In the public perception, jazz in Germany was on the one hand “attested that, because of its improvisational practice, it is ideally suited to depicting the present”; on the other hand, “its market segment of at most three percent” was worked out, which is why it was devalued as “minority music”. Nevertheless, jazz remained interesting for committed record companies because it was long-lived, but this also meant that the productions usually did not pay for themselves quickly, but only after years.

After the partial privatization of the radio landscape, jazz stations such as Jazz Welle Plus in Munich and Jazz Welle plus Hamburg were on the air for several years before they were stopped because they only reached a minority audience; JazzRadio 106.8 in Berlin , for example, is still active . The shows for jazz have also become rare on television. Jazz clubs and other venues continue to struggle with the difficulty that the visitor situation is at least difficult to predict and is often subject to dramatic changes. Often the younger audience stays away. For tax reasons (so-called foreigner tax ), the tours of great international musicians, especially the Modern Creative who play in Switzerland, Austria, the Netherlands, Italy and France, are increasingly bypassing Germany.

Although there are many more jazz musicians in Germany today than in the 1960s and 1970s, the electronic media in particular make it easier for the public to form their own opinion of the jazz musicians and their music. Traditional opinion makers such as For example, the jazz editorial offices of public broadcasters, established concert agencies, organizers and festivals have lost their importance as trendsetters, also because musicians are forced to market themselves due to their insecure financial basis. On the other hand, besides the still important teaching assignments and club appearances, audience-oriented concerts, festivals and selective support, for example through composition commissions, are central components of the artistic survival strategies. Despite existing funding structures and a good university education situation, jazz in Germany has to struggle with similar problems of livelihood security, low media visibility and the historically grown niche existence as in other European countries. - The annual review page on the Jazz from Germany portal of the Goethe-Institut provides information about new developments since 2010 .

Well-known jazz events (selection)

Numerous other jazz festivals in Germany include the list of music festivals and the list of jazz festivals in Germany, Austria and Switzerland .

See also

literature

  • Joachim Ernst Berendt: A Short History of German Post-War Jazz . In: The Same: A Window of Jazz - Essays, Portraits, Reflections . Fischer TB Verlag, Frankfurt a. M. 1978.
  • Rainer Bratfisch (Hrsg.): Free tones: the jazz scene of the GDR . Ch.links, Berlin 2005.
  • Mathias Brüll: Jazz on AMIGA - The AMIGA label's jazz records from 1947 to 1990 . Compilation by Mathias Brüll. RMudHwiW / Pro Business, Berlin 2003, ISBN 3-937343-27-X .
  • Rainer Dollase, Michael Rüsenberg , Hans J. Stollenwerk: The jazz audience: on the social psychology of a cultural minority . Schott, Mainz / London / New York / Tokyo 1978.
  • E. Dieter Fränzel : Sounds like Whoopataal. Wuppertal in the world of jazz . Jazz AGe Wuppertal (ed.). Klartext, Essen 2006.
  • Michael Frohne: Post-War Jazz in Germany A Discography 1945–1969 . Jazzrealities, Zimmer 2003.
  • Frank Getzuhn: Change years of public learning history for jazz in Germany from 1950-1960: learning opportunities and learning in magazines and non-fiction books on jazz . wvb Wiss. Verl., Berlin 2006.
  • Bernfried Höhne: Jazz in the GDR: a retrospective . Eisenbletter and Naumann, Frankfurt am Main 1991.
  • Ekkehard Jost : Europe's Jazz: 1960–1980 . Fischer paperback, Frankfurt a. M. 1987.
  • Michael H. Kater: A daring game. Jazz under National Socialism . Kiepenheuer & Witsch, Cologne 1995.
  • Harald Kisiedu: European Echoes: Jazz Experimentalism in Germany 1950 - 1975. Wolke Verlag 2020.
  • Wolfram Knauer (Ed.): Jazz in Germany . Darmstadt contributions to jazz research 5th Wolke Verlag, Hofheim 1996.
  • Wolfram Knauer, "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, ISBN 978-3-15-011227-4
  • Horst H. Lange : The German Jazz Discography. A history of jazz on records from 1902 to 1955 . Bote & Bock Musikverlag, Berlin / Wiesbaden 1955, 651 pp.
  • Horst H. Lange: Jazz in Germany: the German jazz chronicle until 1960 . 1st edition. 1966. 2nd edition. Olms-Presse, Hildesheim / Zurich / New York 1996
  • Heribert Leuchter : Jazz and current music in Aachen. In: Tonarten einer Stadt - a journey through time through the history of music in Aachen , ed. von Lutz Felbick, 292 pages, 304 illustrations, bibliography with 502 titles (= series Crous collection; 11), Aachen 2018. ISBN 978-3-9817499-4-6 , pp. 202-263.
  • Horst Lippmann (Ed.): The Barrelhouse Book: 40 Years of Jazz . Societäts-Verlag, Frankfurt 1993.
  • Martin Lücke: Jazz in totalitarianism: a comparative analysis of the politically motivated handling of jazz during the time of National Socialism and Stalinism . Lit, Münster 2004.
  • Reiner Michalke (Hrsg.): Musik life - The venues for jazz and current music in North Rhine-Westphalia . Klartext Verlag, Essen 2004.
  • Bert Noglik : Jazz in conversation . New Music Publishing House, Berlin (GDR) 1978.
  • Bruno Paulot: Albert Mangelsdorff: Conversations . Oreos, Waakirchen 1993.
  • Fritz Rau : 50 Years Backstage: Memories of a Concert Organizer . Palmyra, Heidelberg 2005.
  • Werner Josh Sellhorn : Jazz - GDR - facts: performers, discographies, photos , CD. Neunplus 1, Berlin 2005.
  • Siegfried Schmidt-Joos: The Stasi doesn't swing. A jazz fan during the Cold War , Halle: Mitteldeutscher Verlag 2016, ISBN 978-3-95462-761-5
  • Fritz Schmücker (1993): The jazz concert audience: the profile of a cultural minority in a time comparison. Muenster; Hamburg: Lit
  • Werner Schwörer: Jazz scene Frankfurt: a music-sociological study of the situation at the beginning of the eighties . Schott, Mainz / London / New York / Tokyo 1990.
  • Dita von Szadkowski on black and white wings Focus Verlag 1983 ISBN 3-88349-307-4 .
  • Jürgen Wölfer : Jazz in Germany. The encyclopedia. All musicians and record companies from 1920 until today. Hannibal, Höfen 2008, ISBN 978-3-85445-274-4 .
  • Robert von Zahn: Jazz in North Rhine-Westphalia since 1946 . Emons, Cologne 1999, The same: Jazz in Cologne since 1945: concert culture and cellar art . Emons-Verlag, Cologne 1998.
  • Mike Zwerin : La tristesse de Saint Louis: Swing under the Nazis . Hannibal, Vienna 1988.

German-language periodicals on jazz

Web links

Individual evidence

  1. ↑ Before that, however, a number of titles were written in Austria and Germany that had the word jazz in the title. see. Discussion (grammophon-platten.de)
  2. ↑ Deutschlandfunk from January 15, 2005, 85 years ago the first German jazz record came onto the market
  3. ↑ a b The version of the Original Excentric Band sounded “more like an idiosyncratic interpretation of the Radetzky March”. Dierk Strothmann: First jazz in Germany . ( Memento from February 12, 2013 in the web archive archive.today ) Wiesbadener Kurier , January 9, 2010
  4. ^ According to Wolfgang Knauer, not only were all votes written out; "The stiff rhythm and the awkward-looking handling of the syncope" reminded him of the ragtime arrangements of recordings by (American) brass bands at the time. - W. Knauer "Play yourself, man!" The history of jazz in Germany. Stuttgart 2019, p. 27
  5. ^ Franz Wolfgang Koebner Jazz and Shimmy. quoted n. W. Knauer "Play yourself, man!" The history of jazz in Germany. Stuttgart 2019, p. 26
  6. ^ In 1921 Franz Wolfgang Koebner's book Jazz und Shimmy was published. Breviary of the latest dances. In 1925, Alfred Baresel published Das Jazz-Buch: Instructions for playing, improvising and composing modern dance pieces with special consideration of the piano together with an explanation of modern dances from a musical and psychological point of view, numerous sheet music examples for the modification of given material on jazz usage and special technical exercises for the jazz piano player , which saw its 4th edition in 1926.
  7. ^ W. Knauer "Play yourself, man!" The history of jazz in Germany. Stuttgart 2019, p. 36ff.
  8. ↑ MH Kater: Daring game . P. 24f.
  9. ↑ Klaus Mann, The Turning Point: A Life Report. Reinbek b. Hamburg 2006, p. 170.
  10. ↑ MH Kater: Daring game . P. 62f. Th. W. Adorno: Collected writings . Vol. 18. Frankfurt a. M. 1997, p. 796
  11. ↑ There was a music-political debate that even preoccupied the Prussian state parliament . The jazz course was abolished by the National Socialists in 1933. Jürgen Schwab The Frankfurt Sound. A city and its jazz history (s) . Societät, Frankfurt a. M. 2004, p. 24ff. and Peter Cahn: The Hoch Conservatory in Frankfurt am Main (1878–1978) . Kramer, Frankfurt am Main 1979.
  12. ^ Jazz education in the English language Wikipedia
  13. ↑ An early testimony to jazz reception in Germany: Mátyás Seiber and the jazz orchestra of the Hoch Conservatory in a radio recording from 1931 ( memento from October 15, 2008 in the Internet Archive )
  14. ↑ Michael H. Kater: Daring game , especially p. 283ff.
  15. ^ According to Wolfgang Knauer , Börschel probably had a "clichéd idea of ​​jazz." Cf. W. Knauer, "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, p. 84
  16. ↑ Guido Fackler: "Between (musical) resistance and propaganda - Jazz in the Third Reich" In: Musical folk culture and political power. Conference report Weimar 1992 of the commission for song, music and dance research in the German Society for Folklore eV / Günther Noll. - Essen: Die Blaue Eule, 1994, pp. 437-483 ;. ISBN 3-89206-590-X (Musikalische Volkskunde 11 ( Online ), p. 456)
  17. ↑ Guido Fackler: "Between (musical) resistance and propaganda - Jazz in the Third Reich" In: Musical folk culture and political power. Conference report Weimar 1992 of the commission for song, music and dance research in the German Society for Folklore eV / Günther Noll. - Essen: Die Blaue Eule, 1994, pp. 437-483 ;. ISBN 3-89206-590-X (Musikalische Volkskunde 11 ( Online ), p. 453)
  18. ↑ Guido Fackler: "Between (musical) resistance and propaganda - Jazz in the Third Reich" In: Musical folk culture and political power. Conference report Weimar 1992 of the commission for song, music and dance research in the German Society for Folklore eV / Günther Noll. - Essen: Die Blaue Eule, 1994, pp. 437-483 ;. ISBN 3-89206-590-X (Musikalische Volkskunde 11 ( Online ), p. 441)
  19. ^ Hans-Jörg Koch: The request concert on Nazi radio . P. 17. Cf. in detail and still fundamentally the dissertation by Axel Jockwer Popular Music in the Third Reich . University of Konstanz 2004 , especially chapter 4.2 From Jazz to New German Dance Music
  20. ↑ Quotation after A. Jockwer light music in the Third Reich . University of Konstanz 2004, p. 329f.
  21. ↑ Bernd Polster: Swing Heil: Jazz in National Socialism . Berlin 1989, p. 39
  22. ↑ Martin Lücke: Jazz in totalitarianism. A comparative analysis of the politically motivated handling of jazz during the time of National Socialism and Stalinism . Münster 2004, p. 77
  23. ↑ Quoted from W. Knauer, "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, pp. 84f.
  24. ↑ MH Kater: Daring game . P. 302
  25. ^ Martina Taubenberger: "The Sound of Democracy - The Sound of Freedom" - Jazz Reception in Germany (1945–1963) . Dissertation, Mainz 2009. Retrieved May 31, 2018 . (PDF; 2.8 MB), p. 11f.
  26. ↑ This is shown by an analysis by the magazine Jazz Podium . Martina Taubenberger: The Sound of Democracy - The Sound of Freedom . Diss. Mainz 2009, p. 10
  27. ^ W. Knauer, "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, pp. 179–191
  28. ^ Th. W. Adorno: Introduction to Music Sociology (1962). In: Derselbe: Gesammelte Schriften Vol. 14. Frankfurt am Main 1997, p. 212
  29. ^ Sebastian Münch: Forty years of jazz in the GDR: persecuted, tolerated, promoted . GRIN-Verlag, 2006, p. 7f.
  30. ^ R. Bratfisch: Free tones: the jazz scene of the GDR , p. 93ff.
  31. ^ A. Asriel: Jazz: Analyzes and Aspects . Berlin 1966, p. 168ff. This rating can no longer be found in the 4th edition of the book from 1986.
  32. ↑ In the liner notes to common plate of John Lewis and Albert Mangelsdorff Animal Dance , which the US label Atlantic came out
  33. ^ W. Knauer, "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, pp. 231f.
  34. ↑ A. Mangelsdorff in Jazz-Podium 19/1963, quoted in by W. Knauer, "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, p. 223
  35. ↑ Professor Breuer let the Berliner Tagesspiegel speak for the glory of the Jörgensmann Quartet: The Spree-Gazette celebrated the Aachen formation founded in 1976 - with T. Jörgensmann, Uli P. Lask , Kai Kanthak and Dionys Kube - after their appearance at the Berlin Jazz Days as the “sensation of the day” whose “creative work surpassed that of the American groups”. Aachener Volkszeitung December 11, 1980
  36. ↑ Music yearbook Rock Session No. 2 1977/78
  37. ↑ Program for the Taktlos Festival Zurich. Quoted from Ulli Blobel : How Peitz became the capital of free jazz in the GDR . In R. Bratfisch: Freie Töne , p. 70ff.
  38. ↑ cit. n. R. Bratfisch: The seventies . In: Same: Free Tones . P. 158
  39. ↑ Bert Noglik Eastern European jazz in upheaval . In: Wolfram Knauer: Jazz in Europe . Darmstadt Contributions to Jazz Research, Volume 3. Hofheim 1994, pp. 147–162
  40. ↑ Wolfgang Renner: Weimar between Bauhaus and VEB Goethe and Schiller . In: R. Bratfisch: Free tones . P. 262 ff.
  41. ↑ R. Bratfisch: The seventies . In: The same: Free Tones , pp. 156–169
  42. ↑ Quoted from U. Blobel: How Peitz ...
  43. ^ Günter Sommer: About some peculiarities of the jazz scene in the GDR . In: Darmstädter Jazzforum , 89. Wolke Verlag, Hofheim 1990, pp. 120-134
  44. ↑ cit. after W. Knauer "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, pp. 441f.
  45. ^ W. Knauer "Play yourself, man!" The history of jazz in Germany. Reclam, Stuttgart 2019, p. 447
  46. ↑ Jazz clubs. In: Jazzpages - Jazz in Deutschland / Germany. Accessed November 5, 2019 (German).
  47. ↑ Jazz on the radio. Retrieved November 5, 2019 .
  48. ^ W. Knauer "Play yourself, man!" The history of jazz in Germany. Stuttgart 2019, pp. 427-486
  49. ↑ Jazz - from Germany - Goethe Institute. Retrieved November 5, 2019 .