User:Roomsixhu/Jazz in Germany

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The 30s and missing 40s: Years of NS

 * Years of National Socialism

In neighboring European countries the trend continued in the 1930s. Dort entstanden Fan-Zeitschriften für Jazz und sogenannte „Hot Clubs“. Fan magazines were created there for jazz and so-called "hot clubs" gathered. However, the Nazi regime pursued and banned the broadcasting of jazz on the radio. Zum einen wegen der afrikanischen Wurzeln des Jazz und weil viele der aktiven Jazz-Musiker jüdischer Herkunft waren. Partly because of the African roots of jazz and because many of the active jazz musicians were of Jewish origin. On the other hand, because of in a certain way  this music handels with individuality and freedom. An anti-jazz radio broadcast from the Hot Cake Walk, "particularly insisting musical examples" should have deterrent effect.

From 1937 American musicians in Europe stopped with their programs at the German borders. Admittedly, in spite of persecution it was, at least in major cities, still possible, to buy jazz records until the beginning of the war, however the further development and the contacts with the American Jazz World were largely interrupted. Officially the "Reichsmusikkammer" (Reichs Music Chamber) supported dance music that bore some traits of the Swing. But listening to foreign stations, which regularly played jazz, was presented under penalty from 1939 on.

At that time, in Germany only a relatively small number of people knew, how the jazz music sounded like in America - at that time, the swing - and that it is Jazz. There were even pieces developed and produced  by the Nazis in special studios newly and given a new text. One example is the song "Black Bottom", that was presented as "Schwarzer Boden". For some Germans the banned foreign stations with jazz programs were very popular. The stations of the allied were on one hand disturbed, but also copied by the Nazis The band Charlie and His Orchestra is considered as a negative example, also called Mr. Goebbels Jazz Band. Here the Nazis replaced the original texts with their own provocative propaganda texts. The situation intensified in 1942 with the entry of the United States in the war. For diplomats of foreign embassies and Wehrmacht members a couple of jazz clubs continued to be remained open in Berlin. In addition, there were individual, not legitimate venues and private parties, where jazz was played. In 1943 the record production was stopped. Charlie and His Orchestra was moved in the still bombproof province. [3].

Postwar period and'50s
In the post-war period after nearly 20 years of isolation many music fans as well as the musicians were very interested in the movements of jazz they had missed. In the jazz clubs the jazz lovers played at each other important records even before they could organize concerts. Especially in the American section of occupation the post-war jazz could develop well. Berlin, Bremen and Frankfurt were centers of jazz. Young german musicians could perorm before a larger audience in American GI-venues. In the 1950s in the western Federal Republic in numerous cities emerged "Existencial" jazz cellars (Existence in the french way of philosophy) after the model of Paris.

American jazz musicians were heard at the Jazz at the Philharmonic concerts and at events in the major concert halls in western Germany. In the clubs local musicians played primarily. In order to raise the level of cultural recognition concert tours by the German Jazz Federation (a merger of the clubs) were increasingly organised. As long as to the end of the'50s the German jazz scene was strongly fixated on to imitate the American jazz and regain the missed development. However, from 1954 on there were first gentle steps of detachment from this musical role model  in West Germany. Therefore the quintet of pianist and composer Jutta Hipp played a central role. This formation included the saxophonist Emil Mangelsdorff and Joki Freund, who also wrote instrumental compositions. Although Hipp's music was heavily oriented to American role models, she impressed the American jazz critic by their sovereign and independent performances. The peculiarity of her music was an asymmetrical melody in the improvisations, the beginning and end located to unusual places.

Image:.Albert Mangelsdorff, here is much older than in the year 1960

The rhythmic accented and rhythmically innovative Bebop had heyday in America until the mid-50's. Mit ihm konnten die deutschen Musiker sich nicht so richtig anfreunden, anders als mit dem in den 50er Jahren boomenden Cool Jazz. With it, the German musicians were not acustomed, unlike the Cool Jazz booming in the'50s. Der Cool Jazz, weniger explosiv, eher sanft und langsam, mit einem Schwerpunkt auf Bläsermelodien wurde, sowohl was das Zusammenspiel, als auch die Tongebung anbelangt, von den westdeutschen Musikern bevorzugt. The Cool Jazz was less explosive, more soft and slow, with an emphasis on brass melodies, and its interaction, as well as the tone, was preferred of the western musicians.

Karlheinz Drechsel wurde wegen seiner Vorliebe für den Jazz 1952 als Mitarbeiter des Rundfunks der DDR entlassen und konnte erst 1958 wieder Jazzsendungen gestalten. The DDR-Staatsführung (German Democtratic Republic [GDR]) estimated the Jazz more and more  skeptical because of its American roots. Karl Heinz Drechsel was dismissed as employee of the GDR broadcasting in 1952 because of his fondness for the Jazz and, only in 1958 he could  organize jazz broadcasts again. The founder of the jazz group Leipzig, Reginald Rudorf, held well-attended lectures on jazz, which explained also the culture of the United States. But they were stopped with disruptive actions by the state security organization ("Staatssicherheit"). In 1957 the Dresdner interest group jazz was prohibited [4]in connection with the trial of the regime against Rudorf, as a suspected spy.

Während die DDR-Tanzorchester weiterhin vereinzelt Swingnummern spielten, sah man von offizieller Seite den Modern Jazz, der sich kaum in die Tanzcombos integrieren ließ, kritisch. While the DDR-Tanzorchester (dance orchestra) still played a few  Swing numbers, it was the Modern Jazz   which hardly could be integrated in the dance combos, that was officially seen critical. It was branded even later by André Asriel as "snobbistic Jazz". [5]

The 60s
On television of the Federal Republic the great American musicians were introduced at prime time. About in 1960 ended for the first time the interest of western music producers to record musicians like Wolfgang Lauth; jazz music seemed to be no longer a good sale. Still later in 1964 Horst Lippmann had noted [6]: "The German record industry neglected all modern German jazz musicians and only occasionally presented records with amateur Dixieland bands in the area.  No German record company seems to be prepared on the artistic commitment to  publish the modern german jazz appropriate as it is  the case in the field of symphonic and chamber music. "As if this appeal had been heard and has found a new generation of  jazz producers like Siegfried Loch, and Hans-Georg Brunner Schwer to come up, records of Klaus Doldinger, Albert Mangelsdorff, but also by Attila Zoller or Wolfgang Dauner came onto the market shortly thereafter.

The best-known jazz groups in West Germany 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). Innovators were also the Lauth Wolfgang quartet with Fritz Hartschuh and the trio of Wolfgang Dauner (with Eberhard Weber and Fred Braceful). Musically there was a deliberate, but careful delineation of the American model. DWith growing popularity Doldinger and Mangelsdorff could also perform abroad and publish records. Naura had to retire from active life as musician because of illness, and became redacteur of the Jazz part of the NDR (Northern German Broadcast). For the GDR has to be mentioned firstly the Manfred Ludwig sextet for a long time the only band, which turned to the style of modern jazz.

Image:Eberhard Weber Eberhard Weber Eberhard Weber

In 1965 the quintet of Gunter Hampel, a moderate Free Jazz maintainer, with musicians such as Manfred Schoof, Alexander von Schlippenbach, Buschi Niebergall and Pierre Cour Bois, stepped on the german jazz scene and  also performed  many concerts in the "province". Free jazz, without compomises could be herard from Manfred Schoof quintet (Voices) and an octet by Peter Brötzmann (Machine Gun). Especially in the smaller towns of western Germany the jazz music clubs disappeared with the advent of the Beat. From the mid-1960s in the GDR, the trio of Joachim Kühn- he  migrated in the West in  1966 - and Friedhelm Schönfeld, and Manfred Schulze found their own ways into free jazz.

The 70s
The 1970s were marked by the globalization and commercialization of the german jazz circuit. Jazz was combined with various other music genres. . Successful jazz musicians like Klaus Doldinger, Volker Kriegel and the United Jazz and Rock Ensemble followed this flow in the direction of rock music in the western GFR. At the same time, younger musicians like Herbert Joos, Alfred Harth or Theo Jörgenwirt stepped into public acknowledgemnet andthey excited the attention of the jazz scene  with their music. It is noteworthy that the German musicians arrived an acceptance at the local audience just as good as american jazz musicians The Theo Jörgenwirt's quartet, for example, was even in the of Best Lists of Popular Music in the Music-Yearbook Rock Session. [7] Also acoustic-romantic performances by Joachim Kühn and other pianists like Rainer Brüninghaus came into fashion. In Moers and other western german places country festivals emerged that focussed on these new developments of the jazz.

After 1970, the DDR-Staatsmacht gave up their reserved attitude towards the jazz music and "explained" that jazz became an integral part of GDR culture politics. Klaus Lenz and the Modern Soul band found its own way to the Fusion of rock and jazz music. In the GDR especially in free jazz musicians developed an own gesture and improvised first on apparently DDR-spezific material in a way that abroad the idea of an "Eisler Weill Folk-Free jazz" [8] could arise. The self-assertion was pronounced stronger than in western Germany. Among the better-known artists of this era Conny Bauer and Ulrich Gumpert (Zentralquartett), Manfred Hering and Guenter Baby Sommer were included. This music communicated with a very broad, young audience, and was very successful. "In der Jazzentwicklung der DDR hat sich im Verlaufe der siebziger Jahre der Free Jazz (weit gefaßt) als die wichtige Spielrichtung des Jazz herauskristallisiert und das sowohl in quantitativer als auch in qualitativer Hinsicht. Diese Feststellung bezieht sich auf die Musiker, das Publikum und auch auf die Organisationsstruktur des Konzert- und Tourneebetriebs. All das ist um so erstaunlicher, wenn man bedenkt, daß in östlichen wie westlichen Nachbargebieten immer ein relativ starker Mainstream floß." [9] The jazz journalist Bert Noglik noted in retrospect: "In the course of the seventies in the GDR in the evolution of jazz the Free Jazz (in a broader sense) has cristallized to be the form of the major direction of practice and that form of direction emerged both in quantitative and in qualitative respects. This statement refers to the musicians, the audience and also on the organizational structure of the concert and tour management. All of this is even more astonishing when one considers that in the eastern and western neighboring regions always flowed a relatively strong mainstream music. "[9]

The 80s
In the 80 years the jazz audience, as well as the jazz scene divided in in many different directions in West Germany. There were formations with both traditional repertory, the various currents of free jazz and fusion music, a turning to Neobop but also style elements that hinted to the Modern Creative, and the neo-classical jazz. A new interest awakened for the work of Big Bands. Jazz arrangers like Peter Herbolzheimer lifted this genre in Germany on an international level. New venues were opened in middle sized cities. Due to the large number of different directions of jazz styles such concerts were poorly attended, especially in the larger cities.

On the other hand in the GDR it remained clear. . In addition to a comparatively wide Dixieland scene in the area and in the mainstream of American-style jazz developed here free improvisational music in a way that Fred Van Hove (later relativated) spoke misguidingly of the, "Promised Land of Improvised Music". [10].

The 90s until today
Image:Known by its comedy with jazz sounds: Helge Schneider

In the year 1992 the Jazz researcher Ekkehard Jost remarked two basic trends of the jazz scene: jazz as a repertoire  music and jazz in stable and dynamic development. The latter lives from musical practice and is based on the origins of jazz. In the 90 years even more than in the 80s,it dominated the marketing of music  styles. In particular, the Jazz was affected. ZIn addition, between East and West Germany an alignment of styles occurred, clearly much to the detriment of the East German jazz culture. In the course of time, often elements of jazz were integrated into other styles like hip-hop, and later in Drum 'n' Bass and others. These results scored as acid jazz or as NuJazz if there is sufficient jazz participation. Today Jazz can be found in many known and unknown musical productions, in German Hip-Hop, House, Drum 'n' Bass, in some dance music, and many other styles of music.

A well-known entertainer knew it, how to integrate the jazz on his own way into his comedy art: Helge Schneider. Thus he hit the nerve of the consumers. And Helge Schneider is probably contrary to his reputation as a comedian, a professional, talented jazzmen.

Another known German jazz musician and entertainer is Götz Alsmann.The trumpeter Till Brönner is also successful. In addition to Brönner there are a number of other jazz musicians who established in the entertainment scene with jazz. However, it's not only these musicians who work as a jazz musician sometimes under difficult conditions in Germany, and who form the Jazz in its diversity.

Places on television for jazz are rare now. Jazz clubs and other venues still have to face the difficulty that the visitors situation is, at least, difficult to predict and often  changes dramatically. Often the younger audience remains off. Even for tax purposes (so-called "Ausländersteuer" i.e. foreigner tax), the major international touring musicians, in particular the Modern Creative, who play in Switzerland, Austria, the Netherlands, Italy and France, increasingly skip Germany on their routes and tours.