German jazz

An overview of the evolution of Jazz music in Germany reveals that the development of jazz in Germany and its public notice differ from the "motherland" of jazz, the US, in several respects.¶

The 1920s

One of the first books with the word "jazz" in the title originates from Germany. In his book Jazz – Eine Musikalische Zeitfrage (Jazz – A Musical Issue) of 1927, Paul Bernhard relates the term Jazz to a specific dance. When dancer Josephine Baker visited Berlin in 1925, she found it dazzling. "The city had a jewel-like sparkle," she said, "the vast cafés reminded me of ocean liners powered by the rhythms of their orchestras. There was music everywhere." Eager to look ahead after the crushing defeat of World War I, Weimar Germany embraced the modernism that swept through Europe and was crazy about jazz. In the dancing mania of the post-war period, there were not only modern dances such as the tango and foxtrot, but in 1920 also the Shimmy and in 1922 the Two-step. In 1925 the Charleston dominated the dance halls. Even when under great criticism Bernhard Sekles initiated the first academic jazz studies anywhere at the Hoch Conservatory in Frankfurt in 1928 – the first courses in the United States were started in the mid-1940s. The director of the jazz department was Mátyás Seiber. The jazz studies were closed by The Nazis in 1933. The first mass-produced jazz records came out in the United States in 1917. By January 1920, "Tiger Rag" had already been marketed by a German record company. In the early 1920s, the clarinetist and saxophonist Eric Borchard was making recordings in Germany. Borchard's first recordings show a heavy influence of Alcide Nunez; he soon developed his own style. By 1924 his band was comparable to good American bands such as the Original Memphis Five. Borchard's band included New Orleans trombonist Emile Christian.¶

Postwar period and the 1950s

In the postwar period, and after nearly 20 years of isolation, many music fans as well as musicians themselves were very interested in the movements of jazz they had missed. In fact, jazz gave young people the enthusiastic hope for rebuilding the country. In the jazz clubs, jazz lovers played important records even before they could organize concerts. As World War II ended, jazz was imported to Germany via its strong footholds in England and France, and home-grown post-war jazz was able to develop, particularly in the American-occupied zone. Ironically, many German prisoners first heard jazz in French camps, and then the occupying Allied forces introduced those records and sheet music into the country. Berlin, Bremen and Frankfurt became centers of jazz. Young German musicians could perform before a larger audience in American GI venues. In the 1950s, following the model established in Paris, "Existential" jazz cellars (referring to the French philosophy) emerged in numerous West German cities. On April 2, 1951, Erwin Lehn founded the dance orchestra of the South German Radio (SDR) in Stuttgart, which he led until 1992. In a short time it developed from a radio-band to a modern swing big band: Erwin Lehn and his Südfunk Tanzorchester (southern radio dance orchestra). In 1955 Lehn, with Dieter Zimmerle and Wolfram Röhrig, initiated the SDR broadcast Treffpunkt Jazz. There Lehn played with international jazz greats such as Miles Davis and Chet Baker. In addition to Kurt Edelhagen's band at the Southwestern Radio (SWF), the Südfunk dance orchestra became one of the leading swing big bands in the Federal Republic of Germany in the following years.¶

The 1960s

After the Berlin Wall was built in 1961, West and East German jazz musicians were separated. On West German television, the great American musicians were introduced to audiences during prime time. Around 1960, Western music producers' interest in recording musicians such as Wolfgang Lauth waned, as jazz music no longer seemed to be a good sale. In 1964, Horst Lippmann had noted: "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 for the artistic obligation to publish modern German jazz appropriate as it is the case in the field of symphonic and chamber music." Shortly thereafter, as if this appeal had been heard and had caused a new generation of jazz producers (such as Siegfried Loch, and Hans-Georg Brunner Schwer) to emerge, records by Klaus Doldinger, Albert Mangelsdorff, but also by Attila Zoller or Wolfgang Dauner came onto the market.¶

The music critic and producer Joachim-Ernst Berendt took an eminent position at this time, influencing German jazz mainly in the 1960s and 1970s. Without him, neither the European Free Jazz, even as individual musicians like Mangelsdorff, Doldinger and others, would have gained the importance that they have for the German jazz today.¶

The 1970s

The 1970s were marked by the globalization and commercialization of the German jazz world. Jazz was combined with various other music genres. Successful jazz musicians such as Klaus Doldinger, Volker Kriegel and the United Jazz and Rock Ensemble followed this trend in the direction of rock music in West Germany. At the same time, younger musicians like Herbert Joos, Alfred Harth and Theo Jörgensmann garnered public acknowledgment and aroused the attention of the jazz scene with their music. It is noteworthy that the German musicians achieved an acceptance with the local audience on par with American jazz musicians. For example, the Theo Jörgensmann quartet, an avant-garde jazz group, was even in the Best-of Lists of Popular Music in the Music-Yearbook Rock Session. At the same time the German record labels FMP, ECM and ENJA established in the market. Also acoustic-romantic performances by Joachim Kühn and other pianists like Rainer Brüninghaus came into fashion. In Moers and other West German towns, festivals were held that focused on these new developments in jazz.¶

In the 1970s, academic studies of jazz started in West Germany. The annual summer course at the Akademie Remscheid (Remscheid Academy) was very popular among young jazz musicians. There is hardly a professional jazz musician, born between 1940 and 1960, who did not attend this course as a student or teacher. After 1970, the government ministries of East Germany gave up their antagonism towards jazz music, giving the explanation that jazz had become an integral part of East German culture and politics. Klaus Lenz and the Modern Soul band found its own way to the Fusion of rock and jazz music.¶

The 1980s

In the 1980s, the jazz audience, as well as the jazz scene, split in many different directions in West Germany. There were forms which included traditional repertory, the various currents of free jazz and fusion music, a turning to Neobop, but also style elements that hinted at more modern styles, and neo-classical jazz.¶

The text above is adapted from the Wikipedia article “German jazz”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

German jazz is music genre or scene, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 2 external registers, which can be verified through the citation.¹¶