German jazz - Knowledge

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the cabarets of Berlin, some dubbed jazz as the "incarnation of American vitalism". Yet, despite the liberal attitudes of the Weimar democracy, the public and private sentiment toward blacks, including African Americans, was ambivalent; there was a lack of black jazz musicians in Germany. Regardless of their social situation, the deeply engrained and institutionalized racism of German society was not tolerant of black people. For instance, many nationalistic student fraternities rejected student members who were of color or married to women of color. Furthermore, in 1932, all the conservative musicians and critics were denigrating jazz as a product of "Negro" culture, which provided the government the fodder to forbid the hiring of black musicians. Thus, for many African-American artists, popularity was a mere facade of a grim reality of being seen as a "racial alien". One critic even went as far as to call jazz a mere "

1267: 850:, were active in a jazz band. Here the Nazis replaced the original texts with their own provocative propaganda texts that were pro-Nazi and anti-American/British. For example, the lyrics for "Little Sir Echo" has anti-American/British appeal with lyrics such as "German U-boats are making you sore, You're always licked, not a victory came through ... You're nice, little fellow, but by now you should know that you can never win this war!" Goebbels' propaganda was broadcast over pirated short-wave frequencies into America, Britain, and Canada in order to spread fear and weaken the morale of Germany's enemies (WFMU Staff). 1062:(GDR) were highly skeptical of jazz due to its American roots. Karl Heinz Drechsel was dismissed from his job at the GDR broadcasting organization in 1952 because of his fondness for jazz and was prohibited from organizing jazz broadcasts again until 1958. The founder of the jazz group Leipzig, Reginald Rudorf, held well-attended lectures on jazz, which also explained the culture of the United States. But they were stopped with disruptive actions by the state security organization (" 1185:). Musically there was a deliberate but careful delineation of the American model. With their growing popularity, Doldinger and Mangelsdorff could also perform abroad and publish records. Naura had to retire from active life as a musician because of illness, and later became an editor of the Jazz part of the NDR (Northern German Broadcast). For the GDR, the Manfred Ludwig sextet has to be mentioned, originally for a long time the only band, which turned to the style of modern jazz. 1319:(in a broader sense) has crystallized to be the form of the major direction of practice and its majority passes, and exists both in quantitative and qualitative respects. This statement refers to the musicians, the audience and also 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, there always flowed a relatively strong mainstream music." 929: 1323: 825:

nations in Western Europe to perform, bringing hot swing. Eventually, the Nazi party realized that jazz could not be removed entirely from Germany (WFMU Staff). The Nazis even re-developed and newly produced some pieces, giving them new lyrics, in special studios. One example is the song "Black Bottom", which was presented as "Schwarzer Boden". For some Germans, the banned foreign stations with jazz programs were very popular.

24: 908:. "Degenerate Music" was an exhibit sponsored by the Nazi regime that singled out "degeneracy" or the use of atonal music, jazz, discordant-sounding organization of tones and the individual composers and conductors, both of Aryan and non-Aryan descent. The "Degenerative Music" exhibit actually had the opposite effect of what the Nazis had hoped because soldiers became interested in genuine jazz (Potter). The documentary film 612:. From 1920 to 1923, due to both economic turmoil and inflation, larger German jazz orchestras that played the new jazz dances were a rarity. Initially, a trio with a pianist, a drummer and a "Stehgeiger" (standing violinist), who also played the saxophone, was most common. Only after 1924 an economic stability was achieved, and an economic basis for larger dance orchestras was possible, like those founded by Bernard Etté, 880:, or Swing Youth, was a movement among mainly youth from 14 to 20 years old who dressed, danced, and listened to jazz in defiance of the Nazi regime. The Nazi Party acted against this movement by detaining several of the young leaders of the Swing Youth and sending them to concentration camps. However, the Swing Youth continued to resist the Nazi party by participating in prohibited swing and jazz activities (Neuhaus). 3506: 1380: 676:, turned to the new music genre that came from America and incorporated it into their musical language. For the classical composers, the orchestral casts, the timbre, syncope, and blues harmonies of jazz were a synonym for the modern era. This new music genre was recognised not only as a fashion and entertainment music, but as real art. However, as early as in 1927, the composer 810:" (Reichs Music Chamber) supported dance music that bore some traits of Swing, but listening to foreign stations, which regularly played jazz, was penalised from 1939 on. Even after certain songs and performers were banned in Germany, several radio stations played jazz music by printing a new, German-centric label. For example, the song " 775:. It wasn't until 1931 that many crucial British and American jazz players began to leave the country as they faced increasing xenophobic harassment from colleagues and authorities. Many thought that the death of jazz was upon them, but little did they anticipate that it would be reborn into vitality and health under a dictatorship. 771:

spokesmen. In 1935, attempting to widen the perceived gap between "Nigger-Jew Jazz" and "German Jazz", Hans Otto Fricke used his prominent status as the director of "Radio Frankfurt", giving a two-part lecture series on the subject. To a great extent, Jazz shared a similar fate with other postwar modernist art such as

782:, the Reich Minister of Public Enlightenment and Propaganda, had hoped to convince and persuade the public via anti-jazz propaganda, rather than prohibit jazz. However, jazz was banned in 1935 (WFMU Staff). In 1935, the Nazi government did not allow German musicians of Jewish origin to perform any longer. The 770:

In the 1930s, jazz began to see its downturn and started to suffer. Jazz's potential for being linked with the down-trodden minorities and pariahs of German society - the blacks and Jews - rendered it suspect. The future policies emerging against jazz were encouraged by German musicologists and radio

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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

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concerts, and at events in the major concert halls in western Germany. Primarily, local musicians played in the clubs. In order to raise the level of cultural recognition, concert tours by the German Jazz Federation (a merger of the clubs) were increasingly organised. Until the end of the 1950s, the

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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. Berendt was the

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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

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In 1992, the jazz researcher Ekkehard Jost discerned two basic trends of the jazz scene: one, jazz as a repertoire music and two, jazz in stable and dynamic development. The latter survives through musical practice and is based on the origins of jazz. In the 1990s, even more than in the 1980s, the

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In East Germany, the development was more clearly arranged. In the 1980s, there was a greater exchange between jazz musicians from West and East Germany. If the cooperation took place within the borders of the GDR, normally a non-German musician was also invited to give this event an international

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and Joki Freund, who also wrote instrumental compositions. Although Hipp's music was heavily influenced by American role models, she impressed the American jazz critics with her distinctive and independent performances. The peculiarity of her music was an asymmetrical melody in the improvisations,

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Jazz was much more than just a creative pastime; in fact, people saw jazz as the "essence of the era's modernism", a strong surge toward greater equality and emancipation, posing as a perfect advocate for a democracy in Germany. With its debonair, carefree interdependence on chorus-line culture of

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From 1937 onward, American musicians in Europe couldn't cross German borders. Admittedly, in spite of such persecution it was still possible, at least in major cities, to buy jazz records until the beginning of the war; however, the further development of, and the contact with, the American Jazz

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regime pursued and banned the broadcasting of jazz on German radio, partly because of its African roots and because many of the active jazz musicians were of Jewish origin; and partly due to the music's certain themes of individuality and freedom. For the Nazis, jazz was an especially threatening

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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. In East

786: – most of whom were Jewish – were forced into exile. They worked abroad during much of the 1930s, touring throughout Europe, Asia, and the Middle East before settling in Australia in 1937. Even people with a single Jewish grandparent like swing trumpeter Hans Berry were forced to play 824:

At that time, only a relatively small number of people in Germany knew how jazz music sounded in America – at that time, swing – and that it was jazz. With the pressing wartime effort from 1941 to 1943, the Nazis accidentally fostered the jazz craze by forcing bands from Nazi-occupied

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became popular with German audiences. The listeners were particularly partial to American black musicians such as Armstrong and Ellington, instead of their own German jazz musicians. In the 1920s, jazz in Germany was primarily a fad. The "Salonorchester" turned to the new style, because dancers

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In 1920–23, there was a period of economic turbulence and inflation in Germany, until 1924 when the market stabilized and money was invested in entertainment. Consequently, the mid-1920s brought forth a growth of larger bands who agreed to play jazz music. The two most popular German bands that

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Paul Schewers, a music critic, brought forth crude images of lewdly dancing black boys and girls in the service of procreation, implying that the lower forces were always surging through blacks, overtaking the rational light of morality and reason the way the white man grasped it. Undoubtedly,

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Jazz is in low demand on German television. Jazz clubs and other venues still must face the fact that the number of visitors is often difficult to predict and highly variable. Often, younger audiences stay away. Even for tax reasons (so-called "Ausländersteuer" i.e., foreigner tax), the major

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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

1153: 1408:. A number of other jazz musicians became established through entertainment-jazz in the scene as well. However, these are not the only musicians who work as jazz musicians sometimes under difficult conditions in Germany, and who are responsible for creating such diverse styles of jazz. 762:

Hitler was not fond of modernism in the arts, which included music; in the Nazi party's program of February 1920, he threatened to enforce future governmental laws against such inclinations in art and literature. Even though he never publicly spoke out against jazz specifically in the

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German jazz scene was strongly fixated on imitating American jazz, and on regaining the period of development it had previously missed. However, from 1954 on, West German jazz slowly departed from the pattern established by this musical role model. The quintet of pianist and composer

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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

628:. It was the predominant element of improvisation that was met with a lack of understanding in Germany, where people had always played concrete written notes; Marek Weber, for example, demonstratively left the podium if its nightly band played jazz interludes. 884:

was moved in the still bombproof province. Jazz was also incorporated into musical works such as operas and chamber music through "art-jazz", which utilized jazz-inspired and ragtime-inspired syncopated rhythms and modes. Famous operas such as Krenek's

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and himself a respected classical pianist, had created a fine popular dance ensemble in the 1920s, the Mitja Nikisch Tanz Orchester, which played in prominent venues. The Nazi regime brought about its demise, leading Nikisch to commit suicide in 1936.

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complexion. Economically jazz musicians in the GDR lived in comparatively secure or prosperous circumstances, because they worked in an environment of subsidized culture, and unlike their western colleagues did not need to follow the directives of the

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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

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that had also boomed in the 1950s---was a genre German musicians were unaccustomed to. They preferred Cool Jazz, because with its emphasis on brass melodies, and its interaction, as well as the tone, it was softer and slower---less explosive.

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Perhaps the source of the critique against jazz was the modernity it implied; in fact, many of the jazz critics were those who were against any form of modernity. Those World War I veterans with Fascist pretensions and of the anti-Semitic

1343:, but also style elements that hinted at more modern styles, and neo-classical jazz. In Cologne, there was a strong initiative for Jazz, founding the initiative "Kölner Jazz Haus" (Cologne Jazz House), from which projects such as the 1338:

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

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raised this genre in Germany to an international level. New venues were opened in mid-sized cities. Due to the large number of different jazz styles, such concerts were poorly attended, especially in the larger cities.

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sensuality has an affinity with dance, and it was pervasive in jazz and in the lyrics, but this became a means of judging it as void of morality, and even aesthetics, reduced to being inferior to "high German culture".

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While the GDR dance orchestras still played a few Swing numbers, it was Modern Jazz, which could not be integrated into the dance combos, that was officially criticized. It was later denounced as "snotnosed Jazz" by

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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

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In addition, between East and West Germany, an alignment of styles occurred, much to the detriment of East German jazz culture. Over time, elements of jazz were increasingly integrated with other styles such as

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Although there are many more jazz musicians in Germany now than in the 1960s and 1970s, it is much easier for the public to form their own individual opinion of the jazz musicians and their music because of

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and Pierre Courbois, arrived on the German jazz scene and performed many concerts in the "province". Free jazz, without compromises, could be heard from the Manfred Schoof quintet (Voices) and an octet by

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The best-known jazz groups in West Germany were the quintets of Albert Mangelsdorff (with Heinz Sauer and Günter Kronberg), Michael Naura (with Wolfgang Schlüter), and the quartet of Klaus Doldinger (with

814:" became "Schwarzer Panther", or the "black panther". "Joseph! Joseph!" became "Sie will nicht Blumen und nicht Schokolade", which translates as "She wants neither flowers nor chocolate" (WFMU Staff). 709:

and flourished, especially since Jews were often depicted as having a racial affinity with blacks, possessing similar objectionable qualities. Jews were prevalent figures in new art forms such as jazz,

2052:), Hungarians presenting Norwegian Chamber jazz, familiar sounds from ECM (Ferenc Snétberger Trio) and, finally Roman immigrants playing everything world music offers (L'Orchestra di Piazza Vittorio). 1003:'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. In 1953, Edelhagen discovered 1011: 871:

members, a couple of jazz clubs continued to remain open in Berlin. In addition, individual, illegitimate venues and private parties still played jazz. In 1943 jazz record production was stopped.

1291:(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. 1432:

international musicians, in particular the modern creative musicians, who play in Switzerland, Austria, the Netherlands, Italy and France, increasingly skip Germany on their routes and tours.

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banded with other members in the National Socialist movement in denouncing Jews and blacks. This burgeoning hatred of jazz and its subculture infected the entire Nazi party structure that

701:. Jews at that time were recognized in jazz, not just as musicians and composers, but also as commercial managers, serving as the middlemen of the music. After the Great War in Germany, 1808:"This was actually the first academic program for the study of jazz anywhere in the world." Kathryn Smith Bowers, "East Meets West. Contributions of Mátyás Seiber to Jazz in Germany." 1116:

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

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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.

767:, one can infer that Hitler's sentiments toward jazz must have had strong ties to his perception of racial hierarchy, with jazz, not surprisingly, being at the very bottom. 1295:

Germany in particular, free jazz musicians developed their own gestures and improvised first on apparently East German-specific material in such a way that the idea of an "

1209:(Machine Gun). Especially in the smaller towns of western Germany, jazz music clubs disappeared with the advent of the Beat. From the mid-1960s on, in the GDR, the trio of 1130: 920:

and pianist Martin Roman, who were saved in the camps so they could and had to play for SS officers and during executions in Auschwitz as part of the "Ghetto Swingers".

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Folk-Free jazz" could take hold abroad. The self-assertion was more strongly pronounced in East than in West Germany. Among the better-known artists of this era were

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were the first hot jazz band in Germany at their summit beginning around 1928. Musicians from many musical backgrounds, composers of classical music concerts such as

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enjoyed sensational success in Berlin, regular radio programmes were broadcast with jazz played live. His music was also available on record and in sheet music. The

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Jazz im Totalitarismus : eine komparative Analyse des politisch motivierten Umgangs mit dem Jazz während der Zeit des Nationalsozialismus und des Stalinismus.

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Some musicians did not want to follow this command. Thus, for example, when jazz was finally prohibited by the Nazis at the beginning of the war, the clarinettist

1864:, Soho the Dog, February 06, 2007. "The first jazz theory class, ever, wasn't offered in the United States—it was at the Hoch Conservatory in Frankfurt, Germany." 2037: 1474: 1125:

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

1372:. In addition to a comparatively wide Dixieland scene in the area and mainstream American-style jazz, free improvisational music developed in a way that 714:, and film. Often, a great number of jazz band leaders were Jews, many from Eastern Europe, including Bela, Weber, Efim Schachmeister, Paul Godwin, and 1451:) has been regularly criticised, and its artistic directors have fallen back on highly elaborate concepts without a clear artistic line being visible. 1428:. Today jazz elements can be found in a great variety of musical styles, such as German Hip-Hop, House, Drum 'n' Bass, dance music, and many others. 980: 1641:

Wandeljahre öffentlicher Lerngeschichte zum Jazz in Deutschland von 1950 - 1960: Lernangebote und Lernen in Zeitschriften und Sachbüchern zum Jazz.

1117: 2532: 1400:, a well-known entertainer, knew how to integrate jazz into his own comedic art. Another well-known German jazz musician and entertainer is 2835: 738:

In neighbouring European countries the trend continued in the 1930s. Fan magazines were created for jazz and so-called "hot clubs". The

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Radio also had a role in jazz. In 1926, the radio began to regularly play jazz music, and as time progressed, by 1930, artists such as

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the beginning and end located in unusual places. English New Orleans and traditional jazzbands were fervently welcomed, particularly

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in Frankfurt in 1928 - the first courses in the United States were started in the mid-1940s. The director of the jazz department was

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first and only global player of the jazz critics and producers of the German jazz scene, who introduced jazz from Germany abroad.

2794: 1347:(Cologne Saxophone Mafia) emerged. In Frankfurt, a whole series of guitarists of international significance emerged, among them 2759: 1546: 1524: 1263:

came into fashion. In Moers and other West German towns, festivals were held that focused on these new developments in jazz.

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followed this trend in the direction of rock music in West Germany. At the same time, younger musicians like Herbert Joos,

2754: 972:, 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 867:

The situation intensified in 1942 with the entry of the United States in the war. For diplomats of foreign embassies and

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and others, most prominently by the internationally successful duo Tab Two. These new styles of fusion were assessed as

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on the one hand would jam transmissions from the Allies' stations, but on the other hand would also copy them. The band

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moved to America, gave a guest performance with Caterina Valente in New York and performed with his quartet at the

1213:(who migrated to the West in 1966), Friedhelm Schönfeld, and Manfred Schulze found their own ways into free jazz. 3535: 3284: 2580: 2527: 2165: 2100: 913: 912:

looks at jazz music under the Nazi regime in Germany, and at the cases of the Madlung sisters who were sent to

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of the post-war period, there were not only modern dances such as the tango and foxtrot, but in 1920 also the

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showed the influence of American jazz were Eric Borchard's small combo, and Stefan Weintraub's Syncopators.

596:" had already been marketed by a German record company. In the early 1920s, the clarinetist and saxophonist 362: 2716: 2671: 2595: 2590: 2585: 1959:

Berlin, 1966, S. 168ff. This value judgment is no longer found in the 4th edition of this book, dated 1986.

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Köln: Emons; ders. (1998): Jazz in Köln seit 1945 : Konzertkultur und Kellerkunst. Köln: Emons-Verlag

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Potter, Pamela. “Music in the Third Reich: The Complex Task of ‘Germanization.’” In Jonathan Huener and

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Where is jazz headed? One knows less after the Berlin Jazz Festival than before. There was Blues-Rock (

1788: 540:(Jazz - A Musical Issue) of 1927, Paul Bernhard relates the term Jazz to a specific dance. When dancer 604:; he soon developed his own style. By 1924 his band was comparable to good American bands such as the 520:

reveals that the development of jazz in Germany and its public notice differ from the "motherland" of

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Jazzszene Frankfurt: eine musiksoziologische Untersuchung zur Situation anfangs der achtziger Jahre.

2830: 2769: 2486: 1369: 1022: 553:, Weimar Germany embraced the modernism that swept through Europe and was crazy about jazz. In the 245: 66: 45: 1998:("Taktlos" is a wordplay between barless, beatless and indiscreet) Zürich. Cited after Uli Blobel 2804: 2706: 2656: 2562: 2522: 2501: 2491: 2461: 1311:. This music resonated with a broad young audience, and was very successful. The jazz journalist 937: 327: 320: 286: 229: 224: 71: 61: 3157: 1284:

In the 1970s, academic studies of jazz started in West Germany. The annual summer course at the

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WFMU Staff. “Charlie and His Orchestra.” WFMU's Beware of the Blog (accessed October 11, 2009).

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noted in retrospect: "In the course of the seventies in the GDR in the evolution of jazz the

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in 1957. From 1958 to 1962 Kühn played (as the first German musician) with the orchestras of

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The Nazi regime passed notorious edicts banning jazz records and muted trumpets calling them

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Berlin (DDR): Verlag Neue Musik, ders. (1992): Swinging DäDäRä. Die Zeit, 8. Mai 1992, S. 60

1260: 961:" jazz cellars (referring to the French philosophy) emerged in numerous West German cities. 694:) for the upper classes, having little if any connection to the African-American tradition. 3530: 3434: 3249: 2861: 2636: 2547: 473: 334: 1173:.) Innovators were also the Lauth Wolfgang quartet (with Fritz Hartschuh) and the trio of 916:

merely for owning jazz records. There are also interviews with jazz drummer and guitarist

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was making recordings in Germany. Borchard's first recordings show a heavy influence of

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wanted it so. By 1924, the first jazz could be heard on the radio; after 1926, when

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Jazz Band. Several of Germany's most talented swing musicians, such as saxophonist

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Kater, Michael, "Forbidden Fruit? Jazz in the Third Reich" Oxford Press, Feb. 1989

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Das Jazzkonzertpublikum: das Profil einer kulturellen Minderheit im Zeitvergleich.

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Musik life – Die Spielstätten für Jazz und Aktuelle Musik in Nordrhein-Westfalen.

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marketing of music styles dominated the music business, and jazz in particular.

1359:. And a new interest awakened for the work of Big Bands. Jazz arrangers such as 1256: 1210: 3208: 3005: 2406: 2394: 2069: 1593: 1193: 1178: 1126: 1121: 1098: 1000: 958: 901: 847: 798: 721: 690: 665: 640: 146: 108: 98: 688:

criticized the popular jazz of this period as predominantly functional music (

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A shot from a 2006 performance by Peter Brötzmann, a key figure and doyen in

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group, was even in the Best-of Lists of Popular Music in the Music-Yearbook

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Other dance bands and musicians were not even that fortunate. For example,

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Jazz auf AMIGA - Die Jazz-Schallplatten des AMIGA-Labels von 1947 bis 1990.

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55.11 (2005): 52–57. Academic Search Premier. EBSCO. Web. 24 October 2009.

1101:- one and a half years later. In 1962 Rolf Kühn returned to West Germany. 1082: 747:

sought a deterrent effect with "particularly insisting musical examples".

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One of the first books with the word "jazz" in the title originates from

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Günter Sommer, "Über einige Besonderheiten der Jazzszene der DDR". In:

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was built in 1961, West and East German jazz musicians were separated.

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played a central role in doing so; this group included the saxophonist

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Zusammenstellung von Mathias Brüll. (RMudHwiW / Pro Business Berlin -

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Das Jazzpublikum: zur Sozialpsychologie einer kulturellen Minderheit.

1500: 1495: 1469: 1421: 1316: 1287: 1051: 969: 868: 811: 752: 731:", having only one purpose: "to introduce obscenities into society." 593: 582: 151: 136: 1322: 1307:

and Ulrich Gumpert (Zentralquartett), as well as Manfred Hering and

3370: 3269: 2651: 2379: 2322: 2248: 2238: 2138: 2053: 2048:). You could also hear Norwegians playing Bulgarian wedding music ( 1379: 856:("Negro Music") was a pejorative term used by the Nazis during the 790:

or to work abroad (in Belgium, the Netherlands or in Switzerland).

194: 1351:, who should later appear on the world's stages with the likes of 1255:

established in the market. Also acoustic-romantic performances by

1120:

waned, as jazz music no longer seemed to be a good sale. In 1964,

3417: 3402: 3264: 2359: 2243: 1425: 1413: 1152: 711: 533: 140: 1812:, (Ed. Michael J. Budds), Hillsdale, NY: Pendragon Press, 2002, 2922: 2349: 2339: 1625:

Rainer Dollase, Michael Rüsenberg, Hans J. Stollenwerk (1978):

1590:

Darmstädter Beiträge zur Jazzforschung 5. Hofheim: Wolke Verlag

968:

founded the dance orchestra of the South German Radio (SDR) in

945:

important records even before they could organize concerts. As

739: 558: 545: 1050:

enjoyed a heyday until the mid-1950s, this music---unlike the

3505: 3380: 3254: 2233: 1831:

Das Hoch'sche Konservatorium in Frankfurt am Main (1878-1978)

1444:

like public broadcasters' jazz editors are losing influence.

1047: 1046:

Whereas in America, the rhythmically accented and innovative

954: 390: 369: 1697:

50 Jahre Backstage: Erinnerungen eines Konzertveranstalters.

722:

Years of National Socialism, the 1930s and the missing 1940s

2109: 991:. There Lehn played with international jazz greats such as 569:

dominated the dance halls. Even when under great criticism

521: 184: 1704:

Jazz - DDR - Fakten: Interpreten, Diskographien, Fotos, CD

1192:, a moderate Free Jazz maintainer, with musicians such as 697:

Jazz was found as an uncommon link between the blacks and

573:

initiated the first academic jazz studies anywhere at the

698: 1662:

Jazz in Deutschland: die deutsche Jazz-Chronik bis 1960.

1571:

The Arts in Nazi Germany: Continuity, Conformity, Change

1447:

Since the 1990s, Germany's most renowned jazz festival (

1043:. Bands of this type have continued to play in Germany. 2078: 2000:

Wie Peitz zur Hauptstadt des Free Jazz in der DDR wurde

1634:

Sounds like Whoopataal. Wuppertal in der Welt des Jazz.

1517:

Different Drummers: Jazz in the Culture of Nazi Germany

759:

and his followers were trying so desperately to erect.

2044:), and Jazz-Rock (the loudest was Joe Zawinul and the 2002:(How Peitz became the capital of Free Jazz in the GDR) 1968:

Liner notes from John Lewis and Albert Mangelsdorff's

1539:

Swing Under the Nazis: Jazz as a Metaphor for Freedom

979:(southern radio dance orchestra). In 1955 Lehn, with 838:

is considered as a negative example, also called Mr.

588:

The first mass-produced jazz records came out in the

1632:E. Dieter Fränzel/Jazz AGe Wuppertal (Pb.) (2006): 608:. Borchard's band included New Orleans trombonist 1664:Hildesheim; Zürich; New York: Olms-Presse (2. run) 1454: 953:In the 1950s, following the model established in 743:form of expression. An anti-jazz radio broadcast 3522: 1506:Numerous other jazz festivals exist in Germany. 923: 864:that were of the jazz and swing music genres. 860:to signify musical styles and performances by 2094: 2027:89. Hofheim: Wolke Verlag, 1990, pp. 120-134. 1007:in Baden-Baden as a singer for his big band. 497: 1573:, Chapter 4. New York: Berghahn Books, 2006. 1529:Gewagtes Spiel. Jazz im Nationalsozialismus. 1243:. At the same time the German record labels 797:, son of the celebrated classical conductor 1650:Frankfurt am Main: Eisenbletter und Naumann 1390: 2101: 2087: 1648:Jazz in der DDR : eine Retrospektive. 1480:Internationales Dixieland Festival Dresden 1021:American jazz musicians were heard at the 504: 490: 1899: 1897: 1895: 1893: 1891: 1889: 1887: 1885: 1883: 2040:), Noise-Rock (Steve Piccolo, Gak Sato, 1745: 1605:Freie Töne : die Jazzszene der DDR. 1553:Jazz Cavalcade: The Inside Story of Jazz 1378: 1321: 1265: 1151: 1009: 927: 3135: 821:left Germany for exile in Switzerland. 3523: 1880: 1843:The early reception of Jazz in Germany 1739:Jazz in Nordrhein-Westfalen seit 1946. 1720:Mainz; London; New York; Tokyo: Schott 1629:Mainz, London, New York, Tokyo: Schott 1404:, as well as the successful trumpeter 2082: 940:Frankfurt as the best jazz violinist. 806:World were largely interrupted. The " 897:are examples of art-jazz (Dexter). 13: 1945:Freie Töne: die Jazzszene der DDR. 1833:, Frankfurt am Main: Kramer, 1979. 1273: 581:. The jazz studies were closed by 538:Jazz - Eine Musikalische Zeitfrage 14: 3547: 3456:Album covers of Blue Note Records 2063: 1657:Frankfurt a.M.: Fischer paperback 1527:(cited after German translation: 680:called it somewhat prematurely a 404:Nationalistic and patriotic songs 3504: 1555:. New York: Da Capo Press, 1977. 1093:and as a solo clarinettist with 516:An overview of the evolution of 22: 2030: 2017: 2005: 1988: 1975: 1962: 1949: 1937: 1791:. A Chronology of Jazz Pedagogy 1690:Albert Mangelsdorff: Gespräche. 1580: 1558:Neuhaus, Tom. “No Nazi Party.” 1531:Köln: Kiepenheuer & Witsch) 1455:Notable jazz events (selection) 987:, initiated the SDR broadcast 895:Concertante Music for Orchestra 705:coalesced with the preexisting 524:, the US, in several respects. 2836:Institutions and organizations 1972:, released on Atlantic Records 1924: 1915: 1906: 1867: 1855: 1836: 1823: 1802: 1603:Rainer Bratfisch (Pb., 2005): 1160:The music critic and producer 1017:, here much older than in 1960 914:Ravensbruck concentration camp 1: 2533:Cool jazz and West Coast jazz 1795: 1702:Werner Josh Sellhorn (2005): 1674:Rainer Michalke (Hg., 2004): 1509: 1329:began her career in the 1980s 1224:United Jazz and Rock Ensemble 267:Rock am Ring and Rock im Park 1586:Wolfram Knauer (1986, Pb.): 1333: 1216: 1104: 924:Postwar period and the 1950s 527: 7: 1957:Jazz: Analysen und Aspekte. 1782: 1519:. Oxford University Press, 1198:Alexander von Schlippenbach 1068:Interessengemeinschaft Jazz 592:in 1917. By January 1920, " 10: 3552: 1912:Adorno, "Farewell to Jazz" 1789:Timeline of jazz education 1725:Auf schwarz-weißen Flügeln 1655:Europas Jazz: 1960 - 1980. 1066:"). In 1957, the Dresdner 1060:German Democratic Republic 363:Neue Zeitschrift für Musik 3500: 3448: 3358: 3242: 3222: 3201: 3185: 3102: 2993: 2938: 2895: 2888: 2862:See Template: Jazz theory 2823: 2745: 2609: 2571: 2515: 2437: 2219: 2116: 1515:Michael H. Kater (1995): 1131:Hans-Georg Brunner Schwer 1081:In 1956 the clarinettist 882:Charlie and His Orchestra 835:Charlie and His Orchestra 745:From the Cake Walk to Hot 308:Radio stations in Germany 2108: 2072:, online dossier by the 1994:Program booklet for the 1903:Michael H. Kater (1995). 1737:Robert von Zahn (1999): 1716:Werner Schwörer (1990): 1709:Fritz Schmücker (1993): 1646:Bernfried Höhne (1991): 1391:The 1990s to the present 1259:and other pianists like 1188:In 1965, the quintet of 1133:) to emerge, records by 1023:Jazz at the Philharmonic 910:Swing Under the Swastika 848:Karl "Charlie" Schwedler 246:GfK Entertainment charts 2011:Cited after U. Blobel, 1660:Horst H. Lange (1996): 1643:Berlin: wvb Wiss. Verl. 938:American Forces Network 230:MTV Europe Music Awards 225:Eurovision Song Contest 3536:German styles of music 1943:Compare R. Bratfisch, 1678:Essen: Klartext Verlag 1653:Ekkehard Jost (1987): 1639:Frank Getzuhn (2006): 1610:Mathias Brüll (2003): 1466:Deutsches Jazzfestival 1387: 1330: 1281: 1271: 1270:Theo Jörgensmann, 2009 1157: 1149:came onto the market. 1018: 941: 349:Musik und Gesellschaft 2025:Darmstädter Jazzforum 1746:German jazz magazines 1713:Münster; Hamburg: Lit 1688:Bruno Paulot (1993): 1667:Martin Lücke (2004): 1490:Leverkusener Jazztage 1382: 1345:Kölner Saxophon Mafia 1325: 1280: 1269: 1162:Joachim-Ernst Berendt 1155: 1097:- as replacement for 1087:Newport Jazz Festival 1013: 936:won the jazz-poll of 931: 784:Weintraub Syncopators 662:Weintraub Syncopators 606:Original Memphis Five 518:Jazz music in Germany 251:Deutsche Black Charts 203:Media and performance 3250:Bibliography of jazz 3030:Continental European 1862:"Learning the blues" 1810:Jazz and the Germans 1723:Dita von Szadkowski 1681:Bert Noglik (1978): 1588:Jazz in Deutschland. 1309:Günter "Baby" Sommer 335:Melodie und Rhythmus 3491:Straight, No Chaser 3280:Straight-ahead jazz 2737:Winter & Winter 2186:French horn in jazz 1706:. Berlin Neunplus 1 1699:Heidelberg: Palmyra 1475:Total Music Meeting 1370:free market economy 1361:Peter Herbolzheimer 1139:Albert Mangelsdorff 1039:, Sonny Morris and 1015:Albert Mangelsdorff 162:Volkstümliche Musik 133:Neue Deutsche Härte 114:Neue Deutsche Welle 3435:West African music 3260:British dance band 3050:European free jazz 3023:British dance band 2516:Musicians by genre 2296:Free improvisation 2038:'Derek Trucks Band 1848:2008-10-15 at the 1727:Focus Verlag 1983 1695:Fritz Rau (2005): 1567:Francis R. Nicosia 1485:Leipziger Jazztage 1388: 1385:European free jazz 1331: 1327:Barbara Dennerlein 1282: 1272: 1261:Rainer Brüninghaus 1158: 1019: 964:On April 2, 1951, 942: 622:Efim Schachmeister 282:Hurricane Festival 3518: 3517: 3391:New Orleans blues 3238: 3237: 3181: 3180: 2755:Beaches (Toronto) 2166:Swing performance 2070:Jazz from Germany 1692:Waakirchen: Oreos 1683:Jazz im Gespräch. 1607:Berlin: Ch. Links 1547:978-0-8154-1075-1 1525:978-0-19-516553-1 1501:jazzahead! Bremen 1349:Torsten de Winkel 1278: 1202:Buschi Niebergall 1171:Ingfried Hoffmann 1032:Emil Mangelsdorff 999:. In addition to 887:Jonny spielt auf! 862:African Americans 819:Ernst Höllerhagen 808:Reichsmusikkammer 686:Theodor W. Adorno 684:(jazz twilight). 575:Hoch Conservatory 514: 513: 481: 480: 426: 425: 399: 398: 3543: 3509: 3508: 3275:Continental jazz 3168:Washington, D.C. 3133: 3132: 3035:Czech and Slovak 2893: 2892: 2677:India Navigation 2375:Progressive jazz 2229:Avant-garde jazz 2103: 2096: 2089: 2080: 2079: 2057: 2034: 2028: 2021: 2015: 2009: 2003: 1996:Taktlos-Festival 1992: 1986: 1979: 1973: 1966: 1960: 1953: 1947: 1941: 1935: 1928: 1922: 1919: 1913: 1910: 1904: 1901: 1878: 1871: 1865: 1859: 1853: 1840: 1834: 1827: 1821: 1806: 1438:electronic media 1279: 1237:avant-garde jazz 1232:Theo Jörgensmann 1064:Staatssicherheit 1005:Caterina Valente 934:Helmut Zacharias 626:Stefan Weintraub 561:and in 1922 the 506: 499: 492: 437: 436: 410: 409: 209: 208: 94:Electronic music 46:German composers 32:Music of Germany 26: 25: 19: 18: 3551: 3550: 3546: 3545: 3544: 3542: 3541: 3540: 3521: 3520: 3519: 3514: 3511:Jazz portal 3503: 3496: 3477:The Jazz Singer 3444: 3423:Novelty ragtime 3354: 3234: 3218: 3197: 3177: 3131: 3098: 2989: 2934: 2889:Regional scenes 2884: 2819: 2741: 2667:Groove Merchant 2657:Flying Dutchman 2605: 2567: 2511: 2433: 2365:Orchestral jazz 2345:Mainstream jazz 2333:Afro-Cuban jazz 2215: 2124:Outline of jazz 2112: 2107: 2074:Goethe-Institut 2066: 2061: 2060: 2035: 2031: 2022: 2018: 2010: 2006: 1993: 1989: 1981:Musik-Jahrbuch 1980: 1976: 1967: 1963: 1954: 1950: 1942: 1938: 1929: 1925: 1920: 1916: 1911: 1907: 1902: 1881: 1872: 1868: 1860: 1856: 1850:Wayback Machine 1841: 1837: 1828: 1824: 1807: 1803: 1798: 1785: 1748: 1636:Essen: Klartext 1583: 1512: 1461:JazzFest Berlin 1457: 1449:JazzFest Berlin 1398:Helge Schneider 1393: 1336: 1274: 1219: 1207:Peter Brötzmann 1175:Wolfgang Dauner 1147:Wolfgang Dauner 1135:Klaus Doldinger 1107: 1058:Authorities in 989:Treffpunkt Jazz 981:Dieter Zimmerle 926: 906:entartete Kunst 780:Joseph Goebbels 778:Up until 1935, 765:Weimar Republic 724: 637:Louis Armstrong 610:Emile Christian 571:Bernhard Sekles 542:Josephine Baker 530: 510: 420:Deutschlandlied 413:National anthem 314:De:Bug Magazine 277:Fusion Festival 272:Wacken Open Air 259:Music festivals 23: 17: 12: 11: 5: 3549: 3539: 3538: 3533: 3516: 3515: 3501: 3498: 3497: 3495: 3494: 3487: 3484:Round Midnight 3480: 3473: 3465: 3458: 3452: 3450: 3446: 3445: 3443: 3442: 3437: 3432: 3427: 3426: 3425: 3415: 3410: 3405: 3400: 3395: 3394: 3393: 3388: 3378: 3373: 3368: 3362: 3360: 3356: 3355: 3353: 3352: 3347: 3342: 3337: 3332: 3327: 3322: 3317: 3312: 3307: 3302: 3297: 3292: 3287: 3282: 3277: 3272: 3267: 3262: 3257: 3252: 3246: 3244: 3240: 3239: 3236: 3235: 3233: 3232: 3226: 3224: 3220: 3219: 3217: 3216: 3214:Latin American 3211: 3205: 3203: 3202:South American 3199: 3198: 3196: 3195: 3189: 3187: 3183: 3182: 3179: 3178: 3176: 3175: 3170: 3165: 3160: 3155: 3150: 3145: 3143:Baltimore jazz 3139: 3137: 3130: 3129: 3128: 3127: 3120:Latin American 3117: 3112: 3106: 3104: 3103:North American 3100: 3099: 3097: 3096: 3091: 3090: 3089: 3079: 3078: 3077: 3067: 3062: 3057: 3052: 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2387: 2382: 2377: 2372: 2367: 2362: 2357: 2352: 2347: 2342: 2337: 2336: 2335: 2325: 2320: 2315: 2310: 2305: 2304: 2303: 2298: 2293: 2283: 2278: 2273: 2268: 2263: 2258: 2253: 2252: 2251: 2246: 2241: 2231: 2225: 2223: 2217: 2216: 2214: 2213: 2208: 2203: 2198: 2193: 2188: 2183: 2178: 2173: 2168: 2163: 2158: 2153: 2152: 2151: 2141: 2136: 2131: 2126: 2120: 2118: 2117:General topics 2114: 2113: 2106: 2105: 2098: 2091: 2083: 2077: 2076: 2065: 2064:External links 2062: 2059: 2058: 2050:Farmers Market 2029: 2016: 2004: 1987: 1974: 1961: 1948: 1936: 1932:Gewagtes Spiel 1923: 1914: 1905: 1879: 1875:Gewagtes Spiel 1866: 1854: 1835: 1822: 1818:978-1576470725 1800: 1799: 1797: 1794: 1793: 1792: 1784: 1781: 1780: 1779: 1774: 1769: 1764: 1759: 1754: 1747: 1744: 1743: 1742: 1735: 1721: 1714: 1707: 1700: 1693: 1686: 1679: 1672: 1665: 1658: 1651: 1644: 1637: 1630: 1623: 1608: 1601: 1594:Martin Kunzler 1591: 1582: 1579: 1578: 1577: 1574: 1563: 1556: 1551:Dexter, Dave. 1549: 1532: 1511: 1508: 1504: 1503: 1498: 1492: 1487: 1482: 1477: 1472: 1463: 1456: 1453: 1442:opinion makers 1440:. Traditional 1392: 1389: 1335: 1332: 1218: 1215: 1194:Manfred Schoof 1179:Eberhard Weber 1156:Eberhard Weber 1141:, but also by 1127:Siegfried Loch 1122:Horst Lippmann 1118:Wolfgang Lauth 1106: 1103: 1099:Buddy DeFranco 1001:Kurt Edelhagen 985:Wolfram Röhrig 925: 922: 902:degenerate art 799:Arthur Nikisch 723: 720: 691:Gebrauchsmusik 666:Paul Hindemith 641:Duke Ellington 565:. In 1925 the 536:. In his book 529: 526: 512: 511: 509: 508: 501: 494: 486: 483: 482: 479: 478: 477: 476: 471: 466: 458: 457: 453: 452: 451: 450: 442: 441: 433: 432: 431:Regional music 428: 427: 424: 423: 415: 414: 406: 405: 401: 400: 397: 396: 395: 394: 387: 380: 373: 366: 359: 352: 345: 338: 331: 324: 317: 310: 302: 301: 297: 296: 295: 294: 289: 284: 279: 274: 269: 261: 260: 256: 255: 254: 253: 248: 240: 239: 235: 234: 233: 232: 227: 222: 214: 213: 205: 204: 200: 199: 198: 197: 192: 187: 182: 174: 173: 172:Specific forms 169: 168: 167: 166: 165: 164: 154: 149: 144: 126: 121: 116: 111: 109:Medieval metal 106: 101: 96: 91: 86: 85: 84: 74: 69: 64: 56: 55: 51: 50: 49: 48: 40: 39: 38:General topics 35: 34: 28: 27: 15: 9: 6: 4: 3: 2: 3548: 3537: 3534: 3532: 3529: 3528: 3526: 3513: 3512: 3507: 3499: 3493: 3492: 3488: 3486: 3485: 3481: 3479: 3478: 3474: 3472: 3470: 3466: 3464: 3463: 3459: 3457: 3454: 3453: 3451: 3447: 3441: 3440:Western swing 3438: 3436: 3433: 3431: 3428: 3424: 3421: 3420: 3419: 3416: 3414: 3411: 3409: 3406: 3404: 3401: 3399: 3396: 3392: 3389: 3387: 3384: 3383: 3382: 3379: 3377: 3374: 3372: 3369: 3367: 3364: 3363: 3361: 3357: 3351: 3348: 3346: 3343: 3341: 3338: 3336: 3333: 3331: 3328: 3326: 3323: 3321: 3318: 3316: 3313: 3311: 3308: 3306: 3303: 3301: 3298: 3296: 3293: 3291: 3288: 3286: 3283: 3281: 3278: 3276: 3273: 3271: 3268: 3266: 3263: 3261: 3258: 3256: 3253: 3251: 3248: 3247: 3245: 3241: 3231: 3228: 3227: 3225: 3221: 3215: 3212: 3210: 3207: 3206: 3204: 3200: 3194: 3191: 3190: 3188: 3184: 3174: 3171: 3169: 3166: 3164: 3163:New York City 3161: 3159: 3156: 3154: 3151: 3149: 3146: 3144: 3141: 3140: 3138: 3134: 3126: 3123: 3122: 3121: 3118: 3116: 3113: 3111: 3108: 3107: 3105: 3101: 3095: 3092: 3088: 3087:Flamenco jazz 3085: 3084: 3083: 3080: 3076: 3073: 3072: 3071: 3068: 3066: 3063: 3061: 3058: 3056: 3053: 3051: 3048: 3046: 3043: 3041: 3038: 3036: 3033: 3031: 3028: 3024: 3021: 3020: 3019: 3016: 3014: 3011: 3007: 3004: 3003: 3002: 2999: 2998: 2996: 2992: 2986: 2983: 2981: 2978: 2974: 2971: 2969: 2966: 2965: 2964: 2961: 2957: 2954: 2953: 2952: 2949: 2947: 2944: 2943: 2941: 2937: 2931: 2928: 2924: 2921: 2919: 2916: 2915: 2914: 2913:South African 2911: 2909: 2906: 2904: 2901: 2900: 2898: 2894: 2891: 2887: 2881: 2878: 2876: 2873: 2871: 2868: 2864: 2863: 2859: 2858: 2857: 2854: 2852: 2849: 2847: 2844: 2842: 2839: 2837: 2834: 2832: 2829: 2828: 2826: 2822: 2816: 2813: 2811: 2808: 2806: 2803: 2801: 2798: 2796: 2793: 2791: 2788: 2786: 2783: 2781: 2778: 2776: 2773: 2771: 2768: 2766: 2763: 2761: 2758: 2756: 2753: 2752: 2750: 2748: 2744: 2738: 2735: 2733: 2730: 2728: 2725: 2723: 2720: 2718: 2715: 2713: 2710: 2708: 2705: 2703: 2700: 2698: 2695: 2693: 2690: 2688: 2685: 2683: 2680: 2678: 2675: 2673: 2670: 2668: 2665: 2663: 2660: 2658: 2655: 2653: 2650: 2648: 2645: 2643: 2640: 2638: 2635: 2633: 2630: 2628: 2625: 2623: 2620: 2618: 2615: 2614: 2612: 2610:Discographies 2608: 2602: 2599: 2597: 2594: 2592: 2589: 2587: 2584: 2582: 2579: 2578: 2576: 2574: 2570: 2564: 2561: 2559: 2556: 2554: 2551: 2549: 2546: 2544: 2541: 2539: 2536: 2534: 2531: 2529: 2526: 2524: 2521: 2520: 2518: 2514: 2508: 2505: 2503: 2500: 2498: 2497:Vibraphonists 2495: 2493: 2490: 2488: 2485: 2483: 2480: 2478: 2475: 2473: 2470: 2468: 2465: 2463: 2460: 2458: 2455: 2453: 2450: 2448: 2445: 2444: 2442: 2440: 2436: 2430: 2427: 2425: 2422: 2418: 2417:Swing revival 2415: 2414: 2413: 2410: 2408: 2405: 2401: 2398: 2397: 2396: 2393: 2391: 2388: 2386: 2383: 2381: 2378: 2376: 2373: 2371: 2368: 2366: 2363: 2361: 2358: 2356: 2353: 2351: 2348: 2346: 2343: 2341: 2338: 2334: 2331: 2330: 2329: 2326: 2324: 2321: 2319: 2316: 2314: 2311: 2309: 2306: 2302: 2299: 2297: 2294: 2292: 2289: 2288: 2287: 2284: 2282: 2279: 2277: 2276:Flamenco jazz 2274: 2272: 2269: 2267: 2264: 2262: 2259: 2257: 2254: 2250: 2247: 2245: 2242: 2240: 2237: 2236: 2235: 2232: 2230: 2227: 2226: 2224: 2222: 2218: 2212: 2211:Women in jazz 2209: 2207: 2204: 2202: 2199: 2197: 2196:Jazz trombone 2194: 2192: 2189: 2187: 2184: 2182: 2179: 2177: 2176:Jazz drumming 2174: 2172: 2169: 2167: 2164: 2162: 2159: 2157: 2154: 2150: 2147: 2146: 2145: 2144:Improvisation 2142: 2140: 2137: 2135: 2132: 2130: 2127: 2125: 2122: 2121: 2119: 2115: 2111: 2104: 2099: 2097: 2092: 2090: 2085: 2084: 2081: 2075: 2071: 2068: 2067: 2055: 2051: 2047: 2043: 2042:Elliott Sharp 2039: 2033: 2026: 2020: 2014: 2013:Wie Peitz ... 2008: 2001: 1997: 1991: 1984: 1978: 1971: 1965: 1958: 1952: 1946: 1940: 1933: 1930:M. H. Kater, 1927: 1918: 1909: 1900: 1898: 1896: 1894: 1892: 1890: 1888: 1886: 1884: 1876: 1873:M. H. Kater, 1870: 1863: 1858: 1851: 1847: 1844: 1839: 1832: 1826: 1819: 1815: 1811: 1805: 1801: 1790: 1787: 1786: 1778: 1775: 1773: 1770: 1768: 1765: 1763: 1760: 1758: 1755: 1753: 1750: 1749: 1740: 1736: 1734: 1733:3-88349-307-4 1730: 1726: 1722: 1719: 1715: 1712: 1708: 1705: 1701: 1698: 1694: 1691: 1687: 1684: 1680: 1677: 1673: 1670: 1666: 1663: 1659: 1656: 1652: 1649: 1645: 1642: 1638: 1635: 1631: 1628: 1624: 1621: 1620:3-937343-27-X 1617: 1613: 1609: 1606: 1602: 1599: 1595: 1592: 1589: 1585: 1584: 1575: 1572: 1568: 1564: 1561: 1560:History Today 1557: 1554: 1550: 1548: 1544: 1540: 1536: 1533: 1530: 1526: 1522: 1518: 1514: 1513: 1507: 1502: 1499: 1497: 1493: 1491: 1488: 1486: 1483: 1481: 1478: 1476: 1473: 1471: 1467: 1464: 1462: 1459: 1458: 1452: 1450: 1445: 1443: 1439: 1433: 1429: 1427: 1423: 1419: 1418:drum 'n' bass 1415: 1409: 1407: 1403: 1399: 1386: 1381: 1377: 1375: 1374:Fred Van Hove 1371: 1365: 1362: 1358: 1354: 1350: 1346: 1342: 1328: 1324: 1320: 1318: 1314: 1310: 1306: 1302: 1298: 1292: 1290: 1289: 1268: 1264: 1262: 1258: 1254: 1250: 1246: 1242: 1238: 1233: 1229: 1225: 1214: 1212: 1208: 1203: 1199: 1195: 1191: 1190:Gunter Hampel 1186: 1184: 1183:Fred Braceful 1180: 1176: 1172: 1166: 1163: 1154: 1150: 1148: 1144: 1143:Attila Zoller 1140: 1136: 1132: 1128: 1123: 1119: 1114: 1112: 1102: 1100: 1096: 1092: 1091:Benny Goodman 1088: 1084: 1079: 1077: 1071: 1069: 1065: 1061: 1056: 1053: 1049: 1044: 1042: 1038: 1033: 1029: 1024: 1016: 1012: 1008: 1006: 1002: 998: 994: 990: 986: 982: 978: 977:Tanzorchester 976: 971: 967: 962: 960: 956: 951: 948: 939: 935: 930: 921: 919: 918:Coco Schumann 915: 911: 907: 903: 898: 896: 892: 891:Boris Blacher 888: 883: 879: 878: 872: 870: 865: 863: 859: 855: 851: 849: 846:and vocalist 845: 841: 837: 836: 831: 826: 822: 820: 815: 813: 809: 803: 800: 796: 795:Mitja Nikisch 791: 789: 785: 781: 776: 774: 768: 766: 760: 758: 754: 748: 746: 741: 736: 732: 730: 719: 717: 713: 708: 707:anti-Semitism 704: 700: 695: 693: 692: 687: 683: 682:Jazzdämmerung 679: 678:Karol Rathaus 675: 671: 667: 663: 659: 658:Paul Whiteman 654: 653:Peter Kreuder 650: 646: 642: 638: 633: 629: 627: 623: 619: 615: 611: 607: 603: 599: 598:Eric Borchard 595: 591: 590:United States 586: 584: 580: 579:Mátyás Seiber 576: 572: 568: 564: 560: 556: 555:dancing mania 552: 547: 543: 539: 535: 525: 523: 519: 507: 502: 500: 495: 493: 488: 487: 485: 484: 475: 472: 470: 469:Liechtenstein 467: 465: 462: 461: 460: 459: 456:Related areas 455: 454: 449: 446: 445: 444: 443: 439: 438: 435: 434: 430: 429: 421: 417: 416: 412: 411: 408: 407: 403: 402: 393: 392: 388: 386: 385: 381: 379: 378: 377:Sonic Seducer 374: 372: 371: 367: 365: 364: 360: 358: 357: 353: 351: 350: 346: 344: 343: 339: 337: 336: 332: 330: 329: 325: 323: 322: 318: 316: 315: 311: 309: 306: 305: 304: 303: 299: 298: 293: 290: 288: 285: 283: 280: 278: 275: 273: 270: 268: 265: 264: 263: 262: 258: 257: 252: 249: 247: 244: 243: 242: 241: 237: 236: 231: 228: 226: 223: 221: 218: 217: 216: 215: 211: 210: 207: 206: 202: 201: 196: 193: 191: 190:Schuhplattler 188: 186: 183: 181: 178: 177: 176: 175: 171: 170: 163: 160: 159: 158: 155: 153: 150: 148: 145: 142: 138: 134: 130: 127: 125: 122: 120: 117: 115: 112: 110: 107: 105: 102: 100: 97: 95: 92: 90: 87: 83: 80: 79: 78: 75: 73: 70: 68: 65: 63: 60: 59: 58: 57: 53: 52: 47: 44: 43: 42: 41: 37: 36: 33: 30: 29: 21: 20: 3502: 3489: 3482: 3475: 3471:(miniseries) 3468: 3460: 3430:Sophisti-pop 3059: 2860: 2851:Jazz royalty 2841:Jazz funeral 2637:Contemporary 2528:Chamber jazz 2482:Saxophonists 2452:Clarinetists 2424:Third stream 2261:Chamber jazz 2161:Scat singing 2046:WDR Big Band 2032: 2024: 2019: 2012: 2007: 1999: 1995: 1990: 1985:Nr.2 1977/78 1983:Rock Session 1982: 1977: 1970:Animal Dance 1969: 1964: 1956: 1951: 1944: 1939: 1931: 1926: 1917: 1908: 1874: 1869: 1857: 1838: 1830: 1829:Peter Cahn, 1825: 1809: 1804: 1777:Jazz Zeitung 1776: 1771: 1766: 1761: 1756: 1751: 1738: 1724: 1717: 1710: 1703: 1696: 1689: 1682: 1675: 1671:Münster: Lit 1668: 1661: 1654: 1647: 1640: 1633: 1626: 1611: 1604: 1597: 1587: 1581:German books 1570: 1559: 1552: 1538: 1528: 1516: 1505: 1446: 1434: 1430: 1410: 1406:Till Brönner 1402:Götz Alsmann 1394: 1366: 1337: 1293: 1285: 1283: 1257:Joachim Kühn 1241:Rock Session 1240: 1228:Alfred Harth 1220: 1211:Joachim Kühn 1187: 1167: 1159: 1115: 1108: 1095:Tommy Dorsey 1080: 1076:Andre Asriel 1072: 1067: 1057: 1045: 1041:Chris Barber 1020: 988: 973: 963: 952: 947:World War II 943: 909: 905: 899: 894: 886: 881: 875: 873: 866: 852: 844:Lutz Templin 833: 827: 823: 816: 804: 792: 783: 777: 773:atonal music 769: 761: 757:Adolf Hitler 749: 744: 737: 733: 725: 696: 689: 681: 670:Ernst Krenek 634: 630: 602:Alcide Nunez 587: 554: 537: 531: 517: 515: 389: 382: 375: 368: 361: 354: 347: 342:Metal Hammer 340: 333: 326: 319: 312: 292:Summerbreeze 238:Music charts 212:Music awards 103: 82:Thrash metal 62:Church music 3531:German jazz 3413:Quiet storm 3376:Contradanza 3158:New Orleans 3153:Kansas City 2956:Jazz mugham 2951:Azerbaijani 2875:Second line 2870:Rare groove 2856:Jazz theory 2846:Jazz poetry 2831:Contrafacts 2815:Saint Lucia 2795:New Orleans 2727:Strata-East 2702:MPS Records 2632:Cobblestone 2553:Smooth jazz 2543:Jazz fusion 2487:Trombonists 2400:Sacred jazz 2385:Smooth jazz 2318:Jazz fusion 2201:Jazz violin 2181:Jazz guitar 2156:Jam session 2129:Jazz (word) 2054:Zeit online 1955:A. Asriel, 1598:Jazzlexikon 1535:Mike Zwerin 1357:Joe Zawinul 1353:Pat Metheny 1313:Bert Noglik 1305:Conny Bauer 1111:Berlin Wall 993:Miles Davis 959:Existential 877:Swingjugend 858:Third Reich 729:negro noise 703:Negrophobia 649:Red Nichols 645:Paul Godwin 618:Marek Weber 551:World War I 474:Switzerland 440:Local forms 300:Music media 180:Guggenmusik 77:Heavy metal 16:Music genre 3525:Categories 3398:Brass band 3386:Jump blues 3230:Ethno jazz 3193:Australian 3173:West Coast 2930:Zimbabwean 2770:Copenhagen 2692:Mainstream 2502:Violinists 2492:Trumpeters 2462:Guitarists 2370:Organ trio 2355:Modal jazz 2328:Latin jazz 2308:Gypsy jazz 2206:Vocal jazz 2191:Jazz piano 2056:8.11.2005. 1877:, pp. 24f. 1796:References 1767:Jazz thing 1762:Jazzthetik 1757:Jazzpodium 1510:Literature 1494:Jazzopen, 1109:After the 1037:Ken Colyer 1028:Jutta Hipp 997:Chet Baker 966:Erwin Lehn 854:Negermusik 788:undercover 716:Ben Berlin 674:Kurt Weill 614:Dajos Béla 567:Charleston 356:Musikmarkt 220:ECHO Award 157:Volksmusik 72:Electronic 3366:Acid jazz 3223:Worldwide 3209:Brazilian 3006:Bulgarian 2968:Indo jazz 2918:Cape jazz 2805:North Sea 2760:Cape Town 2747:Festivals 2722:Riverside 2697:Milestone 2622:Blue Note 2617:Bethlehem 2601:post-1950 2573:Standards 2558:Soul jazz 2507:Vocalists 2467:Organists 2439:Musicians 2429:Trad jazz 2390:Soul jazz 2313:Jazz-funk 2301:Punk jazz 2291:Free funk 2286:Free jazz 2281:Folk jazz 2271:Dixieland 2266:Cool jazz 2256:Cape jazz 2171:Jazz bass 2134:Jazz band 1820:, S. 122. 1772:Jazz Zeit 1752:Jazz Echo 1600:: Reinbek 1496:Stuttgart 1470:Frankfurt 1422:Acid Jazz 1334:The 1980s 1317:Free Jazz 1288:Remscheid 1286:Akademie 1217:The 1970s 1105:The 1960s 1083:Rolf Kühn 1052:Cool Jazz 970:Stuttgart 869:Wehrmacht 812:Tiger Rag 753:Freikorps 647:'s band, 594:Tiger Rag 585:in 1933. 583:The Nazis 528:The 1920s 152:Volkslied 137:Krautrock 67:Classical 3371:Afrobeat 3285:Pre-1920 3270:Jazz Age 3186:Oceanian 3136:American 3110:Canadian 2994:European 2985:Japanese 2946:Armenian 2908:Malawian 2903:Ethiopia 2790:Montreux 2785:Montreal 2780:Monterey 2717:Prestige 2687:Landmark 2672:Impulse! 2652:ESP-Disk 2581:Pre-1920 2538:Hard bop 2477:Pianists 2457:Drummers 2447:Bassists 2380:Ska jazz 2323:Jazz rap 2249:Post-bop 2239:Hard bop 2139:Big band 1934:, p. 302 1846:Archived 1783:See also 1596:(2002): 1537:(1988): 1416:, later 932:In 1950 840:Goebbels 563:Two-step 544:visited 195:Yodeling 147:Schlager 89:Highlife 3418:Ragtime 3403:Exotica 3359:Related 3265:Ragtime 3243:History 3148:Chicago 3115:Haitian 3094:Swedish 3082:Spanish 3065:Italian 3018:British 3013:Belgian 2980:Iranian 2896:African 2824:Culture 2800:Newport 2775:Jakarta 2765:Chicago 2662:Freedom 2360:Nu jazz 2244:Neo-bop 1569:(eds), 1426:Nu jazz 1414:hip-hop 975:Südfunk 712:cabaret 534:Germany 464:Austria 141:Ostrock 99:Hip hop 3070:Polish 3060:German 3055:French 3040:Danish 3001:Balkan 2963:Indian 2923:Marabi 2880:Venues 2407:Stride 2350:Marabi 2340:M-Base 2221:Genres 1816: 1731: 1618: 1545: 1523: 1424:or as 1341:Neobop 1297:Eisler 1177:(with 1129:, and 651:, and 624:, and 559:Shimmy 546:Berlin 448:Berlin 321:Folker 287:Mayday 54:Genres 3449:Media 3408:Plugg 3381:Blues 3335:2010s 3330:2000s 3325:1990s 3320:1980s 3315:1970s 3310:1960s 3305:1950s 3300:1940s 3295:1930s 3290:1920s 3255:Blues 3125:Cuban 3045:Dutch 2973:Sitar 2939:Asian 2732:Verve 2596:1940s 2591:1930s 2586:1920s 2563:Swing 2523:Bebop 2412:Swing 2234:Bebop 1301:Weill 1048:Bebop 955:Paris 830:Nazis 391:Zillo 370:Orkus 328:Juice 119:Opera 3469:Jazz 3462:Bird 3350:2022 3345:2021 3340:2020 3075:Yass 2810:Pori 2712:Muse 2548:Scat 2149:Jazz 2110:Jazz 1814:ISBN 1729:ISBN 1616:ISBN 1543:ISBN 1521:ISBN 1355:and 1253:ENJA 1251:and 1230:and 1181:and 995:and 983:and 889:and 874:The 828:The 740:Nazi 699:Jews 672:and 522:jazz 384:Spex 185:Lied 129:Rock 124:Punk 104:Jazz 2707:MPS 2682:JMT 2647:ECM 2642:CTI 2627:BYG 1249:ECM 1245:FMP 1145:or 957:, " 904:or 893:'s 3527:: 1882:^ 1541:. 1468:, 1247:, 1200:, 1196:, 1137:, 1078:. 718:. 668:, 643:, 639:, 620:, 616:, 139:, 135:, 2102:e 2095:t 2088:v 1622:) 1299:- 505:e 498:t 491:v 422:" 418:" 143:) 131:(

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