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 "

1278: 861:, 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). 1073:(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 (" 1196:). 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. 1330:(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." 940: 1334: 836:

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.

35: 919:. "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 623:. 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, 891:, 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). 3517: 1391: 687:, 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 821:" (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 " 786:. 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. 782:

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

793:, 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 781:

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

797: – 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 835:

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

1164: 1419:. 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. 773:

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

639:. 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. 895:

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

1354:, 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 1349:

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

825:" 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). 720:

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,

2063:), 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). 1014:'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 1022: 882:

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.

1302:(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. 1443:

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

712:. 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, 1819:"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." 1127:

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.

778:, 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. 1306:

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 "

1220:(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 1141: 931:

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

1875:, 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." 2048: 1485: 1136:

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

1383:. In addition to a comparatively wide Dixieland scene in the area and mainstream American-style jazz, free improvisational music developed in a way that 725:, and film. Often, a great number of jazz band leaders were Jews, many from Eastern Europe, including Bela, Weber, Efim Schachmeister, Paul Godwin, and 1462:) has been regularly criticised, and its artistic directors have fallen back on highly elaborate concepts without a clear artistic line being visible. 1439:. 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. 991: 1652:

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

1128: 2543: 1411:, a well-known entertainer, knew how to integrate jazz into his own comedic art. Another well-known German jazz musician and entertainer is 2846: 749:

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.

2805: 1358:(Cologne Saxophone Mafia) emerged. In Frankfurt, a whole series of guitarists of international significance emerged, among them 2770: 1557: 1535: 1274:

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,

2765: 983:, 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 878:

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

1224:(who migrated to the West in 1966), Friedhelm Schönfeld, and Manfred Schulze found their own ways into free jazz. 3546: 3295: 2591: 17: 2538: 2176: 2111: 924: 923:

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.

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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 (

1799: 551:(Jazz - A Musical Issue) of 1927, Paul Bernhard relates the term Jazz to a specific dance. When dancer 615:; he soon developed his own style. By 1924 his band was comparable to good American bands such as the 531:

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.

2841: 2780: 2497: 1380: 1033: 564:, Weimar Germany embraced the modernism that swept through Europe and was crazy about jazz. In the 256: 77: 56: 2009:("Taktlos" is a wordplay between barless, beatless and indiscreet) Zürich. Cited after Uli Blobel 2815: 2717: 2667: 2573: 2533: 2512: 2502: 2472: 1322:. This music resonated with a broad young audience, and was very successful. The jazz journalist 948: 338: 331: 297: 240: 235: 82: 72: 3168: 1295:

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

3045: 2918: 2800: 2790: 2757: 2517: 2477: 2449: 1863:: Mátyás Seiber and the Jazz Orchester of the Hoch Conservatory in a radio recording from 1931. 1587:

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

1271: 972:" jazz cellars (referring to the French philosophy) emerged in numerous West German cities. 705:) for the upper classes, having little if any connection to the African-American tradition. 3541: 3445: 3260: 2872: 2647: 2558: 484: 345: 1184:.) Innovators were also the Lauth Wolfgang quartet (with Fritz Hartschuh) and the trio of 927:

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.

1370:. And a new interest awakened for the work of Big Bands. Jazz arrangers such as 1267: 1221: 3219: 3016: 2417: 2405: 2080: 1604: 1204: 1189: 1137: 1132: 1109: 1011: 969: 912: 858: 809: 732: 701: 676: 651: 157: 119: 109: 699:

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.

1112:- one and a half years later. In 1962 Rolf Kühn returned to West Germany. 1093: 758:

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.

1511: 1506: 1480: 1432: 1327: 1298: 1062: 980: 879: 822: 763: 742:", having only one purpose: "to introduce obscenities into society." 604: 593: 162: 147: 1333: 1318:

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

3381: 3280: 2662: 2390: 2333: 2259: 2249: 2149: 2064: 2059:). You could also hear Norwegians playing Bulgarian wedding music ( 1390: 867:("Negro Music") was a pejorative term used by the Nazis during the 801:

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

205: 1362:, who should later appear on the world's stages with the likes of 1266:

established in the market. Also acoustic-romantic performances by

1131:

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

3428: 3413: 3275: 2370: 2254: 1436: 1424: 1163: 722: 544: 151: 1823:, (Ed. Michael J. Budds), Hillsdale, NY: Pendragon Press, 2002, 2933: 2360: 2350: 1636:

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

1601:

Darmstädter Beiträge zur Jazzforschung 5. Hofheim: Wolke Verlag

979:

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

956:

important records even before they could organize concerts. As

750: 569: 556: 1061:

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

3516: 3391: 3265: 2244: 1842:

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

1455:

like public broadcasters' jazz editors are losing influence.

1058: 1057:

Whereas in America, the rhythmically accented and innovative

965: 401: 380: 1708:

50 Jahre Backstage: Erinnerungen eines Konzertveranstalters.

733:

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

2120: 1002:. There Lehn played with international jazz greats such as 580:

dominated the dance halls. Even when under great criticism

532: 195: 1715:

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

1203:, a moderate Free Jazz maintainer, with musicians such as 708:

Jazz was found as an uncommon link between the blacks and

584:

initiated the first academic jazz studies anywhere at the

709: 1673:

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

1582:

The Arts in Nazi Germany: Continuity, Conformity, Change

1458:

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

1054:. Bands of this type have continued to play in Germany. 2089: 2011:

Wie Peitz zur Hauptstadt des Free Jazz in der DDR wurde

1645:

Sounds like Whoopataal. Wuppertal in der Welt des Jazz.

1528:

Different Drummers: Jazz in the Culture of Nazi Germany

770:

and his followers were trying so desperately to erect.

2055:), and Jazz-Rock (the loudest was Joe Zawinul and the 2013:(How Peitz became the capital of Free Jazz in the GDR) 1979:

Liner notes from John Lewis and Albert Mangelsdorff's

1550:

Swing Under the Nazis: Jazz as a Metaphor for Freedom

990:(southern radio dance orchestra). In 1955 Lehn, with 849:

is considered as a negative example, also called Mr.

599:

The first mass-produced jazz records came out in the

1643:E. Dieter Fränzel/Jazz AGe Wuppertal (Pb.) (2006): 619:. Borchard's band included New Orleans trombonist 1675:Hildesheim; Zürich; New York: Olms-Presse (2. run) 1465: 964:In the 1950s, following the model established in 754:form of expression. An anti-jazz radio broadcast 3533: 1517:Numerous other jazz festivals exist in Germany. 934: 875:that were of the jazz and swing music genres. 871:to signify musical styles and performances by 2105: 2038:89. Hofheim: Wolke Verlag, 1990, pp. 120-134. 1018:in Baden-Baden as a singer for his big band. 508: 1584:, Chapter 4. New York: Berghahn Books, 2006. 1540:Gewagtes Spiel. Jazz im Nationalsozialismus. 1254:. At the same time the German record labels 808:, son of the celebrated classical conductor 1661:Frankfurt am Main: Eisenbletter und Naumann 1401: 2112: 2098: 1659:Jazz in der DDR : eine Retrospektive. 1491:Internationales Dixieland Festival Dresden 1032:American jazz musicians were heard at the 515: 501: 1910: 1908: 1906: 1904: 1902: 1900: 1898: 1896: 1894: 2051:), Noise-Rock (Steve Piccolo, Gak Sato, 1756: 1616:Freie Töne : die Jazzszene der DDR. 1564:Jazz Cavalcade: The Inside Story of Jazz 1389: 1332: 1276: 1162: 1020: 938: 3146: 832:left Germany for exile in Switzerland. 14: 3534: 1891: 1854:The early reception of Jazz in Germany 1750:Jazz in Nordrhein-Westfalen seit 1946. 1731:Mainz; London; New York; Tokyo: Schott 1640:Mainz, London, New York, Tokyo: Schott 1415:, as well as the successful trumpeter 2093: 951:Frankfurt as the best jazz violinist. 817:World were largely interrupted. The " 908:are examples of art-jazz (Dexter). 24: 1956:Freie Töne: die Jazzszene der DDR. 1844:, Frankfurt am Main: Kramer, 1979. 1284: 592:. The jazz studies were closed by 549:Jazz - Eine Musikalische Zeitfrage 25: 3558: 3467:Album covers of Blue Note Records 2074: 1668:Frankfurt a.M.: Fischer paperback 1538:(cited after German translation: 691:called it somewhat prematurely a 415:Nationalistic and patriotic songs 3515: 1566:. New York: Da Capo Press, 1977. 1104:and as a solo clarinettist with 527:An overview of the evolution of 33: 2041: 2028: 2016: 1999: 1986: 1973: 1960: 1948: 1802:. A Chronology of Jazz Pedagogy 1701:Albert Mangelsdorff: Gespräche. 1591: 1569:Neuhaus, Tom. “No Nazi Party.” 1542:Köln: Kiepenheuer & Witsch) 1466:Notable jazz events (selection) 998:, initiated the SDR broadcast 906:Concertante Music for Orchestra 716:coalesced with the preexisting 535:, the US, in several respects. 2847:Institutions and organizations 1983:, released on Atlantic Records 1935: 1926: 1917: 1878: 1866: 1847: 1834: 1813: 1614:Rainer Bratfisch (Pb., 2005): 1171:The music critic and producer 1028:, here much older than in 1960 925:Ravensbruck concentration camp 13: 1: 2544:Cool jazz and West Coast jazz 1806: 1713:Werner Josh Sellhorn (2005): 1685:Rainer Michalke (Hg., 2004): 1520: 1340:began her career in the 1980s 1235:United Jazz and Rock Ensemble 278:Rock am Ring and Rock im Park 1597:Wolfram Knauer (1986, Pb.): 1344: 1227: 1115: 935:Postwar period and the 1950s 538: 7: 1968:Jazz: Analysen und Aspekte. 1793: 1530:. Oxford University Press, 1209:Alexander von Schlippenbach 1079:Interessengemeinschaft Jazz 603:in 1917. By January 1920, " 10: 3563: 1923:Adorno, "Farewell to Jazz" 1800:Timeline of jazz education 1736:Auf schwarz-weißen Flügeln 1666:Europas Jazz: 1960 - 1980. 1077:"). In 1957, the Dresdner 1071:German Democratic Republic 374:Neue Zeitschrift für Musik 3511: 3459: 3369: 3253: 3233: 3212: 3196: 3113: 3004: 2949: 2906: 2899: 2873:See Template: Jazz theory 2834: 2756: 2620: 2582: 2526: 2448: 2230: 2127: 1526:Michael H. Kater (1995): 1142:Hans-Georg Brunner Schwer 1092:In 1956 the clarinettist 893:Charlie and His Orchestra 846:Charlie and His Orchestra 756:From the Cake Walk to Hot 319:Radio stations in Germany 2119: 2083:, online dossier by the 2005:Program booklet for the 1914:Michael H. Kater (1995). 1748:Robert von Zahn (1999): 1727:Werner Schwörer (1990): 1720:Fritz Schmücker (1993): 1657:Bernfried Höhne (1991): 1402:The 1990s to the present 1270:and other pianists like 1199:In 1965, the quintet of 1144:) to emerge, records by 1034:Jazz at the Philharmonic 921:Swing Under the Swastika 859:Karl "Charlie" Schwedler 257:GfK Entertainment charts 2022:Cited after U. Blobel, 1671:Horst H. Lange (1996): 1654:Berlin: wvb Wiss. Verl. 949:American Forces Network 241:MTV Europe Music Awards 236:Eurovision Song Contest 3547:German styles of music 1954:Compare R. Bratfisch, 1689:Essen: Klartext Verlag 1664:Ekkehard Jost (1987): 1650:Frank Getzuhn (2006): 1621:Mathias Brüll (2003): 1477:Deutsches Jazzfestival 1398: 1341: 1292: 1282: 1281:Theo Jörgensmann, 2009 1168: 1160:came onto the market. 1029: 952: 360:Musik und Gesellschaft 2036:Darmstädter Jazzforum 1757:German jazz magazines 1724:Münster; Hamburg: Lit 1699:Bruno Paulot (1993): 1678:Martin Lücke (2004): 1501:Leverkusener Jazztage 1393: 1356:Kölner Saxophon Mafia 1336: 1291: 1280: 1173:Joachim-Ernst Berendt 1166: 1108:- as replacement for 1098:Newport Jazz Festival 1024: 947:won the jazz-poll of 942: 795:Weintraub Syncopators 673:Weintraub Syncopators 617:Original Memphis Five 529:Jazz music in Germany 262:Deutsche Black Charts 214:Media and performance 3261:Bibliography of jazz 3041:Continental European 1873:"Learning the blues" 1821:Jazz and the Germans 1734:Dita von Szadkowski 1692:Bert Noglik (1978): 1599:Jazz in Deutschland. 1320:Günter "Baby" Sommer 346:Melodie und Rhythmus 3502:Straight, No Chaser 3291:Straight-ahead jazz 2748:Winter & Winter 2197:French horn in jazz 1717:. Berlin Neunplus 1 1710:Heidelberg: Palmyra 1486:Total Music Meeting 1381:free market economy 1372:Peter Herbolzheimer 1150:Albert Mangelsdorff 1050:, Sonny Morris and 1026:Albert Mangelsdorff 173:Volkstümliche Musik 144:Neue Deutsche Härte 125:Neue Deutsche Welle 3446:West African music 3271:British dance band 3061:European free jazz 3034:British dance band 2527:Musicians by genre 2307:Free improvisation 2049:'Derek Trucks Band 1859:2008-10-15 at the 1738:Focus Verlag 1983 1706:Fritz Rau (2005): 1578:Francis R. Nicosia 1496:Leipziger Jazztage 1399: 1396:European free jazz 1342: 1338:Barbara Dennerlein 1293: 1283: 1272:Rainer Brüninghaus 1169: 1030: 975:On April 2, 1951, 953: 633:Efim Schachmeister 293:Hurricane Festival 3529: 3528: 3402:New Orleans blues 3249: 3248: 3192: 3191: 2766:Beaches (Toronto) 2177:Swing performance 2081:Jazz from Germany 1703:Waakirchen: Oreos 1694:Jazz im Gespräch. 1618:Berlin: Ch. Links 1558:978-0-8154-1075-1 1536:978-0-19-516553-1 1512:jazzahead! Bremen 1360:Torsten de Winkel 1289: 1213:Buschi Niebergall 1182:Ingfried Hoffmann 1043:Emil Mangelsdorff 1010:. In addition to 898:Jonny spielt auf! 873:African Americans 830:Ernst Höllerhagen 819:Reichsmusikkammer 697:Theodor W. Adorno 695:(jazz twilight). 586:Hoch Conservatory 525: 524: 492: 491: 437: 436: 410: 409: 16:(Redirected from 3554: 3520: 3519: 3286:Continental jazz 3179:Washington, D.C. 3144: 3143: 3046:Czech and Slovak 2904: 2903: 2688:India Navigation 2386:Progressive jazz 2240:Avant-garde jazz 2114: 2107: 2100: 2091: 2090: 2068: 2045: 2039: 2032: 2026: 2020: 2014: 2007:Taktlos-Festival 2003: 1997: 1990: 1984: 1977: 1971: 1964: 1958: 1952: 1946: 1939: 1933: 1930: 1924: 1921: 1915: 1912: 1889: 1882: 1876: 1870: 1864: 1851: 1845: 1838: 1832: 1817: 1449:electronic media 1290: 1248:avant-garde jazz 1243:Theo Jörgensmann 1075:Staatssicherheit 1016:Caterina Valente 945:Helmut Zacharias 637:Stefan Weintraub 572:and in 1922 the 517: 510: 503: 448: 447: 421: 420: 220: 219: 105:Electronic music 57:German composers 43:Music of Germany 37: 36: 30: 29: 21: 3562: 3561: 3557: 3556: 3555: 3553: 3552: 3551: 3532: 3531: 3530: 3525: 3522:Jazz portal 3514: 3507: 3488:The Jazz Singer 3455: 3434:Novelty ragtime 3365: 3245: 3229: 3208: 3188: 3142: 3109: 3000: 2945: 2900:Regional scenes 2895: 2830: 2752: 2678:Groove Merchant 2668:Flying Dutchman 2616: 2578: 2522: 2444: 2376:Orchestral jazz 2356:Mainstream jazz 2344:Afro-Cuban jazz 2226: 2135:Outline of jazz 2123: 2118: 2085:Goethe-Institut 2077: 2072: 2071: 2046: 2042: 2033: 2029: 2021: 2017: 2004: 2000: 1992:Musik-Jahrbuch 1991: 1987: 1978: 1974: 1965: 1961: 1953: 1949: 1940: 1936: 1931: 1927: 1922: 1918: 1913: 1892: 1883: 1879: 1871: 1867: 1861:Wayback Machine 1852: 1848: 1839: 1835: 1818: 1814: 1809: 1796: 1759: 1647:Essen: Klartext 1594: 1523: 1472:JazzFest Berlin 1468: 1460:JazzFest Berlin 1409:Helge Schneider 1404: 1347: 1285: 1230: 1218:Peter Brötzmann 1186:Wolfgang Dauner 1158:Wolfgang Dauner 1146:Klaus Doldinger 1118: 1069:Authorities in 1000:Treffpunkt Jazz 992:Dieter Zimmerle 937: 917:entartete Kunst 791:Joseph Goebbels 789:Up until 1935, 776:Weimar Republic 735: 648:Louis Armstrong 621:Emile Christian 582:Bernhard Sekles 553:Josephine Baker 541: 521: 431:Deutschlandlied 424:National anthem 325:De:Bug Magazine 288:Fusion Festival 283:Wacken Open Air 270:Music festivals 34: 28: 23: 22: 18:Jazz in Germany 15: 12: 11: 5: 3560: 3550: 3549: 3544: 3527: 3526: 3512: 3509: 3508: 3506: 3505: 3498: 3495:Round Midnight 3491: 3484: 3476: 3469: 3463: 3461: 3457: 3456: 3454: 3453: 3448: 3443: 3438: 3437: 3436: 3426: 3421: 3416: 3411: 3406: 3405: 3404: 3399: 3389: 3384: 3379: 3373: 3371: 3367: 3366: 3364: 3363: 3358: 3353: 3348: 3343: 3338: 3333: 3328: 3323: 3318: 3313: 3308: 3303: 3298: 3293: 3288: 3283: 3278: 3273: 3268: 3263: 3257: 3255: 3251: 3250: 3247: 3246: 3244: 3243: 3237: 3235: 3231: 3230: 3228: 3227: 3225:Latin American 3222: 3216: 3214: 3213:South American 3210: 3209: 3207: 3206: 3200: 3198: 3194: 3193: 3190: 3189: 3187: 3186: 3181: 3176: 3171: 3166: 3161: 3156: 3154:Baltimore jazz 3150: 3148: 3141: 3140: 3139: 3138: 3131:Latin American 3128: 3123: 3117: 3115: 3114:North American 3111: 3110: 3108: 3107: 3102: 3101: 3100: 3090: 3089: 3088: 3078: 3073: 3068: 3063: 3058: 3053: 3048: 3043: 3038: 3037: 3036: 3026: 3021: 3020: 3019: 3008: 3006: 3002: 3001: 2999: 2998: 2993: 2988: 2987: 2986: 2981: 2971: 2970: 2969: 2959: 2953: 2951: 2947: 2946: 2944: 2943: 2938: 2937: 2936: 2931: 2921: 2916: 2910: 2908: 2901: 2897: 2896: 2894: 2893: 2888: 2883: 2878: 2877: 2876: 2864: 2859: 2854: 2849: 2844: 2838: 2836: 2832: 2831: 2829: 2828: 2823: 2818: 2813: 2808: 2803: 2798: 2793: 2788: 2783: 2778: 2773: 2768: 2762: 2760: 2754: 2753: 2751: 2750: 2745: 2740: 2735: 2730: 2725: 2720: 2715: 2710: 2705: 2700: 2695: 2690: 2685: 2680: 2675: 2670: 2665: 2660: 2655: 2650: 2645: 2640: 2635: 2630: 2624: 2622: 2618: 2617: 2615: 2614: 2609: 2604: 2599: 2594: 2588: 2586: 2580: 2579: 2577: 2576: 2571: 2566: 2561: 2556: 2551: 2546: 2541: 2536: 2530: 2528: 2524: 2523: 2521: 2520: 2515: 2510: 2505: 2500: 2495: 2490: 2485: 2483:Percussionists 2480: 2475: 2470: 2465: 2460: 2454: 2452: 2446: 2445: 2443: 2442: 2437: 2432: 2431: 2430: 2420: 2415: 2414: 2413: 2406:Spiritual jazz 2403: 2398: 2393: 2388: 2383: 2378: 2373: 2368: 2363: 2358: 2353: 2348: 2347: 2346: 2336: 2331: 2326: 2321: 2316: 2315: 2314: 2309: 2304: 2294: 2289: 2284: 2279: 2274: 2269: 2264: 2263: 2262: 2257: 2252: 2242: 2236: 2234: 2228: 2227: 2225: 2224: 2219: 2214: 2209: 2204: 2199: 2194: 2189: 2184: 2179: 2174: 2169: 2164: 2163: 2162: 2152: 2147: 2142: 2137: 2131: 2129: 2128:General topics 2125: 2124: 2117: 2116: 2109: 2102: 2094: 2088: 2087: 2076: 2075:External links 2073: 2070: 2069: 2061:Farmers Market 2040: 2027: 2015: 1998: 1985: 1972: 1959: 1947: 1943:Gewagtes Spiel 1934: 1925: 1916: 1890: 1886:Gewagtes Spiel 1877: 1865: 1846: 1833: 1829:978-1576470725 1811: 1810: 1808: 1805: 1804: 1803: 1795: 1792: 1791: 1790: 1785: 1780: 1775: 1770: 1765: 1758: 1755: 1754: 1753: 1746: 1732: 1725: 1718: 1711: 1704: 1697: 1690: 1683: 1676: 1669: 1662: 1655: 1648: 1641: 1634: 1619: 1612: 1605:Martin Kunzler 1602: 1593: 1590: 1589: 1588: 1585: 1574: 1567: 1562:Dexter, Dave. 1560: 1543: 1522: 1519: 1515: 1514: 1509: 1503: 1498: 1493: 1488: 1483: 1474: 1467: 1464: 1453:opinion makers 1451:. Traditional 1403: 1400: 1346: 1343: 1229: 1226: 1205:Manfred Schoof 1190:Eberhard Weber 1167:Eberhard Weber 1152:, but also by 1138:Siegfried Loch 1133:Horst Lippmann 1129:Wolfgang Lauth 1117: 1114: 1110:Buddy DeFranco 1012:Kurt Edelhagen 996:Wolfram Röhrig 936: 933: 913:degenerate art 810:Arthur Nikisch 734: 731: 702:Gebrauchsmusik 677:Paul Hindemith 652:Duke Ellington 576:. In 1925 the 547:. In his book 540: 537: 523: 522: 520: 519: 512: 505: 497: 494: 493: 490: 489: 488: 487: 482: 477: 469: 468: 464: 463: 462: 461: 453: 452: 444: 443: 442:Regional music 439: 438: 435: 434: 426: 425: 417: 416: 412: 411: 408: 407: 406: 405: 398: 391: 384: 377: 370: 363: 356: 349: 342: 335: 328: 321: 313: 312: 308: 307: 306: 305: 300: 295: 290: 285: 280: 272: 271: 267: 266: 265: 264: 259: 251: 250: 246: 245: 244: 243: 238: 233: 225: 224: 216: 215: 211: 210: 209: 208: 203: 198: 193: 185: 184: 183:Specific forms 180: 179: 178: 177: 176: 175: 165: 160: 155: 137: 132: 127: 122: 120:Medieval metal 117: 112: 107: 102: 97: 96: 95: 85: 80: 75: 67: 66: 62: 61: 60: 59: 51: 50: 49:General topics 46: 45: 39: 38: 26: 9: 6: 4: 3: 2: 3559: 3548: 3545: 3543: 3540: 3539: 3537: 3524: 3523: 3518: 3510: 3504: 3503: 3499: 3497: 3496: 3492: 3490: 3489: 3485: 3483: 3481: 3477: 3475: 3474: 3470: 3468: 3465: 3464: 3462: 3458: 3452: 3451:Western swing 3449: 3447: 3444: 3442: 3439: 3435: 3432: 3431: 3430: 3427: 3425: 3422: 3420: 3417: 3415: 3412: 3410: 3407: 3403: 3400: 3398: 3395: 3394: 3393: 3390: 3388: 3385: 3383: 3380: 3378: 3375: 3374: 3372: 3368: 3362: 3359: 3357: 3354: 3352: 3349: 3347: 3344: 3342: 3339: 3337: 3334: 3332: 3329: 3327: 3324: 3322: 3319: 3317: 3314: 3312: 3309: 3307: 3304: 3302: 3299: 3297: 3294: 3292: 3289: 3287: 3284: 3282: 3279: 3277: 3274: 3272: 3269: 3267: 3264: 3262: 3259: 3258: 3256: 3252: 3242: 3239: 3238: 3236: 3232: 3226: 3223: 3221: 3218: 3217: 3215: 3211: 3205: 3202: 3201: 3199: 3195: 3185: 3182: 3180: 3177: 3175: 3174:New York City 3172: 3170: 3167: 3165: 3162: 3160: 3157: 3155: 3152: 3151: 3149: 3145: 3137: 3134: 3133: 3132: 3129: 3127: 3124: 3122: 3119: 3118: 3116: 3112: 3106: 3103: 3099: 3098:Flamenco jazz 3096: 3095: 3094: 3091: 3087: 3084: 3083: 3082: 3079: 3077: 3074: 3072: 3069: 3067: 3064: 3062: 3059: 3057: 3054: 3052: 3049: 3047: 3044: 3042: 3039: 3035: 3032: 3031: 3030: 3027: 3025: 3022: 3018: 3015: 3014: 3013: 3010: 3009: 3007: 3003: 2997: 2994: 2992: 2989: 2985: 2982: 2980: 2977: 2976: 2975: 2972: 2968: 2965: 2964: 2963: 2960: 2958: 2955: 2954: 2952: 2948: 2942: 2939: 2935: 2932: 2930: 2927: 2926: 2925: 2924:South African 2922: 2920: 2917: 2915: 2912: 2911: 2909: 2905: 2902: 2898: 2892: 2889: 2887: 2884: 2882: 2879: 2875: 2874: 2870: 2869: 2868: 2865: 2863: 2860: 2858: 2855: 2853: 2850: 2848: 2845: 2843: 2840: 2839: 2837: 2833: 2827: 2824: 2822: 2819: 2817: 2814: 2812: 2809: 2807: 2804: 2802: 2799: 2797: 2794: 2792: 2789: 2787: 2784: 2782: 2779: 2777: 2774: 2772: 2769: 2767: 2764: 2763: 2761: 2759: 2755: 2749: 2746: 2744: 2741: 2739: 2736: 2734: 2731: 2729: 2726: 2724: 2721: 2719: 2716: 2714: 2711: 2709: 2706: 2704: 2701: 2699: 2696: 2694: 2691: 2689: 2686: 2684: 2681: 2679: 2676: 2674: 2671: 2669: 2666: 2664: 2661: 2659: 2656: 2654: 2651: 2649: 2646: 2644: 2641: 2639: 2636: 2634: 2631: 2629: 2626: 2625: 2623: 2621:Discographies 2619: 2613: 2610: 2608: 2605: 2603: 2600: 2598: 2595: 2593: 2590: 2589: 2587: 2585: 2581: 2575: 2572: 2570: 2567: 2565: 2562: 2560: 2557: 2555: 2552: 2550: 2547: 2545: 2542: 2540: 2537: 2535: 2532: 2531: 2529: 2525: 2519: 2516: 2514: 2511: 2509: 2508:Vibraphonists 2506: 2504: 2501: 2499: 2496: 2494: 2491: 2489: 2486: 2484: 2481: 2479: 2476: 2474: 2471: 2469: 2466: 2464: 2461: 2459: 2456: 2455: 2453: 2451: 2447: 2441: 2438: 2436: 2433: 2429: 2428:Swing revival 2426: 2425: 2424: 2421: 2419: 2416: 2412: 2409: 2408: 2407: 2404: 2402: 2399: 2397: 2394: 2392: 2389: 2387: 2384: 2382: 2379: 2377: 2374: 2372: 2369: 2367: 2364: 2362: 2359: 2357: 2354: 2352: 2349: 2345: 2342: 2341: 2340: 2337: 2335: 2332: 2330: 2327: 2325: 2322: 2320: 2317: 2313: 2310: 2308: 2305: 2303: 2300: 2299: 2298: 2295: 2293: 2290: 2288: 2287:Flamenco jazz 2285: 2283: 2280: 2278: 2275: 2273: 2270: 2268: 2265: 2261: 2258: 2256: 2253: 2251: 2248: 2247: 2246: 2243: 2241: 2238: 2237: 2235: 2233: 2229: 2223: 2222:Women in jazz 2220: 2218: 2215: 2213: 2210: 2208: 2207:Jazz trombone 2205: 2203: 2200: 2198: 2195: 2193: 2190: 2188: 2187:Jazz drumming 2185: 2183: 2180: 2178: 2175: 2173: 2170: 2168: 2165: 2161: 2158: 2157: 2156: 2155:Improvisation 2153: 2151: 2148: 2146: 2143: 2141: 2138: 2136: 2133: 2132: 2130: 2126: 2122: 2115: 2110: 2108: 2103: 2101: 2096: 2095: 2092: 2086: 2082: 2079: 2078: 2066: 2062: 2058: 2054: 2053:Elliott Sharp 2050: 2044: 2037: 2031: 2025: 2024:Wie Peitz ... 2019: 2012: 2008: 2002: 1995: 1989: 1982: 1976: 1969: 1963: 1957: 1951: 1944: 1941:M. H. Kater, 1938: 1929: 1920: 1911: 1909: 1907: 1905: 1903: 1901: 1899: 1897: 1895: 1887: 1884:M. H. Kater, 1881: 1874: 1869: 1862: 1858: 1855: 1850: 1843: 1837: 1830: 1826: 1822: 1816: 1812: 1801: 1798: 1797: 1789: 1786: 1784: 1781: 1779: 1776: 1774: 1771: 1769: 1766: 1764: 1761: 1760: 1751: 1747: 1745: 1744:3-88349-307-4 1741: 1737: 1733: 1730: 1726: 1723: 1719: 1716: 1712: 1709: 1705: 1702: 1698: 1695: 1691: 1688: 1684: 1681: 1677: 1674: 1670: 1667: 1663: 1660: 1656: 1653: 1649: 1646: 1642: 1639: 1635: 1632: 1631:3-937343-27-X 1628: 1624: 1620: 1617: 1613: 1610: 1606: 1603: 1600: 1596: 1595: 1586: 1583: 1579: 1575: 1572: 1571:History Today 1568: 1565: 1561: 1559: 1555: 1551: 1547: 1544: 1541: 1537: 1533: 1529: 1525: 1524: 1518: 1513: 1510: 1508: 1504: 1502: 1499: 1497: 1494: 1492: 1489: 1487: 1484: 1482: 1478: 1475: 1473: 1470: 1469: 1463: 1461: 1456: 1454: 1450: 1444: 1440: 1438: 1434: 1430: 1429:drum 'n' bass 1426: 1420: 1418: 1414: 1410: 1397: 1392: 1388: 1386: 1385:Fred Van Hove 1382: 1376: 1373: 1369: 1365: 1361: 1357: 1353: 1339: 1335: 1331: 1329: 1325: 1321: 1317: 1313: 1309: 1303: 1301: 1300: 1279: 1275: 1273: 1269: 1265: 1261: 1257: 1253: 1249: 1244: 1240: 1236: 1225: 1223: 1219: 1214: 1210: 1206: 1202: 1201:Gunter Hampel 1197: 1195: 1194:Fred Braceful 1191: 1187: 1183: 1177: 1174: 1165: 1161: 1159: 1155: 1154:Attila Zoller 1151: 1147: 1143: 1139: 1134: 1130: 1125: 1123: 1113: 1111: 1107: 1103: 1102:Benny Goodman 1099: 1095: 1090: 1088: 1082: 1080: 1076: 1072: 1067: 1064: 1060: 1055: 1053: 1049: 1044: 1040: 1035: 1027: 1023: 1019: 1017: 1013: 1009: 1005: 1001: 997: 993: 989: 988:Tanzorchester 987: 982: 978: 973: 971: 967: 962: 959: 950: 946: 941: 932: 930: 929:Coco Schumann 926: 922: 918: 914: 909: 907: 903: 902:Boris Blacher 899: 894: 890: 889: 883: 881: 876: 874: 870: 866: 862: 860: 857:and vocalist 856: 852: 848: 847: 842: 837: 833: 831: 826: 824: 820: 814: 811: 807: 806:Mitja Nikisch 802: 800: 796: 792: 787: 785: 779: 777: 771: 769: 765: 759: 757: 752: 747: 743: 741: 730: 728: 724: 719: 718:anti-Semitism 715: 711: 706: 704: 703: 698: 694: 693:Jazzdämmerung 690: 689:Karol Rathaus 686: 682: 678: 674: 670: 669:Paul Whiteman 665: 664:Peter Kreuder 661: 657: 653: 649: 644: 640: 638: 634: 630: 626: 622: 618: 614: 610: 609:Eric Borchard 606: 602: 601:United States 597: 595: 591: 590:Mátyás Seiber 587: 583: 579: 575: 571: 567: 566:dancing mania 563: 558: 554: 550: 546: 536: 534: 530: 518: 513: 511: 506: 504: 499: 498: 496: 495: 486: 483: 481: 480:Liechtenstein 478: 476: 473: 472: 471: 470: 467:Related areas 466: 465: 460: 457: 456: 455: 454: 450: 449: 446: 445: 441: 440: 432: 428: 427: 423: 422: 419: 418: 414: 413: 404: 403: 399: 397: 396: 392: 390: 389: 388:Sonic Seducer 385: 383: 382: 378: 376: 375: 371: 369: 368: 364: 362: 361: 357: 355: 354: 350: 348: 347: 343: 341: 340: 336: 334: 333: 329: 327: 326: 322: 320: 317: 316: 315: 314: 310: 309: 304: 301: 299: 296: 294: 291: 289: 286: 284: 281: 279: 276: 275: 274: 273: 269: 268: 263: 260: 258: 255: 254: 253: 252: 248: 247: 242: 239: 237: 234: 232: 229: 228: 227: 226: 222: 221: 218: 217: 213: 212: 207: 204: 202: 201:Schuhplattler 199: 197: 194: 192: 189: 188: 187: 186: 182: 181: 174: 171: 170: 169: 166: 164: 161: 159: 156: 153: 149: 145: 141: 138: 136: 133: 131: 128: 126: 123: 121: 118: 116: 113: 111: 108: 106: 103: 101: 98: 94: 91: 90: 89: 86: 84: 81: 79: 76: 74: 71: 70: 69: 68: 64: 63: 58: 55: 54: 53: 52: 48: 47: 44: 41: 40: 32: 31: 19: 3513: 3500: 3493: 3486: 3482:(miniseries) 3479: 3471: 3441:Sophisti-pop 3070: 2871: 2862:Jazz royalty 2852:Jazz funeral 2648:Contemporary 2539:Chamber jazz 2493:Saxophonists 2463:Clarinetists 2435:Third stream 2272:Chamber jazz 2172:Scat singing 2057:WDR Big Band 2043: 2035: 2030: 2023: 2018: 2010: 2006: 2001: 1996:Nr.2 1977/78 1994:Rock Session 1993: 1988: 1981:Animal Dance 1980: 1975: 1967: 1962: 1955: 1950: 1942: 1937: 1928: 1919: 1885: 1880: 1868: 1849: 1841: 1840:Peter Cahn, 1836: 1820: 1815: 1788:Jazz Zeitung 1787: 1782: 1777: 1772: 1767: 1762: 1749: 1735: 1728: 1721: 1714: 1707: 1700: 1693: 1686: 1682:Münster: Lit 1679: 1672: 1665: 1658: 1651: 1644: 1637: 1622: 1615: 1608: 1598: 1592:German books 1581: 1570: 1563: 1549: 1539: 1527: 1516: 1457: 1445: 1441: 1421: 1417:Till Brönner 1413:Götz Alsmann 1405: 1377: 1348: 1304: 1296: 1294: 1268:Joachim Kühn 1252:Rock Session 1251: 1239:Alfred Harth 1231: 1222:Joachim Kühn 1198: 1178: 1170: 1126: 1119: 1106:Tommy Dorsey 1091: 1087:Andre Asriel 1083: 1078: 1068: 1056: 1052:Chris Barber 1031: 999: 984: 974: 963: 958:World War II 954: 920: 916: 910: 905: 897: 892: 886: 884: 877: 863: 855:Lutz Templin 844: 838: 834: 827: 815: 803: 794: 788: 784:atonal music 780: 772: 768:Adolf Hitler 760: 755: 748: 744: 736: 707: 700: 692: 681:Ernst Krenek 645: 641: 613:Alcide Nunez 598: 565: 548: 542: 528: 526: 400: 393: 386: 379: 372: 365: 358: 353:Metal Hammer 351: 344: 337: 330: 323: 303:Summerbreeze 249:Music charts 223:Music awards 114: 93:Thrash metal 73:Church music 3542:German jazz 3424:Quiet storm 3387:Contradanza 3169:New Orleans 3164:Kansas City 2967:Jazz mugham 2962:Azerbaijani 2886:Second line 2881:Rare groove 2867:Jazz theory 2857:Jazz poetry 2842:Contrafacts 2826:Saint Lucia 2806:New Orleans 2738:Strata-East 2713:MPS Records 2643:Cobblestone 2564:Smooth jazz 2554:Jazz fusion 2498:Trombonists 2411:Sacred jazz 2396:Smooth jazz 2329:Jazz fusion 2212:Jazz violin 2192:Jazz guitar 2167:Jam session 2140:Jazz (word) 2065:Zeit online 1966:A. Asriel, 1609:Jazzlexikon 1546:Mike Zwerin 1368:Joe Zawinul 1364:Pat Metheny 1324:Bert Noglik 1316:Conny Bauer 1122:Berlin Wall 1004:Miles Davis 970:Existential 888:Swingjugend 869:Third Reich 740:negro noise 714:Negrophobia 660:Red Nichols 656:Paul Godwin 629:Marek Weber 562:World War I 485:Switzerland 451:Local forms 311:Music media 191:Guggenmusik 88:Heavy metal 27:Music genre 3536:Categories 3409:Brass band 3397:Jump blues 3241:Ethno jazz 3204:Australian 3184:West Coast 2941:Zimbabwean 2781:Copenhagen 2703:Mainstream 2513:Violinists 2503:Trumpeters 2473:Guitarists 2381:Organ trio 2366:Modal jazz 2339:Latin jazz 2319:Gypsy jazz 2217:Vocal jazz 2202:Jazz piano 2067:8.11.2005. 1888:, pp. 24f. 1807:References 1778:Jazz thing 1773:Jazzthetik 1768:Jazzpodium 1521:Literature 1505:Jazzopen, 1120:After the 1048:Ken Colyer 1039:Jutta Hipp 1008:Chet Baker 977:Erwin Lehn 865:Negermusik 799:undercover 727:Ben Berlin 685:Kurt Weill 625:Dajos Béla 578:Charleston 367:Musikmarkt 231:ECHO Award 168:Volksmusik 83:Electronic 3377:Acid jazz 3234:Worldwide 3220:Brazilian 3017:Bulgarian 2979:Indo jazz 2929:Cape jazz 2816:North Sea 2771:Cape Town 2758:Festivals 2733:Riverside 2708:Milestone 2633:Blue Note 2628:Bethlehem 2612:post-1950 2584:Standards 2569:Soul jazz 2518:Vocalists 2478:Organists 2450:Musicians 2440:Trad jazz 2401:Soul jazz 2324:Jazz-funk 2312:Punk jazz 2302:Free funk 2297:Free jazz 2292:Folk jazz 2282:Dixieland 2277:Cool jazz 2267:Cape jazz 2182:Jazz bass 2145:Jazz band 1831:, S. 122. 1783:Jazz Zeit 1763:Jazz Echo 1611:: Reinbek 1507:Stuttgart 1481:Frankfurt 1433:Acid Jazz 1345:The 1980s 1328:Free Jazz 1299:Remscheid 1297:Akademie 1228:The 1970s 1116:The 1960s 1094:Rolf Kühn 1063:Cool Jazz 981:Stuttgart 880:Wehrmacht 823:Tiger Rag 764:Freikorps 658:'s band, 605:Tiger Rag 596:in 1933. 594:The Nazis 539:The 1920s 163:Volkslied 148:Krautrock 78:Classical 3382:Afrobeat 3296:Pre-1920 3281:Jazz Age 3197:Oceanian 3147:American 3121:Canadian 3005:European 2996:Japanese 2957:Armenian 2919:Malawian 2914:Ethiopia 2801:Montreux 2796:Montreal 2791:Monterey 2728:Prestige 2698:Landmark 2683:Impulse! 2663:ESP-Disk 2592:Pre-1920 2549:Hard bop 2488:Pianists 2468:Drummers 2458:Bassists 2391:Ska jazz 2334:Jazz rap 2260:Post-bop 2250:Hard bop 2150:Big band 1945:, p. 302 1857:Archived 1794:See also 1607:(2002): 1548:(1988): 1427:, later 943:In 1950 851:Goebbels 574:Two-step 555:visited 206:Yodeling 158:Schlager 100:Highlife 3429:Ragtime 3414:Exotica 3370:Related 3276:Ragtime 3254:History 3159:Chicago 3126:Haitian 3105:Swedish 3093:Spanish 3076:Italian 3029:British 3024:Belgian 2991:Iranian 2907:African 2835:Culture 2811:Newport 2786:Jakarta 2776:Chicago 2673:Freedom 2371:Nu jazz 2255:Neo-bop 1580:(eds), 1437:Nu jazz 1425:hip-hop 986:Südfunk 723:cabaret 545:Germany 475:Austria 152:Ostrock 110:Hip hop 3081:Polish 3071:German 3066:French 3051:Danish 3012:Balkan 2974:Indian 2934:Marabi 2891:Venues 2418:Stride 2361:Marabi 2351:M-Base 2232:Genres 1827: 1742: 1629: 1556: 1534: 1435:or as 1352:Neobop 1308:Eisler 1188:(with 1140:, and 662:, and 635:, and 570:Shimmy 557:Berlin 459:Berlin 332:Folker 298:Mayday 65:Genres 3460:Media 3419:Plugg 3392:Blues 3346:2010s 3341:2000s 3336:1990s 3331:1980s 3326:1970s 3321:1960s 3316:1950s 3311:1940s 3306:1930s 3301:1920s 3266:Blues 3136:Cuban 3056:Dutch 2984:Sitar 2950:Asian 2743:Verve 2607:1940s 2602:1930s 2597:1920s 2574:Swing 2534:Bebop 2423:Swing 2245:Bebop 1312:Weill 1059:Bebop 966:Paris 841:Nazis 402:Zillo 381:Orkus 339:Juice 130:Opera 3480:Jazz 3473:Bird 3361:2022 3356:2021 3351:2020 3086:Yass 2821:Pori 2723:Muse 2559:Scat 2160:Jazz 2121:Jazz 1825:ISBN 1740:ISBN 1627:ISBN 1554:ISBN 1532:ISBN 1366:and 1264:ENJA 1262:and 1241:and 1192:and 1006:and 994:and 900:and 885:The 839:The 751:Nazi 710:Jews 683:and 533:jazz 395:Spex 196:Lied 140:Rock 135:Punk 115:Jazz 2718:MPS 2693:JMT 2658:ECM 2653:CTI 2638:BYG 1260:ECM 1256:FMP 1156:or 968:, " 915:or 904:'s 3538:: 1893:^ 1552:. 1479:, 1258:, 1211:, 1207:, 1148:, 1089:. 729:. 679:, 654:, 650:, 631:, 627:, 150:, 146:, 2113:e 2106:t 2099:v 1633:) 1310:- 516:e 509:t 502:v 433:" 429:" 154:) 142:( 20:)

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