VJAZZ 66 May 2015

ISSN: 2203-4811 Proactively Collecting, Archiving and Disseminating Australian Jazz

Distribution 650

QUARTERLY MAGAZINE OF THE AUSTRALIAN JAZZ MUSEUM. FOUNDING PATRON: The late WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.ajm.org.au VJAZZ 66 Page 6

Coco Schumann VJAZZ 66 Page 7

COCO SCHUMANN - A SWING LEGEND By Detlef Ott compiled by Ralph Powell

In November last year Detlef and Kerstin Ott visited the Australian Jazz Museum seeking infor- mation on their friend and com- patriot, German jazz guitarist, Coco Schumann. They spent sev- eral hours at the Museum and were both delighted and im- pressed with the resources made available.

The following is translated from the original German article by Detlef Ott entitled “Solange ich Musik mache, habe ich keine Zeit, alt zu werden” published in the Just For Swing Gazette (Vol. 6, April 2014 pp.10-11)

“As long as I make music, I have no time to grow old”

Coco Schumann – a Swing Legend celebrates his 90th Birthday

S a teenager of 12 Heinz Jakob while listening to the newest records violin player Helmut Zacharias with Schumann often listened to the from the USA on portable Gramophone whom he was befriended until his death A swing orchestras behind the fence players. With Ella Fitzgerald’s “A Tisket, in 2002. of the legendary Entertainment Palaces a Tasket” he became infected with the In 1943 Coco was denounced and was of Berlin. This was in 1936. Later a Swing virus. Later, he became a great friend, a French girl who couldn’t pro- fan of Teddy Stauffer whom he listened sent to the “Ghetto” Theresienstadt, nounce “Heinz,” called him Coco which to in the famous Delphi Palace in Berlin which was a special concentration camp that the Nazis used for their propaganda became his stage name. in 1936. It was this music that helped to show the world that they’d protect the save his life. It seems not so long ago that his 85th Jews. Music helped Coco to get birthday was celebrated with a big Gala When he went to school it became clear through the daily life of overcrowded in Berlin, and also in a theatre in Ham- to him that, as he had a Jewish mother, rooms, hunger, illness and the daily fear burg with a show about his life. On May he was a “Halbarier” (Half Arian) under of unexpected transports into the death 14th, 2014 the legendary Swing guitarist the law of the Nazi regime. “Menschen camps like Auschwitz-Birkenau. He be- turned 90. “Solange ich Musik mache, wie wir wurden ’Mampe’ genannt. Mam- came the drummer of the so called habe ich keine Zeit alt zu werden.” ― As pe war ein Berliner Likör, Halb und “Ghetto Swingers”, a Swing orchestra long as I make music, I have no time to Halb.” ― People like me were called that was founded in 1943 and that was grow old. His spirit is that of a young ‘Mampe‘. Mampe was a special liquor in led by Bedrich “Fricek” Weiss, and later man. Much has been written about his Berlin‚ half and half. Despite this he was by the piano player Martin Roman, who life in recent years. His autobiography, not interested in politics, concentrating was, for a short time, the piano player of “Der Ghetto-Swinger ― Eine on playing guitar and drums. From 1940 the Weintraub Syncopators and Secco’s Jazzlegende erzählt” from 1997 moved on he took every chance to play with Gitanos which performed mainly in the many people to tears. From this time on Bands in order to entertain Berlin audi- Netherlands. In 1944 the Nazis urged he often spoke about his life which he ences. His great skills allowed him to the actor Kurt Gerron to make a movie had never done before during concerts learn the repertoire very rapidly and he about the “wonderful” life in There- and readings, but especially in front of watched the other players to develop his sienstadt. The film had the ironic title students and teachers in schools. He skills. “Der Führer schenkt den Juden einen doesn’t become tired of answering the Stadt“ ― The Führer gives the Jews a same questions, although they bring His Swing feeling became legendary. city. The “Ghetto Swingers” had to par- Hans Korseck was pivotal to Coco’s back bad memories. “Bis heute kann ich ticipate, too. When the film was finished wirklich nicht begreifen, dass ich das development. Korseck played guitar in most of the participants were sent to Inferno lebend verlassen konnte, the United States with Benny Goodman Auschwitz. Here, too music saved während Millionen andere sterben and became Coco’s teacher. But the Coco’s life. “Die Bilder, die ich in jenen mussten … Warum sie, warum nicht government made it more and more Tagen sah, waren nicht auszuhalten, ich?” ― Even today I can’t understand difficult to play Swing. Over the years und doch hielten wir sie aus. Wir spiel- that I survived that inferno and millions Coco was able to play even though he ten Musik dazu, ums nackte Überleben.” of other people had to die … Why them, had no cabaret card from the so-called ― What I saw was unbelievable and “Reichsmusikkammer” - State Music why not me? hard to stand. We played music like hell Bureau. Nevertheless, he recorded for only to survive. Coco was introduced to Jazz and Swing broadcasts and records mostly with the VJAZZ 66 Page 8

Every time when the SS gave the order ed by his sound. Roger Rossmeisl, a an appreciative audience. they had to play for their amusement, famous luthier, told him the secret ― including Swing. The SS had a favorite the strings were amplified electronically. Armstrong gave him the advice, “Coco, song – La Paloma. “Desire for free- So Schumann let him rebuild his guitar it is not important what you play; it is important how you play.” When he starts dom”. It was a cynical background for with parts of headphones that the sol- the prisoners who were sent into the diers from the Wehrmacht used. An to play the intro of one of his most favor- Gas chambers. Even today Coco finds it electric guitar in Germany at that time ite ballads “Autumn Leaves” - the plec- hard talk about this: “Die Kinder, die an was something complete new. On his trum between his lips while smiling into uns vorübergingen, schauten mir direkt first recordings with Zacharias he is the audience ― and then changes to in die Augen, ich schaute nicht weg. heard as the first musician in Germany the chords ― these are the moments that everybody will remember forever. Sie wussten genau, wohin sie gingen. with an electric amplified guitar. Diese Bilder sind auf meiner Netzhaut Coco: “Notes are only pixels on a paper. eingebrannt. Ich kann noch so oft The fact that Post-war Germany was You can play them, of course. But it is a blinzeln. Manchmal hilft mir, dass die still administered by “old” Nazis still led big difference to awake them to life.” him to emigrate with his wife Gertrude Tränen kommen, aber kaum öffne ich His life story is of great interest. Holly- die Augen, ist das Bild wieder da. Mit and her son Peter to Australia at the end of 1950. He started to play in Mel- wood planned to make a movie with ihnen ist in mir endgültig etwas Leonardo DiCaprio as Coco. The actor zerbrochen, das nicht zu reparieren ist.” bourne with his friend Leo Rosner and his Gypsy Band and recorded his first Jeff Goldblum came especially to Berlin ― The children who passed by looked to talk about this project but, unfortu- straight into our eyes. I looked at them. record under his own name (but in the English version with only one “n” on the nately, nothing has yet happened. They knew where they had to go. Those pictures are burned into my eyes. Label) Spotlight Varieties “Coco Schu- Coco never lost his sense of humor. Sometimes it helps me that I close my man’s Quintet” and a second one ― His motto for life was a quotation by eyes and tears roll, but when I open my The Melody Lingers ― with the clarinet Charlie Chaplin: “A day without laughing eyes, all these pictures here again player Geoff Kitchen. Although he was is a lost day.” “As a Jazz musician I had Something is broken in me that no long- loved and obtained plenty of work play- the great advantage to have a home in ing, he became homesick. Shortly be- er gets repaired. my music and to have a family world- fore he was to get his Australian citizen- wide.” He always talks with fond memo- In January 1945 Coco came to Dachau ship he left Australia. His desire for ries about his life in Australia and is very near Munich and was liberated by Berlin, his parents and his brother was sad that he never could return. American soldiers. He never spoke a bigger. So he went back to a country word of his experiences for a long time that he never would call his home again. Text and Photos: Detlef A. Ott after. “Ich jammre nicht, dass ich im KZ “‘Heimat’ ist für mich eine zwiespältige war, ich juble, dass ich da rausgekom- Angelegenheit. […] Ich bin nirgendwo men bin.” ― I don’t complain that I was mehr zu Hause.” ― ‘Home’ is a difficult All Quotations are from many talks led by in a concentration camp, I rejoice that I word for me. I am nowhere home any Detlef A. Ott with Coco Schumann and Karl Heinz Böhm came out. He wanted to be recognized more.” as a musician and not as somebody He now lives in a quiet area of Berlin. A from the concentration camp who is Books: Coco Schumann: Der Ghetto-Swinger. suitcase is always packed under his playing a little bit of music. bed. Charles Lewinsky: Gerron Roman Nagel & „Ich bin Musiker. Ein Musiker, der im Kimche, Zürich 2011, ISBN 978-3-312-00478-2 KZ gesessen hat, kein KZler, der auch His wife died many years ago. Friends ein bisschen Musik macht. Die Lager often visit. So does his longtime friend and member of his Quartet, Karl Heinz Eine Jazzlegende erzählt. Deutscher Taschenbuch und die Angst veränderten mein Leben Verlag München 1997, ISBN 3-423-24107-1 grundsätzlich, aber die Musik hat es Böhm. “When I phone Coco, I always start joking with, ‘Do I interrupt your Films: Coco, der Ghetto-Swinger (1986), Swing geführt, und sie hat es gut gemacht.” ― under the swastika (1989,) und La paloma adé practicing?’.” They became known in the I am a musician who was in a concen- (1997), "Theresienstadt – Musik als Zuflucht" 1960s when Coco played in a little Dokumentation by Dorothee Binding und Benedict tration camp, not an imprisoned person, Mirow (2013) who makes a little music. Those camps Club in Berlin. Meanwhile they tour and my fear changed my life but music all over Germany playing the won- derful Swing standards. Especial- led it and this was good. ly the very intimate concerts in a His close friend, the saxophone player little Berlin Jazz club “Badenscher Karl Heinz Böhm, told me, “I knew a Hof”. A highlight is having old little bit about his life and that he was in friends looking in. He knows a lot a concentration camp. But we never of anecdotes and jokes. The at- talked about details. All this I only got to mosphere is respectful and very know much later.” social. He can talk for hours about his meetings with Les Paul, Louis After the war Coco looked for opportuni- Armstrong, Ella Fitzgerald or Mar- ties to play his music in the destroyed lene Dietrich, who was accompa- Berlin. Helmut Zacharias took him in his nied by his Melody Trio when she Band and they recorded some of the performed in the Titania Palace first Swing records after the war for the Berlin in 1946. He especially loves East German Label “Lied der Zeit”, later ballads, the quiet moments, when Amiga. During that time Coco heard he is speaking, with his guitar, to Charlie Christian play. He was fascinat- VJAZZ 66 Page 9

From Berlin to Bonegilla and Back

By Ralph Powell

“My name is Coco Schumann. I come from Germany and I am a musician and music is my life. If I go back to the camp I will be sent to pick fruit and will not be able to play my music and if he could arrange for me to go to a larger city so I can play my music. The min- ister looked at me and smiled, and said to his secretary, “Write down his name. We’ll give you a call in Bone- gilla.”4 When the placement officer informed him he would be sent fruit picking Coco, having had the chutz- pah to demand that he be treated as a special case, responded, ”Sorry, but you must call Mr. Armstrong. He will give you another order.”5 As a result, in late February, Coco moved to South Yarra to begin working at the IXL Jam Factory in Chapel Street, Prahran. He endured this for a fortnight be- fore seeking an opportunity to get S a Mischling1 Heinz Jakob I would like to play in the camp band. back into the music scene. Coco “Coco” Schumann was ill at What a stupid question! So I stood the takes up the story, “After 14 days, I A ease in post war Germany and very first evening after our arrival on thought my god, my hands have got sought a fresh start in Australia. Hav- the boards that ing sailed out of Bremerhaven on the meant the world Castelbianco on 14 November 1950, to me”.2 Coco, his wife Gertraud and step-son He also per- Peter arrived in Melbourne during a formed at the summer heatwave. From Station Pier 1951 Golden Ju- they headed by train to the unlined bilee of Federa- Nissen Huts of Bonegilla Migrant Re- tion celebrations ception and Training Centre. in Canberra to Fortunately for Coco, there were which the musical several musicians in the camp who newcomers from knew him personally or by reputation. Bonegilla had Coco describes how, “Joshi, a Hun- been invited. garian piano player asked me whether “There was ballet, music of all kinds and a kilometre long buffet. It was Lowell Morris (d) Leo Rosner (pac) Stan Walker (p) a grandiose ban- quet on a well-kept lawn… We stood bigger. Two of us had to lift 100 kg around in the ice-cold night and drank sugar bags and empty them into the lots of beer. During our breaks we jam all day long. So I made (fruitless) watched the spectacle.”3 enquiries with bars, dance halls and coffee lounges.”6 Consequently, one “I am a musician night, he roped his heavy amplifier to his back, took his guitar and walked and music is my life” down to the Oran Coffee Lounge, in Barkly Street St. Kilda, “the number one address in town”. Coco continues, It was on this occasion that Coco’s “The man who looked horrified when I brashness stood him in good stead. came up the steep stairs was the The assistant-secretary in the Depart- owner himself. I told him that I came ment of Immigration, Robert Arm- from Berlin and that it is a long time strong was at the event – the man ago that I played. I only wanted to sit responsible for the development of in a little bit. He asked his musicians post-arrival services which facilitated who rolled their eyes – a wunderkind the successful settlement of migrants. from Berlin - that is all what they want- Under the impression that Mr Arm- ed. But they let me play. They asked Gertraud, Coco and Peter strong was the Minister for Immigra- me in what key I wished to play the on board the Castelbianco Dec.1950 tion, Coco approached him saying, songs. When I answered them that it VJAZZ 66 Page10

Coco Schumann’s Australian Sojourn - 17 December 1950 – 30 June 1954

doesn’t matter what key, they were singer Peter Kotek. The band often amused by the little boaster.”7 played at Jewish weddings and con- The six degrees of separation firmations and also “travelled half which seem a feature of his life again Australia with a Fashion Show.”11 In occurred. Suddenly the door of the just 6 months the German émigré kitchen opened and Walter Jöckel was being lauded as one of Austral- from Terezin Concentration Camp ia’s most outstanding guitar players.12

(where Coco had been interned) came out. Walter, who was a fan of Coco Schumann must be con- Coco’s, had been the butcher in the sidered among the best of the Terezin kitchen. “He had the little, guitarists playing in Australia sweet and naïve boy in mind, who today made the daily life in Terezin endura- ble with his guitar playing.”8 Walter Keen to get back into the jazz was manager of the Oran Coffee scene, Schumann took every oppor- Lounge and asked Coco whether he tunity to play with local musicians. would like to continue playing that Graeme Bell mentions him amongst evening. Finally, the owner asked the jazz band leaders of the 1950s Coco to leave his guitar and invited Melbourne Town Hall Jazz Concerts13 him to return the following Friday but and “when the opportunity presented

Geoff Kitchen (right) bourne Wirth’s Olympia saw Coco performing with the “Jazz at the Phil” Team – an Australian version of the legendary American Session - under the leadership of Lowell Morris.

There was a saying about Melbourne, that it’s as big as New York’s Central

Cemetery and twice as dead.18

Lowell Morris (d) Coco Schumann (g) Eventually, the lack of any late night activity, combined with home- Coco explained that he was under itself to perform at Melbourne’s sickness and a desire to be with his contract and had to stir jam. “He as- Downbeat Jazz Festival he leapt at family, led Coco to return to Germa- sured me that he would call the Em- it”.14 Schumann performed at the ny. Melbourne after midnight looked ployment Office the next day!”9 as he Downbeat Festival for the following more like a science fiction movie set. had a permit to serve food and em- three years declaring that, ploy someone in the kitchen. “So he “The atmosphere of those took over my contract and I was hired days inspired me to com- as kitchen help. And for the next two pose and arrange my own years I played music.”10 songs”.15 In 1953 Coco At the Oran Coffee Lounge there Schuman's (sic) Quintet was a four piece all-migrant band led released Rhythm Cocktail by accordionist, Leo Rosner, with with the band made up of Coco on guitar, Stan Walker piano Adriano Smith p, Trevor and Lowell Morris on drums. Their Torrens sb, Ron Loughead repertoire comprised everything from vb, Charlie Blott d. He also folk songs, Viennese waltzes and recorded The Melody Lin- Russian dances to modern dance gers, with the Geoff Kitch- music. en Quintet on the His involvement with Leo Rosner 'Spotlight' Varieties label. soon led to dance music recordings Both microgroove discs with “Leo Rosner and his Gipsy were well reviewed by the Band”. Produced by Homecrafts Pty newspapers of the day.16 Ltd, the records were singles that The 1953 Downbeat! Big included Coco on guitar and baritone Band Bash in the Mel- VJAZZ 66 Page 11

With nobody about, it was nothing like to their friends and “looked forward to views.com/?p=1058 March 4, 2014. Berlin where a vibrant nightlife exist- uncertain days in the – again - new 11. Schumann, op. cit., p.143. ed. The streets were empty, no pubs homeland.”19 12. Tee, Frederick, (1951) “Music For were open. There was a milk bar at Moderns." The Listener In July 21- St.Kilda Junction patronised by taxi ENDNOTES 27. drivers. Coming out of the Oran late 1. Mischling (crossbreed) was the term 13. Bell, Graeme. (1988) Australian at night he would walk the streets in a used by the Nazis to classify persons Jazzman, Child & Associates, vain attempt to unwind but “there was of Aryan and Jewish heritage. Frenchs Forest, p. 190. just nothing and I had to go home still 2. Schumann, Coco, (1997) der Ghetto- 14. Hurley, Andrew W. On the Sunny on a high.” 17 Swinger: eine Jazzlegende erzählt, Side of the Street: A ‘Ghetto Thus, the June 1954 Downbeat Taschenbuch Verlag, Munich, p.139. Swinger’ in Australia, Extempore, concert, for which he received the 3. Ibid. No. 4, May 2010: p. 106. princely sum of ₤6/3/4d, was his part- 4. Ibid. p.140. 15. Schumann, op. cit., p.144. ing performance. Billed as Farewell to 5. Ibid. 16. “On the Record” Argus 18th April Coco Schumann, it featured Coco g, 6. Schmitz-Koster, Dorothee, “Kaviar 1953 p. 14.; The News (Adelaide) Lowell Morris d, Stan Walker p, Lou und Wassersuppe : Coco Schumann: 28th April 1953 p.10. Silbereisen sb and singer Wally Wood Ein deutsches Musikerleben” Radio- 17. Schmitz-Koster, op. cit, p. 18. in the line-up. John Sangster and Bremen 2, Bremen, 2nd.December 18. Oikonomakou, op. cit. Charlie Blott supported on maracas. 1996, Web. Transcript, p. 16. 19. Schumann, op. cit., p. 147. A fortnight later he departed for Ger- 7. Schumann, op. cit., p.141. many. Leo Rosner’s Gypsies were on 8. Ibid. p.141. the wharf to farewell them on 1st July 9. Ibid. p.142. Translations by: 1954. Standing at the railing of the 10. Oikonomakou, Katerina, Berlin Detlef Ott and Guenter ‘Charles’ Toscana, the family waved goodbye Interviews http:/ berlininter Schaefer

Coco celebrates his 91st birthday in May this year

28th April 1953 The News (Adelaide) p10

Downbeat accounts for the farewell concert.