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Coco Schumann VJAZZ 66 Page 7 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.
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