Hans-Jürgen Linke

Home , Albert Mangelsdorff, German jazz, Peter Herbolzheimer

Hans-Jürgen Linke

JAZZ

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 376–399

Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel |

The Elbjazz Festival in Hamburg’s docklands, 2018 Jazz

Germany’s jazz scene has an extremely wide range of styles 14 and institutions and a great many followers. Here Hans-Jürgen Linke writes about its locales, players and developments.

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A little club with a wide-ranging programme: | Hans-Jürgen Linke the Ulmenwall Bunker in Bielefeld JAZZ

Jazz in Germany is noted for its independence, diversity and huge range of styles, from traditional jazz and swing to various hues of mainstream jazz, fusion, cool and free jazz, all the way to today’s many nameless experimental hybrids with world music, ambient music, hip-hop, pop, romanticism and contemporary art music. Jazz-lovers can listen to a multitude of local and international musicians at festivals, in myriad clubs (some supported by the public sector) and concert halls, on radio, or from an impressive array of small record labels and a lesser number of larger ones.

Even so-called orchestral jazz, which requires trained composers and arrangers for its existence and fairly large ensembles for its performance, with all the organisational and ﬁnancial obstacles this entails, has a large and active community of fans. This applies not only to the four professional big bands of Germany’s state Perhaps the most outstanding and exemplary instance of a lastingly successful broadcasting corporations, but equally to the many large formations founded by musicians’ initiative is the Stadtgarten club in Cologne. One of the most success- individual artists and musicians’ initiatives, such as Niels Klein’s Loom, the Sub- ful jazz venues in Europe, it was founded in the 1980s by the musicians’ initiative way Jazz Orchestra (founded by the Cologne musicians’ initiative Klaeng), the im- Kölner Jazz Haus. One generation later the jazz collective Klaeng made networking provising big-band The Dorf from the Ruhr region or the ingenious Andromeda the main focus of its activities. In both cases a central part of their work falls on Mega Express Orchestra. running a record label.

CLUBS, CONCERTS, FESTIVALS According to current estimates from the Federal Jazz Conference and the Darm- stadt Jazz Institute, there are more than 700 venues in Germany that feature jazz Most jazz is heard in live performance. In 2016 there were more than 4,600 jazz among their offerings.1 Jazz is primarily big-city music; it is in big cities that most musicians registered with the Künstlersozialkasse, Germany’s social insurance of the venues are located and most of the musicians live, even though the cost of scheme for artists. The ﬁgures are increasing, as is the number of jazz students: if living is generally higher there than in rural areas – a problem given the musi- there were nearly 500 students registered for jazz and popular music in the winter cians’ generally low incomes. In contrast, coverage in rural areas and small towns semester of 2000-01, the ﬁgure had tripled 16 years later (see Fig. 1 in the essay is often meagre. ‘Education for Music Professions‘). In many cases the musicians have gathered together in initiatives that perceive and represent their interests on various lev- Many venues in large cities and university towns are under professional manage- els. These initiatives function as contact partners for local and regional cultural ment and capable of offering jazz programmes with regional, national and inter- author ities, the federal government and concert organisers. national artists covering a wide range of styles several times a week, or even on

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a daily basis. Besides the Stadtgarten in Cologne, these include Munich’s Jazzclub As the venues cannot finance themselves from box office alone, they partly off- Unterfahrt, Berlin’s A-Trane and B-Flat, Hamburg’s Birdland, Dortmund’s domicil set their expenses by renting their space for private events, concerts by outside and the Ulmenwall Bunker in Bielefeld. organisers or gastronomic operations. Since 2013 some clubs have been able to improve their working conditions through APPLAUS, a prize awarded for concert Clubs in small towns – indeed, small clubs altogether – present concerts once or programmes in independent venues. This indirectly benefits the musicians as well. twice a week, though not always with jazz music. Several venues also offer mixed cultural programmes that regularly feature jazz, such as the Alte Feuerwache Besides concerts and series from various organisers and the club infrastructure, (Mannheim), Karlstorbahnhof (Heidelberg), Muffat Hall (Munich) and Centralsta- jazz audiences also take their bearings on a broad array of festivals. As a rule the tion (Darmstadt). They are operated and largely financed by the cities where they festivals take place annually or sometimes biannually, each at roughly the same are located. Almost all these venues have one thing in common: they are unable to time of the year. The spectrum ranges from open-air summer pop events with secure the livelihoods of their operators and performers solely via the mechanisms a jazz niche to festivals with a pronounced stylistic bent and lavish large-scale of the market. Using various channels they obtain subsidies from municipalities events that attract considerable public attention. The most important jazz festi- and state governments, from private donors and associations. Nevertheless, all vals in Germany are the moers festival, held on the Lower Rhine at Whitsuntide operators of such venues constantly fall prey to self-exploitation. Support from the every year since 1972; the German Jazz Festival in Frankfurt am Main, the longest public sector has the added effect of providing public recognition, thereby serving running jazz festival in the world (founded in 1953); and the Berlin Jazzfest, held in as a source of motivation. late autumn every year since 1964. This latter festival is sponsored by Berliner Fest- spiele GmbH and the jazz departments of Germany’s First Broadcasting System Prestigious big-city concert halls likewise offer more and more jazz in their pro- (ARD) and is directed by rotating curators. grammes, having limited themselves for years to the occasional gig for glamorous artists. Institutions such as the Elbphilharmonie in Hamburg, the Philharmonies Over the last two decades several new types of festival have emerged that have in Cologne and Berlin, the Alte Oper in Frankfurt, the Dortmund Konzerthaus and attracted an enormous amount of attention. The most important is Enjoy Jazz Munich’s Gasteig receive support from their respective cities, and often additional- (founded in 1999), which is organised as a joint inter-state venture by cultural ly from private sources, such as donor’s associations. institutions in Heidelberg, Mannheim and Ludwigshafen and attracts a large

A Winterjazz performance in Cologne’s Stadtgarten, a leading venue for improvised music 380 381 Jazz |

audience of wide-ranging stylistic interests every year. The festival offers a six- naturally felt obligated to uphold this image, and has done so, with few exceptions, week series of concerts from early October to mid-November at various venues in to the present day. This principle is also consistent with a culture-political mile- the Rhine-Neckar region, sometimes incorporating such neighbouring genres as stone in the early history of West Germany: the Poland tour of the Frankfurt All pop, rock, hip-hop or electro. Another festival, Winterjazz Köln (founded in 2012), Stars in 1957 (largely initiated by Heinz Werner Wunderlich) and its tri umphant adopts a New York model, focusing on Cologne’s Stadtgarten and using three appear ance at the Sopot Jazz Festival. Here jazz became a vehicle for the first stages simultaneously. There are also concerts in surrounding pubs and, during cultur al encounter between the former enemy nations – a deeply moving and life- the day, at the city’s kiosks. Entrance to all Winterjazz concerts is free of charge. long mem ory for all who took part in the tour. A third festival with a novel conception is ELBJAZZ, held in the Hamburg harbour district since 2010. As with Winterjazz, it is impossible for listeners to hear all the Today’s Federal Republic of Germany emerged as a federal state from four post-war concerts. The venues are found in the dockland surroundings of HafenCity, several zones of occupation, a divided former capital, and more than 40 years of partition being reachable by waterway. All three festivals have one thing in common: they into two states belonging to hostile geo-political blocs. During these four decades incorporate new venues, and thereby relate to the urban environments in which jazz evolved differently in the two parts of the country. In the West the American they are embedded. Compared to the traditional jazz audience, their listeners are influence initially sparked a stylistic evolution expressly orientated on Western younger and less tied down to particular styles. Europe, with so-called free jazz becoming its standard-bearer from the mid-1960s on. Developments in East Germany were, in contrast, quieter and less internation- THE BEGINNINGS OF JAZZ IN GERMANY ally aligned. Here the scene was relatively small, and high-quality composition, as well as exemplary figures such as Hanns Eisler and Kurt Weill, were no less influ- The history of jazz in the Federal Republic of Germany began relatively late ential than folk music and workers’ songs. Few East German jazz musicians man- compared to other European countries. In the 1930s and 1940s jazz was ostracised, aged to break through to international recognition. Among the internationally suppressed and in some cases subject to criminal prosecution. Only after the Sec- visible exponents of East German jazz, beginning in the mid-1970s, was the quar- ond World War did jazz return to the country in altered form as highbrow concert tet Synopsis, with Ernst Ludwig Petrowsky (saxophone), Günter Sommer (drums), music with a message of freedom. Avant-garde cool jazz took root in Frankfurt am Ulrich Gumpert (pianist-composer) and Konrad Bauer (trombone), which adopted Main, producing what is sometimes called the Frankfurt Sound, the first indepen- the name Zentralquartett even before the fall of the Wall. Others were the bands dent stylistic development in German jazz. When Frankfurt failed to become the headed by Hannes Zerbe and the formations associated with the guitarists Helmut capital of the newly founded Federal Republic of Germany (contrary to widespread Sachse and Uwe Kropinski. From then on the contacts between jazz musicians of expectations), the interested public awarded it the substitute title of ‘jazz capital’. the two German states became increasingly frequent, so that the scene could eas- The musicians of the Frankfurt scene thus came to represent the new era. The ily merge following the upheavals of 1989-90. Even so, the consequences of their broth ers Emil and Albert Mangelsdorff and other Frankfurt jazzmen, the trum- contrasting histories are still discernible. peter, theorist and writer Carlo Bohländer, the concert organisers Horst Lippmann and Fritz Rau, the bustling journalist and organiser Heinz Werner Wunderlich: all TRAINING AND FURTHER EDUCATION became much-admired pioneers of Germany’s new jazz scene. The first degree programme in jazz at a German institution of higher learn- German jazz has always had a political background, not only in these early years, ing was established as early as 1928 at the Dr Hoch Conservatory in Frank- and not only in Frankfurt, but nationwide. Its image in Germany was expressly furt am Main, where it was headed by Matyás Seiber, only to be summarily anti-nationalist, anti-racist and flamboyantly democratic. The jazz scene has scrapped in 1933. Almost six decades had to pass before another academic training

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programme in jazz could be established in Frankfurt, when a post-graduate jazz prepare aspiring applicants for jazz programmes at the university level and offer programme was founded in the 1990s at the University of Music and the Per- degrees of their own. forming Arts under the leadership of Karl Berger. It, too, was disbanded after a few years. At present the Dr Hoch Conservatory is the only educational facility PROMOTING YOUNG TALENT in Frankfurt with a degree programme in jazz. Other cities had greater success. Cologne University of Music and Dance in particular has done yeoman’s service In jazz, too, the cultivation of young talent cannot be entirely separated from in its importance to the jazz scene, not only in the city, but throughout the nation. the principle of competition. The most important tool in this respect, in addition The roots of this long-lasting effect may possibly date from the late 1950s with to courses of instruction, is the nationwide competition ‘Jugend jazzt’ (Youth Plays the appointment of Bernd Alois Zimmermann as professor of composition (1958). Jazz), a cross between festival, showcase, contact and information clear ing house, Zimmermann, who taught the later free jazz advocate Alexander von Schlippen- workshop and seminar partly patterned after Germany’s youth project for classical bach, was quick to integrate jazz combos into his orchestral music, thereby imme- music, ‘Jugend musiziert’. Originally it was devised for formations no larger than a diately enhancing the acceptance of contemporary jazz as an art form. Since then tentet, but since 2010 it has also been held for big bands. In an initial phase the com- jazz has featured in established courses of study at 18 German universities and in- petition is carried out at regional and state levels and judged by panels of experts. In stitutes of higher learning (see Fig. 1 in the essay ‘Popular Music’). The educational the second phase the winners of a first prize at state level go through to the nation- standards of jazz musicians in Germany are correspondingly high, and its schools wide ‘Jugend jazzt’ Forum, held in a different city each year. Unlike other music increasingly attract students from abroad who lack such conditions at home. competitions, prizes are awarded not just to those who finish first, second and third, but (if possible) to all participants. The prizes include studio recordings, participa- Most universities and conservatories train students to become instrumentalists, tion in festivals, workshops and gift certificates for the music trade. ‘Jugend jazzt’ is vocalists and educators. The offerings are highly diverse and incorporated into supported in many ways, the main sponsor being the German Music Council. var ious areas of study, such as art music, music education and popular music. The largest educational institutes with a jazz and pop programme are Cologne Univer- Another well-organised tool for talented young jazz musicians are the State Youth sity of Music and Dance and the Berlin Jazz Institute, a facility operated jointly by Jazz Orchestras (LJJO), conceived at the state level as educational institutions, and the University of the Arts and Hanns Eisler School of Music. Institutes of interme- the Bonn-based German National Youth Jazz Orchestra (BuJazzO), established in diate size can be found in Hamburg, Nuremberg, Essen, Freiburg, Mannheim, Leip- 1987. One co-founder of the BuJazzO was the legendary trombonist and bandleader zig and Weimar, with smaller jazz departments in Mainz, Stuttgart, Saarbrücken Peter Herbolzheimer, who also served as its first director. Once again, its main and Dresden. Mannheim also has the Baden-Württemberg Pop Academy (founded sponsor is the German Music Council. in 2003), whose course offerings also include preparation for the mechanisms of the music market. The oldest LJJO, jokingly referred to in musical circles as the ‘country kids’, is the ensemble founded in North Rhine-Westphalia in 1975. Each LJJO is sponsored by its Because jazz musicians are generally unable to survive on their concert appear- respective state music council, with public funding now institutionalised with in ances and CD sales, teaching is a major source of income, whether privately or the state ministries concerned. The LJJOs collaborate closely and effectively with at public music schools, and whether individually, in workshops or in ensemble the statewide ‘Jugend jazzt’ competitions. To become a member of an LJJO the instruction. As a result, music schools have become significant pillars of support young musician must generally pass an audition open to any interested applicant, for the jazz scene, firstly by offering initial instruction to young musicians, and though talents discovered in the statewide competitions are also invit ed to join. As secondly by lending important support to active professionals. Music schools also a rule, LJJO members meet in four working phases every year and hold on average

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A breedinng grouououndd forffor tat lent: the GGerman Natia ionanaallY Youto h German states likewise have annual prizes or grants awarded by panels of experts, Jazz Orcchheststtraraa. Ammom ngg itsts formemer members are suchch out- not to mention regional prizes awarded by foundations, initiatives and associa- standinngg ﬁguguurerreses asa Tiill BröB önnen r annd Julia Hülüllsmas nn. tions. A comprehensive survey is provided by the German Music Information Centre, which lists current funding possibilities in its calendar of applications (Ausschreibungskalender).

JAZZ AS A PROFESSION: ENSEMBLES AND BIG BANDS

All that remains of the formerly impressive number of dance bands and entertainment orchestras of Germany’s broadcasters are the four radio big bands (NDR, WDR, SWR and hr), whose members are able to work under permanent contracts. These ensembles occupy an important place in the musical programmes of their respective broadcasting corporations, headed by principal conductors and sup- from ten to 20 concerts annually. The repertoire, drawn from the classical big- plied with high-quality material by a varying series of arrangers. The big band of band tradition, invariably inspires young talents to try their hand at arranging Northern German Broadcasting Corporation (NDR) had a trailblazing function in and composition. Many German jazz musicians famous today at home and abroad the artistic reorientation of the NDR’s former studio band, with a key role being can look back on an LJJO or BuJazzO phase in their career. The pool of musicians played since 1980 by the pianist, composer and bandleader Dieter Glawischnig. from which these institutions draw their talents gather together in an astonishing Soon the big bands of Hessian Broadcasting Corporation (hr) and Western Broad- number of formations under the general heading of big band: club bands, school casting Corporation (WDR) were taking the Hamburg model as their guide. All in bands, private amateur bands. According to unofﬁcial estimates, there are more all, these professional ensembles have raised Germany’s big band music to new than 4,000 such bands in Germany today. artistic heights and attracted a discerning audience.

Augmenting the systematic promotion of young talent by the music councils is a A special place among radio formations is occupied by the storied hr jazz ensem- long list of prizes, scholarships and competitions underwritten by various spon- ble, which proceeded from the Frankfurt All Stars in 1957. Rather than consisting sors. Every year the band competition BMW Welt Jazz Award takes place in Mu- of permanently employed members, it recruits its players (all male to date) from nich. Many cities, such as Ingolstadt, Frankfurt, Cologne, Leipzig and Stuttgart, the Rhine-Main region and invites guest musicians for special projects. The par- award prizes and grants to jazz musicians, and in some cases have been doing so ticipants meet on a regular basis for rehearsals and recording sessions and func- for years. Ger many’s state broadcasting corporations are also involved: the Jazz tion almost exclusively as a studio band. Prize of South-western Broadcasting Corporation (SWR) is one of the most long- lived and prestigious jazz prizes in the country. Central German Broadcasting INDEPENDENT SCENE Corporation (MDR) and Western Broadcasting Corporation (WDR) also hand out widely recognised awards in a number of categories. The Albert Mangelsdorff In 2016 the Darmstadt Jazz Institute, Berlin Jazz Interest Group (IG Jazz Berlin) Prize of the German Jazz Union (Deutsche Jazzunion, or DJU), formerly the Union and the UDJ conducted a study at the Cultural Policy Department of Hildesheim of German Jazz Musicians (Union Deutscher Jazzmusiker, or UDJ), is awarded every University on the general topic of jazz as a profession. Based on a poll of profes- two years at the Berlin Jazzfest. In the meantime the cultural ministries of most sional jazz musicians,2 it conveys an ambiguous picture: on the one hand, the

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participants seemed in principle very satisﬁed with their profession. Their level tioned jazz study suggests removing jazz subsidies from the realm of traditional of education is high, three-quarters having earned a university degree. They stem cultural subsidies and viewing it as a cross-sectional task at both state and federal from educated surroundings and are regionally, nationally and even international- levels involving the various ministries (social, educational, scientiﬁc and cultural) ly networked. and municipal authorities.

On the other hand, the economic position of jazz musicians can at best be called INTERNATIONAL EXCHANGE precarious. Of full-time professionals, 68 per cent earn on average €12,500 annually with their music, and very often much less. Only 10 per cent earn more than Germany does not explicitly subsidise the exportation of German jazz, as €20,000. A full 84 per cent fail to reach the minimum fee of €250 per person and happens e.g. in the Scandinavian countries or via Bureau Export in France. On the gig proposed and advocated by the UDJ. The musicians must generally produce and other hand, the Goethe Institute has increasingly functioned as a disseminator ﬁnance their CDs themselves, which in the vast majority of cases become an addi- of German jazz abroad since the mid-1960s, when it supported and funded the tional expense rather than a source of income. Rarely are they paid for rehearsal Albert Mangelsdorff Quintet’s tour of Southeast Asia, giving rise to the LP Now time, and sometimes not even for travel and lodging expenses. Musicians capable Jazz Ramwong. Today many German musicians and bands can look back to inter- of earning their living by composing and performing music for theatre, ﬁlm or tele- national tours and performances that would not have been possible without the vision number among the lucky ones of their trade. Germany’s social insurance Goethe Institute. scheme for artists (Künstlersozialkasse) is of existential importance for securing the musicians’ basic welfare, and in many cases it will be unable to preserve them from poverty in old age.

Most jazz musicians are thus forced to take on organisational, teaching, cultural or administrative work, and occasionally outside jobs. In this light, the aforemen-

Cologne’s Subway Jazz Orchestra views itself as a musicians’ collective. It gives composers and arrangers of various styles a platform on which to develop new big band sounds. 388 389 Jazz |

Jazz views itself as a fundamentally international music; its inquisitive players are A meeting ground for the inter- intent on wide-ranging and stimulating exchanges and are generally well net- national jazz scene: jazzahead! worked across national borders. Nevertheless, national borders remain palpable in Bremen. This combination of obstacles to their freedom of movement, and German jazz musicians are not ne- trade fair and showcase festival cessarily equally as present abroad as their foreign counterparts are here. Show- gives artists and representatives case festivals such as the German Jazz Meeting in Bremen (held during the annual from the music economy and Jazzahead! trade fair) or the two Cologne Open evenings (inaugurated in March the media a chance to exchange 2018), which presented young musicians from North Rhine-Westphalia to the con- ideas and information. cert organisers grouped in the Europe Jazz Network, are systematic attempts to alter this state of affairs.

Until well into the 1990s Germany was virtually a paradise for American jazz musicians, who languished on small fees and side jobs at home but were viewed as stars in Germany – and paid accordingly. This is no longer the case. For several years the German concert industry has increasingly placed its focus on European musicians. Bands from Scandinavia, Switzerland and France are relatively well- known and active in Germany. Several German musicians gathered experience and reputations abroad before returning to Germany, as witness Joachim Kühn in France, or Rolf Kühn, Gunter Hampel and Karl Berger in the United States. In turn, musicians from other European countries or the United States have settled in Germany and joined its national scene. Today creative artists and audiences alike seldom think in terms of nationality, and restrictions on international exchange tend to be material rather than mental in nature.

RADIO

The broadcasting systems of the Federal Republic of Germany have served from the very beginning as major vehicles for the dissemination of jazz. For several years the main impetus came from Southwest German Radio in Baden- Baden (SWR), where Joachim Ernst Behrendt, later ironically termed the ‘jazz pope’, worked as a journalist, producer and tireless initiator. His Jazzbuch, ﬁrst published

Opposite page: the 2018 jazzahead! Festival, with Rumba de Bodas on clubnight in the Lagerhaus Culture Centre (top), Grzech Piotrowksi’s World Orchestra on opening night (middle), the Joanna Duda Trio (bottom left) and a showcase for ‘jazz made in Germany’ (bottom right) 390 391 Jazz |

The WDR Big Band plays jazz and related music from Dixieland to maintained big bands with permanently employed members: hr (Frankfurt), WDR the avant-garde. Several of its (Cologne), NDR (Hamburg) and SWR (Stuttgart). Their image resides increasingly in CDs have won Grammy awards. high-quality artistic productions with innovative arrangers and bandleaders and a large number of concerts within their broadcasting area (see above).

Jazz and improvised music have been present on Germany’s public broadcasters since the earliest days of the Federal Republic. The broadcasts are devoted to his- torical and current styles and concepts of improvisation, offer portraits of musicians, and provide information on regional initiatives, concerts and festivals. The broadcasters also cooperate with festivals and concert organisers and lend them financial support by recording and broadcasting their concerts. Not only does this allow the recordings to be exploited in the media, it also serves to document regional events and enhance them in the public eye. Besides practicing active journalism the jazz departments also function as producers and communicators, thereby form ing an important pillar of the jazz scene. With their technological infrastructure, the broadcasters give musicians an opportunity to make studio recordings under professional conditions. in 1953, underwent seven heavily revised and enlarged new editions in the decades that followed (since 2005 under the aegis of SWR’s jazz journalist Günther Hues- In contrast, after promising beginnings in the 1990s, jazz is rarely featured on com- mann). It served as the standard reference book for generations of jazz listeners mercial radio, and then almost exclusively in niches. The last exception is Jazz Ra- and played an important role in jazz’s public image.3 It was also Baden-Baden that dio 106.8 in Berlin, which broadcasts various jazz subgenres on an ongoing basis. gave rise in the 1960s to the New Jazz Meeting, which remains in existence today, Other private radio programmes limit their jazz offerings to fixed broadcast times, and introduced modern jazz to the Donaueschingen Festival, still one of the world’s usually at late hours, and often in league with clubs and concert organisers.4 most prestigious festivals of contemporary music. RESEARCH AND DOCUMENTATION In 1957 Hessian Radio (hr) in Frankfurt founded its own jazz ensemble, which still exists today. It is also the current sponsor of the German Jazz Festival, established Jazz scholarship is relatively new in Germany. As might be expected, it is found by the German Jazz Federation in 1953 and now the oldest continuous jazz festival in all 18 German Musikhochschulen where jazz is taught. The international ex- in the world. West German Radio (WDR) also mounts its own annual jazz festival, change between German scholars and their counterparts in Switzerland, Austria, originally in various cities within its broadcast area and since 2017 in Gütersloh Italy, the UK and the United States is lively and productive. City Theatre. One pioneer of jazz scholarship was Ekkehard Jost (1938–2017), a publicist, musicol- The broadcasters’ dance and entertainment orchestras, once major bastions of util i- ogist, bandleader and musician who taught in Gießen. His book Free Jazz of 1975 tarian jazz, continued to present special broadcasts on television at prime broad- was the first analytical study of this style.5 His list of publications includes studies cast times. After they were disbanded in the 1980s, only four broadcasters have of social history, the history of musical eras and stylistic analyses.

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In 1983 the city of Darmstadt acquired the posthumous estate of Joachim Ernst The so-called major labels have largely withdrawn from the market or limit their Behrendt. This provided the basis for the Darmstadt Jazz Institute, which has given jazz output to runs no larger than those of independent labels. In contrast, two rise since then to a multitude of busy, wide-ranging and consequential activities. companies, the labels ECM and ACT (both based in Munich), work today much Three full-time and a number of voluntary employees have turned the institute as the majors used to, namely, in long-term and comparatively systematic co- into a combination of archive, concert organiser, research facility and platform for operations with individual artists, who are given the time they need to stand out cultural policy. Every two years it mounts ‘Jazzforum’, a symposium whose discus- and evolve. ECM was founded by Manfred Eicher in 1969, ACT by Siegfried Loch in sions are documented in the now impressive series of book publications Darm- 1992. Both are constantly concerned with expanding the stylistic range and quality städter Beiträge zur Jazzforschung.6 Since the late 1980s the institute has is sued of their repertoire and their artists in a responsible manner. Wegweiser Jazz, originally intended as a printed guide and address book for ac tive musicians. In the course of several editions the guide grew to become a bulky In addition to these two labels, both of which occupy towering positions in the jazz handbook on jazz in Germany. The last printed edition, published in 2009, consist- segment, other labels have specialised in this particular type of music. One is Enja ed of more than 400 pages. Since then the Wegweiser has been available only in Records (Munich), founded in 1971 and divided between the founders Horst Weber digital form on the institute’s website.7 and Werner Ahldinger in 1986 (Enja and Yellowbird). Others include the jazz and world music label Intuition (owned by Schott Verlag in Mainz), Between The Lines Besides the Darmstadt Institute, there is also the Lippmann + Rau Music Archive in in Cologne (since 1999), JazzHausMusik from the Jazz Haus initiative (Cologne), Eisenach, sponsored by the foundation of the same name. Likewise a combination Skip Records (Hamburg), the jazz, world music and chanson label Traumton (Ber- of archive and research centre, it works closely with the FRANZ LISZT University of lin), which also runs a studio and publishing ﬁrm, and Neuklang (Ludwigsburg), Music in Weimar, where detailed jazz research has been conducted for several years. which belongs to the fabled Bauer Studios.

In 2006 the Radio Jazz Research Association was founded, primarily at the initiative of Bernd Hoffmann, head of WDR’s jazz department at the time. Here inter- StaStandsn s at the Jazzahehead!add!! traded faf irir inin Breremenmeene national representatives from journalism, scholarship and performance gather together generally twice a year for meetings on particular topics. The meetings are intended to promote the exchange of opinions, information and knowledge among its members and to further the study and presentation of jazz.

LABELS, PUBLISHERS AND THE PUBLISHING TRADE

Despite fundamental changes in the market for sound recordings, Germany has a comparatively large number of jazz labels that release music, sometimes via streaming portals. In the meantime it has become far more difficult in neighbouring European countries to sell sound recordings via traditional marketing and re- tail outlets. The recordings are produced by small and usually independent firms of modest size and generally insubstantial profits. Several labels issue their releases in parallel on vinyl LPs, CDs and as internet downloads.

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Moreover, a large number of active labels have been founded by musicians to The UDJ was founded in 1973 as a sort of musicians’ union. For several years its produce and distribute the music of individual artists. Among them are Her- members regularly gathered together for a union meeting with jazz festival in zog Records, nWog Records, Berthold Records, NRW Records, Rodenstein Records, Marburg. Since the 1980s the union’s activities have dwindled, and lobbying for Jazz ’n’A rts Records, Ozella Records, Pirouet Records, GLM, Jazzwerkstatt and Jazz- musicians has tended to take place on the state level via the state working groups sick Records. Some of these labels rely on the musicians themselves to shoulder on jazz (Landesarbeitsgemeinschaften, LAGs). Beginning in 2007 the association the bulk of the costs for their recordings and to sell their own CDs after concerts. was revitalised by a younger generation of musicians represented by the pianist A reliable nationwide infrastructure of record shops no longer exists. Julia Hülsmann, the UDJ’s first chairperson during this phase. In May 2019 the UDJ was renamed to become the German Jazz Union (Deutsche Jazzunion, or DJU). Of the internet portals that service jazz, perhaps the most thoroughgoing and re- putable is Frank Schindelbeck’s jazzpages.de. In addition to on-going journalistic The DJU is represented in the German Music Council, the Federal Jazz Confer- reports and columns, it contains many links, much information and is steadily ence, the Cultural Policy Society and the Künstlersozialkasse (Germany’s social being updated. The Goethe Institute likewise maintains a large and constantly in surance scheme for artists) to safeguard the interests of active professionals. It revised jazz portal on its website. also takes part in panels of experts for prizes and grant programmes, including the Venue Prize for Rock, Pop and Jazz, the German Jazz Journalism Prize, the Jazz- Three nationwide magazines appear regularly in print to inform the interested ahead! Showcase Jury and the SWR Jazz Prize. Since 1994 the UDJ/DJU has awarded pub lic. The oldest, Jazz Podium, was founded by Dieter Zimmerle in 1952 and pub- the Albert Mangelsdorff Prize, funded by GEMA, one of Germany's collecting socie- lishes ten issues a year in Stuttgart. Jazzthetik, founded in Münster in 1987, has six ties, as well as the special prize of the UDJ/DJU at the annual nationwide gathering issues per year, and Jazzthing, founded in 1993, publishes five issues annually in of ‘Jugend jazzt’. Cologne. JazzZeitung, published by ConBrio in Regensburg, was discontinued as a printed edition in 2014 and now has the status of a web portal. The Federal Jazz Conference (Bundeskonferenz Jazz, BKJ) is an informal circle of representatives from the jazz scene. It was founded in 2002 for several reasons, LOBBYING AND NETWORKING one being that culture was meant to receive a place in the federal government, implying that jazz needed a contact partner for political matters. The BKJ has For a long time culture in the Federal Republic of Germany was a matter left to served this purpose ever since, being consulted about and issuing positions on the municipalities and states. As a result, the culture-political interests of the jazz jazz- related topics in cultural policy. It was here that the idea arose of subsidising scene were at first represented exclusively on these two levels and as pri vate initia- venues, which was taken up by Initiative Musik as a grant programme for the tives, which is also where lobbying took place. The oldest organisation in German rather amorphous-looking market segment for rock, pop and jazz. jazz is the German Jazz Federation (DJF), founded in 1952 as a union of jazz concert organisers, at that time primarily Germany’s Hot Clubs. The German Jazz Festival The country’s central subsidisation facility for the music industry is Initiative in Frankfurt, now mounted by Hessian Broadcasting Corporation and the city, was Musik, a non-profit organisation sponsored by the German Music Council and likewise originally a DJF event. After languishing for years on the sidelines, the Fed- Germany’s Collecting Society for Performance Rights (Gesellschaft zur Verwertung eration has been revitalised since the early 21st century. One impulse came from von Leistungsschutzrechten, GVL). Though the GVL and GEMA are involved in its the recent strength ening of the Union of German Jazz Musicians (UDJ), making the funding, the bulk of its budget consists of means supplied by the Federal Govern- DJF stand out as the representative of concert organisers. The two organisations are ment Commissioner for Culture and the Media. currently embroiled in heated debates on the subject of mandatory minimum fees.

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Finally, for several years the statewide association IG Jazz Berlin has attracted at- 1 See the ‘Spielstätten’ section of the report on the state of jazz in Ger- tention. It views itself as an interest group representing Berlin’s jazz musicians and many in the pages of Bundeskonferenz Jazz: http://www.bk-jazz.de/ is active wherever their living and working conditions can be improved. IG Jazz jazz-in-deutschland/ (accessed on 25 July 2018). Berlin works on subsidisation schemes (grants for projects, studios, tours, artists, 2 Thomas Renz, Jazzstudie: Lebens- und Arbeitsbedingungen von ensembles and venues), dispatches experts to juries and commissions, speaks out Jazzmusiker/-innen in Deutschland (Hildesheim, 2016), online at on issues related to cultural policy, took part in the 2016 jazz study, operates the re- http://jazzstudie2016.de/jazzstudie2016_small.pdf hearsal room Die Wache and raises its voice in cultural policy debates with its own (accessed on 25 July 2018). positions, e.g. the creation of a House of Jazz in the German capital. 3 Joachim Ernst Behrendt and Günther Huesmann, Das Jazzbuch – Von New Orleans bis ins 21. Jahrhundert; mit ausführlicher Disko- As far as the musicians’ area of responsibility is concerned, the situation of Ger- graphie (rev. and enl. 7th edn., Frankfurt am Main, 2014). man jazz at the onset of the 21st century is good. There is no style, tradition or cur- 4 Jazz Time Nürnberg, for example, a working department of the rent development that lacks participants, exponents and fans in Germany. There Nuremberg Jazz Studio, broadcasts on Thursdays from 10 to 11 pm. is much room for improvement, of course: the audience could be younger and Constantin Sieg, who also runs a book-café with jazz programme in larger, the venues more numerous and afﬂuent, the funding more convenient and Bad Hersfeld, has broadcast regularly on Radio Unerhört Marburg generous, the universities better equipped and easier to reach. But compared not since 1997. Jazz is also broadcast in comparatively smaller amounts only to worse times in the past, but also to most of Germany’s European neigh- on private web radios and streaming services. bours, not to mention conditions on the other side of the Atlantic, Germany’s jazz 5 Ekkehard Jost, Free Jazz: Stilkritische Untersuchungen zum Jazz der scene has nothing to be ashamed of. 60er Jahre (Mainz, 1975); Eng. trans. (New York, 1994). 6 Darmstädter Beiträge zur Jazzforschung (Hofheim, 1990– ), published at two-year intervals. 7 See http://www.jazzinstitut.de/wegweiser-jazz-3/?lang=de Hans-Jürgen Linke is a member of Germany’s Federal Jazz Conference. (accessed on 26 June 2018). From 1993 to 2012 he was a music journalist on the arts page of the Frankfurter Rundschau newspaper. Since then he has been a freelance writer.

398 399 MusicAl life in Germany

This publication has been made possible by the kind support of the Minister of State for Culture and the Media. First edition, Bonn, March 2019 (German) and December 2019 (English)

Publisher The German Music Information Centre is supported by: German Music Council German Music Information Centre

Editorial office Stephan Schulmeistrat, Dr Christiane Schwerdtfeger

Picture editor Dr Karin Stoverock

Editorial assistants Tobias Meyer, Christiane Rippel, Timo Varelmann

Advisers Dr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd Hawlat (German Broadcasting Archive, DRA) | Elisabeth Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger- man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU Munich) | Dr Martina Rebmann (Berlin State Library – Prussian Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin University The translated version of this publication of the Arts) | Dr Heinz Stroh (German Music Publishers Association, DMV) | Antje Valentin (State Music was made possible by the kind support Academy of North Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen University of Music) | of Hal Leonard Europe GmbH. Prof. Dr Robert von Zahn (State Music Council of North Rhine-Westphalia)

Translation: Dr Bradford J. Robinson Proofreading: Susanna Eastburn, Keith Miller

A publication of the German Music Information Centre

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Note We wish to express our gratitude to all those persons and institutions that generously placed pictorial The present volume is an English translation of the German-language publication Musikleben in Deutsch- material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; would not have been possible. information published after that date has been taken into account wherever possible and meaningful. All

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Ch. 4 | Music Communication Ch. 9 | Music Theatre

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160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche 175 © Bertram Maria Keller (top) | © Rebecca Kraemer 162 © Notenspur Leipzig e.V./Foto: Daniel Reiche (middle) | © Heiko Rhode (bottom) Ch. 11 | Festspiele and Festivals 176 © Volker Beurshausen für LMA NRW 166 © EPiD Page Copyright Page Copyright 167 © EPiD/Foto: Marianne Gorka | 178 © Bundesakademie Trossingen/Nico Pudimat © EPiD/Foto: Hartmut Merten 179 © Landesakademie für die musizierende Jugend 300/301 © Axel Nickolaus 315 © Janet Sinica 169 © DCV/Alex Zuckrow | © DCV/Rainer Engel in Baden-Württemberg/Foto: Steffen Dietze 303 © Bayreuther Festspiele GmbH/Foto: Jörg Schulze 316 © Kurt Weill Fest Dessau GmbH/ Fotos: Sebastian Gündel 172 © Jan Krauthäuser 180/181 © Jan Karow 304 © Bayreuther Festpiele/Enrico Nawrath 185 © Jan Krauthäuser 306/307 © KunstFestSpiele Herrenhausen, 319 © Thüringer Bachwochen Fotos: Helge Krückeberg, 2018 320 © Ansgar Klostermann Ch. 7 | Orchestras, Radio Ensembles and Opera Choruses 308 © Thomas Ziegler 321 © Marco Borggreve 312 © WPR Schnabel (top left) | 322 © Musikfest Erzgebirge Page Copyright Page Copyright © Lutz Voigtländer (bottom left and right) 325 © Claus Langer/WDR 313 © Lutz Edelhoff 188/189 © Peter Adamik 205 © Susanne Diesner | © Jan Roloff 191 © Matthias Creutziger 207 © Gert Mothes 192 © Markus Werner 208 © Adrian Schulz Ch. 12 | Contemporary Music 193 © Marian Lenhard 211 © WDR | © WDR/Thomas Kost 194/195 © Peter Meisel (BRSO) 212 © Marco Borggreve Page Copyright Page Copyright 198 © Stefan Höderath 213 © rbb/Thomas Ernst 328/329 © IMD/Daniel Pufe 338/339 © Klaus Rudolph 199 © Hans Engels 214 © Annette Börger 330 © Peter R. Fiebig | © grafox gestaltung und fotografie 341 © Deutscher Musikrat/Gerardo Scheige 202 © Ufuk Arslan 215 © Selina Pfruener | © Silvano Ballone 332/333 © SWR/Oliver Reuther 344 © IMD/Daniel Pufe 335 © Ursula Kaufmann/Ruhrtriennale 2018 345 © IMD/Jens Steingässer | © IMD/Daniel Pufe 336 © Martin Sigmund 348 © Antoine Porcher Ch. 8 | Independent Ensembles 337 © Koen Broos 349 © Markus Scholz (left and top right) | © Kathrin Singer (bottom right) Page Copyright Page Copyright 218/219 © Dominik Mentzos Photography 232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats- Ch. 13 | Popular Music 220 © Gerhard Kühne archiv Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv Stuttgart/picture: Stefan Morent Page Copyright Page Copyright 222 © Holger Talinski | © Geoffroy Schied (bottom right) 223 © Sonja Werner (top) | © Geoffroy Schied (middle and 350/351 © Timmy Hargesheimer 365 © Christian Faustus bottom right) | © Holger Talinski (bottom left) 233 Stadtarchiv Konstanz/picture: Stefan Morent 353 © Reinhard Baer 366 © NDR/Rolf Klatt 226 © Holger Schneider 234 © Fabian Schellhorn 356 © Carsten Klick 369 © MDR/ORF/Peter Krivograd | 227 © Capella de la Torre/Andreas Greiner-Napp 236 © Kai Bienert | © Barbara Aumüller 358 © Sandra Ludewig © MDR/ARD/Jürgens TV/Dominik Beckmann 229 © Jörg Hejkal 237 © Walter Vorjohann 360 Melt Festival © Stephan Flad 372 © Jan Krauthäuser 238 © Beate Rieker/ensemble recherche 361 © ICS Festival Service GmbH/Rolf Klatt

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Ch. 14 | Jazz Ch. 19 | Music Museums and Musical Instrument Collections

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376/377 © Jens Schlenker 391 © Nikolai Wolff/Messe Bremen (top) | 486/487 © Kulturstiftung Sachsen-Anhalt, Foto: Ulrich Schrader 498 © Germanisches Nationalmuseum/ © Jan Rathke/Messe Bremen (middle and bottom right) | 379 © Wilfried Klei | © Jürgen Volkmann 488 © Kulturamt der Stadt Zwickau Foto: Dirk Meßberger © Jens Schlenker/Messe Bremen (bottom left) 380/381 © Elisa Essex 491 © Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth 501 © Atelier Brückner/Michael Jungblut 392 © WDR/Kaiser | © WDR/Voigtländer 386 © Deutscher Musikrat/Thomas Kölsch | © Investitions- und Marketinggesellschaft Sachsen-An- 502 Foto: Frank Schürmann © Rock 'n' Popmuseum 395 © Jan Rathke/Messe Bremen 388/389 © Peter Tümmers halt mbH | © SCHAU! Multimedia | 505 © Uwe Köhn © Beethoven-Haus Bonn 506 © Bach-Museum Leipzig/Jens Volz 494 © SIMPK/Anne-Katrin Breitenborn 507 © André Nestler 495 © Musikinstrumentenmuseum der Universität Leipzig/ 508 © Aloys Kiefer | © Ulrich Perrey Ch. 15 | World Music Foto: Marion Wenzel Page Copyright Page Copyright

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