"In The Return of Jazz, Andrew Wright Hurley has admirably
demonstrated Berendt's influence upon the emerging jazz scene of
the early Federal Republic. Hurley shows how Cold War politics and
rejection of the National Socialist past heightened Berendt's sense
of mission. For Berendt, jazz was more than an avocation; it was a
program for social and cultural reform. It is to Hurley's credit
that he raises so many important issues surrounding jazz's
development in the second half of the twentieth century." -
H-German
"This is a benchmark study, in showing why a subject that has
been overlooked in jazz historiography should not have been. Its
importance lies not just in recognising the importance of a major
mediator and 'enabler' of postwar jazz; it also models the late
twentieth century shift of the jazz centre of gravity away from the
US and towards international fusions. In its balancing of cultural
theory with the most painstaking empirical research this is, quite
simply, essential reading not just in jazz scholarship, but in the
larger field of cultural history and its methodologies." - Bruce
Johnson Cultural History, University of Turku
Jazz has had a peculiar and fascinating history in Germany. The
influential but controversial German writer, broadcaster, and
record producer, Joachim-Ernst Berendt (1922-2000), author of the
world's best-selling jazz book, labored to legitimize jazz in West
Germany after its ideological renunciation during the Nazi era.
German musicians began, in a highly productive way, to question
their all-too-eager adoption of American culture and how they
sought to make valid artistic statements reflecting their identity
as Europeans. This book explores the significance of some of
Berendt's most important writings and record productions.
Particular attention is given to the "Jazz Meets the World"
encounters that he engineered with musicians from Japan, Tunisia,
Brazil, Indonesia, and India. This proto-"world music" demonstrates
how some West Germans went about creating a post-nationalist
identity after the Third Reich. Berendt's powerful role as the West
German "Jazz Pope" is explored, as is the groundswell of criticism
directed at him in the wake of 1968.
General
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