In the case of Hanns Eisler (1898-1962) and Jutta Hipp (1925-2003), both from Leipzig, his personal

The legendary Berliner Jazztage in 1964 by Joachim E. Behrendt created, have a stormy grbavica film and bend rich history behind grbavica film it. We are now almost 50 years later with a diversity of artistic directors of the festival. The event is now called 'JazzFest Berlin "and 2012 is again a changing grbavica film of the guard: new artistic director is Bert Noglik. He immediately made striking accents for its first edition. (Also see previews of Music Written in here and here) Firstly, by two German musical key figures of the twentieth century, composer Hanns Eisler and jazz pianist Jutta Hipp, both from Leipzig to focus. Secondly, by percussionist Günter Baby Sommer Dresden, a veteran of the German jazz to give. A special place in the program Thirdly giving. The old location of the Akademie der Künste in Berlin Hansaviertel a role in the festival back HISTORY with large letters and unruly identities focus of this edition (see previews of Music Written in here and here). Sounds and in history
In the case of Hanns Eisler (1898-1962) and Jutta Hipp (1925-2003), both from Leipzig, his personal and political history intertwined in all vehemence closely. Eisler fled - like his old teacher Arnold Schoenberg and his artistic custom Bertold grbavica film Brecht - for the Nazis in the 30s to the U.S. and was deported in 1947 the center of the free world. Hipp was 22 at that time and in terms of skill level the most advanced jazz talent in the devastated and occupied Germany. While Eisler from Hollywood grbavica film to the occupied part of Germany by the Soviets left, the young Hipp moved in the opposite direction. From the Soviet zone to the American zone, Munich, Frankfurt grbavica film and later ended up in 1955 to New York (where she never returned). 1954 she was the first woman and a European Blue Note album, had arrived in New York with her new New York group and increased in 1956 with Zoot Sims her third album on Blue Note. Two years later, in 1958, she took a radical decision and never played a note. Hanns Eisler tacked on the eastern side by the intransigence of the Cold War, even composed the anthem grbavica film of the GDR but never young. Has lost his edge Or rather, for him as the typical interplay of sharpness and lyricism. That's one of the reasons that his music remains. For example, at the young Willem Breuker and now again with a young French-German-Danish trio called Das Kapital.
Drummer Günther Baby Sommer (1943), one of the pillars of Free Jazz in the former GDR and ao duo partner of Cecil Taylor, was four years ago in Greece on the occasion of a small percussion festival in the Greek town of Kommeno (Epirus grbavica film ) facing a side of German history, with abominations grbavica film from the time of the German occupation of Greece in World War II. Sommer was the festival grbavica film space with Greek jazz musicians (Floros Floridis, Spilios Kastanis, Evgenius Voulgaris, Savina grbavica film Yanatou) a Kommeno-memorial grbavica film to perform.
With the involvement of the Academy of Arts as a stage of the history of the 'free' music as European line of the jazz tradition comes into the picture. Berlin took place in the Academy in 1968 the first Total Music Meeting (with young idealists as Brötzmann, Bennink, Schlippenbach, Parker, Kowald and associates) place a counter and later off-festival that took place in parallel grbavica film to the Jazztage. In 1969, then became grbavica film the organization Free Music Production (FMP) was established with a record label. Both the Meeting and the label is now defunct. Noglik picks up this thread - in-itself through history - now as part of the Jazz Fest again. grbavica film
The festival grbavica film takes place partly on the large Festival Hall with its great hall plus a smaller Neben-stage. In addition, partially overlapping find concerts in the two clubs A-Trane and Quasimodo (20 minutes walk) and the Akademie der Künste (3 stops away) instead. This requires clear choices because the concerts are sold separately and are often no longer accessible after the beginning (for journalists). Most of the concerts of the festival were sold out (often long before) completes. The report covers the affected reporter choice. Thursday: (early) women on the keys
The musical legacy of the brief miracle Jutta Hipp was placed in the hands of two musicians for the festival, pianist Julia Hülsmann (1968) and clarinettist Rolf Kühn (1929). Kühn, contemporary of Hipp and also from Leipzig, was Hipp himself shortly after the war put on the right track. 1956 also went Kühn himself to New York and worked for several years in the group including Benny Goodman, with Urbie Green and Oscar Pe