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wrong, but so skillfully that one simple piece of music, a virtuoso impromptu composition is. Max Greger was one of the few who can use the well. But he drove double-railed.
It is a painful loss, because this musician was one of the greats. Especially in jazz, especially in Germany. In Friday night Max Greger died 89 years after a long cancer in Munich. The clarinetist, saxophonist and band leader has as few marked the everyday cultural life of the postwar period. Paul Kuhn would in this environment, to name yet or Hugo Strasser – with two Greger entered at the age of love, filled stadiums and town halls, enthusiastic a legend hungry audience that wanted to remember with indulging in a little shudder at a time, many later generations incomprehensible, a was very happy. Germany was bombed, you were hungry, there was only one direction:. Up
And there was pent-up demand in all areas. The straight in the Nazi era so popular Swing could now be played and danced freely and liberally. It was the sheer existentialism, survival was lucky enough. More there were only not even. For live music anyway no one would have given a penny; had it myself nothing. So the young musicians verdingten in the casinos of the occupying power, Swing played for the Americans, playing with a Heath respect for those who had invented these Jazz. The greatest luck was not just Gage, cigarettes, chocolate, and even to eat their fill, please, but:. To be able to join the American musicians
Hunger Deutsche according transmittance
Max Greger has appeared in the chapel of the trumpeter Charly Tabor, was later even once with Louis Armstrong and Duke Ellington on stage. But since he was already famous. Initially it was to be praised by the masters of swing. Of those who to seven man cast competed in the original six with Melody Trumpet and verzierender clarinet, with trumpet, and later saxophone, rhythm section with piano or guitar, bass and drums.
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Those rounder that not just a bit with Call- and-response pattern worked, the most original improvisational music elements, but new colors brought into play with “dirty notes” and louder illicit things:. play wrong, but so skillfully that one simple piece of music, a virtuoso impromptu composition is
The many can not really good, but you have to practice hard and long, and at the end you need even congenial players that act on the same level. But then is from ordinary dance music at once a movement noise, then it grabs people at heart and stirs them that they can no longer resist it. Young and old lovers, there have always loved, and during the desperate hope of recovery after the war, as supplied Max Greger the cheerful bouncy melody to leave, was a sure promise of happiness in the form of short Hüftschwungs on these flowing swing rhythm stressed by the Backbeat, as he then committed him ideally in his universal number, the theme song for the “Recent Sport Studio” on ZDF.
Since he no longer needed the gestures of recognition, but was pleased and thought thereby perhaps. to a pat of a US musician, that felt like among friends That could then probably only happen under global sentient enthusiasm musicians.
Max Greger was an enthusiastic and inspirer. When his grandfather in 1936 gave him an accordion, it had happened to the Ten Years’. The career as a musician was established at the Munich Conservatory, he studied clarinet and saxophone, came towards the end of the war but still under Hitler’s last squad. After the war, then the chance of the US casino platforms, 1948, the establishment of its own band: the “Max Greger sextet”, for the swing into the club, during the day it was called the “Gentian Sextet” for the Bayerischer Rundfunk .
Even then, he worked two tracks. Feiner Jazz here, plumper hit there. Recordings, dance music, TV Kitsch. “Lovers trumpets”, “Max & amp; Sax”, “Nobody kisses like you”, “teenager Cha Cha”, “Rock-Twist”, and a trip to Moscow. In the middle of the Cold War. 36 sold-out concerts behind the steel curtain – the breakthrough. And the Fall: 1963-1977 at ZDF under contract as a feel-good constant music in shows like “Forget-Me-Not”, “Grand Prix” or “The Golden Shot”. In the early seventies it was still an innocuous TV Title.
Somehow it went on. Greger played about 3,000 titles a, threw more than 150 albums on the market, in 1987 awarded the Federal Cross of Merit First Class and 2012 with the Bavarian Order of Merit Pour le Mérite and, as the most important accolade, also added to the venerable Riemann music lexicon.
In spite of his long career – he went even to a few weeks ago – he was from the seventies of the last century for many already on the scrap heap. What was not a disgrace concept, but a respectable and likeable late masterly discourse accompaniment. And when a music teacher allowed the joke in the seventies, you should Max Reger not be confused with Max Greger, the students knew neither who is the one, who was the other.
Greger succeeded musical dignity to true
The late Romantic composer had from the Upper Palatinate and the butcher’s son from the working-class district of Munich Giesing nothing in common other than a similar-sounding name and a similarly strong penchant for fine acoustics. For a name like Max Greger were just emotive words, these included other formerly great artist who profitably spent her professional life in the evening television. Anneliese Rothenberger about, Bert Kaempfert, and later Peter Alexander, Udo Jürgens. But their talents were then already less in music than in the performance art – the Sell therefore, or stage talent, as it was then, the show talent. To own this, or to believe in its possession, has then than anything overlapping art form eventually become independent.
At the time of brightly colored and always something obtrusive show television of the seventies that was completely different, almost reversed. Rock solid musicians, creative minds and stylish virtuoso, strove their best to meet the new requirements. Many understood not that something as Traditional understood requirements such as special skills and strong motivation. Now it was but a matter of making front of the camera bella figura , and as a well respected Watched hairpiece was no less important than a precisely crafted clarinet reed.
It was a sort ago -Orwellsches television age, as the program although “Musik ist Trumpf” or the like were called, but in reality the sad opposite took place: music, or better, the assertion of Music, was the occasion and indulgence for all that has been commanded since
.
adult musicians in tuxedos on excursion boats, Max Greger in yellow jacket in front, the music a tasteless Allerweltsbrei, Schlager wastage and Volkstümelndes. Those were bad programs that were called as “Eine Reise ins Glück”, and you wondered how then probably would look like hell. And yet, every now and then managed a few musicians, a little brighten this glamorous tribulation. Max Greger one of the few heroes who still kept up musical self-esteem, even in these situations, and with a still slightly whimpering saxophone sound and even the public, as well as he, a little dignity saved. Even so Max Greger was an anachronism. But one, which one mourns.
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