The Shure company advertised with Rolf Donner\/MPS in the 1975 Funkschau (Archive Harald Greilich \/ MPS-Studio e.V.)<\/p>\n\n\n\n
<\/div>\n\n\n\n
THE JAZZ POPE<\/h2>\n\n\n\n Too bad it's like \u201eMPS-The legend lives\u201c Joachim-Ernst Berendt<\/strong> (JEB) - without properly acknowledging his merits. The bassist Eberhard Weber<\/strong> grinning with a classic Muckety-muck attitude<\/em> \u201eBerendt was unmusical\u201c and contradicts himself in the same sentence by saying that \u201eBerendt knew exactly who played when, with whom and in what key\u201c. And yet Joachim Ernst Berendt<\/strong> is anything but an unknown figure in the music world of the post-war years, and is almost an obvious choice when dealing with MPS\/SABA. The ambivalent relationship between HGBS and JEB, which was probably also characterized by vanity and a certain alpha dog attitude, is particularly fascinating. \u201eCompetition boosts business\u201c, as the saying goes - this may also apply here. In any case, it is worth taking a closer look at the two very different biographies of these two men, who each gave their all for jazz in their own way. <\/p>\n\n\n\nLike HGBS, the young Berendt had learned to play the piano in his youth. He later published numerous books on music, sound and listening. He was certainly not unmusical. For MPS he launched the series \u201eJazz meets the World<\/strong>\u201c, thus founding the genre of so-called world music and proving time and again that he was far ahead of his time. At the same time, these recordings are one of the central pillars on which the international reputation of the record label rests. Almost all progressive and avant-garde productions on SABA\/MPS were initiated by Berendt. <\/p>\n\n\n\nI made my first world music production in 1962 - a trio of Japanese koto players and the leading Japanese jazz ensemble at the time ... I tried something similar in Djakarta, Kuala Lumpur, Bombay, New Delphi, Tunisia, Africa and Brazil. A whole series of records was created...the first world music series ever.<\/em><\/p>\n\n\n\n(Joachim Ernst Berendt \/ Life is a sound)<\/p>\n\n\n\n Joachim Ernst Berendt with Nathan Davies 1965 in the MPS-Studio (Photo \u00a9German Hasenfratz\/MPS-Studio e.V.)<\/p>\n\n\n\n
Berendt, born in Berlin in 1922, was a descendant of assimilated Jews. His mother left home when he was 3 years old, so he spent part of his childhood at boarding school. His strict father Ernst Berendt<\/strong> was a Protestant pastor who initially practiced in Berlin Wei\u00dfensee. Due to increasing problems and arrests by the National Socialists, he moved to Baden-Baden and was eventually sent to Dachau concentration camp, where he was finally murdered. Berendt visited his father in the concentration camp in 1942, a formative experience. He was later sent to Russia, where he was deployed in the Leningrad ring. As a member of the 1922 generation, he was one of the few who survived their deployment, as every third soldier of this generation died. <\/p>\n\n\n\nAfter the war Joachim Ernst Berendt<\/strong> the first employee of the Southwest radio<\/strong>. As a politically-minded journalist, busy festival organizer, writer, producer and, above all, anti-fascist, it was he who introduced many Germans to jazz after 12 years of marching music. <\/p>\n\n\n\n<\/p>\n\n\n\n
We were not only successful. We felt the resistance. S\u00fcdwestfunk received letters of protest. One told me to be careful when I went home in the evening, otherwise \u201ea few good German men's fists would teach me the right rhythm.\u201c<\/em><\/p>\n\n\n\nWhat actually characterizes jazz - the personality of improvisation and phrasing, the play with different time levels in the phenomenon of swing, the renunciation of binding standards of tone formation - carries a message that cannot be misunderstood. It means tolerance, openness, freedom, individuality, self-responsibility. My sentence \u201eDictators don't swing\u201c made the rounds.<\/em><\/p>\n\n\n\n(Joachim Ernst Berendt \/ Life is a sound)<\/p>\n\n\n\nBooks by Berendt (selection) \u00a9 Archive MPS-Studio e.V.<\/p>\n\n\n\n
He travelled the USA and found friends there, where jazz and blues have their roots, and he brought them to the stages of the festivals he organized. With John Coltrane<\/strong> and many other greats of the scene. Berendt is still held in high esteem in the jazz world today. His television series \u201eJazz heard and seen<\/strong>\u201c was groundbreaking. His \u201eJazz book<\/strong>\u201c is considered a standard work and has been translated into several languages. <\/p>\n\n\n\n<\/p>\n\n\n\n
...my plus was always the overview of all jazz - from ragtime to free. That was probably also what made my \u201ejazz book\u201c the \u201etextbook on jazz\u201c in the USA ... strangely enough, a book by a German about this most American of all arts, which for American sensibilities is the complete antithesis of the world status of \u201eGerman music\u201c.<\/em><\/p>\n\n\n\n(Joachim Ernst Berendt \/ Life is a sound)<\/p>\n\n\n\n
<\/p>\n\n\n\n
Berendt, also known as the \u201ejazz pope\u201c, was known as a controversial figure and founded the Berlin Jazz Days<\/strong>, that New Jazz Meeting Baden-Baden<\/strong> or organized the jazz section at the Donaueschingen Music Days<\/strong>. There, thanks to Berendt, the spectators were able to enjoy a Sun Ra<\/strong> concert. Now guess where the recording of this concert was later released? <\/p>\n\n\n\nBerendt was not always well-liked at MPS as a musical free spirit, but as a jack-of-all-trades he was also an absolute asset for Brunner-Schwer and his label\/recording studio, who had quickly recognized the sales potential of Berendt's productions. Even though Brunner-Schwer deliberately avoided Berendt's studio days with extended hairdressing appointments in Zurich, the sound avant-gardist's worldwide contacts enabled HGBS to build up a really broad repertoire for his label. HGBS did not want to release some artists on his label: Peter Br\u00f6tzmann<\/strong> (\u201ehe won't come into my studio\u201c), Herbie Hancock<\/strong>, Ornette Coleman<\/strong> or Wayner Shorter<\/strong>. Today, Behrend is credited with over 130 productions for SABA\/MPS in addition to numerous liner notes. <\/p>\n\n\n\nIt quickly became clear that HGBS and Berendt had rather different musical passions. While HGBS was dedicated to old school swing and, above all, piano productions with great recordings by Oscar Peterson, Bill Evans, Milt Buckner, Horst Jankowsky<\/strong> or Monty Alexander<\/strong> Many important pianists were produced in the studio or in the house studio, Berendt was a modern jazz man who brought impulses from free jazz, psychedelic jazz or world music to SABA\/MPS at the same level as the times. A perfect mix for a broad-based label like MPS. What would MPS be without the Berendt productions with the Dave Pike Set<\/strong>, the \u201eJazz meets the World<\/strong>\u201c Recordings, Archie Shepp, Baden Powell, Nathan Davies, Don Cherry, Cecyil Taylor<\/strong> or the great Albert Mangelsdorff<\/strong> LPs? With the Gunter Hampel Quintet<\/strong> and the album \u201eHeartplants\u201c, he produced the first European free jazz record. Looking at the many groundbreaking productions and liner notes Berendt launched for SABA\/MPS, one regrets that this man was not given more than 80 seconds in this current film. Berendt's creative frenzy for jazz is actually worthy of its own documentary. <\/p>\n\n\n\nOscar Peterson, Willy Fruth and HGBS over a glass of beer in the Villa Brunner-Schwer (Photo \u00a9MPS-Studio e.V.)<\/p>\n\n\n\n
<\/div>\n\n\n\n
THE ENABLER<\/h2>\n\n\n\n In contrast to JEB, HGBS was also a rather conservative man from a biographical point of view. SABA<\/strong>-descendants in Villingen was born with the famous \u201egolden spoon in his mouth\u201c. Founded back in 1835 by Josef Benedikt Schwer in nearby Triberg, the company was SABA<\/strong> next to Kienzle<\/strong> was the biggest player in the Z\u00e4hringen town and had over 3,500 employees (mid-1960s). The company had prospered from 1927 with radios, later televisions and refrigerators, because the appliances \u201eMade in the Black Forest\u201c had an excellent reputation for quality, sound and workmanship. The story goes that Max Grundig<\/strong> was morbidly jealous of its Black Forest competitors. But SABA's glorious history also had its dark side: the company profited from armaments contracts during the dark days of the Nazi regime and manufactured the infamous Volksempf\u00e4nger (people's receiver). There was a forced labor camp right on the company premises and, as a family of industrial importance, HGBS's brother Hermann and their mother also visited the F\u00fchrer on the Obersalzberg. <\/p>\n\n\n\nHGBS, Hitler and Hermann Brunner-Schwer on the Obersalzberg (from the out-of-print book \u201eSABA - Bilanz einer Aufgabe\u201c by Hermann Brunner-Schwer)<\/p>\n\n\n\n
The young Hans-Georg heard his first jazz during the war in 1944 while illegally listening in on American bomber units, as the pilots were kept on course with jazz music in their ears. The 17-year-old HGBS intercepted these signals and discovered the \u201eMoonlight Serenade\u201c by Glenn Miller<\/strong> in a special way. This experience was formative for him. <\/p>\n\n\n\nAfter the war and the economic miracle, HGBS and his brother Hermann took over the management of SABA-Werke in 1961. After HGBS had already made his first recordings in the late 1950s with, among others Hans Koller<\/strong> or Wolfgang Dauner<\/strong> in his home studio, in 1962 he founded the SABA Studio<\/strong>. The premises in Richthofenstrasse were temporarily occupied by the Brunner-Schwer family after the Second World War until the 1950s, when their own villa was confiscated by the French army. Just a few years later, it housed one of the most modern studios of the time. When SABA was taken over by the American GTE Group<\/strong> HGBS operated independently of SABA and under the new name MPS<\/strong> (Musikproduktion Schwarzwald) to pursue his passion with a purse worth millions and a great deal of ambition and love for the perfect sound: Music productions, record releases and licensing ensured recognition, attention and jobs. By the late 1960s, he was one of the biggest jazz producers in Europe.<\/p>\n\n\n\nFront left HGBS, 1999 at the press conference for the book release \u201eJazzin The Black Forest\u201c in the Neue Villinger Tonhalle (Photo: Andreas Rottmann\/MPS-Studio e.V.)<\/p>\n\n\n\n
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JAZZIN\u2018 THE BLACK FOREST 1999<\/h2>\n\n\n\n In 1999 there was the opportunity in the course of the book production \u201eJazzin\u2018 the Black Forest<\/strong>\u201c, which I published, to conduct various telephone conversations with Berendt. After the author - Klaus-Gotthard Fischer - had also only mentioned Berendt in a few sentences, I initiated an interview with JEB for the book. I sent him my list of questions by post. The answers were not long in coming. I followed up on the phone and it seemed as if he had never received enough recognition and affection for his work.<\/p>\n\n\n\nHe almost came to Villingen for the presentation of the book in June 1999, after all we had Lee Konitz<\/strong>, Wolfgang Dauner<\/strong> and the Gunter Hampel Quartet<\/strong> with Alexander von Schlippenbach<\/strong>, Manfred Schoof<\/strong> and Pierre Courbois<\/strong> committed, all old companions of Berendt! Mike Hennesey<\/strong> was the presenter of the evening in the new Tonhalle. In addition to the concert, there was an exhibition of MPS record covers and objects such as the Sabamobile<\/strong>, various DJs played MPS rare groove jazz. The entire feuilleton press had signed up. HGBS<\/strong> was present and enjoyed this special evening to the full, as it was a celebration of his life's work. He was moved by Wolfgang Dauner<\/strong> played one of the first works he recorded at HGBS's home in the late 1950s, when HGBS was still in the technical experimentation phase. <\/p>\n\n\n\nHGBS signs \u201eJazzin The Black Forest\u201c for a former Saba employee in the Villingen Tonhalle (Photo: Andreas Rottmann\/MPS-Studio e.V.)<\/p>\n\n\n\n
At first, JEB categorically refused to come to the presentation in the Black Forest. He no longer wanted to deal with MPS, he had turned his attention to new fields of interest.<\/p>\n\n\n\n
I explained my view that the interaction between HGBS and JEB was important for the reputation of MPS, indeed a stroke of luck, and that after so many years we could reconcile over a glass of wine and good music. At first there was silence on the phone, then he leafed through his calendar, he seemed to be getting on board with the idea after all. Too bad, he already had a lecture in Stuttgart that evening.<\/p>\n\n\n\n
Then in February 2000, just six months after our last contact, Berendt was hit by a car on a road in Hamburg and succumbed to his serious injuries shortly afterwards. In 2004, he was followed by HGBS, who died while crossing a crosswalk near his studio. Another house concert was actually planned. It was not to be. <\/p>\n\n\n\n
Farewell Hans-Georg Brunner-Schwer<\/strong> and Joachim-Ernst Berendt<\/strong>! And if there is a studio up there: for the \u201eMost Perfect Sound\u201c you have certainly already worked with Rolf Donner<\/strong> spoken. <\/p>\n\n\n\nT\u00f6ni Schifer<\/p>\n\n\n\nGoodbye - Blurred, like the memories: HGBS and Wolfgang Dauner, 1999, book presentation Villingen (Photo \u00a9 Andreas Rottmann\/MPS-Studio e.V.)<\/p>\n\n\n\nMPS exhibition June 1999 organized by Crippled Dick Hot Wax! in the Villingen Tonhalle, book presentation \u201eJazzin\u2018 The Black Forest\u201c (Photo \u00a9Andreas Rottmann \/ MPS-Studio e.V.)<\/p>\n\n\n\nGroup picture with MPS cake: from left to right: Klaus Gotthard Fischer, T\u00f6ni Schifer and Hans-Georg Brunner.-Schwer, 1999 Neue Tonhalle Villingen (Photo \u00a9Andreas Rottmann \/ MPS-Studio e.V.)<\/p>\n\n\n\nSoundcheck with the Gunter Hampel Quintett, Neue Tonhalle Villingen, book presentation \u201eJazzin\u2018 The Black Forest\u201c 1999 (Photo \u00a9Andreas Rottmann \/ MPS-Studio e.V.)<\/p>\n\n\n\n
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Whoever writes stays! About the forgotten at MPS.<\/p>","protected":false},"author":2,"featured_media":3606,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","iawp_total_views":365,"footnotes":""},"categories":[139],"tags":[593,53,176,138,607,173,608,38,81],"dipi_cpt_category":[],"class_list":["post-3555","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-eberhard-weber","tag-hgbs","tag-jazz-meets-the-world","tag-jazzin-the-black-forest","tag-jazzpapst","tag-joachim-ernst-berendt","tag-max-grundig","tag-mps-studio","tag-toeni-schifer"],"acf":[],"_links":{"self":[{"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/posts\/3555","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/comments?post=3555"}],"version-history":[{"count":5,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/posts\/3555\/revisions"}],"predecessor-version":[{"id":4596,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/posts\/3555\/revisions\/4596"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/media\/3606"}],"wp:attachment":[{"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/media?parent=3555"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/categories?post=3555"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/tags?post=3555"},{"taxonomy":"dipi_cpt_category","embeddable":true,"href":"https:\/\/mps-studio.de\/en\/wp-json\/wp\/v2\/dipi_cpt_category?post=3555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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