How Teenager Stole Jazz History

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Exactly fifty years ago, 18-year-old Vera Brandes orchestrated a concert featuring jazz pianist Keith Jarrett in Cologne, West Germany. This event would go on to etch its mark in music history: the recording of the concert turned out to be the best-selling solo jazz album ever and also the top-selling piano recording ever. Ido Fluk, director, and Sol Bondy, producer, from One Two Films have now made a movie titled “Köln 75,” which reenacts the events leading up to the concert. The world premiere of this film will take place at Berlinale next month. EbMaster had the opportunity to talk with Brandes about her recollections from that night. You can find the exclusive poster for the movie below.

In the realm of silver screen critiques, allow me to share my thoughts on “Köln 75”: This captivating tale follows my journey as I cross paths with Ronnie Scott, a charismatic British jazz maestro and proprietor of a vibrant London jazz den. Intrigued by his request for concerts in Germany, I find myself stepping into the role of a music promoter – a role I never anticipated, yet one that proved to be as challenging as it was exhilarating.

As the narrative unfolds, I face a formidable adversary: my own father. Our ideological clash adds a layer of tension to an otherwise harmonious storyline. The pivotal moment arrives when I decide to take a colossal risk – booking the grandiose 1,400-seat Cologne Opera House for an unscripted concert by Jarrett.

This daring move not only tests my resolve but also promises to redefine the boundaries of music promotion. The anticipation is palpable as the film progresses, leaving audiences eagerly awaiting the outcome.

Things aren’t going as expected. She finds out that the piano provided by the opera house doesn’t meet Jarrett’s specifications and is out of tune with a busted pedal, causing him to decline performing. However, Brandes insists on moving forward with the show, and manages to find a piano tuner who claims he can fix the malfunctioning piano.

After watching the movie featuring Mala Emde and John Magaro, Brandes shares with EbMaster: “I absolutely adored it! The pacing is exhilarating. Mala’s performance was phenomenal – she truly nailed it. It was heartwarming to witness so many people being so passionate and invested in re-living that moment.

Reflecting on that day, Brandes recalls her emotions. “I was incredibly grateful that it finally took place as I had been uncertain for hours. However, once I heard the initial melodies, I sensed it would be an outstanding performance. Over time, I’ve discovered that I can often gauge in the opening moments of a show whether it will be exceptional, and musicians confirm they experience the same: they instinctively know when they step onto the stage and pick up their instruments to play the first few notes, if this is going to be one of those rare, extraordinary evenings, which don’t occur frequently.

She notes: “This was a unique event that can’t be duplicated, for its magic and elegance stemmed from its simplicity and emotional impact. It wasn’t his intelligence alone that made it happen, though he did know what he was doing in the background. Rather, his actions were an emotional declaration, made possible by the specific circumstances surrounding this sequence of events that allowed him to play when we believed the piano issues would prevent us from doing so. I often say, the tuner who enlisted his son to fix the piano and make it functional – they were the real heroes of the night, for without them, he couldn’t have performed.

Brandes acknowledges that Gigi Campi, an Italian architect, jazz promoter, and ice cream shop owner in Cologne who also ran a music venue, was instrumental in cultivating a jazz following within the city. According to her, “Gigi was the cultural hub of Cologne.” Remarkably, his establishment was situated near WDR, the public broadcasting station. As she recounts, “Anyone involved in culture or politics would often pass by Gigi’s place. It wasn’t uncommon to see Maria Callas and Romy Schneider enjoying Italian espressos at the counter while listening to the Kenny Clarke-Francy Boland Big Band.

She recounts her initial years as a music promoter: “Everything thrilled us, we agreed to every opportunity. Each day brought another performance, and I was constantly traveling. It was an incredibly exciting, intense, and unpredictable period.

When asked about some notable moments in her career, she shares: “There are certain collaborations that have left lasting impressions on me. Among the most intellectually advanced improvisers and collective musicians I’ve ever encountered were Ralph Towner and his band Oregon. Carla Bley was another extraordinary artist whom I toured extensively with. She was truly magical, always pushing the boundaries of innovation. The Swiss harp player Andreas Vollenweider also stands out in my memory. However, my most significant collaboration was with Astor Piazzolla. I had the privilege of working closely with him, and he was an extraordinary character – a brilliant composer, performer, and a true inspiration.

As a passionate cinephile who once thrived in the realm of music promotion, I embarked on my own venture – a record label. However, an irresistible curiosity led me to leave the vibrant world of music and enroll in academic pursuits, specializing in psychology at university. For two decades, I proudly served as the head of music medicine research at the illustrious Salzburg Medical University. Yet, my love for music never waned, and today, I continue to create melodies and orchestrate concerts, as I share with you.

When asked about the musicians she’s particularly looking forward to today, she specifically mentions German pianist Matthias Kirschnereit. She praises him as being the foremost Mozart pianist currently active and finds him simply extraordinary. Additionally, if Taj Mahal and his band were to perform, she would be willing to travel anywhere in the world to witness their show.

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2025-01-24 11:46