by another German All-Star group was also problematic. In Schreiner’s opinion, this was another case of Brazilians [making] background music for the German stars” “the freer passages provided some space for a more equal meeting between the Dave Pike Set and the Grupo Baiafro in 1972 free jazz and its ideology could also be inimical to these sorts of encounters Indeed, by the late 1970s the model of diplomacy” was beginning to fall out “musical of because of the German discourse of Many free jazzers had spent the 1960s “emancipation.” and 1970s emancipating themselves from the pattern of slavishly copying American jazz innovators For them, the idea of borrowing too heavily from elsewhereincluding from Brazilwas anathema. In the mid-1970s, bassist Eberhard Weber, a veteran of recording sessions with Baden Powell in 1967 and of a Goethe-Institut tour to Brazil in 1972, was reported as saying that the idea of visitors adapting local musics was as absurd as insisting that a Chinese group play “My Bonnie Lies Over the Ocean” if it were to visit Scotland In 1981, pianist Alexander von Schlippenbach argued that touring German jazzers should dedicate themselves to their own concept This type of attitude was the logical conclusion of a mature artist, but it could be interpreted another way too. For his part, Roland Schaffner was exasperated by German jazzers who were sent by the Goethe-Institut to Brazil but who did not at all engage with Brazilian music their arrival in the country By the some German discourse about engagement with Brazilian music was also beginning to harden. This was partly a result of the emergence of (world music) as a Weltmusik commercially successful marketing category. It was also a result of the increasingly ideological freight that Berendt, in particular, was imposing In the wake of a Age” Weltmusik. “New conversion, he began to stress ideas of musical universalism. He produced summits Weltmusik that attempted to demonstrate a successful fusion of many different types of music and
by another German All-Star group was also problematic. In Schreiner’s opinion, this was another case of “the Brazilians [making] background music for the German stars” freer passages provided some space for a more equal meeting between the Dave Pike Set and the Grupo Baiafro in 1972 free jazz and its ideology could also be inimical to these sorts of encounters Indeed, by the late 1970s the model of “musical diplomacy” was beginning to fall out of because of the German discourse of “emancipation.” Many free jazzers had spent the 1960s and 1970s emancipating themselves from the pattern of slavishly copying American jazz innovators For them, the idea of borrowing too heavily from elsewhereincluding from Brazilwas anathema. In the mid-1970s, bassist Eberhard Weber, a veteran of recording sessions with Baden Powell in 1967 and of a Goethe-Institut tour to Brazil in 1972, was reported as saying that the idea of visitors adapting local musics was as absurd as insisting that a Chinese group play “My Bonnie Lies Over the Ocean” if it were to visit Scotland In 1981, pianist Alexander von Schlippenbach argued that touring German jazzers should dedicate themselves to their own concept This type of attitude was the logical conclusion of a mature artist, but it could be interpreted another way too. For his part, Roland Schaffner was exasperated by German jazzers who were sent by the Goethe-Institut to Brazil but who did not at all engage with Brazilian music their arrival in the country By the some German discourse about engagement with Brazilian music was also beginning to harden. This was partly a result of the emergence of Weltmusik (world music) as a commercially successful marketing category. It was also a result of the increasingly ideological freight that Berendt, in particular, was imposing Weltmusik. In the wake of a “New Age” conversion, he began to stress ideas of musical universalism. He produced Weltmusik summits that attempted to demonstrate a successful fusion of many different types of music and