banishing the evils of the recent German past. This ideological dimension was an important one for Berendt, perhaps as important as the musical dimension. Seizing especially on what he saw as the democratic, international and cosmopolitan aspects of jazz but thereby appropriating the music from AfricanAmerica, Berendt tenaciously promoted jazz in post Germany, putting it into service for a German post-Nazi project, aimed at liberalizing German hearts and minds By the early 1960s he was beginning to incorporate other musics into that project too. In 1962, Berendt produced an encounter between a Japanese jazz group and a koto ensemble, and further developed this idea in 1965 at the Berlin Jazz Days He soon began to conceive of other such meetings that would eventually take their place in the important Meets the World” series, “Jazz one of the early cornerstones of world music in Germany. Berendt’s of jazz as symbolically international and of the importance of the musical provides another crucial reason why he returned to the of the nova in “encounter” “problem” 1966. As Berendt now explained, the bossa nova had a singular value to him as an international form of musicrepresented the first true of jazz with folk music outside the other attempts to hybridize jazz had remained jazz, the bossa nova was something quite new and different By extrapolation, it could offer a model for other such hybrids and for a type of collegial, international musicmaking, such as he was contemplating with Meets the World.” “Jazz Berendt’s recourse to jazzer Stan Getz expanded his argument. If Brazil’s musical innovators had borrowed from jazza proposition , as we have seen, was actually very contentious in Brazilthen Getz was merely borrowing something that had been borrowed from him and his colleagues in the first place. This was not an end to the matter, however, for Berendt the most important thing was what the non-Brazilian musician did with the bossa nova; straight copies were not enough. A respectable musician Getz rendered the bossa nova in his or her own individual way; it was this
banishing the evils of the recent German past. This ideological dimension was an important one for Berendt, perhaps as important as the musical dimension. Seizing especially on what he saw as the democratic, international and cosmopolitan aspects of jazz but thereby appropriating the music from AfricanAmerica, Berendt tenaciously promoted jazz in post Germany, putting it into service for a German post-Nazi project, aimed at liberalizing German hearts and minds By the early 1960s he was beginning to incorporate other musics into that project too. In 1962, Berendt produced an encounter between a Japanese jazz group and a koto ensemble, and further developed this idea in 1965 at the Berlin Jazz Days He soon began to conceive of other such meetings that would eventually take their place in the important “Jazz Meets the World” series, one of the early cornerstones of world music in Germany. Berendt’s of jazz as symbolically international and of the importance of the musical “encounter” provides another crucial reason why he returned to the “problem” of the nova in 1966. As Berendt now explained, the bossa nova had a singular value to him as an international form of musicrepresented the first true of jazz with folk music outside the other attempts to hybridize jazz had remained jazz, the bossa nova was something quite new and different By extrapolation, it could offer a model for other such hybrids and for a type of collegial, international musicmaking, such as he was contemplating with “Jazz Meets the World.” Berendt’s recourse to jazzer Stan Getz expanded his argument. If Brazil’s musical innovators had borrowed from jazza proposition , as we have seen, was actually very contentious in Brazilthen Getz was merely borrowing something that had been borrowed from him and his colleagues in the first place. This was not an end to the matter, however, for Berendt the most important thing was what the non-Brazilian musician did with the bossa nova; straight copies were not enough. A respectable musician Getz rendered the bossa nova in his or her own individual way; it was this