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Wiki

  • Release Date

    30 May 2019

  • Length

    18 tracks

Inge Brandenburg;
I LOVE JAZZ

With the orchestras of Erwin Lehn, Michael Naura, Paul Kuhn, Kurt Edelhagen, Werner Müller and Klaus Doldinger in cooperation with SWR, HR and RBB.

Release: May 31 / 2019, Unisono-Records, LC 28536
Distribution: Edel

Infos under: www.boettcher-film.de + www.inge-brandenburg.de

After the great success of the CD and the movie: "SING! INGE, SING!"

On the occasion of her 90th birthday and 20 years after her death, an album with previously unreleased
vocal recordings of the First Lady of German Jazz is being released to commemorate Inge Brandenburg.

Starting in 1959 Inge Brandenburg recorded a wide-ranging repertoire of chansons, jazz, blues, musical and
pop songs with Germany's best-known orchestras which all demonstrate her musical talent, her vocal
versatility and her unique jazz feeling. Furthermore, Germany’s Lady Jazz proves to be a lyricist in the
collaboration with her highly esteemed composers Peter Herbolzheimer and Wolfgang Dauner in their last
studio recordings in 1970/71.

Marc Boettcher, who honoured Inge Brandenburg with his much acclaimed film and book biography, found
these 18 extraordinary recordings in radio and private archives. This rediscovery will - as it was the case
with the soundtrack to the 2011 movie "SING! INGE, SING!“ (which received the prize from German record
critics) - inspire fans of the singer and enthusiasts of the German jazz scene.

"A high point of German jazz singing!" (Bay. Rundfunk)

„A musical treasure and a human tragedy at the same time ."(Inforadio RBB)

"The voice that can be heard on this CD is a voice in a million." (Jazzdimensions)

"Inge Brandenburg lives and feels the songs. She was an exceptional artist who amazes us
still today." (Radio Bremen)

"One of the best Jazz-vocals, Germany ever had." (Jazzpodium)

“As soon as Inge Brandenburg sings, it’s magical!” (phenomenelle)

Born in Leipzig, and grown up in difficult circumstances in Nazi-Germany, Inge Brandenburg was used to stand on her own two feet. During the German economic miracle, she was suddenly celebrated as the best European jazz singer, compared by Time magazine with Billie Holiday. But the German audience ignored the talent of the outstanding jazz singer and the record industry tried to reduce it (unsuccessfully) to "Schlager"-music.

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