Sega e vremeto: Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Iztok-Zapad
2010
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | PST: Now's the time. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 509 S. Ill. 1 CD |
| ISBN: | 9789543217410 9789543217519 |
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| 245 | 1 | 0 | |a Sega e vremeto |b Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 |c Vladimir Gadžev |
| 246 | 1 | 3 | |a Now's the time |
| 246 | 1 | 3 | |a Džazăt v Bălgarija, bălgarite v džaza |
| 246 | 1 | 3 | |a Jazz in Bulgaria, Bulgarians in Jazz |
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| 264 | 1 | |a Sofija |b Iztok-Zapad |c 2010 | |
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| 338 | |b nc |2 rdacarrier | ||
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Datensatz im Suchindex
| _version_ | 1806960780517572608 |
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| adam_text |
Съдържание
ПРИЗНАТЕЛНОСТ
.7
ДЖАЗЪТ КАТО
СИНЕКДОХА
НА НЕОСЪЩЕСТВЕНИТЕ ХОРИЗОНТИ
.9
УВОД
.13
ПЛАХ ПОЛЪХ ПРЕЗ 10-те ГОДИНИ
.15
ПЪРВИТЕ ПИОНЕРИ ПРЕЗ 20-те ГОДИНИ
.25
Борис Левиев
.47
Панчо Владигеров
._.54
Александър Керков.
.59
Аспарух Лешников(Ари)
.62
ОВЛАДЯВАНЕ НА ТЕРИТОРИЯТА ПРЕЗ 30-ТЕ ГОДИНИ
.71
Любомир Вапорджиев
(Lubo
D'Orto).
75
Раймонд Врасков
_._.82
Димитър Ненов
._87
Асен Овчаров
.93
ДРАМАТИЧНО РАЗВИТИЕ
И ЗАСТОЙ ПРЕЗ 40-ТЕ ГОДИНИ
.105
Божидар Сакеларев
_.109
Ива Ваня
_112
Ицхак Грасиани(Зико)
.120
Петър Маринов
.12 5
СТАГНАЦИЯ И РАЗМРАЗЯВАНЕ ПРЕЗ 50-ТЕ ГОДИНИ
.137
Емил Георгиев
_.154
Станимир Станчев
(Чани)
_.160
Ангел Михайлов.
169
Никола Янев
_._._.172
ТВОРЧЕСКИ
УСТРЕМ
И
ПЪРВИ
УСПЕХИ
ПРЕЗ 60-ТЕ ГОДИНИ
.».181
Димитър Ганев
.187
Манол Цоков
.198
Александър Владигеров
.201
Петър Петров (Парчето)
.204
Милчо Левиев
.206
Симеон Щерев
.241
РАЗГРЪЩАНЕ И СТРУКТУРИРАНЕ ПРЕЗ 70-ТЕ ГОДИНИ
.261
Веселин Николов
.263
Светла
Гостева
.265
Марио Станчев
.282
Кристиан
Шулце
.285
Радка Тонеф
.292
Анатоли Вапиров
.310
Димитър Петров (Заека)
.338
Камелия Тодорова
.341
Константин Носов
.345
Любомир Денев
.348
ПРЕЗ 80-ТЕ ГОДИНИ:
ОТКРОЯВА СЕ МЛАДОТО ПОКОЛЕНИЕ
.361
Боян Воденичаров
.368
Антони
Дончев
.·.383
Христо Йоцов
.385
Йълдъз Ибрахимова
.390
Веселин Койчев
.396
Георги Борисов
.399
Божидар Сотиров
.
428
ПРЕКРАЧВАНЕ В 90-ТЕ ГОДИНИ
.
437
Теодосий Спасов
.
Литература
.
Преса и периодика
.
Дискография
.
JAZZ IN BULGARIA,
AND BULGARIANS IN JAZZ
.492
СЪДЪРЖАНИЕ
НА ДИСКА
.510
Jazz in Bulgaria, and
Bulgarians in
jazz
It has already been proven that Wallace Hartley's Band played on
the continent for the last time in Sofia. In the autumn of
1911,
he first
played at the Sea Casino in Varna, and then at the Sofia City Casino.
While in Sofia, he received a telegram inviting him to Southampton.
This is the band that played on the Titanic. The rest is history.
Jazz first came to Bulgaria in the immediate aftermath of the First
World War, in which the country was an ally of the defeated Germany.
According to the agreements signed at the end of the war, French and
Italian occupation forces commanded by General
Chrétien
moved into
the Bulgarian capital of
Sofìa.
They were accompanied by quite a few
military bands, which started appearing in the shows of already exist¬
ing and newly opened cabarets and nightclubs. "The army must have
fun," the French commander in chief ordered. This order was to prove
very appealing for large sections of the civilian population too, which
was desperate for a change after years of deprivation and suffering.
Popular dances
-
especially the already fashionable shimmy, Boston,
Charleston and foxtrot
-
spread like an epidemic. Bands and orchestras
were quick to react, adjusting to the new situation and drawing the
first dividing line between the existing salon and dance ensembles.
From another direction, that of silent movies, jazz spread in the
country by way of the orchestras that played live in the initially makeshift
cinemas. The first specially built cinema
(1907)
was the Modern The¬
ater
(Modernes
Theater
AG. für Kinounternehmungen) in
the center of
Sofia, owned by the Italian Carlo Vaccaro. The cinema had
600
seats and
¡AZZ
IN BULGARIA, AND BULGARIANS IN JAZZ
493
state-of-the-art equipment. It also had the largest orchestra playing to
silent movies in Sofia at the time
-15
or
16
musicians. Many of the then
young musicians eventually became famous, respected, internationally
acclaimed performers and professors at the Music Academy.
Still, jazz in its earliest format became popular in Bulgaria mainly
thanks to imported gramophone records. Statistics show that in
1919
there were about a hundred gramophones in Sofia; just one year later,
their number was more than a thousand. In
1921,
a total of
16,763
gramophones were imported from France and the USA alone
-
a true
boom, which prompted the leading companies in the industry to open
offices in Varna and Bourgas, the biggest cities on the Bulgarian Black
Sea coast.
Jazz was especially popular with the intellectual and artistic com¬
munity, which saw it as a symbol of modern art that was gradually
making its way into Bulgaria. A group of writers and literary critics
educated in Germany and Russia, supporters of German Expression¬
ism and the Futurist manifesto of the Italian F. T. Marinetti, popular¬
ized the modern cultural trends, including jazz along with literature,
painting and architecture. The poet
Geo Milev
(1895-1925) -
the first
translator into Bulgarian of Verhaeren, Nietzsche,
Mallarmé
and
Ver¬
laine,
to name but a few
-
mentioned jazz as early as
1922.
His ideas
were shared by architect and writer Chavdar Moutafov
(1889-1954),
artist and journalist Sirak Skitnik
(1883-1943),
and other intellectuals
and people of the arts. But not by the musicians from academic circles,
who were too preoccupied with the ideal of "high art" to be sensitive
to the changing spirit of the age. In
1927
Kiril Krastev
(1904-1991),
an
art critic from
Geo Milev's
circle, published in the weekly for literature
and art Iztok/East a culturological essay on "Jazz Bands as a World-
view", summing up the ideas and motives of his fellows.
There is also a little known hypothesis about the way in which jazz
spread in Bulgaria, but since practically no research has been done on
the subject to date it remains unsubstantiated. It concerns the large
Bulgarian immigrant community in the USA in the early 20th century,
which produced several brass bands. According to the Bulgarian-lan¬
guage daily
Bulgarski Glas/Bulgarian
Voice (Granite City, Illinois), the
big brass Orient Band was formed in
1914,
followed by another one,
called the Bulgarian Balkan Band and created in Steelton, Pennsylva¬
nia, in
1915.
There is also evidence about another four or five bands in
different states. The majority of those musicians returned to Bulgaria
after the First World War, and they might well have brought jazz skills
and knowledge to their home country. Still, such a hypothesis ought
494
Владимир Гаджев
♦
Now's the Time
to be viewed very cautiously until historiographers and musicologists
find conclusive proof.
On the other hand, there is more than conclusive proof of the
propagation of American culture in Bulgaria as a government policy in
the
1920s.
The war had left a vacuum in the Great Powers' spheres of
influence in the country and the USA took advantage of this. In
1926-
1927
America's interest in Bulgaria found expression in the launched
construction of new, comfortable premises for the American College
near Sofia. In
1926
the syndicate FANAMET opened an office in Sofia
to promote the latest American films in the USA and Europe simulta¬
neously. FANAMET represented the interests of the three largest film
companies
-
Famous Players Film Company (better known as Para¬
mount Pictures), First National, and Metro-Goldwyn-Mayer. The re¬
sults were not late in coming: the number of American films shown in
Bulgaria grew significantly, whereas some of the alumni of the Ameri¬
can College became part of the first generation of Bulgarian jazzmen,
excellent opera singers or other musicians.
The pioneer of jazz in Bulgaria was Boris Leviev
(1902-1968),
who returned to the country in
1927
after completing his education
at the Music Academy in Berlin. He formed an orchestra with which
he played regularly at the Bulgaria Hotel in central Sofia. A similar or¬
chestra was formed by "White" Russian
émigrés.
This orchestra, called
Rousski Orel/Russian Eagle, played at the Imperial Bar in Sofia and is
notable less for its musical skills than for the fact that it demonstrated
for the first time the complete saxophone family. But the Bulgarians
got their first real taste of original American jazz thanks to pianist
Sam Wooding and his orchestra, which came to Sofia
(1928)
with the
Chocolate Kiddies revue. (The orchestra included trumpeters Bobby
Martin and Adolphus "Doc" Cheatham, trombonist Albert
"Al"
Wynn,
clarinetists and saxophonists Willie Lewis and Eugene "Honey Bear"
Sedric, pianist Freddie Johnson, and drummer Ted Fields.) This con¬
cert, which was part of a tour that included Bucharest, Sofia and Istan¬
bul, is assumed to mark the beginning of jazz life in Bulgaria.
The Great Depression following the New York Stock Market Crash
of
1929
hit Bulgaria too, leading to the closure of many restaurants,
dance halls and nightclubs. Musicians were faced with severe unem¬
ployment. In its turn, the arrival of sound films resulted in huge job
losses for orchestras. Some musicians were forced to change profes¬
sions, others became teachers or bandmasters, and only the best man¬
aged to find a job at the Opera or the Cooperative Operetta Theater.
Quite a few musicians emigrated to Western Europe in search of em-
Jazz in
bulgaria,
and Bulgarians in
jazz
495
ployment. One of them was clarinetist and alto-saxophonist
Lubomir
Vapordjiev
(1904-1983),
later known as
Lubo
D'Orio. He was one of
the few leaders who succeeded in keeping their bands together during
World War II, impressing the Americans during the occupation of Ber¬
lin. As German critic Joachim-Ernst Berendt claims, in the immediate
aftermath of the war there were four big bands in Berlin:
Lubo
D'Orio,
Erhard Bauschke,
Kurt Hohenberger, and Max
Rumpf.
In Berlin, which was a Mecca for actors, artists and musicians
from all over Europe until the Nazis came to power, there was a well-
established Bulgarian musical colony in which the leading figure was
composer
Pancho Vladiguerov
(1899-1978),
who collaborated with the
great theatrical director and reformer Max
Reinhardt.
Vladiguerov also
wrote the first original Bulgarian jazz pieces
-
Romance and Cakewalk
(1920)
Shimmy Orientalico for violin and piano
(1924),
part of the music
for
Reinhardts
production of The Merchant of Venice by Shakespeare,
and Foxtrot for piano
(1925) -
although these were the composer's only
departure from classical music. Another big name in Berlin was tenor
Ari
Leschnikoff
(1896-1978)
from the legendary vocal sextet Comedi¬
an Harmonists. The sextet was modelled on the vocal group Revellers,
but became so famous worldwide that it continued influencing similar
groups formed in Europe and the USA decades later. One of the last con¬
certs of Comedian Harmonists was on the flagship of the US Navy in
1934.
Among the audience was President Roosevelt and the crews of
the ships from the Atlantic and Pacific Fleet moored in the Bay of New
York. The sextet broke up because three of its members were Jewish and
could not return to Nazi Germany. In
1952
Leschnikoff formed a similar
sextet in Bulgaria, but it failed to win recognition and broke up in
1954.
In Sofia, one of the leading figures on the jazz scene was pianist
Assen
Ovscharov
(1906-1967) -
a musician with a key, fundamental
role in the promotion and development of jazz in Bulgaria right until
the end
1940s.
In the
1930s
there were about twenty jazz bands and
orchestras in Sofia alone, and this prompted
Assen
Ovscharov to be¬
come the initiator of the first jazz club, formed in
1933.
It was called
Jazz Orchestral Club, and its first elected president was Boris Leviev.
Ovscharov was also the leader of the Jazz Ovscharov big band, which
gave jazz a new, higher legitimacy by bringing it out of restaurants and
night clubs and offering it on the concert stage at the Royal Cinema
(1938).
By that time the band had already been joined by saxophonist
Bojidar Sakelarev
(1910-1985),
who had recently completed his edu¬
cation in Germany where he had played in several local bands. During
the Second World War he left Ovscharov to form his own big band, thus
496
Владимир Гаджев
♦
Now's the Time
giving Sofia the advantage of having two solid, rival big bands. But oth¬
er big cities in the country were not far behind the capital. In
Rousse
on the Danube, trumpeter Zico Grassiani
(1924-2003)
formed the first
jazz orchestra, which later evolved into a big band called Maccabee. At
the same time, pianist Peter Hadjistoykov formed the big band Rous-
senskite Optimisti/The
Rousse
Optimists. The many young musicians
who played in this band would become the backbone of jazz in
Rousse
over the next decades and right until the present day.
On February
20, 1930
a group of Bulgarian intellectuals led by
chemistry professor
Assen
Zlatarov
presented the first Bulgarian plan
on radio broadcasting. This laid the foundations of the public organi¬
zation
Rodno
Radio/Bulgarian Radio, whose eponymous transmitter
started broadcasting regularly on medium waves in the same year.
Yet despite the growing popularity of radio in Bulgaria, gramophone
records remained the main medium of musical information in this
period. Albeit with purely commercial rather than artistic motives,
gramophone records started being produced in Bulgaria too. In
1931
popular singer Albert
Pinças
created the company Lifa Record Ltd.,
which recorded music "on wax" in Berlin and Bucharest, producing
the actual records in Sofia by means of two manual presses. In
1934
Simeon
Petrov,
a retired air force major, founded a far more modern
record company called Simonawia
Handels
und
Industrie A.G. Simo-
nawia was practically the first closed-cycle company in the industry.
The label on its records was "Orpheus". The end of World War II found
Bulgaria with four record companies: the above-mentioned Lifa Re¬
cord, renamed Balkan; Simonawia with the corporate label "Orpheus";
Arfa/Harp and Mikrofon/Microphone. Following the nationalization
of the industry at the end of
1947,
the first two were merged (Harp
and Microphone had gone bankrupt) into a single company, eventu¬
ally renamed
Balkanton,
which would remain a monopolist in the next
decades of communist rule.
Bulgaria's first national radio station was established by a statu¬
tory ordinance dated January
31,1935
and signed by King Boris III.
Its first director was Sirak Skitnik, an artist, art critic and journalist
who was highly respected in the cultural community. In
1936
he ap¬
pointed as music director of Radio Sofia the composer Dimitar Nenov
(1901-1953),
who had received an education in architecture in Ger¬
many and in music in Italy. Nenov had already won a solid reputation
in Europe as a concert pianist. The year he was appointed music di¬
rector Nenov started a program called "Famous Jazz Orchestras", fol¬
lowed several months later by "A Quarter of an Hour of American Jazz
¡AZZ
IN BULGARIA, AND BULGARIANS IN JAZZ
497
that continued to be broadcast every Saturday for years after he left
office. Thanks to Nenov, two orchestras were formed
-
the Salon Radio
Orchestra and, later, the Radio Sofia Jazz Orchestra
-
and live music
broadcasts became a regular feature of the evening programs. In
1936
newly built radio stations started broadcasting from Varna and
Stara
Zagora,
marking the beginning of regional radio services in Bulgaria.
In the early
1940s
several Bulgarian jazzmen became popular in
Austria and France, but they have remained virtually unknown in Bul¬
garia to the present day. A series of musical "archaeological" studies
conducted in European Union countries in the
1990s
unearthed the
name of Raymond Wraskoff, a pianist and arranger. Throughout
1941
Wraskoff recorded programs with Django
Reinhardt
and played in the
big band Jazz Victor, with which he made recordings for the company
Pathe. In Vienna, Peter
Marinoff [1929-1991)
was a well-known gui¬
tarist. He was a member of the big band Austria All Stars, but he also
played in the
Horst
Winter
Tanzorchester (HWT)
with guitarist
Attila
Zoller and the very young pianist Joe Zawinul. Towards the end of his
life Peter
Marinoff
worked with the American alto-saxophonist Leo
Wright, who had settled in Vienna, and with his wife and singer
Elly
Wright.
In Bulgaria, the situation was far from favorable even though the
first postwar years brought hope that the country might develop along
democratic lines. The military allied commissions of the winners in
World War II were quartered in Sofia, and the Fatherland Front gov¬
ernment was a coalition government (albeit dominated by the Left).
The country's future was still uncertain (although it had been prede¬
termined by the secret Yalta Agreement between Churchill and Stalin).
The wounds from the bombings had not healed yet, but the revived cul¬
tural life was still liberal and open to different influences. The shelved
in
1941
American, British and French films were quickly brought out
and offered to the public. Especially attractive were the musical revues
featuring
Bing
Crosby,
Sonja
Henie,
Artie Shaw,
Lana
Turner, Glenn
Miller, Judy Garland and others. The repertoire of the growing num¬
ber of jazz bands and orchestras continued to be formed by listening
to records and writing down the scores (of improvisations included!).
This source was enriched by short films featuring the best known or¬
chestras at the time, mostly big bands. A fresh influence came from
tne
78-rpm records in the V-Disc series, which included several hundred
recordings of top pop and jazz musicians selected by the US War De¬
partment's Army Special Services Division. David Ewen's pocket-size
booklet Men of Popular Music, designed mainly for the troops from the
498
Владимир Гаджев
♦
Now's the Time
US army in Europe but also handed out to the civilian population in
the liberated countries, was very popular too. American musical films
and revues were another precious source
ofinformation
for Bulgarian
musicians and fans eager to learn more about jazz and pop music. The
first scores published by the big book center
Bulgarska
Lira/Bulgarian
Lyre included piano scores, texts and photographs of the stars of the
films shown on the big screen. Later, when this activity was discontin¬
ued in communist Bulgaria, similar scores
-
published by the Istanbul-
based S. Iskender Kutman Press
-
were offered semi-legally by the few
surviving private book dealers. Or were sent to friends and fellow mu¬
sicians by Bulgarian Jews who had emigrated to Israel.
By
1947
communist rule was firmly established in Bulgaria. So
were the ideological dogmas that eliminated the last remnants of a
democratic cultural life. The jazzman
Assen Ovscharov
was arrested,
sent to prison and then to a forced labor camp, after which he was
interned to a town of his choice. He settled in Bulgaria's second larg¬
est city, Plovdiv, where he taught the accordion at the local secondary
school of music. Later, when the cultural climate became more favor¬
able, he formed a big band of young people, some of whom have con¬
tinued playing in jazz bands to the present day. In
1948
a large number
of Jews emigrated to Israel, including the majority of jazz musicians.
This was a big loss for jazz in Bulgaria, because there were many musi¬
cians of Jewish origin in the country (the term "Jewish jazz" had been
coined as early as the
mid-1920s)
who played in all-Jewish or mixed
bands. Quite a few of them became leading figures in Israel
-
for ex¬
ample, Zico Grassiani, who was chief conductor of the country's rep¬
resentative military orchestra for many years. Others went to the USA
-
like saxophonist Leon Alfassa, who conducted and taught music at
the University of Columbia. Few remained in Bulgaria, but those who
did stayed true to music and jazz.
A big band called Jazzut na Mladite/Jazz of the Young was formed
and survived for a short while in Sofia, before it was disbanded in
1949
and restored in
1953.
The band produced the second generation in
Bulgarian jazz. Part of the jazz musicians had higher education but not
necessarily in music, which stood to reason
-
jazz was rejected and
undesirable at the Music Academy. Another source of jazz musicians
were the brass bands of elite secondary schools and higher education
institutions, provincial and semi-militarized bands
-
city, railway, fire¬
men's and other bands. But there was also a third source of musicians
-
children from so-called "bourgeois families" who were prohibited or
seriously restricted from studying at university. They were compelled
Jazz in
bulgaria,
and Bulgarians in
jazz
499
to earn a living with the only skill they had learned at home
-
playing
an instrument, mainly the piano.
The passive resistance against the depersonalizing uniformity of
the communist regime gave birth to an underground urban folklore
and behavioral model. These were usually popular jazz themes from
the age of swing, with adapted comic lyrics in Bulgarian ranging from
light domestic humor to bitter political satire. The media condemned
the young people who spread this underground folklore and tried to
follow the latest Western fashions in dress, lifestyle and manners as
zozi (fern. sing, zoza) and
swingi
(mase.
sing, swing). These terms come
from the French "zazou" and the English "swing". They became popular
during the war when the Bulgarian press took its cue from Nazi pro¬
paganda in ridiculing and condemning young people's desire to keep
up with the latest fashions in the Western democracies. Paradoxically,
in this way totalitarian communist media molded public opinion by
means and terms borrowed from the defunct "fascism", as Nazism was
commonly known in Bulgaria.
In the early 50s, two large orchestras of sympho-jazz format were
formed at the country's single state Concert Agency, but they got to¬
gether only for particular concerts or shows. The two orchestras were
led by the prominent Bulgarian radio broadcaster, sports commenta¬
tor and conductor by education Boris Simeonov, the young composer
Emil
Georgiev
(1926-1992)
and Hristo Vouchkov. Some jazz pieces and
works by George Gershwin were sneaked into their repertoire, played
mainly by Otto Libih, a well-known concert pianist and attractive salon
improviser on
classical and popular themes and patterns.
The first Bulgarian musical film was released in
1956:
Dve Pobe-
di/Two Victories, which copied the plot and genre (situation comedy)
of the Soviet film Vesyolyye Rebyata/Jolly Fellows, produced two de¬
cades earlier
(1934).
The music, as that by Isaak Dunayevsky, was in
swing idiom and was written by the composers
Emil
Georgiev
and Pe¬
ter Stoupel
(1923-1994).
Meanwhile, Willis Conover's program "Mu¬
sic USA" was in its second year and, despite the jammers around Sofia,
it became the main source of musical information and theoretical re¬
search for many Bulgarian jazz musicians. It was not until September
9,1977,
the National Day of communist Bulgaria, that the authorities
stopped jamming the
VOA
in exchange for a promise of relaxing import
restrictions on some goods from the USA.
The Bulgarians got a glimpse of what was happening behind the
Iron Curtain in
1957,
thanks to the concerts of Yves
Montând
with Bob
Castella's orchestra and of
Karel
Vlach's Big Band from Prague. Sev-
500
Владимир Гаджев
♦
Now's the Time
eral
musicals starring
Caterina Valente
were released in the country.
In
1961
the Polish bands of
Andrzej Kurylewicz
with singer Wanda
Warska and
Krzysztof
Komeda's quartet were signed on to play for
three months in the largest Bulgarian catering establishments that had
international customers
-
one month each in Sofia and Plovdiv respec¬
tively, and two months in the seaside resorts of Golden Sands to the
north and Sunny Beach to the south.
The music scene livened up somewhat in the late 50s, when the
regime felt an acute need of Bulgarian-made pop music. There were
also people capable of making it, because many small bands were be¬
ing formed sporadically in Sofia, Plovdiv,
Rousse,
Gabrovo and other
cities, driven by a common wish to play jazz. But they were ready to
accept offers for playing pop music in order to support themselves.
Statistics show that in
1960
the Bulgarian radio had just eight record¬
ings of original Bulgarian pop music. (By
1968
their number had risen
to
120.)
Until then jazz was played, albeit occasionally only, by some
of the newly formed orchestras at state theatres, at the circus and in
nightclubs, towards which the regime was more liberal. The develop¬
ing travel industry, mainly at the Bulgarian seaside, needed good or¬
chestras and original music too. The monopolist state radio station
started producing a Bulgarian repertoire, and it was soon followed by
the country's only record company,
Balkanton.
The vacuum was gradu¬
ally filled in the early
1960s
when a large number of bands and orches¬
tras were formed: a big band in the industrial highland city of Gabrovo
(1960);
an amateur band at the University of Sofia, Student
5 (1959),
which was joined by students from the Music Academy too; the Bulgar¬
ian Radio Big Band
(1960),
used mainly for recording; the
Balkanton
Orchestra
(1962),
designed to serve the eponymous record company; a
big band in
Rousse
(1962),
which included many of the musicians from
the city's symphony orchestra; the combo at the Cultural Division of
the Bulgarian Army
(1963);
the Sofia Orchestra at the Sofia Municipal
Council
(1964),
which had universal functions; Slivenskite
Optimisti/
The Sliven Optimists
(1964)
in the highland town of Sliven, and others.
The need of an original Bulgarian repertoire and more good orches¬
tras led to the establishment of a Pop Music Office
(1960)
training and
certifying musicians for catering establishments. In
1963
a pop mu¬
sic vocal studio was created at the Bulgarian Radio. In
1964
the travel
company
Balkantourist also
opened a studio training singers and mu¬
sicians. The Union of Bulgarian Composers started publishing scores
and standard arrangements for small combos. All this created condi¬
tions for the emergence of a genuine jazz scene, whose first signs had
Jazz in
bulgaria,
and Bulgarians in
jazz
_ 501
appeared several years earlier in the newly opened
cafés,
restaurants
and nightclubs. Liberalization allowed the establishment of Bulgaria's
first postwar jazz club in
1965 -
the Hot Club in Gabrovo. The second
Bulgarian musical film was released: Starinnata Moneta/The Ancient
Coin (music by Peter Stoupel), a co-production of the Boyana Studio in
Sofia and
DEFA
in East Berlin, featuring the big band Jazzut na Optimis-
tite/Jazz of Optimists. The example of Gabrovo was followed in
1967
by Sofia
-
a jazz club opened in the capital but was to prove short-lived.
The signs of overall liberalization, in music included, are defined by
political scientists, sociologists and journalists as the cultural "Thaw"
under Khrushchev after Stalin's military communism.
The regime's greater tolerance towards jazz in Bulgaria brought to
the forefront the figure of pianist and composer Milcho Leviev (b.
1937),
a student of
Pancho Vladiguerov's.
Leviev is the first comprehensively
educated musician to lead the Bulgarian Radio Big Band
(1962-1966);
in
1965
he created the quartet Focus^. The quartet, memorable for
the rare improvisational talent of flautist Simeon Shterev (b.
1943),
was formed on a commission from the film industry. Focus was the
title of a series of satirical short films of a magazine format, screened
in cinemas across the country after the weekly newsreel and before
the main feature film. The series became hugely popular, and this had a
positive impact on jazz too. Milcho Leviev displayed his original sense
of humor in full, and his reputation as an original composer won him
many commissions in feature and animated films. From
1964
to
1970
he wrote the music for fourteen such films, including the feature film
Otklonenie/Detour
(1967)
which won first prize and a gold medal
at the International Film Festival in Moscow, as well as the award of
FIPRESCI, the International Federation of Film Critics.
By the end of the
60s
Milcho Leviev had written a number of
pieces based on national folk music
-
the first original Bulgarian jazz
works in the postwar period. In
1967
Focus^ took part in the First
International Jazz Competition for combos in
Montreux,
Switzerland,
where it won the critics' award. In the autumn the quartet played at
the Fourth International Jazz Festival in Prague, and was invited to ap¬
pear in numerous West European clubs and festivals. In
1968
the West
German company MPS recorded an LP of Focus^. One year earlier, in
1967,
tenor-saxophonist Vesselin Nikolov (b.
1938),
an alumnus of the
Warsaw Music Academy, debuted with his quartet at the international
Jazz Jamboree in Warsaw. A live recording of their performance was
included in the festival series of LPs produced by the Polish company
Muza.
Nikolov became one of the founders of the International Jazz
502
Владимир Гаджев
♦
Now's the Time
Federation, the first Bulgarian correspondent of the IJF magazine Jazz
Forum, and author of several theoretical studies published in the mag¬
azine. After appearing at a number of West European clubs, concerts
and festivals, Simeon Shterev won the highest critical acclaim: between
1968
and
1971
he was invariably rated first among European flautists
in the professional poll of Jazz Forum, and second by the German Jazz
Podium in
1968;
his name featured regularly in the Polish magazine
Jazz, and appeared even in the premier US jazz magazine Downbeat.
His collaboration with rock bands such as Sreburnite Grivni/The Sliver
Bracelets influenced the then fashionable guitar bands that created the
prototype of rock jazz in Bulgaria. For a long time Simeon Shterev re¬
mained the most desired "export" name in Bulgarian jazz.
A brief review of the history of Jazz Jamboree shows that Vesse-
lin Nikolov and his quartet were not the first Bulgarian musicians at
this largest festival in Eastern Europe. In
1961
and
1962
the festival
featured the quintet Jazz Outsiders, co-led by tenor-saxophonist Jan
Ptaszyn Wroblewski
and trumpeter Stanimir Stanczew (b.
1937),
the
Bulgarian who is called "the father of the Polish jazz trumpet". He also
played with American guest trumpeter Don Ellis, and appeared as a
frontmän
with Wroblewski in a photograph published in Downbeat on
February
14,1963.
Later, singer
Radka
Toneff
(1952-1982),
whose fa¬
ther was a Bulgarian emigre and whose mother was Norwegian, sang
in Warsaw too as the leader of the
Radka
Toneff Quintet. Jazz Jamboree
deserves special mention because its directors invited Bulgarian bands
regularly in the
70s
and
80s,
thus maintaining the tenuous contact of
jazz in Bulgaria with the international scene and providing invaluable
encouragement.
In
1967
there was a thaw in the media sphere and education. The
death of John
Coltrane
prompted the Bulgarian Radio to start a special
jazz program presented by trumpeter Raicho
Ivanov (b.
1940)
on its
Hristo Botev Program Service
-
the first after the war. Eventually, the na¬
tional radio's two other program services,
Horizont
and Orfey, launched
jazz programs too. But this reaction was several years late, because
specially prepared recorded programs were already being offered eight
hours a day (on the same principle as screening films at cinemas) at
the Bulgaria Marble Hall. Jazz and rock music featured prominently in
them, turning the studio into the only source of public information and
making it immensely popular, especially with young people.
The
1968/1969
school year brought a new surprise
-
the opening
of a Department of Pop and Jazz Music at the Music Academy in Sofia.
This resulted in the centralization of the schools and studios at
vari-
Jazz in
bulgaria,
and Bulgarians in
jazz SOS
ous institutions training singers and musicians for their limited needs.
The Department recruited its teaching staff from among the best ex¬
perts in the country, such as Simeon Shterev (a course in flute-playing
and improvisation), Vesselin Nikolov (history and theory of jazz), and
Vladimir Gadjev (b.
1944)
(history of jazz).
The
1968
World Festival of Youth and Students, which included a
competition for jazz and rock bands, was held in Sofia. The gold medal
was awarded to
Focus,65,
and the silver to Leningrad Dixieland from
the Soviet Union. The off-competition music programs featured, among
others, the Gabrovo Jazz Quintet led by pianist Manol Tzokov (b.
1940).
But by that time many combos playing in different styles were already
giving concerts in Bulgaria: for example, the Gabrovo Quintet played
bebop and hard bop; the
Rousse
Quartet of saxophonist
Petar
Petrov
(b.
1932)
was influenced by
Omette
Coleman; Focus,65
followed the
original style of its leader Milcho Leviev; the Vesselin Nikolov Quartet
used the practically boundless opportunities of modal jazz and Col-
trane's example to experiment with mediaeval modes of Bulgarian
Orthodox church music; pianist Ivan
Peév (b.
1937),
who would soon
leave jazz to go into pop music, was inspired by the unusual harmonic
language and austere expressive devices of Thelonius Monk.
In
1968
again, the first book on jazz history and theory was pub¬
lished in Bulgarian: Paths of American Music, by Russian musicologist
Valentina
Konen.
A considerable part of the book was devoted to the
evolution from primitive folk forms to early jazz. The next book ap¬
peared in
1975:
Jazz: History, Theory, Practice, by Hungarian musician
Janos
Gonda; the third was Andre
Asrieľs
Jazz: Analyses and Aspects,
and the fourth, Mark
C. Gridley's
Jazz Styles. The last two were pub¬
lished in
1982,
practically ending the list of translated books on jazz
theory and history. On the other hand, a series of biographies of great
jazz musicians were published in the
80s:
The Louis Armstrong Story
(by Max Jones and John Chilton) in
1983,
Josephine Baker (by J. Baker
and Jo Bouillon) in
1984,
Lady Sings the Blues (by
Billie
Holiday and
William Dufty) in
1985,
The World of Duke Ellington (by Stanley Dance)
in
1987,
and a number of others, including two biographical collections
devoted to American musicians by Bulgarian saxophonist
Ludmil
Geor¬
giev
(1930-2003).
It was not until
1989
that the first original Bulgarian
book on jazz theory came out: My Favorite Things by saxophonist Ves¬
selin Nikolov, a literary version of his lectures at the Department of The¬
ory and Composition at the Music Academy in Sofia. A second edition
of the book was published ten years later. Another saxophonist, Anguel
Veznev (b.
1939),
published in
1994
an extensive study in two volumes
504
Владимир Гаджев
♦
Now's the Time
on Ways of Improvisation in Contemporary Music, crowning his forty-
year career in jazz and generalizing his theoretical analyses inspired by
Willis Conover's earliest broadcasts. In
2004
the first two books on jazz
in Bulgaria appeared on the market: the autobiographical Life in
33/16
by Milcho Leviev and the historiographical A Love Supreme: Vesselin
Nikolov and His White, Green and Red by Vladimir Gadjev. This is prac¬
tically all the literature on jazz available in Bulgarian.
In
1970
Milcho Leviev accepted Albert Mangelsdorff's invitation
to become a composer and arranger at the radio orchestras in Stut¬
tgart and Frankfurt am Main. In February
1971
he moved to the USA,
where he became a pianist in the Don Ellis Big Band. While Leviev was
continuing his artistic development in the USA, composing, recording
and playing with some of the most famous jazz musicians and singers,
saxophonist Vesselin Nikolov returned to Bulgaria after completing
his education in Warsaw. In the city of Pazardjik
(30
km from Plovdiv)
Nikolov created his band
Beli,
Zeleni i Cherveni/White,
Green and Red,
with which he proceeded to open a new page in the history of jazz in
Bulgaria. The help of the Union of Music Workers, which had under¬
taken to restore jazz life in Bulgaria after the Prague Spring of
1968,
proved crucial too. For the first time, the daily and periodical press
turned to the art of jazz, publishing regularly popular history articles
and reviews. There were also more liberal trends in government poli¬
cies, especially in policies concerning young people: a number of youth
centers were built across the country, some of which readily accepted
jazz in their programs. A little later, Vesselin Nikolov's White, Green
and Red was appointed jazz band at the Plovdiv State Philharmonic. In
1973
Nikolov invited the first West European jazz musicians
-
Dutch
pianist Jack Van Poll and Belgian bassist Freddie Deronde
-
to play
with his quintet during a concert tour, recruiting singer
Svetla
Gos-
teva (b.
1945),
who had recently returned from Prague, as the band's
soloist. In this context, in
1974
the Union of Music Workers restored
the self-disbanded jazz club in Sofia; next came the first international
jazz festival, in Yambol
(100
km from the Black Sea coast). In addi¬
tion to the already active White Green and Red and the Sofia Orchestra,
there now was a quintet led by pianist Mario Stantchev (b.
1948),
later
renamed Simeon Shterev Quartet, and the
Rousse
Orchestra of saxo¬
phonist
Petar
Petrov,
educated in Prague. The jazz club in Gabrovo was
restored too. The death of Duke Ellington in
1974
served as an occasion
for organizing an unauthorized jam session at the Golden Orpheus, an
international festival and competition for pop music. The jam session
brought together an entire constellation of musicians, including alto-
Jazz
in
bulgaria,
and Bulgarians in
jazz
_ 505
saxophonist Leo Wright, trombonist Andre Paquinet, trumpeter Rolf
Erikson, pianist Jesus
Chucho
Valdes,
alto-saxophonist Paqito D'Rivera,
trumpeter
Arturo
Sandoval
and other musicians from the West Ber¬
lin Big Band, the Bulgarian Radio Big Band and the Sofia Orchestra. In
1977
an international festival was held in the highland town of Sopot,
featuring the
Zbigniew Namyslowski
Quartet. The festival continued
the Polish tradition in the history of Bulgarian jazz, which has survived
to the present day as the only permanent foreign influence.
The contacts of Bulgarian jazz started developing bilaterally, and
in
1976
White, Green and Red took part in the festival in Reno, Ne¬
vada, and three years later in the major Newport international jazz
festival in New York. In
1977
the First National Review of Bulgarian
Jazz Orchestras was held in Sofia's most prestigious concert hall, the
Bulgaria Hall, featuring three big bands, two small bands and several
other groups
-
thirteen participants in all. The audience and experts
singled out the quartet of young pianist
Lubomir
Denev (b.
1951)
and
a specially assembled big band called Experiment and co-led by Dimi-
tar
Petrov
(1944-1994)
and Peter Slavov (b.
1941).
The following year
similar festivals were launched in Gabrovo and
Rousse, once
again with
the support of the Union of Music Workers. This created what may be
defined as a chain of festivals that started in Sopot around Easter and
continued in Gabrovo in summer, ending in Sofia and
Rousse
in autumn.
Encouraged by the great interest of the audience in jazz, Bulgaria's only
concert agency began arranging concerts of top-class musicians and
bands from Eastern Europe. In
1978,
the big band of the Glenn Miller
Foundation led by trombonist Jimmy Henderson came to Sofia
-
the
first American jazz musicians to appear in Bulgaria after Sam Wooding
in
1928.
The company
Balkanton
reacted very swiftly too, launching a
series called Jazz Panorama parallel with LPs of Bulgarian bands. The
series, which was practically pirated, presented LP collections featur¬
ing the most popular players of each instrument, singers, big bands,
and so on. It became especially popular on the virgin but vast market
of the Soviet Union, and
Balkanton
made huge profits.
Russian trumpeter
Konstantin Nossov
(1938-1984)
was wel¬
comed with great enthusiasm by Bulgarian jazz circles when he settled
in Sofia after marrying a Bulgarian painter. He arrived with the halo of
a dissident, co-leader of the Nossov-Goldstein Quintet and key figure
in the illegally published in America LP Lenigrad Jazz Festival
(1961).
Initially joining the Sofia Orchestra, he went on to create the Dynamite
Brass Band together with trombonist
Georgi
Borissov (b.
1943).
In
1980
Nossov took part in the Warsaw Jazz Jamboree with the Sofia
506
Владимир Гаджев
♦
Now's the Time
Orchestra and singer
Kamelia Todorova
(b.
1952),
and was included in
the series of LPs recording the festival for posterity. Until his untimely
death Kostya Nossov was also the favorite soloist of the big bands that
Georgi
Borissov has continued to assemble on special occasions to this
very day.
The specific character of musical education in Bulgaria
-
with a
dynamic accent on the traditional European model
-
cultivates some
specific creative inclinations that have found a more serious place in
jazz practice. In
1975
Vesselin Nikolov's Protuberances, a work for a
symphony and a jazz orchestra, was performed for the first time in
Plovdiv. The conductor was the then young
Emil Tchakarov,
who would
eventually embark on a brilliant international career under the guid¬
ance of Herbert
von
Karajan.
This is the first publicly presented at¬
tempt at integrating the two types of orchestras and two different
musical languages. Ten years earlier, Milcho Leviev had written his
Music for Big Band and Symphony Orchestra, but its performance was
postponed until Christmas
1980
because of the composer's status as
a "defector" from the communist system. Nikolov's and Leviev's exam¬
ple was followed by Mario Stantchev, who presented at the
1979
Sofia
festival a suite in four movements
-
"Scott" (Joplin), "Duke" (Ellington),
"Charles" (Mingus) and "Chick"
(Corea)
-
for brass quintet, percussions
and piano. After his defection to France in
1980,
Stantchev rewrote the
suite and it won him the annual award of the Mayor of
Lyon. In 2001
Vesselin Nikolov's Protuberances
2
was performed in the USA. Many
other Bulgarian jazz musicians, including the youngest ones, have con¬
tinued working in this vein. There is also a pronounced interest in re¬
writing classical themes and works in a contemporary jazz idiom.
From another direction, that of folklore, the so-called "wedding
bands" made up mainly of Gypsy musicians became very popular in the
late
70s.
This practice spread rapidly at the lowest, everyday level of
musical life. Something similar was happening almost simultaneously
in the regions around the Black Sea coast
-
Southern Russia, Southern
Ukraine, the Crimea, Moldova, Armenia and elsewhere
-
which sug¬
gests that a visible and sustained process was developing in this part
of the world. The first manager to show an interest in it was British
producer Joe Boyd, who had already worked with the band Queen. In
the late
80s
he brought clarinetist
Ivo Papazov
(b.
1952)
and his Tra-
kiya Band to Western Europe, institutionalizing Papazov's place within
the coordinate system of the newly emerging phenomenon known as
"world music" and "modern
improvisa«
onal music". The late
80s
also
saw a crossover between wedding music (which is essentially folk mu-
Jazz in
bulgaria,
and Bulgarians in
jazz
507
sic) and jazz, the first expression of the newly created mix being the
program of the Folk Jazz Band "Plovdiv" released on LP by
Balkanton.
The jazz community started looking for circuitous ways of attract¬
ing and integrating Milcho Leviev from the USA, who was regarded by
communist ideology as a "traitor". But the myth around his name had
become too powerful, so in
1980
the best form in which he could be
invited to the country was finally found
-
the Sofia jazz festival was re¬
formatted as an international event. Leviev was welcomed ecstatically
by his fellow musicians and the audience at Sofia's universal sports
hall
Universiada
[seating
3,000).
The price of this international event
was the cancellation of the matinee youth concert featuring secondary
school and academy students. This gap was filled in
1981,
when the
Central Student Home of Culture launched its own jazz festival, Youth
Jazz Scene, presenting the entire youngest generation of musicians.
In the
80s,
when the communist doctrine was in crisis, the re¬
gime took a series of subtle measures designed to attract young peo¬
ple and divert their attention from current political and social issues.
The policy of the stick was replaced by that of the carrot, creating an
illusion of democratic cultural development. The communist party
came up with an original theory of outlets for social tensions, one of
which became the big international jazz festival in Sofia that went on
to present some of the greatest American and European musicians and
bands until
1991.
A network of new festivals including jazz in their
programs was established. Jazz also became part of national cultural
policies, especially in major events abroad. In this way jazz in Bulgaria
acquired some self-confidence, which was upset only by the new ban
on Milcho Leviev's concerts in the country! The manipulative social
techniques applied by the already agonizing communist system re¬
mained invisible for jazz musicians. But more and more Bulgarians
started appearing on festival stages: the Gabrovo Dixie Swing Band
played in Sacramento, California,
(1990);
Jazz Yatra in Bombay, In¬
dia, invited consecutively the White, Green and Red band, the Simeon
Shterev Quartet, the
Rousse
Orchestra, singer
Kamelia Todorova,
and
others. The festivals in Gabrovo and
Rousse
became international too
(the festival in Sopot was international from the very beginning)
-
the
one in Gabrovo turning into a Dixieland Parade with a focus on ear¬
lier jazz, and the one in
Rousse
giving priority to contemporary forms
and styles. The youngest generation produced creative formations,
such as the duo Acoustic Version from Sofia and Jazz Line from Plovdiv.
Acoustic Version
-
pianist Anthony Donchev (b.
1960)
and drummer
and vibraphonist
Christo
Yotzov (b.
1960) -
won the International Jazz
508
Владимир Гаджев
♦>
Now's the Time
Competition for Young Bands in Hoeilaart, Belgium
(1985)
and then
the highly prestigious Young European Jazz Artists
'86
title at the Fifth
European Competition in
Leverkusen,
Germany. The duo later became
a trio after it was joined by young bassist
Georgi Donchev
(b.
1967),
Anthony's brother. The far less well known Jazz Line set out as a duo
(electric bass and electric guitar) and gradually evolved into an open
ensemble featuring other musicians too. One of them was folk music
student and kaval (an original Bulgarian folk musical instrument simi¬
lar to the shepherd's pipe) player
Teodosii
Spassov (b.
1961),
who in
the next decade went on to become a prominent figure in world mu¬
sic and ethno jazz with Trilok Gurtu's The Glimpse, Rabih-Abou Khalil,
Dave Libmann, and others. Another Jazz Line star is singer Yildiz Ibra-
himova (b.
1952),
who is represented by Universal and shares her time
between Sofia, Istanbul and Ankara. In a paradoxical way, the band
evolved into what became known as the Vesselin Nikolov Jazz Line, led
by the now famous saxophonist, while later guitarist Vesselin Kojchev
(b.
1960),
one of the two founders of Jazz Line, replaced Nikolov as the
leader of White, Green and Red.
The collapse of the communist regime at the end of
1989
changed
the Bulgarian jazz scene radically. The old concert agencies and struc¬
tures ceased to exist, whereas the principles of market economy were
accepted too literally by musicians and new managers. Jazz was com¬
pletely marginalized, old contacts were severed, and new ones were es¬
tablished with difficulty in a different, increasingly integrated European
context. A process which Bulgaria joined later than other ex-communist
countries. Precisely at such moments the absence of structures and in¬
stitutions of the art of jazz in Bulgaria was felt most acutely, but there
was no will for creating civic and professional associations promoting
jazz. For some time, especially after his
1993
album Lombrosso (fea¬
turing saxophonist Andy Scofield), fans and critics pinned their hopes
for a new star on the Bulgarian jazz scene on pianist Vasil Parmakov
(b.
1962).
Several European jazzmen, mostly British, came, played and
recorded briefly in Bulgaria, but they were quickly disappointed by the
absence of normal conditions for work. The international jazz forum
within the Varna Summer Festival (launched in
1926),
managed intel¬
ligently by saxophonist Anatoly Vapirov (b.
1947),
became the only cre¬
ative haven for jazz musicians. Vapirov is the second musician from the
former Soviet Union to settle in the country after marrying a Bulgarian.
When he came to Bulgaria in the
mid
-вОѕ,
he had a reputation as one
of the leading avant-garde jazz musicians in Leningrad, author of many
compositions and recordings with different bands, some of which were
Jazz in
bulgaria,
and Bulgarians in
jazz
509
released by the London-based Leo Records. He believes in spontane¬
ous, sometimes called total, improvisation, first practiced in Bulgaria
by pianist
Boyan
Vodenitcharov (b.
1960),
who is now a professor at
the Music Academy in Brussels. In
1992
Anatoly Vapirov initiated the
jazz festival in Varna, drawing on the best international experience in
the field. Thanks to the high artistic standards observed by the selector,
the Varna festival has become one of the most interesting in Eastern
Europe and definitely the best in the Black Sea region. The only festival
to survive the transition from communism to democracy is the Dixie¬
land Parade in Gabrovo, but now in a local and very limited format. Jazz
Forum in Rouse has also been making successful but sporadic attempts
in this respect. At the same time, the newly developing winter skiing
resort of
Bansko
(in Mount
Pirin,
Southwestern Bulgaria) has launched
its own annual summer jazz festival with a commercial profile and
self-advertising purposes. In Sofia, three festivals that are yet to find a
successful formula of attracting greater professional interest are orga¬
nized by the private company Sofia Music Enterprises (Music Jam), the
smooth-jazz format radio station Jazz
FM
(Jazz Peak), and RFI
(Jazzł).
Depending on the financial resources, local festivals are occasionally
held in the towns of
Haškovo, Blagoevgrad,
Teteven and
Stara Zagora.
A good sign for a more promising future of jazz in Bulgaria comes
from the growing number of emigrants from the Bulgarian diaspora.
The freedom of movement following the fall of the Berlin Wall and the
lifting of
Schengen
restrictions has prompted many young musicians
to seek narrowly specialized jazz education in various academies in
Western Europe and the USA. They are visiting, giving concerts and
recording in Bulgaria more and more frequently, maintaining higher
artistic standards and introducing new trends. They are coming from
different directions
-
from France, the USA, Germany, Austria, the
Netherlands, Belgium, Norway, Sweden and other countries. The most
regular guest performer is, naturally, Milcho Leviev, but there are also
quite a few other jazz musicians who are yet to debut in Bulgaria
-
es¬
pecially the well-known in New York pianist Mario Grigorov, who is an
Australian citizen. Part of the already mentioned musicians from the
diaspora and the metropolis took part in the Week of Bulgarian Jazz
organized by the Porgy
&
Bess Club in Vienna within the long-term
program "Step Across the Border" (January
7
to
13,2005).
This is the
largest presentation of Bulgarian jazz in the world to date.
Vladimir Gadjev |
| any_adam_object | 1 |
| author | Gadžev, Vladimir 1944- |
| author_GND | (DE-588)143259016 |
| author_facet | Gadžev, Vladimir 1944- |
| author_role | aut |
| author_sort | Gadžev, Vladimir 1944- |
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| building | Verbundindex |
| bvnumber | BV036958569 |
| ctrlnum | (OCoLC)706970223 (DE-599)BVBBV036958569 |
| edition | 1. izd. |
| era | Geschichte 1911-1991 gnd |
| era_facet | Geschichte 1911-1991 |
| format | Book |
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| genre | (DE-588)4002214-6 Anthologie gnd-content |
| genre_facet | Anthologie |
| geographic | Bulgarien (DE-588)4008866-2 gnd |
| geographic_facet | Bulgarien |
| id | DE-604.BV036958569 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T01:08:06Z |
| institution | BVB |
| isbn | 9789543217410 9789543217519 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020873491 |
| oclc_num | 706970223 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 509 S. Ill. 1 CD |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Iztok-Zapad |
| record_format | marc |
| spelling | Gadžev, Vladimir 1944- Verfasser (DE-588)143259016 aut Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 Vladimir Gadžev Now's the time Džazăt v Bălgarija, bălgarite v džaza Jazz in Bulgaria, Bulgarians in Jazz 1. izd. Sofija Iztok-Zapad 2010 509 S. Ill. 1 CD txt rdacontent n rdamedia nc rdacarrier PST: Now's the time. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Geschichte 1911-1991 gnd rswk-swf Jazz (DE-588)4028532-7 gnd rswk-swf Jazzmusiker (DE-588)4028535-2 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf (DE-588)4002214-6 Anthologie gnd-content Bulgarien (DE-588)4008866-2 g Jazz (DE-588)4028532-7 s Geschichte 1911-1991 z DE-604 Jazzmusiker (DE-588)4028535-2 s Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020873491&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020873491&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Gadžev, Vladimir 1944- Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 Jazz (DE-588)4028532-7 gnd Jazzmusiker (DE-588)4028535-2 gnd |
| subject_GND | (DE-588)4028532-7 (DE-588)4028535-2 (DE-588)4008866-2 (DE-588)4002214-6 |
| title | Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 |
| title_alt | Now's the time Džazăt v Bălgarija, bălgarite v džaza Jazz in Bulgaria, Bulgarians in Jazz |
| title_auth | Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 |
| title_exact_search | Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 |
| title_full | Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 Vladimir Gadžev |
| title_fullStr | Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 Vladimir Gadžev |
| title_full_unstemmed | Sega e vremeto Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 Vladimir Gadžev |
| title_short | Sega e vremeto |
| title_sort | sega e vremeto jazz in bulgaria bulgarians in jazz 1911 1911 |
| title_sub | Jazz in Bulgaria, Bulgarians in Jazz ; 1911 - 1911 |
| topic | Jazz (DE-588)4028532-7 gnd Jazzmusiker (DE-588)4028535-2 gnd |
| topic_facet | Jazz Jazzmusiker Bulgarien Anthologie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020873491&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020873491&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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