In 1975, Vera Brands, a 18 -year -old student and a part -time promoter, organized a concert by Gayt Garrett in Cologne, and his recording of the “Cologne concert” became a single -best -selling jazz album.
Half a century after time, the director IDO Fluk in Berlin became “Köln 75” of the woman behind this huge moment in the history of jazz. One, it is irony that Jarrett has no desire to revive. Flock speaks diverse About the fun movie – starring John Majao, recently seen on “September 5”, such as Keith Garrett and the escalating German star Maldi Kfira Brands – and why it was important to “pay attention, the fibers it deserves.”
How did the project grow?
I read a story where Vera was mentioned. I was like: “This is a kind of interesting: I really achieved this, and it is not very interesting.” I thought he would make a really interesting movie. I went and shown a few pages (the scriptwriter nominated for the Academy Award, director and film producer Amy) Orine Moveman, who looks like a sponsor saint, and produced my last movie, “The Ticket”. He said: “Huh, this is a kind of cold.” He has a background in music films with Beach Boys and Cate Blangitt, Bob Dylan Thing (Todd Heinz, “I am not there”) and sent him to Sol Bondi in Germany. Then Seoul went and found Vera on the beach in Greece. She was sitting there waiting for someone to tell her story. We realized that it is the perfect weakened story, about this woman who really changed music and did not get any balance.
Were you in contact with Keith Jarrett and his camp in this project?
Well, when I wrote the text we communicated with. They did not want to participate in this. They did not want to give the credit Vera. But Keith has a brother, named Chris Jarrett. He participated in translating Keith’s recent biography. He read the script and sent an email back: “This is exactly what my brother says.” You are like: “Well, Wonderful”. We continued to update this camp without hearing anything. By the way, I understand how Keith feels, I mean how I suppose he feels. This is “crawling”. Radioheed crawl for him. The song they cannot bear anymore. So I understand where his camp comes from. At the same time, I think they should be more generous in giving Vera attention, the lights they deserve, which is what we do here.
How did you deal with the fact that you do not have the rights of Garrett music?
Well, first of all, it is a movie about the seventies in Cologne, which was an incredible time in the history of music. You have teams like Can and Neu!. You have teams like kraftwek. You have a lot of things. Bowie and Iggy (POP) and these men are about to move to Berlin. It is a foci of political work and musical development. For me, this was the scene. Vera Brands was a jazz Emprocario, but she was surrounded by all these new styles of music. Then, of course, we had to find a way to show Keith’s music. For example, when we see Keith playing his first concert in Berlin, there is an article that Keith used to play with Gurdžiev, which was, like the Sufi philosopher but also wrote music. Keith has already released an album with these songs. This is a piece of Keith already. In a movie, however, you can only 20 seconds of a piece if music, not everything. So for me, as a way out, the best thing you can do is, when you get out of the cinema, you put the “Köln Concept” record, and listen to it completely. I think this is what Keith also wants.
This interview has been edited and intensified for clarity.
