An Interview with Hans Link, a Contemporary Witness: A Story of Improvisation on and with the Stage

Fifty years ago, the first edition of the “ Leipziger Jazztage ” took place. This year, once again, the festival promises to explore new sonic horizons and innovations in sound. Celebrating the anniversary of this special event also means looking back and digging into the treasure trove of anecdotes. In an interview, longtime association member Hans Link reveals how the historical context shaped the festival, what changes the “ Leipziger Jazztage ” underwent in the 1990s, and what saved the 13th edition of the festival in September 1988.

As you know, the Jazz Festival is celebrating its 50th anniversary this year. How long have you been involved?

So, I was at the " Jazzclub " from 1987 to 1991 and then again starting in 2009. In the meantime, I moved back to my home state of Thuringia.

That means you were able to experience two more years of the GDR era at the “ Jazzclub .” Do you remember what kind of influence the regime—even though it was already nearing its end at that time—had on the festival?

We’d always had the feeling—and we knew, of course, that many things weren’t tolerated and were censored. But at the Leipzig Jazz Festival, I was repeatedly pleasantly surprised by what was possible. For example, there was a predecessor to the Jazz Calendar—the Jazz Report—in which Stephan Kämmerer wrote that this very Jazz Report was the first of its kind that was no longer censored. It probably slipped through because people assumed that censorship still existed in their minds.

The " Leipziger Jazztage " has been held every year since 1976, with the exception of 1990. Did the fall of the Berlin Wall noticeably change the festival?

The biggest difference was that, starting in 1991, we held the festival at the opera house. Before that, the festival had always taken place at the Congress Hall or in smaller venues. I remember one time when the Congress Hall was cordoned off by the police. I think there was a fire in the White Hall. In any case, we moved to a circus tent—that must have been in 1988. Following the unique political circumstances of 1989, the program also became more extensive. I don’t know exactly when the Jazz Days started running for a full week, but that wasn’t always the case either. In 1991, although I was back in Eisenach, I still came to the Jazz Days in Leipzig and helped out with the security team. I think that was the last time we provided our own security team before the “ Jazzclub ” introduced an official security service.

You just briefly mentioned the year 1988 and the circus tent. I’ve also read about that particular event. In September 1988, the Jazz Days took place at the Busch Circus Tent. Is that legendary 13th edition one of the special anecdotes you associate with the Leipzig Jazz Days?

Absolutely. Heiner Goebbels was performing there with his show “Ein Mann im Fahrstuhl.” Then, three days later, there was Caspar Brötzmann’s “Massaker,” and that same evening, the American sextet led by Arnett Cobb. A saxophonist who was already over 70 at the time, who came in on crutches, climbed onto the stage, set the crutches aside, and played the heck out of a tenor saxophone—that was amazing. The concerts with James “Blood” Ulmer also left a lasting impression.

What comes to mind when you think of the " Leipziger Jazztage "? How would you describe the festival?

Before I became a member, I’d already been to the Leipzig Jazz Festival. It was—and still is—the kind of event where you say, “That’s the place to go; there’s always something going on.” You meet up with people, do things with friends, and have a great time together. There are lots of people you see every year, and some you don’t see again until many years later. And it’s all accompanied by great music. The “ Leipziger Jazztage ” are known for featuring a lot of free jazz. That joy of experimentation and the complexity of the music performed haven’t been lost.

Is there anything you'd like to see happen for the Jazz Days and for the jazz scene in Leipzig?

Above all, I hope that the “ Leipziger Jazztage ” will continue. Back then, we had opera performances seven days a week; today, there’s only one. The city should continue to have the opportunity to enjoy these interesting concerts. In general, though, I think the outlook in Leipzig is relatively good—especially for younger musicians, as there are various sessions and concert opportunities available.

(Interview: Jeremias Nentwich)