December 3, 2011 Franz Josef "Karratsch" Degenhardt would have been 80 years old. On this occasion, his friends organized a kind of "birthday concert" should occur in the next to the birthday boy befriended artists, collaborators, colleagues and sympathizers with material both from our own and from the Degenhardt'schen oeuvre. As Degenhardt died over a month ahead of schedule, after a long illness on 14 November 2011, was considered in the planned concert further notes the announcement now, however, was entitled "Farewell Karratsch" - from the birthday concert was a memorial concert become a last tribute to one of the most influential German songwriters of the 20th century. Just ten months later was a recording of this evening under the somewhat clumsy title "Friends celebrate his work" published. Even when looking at the guest- and title list will remark two things: first, lack the "hits" of Franz Josef Degenhardt - no singing from the grubby children, with one exception no one chooses Degenhardt's stories of his characters like Father Franz, Rudi Schulte, Horsti sour Hoff and the rest of them, no one complains about the nuances or concludes "Irgend'was Carry I times". Second, the guest list is welcome colorful - besides companions like Hannes Wader or Konstantin Wecker and the two Degenhardt sons Kai and Jan, with whom one could expect solid at such an occasion, there are also younger sprinklings like Dota Kehr, Max prose or even interpreters that you already stylistic reasons not necessarily connected with Degenhardt brings as Liedermaching veteran Götz Widmann or "alienation klezmer" musicians Daniel Kahn. In this respect, this album promises at first glance, to be an exciting journey. It is this impression is confirmed also when listening: exciting, though not always pleasant, and the course are exactly the attributes that apply to a large part of the discography of the original. Most of the artists involved go to pieces by Franz Josef Degenhardt relaxed on, let your own style incorporated with and orient not too much to the original. That can also already summits that existing lyrics are provided with a new melody (ringer "later in this text!") Or vice versa Degenhardt tunes a new text received (cattle track "Left List" based on "Come under the table Plum trees "). Straight through the confessions of the artist to pieces selected by them arising sometimes extremely successful interpretations. The "German Sonntag", probably best compared in Degenhardt's version with a deft handling precise pinpricks, loses thanks Götz Widmann Although the mischievous undertone, but at the same time gaining a nice combination of obstinacy and malice. Wiglaf Droste adds the "wolves in the middle in May" a skillful emphasis which makes it abundantly clear how recent some Degenhardt songs even decades after its creation (1965!) Can be. January Degenhardt shows that even a dressed in a new arrangement its effect is not missed "Fox on the run", while Hannes Wader experienced the "Reiter back to the black wall" turned into a flawless Wader plant. That such monopolization of material do not always have to go well, prove at this point, unfortunately, (just) Prince Chaos II, whose "Nevada Kid" something to strive and distant sounds, Max prose of the admittedly extremely brave opener "Promised Land" might suspends unusually awkward nervousness in the sand, and Goetz Steeger, who seems a bit overwhelmed by the impending harvest. Franz Josef Degenhardt was a political songwriter, whose songs often reactions to current events or warnings of impending developments were, are so far firmly rooted in the time of their creation. This makes a new interpretation in this day and age naturally difficult, inasmuch as this aspect remains at this concert mostly left out, the performers involved understand it, however, to select their own contributions accordingly and install on this way even criticism or to warn. Barbara Thalheim or Frank Viehweg be emphasized at this point that cast their eyes over the company with their own songs ("So we lived in times of stagnation" respectively "Here where I live"). Dota Kehr also picked out with "utopia" a thoughtful piece from its portfolio and reap from encouraging open-minded audience appropriate consent. Daniel Kahn of Detroit takes on such a clever way in his mother tongue the phenomenon of nostalgia that you direct the amused smile can imagine 'face in Father Francis, while Konstantin Wecker with "outrage!" usual angry rebels and thus sweeps the audience. The message of the evening comes: one of the fighters has left the vessel, but the fight is not yet over, as well as the battlefield is always reappointed. In addition, other sounds that could not be directly linked with Franz Josef Degenhardt, but still fit in the evening, when you take a closer look will find. Joana Title selection acts rather unspectacular, however convinced they can by a sensitive interpretation, to put accents and messages conveyed. Götz Widmann's piece from his own pen ("Workers seeking a Woman") acts brusque and should not have to please everyone in the audience, at least in terms of style, can be found here parallels to Degenhardt's "Live" era. The bulky, juggling with images and words' Our Berlin "from Prinz Chaos II acts as if it had emerged after a long journey through the rows of surreal songs Degenhardt's. Select Jan Degenhardt and Hannes Wader then for their own title insightful pieces that they have dedicated to her father or friend, while Gisela May that actually wanted to attend as a guest this concert, was asked by Konstantin Wecker on the stage there to give the state and a cappella a verse from the "Song of the inadequacy of human endeavor" from the "Threepenny Opera" by Kurt Weill and Bertolt Brecht for the best. "Farewell Karratsch" would have been a birthday concert, the Franz Josef Degenhardt would certainly have fallen, it shows the past, present and possible future of his work. Artists pay tribute to him, which have backbone, not curry favor, but move with their own interpretations of the focus of certain pieces and also express their own opinion, even at the risk that the birthday boy or not fully agree with one or the other statement would have been. Franz Josef Degenhardt was a given reason that night only attended by canned his - to his "at source" took the artists present, contrary to the final applause - thus obviously can not tell you how he would have responded, but no one will be denied can that this bow has character. It has not become a concert for Degenhardt-curious, it facilitates a neither access to his work, yet it comes up trumps with its best-known and most influential songs, but it documents the artistry, flexibility and sustainability of many pieces as well as the determination and passion, with his friends to pass the baton. In addition, of course, is still the audience mentioned that was pleasing open to unusual interpretations, revisions and the own works of the artist. Not everything that night has succeeded and some things you will be able to rub excellent and probably rightly, but the bottom line, it has become a farewell at eye level, rather a shoulder tapping "Take care of yourself" as a humble eyes lowering and rather a strong challenge as a nostalgic red evening. Logically, the album was none for the masses, rather one of a relatively small group of friends. For exact. And for all my heart and with all your conviction.
