The common denominator in "musical socialization"
If not everyone had known that Purple Schulz would also come on stage later, it could have been like a long evening at the campfire with songs from the LP "Rubber Soul" like "Norwegian Wood" or "Nowhere Man" and Dieter Kirchenbauer on the acoustic guitar.
The familiar chords sounded conciliatory about the table group distribution according to Corona regulation with 200 listeners at the Elsdorfforum Terra Nova, on the edge of the Hambach opencast mine.And was also not to think of singing and dancing, so Kirchenbauer skilfully used the niches, such as backward whistles, buzzing, clapping and that form of seat dancing on the Rhinelanders understand each other anyway, the schunkling also in three-quarter time.
"The last Beatle" kirchenbauer had christened the concert at the open-cast mine in Terra Nova and he had brought musicians from his Hard Day's Night Band with him, such as the multi-instrumentalist Stephan Böhmer, who had the typical Beatles bass with him, namely the violin bass of Höfner, his saxophone, his concertina unfortunately left unused. There was also a reunion with drummer Vincenz Deckstein, who was able to answer Kirchenbauer's question about the "most important instrument of the 1960s", the tambourine, with his playing of a very specific instrument. Everywhere it was necessary to bring the beat to the front, it was needed: Day Tripper, Drive my Car, Ticket to Ride ….
"To be precise, Vincenz is a bell tree," says Kirchenbauer.Deckstein had his nickname gone, at least for that evening, he was the "Mr. Tambourin Man".Kirchenbauer awakened the early guitar sound of the Beatles with an old Rickenbacker, an electric guitar that revealed some quirks in the game. "A typical 'Star Club' guitar, it's still a bit moody," the guitarist commented. The trio played titles such as "Lady Madonna" and "While my Guitar".
Purple Schulz and Kirchenbauer also agreed on the Beatles as the common denominator of their "musical socialization".He has recently missed the view from the stage and "seeing so many people smiling," Schulz said. For the duet with Kirchenbauer he had also dug up "Campfire Music": "Let it be" or the Sean Connery version of "In my Live", to be heard in the Beatles album of the same name without Beatles, produced by George Martin. Schulz drew spinet-like sounds from his keyboard.
In general, which was the first Beatles LP by Purple Schulz? Well, he had two older brothers, since he probably heard the "Rubber Soul" first. "I had the red first. I thought they only have the two, the red album and the blue one," Kirchenbauer said.
But Purple Schulz's appearance on the edge of the "big hole" wasn't just about the Fab' Four. He told biographical scant. He introduced the audience to his highly Catholic grandmother Gertrude from Mönchengladbach, who placed "something big brown" behind the frosted glass pane to the living room for communion.This turned out not, as initially feared, to be a "wooden bench of prayer", but as a piano.
And there was his first piano teacher, Käthe Bauer at the Gereonshof. With a long ruler, she had his fingers targeted when they weren't quite right on the keys. But he got to know Bach from her, who had "received chords probably directly from heaven".
And songs with similar chords gave Purple Schulz solo between "Across the Universe" and "Long and Winding Road".They were classic cars like "Little Lakes" or "Always Just Life", or "Conversations with God" and his Udo Jürgen's favorite song "Until the end of my songs": "I want the text that dares, I want the word like a sword…"
"Get Back" from all four musicians, their thanks for the "fully capped fees" to the Elsdorf city administration and sponsors and a view of the next three summer concerts, always on Sundays at the Forum Terra Nova, rounded off the concert evening.