From Wiesław Dymny to Jürgen Haufe - little story of the "ton" logo
(The ton logo, as it is today, here at a concert by the band Mauger in March 2009 Photo: Matthias Creutziger)
Krakow mid-fifties and early sixties - there lived a painter, sculptor, graphic artist, and lyricist Dehbuch Wiesław Dymny.. Initiated still an art student 1956 in a historic walls of the city center, the cabaret "Piwnicy Baranami pod" (as "cellar under the lambs"). One of the key artistic figures of Krakow, he was also there, as was also founded in 1956 on St. Mark Street 15 of the fast becoming famous jazz club "Helikon" - the first regular at all in Poland.
This Wiesław Dymny adorned the walls of "Helikon" with imaginative, surrealistic frescoes, brush with funny drawings. The mural above the door arch showed an imaginary instrument cluster in a kind of Wolpert ingers, the piano, a pianist and a dominant, large-Helicon Tuba combines. (The Helicon, and helicon tuba is a tuba-design, which replaced in Europe very often the American sousaphone, and thus in many oldtime jazz bands of the Old Continent was used.)
(From Wiesław Dymny self-made image of the "Helicon" jazz club in the background of surrealistic fresco, in front of the club founder source. diapzon.pl )
guests at the club, which quickly from a vintage club a focal point of modern Polish Jazz blossomed development and existed until 1969, were among other things, Krzysztof Komeda, Tomas Stanko, Adam Makowicz, Janusz Stefanski, and many other representatives of the then contemporary jazz of Poland, also the bass player and later jazz promoter January Byrczek.
memories, impressions and relationships, it has by and in the jazz club in the first hour, most recently, the publicist Grzegorz Tusiewicz under the title "Krakowski jazz club Helikon 1956 - 1969 - Wspomnienia, impresje, relacje published. The book cover design was a - in the direction of stylized trumpet - also Dymny of Helikon. The metamorphosis of the helicon to trumpet line with the trend in "Helikon" club back to the dominance of contemporary jazz, was, as observers suggest perhaps even by the charismatic trumpet of the fascinating game of the young Tomas Stanko at the club "Helikon" influences.
1963, Byrczek increasingly organizer as a bass player, on the basis of an existing operation, the Polish Jazz Club Jazz Society (Polskie Stowarzyszenie Jazzowe - PSJ), which quickly became the largest European jazz organization.
The known fact is rapidly becoming PSC logo with the trumpet, created as Grzegorz Tusiewicz insured, in turn, Wiesław Dymny.
That same year, two Byrczek the Polish magazine "Jazz Forum" was launched. was for East German jazz fans this Magazine - first English, then for a time even also in German - the only easily accessible jazz in its field and distributed accordingly far. Their proximity to the Polish Jazz Society almost every issue contained several times the PSJ Trumpets logo. In addition, it was to work in the "Jazz Forum" usual, with vignettes, heading graphics, and funny cartoons. Almost all of them took advantage of graphical forms of trumpets that have been modified and stylized. There was even grotesque title graphics with funny trumpet casts it. To this extent also influenced by the East German jazz fans the trumpet as a graphic symbol of modern jazz. The awareness of the trumpet left in Dresden tracks - namely in the formation of the very first logo of the IG Jazz. "When we were sure we were in the cellars of the ruins of the palace into Kurlander," recalls Frank W. Brown, founder of the IG Jazz Dresden, "I drew the signature in combination with the barrel-shape of the vault on . 'Brown continues: "The idea came to me with the trumpet for the trumpet in the logo of the Polish Jazz Society" Coming Clean drawn the whole thing had Burkhard Klaus.. That was 1979. "The first, still existing sticker with our logo then donated the Mountain Village Jazzmen from Hamburg," recalls Brown continued.
(Postcard of the jazz cellar with the logo of the former IG Jazz in the left foreground in the background which was then current logo of the culture of the GDR, which included the IG Jazz Photo:.. Archives ton ) Later, about in the mid-eighties, was the Dresden artist and jazz friend Jürgen Haufe, develop already a regular at concerts of the IG Jazz, commissioned a new, fresh, concentrated acting logo using the idea of the curved barrel.
(The first, usually red and blue running Haufe logo for the "ton" has been overwhelmingly on the former A5 program notes used.)
Formal occasion was probably a little anniversary in 1986, the upcoming fifth anniversary of the withdrawal of the IG Jazz in the barrel vaulted cellar under the ruins of Kurlander Palace. But above all, the fact that had naturalized the colloquial term "ton" should see a new logo reflected.
Haufe used - of course! - The trumpet, she combined graphically bold and sweeping with the "O" of the word "ton" and abstracted from the vault with a simple bow. A small, handgepinseltes "Jazz" had until February 1991 indicated that the "ton" no rock or country club was.
With the anniversary program in March 1991 (ten years in the cellar vault of the IG Jazz Kurlander Palace ") changed its genre-related, but not very descriptive term" jazz "in the logo made precise in the term" jazz club ". This carried the "barrel" members of the fact that they are now after the fall as a registered association under the name had constituted "Jazz Club tonne.
(Haufe The second logo for the "ton" was usually black-white print on a light, solid color base and mainly designed for easy Monatsfaltblätter - here are my neck of the then "bin" address -. Used) When the "ton" in the spring of 1997 to the Dresden Waldschlösschen site moved, the term "Jazz Club" in favor of better graphic clarity has been omitted entirely, the logo was from now with no verbal statements seemed so emblematic and powerful.
While some thought then moving opponent, the club after the move was not "their" Jazz Club, now so lacking that term, too, are in the logo, but the real cause of this reduction was different.
Apart from a graphical reasons (a good logo is symbolic and reduced) Jürgen Haufe gave a smile of content declaration: "If in the scene of contemporary jazz in Europe ton is said, everyone knows that in this very special club Dresdner is meant. And if someone speaks of contemporary jazz scene in Europe and it asks for Dresden, is the answer always come tonne. - So why even verbal ornaments "
was this - after the bankruptcy of the old" - aware of the founders of the jazz clubs Neue Tonne Dresden also Buoy Association in December 2000. They let the logo in connection with the term "Ton" at the German Patent and Trademark Office on 23 January 2002 as its own word-picture mark register.
Since then, is the cheeky, comprised of a sheet trumpet that holds together the words "bin", for "the" ton, for the Dresden Jazz Club of innovative, contemporary jazz and improvised music concerts.
The introduction of a new logo in November 2010 will be discussed here .
Mathias Bäumel
