Matthias Winckelmann's favorite recording of the hundreds he's made is the one just finished. Over the years, he's documented music from all over the world and of many different stripes and has always been eloquent and passionate. His label Enja has been in existence for 38 years and a look at the catalogue tells you that the excitement is still there.
In 1971, two longtime Munich jazz fans, Winckelmann and Horst Weber, made their first recording together, Black Glory, by pianist Mal Waldron
, trumpeter Terumasa Hino and pianist Masahiko Sato. And what did Enja stand for? "Well," says Winckelmann, "that is a funny thing. It didn't originally stand for anything. I sat with my wife in the kitchen and we thought, 'Now, what are we going to call this newborn baby?' I thought of all kinds of abbreviations and came up with these four letters and later found a meaning to it, which meant European New Jazz and then we went into American old jazz right away."
Winckelmann had, since the late '50s, been exposed to many US jazz musicians when growing up in Frankfurtthen the jazz capital of the country. He also attended Munich University as a graduate student in economics and sociology. He says, "I had a seminal experience when I listened to my first Charlie Parker
record. It totally turned my head around and still does to this day. From that day on, I knew that I wanted to spend my life in connection with jazz."
Weber had promoted jazz concerts in his native Aachen and worked as a freelance clothes designer. As a contributor to the German Fashion Institute he got to travel to Japan in the late '60s where he established many contacts with the jazz world.
How did the label get the finances to begin? Says Winckelmann, "I talked to my bank and told them, 'Look, I want to start a record label and I need like 20,000 dollars.' They gave me a big laugh and said, 'OK, but not from us.' I simply had to round up that money on the private side, which worked out and I paid everything back after two years. Luckily, Horst had a very good relationship with several of the largest Japanese record companies. We licensed our first Mal Waldron record immediately to the Victor Company in Japan. I had a little capital left immediately for the second record. We just went step by step in those days."
Enja soon recorded great players like Tommy Flanagan
In early 1986 Winckelmann and Weber decideddue to differing ideas on where to take the labelto separate and work individually. Winckelmann increased his visits to New York and came to produce an average of 30 albums annually. Recordings were released by many major artists: Kenny Barron, Ray Anderson
Winckelmann now oversees all of Enja activities with the assistance of a small staff that includes Werner Aldinger. They do not seem to have let the troubled world economies dampen their passion for broadly diverse musics.
Jim West of Justin Time calls Winckelmann a "friend" and "mentor" and recalls a time when the two were in Montreal and West played a cassette of the Montreal Jubilation Gospel Choir. "I thought I'd have to peel Matthias off the roof of the car, he was that excited. He licensed the recording for Europe and got the group touring in Europe to great press. All of that was organized by Matthias!" Winckelmann also continues to find an extraordinary collection of musicians from around the world. Oud player Rabih Abou-Khalil