Crazy Otto

Crazy Otto was among the stranger and even more enjoyable phenomenon in light jazz in the years following World Battle II. Given birth to in Germany in 1912, Fritz Schulz-Reichel was the child of the traditional musician, and used the piano at age group six. By age group eight, he previously developed a distinctive style of carrying out, playing the melody along with his remaining hand as well as the rhythm along with his best. By enough time he is at his teenagers, he appeared destined for any career like a concert pianist, but he found out well-known music and made the decision that was where his potential place. He became a light jazz performer known for his uncommon, frequently comical improvisations constructed on well-known melodies, and started building a status comparable to Victor Borge or Francois Glorieux, but anchored in well-known, instead of traditional, music. When he wasn’t executing in night clubs in Berlin or Paris (where he was elected an honorary person in the Hot Membership of France for his improvisational skills), he composed songs within a pop vein. In 1953, Schulz-Reichel had taken on the executing identification of Crazy Otto and produced information for Deutsche Grammophon, either single or with a little rhythm group support him up, comprising originals and improvisations on set up well-known music. He became phenomenally well-known not merely in Germany but also in France and Britain, and his information marketed extraordinarily well in the us aswell, where his function premiered by Decca and, afterwards, MGM. His perhaps most obviously one contribution, beyond recordings of particular music, was the invention from the Tipsy Wire Container, a tool that changed any piano, up to the most properly tuned grand, into an out-of-tune beverage hall device. He became something of the pop culture sensation in America through the middle-’50s, with Johnny Maddox attaining lots two strike pop one with “The Crazy Otto Medley” in 1955, and launching his very own singles, including “Oh Johnny, Oh Johnny, Oh.” Schulz-Reichel acquired top music artists covering his music and playing on his function, including German jazz guitarist Ladi Geisler. He was still fondly appreciated by German and Western european jazz fans during his loss of life in 1990.