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Leo Mathisen
View on WikipediaKey Information
Leo "The Lion" Mathisen (10 October 1906 – 16 December 1969) was a Danish jazz pianist, composer, arranger, singer and bandleader. He was a leading figure of the thriving Danish scene during the years around World War II—a period which has been labelled the Golden Age of Danish Jazz—and he is considered to be one of the most significant and original jazz musicians of his day.
Mathisen's main source of inspiration was Fats Waller, both his piano play and his singing, but the later years of his career saw some bebop influence. His most famous tracks are "Take It Easy" and "To Be or Not to Be". His nickname is a reference to his first name as well as MGM's mascot Leo the Lion. He is also remembered for his characteristic appearance with his flat, centrally parted hair, his thin moustache and, most notably, his fondness of large cigars.
Biography
[edit]Early life and career
[edit]Leo Mathisen was born in Copenhagen in 1906. He worked in a record shop, listened to records and tried to copy the virtuosic piano playing that he heard. After completing a merchant education, he started working professionally as a pianist in restaurant Arena and with Kai Ewans' band in Restaurant Adlon.[1] The same year he also recorded his first album, The More We Are Together, in collaboration with Victor Cornelius.[2] From 1927 to 1928 he was also part of a trio with Otto Lington and Anker Skjoldborg.[1]
From 1928 through 1931 he performed with Adrian Rollini's orchestra Germany and Sweden and with Max Lefkos' band in Germany and Sweden.
With own bands
[edit]In 1936 Mathisen formed his own band and until 1952 he led various acclaimed orchestras which performed in restaurants in Copenhagen and toured in Scandinavia after the end of World War II also in Germany. They also served as backup bands for various popular singers.
Among the members of his band were Erik Parker, Henry Hagemann and John Steffensen, while the trumpeter Jørgen Ryg joined the ensemble in the years after the war. During the war, a time which has been labelled as the Golden Age of Danish Jazz, he reached huge popularity, particularly at the München establishment where he performed regularly for several years during the Occupation of Denmark. When he was forbidden to perform in English, he resorted to scat singing with a distinctive Copenhagen-English sound.[1]
From 1951 he performed as a solo pianist around Denmark, but in spring 1953 he retired from music altogether due to health problems. He died in 1969 and is interred on the Mariebjerg Cemetery in Gentofte in the northern outskirts of Copenhagen.[1]
Works
[edit]Mathisen recorded numerous albums with his band, often with his own compositions. His main source of inspiration was Fats Waller, both in his piano playing and in his singing, and particularly his recordings from 1941 to 1943 are considered to be among the swing music's finest.[1] His most famous songs are "Take It Easy" and "To Be or Not to Be". With larger orchestras he recorded tracks such as "Long Shadows", which is a typical example of his original arrangements.[2] In 1952 he retired from music due to health problems.
Mathisen also recorded popular hits of his time such as Lionel Hampton's "Hey! Ba-Ba-Re-Bop", "Five Minutes More", "Near Yo" and "Makin' Whoopee". With Erik Parkerm he also created Danish lyrics to songs such as De 24 Røvere that Fats Waller recorded in 1941 and Jack McVea's "The Key's in the Mailbox".[3]
In films
[edit]Leo Mathisen appears as himself in the films 5 raske piger (1933), 7-9-13 (1934), Mit liv er musik (1944) and Teatertosset (1944).[1]
His music is featured in the films Der var engang en krig (1966), Midt i en jazztid (1969) and in I Tvillingernes tegn (1975).[1]
He is also the subject of the biographical 1986 film Take it Easy, where he is played by Eddie Skoller.
He is also mentioned in the Danish series Matador episode 5 as an up-and-coming pianist.
References
[edit]- ^ a b c d e f g "Leo Mathisen". danskefilm.dk. Retrieved 2010-03-16.
- ^ a b "Leo Mathisen". Gyldendal. Retrieved 2010-03-17.
- ^ "Leo Mathisen: 1944-1948". Storyville. Retrieved 2010-03-16.[permanent dead link]
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Leo Mathisen
View on GrokipediaEarly life
Birth and childhood
Leo Mathisen, born Hans Leo Mathiassen, was born on 10 October 1906 in Frederiksberg, Copenhagen, Denmark. [4] [5] [6] He was the son of Carl Andreas Mathiassen and Anna Marie Petersen. He began playing piano as a boy. [6] From 1922 to 1923, he played in an amateur quintet while working in a music store; in 1924, this group became the first Danish jazz ensemble to be broadcast on radio. [6] He was known as Leo "The Lion" Mathisen, a nickname derived from his distinctive personality and appearance. [7]Entry into professional music
Leo Mathisen entered professional music in 1927, becoming a full-time musician after receiving an offer from Kai Ewans to work as intermission pianist for Ewans’ orchestra at the restaurant Arena in Copenhagen. [3] [6] That same year marked his recording debut on February 28, 1927, when he contributed piano and goofus to Victor Cornelius' version of "The More We Are Together," released on Polyphon. [8] In autumn 1927, Mathisen formed the trio known as We Three at the Adlon nightclub, collaborating with violinist Otto Lington and multi-instrumentalist Anker Skjoldborg. [9] [6] [10] From 1928 to 1931, Mathisen performed in Germany and Sweden with Max Lefkos' band (also spelled Max Lefko). [3] [6] These experiences abroad exposed him to broader jazz influences during the late 1920s and early 1930s, preceding his later leadership roles in Denmark. [3]Jazz career development
Early bands and international work
Leo Mathisen began his professional career as a pianist in 1927, working as an intermission pianist at Restaurant Arena in Copenhagen and joining Kai Ewans' band at Restaurant Adlon. [11] [3] During 1927–1928, he also performed as part of the trio "We Three" with violinist Otto Lington and guitarist Anker Skjoldborg at Adlon. [3] [11] From 1928 through 1931, Mathisen gained international experience by performing with Adrian Rollini's orchestra and Max Lefkos' band in Germany and Sweden. [3] In the following years up to 1935, he continued to play in various dance and jazz ensembles both in Denmark and abroad, building his reputation as a versatile pianist and musician. [11] This period of collaboration with established groups ended in 1936 when Mathisen formed his own band. [3]Leadership of own orchestras
In 1936 Leo Mathisen formed his own band, embarking on a sixteen-year period as a bandleader during which he directed various acclaimed orchestras specializing in swing music. [1] These ensembles performed regularly at restaurants in Copenhagen and occasionally toured, with the lineup evolving over time to include prominent Danish jazz musicians. [2] During the German occupation of Denmark, Mathisen's orchestra was a regular fixture at Restaurant München in Copenhagen, where he and his musicians played nearly every weekend to packed audiences amid a heavy atmosphere of tobacco smoke and enthusiasm for swing. [2] Notable members of his bands included trumpeter Erik Parker, tenor saxophonist Henry Hagemann, and drummer John Steffensen, while trumpeter Jørgen Ryg joined the ensemble in the post-war years. [1] After World War II the orchestras extended their activities with tours in Scandinavia and Germany. [2] Mathisen's groups recorded frequently under names such as Leo Mathisen And His Ciro Club Band and Leo Mathisens Orkester, with their 1941–1943 swing-era tracks widely regarded as some of the finest examples of the style in Danish jazz. [12] This period of leadership overlapped with his greatest popularity in wartime Copenhagen. [2]Peak popularity during occupation
Performances in wartime Copenhagen
During the German occupation of Denmark from 1940 to 1945, Danish jazz underwent a remarkable expansion often described as the Golden Age of Danish swing, as the number of domestic performers and record releases surged amid curtailed international influences and wartime restrictions.[9] Leo Mathisen emerged as a central figure in this vibrant scene, widely regarded as the Danish jazz king and achieving immense popularity in Copenhagen through his charismatic performances.[2] He appeared almost every weekend at Restaurant München, a key venue where his band filled the space with energetic swing amid thick tobacco smoke, creating an escapist atmosphere that felt more like America than occupied Denmark.[2] The packed crowds reflected his status as a leading light in the local swing movement, with his showmanship—marked by a pencil-thin mustache, sharply parted hair, and a constantly dancing cigar—drawing enthusiastic audiences seeking relief from hardship.[2][13] Mathisen occasionally performed at other Copenhagen locations, such as the Odd Fellows Hall, where his forceful piano playing and theatrical flair captivated listeners even in mixed company. A notable 1943 performance at the Odd Fellows Hall occurred in a tense atmosphere with members of the Schalburg Corps (Danish Nazi sympathizers) present. During the final number, Mathisen played so powerfully that four piano hammers flew out; he caught one mid-air, removed his cigar, and replaced it with the hammer, creating a humorous moment that prompted enthusiastic applause from the sympathizers.[2] To navigate the Nazi prohibition on English lyrics, he adapted by incorporating scat singing into his act, maintaining the spirit of the music under constraint.[2] These wartime engagements solidified his role as a defining presence in Copenhagen's jazz landscape throughout the occupation.[2]Scat singing and signature songs
Leo Mathisen's vocal and piano style drew its primary inspiration from Fats Waller, whose exuberant showmanship, piano technique, and singing he closely emulated.[14] In the later years of his career, Mathisen incorporated elements of bebop into his playing.[14] During the German occupation of Denmark, when singing in English was banned, Mathisen adapted by developing scat singing, using nonsense syllables with a distinctive Copenhagen-English pronunciation to approximate English sounds while circumventing restrictions.[14] This technique is prominently featured in his signature song "Take It Easy," where the original English lyrics were replaced with scat in indistinguishable syllables to circumvent the ban on English singing.[2] Another iconic work from the period is "To Be or Not to Be," which became one of his most recognized pieces.[3] Mathisen also composed and arranged "Long Shadows," showcasing his skill in larger orchestral settings.[3] In collaboration with lyricist Erik Parker, he created Danish adaptations of foreign songs, including "De 24 Røvere," based on a Fats Waller recording.[3] These works, primarily recorded between 1941 and 1944, highlight Mathisen's creative responses to wartime constraints through scat and localized lyrics.[8]Film and media contributions
Acting appearances
Leo Mathisen's acting appearances were limited to cameo roles in Danish films, primarily during the 1930s and 1940s, where he portrayed musicians or appeared as himself. These brief on-screen performances aligned with his prominence as a jazz pianist and bandleader in Copenhagen during that era. His credits include Musiker in the comedy 5 raske piger (1933), Pianist in 7-9-13 (1934), and Harmonikaspiller (accordion player) in De bør forelske Dem (1935).[15] In the 1940s, he appeared as Sig selv (himself) in the feature film Teatertosset (1944) and made an appearance in Mit liv er musik (1944).[15][16]Composition and soundtrack work
Leo Mathisen contributed to Danish cinema through the use of his existing jazz compositions and recordings, primarily from the 1940s. His songs were licensed for several films, and he received related music credits. His song "How-How" was featured in the 1966 film Der var engang en krig (Once Upon a War).[17][18] He received music credits for I Tvillingernes tegn (1975) and the biographical film Take It Easy (1986), which features his songs and portrays him (played by Eddie Skoller).[18][16] His songs continued to see use in later productions through licensed soundtrack inclusions. "To Be or Not To Be" appeared in an episode of the TV series Backstage in 2015.[18] His performer credit on "Ain't She Sweet" and writer credit on "A Wee Bit of Spring" were used in the film A Day in October (1991).[18] Several of his signature jazz songs originating from his wartime career, such as "Take It Easy," have been featured or referenced in films evoking the occupation era.[15]Later years and retirement
Post-war activities
After World War II, Leo Mathisen continued leading his own ensembles until 1951.[19][6] From 1951 onward, Mathisen shifted primarily to working as a solo pianist, performing around Denmark while maintaining his characteristic swing style.[6][19]Health decline and withdrawal
In the spring of 1953, Mathisen withdrew entirely from music life due to illness. [6] One source specifies this retirement resulted from a brain disease. [19]Death and legacy
Death and burial
Leo Mathisen died on 16 December 1969 at the age of 63 in Ballerup, a suburb in the Copenhagen metropolitan area of Denmark. [6] He was buried in Mariebjerg Cemetery in Gentofte. [6] [4]Influence and posthumous recognition
Leo Mathisen is widely regarded as one of the greatest Danish jazz musicians of all time and a central figure in the Golden Age of Danish Jazz during the years surrounding World War II. [2] [1] His charismatic showmanship, Fats Waller-inspired piano playing and singing, and energetic performances established him as the "Danish jazz king," providing cultural escape and subtle resistance through swing music amid Nazi occupation. [2] He played a leading role in the thriving Danish jazz scene of the 1930s and 1940s, helping sustain and popularize the genre domestically during a period often described as the first golden age of Danish jazz. [1] [20] Posthumously, Mathisen's influence endures through continued appreciation of his work and archival reissues that keep his recordings accessible. [1] His signature composition "Take It Easy" remains a beloved classic among Danish audiences. [2] Numerous compilations and reissues have appeared over the decades, including Greatest Hits, Original Recordings 1941-1944 on Naxos Jazz Legends in 2002, along with albums on Little Beat Records and Storyville spanning the 1960s to the 2010s, reflecting sustained scholarly and enthusiast interest in his contributions. [1] He is remembered as one of the most significant and original Danish jazz artists of his era, celebrated for his role in shaping the national jazz tradition during its formative years. [1] [20]References
- https://commons.wikimedia.org/wiki/File:Otto_Lington_with_We_Three.jpg