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 01. Seifert, Zbigniew / Mangelsdorff, Albert "Duodaction I" 02. Seifert, Zbigniew / Mangelsdorff, Albert "Duodaction II (SWF-Jazz-Session October 23, 1976, Donaueschingen (Germany))" 03. Seifert, Zbigniew / Mangelsdorff, Albert "Opus de folk (SWF-Jazz-Session October 23, 1976, Donaueschingen (Germany))" 04. Seifert, Zbigniew / Mangelsdorff, Albert "Rubato (SWF-Jazz-Session October 23, 1976, Donaueschingen (Germany))" 05. Seifert, Zbigniew / McRea, Dave / Hof, Jasper van't / Trunk, Peter / Catherine, Philip / +++ "Angel wings (New Jazz Meeting 1973, December 06, 1973, Baden-Baden (Germany))"
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| | Number of discs: |
1 |
| | Extra-Infos: |
.. 1976 |
| | Description: | Zbigniew Seifert (1946â??1979) initially studied violin in his home town of Krakow, became converted to woodwind in his pursuit of jazz, and then devoted himself again as a string player in the late sixties. The big three â?? Coltrane, Coleman and Ayler â?? had blazed a path for the saxophone, down which legions of undistinguished imitators then trudged. But hardly any violinists dared to follow suit, lacking the playing skills to pull it off. Seifert was therefore an unintentional pioneer, because he was not interested in revolutionising his instrument. He wanted instead to discover the secrets of the heroes of his time and understand, for example, how Coltrane managed to convey impressions of texture without having to forego linear melodies. - .. 1976Zbigniew Seifert (1946-1979) had studied violin in his hometown of Krakow, was converted to woodwinds on the way to jazz, only then to devote himself again increasingly to the strings in the late sixties. The big three of Coltrane, Coleman and Ayler had blazed a path along which legions of saxophone epigones trudged. But hardly any violinists dared this uncompromisingly energetic form of expression and possessed the playing skills to pull it off. Seifert was therefore a pioneer, unintentionally so, because he was not interested in revolutionizing his instrument. He wanted rather to discover the secrets of the heroes of his time and understand, for example, how Coltrane managed to convey impressions of texture without having to forego linear melodies. It helped that he knew how a saxophone behaves musically. With this attitude he was ahead of his contemporaries, who were still working their way through structure and aesthetics. That was probably one of the reasons, in combination with his early death from cancer, that Seifert was forgotten for so long by the jazz world. The recordings in the SWR archive are therefore all the more exciting. Angel Wings is from 1973, a stimulating time for Seifert, when he left Poland and settled in West Germany. The sextet at the New Jazz Meeting in Baden-Baden gave him room to prove himself in the fusion context, with a touch of Mahavishnu in the aura, but above all a document of exuberant jazz-rock power. The duo recordings that were made three years later in Donaueschingen are real gems. There Seifert had in Albert Mangelsdorff a partner who understood him. Like Seifert, the trombonist Mangelsdorff had fought battles to liberate his instrument from the brass section and, by simultaneously overblowing and singing, had fetched it into polyphony. | | | Manufacturer No.: |
JAH-479 |
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