ZBIGNIEW SEIFERT

3.5 stars. McCoy Tyner met Zbigniew at the Berlin Jazz Festival in 1976 where the latter played Tyner some of his tapes. McCoy related that "... I've never heard such a violinist before." The title track here by the way is dedicated to McCoy Tyner. Seifert's unique style could be attributed to his idea of playing the violin like a sax. He was a huge John Coltrane fan and followed his path as far as his style of playing goes, not playing it in the usual way. Personally I am not a fan of his playing. I own 3 or 4 albums that Seifert is playing on including this one solo album of his. My favourite album that he is on that I own would be "Lift!" from 1973. That was a Volker Kreigel album that includes John Marshall, Eberhard Weber and more.

"Man Of The Light" was released in 1976 and it is his debut. He moved to Germany in 1973, and besides working with guitarist Volker Kreigel, he would become part of that Hans Koller band that included Wolfgang Dauner, releasing that record in 1974. When he moved to Germany he related that Joakim Kuhn helped him tremendously, not only musically, but personally. He mentions that he saw Kuhn play live in Poland when he was 16 or 17, and that a lot of East German musicians like Kuhn would play in Poland. So of course for Seifert's first album he has Kuhn playing acoustic piano on it, along with fellow keyboardist Jasper van't Hof who plays electric piano and organ here. These two keyboardists were part of ASSOCIATION PC at the time. We get jazz drummer Billy Hart, and old school jazzer Cecil McBee on double bass. Seifert and McBee are the composers here.

"Stillness" and "Love In The Garden" were performed as a duo. The first as violin/ bass, the second violin/keyboards. To over simplify it, the other four tracks feature bass and drums with the violin and piano soloing over top. This gets tagged with Modal Jazz and Post-Bop, and when I see these sub-genres mentioned I usually run the other way. Clearly a very well played album but one that really isn't my scene. I much prefer Michal Urbaniac's playing and style. And I mention Michal because he was a contemporary with Seifert and also from Poland, and also playing both violin and sax. Both would end up moving to America, but Seifert tragically passed from cancer in Buffalo NY at 32 years of age.

If your more into the traditional side of Jazz you will probably enjoy this record.

I was surprised to find this release listed under Zbigniew Seifert, as it is usually credited to Austrian saxophonist Hans Koller. Either way, I'm glad to see that it made it onto ProgArchives because it is a truly great fusion album. Below is my review that I originally posted on JazzArchives some years ago:

I came across this album while searching works by Wolfgang Dauner in Discogs and decided to give it a listen. I was happy I did, for this is an excellent example of experimental fusion from that era.

While the album is under saxophonist Hans Koller's name, it is heavily influenced by Dauner's experimental work of that time period. This is really more of a band project, with Koller being just one of the equally important members. Koller, the elder statesman in the group, was in his early 50's at the time, and I give the man credit for releasing music like this at this point in his career. I haven't heard much of his earlier work, but what I did listen to was firmly in the bop tradition. "Kunstkopfindianer" is something quite different.

I would describe this album as a mix of fusion, avant-garde/free jazz, and hard bop. The free jazz/avant-garde aspects of the music never goes too far before becoming grounded by some element of structure and melody. All of the musicians give superb performances, and all but drummer Janusz Stefanski contribute compositions. Stefanski does, however, lay down some incredible, at times ferocious, drum-work throughout the LP. Dauner is his usual genius on the keys, while bassist Adelhard Roidinger is all over the place (in a good way) on his instrument. Koller delivers a convincing performance in the mix, like he'd been a free jazz master all of his life.

I truly enjoy listening to this album and would recommend it to those who like Dauner's experimental work, such as Et Cetera. I give it a solid 4 1/2 stars - an obscure, yet essential album of experimental 70's jazz fusion.

Rounded up to 5 stars due to no 1/2 star rating ability here on PA.

January 21 - 23 of the year 1974 was a serious fusion party in Europe! This gathering of seasoned veterans yielded this magnificent release which took on the contemporary trend of crafting stellar 70s jazz-fusion in this case with the anarchic glee of free jazz. Initiated by German jazz pianist Wolfgang Dauner, this supergroup with no name cranked out some outstanding fusion sessions that rivals John McLaughlin and his Mahavishnu Orchestra only minus the guitar hero antics and more on the jazz side of the equation. Joined by Austrians Hans Koller (soprano and tenor saxophones) and Adelhard Roidinger (contrabass, bass guitar) along with two Polish virtuosos - Zbigniew Seifert (alto sax and violin) and Janusz Stefański (drums and percussion), this group kicked some serious jazz-fusion ass!

Graced by one of the coolest and boldest jazz album covers of all time, KUNSTKOPFINDIANER (Art-Head-Indians) featured five diverse tracks that offered a plethora of stylistic shifts ranging from the jazz-fusion sounds of the era that included a thundering electric bass line and rock drumming along with Cecil Taylor style otherworldly piano runs as well healthy doses of saxophone squawking via alto, soprano and tenor. Add an occasional violin to the mix and you have a veritable album's worth of music magic. The different artists involved were all at different stages in their careers. Koller had been recording solo since 1954, Dauner since 1967 and Stefanski since 68. For both Adelhard Roidinger and Zbigniew Seifert, this would be their debut into the world of vinyl and a starting point for a lengthy career to come.

In many ways KUNSTKOPFINDIANER sounds like the Mahavishnu Orchestra especially in the sequences with the Jerry Goodman sounding violin screeches as well as some of the compositional structuring but the band doesn't rock in the same way due to the fact there is no guitarist. Instead the flashy virtuosic performances are traded off by the sultry sax sounds and finger breaking piano rolls that keep this album much more in the world of jazz than of rock however there's no mistaking that the rock rhythms and influences aren't bubbling through for the majority of the album's running time. The album's five tracks vary greatly in length with the opening title track and the overly feisty "Ulla M. & 22/8" both slinking past the nine minute mark with the former almost hitting twelve. The short but sweet "Suomi" barely passes the 2 1/2 minute mark. Can't forget to mention the Rhodes piano that firmly connects it to the era.

The album was marketed as world fushion as it features exotic sounds such as from the nagoya harp but ultimately this is a classic 70s sounding jazz-fusion album from beginning to end with a beefy bass groove and busy drummer. The musical cadences of a recurring bass line with soloing is a classic Mahavishnu characteristic only sounding like an alternative universe where McLaughlin traded in the guitar for a series of saxophones. This album in many ways presents itself as a What If scenario as if the Mahavishnus had focused more on the jazz side of the equation rather than the rock. This is a fascinating intricate weaving of timbres, melodies, tempos, time signatures and all the other accoutrements that make a stellar jazz release. This is really my favorite kind of fusion with a nasty bit that will leave you scarred like the dude on the album cover who got too many blow darts to the head.

For anyone looking for something similar to the Mahavishnu Orchestra's first two albums then KUNSTKOPFINDIANER is the album for you. This is one of those one and done type projects and this particular ensemble would never reform again but despite everything these five musicians worked together like a well-oiled machine that delivered everything in near perfection. This is almost a 5 star masterpiece to my ears but the similarities to the Mahavishnus are a bit too strong at times and therefore i can't quite take it that far but as far as enjoyment purposes go, this album is outstanding! One of the best jazz albums with rock energy of the entire 70s really. Highly recommended.

4.5 rounded down (too similar to Mahavushnus at times)