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/ PROGRAM 1st International Zbigniew Seifert Jazz Violin Competition 16th – 19th July 2014 / Lusławice, Kraków A Competition held under the Honorary Patronage of the President of the Academy of Music in Cracow, in cooperation with the “Emanations” Festival and the Summer Jazz Festival at Piwnica pod Baranami. Organizer: Partners: The Competition project has been made possible by the financial support of the Ministry of Culture and National Heritage, the Małopolska Province and Kraków City Council. Media Patrons: 2 1st International Zbigniew Seifert Jazz Violin Competition 16 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice semifinal auditions 17 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice semifinal auditions 18 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice final auditions 19 LIPCA 2014 r. 7 pm Manggha Museum of Japanese Art and Technology in Cracow gala concert www.seifertcompetition.com 3 n love with the music of John Coltrane, he originally took up the saxophone, and soon afterwards - set up ZBIGNIEW his first ensemble, the Zbig- Iniew Seifert Quartet, where he played with Jan Jarczyk, Jan Gonciarczyk and Janusz SEIFERT Stefański. Uncompromising and very daring in their artistic AN ICON OF THE JAZZ VIOLIN aims from the very start, they won the 2nd (1968) and then the Born in Cracow, he was associated with that city almost 1st (1969) prize at the Jazz on throughout his life. It was there that he completed primary and the Oder Festival, while Seifert secondary music schools and where he graduated from the himself took individual prizes. State Higher School of Music. In 1969, they won the 1st prize at the Nagykőrős Festival in Jazz Tage, the International tion and symphony orchestra. Hungary. All these achieve- New Jazz Meeting Altena, and In 1975, Seifert founded the ments paved them the way to the International Jazz Beat international band Various performances at Poland’s then Festival Arhus. In the period of Spheres. He had now matured most important jazz festival his work in the Quintet, Zbyszek to the point when he could fol- - the Jazz Jamboree. In 1968 underwent a kind of metamor- low his own musical path. A the Quartet drew the atten- phosis and already about a man who assisted him greatly tion of Tomasz Stańko. In the year after his graduation from in those efforts was Joachim late 1960s, the Zbigniew Seif- the State Higher School of Mu- Ernst Berendt, a journalist, mu- ert Quartet and the recently sic (degree in 1970) he resolved, sic critic and producer much founded Tomasz Stańko Quin- at Stańko’s instigation, to focus appreciated in the jazz circles, tet performed simultaneously, on the violin. This greatly en- who from the very beginning but it soon turned out that the riched the ensemble’s sound, as noticed Seifert’s phenomenal Quintet’s popularity rendered Zbyszek’s original style added talent and accompanied him it impossible for the musicians a unique flavor to their color till the very end, helping him in to work in both bands. Before palette. artistic projects and supporting their paths diverged, however, him spiritually. for five years (1968-73) Tomasz Seifert also recorded for the Stańko Quintet - consisting Polish Radio Jazz Studio, head- In April 1976 Seifert learnt about of Tomasz Stańko (trumpet), ed by Jan Ptaszyn Wróblewski. his tumor, and from that mo- Zbigniew Seifert (saxophone The Quintet’s sessions in that ment his race against time be- and violin), Janusz Muniak (sax- studio marked the heyday of gan. Despite his extremely dif- ophone), Bronisław Suchanek the ensemble. After the dis- ficult situation, Zbyszek never (bass) and Janusz Stefański solution of Tomasz Stańko gave up, strongly believed in his (percussion) - was the flagship Quintet in 1973, Seifert moved chances of recovery and made of European free jazz. They to Germany, where he began further artistic plans even made three records together collaboration with Hans Koller’s when the disease attacked his (Music for K, Jazzmessage band Free Sound. From 1974 he right hand. He wrote to Janusz from Poland and Purple Sun), recorded for Norddeutscher Stefański: “It’s getting bet- and performed at Europe’s Rundfunk, for which he per- ter now, Janusz: I can already most prestigious festivals such formed e.g. his Concerto for move my hand 10-15 centime- as the Jazz Jamboree, Berliner improvising violin, rhythm sec- tres. I will have to play the sax. 4 1st International Zbigniew Seifert Jazz Violin Competition But I will play.” companied by such jazz giants Extremely significant to his as John Scofield, Richie Beirach, career was the LP Solo Violin, Eddie Gomez, Jack DeJohnette, ZBIGNIEW dedicated to his wife Agnieszka and Nana Vasconcelos. Passion (Agnes). It contains more than was unfortunately Seifert’s last 40 minutes of virtuoso jazz record project of his own. During violin playing. In one of his in- the night of 14th/15th February SEIFERT terviews, Seifert stressed that 1979 he died of a heart attack in he was not interested in easy the Cancer Hospital in Buffalo. violin techniques and that he derived all his inspiration from *** the music and techniques of Zbigniew Seifert was an out- John Coltrane, which was a standing artist: a genius, or even neck-breaking enterprise con- a visionary of the jazz violin. He sidering the different nature of did not even live to be 33, but it their instruments. is thanks to his playing and mu- sical passion that today Polish Seifert was becoming a more jazz is held in such high regard. and more recognizable figure in A slightly forgotten figure in his Europe and worldwide. After his own country, he is still admired performance with Seifert at the in Europe and throughout the Danaueschingen Music Festi- world. Proof of his phenom- val in 1976, Albert Mangelsdorff enal talent and skills can be said: “Zbigniew has a wonderful found in the recordings that he feel of the music.” After one of left behind, in the respect and the concerts in France, Seifert esteem that he inspired on in- was invited by the members ternational stages, and in the of the legendary band Oregon opinions of indisputable mas- to join them for the history- ters of the world’s jazz (such as making LP Oregon/Violin, re- Jack DeJohnette, John Scofield, corded in 1977. In the same year, Joachim Kühn, Charlie Mariano Seifert recorded his solo album or the famous Oregon band), Man of the Light, produced by who considered it a great honor Berendt. “I am really happy I to be able to play with Seifert. “In could record an LP with this the late 1960s and early 1970s, I rhythm section: Cecil McBee, also had the pleasure to per- Billy Hart, Joachim Kühn. It was form with Zbigniew. He was one the best thing that could hap- of the finest persons I have ever pen to me,” said Seifert after the met: gentle, upright and honest. recording. Also in 1977 Seifert First of all, however, he was an made his first record under the outstanding violinist, the inven- American label Capitol: the LP tor of a unique style, which still Zbigniew Seifert, maintained in remains an unrivalled model for the jazz-rock style that enjoyed many young musicians,” recalls much popularity at that time. A the jazz trumpet player Tomasz year later he fulfilled his musical Stańko, Seifert’s friend and long- dreams on his second Capitol time musical partner. LP, Passion, where he was ac- b continued on page 6. www.seifertcompetition.com 5 b continued from page 5 The Zbigniew Seifert Foundation, established in 2010, has taken up the task of saving Seifert’s great musical legacy from oblivion. With this aim in mind, the Foundation organizes concert cycles and fes- tivals dedicated to the memory of the phenomenal Polish violinist. The Foundation has also developed Poland’s only online jazz archive (www.polishjazzarch.com), which contains a wealth of materials re- lated to the most important events in the history of the Polish jazz scene. In July 2014, the Foundation inaugurates the 1st International Zbigniew Seifert Jazz Violin Competition. We believe that - with the help of young musicians invited to the competition from all over the world - we will be able to cultivate and preserve, for many years to come, the memory of that phe- nomenal artist, both in Poland and worldwide. Perhaps first and foremost we would be happy to achieve it in our country, where the legacy of our great compatriot has so far not received proper recognition, says Aneta Norek-Skrycka, President of the Zbigniew Seifert Foundation. The Competition promotes Zbigniew Seifert’s music, but also propa- gates Polish jazz outside our own country. It definitely fills a major gap on the map of jazz culture, as the world’s first prestigious com- petition addressed to jazz violinists. For these reasons, the Interna- tional Zbigniew Seifert Jazz Violin Competition can well become an international breeding ground for fresh violin talents. Read more at our website: www.seifertcompetition.com and on Facebook: (Our profile: Seifert-Competition 6 1st International Zbigniew Seifert Jazz Violin Competition THE JURY Mark Feldman – a world famous jazz violinist associated with the New York jazz scene, John Zorn and his avant-garde label Tzadik Records. Played in such famous bands as the Masada String Trio and Bar Kokhba, as well as performing Zorn’s film music. His dis- cography totals more than 150 titles, including his highly valued individual projects: Music for Violin Alone (Tzadik Records) and What Exit (ECM). He has partnered such giants of jazz as: Kenny Wheeler, John Taylor, Paul Bley, Billy Hart, Lee Konitz, Joe Lova- no, Dave Douglas, Richard Galliano, Louis Sclavis, Muhal Rich- ard Abrams, and Uri Caine.

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