Biography Birth name: Stéphane Grappelli Grappelli was born in Paris, France to Italian parents: his father, marquess Ernesto Grappelli was born in Alatri (Lazio). His mother died when he was four and his father left to fight in World War I. As a result he was sent to an orphanage. Grappelli started his musical career busking on the streets of Paris and Montmartre with a violin.[1] He began playing the violin at age 12, and attended the Conservatoire de Paris studying music theory, between 1924 and 1928. He continued to busk on the side until he gained fame in Paris as a violin virtuoso. He also worked as a silent film pianist while at the conservatory[2] and played the saxophone and accordion. He called his piano "My Other Love" and released an album of solo piano of the same name. His early fame came playing with the Quintette du Hot Club de France with Django Reinhardt, which disbanded in 1939 due to World War II. In 1940, a little known jazz pianist by the name of George Shearing made his debut as a sideman in Grappelli's band. --------------- French Jazz Violinist Stephane Grappelli Dead At 89 --------------- --------------- Stephane Grappelli and Claude Bolling: First Class (1992, Milan) Stephane Grappelli: A Life in the Jazz Century (an autobiographical documentary
Stéphane Grappelli (26 January 1908 – 1 December 1997) was a French jazz violinist who founded the Quintette du Hot Club de France with guitarist Django Reinhardt. It was one of the first (and arguably the most famous) of all-string jazz bands.
Born: 26 January 1908
Origin: Paris, France
Died: 1 December 1997 (aged 89)
Genre(s): Swing, Continental Jazz, Gypsy jazz,
Occupation(s): Violinist
Instrument(s) :Violin, Piano
Associated acts: Oscar Peterson, Django Reinhardt
Early years
Post-war
After the war he appeared on hundreds of recordings including sessions with Duke Ellington, jazz pianists Oscar Peterson, Michel Petrucciani and Claude Bolling, jazz violinist Jean-Luc Ponty, jazz violinist Stuff Smith, Indian classical violinist L. Subramaniam, vibraphonist Gary Burton, pop singer Paul Simon, mandolin player David Grisman, classical violinist Yehudi Menuhin, orchestral conductor André Previn, guitar player Bucky Pizzarelli, guitar player Joe Pass, cello player Yo Yo Ma, harmonica and jazz guitar player Toots Thielmans, jazz guitarist Henri Crolla and fiddler Mark O'Connor. He also collaborated extensively with the British guitarist and graphic designer Diz Disley, recording 13 record albums with him and his trio, and with now renowned British guitarist Martin Taylor. In the 1980s he gave several concerts with the young British cellist Julian Lloyd Webber.
Grappelli made a cameo appearance in the 1978 film King of the Gypsies, along with noted mandolinist David Grisman. Three years later they performed together in concert, which was recorded live and released to critical acclaim.
Grappelli's music is played very quietly, almost inaudibly, on Pink Floyd's album Wish You Were Here. The violinist was not credited, according to Roger Waters, in order to avoid "a bit of an insult".
In 1997, Grappelli received the Grammy Lifetime Achievement Award. He is an inductee of the Down Beat Jazz Hall of Fame.
Grappelli is interred in Paris' famous Père Lachaise Cemetery.
By Lee Yanowitch
PARIS (Reuters) - French jazz violinist Stephane Grappelli, whose lively, elegant style captivated audiences for more than a half a century, died in Paris Monday after undergoing a hernia operation. He was 89.
A self-taught violinist, Grappelli came into his own with a style mixing tender lyricism and vivacious swing that made him one of the living legends of jazz in France as well as in the United States. 
Regarded as the grandfather of jazz violinists, he continued staging concerts around the world well into his 80s, cutting a striking figure on stage with his thinning white hair, gaudy print shirts and violin tucked under his chin producing haunting music.
When asked on his 85th birthday if he was considering retirement, Grappelli replied: "Retirement! There isn't a word that is more painful to my ears. Music keeps me going. It has given me everything. It's my fountain of youth."
His agent, Jacques Chartier, told Reuters Grappelli died in a Paris clinic where he had undergone a hernia operation last week.
"His family called me this afternoon to tell me he was dead," Chartier said.
The Paris-born son of a philosophy teacher of Italian origin, Grappelli first worked as a pianist, accompanying silent films in a cinema to help his father pay the bills.
Classical violinist Yehudi Menuhin, a great admirer of Grappelli's improvization skills, once commented: "Stephane is like one of those jugglers who send 10 plates into the air and recovers them all."
The Hot Club of France quintet, a band he formed with gypsy guitarist Django Rheinhart in the 1930s, will be remembered as his major musical contribution.
The two met at the Croix du Sud Montparnasse nightclub in early 1934. Then, in Grappelli's own words: "One day he was strumming on his guitar, and I started to improvise with him."
With Reinhardt's brother, Joseph, and Roger Chaput on guitars and Louis Vola on double bass, the idea of the quintet was born.
"There were no microphones then, so it was hard for a violin to be heard.
It was a revolution to play jazz only with string instruments," Grappelli said.
With their lively style and technical excellence, the group very quickly seduced the world. But World War II found Grappelli in London and Reinhardt in Paris, and though the quintet reformed in 1946, it never reached its pre-war heights.
Grappelli took to performing separately and made hundreds of records. In his later years, he was best-known for his recordings with Oscar Peterson, Jean-Luc Ponty and Menuhin, with whom he produced six records and performed his 70th and 80th birthday concerts.
Born Jan. 26, 1908, Stephane Grappelli grew up in Paris's lively 10th arrondissement. His mother died when he was 4, and he was sent to an orphanage when his father was mobilized during World War I. 
When the war was over, he was reunited with his father, but the two were desperately poor.
It was during this period that Grappelli developed a passion for Claude Debussy and Maurice Ravel, two composers who had an enormous influence on the personal style he later forged.
When he was 13, Grappelli's father gave him a second-hand violin and taught him the scales. Enchanted, the boy learned with fervor.
His first concerts were in the courtyards of buildings and in restaurants, but by the time he was 15 he was working as a piano accompaniest for silent films.
"In the cinema, I had to play Mozart principally but was allowed some Gershwin in funny films. Then I discovered jazz and my vocation and kissed Amadeus goodbye," he said.
He later got a job as a pianist with Gregor's Gregorians, the most popular French show band of the time. When Gregor heard him play the violin one night, he persuaded Grappelli to devote himself fully to it.
Soon afterwards he met Reinhardt and they formed their famous quintet. But when the war broke out, Grappelli was in a London hospital and unable to return to France.
He established a band to play in hospitals and military bases. "But all the Englishmen had been called up, and so I had to recruit the handicapped.
Blind George Shearing was on the piano and the bass player had one leg, "Grappelli said.
He tried to re-form the Hot Club after the war, but a new style had come in. "Later there were groups like the Beatles who completely changed the direction of music," he said.
But Grappelli continued to attract audiences. When he played, it was as if he was in a world of his own, eyes half-closed and a smile that gave him a look of utter bliss.
"I play best when I am happy or sad, or when I was young and in love. If I have ordinary troubles, I forget everything when I play. I split into two people and the other plays," he said.
Even late in life, he improved his technique. "One hears something when listening to recorded music that one doesn't hear while playing it. And you find yourself saying, 'gee, one shouldn't do that, one should do it differently."'
Grappelli had one daughter, Evelyn, and a grandson.
Artist Biography by: Yasir Agha
Stephane Grappelli (originally surname was spelled with a 'Y') would have earned himself a place in Jazz History books if only for his important role in the Quintette of the Hot Club of France, featuring the dazzling virtuosity of Django Reindhart. Grappelli's violin was the perfect foil to Reindhart's guitar in this piano-less group.
Fired by Reindhart's tremendous rhythmic powers, Grappelli's contributions to recordings by the Quintette like Lime House Blues, China Boy and It Don't Mean A Thing (all 1935) and Them There Eyes, Three little Words and Swing '39 (these latter three tracks from 1938-39) were admirable in their execution.
Occasionally Grappelli would play piano, as when harmonica virtuoso Larry Adler recorded with the group in 1939, the year when Reindhart and Grappelli, violin, recorded (with delightful results) as a duo (all Django Reindhart).
Grappelli born (1908) and raised in Paris was involved with music at a very early age. By 12 years, he had acquired his first violin- just one of several instruments he learned to play. He began professionally with theatre bands, eventually being introduced to jazz music. A French jazz musician, Philippe Brun, introduced Grappelli to Reindhart. Soon after that meeting they put the idea of Quintette into practice.
When World War II commenced, Grappelli and the band were touring Britain. While the others returned to Paris Grappelli decided to stay. During the next six years he became a popular figure in London with habitues of nightlife in general and in musical entertainment in particular, working with local musicians in the local clubs. In 1946, he returned to Paris, renewed association with Reindhart, but he magic of pre-war days did not re-appear too often. Between 1948-55 worked in Club Saint Germain, Paris, and in the latter year played nine-month residency in St. Tropez.
During the '70s Grappelli has played throughout Europe, in Clubs, concerts and festivals, has and broadcast televised extensively, and has been a regular visitor to the recording studio.
In 1966, Grappelli was recorded in concert in Switzerland, together with fellow jazz violinist Jean-Luc Ponty, Stuff Smith and Svend Asmussen (Violin Summit). Since then he has recorded frequently in London. A live date at the Queen Elizabeth Hall (Stephane Grappelli 1972) finds him responding to an enthusiastic audience. Elsewhere he has recorded with much success, with Americans Gary Burton (Paris Encounter), Bill Coleman (Stephane Grappelli-Bill Coleman), Roland Hanna, (Stephane Grappelli Meets he Rhythm Section) and Barney Kessel (I Remember Django).
Discography
Albums
Improvisations (Paris, 1956)
Djangoly: Django Reinhardt the gypsy genius (1936 to 1940)
Stephane Grappelli and Django Reinhart the Gold Edition (1934 to 1937, copyright 1998)
Stephane Grappelli 1992 Live (1992, Verve)
Stephane Grappelli in Tokyo (1991, A & M records)
Just One Of Those Things (1984, EMI Studios)
Stephane Grappelli Live at the Blue Note (1996, Telarc Jazz)
Bill Coleman with Django and Stephane Grappelli 1936 to 1938 (released 1985, DRG Records)
Fascinating Rhythm (1986, Jazz Life)
Parisian Thoroughfare (1997, Laserlight)
Martin Taylor Reunion (1993, Linn Records)
The Intimate Grappelli (1988, Jazz Life)
Jazz Masters (20+-year compilation, 1994, Verve)
Michelle Legrand (1992, Verve)
Oscar Peterson Skol (1979, released 1990 Pablo)
Homage To Django (1972, released 1976 Classic Jazz)
Bach to the Beatles (1991, Academy Sound)
Stephane Grappelli Plays Jerome Kern(1987, GRP)
How Can You Miss, with Louis Bellson and Phil Woods (1989, Rushmore)
Crazy Rhythm (1996/2000, Pulse)
Young Django (1979, MPS)
Live in San Francisco (1986, Blackhawk)
85 and Still Swinging (1993, Angel)
Vintage 1981 (1981, Concord)
Jean-Luc Ponty Violin Summit (1989, Jazz Life)
Martin Taylor: We've Got The World on a String (1984, EMI)
Stuff Smith: Violins No End (1984, Pablo)
Sonny Lester Collection (1980, LRC)
Stephane Grappelli and Joe Venuti: Venupelli Blues (1979, Affinity)
Shades of Django (1975, MPS)
Afternoon in Paris (1971, MPS)
Live at Carnegie Hall (1978, Signature)
Jazz 'Round Midnight (1989, Verve)
Unique Piano Session Paris 1955 (1955, Jazz Anthology)
Stephane Grappelli and Cordes (1977, Musidisc)
Satin Doll (1975, Vanguard)
Manoir de Mes Reves (1972, Musidisc)
Grappelli Plays George Gershwin (1984, Musidisc)
Stephane Grappelli (PYE)
Stephane Grappelli - i got rhythm! (1974 Black Lion Records) with Diz Disley, Denny Wright and Len Skeat recorded at the Queen Elizabeth Hall, London, 5th November, 1973
Diz Disley Live at Carnegie Hall (1983, Dr Jazz)
The Rock Peter and the Wolf (1976 RSO Records) (2007 CD Verdant Records) with Jack Lancaster, Phil Collins, Brian Eno, Gary Brooker, Gary Moore, Alvin Lee. Manfred Mann etc.
Collaborations
Stephane Grappelli and Gary Burton: Paris Encounter (1972, Atlantic)
Stephane Grappelli and Hubert Clavecin: Dansez Sur Vos Souvenirs (Musidisc)
Stephane Grappelli and David Grisman Live (1981, Warner Brothers)
Stephane Grappelli and Barney Kessel: Remember Django (1969, Black Lion)
Stephane Grappelli and Barney Kessel: Limehouse Blues (1972, Black Lion)
Stephane Grappelli and Yo Yo Ma: Anything Goes (1989)
Menuhin and Grappelli Play Berlin, Kern, Porter and Rodgers & Hart (1973 to 1985, EMI)
Stephane Grappelli and Yehudi Menuhin: Jalousie (1975, EMI)
Stephane Grappelli and Helen Merrill (1986, Music Makers)
Stephane Grappelli and Oscar Peterson (1973, Musicdisc)
Stephane Grappelli and Jean-Luc Ponty: Compact Jazz (1988, MPS)
Stephane Grappelli and The George Shearing Trio: The Reunion (1977, MPS)
Stephane Grappelli and Martial Solal (1980, MPO)
Stephane Grappelli and Martial Solal: Olympia 1988 (1988, Atlantic)
Stephane Grappelli with Marc Fosset Stephanova (Concord Jazz, 1983)
Stephane Grappelli and Dr. L. Subramaniam: Conversations (1992, Milestone)
Stephane Grappelli and Toots Thielemans: Bringing it Together (1984, Cymekob)
Stephane Grappelli and McCoy Tyner; One on One (1990, Milestone)
Stephane Grappelli and Joe Venuti: Best of Jazz Violins (1989, LRC)
Violin Summit: Stephane Grappelli, Stuff Smith, Svend Asmussen, Jean-Luc Ponty (1967, Polygram)
Stéphane Grappelli and Baden Powell: La Grande Reunion (1974, Accord)
Stephane Grapellli and Paul Simon "Paul Simon" (9) 1972 Hobo's Blues (Columbia 1972)
Stephane Grappelli and Earl Hines: Stephane Grappelli meets Earl Hines
Stephane Grappelli and Michel Petrucciani: "Flamingo" (Dreyfus 1996)
Please note that the ARChive hold a copy of DJANGOLOGY, a 10" 78rpm on Decca, by "Spephan Grappelly and His Hot Four"on the label.
References
Stéphane Grappelli's obituary.
The Piper (2002). A Rambling Conversation with Roger Waters concerning all this and that
Monday, February 16, 2009
STEPHANE GRAPPELLI
DIDIER LOCKWOOD
Throughout 2006 Didier has been touring with Martin Taylor the Jazz guitarist. In these performances it is noticeable to see that he is very involved in improvisation. --------------- Born: February 11, 1956 Source: http://www.allaboutjazz.com/php/musician.php?id=8831 --------------- Didier Lockwood has had a diverse career, ranging from fusion to swing and advanced hard bop. In the 1980s, he was considered the next in a line of great French violinists after Stephane Grappelli and Jean-Luc Ponty, but he maintained a fairly low profile in the 1990s. Lockwood began studying violin when he was six. Ten years later, he stopped his formal training and joined a rock group. He played in Paris with Aldo Romano and Daniel Humair, among others, met Grappelli and toured with him. He had a fusion group called Surya and recorded with Tony Williams around the same period of time (1979). Didier Lockwood played in the United States on several occasions in the 1980s and recorded an acoustic album in 1986 with fellow violinists John Blake and Michal Urbaniak. Source: Scott Yanow, All Music Guide --------------- Jazz: Didier Lockwood Plays By John S. Wilson --------------- b. 11 February 1956, Calais, France. Lockwood studied classical violin at the Conservatoire de Musique de Paris, but exposure to the blues of Johnny Winter and John Mayall persuaded him to cut short formal study in 1972 and form a jazz rock group with his brother, Francis. A three-year stint with Magma followed, but Lockwood was more excited by the improvising of Jean-Luc Ponty, whom he heard on Frank Zappa's "King Kong". He listened to other jazz violinists, particularly Zbigniew Seifert and the veteran Stéphane Grappelli. The latter quickly realised the talent in Lockwood and played with him whenever possible. During the late 70s Lockwood played and recorded with many major European and American artists including Tony Williams, Gordon Beck, John Etheridge, Daniel Humair and Michal Urbaniak. In 1981, Lockwood recorded Fusion, which typified the approach he was to follow in later years: a solid rock-based rhythm with plenty of soloing room for lightning improvisations on his 160-year-old violin. Source: http://www.nme.com/artists/didier-lockwood --------------- 
Didier Lockwood (born February 11, 1956) is a French jazz violinist.
He was born in Calais and studied classical violin and composition at the Calais Conservatory. However, his brother Francis made him receptive to forms of music other than the classical and he quit his studies in 1972. Didier was entranced by the improvisation of Jean-Luc Ponty on Frank Zappa's King Kong album and took up the amplified violin. He joined the progressive rock group Magma, touring and notable featured on their 1975 Live/Hhaï album. Lockwood was also influenced by Polish violinist Zbigniew Seifert and Stéphane Grappelli, whom he joined on tour.
He has also played with Québécois fusion group Uzeb on their Absolutely Live album.
He is famous for exploring new musical environments and for performing various sound imitations on his amplified violin, such as seagulls or trains.
On July 23, 1982, in Montreux, Switzerland, he performed in concert with guitarist Allan Holdsworth, drummer Billy Cobham, bassist/vocalist Jack Bruce, and keyboardist David Sancious.
Didier Lockwood created a string instruments improvisation school, CMDL (Centre des Musiques Didier Lockwood), in 2001.
He has also composed several film scores, like Les Enfants de la Pluie.
He is married to singer Caroline Casadesus.
Didier Lockwood (born February 11, 1956) is a French jazz violinist.
He was born in Calais and studied classical violin and composition at the Calais Conservatory. However, his brother Francis made him receptive to forms of music other than the classical and he quit his studies in 1972. Didier was entranced by the improvisation of Jean-Luc Ponty on Frank Zappa's King Kong album and took up the amplified violin. He joined the progressive rock group Magma, touring and notable featured on their 1975 Live/Hhaï album. Lockwood was also influenced by Polish violinist Zbigniew Seifert and Stéphane Grappelli, whom he joined on tour.
Didier Lockwood in concert (1992)He has also played with Quebecois fusion group Uzeb on their Absolutely Live album.
He is famous for exploring new musical environments and for performing various sound imitations on his amplified violin, such as seagulls or trains.
On July 23, 1982, in Montreux, Switzerland, he performed in concert with guitarist Allan Holdsworth, drummer Billy Cobham, bassist/vocalist Jack Bruce, and keyboardist David Sancious.
Didier Lockwood created a string instruments improvisation school, CMDL (Centre des Musiques Didier Lockwood), in 2001.
He is married to singer Caroline Casadesus
Throughout 2006 Didier has been touring with Martin Taylor the Jazz guitarist. In these performances it is noticeable to see that he is very involved in improvisation.
Didier Lockwood, a French jazz violinist who came to the United States two months ago trailing an impressive array of achievements (twice named European Jazz Musician of the Year, two records selected as Record of the Year in Europe, 150 concerts in Europe last year) is leading a trio at Lush Life (Bleecker and Thompson Streets) through tomorrow with two American musicians, the pianist Bill O'Connell and the bassist Harvie Swartz. 
At the age of 29, Mr. Lockwood has moved from early classical training through an enthusiasm for fusion music to his current involvement in jazz.
His playing reflects all three aspects of his career. His classical grounding has given him a virtuousity that covers both rhapsodic interludes and some dazzling, fiery flights. But, possibly as a result of his fusion experience, he is still rather tentative in his approach to jazz.
Mr. Lockwood's opening set on Tuesday concentrated on compositions by members of the trio (Cole Porter's ''I Love You,'' not one of the more notable foundations for a jazz performance, was the only standard piece). In these circumstances, Mr. Swartz made the strongest and most consistent jazz contributions. Mr. Lockwood found his happiest groove in a gentle violin and bass duet on Mr. Swartz's composition ''Falling.''
Discography
New World - 1979 (MPS)
Live In Montreux - 1980 (JMS)
Fasten Seat Belts - 1981 (JMS)
Fusion - 1981 (JMS)
The Kid - 1982 (JMS)
Trio - 1983 (JMS)
Out Of The Blue - 1985 (JMS)
Live At The Olympia Hall - 1986 (JMS)
Rhythm & BLU - 1986 (Gramavision)
1,2,3,4 - 1987 (JMS)
Phoenix 90 - 1990 (Gramavision)
DLG - 1993 (JMS)
Martial Solal - 1993 (JMS)
Storyboard - 1997 (Dreyfus)
'Round About Silence - 1998 (Dreyfus)
New York Rendevous - 1999 (JMS)
Tribute To Stephane Grappelli - 2000 (Dreyfus)
Omkara - 2001 (Dreyfus)
Mondo Dificile - 2004 (Virgin)
La Reine Soleil - 2007 (Pid)
Waltz Club - 2007 (Universal)
Sunday, February 15, 2009
MICHAL URBANIAK
Jazz is my life. Fusion, reggae, samba, salsa, hip-hop, rap, r&b- it's all jazz to me.
New York has been my home for over thirty years. It's where I have recorded over sixty records. With music as my travel agency, I have traveled the world.
Now, thanks to the Internet, I can be at home in all these places.
-Michał Urbaniak
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Michał Urbaniak (born January 22, 1943) is a Polish jazz musician and composer born in Warsaw, playing mainly the violin, lyricon and saxophone during concerts and recordings. He played a central role in the development of jazz fusion in the 1970s and 1980s, and has introduced elements of folk, R&B, hip hop, and symphonic music to jazz.
Biography
Urbaniak started his music education during high school in Łódź, and continued from 1961 in Warsaw in the violin class of Tadeusz Wroński. Learning to play on the saxophone alone, he first played in a Dixieland band, and later with Zbigniew Namysłowski and the "Jazz Rockers", with whom he performed during the Jazz Jamboree festival in 1961. After this, he was invited to play with Andrzej Trzaskowski, and toured the USA in 1962 with his band "The Wreckers", playing at festivals and clubs in Newport, San Francisco, Chicago, Washington, and New York City.
After returning to Poland, he engaged on work with Krzysztof Komeda's quintet (1962–1964). Together, they left for Scandinavia, where, after finishing a couple of contracts, Urbaniak remained until 1969. There he created a band with Urszula Dudziak and Wojciech Karolak, which gained considerable success and was later to be the starting point for the famous "Michał Urbaniak Fusion".
After Urbaniak returned to Poland and the violin (which he abandoned for the saxophone during the time in Scandinavia), he created the self-named "Michał Urbaniak Group", to which he invited, among others, Adam Makowicz (piano) and Urszula Dudziak (vocals). They recorded their first international album, Parathyphus B, and played on many festivals, including Jazz Jamboree in 1969–1972. During the Montreux'71 festival, Urbaniak was awarded "Grand Prix" for the best soloist and scholarship by the prestigious Berklee College of Music in Boston. After many triumphant concerts in Europe and the USA, in May 1973 he played for the last time before a Polish audience and emigrated with Urszula Dudziak on September 11, 1973, to the United States, where he now lives as US citizen.
In spite of getting an award from Berklee, he did not study there. Recommended by John H. Hammond, Urbaniak signed a contract with Columbia Records, who published the west-German album Super Constellation under the name Fusion. For the promotion tour, he invited Polish musicians, including Czesław Bartkowski, Paweł Jarzębski, and Wojciech Karolak. In 1974, Urbaniak formed the band Fusion, and introduced melodic and rhythmic elements of Polish folk music into his funky New York based music. Urbaniak followed his musical journey with very innovative projects like: Urbanator ( first band fusing rap & hip-hop in jazz), "Urbanizer" (project with his band and 4 piece R&B vocal group - 1978) and UrbSymphony, (where on Jan. 27th 1995 jazz group with rapper and Apple computer played concert and recorded cd & dvd with 60 piece full symphony orchestra)
Since 1970 Urbaniak is playing on a custom-made, five string violin furnished especially for him, violin synthesizer called "talkin'" violin, soprano, alto and tenor saxophones and on lyricon (electric sax-like horn). His fusion with a hint of folklore was becoming popular among the leaders of American jazz, and also provided opportunity for many new musicians (Harold Williams, Steve Jordan, Marcus Miller, Kenny Kirkland, Omar Hakim, and Victor Bailey. He started to play in well known clubs such as Village Vanguard and Village Gate, in famous concert halls such as Carnegie Hall, Beacon Theatre, and Avery Fisher Hall. In this period he played with such stars as Weather Report, Freddie Hubbard, Elvin Jones, Herbie Hancock, Chick Corea, George Benson, and Billy Cobham.
Urbaniak has invited and has been invited by many other well known jazz stars, including Lenny White, Wayne Shorter, Marcus Miller, Joe Zawinul, Ron Carter, Kenny Barron, Buster Williams and Quincy Jones. In 1985, he was invited to play during the recording of Tutu with the father of fusion, Miles Davis. Davis is reported to have said on this occasion: "Get me this fucking Polish fiddler, he's got the sound!"
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Leader, Composer, Arranger , Violinist, Saxplayer & Multiinstrumentalist
Miles Davis, George Benson, Herbie Hancock, Quincy Jones, Larry Coryell, Kenny Garret, Kenny Barron, Ron Carter, Eumir Deodato,Stephane Grappelli,Oliver Nelson, Lenny White, Larry Young, John Hendricks, Joe Williams, Elvin Jones,Buster Williams, Joe Henderson, Johny Griffin, Ted Curson, Astor Piazzolla, Freddy Hubbard, Tom Browne, Steve Gadd, Anthony Jackson, Victor Bailey, Omar Hakim, Bernard Wright, Marcus Miller and many others.
"As a boy prodigy violinist, I played many recitals and concerts with philharmonic orchestras. I took part in competitions for adults and was awarded a scholarship to study in Moscow with the famous David Ojstrach. At the same time I fell in love with American Jazz along with it's culture and a passion for this other musical life began to emerge. One might say that after I began to play Jazz I felt as though a second musical identity came to being. Dr. Jekyll was the straight A student in music school practicing intensely everyday until the afternoon. After which Mr. Hyde would appear experimenting with the new sound of Jazz at local clubs and bars. I dreamed of a time in my life when these two musical identities of mine could be combined somehow.
However, much time passed before my dream could become a reality. I made a promise to my mother that I would not take that scholarship for violin in Moscow. I put the violin aside altogether and began traveling the world as a young saxophonist. I left Poland for good knowing that playing with promising young musicians who played real American Jazz there is more to learn than anywhere in Europe, at least at that time. So I finally came to live in the New York I dreamed of for years and the victory was sweet.
Eight years after I thought I had given up the violin for good I dusted it off and arduously began to teach it to play Jazz as I had done with the saxophone. As a jazz violinist I started a band in which I began connecting the music of my youth and all my experiences of jazz, rock and funk. I was never indifferent to what I heard around me and that is how Fusion came to exist. The experimentation of many musical elements and seeing how they can be used to compliment and ignite eachother was fascinating. In New York I discovered a group of incredible young musicians from Jamaica Queens whose innocence, passion, professionalism and profound precision enabled this experimentation to take place. After playing Fusion for a while my music began to evolve further into Acid Jazz; combining the melodic soul of Jazz with the then very fresh beats of Hip hop.
Shortly after the release of Urbanator I felt the need to introduce my classical roots to the new sound of Hip Hop. An official meeting of both loves was due. So, on 27th of January 1995, for the first time in the history of music, a rapper preformed with a philharmonic orchestra. That day I had proved to myself that which I knew always to be true: God created music and people devided it into categories. "
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Michal Urbaniak, jazz saxophonist, violinist, composer and arranger; born 22 January 1943 in Warsaw.
As a student of the Music Secondary School in Lodz, Urbaniak played in a Dixieland band Tiger Rag. A self-taught saxophonist, he enrolled at the National Higher School of Music in Warsaw in Tadeusz Wronski's violin class in 1961, simultaneously approaching Zbigniew Namyslowski's Jazz Rockers, the band with which he would have his debut at the "Jazz Jamboree" Festival in Warsaw the same year. The following year he left for the United States to concertise in jazz clubs with Andrzej Trzaskowski's quintet The Wreckers and to appear at jazz festivals in Newport and Washington. In 1962-64 he played in Krzysztof Komeda's Quintet, and in 1965 appeared in the film "Jazz aus Polen", made by Joachim Berendt for West-German television. In 1965-68 he stayed abroad, mostly in Scandinavia, playing and recording with the local musicians.
After he had returned to Poland, he led the Michal Urbaniak Group which included, in different periods, Adam Makowicz (piano), Pawel Jarzebski, Michal Komar and Janusz Kozlowski (bass), Czeslaw Bartkowski and Andrzej Dabrowski (drums) and Urszula Dudziak (vocal). It was with the Group that Urbaniak released his first foreign record, Parathyphus B, in 1970 to a wide "Jazz Podium" readership acclaim. The Group was active from 1969 to 1972, and Urbaniak appeared with it at the Jazz Jamboree festivals in 1969-72 and at the European festivals in Nurnberg, Kongsberg, Molde, Heidelberg and Montreux (Grand Prix in 1971). In 1971 he performed with Violin Summit at the Berliner Jazztage and took part in Wolfgang Dauner's jazz workshop. In May 1973 he played a farewell concert to the Polish audience and, accompanied by his wife, Urszula Dudziak, left for the United States. Although he had received a scholarship, he did not take up studies at the Berklee College of Music. Instead, with John Hammond's support, he signed a recording contract with Columbia, and the label released his West-German record Super Constellation under the name of Fusion in the US. The record's promotional concerts featured Polish jazz musicians Czeslaw Bartkowski, Pawel Jarzebski and Wojciech Karolak. Urbaniak's next Columbia records, Atma and Fusion III, sparked off a streak of success for himself and Urszula Dudziak in America.
In 1975-89 he led the group The Michal Urbaniak Fusion with young American musicians such as Kenny Davis, Tom Guerin, Harold Williams, Ronnie Burrage, Joe Caro, Basil Farrington, Gerald Brown, Bernard Wright and Steve Jordan. Together they recorded and concertised in prestigious jazz clubs (Village Vanguard and Village Gate), concert halls (Carnegie Hall) and festivals (New York, Newport and Washington). Urbaniak appeared a number of times in Europe, touring the UK, France, Italy, Germany, Switzerland and Sweden. He worked with the big names of jazz, including George Benson, Lenny White, Wayne Shorter, Marcus Miller, Billy Cobham, Joe Zawinul, Ron Carter, Stéphane Grappelli and Miles Davis (on the Tutu project). After a thirteen-year break Urbaniak visited Poland in 1986 and performed at the Jazz Jamboree with his American Michal Urbaniak Constellation. Since then he has kept in close touch with his home country, playing in the "Komeda zywy" / "Komeda Live" concert in 1989, at Jazz Jamboree in 1991, at the "Jazz nad Odra" festival in 1982 and at Zbigniew Namyslowski's jubilee concert in 1994.
Urbaniak has also composed theatre, film and TV scores for Polish and foreign productions. His scores to Krzysztof Krauze's Dlug / The Debt and to Andrzej Czeczot's Eden won him awards at the Polish Feature Film Festival in Gdynia in 1999 and 2002, respectively. He has come top in a number of Polish and foreign music magazine rankings: was named no. 2 tenor saxophonist by "Jazz" readers in 1962-63 and was Down Beat's critics choice in talent deserving wider recognition in 1975, no. 2 jazz violinist in 1976 as well as no. 2 record of the year, no. 5 musician of the year, no. 5 jazz electronic combo, no. 9 composer and no. 4 violinist in 1992. Readers of the "Jazz Forum" magazine have voted him the violinist of the year several times.
Source: http://www.culture.pl/en/culture/artykuly/os_urbaniak_michal
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Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched violectra, and the lyricon (the first popular, if now largely underutilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady." 
Urbaniak began playing the violin at age six, followed by studies on the soprano and then tenor saxophones. His interests in jazz developed chronologically from Dixieland to swing to bop as he grew up, and he studied at the Academy of Music in Warsaw while working in various Polish jazz bands and playing classical violin. In 1965, he formed his own band in Scandinavia with singer Urszula Dudziak (later his wife), returning to Poland in 1969 to found Constellation, which included pianist Adam Makowicz. Having won a scholarship to the Berklee School upon being voted Best Soloist at the 1971 Montreux Jazz Festival, Urbaniak made the U.S. his home in 1973. He soon formed a popular jazz-rock group called Fusion, recording for Columbia and Arista in a Mahavishnu Orchestra/Ponty fashion, with Dudziak adding darting, slippery scat vocals. This group lasted until 1977, and Urbaniak's profile would never be as high again, although he performed with Larry Coryell in 1982-83, led the new electric group Urbanator in the 1990s, and has performed and recorded in other styles ranging from bop to free jazz. ~ Richard S.
Born: January 22, 1943, Warsaw, Poland
Active: '70s, '80s, '90s, 2000s
Genres: Jazz
Instrument: Violin, Lyricon, Sax (Tenor)
Source: Ginell, All Music Guide
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Legendary jazz sesions featuring master virtuoso jazz violinist Michal Urbaniak
With legendary jazz rhythm section featuring jazz greats like Ted Dunbar, Kenny Barron, Buster Williams, Roy Haynes.
A must-hear!!
Michal Urbaniak is one of the biggest EuropeaNew York jazz stars. Violinist, Saxophonist, composer, arranger, developer of young talents. Since 1973 has lived in New York. Michal Urbaniak became a world famous jazz star after he recorded the “TUTU” album with the greatest Miles Davis. He is also leader and founder of Urbanator Band
Worlds leading legendary Jazz Violinist, Leader, Composer & Arranger. One of the few main creators of Fusion of 70s, 80's and Acid Jazz of 90s & 21th Century.
Symphonic works & Film music for 15 full feature soundtracks to his credit. Recorded over 40 albums under his own name in the USA.
Came to U.S. in 1973 from Europe and live in New York. Won Grand Prix Mantraux Jazz Festival for the best soloist. Many times winner of Down Beat Magazine's Readers Poolas Best Violin Player and in top 10 as Musician of the Year,Record of the year, Composer, Arranger, Electric Group of the year and Misc. Instruments-Lyricon. His Recording, "Take Good Care of My Heart" was nominated for the Record of the Year in Down Beat Magazine 1985.
Toured around the Globe and played most of the Jazz Festivals and Clubs in US and worldwide. Many Television appearances worldwide. Three times guest of world famous Johny Carson's "Tonight Show" on NBC TV. Michal Urbaniak played and recorded (among others) with Miles Davis(Tutu), Quincy Jones(The Wiz), George Benson, Toots Thielmans, Doc Sevrinson, Ariff Mardin, Billy Cobham, Herbie Hancock, Jaco Pastorius, Roy Haynes, Elvin Jones, Michael Brecker, Randy Brecker, Sticks Hooper, John Abercrombie, Larry Coryell, Kenny Garret, Kenny Barron, Ron Carter, Eumir Deodato, Stephane Grappelli, Oliver Nelson, Lenny White, Larry Young, John Hendricks, Joe Williams, Elvin Jones, Buster Williams, Johny Griffin, Ted Curson, Astor Piazzolla, Freddy Hubbard, Tom Browne, Steve Gadd, Anthony Jackson, Victor Bailey, Omar Hakim, Bernard Wright, Marcus Miller and many others.
Source: http://cdbaby.com/cd/urbaniak
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Discography
Paratyphus B (1970)
Inactin (1971)
New Violin Summit (with Don "Sugarcane" Harris, Jean-Luc Ponty, Nipso Brantner, Terje Rypdal, Wolfgang Dauner, Neville Whitehead, Robert Wyatt) (1972)[1]
Super Constellation (and Constellation In Concert) (1973)
Polish Jazz (1973)
Atma (1974)
Fusion (1974)
Funk Factory (1975)
Fusion III (1975)
Body English (1976)
Urbaniak (1977)
Music For Violin And Jazz Quartet (1980)
Serenade for The City (1980)
New York Five at the Village Vanguard (1989)
Songs For Poland (1989)
Milky Way, Some Other Blues, Mardin (1990)
Cinemode (1990)
Songbird (1991)
Burning Circuits, Urban Express, Manhattan Man (1992)
Urbanator (1993)
Code Blue (1996)
Urbanator II (1996)
Urbaniax (1998)
Fusion (1999)
Sax, Love & Cinema (2001)
I Jazz Love You (2004)
Urbanator III (2005)
Jazz Legends" #1 (2006
Jazz Legends" #2 (2007)
Jazz Legends" #3 (2008)
Jazz Legends" Box (all 3 records-2008)
ZBIGNIEW SEIFERT
--------------- --------------- "Tribute to the great jazz violinist" Zbigniew Seifert is recognized as one of the great performers of jazz on the violin, and an extraordinary and forward thinking improvisor. Seifert was born in June, 6th, 1946. He began studying the violin at the age of six and ten years later also took up the saxophone. He studied violin at the University Of Krakow, while also playing alto in his jazz group. The music of John Coltrane proved to be a strong influence throughout Seifert's career. The violin took precedence as Seifert' main instrument when he was a member of Tomasz Stanko's quintet from 1969 to 1973. He moved to Germany in 1973, played with Hans Koller's Free Sound from 1974-75 and freelanced with various musicians(including with pianist Joachim Kuhn). Seifert played at the Monterey Jazz Festival with jazz legend John Lewis in 1976 and the following year recorded with Oregon. In the mid to late seventies, Seifert recorded a series of solo records, that established him as one of the most unique voices in jazz, and one of the most sophisticated improvisors on the violin. Source: http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=115636209 --------------- Zbigniew Seifert Cracow, Poland (1946 – 1979) Source: http://www.last.fm/music/Zbigniew+Seifert --------------- A masterful improviser who could have ranked at the top with Adam Makowicz and Michal Urbaniak, Zbigniew Seifert's early death robbed Poland of one of its top jazz artists. Seifert started on the violin when he was six and ten years later started doubling on alto sax. He studied violin at the University of Krakow, but when he started leading his own band in 1964, Seifert mostly played alto, showing off the influence of John Coltrane. When he was a member of Tomasz Stanko's very advanced quintet (1969-73), Seifert switched back to violin and largely gave up playing sax. He moved to Germany in 1973, was with Hans Koller's Free Sound from 1974-75 and freelanced (including with Joachim Kuhn). Seifert played at the Monterey Jazz Festival with John Lewis in 1976 and the following year recorded with Oregon. As a leader Seifert (who was affectionately known as Zbiggy) performed music that ranged from free jazz to fusion. Seifert recorded for Muza in 1969, Mood from 1974-76, MPS in 1976 and Capitol from 1977-78. He died of cancer at the age of 32. --------------- Source: http://www.jazzfiddlewizard.com/Seifert.htm --------------- Discography
Zbigniew Seifert (6 June 1946–15 February 1979) was a Polish jazz violinist.
Seifert was born in Kraków, Poland in 1946. He played alto saxophone early in his career and was strongly influenced by John Coltrane. He devoted himself to jazz violin when he started performing with the Tomasz Stańko Quintet in 1970 and became one of the leading modern jazz violinists before he died of cancer at the age of 32.
American jazz violinist and composer Zach Brock discovered a posthumous recording of Polish jazz violinist and composer Zbigniew Seifert six years ago by chance in a bargain-basement record store. This discovery forever changed his conception of jazz. The record was entitled, “Passion.”
A double odyssey, Zach retraces Seifert's musical quest, tragically cut short by cancer at the age of 32 while on his own musical journey - himself, age 32, both men linked by a mutual desire to express the sound of post-Coltrane jazz on the violin. Traveling across the globe to reconstruct the life of an artist racing against mortality to achieve self-expression, Zach awakens in us the question of our own immanent desires by challenging his own. Passion is a testament to the world that affirms, through Zbigniew Seifert, the irrepressibility of human creativity and the phenomenon of a universal expression that transcends nationality and time.
Seifert was born in Kraków, Poland in 1946. He played alto saxophone early in his career and was strongly influenced by John Coltrane. He devoted himself to jazz violin when he started performing with the Tomasz Stańko Quintet in 1970 and became one of the leading modern jazz violinists before he died of cancer at the age of 32.
Source: Scott Yanow, All Music Guide
Rare Interview with Zbigniew Seifert
Zbigniew Seifert is in my opinion unsurpassed in playing post Coltrane jazz on the violin. He started playing the saxophone while studying Classical violin at the Academy of Music in Cracow. He got noticed playing around Europe in the early 70ies. For more biographical information see Scott Yanow's article on www.allmusic.com . Seifert refers to the recording Man of the Light on MPS and the self titled Zbigniew Seifert on Capitol in the interview. His last recording, Passion, was for Capitol and featured John Scofield, Richard Beirach, Eddie Gomez, Jack DeJohnette and Nana Vasconcelos. Seifert died of cancer February 15th, 1979, at the age of 32.
This interview was translated by Michał Markiewicz and corrected by Grzegorz Tusiewicz. Many thanks! Thanks also to Mr. Tusiewicz for obtaining permission from the interviewer Mr.Antoni Krupa of the Polish Radio Krakow for publication on my website. The interview is taken from side four of a live recording on PolJazz (PSJ-101 & PSJ-102) by Seifert called Kilimanjaro. All of the recordings mentioned are featured on my online radio station.
Part One
Zbigniew Seifert: Recently I worked less than 3-4 years ago. Simply, I focused on working on two records. One of them I recorded in the U.S. for CAPITOL and right after the second one for MPS in Germany. I needed a lot of concentration while preparing this material, discussing it with producers, etc. Right now, I played pretty similar repertoire to one I recorded but there was some problem. Namely, it is hard to reproduce this repertoire with different musicians you made records with. I want to say that these people are not worse but less experienced. Also it was hard to play it live because I felt it was not so entertaining comparing to recordings in studio. These were minor problems but made me stop playing so often.
Interviewer (Antoni Krupa): From what you said, I understand you got your own band because all these recordings were made with musicians you had chosen exclusively for it?
ZS: Unfortunately it happened that way. I tried to go on tour in fall with guys I made record for MPS: Billy Hart (percussion), Cecil McBee (bass), and Joachim Kuehn (piano). We had to call it off for many reasons. We did not manage to play on Jazz Jamboree in Warsaw and on Zaduszki in Cracow. We did not make it but I believe that it is possible to organize at least one tour per year in Europe with such musicians I talked about. I’m aware that it can’t be a regular band because for instance these musicians played with stars like Stan Getz, etc. They are pretty busy considering that music is the only thing they do for living. Apart from that, I have one 'changeable' group that works for almost three years and it is called Various Spheres.
INT: What does it mean?
ZS: It means crazy spheres or something. We invented the name ourselves.
INT: You working with these people? Who is playing in that band?
ZS: There was Janusz Stefański, Hans Hartmann -Swiss bassist and Belgian pianist Michel Heer. In the second 'lineup' there was Adelhard Reudinger (bass), Lala Kovacev- percussionist from Max Greger`s Orchestra and also a great friend of mine. Right now, we are not playing at all therefore I cant say who is going to play next time.
INT: Is it changing?
ZS: Yes, each time it is different playing with different people and maybe it sounds ridiculous but each time I select musicians to the music I want to play.
Part Two
INT: As far as I remember you were (even when in Cracow) fascinated by the music of John Coltrane. While reading reviews of your records and concerts I noticed that there is one major idea that you transposed Coltrane`s manner of playing and phrasing from his sax onto your violin. Can you say something about it?
ZS: It is true, I did it consciously. While playing violin I tried to have an impression of playing different instrument, I tried to get different sound from typical violin sound.
INT: With obtaining the major ideas of Coltrane`s playing?
ZS: Yes, phrasing and articulation. And first of all- the way of thinking. As a matter of fact it is the most important.
INT: While graduating the Academy of Music in Cracow, many professors considered you as a promising violinist. I remember also your hesitations of changing the instrument. That time you quit violin sacrificing your work for playing alt sax. This was your start in jazz and also fascination of sax. Right now back to violin?
ZS: At this moment you exposed me, because my beloved professor Tawroszewicz will hardly believe it while listening to it.
INT: You let him down?
ZS: Sort of
INT: But now you’re playing violin again and that is going to make him happy.
ZS: I believe he is not very anxious about it. I saw him just yesterday. It was casual meeting. As for violin, it was sudden decision. Many years ago when we were playing for he first time abroad with Stańko`s quintet, I started to dream about my sax. But when I bought it (it was Selmer, golden one) for lower price, from this moment I started to play sax less and less. It was some kind of a rule, you know, a crucial point.
INT: do you play sax yet?
ZS: I played less and less because no matter what kind of band I played in more interesting for me was to play violin. Simply, it was something different more original and rare. Also I had to overcome many unknown problems while playing jazz on violin. Therefore I did not have time to practice sax and in course of time I played it less ad less, and right about now I’m playing violin only. But sax is my honorary instrument.
Part Three
INT: It is very fashionable to play music popularly called jazz-rock or something between light music and jazz. What do you think about it?
ZS: It is subjective but my opinion about that music is rather negative. As a mater of fact, I became a bit disaffected after and during recording for CAPITOL.
INT: Is this record in such a mood, such a style?
ZS: Sort of, but not so much because my playing has nothing to do with standard phrasing and style of this music. One way or another, in my opinion it is some kind of trend that was started by couple of superb musicians like Herbie Hancock, Chic Corea, etc. And these musicians as usually are doing it great.
INT: Do you think they’re doing it whole-heartedly or it is a whim?
ZS: Absolutely whole-heartedly. That is why they are great. They are doing it whole-heartedly and with absolute, unequalled perfection. Therefore they can let themselves play this way. There is also the other point- commercial aspect. It is pretty visible when you go to the U.S. and have something to say or record something or meet people to talk it over, from the very beginning there is a question: "What do you play?. Because we need something new but when you propose to play something new, something original it turns out that it’s ok but you have to add another two guitars, synthesizer and strings for coloring the sound. Even Don Cherry had these kind of problems when I met him in studio in N.Y. I was completely upset during the recording because producers were fixing incidental music to my improvisation (of course all on the separate tracks). They were doing things about which I had no idea. I sat there sadder and sadder. I was only looking and listening to it. And later on, I met Don who said that he had the same problem and that the most important thing is to reach as many people as possible regardless some stylistic concessions. He tried to comfort me and I think himself as well.
INT: Yes, it looked that way. So right now the most creative people , the most creative environment comes from Europe. I mean, as far as some new searches and projects are concerned. Do you agree?
ZS: Yes, however a lot of music played in Europe is non-jazz. There is a lot of jazz-related music, that is improvised but without fundamental jazz feeling.
Part Four
INT: What do you think about records you made so far and which one satisfies you most?
ZS: It is the record made in Europe in Germany for MPS. It is simply the record on which I placed all my musical dreams and desires from recent time. I’m absolutely proud of this record.
INT: It is titled...
ZS: Man of the light
INT: Who is playing on it with you?
ZS: Billy Hart (percussion), Cecil McBee (bass), Joachim Kuehn (acoustic piano) Jasper van Hoef (Yamaha keyboard)
INT: Jasper Van Hoef is well-known for Polish audience because couple of times he played here. And even recently he was in Cracow with his band Toto Blanke Electrics. Unforgettable impressions from this concert that was played in 'Pod Jaszczurami' club. So , thank you for coming , thank you for this interview and I want to wish you not to have more problems with completing musicians to play along with. And I wish you to release as many records as possible. Also we would like to see you and your band playing concerts in Poland. I think it is possible...
ZS: As soon as there some good tournee with good musicians is coming, I’ll definitely come to Poland.
INT: Thank you
Man of the Light (MPS Records - 1976)
Solo violin (EMI - 1976)
Kilimanjaro (1979, PSJ-101 by PolJazz)
Kilimanjcro vol. 2 (1978, PSJ-102 by PolJazz)
Violin (1978, Vanguard - with Oregon)
Zbigniew Seifert (Capitol Records - 1977)
Passion (Capktol Records - 1978)
We'll Remember Zbiggy (Mood Records - 1979)
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