Zbigniew Seifert (1946-1979) had studied violin in his hometown of Krakow, had converted to woodwind in the meantime on his way to jazz, only to devote himself increasingly to the strings again in the late sixties. The triumvirate of Coltrane, Coleman and Ayler had pointed the way for legions of saxophone epigones to follow. However, there were hardly any violinists who dared to take on this uncompromising energetic expression and had the playing competence not to fail. Seifert was therefore a pioneer, unintentionally, because he was not at all interested in revolutionizing his instrument. Rather, he wanted to catch up with the heroes of his day and understand, for example, how a Coltrane managed to convey textural impressions without sacrificing linear melodic control. It helped that Seifert knew how a saxophone behaved musically. But even more important was his openness to also play the violin with the attitude of an energy archaeologist. Sound beauty? Why not! It was the basis, not the goal, of Seifert's playing. With this attitude he was ahead of his contemporaries, who were still working on structure and aesthetics. Probably this, in combination with his early death from cancer, was one of the reasons why Seifert was so permanently forgotten by the jazz world for many years.