Greg Byers: Dear Zbigniew

Half a decade in the making, Dear Zbigniew is multi-string instrumentalist Greg Byers' musical letter to Zbigniew Seifert, the Polish violinist who made his name in Tomasz Stańko's quintet in the late '60s/early '70s. Byers' appreciation of Seifert—dubbed the John Coltrane of the violin—came with his participation in the 2018 and 2020 editions of the Zbigniew Seifert International Jazz Violin Competition, held in Luslawice, Poland. Byers won the Jazz Jury's Award at the second attempt and was moved to record this tribute.

The atmospheric title track, which sees Byers juggling cello, violin, viola and double bass, arguably captures Seifert's questing spirit better than Byers' fesity interpretation of the violinist's own "Kilimanjaro/Pinocchio"—another one-man venture on cello, acoustic and bass guitars, drums and percussion; Byers graduated from Miami University with an unprecedented double major in jazz cello and bass and his mastery of both instruments shines through here. The other Seifert composition, the ballad "Song for Christopher," features Byers' former trio partners, drummer L.A. Buckner and keyboardist Javier Santiago, though despite the individual prowess, it is Seifert's haunting melody that lingers.

There are almost as many colors in Byers' palette as there are strings to his bows. Classically trained, though with an improvisor's instinct, Byers' years in Miami opened him up to Afro-Cuban, Caribbean and Brazilian music, amongst other influences.

These flavors infuse "Salsa de Manzana," and "CoCalypso." On the former, Byers toggles between acoustic and electric cello over his own grooving bass lines and Andrew Gillespie's percussion. On the latter, a sunny Caribbean vibe prevails, with the leader's confident vocals and Kenni Holmen's lovely flute and piccolo solos leaving a lasting impression. The lines between salsa, samba and calypso, however, are deliciously blurred. Holmen also impresses on "Harvest Waltz," originally written for Byers' innovative music-meets-food project, Acoustic Cuisine.

Precisely what instrument Byers is playing at any given time is not always clear, but guessing is half the fun. It is also largely irrelevant. What does matter is the sincerity and emotion his playing transmits, regardless of instrumentation or genre.

There are shades of Flora Purim/George Duke's breezy jazz-fusion on "Diversion," while Santiago's "Gaia" takes a more progressive turn. There is a nod to both Charles Mingus and to Seifert's extraordinary unaccompanied adventure Solo Violin (EMI, 1978) on the arresting cello piece "Duke Ellington's Sound of Love." Whatever the sources of inspiration, Byers' skills as a composer, arranger and virtuoso are evident throughout, no more so than on "Springin' It Back," which builds from lyrical foundation to storming release.

A potent, uplifting calling card from a wickedly talented musician, Dear Zbigniew certainly raises the bar for jazz cello. Byers' vision, however, is without confines, and it is this open-arms approach to music that makes for such a winning formula. Seifert, you feel, would have approved.