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David Fiuczynski: Salt, Sweat, Love, Tears

David Fiuczynski: Salt, Sweat, Love, Tears
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[ Editor's Note: The following interview is reprinted from George Colligan
George Colligan
George Colligan
b.1969
keyboard
's blog, Jazztruth]

David Fiuczynski is a very unique guitarist. Many of you know him from his successful band called Screaming Headless Torsos. He's played with Hasidic New Wave, trumpeter Cuong Vu
Cuong Vu
Cuong Vu
b.1969
trumpet
, and pianist Hiromi
Hiromi
Hiromi
b.1979
piano
. I first met David at a rehearsal with drummer Billy Hart
Billy Hart
Billy Hart
b.1940
drums
, and then we played a few projects with clarinetist Don Byron
Don Byron
Don Byron
b.1958
clarinet
over the years. We've been working together in Jack DeJohnette
Jack DeJohnette
Jack DeJohnette
b.1942
drums
's band since 2009, and during our European tour this past May, I found some time before a show to talk to David about micro-tonality, which if you didn't know, is music that uses intervals of less than a half step, or notes in between C and C#, and his teaching at Berklee among other things.

George Colligan: So why microtonal music on guitar, and how? Go!

David Fiuczynski : It's interesting, since some people think I'm a fanatic, and I can't blame 'em for it. The first time I was exposed to microtonal music was at New England Conservatory. One of the big pioneers in Boston was Joe Maneri
Joe Maneri
Joe Maneri
1927 - 2009
saxophone
—he was teaching there. And the first time I heard something microtonal, I said, "Stop!"

GC: [Laughs]

DF: I said, "What are you doing? Could you please stop?" But then I thought, "You know, it's been said that there's only two kinds of music: good and bad." and that's right, because finally I heard a good microtonal piece. It was really happening, so that's when I started checking things out in more depth. I ended up taking a class with Maneri in the late '80s.

But the real way the way I got into microtones was non-Western music. And it's really like you hear something, you analyze it, you transcribe it, you learn it, and you want more. So to me, an Arabic call to prayer, or a Turkish melody, or something like that, a Chinese melody, a Vietnamese melody, it's like, "Oh, wow, ok." They have notes that we don't have. So you start seeing well, what systems can I use? It kind of affected me like Eastern blue notes, just like the blues. I mean, all those blue notes, those sweet notes; you can't find those on the piano.

GC: Right.

DF: So I started to learn, I started to play in bands with any kind of Eastern thing going on. The one band that really allowed me to do whatever I wanted was Frank London
Frank London
Frank London

trumpet
's Hassidic New Wave and also Matt Darriau
Matt Darriau
Matt Darriau

clarinet
—I would sub sometimes with the Paradox Trio, so that's where I learned all the melodies and inflections. And I started playing with cellist Rufus Cappadocia. He's on my first KIF (Fuzelicious, 2003) CD.

I should say where it really hit me was in 1992, when I played with this group in Morocco. It was Western players from Paris , New York, and LA, and we were the house band backing up about 10 Moroccan folklore groups. So we rehearsed in Marrakesh. It was a dream gig for like 2 weeks; Jamie Haddad was on percussion, John Hassel on trumpet, everybody who had any kind of non-Western musical experience.

And then we performed at the World Fair in Seville. And all the Moroccan musicians—they came up to me, and, only because I played guitar, it was very important for them to let me know that Hendrix came to Morocco.

GC: [Laughs]

DF: And that kind of sowed a seed, and that's where I was really interested in mixing these things with micro-tonality, like fat grooves—I experimented with a lot of downtown groups, but they were more jazz-oriented, and it was cool, but I just kept thinking, "Wow, what would happen if I combined this with grooves?" and then to really do it you need micro-tonality because a lot of these melodies, they just don't work on 12 notes per octave.

So a lot of playing with bands learning melodies inflections and then eventually I returned to NEC—New England Conservatory—for my Master's, and I really focused on micro- tonality. I actually took Joe Maneri's last class, and I studied with a sitar player and a Turkish harp player for 2 years and various classes and I just you know—all my assignments I tried to work off a 72-note per octave grid, if possible, and then learn the melodies precisely. But then there's also Western micro-tonality , and that's where you take notes and stack them into chords. That's where it gets really dangerous.

GC: Ha!

DF: But also really exciting! I think there are some really incredible opportunities, as you noticed playing with Jack DeJohnette.

GC: Right.

DF: You know it doesn't always work, but there were times when you're just thinking, "Wow!"

GC: Sure.

DF: And then it's the same thing; well, I want to know more, "Why does this work?"

GC: Right.

DF: How can I expand? And I really feel like in a groove context—in a jazz groove context with micro-tonality and Eastern inflections—we're not really doing Eastern improv concepts that much, but I think you can really do amazing things.


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