All About Jazz

Home » Articles » Interviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

13

David Fiuczynski: In the In Between

Daniel Lehner By

Sign in to view read count
The most recent compositional premiere by guitarist David Fiucyznski has a title that almost manages to sum up his entire sphere of influence. "Flam! Pan-Asian Microjam for J Dilla and Olivier Messiaen" premiered at Berklee College of Music in 2012 and was inspired by a geographically and temporally enormous range of styles. Fiuczynski describes the piece as a trinity of inspirations with respect to rhythm, harmony and melody.

"It's kind of a triangle between Pan-Asian music, Messiaen bird calls and having Dilla beats played either outright on drums or with more of an East Asian instrumentation," Fiuczynski explains. "I just thought it'd be kind of curious to see if you could combine Dilla's flam beats with some of the flam beats of East Asian music. There are lots of flams in the percussion in particular, like in Japanese court music [gagaku]. You also hear them in East European, Turkish, Arabic, Indian and all sorts of other musics. There are a lot of flams in the inflections; to use guitar-speak, there are pull-offs, hammer-ons, et cetera."

Fiuczynski's piece exploring commonalities was as much of an exploration as it was a receptacle of ideas. "I had been wondering if there was sort of a Silk Road continuum or if it's more of a trade-route thing or maybe a gypsy thing. There's a movie called Latcho Drom, which is all music, virtually no words, and it just follows the music of the gypsies starting in India, going through Eastern Europe and ending up in Spain. I noticed they all have similar inflections."

The incorporation of Messiaen makes the piece delve even deeper, drawing from several aspects of the French composer's oeuvre. "All of the melodies and motifs, of which there are about six or seven running throughout, are all bird calls," alluding to Messiaen's famous use of bird songs. "I also somewhat used his instrumentation, especially that of 'Sept Haïkaï,' which is somewhat inspired by Japanese percussion, bells and things, based off of seven haiku parts. I also drew from 'Oiseaux Exotiques,' which means 'the exotic birds,' which is another favorite of mine." For Fiuczynski, he mused on whether or not he and Messiaen could have possessed an even closer musical relationship. "I thought it was always interesting that he never used microtonality in his pieces, because birds obviously don't adhere to 12 notes per octave."

The non-adherence to the typical 12-note Western scale has been a defining characteristic for Fiuczynski ever since being exposed to famed microtonal legend Joe Maneri in Boston at New England Conservatory. Fiuczynski, now an educator at Berklee College of Music, has been a proponent of the music as well as an exhibitor. "Microtonality is not new. It's much older than our so-called tempered tuning; it goes back to the beginning of human beings. In regards to its age, you can go back to Delphic hymns, which were something like 128 years before Christ, or you could look at bone flutes, which have carbon dating that go back anywhere from 8,000 to 43,000 years old. And, really, microtonality is a Western construct; it's just a term for anything that's not 12 notes per octave. Considering that about 75-85% of the world's music is based on more notes per octave, to a certain extent, we're microtonal."

David Fiuczynski—Planet MicrojamFiuczynski has been a student of several different schools of microtonality, both in the realms of non-Western music and of the classical microtonality of composers like Alois Hába, Ivan Wyschnegradsky and Harry Partch, the latter of whom created systems using quarter tones, equal temperament and microtonal scales of differing notes per octave (such as 24, 33, 36, etc.). Fiuczynski's niche, however, has been trying to introduce these concepts into the realms of jazz and groove musics. "There's virtually nothing so far. There's Joe Maneri, who's been doing it since the '60s or '70s, and then there's little things here and there, like myself, Rudresh Mahanthappa, Steve Lehman. Steve Coleman had done the Lucidarium project with microtonality. There's some very cool stuff that a musician named Sevish is doing in terms of electronica, but it's still virtually a wide-open field."

He's also interested in exploring what was previously thought to be exhausted. "What I'm finding is that—though I also want to branch out in other directions—is that my approach is sometimes not so much 'microtonal' as much as it's 'micro tonal.' There's a lot you can do with tonality. Remember tonality—that old dinosaur? You can come up with new harmonies in a tonal context, and I think that's exciting"

Tags

comments powered by Disqus

Just for Now - Live!!

Just for Now - Live!!

David Fiuczynski
Choice Cuts

CD/LP/Track Review
Interviews
CD/LP/Track Review
Read more articles
Mikrojazz!: Neue Expressionistische Musik

Mikrojazz!: Neue...

RareNoiseRecords
2017

buy
Flam! Blam!

Flam! Blam!

RareNoiseRecords
2016

buy
 

Planet Microjam

Til Midnight
2012

buy
 

KiF Express

FuzeLicious Morsels
2009

buy
KiF Express

KiF Express

FuzeLicious Morsels
2008

buy
KiF Express

KiF Express

FuzeLicious Morsels
2008

buy

Related Articles

Read Randy Weston: The Spirit of Our Ancestors Interviews
Randy Weston: The Spirit of Our Ancestors
by Ludovico Granvassu
Published: September 7, 2018
Read Val Wilmer: Dues And Testimony Interviews
Val Wilmer: Dues And Testimony
by Ian Patterson
Published: September 5, 2018
Read Bob James: Piano Player Interviews
Bob James: Piano Player
by R.J. DeLuke
Published: September 3, 2018
Read Ben Wolfe: The Freedom to Create Interviews
Ben Wolfe: The Freedom to Create
by Stephen A. Smith
Published: September 1, 2018
Read Peter Epstein: Effortless Precision Interviews
Peter Epstein: Effortless Precision
by Stephen A. Smith
Published: September 1, 2018
Read Dan Shout: In With a Shout Interviews
Dan Shout: In With a Shout
by Seton Hawkins
Published: August 31, 2018
Read "Linda Sikhakhane: Two Sides, One Mirror" Interviews Linda Sikhakhane: Two Sides, One Mirror
by Seton Hawkins
Published: May 16, 2018
Read "Ron Korb: Pan-Global Flutist" Interviews Ron Korb: Pan-Global Flutist
by Rob Caldwell
Published: June 27, 2018
Read "Kika Sprangers: Musical Adventurer In Holland" Interviews Kika Sprangers: Musical Adventurer In Holland
by R.J. DeLuke
Published: August 14, 2018
Read "Piotr Turkiewicz: Putting Wroclaw On The Jazz Map" Interviews Piotr Turkiewicz: Putting Wroclaw On The Jazz Map
by Ian Patterson
Published: September 18, 2017
Read "Jessica Lurie: In It For The Long Haul" Interviews Jessica Lurie: In It For The Long Haul
by Paul Rauch
Published: January 9, 2018