Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!


David Fiuczynski: Salt, Sweat, Love, Tears

George Colligan By

Sign in to view read count
[ Editor's Note: The following interview is reprinted from George Colligan'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, and pianist Hiromi. I first met David at a rehearsal with drummer Billy Hart, and then we played a few projects with clarinetist Don Byron over the years. We've been working together in Jack DeJohnette'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—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's Hassidic New Wave and also Matt Darriau—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.


comments powered by Disqus

More Articles

Read Julian Priester: Reflections in Positivity Interview Julian Priester: Reflections in Positivity
by Paul Rauch
Published: December 8, 2017
Read Aaron Goldberg: Exploring the Now Interview Aaron Goldberg: Exploring the Now
by Luke Seabright
Published: November 24, 2017
Read Pat Metheny: Driving Forces Interview Pat Metheny: Driving Forces
by Ian Patterson
Published: November 10, 2017
Read Bill Anschell: Curiosity and Invention Interview Bill Anschell: Curiosity and Invention
by Paul Rauch
Published: November 9, 2017
Read Tomas Fujiwara: The More the Better Interview Tomas Fujiwara: The More the Better
by Troy Dostert
Published: November 6, 2017
Read "Ralph Towner: The Accidental Guitarist" Interview Ralph Towner: The Accidental Guitarist
by Mario Calvitti
Published: May 16, 2017
Read "Bria Skonberg: In Flight" Interview Bria Skonberg: In Flight
by R.J. DeLuke
Published: April 4, 2017
Read "John McLaughlin's American Farewell Tour with Jimmy Herring" Interview John McLaughlin's American Farewell Tour with Jimmy...
by Alan Bryson
Published: September 5, 2017
Read "Bill Anschell: Curiosity and Invention" Interview Bill Anschell: Curiosity and Invention
by Paul Rauch
Published: November 9, 2017

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!