and composer, leader of Screaming Headless Torsos and Punk Jazz
projects, co-leader of KiF and collaborator for many other projects
involving Steve Coleman, Cuong Vu, Greg Osby, Me'Shell NgedeOcello
or his wife Lian Amber, David "Fuze" Fiuczynski is an
artist which track must not be missed.
Fiuczynski is currently in the middle of a Screaming Headless Torsos
European Tour which will bring them to various Spanish towns, including
Madrid (March 19), Mataró (21), Girona (22) and Hospitalet
(23). Arturo Mora had the chance to interview Fuze via a questionnaire.
This is what he said:
Arturo Mora: First of all, thank
you for your time. How’s the current tour going?
David Fiuczynski: Incredibly! We are having a great
time and the vibe and the music has been phenomenal. We are really
happy with the lineup and the direction the band is going. The music
is a lot more funk-rock-punk-rap than before, and the audiences
have been really digging it, and so have we!
Arturo Mora: Your music obviously
entertains, but it can’t be considered plain entertainment,
as it implies a transgressing attitude (a typical art feature) that
may force a determined reaction from the listener. Where would you
put your music in the balance between art and entertainment?
David Fiuczynski: I think all
art is entertaining, but it’s also emotional and spiritual.
That’s different from entertainment , which sometimes contains
elements of art. I would like to consider my music art that entertains.
I hope I have the transgressing attitude!
Arturo Mora: Do you like to consider
yourself a guitarist, a jazzman, or just a musician?
David Fiuczynski: I consider myself
a musician and composer, who plays guitar. I come out of the jazz
tradition, but really I am just a musician who uses the guitar to
Arturo Mora: The title of one
of your records, “jazz punk”, is also an expresssion
you’ve used to describe yourself (“a jazz musician who
doesn’t want to play jazz”), as well as the name of
a tune by the great Jaco Pastorius, someone who also lived on the
edge of jazz and other music styles. Do you think your way of approaching
music has something to do with Jaco’s? Would you place yourself
close to him stylistically speaking?
David Fiuczynski: I admire Jaco
very much, and in a bigger sense, I approach music the same way,
in that I am trying to push the boundaries of the canon, but it
is stylistically very different.
Arturo Mora: You were born in
the USA but grew up in Germany. Has this been definitive in your
way of approaching music (a cultural crossover enforcing a musical
David Fiuczynski: Yes, this has
given me a much more international perspective, something I notice
now more than ever with the current Bush administration and the
ignorance that reigns in America. The crossover also comes from
listening to my German father’s classical records and my African-American
mother’s jazz records. Growing up in two cultures has definitely
affected my music, in that I’ve been exposed to some things
that I might not have been had I grown up in America – German
Expressionist painting, Nina Hagen, Kraftwerk, Neue Deutsche Welle,
and other things that I never would have been hip to had I been
living exclusively in America.
Arturo Mora: When you’ve
been asked about your writing process you’ve usually talked
about “groove sandwiches” (“current grooves as
the base, rich harmony in the middle and intense singing or wild
to soulful soloing on top”). Do you always start from a groove,
or are there times when a melody or a harmony is so strong that
it becomes the base of everything?
David Fiuczynski: I sometimes
start from a harmonic sequence or a melody. The sandwich could start
anywhere, with the bread, the mayonaisse, or the filling. It really
depends on how inspiration strikes and that is always different.
Arturo Mora: Improvisation may
be a way to approach the writing process, a vehicle for soloing,
a bag of resources for special cases or whatever the musician uses
it for. What part plays improvisation in your different projects?
David Fiuczynski: Improvisation
plays a big part in all my projects. Ideally, it is the development
of stated themes from the melody, just like in a symphony. More
and more these days, I’m striving for through-composed compositions,
although I often rely on the players to provide the development
instead of writing every idea out note for note. This gives us the
opportunity to interpret new ideas every night, even though we are
playing the same tunes and using the same melodies as starting points.
Arturo Mora: When you start working
on a tune, do you know which of your projects will you use it for
beforehand, or do you take that decision as the arrangement evolves?
David Fiuczynski: I usually plan
ahead in the style of the project I am working on, but I often have
five or en tunes that I am working on simultaneously. I figured
out my writing rhythm which is to work on a composition as far as
it will let me, then at times I may let it go for months, even years.
Eventually I or maybe even it, will get around to being finished.
Arturo Mora: Regarding Kif: pentatonic
scales are common ground for many different Eastern musics, as well
as for blues, rock and jazz. Have you ever used the pentatonic scale
as a starting point for your work in Kif or do you prefer to start
thinking in more abstract terms?
David Fiuczynski: I use pentatonics
for riffs and also East Asian melodies. At some point I would like
to do a record which mixes African and Chinese music, because they
are both very pentatonic. Besides that I usually think from a harmonic,
rhythmic or melodic starting point. It’s not as abstract as
Arturo Mora: You’ve experimented
microtone playing with fretless guitars, which may be hard business
for someone used to think musically from the Western tonal approach.
Was it difficult to face microtone playing? What feelings do you
get when trying this approach?
David Fiuczynski: Approaching
microtones has not been that difficult for me because I would always
warp melodies with the whammy bar. Now it’s just more of an
attempt at a more precise approach. The feeling I get from microtones
is either from Eastern music, like Arabic or Turkish music, for
example, which is intensely emotional and spiritual, and the microtones
sound like “Eastern” blue notes to me. Also, Western
microtonal harmony gives me a whole new palette to work with.
Arturo Mora: As said below, you
consider yourself a “punk jazz”, and you lead projects
for which you use a band name, instead of your own name. This seems
to be the opposite of what everyone could expect from a musician
with your enormous ability to create music, and someone able to
be considered a “guitar hero”. Do you consider yourself
kind of an “anti-hero”?
David Fiuczynski: I’ve always
been a very collaborative musician and I have been fortunate to
work with very strong musical personalities like John Medeski, Dean
Bowman, and Rufus Cappadocia, for example. In the Screaming Headless
Torsos, all the musician supplied material and were a part of the
‘band’. I also just loved the energy of the name. In
the future, I will be putting out some cd’s under my own name.
Arturo Mora: One of the projects
you perform in is your wife’s, Lian Amber, which stylistically
differs from your other projects. Do you get any feedback from her
way of approaching music?
David Fiuczynski: My wife has
had a big influence on my music. She’s a wonderful singer,
with a full rich voice and I’ve learned a lot about phrasing
from her, especially phrasing behind the beat, and saying more with
less, editing and focussing only on the essential, and world music.
She’s also constantly kicking my ass! :)
Arturo Mora: You have experience
as a jazz teacher. Please give us your opinion on an always controversial
point: the level of jazz education in contemporary music schools.
David Fiuczynski: The level of
education at Berklee College of Music is very high, with incredible,
world reknown faculty. I graduated from New England Conservcatory,
and the education one can get there is also very rigorous and complete.
However, those are really the only two institutions that I have
spent enough time at to really comment on.
Arturo Mora: Frankly speaking:
what music do you enjoy the most: rock by Jimi Hendrix, Steve Vai
or Frank Zappa, or jazz by John Scofield, Bill Frisell or Pat Metheny?
David Fiuczynski: I enjoy all
of these, and punk by the Bad Brains, classical music, Indian music
like U. Srinivas, Vietnamese guitar by Kim Sinh, and so much more.
I listen to a lot of music but I don’t really listen much
to guitar players at this point. My wife also has 4000 vinyl LP’s
of world music, soul, funk, jazz, reggae and everything else you
can think of and I am slowly working my way through those.
Arturo Mora: You’ve always
admitted influences from past musicians. Is there any current musician
that you really feel influenced by?
David Fiuczynski: These days I
am analyzing aspects of different music. There isn’t really
one musician, but I can give some examples – beats by Timbaland,
Rodney Jerkins, quartertone harmony by Julian Carrillo, Turkish,
Indian and Vietnamese melodic embellishments. These ideas aren’t
really specific to one musician, but are elements that I am incorporating
Arturo Mora: Please tell us about
your current projects and what’s to come in the short term.
David Fiuczynski: In April I am
recording the next KiF CD with Steve Jenkins on bass and Skoota
Warner on drums, and that will be released in Fall 2006. The new
Screaming Headless Torsos lineup will be recording later this year
as well, and we will be touring in Brazil and Argentina in the summer
and Mexico in the fall. I’ll also be back in Europe in the
fall of 2006 or spring 2007 with KiF.
Arturo Mora: Thank you and best
David Fiuczynski: And thank you
for your support and interest!