Dave Fiuczynski Lifts Off to a Better Planet Than This
Last night at Drom Dave Fiuczynski’s Kif played one of the most exhilarating and sophisticated shows of the past several months in this city. Fiuczynski might be the best guitarist in the world: he is without the doubt the most individualistic. His musical language is completely his own. If it had words instead of notes, it would be part Hindi, part French, part Arabic and part Korean, with some Chinese and plenty of English too. His double-necked, microtonally fretted guitar enables him to play in microtonal scales without bending notes, as well as in the standard western scale. His 2012 album Planet Microjam is one of this century’s half-dozen most innovative and arguably best releases. His latest microtonal project, Flam! Blam! Pan-Asian MicroJam may not have the subtlest title, but the music continues Fiuczynski’s epic quest to find the most magical places in between the notes, drawing from just about every musical tradition around the globe.
This was a trio show. Fiuczynski opened with the Simpson’s Theme, which he proceeded to spin through a trippy prism of scales that exist only on Planet Microjam, along the way firing off energetic Indian sitar riffage, some wildly bent phrases typical of Korean gaegeum music, and even a flurry or two of rapidfire postbop American jazz. Fiuczynski’s songs are slinkier than they are funky, and his low-key rhythm section kept a serpentine groove going throughout the set with the occasional rise to a four-on-the-floor pulse when the bandleader would hit a peak with a burning series of distorted rock chords. Throughout the set, the drummer stayed pretty chill while the bass player occasionally flavored a song with woozy textures via a wah and an octave pedal, in a subdued P-Funk vein. He also contributed one of the night’s most straight-up numbers, which the bandleader took further out toward Indian raga territory and then spiced with Asian phrasing, into territory that only Fiuczynski knows well.
After opening with the twisted tv theme, they sliced and diced a Russian klezmer melody into offcenter tonalities, with the occasional unexpected leap back toward the original minor key. Opening act Jonathan Scales joined the band during one of the later numbers and played vividly ringing Asian licks against Fiuczynski’s austere, uneasy microtonal chords and otherworldly, Messiaenic ambience. Throughout these epic themes, with their innumerable dynamic shifts, the atmosphere shifted artfully from austere and starlit to raw, stomping triumph. The best song of the night might have been Mood Ring Bacchanal, with its leap from resonant, allusively bent Asian phrasing to a tongue-in-cheek, emphatic oldschool disco interlude. The night’s last song blended wah-wah sitar licks, Orientalisms and slow spacerock with echoes of roots reggae.
Fiuczynski is a legend on the jamband circuit and will no doubt be making the rounds of summer festivals this year. Watch this space for future NYC dates.