FB: Let me ask you, what do you love about teaching, and are there any things that bug you about it? DF: What I love about teaching is the opportunity I have at Berklee to experiment. There's no other fretless guitar lab in the world. There's no microjam ensemble. NEC was very post serialist, very rugged counterpoint. Very thorough. And I loved that. But I feel you can get to a fresh area with modal microtonal chord scale concepts. And I'm really happy that I can do these things here. You mentioned, you know a teacher saying that they learned so much from their students. I mean, I've been shocked. I always heard that before, but I'm shocked at how much I can learn. So that's what I love about teaching. There's nothing that really bugs me, the only thing that I'm a little suprised is that at times I wish at times students would be more open minded. You know when I do auditions for someone like Michelle Andegiocello or I hosted her and Marcus Miller, I had a large pool of groovers and a large pool of jazz players and just about that chance they'll never meet. I mean, you know if you're a jazz player and you're not aware of James Brown and you leave this place, you will have problems. And if you're a groove player and you think that everything is in minor seven, or seven, or major seven, you will have problems. And I see some resistance to learning, which I think is unfortunate. FB: If you had your druthers for a faculty development trip, what country would you like to visit next? DF: Wow, I mean if I can reccomend a country, it would be New England Conservatory. FB: You mean like a... DF: I mean everything that's there is just unbelievable in terms of the access to the faculty that I had and the things I could learn. I wanted Turkish, I wanted Indian, I wanted microtonal, and I was also able to get some, I wanted Vietnamese actually, but I couldn't find any Vietnamese teachers here. But Japanese and Vietnamese, many Asian styles are somewhat based on Chinese styles. I mean, I'm saying this in a very loose way obviously, I don't want to insult anyone. But China has kind of been, you know they started everything first and you know, and spread out and people have based their ideas. Of course Japanese ideas are completly unique, I mean the tea ceremony and so forth. You can only get that in Japan. But I studied with this Chinese goozhang player and I actually got what I was looking for. FB: Well there's been alot of students from Taiwan, Japan, and Korea in this school, maybe if the development opens a door to more scholarship to Beijing, have a couple of field trips out there, you may get a few of these kids with ears that don't need to be tweaked as much, or coming in with their own concepts. DF: I guess I would want to go to China. That's the one place I haven't been. For me, a faculty development trip would go through Turkey, India, and, well if I had to pick three it would be Vietnam then. I've been to Taiwan and Japan, I've been to India and briefly in Istanbul. China I've never, well I played in Hong Kong, I was on the ground for thirty six hours, it was terrible. In and out, can you imagine? I flew to Hong Kong for the weekend. I was actually in the air longer than I was on the ground. FB: That's what Phil Woods always used to say. They pay you to get there. DF: Yeah travel a bit through China and other parts of east Asia. Play with musicians and jam. There is a student, SImon Yoon, who just graduated, and he's kind of basing himself in New York and Hong Kong and going back and forth. He learned Japanese here so he plays in Tokyo. So I mean I would love to go there with him and experiment. Actually you know maybe, no I think I've been here long enough to actually think about a sebatical. Maybe a trip, a study trip, with a quintet of him, myself, bass, and drums and you and Lee. That would be amazing, that would be great. I don't think my chair is going to be happy to hear about this. Hey when can I take some time off? FB: Hey with this new Valencia impatus here, there may be a chance for like a moorish historical music deparment you know? Go in that direction, recreate that Morrocan thing you did in Seville. That would be hip. DF: Yeah, yeah, that would be amazing. FB: You never know, probably some of those flamenco cats are already thinking those lines. DF: I'd like to hear a flamenco cat do that stuff on ood, with the microtones. FB: What do you think about some of these new guys like Rob Weld Kabil from Morrocco or from northern Africa? Some of these guys who are playing, ood player? DF: Robbie, I'm not sure I know him but, yeah I think I've heard of him. If I am thinking of the right guy I don't know too much about him but I've heard he's really happening, but the person I do know who I think is amazing is Datir Yusef from Tunisia. He's based in Paris, he's done some stuff with Yuan Lee. And he's great. He plays and he sings, he plays and he knows, he's been experimenting with classical musicans and jazz players. He's third streaming. FB: You know, the last time I was in Paris was in the early nineties, and I went over the left bank there and I heard alot of kids from Morrocco and Tunisia working in the jazz bands. There was a kid on bass named Itian Mabop who was playing a fretless bass, he was doing really good. This is in the early nineties. I wonder where he is now. DF: Yeah he was the last guy to play with Zaminol. FB: Is that right? DF: Maybe yeah. FB: Cool. Hey there's alot happening out there Dave, and we're right on the edge. DF: I think we're on the edge, ready to jump off. I'm just trying to find people to jump with me. Will you jump with me? FB: I'll jump with you Dave. Get those parachutes out. œ DF: Thanks. Oh no parachutes. FB: No net? DF: No net. FB: Just sharp ears. Thanks Dave, this has been a blast. DF: Thank you.