FB: Well Dave, you've covered some aspects of your history, but we havn't yet talked about you as a leader and your interesting projects like The Torsos and Keif ect. Maybe we can delve into that. DF: Well um, I've been really fortunate to play with many of the people that I mentioned and all of this has informed my own music. The first record I did, which I was very proud of, was a record called Lunar Crush, that I did with John Madesky, one of my favorite keyboard players in the world. Um, I have a little anecdote about that, later on Pat Matheny confirmed this, through the grapevine I heard that Tony Williams asked Pat Matheny who he would reccomend, because Tony Williams was going to put another life time together, that group, that trio with organ, Larry Young and John McClaughin. And Pat had reccomended Larry Goldings and me. And this was a month before Tony died. And I found this out later, and in a way Lunar Crush, it's really paying homage to Tony Williams' lifetime, kind of like a 90's version of, quartet with bass, of guitar and organ, guitar and organ group. So that's the first record I did. Then what people mostly know me for is Screaming Headless Torsos. I was very much into Nina Hoggin and the Bad Brains. So initially here in Boston, in the late 80's, I had Screaming Headless Torsos, I had an opera singer and it was basically a punk, rock, and reggae band. I later on experimented more in New York, and I got more and more into funk rock. But it was always with you know, jazz harmonies. Always kind of experimenting and how it's, it went away from fusion to be more groove oriented and it was funk rock based, or reggae, ska, what have you. With a fabulous singer, Dean Boleman, we did a couple of records. And that's what I'm kind of known for. Eventually I found a love again for instrumental music. And it really started, I was lucky enough to be invited to perform with a group, it was a concept thing the Morraccan government put on for the world fair in 1992 in Seville. They wanted this kind of you know, north south east west gala kind of thing. It came out really well, I don't know if they really cared, they just wanted to be able to say that but, they got these western musicians under the direction of Richard Horowitz. He plays the in blown flute in A, and keyboards and he speaks French and Arabic. And Jamie Hadaat was there and he got on the gig. And we were kind of like that house band backing up all of these like ten different Morroccan folklore groups. And we rehearsed in Marakesh, and because I was the guitar player, one by one over this week many of the Morroccan musicians came up to me. It was very important for them, for them that I was aware of the fact that Jim Hendrix came to Morrocco. So that sewed a seed for a record I have out called Keif. And I was always interested in Indian and Arabic music, and here was my first opportunity to learn about it and I studied more and I now play a double neck fretted and fretless guitar. And on the fretless guitar I can do Indian slides and Arabic modes with the correct microtonal notes that are inbetween the frets. So Keif is a groove rock trio with at times eastern melodies or melodies that have an eastern or Arabic treatment. And I like to see it as an homage to the living Hendrix. If Jimi was still alive, could this be something he may be doing. You never know, maybe today he would plug in and electric ood. And living in Casablanca and Friday and Saturday nights he'd go and rock the Kazbah. FB: Beautiful. That's the other direction , that's the world direction. A couple of my students were speculating and if Hendrix had actually gotten that gig with Gil Evans and Miles Davis back in the states the summer he died. But Hendrix is one of these icons who people look to from everywhere because he traveled alot. He really made his mark in Britain first. But anyway, that's a beautiful idea. And I'm glad you got to bring it to fruition. DF: Yeah that was a priveldge. And my new thing, but in a way it's not really a new thing. I've always, you know as a teenager, taken a rhythm from here, a harmony from here, a melody from there and putting it together and hopefully the result will be bigger than the sum of the elemnets. That's always been the concept. But now I went back to New England Conservatory, and recently I got my masters last May, and I focused on microtonality and I also studied Indian aspects, mostly melodic aspects of North Indian music with Peter Rough and Turkish music with Bob Labory, and I was also lucy to be able to A. take Joe Malery's last microtonal class at New England Conservatory before he retired. I just caught him. And I made a mental note in the 80's, because of scheduling things I wasn't able to take a class with him, that I wanted to come back and somehow deal with this. And it was great to be able to do it with him. And also I took a semester of independent study, two credits, with a Chinese goozhang player in town and studied, learned some melodies, again with the correct microtones. And of the six goozhang styles, it's the, I don't know if I'm pronouncing this correctly, Tsao Zsu, I think that's what she was teaching. FB: Before we get over our listeners' heads too much, would you distinguish between a goozhang and a pipa? DF: Oh a goozhang, I'm sorry. What most people know is the Japanese Kodo. A kodo is a type of zither. The goozhang, the kodo as far as I know is probably based on the goozhang. The goozhang, and well even older is probably the goochen, which is probably the first kind of zither. The chen though is laid out and you press down on the strings to a sounding board. This a goozhang you don't do that, they are floating. You can bend but you never press down onto the sounding board to stop frets like on a guitar or something. But those are the first zithers that most other zithers in the world are based on.