Four years ago, 9-string guitarist Kurt Szul, moved from the tranquil shores of Vancouver, BC to the fast-paced and bright lights of Los Angeles. He purposefully targeted Los Angeles which he knew was a mecca for world class musicians. California's culture has bred innovative bands that fuse and cross musical genres while pushing music to an expanse without boundaries. So, the move to Los Angeles was a natural progression for Kurt.
I met Kurt Szul for brunch in the cozy neighborhood of Larchmont last Sunday. We talked about his work with the nine-string guitar and his current projects that include West Coast Blues and El Blamo.
AR: What inspired you to build the 9-string guitar?
KS: The idea started in 1986. I was a friend of Bob Erlendson (a pianist from Calgary) who talked a lot about playing with Lenny Breau. I was intrigued by the different sounds that Lenny Breau was getting. He was experimenting with 7 and 8 string guitars in his later years. Also, I corresponded with Robert Fripp (of King Crimson) about his thoughts and ideas on what I was trying to do.
AR: What were you trying to do?
KS: I was looking to high-end players, who inspired me, to find out the way to get to their level of musicianship. I also wrote letters to Al diMeola and John Scofield. During my search I was trying to find a master, and I've found up to this point the master is really in me. I've had to experiment and fine tune the mistakes in crafting the 9-string; and along the same path, build myself up as a musician. I envisioned the 9-string to set me apart from other guitarists
AR: What makes the 9-string different?
KS: The 9-string is tuned such that it allows for different fingering configuration and possibilities. The nine-string is totally a different instrument from the six-string... I met a lot of resistance back then when I was exploring the possibilities, especially in a small city like Vancouver. Imagine a small town when a new and foreign idea is being introduced. The establishment was resistant to change. Luckily, one of my teachers, Miles Black, at Capilano College was supportive of what I was trying to do. Miles is a piano player and in many ways, I see the 9-string like a piano. I experimented with 19 tone octaves and played around with microtones. The technology then had not yet caught up with the idea I had. I changed to the flat wound strings from the round wound strings, because unlike the round wound strings, it didn't cut into the wood of the neck.
AR: How did you find the luthier to build the 9-string for you?
KS: That was another challenge in itself. You know how many unscrupulous people I met who were eager to get money from an unknowing and unsuspecting teenager. Someone actually promised to build the guitar without the intention of doing so. I feel the prototype was co-built by a real luthier and myself when all was said and done. I also drew up the original full-scale blueprints for both of my axes.
AR: So what tuning do you use with the nine string?
KS: I use major thirds from bottom to top.
AR: Is there another name for that?
KS: Augmented tuning. It's kind of like an open augmented chord.
AR: Why augmented?
KS: Because it made sense to me. Stanley Jordan plays in perfect 4ths. I was already exploring different tunings before I had ever heard of Stanley Jordan. The tuning allows for uniform shaping of the chords across the fretboard. I also explored tritones and perfect 5ths like the violin, but I've stuck with the major thirds.
AR: There are not many musicians that have the depth of knowledge you have with the guitar, as far as music theory, imagining the construction of an instrument, building it, and playing it. How did people in LA react to it when you first came here?
KS: Well, the people out here compared to Vancouver have been exposed to many things, I mean with the NAMM show. I saw a booth at the NAMM that featured 8, 9 and 10 string guitars, but they were tuned differently from mine. It's not yet common, but they are out there, and you can even wiki it. http://en.wikipedia.org/wiki/Nine-string_guitar
AR: Can you talk about your journey? What has it been like?
KS: It's always tough wherever you go, and when you're starting from scratch… Maybe if I had started out like Charlie Hunter (8 string bass player), and if I was born in the States my path would've been quite different.
AR: What are the top questions people ask you about your instrument?
KS: First, "How many strings does it have?" I can see some people from the audience dotting the air with their finger as they count the pegs. Second, "Is that an 8 or 10 string?" For some strange reason they miss the 9th. Third, "What tuning do you use?" Fourth, "Why?” and last, "What is that?"
AR: Jazz has been your bread and butter as a playing musician, but you also enjoy other genres. I know for a fact you're a big fan of Tool. Why?
KS: When a band like Tool becomes popular, and the music is well thought out and well executed - I mean the whole process, which is akin to classical music. I can imagine how symphonies are made, and Tool pulls it off. I am strongly attracted to that.
Throughout his career, Kurt has played with notable and established players Jerome Preston (Maceo Parker / James Brown); Ernest Tibbs (Alan Holdworth Group and Andy Summers of The Police); Thea Austin (Snap); Sue Jin; Michael Daigeau; Mark Shapiro; Miko Espanol; Darwin's Waiting Room; Ash; Ginger (Wild Hearts); Prevail (Swollen Members).
Among his current projects is a jazz quartet, West Coast Blues (http://www.myspace.com/westcoastblues). Their music is jazz, bossa nova and funk.
Kurt Szul, O-Bar, 8279 Santa Monica Blvd., West Hollywood 323 822-3300. Tuesdays, 7:30-10:30 p.m.