Walter Kitundu is a Bay Area based musician, instrument builder and artist whose work has often been compared to that of people such as Philip Jeck and Janeck Schaefer (whose work has done much to bring turntables into the art world). But Kitundu's work is much more than that. In the last few years Walter has been developing and creating instruments based around the turntable. Using the turntable as the central point he has devised a range of instruments, (some of which have become reality) including a whole series of nature powered turntables as well as art installations which use the turntable. He has worked with many musicians, including the Crown City Rockers and is currently travelling the globe.
His work on the phonoharp, a totally new instrument which resonates sound from all its parts and is built around a turntable, is some of the most inspiring work to have come out of the more artistic side of turntablism. As mentioned his work is much more in between the more musical approach to turntable music (by people like DStyles or Ricci Rucker) and the more artistic and sound art approach to turntables (by people such as Janek Schaefer and Phillip Jeck). In other words, his work is pretty much on its own, so enough of the comparisons. Below is an interview conducted in 2003 about Walter's work. Look out for a follow up interview soon.
Can you give us a brief intro into your background?
I grew up in Dar Es Salaam, Tanzania and lived in the Minnesota for 17 years. I've been drawing and painting since I was in third grade. I didn't get into music until 1991 when I was introduced to the turntables by a cat named Alton Haraldson. He was an old school hip-hop head from Chicago who, upon meeting me, gave me the key to his place and told me I could come through and practice any time. And that's what I did... got into a hip-hop group for a couple of years then played with a live band in Minneapolis called MMF. After that I played with a lot of different folks, cellists, percussionists, poets, horn players... all the while, I was playing a couple of Technics 1200s.
Working
with live musicians back in 1996 led me to explore the turntable
through the lens of an instrumentalist. I played it percussively
and found a whole range of sonic possibilities and then discovered
that a tin can held up to the stylus produced a clear tone rather
than a thud. Realizing that the turntable was a receptive amplifier,
I built a family of instruments called Stylophones, one stringed
instruments that resonate the stylus of the phonograph. In time
this led to the development of a stringed turntable, or Phonoharp,
the first one completed in Fall of 200
1. There are now 7 versions with some more on the way.
Why did you choose the turntable to focus
on musically?
It was my introduction to music so I didn't have to choose. Although I play Bass Clarinet, some percussion, flute, piano, etc... those things came after the turntable for me. It's really about sound... I play turntables because they are the right instruments to produce the sounds for the music I hear in my head. And since every conceivable sound has been pressed onto vinyl at one time or another, the possibilities are limitless. That's why they are such strong instruments.
People may take issue with that statement, and say that the use of
pre-recorded material isn't really instrumental... but again, it all
comes down to the sound. You can take a horn solo and turn it into
something that sounds like whales or thunder or computer clicks by
manipulating a record. That kind of imagination and interpretation is
an integral part of musical creation and I would defy anyone who said
otherwise.
What/who are your influences and inspirations?
People around me have been incredibly important to my development. Friends and family, others who have supported me and believed in the merits of my work when I was in the basement spending my last 6 dollars on sandpaper and scrapwood, old turntables, and sewing machine parts. So inspiration and support have gone hand in hand... MMF, Carei and Joyce Thomas, Douglas and Janis Ewart, Joanna Haigood, 2063, B-Sides Crew (Crown City Rockers), Eungie Jo, Doug Benidt, Meshell Ndegeocello, and a ton of other folks to whom I'm indebted. I'm just trying to give back by doing good work and being a good person.
Musically, Eric Dolphy, Bjork, Meshell Ndegeocello, Oumou Sangare, Fela, Toumani Diabate, Douglas Ewart, Carei Thomas, Butch Morris, Melissa Dougherty, etc..........
How has your work been received within the Hiphop
community and beyond?
During the Tour with Crown City Rockers it was well received. It was amazing to stand in front of hundreds of hip-hop heads and play a Phono-Kora and hear people really listening, and open. It says a lot about the state of hip-hop today that folks are open to new directions. I hope it continues that way... bring the old school curiosity back and travel forward with that same spirit.
Outside
the hip-hop community, museums, galleries, electronic music shows,
and jazz related venues have also been very supportive.
Are you working both as a solo artist and with
other musicians?
Yes, the solo work gives me a chance to really develop sonic vocabularies on the instruments I build. It lets me work on uncovering the full range of expression and possibility inherent in each instrument. This is something I could do for the rest of my life, I mean, you could study one drum for the rest of your days and still have much to learn. So it is a little daunting but really exciting to have so many instruments to dive into and to share with folks.
I'm
playing with a band called Dictate right now. Bass, Drum Machine,
Trumpet, Saxophones, Technics, Tablas, and Phonoharps. The level
of musicianship is amazing but the friendships supporting the music
are the wellspring for much of the sound. We'll be playing
around the Bay Area this fall.
Are you aware of any other artists using turntables in such a way?
I heard of a cat named Janek Schaffer who is doing wonderful things blurring the imaginary line between art and music. His two and three armed turntables are beautifully built and his visual art and installation works are strong. (audioh.com) And musically, Andrew Broder (Fog, Ninjatune) is as far along as anyone I've seen making use of the turntable in live situations.
What projects are you currently working on?
I'm
developing a proposal to do sound installations in Iceland using rain,
glaciers, and volcanic eruptions to power, house, and cast turntables
and records. I've been granted a residency at a museum for
Art, Science, and perception so that is a real blessing. I'll
get to build a ton of new work and have access to many brilliant
minds. I've also been commissioned to write a piece of music
for Kronos Quartet, and will try to release an album of new material
on Innova recordings this winter.
For more information on Kitundu and his work (including designs of all his instruments and audio) check www.kitundu.com.