Paul Winter Consort
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Paul Winter Consort
by Marc Sun 19 Apr 2020 - 10:26
In recently sampling some more Hearts of Space programs, I came across a piece of music from program no. 12 "Beyond the Blues," that featured some sweet saxophone and piano in it. Little did I know that Paul Winter (soprano saxophonist) was quite a ground-breaking musician who is known as a pioneer of world music and responsible for the genre of earth music.
The piece of music I was referring to in Beyond the Blues, was this one:
The piece of music I was referring to in Beyond the Blues, was this one:
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Join date : 2015-04-10
Re: Paul Winter Consort
by Hobb Mon 20 Apr 2020 - 15:34
I really enjoy the early episodes and this one dates back to 1983.
The forecast is for rain tonight so I'll listen to Paul Winter with it.
The whole Vangelis soundtrack for Bladerunner (1982) is very noir/bluesy and also worth checking out.
The forecast is for rain tonight so I'll listen to Paul Winter with it.
PGM 012 : "BEYOND THE BLUES"
=--------------------------------------------------------------------=
PGM NOTE :
=--------------------------------------------------------------------=
FEED DATE : 3/16/1983
=--------------------------------------------------------------------=
VANGELIS
Abraham's Theme < 0:00->3:18 >
: 'CHARIOTS OF FIRE' soundtrack; Polydor 800-020-Z; 1981
PAUL WINTER
Seal Eyes < 3:18->9:44 >
Blues Cathedral < 9:44->19:50 >
: CALLINGS; Living Music LMR-1
VANGELIS
Blade Runner Blues < 19:50->23:10 >
: 'BLADERUNNER' soundtrack; Warner Music UK 82623-2; 1994 (???)
HOVHANESS
Op.200 for Trumpet and Organ < 23:10->29:14 >
: MUSIC FOR TRUMPET AND ORGAN, OP. 200; Redwood ES-2
CHARLES IVES
The Unanswered Question < 29:14->35:00 >
: BERNSTEIN CONDUCTS IVES
Alan Hovhaness
Excerpts from Movements 3, 7, 9 (excerpts) < 35:00->46:48 >
: Majnun Symphony; Crystal CD803
IASOS
Angels of Comfort < 46:48->55:48 >
: VIBRATIONAL ENVIRONMENTS NO.1; Angelic Music
VANGELIS
Abraham's Theme < 55:48->58:55 >
: 'CHARIOTS OF FIRE' soundtrack; Polydor 800-020-Z; 1981
The whole Vangelis soundtrack for Bladerunner (1982) is very noir/bluesy and also worth checking out.
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Re: Paul Winter Consort
by Hobb Mon 20 Apr 2020 - 21:03
I would have never guessed that the strange 'howls' in this song were from seals. 
I had once wondered if they were chair scrapes or some distorted dog/wolf howl ... and I guess both dogs and seal are both part of the canine-side of the carnivora family...
I had once wondered if they were chair scrapes or some distorted dog/wolf howl ... and I guess both dogs and seal are both part of the canine-side of the carnivora family...
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Re: Paul Winter Consort
by Marc Mon 20 Apr 2020 - 22:31
I saw wolves and polar bear listed as two of the animals featured on this album - so when I heard the seals, I would have assumed it was the wolves. I'm curious about hearing what the polar bear recordings are like!
From the Paul Winter Consort youtube page from the link...
"Inspired by the imaginary journey of a mythic sea lion pup, CALLINGS is the result of three years of research and expeditions by Paul Winter to observe, listen to, and occasionally play his saxophone with sea mammals. His research expeditions for the project took him to Newfoundland, British Columbia, Scotland’s Inner Hebrides, the California coastal islands, San Salvador in the Bahamas, and twice again to Magdalena Island in Baja, California. This musical celebration of the sea interweaves the voices of: California sea lion, harp seal, bearded seal, fur seal, sea otter, dolphin, blue whale, humpback whale, beluga, bowhead whale, walrus, polar bear. The album helped initiate a successful campaign to have Congress designate March 1st each year as “International Day of the Seal.”"
℗ 1980 Earth Music Productions
From the Paul Winter Consort youtube page from the link...
"Inspired by the imaginary journey of a mythic sea lion pup, CALLINGS is the result of three years of research and expeditions by Paul Winter to observe, listen to, and occasionally play his saxophone with sea mammals. His research expeditions for the project took him to Newfoundland, British Columbia, Scotland’s Inner Hebrides, the California coastal islands, San Salvador in the Bahamas, and twice again to Magdalena Island in Baja, California. This musical celebration of the sea interweaves the voices of: California sea lion, harp seal, bearded seal, fur seal, sea otter, dolphin, blue whale, humpback whale, beluga, bowhead whale, walrus, polar bear. The album helped initiate a successful campaign to have Congress designate March 1st each year as “International Day of the Seal.”"
℗ 1980 Earth Music Productions
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Re: Paul Winter Consort
by Hobb Tue 21 Apr 2020 - 0:01
"expeditions by Paul Winter to observe, listen to, and occasionally play his saxophone with sea mammals." Quite a selection of sea mammal voices to jam with too.
The piano on the opening song is very iconic and there are whale-like sounds....
And the deep 'bass' on “Blues' Cathedral” is out-of-control. I'm not sure what instrument that is
The piano on the opening song is very iconic and there are whale-like sounds....
And the deep 'bass' on “Blues' Cathedral” is out-of-control. I'm not sure what instrument that is
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Re: Paul Winter Consort
by Marc Tue 21 Apr 2020 - 16:41
You chose my most favourite Vangelis piece of music - and in Chariots of Fire, its use appears with one of the most tense scenes of the film. I found it quite impressive, but then I also loved the film.
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Re: Paul Winter Consort
by Marc Tue 21 Apr 2020 - 16:48
You weren't kidding about the bass in Blue's Cathedral!!
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Re: Paul Winter Consort
by Hobb Wed 22 Apr 2020 - 16:31
wikipedia wrote:The Consort appeared on many of Winter's projects throughout the 1980s. With their new lineup of Paul Winter on soprano saxophone, Nancy Rumbel on oboe and English horn, Paul Halley on piano and organ, ground-breaking jazz cellist Eugene Friesen, Jim Scott on guitars, and world percussionist Ted Moore, the Consort recorded Winter's album Callings, which further examined the possibility of creating music with wildlife.
It must be that cello that give that bass.
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Re: Paul Winter Consort
by Marc Wed 22 Apr 2020 - 23:10
I was curious if an oboe or english horn could have a note as low as that bass...then I tried a few seconds of this low cello and had no doubt you suspected right:
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Re: Paul Winter Consort
by Hobb Thu 23 Apr 2020 - 22:11
I guess it's time to re-listen to #15 Cello Deeps... one of personal favorites....
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Re: Paul Winter Consort
by Marc Sat 25 Apr 2020 - 18:57
Just glanced back at this stream of posts and noticed something I missed earlier...Vangelis did the soundtrack to Bladerunner??
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Re: Paul Winter Consort
by Marc Sat 25 Apr 2020 - 20:11
You know it's been too long since seeing a film when...
If I'd seen Blade Runner in the last several years, I might have known that the music I was hearing was Vangelis - especially in certain cases where I'm hearing something along the lines of Chariots of Fire music. Recently, from listening to Beyond Baroque, or definitely a HoS program, Stephen Hill mentions that in the 1973 Film L'Apocalypse des Animaux, you can hear the music that led Vangelis to Chariots of Fire. He recorded the soundtrack for L'Apocalypse des Animaux in 1970.
If I'd seen Blade Runner in the last several years, I might have known that the music I was hearing was Vangelis - especially in certain cases where I'm hearing something along the lines of Chariots of Fire music. Recently, from listening to Beyond Baroque, or definitely a HoS program, Stephen Hill mentions that in the 1973 Film L'Apocalypse des Animaux, you can hear the music that led Vangelis to Chariots of Fire. He recorded the soundtrack for L'Apocalypse des Animaux in 1970.
Marc- Posts : 143
Join date : 2015-04-10
Re: Paul Winter Consort
by Hobb Tue 28 Apr 2020 - 13:48
Some of the best scenes of Bladerunner are the aerial shots over the city as Vangelis' score ebbs and wanes.
Here is that opening scene
Blade Runner is a both a 'noir' SF film and Vangelis soundtrack does a great job of making his soaring synths brood and mixing them with bluesy sounds you wouldn't think they mix with. I beginning to realize that mixture - organically blending synths and traditional music - is a trademark of some of my favorite HOS programs (Beyond Baroque, Beyond Blues).
Here is that opening scene
Blade Runner is a both a 'noir' SF film and Vangelis soundtrack does a great job of making his soaring synths brood and mixing them with bluesy sounds you wouldn't think they mix with. I beginning to realize that mixture - organically blending synths and traditional music - is a trademark of some of my favorite HOS programs (Beyond Baroque, Beyond Blues).
https://www.vulture.com/2017/10/how-vangelis-cult-blade-runner-score-became-a-classic.html wrote:Vangelis’s Blade Runner music became a lodestar, marking a course open to individual interpretation. So, young British electronic composers saddled up to the analog ambience and knowing artificial playfulness of Vangelis’s deep trove of synth banks; Detroit’s techno rebels gravitated toward his symphonic, mechanized dread, while armies of experimental producers jocked his mix of sonic textures and juxtapositions. By 2008, when Massive Attack and the Heritage Orchestra collaborated on a live performance of the score at London’s Meltdown Festival, Vangelis’s Blade Runner felt as much a part of the 20th-century electronic canon as various Philip Glass and Steve Reich pieces, its restless genius still searching for more life.
- The myth and majesty of Vangelis’ timeless Blade Runner soundtrack:
Vangelis cleverly chose to adopt the film’s aesthetic as his own. The film wielded futuristic sci-fi to film noir detective drama and action, owing much to psychological thrillers or horror. The most obviously jarring example of how Vangelis simulated this approach was his commissioning of the ragtime jazz song ‘One More Kiss’, which he positioned at the very centre of his album of cutting edge electronica. Initially intended to be performed by Demis Roussos, Don Percival (an artist manager and sometime musician) sang the demo as a guide, but did so in such a quavering tone that it sounded like it had been beamed in over the radio from some distant era. Needless to say, Vangelis took advantage of the serendipitous accident. And he would go further still, wedging a composition he created in 1980 into the soundtrack — ‘Memories of Green’ featuring a Steinway Grand played over the effects from a computer game called ‘UFO Master Blaster Station’ — thus binding the soundtrack into his own past, into the overall arc of his own development.
Roussos contributed vocals to the discombobulating ‘Tales Of The Future’ where language, the means of communication, is used to emphasise the ‘alien’ qualities of the environment. Roussos was raised in Egypt and could sing in Arabic, but this wasn’t enough. Vangelis was so determined to create a world of incomprehensible strangeness that, while the lyrics sound similar to Arabic words, all are corrupted into meaninglessness with the exception of just two lines which translate as: “Tell me my dear? Tell me my mother?” Furthermore, this meshed with the film’s visual language, in which the elite occupy buildings resembling the Pyramids at Giza overlaid with circuitry, while the predominantly Asian populace scurry about in the dark streets.
The film’s aesthetic was, predominantly, an amplification of late seventies-early eighties New York. Times Square was a stew of triple-XXX commerce, dereliction of both property and people, uncollected trash and graffiti, the unusable and the too-often-used pressed up alongside a delirious art scene which partied away behind the scenes. Vangelis’ soundtrack copies this sentiment: lush artificial beauty adulterated by threat or nostalgia. As an example, ‘Love Theme’ plays against a queasily disquieting scene in which Deckard orders the replicant Rachel — a character who cannot feel love, who can only impersonate arousal — to acquiesce in and encourage her own seduction. The lounge jazz vibe, the sleazy saxophone, has been further treated to speak directly of a plastic forgery of a love scene. In another tightly conjoined merging of scene and music, columns of cyclists weave by an ancient engraved column, while harp strings glide a magical air… Then the sound follows the camera, overwhelming the harp with a throbbing machine as two replicants enter a door. In the room beyond, a slow pulse, like a hospital ventilator, hisses over the sound of a distant warning klaxon. It’s a lab constructing artificial eyes, and their creator may not survive the visitation.
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Re: Paul Winter Consort
by Hobb Tue 28 Apr 2020 - 13:50
Some of the best scenes of Bladerunner are the aerial shots over the city as Vangelis' score ebbs and wanes.
Here is that opening scene
Blade Runner is a both a 'noir' SF film and Vangelis soundtrack does a great job of making his soaring synths brood and mixing them with bluesy sounds you wouldn't think they mix with. I beginning to realize that mixture - organically blending synths and traditional music - is a trademark of some of my favorite HOS programs (Beyond Baroque, Beyond Blues).
Here is that opening scene
Blade Runner is a both a 'noir' SF film and Vangelis soundtrack does a great job of making his soaring synths brood and mixing them with bluesy sounds you wouldn't think they mix with. I beginning to realize that mixture - organically blending synths and traditional music - is a trademark of some of my favorite HOS programs (Beyond Baroque, Beyond Blues).
https://www.vulture.com/2017/10/how-vangelis-cult-blade-runner-score-became-a-classic.html wrote:Vangelis’s Blade Runner music became a lodestar, marking a course open to individual interpretation. So, young British electronic composers saddled up to the analog ambience and knowing artificial playfulness of Vangelis’s deep trove of synth banks; Detroit’s techno rebels gravitated toward his symphonic, mechanized dread, while armies of experimental producers jocked his mix of sonic textures and juxtapositions. By 2008, when Massive Attack and the Heritage Orchestra collaborated on a live performance of the score at London’s Meltdown Festival, Vangelis’s Blade Runner felt as much a part of the 20th-century electronic canon as various Philip Glass and Steve Reich pieces, its restless genius still searching for more life.
- The myth and majesty of Vangelis’ timeless Blade Runner soundtrack:
Vangelis cleverly chose to adopt the film’s aesthetic as his own. The film wielded futuristic sci-fi to film noir detective drama and action, owing much to psychological thrillers or horror. The most obviously jarring example of how Vangelis simulated this approach was his commissioning of the ragtime jazz song ‘One More Kiss’, which he positioned at the very centre of his album of cutting edge electronica. Initially intended to be performed by Demis Roussos, Don Percival (an artist manager and sometime musician) sang the demo as a guide, but did so in such a quavering tone that it sounded like it had been beamed in over the radio from some distant era. Needless to say, Vangelis took advantage of the serendipitous accident. And he would go further still, wedging a composition he created in 1980 into the soundtrack — ‘Memories of Green’ featuring a Steinway Grand played over the effects from a computer game called ‘UFO Master Blaster Station’ — thus binding the soundtrack into his own past, into the overall arc of his own development.
Roussos contributed vocals to the discombobulating ‘Tales Of The Future’ where language, the means of communication, is used to emphasise the ‘alien’ qualities of the environment. Roussos was raised in Egypt and could sing in Arabic, but this wasn’t enough. Vangelis was so determined to create a world of incomprehensible strangeness that, while the lyrics sound similar to Arabic words, all are corrupted into meaninglessness with the exception of just two lines which translate as: “Tell me my dear? Tell me my mother?” Furthermore, this meshed with the film’s visual language, in which the elite occupy buildings resembling the Pyramids at Giza overlaid with circuitry, while the predominantly Asian populace scurry about in the dark streets.
The film’s aesthetic was, predominantly, an amplification of late seventies-early eighties New York. Times Square was a stew of triple-XXX commerce, dereliction of both property and people, uncollected trash and graffiti, the unusable and the too-often-used pressed up alongside a delirious art scene which partied away behind the scenes. Vangelis’ soundtrack copies this sentiment: lush artificial beauty adulterated by threat or nostalgia. As an example, ‘Love Theme’ plays against a queasily disquieting scene in which Deckard orders the replicant Rachel — a character who cannot feel love, who can only impersonate arousal — to acquiesce in and encourage her own seduction. The lounge jazz vibe, the sleazy saxophone, has been further treated to speak directly of a plastic forgery of a love scene. In another tightly conjoined merging of scene and music, columns of cyclists weave by an ancient engraved column, while harp strings glide a magical air… Then the sound follows the camera, overwhelming the harp with a throbbing machine as two replicants enter a door. In the room beyond, a slow pulse, like a hospital ventilator, hisses over the sound of a distant warning klaxon. It’s a lab constructing artificial eyes, and their creator may not survive the visitation.
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