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AMAZING SOUNDS
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No. 80
September 19, 1999
====================
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CONTENTS:

NEWS

INTERVIEW WITH DAVID BORDEN. He has been active on the electronic
music scene for more than three decades. In 1967, he first made
contact with Robert Moog and his synthesizers. After a couple of
years experimenting in the Moog Studio, he founded Mother Mallard,
a pioneer band of Space Music, minimalism and other innovative
trends.

REVIEWS:
ALBERT GIMENEZ & DOM F. SCAB: "COSMIC NI" G3G
ALASDAIR FRASER & TONY MCMANUS: "RETURN TO KINTAIL" Culburnie
Records
MOTHER MALLARD: "MOTHER MALLARD'S PORTABLE MASTERPIECE CO. 1970-
1973" Cuneiform
DAVID BORDEN: "PLACES, TIMES & PEOPLE" Cuneiform
DAVID BORDEN: "THE CONTINUING STORY OF COUNTERPOINT PARTS 1-4 AND
8 (COMPLETE)" Cuneiform
DAVID BORDEN: "THE CONTINUING STORY OF COUNTERPOINT PARTS 5-8"
Cuneiform
DAVID BORDEN: "THE CONTINUING STORY OF COUNTERPOINT PARTS 9-12"
Cuneiform
AGRICANTUS: "BEST OF AGRICANTUS" World Class Records
VIDNA OBMANA & SERGE DEVADDER: "THE SHAPE OF SOLITUDE" Multimood
Records
PAUL WINTER & FRIENDS: "CELTIC SOLSTICE" Living Music

====================

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NEWS

NEW BOOK:
"Digital Gothic; A Critical Discography of Tangerine Dream" by
Paul Stump
More information here:

http://www.amazon.com/exec/obidos/ASIN/0946719187/thesciencebookbo

Ken Field, the sax player with the group Birdsongs of the
Mesozoic, has released a CD called "Subterranea" on the O.O.Discs
label. In October, "Pictures of Motion" will be released on the
sFz Recordings label.

In about a month Iasos will be doing some public events in the
Virginia Beach area (USA) and in Pomona, California
(USA).Specifically:
Oct. 24, 1999 - Full Moon! "GODDESS COUNCIL" - for women.
Virginia Beach, Virginia, USA
Full details at
http://iasos.com/upcoming/#Oct. 24
Oct. 26, 1999 - "SOUND & MUSIC for HEALING & LIGHT-BODY
ACTIVATION"
Virginia Beach, Virginia, USA
Full details at:
http://iasos.com/upcoming/#Oct. 26
Oct. 29-31, 1999 - "STAR KNOWLEDGE CONFERENCE"
(He will be one of the presenters at this annual conference).
Pomona, California, USA
Full details at:
http://iasos.com/upcoming/#Star Knowledge

====================

INTERVIEW WITH DAVID BORDEN
Conducted by Jorge Munnshe

David Borden has been active on the electronic music scene for
more than three decades. In 1967, he first made contact with
Robert Moog and his synthesizers. After a couple of years
experimenting in the Moog Studio, changing his methods of
composing and learning the outer limits of what was possible on
these new instruments, he founded the band Mother Mallard (the
first all-Moog ensemble), together with Steve Drews and Linda
Fisher. Mother Mallard became a pioneer band of Space Music,
minimalism and other innovative trends.

How did your musical vocation begin?

"Jorge, if you really want to know the answer to that question,
I'll have to go back to the Second World War. In September of
1944, during the first weeks of school (this was First Grade), the
teacher asked if anyone in the class was interested in taking
piano lessons through the school. Our Public School System in
Brookline, Massachusetts was among the top public school systems
in the USA (the lessons were only $1 because the school subsidized
them). I immediately raised my hand and Miss Clifford took down my
name. A few days later I received news that I was too young to
start lessons. I was 5 but the guidelines stipulated that the
student must be at least 6. That day when I walked home from
school, I started crying when I reached my street. My mother
(unknown to me) always looked out for me through the window (the
third floor of a three family walk-up) and rushed down to greet
me, asking me what was wrong. The next day, my father went to the
school and convinced the principal that they should give me a
chance and start me on a trial basis. And of course, the rest is
history, as they say. My father learned to play the piano late in
life (really starting at age 33) and so we had an upright piano in
the house when I was born. As I was coming into consciousness as
an infant, I heard my father practising whenever he came home. His
job before the war was as a bouncer at a restaurant and bar in a
very rough section of Boston. He had been a champion gymnast in
high school, and was very muscular. There's a lot I could say
about the circumstances, but suffice to say, he practised Chopin,
Lizst, Grieg, Gershwin, and various popular ragtime pieces of the
day like Nola, Dizzy Fingers, and Wabash Blues. I can still hear
him pounding out sections of Gershwin's Rhapsody in Blue over and
over again for hours (maybe that's why I took to repetition so
easily?!) That, I think, was really my beginning as a musician,
just listening to him practise in the next room. We lived in a
five room apartment with my grandparents and had no central
heating. My bedroom was next to the living room where the piano
was. I think that this close proximity to constant piano
practising routines subconsciously trained my ears so that I
developed perfect pitch, because as soon as I started taking piano
lessons myself, learning the letter names of the notes, I
instantly recognized the pitches on the piano without looking at
them. There's a lot more I could say about this environment that
was very positive to my development, but basically it was this
early beginning, and the always-present and constant parental
support that were the things that made my vocation possible."

How did you discover the electronic instruments for the first time
and when did you realize that they were necessary to develop your
music?

"My first encounter with electronic instruments, and electronic
methods of composing (with tapes and tape manipulation) were
through recordings of Otto Luening and Vladimir Ussachevsky in the
late fifties. But it was the work of John Cage that I grew to
love. It was when I was studying with Boris Blacher at the
Hochschule für Musik in Berlin in 1965-66 that I saw my first
electronic studio. He was showing me how he had completed an opera
which included synthesized sounds. But it wasn't until 1967 in
Ithaca NY, where I was Composer-in-Residence in the School
District due to a Ford Foundation Grant, that I first made contact
with Robert Moog and his synthesizers. Bob showed me his studio
which was located at his company site in Trumansburg NY, just a
short distance from Ithaca. He gave me access to the place and a
basic introductory lecture on how all the stuff worked. But since
I am such a slow learner (and continue to be!), it wasn't until
1968 that I felt I had full command over the Moog Synthesizer as a
studio instrument. Remember, this was before live performances on
synthesizers, and it was just a studio recording medium at that
time. And also, even though these early synthesizers were
controlled by keyboards, they were monophonic; i. e. no more than
one note at a time was recognized by the instruments. After a
couple of years experimenting in the Moog Studio, changing my
methods of composing, learning how to be a recording engineer on
state-of-the-art four track tape recorders and learning the outer
limits of what was possible on these new instruments, I was ready
to try live performances using these studio-bound instruments.
Richard Teitelbaum had already been performing live on a Moog in
Rome as part of Musica Eletronnica Viva. But no one had ever tried
using several Moogs in an ensemble, mainly because they were so
expensive. But with Moog's help Mother Mallard (my new music
group) and the First Moog Quartet began doing just that. The First
Moog Quartet played arrangements of pieces from the classical
repetoire--and I'm not certain of the dates of their existence,
but it was short-lived. But Mother Mallard started doing music
especially created for the Moogs in 1969 and is going to present
it's thirtieth year anniversary concert here in Ithaca on October
3, 1999. The first all-Moog Mother Mallard ensemble consisted of
composer/keyboardists Steve Drews, Linda Fisher and me."

Which synthesizers, electronic instruments and equipment do you
use in your music? And in 1970-73?

"I started accumulating post-Moog stuff in the mid-eighties. I now
have a bunch of rackmounted synths controlled by a Yamaha KX-88
for live performance and recording. Included are the following:
Oberheim Matrix 1000, Yamaha FB01s, TX81Z, TX802, TX816, E-Mu
Proteus-2, Alesis QuadraSynth + Piano, QS7, Korg X5DR,
Wavestation, M1Rex, Roland Juno 60, MiniMoog (MIDI), Digidesign
SampleCell, and most recently, a Novation Supernova. Whew! That's
a lot of stuff. I also have a Unity DS-1 Sampler, but haven't used
it yet. I'm thinking of adding a really good E-Mu Sampler, and
then I can own the world. At the Cornell Studio, I have more stuff
and also access to ProTools. I also have an S-Video Player with a
video capture card and monitor for film work. Add to that a Tascam
D-88 and a Panasonic stereo DAT recorder, a couple of effects
boxes, and that rounds it out. And, I almost forgot-running the
whole thing is a Macintosh G3 with MOTU software and a couple of
MOTU MTP AV Midi Timpieces."

"In 1970-73 we used three modular Moog systems and two MiniMoogs
plus an RMI Piano. We had two Scully tape recorders, a four-track
and a two-track, plus a Revox two-track. I forget the kind of
mixer we had, but it was very good for its day. Although this
setup sounds simpler, it was much more difficult to record due
both to the limitation of separate tracks and the lack of any
synchronizing technology save for the ever-present click tracks.
One had to keep playing for an entire take, sometimes lasting
twenty minutes or more, with no mistakes."

Has Terry Riley or other musicians been a big influence for your
musical career, especially at the beginning?

"I first heard the Columbia recording of Terry's In C in 1968 and
it jolted me into recognition: YES, this is the direction I want
to take. It was such an iconoclastic statement against the
hegemony of academic music of the time, that it had a great
influence on other younger composers, especially Steve Reich who
had attended the first performance of the piece in 1964 at Mills
College. On the liner notes of the album, I noticed that an old
friend of mine, Jon Hassell, was playing trumpet. I knew he was in
Buffalo as a Rockefeller Creative Fellow so I called him. He told
me that Terry was there also, and so I visited Buffalo and met
Terry Riley. We didn't talk about anything of importance, but he
and his wife talked about Zap Comix, so I acquired a complete
collection."

"Later, in the early days of Mother Mallard when we played in New
York City at various avant garde venues, we always made a point to
get the equipment out of the city after the performance for fear
of theft. Helping us in this endeavor was composer David Behrman
who put us up at his rural house near Bear Mountain about an hour
outside the city. David had produced the In C recording, and was
also associated with Merce Cunningham and John Cage. David
Behrman, along with Gordon Mumma, was the first composer I knew
who used a computer in live performance. David and Gordon both
made their own. But getting back to Terry, yes he had a positive
influence at the same time that I was discovering synthesizers.
Eventually my music became less European influenced, and began
using repetitive figures, tonality and a steady pulse. These are
all things I had used in my jazz musician days, but which I hadn't
used in my concert music. Terry and to some extent, John Cage,
influenced my thinking into including everything into one
technique. My first attempt at a holistic approach. Buckminster
Fuller was also a very big influence with his ideas on synergy."

How is the process you follow to compose / record a piece?

"My musical ideas come from both abstract musical material and
extra-musical items such as a person's name. For instance the
anagram of your name is "He runs, men jog". I have a series of
pieces called Anagram Portraits, so I could do yours on a running
theme. I also have composed a series of variations on a theme of
Philip Glass. One set within the variations is a mirror fugue set-
-entirely arrived at non-verbally with musical ideas only. But
there is an intellectual idea behind including a mirror fugue,
after all mirrors are made of glass. Almost all of my music is
contrapuntal, that is, each line has its own important identity.
There's not much melody and accompaniment, although this
occasionally happens."

"I usually begin by recording one line into Performer (the MOTU
sequencer) and then add various other lines to it. Sometimes I
compose one person's part all the way through before adding
another part, something I have done since the early Moog
Synthesizer days. With sequencing, I can try out various
permutations of any line or section by inverting it, playing it
backwards (retrograde) or changing the mode, all very quickly so
that I can hear what it sounds like almost instantly. That's what
computer technology has given us--more options to work with in a
very short time. Before, working things out may have taken much
longer. Both ways of working have their good points and bad. When
I'm not satisfied with the result I will often go back and work
"the old-fashioned way" at a piano with a pencil."

"When recording, I usually make a recording as soon after
completing a piece as I can. This may not be the master for what
is eventually released on a CD, but it is a pretty good idea of
what I want the piece to sound like."

Can you tell us about your activity in the Digital Music Program
at the Cornell University?

"I am the Director of the Digital Music Program at Cornell, and
have developed all of the courses connected with it. These courses
range from complete beginners at the undergraduate level to
graduate student composers who want to know how to design and work
in a MIDI-based digital audio environment. It's very difficult for
composers to find positions in universities these days without any
knowledge of electronic media, especially computer software used
for composing, performing and publishing scores."

What's your opinion about the evolution of the world electronic
music scene during 1970-1999? What do you think the musical scene
will be in the next 30 years?

"When I first started in electronic music in 1967, Robert Moog
couldn't convince one music store in the USA to carry his
synthesizers. Now, of course, every music store has several
synthesizer systems to choose from, and not only that, digital
pianos have replaced acoustic pianos as an entry level keyboard
for many piano students and homes. That is something no one
foresaw thirty years ago. What is disappointing is that most
"classical" composers view the synthesizer as some kind of "add-
on" in special situations instead of a "serious" instrument.
Whereas pop music is permeated with all types of electronic
keyboard instruments. I'm hoping that the day soon comes when
electronic keyboards are more than novelty items in the classical
arena. I realize that many serious composers work in the
electronic medium, it's just that it is still not integrated into
the mainstream classical paradigm."

====================

REVIEWS:

ALBERT GIMENEZ & DOM F. SCAB:
"COSMIC NI"
G3G
This album is the result of the collaboration of guitarist Albert
Gimenez and symthesist Dom F. Scab. "Cosmic Ni" compiles the
memorable concerts by Gimenez and Scab at Abaixadors-10 Theatre
(June 6, 1999) and at Sidecar Club (June 22, 1999), in Barcelona,
Spain. The five themes are improvissed sessions recorded live. The
music can be placed between Ambient and Trance. Touches of
psychedelic rock are also present, and even come to have a leading
role in different parts of the release. Also there are some traits
from Jazz and other varied elements that contribute to enrich the
pieces. The artists utilize electronics and sonic collages with
great imagination, succeeding in creating musical structures far
from the most usual trends.
JORGE MUNNSHE

ALBERT GIMENEZ
The composer and guitar player Albert Giménez, born in 1956, began
his musical career in the '70s. He was a member of the bands Suck
Electronic, Macromassa and Neuronium. In 1979 he turned from
electric to classical guitar, releasing during the following years
different records with his own compositions for soloist acoustic
guitar, and playing in numerous concert tours. In 1995 he returned
to electric guitar so as to continue his research in the new
electronic frontiers that this instrument has to offer.
Essential recordings:
-UN SOMNI PETIT
-IMATGE
-ATLAS-NAIF (& V. Nubla & E. Cervera)
-ESCAPADA
-SIX JOURS A BARCELONA (& D. Lawalrée & C. Setó)
-MUSICA SECRETA
-DISCOURS - LIVE EUROPA JAZZ FESTIVAL LE MANS
-QUIETUDS
-CONCERT CONFIDENCIAL
-MUSICA CONTEMPLATIVA
-DUDUM
-MOSDUM
-ZIV
In Macromassa:
-DARLIA MICROTONICA
In Neuronium:
-QUASAR 2C361
-VUELO QUIMICO

If you wish to purchase any recordings by Albert Gimenez you only
have to use this link:

http://www.amazings.com/mailorder.html

DOM F. SCAB
Synthesist Dom F. Scab is a member of the band At-Mooss. Born in
1965, he started taking piano lessons at age ten. Over the next
years, he worked toward acquiring the tools and the ability to
develop his own musical style. He began a solo career as a
composer in 1998. His music has gotten airplay on such famous
radio programs like Echoes (in the USA).Scab has composed some
soundtracks. He has collaborated with several musicians, among
them Albert Giménez (ex-member of Neuronium). He is also a skilled
sound engineer.
Essential recordings:
-INNERSEED
With At-Mooss:
-MORPHING SYNTHESIZERS
-MORPHING SYNTHESIZERS-II
-MORPHING SYNTHESIZERS-III

You can find more information at:

http://www.arrakis.es/~domfer

domfer@...

If you wish to purchase any recordings by Dom F. Scab you only
have to use this link:

http://www.amazings.com/mailorder.html

ALASDAIR FRASER & TONY MCMANUS:
"RETURN TO KINTAIL"
Culburnie Records
One more time, Alasdair Fraser offers us a beautiful collection of
Celtic tunes. They are traditional lullabies, reels and jigs, some
of them written by past and contemporary composers and also
arranged by Fraser. The fiddler has been accompanied by Tony
McManus, the great and talented Scottish guitarist. This is the
first time that they have united their forces in a record and the
result couldn’t be better. They performed together on stage before
but now is the moment to create a real partnership. Return to
Kintail contains 13 pieces and combines the traditional Celtic
rhythms with the flavour of the old tunes. Really great stuff.
MANUEL MONTES

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B00000IMZD/thesciencebookbo

If you wish to purchase any recordings by Fraser you only have to
use this link:

http://www.amazon.com/exec/obidos/ts/artistglance/64644/thesciencebookbo

If you wish to purchase any recordings by McManus you only have to
use this link:

http://www.amazon.com/exec/obidos/ts/artistglance/182710/thesciencebookbo

MOTHER MALLARD:
"MOTHER MALLARD'S PORTABLE MASTERPIECE CO. 1970-1973"
Cuneiform
This CD gathers the first composicions by Mother Mallard, a
pioneer band of electronic music, founded by David Borden, Steve
Drews and Linda Fisher. These are five legendary works, recorded
between 1970 and 1973 where the band proved his great imagination
by creating a dense electronic music. "Easter" (1970) and "Music"
(1972), composed by David Borden, have powerful rhythms forming
very complex structures. These rhythms even sustain the melodies,
in the shape of hypnotic sequences that keep oscillating around a
determined basis. "Cloudscape for Peggy" (1970), composed by
Borden, and "Train" (1970), composed by Drews, are a sample
amazingly advanced to its time, of what Space Music would be.
These two themes are slow, full of unearthly environments and
magical melodies. "Ceres Motion" (1973), composed by Drews, ranges
between psychedelic rock and Space Music.
JORGE MUNNSHE

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B00000I03K/thesciencebookbo

DAVID BORDEN:
"PLACES, TIMES & PEOPLE"
Cuneiform
Like the title suggests, David Borden expresses some of his
emotions and memories in this album. Several pieces are dominated
by a majestic, epic character. Some others enter within avantgarde
Jazz-Rock, like for instance "Droneland". There also are some
pieces of a romantic, melancholy flair, such as "Enfield in
Winter". The most impressive piece in the album is, in my opinion,
"Esty Point, Summer 1978", of an emotive, mysterious air and a
great beauty. The artist knows how to transmit best the belief
that synthesizers not only have a soul but also possess an
expressiveness and a potential which can hardly be matched.
JORGE MUNNSHE

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B000007TGD/thesciencebookbo

DAVID BORDEN:
"THE CONTINUING STORY OF COUNTERPOINT PARTS 1-4 AND 8 (COMPLETE)"
Cuneiform
"The Continuing Story of Counterpoint" series began with the
Borden's desire to develop his own contrapuntal language. His
approach was influenced primarily by contrapuntal composers from
Machaut (14th century) to Josquin (16th century). However, the
music is not medieval, but in a melodic-atmospheric line that
includes many Space-Sequencer Music traits. The peculiar style of
this Counterpoint series includes Classical and Romantic traits,
with a strong protagonism of the synthesizers and sequencers. This
album gathers the parts 1, 2, 3, 4 and the complete version of
Part 8. David Borden is the author of the compositions. He plays
keyboards and is accompanied by Lynn Purse (keyboards), Gabriel
Borden (electric & acoustic guitar), Les Thimmig (wind
instruments), Tom Kikta (live sound production) and Ellen Hargis
(Soprano voice in some passages & recorder)
EDGAR KOGLER

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B000007TG9/thesciencebookbo

DAVID BORDEN:
"THE CONTINUING STORY OF COUNTERPOINT PARTS 5-8"
Cuneiform
This CD gathers the parts 5, 6, 7 and 8 of this interesting series
by synthesist David Borden. He plays keyboards and is accompanied
by Gabriel Borden (guitar), Les Thimmig (wind instruments) and
Ellen Hargis (sampled soprano voice in some passages). The music
is sequencer-based mostly. In many passages, the rhythm assumes
the role of melody, given its complexity. The style of the album
presents elements typical of Space, New Instrumental Music,
Minimalism, Classical and Progressive Rock. The compositions are
overflown with dynamism, symphonic grandeur and romanticism.
EDGAR KOGLER

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B000007TGA/thesciencebookbo

DAVID BORDEN:
"THE CONTINUING STORY OF COUNTERPOINT PARTS 9-12"
Cuneiform
Borden reaches with this album a new evolutive stage in the
development of his own contrapuntal language. The artist gathers
imaginative musical ideas in this album, under a general focus
approaching Space Sequencer Music / Minimalism. However, there
also are several parts of a different kind. Some passages are very
epic. Some others enter within Classical music, like for instance
"Part Eleven". There also are some pieces of a clear romantic
flair, such as "Part Ten".
EDGAR KOGLER

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B000007TGC/thesciencebookbo

If you wish to purchase any recordings by David Borden you only
have to use this link:

http://www.amazon.com/exec/obidos/ts/artist-glance/155532/thesciencebookbo

AGRICANTUS:
"BEST OF AGRICANTUS"
World Class Records
Agricantus is an excellent Italian group completely devoted to
World Music. This is their first U.S. release, a complete “Best
of” which gives us a good idea of their style and potential.
Agricantus comes from Palermo: they are Tonj Acquaviva, Mario
Crispi, Guiseppe Panzeca, Mario Rivera and Rosie Wiederkehr. Since
1989 (Nachitabumma) they have released several well received
albums, including Tuareg (1996) and Kaleidos (1998). They blend
the traditional and contemporary instruments with the most modern
techniques and the result is a fascinating product where the
ethnic voices have great importance. They are very influenced by
the African culture, the sounds and the rites coming from distant
places. This CD will surely surprise you.
MANUEL MONTES

If you wish to purchase this recording you only have to use this
link:

http://www.amazon.com/exec/obidos/ASIN/B00000J8NX/thesciencebookbo

If you wish to purchase any recordings by this band you only have
to use this link:

http://www.amazon.com/exec/obidos/ts/artistglance/174925/thesciencebookbo

VIDNA OBMANA & SERGE DEVADDER:
"THE SHAPE OF SOLITUDE"
Multimood Records
Vidna Obmana and Serge Devadder collaborate in this album
dominated by a mysterious, nocturnal character, with the
orchestrations typical of Space Music and Industrial elements. The
eight electronic pieces that integrate this CD are each one a
journey towards the unknown. The music is mostly static.
Synthesizers and guitars are fused creating a disquieting, oneiric
atmosphere. The melodies maintain a great conceptual uniformity
and in them we will find all kinds of extremely hypnotic sonic
textures.
EDGAR KOGLER

If you wish to purchase any recordings by Vidna Obmana you only
have to use this link:

http://www.amazon.com/exec/obidos/ts/artist-glance/121097/thesciencebookbo

PAUL WINTER & FRIENDS:
"CELTIC SOLSTICE"
Living Music
This is not the first time that Paul Winter is very interested in
Celtic music. He and Paul Halley worked with Nóirín Ní Riain on
her debut album for Living Music, Celtic Soul, in 1996. Then, when
he was planning the annual Summer Solstice celebration, he had the
idea to title the event “Celtic Solstice”. Later, he met people
like Davy Spillane, one of the greatest Irish pipers. The Celtic
Solstice event was very successful and soon they had enough
material for an album. This CD, then, is the result of an intense
collaboration between Irish and American musicians during a
celebration within the largest gothic cathedral, New York’s
Cathedral of St. John the Divine. Winter, of course, plays his
famous soprano sax. With him are Eileen Ivers (fiddle), Davy
Spillane (Uilleann pipe), Karan Casey (vocals), Joanie Madden
(whistle and flute), Jerry O’Sullivan (pipe), Paul Halley (pipe
organ and piano), Jamey Haddad (percussion), Zan McLeod (guitar),
Carol Thompson (Celtic harp and Welsh triple harp), Austin Mcgrath
(bodhran) and Bakithi Kumalo (bass). Celtic Solstice contains new
material and also new arrangements of traditional tunes. This is,
in two words, glorious music!
MANUEL MONTES

PAUL WINTER
Paul Winter, solo or with his Paul Winter Consort, is one of
the best representatives of the new instrumental music. Born in
Pennsylvania, this American musician is a virtuoso of the saxo and
the clarinet, instruments whose sounds have made him famous and
have made his music into an easily recognisable entity. Winter,
who from a very young age has worked in several bands, has matured
his style up to a truly personal, inimitable point.
Winter formed his Paul Winter Sextet in the early sixties,
almost always performing in jazz environments. His first tour put
him in contact with other cultures, something that would influence
him forever. In 1967, he started the Paul Winter Consort, where he
fused his jazzy roots with instrumental voices from other genres
and cultural styles. Nature, the songs of whales, ethnic music and
other sources for inspiration would shape step by step what Winter
and his musicians call "Earth Music", the music from our planet.
In 1980, this composer creates his own label, Living Music
Records, where he has released his great works of the eighties and
the nineties. Awarded with three Grammy prizes and nominated in
eight different further occassions, Paul and his Consort reached
their maximum difusion and popularity. Specially interesting are
his annual concerts at the St. John the Divine cathedral, as well
as his tours and over 2,000 concerts all over the world.
Essential recordings:
ICARUS (PW Consort)
CALLINGS
MISSA GAIA / EARTH MASS
SUN SINGER
COMMON GROUND
CONCERT FOR THE EARTH (PW Consort)
CANYON
LIVING MUSIC COLLECTION 1 (PW Consort)
WINTERSONG (PW Consort)
WHALES ALIVE! (& Paul Halley/Leonard Nimoy)
EARTHBEAT (PW Consort & Dmitri Pokrovsky Singers)
LIVING MUSIC COLLECTION II (PW Consort)
WOLF EYES: A RETROSPECTIVE
EARTH:VOICES OF A PLANET
THE MAN WHO PLANTED TREES (PW Consort)
TURTLE ISLAND (PW Consort & Gary Snyder)
ANTHEMS: 10 YEARS OF LIVING MUSIC (& friends)
SOLSTICE LIVE! (PW Consort with Special Guests)
SPANISH ANGEL (PW Consort)
PRAYER FOR THE WILD THINGS (& Earth Band)
CANYON LULLABY
SOLSTICE LIVE! (1998) (PW Consort with Special Guests)
BRAZILIAN DAYS (& Oscar CastroNeves)
-GREATEST HITS + BONUS DISC
-CELTIC SOLSTICE

If you wish to purchase any recordings by this artist / band you
only have to use this link:

http://www.amazon.com/exec/obidos/ts/artistglance/33888/thesciencebookbo

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