On the Road Again Notes for Alto Saxophone
| Paul Winter | |
|---|---|
 Clearwater Festival, 2007 | |
| Background information | |
| Born | (1939-08-31) Baronial 31, 1939 Altoona, Pennsylvania, U.S. |
| Genres | Jazz, new-age |
| Occupation(south) | Musician |
| Instruments | Saxophone |
| Years agile | 1961–nowadays |
| Labels | Columbia, A&M, Ballsy, Living Music |
| Website | www |
Paul Winter (born August 31, 1939)[1] is an American saxophonist, composer, and bandleader. He is a pioneer of world music and "earth music", which interweaves the voices of the wild with instrumental voices from classical, jazz and world music.[2] The music is often improvised and recorded in nature to reverberate the qualities brought into play by the environment.
Early life [edit]
Winter was born in Altoona, Pennsylvania, Us.[i] He studied piano and clarinet, and so fell in love with saxophone in the 4th form. He started the Niggling German Band with his schoolmates when he was twelve, and so a Dixieland band, and a ix-piece dance band known equally The Silver Liners. He became enthralled by big bands and bebop bands of the 1950s. After graduating from Altoona Surface area High School in 1957, he spent the summer on a tour of land fairs in the Midwest with the conductor and members of the Ringling Brothers Circus Band.
Paul Winter Sextet [edit]
At Northwestern University, he majored in English and visited jazz clubs in Chicago. In 1961, his sextet won the Intercollegiate Jazz Festival and was signed by Columbia Records.[ane] He was accepted by the University of Virginia Law School, simply postponed that plan when during the next twelvemonth the sextet went on a goodwill tour of Latin America,[1] equally cultural ambassadors for the United States Country Department, playing 160 concerts in 23 countries. Start Lady Jacqueline Kennedy invited the band to perform at the White Business firm. The performance in the East Room on November 19, 1962 was the starting time jazz concert in the White House.[1] [3] In the mid-1960s, Winter lived for a yr in Brazil. It became a second dwelling for him and he recorded several albums there. Rio was released in 1965 with liner notes by Vinicius de Moraes.
Paul Winter Consort [edit]
In 1967 he started the Paul Wintertime Espoused, influenced by Heitor Villa-Lobos and other Brazilian music,[1] to give ensemble playing and soloing equal importance, analogous to a democracy where every voice would count. He borrowed the name from English language Elizabethan Theater of the 16th and 17th centuries, when bands combined woodwinds, strings, and percussion, the same families of instruments he wanted to combine in his gimmicky espoused. With this group, he became one of the earliest creators of world music.[iv]
Recordings of humpback whales in 1968 influenced his music, and his desire to become an environment activist.[1] In 1977, his album Common Footing was his start to incorporate sounds of whales, eagles, and wolves into his music.[ane] The Paul Winter Espoused recorded during the 1960s and 1970s.[ane] Four albums for A&M were produced by Phil Ramone and Paul Stookey. Astronauts of Apollo fifteen took the Consort's album Road to the moon with them and named two craters after the songs "Ghost Beads" and "Icarus". George Martin produced the album Icarus and considered it 1 of the best he produced.[1] The band Oregon was formed by ring members who worked on this album: Ralph Towner, Paul McCandless, Glen Moore, and Collin Walcott.
In the early on 1980s, Wintertime began traveling to Russian federation. In 1984, he ventured as far as Lake Baikal in Siberia, and found it so beautiful that he returned to endeavour to protect it. In 1984, he became friends with Yevgeny Yevtushenko. Winter took role in the U.Southward.–Soviet Space Bridge to encourage collaboration between Russians and Americans. On a tour of the Soviet Marriage in 1986, the Consort performed with the Dmitri Pokrovsky Ensemble at Moscow University. During the next year the 2 bands recorded the album EarthBeat in Moscow and New York. Information technology was the first album of music created together past Americans and Russians.[five]
In 1980, Winter founded Living Music Records equally a forum for his musical and ecological vision. The proper name alludes to his want to brand timeless music in natural acoustic spaces like rock churches, canyons, and barns.
Artist-in-residence [edit]
Winter is a member of the Lindisfarne Clan, founded by William Irwin Thompson, of scientists, artists, scholars, and contemplatives devoted to the report and realization of a planetary culture. Through this organization, Winter met the Very Reverend James Parks Morton, Dean of New York'south Cathedral of St. John the Divine. In 1980, Dean Morton invited him to become artist-in-residence there, to build bridges between spirituality and the environs with his music. St. John the Divine is the largest gothic cathedral in the world and known as "the light-green cathedral."[six] In the 1980s and 1990s, it became the center of a vital community of thinkers and seekers working on problems of ecology and environment and world peace. Cosmologist Father Thomas Drupe influenced Winter and affirmed his intent to awaken in people as sense of customs.
Since 1980, Winter and the Paul Winter Consort take presented over 100 events at the Cathedral, including "Tao of Bach" with Al Huang, Carnival for the Rainforest, and with tightrope walker Philippe Petit. Every yr on the feast day of Saint Francis of Assisi a choir of hundreds of voices, gospel vocaliser Theresa Thomason, and the Forces of Nature Dance Theatre join the Consort in a liturgical performance of Wintertime's ecological and ecumenical Missa Gaia (Globe Mass). The major movements of the mass are based on the voices of whale, harp seal, and wolf.
World music [edit]
In 1968, when he attended a lecture on whale songs past Roger Payne at Rockefeller University in New York City. Payne and Scott McVay discovered that humpbacks produce sounds in intricate patterns that fit the definition of "songs." These alter over time and represent a cultural tradition passed orally from 1 whale to the next. Winter was thrilled past the soulful beauty of these humpback whale voices, in much the same way as when he had showtime heard jazz saxophonists like Charlie Parker. Listening to the long, circuitous songs the whales repeat, he was amazed past their musical intelligence, and shocked to learn that these extraordinary creatures were rapidly being hunted to extinction. They opened the door to the whole symphony of nature and changed the management of Winter's musical life.
Another milestone was hearing Roger Payne's 1970 album, Songs of the Humpback Whale, which popularized the whale songs, and was perhaps the greatest single contribution to awakening humanity to whales. The grandfather of all natural sound recordings, and a bestseller, it touched the hearts of millions of people throughout the world. (Winter believed that information technology contributed more, perhaps, towards saving whales and sea mammals than all other efforts put together, and re-released the anthology on his Living Music label in 1990.)
During the 1970s, Winter became involved in the motility to bring awareness of whales and their boggling music to the world. In late 1976, Governor Jerry Brownish alleged Whale Day" in California. He convened a iii 24-hour interval whale conference in Sacramento, bringing together biologists such as John Lily; filmmakers; environmentalists; poets, including Gary Snyder; musicians such as Joni Mitchell and the Paul Winter Consort; and fans of the whales. During the early 1970s, as whale consciousness emerged in the culture, Nihon began to come under widespread criticism for its continued whaling operations. From the Sacramento whale conference came the idea that, rather than cold-shoulder Nippon, efforts should be fabricated to communicate with Japanese environmentalists and share with them the growing body of information about whales and why they should exist protected. This resulted the next April in a large contingent of biologists and musicians (including the Paul Winter Espoused, Mimi Fariña, Jackson Browne, and the fusion band, Stuff, featuring Steve Gadd), along with Governor Brown, traveling to Tokyo for a week of performances. Called "Japan Celebrates the Whale and Dolphin," information technology was reportedly the first environmental result ever held in Japan.
Winter traveled to Japan several times with the "Relieve the Whale" campaign; played benefits for Greenpeace and other organizations; and led music-making and whale-watching workshops on Cape Cod and in Baja California. In 1975, Winter sailed aboard the Greenpeace V anti-whaling expedition for three days of playing saxophone to wild gray whales off the coast of Vancouver Island (Tofino). He was accompanied in this attempt by Melville Gregory and Volition Jackson, musicians attempting to "communicate" with the whales using diverse instruments and a Serge synthesizer.[seven] Photos of Winter and the whales [by King Weyler] appeared on wire services and in media effectually the globe, helping the ultimate success of the mission against Soviet whalers.
In 1978, Winter released Mutual Ground, an album that combined his music and animal sounds (wolves, eagles, and whales). In 1980, a chance come across with a wild ocean lion pup off Baja California affected Winter deeply, and inspired him to explore the realm of pinnipeds and the role of sound in their lives, in the aforementioned way he had immersed himself in learning about whales and wolves. He spent three years observing, listening to, and occasionally playing his saxophone to sea mammals. His inquiry expeditions took him to Newfoundland, British Columbia, Scotland's Inner Hebrides, the California coastal islands, San Salvador in the Bahama islands, and twice again to Magdalena Isle in Baja California. The resulting album, Callings, helped initiate a successful entrada to take Congress designate March ane each year as "The Mean solar day of the Seal."
A further collaboration with Dr. Roger Payne resulted in the album Whales Alive!, with thespian Leonard Nimoy, Information technology realized a long-continuing dream shared by Payne and Winter to create an entire anthology of music based on melodies past whales. The album intersperses readings of prose and poetry near whales with music improvised in response to recordings of the whale voices, extending the whale melodies in a way like to how the whales themselves gradually alter and abound their long, circuitous songs.
In 1990, Paul convinced Roger Payne to come to Japan to diverse whaling cities, including Shoji and Ogasawara to bout a articulation program showing how whale watching could be a viable business culling to whale-killing.
Winter and wolves [edit]
In belatedly 1968, Winter saw wolves for the beginning fourth dimension in the Redding, Connecticut, middle school, at a program given by John Harris. Harris was touring the country to enhance awareness about wolves and trying to counter the prejudice that was responsible for the extermination of these creatures from the wild. Looking into the eyes of the wolf as it saturday in the dorsum of Harris' van after the program, Winter was inspired to write his piece "Wolf Optics."[8] It presented the lyrical phonation of the wolf, and a unlike, gentle, image of a creature so long misunderstood and vilified by humans.
In 1973, at a wildlife briefing in St. Louis, Winter met wolf biologist Fred Harrington,[9] who invited him to Minnesota, where Winter heard wolves in the wild for the beginning fourth dimension. In the mid-1970s, at a wolf preserve in the mountains of California, a captive wolf named Ida howled a duet with Winter's soprano sax, and her vocalisation was featured on the Common Basis album, Winter'southward first musical statement about the entire family of life, and the starting time album to feature voices of endangered species – symbolically representing with whale, wolf, and eagle the realms of sea, land, and air.
After the Redding plan, Winter visited John Harris many times, and Harris and the wolves sometimes stayed on Winter's farm. During the 1978 Common Ground tour, Wintertime invited Harris to introduce his wolf on stage, including on September 8, 1978, at a benefit for the Audubon Social club at Carnegie Hall, after which the wolf was featured on the front page of The New York Times.
Adventures in SoundPlay [edit]
In 1968, Wintertime began introducing improvisations into the Consort's concerts as a way for the group (cello, alto flute, English horn and sax) to play freely. The band would perform one "gratuitous piece" with all the lights turned out in every concert. This shared adventure into the unknown was often a high point with audiences. Later the Consort was asked to do a residency of "master classes" at the Hartt School of Music in 1971, Winter began developing a procedure for unlocking the unique music within each person, by creating safe, fun contexts for free interplay. He calls his workshops "Adventures in SoundPlay" No "incorrect notes", no worship of virtuosity, the dissolving of fears – all these things served to open up new paths. Winter has conducted almost 300 of these sessions at music schools, universities, and at centers such every bit Esalen, Kripalu, Rowe, and Omega.
Awards [edit]
Winter has received a Global 500 Award from the United nations, the Joseph Wood Krutch Medal from the United States Humane Guild, the Peace Abbey's Backbone of Conscience Accolade, the Spirit of the Metropolis Award presented at New York's Cathedral of St John the Divine, and an honorary Doctorate of Music from the University of Hartford. He besides received the James Parks Morton Interfaith Award.
Discography [edit]
Solo [edit]
| Title | Twelvemonth | Label | ||
|---|---|---|---|---|
| Jazz Meets the Bossa Nova | 1962 | Columbia | ||
| The Sound of Ipanema | 1964 | Columbia | ||
| Rio | 1965 | Columbia | ||
| Mutual Footing | 1978 | A&Yard | ||
| Callings | 1980 | Living Music | ||
| Missa Gaia/Earth Mass | 1982 | Living Music | ||
| Sun Singer | 1983 | Living Music | ||
| Coulee | 1985 | Living Music | ||
| Wintersong | 1986 | Living Music | ||
| Whales Alive | 1987 | Living Music | ||
| Earthbeat | 1987 | Living Music | ||
| Earth: Voices of a Planet | 1990 | Living Music | ||
| Solstice Live! | 1993 | Living Music | ||
| Prayer for the Wild Things | 1994 | Living Music | ||
| Coulee Lullaby | 1997 | Living Music | ||
| Brazilian Days | 1998 | Living Music | ||
| Celtic Solstice | 1999 | Living Music | ||
| Journey with the Sun | 2000 | Living Music |
Paul Winter Consort [edit]
| Title | Twelvemonth | Characterization | ||
|---|---|---|---|---|
| The Winter Consort | 1968 | A&One thousand | ||
| Something in the Wind | 1969 | A&G | ||
| Route | 1970 | A&Chiliad | ||
| Icarus | 1972 | Epic | ||
| Earthdance | 1977 | A&M | ||
| Concert for the Earth | 1985 | Living Music | ||
| Wolf Eyes (compilation) | 1989 | Living Music | ||
| The Man Who Planted Trees | 1990 | Living Music | ||
| Turtle Island | 1991 | Living Music | ||
| Castilian Affections | 1993 | Living Music | ||
| Anthems (compilation) | 1998 | Living Music | ||
| Silver Solstice | 2005 | Living Music | ||
| Crestone | 2007 | Living Music | ||
| Miho: Journeying to the Mountain | 2010 | Living Music | ||
| Earth Music | 2011 | Living Music |
Paul Winter Sextet [edit]
| Title | Year | Characterization | ||
|---|---|---|---|---|
| The Paul Winter Sextet | 1961 | Columbia | ||
| Jazz Meets the Bossa Nova | 1962 | Columbia | ||
| Jazz Premiere: Washington | 1963 | Columbia | ||
| New Jazz on Campus | 1963 | Columbia | ||
| Jazz Meets the Folk Song | 1963 | Columbia | ||
| Jazz Casual: Paul Winter/Bola Sete and Vince Guaraldi | 2001 | Koch Jazz |
References [edit]
- ^ a b c d east f thou h i j Colin Larkin, ed. (1992). The Guinness Who's Who of Jazz (Showtime ed.). Guinness Publishing. p. 435/6. ISBN0-85112-580-8.
- ^ Holmes, Jeffrey (2014). "Paul Wintertime Espoused". Oxfordmusiconline.com. doi:10.1093/gmo/9781561592630.article.A2267423. ISBN978-1-56159-263-0.
- ^ "The Kennedy White House Concerts". Museum Music Website . Retrieved 2019-10-29 .
- ^ "MusicHound world: The essential album guide". Choice Reviews Online. 37 (10): 37–5402–37-5402. 2000-06-01. doi:10.5860/choice.37-5402. ISSN 0009-4978.
- ^ Joyce, Mike (1988-03-25). "Winter Consort the 'Beat' Goes Global". Washington Mail. ISSN 0190-8286. Retrieved 2019-10-29 .
- ^ Martin, Douglas (1996-02-27). "Ending Lively Era, A Dean Is Leaving St. John the Divine;The Innovator'due south Work Is Done, Even if the Cathedral Is Not". The New York Times. ISSN 0362-4331. Retrieved 2019-10-29 .
- ^ "Earth Music". Paul Winter. September 24, 2013. Retrieved August 26, 2018.
- ^ "Jazz Musician Paul Wintertime Speaks the Language of Wolves on His Sax—and They Answer". People.com . Retrieved 2019-10-29 .
- ^ Brody, Jane E. (10 Jan 1984). "THE DESPISED WOLF HAS ITS ENDEARING SIDE". Nytimes.com . Retrieved iii Baronial 2021.
External links [edit]
- Breen, Terry. "A Wintertime's Tale", in Northwestern (Northwestern University alumni magazine), Leap 2000. Accessed Oct 8, 2006
- Knapp, Tom. "Paul Wintertime: Common Ground (A&M Records, 1978)", review in Rambles. Accessed January 29, 2006
- Allmusic entry for Paul Winter
Source: https://en.wikipedia.org/wiki/Paul_Winter
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