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Stewart Copeland plays with the animals on latest project ‘Wild Concerto’

BBG News

Stewart Copeland is most famously recognized as a member of The Police, the successful three-piece band that disbanded following the release of five highly praised albums from 1978 to 1983, which catapulted Sting into a successful solo career.

After the departure of the Police, with Andy Summers among them, the drummer-percussionist shifted direction and gained popularity as a film and television score composer. He worked on various notable films such as “Rumble Fish” and “Wall Street”, along with TV shows like “The Equalizer”, “Dead Like Me”, and many others.

Following a globally successful Police reunion concert tour that topped the charts in 2007, Copeland shifted gears once more and composed live orchestral music for the timeless movie “Ben-Hur” in 2014.

Later on, he reinvented the Police’s discography, releasing two albums: “Police Deranged for Orchestra” in 2023 and the global music adventure “Police Beyond Borders,” collaborating with Ricky Kej, whom he had previously worked with on the 2021 album “Divine Tides.” This latter album won a Grammy for Best New Age Album.

Our conversation with Copeland, who’s 72, initially centered around his speaking tour titled “Have I Said Too Much? The Police, Hollywood and Other Adventures.” However, the Los Angeles leg of the tour was cancelled due to the Palisades and Altadena wildfires. Despite this setback, our storyteller, Copeland, is now planning to bring his speaking tour to Europe during the spring and fall seasons instead.

Apart from that, he’s releasing a fresh album titled “Wild Concerto” on April 18 as well. I had an opportunity to chat with him initially through Zoom, followed by a subsequent telephone conversation, where we discussed his latest venture and his vibrant artistic activities beyond the Police.

I’d be happy to help! “Could you give me some information about your latest album? It doesn’t resemble the Beach Boys’ “Pet Sounds” or Pink Floyd’s “Animals,” with only a few scattered animal sounds. Instead, it seems that you have invested more effort and commitment into creating this one.

Stewart Copeland: Indeed, the animals are provided with a more spacious dressing room in this case. It’s not merely about producing animal noises; it genuinely involves capturing those actual animal sounds.

How did it come about?

An incoming call. The caller is Platoon Records, a subsidiary of Apple. They’ve inherited an extensive library of natural sounds, amassed by Martyn Stewart, often referred to as the “British David Attenborough of sound.” He spent his life recording various animal sounds, particularly birds, in jungles and mountains. Now, they are considering turning these sounds into music. They approached me, asking if I could help with this project. Since I have experience working with found sounds, starting from “Rumble Fish” where Francis Ford Coppola was intrigued by my idea of using loops with machines, billiard ball breaks, and various other sounds in 1984, they thought I might be a good fit for the task.

So how did you compose music using the recordings of animal sounds?

Martyn’s folders contained sounds from various geographical locations where birds could potentially rest, distinct ecosystems of these areas. I would first analyze the ambient sounds, whether they were natural soundscapes like forests or wind, and then focus on the rhythmic components, particular bird species that exhibit rhythmic patterns. Using those rhythms as a foundation, I created new rhythmic structures, likening them to a rhythm section. I didn’t manipulate any of the sounds; neither did I adjust their pitch nor alter their rhythm. Instead, I arranged them meticulously to create a rhythmic structure with these ‘rhythm animals’. Next, I searched for the extended melodies, primarily from birds and wolves, which had long, melodious solos. I placed a trombone alongside those extended melodies, resulting in what we now have: your [John] Coltrane-inspired wolves.

Interesting. So, you didn’t autotune any of the animal sounds?

No autotune. No time stretching.

In simpler terms, you said “Rumble Fish” was part of your conversation. When I first listened to the album, it certainly gave me a similar feeling as “Rumble Fish.

Well, that’s all the percussion that I did all by myself here in the studio.

Having completed two albums of Police music interpretations, was returning to nature the logical next step?

I no longer hold grudges for my past actions involving police work, as I trust in my future progress. Currently, I’m engaged in an enormous production of an opera I composed and a project about animals on an album, both of which are exciting endeavors that help me feel less anxious about reflecting on the past.

It appears that this may be a logical evolution from your background in film composition and orchestration.

Indeed, that’s correct. Besides my significant other, the orchestra holds a special place in my heart as another passion. It has such a vast range of abilities at its disposal. In my limited lifetime, I may barely touch upon the full potential an orchestra possesses, but I am determined to explore it further.

In our collaborative effort, I had the pleasure of working with Ricky Kej on this album. Reflecting on our partnership, I can’t help but appreciate the unique perspectives and exceptional talents he brought to the table.

He’s an exceptional musician and a fantastic record producer, and he works in Bangalore, quite far from here. He visited Abbey Road Studios [in London], where we recorded the orchestra and oversaw a recording session. Working with a producer is something entirely novel for me. Throughout my entire career, I never had a producer. The Police didn’t either; we just had sound engineers. However, in recent times, I had the chance to collaborate with a producer, and let me tell you, what was I waiting for? This is fantastic! Someone else to share the burden, offer guidance, and give me a gentle nudge when needed.

However, wasn’t it the case that the police also had producers credited alongside them, such as Hugh Padham on “Synchronicity”?

Originally, he was accustomed to working with musicians who were refined, polite, and respectful, not finding himself stranded on an island with three unruly individuals. Despite the chaotic environment filled with flying pizzas, he managed to get a decent recording. If there had been a more proactive producer around, they could have potentially intervened during the disputes or maintained order, but perhaps that wasn’t an option.

Are you still playing polo? [Copeland’s logo on his website is a polo player riding a horse]

Instead of keeping the horses, I exchanged them for children, but it turns out that raising kids is pricier than maintaining 12 horses. Now I have seven offspring, and taking care of them is more costly than caring for twelve horses.

Wow. What’s the age spread of your kids?

Initially, he mentions a number that sounds like 50, but speaks unclear to make it difficult to understand, and later clarifies it as reducing to 25. Then, he shares the information that he has five grandchildren. When someone starts fabricating their children’s age, it indicates they are getting older.

What was the oldest? I didn’t quite make that out?

[Once again starts saying 50 but slurs his words].

Fifty-something?

Yeah, 50-something. We’ll go with that.

But you still seem young and spry.

It wasn’t until I turned 70 that I began to feel the aches and pains that come with age, while my children reached middle age long before that point. Throughout their youth, I was able to outmatch them in speed, agility, and athletic prowess.

Are any of your kids involved in music or showbiz?

I’ve come across an extraordinary individual residing in London, someone who’s not only a skilled filmmaker but also possesses an uncanny knack for music. It seems as though any instrument he touches begins to resonate with beautiful melodies effortlessly. Among my grandchildren, there’s an 8-year-old named Arthur who lacks the musical prowess that most of his age group would exhibit. However, whenever he visits, he immediately gravitates towards the grand piano, seeking out intriguing compositions as if music is a part of his very essence – a trait clearly ingrained in him by nature itself.

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2025-04-18 22:31

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