Stewart Copeland Albums (6)
What The Critics Say
During the 40-minute documentary included on the packed-in DVD in his Orchestralli release, former Police drummer Stewart Copeland declares his love for Buddy Rich. He also mentions the music Rich plays is "not necessarily my kind of music." What he says he loves about Rich is the man's "effervescence" more than the compositions he plays. Later he talks about how music is "instinct," "best when it comes from the heart rather than the brain," and "is how it feels." The man also wrote an opera for the Cleveland Opera Company, so take all these things into consideration before attacking Orchestralli. At no point does Stewart use the best word to describe his own music: knotty. But this knotty music is filled with effervescence, heart, and uplifting emotion. Zappa's jazz at its happiest or "what if Aaron Copland fronted the modern high school jazz band" are fair comparisons, but this "serious" music often breaks free of any comparisons and winds itself into a thrilling frenzy that only recalls that guy who used to drum for the Police. "Eve" pays homage to Weil and Mancini before kicking it up a notch, allowing Copeland to bring out that whip crack on the snare that propelled Sting and Andy Summers into high gear. The percussive, just-a-shade-too-big-to-call-a-chamber ensemble here responds the same way, coming alive and forgetting about how "serious" this music is. Good thing too, because Copeland's compositions probably aren't the most fascinating charts to read, and they're either pop or soundtracky. They do have some interesting twists -- sometimes too many -- but more than anything, they're jumping-off points for the parties involved. Generally things follow the "Eve" pattern. The shrunken orchestra heavily plays an interesting melody, Stewart and the four-piece percussion unit -- Ensemble Bash -- he brought with him show the orchestra how it's done, then everyone catches fire and you can't help but smile. Recorded live in Italy during a short stint of shows during 2002, the sound quality is crisp and does an excellent job of capturing this swirling tangle of notes. Longtime Copeland fans will be especially interested in the vibrant bits of the Rumble Fish soundtrack and the redo of the Equalizer television theme here; however, being familiar with the originals won't give anyone a leg up on appreciating how the man delivers on his belief in "feel" throughout Orchestralli. ~ David Jeffries, All Music Guide
'Four Days in September'
Release Date 1/13/1998
Tracks 19
Label Milan
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What The Critics Say
Stewart Copeland's score for Bruno Barreto's cinematic adaptation of Fernando Gaberia's book Four Days in September doesn't suffer when it is isolated from the film. On its own, it's an evocative mixture of percussion and keyboards, balanced between the symphonic and Brazilian culture. The soundtrack is augmented by Alan Price's "The House of the Rising Sun," Tom Jobim's "The Girl from Ipanema" and Chico Buarque de Holanda's "Madalena Foi Por Mar." ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Even prior to the breakup of the Police, drummer Stewart Copeland carved out an extremely successful career as screen composer and producer. This project finds Copeland once again stretching his musical capabilities. Aside from his percussion and piano-laden sketches, all of the tracks feature renowned jazz bass player Stanley Clarke, who underpins all of the tracks with a combination of grace and funk. Add to this the astounding symphonic arrangements, and you come away with one of the most evocative scores in recent memory. Breathtaking. ~ Matthew Greenwald, All Music Guide
What The Critics Say
James Earl Jones's voice carries the day on this well-told tale. Ages five to eight. ~ Bob Hinkle, All Music Guide
'The Equalizer & Other Cliff Hangers'
Release Date 1/1/1988
Tracks 10
Label IRS/No Speak
See Album Tracklist and Review
What The Critics Say
Following the dissolution of the Police and several cracks at movie scores (most notably Wall Street), Copeland was hired to write the theme music for The Equalizer and then to score the individual episodes, a task he tackled with the aid of engineer Jeff Seitz (who would later take over the scoring duties until replaced by a more traditional composer) and a maxed-out Synclavier. The result was a charging, rattling, sometimes nerve-wracking musical base for the show -- one that proved difficult to translate into the form of an album. The Equalizer & Other Cliffhangers is periodically successful in its ambitions, but the cuts do have a tendency to sometimes become mired in a noisy aimlessness. ~ Steven McDonald, All Music Guide
What The Critics Say
With the breakup of the Police, the bandmembers found themselves free to indulge their personal musical obsessions. And so while Sting made a very lucrative venture into working with jazz musicians -- a logical step for a bassist -- Stewart Copeland made a drummer's pilgrimage to Africa. Combining field recordings with Copeland's multi-instrumental work in an Assyrian studio, The Rhythmatist is light years ahead of his sophomorically amiable work as Klark Kent. The album and accompanying video didn't make much of a dent in any market, except among fellow drummers and die-hard Police fans. It's an unfortunate oversight, because its enthusiastic world music fusion has held up better than the other Police solo efforts of this period. The album as a whole focuses on (not surprisingly) the rhythm section of tastefully syncopated drums and percussion against a backdrop of atmospheric synthesizers. Ray Lema's chorused vocals over the pulsing beat of "Koteja" are absolutely hypnotic, while Copeland's dry narration after the clattering drum solo of "Serengeti Long Walk" is awkwardly endearing. ~ Paul Collins, All Music Guide
