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Sting (and David Sancious) - Ten Summoner's Tales


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In the "late to the party" category: at the behest of the bassist I've been working with a lot lately, I recently checked out Sting's 1993 solo effort "Ten Summoner's Tales" and was totally blown away by the songwriting, the musicianship, and David Sancious's stellar keyboard performances (though Vinnie Colaiuta is no slouch behind the drums, either). Great melodies, infectious odd-meter rhythms, just a compelling record all around.

 

I assumed that Sancious (who I've long admired; one day I'll learn that piano intro to Bruce Springsteen's "New York City Serenade") would have access to whatever well-maintained vintage keyboards he wanted for the piano and Hammond that dominate the record (alongside the gooey synth pads that were de rigueur in the early 90s) but the videos from the studio sessions and the accompanying tour I've dug up have him playing a single controller attached to a massive rack of modules and a very period-looking computer system. Cutting edge for '93, I imagine! I've included one of those videos below -- any insight into the equipment he would have been using will certainly be of interest to me.

 

My bassist has suggested a 30th anniversary tribute show in 2023, and we know a drummer who can definitely hack it... I'll have my work cut out for me, but I'll have a blast, and prooooobably bring more keyboards than David Sancious in this case!

 

[video:youtube]

Samuel B. Lupowitz

Musician. Songwriter. Food Enthusiast. Bad Pun Aficionado.

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It's an outstanding album - Sting's first several solo albums were all works of art, though he shifted to more of an adult contemporary mood over time.

 

I saw him in concert several times over the years and I do recall learning a lot about the David Sancious rig. This may even be written up in KB Mag somewhere - trying to remember. He was using a Peavey controller with a rack of things. I'm not immediately remembering the gear.

 

The organ solo on St. Augustine in Hell is KILLER - I learned it some time ago and sprinkle bits and pieces of it into other songs. So darn good.

 

If you like Sting solo, be sure to check out his movie Bring on the Night, which is the making of the first one, Dream of the Blue Turtles. Excellent documentary with some cool scenes of Sting using his Synclavier and you get to see lots of behind the scenes for many songs. Plus great live footage featuring Kenny Kirkland on keys (RIP).

 

This thread from 2005 is a blast from the past with a few more nuggets about his rig.

 

https://forums.musicplayer.com/ubbthreads.php/topics/1243704/David_Sancious

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Had the pleasure when I was a kid of seeing Sancious play.

It was a unique band as Alan Holdsworth, Jack Bruce, and Billy Cobham also filled out the Quartet.

 

Funny thing it was just weeks before we saw this new trio called the Police.

We used fake IDs to get into Illinois clubs as the drinking age was 19 to drink.

 

East St.Louis had all of the best clubs back then.

St.Louis was 21 years old to drink, and had no 3500 seat clubs.

In Illinois they converted old Granary"s, Tractor favorites, you name it, they made a club out of it.

 

Nice Share..

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Hey Sam, you might find this old article on DS's work on that album of some use: http://www.muzines.co.uk/articles/sting-and-hugh-padgham/3116

Towards the end of the article there is a list of some of the gear that DS used.

 

This more recent interview is also interesting and may be of some use: https://www.songfacts.com/blog/interviews/david-sancious

I recall a time when we could rely on Keyboard Magazine to provide such content.

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In the "late to the party" category: at the behest of the bassist I've been working with a lot lately, I recently checked out Sting's 1993 solo effort "Ten Summoner's Tales" and was totally blown away by the songwriting, the musicianship, and David Sancious's stellar keyboard performances (though Vinnie Colaiuta is no slouch behind the drums, either). Great melodies, infectious odd-meter rhythms, just a compelling record all around.

 

I assumed that Sancious (who I've long admired; one day I'll learn that piano intro to Bruce Springsteen's "New York City Serenade") would have access to whatever well-maintained vintage keyboards he wanted for the piano and Hammond that dominate the record (alongside the gooey synth pads that were de rigueur in the early 90s) but the videos from the studio sessions and the accompanying tour I've dug up have him playing a single controller attached to a massive rack of modules and a very period-looking computer system. Cutting edge for '93, I imagine! I've included one of those videos below -- any insight into the equipment he would have been using will certainly be of interest to me.

 

My bassist has suggested a 30th anniversary tribute show in 2023, and we know a drummer who can definitely hack it... I'll have my work cut out for me, but I'll have a blast, and prooooobably bring more keyboards than David Sancious in this case!

 

[video:youtube]

 

I can teach you the intro to New York Serenade.

"Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello"

 

 

noblevibes.com

 

 

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I used to be obsessed with Ten Summoner's Tales, had the Lake House VHS tape, the concert bootlegs and the sheet music books etc. Now I kind of don't like its sound that much anymore. It has the hits (and obviously superb playing all-around) but it's not my go-to Sting solo album anymore.

 

I much prefer:

 

I think that album and Mercury Falling are two of the best albums of the decade.

 

The Soul Cages (1991) is IMO the best solo album Sting ever made. It's just incredible from beginning to end - and it's the result of a serious writer's block! Also kind of jazzy at times, like the intro to "The Wild, Wild Sea".

 

But Mercury Falling (1996) is great as well. The title track is just incredible - listen to those chord changes! And obviously, Kirkland's miraculous simplistic solo on "La Belle Dame Sans Regrets".

 

 

If you like Sting solo, be sure to check out his movie Bring on the Night, which is the making of the first one, Dream of the Blue Turtles. Excellent documentary with some cool scenes of Sting using his Synclavier and you get to see lots of behind the scenes for many songs. Plus great live footage featuring Kenny Kirkland on keys (RIP).

 

Yep, it's a classic. Also the rest of the band: Omar Hakim especially, Darryl Jones and Branford Marsalis. Includes their rehearsals - with some fascinating gear-of-the-day on display - and the gig in Paris.

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I saw DS when he was with Springsteen at Max's Kansas City in New York after the release of The Wild the Innocent and the E Street Shuffle. I think there may have been 50 people there. They had a beat up old upright piano with the front removed and he used a guitar pick and strummed the strings like an autoharp for the beginning of New York City Serenade. It was beautiful-

 

 

 

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Saw that Sting Tour, and the Soul Cages Tour (others as well, but those 2 had DS). Excellent. Saw David with Clapton, same rig (Peavey C8 controller with Yamaha breath controller, and Yamaha module), BIlly Preston on organ. KILLER. Saw David many tours with Gabriel, and even interviewed him on the SO 25th anniversary tour. That interview was very much a dentist visit.
Hitting "Play" does NOT constitute live performance. -Me.
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This came out when I was 13 . . . and immediately was a favorite album of mine. I was probably the only kid in my class who was familiar with anything from this album other than Fields of Gold and If I Ever Loose My Faith In You.

 

This one stands the test of time for sure. As Sam says, the writing and playing are both top-notch.

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It took me a long time to appreciate David Sancious, because I learned of his existence under, shall we say, suboptimal circumstances. He was the dude unexpectedly sitting in the keyboard chair that was supposed to be occupied by Kenny Kirkland at the Sting concert I saw on the Soul Cages tour, which I had camped out to get tickets for, specifically to see Kenny, after reading in Rolling Stone that he was on that tour. So let's just say I was not at all pleased to see and hear David that night. But eventually I heard some of his other stuff, and dug it.

 

There's a scene in "Bring On the Night" where Miles Copeland is talking about how, if any of the other band members didn't show up for a show, no one in the audience would want their money back, but if Sting wasn't there everyone would want their money back. So at least I get to say that I was the person he claimed didn't exist.

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I actually have seen very little information or technical interviews aboutDavid Sancious' gear and approach through the years and so far, this thread seems to mirror that.

 

I remember half a page in Keyboard Mag on his tour with Seal and another interview (somewhere) on the SO anniversary tour with Peter Gabriel. He indicated that the Kronos was what he got set up with from PGs production for the tour, and he was normally using a Yamaha ModX (which he used on Sting tours around that time). He stated that he missed having more expression pedals available on those boards and I wondered why someone in his position wouldn't find the (simple) technical solutions to hook up more pedals if he wanted them.

 

I have to see whether I can dig up that article about the Seal tour. Would have to be 1999. They mentioned what was in his rack at the time. These days, he's using Mainstage.

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DS a very thoughtful man when it comes use of technology and keyboard ergonomics. Minimalist in gear. Maximalist in expressiveness.

 

Theres a really fine concert video of The Soul Cages tour, where DS rocks a KX88, particular on 'I"m lost without You.' There are also a couple of duet videos with Joe Bonadio. These were my textbooks as I learned left foot swell pedal technique and breath controller technique from watching DS.

 

A keyboardists" keyboardist. If anyone is going to love MainStage, it"s gotta be him.

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He stated that he missed having more expression pedals available on those boards and I wondered why someone in his position wouldn't find the (simple) technical solutions to hook up more pedals if he wanted them.

 

And that easy to find "missing link" to connect MORE expression pedals to a given keyboard controller is which device the average Joe can buy ?

 

:)

 

A.C.

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You could always get the 8 x EXP from MIDI Solutions.

 

E3-E1-FCA1-A13-B-4431-8485-28026-F9662-BB.jpg

 

 

I had the Oberheim MC3000 and MC3000D back in '96.

Then used the MS F8 with various 4 zone keyboards.

 

Now use a Physis K4 which is 8 x EXP per scene x 4, giving me 32 assignable pedals per performance, which there are 128 of.

 

There are devices for 4 x EXP out there too.

I line up 4 x FC7"s, 1 x FC4 for portamento/rotary speed, 1 x sustain for CC64 or CC31 upper C3 vibrato and Trumpet Section Shakes.

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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And that easy to find "missing link" to connect MORE expression pedals to a given keyboard controller is which device the average Joe can buy ?

A.C.

 

Off the top of my head, I remember little boxes (I think the brand is called MIDI Solutions) that take a specific incoming controller signal (from a jack input) and send it out as MIDI signal through their DIN MIDI-out port. Then it's just a question of merging those different MIDI feeds. I'm sure there are more elegant ways to do this.

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Yes, David has always wanted the maximum amount of controllers on the boards he plays. I first met him at a show at the Bottom Line (NYC), where he opened for Vital Information. He was using a Korg Karma in his rig, so it was a perfect chance to chat him up a bit. He immediately asked us if we could add more wheels/levers etc. to the board.

 

I later worked with him for a synth soloing column I did on his work, and he related to me that back in the early days he used spring-loaded pedals on his Minimoog so he could add modulation and even do pitch bend with his feet, since he wanted to have both hands free to play on the keyboards. I asked him how the hell he did pitch bend with his foot and he said, "a lot of practice!"

 

Here's an interview excerpt we had printed on his first discovery of the breath controller that became such an important part of his playing.

 

David Sancious interview:

 

The first time I saw a breath controller was at an AES show in New York City in 1995. I was walking the show with Jan Hammer and we came to the Yamaha booth, and Phil Clendeninn was showing off the VL-7 physical modeling synthesizer. It was such a huge advancement tonally from the original breath controller used with the DX7: the quality of sound and control was such a shocking advancement that I was paralyzed. I had to have it; I bought one right then and there. I pulled out my checkbook and said, 'how much?' I actually bought the VL-1m â the three rack-space module version of the more powerful VL-1 instrument, since I was already using a controller keyboard that had three wheels and plenty of pedals. I can"t recall if this was the tail end of my using the Yamaha KX88 or when I moved to the Peavey DPM C8. Anyway, I already had a capable controller so I didn"t need the keyboard version.

 

Phil helped me to set it up, and I quickly learned that I needed to adjust the controls on the headset for the maximum sensitivity. There is a parameter called Offset, which controls how much is output, or let through when you are not blowing. It defaulted to a middle setting, which let some sound always come through. I set it to maximum offset, so there was no sound when you pressed a key: it required some amount of breath before it started to sound. This gave me the broadest expressive range, and sensitivity. It"s amazing in that it turns the keyboard into a wind instrument. I used to play clarinet for a period of time in middle school and high school, so I had some experience with playing a wind instrument, and now I was doing that with my synth. And with the sound engine of the VL combined with this maximum breath control I found a new voice for my playing. I still use it today, now I use the VL-70m module, I actually have a few of them.

 

Once you"re set up this way you need to practice it, because you have to develop control and endurance: it"s just like you"re playing a real wind instrument. My cheeks would hurt after playing an extended solo! Sometimes I will blend in a bit of an internal sound from my main keyboard, whether it"s a Yamaha Motif, or the new Montage, to create an interesting texture. To this day it"s the number one question I get when I"m playing shows, whether it"s my own, or with Sting, or Peter Gabriel: 'What"s that thing you"re blowing into?' I"m still amazed at how expressive it is, whatever you put into it, it will give back to you.

 

Hope you enjoy.

 

Jerry

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