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https://www.weatherreportdiscography.org/i-sing-the-body-electric/#unknown-soldier
1. UNKNOWN SOLDIER (ZAWINUL) 7:57
Journalist Conrad Silvert described “Unknown Soldier” as “one of Zawinul’s most complex early compositions. It is nearly symphonic in scope, an emotional evocation of bombardment and its aftermath.” Zawinul told Silvert, “In 1945 my cousin and I buried two German soldiers who had been dead a long time, in very bad shape. One guy was rolled over by a tank. We opened their uniforms to break off their name tags, but on one of them there wasn’t any tag. It’s that same old concept of the unknown soldier. That’s what I thought when I wrote this, with the prayers in there–it’s partially a recall of that night I told you about, September 10, 1944, when Vienna was burning, people were crying, buried underneath the ruins.” [DB78b]
Zawinul recounted the story again in 1981: “I was not only aware of ‘the unknown soldier,’ that famous saying, but I was once burying two German solders, very messed up, one was rolled over by a tank. They all had tags on for identification, and when you found one you snapped half of it off and sent it in. Neither of those guys had it on. The song only happened later on–I mean, it takes years. Then it was an everyday thing. But it got me into the idea of how many people in the world died for actually nothing, and nobody knows what ever happened. It’s a nostalgic kind of thing.” [IM81] He later expanded and orchestrated this composition for his 1995 symphony, Stories of the Danube.
ARP 2600 synthesizer
To my knowledge, “Unknown Soldier” marked Zawinul’s first use of a synthesizer on a recording. It was the ARP 2600, which he used on “Unknown Soldier” to produce sound effects. The ARP Instrument Company was founded by Alan R. Pearlman in 1969, and in 1970 the company unveiled its first instrument, the ARP 2500–a rather complex-looking, multi-box modular, analog synthesizer. The second product, the ARP 2600 was in some sense a simplification of the 2500, consisting of a fixed set of basic synthesizer modules packaged in a single box, with a separate keyboard, both of which were packaged in vinyl-covered luggage-style cases. The unique thing about the 2600 was that its modules were pre-connected in a standard way at the factory, allowing a user to get started easily. But those connections could be added to or overridden by patch chords. It was a highly regarded synthesizer in its time, remaining in production until 1981, and is now considered a classic of its era. Zawinul ultimately acquired two 2600s. [VS, p. 116]
Roger Powell, who is credited as a “consultant” on I Sing, worked for ARP in the early 1970s, and in 1971 he toured the United States putting on demos and talking to musicians and dealers. He later played keyboards for Todd Rungren and Utopia, and now makes his living as a software engineer. In Mark Vail’s book Vintage Synthesizers, Powell recalls Zawinul’s initial experience with the 2600: “Joe came up to Boston to play at the Jazz Workshop. I met him and showed him the 2600. It took him a little time to pick up on some of its features. For instance, the 2600 lets you route the output either through the VCA [voltage-controlled amplifier] or directly from the VCF [Voltage-Controlled Filter]. If the output came from the VCF, the sound would always be on. After Joe had the instrument for a week or so, he called and said, ‘Hey, man, the sound is fantastic. Now tell me, how do you make it stop?’ But he kept at it, and became one of the 2600’s leading musical innovators. Eventually he had two 2600s, one of which was controlled by ARP’s model 1601 16-step analog sequencer.” [VS, pp. 117, 120]
It took a while for Zawinul to incorporate the 2600s into his live set-up. In 1984 Zawinul recalled, “On that live record [the second side of I Sing The Body Electric] I still didn’t have a synthesizer. I only had an electric piano that I prepared with different things and a ring modulator that Carlos Santana had given me. I bought an ARP and didn’t play it for a long time because it was difficult to get the patches, but eventually I incorporated it.” [DB84] In 1978 he told Conrad Silvert, “Mostly, I have learned about synthesizers on my own, by trial and error. When I first got the ARP, Roger Powell was working for them and helped set it up for ‘Unknown Soldier.'” [DB78b]
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