New Age Music World

Author Archive

When listening to New Age music, the multiple genres and subgenres of World, Ambient, Contemporary, Instrumental, Chill Out, and Groove in most cases are heard from one album to another. Today I have a chance to tell you about a novel new release that explores the multitude of influences I have listed throughout the entire album.

The Landing ( Special Edition ) is polarizing by this fine balancing act of multiple influences and is a wonderful feat of artistry from beginning to end, plus The Landing in original form with 6 songs has achieved worldwide airplay while catching the attention of not just the buying public, but some music retailers too after landing directly onto their best sellers section.

David Clavijo from Seville Spain seems to have a natural inclination of what multi influential New Age music is all about and I felt his performance on acoustic & electric guitars along with piano & keyboards are a fine line balance that blends together quite nicely by having these diverse instrumental strengths.

The compositions of David Clavijo likewise have universal appeal after featuring in television commercials, soundtracks, festivals and numerous cultural events held in Spain. In addition, his music has acquired a global audience by extensive radio airtime having also collaborated with many international labels in the Ambient & Chill Out categories, so there are additional compilation projects that feature his original scores.

The Landing ( Special Edition ) has 10 songs and is a natural acquisition for those who like lively instrumentals with wonderful upbeat rhythms since every songs carries at least a moderate or upper tempo with liberal percussion accents. Another point of interest is almost every song exhibits piano and electric guitar harmonies with appealing vocals which nicely enhance the instrumental music environment.

Dancing on the Moon features some beautiful orchestration for the very beginning song, where piano, oboe and violin weave a bold and dynamic theme into a colorful interblending that instills a cosmopolitan touch of class. Light soprano vocals with excluded lyrics also regulate this effect on several songs like Distant Love, where electric guitar runs revolve into a memorable Rock styled rendition that is in direct contrast with a lighter piano melody.

One sensational method of exploration is the usage of upper register notes on piano which inscribes a lighter perspective while comingling the stronger melodic guitar runs and deeper tenor vocals. Es Vedra likewise paired mid register piano notes with upper range octaves backed by guitar runs and deeper tenor vocals, making an admirable blend by this interchange.

Sailing in my Dreams projects a more mysterious presence given the deeper keyboards and piano melody accents suspended in moderate timing by bass percussion. The longest song Nowhere gives a wonderful mood to relax with by the lighter arrangement. The World influences in African Spirit are moving by an ethnic choir of children vocals set to a nice percussion rhythm and turns out to be a pretty colorful song.

Las Dunas is the first of 4 new bonus songs added to the original The Landing lineup and like most songs, carries an upbeat tempo and has a modern groove feel with soprano vocals backed by saxophone and guitar. East Winds has a far reaching atmosphere by long extended electric guitar long notes, where Uttara Kanda blends exotic influences from the lands of India and with indigenous percussion, brings a spice of life presence into the picture.

Promises with an orchestra blend is the last song on The Landing ( Special Edition ) and while the Original album was indeed a success, this latest release with the 4 bonus tracks holds even greater expectations for this promising new multi influential release that really is quite special.

Visit davidclavijo.com to sample / purchase or at his CDBaby.com page and major retail outlets. Learn more about David Clavijo at his website profile page. Connect with David Clavijo on his social network sites MySpace page & FaceBook page.

Picture copyright BigStockPhoto – Copestello.

Ann Licater has just released a brand new follow up to her opening debut Following the Call, a release which received nomination of Best Native American Album and listing in the top 12 Contemporary Albums in 2007.

This first effort began her journey of recognition as a top solo flutist performing on Native American, World and silver alto flutes and had begun the chosen pathway towards her next success.

Doorway to a Dream is the 2010 release from Ann Licater that again displays her level of expertise in both traditional and indigenous flutes while accentuating the fine attributes woodwind instruments can produce.  The 14 original songs and improvisational compositions this time around however are during collaboration with accompanying musicians and becomes a perfect album discovery for those who appreciate the smooth sounds of tranquil and relaxing music.

Ann Licater is well rehearsed in classical silver flutes having began her own journey into Native American & World flutes years ago after listening to the unique sounds indigenous flutes can produce, having studied with master flutist R.Carlos Nakai at the Renaissance of the Native American Flute which nicely reinforces the comprehensive skill level of her already accomplished classical flute studies.

Many of the indigenous instruments Ann plays on this album are selected for their unique tonal qualities and include Native American-style, Chinese Rosewood Xiao, Zapotec Triple Clay, Anasazi and Alto flutes.

In addition to her recordings, Ann Licater teaches in workshops and during concerts, describes to her audiences the origins for each of the clay and wood instruments featured during her appearances.

Doorway to a Dream is a natural contrast to her first solo album by inclusion of recognized artists who incorporate their talents and help expand her original compositions by collaborative instrumentation of Middle Eastern Tar, African udu Coral electric sitar, Edo period Japanese shakuhachi, flugelhorn, acoustic guitar, piano, keyboard and World percussion.

Whether you are searching for music with the unique intonation flutes can produce when placed in the hands of an accomplished musician, or simply enjoy the finer sounds produced by music professionals, Doorway to a Dream is a natural choice.

The world class musicians accompanying Ann Licater on various songs throughout this album and you are sure to recognize are Jose’ Neto, Jeff Oster, Peter Phippen, David DiLullo, Troy Arnett, William Hoshal and Shambhu.  This album was mastered by award winning Engineer Stephen Hart.

Visit fluteforthesoul.com to sample / purchase or at her CDBaby.com page.

Photo courtesy of Greg Crowder.

In the millennium before the nation of America was founded and a new way of life was envisioned, Native Americans lived brave and free throughout the land. History tells of the conflict and injustice imposed upon indigenous people thought to be hindering this new way of life, but in fact Native Americans were already living the proverbial American dream in sacred lands they viewed as paradise.

Michael Stribling has released an album to commemorate the past while honoring every Native American who lived and died protecting their sacred homeland. To me, Michael’s dedication struck a familiar chord concerning our present values and the high price we pay to keep the diverse ethnicities comprising the America of today free.

Paradise Lost is Michael’s seventh in an enduring lineage of New Age Electronic albums making an impact in the genre, winning awards and universal acclaim during his years as an accredited musician producing outstanding ambient music. His electronic discography like recent The Promise which dealt with life transitions is indeed a success and in my role as review publicist, quickly identified his exemplary artistry in the first few measures, so Paradise Lost is not worlds apart from earlier albums, but is clearly a monumental one as those familiar with his music would agree.

Paradise Lost has 12 symbolic songs defined by three movements and while retracing the ancestral life experiences of Native Americans, the perspective I determined from this viewpoint ranged from total relaxation to energetic, so you will find Paradise Lost is not gloomy or somber and I felt more epic in nature. Another point worthy of mention knowing this album recounts the Native American experience, conceptual electronic orchestrations are the expressive medium given during this rendition so a harmonious contrast to more traditional depictions by wood flutes, chanting or bass drums.

Prairie Dawn is first of 5 songs to reveal a distant gaze upon the clear majestic landscape and of people living during this historic period, now emerging with a more ambient view of tribal culture where spacious orchestrations echo the expansive lands of our past.

French horn heralds in Guardian of the Plains, then strings become like strands of wheat gently moving in the breeze while flute sets the melody upward in flight during Forest Heart. Synthesizer projects an airy windswept Eagle Above, River Below, then growing excitement and tempo ensues while racing among the scenic timberlands in Hunting Party.

March of Destiny is first of 3 songs to reference the battle over territorial supremacy and true to song title, a crisp drum cadence is timed in lock step rhythm to a salutary march across the open wilderness. Horns make a melodic call to arms to a swirling crosswind of mystery surrounding the ambient Approaching Storm with blended electric guitar strides. In Vision Quest a drifting cloud of haziness finds origins by long extended atmospheric notes.

Paradise Lost ( Title Song ) is first of the final 4 songs to represent the loss of humanity and prized territories, shown by contrasting synthesizer runs, an elevated prominence boldly reaches an ascending summit while heightening the majestic image this project in entirety symbolizes. Lament for the Land is more tributary by a solemn narrative that is likened to the soulful Hymn for the Fallen.

Return to the Spirit World is a song telling of a higher perspective during Michael’s closing adaptation, and while entering into an ever rising plateau of instrumental ambiance, each expansive layer also finds equable ground for every note to build a foundation upon, coinciding with the present unified territories everyone observes today from every corner pointing North and South, East and West.

Visit the leela-music.com website to sample or purchase at his CDBaby.com page and visit Michael where he hosts a free online radio program at leela-radio.com website and my pages dedicated to Michael Stribling.

Cover art copyright Michael Stribling – Picture copyright Big Stock Photo – ta_samaya.

During times of war most sovereign nations remain dependent on men and women serving in the military for defense and protection of their country. While protecting the freedoms and individual rights of private citizens, returning soldiers acquire imbedded memories that last a lifetime and clearly the grandest memory of them all is during the homecoming when they are happily reunited with their families.

Peter Jennison is a U.S. Army Captain and MEDEVAC helicopter pilot returning from active duty during the war in Iraq with revealing memories he witnessed from a firsthand perspective. From this experience, Peter Jennison began to compose music.

An American living at home in Florida now, his latest CD composed during the time period he served in Iraq is meant to evoke imagery of the conflict as a more peaceful musical experience for every listener, along with providing renewing therapy for soldiers and families upon their return home from service.

Longing For Home (Songs From War) is a New Age Contemporary Instrumental release Peter Jennison composed for piano with renown musicians supplying refined instrumentals in most of the 10 songs.

This album also has the notation of being a Will Ackerman production and with Corin Nelsen providing the mixing and mastering, their GRAMMY© Award-winning expertise can be perceived as a winning strategy by the quality work they produce.

Peter Jennison, in another strategic move enlisted highly recognized artists on his album including Jeff Haynes on percussion, Eugene Friesen on cello and Steve Schuch on violin. In addition, Will Ackerman performs on guitar in one song and vocalist Noah Wilding gives soft vocals on two songs. Longing For Home is some of the last performances given by the late Tom “ T-Bone “ Wolk, a highly regarded multi instrumentalist remembered in part by his outstanding talents.

War is a song with lighter phases in the beginning that build with increasing drama as piano, violin and percussion recreate a battlefield image during a dramatic illustration projected within the musical arrangement. Peter Jennison’s illustration is shown by a precise context by increasing tempo and percussion rhythms that project distant artillery rounds. The song’s imagery of chest moving recoil from artillery rounds and ejected shell casings makes it seem all too real.

Peter Jennison composed his album with much regard to stories from the heart and mind. This is apparent in his compositions where most songs portraying a tranquil atmosphere with a strong sense of drama and emotion can be easily felt and is consistent, during his solo piano expressions and in songs with instrumental refrains.

Performing on a Steinway B, the emotional feel of 4 Solo Piano songs; Hold Me in Your Heart, The Promise, Anthem & Longing For Home ( Title Song ) are classic and uplifting yet each one holds a certain melancholy as if telling of the days spent apart from family and the extra weight of uncertainty this carries.

The piano and instrumentals of violin during Time Passage convey this more poignant feeling where piano, cello and bass in High Mountain Dreams has a more relaxed atmosphere.

The song Desert Storms has a bass guitar and piano duet which band together as one. A wonderful piano melody combined with guitar, violin and tenor vocals in The One breaks into a resolute wave of harmony. With everything considered, it is music empowered to portray the sentiment the majority of us will never experience firsthand.

Longing For Home (Songs From War) is told from a U.S. soldier’s perspective, made more real since this story is voluntarily given by someone who has honorably faced and met the challenges war can bring. Recounting American men and women risking all in service to their country, reverent tribute is given to those lives we honor in memorandum of, while celebrating the virtues of every U.S. soldier as a private citizen and beloved family member who has served their country.

Visit Peter Jennison’s Facebook page. You can sample or purchase at his Amazon.com page or CDBaby.com page.

Note: A portion of the proceeds from every album sold will be given to charities that support veterans and their families.

Picture copyright BigStockPhoto.com – JustASC.

Much like the seasonal changes we encounter daily at various locations around the world, many musicians I encounter have their own change in atmosphere in relation to the music they produce.  Their adaptations in style and structure can sometimes be expected to a degree, but most times it is tempered just like the weather and cannot be easily predicted.

Matt Millecchia is a great example of a guitar player making a more profound change in his performance style by releasing of all things, a new age album.  Currently residing in New York, Matt is most acclimated to performances with various metal rock, punk and folk bands over the past 20 years and really not a matter of being a hot to cold disparity by this, but this departure certainly is polarizing.  Interestingly, he is also a senior engineer who takes precision measurements on one of the most powerful lasers ever produced so is uniquely familiar with the technical aspects of extremes.

Silhouette of a Season is his more equalizing new age contemporary instrumental debut with 12 original compositions featuring Matt on 4 solo guitar songs.  Employing another key change in style, he specializes in the flat-pick method of acoustic guitar verses a more common finger style and has also enlisted notable artists most will recognize.

Taking the legendary journey to Imaginary Road Studios in Vermont, GRAMMY® Winner and founder of Windham Hill Records Will Ackerman has produced and performs guitar with Matt on two songs.  Another GRAMMY® Award-winner Corin Nelsen engineered, mixed and mastered this album so the quality shines by their expertise, plus the all inclusive list of top musicians on various songs which includes Michael Manring on bass, Eugene Friesen on cello, the late T-Bone Wolk on bass and accordion, Derrik Jordan on electric violin and percussion, Jeff Oster on flugelhorn, Steve Schuch on acoustic violin, and Samite on flute.

Silhouette of a Season shows a natural beauty in composition and performance while dramatizing a glowing atmosphere during each of the 12 songs placed mainly in a moderate tempo.   All have a pleasing feel of radiance and song Arrivials is the first prelude into the many qualities you will experience on the entire album.  Orchestra and electric violins provide a swaying motion while guitars evenly enhance this refined image by counter rhythms and then again in a more pronounced Summer Tears.

Antietam Spring is a light introspective song where accordion and guitar inscribe a peaceful feeling while achieving a pleasing sense of intrigue and perhaps only natural given the interesting choice in instrumental harmonies.

The guitar pairing of flugelhorn in Mist and cello in Acid Lake are like the percussion, guitar and flute instrumentals in Sphynx where each artist imparts their proficient expressions while revealing the fine naturalistic atmosphere envisioned for each song.

Matt Millecchia takes a graceful departure apart from more familiar genres by the 4 solo guitar improvisations of Georgia Springs, Expectations, August Eclipse & Moonset and while adapting this gentle change of seasons with over 20 years of experience and by using the flat-pick method without sub-rhythm overdubbing.  The transition is made solid by a fine performance, along with his artistic stance on the evenly represented concepts of harmony.

Silhouette of a Season is an album anyone can become acclimated with every single day of the year and since the glorious presentation given by every musician transposes a fine exploration in atmosphere, their precise harmonies bring to light an integral shine for success which to me, turns out to be an even more predictable quality.

Visit mattmillecchia.com to sample / purchase or at his CDBaby.com page.  Learn more about Matt on his biography page.

Photo copyright Matt Millecchia and Cover courtesy of Marcia Birken.

Acoustic Ocean has just released a fine new follow up to their debut release Light Returning and like many of the relaxing destinations of Hawaii where the musicians reside and the song titles suggest, becomes a restful retreat into music that tells of the natural beauty one would experience on the islands for themselves.

Since the founding team members of Acoustic Ocean are skilled therapists and all 4 performers on the album live in Hawaii, their unique perspective with daily experiences of island living have helped recreate the relaxing atmosphere for you.

Reflections on Still Water is a New Age, Contemporary Instrumental album retaining a great sense of calm by 9 original compositions and 1 spiritual melody of instrumental beauty that is clearly prominent from the very beginning.

Peggy Morgan and Bette Phelan, as the former folk singer-songwriting duo Morgan & Phelan, toured together for 20 years performing in the US and abroad at a wide variety of venues which numbers in the thousands. 

Over the past two decades together their music has been featured on television along with aquiring widespread radio airplay, receiving awards and notoriety over the years before founding the New Age artist title we recognize today.

The year 2008 first marked the beginning of Acoustic Ocean and while the genre may have changed, their style in creating original works of relaxing music has fortunately remained constant.   Peggy and Bette are both certified Kripalu Yoga teachers, therapists and have specialized skills in many areas related to stress management so their better living skills enabled a well suited entrance into the New Age genre.

On this album the team has enlisted Kay Aldrich playing cello on 3 songs and Anne Berliner on flute in 1 song which turns their wonderful instrumentation into another perspective of beauty.

The album cover shown in Reflections on Still Water gives you a visual hint of the elemental beauty you will hear, plus with the primary instrumentals of Celtic harp, Dulcimer, mandolin, acoustic guitar and fretless bass, the mental images of this restful destination reflect an even clearer picture, translating into a relaxing sound experience all within easy reach of the imagination.

Visit acousticoceanmusic.com to sample / purchase or their CDBaby.com page.  Learn more about this team at their morganandphelan.com website.  Cover photo copyright Bette Phelan.

Gandalf is an internationally acclaimed composing musician and producer from Vienna Austria identified as a New Age, Contemporary Instrumental and World music artist. During the past 30 years of his career, his progressive music and global persona has helped neutralize the customary social borders in multicultural music for years.

Gandalf is currently planning a future orchestration to celebrate his 30 year Anniversary in 2011 and this composition will become the centerpiece to mark the celebrations.

There is a live performance in Vienna scheduled to accent the occasion of his milestone achievement. The Vienna concert and new release is the first topic of their interview conversation during this comprehensive 2010 interview published just prior to his 30 year anniversary.

The website hosts for NewAgeMusicWorld.Com & NewAgeMusic.nu are excited to bring our visitors the present day interview John Olsen has conducted with this global musician and invite all visitors and fans to learn even more on our respective website pages dedicated to Gandalf.

Interview with Gandalf

John : I wanted to first thank you myself Gandalf, and on behalf of our visitors for taking time away from your more creative endeavors. I feel certain our visitors and your fans do appreciate this present day opportunity to learn more about you and the outstanding music you produce.

Many are already anticipating your 30 year anniversary you have slated for 2011 which will be here before long, and currently you are planning a new orchestration project with live performance in Vienna to accent your milestone achievement. Is everything being kept a secret for now or can you provide some details about your next orchestration and the live concert event scheduled for 2011?

Gandalf : At this stage I don´t want to tell much in detail about the new project, this will all be presented due to the launch of the album and the concert in 2011.

The composition is meant to be the essence of my musical excerience and development in the past three decades. The leading instruments are guitars, piano and percussion, a small symphonic orchestra (woodwinds and strings) and a male choir.

The work is in good progress, a lot has already happened, but there is still much to do. Currently I am finishing the orchestral score, the recordings are planned in October. The album producton shall be finished until the end of this year.

John : Thank you for the insight you have provided. Your 20 year anniversary was quite extraordinary which included your first live performance in Vienna and the CD / DVD collection on the BSC Music label titled Live In Vienna. Would you describe what your first live concert had felt like on a personal level and was your first stage performance the positive experience you had imagined?

Gandalf : Actually, this DVD/CD is the first official release of recordings from a performance in Vienna, of course there have taken place a lot of performances prior to this one. My really first big performance in Vienna was in 1982, when the album Visions was released. I had just started my career a year before and the reponse from the audience was a real sensation, the concert was completely sold out (more than thousand people) and the album climbed up to #2 in the album charts over night. This was far beyond my imagination! It was just great and lifted my motivation to continue with my work.

John : In addition to your studio recordings you began venues of live solo concerts on acoustic guitar and piano in the United States, along with live concerts in Austria, the Netherlands, and during Woodroot Festival in Germany. With the increasing number of venues, are live performances more rewarding for you as a musician than studio recording, and if so why?

Gandalf : A live performance can not be compared to anything else, this is where the music happens in the very moment. Today performing live is more important for me than ever. If you record an album in the studio you spend much time to get your performance recorded as perfect as possible, on stage you only have this one chance and that is the fascination about it, no song sounds exactly the same twice, you never know what is going to happen every other night. And sometimes there is real magic and you can feel it from the first note you play and the audience can feel it. I would not want to miss this.

John : What was the early turning point where you decided to pursue music as a career and could you tell us about your music history throughout the years?

Gandalf : After having played in various Progressive-Rock lineups during the Seventies I found out that I had a musical vision which I could not realize with a conventional band so I started experimenting in a very simply equipped studio at home just on my own, playing and recording all instruments by myself. And this was the first time I really felt satisfied about my work so I recorded my first album Journes To An Imaginary Land and my friends were so enthusistic about the result, that I played the material to someone from a record-company and I got a contract.

That´s how it happened, I just followed my intuition and after some time I realized that I was able to make my living from making exactly the music I played out of my heart.

John : The Gates to Secret Realities was the transitional album during your move to World music influences. What was the defining moments or reasons for your decision to begin composing World influenced music?

Gandalf : My travels to India and other countries opened up my horizon and I found out more and more, that music is a universal language. It has the ability to dissolve borders between different cultures. There were so many elements in music from other parts of the world that inspired me and I wanted to integrate such influences and expand my personal style, trying to create some kind of a Global Music.

John : During your continental travels, what experiences and ethnic cultures have led you to discover and then recognize music as the unifying source that indeed helps abolish the boundaries in various musical styles and categories?

Gandalf : The first special encounters I had in India when I jammed with musicians there. We were not able to communicate much by words because of our different languages, but we had so much fun communicating through music.

Also on my Brazilian tour in 1995, I could not speak Portugese at all, but the music opened up the hearts of people and the feedback was amazing.

This was where I met Emily Burridge from England. She had lived with a Tribe of Indians for a while and was very inspired by there way af looking at the world and their rituals. So when we played together in Brazil, we decided to record an album together, and this was Gates …

John : You are referred to as The Painter of Musical Landscapes plus your music has a story to tell. What thoughts, images or message do you hope your listeners will acquire from your music and what are the ideal circumstances where you are most productive in composing music?

Gandalf : Nature is the most imortant source of inspiration for me, this is where I find my balance and open the channels of my creativity.

Over the years I found out, that the music already tells its story, whether I am aware of this or not. It reflects my inner landscapes and feelings. If you for example play it to children and let them paint, the pictures that come out show symbols of love, peace and hapiness, so there is not much else I need to tell people besides the music itself. Sometimes a story that accompanies the music is nice but not really necessary.

John : Your music has been featured in television and video media productions. I wondered if you find visual scores more challenging to produce than your more traditional album compositions, and how do they differ when you begin composing?

Gandalf : It is just, that your inspiration is initialized by a different source. If there is a certain story you want to express by your music, you first must get fully into the story and then, the pictures or the words will evoke musical ideas.

Sometimes books can be inspiring, I did project with lyrics from The Prophet by the Libanese writer Khalil Gibran, and also wrote a soundtrack to the book The Stones Of Wisdom by a friend of mine, Ronald P. Vaughan.

John : In the early years you were highly regarded mainly in Europe and other countries prior to your current widespread recognition and status in U.S. markets. Did acquiring a presence in broader international markets influence your music style to fit European or American tastes or was your transition to each country non apparent in your music identity?

Gandalf : I never really cared much about such matters, it happened more the other way round. When my musical style changed throughout the years it became more or less interesting for different markets. For example, back in the Eighties when I had some Spanish guitar on the opening track of the album The Universal Play it suddenly was released in Spain and South America.

Over all the years I tried to follow my musical vision as honest as possible and did not try to adjust to any market or trend-situation and I think this is one of the reasons, why I am still here. If you try to bend your personal way due to fast changing marketing situations, you may soon get lost.

John : Again, Thank You Gandalf. B.T. Fasmer and I do appreciate this present day opportunity to present our visitors this interview. We wish you well, and we will continue writing more about you in the future. Is there anything you would like to tell your fans or bring up before we close?

Gandalf : I just want to thank you and everyone who helps promoting my works and all my fans for purchasing my records and thus helping me to carry on with the music.

We now invite everyone to visit the gandalf.at homepage then read his biography page. Visit the BSCMusic.com website to purchase / sample his music, then read our pages dedicated to Gandalf.

Photos are courtesy Klaus Rautenberg and gandalf.at.

Some young adults begin their early working careers by taking whatever job is at hand and find the road to success. Some hope to achieve the road to success when handed the family business. Either decision requires talent and determination of course, but the universal message often heard about either choice is to always have your individual hopes and dreams.

Gunnar Madsen from Berkley California has achieved an impressive level of success most would hope for at this stage of his bright career. You can visit his website to learn all about his career choices through the years and I feel his grand success as a Grammy Nominated pianist and award winning composer, singer, writer, sound designer, filmmaker and actor are career decisions that might have even impressed his family.

Two Hands is the New Age, Cinematic Piano, Instrumental 2010 release from Gunnar Madsen and eighteenth CD he has produced. This album is a more especial and innermost portrayal of his musical works in relation to his earlier compositions with the a capella group he founded called The Bobs.

His first solo album Spinning World is a closer likeness with Two Hands, in a uniquely diverse discography that includes award winning family CDs along with an Epic Orchestral recording and even a lively pop art Rock album titled The Power of a Hat.

The recipient of countless music and theatre awards, his Grammy Nomination was for a song arrangement by The Beatles and has received ASCAP Awards for 15 consecutive years, plus his music is featured in some episodes of the widely popular HBO series Sex and the City and films Breaking the Rules, A Special Providence, The Break Up & Just a Kiss. Gunnar Madsen also does voice-overs, providing the film voice for Don Cheatle when he portrayed Sammy David Jr. in the Emmy Award winning HBO film The Rat Pack and this is just a partial listing of many credits during his career so far.

Two Hands was recorded at the industry regarded Skywalker Sound Studio and includes 16 songs total. Three songs have contrasting instrumentals where notable guest violinist Irene Sazer, a member of the improvisational Jazz and Classical group Turtle Island String Quartet lends her elegant expressions.

The first violin portrayal by Irene Sazer on Kerenyl is more subtle while gently tracing the melodic depth on strings as Gunnar leads on piano. Ordinary Day & Red Bird make a beautiful piano and string duet from the pair, extending the symmetrical harmony on each song while interblending into a narrative full of melodic drama.

Solo Piano ballads of Cinematic proportions are the sequential songs where Gunnar begins to reveal the innermost reflections of his work in a manner of classic distinction.  Outlined with a conceptual feeling of depth, some of the more melodramatic and intriguing phrasing performed on songs like Nino and Me, Down Moon & South Trail are offered with a personalized touch.

Frank Grows Flowers is a song responding with an upbeat tempo and imaginative runs while dancing along the piano keys in every measure.  The light reflective moments yet none the less expressive songs The Blackbird Whistling, Brandon & Oak Sky are more introspective in their structuring.

Break into Blossom begins with a lighter metrical sway and soon unfolds into bolder imagery by exploring a more robust presentation of greater intensity before returning into restful state of contentment and has a resemblance in style with In These Lonely Regions & Down Moon, given the more pronounced dynamics of diminuendo and crescendo variances.

Much like the memoir notes on the inside album cover detailing each composition, Gunnar Madsen traces every song on Two Hands with a gifted accounting of his diverse imagination while delivering a beautiful finger to key statement and like the valuable reward of success that is never just handed to anyone, it came from the talent and determination of an individual who started with and continues to have, hopes and dreams.

Visit gunnarmadsen.com to sample / purchase or visit his CDBaby.com page. You can also purchase at Amazon, iTunes and most music outlets. Read more about Gunnar Madsen on his biography page.

Picture copyright Big Stock Photo – jocelynbaker.

David Mauk from Las Vegas Nevada is a composing performer with plenty of experience in the entertainment business and since he lives in the city billed as The Entertainment Capital of the World, you might have guessed he is also a performing Las Vegas musician at the popular destination when not composing his original New Age Electronic music.

David Mauk made an impressive debut with his first release 12 Months which received nomination at ZMR for Best Electronic Album, earning David the title distinction of Best New Artist nomination for 2009, so a fine entry for an artist who also happens to be writing a Broadway-type musical.

Ground Swell is his 2010 release and quite unique not only by the great mood effect of his classic yet easygoing electronic compositions but his second album is a CD / DVD collector’s edition.

The 5 bonus video clips are nicely correlated with his unique brand of classic electronic music and become a beautiful addition to the audio CD since the extra sensory effect of video makes it easy for anyone to visualize his ambient music becoming a modern times movie score.

The National Geographic Society has already realized the true dynamic effect of David Mauk’s work and have recognized many compositions by designating as their official background scores and integrating into many of their museum exhibits.  In addition his music has been heard by over 10 million people at prestigious venues in many countries and currently the international King Tutankhamun, Golden Age of the Pharaohs, Cleopatra & Real Pirates are the exhibit destinations where his music enhances and brings to life the full experience for all museum visitors.

Ground Swell is in effect an Ambient, Electronica, New Age album and another fine classic that makes another great listening experience.  The song Summertime is like an ode of joyous celebration the summer season always represents, marching right along in attitude by a majestic piano movement while lower piano octaves maintain the rhythm while upper ranges move up and down the scales in half steps while bell tones ring in the seasonal event.

The bonus DVD is really fun to watch and David had compiled the music videos after drawing inspiration from early American realist painter Edward Hopper and he nicely captures the early American century with Cinematic drama himself by the rollercoaster ride of featured attractions on every one of the song videos he produced.

Visit the davidmauk.com homepage and then sample / purchase on his music page.  Learn more about David at his MySpace.com page and then our pages dedicated to David Mauk.  Below is my review quote I wrote about his current CD / DVD release titled Ground Swell and the song video of Summertime.

* In a footnote to this article, Ground Swell placed Number 1 on ZMR’s July 2010 Top 100 chart.  Congradulations David!

David Mauk has given everyone 2 excellent reasons to appreciate his music in 2010. The Ground Swell CD alone is a free flowing natural display of bright ambience offered with a harmonious and casual impression, plus the DVD greatly points out the Cinematic enchantment that makes his music special.

Lisa Hilton is a name well recognized in the Jazz Music circuit as a continuous producer of great music having all the vibrancy and positive direction one would expect from a top artist in the genre. What some may not know is her music carries a subtle reference of New Age ambiance in many of the 12 recordings she has produced during her lifetime.

Nuance is Lisa Hilton’s 2010 release that returns to her earlier solo piano style that began her dazzling career from the very beginning in addition to fulfilling a well kept promise for her fans who have been requesting another solo album for years, with Lisa as the singular attraction.

Lisa Hilton from Southern California taught herself to compose music at a young age before more formal education in classical and twentieth century piano became the foundation prior to her transition to popular Jazz, recording and producing an album every year since 1997.

Many of her songs are played in the U.S. and around the world, realizing more recognition over the years by acquiring airtime on NPR Morning Edition, XM Radio, and charting on major Jazz oriented programs while earning numerous awards and nominations in her long enduring career.

In her earlier band inclusion release Twilight & Blues she received nomination at ZMR for the 2009 Album of the Year for the 10 original compositions and renditions of top songs from equally talented artists you are sure to recognize.

Nuance / Twilight & Blues are more subtle in their references as New Age albums and her success as a Jazz musician does reflects this, but her renowned piano performances of improvisation either as a soloist or with the band under her direction is worth a listen knowing Lisa Hilton is a great talent who personifies this ambiance with creativity and imagination, just like you would expect from more mainstream New Age artists within the genre.

Visit lisahiltonmusic.com here then sample / purchase at her music page or CDBaby.com page.

When one takes a moment to consider what daily life would be like without The Arts, everyone can quickly realize that more traditional teachings of math, science and biology are vital to every one of us individually, but the expressions of music, painting and poetry are an equally consequential part of our culture and personal identity.

Jeffrey Fisher from Southern California has chosen to make The Arts his principal focus during his diverse life as a composing musician.  While some might pursue more fundamental scholastic studies, the more conceptual and creative aspects of art, poetry and teaching have nicely become a mainstay to his more individual endeavors and this reflection is transferred to his music.  Natural surroundings and his unique inner imagination are on display again by his current nature inspired release.

Satyagraha – Songs of the Earth is his New Age, Ambient, Meditative, Instrumental 2010 release drawn from the imagination and past experience of this multifaceted artist who has improvised well while composing and performing music in nearly every genre.

The album title Jeffrey Fisher has chosen for Satyagraha translates to read The Power of Truth and references the non violent and principal ideals of Gandhi.  In addition Satyagraha became the name for his nature retreat in the San Jacinto Mountains where this album was first brought to the surface and then recorded.

Satyagraha – Songs of the Earth is a nature inspired album that represents the serene and dramatic virtues of nature as realistic and one of natural beauty, much like the artistic rendition displayed on the accompanying cover art Jeffrey Fisher himself has painted using watercolors.

In a similar representation of the portrait shown, his music is serene and even though a performing artist on numerous instruments, his melodic improvisations on a 160 year old bass violin is the primary instrument for instilling color and the harmonious points of view in his music.

In accompaniment with the natural warm tones of bass violin, most of the 8 songs on the album are blended with the woodwind tones of Navaho flutes, keyboards and percussion which intermingle with the essential brush strokes to paint the final picture of nature using a very personal touch and with the artful imagination one would expect from both a musician and individual.

Visit HealingMusicoftheSouthwest.com or sample and purchase at his CDBaby.com artist page.

Satyagraha cover art copyright Jeffrey Fisher.

Eric Chapelle is a composing pianist from Austin Texas whose original music scores conceivably calm the waters by the gentle ambient music he produces.  Born in France, Eric is also an avid photographer who has lived in several countries around the world and his piano music retains the essential element of relaxing music by the calm buoyancy in sound that finds neutral ground with the pounding waves heard in some music today.

Across The Water is his Contemporary Instrumental 2010 release that impart 16 songs of ambient expression and creative imagination.  Eric has performed his original compositions in concerts across the U.S. for over a decade, plus movie soundtracks in television, film, and commercials have been the scores that yielded wider recognition in addition to the 2 albums to his credit.  Our Time was his 1998 album admired by many and had justifiably earned Eric a place alongside more esteemed pianists after his opening debut.

Eric Chapelle’s contributions in The Heart Aid Project has inspired me to tell you more about his dedicated efforts on a tribute CD in memorandum of the fateful World Trade Center events on 9 / 11.  Eric conceived and produced the tribute CD and compiled with 16 additional pianists who donate all royalties to the families and to me, greatly represents the caliber of people comprising the New Age genre today.

Across The Water is another fine illustration of the resourcefulness put into every composition while retaining another harmonious notation since some of the 16 songs were recorded at the Norton Island Retreat residency program in Maine.  Tide Pool is one song where the comparatively timed piano solo is casual in ambient recollection to convey an impression of calm by the fluid detailing in chord phrasing in a lighter melody that offers subtle reflections.  Below is my review quote for Across The Water and song video of Tide Pool.

Visit the hamsamusic.com website and then purchase on his music page or at CDBaby.com to sample / purchase.  Read more at our page dedicated to Eric Chapelle and at his biography page.  The Heart Aid Project CD is currently offered through the Spring Hill Music website.

Across the Water by Eric Chapelle is an inspired by nature collection of calming ambience with a wealth of restful harmony for many of the challenging moments in life, smoothing out the rough edges of today while residing in a state of readiness for the next enduring wave of life challenges that are sure to arise.

New Age Music is a wonderful medium for any musician to express the more creative aspects of their music apart from what we regularly expect to hear from someone any given day.  This change can be just a slight adjustment from their select style or in many cases, one giant leap while traversing the starry twilights into new zones and uncharted territories.

Julian Ray is a New Age musician from Canada making a more exploratory departure by his current release produced while in the comforts of his home studio suite.  His newest revision in Ambient music with a story to tell is based in theme on the Argonauts of Greek mythology fused into an innovative territorial journey of the cosmos transposed by his just released creation in New Age, Ambient and Experimental music.

Julian is an independent solo musician from Toronto Canada with a lengthy presence in the music industry and member with the Society of Composers, Authors, and Music Publishers of Canada ( SOCAN ) and is active in theatre, psychology and philosophy, so perhaps this transition arrives quite naturally.

In addition, he and his wife Katrin Ray are design artists recognized by prestigious awards in Europe and North America during numerous design exhibitions around the world so during their team production strategy Katrin designs the cover arts and other contributing roles which help advance the artist title of Julian Ray Music.

Julian Ray has planned the itinerary for his cosmic explorations on Argonauts of Kosmos as one of true excitement.  While on this expedition into the outer zonal boundaries of electronic music, novel melodic landmarks are created and mysterious territories are revealed to become an experimental project in spatial music ready for your discovery.

Argonauts Of Kosmos is his Cosmic, Ambient, New Age, Experimental release in 2010 and 10 song modification from his more New Age Ambient classified In Flow of Light release earlier this year.  This is also a more categorical illustration away from the Jazz, Easy Listening, Instrumental sounds heard on Wonderful Life & Seashell Stories but for those familiar with his discography know this is just a matter relevant to the creative itinerary he has in store for his listeners at the time.

In the case of Argonauts of Kosmos it appears considerable effort was made to create interest and kindle the imagination since the musical landscape is a consistent medium to upper tempo atmosphere with prevailing keyboard melodies transmitting the radiant episodes.

Star Bridge & Milky Way are good examples of the excitement and liveliness since they are so far distant from the lonesome plateaus and solitary note landscapes often heard in some ambient space projects.

Venus : Deep Forest & Stardust have keyboard melodies taken a step further along with the wide range in percussion and clave enhancements of woodblock which increase the interest to the already dreamy atmosphere.  This can also be said about the more ambient song Deep Space Mission.

Orion’s Belt & Argonauts of Kosmos ( Title Song ) are the most experimental given the voice box encounters and lightly drifting notes that divuldge new territories in electronic explorations where the outer boundaries are readily defined for the listener so they may make their own individual excursion by using a little creative imagination of their own.

More importantly this over an hour long album is aglow in bright ambience and the deeply mysterious moments enhance the bold adventuresome qualities of the music without ever leaving one wanting more or stranded all alone in the twilight zone.

Visit the julianraymusic.com homepage then sample / purchase on his albums page or CDBaby.com page.  Read more on his biography page and then our page dedicated to Julian Ray.

Cover design copyright Julian Ray Music courtesy of Katrin Ray.  

Music and Movies are two of the most popular internet search terms used today. These two forms of entertainment by themselves are enough to spark our interest alone yet when audio and visual productions are merged into a movie soundtrack, film score or popular music video, the results achieve an even more exciting sights and sounds experience.

David Mauk from Las Vegas Nevada is a composing performer with plenty of experience in the entertainment business while advancing in popularity from his 12 Months debut released in 2009. His first album created much excitement for many and equally so for David since 12 Months received nomination at ZMR for Best Electronic Album and also earned David a Best New Artist nomination for the year.

Ground Swell is his 2010 release, unique not only by the great mood effect of his classic yet easygoing electronic compositions but some songs were inspired by American realist painter Edward Hopper and Ground Swell is a CD / DVD collector’s edition that beautifully captures the early American century with Cinematic drama and makes a nice collection by any standard. The 5 bonus video clips are nicely correlated with his unique brand of classic electronic music and are a beautiful addition to the audio CD since the extra sensory effect of video makes it easy for anyone to visualize his ambient music becoming a modern times movie score.

The National Geographic Society has already realized the dynamic effect of his compositions by integrating as their official music with many exhibits including King Tutankhamun, Golden Age of the Pharaohs, Real Pirates and Cleopatra museum exhibits, in fine music that enhances the experience for every visitor.

David Mauk has given everyone 2 excellent reasons to appreciate his music in 2010. The Ground Swell CD alone is a free flowing natural display of bright ambience offered with a harmonious and casual impression, plus the DVD greatly points out the Cinematic enchantment that makes his music special.

Ground Swell is in effect an Ambient, Electronic, New Age album with a total of 14 songs. The 5 song descriptions I will provide from the CD are ones also listed on the bonus DVD, in this all inclusive CD / DVD collection and you will find the 9 additional songs are sequential to the atmosphere and ideals this album in entirety represents.

Dawn in Pennsylvania has a singular piano melody backed by a deeper synthesizer profile that gives depth to the overall bright and casual mood and is effective at producing a story line of realism by a light atmospheric point of view with cymbal taps and percussion enrichment.

Summertime is like an ode of joyous celebration the summer season always represents, marching right along in attitude by a majestic piano movement.

Lower piano octaves maintain the rhythm while upper ranges move up and down the scales in half steps while bell tones ring in the seasonal event.

Chop Suey relies on tenor drum and percussion rhythms as a prelude to keyboard producing the light staccato note melody with a casual feel.

During refrains the dynamics are rearranged to a deeper tenor and nicely embolden the song while adding tonal drama.

Queensburo Bridge carries nice rhythmical metrics by strings subtle back and forth sway while light synth notes and key changes introduce sparkling overtones into the melodious theme.

New York Movie is a dreamy song that transports you to a different place and time with strings becoming the prevalent character in the lighter melody. Percussion plays a more indirect role by sharp woodblock notes and when xylophone enters, the soft percussion detailing projects nice sparkling tones in a secondary rhythm.

David Mauk made 12 Months an impressive introduction into New Age music. Ground Swell is another fine classic that makes musical entertainment an even better experience, offering his appealing to the senses experience like the premiere attractions many people are searching for at this very moment.

Visit the davidmauk.com homepage and then sample / purchase on his music page. Learn more about David at his MySpace page and then our pages dedicated to David Mauk.

Cover art copyright Kelly Stamblesky – Smith. Picture copyright BigStockPhoto.com – Ondrej Garaj.

Bruce Kaphan from California has taken pedal string guitar to a whole new level in New Age music for years, making this instrumental transition not only a surprising one but a dazzling one too, giving even music purists a reason to love pedal steel guitar with his earlier release Slider and now Hybrid.

Bruce Kaphan is easily recognized in the music industry since he began an early career as a studio technician, engineer and producer for many highly recognized artists in other genres and had either played a role with the recording production of their album or performed with artists such as REM, Jewel, The Black Crowes, Thomas Dolby, John Lee Hooker and a vast selection of popular musicians.

The list of popular artists Bruce has encountered as a musician and during his tenure as a recording artist is quite lengthy and will surprise you as it did me when you visit his website.  During the early days while living in San Francisco he was also a member of Indie / Alternative band American Music Club plus his music has been featured on many film scores and television broadcasts.

Hybrid is his current album that I recently wrote a review about here at New Age Music World.  The 12 original compositions show pedal steel guitar as an appealing choice while clearing a new path of creative improvisations in light ambience and emerges as a natural contender in the vast field of music.

Bruce Kaphan and his music is described below in my review quote, along with the song video of Oregon Fire from the Slider album.  This is a nice selection of Bruce performing on pedal steel guitar behind a backdrop of beautiful photography by Nick O’Kelly.  Visit brucekaphan.com website to sample / purchase his music or visit his CDBaby.com page.  Read his biography page and view his collective discography page.  Read my review of Hybrid on our page dedicated to Bruce Kaphan.  Studio photo copyright Bruce Kaphan courtesy of James Saxon.

Bruce Kaphan makes a bold statement on Slider and current Hybrid album which features pedal steel guitar as the primary instrument.  You will find his music is a unique blending of unrivaled beauty freshly harvested from another cross section in the vast field of music.  It quickly becomes apparent this new emerging beauty will remain a lasting entity in the world of music.

Steve Orchard is our interview guest today at NewAgeMusicWorld.Com & NewAgeMusic.nu. We welcome our visitors and Steve’s fans to read the recent interview John Olsen has prepared with this outstanding musician from the UK.We would also like to take this opportunity and invite everyone to read more on our pages dedicated to Steve Orchard.

John Olsen : Thank You for sharing a moment of your time with us today Steve. B.T. Fasmer and I appreciate this opportunity and I am certain your fans are excited to have this chance to find out more about you too. Steve, would you provide a description of your music studies beginning with your earliest introduction to the present?

Steve Orchard : Yes, Well I probably go back to piano lessons at 7 years old and then combining guitar lessons at 8. My one fault would be that I have always been an impatient, inquisitive player of various musical instruments always wanting to discover how things worked quickly and then improvise. As my Father would say, “Jack of all trades and master of none”.

I played a pretty mean trumpet in the school band and enjoyed singing in the church choir. My family was very musical. I had an aunt who was a piano teacher. When she regularly visited us, from Birmingham, she would want to hear my progress. She once nearly keeled over when I produced the sheet music for What a Day for a Daydream by The Lovin’ Spoonful ! Outrageous !!!

One side of the family were very properly trained with piano & violin playing and into classical and show tunes, whereas my other granddad was a pub pianist. He ‘vamped’ and ‘boogiewoogied’ his stuff and played harmonica at Christmas parties…. It was hilarious when I think back. It seemed to me that he was more joyous in his approach to music. It’s a belief I still hold today that made me a little rebellious in my approach to making my own music. At an early age I bent a wire coat hanger so I could play harmonica & guitar at the same time, just like Dylan & Donovan. It only resulted in me nearly losing an eye and breaking a tooth. I was the school ‘show-off’ doing plays & pantomimes and guess I fancied a career in something to do with the performing arts. Like most kids I was influenced by the pop of that generation.

I have made so many friends all around the world with the release of Raindancer. It has been a privilege to be able to share my music with so many enthusiastic people. This is what encourages us composers to continue to ‘up our game play’ to continually raise the standard, stretch, and find the best we can be.

In my teens I enjoyed the diversity of progressive rock, like Yes & The Moody Blues, also the gentle folksy guitar melodies of Joni Mitchell, James Taylor, plus the piano troubadours Billy Joel & Elton John & also, the early electronic sounds of Tomita & Mike Oldfield. I was into that ‘Hippy’ thing and meditated, burnt incense and read a lot of Buddhism…. Took myself a bit too seriously! I was a bit of a ‘geek’ and lived for my music writing little tunes with terrible pretentious lyrics from about 15, spotty, years old.

John : You are a member of the Medwyn Goodall circle of friends as a MG Music label artist. Can you tell us some of your experiences as a member and what it is like to be a MG Label artist?

Steve Orchard : I first heard Medwyn Goodall’s Druid in the July of 1991, in an art gallery in St. Ives Cornwall. It just blew me away and couldn’t put it in any category that I recognized. It was more than music… It was an awesome soundscape and I just knew that it fit me like a glove. I bought it instantly from the gallery on cassette, to play on my ‘state of the art’ Walkman!! When I returned from my holiday I bought it again from New World, on CD. And so began a long period of buying up anything to do with Medwyn Goodalls music.

My wife Julie & I started to correspond with Medwyn and he graciously autographed all our CD’s. He was very open and quite funny. I’ve kept everything he ever sent me, every doodle and every ditty, including all the Christmas cards ( worth a fortune on Ebay …. only joking ) In our early letters ( this was before emails ) I never told Medwyn that I was a musician, thinking that he may feel I was “chasing my own ambitions”…. unthinkable I know but musicians have been known to do it !!!

I think I broke the news very humbly, without wanting to sound ‘pushy’ and tarnish this rather lovely correspondence that we were enjoying. He invited me to send anything anytime …. WELL !!! Boy, did I send him some rubbish, poor guy. I hadn’t found my NEW AGE feet yet and although I enjoyed this new genre, I couldn’t quite capture it in my own compositions. He was my mentor, DEFINITELY. He guided me, no doubt, to where I am today. After a few stumbles, falls, and many experimental tracks, I sent song Lull in The Storm from something I was working on called The Consequences of Kisses album. He invited me to produce a new project for MG Music !!!

You can imagine that this was a dream come true. To be working for the man that I had held in such high esteem for so many years. I soon discovered the family at MG Music is a wonderful bunch and all the other artists swap ideas and tips generally between us. The amazing Paul Sills soon became a great friend & Charmaine, his wife & Meina, his daughter, travelled down to spend an enjoyable weekend with us. We had discussions late into the night and played each other’s new or experimental tracks whilst the rest of the world slept.

I realize how unpretentious and genuine all the MG artists are. Chris Green and I talk on the phone regularly ( very clever & funny guy ) then Simon Lovelock & Clifford White have spent ‘time out’ to critique and give ‘sound’ advice, both brilliant technicians of the art. In the past I have found musicians to be very protective and guarded with their work but not here. The wonderful thing is, we are all so different and diverse yet all the same family, producing a vast mix of choices within the same genre, all under the safe and knowledgeable direction of the man himself, Medwyn Goodall. Be warned budding New Age composers, he will not accept second best on his label.

John : In your own words Steve, how would you best describe your music and what are the main components that uniquely sets your music apart from not only MG label artists, but so many other New Age musicians?

Steve Orchard : My music almost always originates from a guitar base and is then transcribed onto keyboards. I find the guitar a comfortable friend that I can embrace quietly without any sense of rushing to ‘lay down’ on paper or in the studio. Sometimes I live with a melody for months before it develops into a workable phrase or shape.

I have a terrible bad habit of not documenting tracks I have recorded. I have folders, in my studio, bursting with hastily scribbled chords and lyrics…. Someday I may return to them for inspiration, that’s if I can decipher them, but I hate going back. I prefer to always look forward with my writing. In the making of Raindancer I did a lot of research into the South American rainforest and I story boarded ideas & concepts onto the walls of my studio. Another strict rule I have is I never ever go into the studio unless I am in a happy, contented mood. I like to think that when you listen to a Steve Orchard album that, my positive optimism shines through. Sundancer was almost entirely written in my garden during the summer of 2009. It’s sunnier than a ripe melon !!! As Medwyn says, it has lots of energy & warmth. I think his buzz word for the album was ENERGY !!

John : During the early years in Bristol your music was played on BBC Radio and utilized in music scores for various media programming. In what ways has your music been featured?

Steve Orchard : It seems like a life time ago now but in the 70’s I was in a very popular duo of the time called Mossy, with musical partner Barry Webb ( he’ll be pleased I mentioned his name. ) We played a residency in the cellar bar, at the notorious Bristol Arts Centre. It was a mixture of folk covers and our own written ‘offerings’. We earned a lot of respect locally and had a loyal following amongst the local artists, musicians & regional TV personalities ( I seem to remember being invited and attending a lot of crazy parties ) We were also good ‘fodder’ for the colleges and festivals. At that time we did 3 half hour shows for BHBS radio which led to a spot on BBC’s Friday Folk Nights. BHBS were still playing the jingle we did for them up until a few years ago ( probably when the tape finally disintegrated ) We had a lot of fun but mutually called it a day in 1980 when we both had growing family’s. We remain great buddies.

Unbelievable now with all this technology, that I sent out my first demos on ‘spool’ tape. Perhaps most ended up in the bin but one hit home and I was invited up to Apple’s old offices in St. James Street London for an interview/audition. They gave me a good look over and I felt optimistic but, sadly nothing ever became of it. I still have the letter though, dated 6th September 1972 and at the bottom are the printed names of the two directors…. Yes, you guessed, J O Lennon & G Harrison. In the ’90’s I was asked to do the incidental music for ‘Star Runners’. It was a short promotional sci-fi film directed by Andrew Dymond who, I believe, went on to produce ‘Star Hyke’ which was sold to American TV. I wrote about an hour’s worth of instrumental music but only half of it finally reached the finished movie….. My son Daniel & I had a lot of fun going on an all night shoot for the film, eating Mars Bars and drinking Coca Cola all night to stay awake!! The studio day was also fun where we recorded my work, with the help of a prehistoric sequencer, onto video tape and mini disc ( very nostalgic ) Later, with the advent of Channel 5’s birth I was asked by an agent to go up to their TV studios in London to perform one of my own compositions for a forth coming daytime TV show, which I did….. The day flew by in a blur and all I can remember is the hideous cost of car parking on the Tottenham Court Road…. Scandalous !!!

I was invited up to Apple’s old offices in St. James Street London for an interview/audition. They gave me a good look over and I felt optimistic but, sadly nothing ever became of it. I still have the letter though, dated 6th September 1972 and at the bottom are the printed names of the two directors. Yes you guessed, John O. Lennon & George Harrison.

John : You were a band member earlier in life and in addition, widely recognized as a soloist in South West & London England during the 1990’s. Could you tell us about this time period of events you experienced and I just imagine there are some good stories you could tell everyone?

Steve Orchard : Blimey… How long have we got ? I worked a lot. Mainly covers for the pubs, clubs, hotels and summer seasons at holiday parks. I also did gigs for Army & Navy bases. If you are into performance then it is an incredible apprenticeship. You learn a lot about audiences. I spent 8 consecutive New Years Eve’s away from my wife & kids entertaining 1000’s of drunken party people. When the nights success relies on only YOU…. that’s quite a responsibility ( oh and the bingo & raffle ) I performed all over the South West with 3 nighters in London gigs sleeping in theatrical digs above a pub (not something I can recommend) It’s like an athlete. You build up muscles. You know when to be funny and when to keep your mouth shut!! ( Did I mention I did stand-up ? Don’t do it if you want to retain your sanity ha ha ha !!! )

I’ve known great musicians who were lousy entertainers and great entertainers who were rubbish musicians. In 2001 I realized that this was not what I wanted to do anymore. I wanted to return to my roots which was writing & recording. It was in my heart and the only way I could ‘look at myself in the mirror’ as a serious musician. Continually gigging, performing other people’s material makes you slightly morose and can leave your creative side sadly lacking. True, I do miss the adrenalin rush of an audience but what I do now feels right for me and hopefully my audience is out there still enjoying my performance.

John : Recently I wrote a review for Raindancer and have made plans to review Sundancer & Moondancer when released. Could you tell us more about your Dancer Trilogy and what each individual album illustrates?

Steve Orchard : Yes, they are companions to each other. I hope my listener/audience hear Raindancer and think, ” Wow! I liked that I’d like to taste some more of that.” Raindancer is very jungle/tribal with some twists and turns in its rhythm’s. I had this picture in my mind of cutting ones way through dense foliage to find a clearing populated by remote civilizations ( does that sound crazy ? ) The indigenous animals and fauna were all playing a part in my composing. Raindancer is where I discovered my New Age capabilities. With the generous direction of Medwyn, I am proud of this album. Sundancer, as I mentioned is all about energy. Islands in the sun and deep tropical seas yet cooling sounds in the midday heat. Rhythms play a big part of this album also and will make people want to move and children dance. My youngest son David is a gifted illustrator having produced many published children’s books has preliminarily designed both, Sundancer & Moondancer album covers. Obviously this is still to be confirmed but his work on all my other albums can be seen on my website.

Moondancer …. Is still under wraps. Suffice to say, this is the cool of the evening. The Moon is out in a cloudless night and a billion stars lead us to imagine what life could lay beyond them. This album is entirely recorded on my new studio and at this date still has to be completed but I have some ‘can’t quite keep still’ ideas in my head. I would just say, “Watch This Space!”

John : There is a lot of great instrumentation on the Raindancer album. In addition to acoustic guitar what are the instruments you play, and you told me about an upgrade to your project studio, so could you tell us the story behind this recent upgrade?

Steve Orchard : Raindancer is a completely ‘live’ album. By that I mean that it is layered onto a hard disc in the same way as working with analogue ‘tape’. That’s not to say it suffers from sound quality but I felt I needed to embrace a tiny bit more technology going forward. My main keyboard friends are my trusty Korg Triton & Roland Sonic Cell, with expansion boards, plus some other concoctions!!! On with a story…

By now Medwyn and his lovely wife Wendy had become my good friends. He invited me down to his home in Helston, in Cornwall, for a visit and to look at his studio with perhaps, an insight into the more sophisticated way he works. WOW !!! I only say that because a lot of your fellow members and readers of this site will be saying WOW !!! He was considering completely re-building his studio and giving me the opportunity to ‘adopt’ & ‘adapt’ his studio. This is ‘THE STUDIO’ which is responsible for selling over 4 million albums. It was January and the worst winter the UK had seen in 30 years. I was doubtful whether I would be able to make the journey as heavy snow had fallen over most of the South West. I travelled the day before our meeting and the journey was a little ‘hairy’ ( that’s a British expression for OMG !! …. another icey patch!!! ) I just had to go and meet this man face to face. He had a reputation for being ‘very private’ and not conceding to personal visits to their beautiful Cornish home.

I have to say, that information could not be more wrong. From the outset he was warm and friendly, and we spent the long day in his studio exchanging much humor and banter. I felt relaxed in his company immediately. To be sat elbow-to-elbow in the studio with him was an unforgettable experience. Such ease of understated talent was remarkable ( no, not me, him…. only joking ). Wendy arrived home from there very busy offices and warehouse in Helston and they were gracious enough to take me out for a memorable meal that evening. Suffice to say, I returned the following day with the ‘HEART’ of Medwyn’s studio and since then have amalgamated it into my own studio I think, really successfully ( you will need to wait for the completion of Moondancer to make that appraisal ) I personally can’t wait… It’s going to be special !!

John : On behalf of our visitors and your fans Thank You again Steve. Before we go is there anything you would like to bring up or tell your fans?

Steve Orchard : I have made so many friends all around the world with the release of Raindancer. It has been a privilege to be able to share my music at last, with so many enthusiastic people. This is what encourages us composers to continue to ‘up our game play’ to continually raise the standard, stretch, and find the best we can be. In the spirit of all MG Music Artists I will always try to answer all emails and help other budding musicians in their quest. Everything is possible. It has been a long journey but I still feel opportunities lay ahead of me. So many friends & family ( my closest love & confidant Julie, my wife of 31 years. She’ll be pleased I mentioned her name again! ) have supported me over the years even when I may have floundered. A good friend told me, ”The thing with you Orchard, is that you are PERSISTANT” Oh Yes!”… & keep smiling!

Visit the steveorchardmusic.co.uk homepage and sample his albums on his music page and learn more about Steve on his about page. Here is where you will find our pages dedicated to Steve Orchard.

Sundancer & Moondancer covers by David Orchard. Raindancer cover by Medwyn Goodall. Copyright Steve Orchard.

NewAgeMusicWorld.com is a top new age music blog serving artists and visitors who share the same love of music in the New Age Music genre.

I cover a variety of musicians, from debuting artists just beginning their music careers to more established artists, and top musicians easily recognized in today’s international new age music industry. With this insight, I hope everyone will have a chance to discover more about the artists who define the New Age Music genre.

It is my goal to provide visitors a fresh perspective in relation to the great artists I present, plus give everyone a chance to discover more of the best artists I will be introducing by interviews with popular artists and reviews of their new releases.

New Age Music World is a nonprofit music blog bringing you news content about today’s top new age artists. Here you will find interviews, music reviews, and music awards. I hope you find this music blog as a great source for information on today’s popular artists, so that you bookmark and become a regular visitor.

Take a tour by visiting my Homepage.

Your Friend In Music, John P. Olsen, editor/host for New Age Music World.

Davol is a popular new age musician from Colorado whose expertly blended contemporary electronic melodies are a dramatic wonder to behold.  Davol’s entire music collection and current Good Sign album ultimately proclaim a positive and upbeat influence you will find inspirational.

Good Sign is his April 2010 release which decisively aligns itself to symbolize another exceptional album and become an encouraging assertion to those in the music world already familiar with his first name artist title they are indeed listening to someone recognized for producing top quality music.

Davol is a success in many aspects of his life, and after obtaining a Ph.D. in 1989 his earlier career as a medical researcher and microbiologist were judiciously shelved in 1996 when he began a commercial venture producing multimedia music.

During the same year his debut Mystic Waters became another personal success and made it to # 15 on the Billboard New Age Chart, plus the worldwide usage of his songs involving television, radio, video and numerous multimedia production scores has clearly magnified this proficient artisan on an international level.

The 4 additional albums A Day Like No Other, Open Book, Paradox & Nature Of The Beast are all relatives to his current yet each one is a natural variation that evolves into their own class, interrelated by a characteristic source of fascinating drama to proclaim the positive and upbeat influence you will find inspirational.

Truth 2010 is an electronic Dance/Club influences remix featured during the popular online video now available on the Good Sign album. A heavier percussion tempo prepares the groove rhythms before exploration into deeper shades of electronic intensity and is well combined in timing when compared to his conceptual Truth Video that makes a valid point while capturing the superficial and unbalanced influences portrayed in television media.

Visit DavolMusic.com to sample or purchase, and at Davol’s music page or CDBaby.com page.  You can learn the true facts about Davol on his website biography page. Read our interview and more on my pages for Davol.  Shown below is my recent quote from my album review titled Finding the Good Sign in Davol  and his Truth Song Video.

Davol has exceeded his artistic intentions with Good Sign and the reactions granted to his progressive album do replicate the characteristic source of fascination found in his entire discography. Good Sign is symmetrical to Davol’s principal expression of innovative quality music accented with inspiring drama. 

While water is one natural element necessary to sustain life, music is one non essential we can certainly live without but then again, fluid and tranquil music can be a calming neutralizer to a more harmonious life, especially when one is caught in a hurricane of stormy life challenges.

Eric Chapelle is a composing pianist from Austin Texas whose original music scores conceivably calm the waters in several ways.  Born in France, Eric is also an avid photographer who has lived in several countries around the world and his piano music retains the essential element for relaxing music by the calm buoyancy in sound that finds neutral ground with the pounding waves heard in some music today.

 Across The Water is his Contemporary Instrumental 2010 release that impart 16 songs in ambient expression and creative imagination.  Eric has performed his original compositions in concerts across the U.S. for over a decade, plus movie soundtracks in television, film, and commercials have been the scores that yielded wider recognition in addition to the 2 albums to his credit.  Our Time was his 1998 album admired by many and had justifiably earned Eric a place alongside more esteemed pianists after his opening debut.

Eric Chapelle’s contributions in The Heart Aid Project has inspired me to tell you more about the story behind his dedicated efforts in a tribute CD in memorandum of the fateful World Trade Center events on 9 / 11.  In addition to Eric who conceived and produced the project, he and review publicist Kathy Parsons had corresponded with 16 additional well respected pianists and everyone compiled the tribute CD without royalties.

Simply put, their time and virtuous work on this 9 / 11 remembrance album is to be commended, in addition their efforts have also reaffirmed my current knowledge that the 17 contributors response is very much representative of the caliber of people who comprise the New Age genre today.

Across The Water is another fine illustration of the resourcefulness put into every composition.  Julia Cory is a cellist from Texas joining Eric on songs Every Wish & Soft Landing then guitarist John Inmon & cellist Dawn Biega offer their contributing instrumentals on Across The Water ( Title Track )  Their level of performance and musical drama they offer expressively impart gentle movement into the picture and is well suited to the principal ideals this album represents.

This album retains yet one more harmonious notation since some of the 16 songs on Across The Water were recorded at the 150 acre Norton Island Retreat residency program created by the Easter Frontier Educational Foundation in Maine.  Eric has characterized the island as an inspiring destination of solitude where writers and musicians like him can compose in peaceful moments of relaxing clarity.

Norton Island is one song where the natural environment of the retreat is evenly transferred then shown like a scenic picture of captured images.  The comparatively timed piano solos, casual in ambient recollections like heard in Tide Pool wonderfully convey an impression of calm by the fluid detailing in chord phrasing and lighter melodies that offer subtle reflections using even handed moderation, much attune to Wild Iris in the mellow point of view it brings.

Remembrance is another beautiful song that carries a wonderful Cinematic overtone with every measure, and although the song on the surface is light the well placed notes engrave a deep feel of melancholy, in nicely placed emotional content I found quite moving.  Contrasting soprano chorals evenly trace the piano melody while outlining lower octaves then model into more dramatic posturing and boldly crescendo as if gentle waves were moving across the shoreline.

While Across The Water from Eric Chapelle is not essential to daily living, his inspired by nature album is a solid collection of calming ambience that provides a wealth of relaxing harmony for the listener, smoothing out the rough edges of today while remaining anchored in a state of readiness for the next enduring wave of life challenges that are sure to arise.

Visit the hamsamusic.com website and then purchase on his music page or at CDBaby.com to sample / purchase.  Read more about Eric at his biography page.  The Heart Aid Project CD is currently offered through the Spring Hill Music website.

Photo copyright Hamsa Music courtesy of Eric Chapelle.

Davol is my interview guest at NewAgeMusicWorld.Com. Knowing the positive nature of his music, I hope to create a little excitement of our own today. Davol is a widely popular musician easily recognized by his Electronic Contemporary Instrumental melodies that readily elevate the mood sensation and their highly melodic rhythms in turn offer an inspiring upbeat atmosphere.

Davol’s music eloquently brings a positive and energetic influence to the forefront of New Age music, and today we hope to encourage every visitor to learn more about him.

Review publicist and interview host John P. Olsen has published an earlier review of his current album Good Sign, and I invite you to read this review and more articles about this fine electronic music artist on my pages dedicated to Davol.

Interview with Davol;

John : Thank You for sharing your time with us Davol. Your April 2010 release Good Sign is an excellent album and another fine release of the 6 albums total you have produced since your decision to pursue music as a new career in 1989.

Good Sign is successfully making waves with your large fan base and ZMR charts presently have listed at # 2 for May. This is great news naturally, but I personally believe much more recognition may be in store for Good Sign. What are your thoughts on the direction this album is heading and do you set out to win awards and earn top recognition?

Davol : Although I always try to keep my music at a high standard, I was pleasantly stunned to see how this album has taken off! This is the first time I’ve worked with the renowned promoter Ed Bonk, and it’s been quite rewarding. Every aspect of a creative project is educational, including the promotional side. As for awards, we’ll see what is possible … maybe you could help me out with a Grammy nomination ? ! 🙂

John : Hey, B.T. and I will see what we can do …. Lol!! What you said about Ed Bonk is true. We consider Ed a good friend and hear the exact sediments from his clients all the time. Everyone speaks pretty highly of Ed Bonk ( Lazz Promotions ).

Your scholastic training in jazz, classical piano and harpsichord were early prerequisites in your move toward the more modern music influences you produce today. Would you provide our visitors an outline of your studies and music history?

Davol : When I was quite young I started with the trumpet. But the monophonic nature of it frustrated me, so I became interested in piano at the age of 12. I studied classical piano a bit, and harpsichord a little in college. I’m actually now studying jazz piano with a local jazz master. It’s challenging and fun. I’m probably his most remedial student, still learning the basics! In a sense, I kind of feel like my compositional work exists very separately (in my brain and heart) from my previous musical training. Obviously there is some kind of relationship and influence, but I really feel like the electronic music I write is more influenced by my love of pop music.

John : You have a PH.D and had begun an already successful career as a medical researcher and microbiologist until 1996 when you then chose to begin a commercial venture producing multimedia music. What were the timeline of events that led to your decision to pursue music as a new career and was this career move an easy choice for you to make at the time Davol?

Davol : Oh gosh no, it wasn’t easy. I had worked so hard to become a medical researcher and get my doctorate, but I was also very burned out. I was doing music professionally WHILE I was finishing my PhD in microbiology and continued doing both simultaneously over the years. The problem was that to be a really good scientist, one must be very focused. In other words, you work in the laboratory in the daytime, and you’re expected to read journals and write papers in the evening. I wanted only to write music in the evening! So there was sort of a mutual incompatibility with the two careers. When I left science, I felt that I had learned a great deal and had published significant work. That was satisfying. I actually did return to science in the last 5 years, sort of in a roundabout way; I was a public health educator for a Hepatitis C non-profit organization. I was giving educational talks about HepC, mostly to ex-convicts who were on parole. It was a very unusual and educational experience.

John : I read at your website that many of your albums are designed with a theme in mind based on events during the time period. What themes are behind Mystic Waters & A Day Like No Other?

Davol : Mystic Waters was released in 1989, a time when “fantasy” albums were all the rage. So, it was conjured up with that genre in mind. There was a sense of peace and tranquility, a sense of fluid movement, like water.

A Day Like No Other marked a pretty big change in my life, sort of a reinvention, as I hadn’t released an album for 7 years (since Open Book). I wasn’t sure that I would do any more albums, frankly. I was burned out and was now producing on my own label. Also, ADLNO was the first album I ever wrote and produced without any co-producer. In other words, I had to finally trust myself, in a very singular sense, and believe in what I was doing! Also, ADLNO was the first album I wrote in a completely software-based studio environment, so the toolset and sound palette was utterly different from the past. It moved me more into a guitar-based sound that I find very appealing for the pop-style in which I write. So, the ADLNO album represented everything “fresh” and “new” to me, hence the name.

John : Nice reinvention Davol since A Day Like No Other happens to be one of my favorite albums! There were some particular circumstances happening during the production of Good Sign. What was going on at the time and how did you maintain the Davol can do attitude?

Davol : Yes, some challenging things … a couple of close loved ones struggling at the end of their lives and passing on, I had to move my mother into a retirement home, find a home for her dog, empty her house and sell it, etc, and a 14-story high-rise was built directly across the street from my home. That meant 1.5 years of incessant noise, my street closed off every day, etc. It was overwhelming. Oh, and I almost forgot, the interior of my house flooded, TWICE.

Due to the construction, I ended up working on the Good Sign album in the evenings. I would start work after dinner and finish at 2:00 am. It was a very unhealthy lifestyle for about a year, but hey, I got it done!! 🙂 I think the album truly was my catharsis, so the focus was JOY, OPTIMISM, and POSITIVITY!

John : After listening to several prior radio interviews at your website and it’s pretty easy to recognize you are a positive and upbeat person as you were saying and just like your music reflects. Is it your intent to instill a positive influence into all of your music and just how exactly do you transfer a positive personality trait into musical notes?

Davol : I guess I have always tried to keep a positive outlook in life. It’s easy to get wrapped up in the tedious minutiae of the day-to-day, but important to never lose sight of the fantastic gifts we all have.

Certainly I try to convey that optimism in my music, but hopefully without being cliché or trite. That can be a fine line, I know. It probably sounds like a really old fogey thing to say, but I’m so glad that I was young when I was! Fashion ads were largely about people with smiles on their faces when I was young. Nowadays, so much of the advertising looks like a bunch of mean, unhappy people wearing sunglasses and deadpan looks – so much pretense and attitude. I like the concept of “hope”, so I would never make a good Buddhist 🙂

I think there is also often a slight tinge of melancholy in the music I write. Sort of a mix of bright optimism blended with a small amount of “reality/regrets/disappointment/loss”. I prefer that 90:10 mix. I can certainly appreciate very dark music, it’s just simply not my forte to write in that genre, so I typically don’t.

John : Yes, I love the dramatic notations you infuse into your work. Has today’s technology made a big impact in regards to the way you have composed music in the past, and what electronic equipment do you use?

Davol : Yes, definitely. I work on a Mac, using the sequencing host Logic Studio. My sound set includes instruments from every major software synth manufacturer. I’m particularly fond of MusicLab’s RealGuitar product. It’s the BEST for acoustic guitar strums that layer so beautifully with my synth textures. It gives everything a wonderful energy and feel. Using a software-synth studio has advantages and disadvantages, but I’ve chosen to simplify my life by not using any hardware instruments anymore. I could never turn back now.

John : Good Sign features a song called Truth 2010. This is the first time you have made the Truth song available on CD and is the remix of your conceptual Truth Video that created a dramatic reaction among many people and considered political in nature. How and why did you produce the Truth Video, and what where the political and competition events occurring during production?

Davol : That was a creative vanity project that appealed to me at the time. And I had never done a video and wanted to learn how to create and edit video. Needless to say, THAT took a great deal of time, but was fun. That was back in 2007 and there was so much political discontent in the US, that I wanted to take a few steps backward and comment on the fact that so much of our “reality” is based on media stories that, for all we know, may have very little to do with the truth. If the past is any judge, everything should be suspect. But we pick and choose, deciding that story “x” is reasonable and we believe it, but story “y” is crazy and we reject it. We do this in history and have created a revisionist history that is written into textbooks. If we know that about history, why don’t we view current events reporting with the same skepticism? So, to return to your question, my focus wasn’t so much on the current politics of the time, but taking a glimpse at the last 100 years or so of US history, in particular.

John : Do you plan to release more CD albums and song videos in addition to the current ones featured on YouTube, and I ask this half joking Davol, but do you consider yourself a political activist in a sense after the Truth Video?

Davol : No more politics! Read my lips! 🙂 I really want to focus on what I do best, simply write music. And that is where my heart and head truly reside. So, no more detours or distractions from the music.

Videos take so much time, that I don’t care to be involved in that either, although others are certainly welcome to consider such a project using my music – I’m open to that. Albums are definitely my focus for the future. As for CDs, well, they will soon be obsolete 🙂

John : It has been a pleasure to meet you Davol. B.T. Fasmer and I will keep our visitors informed on the latest news about you so let’s keep in touch. Before we go today, is there anything you would like to tell your fans or bring up that we haven’t talked about?

Davol : I came so close to abandoning my music career before the A Day Like No Other album, that I just want to thank everyone over the years who has emailed me or left a comment on my Guestbook page. It is truly those supportive words, stories of moments in people’s lives where my music touched their hearts that have kept me creating. I thank you all, and hope to keep providing music that will intrigue and touch listeners in a meaningful way.

John and B.T. Fasmer, thank you so much for supporting independent artists and this opportunity to share with fans.

We encourage our visitors to learn more about Davol and the place to find him is his davolmusic.com website homepage. Read his biography page and go to his music page to purchase / sample. Read my review of Good Sign by Davol.