Al Conti is a GRAMMY® nominated musician people worldwide recognize as a composer with a natural ability for producing some of the most vibrant, story based albums in the new age and world music genres.  Al Conti’s ability to intermingle his story based tales of intrigue into every one of his award winning albums, in part, originates from his life experiences and extensive international travels.

Al Conti is a nominee for the 54th GRAMMY® Awards in the Best New Age Album category, selected for his 2010 album entitled Northern Seas.  Along with Al Conti’s GRAMMY® nomination in the new age genre, Northern Seas was also selected in Amazon’s Top 10 list for Best New Age Albums of 2010.  Earlier albums Scheherazade, Poeta & Shadows have made other “best album of the year” and “top 10 album charts” at other organizations.

Northern Seas is the fourth album from Al Conti, and a fine release that highlights his abilities as composer, arranger, and multi-instrumentalist.  The storyline on Northern Seas chronicles the ancestral homeland and Nordic heritage of Scandinavia with wondrous glory.  The rich instrumental landscape captures your imagination, and valiantly stands the high ground on this resolute masterpiece aptly named Northern Seas.

Northern Seas features 10 songs in a fascinating blend of new age and world fusion with a Celtic inscription on several songs.  There is a unique atmosphere by using ancient instruments in parity with traditional instruments.  Al and contributing artists create a unique feel blending kantele, harp, hurdy gurdy, pump organ, accordion, and tribal drums with piano, violin, cello, acoustic and electric guitar.

The folklore of Norse traditions brought to the surface by Al Conti is deep, rich, and intriguing while portraying a tale of Norsemen during a time of Viking sovereignty.  Every song on Northern Seas is crisp, clear and refreshing, as if detailing the pristine landscape and panoramic mountain vistas by the deeply spacious tonal qualities.

New Age Music World host John P. Olsen had the opportunity to conduct a December 2011 interview with Al Conti, a 54th GRAMMY® nominee in the Best New Age Album category.  Today we are pleased to present their up-to-date interview to Al Conti’s fans and to our site visitors – several days prior to the New Year 2012.

GRAMMY® Nominated Al Conti Interview;

John Olsen:  Thank you for consenting to my interview, Al.  First I would like to congratulate you on your GRAMMY® nomination for Northern Seas!  This is great news. It always pleases me when I hear an outstanding artist and their work are given the recognition they deserve.  Northern Seas has many fine qualities, many of which were pointed out by a number of positive reviews at your site, AlConti.net.  I was glad to be among those to contribute an album review, and I hope to have conveyed the award-winning potential, and some of the finer aspects of your work in the album review I wrote earlier.

John:  Aside from the fact Northern Seas is in the category for Best New Age Album, I feel Northern Seas is to some extent the most progressive of the five GRAMMY® nominated albums by a variety of instrumental qualities.  Do you agree, and if so, do you feel having a nominated album that varies instrumentally from the rest will work to your advantage?

Al Conti:  Hello John, it is my pleasure to be here with you!  Many reviewers have commented before on how my work is rather different than much of the New Age music available these days.  Some have called my work ‘cutting edge.’  Personally, I feel that New Age music is very rich in its diversity, and my work is a part of that spectrum. Whether my music’s edge works to my advantage or not, I am not sure.

During the nomination process, I have indeed heard from many peers, mostly from other genres, how they found my music to be so different.  I guess it has, in the end, worked to my advantage.  The ironic thing is I never strive to compose music that is different, per se, but just to be true to myself as an artist and simply create what comes from within me.  The rest is all excruciating work!

John:  On Northern Seas you pair old-world instruments of kantele, harp, hurdy gurdy, pump organ, accordion and tribal drums with modern instrumentation of piano, violin, cello, acoustic and electric guitar.  I am familiar with the majority of songs on your earlier albums Scheherazade, Poeta & Shadows, but I would like to know, if this blend of ancient and modern instruments is consistent throughout every one of your four releases?

Al Conti:  Since my album Scheherazade, I’ve been drawn consistently to rediscovering ancient instrumentation, and this also blends very well with the mystical landscapes I like to explore.  People have responded very well to the use of these instruments.  There is also something beautiful to me in bringing instruments and sounds into a modern content.  It feels like I am in some way honoring the past by bringing these instruments into a more contemporary setting.   I am never quite sure what will come out of me musically and I am always challenging myself as an artist with each release.

John:  Would you tell us about the outstanding artists who performed instrumentals with you on your GRAMMY® nominated release?

Al Conti:  I have been blessed to have worked with some amazing people, and continue to do so.  For Northern Seas I wanted to work mostly with local talent, and except for Francesca Genco (vocals), all are Vermont artists.  Among the contributing talent in Northern Seas there is the immensely-talented violinist Hannah Beth Crary, who was truly magnificent to work with and my trusted guitarist and engineer André Maquera.

John:  You also have a team of music professionals you depend on for technical details and final production.  Would you like to mention the people who helped you finalize Northern Seas?

Al Conti:  While I do a big part of an album’s mixing myself as I compose, I depend heavily on André Maquera, of West Street Digital, in Vermont, for the final mixing and mastering on my projects.  I have worked with him since my first release, Shadows, and feel he understands my approach so well at this point as to know how to work with whatever I bring his way.  Mastering is also a very arduous process and my hearing can only handle so much.  Aside from the actual music engineering and recording, I work with a fantastic team of people that help oversee the other aspects of my career, without whom I could not do what I do.

John:  What do you feel are the most positive attributes of Northern Seas?

Al Conti:  I think Northern Seas went in a different direction than my previous album Scheherazade.  I feel it showcases my versatility as a musician and composer.  My audience can hear a more classically-oriented side of me in my album Poeta, a more exotic and sensual one with Scheherazade and a more aggressive and brooding, yet also fun and hopeful side with Northern Seas.

John:  In addition to your GRAMMY® nomination, Northern Seas made the Amazon Top 10 list for Best New Age Albums of 2010, and  many of your earlier releases were also awarded  “best of the year”, “top 10 charts”, and other “best album lists and top 100 charts.”  What do you believe has been the most important influence that has led to your overall successes as an award-winning composer, arranger, producer and multi-instrumentalist?

Al Conti:  I compose what comes through me, and this changes depending on the project I am working on at any given time.  I tend to go to a certain emotional place when I compose and the right material flows through me.  When a project is finished, it is as if someone has turned the creative faucet off, and nothing else comes through, so I know I am done.  I believe that the key to anyone’s success, especially in this business, is made up of various elements such as what I mentioned above, coupled with hard work, perseverance, gut feeling, luck, timing and fate.

I also believe it is important to follow one’s own path and not be overly influenced by what other artists do.  While there may be a music trend we all follow and music that influences our style, it is good to do what really comes from the heart and not try to imitate someone else. I simply do what I do, surround myself with a magnificent team and we all pull forward in our own way, but in the same direction.

John:  Every one of your new age albums is based a theme or legend and portrays a story.  What is the story based representation or theme behind Northern Seas, and how did you arrive at the concept for Northern Seas?

Al Conti:  Northern Seas is based on Norse mythology.  While my previous album, Scheherazade, was based on the teller of the fantastic Arabian tales, Northern Seas was a little more complicated to nail down as a concept.  I did a tremendous amount of research when the idea for this project first came to me.  I could have based the album on a particular Norse myth, but I felt that there were many important ones that would have been left out.  The album as a concept takes many of the Norse myths and weaves them into one cohesive narrative.

John:  How do you transpose an inspirational or story-based theme into a musical arrangement?

Al Conti:  This is also something that is very hard to describe, because I do not have a specific formula that I follow.  Each project is based on a particular myth or tale.  This already sets the parameters I will work within because each part of the world and its respective culture has a definite music style, which I then follow.

Scheherazade was Middle Eastern; Northern Seas is Nordic, Celtic and Germanic.  But I also do not want to compose an album that is fully regimented by a culture’s musical style and mood, thus I tend to modernize the music to make it more appealing to a Western audience.  As such, I end up with the music I compose, which is peppered with world cultural influences, yet remains primarily New Age.  I do believe my past as an actor also thoroughly influences my approach to my music compositions because I innately tend to approach my music composition as a film.

John:  At your music blog – alconti.blogspot.com – you detail how producing music has changed for you since the earliest years when you first began producing music.  What are some of the changes you have made over the years, and the challenges you face while producing music today?

Al Conti:  Many of the changes are dictated to me by the music industry that I am a part of.  I feel one of the biggest mistakes artists can make is to not accept the fact that the music business is, first and foremost, a business.  Since I came from an acting background, well versed in the complex workings of that business, I simply translated acting to music and brought along with me the same work ethics I had from that part of my life.  I also feel each project I undertake lays the groundwork for the direction of my career.  Because I am also a perfectionist, nothing I compose is ever good enough for me and I always strive to better myself.

John:  Has having your own Shadowside Music label been a major influence with the manner you produce and market your music?

Al Conti:  Absolutely.  I can decide what I want to create without having to answer to someone else’s idea of what I should be creating.  I also have full control over every aspect of my career and creative output.  Because I happen to also be the producer and arranger of my own albums, I can truly follow my gut instinct and move forward from there.  Of course, I knew that the path I chose was plagued with risks and I did not know if these would pay off until they did.

Much like an actor producing and directing his or her own film, producing one’s own album can either make or break you.  For me, luckily, it was the former, not the latter.  It was a great risk, but I took it head on.   I am at a point now in my career where I can honestly say that the path I chose has indeed paid off and I can continue forward knowing I am doing what I am supposed to be doing and that it is working out well.  As people now ask me for advice, I find myself saying, “Hey, my path and how I walked it to this point has worked for me, but it may not work for you at all.”  Thinking of many successful artists, I venture to say you’ll find each got there in very different ways.

John:  Early in life you were determined at a very young age to become an actor.  You appeared in commercials and were an actor in the acclaimed As The World Turns American television series.  By all accounts Al, you had achieved the acting career you envisioned for yourself.  What was the turning point where you decided to change direction to pursue a music career, and how did this change to a new career transpire over the years?

Al Conti:  I do not think any artist will ever say, “Yes, I achieved what I artistically set out to achieve,” because we’re always looking forward to the next creative project.  As an actor, I do not think I ever fulfilled that which I strived to achieve since I was a child, and I believe music has allowed me to express artistically in ways acting did not.  I also came to a place in my life where I did not have the need to play someone else to express myself.  With music, regardless of the project, I am always expressing my truest self through my work, yet I can be an actor at the same time because my projects are pretty much like a film that is being played out musically.

John:  I read you were born and raised in Buenos Aires, Argentina.  Your grandfather was a concert pianist, and your mother was a classical ballerina.  What are your thoughts – do you believe talents in the arts, in fields like theatre or music, are heredity, or, do you feel non-genetic factors play more of a role with inclinations toward an individual’s profession?

Al Conti:  I cannot honestly say.  I know I was born an artist, which as a child created nothing but problems for me in school.  But because my parents and grandparents (and even beyond that to my extended family) were and are artists in their own way, I was lucky in that they completely encouraged me.  I do, however, believe that we are born with the talents we will hopefully hone throughout our lives, whether you are an artist, teacher, lawyer, social worker or whatever. I tried being other things than an artist and failed miserably.

It was clear to me that I could only work in the arts.  This is why I cringe when parents force their kids to play the piano or do anything else artistic if the child really has little inclination in that direction. It would have been the same for me if, say, my parents had forced me to be right handed while my inclination was to be left handed.  As an actor, I saw some sad things happening with parents who would bring their children into auditions.  Not pleasant!

John:  While living in Argentina, you grew up listening to ethnic music from many parts of the world, plus you have extensively traveled the globe.  Would it be fair to say your music is a vehicle that describes many of your life experiences and international travels?

Al Conti:  I think as artists we take everything we have gathered throughout our lifetime and put it into our work, because what we do comes from the deepest fibers of our beings.  Because I was raised in different cultures, this broadened my horizons culturally.  I innately know how one culture can function differently from another.  When I compose music, based on a certain culture, the way that culture expresses itself deeply affects how I compose.

John:  You have led a diverse life compared to many people.  You now reside in the state of Vermont in the United States.  What is it about the state of Vermont you adore?

Al Conti:  I have always felt at home in Vermont.  It is a state with deep French Canadian roots, which in many ways resembles the culture in which I was raised.  Those cultural roots can still be felt in Vermont.  While I have lived in a few different states in the U.S., Vermont is definitely the only one I have ever felt like calling my home.

John:  I read at – alconti.net – you are currently working on your fifth album.  I would love to release some Al Conti news for your fans and our readers today if possible.  Can you release any information about your newest, fifth album project?

Al Conti:  I usually tend to be very private about what project I am currently working on. I blame my past as a superstitious actor for this!  I never want to jinx the project.  There are also the legal ramifications of my talking about it at such an early stage.  What I can say is that the album’s progress is half way, and I am excited that there are some very well-known guest New Age artists that will be participating in the project.

I can also say that the album will be more on the lines of my previous work Scheherazade, and I think people will be very happy about that, even though it is far from that album’s Middle Eastern theme.  As an artist, I never want to repeat myself musically, so I strive to keep moving forward.  While I know that many people loved Scheherazade, and it would be easy for me to fall back into another Middle Eastern theme, I refuse to do so.  My current project is based on yet another beautiful legend and I will let my audience discover it as the time approaches.  It is tentatively scheduled for release in September 2012.

John:  During your work with humanitarian organizations, you teamed up with television celebrities Kevin Bacon, Jessica Alba, and Shelly Morrison for a charitable benefit.  Can you tell us about your contributions with humanitarian organizations over the years?

Al Conti:  As an artist with a certain level of success, I always feel I need to give back.  Because I have been touched by many situations in my life, I feel like those are the ways I can give back.  Unfortunately, we live in a world that has many, many causes we could rally for, but eventually, one can only do so much.

I have chosen carefully the charities I align myself with.  AIDS, Leukemia and Alzheimer’s, as well as breast cancer, have all affected people I care about.  In my own way, I try to raise awareness about these illnesses.  I find that when people like what you do they are more apt to listen and take notice.  When recently asked by a dear friend and fellow New Age artist about how I felt regarding my GRAMMY® nomination, I replied that I feel like this now allows my heart to give more.  I truly mean that.

John:  I read you are also involved in a wellness organization called The Spa Buzz, an organization that helps spread the message of wellness through activities like their awareness-raising bus tour.  Would you like to tell us about your contributions with The Spa Buzz organization?

Al Conti:  Yes, I was involved with this event as they toured the country promoting a message of health and wellbeing.  This is something my team initially brought to my attention and I agreed to take part in it by lending my music to the project and attending events on the East Coast, because I truly believe people can be healthier, pay more attention to and be in tune with their bodies.  The Spa Buzz did a great job for health awareness, and promoted the way music can contribute to wellness along the way.

John:  You have enjoyed a remarkable career as a musician, Al.  What do you find most rewarding as a professional musician?

Al Conti:  I think, as I mentioned before, the more success I find as a musician, the more I am able to give back to others.  Once I heard a saying that went: “When you get to the top floor, make sure to send the elevator back down for somebody else.”  I never forgot that.  While I do not think I am anywhere close to the top floor, I do believe that with a certain amount of success, there comes a responsibility to give back, and the universe sends our way those who can benefit from what we have to give, and vice-versa.

John:  Thank you again for taking time out for our interview.  I wish the best for you in the 54th Annual GRAMMY® Awards scheduled for Sunday Feb. 12, 2012.  In closing for now, is there anything you want to bring up, or express to your fans and the people who have supported you over the years?

Al Conti:  There are always a few things, for sure.  One is something I always speak of when able to, and that is the sad state of music piracy.  Since I have been involved in the music industry, I have become increasingly aware of the ravages that the illegal download of music is doing to artists worldwide.  Many people do not even realize that they are actually stealing music.  While some do indeed believe that we, as artists, should work for free, most simply do not realize the impact they have on the economy with even just one song illegally downloaded.

Independent musicians now form a large part of the music industry and they do not make millions, far from it.  Many can barely survive on the income they receive from their music work.  I would hope the right amount of respect be given to their efforts by actually purchasing their work rather than downloading it illegally.

A fellow artist, Loreena McKennitt, is a big spokesperson for this, and she has actually had to lay off people from her company because the illegal downloads of her work have made it impossible for her to maintain their employment.  This is extremely sad for me to see.  No one would ever accept to work for free, why should artists?

Thanks so much for this time, John, and for the work you do for New Age music!

John:  I get to know many artists personally, and I feel the same way too about the music piracy issue of illegal downloads.  I am pleased to be in a position to help get the message across.  I look forward to writing more about you soon Al.

Visit the alconti.net homepage and his music store where you can sample or purchase all four albums, and keep up with the latest news.  You are invited to visit Al’s official blog at alconti.blogspot.com and Facebook page. Read my Al Conti page.

Photos are courtesy alconti.net and with additional photographer credits of – Michael Mattern, Patrick Cote, John Young, Gerrit Ohm, and Kay Dillenberger.

GRAMMY® nominated composer David Arkenstone is a celebrated new age artist who has produced an extensive collection of great instrumental albums over the course of his distinguished career. David Arkenstone’s popularity as a favorite artist for many persons including myself is clear when you consider he has sold well over a million albums throughout his extensive career as a popular favorite.

The admiration for David Arkenstone and his reputation as a top new age artist is apparent by other benchmarks too, having reached the Top 10 Billboard New Age charts twenty times. He is a gifted musician accustomed to playing a variety of instruments, some of which include electronic keyboards, piano, cello, flute, harp, mandolin and a number of ethnic guitars. David is also a talented percussionist, sings vocals on some of his albums, and regularly performs live music during tours as a performing new age concert artist.

David Arkenstone is a three times GRAMMY® nominated musician, having earned nominations for his three albums In the Wake of the Wind, Citizen of the World, & Atlantis. In addition he has composed numerous recordings for film and television, some of which are shown on the History Channel, Discovery Channel, NBC Sports and many other televised programs.

Echoes of Creation is a new soundtrack he composed for Jan Nickman’s nature inspired film that was aired on PBS stations nationwide. David has also composed a number of top rated computer gaming scores like World of Warcraft, Blade Runner, Lands of Lore, Earth and Beyond & Emperor.

David Arkenstone and his popular album collection are a broad array of ambient, Celtic, contemporary instrumental, world, electronic, and new age fusion. Diversity is a unique characteristic of David Arkenstone’s ingenious skills as a songwriter and his extensive music collection. He also performs live concerts with Seth Osburn and John Wakefield in his world music inspired band Mandala.

New Age Music World host John P. Olsen recently had the opportunity to provide a December 2011 interview for the internationally famous David Arkenstone. Today we are pleased to present their up-to-date interview conversation to David’s fans and to our site visitors weeks prior to the new year 2012.

David Arkenstone Interview;

John Olsen: Thank you for giving everyone a moment of your time David. Like your many fans, I too have been an admirer of your music for many years, so our interview together is especially rewarding to me personally.

I noticed at your website you appear to have a close connection with your fans by easy access and information for them at your website news page, Twitter and Facebook social networking pages.

Over the years, the internet and technology has influenced everyone to some extent, and new technology directly applies to the technique in which you produce music.

John: Would you like to begin our interview by telling us about your life as a musician in the early years, preceding the time when technology changed the way you produce music?

David Arkenstone: I had several different configurations of my rock band, Arkenstone. I played guitar and keyboards. I’ve always loved synths and used them in my music, as well as all kinds of different sounds. So I was doing that. Once synthesizers and computers started communicating, I threw myself into that world and never looked back. I was able to hear things I could only previously imagine.

John: Since computer technology or electronic music has influenced the process in which you compose, what has proven to be the most beneficial aspect of your electronic enhanced orchestrations?

David Arkenstone: That would be all the things I can hear at the same time. Like a fully orchestrated piece with percussion, strings, brass, woodwinds. Or if I’m doing a more non-orchestral piece, I can hear the guitars with the drums, keyboards, generally all the sounds I use. This is so beneficial to being able to shape the piece as I go. There is an endless amount of tweaking until I’m satisfied. This can sometimes take a long time!

John: Many of your releases have bold majestic themes and popular music influences. When composing, do you intentionally set out to merge many influences into your music compositions, and how do you achieve a proper balance of electronic and instrumental orchestrations?

David Arkenstone: I usually try to start with a concept that resonates with me, and then decide which aspects of that concept I would like to illustrate with music. After the pieces begin coming out, I figure out my ‘palette.’ From that I can find a balance of sounds and decide which elements can be computer generated and which should be live musicians. This period includes a lot of exciting exploration.

John: Along with your Echoes of Creation Soundtrack & Ambient World releases, don’t you have a varied collection of Celtic songs?

David Arkenstone: Celtic Journeys is a compilation of my Celtic inspired recordings on the Green Hill label.

John: In your diverse music collection, Visions of Christmas is another relatively new release. With the holiday season drawing nearer every day, perhaps you could tell us about the songs on Visions of Christmas, and how your holiday album was produced?

David Arkenstone: I love the holidays and have been doing holiday concerts for a long time. This album came about because I was playing a lot of arrangements in our Winter Solstice concerts that I’d never recorded.

I really wanted to do another Christmas album and my producing partner, Victoria Paige Meyerink, suggested we combine the concert tunes with some of my favorites for Visions of Christmas. We’ve also filmed several of the concerts and we’re working on a DVD of the Winter Solstice Tour.

John: Again, I am very familiar with your entire discography David. Likewise, I am confident the majority of people reading this interview are too. For those who may be less familiar with your variety of great releases, what 4 albums would you recommend to them as a starting point to begin sampling your discography?

David Arkenstone: Visionary, Atlantis, Myths and Legends & Ambient World.

John: Yes, I certainly agree your 2 disc collection of songs on Ambient World is an excellent choice. This is one of your new albums I would recommend to everyone too. Earlier, Victoria Paige Meyerink informed me that Ambient World was listed in the 25 Essential Echoes CD’s for 2011. In your diverse music collection, I find many of your albums “boldly adventurous” if I can phrase it this way. Many releases including Eternal Champion & Quest Of The Dream Warrior are best described as having epic or majestic themes. Do you begin a project with a predetermined theme or does a project’s theme define itself later on while you are composing?

David Arkenstone: I usually start with a thread of an idea, though also it can materialize after I’ve composed several pieces. That can generate ideas for me, or a more specific direction.

John: You have composed numerous music recordings for film and television like the History Channel, Discovery Channel, NBC Sports and others. The Echoes of Creation soundtrack you produced with Emmy award winning director Jan Nickman is another example of your outstanding film scores.

In addition your numerous computer gaming scores like World of Warcraft, Blade Runner, Lands of Lore, Earth and Beyond, & Emperor. What are some of the challenges and dissimilarities involved with soundtrack, film and gaming scores verses composing music for an album?

David Arkenstone: A music album is completely free. I think of the road I want to go on, what instruments I want to use, and all of the final outcome. With a project involving another person’s vision, I have to determine the palette, style, and mood that will best fit the project. Then I have to please my collaborators and make sure all the elements work together.

John: Would you tell us about your world music group Mandala?

David Arkenstone: I recently started this group with a couple of my friends, Seth Osburn & John Wakefield, to perform more world music inspired pieces that are more improvisational in nature. Some are very danceable, and some are very moody, but all of them have a spiritual aspect. Mandala is evolving and we recently filmed a concert. We will be releasing footage once it’s fully edited.

John: In addition to your numerous album releases, you have been a concert performer for many years, including the renaissance festivals earlier this year. Would you like to provide some details about the musicians who perform with you, and what one can expect when attending a David Arkenstone concert in terms of atmosphere, interaction, and songs you play?

David Arkenstone:  It’s fun to step back in time. Basically, it’s me and the band without synths and sometimes little amplification. We’ve been invited to several Renn fairs and enjoy being in costume and playing some of my Celtic inspired works.

A lot of the World of Warcraft fans attend and I really love performing live to such enthusiastic crowds. It’s a relaxed atmosphere and I have the opportunity to meet with people who’ve been following my career – one person saved tickets from one of my first concerts, brought them to the fair and asked me to autograph them! People bring all sorts of memorabilia.

John: I heard the news you have plans for a new David Arkenstone album with a release date sometime in 2012. Do you have an album title for your new project, and can you tell us about the music you have in mind for your new release for 2012?

David Arkenstone: Well, I’m not ready to say too much about it yet. There are vocals, lots of drums and orchestra, as well as all the other instruments I play. I’m very excited about it. The album is collaboration with Charlee Brooks, a wonderful singer and writer, and it’s one of the most rewarding experiences of my career. We have written it almost as a soundtrack.

John: You have a large international fan base, and you have enjoyed a successful music career practically your entire life. What do you find the most rewarding experience as a professional musician?

David Arkenstone: That’s simple, the most rewarding aspect is that people enjoy my music and because of that, I get to do what I love every day. I’ve been lucky to make music that resonates with so many people, and their support and kind words make every day a musical joy.

John: Your new website looks fantastic! It’s easy to navigate too. I know you have a new album project you are working on and a busy schedule so I want to thank you again for letting me host your most current interview David. It has been a privilege to provide today’s news coverage about you!

I will publish more articles about you in time but do you have any departing words before we close for now?

David Arkenstone: Just that I appreciate your support of music and your efforts to connect musicians with the listeners. I hope everyone will enjoy my new 3-D website and follow me on Facebook and Twitter.

Visit the new davidarkenstone.com website and purchase his music at David’s online store or find at David’s profile page at  domomusicgroup.com. Discover more fine artists at domomusicgroup.com homepage and read my David Arkenstone page. Interview photos are courtesy David Arkenstone.

Multi-platinum pianist Jim Brickman is one of today’s most beloved artists whose selection of romantic piano and Christmas music spans across a wide variety of popular music genres. With 6 of his albums acquiring Gold and Platinum status, it’s easy to see why Jim Brickman is a prominent celebrity in the popular and new age instrumental music genres. Likewise, he is renowned as the greatest pianist in the Adult Contemporary genre category, having charted more than any other male performer.

Jim Brickman is a highly recognized entertainer and recording artist who has thrilled millions of people for years with his award winning collection of popular piano music which can range from solo piano, popular, mainstream music, adult contemporary, and a wonderful selection of Christmas albums, many of which are available in CD and DVD formats.

With 6 Gold and Platinum albums, 2 GRAMMY® nominations, and 30 chart topping adult radio hits, Jim Brickman is accustomed to prestigious awards and recognition. Along with 2 SESAC Songwriter of the Year awards, a Canadian Country Music Award, and a Gospel Music Association Dove Award, he is tied for the most #1 albums in Billboard’s New Age charts. Presently listed in the Top 10 of Billboard’s New Age Charts are three of Jim’s albums; All is Calm, Romanza, & Love.

Jim Brickman is likewise cherished for his countless album collaborations with other popular celebrity artists, some of which include Lady Antebellum, Kenny Loggins, Martine McBride, Olivia Newton-John, Donny Osmond, Carly Simon and Michael W. Smith. During the course of his lengthy career Jim Brickman has become a household name, having crossed over into mainstream piano music that is adored by millions of people worldwide.

The Christmas holidays are a special time of year that symbolizes another period in time when people often associate Jim Brickman, and his special variety of piano instrumental Christmas music. Currently Jim is beginning his 2011 Holiday Concert Tour in the continental U.S. Also recognized for his humanitarian efforts, Jim is involved with many charitable foundations dedicated to improving the lives of children and their families, including Autism Speaks, UNICEF and Camp Heartland.

New Age Music World host John P. Olsen had an opportunity to interview Jim Brickman at the very start of his opening Christmas Concert Tour in 2011. Today we are pleased to present their conversation to Jim Brickman’s international fan base and to our global site visitors.

Interview with Jim Brickman;

John Olsen: Thank you so much for accepting my interview invitation Jim. I realize this is an especially busy time for you. It is truly a privilege to be the host for your most current interview. Currently you are about to begin your 2011 “A Christmas Celebration” Concert Tour, which has numerous concert venues in major cities throughout the continental U.S.

John: When traveling across the country on tour with full entourage I imagine the excitement of every performance takes a lot out of you, and the entire team. How do you and everyone on the team re-energize and prepare for the next concert?

Jim Brickman: Each city, theatre and audience is different. Knowing this helps keep the performances fresh and exciting. It really is like celebrating Christmas every day.

John: During your Christmas Concert Tour in 2011 you have special guest vocalist Anne Cochran and Ben Utecht, with violinist Tracy Silverman. I have heard these artists on your YouTube videos and must say you have a great team Jim! Would you like to tell everyone about the exceptional artists who will be performing with you during this year’s A Christmas Celebration Concert Tour?

Jim Brickman: I’ve been performing with Anne Cochran and Tracy Silverman for many, many years. Anne and I met in high school. I look forward to performing with her, not only because we are close friends, but because she has a beautiful voice and a great personality.

Tracy is a brilliant musician who adds a dimension to my concert that you don’t normally expect to hear. Ben Utecht is new to the tour, but may be a familiar name to NFL football fans. He was a member of the Super Bowl Championship Indianapolis Colts. He has a powerful voice that brings new meaning to familiar songs and old favorites. Ben has a large presence on stage, and he wears his Super Bowl ring!

John: How many seasons have you held Christmas concerts to date, and how do you determine which of the many exceptional artists to choose from will be performing with you? If it is not a secret, can you tell us some of the Christmas songs concert attendees will hear during your 2011 season?

Jim Brickman: This is the 16th year of the holiday tour. I will be playing holiday favorites and a few songs from my latest CD Romanza. Plus the hits, because everyone wants to hear the hit songs. I hope for a few hours the audience can wrap themselves up in the holiday spirit through my music.

John: Over the years you have been Grammy nominated, won countless music awards, in addition to 6 of your releases attaining Gold and Platinum status. It is obvious people adore your music Jim. Do you feel there a specific element about your music that you feel has helped you achieve worldwide popularity?

Jim Brickman: As I write music, I think about where people will be listening to it, and how it will make them feel. Because the majority of my songs have no words, people can listen, apply it into their own lives, and take away what they need to hear.

John: I am confident most people reading this interview are familiar with your music. For those people who may be less familiar with your many albums, what albums would you suggest for a starting point for them to begin sampling your music?

Jim Brickman: If You Believe is my signature song and I think it also best represents my “sound.” It symbolizes my dream of composing and performing, and the belief in myself to bring it to fruition. It’s on the CD Picture This.

John: From your great selection of Christmas music CDs and DVDs, what would you recommend they sample or purchase?

Jim Brickman: That’s like asking which is your favorite child. I have a new CD called All Is Calm that’s available at Target.

John: You have been a successful musician nearly your entire life. Knowing there are other artists reading our interview today, can you give any advice or offer a helpful strategy to those artists who are just beginning their music career?

Jim Brickman: Listen to many different artists that you enjoy and admire. Hear what it is in their music and lyrics that speak to you. Then when you sit down to write, adopt what you like from other elements and make it your own.

So many pianists tell me “Everyone says I sound like Jim Brickman. How do I start my career?” Well, there’s already a Jim Brickman, so I tell them the best way is to create a new, unique sound. Find places to be heard. And don’t be afraid of rejection. Find places to play and show off your talent. Start small and get your style and personality known so that you can grow your career.

John: In regards to your talents as a pianist, would you say you have natural born talents as a pianist, or has it merely taken practice and dedication to reach the level of expertise you have achieved?

Jim Brickman: I started playing piano when I was 4. I begged my parents to buy me a piano. So, that part was natural. I had a lot of piano teachers growing up, and they all wanted me to play in what I call “their style.”

It wasn’t until I studied at the Cleveland Institute of Music, that I found a teacher who helped me develop my own style. It evolved out of my classical training and my love of pop music. That’s what you hear today.

John: You have collaborated on numerous projects with famous artists like yourself over the years. Would you like to tell us about your experience while working with esteemed artists like yourself?

Jim Brickman: I love writing with different people because each one draws something new out of me. As I write I hear a specific sound singing the vocals. I love using new voices that may not be familiar to listeners because they come to me with an eagerness and fresh energy. Of course, many have gone on to become household names like Martina McBride and Lady Antebellum.

John: When visiting your jimbrickman.com website I read you are offering a “Jim Brickman Escape Cruise” in 2013, where you and anyone interested can sail the Eastern Caribbean together. What are some of the cruise destinations you have traveled during your earlier vacation cruises, and what are some of the onboard cruise activities?

Jim Brickman: We have sailed all over the Caribbean, and the Mexican Riviera. Two years ago we took an amazing trip to Alaska, and this year we went to Hawaii. I do two concerts onboard, usually in a cabaret style theatre that lends itself to a more casual performance.

A favorite for the fans is the songwriting workshop where we actually write a song with the help of the audience. My parents have become a popular addition to the cruise, and we have a Q&A session with them where they tend to say more than they should! There are casual get-togethers where we all just hang out.

What’s really cool is that a lot of the same people who come back year after year and have made lifelong friends that they continue to travel with.

John: I saw at your website the CDs and DVDs items in your Christmas store section are generously priced at $10 and under. Even your newest releases Romanza & All Is Calm CDs are on sale. Would I be correct in saying Christmas is a very special time for you, and could you tell us why Christmas holds so much significance to you personally?

Jim Brickman: This may sound corny but, what makes Christmas so special to me is the music. We hear the same songs year after year. They create memories that tie generations together.

The old songs are sung in their original form or updated versions, but the message is the same. And sharing that with audiences every night is a wonderful gift I can share.

John: You are also involved with many charitable foundations for children. Would you tell us about your work as a philanthropist?

Jim Brickman: I try to get involved with charities that are affected by my music. When I heard that children with Autism responded to my music, I got involved with Autism Speaks. After Beautiful World was released, we raised money for UNICEF.

People tell me how my music has helped them through chemotherapy, and really hard times in their lives. It important to me to help raise awareness any way I can. Also, a scholarship has been established at my alma mater the Cleveland institute of Music in my honor.

John: Do you have any news or information to pass along regarding any new album projects you may have or special events you will be announcing soon?

Jim Brickman: I produced a Carpenters tribute show called Yesterday Once More that is currently touring the US. I’d love to do more theatrical type shows, maybe even write for Broadway!

John: Thank You again for spending time with us by way of our interview Jim. I look forward to the day when I can follow-up by another interview together.

In closing for now, do you have anything you would like to express to the people who will be attending a concert this year, and the many fans that have supported you throughout your career?

Jim Brickman: I am most humbled by people who tell me how my music has touched them. You really can’t measure something like that that in awards and sales.

Visit the jimbrickman.com homepage and the Jim Brickman Store. Find more about the topics Jim mentioned like his Holiday Concert Tour schedule for 2011 & 2012, and listen to his radio program at brickhouseradionetwork.com. Read my pages dedicated to Jim Brickman. Photos are courtesy Kirkland Performance Center & jimbrickman.com.

Suzanne Doucet is an award winning composer, producer, recording artist, and conceivably the worldwide leading authority in the new age music industry today. Beginning with her early founding innovations in the new age music business while living in Germany, Suzanne Doucet’s extensive career which spans a number of decades has played a vital role in the New Age Music genre. This is a point that remains true today, and one that simply cannot be overstated.

Suzanne Doucet continues her important leadership role by specializing as a creative consultant to artists, producers and record labels, radio programmers, distributors and music retailers around the globe. The New Age Music Circle is another venue where people of all nationalities have an opportunity to meet Suzanne Doucet, and participate in open dialogue at the forum she hosts from her home in Los Angeles California.

The New Age Music Circle is an international online community forum and discussion platform where top new age artists, industry professionals, and music fans alike can share music, videos, post information about events and participate in forum dialogue that cover a wide range of topics. Suzanne Doucet’s Music Circle is the leading international forum where all interested people and artists have an opportunity to join and meet new friends, exchange ideas with one another, and find out more about many of your favorite artists.

In this comprehensive 2011 interview, review publicist John Olsen has asked questions that detail many biographical aspects of Suzanne Doucet’s life and early career, up to her present day leadership role for which she is recognized today.

Suzanne Doucet Interview;

John Olsen: Thank you for consenting to my interview Suzanne. People want to know more about you, and it is truly an honor to present your most current interview to your many fans, colleagues, and the over a thousand New Age Circle Forum members currently on the membership roster. As a forum member myself I recognize membership extends to people from all parts of the world internationally. Would you like to begin our interview by telling everyone about the Circle, in terms of how the New Age Music Circle began, its mission, and plans for the future?

Suzanne Doucet: Thank you John for giving me the opportunity to have this interview with you. I feel very fortunate to be able to express my views with someone so experienced and prolific like you. To answer your question about the New Age Music Circle, this is how it actually began. Many years ago, in 1987 when we, (my husband James and I) opened the first and only new age music store in the world in West Hollywood/Melrose district, I also started an organization called “The New Age Music Network.” This organization was designed to support our genre and to bring our community closer together.

Somehow our store very quickly became a busy center and hub not only for customers, but also for artists and industry people. It was a time when new age music became very popular and we had monthly gatherings and events in our store for the new age music community. This eventually expanded into the International New Age Music Conference in 1989. Two more conferences followed and the First New Age World Music Festival at the Wiltern Theater in Los Angeles. We also had New Age Music Awards. Our early members included Stephen Hill, Peter Baumann, Steven Halpern, Michael Hoppé, Peter Kater, Richard Burmer, Michael Stearns, Paul Horn, Jai Uttal, Steve Roach, Matt Marshall from Higher Octave, the Radio Station 94.7 The Wave, Suzanne Ciani and many others. During the recession in 1992 we had to close our physical store after 5 years but quickly took Only New age Music online. We registered NewAgeMusic.com in 1995.  However the New Age Music Network was dormant after our last conference in 1991 until 2008. Then in 2008 the idea surfaced to reactivate the New Age Music Network online and to reconnect with all previous members, along with many new members, so I started the New Age Music Circle under the Ning Social Networking site online at: NewAgeMusik.Ning.com.

I guess it was just the right time, because many of my old friends and colleagues including Frank Schenker, Lloyd Barde, Steven Halpern, Kit Thomas and Michael Hoppé asked me why don’t we reactivate the New Age Music conference. I thought before we reactivate the conference we have to recreate the “official membership organization.” Now in terms of reactivating a New Age Music Conference I am suggesting to focus more on an event. This could be the New Age Music Awards (NAMA) followed by the conference. These are our plans for the future. Many members of the circle have responded very enthusiastic about this idea. I hope we can manifest it in 2012 or 2013.

John: Sounds from the Circle is a 3-album collection of releases from Circle member artists who submitted their New Age, or related sub-genre music to you for the 2009, 2010, and 2011 compilation albums. Would you tell us about the 3 Sounds from the Circle releases?

Suzanne Doucet: When I started the New Age Music Circle, a lot of artists placed their music on their pages, and in order to be able to listen on a continuous basis I featured my favorite tracks on the front page at the Circle Forum. I was amazed how much new music and great new talents were there, whom I was not aware of. I thought that their music and the music of all circle members should be made available to a broader audience and should also reach the industry and the media. My friend Beth Hilton and I came up with a concept for an MP3 compilation versus a regular CD. We were able to lower the cost for the participants and expand the listening time as well as having an innovative approach that might catch people’s attention for our genre. I invited the artists of the circle to participate for a small fee and the response was great!

We also made the Sounds from the Circle I, II & III available on iTunes as a play list, so the general public can purchase the compilations and every artist is receiving digital download income. We are sending the compilations to the media and we are distributing them at major tradeshows such as INATS or MIDEM. Right now I am preparing Sounds from the Circle IV, which should be available in early 2012. We are reaching a lot of people and we are able to promote the music from the artists of the circle as well as the New Age Music Circle itself and last but not least, the New Age Music genre!

John: You have an extensive career Suzanne, which began during the years you lived in Germany.  What was your earliest introduction to music, and at what point did you decide to pursue a career in music?

Suzanne Doucet: The earliest introduction to music I can remember was singing a Christmas song on stage when I was 2 ½ years old. I remember very clearly standing there seeing the audience and singing this beautiful song which translated said: “I am coming from heaven to bring you a message.” Later I would grab any instrument and try to play it. I recall my mother teaching me how to play harmonica when I was 5 and later I was given a violin at the age of 8 by my grandfather, but I was not allowed to practice in the house where we lived. So, I would go into the forest and play there. When I was eleven I was able to practice piano and started piano lessons, which also included me starting to write my first compositions. I was very fortunate to have a piano teacher who was quite “new age” in her approach. The book we used in the lessons was called The Inner Listening. In the beginning I had to play one tone after another and listen to it until the sound vanished into silence. Only many years later I understood the value of those lessons and what a great teacher I had.

However I studied all classical composers and played Mozart, Bach, Beethoven, Schuman, Schubert, Chopin, Bartok and many more of the popular classical and modern composers. My mother who was an actress had the most incredible vinyl music collection you can imagine and played continuously classical, jazz, Folklore and what we today call World Music.

When I was 16 I lived in Switzerland. I really missed the piano and wished for a guitar. I taught myself to play the guitar and learned over 300 folk and pop songs in many different languages. I also started to write my own songs and when I moved to Munich Germany and later to Paris France, I would sing in clubs, in the streets and parks. I was also very involved in painting. My family always thought I would become a painter. I started drawing when I was 3 and painted in oil and aquarelle later until my music career took over and I concentrated more on composing, writing and performing. I actually sold a few paintings at the age of 16 and financed my “independence” by moving to Munich Germany on my own without any financial support from my parents!

John: Early in life as it turned out, you became a very popular artist who achieved rock star status with several #1 hits in the 1960’s and 1970’s. Would you tell us about this period in your life, and the effect this had on your music career from then on?

Suzanne Doucet: It was really not my intention to become a recording artist. It just happened. I went to Munich to go the Academy of Visual Arts and I was planning to maybe go to acting school as well. However I missed the enrollment and made a living partially with selling newspapers in the arts quarters of Munich, mostly in the evenings in clubs. It was much easier to sell those papers when I sang a few songs with the bands.

There was also song competitions going on every week and I won first place most of the time, which got me my first job as a singer in an American Forces Night Club. That was a great training because I had to learn 40 plus American standards (songs) in two weeks and I had to play percussion, guitar and sometimes piano in the band. A few months later a colleague of my mother asked me if I wanted to do an audition for the main German TV station NDR in Hamburg. They were looking for completely unknown talents and planning a series of improvised shows. Improvisation was one of my passions and I loved to do standup comedy, sketches, and improvised scenes.

I went with a very talented young actor and friend Martin Luettge, and we had no expectations whatsoever to get the gig. We were very excited just to have a chance to see a television studio. Actually that was much more important to us. We were very surprised that we were the only ones invited, and we had a contract for two years in our pocket when we left. That first show was a success and a few other TV shows followed. In the same year I received an offer from a record company to do a single. I wasn’t too crazy about singing German pop songs, but I made a deal with Leif Kraul who was the president of Metronome. If I had a hit record I would then be able to record an album with my own songs. He agreed to my proposal not knowing that my second single (the German version of the U.S. hit Be my Baby) went to the #1 charts in Germany. After 2 subsequent hit singles I went to Leif in 1965 and asked him about our agreement. He was not too happy about it and said that “we should not confuse the public now.” This was his way of saying no. So, I offered to produce my first album myself, and with my own money. The only condition was that Metronome would release the album. He agreed, probably thinking that, I would never do that but six months later I put the finished master on his desk. That was the album Rot wie Rubin. This changed my status in the entertainment industry in Germany completely.

John: I found your career as an actress and television entertainer very impressive Suzanne. You were in fact a star! I read during your role as entertainer and hostess for popular, prime time television shows in Germany and Switzerland, guests on your prime time televised programs included the famous superstars; Bee Gees, Grateful Dead, Keith Emerson, David Bowie, and many more star celebrities. Do you have some memorable stories you would like to share while you were an entertainment hostess, and would you tell us all about your career as an actress?

Suzanne Doucet: I always worked as an actress throughout my career which included plays, theater and musicals like Godspell with Donna Summer in Munich, TV-Plays and doing voice overs, directory assistance, script and film editing. I also started directing and producing when I was 19 – 20 years old. Because of my mother being an actress, mostly theater, I performed on stage very early at age 11 and played my first main role on stage when I was 17.

Pretty much everything I did in my career happened unexpectedly. All of a sudden I found myself a singer, appearing in major TV shows next to celebrities and being on cover pages, getting hundreds of fan letters per day. It was a great time and I took the opportunity to learn as much as I could, but I was never really attached to this world of glitter and fame.

Something in me was always pointing to a deeper reality and my vision was to express those thoughts and feelings through art. One of the greatest opportunities for me was that I could travel the world through my ability to perform and enjoy experiencing many different countries and cultures. I came to the U.S. for the first time in 1968.

My main interest was not to be in the spotlight, but to produce and direct. I had a passion for film as well. My vision of an ideal art form was music combined with visuals. So, I took every opportunity to learn wherever I was. While shooting TV shows I studied what the camera was doing, went to the editing room and discussed production topics with the producer and director. How can entertainment be improved? How can we bring in more quality and important messages?

Swiss and German TV asked me to become a host in their top music shows and I happily accepted. Being a host for 2 of the most popular European shows at the time was another opportunity to do things differently! I was able to co-create the concepts of the presentations in the format of innovative sketches and of course there were many interesting encounters with great artists, managers, musicians, directors and industry executives. One of the shows I did was in Switzerland was called Hits a gogo. It was a live TV show, which I liked much more than taped shows. There is something amazing for me in the “irreplaceable moment” and the uniqueness of “this is it.” Even if the walls are falling or someone is not showing up in time, which happened in my shows several times, you have to pull through. It is like playing theater or performing on stage. You never know how it will turn out and that brings in the magic. I had to speak 4 languages in this show. German, French, Italian, and English. I think the funniest show was one in which I addressed the UK artists in Italian and the French guys in German, the German artists in French and the Italian artist in English.

I remember having David Bowie in 1968 with his first hit Space Oddity in my show and the progressive rock group Yes and so many other great performers. Unforgettable was for me Keith Emerson with his group The Nice as my guest in the first color TV show in Switzerland. He played the song America. It was an awesome performance! You can see this video on You Tube. Several years later I saw him again with Emerson, Lake & Palmer in New York, at Madison Square Garden. That was one of the greatest concerts I have ever seen in my life!

John: Early on you established your own record company (Isis Music International) and had introduced new age music in Europe for the very first time by songs from your album entitled In Essig und Oel. In fact, many of your songs and albums like Red as a Ruby & Reisefieber were very innovative. Could you tell us about your groundbreaking songs, albums, and releases you produced with other artists?

Suzanne Doucet: Yes, after having been signed to various Indies and major labels of Metronome, Liberty, Prom (CBS, TELDEC), Phillips and EMI. Still struggling with the industry about quality and commerce, I finally decided to start my own label. My first release was my last album as a singer with what you could call “new age songs” in 1979. I was singing songs about my own “spiritual journey.” This endeavor was quite successful and I received a lot of applause from the audience, the media and the industry! I was organizing my own PR, radio and retail tour, which was challenging. But most of the TV and radio hosts were supportive and embraced the idea that an artist would start their own label with enthusiasm. I was able to get onto the music charts and do well with my first release Reisefieber, which was also my last album as a singer.

I had started already in 1970 to break out of the traditional pop format by releasing a psychedelic Krautrock adventure on Phillips. A triple album called Zweistein (artist/group) Trip, Flip Out, and Meditation. You can see from the titles where I was heading. I went from psychedelics to spirituality like many other colleagues from my generation. In 1974 I recorded In Essig & Oel which was my first album with new age songs and poetic songs describing a deeper meaning of life and searching for truth.

Musically I believe that I was fortunate to always work with the most outstanding musicians, arrangers and sound engineers. And as a producer I always pushed the envelope. The result was that these productions stood out and received raving reviews for what they were. You could not really compare my albums with anyone else. That was on one hand a great advantage on the other hand seemed an obstacle for the industry. They could never seem to place me in one particular category.

I was always looking for the best possible way of expression and I never liked to conform to certain preconceived ideas or concepts. This was already apparent in my first album production Rot wie Rubin with Rio Gregory. The best description for this album is probably “Ethereal, Poetic Songs and Sound Paintings.” These elements always remained in my albums. I was looking for something new and innovative, and later with artists such as Christian Buehner, Gary Miraz, Chuck Plaisance or Tajalli, I explored new sounds and new ways of composing, performing and recording in the instrumental world of new age music.

John: You have numerous collaboration and solo albums, many of which were groundbreaking at the time like we have talked about earlier. Of your latest recordings and re-releases, what are some albums you would suggest people to sample, for those who may not be as familiar with your music?

Suzanne Doucet: My first collaboration with Christian Buehner was the album Transformation in 1982. From my solo albums I would recommend Reflecting Light & The OM Sound. With Tajalli I recorded Tantra Zone and with Chuck Plaisance over 40 albums of Nature Sounds and Nature Sounds with Music. I would recommend The Sounds of Nature Sampler and the Tranquility Series Sampler. Resonance with Gary Miraz is one of my favorites because it was created so effortlessly. Sireena in Germany recently released a compilation of my singer, songwriter era. The album is called Wo sind all die schoenen Jahre. It has songs from 4 albums. The songs can be sampled at Tunes.

John: You moved to California in 1983 and later founded the very first new age music retail outlet store in the world called Only New Age Music. Would you tell us about your business experience and events during this time in your life?

Suzanne Doucet: The idea to open up a store dedicated to the New Age Music genre came from my own experience by having to go to 5 different stores to find 5 different albums. I thought there should a place where people can find everything they are looking for in new age music. My husband and daughter Natascha, who was 7 years old at the time, drove cross-country twice and we visited every bookstore and every distributor of new age music we could find in 1983 – 1984. We also visited and met with many artists and upcoming record labels. We went to new age communities and centers and shows like the Whole Life Expo and others. It was exciting for us to see that there was a real community, much larger than in Germany or Europe at the time. We started selling our own cassettes from Isis Music in Venice at the boardwalk in 1986 and we wanted to expand into a retail outlet. It took us 6 months to find the right place. My son Shaman was 6 months old, and Natascha was 10 years old when we sold cassettes at the beach.

John: I read many customers of your Only New Age Music store were famous celebrities. Steve Martin was one celebrity. Who were some of the other regular patrons of your business?

Suzanne Doucet: Robert Redford, Sylvester Stallone, William Schatner, Prince, Sonja Braga, Shirley Maclaine and many others. They all bought new age music from our store for various reasons. I guess we had opened the store at the right time in the right place. The day after our official opening we had the LA times, Billboard magazine, Eyes on LA, CBS News, and in the weeks and months following, Japanese and European Television as well as Life Magazine and many more. Two months after our opening the mainstream Radio Station KTWV – The WAVE started playing new age music and sent every listener who called our way. We were able to co-sponsor concerts with The WAVE like Suzanne Ciani at the Roxie (which was a FIRST) and so we became the center hub for new age music. It all just happened naturally.

John: Another first you are credited with is your production and direction of the very first 3 international New Age Music Conferences. Plus you organized the very first New Age World Music Festival featuring 22 international bands and musicians in Los Angeles. Please Suzanne, would you tell us all about your leadership role in these historic events involving the New Age Music genre?

Suzanne Doucet: As I mentioned before the new age music network that was formed in 1987 evolved into these conferences and the concert at the Wiltern. I had this vision that the public did not really grasp the multitude of diverse influences from various cultures and musical styles that new age musicians would incorporate in their music. I felt a concert bringing as many different expressions of this music on stage would be the driving force behind the idea for the store, for the conference, and the concert.

John: Today during your present position as marketing strategist, consultant and online retailer, you assist hundreds of musicians, producers, record labels, radio and radio programmers, and music retailers. It seems you offer assistance to nearly everyone! This is a really broad question but would you outline your responsibilities, professional services you offer, and the corresponding websites?

Suzanne Doucet: I have been assisting other artists and record labels with the help of my husband James since 1987. Because I have a broad view of the new age music market being an artist, publisher, label owner, retailer, promoter and producer myself, I can put myself almost into anyone’s shoes. I am very often looking at campaign strategies from various aspects to make sure it works for the artist, but also for the media person, the retailer or the distributor. Whether we are talking about production, packaging, promotion, sales or advertising it has to work for everyone involved. Many artists see everything from their own perspective only, so I am coaching them and assisting them in whatever their project is.

I have been very fortunate to work with amazing talents such as Alex de Grassi, Patrick O’Hearn, Liquid Mind, Omar Akram, Christopher Franke (TG), Paul Avgerinos, Golaná, Ray Leonard, Michael Hoppé, Fiona Joy Hawkins, Lia Scallon and Hennie Bekker, to mention a few. I also worked with various record labels in the capacity of a creative consultant.

I assisted Soundscan with their New Age genre definition and programmed several DMX music channels. What I am offering is assistance with audio and video production, packaging, graphics, promotion and marketing. I provide innovative ideas and new solutions in any area of the project. You could also call me a project director and/or project manager. I believe one of the most important aspects of my work is that I fill in the gaps. I usually find out very quickly what is missing and help provide the missing components. My strengths also involve strategy, campaign planning and looking for creative ways of enhancing a project. I love graphic arts and filming. Whenever needed I create artwork, and together with my husband and Beth Hilton to produce videos, interviews and visual music clips. You can see some on YouTube.

I still don’t have any formula and look at every project with fresh eyes. I work with a team of professional promoters, marketing experts and distribution channels. I believe I am quite flexible with my services and I am willing to talk for an hour with someone and give him or her, the information he or she can use with no strings attached, or work on a continuous basis, monthly, or sometimes for years. One of my clients has used my services for almost 20 years on and off. I can take on tasks myself and do work for the artist but I prefer that the artist learns everything I know, so they can do it themselves and they won’t require my assistance anymore.

John: I read you serve on the GRAMMY® committee. If the NARAS (National Academy of Recording Arts and Sciences) guidelines allow, can you tell us your role while serving on the GRAMMY® Awards committee?

Suzanne Doucet: I am not allowed to specifically talk about my role at NARAS (National Academy of Recording Arts and Sciences), but I have to say that I enjoy very much what I am doing there for the past 25 years.

John: Your career so multifaceted and diverse Suzanne! I am sure there are many topics I am leaving out. Is there anything you would like to tell about yourself?  Perhaps you could tell everyone about the recognition and achievements you have been honored with during your career?

Suzanne Doucet: It might be important to mention that through immaterial gifts from my parents I was able to learn a lot very early in life which enabled me to have trust in whatever I was doing. My mother being an actress introduced me from infancy on to theater, art, music, literature, philosophy, healthy living, yoga and metaphysics. My father, a Jungian Psychologist introduced me early on to the most important questions in life, for example who I am, what life is all about, and how can find understanding of this existence. Without them I would not have been able to accomplish the various things I did in life, so I am very grateful to my parents for their support.

I would also like to mention that I was always conscious of the spiritual reality as long as I can remember, but never attached to any religion or group. I studied many spiritual traditions and I also studied psychologists such as C.G. Jung. Through my father’s (Dr. F.W. Doucet) studies in parapsychology, and super learning in the late sixties and early seventies I slowly integrated metaphysical elements into my work, and that’s how I really came to create new age music. My father inspired me to study Pythagorean Harmonics, which to me is one of the most fascinating subjects on earth and this study naturally gave me the understanding why music created with a certain consciousness and understanding is so essential for everyone on this planet.

I also have to thank my musical mentor Rio Gregory, an incredible pianist, arranger and composer whom I met when I was 16. He guided me musically for many years and we wrote many songs together. Also Anja Hauptmann, my lyrical collaborator and best friend was instrumental in many ways. There were numerous other friends and colleagues who inspired the work I am doing and every one of them has a place in my heart.

There were a few awards. I remember in 1966 I won second place at the Song Festival in Knoggke, Belgium. I received an award in Italy even earlier in 1962, which was the Golden Margharita in Viareggio Italy, and there might have been a few other festivals in Europe. In the U.S., I received a Silver Award for best Music Video at the Houston Film and Video Festival for Starflight, a visual music piece produced and directed with Christopher Toussaint. I received a COVR award for Feather on the Wind – an album a co-produced with Golaná. I also wrote the title song and won an award for Best Mediation and Best Electronic Album for my collaboration with RAY (Ray Leonard). The album is called Celestial Touch.

John: Thank You again for taking time out for our interview Suzanne. I trust we will find time to interview again in the future. For now, is there anything you would like to express to your fans, colleagues, or Circle members?

Suzanne Doucet: Many thanks to everyone I was able to meet, and for sharing their music and experiences with me. I am blessed to have met so many wonderful people in my life, many of them in the new age music community. I love my fans, colleagues and Circle members. I am grateful to be part of such a creative and talented community, and I truly do not perceive myself so much as the doer but more as an instrument among many others in this fabulous orchestra of existence. Thank you too John for this interview.

You can visit Suzanne Doucet & Circle members at NewAgeMusik.ning.com & her personal SuzanneDoucet.com website. You can find more great music for sample or purchase at her NewAgeMusic.com & NewAgeUniverse.com sites. Visit her YouTube Channel & her New Age Music Channel and my Suzanne Doucet page. Photos are courtesy Suzanne Doucet.

NewAgeMusicWorld.com is honored to be a helpful source of information

I have 19 interview publications at New Age Music World presently, plus I have several interviews scheduled with artists almost everyone will recognize. I will keep these esteemed new age musicians a secret for now, but I do want to tell you about my most recent interview. While my name is far from a familiar name, the site host for The Music Explorer, Alvaro Villa André from Spain requested an interview with me. During my interview I answer his questions related to the great musicians I feature at New Age Music World.

The interview with John Olsen if anything gives insight about my responsibilities as a site host and the artists I represent. I am not here to promote myself so I basically give my viewpoint as an artist representative and music site host. Rather than publish this interview at my website, visit The Music Explorer to find out more about my responsibilities if you would like.

Visit the-music-explorer.com homepage and read Alvaro Villa André’s – Interview with John P. Olsen, plus you can read his New Age Music World pages. Then read my musician interviews with today’s best artists. Two future editorials I have are a “Best Christmas Albums” and “Best New Age Music Albums in 2011” articles, so visit New Age Music World again soon.

Coburn Tuller from Springfield Missouri is a New Age artist releasing an innovative new album that is capturing the attention of many review publicists, and the buying public upon its initial release. One reason for the increasing interest given to his debut album is undeniably the relaxing qualities of his music. Another reason could be related to the unique melodic intonations heard on his first album which were produced from a musical instrument he invented and has named The Tones.

Coburn Tuller’s first album release is entitled Butterfly Tones. It is a rare occasion when an artist can discover a completely new and original sound identity for themselves, but this is the given circumstance with Coburn Tuller.

The exclusive Butterfly Tones release which features 9 songs of melodic bell timbres has proven to be an innovative source of musical harmony, and one of the most original arrangements available in recent memory.

New Age Music World host John Olsen recently had the opportunity to meet Coburn Tuller in person for their interview which covers topics about Coburn’s first release and his one of a kind instrument. Included are accolades of praise made by some of the industry’s top New Age review publicists. Music World is pleased to present this interview to Coburn Tuller’s fans and to our site visitors.

Interview with Coburn Tuller;

John Olsen:  It was truly a pleasure to meet you and your family for the first time Coburn. My wife and I also had a great time meeting some of your friends and the impromptu concert you performed for everyone on the unique instrument you invented and have aptly named The Tones.

Coburn Tuller:  Glad you enjoyed it. It’s always a pleasure to have good friends over and playing the Tones is always fun.

John:  Would you like to begin by telling everyone the circumstances of how your idea for The Tones first began?

Coburn Tuller:  It was during one of my midnight walks when I heard the sound of wind chimes wafting through the evening air. I’d heard the tinkle-tinkle kind of chimes before, but these were the new generation of beautiful sounding wind chimes that had just come out. That was in October of 1996. The nest day I was passing my favorite metal store and just cruised in to see what they might have in the left over bin. Among the chunks of aluminum was a round tube that when struck with a mallet sounded for almost 2 minutes. I was mesmerized. So I went back to get some more and soon had 7, then 14 and then 20 Tones to play and experiment with. Thus began 12 years of various designs and many detours until the present set emerged.

John:  Our interview together includes pictures of your instrument, but to give everyone a better idea of what is involved, could you describe the materials and dimension of The Tones?

Coburn Tuller:  The present set was completed in 2008. It consists of 90 tones of aluminum and brass ranging from 7 in. to over 6 ft. in length. The three wooden pyramid frames are slightly over 8 feet high and the entire set is 7 feet deep x 9 feet across. All together is weighs almost 750 pounds.

John:  You were telling me that over the past 15 years you have devoted a lot of time perfecting your instrument which must have been a real challenge at times. What were some of the early prototypes like, and could you describe some of the challenges involved with fabricating a new musical instrument?

Coburn Tuller:  There were a variety of early designs. At first I simply suspended each Tones in cradles of fishing line at each node. After a few months I rigged a set of 25 Tones into a frame with two layers, one on top of the other like a marimba or two layer amadinda. I tried simply bolting the Tones in place but found that they had almost no ring at all, so I went back to the string idea experimenting with various types of cord and eventually went back to heavy duty fishing line for this model. I played this design all through the first winter and following spring until I had more time to experiment.

I next tried other kinds of metal, copper, aluminum conduit and stainless steel-whatever I could find at the salvage yard. The stainless sounded more like hitting a pipe but the other two had promise. Mind you, I had to work my normal business as a set builder so there were weeks and even months when we had a big set to build that I had absolutely no time whatsoever for Tones.

I suppose the biggest prototype was the five layer instrument I began around 2000. It was to have 2 layers of aluminum thick wall, one of aluminum conduit, one of copper and a fifth of brass if I could find it at the scrap yard, which was where a good portion of the metal came from.  I did get the first two layers built including the damper system designed to allow the Tones to be muted by degrees depending on how hard you pressed on the pedals. But I suspended the project when it failed to ring like I knew it could if only I could build it correctly. You see, the main impetus has always been the sound and even when other people would complement me on the sound it made, I always knew there was another dimension of sound in there somewhere.

About this time I noticed that I was playing one note more than any other. At first I thought I just liked the G tone best, but eventually I noticed that particular note had vibrato as well as sustain. This caused me to rework the entire set and replace every note with one that had vibrato. Quite the chore since only one in 5 or 6 Tones has that quality.

In 2002 we started a yoga studio and I built a set of 7 Tones that hung vertically from a simple sweeping Zen type frame. We used it for om meditations before and after yoga practice. It was a little tricky since the Tones would swing and clang together if you were not real careful how you struck them. One day, one of the strings broke and the Tones crashed to the floor. In frustration I asked my then sweetheart Ellen, “What should I do now?” She leaned over and peered at the wreckage and said,”What if you hang them horizontal.” Brilliant! Then I saw that they could have a pyramid shaped frame and I was off and running in the direction that led to the present set. It took another 2 years to build the first pyramid set and an additional 3 more years for the other two pyramids, but the sought after design was finally coming together.

The biggest challenge all along has been that there is nothing else like it so I had no one else’s experience to go on. I just had to keep at it until either I stumbled upon the right course or, as so often happens, someone else suggested something that turned out to lead to the best way to do it.

John:  Was tuning each aluminum tube to a true pitch one of the most challenging aspects, and could you tell us the tuning scale or harmonic pitch of The Tones?

Coburn Tuller:  Tuning was very involved. I had design a tuning device that consisted of a strobe tuner like what piano tuners use along with a frequency counter so I could know exactly each tone’s vibration. I would cut and listen, then trim by degrees until the note was right.

Shaving off too much, even the thickness of a sheet of paper, meant the Tone was too sharp and went to recycling. Even shooting a coat of clear finish on a Tone could make it sharp. My final method was to rough tune, finish, then fine tune and hope I didn’t go over. All in all, to get the 90 Tones I have now, I have been through more than 600 pieces of tubing.

The scale, too, is tricky because I wanted to tune to what is called Just Intonation, the scale that early classical music was played in and that is closest to the vibration of the major chakras. That way, the Tones would have a healing and relaxing effect. Since no other instrument is tuned to this scale, that was also a rather involved process.

John:  I can see how involved the development has been. Now we have a better idea of the instrument you performed on for your first album entitled Butterfly Tones, could you tell us your early music history and educational background in music?

Coburn Tuller:  I started playing guitar as a young teenager and especially liked open tunings.  I built my first dulcimer at age 17 and even made a few for sale over the years. In 1978 I joined a Belly Dance Troupe called Arabesque. I was the leader of the band on a special two neck dulcimer/guitar instrument I fashioned from my Grandfather’s old Harp Guitar.

In college I took up piano and synthesizer as part of a music and dance major.  In 1979 built a special 3 neck dulcimer I called the Dulcitar, following that in 1982 with a Yang Chin or Chinese Hammer Dulcimer, both of which I used to write the music for some of my dances and video pieces while at the university. I also wrote the songs and incidental music for a children’s production while there.

John:  Knowing your earlier experiences as a musician, was it easy to make a transition and begin composing music for a completely new instrument, and how did you compose the music for your first album?

Coburn Tuller:  Actually, I originally thought I would build and sell Tone Sets, but there was always one more improvement to make and when I had the present set completed, the music just started coming through. Fortunately, I had done recording before so it wasn’t a completely new and overwhelming proposition. It did take almost 3 years, however, to compose the 9 tracks on this CD. Sometimes it was merely waiting for inspiration but often I would get a new idea while fine tuning a particular note or I would hear a train whistle in the distance and hum a counterpoint which would begin a new piece. Sometimes I just hit the Tones and let them ring and played with melodies under the sustained notes. One day my sweetheart Mary said, “Just play the low and high C note,” so I did and that developed into Mystic Dream. I guess the short answer is various ways of composing.

John:  When you composed Butterfly Tones, did you write the musical notations for the 9 songs on a music sheet, or do you compose and perform by memory alone?

Coburn Tuller:  I perform entirely by memory.

John:  You and I had talked about the many possibilities in which your music can be applied to instrumental scores simply because of the unique intonations of your instrument. If the opportunity arose, would you consider collaborating with another musician by having other New Age artists utilize your music for a combined project together?

Coburn Tuller:  Definitely. I would welcome collaboration and would love to be part of another project.

 John:  Given the fact there is a lot involved in composing, producing, and marketing an album, do you find being a recording artist who has marketed his first album a rewarding experience, and what are some of the challenges to marketing an album yourself?

Coburn Tuller:  Fortunately, I published a book in 1995 so had some experience with marketing then. This introduced me to the major New Age distributors and magazines. The internet, however, has changed almost everything about the marketing game so it’s been rather a steep learning curve with much more to come. The biggest challenge is obtaining album reviews and seeing them published so that potential fans can learn about the music and be encouraged to listen to the clips online. I also have ads in the major magazines that go to buyers for the New Age Bookstores and boutiques. As always with doing anything yourself, it takes a lot of time but is rewarding when a project becomes successful like this one is becoming.

John:  I read some great reviews on your website reviews page.  Would you like to tell us what some of the other review publicists like me have said about The Tones and the innovative musical arrangements you have created on Butterfly Tones?

Coburn Tuller:  The reception from major reviewers has been extraordinary!  All in all, I couldn’t be more pleased with the excellent reception this CD is garnering.

Michael Diamond called the Tones “a stunning work of art” that “produces exquisite sounds that reverberate and sustain creating a sea of harmonic overtones.”

Kathy Parsons suggests the music as “an ideal accompaniment for massage, meditation and relaxation by taking a person’s focus into a new musical realm altogether.”

Bill Binkelman describes the music as “rich, resonant bell-like tones with amazing, sustained durations that overlap like ripples in a pond.”

Steven Ferrino said “I am noticing the ambiance of my office coming to life with the vibration of the notes filling the room. The playful notes seem to have a life of their own as they bounce off the wall.”

Alejandro Clavijo of ReviewsNewAge.com wrote my newest album review. Alejandro said; “Coburn Tuller has created a lovely album, unlike any other music CD on a percussion instrument. The instrument has a fascinating harmonic richness, depending on the intensity of the blow, the brightness and sound can vary in intensity and this creates a beauty that resides in each composition.”

John:  I agree with them totally! The positive statements from these review publicists are a superb reflection of your work! Recently you told me you are planning on another project. Is your second release going to be similar to your first or do you have something else planned on your second recording?

Coburn Tuller:  I have been talking with one musician friend in particular about putting some violin and/or mandolin tracks on my upcoming CD I plan to begin this fall.

I think the next CD should have something new that expands on what has come before. As such, I have just completed the addition of a set of copper Tones to the main set which brings the count up to 120 Tones. The copper Tones have an almost Asian quality to them and a shorter sustain which allows for a different kind of melodic interplay.

John:  Sounds wonderful! We look forward to your second release. Coburn, I enjoyed meeting you, and hope we can arrange another get together soon. In closing, is there anything you would like to comment on that we haven’t talked about?

Coburn Tuller:  Just to say I love the music The Tones can create and I am thrilled I can share it with your special audience.

Visit Coburn Tuller at his butterflytonescd.com homepage and visit his CDBaby.com or Amazon.com to sample or purchase. Read what others are saying on Coburn’s reviews page, and find more on our page dedicated to Coburn Tuller.

Photos are courtesy butterflytonescd.com.

Fionnuala Sherry is the celebrated violinist and fairer side of the music duo Secret Garden, along with becoming the most current artist to be featured by a musician interview at New Age Music World. While Fionnuala’s fame and success as a music partner with Norwegian composer and pianist Rolf Løvland of Secret Garden has earned them both admiration by millions as a team, Fionnuala Sherry who resides in Ireland, can claim a brilliant success of her own by the release of her first solo album entitled Songs From Before.

Songs From Before is Fionnuala Sherry’s unique and personal revision on some of the most beloved melodies of Irish heritage. In addition, her contemporary instrumental album with 10 songs total also includes some unreleased original compositions that beautifully highlight her expertise as a violinist and vocalist.

Her instrumental CD in entirety is a moving experience and inspirational beacon showing her in a new light, yet her solo release continues the true to character tradition, in regards to the fine violin melodies for which she is famous.

Fionnuala Sherry’s solo album Songs From Before also happens to be a very popular album that had risen to the number 2 position of the Top 25 for June on Echoes radio program within days of the release. Her solo release was also awarded Echoes CD of the Month for July on Echoes radio, a popular online radio program that is broadcast on 130 radio stations in North America.

Review publicist, and New Age Music World host John Olsen recently had the opportunity to interview the internationally renowned violinist Fionnuala Sherry, so today we are pleased to present their conversation to her fans and to our site visitors.

             Interview with Fionnuala Sherry in 2011.

John Olsen:  Let me begin by expressing my gratitude for approving of my interview request on short notice Fionnuala. Your first solo album is now available in North American markets after a successful earlier release in Europe.

I have read Songs From Before was a project in the planning stages for many years, and you have wanted to introduce your contemporary revision on traditional Irish classics for some time now. Why did this album become such an important artistic statement you wanted to express musically?

Fionnuala Sherry:  I am so happy now to have produced this CD as I have lived with these old Irish tunes for all my life and the strange thing is that as a professional violinist I never had the opportunity to perform them.

I think they have always influenced me as these beautiful airs have been a musical backdrop to my growing up and it felt just right for me to revisit them. I felt I had now learned so much over the years that I could this time hopefully bring all I have learned to the table and give them a new and contemporary edge.

John:  What were the circumstances that led you to produce Songs From Before at this point in time?

Fionnuala Sherry:  The timing was right. I had taken some down time away from Secret Garden in fact I stopped playing for nearly 2 years. I guess I was just burned out. Slowly the passion returned and I felt if ever I was going to record these beloved songs it was the perfect time.

John:  Songs From Before is an album comprised of mostly traditional melodies of Ireland, which is somewhat in contrast to your Secret Garden arrangements. Did you find performing modern revisions of familiar Irish melodies more of a challenge or merely a variation in how you regularly compose music?

Fionnuala Sherry:  I approached this CD with the same discipline as to other Secret Garden albums. The key for me in producing the right kind of sound was teaming up with Kjetil Bjekestrand. A wonderful Norwegian composer and programmer who “got” what I was trying to do. He also came with fresh and innocent ears to these tunes having no earlier knowledge of them. Through him he helped to give me the freedom to write around the airs and to approach them in a new way.

John:  I have to admit I am less familiar with traditional Irish melodies so wondered if you give everyone some historical context of the songs you have re-created. Are they primarily hymns or ballads?

Fionnuala Sherry:  They are really neither, Irish airs were just that they could be sung with sometimes added lyrics, or they were simply played on a fiddle, or whistle or harp etc. When these tunes were handed down from generation to generation they were in the form of verse only which was repeated and repeated.

We are more familiar nowadays with songs having the form of verse, chorus, maybe bridge chorus etc. So the challenge for me to work these simple (one verse only) airs into a more substantial composition was with the additional writing and arrangement which Kjetil and I worked on together.

John:  Do you plan to release another solo album someday Fionnuala?

Fionnuala Sherry:  Yes I would love to and hope that will happen.

John:  I understand you were raised at home with a family of musicians. Could you tell us about some of your early experiences growing up in a house full of musicians?

Fionnuala Sherry:  It was great fun most of the time as there was always something going on and my parents gave loads of parties and in true Irish form everybody always had a party piece, so there was lots of singing and playing.

But like all kids there were also times when I was very envious of my friends out on the road when they were out playing and kicking a ball etc. when I was stuck in rehearsing. Many are a time I would have loved to have swopped places!

John:  With your Secret Garden album Inside I’m Singing being your second most current release, I am sure everyone would like to know if you and Rolf Løvland have another Secret Garden project planned in the future?

Fionnuala Sherry:  We are about to release our latest CD which is due out on November 7th. It’s called “Winter Poem.”

John:  This is great news your new Secret Garden CD is nearing the release date! The title Winter Poem has a very nice ring to it. Even before your celebrity prominence with Secret Garden you had projects with music superstars including Bono of U2, Chris de Burgh, Sinéad O’Connor, The Chieftains, and many more popular artists. Would you tell us about your associations with these great artists?

Fionnuala Sherry:  The good thing about growing up and working in Ireland is how small the country is and so it’s easy to get to know everybody. I was lucky that when I turned pro I began to work a lot in the different studios as a backing musician to these amazing artists and it was a wonderful time as there was such a dynamic feeling everywhere with fantastic people producing brilliant music. I am still amazed that when I tour all over the world as we have been fortunate enough to do so how many Irish acts appears in the charts! For such a small country the output is incredible!

John:  Along with the respect people have of you for being one of Ireland’s most successful songwriting musicians, you have also had stars like Barbra Streisand, Josh Groban, Westlife, 11 Divo and Celtic Woman making popular hits with your song compositions. I imagine this must be pretty gratifying to you and Rolf Løvland?

Fionnuala Sherry:  Rolf is the master of the writing; I am there as his guiding hand and co-producer, but it has been an incredible journey for us and especially with the song “You Raise Me Up.” It feels like only yesterday when we first began teasing out the melody to that song and now 10 years have passed! But even back then we knew it had something magical – and it has been a rollercoaster all the way.

John:  Speaking of your Secret Garden arrangements, I truly enjoyed watching numerous music videos of your concert performances including the orchestral DVD titled; A Night With Secret Garden. During these concerts you seem so energetic yet relaxed and poised, all in one motion. I take it you are quite comfortable performing live on stage in front of a large audience?

Fionnuala Sherry:  I suffer from the worst stage fright you can imagine, every night is as terrifying as the previous one and there are nights I don’t think I will make it. For me it’s like doing an enormous bungee to get out on that stage! But then something special always happens with the audience and once I relax it becomes magical. I wish it could be easier for me but accept now that I will always be nervous.

John:  I read your concert and studio instrument of choice is an English John Edward Betts violin from 1790 time period. When did you acquire this violin, and can you tell us some of the history behind your vintage instrument?

Fionnuala Sherry:  When I got my first full time pro job in the RTE Concert Orchestra, the first thing the principal conductor said to me was to get a better instrument! He hated the sound of what I had. So my eldest brother kindly lent me the money as I was broke and a wonderful old German violin dealer I knew helped to locate this instrument for me.

It was instant love as it is smaller in size than normal which suits my small hands. It didn’t sound very good at first as there were a lot of dead spots as they reckoned it had not been played for nearly a 100 years before me! So I had to work very hard with this instrument which still gets better and better, I love it.

John:  You have so many achievements for you to choose from on this question Fionnuala, but I would like to know what you find most rewarding as a professional musician?

Fionnuala Sherry:  I think it’s been able to communicate through the language of music which is just about emotions and feelings and when I see the effect it has on people, and if it helps them get away from all their daily grind for even a moment – that is the most satisfying thing.

John:  Thank you again for giving me this opportunity to present our interview together as a feature Music World publication. I look forward to providing more news coverage about you in the days ahead. Before we close for now, is there anything you would like to tell your friends and fans that have supported you over the years?

Fionnuala Sherry:  I am so grateful to everybody that has supported me over these last years. Without you, I or Secret Garden would not exist, so from the bottom of my heart a thousand thanks and hope you will all continue to enjoy this musical journey with me.

Visit the fionnualasherry.com homepage and valley-entertainment.com music store to sample or purchase her solo album – Songs From Before. You may also find her music at Amazon.com or iTunes. Then visit Fionnuala Sherry and Rolf Løvland at the secretgarden.no homepage and web shop page. You can read more on our pages dedicated to Fionnuala Sherry.

Photography courtesy Andreas Pettersson – FionnualaSherry.com – SecretGarden.no.

Randy and Pamela Copus are the husband and wife duo that is the complete heart and spirit of 2002.

The 2002 music duo Randy and Pamela Copus are without a doubt, one of the finest musical groups producing music today. Many would agree, and their popularity is pretty apparent by the number of times 2002 has been listed as a favorite musical group on the Billboard New Age Charts over the years, and their constancy of producing fine releases.

Presently, Randy and Pamela are nearing a significant milestone in their music careers by an upcoming 20 year anniversary. Review publicist John Olsen has interviewed Randy and Pamela in which many topics were covered. NewAgeMusicWorld.com & NewAgeMusic.nu are pleased to present their conversation to fans of 2002, and our site visitors.

John Olsen:  I want to thank you both for taking time out of your schedule for our interview together. I have been a big fan of your music for years so our interview together is even more rewarding to me personally.

You are approaching a significant milestone by your upcoming 20 year anniversary as 2002. Given your ever-rising popularity as New Age music producers, have you had much time to reflect over your roles as musicians and many achievements during the past 20 years?

Randy:  Wow, 20 years! It seems like just yesterday we were producing Wings, and watching the 2002 sound take on a life of its own. We don’t spend much time reflecting on our past because we’re always moving forward, constantly trying to improve our music and how we produce it.

John:  I find it impressive that 2002 has made the charts 9 times at Billboard within the past 10 years with the long list of albums; Chrysalis, Land of Forever, River of Stars, Across an Ocean of Dreams, The Sacred Well, This Moment Now, The Emerald Way, Deep Still Blue, and Christmas Dreams. This is the equivalent of 270 weeks total on the Billboard New Age charts. I wondered if winning awards and making the Billboard chart is really that important to you, and whether you consider these achievements a true measurement of your success?

Pamela:  It’s still important, though perhaps not as much as it used to be. In the past, it helped us know whether or not we were connecting with our audience. It validated hard work and helped us measure each album against its predecessors. However, the music industry is changing and there are plenty of new ways to measure those things now.

Randy:  I still get excited when I see our music on the charts, and awards are wonderful, of course. These help give us confidence that we are moving in the right direction. However, when we create the music, we’re not setting out for those kinds of achievements. We have as a single goal to make the best album possible, regardless of reviews and accolades, and even charting.

John:  You have a brand new release titled Damayanti, which I published a  positive review about recently. When compared to earlier albums you have produced, do you feel Damayanti is your finest release to date, and have you two received additional input from fans or other review publicists about the high quality of your most current release?

Pamela:  And thank you for that review John! Yes, each album has been special in its own way. It’s amazing how I can look back over the last 19 years and see reflections of our lives in our music and remember vividly what was going on during each album. Damayanti is no different. It’s a snapshot in time that freezes so many memories.  We had a great number of setbacks while creating that album and we certainly did work harder to get through all of that to bring it to the world.  It has been a stellar release for us and we have been overwhelmed with positive feedback from our fans, colleagues and reviewers.

Randy:  The reviews have been really great for Damayanti, and some of our fans are saying it is the best release ever from us, but we have enough records out there now to make it difficult for me to determine which one is the “best”. My personal favorite changes almost daily!

John:  What makes the melodies on Damayanti different from earlier albums?

Pamela:  It’s a microcosm of the 2002 career. The many avenues we’ve explored over the past 19 years are all represented in this one release. It brings it all together.

Randy:  Our music has always had great commonalities with film soundtracks. The new album takes this style to a new level for us. Many of the albums we’ve produced over the years, particularly the earlier works, have been centered on stories. We returned to this form with Damayanti. There are lush string orchestrations and those emotional “moments” in the music that are the hallmark of movie scores.

John:  If it’s not a trade secret, would you provide some details about the instruments and equipment you use, along with the process in which you construct a 2002 album?

Pamela:  I play a McKenna flute, specially made for me. My alto flute is a Jupiter. I also play a wind controller by Yamaha called a WX5 as well as a Thormahlen Swan 36 harp and miscellaneous keyboards.

Randy:  We use Apple computers and MOTU Digital Performer software. We also prefer to use a real recording console, rather than to do everything in the computer. Our microphones, preamps, speakers and effect processors are all high-end, and are an important part of the trademark sound we produce. Several people have written and asked us what vocal mic we use for all of the vocal layering that is so much a part of our sound. That is a custom made Pearlman TM-1, made by our friend Dave Pearlman. It is a tube microphone, and we run that into a Groovetubes VIPRE preamp. We try to leave our performances as natural as possible, without relying too much on the software to perfect everything. Sometimes there will be a slight timing error or errant sound, or even a mistake that we will leave in because the performance was where it should be. It seems like so often, using technology to perfect a musical performance takes the life out of it.

John:  Did you begin playing music with the intention of becoming top New Age music artists, or did you find your music is best defined as Contemporary Instrumental or New Age music?

Pamela:  Wow – well actually I started playing music when I was 4. My first instrument was piano, then violin, flute, bagpipes and oboe. Later, in college I moved on to piano. I joined various bands in a variety of styles and spent years playing live and touring. I played in bands performing everything from 60′s covers to industrial rock. I like all good music, regardless of genre.

Randy:  We almost fell into the new age genre by accident. Years ago we were both at a point where we had left our respective rock bands, and some friends of ours suggested that we create a solo flute album to sell at the wellness seminars they were conducting.  It sold well, so we made another solo flute recording, and then a third album that had more synthesizers and other instruments. All of this came to a head when we produced Wings in 1992, and the 2002 sound was born.

John:  You have DVD/CD collector’s editions for the albums A Word in the Wind & Deep Still Blue, plus your music videos. The cinematic aspect of your music is very apparent when viewing your DVDs and music videos. Do you have more DVDs or music videos planned and how did producing your own music videos originate?

Pamela:   Producing videos to accompany every song of an album is very time and labor intensive. It really increases the length of time it takes to complete a project.  It was a great experience, but I don’t see us doing only that in the future.

Randy:  After Deep Still Blue & A Word in the Wind, it was amazing to me how much easier it was to do a straight music album! I’m so glad we did those projects, though. They allowed us to stretch ourselves in new directions and discover what we were artistically capable of.

John:  Last year you had introduced your own Galactic Playground Music label. How has this changed the way you produce and market your music?

Pamela:  We started our first record label in 1992 (Dreamtime Records). Later, as we evolved into producers we realized that we needed to extend our abilities and began Galactic Playground Music as our publishing arm. When we found ourselves free of outside record labels, we transformed our successful publishing company into a new label and re-released the 3 Gemini Sun Records albums as well as our 2 newest albums, Wings II – Return to Freedom & Damayanti.

Randy:  It is great to be in control of our careers, but with that comes the responsibility of having to get everything done, and there are a million little things. It used to be we would get to the finish line of completing the album and then immediately turn our sights to what we would create next. Nowadays, finishing the record is only the beginning. There are promotions that must be done, deadlines that must be met, and decisions about where to spend money or not. Still, it’s very satisfying to take the reins and be in charge of our own destinies.

John:  Both of you produced and performed on Marc Enfroy’s Unconditional album, which turned out to be an excellent album by the way. Is producing an album for another artist comparatively straightforward, or are there many challenges to creating a quality product everyone is happy with?

Randy:  In the case of Marc’s album, Unconditional, we felt we had a good fit. We were able to bring the elements together with what he already had, to take it to another level. This is the prime consideration we have for producing another artist’s record – what can we bring to it to make it better? Marc had a very good collection of songs and wanted to make a more atmospheric, new age sound than in his previous works. I think it came together nicely, and in the end, everybody was happy with the result.

John:  Let me be the first to publically congratulate you both on your approaching 20 year anniversary as 2002. B.T. Fasmer and I wish you both continued success! Before we close for now, is there anything you would like to mention that we haven’t talked about yet?

Randy & Pamela:  Thank you so much John! I just want to let you both know how much we appreciate all you do for the music community. We are so grateful that there are people like you helping to get the word out!

Visit the 2002music.com to homepage and then sample / purchase at their music store or go to their Amazon.com page. Read more on our pages dedicated to 2002.

Photos courtesy 2002music.com.

Jon Anderson of Yes fame is the top music celebrity we are pleased to present here at NewAgeMusicWorld.com & NewAgeMusic.nu. With a successful music career spanning five decades, John Anderson’s presence as a vocalist and instrumentalist has made an admirable impression on millions of people over the course of many years as a musician.

This can be said regarding his lengthy tenure as lead singer for the Progressive Rock band Yes, during his numerous collaborations with other celebrated artists, and while performing throughout the years as a popular solo artist.

Jon Anderson’s influence and starring role in music over five decades is legendary. It is estimated over 38 million records were sold during his years as the dynamic lead vocalist with Yes, and throughout his successful solo career.

Today, Jon Anderson is preparing for his North American concert tour in support of his new CD release; Survival & Other Stories.

Knowing Jon Anderson’s significant influence in music it is our privilege to present this interview so that everyone can find out more about a fascinating artist with a long and enduring music legacy.

Review publicist John Olsen recently had the opportunity to interview the personable Jon Anderson prior to his tour in 2011. We are pleased to present their conversation to Jon’s fans and our site visitors.

Jon Anderson interview April 2011:

John P. Olsen: Thank You for agreeing to this interview on short notice Jon. We realize our interview request arrives at a time interval just days prior to your opening concert, so we do appreciate your enthusiasm for this interview, and your willingness to take time out of your schedule for us.

You are beginning your concert tour publicized as “An Acoustic Evening With Jon Anderson.” Would you like to give some insight to concert goers about the atmosphere and variety of music they will experience during an evening with Jon Anderson?

Jon Anderson: Well, it’s really like being in my ‘front room’. I’m singing Yes songs as I originally wrote them, singing ‘Jon and Vangelis’ songs, telling stories, how songs came together, the meaning behind the songs, talking about my life so far, and doing new songs from my new album.

JP Olsen: Your new release Survival & Other Stories is due to be released April 2011. Can you provide some details about your new release, and how Survival & Other Stories varies from other albums you have produced?

Jon Anderson: This album is #1 of 3 albums I will release over the next 2 years. I put an ad on my website saying ‘musicians wanted’… I was finding it hard to get the guys in Yes interested in using the Internet to write songs, I put the ad out there, I got so many people sending me their musical ideas, it was like this musical ‘door’ had opened, and I found myself writing so many great ideas, with some very talented peeps…. I still do this every week. Music is endless.

JP Olsen: You have collaborated with other celebrated musicians like yourself, including Vangelis, Kitaro, Rick Wakeman, Mike Oldfield and a host of other talents. Every artist has their own strengths, along with their individual viewpoint about an album production, so when collaborating with other musicians, how does a “meeting of minds” customarily transpire during album composition and production?

Jon Anderson: It’s very simple really, it has to be Fun, an element of Trust and a feeling of Adventure, I sing melodies and find lyrics to the music I hear, it’s a very instant thing, and if it’s working great, we tend to trust ourselves, and let the music take us on the journey.

JP Olsen: Recently you teamed up with Mike Oldfield for a Kanye West sample track titled Dark Fantasy, which topped the Billboard chart as the #1 album in the country. In addition you just produced a great album with colleague and Yes member Rick Wakeman titled The Living Tree. Do you find teaming up with other esteemed musicians just as rewarding as your solo projects?

Jon Anderson: I feel thankful to have these connections, they don’t come all the time, they are rewarding on so many levels. I’m singing on Jonathan Elias’s new ‘Prayer Cycle’ along with Sting and others, released June 1st, that song I sang was right in the middle of my illness in 2008, it was such a gift to sing with that music, very inspiring.

JP Olsen: To me and many others, the voice of Jon Anderson is one of the easiest to identify in an ocean of vocalists. Did you have professional vocal instruction, and what point in your life did you choose to pursue music as a career?

Jon Anderson: No, I just sang since I was a kid, sang as I went to school, sang when I worked on the farm, and just kept singing about the joys of life.

JP Olsen: Early in your career you were leader of Yes, a phenomenal and popular Rock group, yet you also produced music in less mainstream genres, including New Age and Contemporary Christian music. What is the reason you performed in respected but less mainstream music?

What 2011 concert goers can expect to hear during “An Acoustic Evening With Jon Anderson” - Well, it’s really like being in my ‘front room’. I’m singing Yes songs as I originally wrote them, singing ‘Jon and Vangelis’ songs, telling stories, how songs came together, the meaning behind the songs, talking about my life so far, and doing new songs from my new album. Jon Anderson

Jon Anderson: Music takes on your Sacred Journey, I have a deep belief that we are changing for the better again, and music can be a sign post to what is happening around the world, people all over the world ‘love’ music, so why not enjoy being a part of the ‘new age’….

JP Olsen: You wrote the song lyrics during your tenure in Yes, and likewise during your solo career. Your lyrical phrasing is beautifully expressive, and positive in nature. Do you have a lyrical theme or message you want to convey to your audience?

Jon Anderson: Like most people I am seeking for Truth to Life, and singing about this helps me, I live to understand the great mystery, and how we are part of Mother Earth, and ‘why’…. so lyrics dance around me every day, I do feel honored to be a musician.

JP Olsen: During the early Yes years some music critics downplayed the influence Yes was achieving as a music act. I believe it would be accurate to say many people didn’t realize at the time that Jon Anderson, and a handful of others, were essentially inventing a music genre we identify today as Progressive Rock. Did you and other band members recognize at the time you were making such a profound impact in the music scene?

Jon Anderson: We hoped that Yes Music would stand the test of time, and it seems to have done, but 40 years, wow!! I meet so many young people who have just bought ‘Close to the Edge’, they find out how exciting the music is, and they will go on the same musical journey as I did, it’s amazing to realize this.

JP Olsen: Your contribution as lead vocalist was an important factor, but why do you believe Yes as a Progressive Rock group so successful?

Jon Anderson: I worked hard within the Yes band as the musical director of sorts. I was surrounded by so much talent, I would come up with plans for the music, sing ideas constantly, and the Music we created is unique. I never dreamed it could become so wonderful, I kept on coming up with ideas, and Yes Music will last forever, Weeeeeee!

Jon’s reply on the major influence Jon Anderson and progressive rock group Yes had in music; We hoped that Yes Music would stand the test of time, and it seems to have done, but 40 years, wow!! I meet so many young people who have just bought ‘Close to the Edge’, they find out how exciting the music is, and they will go on the same musical journey as I did, it’s amazing to realize this. Jon Anderson

JP Olsen: You have been a very successful vocalist and instrumentalist practically your whole life. Do you believe your life achievements are due to your musical talents, hard work, a combination of both, or do you believe in destiny?

Jon Anderson: Practice, Practice. Well I just have fun playing every day, I sing every day, think about the ‘great work’ to be done, as for destiny, hummm, not sure what that means, I believe that I will be part of a great Awakening.

JP Olsen: What do you feel is your greatest achievement or most rewarding experience to date Jon?

Jon Anderson: Still being around, feeling valid in this world music scene, not getting carried away with fame. Singing with the school of rock and youth orchestras, and I enjoying being around ‘young’ musicians while helping to create some very good and interesting music to date.

JP Olsen: Earlier I read on your Facebook page you rarely do endorsements for advocacy groups but are involved with 600million.org, a non-profit organization created by the co-founder of PETA, Alex Pacheco. Would you like to tell us about your contribution and charitable endorsement for the animal protection advocacy group 600million.org?

Jon Anderson: My youngest Daughter Jade introduced me to the project earlier this year. I was really sad about the plight of our fellow creatures, dogs are truly man’s best friend, and they can be so healing and funny to be around, so to see so many millions in distress, made me want to help in any way I could, so I made a short video to help.

JP Olsen: Thank You again for spending time with us by way of our interview Jon. We look forward to the day when we can follow-up by another interview together. In closing, do you have anything you would like to express to the people who will be attending a concert this year, or the many fans that have supported you throughout your career?

Jon Anderson: Have fun!!! And thanks for all the support, and enjoyment I have at the concerts I do, I cannot thank you enough…. Cheers!!!

Again everyone, Jon Anderson is beginning his 2011 North American concert tour billed as “An Evening With Jon Anderson.” We wish Jon and every concert goer an enjoyable evening together during a live concert event that is sure to be memorable.

Visit the jonanderson.com homepage for news and concert tour information. Read our pages dedicated to Jon Anderson.

Concert photos courtesy Robin Kauffman & jonanderson.com.

On the eve of the Grammy Awards scheduled for February 13 2011, review publicist John Olsen has just conducted an in-depth interview with award winning composing musician and 2010 Grammy Nominee Dr. Michael Brant DeMaria.

In this second interview with Dr. DeMaria, we present to our visitors defining insight into the life of an esteemed New Age and World influential musician whose music career is very much in the forefront of today’s music scene. In fact, Michael was a recent award recipient by placing third in our NewAgeMusic.nu Best New Age Album Awards for 2010.

John P. Olsen : Thank you Michael for taking time away from your work and agreeing to our interview on short notice. You are a clinical psychologist, recognized poet, author, public speaker, and now a twice Grammy Nominated musician with your 2010 Ocean album currently under consideration. Were you anticipating the Ocean album would turn out to be your second Grammy Nomination this year, and with the awards ceremony soon approaching, what are your expectations for winning a Grammy in the New Age category with Ocean ?

Michael Brant DeMaria : First off, I want to thank you John for taking the time out of your very busy schedule to sit down with me as well. It’s always a pleasure to hear from you and I have great respect for the work you do. As always, your question goes right to the heart of the matter. As you know the New Age category is an extremely competitive category. However, in the back of my mind I knew Ocean was number 1 on the New Age chart for 3 months and did win two very prestigious awards, Best Ambient Album of 2009 and Best Relaxation/Meditation Album of 2009. I knew it was possible, but I did not think it was probable. Not only was Ocean competing with luminaries and legends in the New Age world, Ocean happened to be up against albums by Olivia Newton John and Tina Turner who both had their entries in the New Age category this year.

As far as winning, I have no expectations. Once again, the other nominees in my category are true legends in the world of New Age music, Paul Winter, Kitaro, and R. Carlos Nakai. Each of these men have influenced and inspired me over the last 25 years. I am very humbled just to be in their company. At the same time, I try to live by the Samurai warrior saying, “Expect nothing, be ready for anything”.

John : You have studied and performed with friends and past Grammy Winner David Darling, along with Grammy Nominated R. Carlos Nakai. What are your connections with colleagues David Darling and R. Carlos Nakai over the years ?

Michael : R. Carlos Nakai is responsible for me picking up a Native American Flute 17 years ago. I was traveling through Glacier National Park in Montana on my way to enact a very traditional vision quest. I found a copy of Nakai’s Earthspirit and put it in my tape player in the car while I was driving. It was the first time I had ever heard the Native American Flute and it literally brought tears to my eyes. Although I had played piano, synthesizers and percussion most of my life, as soon as I heard the hauntingly familiar sound of the flute I knew I had to play it. When I finally did find one to play – it was like finding an old friend. Years later I joined Nakai’s organization, INAFA, The International Native American Flute Association – and have been a member for over a decade. It was at INAFA conventions in Taos, NM and San Francisco, CA that I finally had a chance to meet and play with him. Not only is he an amazing talent, but a very generous man with his time and knowledge.

Likewise, David Darling’s life, teaching and music have been and remains a very strong influence in my life. I had been listening to his music for many years when I heard about his Music for People program which trains people in the art of improvisation and facilitation. I took my first workshop with him back in 2005 and was immediately hooked. I apprenticed in the program for 4 years and graduated in 2009. In my opinion, he has done more than almost any other musician to teach the finer and deeper aspects of the art of improvisation. He is truly a master in his craft and actually is teaching much more than music – but actually a way of life based upon compassion and creativity. The highlight for me last year attending the Grammy’s as a nominee was having the opportunity to see him win, in person, his very long overdue Grammy for his amazing album, Prayer for Compassion.

John : I read an article by the prominent author and past entertainment editor for the LA Times Richard Rushfield, where he mentions your name when giving his assessment of the 2010 Grammy choices. What was your reaction to his article titled Handicapping the Grammys : Best New Age Album ?

Michael : To be honest John I was a bit overwhelmed by it. Someone sent me a link to the article and my first thought was, “Boy I bet they don’t even mention me”, being the relative unknown in the category this year. After I read it I was very moved and appreciative of his kind and generous words, particularly about the track Moonlit Sea on my album Ocean. Of course, he admits I am a long shot, but a long shot nonetheless, who he thinks actually has a chance.

John : In your professional life Michael you are an equally devout music professional and psychotherapist. Would you ever pursue one profession over the other at some point in your life, or is it safe to say you are, and always will be recognized as a recording artist and a therapist ?

Michael : You’re not the first who has asked me that question John. For me, an artist does for a culture, what a therapist or healer does for an individual. In this way, I feel they are two sides of the same coin. I also find they inform and balance each other in my life. Composing and writing are very solitary and deeply self-absorbed tasks that can take a lot out of you. After 4 days of that kind of intense work I’m really ready to sit across from somebody and be totally there for them. Of course, after 3 days of really being there for others I’m ready to dive back into the solitude of the creative process. I find one replenishes what the others depletes, like crop rotation – it has been a blessing in my life how they have woven themselves together. Now I don’t know what the future holds – but in some way I will always be active in both – although the format for how that may evolve remains to be seen!

John : Michael, you have already realized many achievements in many aspects of your life and I wondered if you would answer a more personal question by telling us what has been the motivating force in your life ?

Michael : The primary motivating force in my life is love. Love in the sense of what the Greeks called agape – which is a love for life itself and humanity. I love life, I love people, and I love to create. I feel very blessed that I have been given the opportunity to express what is nearest and dearest to my heart. For me, love is about connection – and unfortunately we live in a time where most people feel a profound disconnection from life, nature, each other and even from their own hearts. The Cherokee say our first teacher is our heart – and unfortunately in our culture we leave that teacher far behind too early in our educational system and in our society. It’s very much my mission in my life to bring a bit more heart into the world through my writing, speaking and music.

John : During the past several years your music career has noticeably gained momentum and taken flight so what do you believe are the reasons your music compositions have repeatedly been granted numerous honors and award considerations over the years ?

Michael : You are so very kind John. To be completely honest I really don’t know. What I can tell you is this. My music comes from a very humble and sincere place. When I go into my studio to record I have no interest or desire for any recognition or awards. It’s the furthest thing from my mind. I have no interest in impressing anyone – only in being true to my journey and the experience of the moment. I’m still that 6 or 7 year old boy who went to the family piano to take a sonic adventure – and to help me connect with a greater presence. In that way, it’s a spiritual practice for me. In this way, my albums are all crafted to take the listener on a journey. Each journey actually begins where the last one ended – they build upon each other. In fact, in many ways The River, Ocean and Gaia are a trilogy. They are also part of the larger Healing Sound Project which I have been dedicated to for the last 8 years. It has been a joy for me to see how this music created with the intent of making the world a bit more peaceful, soulful and heartfelt has been embraced so deeply.

John : In our earlier interview everyone had a chance to learn you have donated your time and talents by performing at fund raising benefits and concerts including the Gulf Oil Disaster in 2010 so could you tell us about the charity work you have been involved with over the years ?

Michael : I have always felt John that it’s important to give back and whether it has been donating to Native American charities from Siyotanka or wildlife recovery from the gulf oil spill from Ocean, I try to make the project connect to something greater – something more than just about me. I love to play, create and record – so it is simply an added bonus when concerts or albums bring attention to well deserved programs. The world is in a state of great need today – and I believe artist have a unique ability to draw attention to worthy causes. Just as all my albums are concept albums – they are all designed hopefully to teach as well as to be enjoyed for the pure joy of listening.

John : Thank you again Michael for the opportunity to learn more about your amazing career. It has been an honor to get to know you personally while providing coverage of your lifework and career achievements for our visitors. Is there anything you would like to mention before we close ?

Michael : The honor has been mine John. You do a great service to all of us in the New Age music world through your many efforts. I did want to mention I’m working on a new album – I don’t want to say too much about it, and the title is even in flux at this point – but I hope it will be available for release in late 2011. Let us just say that it is a project I’m very excited about and will be another very unique sonic journey for the soul, this time exploring the mystery of creation itself. Thanks again John and wishing you, B.T. Fasmer, and all your readers a happy, healthy and joyous 2011!

Visit ontos.com homepage and then sample / purchase on his albums page and CDBaby.com page or Amazon.com page. Read our earlier interview and album reviews on our page dedicated to Michael Brant DeMaria.

Copyright images courtesy Michael Brant DeMaria.