Instrumental & Vocal Music Review – New Dreamchaser album by international music celebrity Sarah Brightman.

International music superstar Sarah Brightman is one of today’s popular artists who clearly shines brighter than all other vocal artists in the same category.

Even when compared to the crowd of mainstream celebrity vocal artists, Sarah Brightman has excelled as a classical crossover artist, earning the respect of untold millions during her stellar career as a professional vocalist, actress, songwriter and dancer.

When describing the life and career of international celebrity Sarah Brightman, one can describe her amazing career of singer, actress, songwriter and dancer as an out of this world superstar in every respect.

Over the course of her professional career, Sarah Brightman has acquired 180 Gold and Platinum awards in over 40 countries worldwide, and reached over 30 million in album sales throughout the course of her stellar career.

Dreamchaser is Sarah Brightman’s newest album nearing official release worldwide in April 2013. The songs Angel & One Day Like This are two full length song singles released earlier to the public. As one might expect, both early song releases were met with resounding admiration for her exceptional new release for 2013.

After listening to all 10 songs the beauty of Sarah’s vocals with contemporary lyrics and instrumental backing made it easy to see why this artistically driven vocal instrumental release is certain to be a popular, best-selling album.

There are several official release dates given for various countries around the world, but most importantly, her twelfth studio album with 10 vocal and instrumental songs are going to be available soon to everyone in either audio CD or digital downloads format.

The 10 songs on Dreamchaser are: Angel, One Day Like This, Glosoli, Lento E Largo, B612, Breathe Me, Ave Maria, Eperdu, A Song of India & Venus & Mars.

Special versions of this album is available as a CD/DVD combo, and includes the two bonus songs So Long Ago So Clear & 7th Heaven. Also available at iTunes is an accompanying digital booklet.

Already a brilliant star in every sense by the accomplishment of many firsts during her professional music career, her newest album, intercontinental World Concert Tour in 2013, and upcoming travel destination of the International Space Station gives new meaning to the expression superstar!

You may pre-order Dreamchaser and find World Concert Tour information and read a new interview at SarahBrightman.com. The Amazon store in the U.S. has an official release date of April 16, 2013. Sample and pre-order a special CD/DVD combo for Dreamchaser at Amazon.com. Cover art courtesy sarahbrightman.com & Big Stock Photos by Zootog & Wtolenaars.

Interview in 2013 with contemporary artist Diane Arkenstone.

New Age Music World interview host and publicist John P. Olsen had a recent opportunity to interview the popular, multi-platinum selling singer, songwriter, and contemporary instrumental recording artist Diane Arkenstone.

During this interview taking place near the spring of 2013 a variety of in-depth topics are covered. Included is a conversation about Diane Arkenstone’s soon to be released album titled Union Road, and the contributing artists who have helped transform her newest vocal and instrumental release into one of her most captivating albums produced to date.

Diane Arkenstone also replies to questions about her experiences as founder of the Neo Pacifica Recordings Label, and the meaning behind the formation of artist titles she has released in a variety of music styles.

Today I am pleased to present an informative and lighthearted conversation with one of today’s leading, and most beloved producers of contemporary music covering a wide variety of instrumental styles.

John P. Olsen: Thank you for accepting my interview invitation Diane! It’s a privilege to host your newest interview for fans and visitors in 2013, here at New Age Music World. I can honestly say I have been a fan and admirer of the music you create for years so our interview is especially rewarding to me!

Diane Arkenstone: Hi John! Thank you so much for your very kind words, I am smiling! And thank you for this wonderful opportunity to connect with everyone here!

John: Let’s begin our conversation with the topic of your brand new album Union Road, due for release next week on March 26, 2013. Earlier this year I wrote a pre-release review for Union Road, I believe it’s clear by what I wrote, I felt your newest release of contemporary Folk ballads is indeed special! Beautiful in every way, Union Road is a uniquely personal album with special meaning to you too, isn’t that right?

Diane Arkenstone: Yes, this is my most personal album yet because the lyrics I wrote are of stories and observations I have personally experienced. I am a story teller and have always loved to write about life which made this album a great joy to create. And a even greater catharsis.

John: Who are the instrumental artists performing with you, and what are their individual contributions which have helped make your release an exceptional album?

Diane Arkenstone: Mader, who is a wonderful film composer from France, and has scored two films for Ang Lee, among many others, produced most of the album with me, and played a wide and wonderful variety of instruments such as mandolin, bass, keyboards, accordion, various percussion instruments and guitar.

MB Gordy, who is a wonderful percussionist and studio musician, played beautiful and exotic percussion on quite a few of the songs as well. Chad Watson, who  has played with many, many well-known artists, played bass, and I watched spellbound, as his hands danced all over his fretless bass on several songs.

Eric Rigler, who played the pipes in the film score, The Titanic, added magic with his penny whistle on the first song, Little Cup of Coffee.

David Arkenstone played guitar, bass, keyboards and percussion magnificently, and helped produce a couple of the songs with me for the album. Charlee Brooks and Jane George added beautiful background vocals on two of the songs.

And then, Bruce Watson played some amazing guitar on a couple of songs and has played with many well-known artists for quite a while himself. They are all truly unique and gifted artists in their own right and I am deeply grateful for each and every one of them.

John: Union Road is an instrumental and vocal album with lovely poetic lyrics. Would you like to tell us the point of view you are expressing by lyrical verses?

Diane Arkenstone: Very simply, thru lyric and song, I am telling the stories of situations that I have personally observed in life.

John: Album reviews from other sources and press commentaries are coming in, plus you have given a number of new interviews including Blog Talk Radio and KSBR 88.5 FM Jazz. How is the reception of your new release been so far?

Diane Arkenstone: Oh my gosh, it has been a huge happy welcoming committee! I wrote 77 songs for the album and truly just grabbed a handful of songs that seemed to fit well together and am pleased and elated by the reviews and press!

John: I am not surprised but that’s great news Diane! Union Road is a brilliant album in every way, unique to your earlier releases, and I read there is an earlier first album of contemporary folk songs too. Would you please tell us all about this earlier first album?

Diane Arkenstone: Thank you John for saying that about Union Road! And yes, I released an album in digital format called, Stories. It is a cross between my earlier releases and the Folk/Americana feel of Union Road. It also is an album that sings of stories of life’s observations.

John: In addition to the studio albums you also perform live concerts. This must be an exciting time for you since you are about to begin an extensive tour this spring. Would you give us the details like the concert venue locations and artists who will be performing with you?

Diane Arkenstone: Right now, I am finishing up a number of music projects, so touring may be a bit delayed.

John: Do you have a song set list selected, and in terms of atmosphere and setting, what can a concert attendee expect to experience during a live concert with Diane Arkenstone?

Diane Arkenstone: The songs will be from Union Road of course, plus a few unreleased songs where I play some interesting and exotic instruments and sing. And the band is a group of dear friends who are wonderful studio and touring musicians. Lots of beautiful music, good energy and love, will be present for every show!

John: The artist titles you have either founded or performed in are; Ah Nee Mah, Earth Trybe, Enaid, Adventure Cargo, Marquis Ensemble, Middle Earth Orchestra, and naturally as the duo with former husband David Arkenstone. What are the distinctions of these artist titles?

Diane Arkenstone: ‘Ah Nee Mah’ is our Native American music, inspired by my Cherokee heritage and our love of playing Native flutes and percussion. David and I lived in the Southwest for a few years, next to several reservations and lived a very interesting and beautiful life there.

We wrote several ‘Ah Nee Mah’ albums during that time, which are still selling quite well. And ‘Earth Trybe’ is beautiful world music where we had fun writing and playing many unusual and interesting instruments from around the world. And ‘Enaid’ is Celtic music, and I came up with that name by reversing my first name and then surprised to find out that is means, life/soul in old Celtic/Irish.

‘Adventure Cargo’ is more world music, with more wild instruments, and beautiful songs. The last album for ‘Adventure Cargo’ is called, Following The Equator and it has songs on it that represent the countries along the Equator. It was great fun for me learning about all the countries along the Equator then writing songs for a special place or landmark in each country.

‘Marquis Ensemble’ is lovely, sweet piano music. Reflections from the Wine Country was the first album under the alias, ‘Marquise Ensemble’ and was inspired by my family’s winery. And ‘Middle Earth Orchestra’, is music inspired by the book, The Hobbit.

John: In the 1990’s you founded Neo Pacifica Recordings Label. Would you tell us some aspects of owning your own record label, including the advantages and obstacles to this business venture?

Diane Arkenstone: It has been a great advantage for me, to have my own record company; it is a lot of work but stretched me to new heights in terms of experience and knowledge.

I appreciate the work the major labels do, which is tremendous, but I navigate these waters quite successfully, and prefer knowing what the expenses are and what is going on with manufacturing, distribution, licensing, marketing, publicity, publishing and especially royalties. It is a great sense of accomplishment and freedom, to truly own your music, and do with it as you wish.

John: On the subject of record labels, I read your biography at the Eversound Music Label website where it states; “Diane Arkenstone wrote her first song at the age of three, played piano at five and picked up her first guitar at the tender age of seven.” I am curious to know if you aspired to become a musician at a young age too, or in other words, what were the circumstances surrounding your decision to pursue a career in music?

Diane Arkenstone: I loved writing music at a very young age, but also had a great desire to be an Olympic runner. I worked extremely hard at running but could not keep up with anyone. Music came much easier, and I learned that if you have to force something, it is not right to begin with.

As it turned out, after I kept passing out, we discovered I was born with a ‘special heart’ that required a lot of surgeries to fix things. And along the way since childhood, I have had six pacemakers. The seventh pacemaker and more surgeries are due in a few years. Life is precious.

John: I didn’t realize the challenges you face Diane, and we all wish you well. The music industry as a whole has greatly changed since you began producing music early on to the present. What observations have you made over the years, and what changes in the music industry have affected you most?

Diane Arkenstone: My observations come from a unique vantage point. Having my own label and releasing dozens of albums under different aliases and different genres, I created a lot of niche markets for the music in the mainstream and alternative markets, and it is all still going strong today. And for me, the digital world has been a great success for so many reasons.

John: You have enjoyed a wonderful and successful music career for many years Diane. You are a source of admiration for millions of fans and even colleagues in the music industry alike. What would you say is the best part of being a highly successful, contemporary artist?

Diane Arkenstone: You are so sweet John to say that, thank you! Truly though, I am unaware of such a thing because every day I put one foot in front of the other and focus and do my very best with whatever project is at hand.

John: Well Diane, fans truly adore you, plus you are a role model for many artists. Knowing artists at varying stages of their music careers will read our interview; do you have any words of advice to artists just beginning their music careers?

Diane Arkenstone: If you have a dream, follow it! Be prepared for long hours and depend on yourself as much as possible, and then all that energy you put into your career, will reward you greatly in countless ways. When you are passionate about something, every door you need to walk thru will open, even the ones you have no clue about.

John: Being a prolific artist Diane you have an extensive collection of excellent albums to choose from. I have my favorite albums and songs, and your fans likewise have their favorite albums.

I realize this is a never an easy question for an artist, but for persons new to your music, what 3 albums other than Union Road is a starting point to begin sampling your many outstanding releases?

Diane Arkenstone: Oh my goodness, I love them all! Let’s see, Jewel In The Sun, The Healing Spirit & Aquaria: A Liquid Blue Trancescape, which are all so very different from each other.

John: I would like to thank you again for your generosity by giving fans and myself this opportunity to find out more about you, and your newest projects Diane.

I hope we can get together by another interview someday. Before we close our conversation for now, is there anything you would like to express to the fans that have supported you over the years?

Diane Arkenstone: First of all, thank you again from my heart, John, for this wonderful opportunity to connect and share with everyone, it means the world to me. And I very much look forward to more interviews with you!

And to every beautiful soul who has supported my music, I am deeply grateful beyond words. A million thanks, and a million blessings. And please always be compassionate and loving towards yourself and towards others, it is our most valuable currency and reason for being, for truly, we are all one.

Visit DianeArkenstone.com and discover a great selection of albums in her store download section. Sample and purchase albums and songs by Diane Arkenstone at Amazon.com & iTunes.com. Photos & artwork courtesy dianearkenstone.com.

New Age Music World interview host and publicist John P. Olsen had an opportunity to interview songwriter, recording artist, and Liquid Mind Musical Healthcare® experience developer Chuck Wild.

John P. Olsen: Thank you for accepting my interview invitation Chuck. It’s a privilege to host your newest interview in 2013!

Chuck Wild: Hi John, thanks for the insightful questions, I appreciate the opportunity to talk about my journey in musical healthcare.

John: My admiration for your work began when you were a member of the phenomenal new wave pop band Missing Persons, and years later when you transitioned to the highly successful artist title Liquid Mind. Let’s begin with your earliest experiences as a musician Chuck. How did your music career begin prior to joining Missing Persons?

Chuck Wild: I grew up in Kansas City, Missouri, and began playing piano at age four. I was diagnosed with a congenital hip problem (which was completely resolved by age eight), but back in the 1950’s the only cure was to remain off my feet for a full year. My parents hired a wonderful caregiver for me for that year, and she used to carry me down to the piano every morning and teach me how to play.

By the age of five I was permitted to walk with a brace for about a year, but the piano already had me hooked. By age six, I was mobile, and my heart’s desire was to sit behind the church organist at our church, so my folks arranged for me to spend all morning most Sundays with our organist, Gladys Hamilton Combs. After services, Gladys would sometimes let me play the giant Kilgen organ which had 39 ranks and five keyboards.

My formal music training started as member of the kids’ choir at church and also in grade school, where daily music was part of the curriculum. At age 6, I began studying classical piano privately with various teachers until age 16. During high school, I played organ for youth services every Sunday for about four years, where I gained lots of experience improvising and playing the type of meditational music that eventually became Liquid Mind. I also sang in an award winning male octet, and played piano for our high school concert choir at times. Though I have a degree in Business Administration, I studied and performed music all through college as well.

After graduating from college I served four years in the Navy. The captain of our ship had sung in the famous Robert Shaw Chorale, and when he found out I was a piano player, we made the rounds together of Naval and local clubs all over the Pacific. He would sing, I would accompany on some of the most colorful pianos I’ve ever played on, and in some of the most exotic places I’ve ever been. After serving in the Navy, I went on the road with various bands for 11 years, “paying my dues” as the saying goes. I played in almost a dozen such show and cover bands prior to coming to LA (1979) and joining the band Missing Persons in 1980.

John: What factors led to your decision to begin a career as a musician?

Chuck Wild: The very first water color I painted as a child was a picture of me sitting in front of a large pipe organ, so perhaps there was some early predestination about the career. I remember telling my parents when I returned home for the Navy that I wanted to be a musician. My folks, realizing that the life of a musician can be very challenging, were not encouraging, and suggested I might try it for just a couple of years. Two years has turned into 40 years now…

I wish I could say I had a grand design back then, but the truth at that point in time was much shallower. I just enjoyed being on the road in the many bands, and did learn a lot about life and music. The “road” is also the “tuition” a new musician pays for better musicianship. There have been many ups and downs, I remember in the early days sleeping in the back of my van with a pillow on the pedal board of my old Hammond B3 organ. Still, they were generally happy days, as friends were generous with their couches when our bands ran out of money!

John: Missing Persons became a phenomenal chart topping band with international success with hit albums and songs like Walking In L.A., Words, Destination Unknown, & Mental Hopscotch, just to name a few. In addition to massive radio airtime, Missing Persons was a favorite group played nearly non-stop during the early years of an American television channel and cultural game-changer named Music Television, otherwise known as MTV. A lot of people have varied tastes in music like me so would you please tell us all about your music career while you were with the popular Capitol Records group Missing Persons?

Chuck Wild: On September 22, 1980, I received a call from singer Dale Bozzio, asking me if I’d like to audition for their band. Dale had found me through the Musicians Contact Service in Hollywood. I said “no” as it was my birthday, but maybe another time. Dale said, “Oh, since it’s your birthday, if you’ll come audition, we’ll buy you dinner after the audition!” I agreed, and went to the audition, and they bought me a wonderful Italian birthday dinner.

However, when I arrived for the audition, I found out that they needed a keyboard player who had the coordination to play left hand (very fast) bass parts in odd time signatures, while at the same time playing keyboard parts in the right hand in different time signatures!

I had no problem playing either hand alone, but had never played keyboard bass & keyboard parts at the same time. So, I failed the audition but we still had a fun birthday dinner that night. During the course of the audition, they played four songs for me which they’d recorded with producer Ken Scott (The Beatles, David Bowie, Supertramp) up at Frank Zappa’s house.

I really loved the tracks they’d played for me, so the next day I made the decision to get up at 5 am every morning and practice the new technique of left hand bass and right hand keys, in odd time signatures, first in slow motion, then very fast, until I was proficient enough to audition again. After a couple of weeks I asked for another audition, and this time got the job.

That turned into a whirlwind of activity – Missing Persons started playing live in late 1980 and we sold out 40 shows in a row in Los Angeles prior to getting signed, primarily because the other 3 members of the band had worked extensively with Frank Zappa, who had a big Los Angeles following. I must say it was an extraordinary experience. Terry Bozzio, arguably still one of the greatest living drummers, Warren Cuccurullo, an amazingly creative guitarist who went on to play with Duran Duran for twelve years, and Dale Bozzio, a fashion leader long before Lady Gaga and Madonna, and myself played gig after gig for those first 18 months.

In 1981, once the band had some label interest, we were joined by the talented bassist/composer Patrick O’Hearn, who is a wonderful artist in his own right. Although we were initially rejected by some labels, our manager/producer Ken Scott persisted, and decided it would benefit us to tour in Canada, and then play some dates in New York City area to prove we could attract fans outside of California. Capitol Records staff in NY heard us, on that trip, where we played three sold out shows, the Peppermint Lounge, the Ritz, and a live concert recording for the venerable rock station, WPLR-FM Long Island. When we returned to Los Angeles, Capitol Records signed the group.

One of my fondest memories from those days was taking a copy of our 4-song EP (phonograph record in those days) to radio station KROQ in 1980. It was very difficult to get music to KROQ, so I waited in the parking lot after everyone left, and as one of the employees was leaving, I propped open the back door with a twig. When the lot had cleared out, I went in and gave our EP to the on-air DJ, Freddie Snakeskin who happened to be program director for KROQ. About 2 weeks later we were riding in a car to rehearsal and heard our song Mental Hopscotch on the air. That song went on to become #1 song of the year in LA before we were even signed. From that point on, our Los Angeles gigs were often introduced by Dusty Street, Jed the Fish, and Freddy Snakeskin (program director for KROQ).

During that same period, Les Garland, an A & R person from Atlantic Records had become a fan of the band, and though Atlantic didn’t sign us, Les went on to become Senior VP of the new Music Television station, MTV, and once we were signed to Capitol, we soon had six videos in heavy rotation, which helped enormously.

John: Fascinating Chuck! In addition to being a band member for Missing Persons you were a session musician on albums for many music celebrities including Paula Abdul, The Pointer Sisters, Frank Zappa and the late Michael Jackson to name a few. Would you like to tell of your experiences while working with famous celebrity artists?

Chuck Wild: In the mid 1970’s I was playing in a blues band in Zebulon, NC, and actually lived in a studio called Mega Sound Studios in nearby Bailey, NC. I traded a place to live in return for playing sessions and keeping the place clean. My initial training in recording arts came from a wonderful engineer by the name of Richard Royal, who was one of the studio owners. So I got a lot of early studio experience in those days. As I mentioned, Missing Persons’ producer on our first album was Ken Scott, and I sat behind Ken whenever possible to learn as much as I could. Missing Persons’ second full-length album, Rhyme and Reason, was produced by legendary five time Grammy-winning engineer/producer Bruce Swedien who had been Quincy Jones’ engineer for over 35 years, including having engineered Thriller and most of the other Michael Jackson albums. Over the years Bruce and his wonderful wife Bea have been mentors for me, and were instrumental in encouraging me to begin the Liquid Mind® series.

In 1987 I co-wrote (and played on) a song for the Pointer Sisters called Say the Word with Grammy-winning producer Glen Ballard and the late great songwriter, Marti Sharron. Glen started calling me for some sessions, including a song on Paula Abdul’s debut album. My longest stint in the studio began when Bruce Swedien called me in 1994 to ask if I’d like to program sounds for Michael Jackson’s HIStory album. I said yes, and I continued to create soundscapes, sounds, and do some percussion programming for Michael between 1994 and 1998. The money I earned from Michael those years helped me to start Chuck Wild Records in the early days, in order to distribute Liquid Mind. Suzanne Doucet, a friend and wonderful New Age artist in her own right, was instrumental as a consultant in setting up my label and distribution, and in guiding me through the trials of running a small label.

John: When you were signed as a staff songwriter to Lorimar Telepictures and Warner/Chappell Music, and also in the years to follow, you’ve composed over 125 songs, scores, and compositions for the television and film industry. Who are some of the artists who’ve recorded your songs?

Chuck Wild: After co-writing the above mentioned song for the Pointer Sisters, I was approached by Linda Perry, VP of Lorimar Telepictures Music Publishing Division about becoming a staff songwriter there. My deal continued with Warner/Chappell Music after Warner Brothers purchased Lorimar a couple of years later.

A lot of artists recorded songs I wrote or co-wrote back then including Philip Bailey (from Earth Wind & Fire), Jennifer Rush (I co-wrote a #1 song in Europe for her Passion album called You’re My One and Only), Tommy Page (now a publisher at Billboard Magazine), Glen Medeiros (who sang High Wire from one of the Karate Kid films), Hidden Faces (who sang Hurt So Bad to Love which has appeared in several films), the legendary Japanese band Wink recorded my song One Kiss At a Time.

Thelma Houston, Gary Lemel, Vector, Angela Cole, the Perri Sisters and David Pomeranz are some of the other artists recording my songs back then. In the early 90’s I also recorded two libraries of neo-classical instrumental music, which have had hundreds of plays in dozens of television episodes & films.

More recently I’ve also co-written a number of songs for television & film with the Emmy-winning president of the California Songwriters’ Association, Michèle Vice-Maslin, including Starr X’d Lovers, our Emmy-nominated song in 2011.

John: After leaving Missing Persons you began producing music designed for relaxation under the artist name Liquid Mind®. What was the turning point in your life that led you to begin producing music in the new age genre that is near opposite to the music of Missing Persons?

Chuck Wild: In 1987 while co-composing music with Michael Hoenig for the Emmy-winning Max Headroom ABC-TV series, the filming & post-production of the show got seriously behind schedule, and instead of having 2-3 weeks to score each episode, we typically had only 4-5 days to score, write, arrange and mix 43 minutes of music for each episode, meaning there was little time for sleep. For three months, I slept only about 4 hours a night, usually in the studio. At the same time, a large number of my friends were dying of what was then called AIDs, so I was very stressed out and sleep deprived. I started having anxiety attacks, then panic attacks. The show was cancelled in late 1987 and I went home to rest, and actually became agoraphobic (wouldn’t leave home for several weeks).

At one point during a particularly bad panic attack, co-composer Michael Hoenig and Peter Wagg, the producer of Max Headroom, took me to an urgent care clinic. After examining me, the doctor held up two things in his hands. In one hand was a bottle of anti-anxiety medication, in the other hand was a sheet of paper with instructions on how to do a simple clearing meditation. The doctor said, “Chuck, they both work equally as well for what you have – clinical anxiety. It’s up to you:  Medication or Meditation?

There’s only one letter difference between the two.” I chose meditation over medication that day. The instructions were for a simple clearing meditation, just breathing slowly in and out and counting a number for each breath from 1 to 10, and repeating over and over. To this day, I still have a section at my site for a “meditation break” with those instructions.

The meditation helped quite a bit, but I was still unstable at times. My friend Jeff Kingfisher (composer, recording artist, and inventor of Muzoracle, Musicians Dice, and Muzundrum musical board game) suggested I see a counselor friend of his. The counselor suggested that, as part of my healing from anxiety/panic, I try to compose the type of music that represented the way I wanted to feel.

Liquid Mind was borne of the thought: Music can help heal me, and sonically represented the calm I yearned for. She also encouraged me to increase my meditation time to an hour a day.

Though I don’t meditate that long these days, it was a great help to me at the time, and brought me much peace. My early meditations and slow music efforts (especially Zero Degrees Zero from the first Liquid Mind album), plus some intensive therapy with excellent counselors, brought me some relief, enough to leave the house and start a routine of counseling and weekly acupuncture. Within a couple of years, I was pretty much anxiety free and physically recovered from the harm I’d done myself in those 3 months of sleep deprivation and stress.

John: What would you say are the defining characteristics of Liquid Mind Music?

Chuck Wild: There are several readily identifiable characteristic of my music. First and foremost, the music has no predominant rhythm, and is sometimes called “zero beat” music. One day while sitting on the rocks in Laguna Beach, CA, on a therapist-mandated “mini vacation”, I realized that the sound of the ocean was continuous, low and rich, tonally complex, never stopping, and deeply relaxing. That day I came up with the name “Liquid Mind” (i.e. liquid-ocean was relaxing my mind). I determined that the sonic characteristic of my healing music must be similar to the ocean.

I favor low frequencies, continuous sound, absence of any predominant rhythms, gradual but sometimes complex textural and harmonic changes, moving at about the speed of my breathing, ebbing and flowing at times, and the inclusion of sampled vocal sounds subtly playing chords. Live singers weren’t added until later albums, but I definitely prefer the more organic live vocal textures. Tenors AJ Teshin and Seven Whitfield have sung on almost every album since 2001, and more recently tenor Jimmy Demers as well.

This music is tedious to record, to say the least, since the pieces are long form (many are 10-15 minutes length), and so slow moving. Liquid Mind albums can take 5-7 months to write, arrange, record, mix, and master. Also, as I’ve been caffeine free since 1988, I definitely get drowsy while working on this music, especially during the mixing process and have learned the benefits of a fifteen-minute power-nap!

John: What is sedative or therapeutic music primarily used for?

Chuck Wild: Music therapy, which includes almost every style of music imaginable, is administered by a certified music therapist (who often has a master’s degree in music therapy), and can help most anyone who has a health issue. My sedative music is but a tiny part of the music therapist’s toolbox. The American Music Therapy Association, a wonderful organization which certifies and educates music therapists, says this: “Music Therapy is an established healthcare profession that uses music to address physical, emotional, cognitive, and social needs of individuals of all ages. Music therapy improves the quality of life for persons who are well, and meets the needs of children and adults with disabilities or illnesses.”

I’m not a music therapist myself, but as a composer of therapeutic music, I’m an associate member of the American Music Therapy Association, and was honored to receive their Presidential Award in late 2009. The terms “sedative” and “stimulative” are used to describe less active and more active music. It’s up to the attending physician and the attending music therapist to decide together whether a patient needs relaxation (as in the case of folks with PTSD, anxiety, pain, grief, emotional exhaustion, sleep deprivation etc.) or stimulation (like some elderly, for example, or someone who’s suffered a stroke).

John: Scientific studies have documented the positive effects of therapeutic music, and in your case the benefits of calming music proved to be successful by relieving your personal medical issues with anxiety and panic attacks. But do you feel music therapy can be beneficial to everyone?

Chuck Wild: Music therapy interventions can be designed to manage stress, help folks learn to express their feelings, alleviate physical pain, improve communication, promote physical rehab, enhance memory, and generally promote wellness. It’s really quite amazing, and most music therapists use music with characteristics that are proven in evidence-based research to achieve a particular healing effect.

John: Of course one doesn’t need to have a specific medical issue like panic attacks to benefit from, and enjoy your music, so what are some of the ways people use Liquid Mind Music other than this particular medical disorder?

Chuck Wild: A lot of folks use my Liquid Mind music to relax prior to going to sleep. Dr. William Dement, the “father of sleep medicine” offered an unsolicited endorsement of my 8th album, Liquid Mind VIII: Sleep as part of a pre-sleep routine. I collated some “sleep tips” from his book and other sources, which can be accessed from my website. Massage therapists and yoga instructors use Liquid Mind frequently. One use I don’t recommend is driving while listening to my music. There’s a warning on every CD & my website about that.

Liquid Mind is also used in dozens of healthcare settings for different purposes. I’ve heard from doctors, nurses, music therapists, state prison counselors, drug rehabs, hypnotherapists, yoga instructors, massage therapists, acupuncturists, psychologists, cancer chemotherapy centers, psychologists and other counselors, ministers, meditation teachers, hospice caregivers, special needs school teachers, and many patients who use the Liquid Mind® music for healing. I’m quite humbled by the over two thousand gratitude emails I’ve received from patients and their families. I never imagined there would be that much interest in my music.

John: Like you stated earlier, Liquid Mind albums are composed using specific techniques based on scientifically supported research to achieve the desired physical responses. Based on these scientific studies, could you tell us the techniques you use when composing your music?

Chuck Wild: Evidence based research does support some characteristics of Liquid Mind – bass (lower) frequencies and vocal sounds are perceived to be relaxing to humans, because when we’re in the womb, a safe place prior to birth, we don’t hear a lot of treble frequencies, it’s more muffled sounds, and we get used to the sound of our mother’s voice, so there is that familiarity. I’ve done some unpublished research myself using a bi-spectral index anesthesia monitor, and determined that continuous slow music (similar to ocean sounds) has a “masking” effect on other environmental sounds, making it much easier to relax.

There is also the effect of entrainment, which in a reverse way, in my own non-scientific opinion, helps Liquid Mind to relax folks. Entrainment is the propensity for two oscillating systems (imagine two pendulum clocks on a wall) to entrain and move at the same time. This happens in biological systems as well. When I hear fast music, my heart rate rises. When I hear slow music, my heart rate falls as muscle relaxation ensues.

My recording process is as follows: (1) I spend 4-5 weeks sketching about 40 pieces, 10-20 minutes each  (2) I choose the best 5 or 6 pieces (3) I spend 6-10 weeks arranging, really the most difficult stage, where I’m smoothing any attacks on the sounds I use (generated from 10-15 synths and dozens of tracks of live vocals).

The music sounds quite simple, but the texture is always in motion under the surface. (4) 6-10 weeks mixing and creating the sonic fingerprint of Liquid Mind. (5) 2 weeks premastering where I reduce certain mid-high frequencies, boost certain bass frequencies and importantly to volume-match within and between the pieces.

I don’t want someone to have to reach for a volume adjustment while they’re listening. (6) 1 or 2 weeks mastering with Bernie Grundman here in Hollywood. Bernie is a legend in the recording industry and he and Joe Bozzi supervise the final touches of the process.

John: Liquid Mind albums are consistent best-selling albums making the Top 25 sales charts at Billboard again and again. In fact your 8th album Liquid Mind VIII: SLEEP was on the Billboard top 25 sales charts for over a year, and has reached #1 on the iTunes USA Top Ten New Age Chart countless times. Were you at any point surprised by the widespread popularity of your work has received or did you “just know” your music would achieve universal acceptance?

Chuck Wild: I never really expected to have the kind of acceptance I’ve had for Liquid Mind®, it was a pleasant surprise when I started charting on iTunes. I’ve always worked hard at making Liquid Mind “pay for itself” as a business, but was surprised when Liquid Mind VIII: SLEEP showed up on the Billboard® New Age sales charts for over a year running.

John: To say your music career is diverse is an understatement Chuck! You have received a lot of recognition for your work as Liquid Mind over the years so would you please tell us about the honors and awards you’ve achieved?

Chuck Wild: I’ve had some recognition from the Academy of Television Arts & Sciences (Emmy® nomination), the American Music Therapy (Presidential Award for advocacy and support of the music therapy profession), Billboard and iTunes USA charting dozens of times (for sales), Coalition of Visionary Resources award for Best Meditation/Healing Album for Liquid Mind VI: Spirit, Northern California Independent Film Festival best score honors for the award-winning short animation film “Horses on Mars” which exclusively used music from the first Liquid Mind album. Most recently, the prestigious Zone Music Reporter, representing US new age broadcasters and program directors, has nominated my new album, Liquid Mind X: Meditation for Best Electronic Album of 2012.

John: You are an artist with most of your albums on the successful Real Music Label, which features a quality lineup of top industry artists like yourself. What are the advantages to marketing your music through the Real Music Label?

Chuck Wild: John, I ran my own label for 10 years (1994-2004), focusing only on Liquid Mind, supervising employees and working seven days a week, with very long hours. That left me little time to create music, and even less time to “have a life.” In 2004, I decided to approach Terence Yallop and his wife Karen Kael, the owners of Real Music, about taking over distribution (i.e. licensing) of my first six albums, and also signing a recording agreement for four additional albums.

I’d met Terence in 1994 or 1995, and by 2004, and knew he and Karen had been meditating to my Liquid Mind music almost daily for ten years, so it seemed like a good fit. Real Music has real integrity, being one of the few New Age labels to survive the mergers of the 80’s, 90’s and 00’s, and to prosper in the downturns that have plagued the music industry. Terence and Karen and the wonderful staff at Real Music have remained true to their mission of bringing the music of relaxation, renewal and healing to everyone on the planet who can benefit from it.

To answer your question more specifically, there are economies of scale from being signed to a label. I get to work less time on administration and more time on music. Real Music has been a respected and established label for over 25 years in this niche, and it’s a relief to have the label administering, promoting and distributing my catalog. BTW, most recently my friend and Real Music label mate Omar Akram won the Grammy for his latest album.

John: What would you say are the fundamental differences in the music you compose versus meditative or made for relaxation albums created by other artists in the same category?

Chuck Wild: There is wonderful relaxation/meditation music by many artists from all over the world. Since relaxation is often cultural, something that may be relaxing in one country or society might not be perceived favorably in another. So, it’s a bit difficult to compare artists. I’d say Liquid Mind has different characteristics than some relaxation music. My music tends to be slower; perhaps more mellow sonically, laced with European classical harmonies, and is notable for the absence of any percussion instruments. I don’t listen much to other artists unless I’m working with them, so don’t consider myself an expert. One of my former students, the talented composer and performer Armen Chakmakian, is fond of saying that all music is relaxing and healing to someone. I fully agree.

John: Liquid Mind albums and songs are available on audio CD, but is all of your music available as digital downloads too?

Chuck Wild: Yes, all twelve albums (ten studio CDs and two compilations) are available both digitally and on CD. 70% of Liquid Mind sales are now digital, fewer CDs are still being sold these days. All twelve Liquid Mind® albums are sold through iTunes, Amazon.com, CDBaby.com, and dozens of digital sites. Real Music also sells all albums, both in digital and physical CD copies.  Liquid Mind is streamed around the clock on Pandora, Spotify and just about every streaming service, as well as dozens of internet radio stations, digital television, and Sirius XM.

John: It’s a well-known fact the music industry as a whole has experienced serious problems with piracy issues. Has there been much improvement regarding piracy as a whole, and have you ever experienced problems with piracy yourself?

Chuck Wild: Unfortunately, the technological advances that enable file sharing have hit our industry (and many other industries) hard. At one point, all my Liquid Mind albums were on nearly 100 pirate websites.

It can be disheartening, but there’s really nothing substantial that can be done about it until music fans grow to understand the harm free file-sharing does to artists, engineers, producers, songwriters, composers, performers, and employees of labels. I think the most devastating effect of piracy is that it has caused the disappearance of several major labels, and destroyed a portion of the major label “farm club” system that used to nurture new artists.

These days, instead of a new artist spending their time on music, they must become musical entrepreneurs, wearing every hat (producer, engineer, publisher, label, PR person, social media expert, marketer, and so forth).  I personally believe that the quality of music has suffered and the majority of new artists are never able to make a “sustainable” living at music now.

Major labels have been criticized for being greedy and taking advantage of artists, which may have happened in some cases, however, it’s estimated that only 5% of artists ever sell enough albums to break even. The other 95% of artists used to be supported by the top 5%. But that system of artist development is no longer in place for the most part.

Individuals and some websites like Kickstarter have stepped in to fill that void, but these efforts require a lot more time commitment to business by the artists, meaning less time to grow musically. Pirate sites do, in a sense, provide some promotional value, as long as folks go on to support artists by purchasing some tracks, but there is no proof that this is happening on a large scale and overall music sales have declined over 50%.

Like every other artist, Liquid Mind has been hit by file-sharing. I’m in hopes that folks are now coming to the understanding that artists, composers, singers, arrangers, engineers, mixers, studios, and label staff spend many months creating an album and preparing for release, and are just asking for fair compensation for their time. Though I enjoy music production, it is a business for me, and every other artist, especially as we grow older. Without support of fans and listeners, many artists will need to turn elsewhere to make a living.

John: During interviews I try to provide the latest press news for my artist and their fans if possible. Can you release any news information or perhaps give us the details if you have plans for a new Liquid Mind album?

Chuck Wild: I have no plans for release of a new Liquid Mind album, having just released Liquid Mind X: Meditation in September 2012. This year, I’m focusing on pop music production, and my classical piano pieces.

John: You have enjoyed several distinctly separate, but highly successful careers in your lifetime. What do you find most rewarding, songwriting/composing, production or being a musician?

Chuck Wild: In my own case, the three are synergistic, and I find reward in all of them. I love what the great writer Pearl Buck said: “The secret to joy in work is excellence.” I strive for (but never fully achieve) excellence.

The process is what keeps me going, especially when working with folks who have high standards and are willing to take the time required for high quality work. I’m producing a young artist now, one of the singers from NBC’s The Voice, Nathan Parrett.

He’s a terrific talent both as singer and songwriter, and it’s one of those opportunities to excel that make me get up every morning with a smile on my face. As well, I’ve written seven short classical preludes for piano, available for free at ChuckWild.com (including pdf sheet music), and am about one-third of the way through a long form (22 minute) piano sonata at the moment.

John: I enjoyed reading more about your fascinating life and career while preparing for our interview together Chuck. I hope we have a chance to interview again in the future. In closing for now, I want to thank you again for giving everyone this opportunity to find out the latest news about you, and the music of Liquid Mind. Is there anything you would like to express to the fans that have supported you over the course of your career?

Chuck Wild: I’m incredibly grateful to fans of Liquid Mind, and the many healthcare practitioners that use my music for healing. There is no greater reward for me than knowing someone’s life is made easier by listening to my music. Thanks so much, John, for this opportunity to be part of your wonderful website. I want you to know how much I and many other artists appreciate your support of the music profession and music creators.

To listen to samples or purchase songs and albums by Liquid Mind®, visit LiquidMindMusic.com. To learn more about Chuck’s non-Liquid Mind projects at ChuckWild.com. To find album and single digital downloads, CDs and song samples, visit Liquid Mind at RealMusic.com. Liquid Mind albums and songs may also be sampled or purchased at Amazon.com and iTunes.com. Follow Chuck at Facebook and Twitter social media. Photo and cover art courtesy Chuck Wild & Glen Wexler.

Electronic Dance Music innovators (We Are) Nexus heralded as one of the hottest new EDM groups by top news organizations.

If you are into the sounds of Electronic Dance Music (EDM) and are already informed about one of the finest new EDM groups in recent times, then you know the outstanding new group called (We Are) Nexus is beginning to acquire a sizeable fan following for their ingenious original club mixes.

Composer and producer Nick Gunn and vocalist Carmen Rainier are the names behind the (We Are) Nexus team, both of which are professional artists famous for their albums in the instrumental and world music genres.

(We Are) Nexus is quickly gaining speed in the EDM market by their innovative sound, plus numerous press articles by respected news outlets are publicizing more than positive reviews of the group including articles by CBS News, NBC News, Boston Globe and Miami Herald. These reliable news sources have made a unanimous assessment to the effect that (We Are) Nexus is one of the hottest new groups in Electronic Dance Music.

The first single by the team titled Broken and newest song single named Sound of the Beat features an exciting mix of trendy vocals by Carmen Rainier set to a blend of tech house and engaging world music rhythms. Having produced 14 albums and sales of over 2 million, multi-platinum artist Nicholas Gunn brings a new level of expertise to the EDM market.

While (We Are) Nexus is no way connected to a state-of-the-art smartphone or the newest electronic technology product there is a solid connection, defined by the innovative principles of the artists involved, and the high quality of EDM they produce. Their expertise and success as instrumental artists is clearly reflected in the cleverly arranged songs.

Visit the professional team Nick Gunn and Carmen Rainier at WeAreNexusEDM.com and sample new EDM songs in their music section. Photos courtesy wearenexusedm.com.

With the Sochi 2014 Winter Olympics and Paralympic Games less than one year away speculation has already begun on the choice of music selections for the historic athletic games to be held in, and various locations around the host city of Sochi, Russia in 2014.

An important aspect of the Olympic Games themselves is the official music performed during the Opening Ceremony, Closing Ceremony and all events like the Medal Award Ceremony. Interest in the music performed at venues from start to finish is equally popular.

At this point neither the International Olympic Committee (IOC) nor the Sochi Organizing Committee (SOC) has released the Official Music to be played during the games, but there is news of a song compilation album likely to be music played during the Olympics.

The first album titled Hits of the Sochi 2014 Olympic Games is 10 song compilation album release based on the Olympic theme. The artists performing the 10 songs were musicians selected during a music competition open to Russian citizens. The songs are being played on radio stations in Russia, but Hits of the Sochi 2014 Olympic Games is not yet available.

During the London 2012 Olympic Games the music of new age electronic instrumental artist Vangelis made a grand impression with his famed Chariots Of Fire song, which is a song selected from the motion picture soundtrack score on the Academy Award-Winning movie of the same title.

The song Chariots Of Fire by Vangelis was an official theme song played extensively during the Medal Award Ceremonies and other venues. It’s hard to imagine a song better suited to the Olympic Games than Chariots Of Fire, but it will be interesting to see if music by Vangelis will be included in the 2014 Sochi Winter Games. I will present special music news coverage and updates for the Sochi Winter Olympics so check back for complete information about Official Olympic Music when made available.

The 2014 Sochi Winter Olympics will begin on February 7, 2014 with the Opening Ceremony and conclude on February 23, 2014 with the Closing Ceremony. The following Paralympic Games is set to begin March 7, 2014 and conclude on March 16, 2014. The Olympic Torch Relay begins in Moscow, Russia on October 7, 2013. The song video below is by an artist performing an electronic music composition while the video portion details plans and events for the Sochi 2014 Olympic Project.

To read more about the Hits of the Sochi 2014 Olympic Games compilation album by artists in Russia visit Sochi2014.com. For music played during previous Olympic and Paralympic Games visit my category section named Official Olympic Songs. Big Stock Photos – Jimbarber & Eskay Lim.

Dreamchaser is Sarah Brightman’s newest album nearing official release worldwide in April 2013. There are several official release dates given for various countries around the world for Sarah’ twelfth studio album with 10 vocal and instrumental songs that are going to be available in either format of audio CD or digital downloads.

Sarah Brightman fans who are member of her community fan club may already be privy to this news, but for all other persons the Amazon and iTunes music stores in Japan are two online stores where you can listen to pre-release 45 second song samples of Dreamchaser. In fact persons may also purchase Dreamchaser in either format, but with the April 2013 release coming up, the wait for this exceptional album won’t be much longer.

Angel & One Day Like This are two full length videos and song singles released to the public with resounding admiration for this exceptional release. Today I would like to pass along this news update of this opportunity to listen to 45 second samples of all songs on her newest album prior to the official release date for the majority of countries worldwide.

Dreamchaser has been available for sample or purchase in Japan since January 16, 2013. Like many other online music outlets in various countries, Amazon is accepting pre-orders prior to the April release date, but Japan is one country to offer early samples for you to listen to all songs and to purchase.

Dreamchaser has 10 songs but the Japanese Amazon and iTunes music retailer offers an opportunity to sample all 10 songs plus the bonus song and purchase at the Amazon and iTunes online music stores in Japan. After listening to all 11 songs, the beauty of Sarah’s vocals with contemporary lyrics and instrumental backing makes it easy to see why this vocal instrumental release is sure to be a popular, best-selling album. Check back if you would like to read a pre-release album review for Dreamchaser prior to the worldwide release date.

The 10 songs samples are: Angel, One Day Like This, Glosoli, Lento E Largo, B612, Breathe Me, Ave Maria, Eperdu, A Song of India & Venus & Mars. Also available at iTunes is an accompanying digital booklet.

Pre-order Dreamchaser and find concert tour information at SarahBrightman.com. The release date in Germany is April 5, 2013 and worldwide on April 8, 2013. The release date for Canada and United States is April 16, 2013. Listen to 45 second song samples for all 10 songs before April release date worldwide. Listen to samples for Dreamchaser at Amazon in Japan. Artwork is courtesy sarahbrightman.com.

Interview with Peter Kater in 2013 – Newest interview with multi-platinum selling composer and pianist Peter Kater.

Multi-Platinum selling recording and concert artist Peter Kater is a legendary composing pianist recognized as one the leading new age and instrumental music producers worldwide. GRAMMY® Nominated seven times over the past eight years, along with his own albums he is a consistent producer of cinematic music for the television and film industry.

Peter Kater has composed music scores for over 100 television programs and films, including 11 off and On-Broadway theatrical plays to date. In addition to performing at Carnegie Hall in New York City, Peter Kater’s music was played during the NBC broadcast of the 2000 and 2004 Summer Olympic Games and is recognized for his collaboration work with distinguished actors and celebrities in the film and music industry.

Topics for the newest interview with Peter Kater include a conversation of his GRAMMY® Nominated album Light Body and notable achievements during his music career. Peter Kater also replies to questions about important film directors and celebrities he has worked with, and offers encouraging words of advice to artists beginning their music careers.

Peter Kater Interview – New in 2013:

New Age Music World interview host and publicist John P. Olsen had an opportunity to interview Peter Kater in early 2013. Today we are pleased to present a new interview with the esteemed instrumental music composer and pianist Peter Kater.

John P. Olsen: Thank you for accepting my interview invitation Peter, and for taking time out of your demanding schedule. Recently your piano with instrumentals album Light Body was GRAMMY® Nominated in the 55th Annual Music Awards.

Light Body is your eighth GRAMMY® nomination, which is a significant achievement in itself. Would I be correct by saying even though you are accustomed the prestige and recognition Nomination brings, that the Annual Music Awards Ceremony is always an exciting time of the year for you?

Peter Kater: Yes, it’s an exciting time of year and it’s also a time to stay very close to my center and remain true to the reason that I do music, and to connect with a deeper more intimate and profound part of myself, my experience and others. To get swept up into something as external as a Grammy Award or to look outside of myself for my happiness and contentment would be a mistake. However, having said that – yes, it’s very cool to be Nominated.

John: I imagine you have a chance to visit with old friends and perhaps meet new friends during the Music Awards Ceremony. One GRAMMY® Award winning artist you have collaborated with in the past is American flute performer R. Carlos Nakai. Would you like to tell us about your friendship and projects with R. Carlos Nakai?

Peter Kater: R. Carlos Nakai has been Nominated for a Grammy 9 times and unfortunately has not yet won, although he certainly deserves to. R. Carlos and I met in 1989 after I was turned on to his music and invited him to play on a CD of mine. Our first collaboration was on the album Natives.

We improvised the whole CD in a few short hours. We’ve known each other for decades and have had our ups and downs but whenever we get to playing music together either on stage, in the studio or in my living room it’s literally . . . magic. It flows like a mountain spring. It’s a connection we’ve always had. And yet, sometimes the human personality is not quite as fluid.

John: You have also collaborated with an impressive number of projects with popular film directors and award-winning celebrity actors. Who are some notable film directors and celebrities you have worked on projects with over the years?

Peter Kater: My favorite scoring projects were “10 Questions for the Dalai Lama” cause I really liked the film and subject matter and “How The West Was Lost” because it was such an important series (13 hour mini-series) that really exposed the truth of the settlement out west in the U.S. and what the heavy price our Native American culture paid. It was a very sad and poignant series where I found myself literally crying in the studio as I was playing the visual footage.

I also really enjoyed the work I did on Broadway and Off-Broadway theater productions. I was working with the very best in the business, director Marshall Mason: Pulitzer Prize winning playwright, Lanford Wilson and amazing actors like John Malcovich, Joan Allen, Tyne Daley, Ethan Hawke, John Voight and many others. Being in the rehearsal process with these great talents for weeks at a time was definitely a highlight of my career.

I also enjoyed performing in the early years at the Sundance Institute and Film Festival as per the request of Robert Redford who really liked my music. And I have to mention my wonderful 10 years of playing with and for John Denver at his “Choices for the Future” Symposiums in Aspen, Colorado.

I met many famous influential authors and world leaders thru his symposiums. And I would be remiss in not mentioning my work with Kenny Loggins. Actually I could go on and on cause there have been so many amazing experiences but for that I may need to write book.

John: With a list of celebrities like you described I can see why Peter! Earlier releases like Light Body are wonderful arrangements showing your creativity as a composer and musician. Could you describe the theme of Light Body, which is based on seven Chakras?

Peter Kater: Light Body’s theme is of the 7 Chakras starting at the root chakra and working our way up. It was designed to create an experience of acceptance and illumination for people dealing with life changing circumstances from everything from daily stress thru disease and dying.

John: In addition to your superb performance on piano and synthesizers, Paul McCandless and Trisha Bowden have helped you transform Light Body into an outstanding instrumental album that indeed has award-winning potential. Would you like to tell us what musical instruments they perform and enhancements they bring to your recent GRAMMY® Nominated arrangement Light Body?

Peter Kater: Trisha sang some beautiful wordless vocals on the record really giving it a human compassionate feeling. Paul McCandless played oboe, penny whistles and English horn. Paul always adds a lot to any recording project. He is one my musical mentors and heroes.

John: Undoubtedly, a lot has transpired over the years since 1983 when you released your first solo piano album entitled Spirit. At what point during your career did you find the incentive to begin producing serene new age, instrumental piano music made for reflection and relaxation?

Peter Kater: I decided to go into the direction of deeper, more reflective music after I had three National Top 10 Contemporary Jazz albums and was touring playing jazz festivals around the country.

I realized then I definitely wasn’t feeling fulfilled playing that kind of music (even though I wrote and produced it) and wanted my music to fill a need in the world for greater healing, peace, love and compassion.

John: During your career as a music professional spanning three decades, you have released over 60 recordings, and over 100 soundtracks for movie scores for films or television, including off and On-Broadway theatrical plays. Could you tell us about the varying process of composing music for television or theater, verses composing music for an album?

Peter Kater: When you’re working with another art medium like film, theater or dance you’re in an interactive process and need to leave space and room for the other medium. You’re bouncing off each other and as result coming up with material you never would have come up with on your own.

John: Knowing you have lived in the U.S. in the state of Hawaii, has the natural beauty of the Hawaiian Islands been a stimulus to your music?

Peter Kater: Actually living in Hawaii brought me such peace and contentment that I was actually playing less and less music. Therefore my move back to Boulder, Colorado last year has reignited my burning passion for the piano and for writing and recording music. I’ve always done great work from Colorado and it’s been exciting to feel that part of my “being” engaged once more.

John: Along with easy access you give fans at your website you also have Facebook and Twitter social media sites. Have your social media pages proven to be a beneficial outlet for exchanging ideas and information with your fans and visitors?

Peter Kater: I like being connected to my fans and people of like mind and heart and soul. It’s one of the good things about the internet. I enjoy it but I think it’s important to stay present in one’s life in a real physical and tangible way and not get lost staring at the computer screen.

John: I have a question I always like to ask a highly successful artist like you Peter. Would you be willing to offer any advice for pianists or artists in general who are just beginning their music careers?

Peter Kater: Follow your heart. Trust your instincts. Don’t second guess yourself. Don’t ask for too many opinions from others. Play each note like it’s never been played before in this space and time (cause it hasn’t been) and never lie to your instrument. Play what you’re feeling honestly . . . don’t pretend to be confident when you’re feeling nervous . . . don’t pretend to be happy when you’re feeling sad. Don’t be out going with your feeling introspective and don’t hide from your fears or your pain cause then you’ll never find your joy and bliss. And place “authenticity” before all else.

John: I read while taking piano lessons as a youngster, you struggled with early piano instructors because you wanted to improvise on “the classics.” Do you feel this desire to improvise early in life was an important factor with your success today, and if so, would you advise parents with young children taking music lessons to allow them “creative freedom” to explore too?

Peter Kater: I always wanted to play things my own way. But it was important for me to learn the basics and structure as well. In the early years there has to be that balance of learning and enjoyment. But most importantly, find a teacher that really inspires you and makes you feel good about playing.

John: Along with your numerous studio releases you perform live concerts, plus people can book a live home concert with you to perform during special occasions. Will you be performing live in 2013, and what can people expect while attending a Peter Kater concert?

Peter Kater: I’ll be doing plenty of concerts in 2013. Some solo and some with collaborators. I think people can expect a “real” experience. A lot of people have a “moving” experience and some even have a cathartic experience. I think the honesty with which I approach my music is felt within the listeners and as a result “real” feelings emerge and true “experiences” are had. But it’s a very personal and individual thing. Everyone has their own experience.

John: Your successes and achievements during your career is truly remarkable Peter. Of your many achievements, what would you say are the two most gratifying moments during your music career to date?

Peter Kater: The most gratifying thing about my musical career to date is that I’m still passionate about it. I still can sit down at the piano, solo of playing with someone, and have a real experience of wonderment, honesty and excitement. I’m still curious about what’s possible and I still love it. There’s nothing more gratifying than the enjoyment of making music and sharing it with others in the moment. If you’re attached to the past you’re not living in the present. And the “present” is all we ever have.

John: Thank you again for taking time away from your work for our interview Peter! In closing for now, is there anything you would like to express to your fans that have supported you over the years?

Peter Kater: Thanks for your good wishes. I really appreciate them and I appreciate the opportunity to talk about what’s important to me. And I also appreciate, very much, the people that listened to my music and have a personal experience through it that is there’s. The fact that I can create something, or channel something that can add to the life of another person in a positive and impactful way is truly wonderful. That is a gift to me in and of itself.

It’s an honor to be a musician and it’s wonderful to have a life filled with music flowing thru me and out into the world.

Thank you for listening!  ~ Peter Kater ~

Visit the PeterKater.com homepage for news, and learn more on this great artist on the Peter Kater profile page and visit his music shop for special offers and to sample or purchase his albums. Photos and cover art are courtesy peterkater.com.

If you are a fan of multi-platinum concert and recording artists Yanni and pop vocal star Sheena Easton there is a good chance you also admire the music of leading composer and multi-instrumental artist Bradley Joseph.

Bradley Joseph has enjoyed a successful solo music career of his own for years, with many impressive achievements including ranking in Sirius Top 40 Radio Charts, with over 1.5 million radio plays each month, plus attaining #1 on Amazon, #1 on iTunes, and 25 weeks on the Billboard Charts.

Founding the Robbins Island Music Label, and voted Outstanding Minnesotan of the Year are just several more highlights during his illustrious career.

These achievements as a solo artist are in all in addition to sharing the stage with music celebrities Yanni and Sheena Easton for over a decade, touring with pop vocal star Sheena Easton as her co-music director for 5 years.

Touring with Yanni for over 6 years, Bradley Joseph replaced John Tesh as the feature keyboard performer and soloist during Yanni’s Ethnicity 2003 World Tour, and keyboardist in the multi-platinum selling CD and DVD titled Yanni – Live At The Acropolis. This album alone sold over 7 million copies worldwide, plus the video sold over 1 million copies to be top seller of all time, second only to the Thriller Video by the late Michael Jackson.

Bradley Joseph has an exceptional new age, piano instrumental album titled Paint The Sky, ready for official release at his website and major online music retailers on April 4, 2013. After receiving an early demo recording I am pleased to be the first to provide an album review and tell you about this special new release knowing Paint The Sky is an exceptional instrumental album guaranteed to be a popular hit among a wide audience.

Paint The Sky begins with an exciting song titled Inside the Stars, moving to a more reflective Secret of the Sun. Rather than a complex analysis of the 13 songs an accurate description is best expressed by the near even number of songs with upbeat melodies and lively rhythms, with the balance centered by a light, casual relaxed atmosphere.

All piano with instrumental pieces are brilliantly poised by the cinematic feel, with importance given to melodic rhythm and phrasing. Aside from describing the album in formal terms, Paint The Sky is simply a significant new album arrangement by one of today’s top instrumental artists guaranteed to be a real crowd pleaser.

One can’t talk about Bradley Joseph without mentioning Yanni and Sheena Easton, both of which are music celebrities recognized for their selection of the highest caliber artists for their popular studio albums and concert tours.

In this sense I may be stating the obvious by saying Bradley Joseph is clearly an outstanding instrumental artist. Pointing out the significance of his music career however does offer a better perspective of how special Paint The Sky really is.

Bradley Joseph also has audio CDs and DVDs specializing in relaxation and behavioral music for pets including canines and felines. The benefits of music therapy are in fact supported by the veterinary profession, so if you are interested in providing therapeutic music for your pet visit the store section at his website.

Along with the popular pet therapy music CD and DVD collection there is a section at his website dedicated to specialty albums including Holiday Music, Popular Cover Songs, four CD nature sounds collection, piano sheet music and more.

The 13 songs on Paint The Sky: Pianist Bradley Joseph – Original piano instrumentals with a cinematic feel are: Inside the Stars, Secrets of the Sun, Into the Big Blue, Your Eyes Say Goodbye, In Dreams Awake, Rainbow Fields, I’ll Wait For You, What A Time It Was, The Edge of My Heart, Brave New Day, Light Through the Trees, Spirit of the Calm & Remembering.

Visit the artist at BradleyJoseph.com for audio CD albums, mp3 downloads, piano sheet music, and much more. Prior to the April 4, 2013 release date pre-order Paint The Sky at Amazon.com. Photo and cover courtesy bradleyjoseph.com.

Bradley Joseph is a professional pianist and instrumental artist specializing in relaxation and behavioral music for pets. In fact he has produced a large collection of audio CDs and DVDs dedicated specifically to the most popular animals companions like canines and felines but his music can be beneficial to a variety of other animals too.

The album titles for some of his therapeutic CDs and DVDs are Music Pets Love, Music Dogs Love, Music Cats Love, Music Birds Love, along with DVD For Dogs & DVD For Cats.

The selection of CD and DVD pet therapy music produced by Bradley Joseph is designed specifically for pampering our companions using gentle music as a technique for relaxation and to help relieve separation anxiety while we are away, and additional common pet conditions.

The benefits of music therapy are in fact supported by the veterinary profession, so if you are interested in providing therapeutic music for your pet, allow me to direct you to his popular store section with an extra nice collection of pet therapy music to choose from.

For a variety of music designed for pet therapy visit BradleyJoseph.com. While you are there read about his professional music career which includes touring with international concert artist Yanni and pop vocal star Sheena Easton. Cover art is courtesy bradleyjoseph.com.

Malta Music Awards 2013: International world music band Tribali wins Best Album honors for two consecutive years at the Malta Music Awards with The Traveller album.

It’s been another successful year for the Maltese band Tribali by their first place win for Best Album at the Malta Music Awards taking place at the Malta Fairs and Conventions Centre on February 3, 2013.

The Malta Music Awards, held the day after the Malta Eurovision Song Festival, presented Tribali a Best Album Award for their 2012 release The Traveller, which made the second consecutive year in a row Tribali claimed the victory.

The Traveller is a vocal instrumental album with 13 songs in the world music category, which highlights the band’s unique range of traditional and ethnic influences. The band incorporates a variety of instruments including ethnic instruments like didgeridoo, electric sitar, murchunga, guimbri, cahon, hang and tabla, with traditional guitars, keyboards, vocals, violin, trumpet, drums and percussion.

The compilation album Festa is another Tribali release from 2012 featuring a 13 song collection of classic songs from Tribali’s earlier releases. During earlier years their music was available to local music stores in Malta. Now it appears the two most recent albums by Tribali have largely contributed to the introduction of the band’s unique blend of new age, world and traditional Maltase Folk music to the world.

Likewise the two most recent albums by Tribali have transitioned the group from the status of a favorite local band into the international spotlight as serious contenders in the world music scene.

The leading daily newspaper in Malta named The Times, formerly The Times of Malta, ran a news article about the band Tribali and their recent music award. I was pleased to read The Times has quoted me in several paragraphs and made reference to this site in their February 8, 2013 newspaper publication stating; “Tribali’s album Festa has been rated the seventh best instrumental new age and world music album of the year by a top website specializing in the genre.”

It’s always an honor to be quoted by a respected news source like The Times in Malta, but the real honors do go to Tribali for their second Malta Music Awards victory in a row. Given the brazenly unique music of the Maltese band Tribali, clearly they deserve an encore for the second time.

To find concert information and sample or purchase albums visit TribaliMusic.com. If you would like to read The Times newspaper article of the recent win for the Maltese band Tribali visit TimesOfMalta.com. Cover and photos are courtesy tribalimusic.com and timesofmalta.com.