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Interview by Michael Debbage
In 1996, Paul Cardall released his impressive full-length freshman effort "Sign Of Affection." Since then he has been excelling in soothing piano instrumentation most significantly his milestone recording "The Looking Glass." The first obvious influence being the classically rooted David Lanz, Cardall has gone on to spread his wings musically and presented his listeners with more spatial themes that borrow from Vangelis and Mars Lasar. This theme is played out on the experimental and courageous "Faithful," his latest studio effort.
Paul has been very busy of late not only with the promotion of "Faithful" but also via his recently released "Live" album which represents a solid overview of his growing repertoire. But there is much more to this man than just a musical artist. With his faith playing a central and governing role in his life Paul Cardall has much to be thankful for.
Back in early 2004, I had the pleasure of a Q&A session via email in order to find out a little more about the man behind the artist. I will be interviewing with the artist in early 2008 for the second time. So here is the initial interview to give you an idea of where Paul’s musical exploration had taken him up to 2003. It will be interesting to see where his music and faith has taken him in the more recent years. Stay tuned.
MD: While your music has your own unique signature would it be fair to say that David Lanz had an influence on you?
Cardall: Before I picked up playing by ear, a friend of mine back in 1987 played me the tune "Behind the Waterfall" on the piano. The way he used arpeggio in his left hand was moving. He said it was a David Lanz tune. I was a fan immediately. When I got into the piano a year later, I would listen to David along with other pianists like George Winston, Michael Jones, Yanni, local Utah musician Jon Schmidt, and other pioneers of new age piano. I believe early on my music reflected their material until I was mature enough in my own skills to stand on my own. I should note that early on, like around 1988, as an arrogant teenager I had a chance to meet David at a local television station. I took a picture with him and said, "I'm also a pianist and will record with Narada one day so please remember me."
MD: If not who are some musicians that you have "borrowed" from and why?
Cardall: Early on I borrowed from all of the new age piano pioneers, like David, George Winston, Yanni, and others. However, after 1992, I stopped listening to other piano players. It was too much of a distraction. Through the years I've been influenced heavily by a wide variety of music from rock, country, classical, film scores and lately by brit-pop bands like Coldplay, Travis, Dido, and others.
MD: While "Sign of Affection" was your debut release, is there any archived material that you would consider putting out as a formal release?
Cardall: There is some. But I'll hang on to those. Sometimes a tune will float in my head through two records and make it on the third. "Danza Del Amor" on "Faithful" is actually a Spanish version of the tune "Sign of Affection" that I hung on to until the time was right.
MD: Released back in 1996, "Sign of Affectio"n has aged well so far. The credits mentioned a Yamaha C-7 and your most recent release, "Live," lists a Yamaha 9-foot grand piano. Is this your preferred manufacturer? If so why? If others, why them?
Cardall: Yamaha makes a great piano. Most studios I work in have a Yamaha so that's what I've worked with. I have a G5 grand in my home. It's a nice sounding pop piano. But, for "The Christmas Box" and "Hymns" I rented a Fazioli, which is a beautifully crafted Italian piano with a warmer and more intimate sound. The retail price for a Fazioli is somewhere around $175,000, which is interesting, compared to a $35,000 Yamaha. But, in all honesty, I don't think there is one company that can stand out from another although Yamaha seems to be the most popular. It depends on your music and what your goals are for the album.
MD: I cannot deny that to date "The Looking Glass" has been your most defining moment. This also included the support of the big boys Narada Records. Your time with them also include the festive The Christmas Box. What happened with your relationship with Narada?
Cardall: Thank you. My friends at Narada were very kind. I was honored to do those two projects with them. Both hit Billboards Top 25 New Age Charts and my audience expanded worldwide. However, after Virgin America purchased Narada they shifted their format to focus more on jazz and world music. At the time I was also heading in a different direction musically.
MD: It appears that Narada have diversified and drawn away from the more organic and earthy instrumentation. Is this indicative of the future of your present genre?
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