| New Music USA - New Music Magazine - New Music Blog - New Music Promotion |
| New Music USA |
| New Music Magazine / Blog / Promotion |
| New Music: New Age |
When one ponders song-writing teams, one usually gravitates to pop, rock, theatre, or movies. The notion of two artists collaborating to write
and arrange in the new age, world fusion, or contemporary instrumental genres would not spring to mind. However, with the release of Journey
Around the Sun, (the pair’s second joint effort) Bill Wren and Frank Ralls are making a name for themselves with their unique approach to
crafting outstanding cross-genre instrumental music.
The pair came together through the serendipitous nature of an Internet search. Wren had a background in playing rock bands from the ‘60s
through the ‘90s, but by 2000, he realized that composing instrumental music was his true calling. After recording some demos, he stumbled
upon Ralls via a third party website and the ball started rolling. The two discovered rather quickly that they were of like mind when it came to
their musical visions as well as their insistence on a high level of recording quality. While Wren originally sought Ralls solely as a producer in
2007, it soon became apparent that Ralls’ musical abilities as a performer, arranger, and composer, would be a perfect fit with Wren’s abundant
musical creativity and artistic inspiration. By this time, Wren already had preliminary musical “sketches” and demos of many of the tracks which
would eventually wind up on their debut recording, One Day in a Life (2008), as well as Journey Around the Sun. When Ralls first heard the
song “Old Friend” (from One Day in a Life), his reaction was immediate. “[It] reminded me a lot of the mood and the qualities of new age music
that had me hooked early on in my life when I started listening to [the genre].”
Through their unique collaborative process, which involves Wren’s initial compositions, Ralls’ input and suggestions, as well as both of them
consulting in the final music’s arrangements, the pair fine-tuned the recording of One Day in a Life and the results were far beyond their
expectations. The album went to number one on new age radio programs across the US and was picked up by Sirius XM satellite radio. Many
songs won individual awards, and noted new age music reviewer Bill Binkelman compared the duo’s music to David Arkenstone’s Sketches
from an American Journey, and wrote, “Come along as Wren, Ralls, and company take you on a delightful and charming musical voyage.”
After One Day in a Life, it was time to explore a decidedly different musical frontier. Bill Wren had become fascinated with the Mayan
civilization and, in particular, their 2012 prophecy. Drawing on his deep respect for the Mayans and their highly advanced ways, Wren
envisioned a concept album centered on a voyage of exploration and discovery; Journey Around the Sun was born. Thus began the task of
composing the crossgenre music, much of which Wren conceptualized before he even connected with Ralls. Next, the duo marshaled their
forces, sending music back and forth over the Internet and exchanging emails with suggestions, criticisms, and revisions. One aspect that
proved crucial was Ralls’ arranging abilities. As Wren described, “The reason I picked Frank…was not only his skill to produce radio quality
music, but his brilliant arrangement skills.” The music on Journey Around the Sun was going to encompass a much broader sonic landscape than
One Day in a Life, with music influences from the Spanish, Mediterranean, Eastern European gypsy, and beyond musical cultures. Because of
Wren’s vast musical vision, he and Ralls would have to push the envelope and involve some of the most talented and experienced musicians and
arrangers, which they obviously did as evidenced by the guest artists’ and arrangers’ resumes.
Co-arrangers on the CD were Terry Winch, who has a long association with Disney and their theme parks, and Ike Sturm, a rising star on the
jazz scene who is currently touring Europe with his “Jazz Mass”, which garnered a favorable mention in Downbeat. Guest artists included
violinist Philip Pan, concertmaster of the Jacksonville Symphony Orchestra, vocalist Michelle Amato, who toured with Yanni on his Ethnicity
tour, guitarist Sandy Williams, who will be featured on PBS with Michael Feinstein’s American Songbook (late 2011), and many others, all of
whom have notable musical chops. However, what really stands out on Journey Around the Sun (as well as on One Day in a Life), is the sky-
high quality of the music and the production, the obvious result of both Wren’s and Ralls’ (some might say) fanatical pursuit of perfection. The
unique method that Bill Wren and Frank Ralls exercise when they create music represents a perfect union of two artists who truly complement
each other’s strengths and shore up their weaknesses, the result being musical magic. While their uniqueness stands out in the genre of new age
or contemporary instrumental music, this level of simpatico thinking has existed in rock, pop and theatre composing for decades. Maybe it’s
fitting that Bill Wren and Frank Ralls are pioneers. They are true visionaries, and their combined efforts yield truly visionary music.
www.billwrenmusic.com
and arrange in the new age, world fusion, or contemporary instrumental genres would not spring to mind. However, with the release of Journey
Around the Sun, (the pair’s second joint effort) Bill Wren and Frank Ralls are making a name for themselves with their unique approach to
crafting outstanding cross-genre instrumental music.
The pair came together through the serendipitous nature of an Internet search. Wren had a background in playing rock bands from the ‘60s
through the ‘90s, but by 2000, he realized that composing instrumental music was his true calling. After recording some demos, he stumbled
upon Ralls via a third party website and the ball started rolling. The two discovered rather quickly that they were of like mind when it came to
their musical visions as well as their insistence on a high level of recording quality. While Wren originally sought Ralls solely as a producer in
2007, it soon became apparent that Ralls’ musical abilities as a performer, arranger, and composer, would be a perfect fit with Wren’s abundant
musical creativity and artistic inspiration. By this time, Wren already had preliminary musical “sketches” and demos of many of the tracks which
would eventually wind up on their debut recording, One Day in a Life (2008), as well as Journey Around the Sun. When Ralls first heard the
song “Old Friend” (from One Day in a Life), his reaction was immediate. “[It] reminded me a lot of the mood and the qualities of new age music
that had me hooked early on in my life when I started listening to [the genre].”
Through their unique collaborative process, which involves Wren’s initial compositions, Ralls’ input and suggestions, as well as both of them
consulting in the final music’s arrangements, the pair fine-tuned the recording of One Day in a Life and the results were far beyond their
expectations. The album went to number one on new age radio programs across the US and was picked up by Sirius XM satellite radio. Many
songs won individual awards, and noted new age music reviewer Bill Binkelman compared the duo’s music to David Arkenstone’s Sketches
from an American Journey, and wrote, “Come along as Wren, Ralls, and company take you on a delightful and charming musical voyage.”
After One Day in a Life, it was time to explore a decidedly different musical frontier. Bill Wren had become fascinated with the Mayan
civilization and, in particular, their 2012 prophecy. Drawing on his deep respect for the Mayans and their highly advanced ways, Wren
envisioned a concept album centered on a voyage of exploration and discovery; Journey Around the Sun was born. Thus began the task of
composing the crossgenre music, much of which Wren conceptualized before he even connected with Ralls. Next, the duo marshaled their
forces, sending music back and forth over the Internet and exchanging emails with suggestions, criticisms, and revisions. One aspect that
proved crucial was Ralls’ arranging abilities. As Wren described, “The reason I picked Frank…was not only his skill to produce radio quality
music, but his brilliant arrangement skills.” The music on Journey Around the Sun was going to encompass a much broader sonic landscape than
One Day in a Life, with music influences from the Spanish, Mediterranean, Eastern European gypsy, and beyond musical cultures. Because of
Wren’s vast musical vision, he and Ralls would have to push the envelope and involve some of the most talented and experienced musicians and
arrangers, which they obviously did as evidenced by the guest artists’ and arrangers’ resumes.
Co-arrangers on the CD were Terry Winch, who has a long association with Disney and their theme parks, and Ike Sturm, a rising star on the
jazz scene who is currently touring Europe with his “Jazz Mass”, which garnered a favorable mention in Downbeat. Guest artists included
violinist Philip Pan, concertmaster of the Jacksonville Symphony Orchestra, vocalist Michelle Amato, who toured with Yanni on his Ethnicity
tour, guitarist Sandy Williams, who will be featured on PBS with Michael Feinstein’s American Songbook (late 2011), and many others, all of
whom have notable musical chops. However, what really stands out on Journey Around the Sun (as well as on One Day in a Life), is the sky-
high quality of the music and the production, the obvious result of both Wren’s and Ralls’ (some might say) fanatical pursuit of perfection. The
unique method that Bill Wren and Frank Ralls exercise when they create music represents a perfect union of two artists who truly complement
each other’s strengths and shore up their weaknesses, the result being musical magic. While their uniqueness stands out in the genre of new age
or contemporary instrumental music, this level of simpatico thinking has existed in rock, pop and theatre composing for decades. Maybe it’s
fitting that Bill Wren and Frank Ralls are pioneers. They are true visionaries, and their combined efforts yield truly visionary music.
www.billwrenmusic.com
| "Journey Around the Sun: A Mayan Odyssey" Bill Wren and Frank Ralls |
| Music Genres: World/New Age |
A lady of conviction. In every way, Phyllis Sinclair is a lady of
conviction. As if the musical mien of Joni Mitchell and the irrepressible
human force of Nelson Mandela were corralled into the same heart,
Phyllis Sinclair creates songs of dignity and change. Ethnically of the
Canadian Cree tribe, or “Swampy Cree” as she jovially qualifies, and
raised in deep poverty by a single mother in Winnipeg, her musical blend
of folk, pop, and country seeks to encourage those who struggle with
life and often places her in league with fellow messengers like Joan Baez,
Judy Collins and Stan Rogers. Now three albums in to her recording
career with a steady wave of critical acclaim raising her up, her mark on
humanity has become deep and defined.
Having loved music since early childhood, Phyllis grew from a
fascination with old time folk dances with spoons and boot-heels to
complete enthrallment when a professional symphony orchestra
performed at her inner city middle school. Times were extremely tough
for her single-parent family surrounded by poverty and violence, but the
shivers sent down her spine by the beauty of the sound opened a new
vista and set a 13-year-old Phyllis off on a decade of learning to play
guitar, write songs, and performing in coffee houses and churches. In
her 20’s, however, motherhood took center stage, as did a professional
career outside of music, and her guitar and tour schedule were replaced
by the demands of parenting and her work as a radio Journalist and Host.
It was not until 1998, following a move to Alberta, that she again picked
up her guitar in earnest and made a full return to her creative passion.
The genuinely held beliefs that all people have the power within them to
live a full and meaningful life, and that she truly is what she thinks, are
latent in all of Phyllis’ music. Her debut album, Fence Post and Stones
(released 2005) and the follow up Fathomless Tales from Leviathan’s
Hole bear the stamp of her strong melodies, vivid imagery, and mild
social content. A particularly strong thread running through her songs is
her respect of all cultures, and her deep love of her own Aboriginal Cree
Canadian background. In fact, she attributes her sound and style to her
Cree Grandmother, who filled her childhood with gripping and desolate
native folklore and sang to her in soft ululation.
The indelible impact of her Grandmother and Mother, both of whom
were single mothers who made ends meet with a lifetime of washing the
laundry of those more fortunate, is expressed most clearly on her latest
release, Dreams of the Washerwomen. Paying tribute to these remarkable
women, and all single parents, Dreams of the Washerwomen is replete
with rich and compassionate songs borne of a swirling culmination of
culture and struggle. The single “Another Single Day” focuses on the
challenges of single parenting, and is meant to let single parents know
that their unending efforts in raising their children are not in vain.
While her subject matter may tend towards the severe, her big toothy
grin and sincerity keeps things in balance. Like all true storytellers, she
shines brightest and is understood most fully when experienced in
person, as evidenced by the fervent response of fans at her live shows.
“You gotta see me to really appreciate me. I am real. I regard others as
equals; not higher, or better, just different, with a unique gift to offer.
The gift I bring is sincerity.” Indeed, and on her musical mission to open
doors of understanding between people of different cultures and
encourage those who struggle with life, her grin, her guitar, and her
conviction are all being used to full and wonderful effect.
www.phyllissinclair.com
conviction. As if the musical mien of Joni Mitchell and the irrepressible
human force of Nelson Mandela were corralled into the same heart,
Phyllis Sinclair creates songs of dignity and change. Ethnically of the
Canadian Cree tribe, or “Swampy Cree” as she jovially qualifies, and
raised in deep poverty by a single mother in Winnipeg, her musical blend
of folk, pop, and country seeks to encourage those who struggle with
life and often places her in league with fellow messengers like Joan Baez,
Judy Collins and Stan Rogers. Now three albums in to her recording
career with a steady wave of critical acclaim raising her up, her mark on
humanity has become deep and defined.
Having loved music since early childhood, Phyllis grew from a
fascination with old time folk dances with spoons and boot-heels to
complete enthrallment when a professional symphony orchestra
performed at her inner city middle school. Times were extremely tough
for her single-parent family surrounded by poverty and violence, but the
shivers sent down her spine by the beauty of the sound opened a new
vista and set a 13-year-old Phyllis off on a decade of learning to play
guitar, write songs, and performing in coffee houses and churches. In
her 20’s, however, motherhood took center stage, as did a professional
career outside of music, and her guitar and tour schedule were replaced
by the demands of parenting and her work as a radio Journalist and Host.
It was not until 1998, following a move to Alberta, that she again picked
up her guitar in earnest and made a full return to her creative passion.
The genuinely held beliefs that all people have the power within them to
live a full and meaningful life, and that she truly is what she thinks, are
latent in all of Phyllis’ music. Her debut album, Fence Post and Stones
(released 2005) and the follow up Fathomless Tales from Leviathan’s
Hole bear the stamp of her strong melodies, vivid imagery, and mild
social content. A particularly strong thread running through her songs is
her respect of all cultures, and her deep love of her own Aboriginal Cree
Canadian background. In fact, she attributes her sound and style to her
Cree Grandmother, who filled her childhood with gripping and desolate
native folklore and sang to her in soft ululation.
The indelible impact of her Grandmother and Mother, both of whom
were single mothers who made ends meet with a lifetime of washing the
laundry of those more fortunate, is expressed most clearly on her latest
release, Dreams of the Washerwomen. Paying tribute to these remarkable
women, and all single parents, Dreams of the Washerwomen is replete
with rich and compassionate songs borne of a swirling culmination of
culture and struggle. The single “Another Single Day” focuses on the
challenges of single parenting, and is meant to let single parents know
that their unending efforts in raising their children are not in vain.
While her subject matter may tend towards the severe, her big toothy
grin and sincerity keeps things in balance. Like all true storytellers, she
shines brightest and is understood most fully when experienced in
person, as evidenced by the fervent response of fans at her live shows.
“You gotta see me to really appreciate me. I am real. I regard others as
equals; not higher, or better, just different, with a unique gift to offer.
The gift I bring is sincerity.” Indeed, and on her musical mission to open
doors of understanding between people of different cultures and
encourage those who struggle with life, her grin, her guitar, and her
conviction are all being used to full and wonderful effect.
www.phyllissinclair.com
| Phyllis Sinclair... A Lady of Conviction |
| Music Genres: Folk, Roots If You Like: Judy Collins, Joan Baez, Joni Mitchell, Stan Rogers, Buffy Sainte-Marie |
| © 2011 NewMusicUSA.biz |
Angelina Bentley & the Cosmic Party... a stoney, sexy blend of dream-
pop, folk rock with a bit of alternative new age... former frontwoman
for girl rockers Draggin' Suzy, Angelina Bentley embarks on her first
solo project singing from the heart what she hears in the heavens…
"Stevie Nicks meets Annie Lennox on the way to Enya's castle...
soothes, inspires, transports…”
Celestial songstress Angelina Bentley has emerged from her chrysalis to
create Angelina Bentley & the Cosmic Party with more than just a little
bit of help from her friends... her offering is a new album called "Kings
& Butterflies"... it is a moody, sexy blend of dream-pop, folk rock
mixed with a bit of alternative new age... it explores the nature of
illusion (inspired by Zuangzi's Butterfly Dream ) and the return or
Awakening to the light of one's Authentic Self.
This project was created to take the listener from one emotional space
to another expanding on the themes of light and dark and the fusion of
the two... Available for download on Itunes http://itunes.apple.
com/us/album/kings-butterflies/id359295291 and Amazon MP3...
"Kings & Butterflies" was brought to fruition through the mirth and
magic of producer Joe Varela of Black Lab Studios, the patience and
expertise of Bill Bentley of Bill Bentley Productions, comrade and co-
writer -the incomparable Sparky Grinstead and the heavenly Erin "The
Dove" Oliver... "This album is so close to my heart and I feel it has met
my intention of creating a vehicle to transport the listener to a more
heart centered, peaceful state of being."
http://www.cosmicparty.com
pop, folk rock with a bit of alternative new age... former frontwoman
for girl rockers Draggin' Suzy, Angelina Bentley embarks on her first
solo project singing from the heart what she hears in the heavens…
"Stevie Nicks meets Annie Lennox on the way to Enya's castle...
soothes, inspires, transports…”
Celestial songstress Angelina Bentley has emerged from her chrysalis to
create Angelina Bentley & the Cosmic Party with more than just a little
bit of help from her friends... her offering is a new album called "Kings
& Butterflies"... it is a moody, sexy blend of dream-pop, folk rock
mixed with a bit of alternative new age... it explores the nature of
illusion (inspired by Zuangzi's Butterfly Dream ) and the return or
Awakening to the light of one's Authentic Self.
This project was created to take the listener from one emotional space
to another expanding on the themes of light and dark and the fusion of
the two... Available for download on Itunes http://itunes.apple.
com/us/album/kings-butterflies/id359295291 and Amazon MP3...
"Kings & Butterflies" was brought to fruition through the mirth and
magic of producer Joe Varela of Black Lab Studios, the patience and
expertise of Bill Bentley of Bill Bentley Productions, comrade and co-
writer -the incomparable Sparky Grinstead and the heavenly Erin "The
Dove" Oliver... "This album is so close to my heart and I feel it has met
my intention of creating a vehicle to transport the listener to a more
heart centered, peaceful state of being."
http://www.cosmicparty.com
| Angelina Bentley & the Cosmic Party |
| "a stoney, sexy blend of dream-pop, folk rock with a bit of alternative new age" |
Provence, the southeastern region of France, is known for its painterly sunlight, mistral wind, scenery, wine, food and ambiance, and now it
serves as the title and inspiration for the fourth album by the German act Luna Blanca, which over the past decade has become one of the most
popular nouveau-flamenco groups in the world.--- Luna Blanca was founded by acoustic lead guitarist Richard Hecks, who has used a variable line-
up of musicians in the band. But the other mainstay of the group is pianist Helmut Graebe, who joined the second year, just before they recorded
the first album, and now co-writes the music with Hecks. Both on record and in concert they add other musicians as needed (drums and
percussion, bass, one or two acoustic rhythm guitars, organ, occasional vocalizing, etc.). On Provence, Hecks and Graebe are joined by rhythm
guitarist Bino Dola (a flamenco player much respected throughout Europe) and Clemens Paskert (who added bass, percussion and additional
keyboards). Paskert, who runs Capitol Sound Studios where the CD was recorded, also served as arranger and co-producer with Hecks. The band
is based in Bocholt, Germany.
“The quintessential Kings of Nuevo Flamenco” --- Provence lies in the south eastern corner of France right on the Mediterranean and is beloved by
painters who rave about the “soft light” it offers. Renoir, Matisse and Pablo Picasso have all spent time and painted here. Apart from the title,
another interesting thing about Luna Blanca is that they actually screen original artwork during their stage performances. The quintessential kings of
Nuevo Flamenco, Luna Blanca (founded in 2000) is the brainchild of Germany’s Richard Hecks and Helmut Graebe and features driving guitars,
lush arrangements and highly memorable tunes. Their latest work PROVENCE is a delightful 12-track ‘amuse-bouche’ with tunes titled in French
and Spanish. Favorites include “Driving,“ a fast paced road tune featuring guitars and flute, “Côte d’Azur” with brilliant vocals and Mediterranean
warmth and the sweet sound of “Crème Brûlée .” PROVENCE is a really evocative glimpse into the world of European New Age. (SmoothJazz.
com, by Stewart Coxhead)
http://www.lunablancamusic.com
serves as the title and inspiration for the fourth album by the German act Luna Blanca, which over the past decade has become one of the most
popular nouveau-flamenco groups in the world.--- Luna Blanca was founded by acoustic lead guitarist Richard Hecks, who has used a variable line-
up of musicians in the band. But the other mainstay of the group is pianist Helmut Graebe, who joined the second year, just before they recorded
the first album, and now co-writes the music with Hecks. Both on record and in concert they add other musicians as needed (drums and
percussion, bass, one or two acoustic rhythm guitars, organ, occasional vocalizing, etc.). On Provence, Hecks and Graebe are joined by rhythm
guitarist Bino Dola (a flamenco player much respected throughout Europe) and Clemens Paskert (who added bass, percussion and additional
keyboards). Paskert, who runs Capitol Sound Studios where the CD was recorded, also served as arranger and co-producer with Hecks. The band
is based in Bocholt, Germany.
“The quintessential Kings of Nuevo Flamenco” --- Provence lies in the south eastern corner of France right on the Mediterranean and is beloved by
painters who rave about the “soft light” it offers. Renoir, Matisse and Pablo Picasso have all spent time and painted here. Apart from the title,
another interesting thing about Luna Blanca is that they actually screen original artwork during their stage performances. The quintessential kings of
Nuevo Flamenco, Luna Blanca (founded in 2000) is the brainchild of Germany’s Richard Hecks and Helmut Graebe and features driving guitars,
lush arrangements and highly memorable tunes. Their latest work PROVENCE is a delightful 12-track ‘amuse-bouche’ with tunes titled in French
and Spanish. Favorites include “Driving,“ a fast paced road tune featuring guitars and flute, “Côte d’Azur” with brilliant vocals and Mediterranean
warmth and the sweet sound of “Crème Brûlée .” PROVENCE is a really evocative glimpse into the world of European New Age. (SmoothJazz.
com, by Stewart Coxhead)
http://www.lunablancamusic.com
| New Age Latin Jazz from Luna Blanca |
| "TOP 10 Recording! A Latin-oriented ensemble sound that makes the listener feel they are traveling to a warm climate to enjoy good times." |
| Music Genres: Dream-Pop / Folk / Rock / Alternative / New Age / Top 40 / Pop |
| Music Genres: Latin Jazz / New Age |
Website: www.uwe-gronau.de (in German)
Buy CD: www.cdbaby.com/cd/uwegronau
Buy CD: www.cdbaby.com/cd/uwegronau
| German New Age from Uwe Gronau |
| "Midsummer" is a prime example of the art of a musician, who is devoted to expressing the feelings of sensitivity and inner passion through a wide spectrum of sounds and melodies. These melodies set us free from the constraints of time. |
| Music Genres: New Age |
A multi-instrumentalist and composer, John Otott was an accomplished pianist at a young age. Taking up the bass guitar in high school, John
went on to play in a series of rock bands and regularly performed at such Hollywood hot spots as The Whiskey A Go-Go, the Troubadour and
the Roxy. He then transitioned into an instrumental jazz/rock band that shared the stage with such artists as Lyle Mays (of Pat Metheny fame),
Latin star Tania Maria, Grammy award winning sax player Gato Barbieri and Thelonious Monk Jr. However, he always maintained his love for
piano music composition.
Writing (and performing) a piano quintet as a gift for his bride at his wedding, John attracted the attention of violinist Julie Metz (Yanni, Pacific
Symphony Orchestra) with whom he recorded and released his debut instrumental CD, EXIT REALITY. The CD sold well nationwide under his
own label (Daniel Rabbit Records). EXIT REALITY was also released commercially in Taiwan.
EXIT REALITY, in turn, attracted the attention of E! Entertainment Television, for which he composed numerous television spots. John also
composed the music for Lisa Duke's "BA," a musical about the life of Victorian poet Elizabeth Barrett Browning.
John released a second CD entitled ROAD TRIP under the name John Michael. ROAD TRIP was also released commercially in Taiwan through
Sony/BMG.
FLYING MACHINES, a collection of contemporary solo piano compositions, is John's latest release (2011).
www.johnotott.com
went on to play in a series of rock bands and regularly performed at such Hollywood hot spots as The Whiskey A Go-Go, the Troubadour and
the Roxy. He then transitioned into an instrumental jazz/rock band that shared the stage with such artists as Lyle Mays (of Pat Metheny fame),
Latin star Tania Maria, Grammy award winning sax player Gato Barbieri and Thelonious Monk Jr. However, he always maintained his love for
piano music composition.
Writing (and performing) a piano quintet as a gift for his bride at his wedding, John attracted the attention of violinist Julie Metz (Yanni, Pacific
Symphony Orchestra) with whom he recorded and released his debut instrumental CD, EXIT REALITY. The CD sold well nationwide under his
own label (Daniel Rabbit Records). EXIT REALITY was also released commercially in Taiwan.
EXIT REALITY, in turn, attracted the attention of E! Entertainment Television, for which he composed numerous television spots. John also
composed the music for Lisa Duke's "BA," a musical about the life of Victorian poet Elizabeth Barrett Browning.
John released a second CD entitled ROAD TRIP under the name John Michael. ROAD TRIP was also released commercially in Taiwan through
Sony/BMG.
FLYING MACHINES, a collection of contemporary solo piano compositions, is John's latest release (2011).
www.johnotott.com
| John Otott's "Flying Machines" |
| Music Genres: New Age/contemporary solo piano |
