An interview with

John Balint

 

While he has only released two albums so far, keyboardist John Blaint is alreayd making a name for himself by recording music that combines elements of new age, jazz, adult contemporary, and ambient in a unique blend that is aceessible yet also genuinely relaxing. I conducted an email interview with John to find out what his "keys to relaxation" were and what he thinks of being of a musician in the current marketplace.

 

Bill Binkelman

At home I play a 1925 Steinway model "O" grand piano. It is a magnificent instrument that continues to inspire me! I've been studying for the last 33 years, both formally, and on my own. On the albums, my primary keyboard is the Kurzweil K2500. I have all the expansion options for that machine, which makes it a very capable all-in one controller/synthesizer/sampler. I particularly love its grand piano sounds, which you'll hear on almost every track of the last two albums. I also use the Roland XV3080 quite a lot. Everything is sequenced using MOTU's Digital Performer package which also enables me to add live percussion and vocals, which I'm taking advantage of more and more. My next album will feature quite a bit more vocal work, which is a whole new frontier for me.

I'm interested in your inclusion of more vocals. So far, your vocalizings have been more in the wordless vein or what sounds like a Pacific island language - feel free to correct me on that, of course. Are you going to actually record some "songs" that feature straight vocals and, if so, will the music change at all or will it be the same kind of music as what's come before?

To this point I've been interested in using my voice as a sonic texture only, and not for the purpose of telling a story through the use of lyrics. Earlier on, I even played around with chanting. I'd read several books on the healing qualities of open vowel sounds and how they affect the various chakras in the body--so there was some experimentation in that regard as well. But to answer your question, yes, the upcoming album will feature songs with actual lyrics! So far, I'm very excited about what this adds to the music--it allows me to express ideas more directly, and to affect the mood or color of a piece to a much greater degree. The instrumentation will remain fairly similar to what's come before, although I always like to think that the sound is evolving--no point in doing the same album over again.

Your first album, Paradise Within, had a unique "semi-island" sound to the music, without being at all world music-like. Was this intentional on your part and is there a particular personal meaning to the music that also ties in with the album's front cover (portraying what looks like a tropical beach seen from off the coast)?

It's interesting to me that you perceive an island sound. Nobody has said that before. While it certainly wasn't conscious, I have done much of my traveling to places like Maui and Moorea (in French Polynesia), and perhaps some of that influence "leaked" through. But, no, it wasn't intentional. Paradise Within speaks to the idea that the most exalted states of being happen from the inside. Those ecstatic moments we experience happen when we're really grounded and fully in the moment--when we go within. I guess that beach in Moorea on the cover is the closest physical landscape I could think of to convey that idea.

Maybe what I'm picking up on is an air of "casual relaxedness" in your music, in other words, the music is both relaxing yet casual. Sometimes, relaxing music is actually kind of "formal." It's too concerned with BEING relaxing. Your music is more, well, just relaxing by itself. Yet, it's also catchy, accessible, and even has some elements of good adult contemporary music, although not in the least bit too commercial or "pop" sounding. So, it's like sitting in a lounge chair on that beach...you're relaxing but not hung up on relaxing. Does that make sense?

Wow, that's high praise--thank you. Yes, it makes perfect sense to me. The best meditations are both completely relaxing, and totally unselfconscious. The ego just kind of disappears, and in rushes this wonderful sense of peaceful connection. The trick is, capturing these "lounge chair moments" in the studio. I'll go for days and days without any tangible output. Even with my best intentions to be relaxed and in the moment, nothing happens. So I just cast about, searching for the inspiration. Then suddenly, it's like the gears shift, and I drop into that space--for lack of a better word--and it starts to happen. The music just flows through me. And exactly as you said, it's relaxed without being concerned about being relaxed.

I know how hard it is for artists themselves to "type" or "categorize" their music, but as a reviewer and retailer, I have no choice--I have to do it. Some artists loathe the term "new age music" but "adult contemporary" makes it sound much more commercial and "slick" than your music obviously is. So, if you had to define your music, how would you respond?

It took me a long time to get used to the fact that I had to "pick" a genre for marketing purposes. Most every musician wants to feel that their music is somehow different from all the other music out there. Certainly, my music contains elements of jazz, classical, world, and yes, even pop--these are my influences, so it's only natural that they show up in some measure. The term "New Age" does seem to define my outlook as well as my music, so that's where I'm ultimately concentrating my marketing dollars. But honestly, I'm hoping that the tools of the so-called "new economy" will help illuminate the subtleties within these broad classifications. If you're looking for new music that has the qualities of Pat Metheny, Enya, Brian Eno, and Frederick Chopin, there should be a way for you to easily find John Balint.

That's an interesting blend of artists! Would you say that any of them have had an influence on you or if not them, who has influenced you, either directly (as in, when you heard their music you thought "Now, THAT's where I want my music to go") or indirectly, as in their music inspired you or got your juices flowing, so to speak?

Yes, them, and many many others. I think everything I've ever absorbed--be it visually, audibly, or through any of the sense perceptions--is probably available on some level to be called up for inspiration at a later date. Certainly there are qualities or aspects of the musicians I listed above that impress the heck out of me--things I aspire to in my own music. Metheny's sense of harmony. Enya's angelic vocal sound. Eno's sense of space. Chopin's melodicism. I could go on and on... Thomas Dolby's sound design. Sting's charismatic voice. Peter Gabriel's ability to convey emotion. Ralph Towner's phenomenal musicianship. Even the sheer joy that seeps from anything that Bobby McFerrin has ever done. This is not to say that my music sounds like any of these artists, but they are certainly a few of the inspiring characters that come to mind.

How has the whole experience of recording, releasing and promoting an independent album been for you so far? A lot of artists dislike the business end of things, preferring to concentrate on the creative aspect. Do you fall into that group?

Do I have to answer this question? Just kidding. Yes. I definitely fall into that group. It was an extremely challenging experience to launch and sustain Blisswave Records for the first two releases. If I knew then what I know now, I probably wouldn't have gone that route. But hey, everyone complains about the music business. It's nothing new. At the moment, I'm hiding in my studio working on the next project. As long as there's enough time to make new music, I'm happy, and all is well.

Actually, John, that is the "normal" answer, which you could probably have guessed. I know a chiropractor who has his own clinic and he says the same thing, i.e. "I'd rather be healing people than doing the books!" However, some artists have told me they enjoy the business end, too. Tell me, do you get much feedback, say letters or emails, from fans? I would imagine if you do it's very rewarding.

For the limited exposure and sales that I'm making, yes, the feedback has been terrific and extremely rewarding. I got one email from a fan who said that my music had changed her life. She went on to state some very positive, personal experiences that occurred as a result of listening to my music. Man, that's what it's all about! And just recently, I was reconnected with a long-lost colleague who heard my music playing on her digital cable radio system. She saw my name on the readout and looked me up because she couldn't believe that the same John Balint who used to create her direct-mail marketing campaigns was now producing the new age music she was using in her new massage therapy business. It's wonderful when we discover all the hidden ways in which we're connected.

How long have you followed the new age music "scene" of which you are now part of and what's your overall impression of the "big picture" both from a musical perspective (what do you think of most of the music being recorded today) and also from a business-health perspective (i.e. how do you think the new age music industry is doing and will do in the future)?

To be totally honest, I've never really followed the new age music "scene" that much. But I think I understand the undertone of your question. New Age Music as a genre contains the full spectrum of quality. Talented visionaries and frustrated wannabes sit side by side on the radio playlists and in the CD bins. The trick is to find and support the visionaries.

As for the business--it's in huge transition. The industry is beginning to understand that the shift away from CD sales and toward electronic content distribution is here to stay. It's a big shift, and it's not been an easy one for the labels to accept. It basically amounts to a restructuring of an industry which for the last 40 years has been geared toward moving physical units, be they CDs, cassettes, or vinyl records. I still can't tell what effect this will have on us as artists. I want to believe it's a good thing because it makes our work more accessible, but probably in the long run, it won't really matter--it's just new delivery method. Perhaps the environment will benefit. No shrink wrap or jewel case required!

What do you do to relax (besides compose relaxing music, that is)? What keeps you centered? Is it your music or is there something else that helps you stay sane in today's world?

Sane? Me? Ha! Reading is my favorite relaxing pastime. There's nothing like a good novel and a nice glass of wine to take the edge off a day. Improvising on the piano--usually late at night after everyone else has gone to bed--is another centering activity, because it requires me to be fully present. Being around my daughter can be a very calming experience. She really has the priorities right: Make cool stuff. Have fun. Don't worry about anything. I've learned a lot about how to be happy and relaxed just by watching her.

Thanks for taking the time to "get connected" with my readers via this interview. Any last thoughts to share with the Wind and Wire audience, John?

Thanks Bill. It's been fun. One last thing: I've made it my policy at Blisswave Records to send a percentage of all sales revenue to organizations working on global peace concerns. So don't be shy--music makes a great gift! Blessings to you all.

John Balint Discography Connected (2003) Paradise Within (2002)   Visit John Balint's website for more info on his recordings.