Peter Sterling has definitely had an incredible journey to date. From
his days as a ski instructor in Colorado, to his recent performance on the
Tonight Show with Jay Leno, Peter has accomplished a tremendous amount in
a relatively short time.
His debut album, Harp Magic, was recorded less than
year after he picked
up the harp, and the record went on to be nominated for a Naird Indie
Award
for Best String Album of '94.
Harp Dreams, Peter's most recent release, reached #1
on the NAR charts
and in addition to Peter's great harp, keyboard, vocal and percussion
playing, the album features performances from Richard Hardy (woodwinds), Robin
Miller (electric guitar and bass), Eddie Baratini (percussion), Fits-Hugh
Jenkins (nylon and steel string guitar), Brad Buley (drums), Dov (violin
and viola), Ani Williams (vocals) and Celia Farran (vocals).
You can learn more about Peter, by visiting his website.
Jamie:
Sometimes an instrument just clicks for a musician. The feel of
the
instrument in your hands, the sound it produces and the possibilities
that it
presents, lets a musician know that: "This is the one." I started
out on piano
at a really young age, but I was always drawn to the guitar -- the
guitar just
seemed "right" to me. And truthfully, it still does!
You've played a number of instruments over the years including the
piano,
the flute and the guitar, but harp is the instrument that appeared
to have had
the most affect on you. On your web site, you talk fairly extensively
about
how you came to play the harp and it's a pretty amazing story!
Does the
harp still play the central (and life changing) role for you that
it did in the
past?
Peter: Yes Jamie, the harp still
has a hold on my soul the way it did when I
first began to play. There is a natural instinct and ease of playing
that I feel
with the harp that I don't with other instruments. It really seems
to me that I
must have played this instrument before in some long ago time. Perhaps
in
the Renaissance or early Celtic times. Each time I sit and play
it's as if a
musical story line unfolds and a little bit more of the history
of my soul is
revealed. I know this may sound a bit supernatural, but truly this
is the way it
is for me. Considering the long and glorious history of the harp
throughout
many ancient cultures of the world it is no surprise that so much
imagery
comes with the music. This is what has captivated me so much.
The harp is really a very easy instrument to play and I think that
is also what
drew me to it. I can remember before I played the harp, I would
often listen
to the music of Andreas Vollenweider and Hilary Stagg for years.
And as I
would listen, I would naturally play the "air harp" as I would be
driving along
somewhere. I loved the sound of the harp and the way it would make
me
feel. But never did I imagine myself playing. When I began to get
the feeling
that I was to play as well, I resisted for a long time until a series
of life
changing events happened to me in Sedona. Then there was no doubt
that
the harp was to be a part of my life in a bigger way.
From ancient Greece and Egypt to modern harp therapy programs taught
at
universities through out the world now, the harp has had a major
role in the
evolution and inspiration of music. I am really excited and honored
to be part
of this ancient lineage.
Jamie: I
was just back on your site and checking out the harps on your
photos page. I've never seen a harp like the blue one pictured
in your Angel
Studio (great recording space, BTW!). Is that primarily an electro-acoustic
harp? I'm not sure if you use that instrument just for recording
or also in a
live setting, but I would imagine that it would be easier to transport
from gig
to gig than a "traditional" harp.
Peter: Ah
yes! The electric blue. This harp is a Camac solid body electric
harp. It is a really unique instrument. It doesn't make any sound
unless it is
plugged in similar to an electric guitar. Generally, I use this
harp in the studio.
It gives me a really direct sound without any of the traditional
reverberations
of an acoustic harp. The only way to play this harp is to have a
monitor
pointing right at me. I love the sleek lines and look of this harp.
But I'm really excited about the new harp that is being built for
me right now.
Lyon and Healy harps out of Chicago is making me a custom made one
of a
kind electro-acoustic Troubadour. This is the harp that I've been
waiting for
along time. It is ebony black with 24k gold platted tuning pins.
It is a very
striking instrument. And the sound will be fantastic. A mix of electric
and
acoustic sound. This is the harp that I will play at Carnegie Hall
some day!
Jamie: I
bet it'll be a happy day when your new harp arrives!
Your new album Harp Dreams was recorded at your Sedona
Shadows Studio
and not only features you on harp but also on keyboards, vocals
and
percussion. Pretty impressive! But you also enlisted the help of
a number of
excellent sidemen (and women) to create this disc. What did these
players
bring to Harp Dreams? Is Sedona Shadows Studio the
same studio as Angel
Studio or do you have two (?!?!) different studios?
Peter: Yes,
I feel blessed that I have been able to work with such talented
musicians on Harp Dreams. From the beginning I have
tried to have the best
and most talented musicians play along side me on my recordings.
Harp
Dreams is no exception. On track #1, I have guitar master
Bruce Becvar
playing along and offering his distinctive heartfelt guitar stylings,
which help
to bring to life "Carousel". For years I listened to Bruce's CD's
and now I feel
honored to have him on one of mine. He is a great brother and real
friend.
The woman singing on this track is best selling angel book author
Terry
Lynn Taylor, who hadn't sang in some time, but I knew she had just
the right
energy for the song .
On flutes and woodwinds I have Richard Hardy lending a hand. Richard
played with Carol King for 12 years and recently can be heard on
over 200
recordings from various artists including Higher Octave's "3rd Force"
and
Hilary Stagg's "Sweet Return". Richard often performs with me all
over the
country and I consider him my right hand man. Talented harpist and
vocalist Ani Williams brings in the voice of the goddess on "Lady
of the Lake" . She
is a Celtic goddess who has traveled all over the world performing
her music.
She gave me my first harp lesson when I was just starting out on
this journey.
These are a few of the highlights.
When we do a session in the studio, I share the vision for the song
with the
player and give them some sort of an idea of what I'm looking for,
and then I
let then interpret the song for themselves. I try not to tell them
what to play
and we never read from charts. One quality that all these players
have is
that they have beautiful hearts and spirits which are expressed
so beautifully
through their playing. This all happens in my Sedona Shadow Studio
in my
home (which is the same as the Angel Studio)...
Jamie: You're
so lucky to have a group of musicians like this -- it can be
such a challenge finding like-minded players! I know you said that
Richard
Hardy plays live with you, but do any of the other musicians on
Harp
Dreams also come out on the road with you? And as a secondary
question,
you have a pretty deep catalogue of material (I counted seven albums
on
your web site), how do you decide which pieces to perform live?
Peter: Richard
is my right hand man and will show up most places I play
out West. On occasion my violinist "Dov" will sit in and make a
trio. I often
play with backing tracks from Harp Dreams and that
really helps fill out the
sound. In different cities I know other players that can sit in
for fun and help
out. I like to bring in musicians that I don't know from time to
time that have
been recommended by friends when I play in out of the way towns.
It always
adds a nice touch to have other players along side to add to the
mix. It is
more entertaining for the audience and more fun for me as well.
I most often play what is current and add in a couple of older pieces
that
have been favorites from the beginning. I like to think that there
is some
overriding spirit that helps out in the inspiration dept. to help
me decide what
to play. I was a Deadhead for many years back in the eighties and
was
always amazed at how the Dead could get on stage before 10,000 people
and not know what they were going to play. They would just open
up to the
inspiration of the moment and let the energy of the audience decide
what to
play. I try to do that as well. It is risky sometimes, but always
works out in
the end...
Jamie: I
think you're right, a certain degree of risk is good for both the
performer and the audience -- it keeps the music fresh and alive!
I don't
know how much improv you do, but for me, changing up the solos and
approaching pieces differently from gig to gig is really important.
I like to
feel that my music is a living, breathing thing!
You talk about inspiration and spirit in your last answer. In many
ways, I
feel that inspiration and spirit are connected. I'm definitely inspired
by my
surroundings and music in general, but non-musical elements have
played
an increasingly important role for me. How does philosophy and spirituality,
in particular, affect your music?
Peter: Great
Question. Now you are really starting to get to the meat of the
issue! Improvisation is really the heart of what I do. Often at
performances I
will spontaneously create a piece in the moment thru improvisation.
I love to
open myself up to the inspiration of the moment. Tuning into the
people in
the audience and letting spirit guide my hands on the strings. This
can be a
bit scary but it always turns out wonderful. I think this approach
from time to
time really creates a special "on the edge" type of musical experience
that
the audience can feel and participate in as it is the audience's
feedback and
energy that drives the whole thing.
The musicians I often play with are familiar with this type of open
format and
are really great at navigating all the twists and turns I can throw
their way.
There is a moment when it all clicks and the music comes alive and
everyone
can hear and feel it. It's exciting when that happens. It's what
Jerry Garcia
called "The X factor". That mysterious force that drops by from
time to time.
You can't pursue it as it will allude you. You must open yourself
up to receive
it and then let it flow through you. This has really been my approach
to music
from the beginning.
Like you, I often change things up in my regular pieces to keep
it fresh and
alive. As a matter of fact, I have a hard time playing a piece the
same as I
did before. I have to play "Out of the box", so to speak. This is
what brings
in the element of the sacred to the music for me. Like East Indian
ragas that
are played around a traditional framework of musical progressions,
there is
always a space where the musician can improvise and let his/her
spirit
speak through those moments, where you open up to something greater
than the personal ego. This is when music can be a truly transcendent
experience. This is what I have always tried my best to do.
Living in Sedona, I am constantly inspired by the majestic surroundings
of
the red rocks. They are always looking different to me and are a
constant
reminder of forces at work that are greater than what I might know
or be able
to comprehend. I feel blessed that I can walk in the silence of
the ancient
canyons that are right out my door. Literally a few minutes walk
behind my
home and I'm on an amazing overlook that has 360 degree views of
the
towering red rock formations that are a constant source of inspiration
and
creative energy. Sedona is home to many artists and musicians that
have
heard the "call of the canyons" and have made their home here, to
work and
play in Mother Nature's splendor. I have had many, what I would
call
supernatural, experiences here that have had a profound impact on
me
personally, spiritually and also creatively.
There are all sorts of phenomena happening here everyday. Sedona
has
been known as a sacred site for 1000's of years. Many people have
been
inspired by the natural beauty of this special place to create art
and music
that reflects a sense of the sacred. We come here like modern day
pilgrims
seeking to touch the divine. And like shamans of days gone past,
we create
our own special musical magic that heals, uplifts and inspires our
community
and the world...
Jamie: "The
X Factor"... I've never heard that before -- that's a great
description! If you can't pursue it (and I agree with you that it
definitely will
allude you if you do), how do you "open yourself up to receive it
and then let
it flow through you"? Have you found any way to better (or more
frequently)
allow the "X factor" to occur?
Peter: Jerry
Garcia coined that term and of course we all know how the
Grateful Dead facilitated more encounters with the X factor. Psychedelics
played a huge role in their music and the scene as a whole. Imagine
10,000
people all on LSD together at a concert. This created an environment
where
all most anything could happen and usually did. Drugs like LSD played
a
pivotal part in the music from that era which is still having an
effect on pop
culture today. So certainly that is one way to court the X factor.
But leaving all illegal ways behind us, I'd have to say that for
me what has
really helped is some sort of contemplative practice like Yoga and
meditation.
For myself, this has helped immensely in allowing my mind to quiet
down,
so that I can hear more clearly the subtle impressions that come
from a
higher source. It's almost like I can tune my radio receiver, my
brain, into a
celestial frequency and allow this to be communicated to my nervous
system
and relayed to my fingertips, which pluck the strings in different
patterns,
which form melodies and other musical structures. This is what I
believe the
greatest composers of all times have done so successfully.
Hopefully more and more of us will seek to tap into something greater.
Something larger than our own ego and allow this force to flow through
us
collectively as a whole, thereby creating a unified field of harmony
and peace
that we can broadcast to the world through our music. Hopefully,
if more of
us can do this, we might be able to turn the tide of the unfolding
of events in
the world, and be a force of healing and positive change and transformation.
Jamie: I
think this is one of the real powers of music -- the transformation
of
the listener. And as a listener, certain records present a world
unto
themselves to me. I can put the headphones, sit back and immerse
myself
in the music. And I _feel_ different, and usually better, after
listening to the
music.
I know this is somewhat contentious, but I feel all styles of music
can be
healing and transforming. It depends on the medicine that you need.
For me,
the surface structure of the music isn't what solely defines it
-- I just don't
listen in that way. Of course, some people feel that I'm simply
wrong
(wouldn't be the first time!), and that style and underlying emotional/spiritual
components are intrinsically intertwined. How important is musical
style/genre to you as an artist?
Peter: I
love to explore different musical styles on the harp. After all
the
harp was played all over the world and can be found in many cultures
expressing its own unique voice cross culturally. It's always a
surprise and
exciting to me to hear my harp playing in different styles that
most people
don't relate to the harp. On my CD's you can hear Celtic, Caribbean,
Asian,
Latin, Jazz, Native American, Gypsy and Classical influences to
name a few.
Playing the harp is really a musical journey of my soul that I have
been
exploring from the beginning.
As new songs and styles appear for me, it's like they all bring
a story and
vivid imagery with them. The songs that come with the strongest
impression
are the ones that usually end up on my recordings. As I record the
songs, I
try my best to infuse the song with the imagery that I see in my
imagination.
When other players come into my studio to record, I always share
the vision
of the song with them so they might better "see" the picture which
we are
creating.
For instance on the song "In Monet's Garden" on Harp Dreams we looked at
a beautiful coffee table book of Monet's paintings of his Water
Lilies, before
we recorded. I really think this helped to imprint this vision of
beauty,
harmony and color into the song. When you listen, especially with
headphones, you can see in your mind's eye the whole panorama of
Monet's garden open up to you.
Now you were saying that all musical styles can be healing depending
on
the medicine you need. I agree to some extent. Although for me there
are
some styles of music which I find create more confusion and dis-harmony
in the listener, and I believe that is what the composer is trying
to do. Music
is geometry and structure and some composers are better builders
than
others.
Some use higher principles of harmony and some don't. I believe
that a lot
of the popular music of today is built with dis-harmonious components
and
discordant structures that effect the listener in unhealthful ways.
Many
people enjoy this music because they feel the energy in it. They
say that it
is giving voice to a part of us that needs to be heard. In particular,
I am
speaking of a lot of the Heavy Metal music and some of the Rap music
as
well.
To me, it seems like it is giving voice to and empowering our lower
natures
which is all to apparent in our culture today. There have actually
been
studies on this type of music. When they play Heavy Metal for instance
to
plants, they all wilt and die as opposed to Classical music which
inspires
new growth. Imagine what this kind of music does to us on a subconscious
and cellular level. All music is frequency and some of us are doing
our best
to broadcast higher frequencies, which heal and uplift rather than
weaken
and tear down.
There is a famous story of the last emperor of China. At that time,
all music
was regulated and only certain musical scales that were aligned
with the
heavens were allowed to be played in the kingdom, therefore keeping
harmony and peace through out the land. Once he was presented as
a gift
a choir of Nubian singers from Africa. Although he was warned by
his high
console to reject the gift, because their music had discordant and
unusual
musical scales, he did not and the new music was brought into the
kingdom.
It wasn't long after that the empire fell. There are many examples
of this
through out history. So for myself, I feel a responsibility to create
music
that heals, uplifts and inspires our higher nature rather than the
lower.
Jamie: That's
a beautiful sentiment -- especially considering all that's going
in the world today...
There seems to be (maybe there always has been) a huge number of
barriers for musicians trying to create "good" music. The business
is
obviously going through some big changes right now, but artists
have to
(and will continue to) make the music they're going to make -- one
way or
another.
Along with being an artist, you're also a label owner and have to
deal with
the current business realities. Where do you see the business headed?
What do see as the most effective means for promoting and ultimately
selling your records? And what the heck, I'll add a third question
in.... how
does live music fit into the whole marketing/business picture for
you?
Peter: When
I first started out I got lucky, and through a synchronistic turn
of events, I got connected with a small independent record label
out of the
Pacific Northwest that distributed my music internationally. It
was a
wonderful experience having 30 people all working on my behalf to
market
and promote my music. This allowed me to stay focused on the music
and
not the business. But unfortunately things changed in the business
in the
early 90's and this company went under. As a result my recordings
got
caught in the middle of litigation and lawsuits that tied them up
for several
years. That was a difficult time, as there wasn't much I could do
but wait
until things changes and got resolved. As a result, I was forced
to learn
more about the business end of things, so that I could keep moving
forward
with my career.
I formed my own label in 1998 and setup my own recording studio
in my
home. It was a monumental task that at times I wondered if I would
be able
to pull it off. But I did and all at once, I became a player, composer,
producer,
engineer, promoter and marketing person. It has been a lot to say
the least.
But I think I learned some valuable lessons along the way. I heard
some one
say years ago that it is called music "business" for a reason. It
is business
really on many levels and it is essential that aspiring superstars
learn this
part of the game, so that someone doesn't take advantage of them
when fate
comes a callin'.
Live performing is really where I make it happen for me. I feel
really grateful
that I have had, and continue to have, opportunities to perform
live for all sorts
of people, in many settings. I play at conferences, festivals, expos,
trade
shows, workshops and seminars, weddings and parties and concerts.
This
is really the bread and butter for me. If I don't take it out on
the road and
share my music directly with the people, I would probably be working
another
job to make ends meet. I'm always looking for opportunities to play.
Always
following my nose so to speak to make connections and network my
music.
As a result, my audience has grown considerably over the years,
and my
music continues to reach out to people all over the world.
Jamie: So
many great points! I totally agree with you that artists should
learn as much about the business as they possibly can -- and there
_is_ a
lot to learn. Independents have to be able to handle so much these
days...
music is just one part of the overall equation.
I know you've just released Harp Dreams, but do you
have any other projects
on the go? Any touring plans?
Peter: Yes,
Yes. Always plans for new creations. I'm starting to
conceptualize my new CD, which will be the follow up to Harp
Dreams. I
have just received a new electric Troubadour harp from Lyon and
Healy out
of Chicago, that will be used on my next recording. I'm sure this
new harp
will inspire some wonderful new sounds and textures. I never really
know
what's going to happen as far as the next recording, but I have
a feeling that
it's going to be good. I think it will have a taste of the Middle
East and
perhaps a dash of the Orient. And of course a brush stroke of the
Celtic
flavor as well.
I do have plans this summer to tour around southern California in
July and
them some conferences in August, where I will be performing. All
in all, I'm
very excited about new developments and connections that I've made
recently. Harp Dreams has gotten a lot of exposure
lately, so I'm feeling
the pressure to follow up with something exceptional. It's gonna
be good!...
Jamie: That
sounds great! And I don't think a little pressure is a bad thing
at all... I'm sure your next record will be fantastic!
Thanks for taking the time to do this artist-to-artist conversation
and please
stay in touch!
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