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An Interview with
Paul Cardall
By Michael Debbage
March. 2008


Back in 1999 Narada Records released Paul Cardall’s stellar album The Looking Glass that was deeply influenced by the music of David Lanz. Since then Cardall has done a lot of musical exploration that has ranged from down tempo electronic music to the more recent contemporary edge of Songs Of Praise. Not only did the album focus on vocal arrangements but the Mormon rooted pianist also collaborated with the Evangelical Christian rocker Steele Crosswhite. This courageous move resulted in his most challenging and almost anointed album to date.

That said, Cardall is not afraid to look back and as a result his latest endeavor is the repackaging of his earlier material Hymns and Hymns II issued in a two CD set called The Hymns Collection that also includes some enticing bonus tracks. With a busy life as both a recording artist and his own label to run, Paul recently added fatherhood to the mix that has only made his life even more hectic. Nevertheless, Paul was kind enough to put some time and thought into our second set of Q&A interview via email to share about the three r’s near and dear to him…religion, (w)riting and relationships.  

MD: It has been nearly 4 years since our last interview and you have been a very busy man. So let’s get personal immediately. You are now a proud parent so tell me how that has changed your life?

Cardall: I once heard that same question posed to Jerry Seinfeld who we one- time recognized as a life-long bachelor. His comment, "Duh. What was I thinking! Experiencing my child's childhood feels better than everything in the world." I share that view. My daughter is now 2 and a firecracker. It has its challenges but her smile far out ways any exhaustion my wife and I feel at night from keeping up with her. In order to create or practice music I do have to escape because Eden wants to sit side by side with me at the piano and play along or she'll throw a fit.

MD: After many years of corresponding via email we finally met at one of your inspirational performances. This was a musical performance along with a personal testimony in which you shared your Mormon faith. Is it true that you appear to be even bolder about your faith?

Cardall: It has always been my desire to help people feel peace or the love of God through the power of music. It was not my place in the beginning to preach religion but as I became more established in my career I felt I had earned a trust with my audience where I would allow them into what I really think and feel about life. I want to be the most honest and sincere artist without a veil over who I am as a person. All music can be interpreted many ways. It's a universal language. But, the core of my music has always been my belief that God is a loving Father in Heaven. We are his children. And one gift he gave us is music which helps us feel the power of that love, particularly through difficult times when we are subject to the natural laws of this earthly experience.

MD: While your faith has always been expressed through your music it appears that it is even more purpose driven. Since our last interview you have released Christmas Hymns Volume II, Primary Worship and Songs Of Praise. Will we see another more commercially driven disc such as Miracles or has your music become more intentional?

Cardall: I have been contemplating another commercial recording but I have to follow my heart because that's where the creation comes from. I'm thinking of another Faithful like recording; commercial but still has its faith elements. (You can ad Miracles to that list of cd’s because it's about life's journey. If you look at the track names you'll notice a pattern. . . I thought of the "miracle" of birth, the many "voices" on earth we hear, a "time" limit because we'll die, an "unseen world" that helps guide us, the purpose of life with "Live to Love", learning to overcome the world's temptations "Leaving L.A.", recognizing God's creations "Sequoia's Path", etc. etc. . I could go on. So, for almost all of my recordings I came to it with the angle of faith.).

MD: Your 2003 recording Faithful was a huge departure when you, and I quote “chose a path that combine new age piano with down tempo or electronic music.” Once again, you unexpectedly recorded Songs Of Praise which focused on vocal performances. What was the motivating factor here?

Cardall: Faithful was a leap forward musically. I had produced several solo piano based
recordings on my own and was anxiously trying to grow as an artist. In 2003 my photographer Joshua Waldron encouraged me to meet his friend Jon Shults who was starting up a new studio at the base of the Wasatch Mountains in Utah. I listened to several of his engineered projects and immediately wanted to work with him. Faithful was the result. Jon expanded my vision musically and added elements I desired like percussion and electric guitars, which I feared, would bother my audience. But, I knew it would add greater depth and power to my music. I am very happy with the result. This desire to grow and evolve as an artist evoked the inspiration for Songs of Praise. Having long been a fan of Christian music, I wanted to do one album that added my voice to theirs. But, I held off a year and did Primary Worship. In 2005 my wife became pregnant. We had wanted a baby for many years. You would think I would be full of inspiration and ideas for songs. But, nothing came. Only 1 tune was written which we named after my baby girl, Eden. After she was born, I was so overwhelmed with happiness for this new life, that I was deeply spiritual and thanking God for all of my blessings. Life is not easy, but there are great rewards. My daughter was one of those blessings. My mind became full of words and music. I knew it was time to do my Songs of Praise. The goal was to bring together instrumental music and interweave them with vocal songs.

MD: Without being disrespectful, I think it would be fair to say that the Mormon faith has some very different doctrinal and historical foundations that make it challenging to fit into the mainstream Christian circles. Nevertheless, you choose to collaborate with the Evangelical Christian rocker Steele Crosswhite. How did the two of you manage to meet? What were his initial reactions to your ideas? Songs of Praise is a beautiful recording. As a result of your collaboration with Steele what has been the reaction in the Mormon and Evangelical circles?

Cardall: That’s not disrespectful. I enjoy talking about my faith. But first, I met Steele while working on Faithful with Jon Shults. We had become friends and often talked about our admiration for Jesus. Steele had given up a rock star lifestyle to become an Evangelical pastor. He’d been on the road with Sheryl Crow, Foo Fighters, and Maroon 5. He is a very disciplined soul and I admire him for his loyalty to his faith. And one thing was clear I loved his music and particularly his voice. That guy can sing. When it became apparent to Jon Shults that I would be doing Songs of Praise we talked about using Steele as the voice. Steele was very gracious and happy to do the project. He had no issues with my lyrics. To him it was, “I love 2 things; Jesus and Music” – He’s a great man and I concur. And it never occurred to me that my audience (which a large majority are Mormon because we sell the music in 500 Mormon book stores) would be offended. I was right. My Mormon audience loved it. But, it has been difficult to find
Michael Debbage with Paul Cardall, center, and his wife, Lynnette.
anyone willing to distribute the album among the Christian market. The tune “Grateful” did really well on a Salt Lake City Christian radio station but some few local Evangelicals were not happy that Steele would “help our cause” and I’m sure there were some self righteous Mormons who weren’t happy I was using “Rock N Roll” to express my love for God. Regarding the doctrinal difference between Mormons and other Christian churches is based on our “Mormon” view of the Godhead and our belief in the principle of continuing revelation leading to an open scriptural canon. We don’t support the Nicene Creed, with later reformulations such as the Athanasian Creed. For me, I like the simple history of a young American boy born in 1805 named Joseph Smith; that like Samuel of the Old Testament was pure enough to hear and listen to the voice of the God. This young boy would seek answers from God through meditation and prayer independent of any religious organization and go on to restore the church of Jesus Christ and all of its true principles that provide a great life of peace and eternal understanding. There is a great sermon by Mormon leader and Apostle Jeffery R. Holland (who used to be president of Brigham Young University) that clarifies our doctrinal differences for those interested.

MD: As a former Narada recording artist your label Stone Angel Music was initially a way to effectively distribute your own music. However, recent activities show releases from Steve Sharp Nelson, Jake White and most recently the forthcoming Ryan Stewart recording. How is the business aspect going?

Cardall: I love helping other artists and seeing them launch their project. The first of those albums was for cellist Steven Sharp Nelson. I took a chance on doing the project under my label. I mean, who buys cello music? We debuted that album on the Billboard Classical Charts and it has done very well. He’s a great man and talented. We then released guitarist Jake White and I was very happy with the result. Next, we’re releasing Ryan Stewart. He’s a pianist and film composer. So business is great. We have loyal customers who are enjoying our brand “STONE ANGEL MUSIC” – they trust what they purchase if it comes from the label. People can listen to our music at http://store.stoneangelmusic.com

MD: I have already heard some of the soundbytes of Ryan Stewart? Tell me a little more about this new artist?

Cardall: Ryan’s mother taught him to play the piano. She died when he was a little boy leaving his father with 10 children. Ryan found peace in music. He has always wanted to do an album. Equanimity is his debut. I am very happy for him. He has built a huge fan base by using You Tube. Hundreds of thousands have viewed some of his home movies of him playing the piano: http://www.youtube.com/user/ryanstewartmusic.

MD: It appears that you produced Steven Sharp Nelson’s recording Sacred Cello. Though you have been involved in the recording process on your past recordings generally you leave this aspect in the hands of Jonathon Shults. Is this an avenue of the creative process that you are becoming more involved in?

Cardall: I enjoy producing but I know my limits. If it is a piano album with a few instruments I feel comfortable doing the project. But, on a larger scale, I like watching Jon go to work. If artists want help with piano projects I am happy to look into it.

MD: Continuing on the production theme, several artists such as Yanni, David
Foster, David Lanz, Michael W.Smith and Brian Crain (the latter without the
budget support) have recorded albums with a full orchestra. While this has been
somewhat explored on the album Miracles have you ever considered doing an
entire album with a full blown orchestra and choir?

Cardall: I would love to do a full-blown orchestral instrumental album. I’m sure something like that will happen in due time when my audience grows large enough to support the effort financially. Songs of Praise was the first album to utilize this effect throughout the recording although it was simplified to 16 string players.

MD: Looking back at the album Miracles, though it has less overt religious themes,
musically, alongside Songs Of Praise, this was probably one of your most
optimistic albums. Upon revisiting “Miracles” it appears that Ryan Stewart was
very involved in the orchestration aspect and even collaborated with you on the
title track. What is the extent of your involvement on his album? What can the
listening public expect?

Cardall: Ryan Stewart is brilliant. He has beautiful melodies and a spiritual depth in his music. And his recording, that I mainly encouraged, is all him. We go back to our adolescence. I had met him in high school while ditching class. He was on the stage in the auditorium playing the piano. This was when I first started dabbling in my own playing. Ryan could sit and play anything. He composed a beautiful concerto for his senior year “orchestral night”. A year later, I tried out to be in the “orchestral night” with some goofy Russian polka I composed on the piano. The teacher in charge asked for the orchestral parts. I
told him I’d have the parts to him over the weekend. I recruited Ryan’s help. We stayed up all night with Mountain Dew and Twinkies while Ryan orchestrated the entire thing for me. The outcome was great and it was my first public performance. So when I chose to do some orchestral music he was the first I asked to help out for the Miracles project. Traditional new age fans will love his album; Equanimity.

MD: Moving on to your own material, in January 2008 you released The Hymns
Collection which is the digitally re-mastered package of your earlier albums
Hymns and Hymns II. The album apparently debut #12 in the Billboards New
Age Chart. You must have been thrilled! Despite the blatant album title it is still selling to the general listening public. Do you think this is a reflection of society not only looking for good music but also seeking to fill a void?

Cardall: I’m pleased with the chart and happy to see it on there. Since that debut Hymns Collection has risen to #6 after several weeks. I’ve always assumed that the if a tune like “It’s hard out here as a PIMP” can win an OSCAR for “best song of the year” then anything is possible. A Christian oriented album can debut on a “classified” New Age chart and be well received by the general public. I think people are looking for good music and I’ve earned a trust with my audience. They accept the religious undertone because they know I’ve put my heart into it and it’s honest.

MD: Hymns and Hymns II were released back in 1997 and 2001 respectively and despite one of the albums being over a decade old the production quality has held up. Sometimes it is hard to improve on a good thing yet when compared side to side there is still an improvement in the clarity. Walk us through the re-mastering process?

Cardall: If you could go back and change moments of your life you may or may not. In regards to these albums, new technology has allowed me to do just that by re-mastering. I’ve heard these recordings over and over and there are moments that required a “do-over” session. Mastering allows me to re-invest more time into things I’ve wanted to fix for more than a decade such as pitchy moments or poor EQ on a tune. I’m happy with the result. The piano is the hardest instrument to record and make sound beautiful in a recording. We never get the full and complete beauty of its live ability. New technology is improving the sound quality.

MD: For your listeners who have the original pressing there is a bonus melody on
each disc. Were these recorded specifically for The Hymns Collection?

Cardall: I added 2 hymn medleys exclusively for The Hymns Collection because I have been playing these for years at shows and never had them on a recording. “The Fireside Medley” combines a tune from Sign of Affection called “Remember Me” with John Longhurst’s “I Believe In Christ” (Mr. Longhurst was the Mormon Tabernacle Organist for 25 years) along with a favorite hymn of mine, “Come Thou Fount”. “The Restoration Medley” tells the story of the beginnings of Mormonism by combining popular LDS hymns “Joseph’s First Prayer” (about the founders vision of God) “Praise to The Man” (a tribute to the founder Joseph Smith life’s work to lay the foundation) and “Sweet Hour of
Prayer” (a hymn about the beauty of prayer and the opportunity to learn about God ourselves by saying our own personal prayers to deity).

MD: So we started this interview on a personal note I hope you don’t mind me ending it on one. You have now been married to Lynette for over 11 years. With the demands of the creative process, your record label and more recently fatherhood, what is the key to the success of your marriage?

Cardall: Life is full of its challenges. Balancing things can be very difficult. But, I believe it comes down to our priorities. One of my heroes David O’ McKay once said, “No success can compensate for failure in the home.” Complete happiness, for me, comes from surrounding myself with family. I love family. Mine is far from perfect but the more family you have around the greater the joy is. I think also religion is a great asset in a marriage. Since we’ve been on the topic throughout the interview I could add that my faith recognizes that marriage is eternal and families are bound together beyond the grave because of the atoning sacrifice and resurrection of Jesus Christ. Our relationships can be eternal. My wife and I pray together every night before we retire and thank God for all the great blessings in our lives. We acknowledge His hand in our lives. And we humbly ask for help through our challenges. This adds great strength and humility to our relationship. Lynnette is my best friend and I adore her. The music business is a passion but my wife is the love of my life.

Paul Cardall's Web site: http://paulcardall.com


An Interview with
Paul Cardall
By Michael Debbage
April. 2004


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 Affection 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 Fozoli, which is a beautifully crafted Italian piano with a warmer and more intimate sound. The retail price for a Fozioli 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?

Cardall: Who knows? It seems like the '80s and early '90s was Narada's pinnacle of success along with Windham Hill and others. They found a niche in the music industry selling organic earthy instrumentation that critics labeled new age. But genres evolve or fade away with the times.
I remember commercial radio played "new age music" in the '80s but after a couple of years the stations moved towards smooth jazz. This caused a lot of artists to write more commercial smooth jazz to please labels and ensure lasting success.

There will always be people looking for reflective piano music in record stores. I don't think it will ever go away. Unfortunately, the number of piano CDs stocked at local music stores is rapidly dwindling in numbers. I'm not concerned with what's popular. I'm more concerned with satisfying my musical interests and interpretations. With my latest album, Faithful, I chose a path that combines new age piano with down tempo or electronic music. Some other artists are heading in that direction as well. Who knows where it will take us. I've heard nothing but good things about my latest effort.

MD: It appears that you have managed to successfully self promote via your own independent label Stone Angel Music Inc. How is that progressing?

Cardall: Things are going well. I set up Stone Angel Music prior to the Narada deal. We've been fortunate to establish distribution through several channels. We've been able to quietly harvest a loyal fan base that continues to grow each year. I'm excited that more and more people are discovering my music. The ability to earn a living from creating and sharing music is a blessing.

MD: Your label's home page mentions consulting and film-scoring. Are these some other avenues that you would like to explore?

Cardall: I have ventured into consulting artists. When an artist starts out they have a lot of questions. In the past, I was bombarded with demos and questions from artists. As a consultant, I answer those questions and in the process help them understand the basic fundamentals of the music industry. Asking me about Film-Scoring is like asking Hillary Clinton whether or not she wants to run for the Presidency. You know she does but not sure when. I am working towards this. I am passionate about film. It was my major in college. And I feel I have a lot to offer musically.

MD: I am sure there are advantages and disadvantages of self-promoting versus the support of a big label. What direction do you see yourself heading on a long-term basis?

Cardall: There are. Big labels have national distribution, which is really the only big advantage. Under Narada, as a team, we have access to thousands of stores but I, personally, had less control over marketing and sales of records. Under Stone Angel Music, I have several hundred stores and more control over how things proceed. The last two years we were able to move more units under my little label than Narada did in one. So, I like the way things are going. But, I will still entertain a record deal because this time I would bring my years of experience and marketing vision to the table.

MD: Without a doubt your latest studio release, Faithful, was a very courageous decision considering the faithlessness of some of us listeners. This album took a while to grow on me and required some patience. You could have played it safe. Why didn't you?

Cardall: I am evolving musically. I wanted to do something different. Something new. Something fresh. Faithful was an effort to be "faithful" to those feelings and introduce my audience to a style of music that moves me deeply. Although I like to explore new sounds I will never stray to far from my roots as a solo pianist.

MD: Much like David Lanz you decided to do a cover song and picked "Scarborough Fair" made famous by Simon & Garfunkel. What made you choose this particular song?

Cardall: The medieval folk tune has always been a favorite of mine. Paul Simon learned the song from Martin Carthy, a famous folk singer in the UK, while he was on tour there. I love the minor chords. It's a deep piece of music that I was confident enough to re-capture. The tune is a nice element of the Faithful disc.

MD: How has Faithful faired commercially in relation to your other albums?

Cardall: I have not released Faithful nationally like the others. It's only available in a handful of music stores throughout the Rocky Mountain Region and some 200 hundred-specialty stores around the country. I'm still shopping the record for the mainstream and lifestyle markets. But, it has sold consistently well like the others. And more importantly, although my fans admit it is an ambitious project, most of them feel it's the most powerful thing I've done.

MD: I would say that Miracles was your most blatant attempt at commercialism showing some smooth jazz tones to it. I must say I found it a most enjoyable and instantly appealing project. Any thoughts on revisiting this area?

Cardall: Thank you. I don't know if I'll ever do something as direct as "Driving North" featuring tenor sax player Greg Floor. But, I'm sure I'll explore music similar to "Leaving L.A." and "Sequoia's Path." Smooth Jazz is fun to play. It's light and carefree.

MD: You have also released two albums simply entitled Hymns I and Hymns II. Spiritual or not, there is some wonderful music to be found in the church. What was your motive to complete these projects?

Cardall: Thank you. I am a deeply religious person. Hymns I and Hymns II are a collection of arrangements of hymns recognized and loved by millions of people around the world. The motive behind these projects was merely to share my heritage and Christian faith with my audience.

MD: How does your faith come into play each day both personally and in your professional career?

Cardall: My life, wife, family, and career revolve around my faith. I try to put God at the center of everything I do. Rich Denhart, head of A&R at Narada, made a nice observation of my music once when he told me, "Although your music expresses tones of sadness, there also seems to be a tone of hopefulness throughout the pieces." For me, life is a continual struggle but hope makes things serene. I turn inward when I am composing. I rely heavily on spirituality in order to reach that place inside of me where my music comes from. Without the spiritual aspect my music would have no depth or realism. I don't like to settle for anything else.

MD: And I guess this would be the politically correct question to ask right now. What do you think of the Mel Gibson movie The Passion Of The Christ?

Cardall: Gibson is a master storyteller. His film is more than a movie. It is a monumental experience. I see a lot of films. But this one is deeply personal for me. No one film has affected me like The Passion... But, that is because of how close the subject matter is to my heart. My love and commitment to Jesus, who I believe is mankind's Savior, deepened tremendously after viewing this film. It is a very personal film. However, other people may not be as affected by the movie as I was. Regardless of your faith or even if you're agnostic I do think people need to see this film.

MD: I understand that you were born with a heart defect that at one point placed your life in jeopardy. How has that effected your day to day living?

Cardall: I had heart surgery as an infant. My parents thought they might lose me. But, my childhood was fairly normal. As a teenager, I experienced other difficulties that required heart surgery. Again, my family and doctors thought I wouldn't make it. But, things have always turned out okay. I see a heart doctor every three-six months. I live my life fairly normal. At 30 years of age, I have defied doctors' expectations and now they are led to believe that I will be around for many more years. But, being faced with death so many times has made me a more spiritual person. I see things from a unique perspective. My heart problem is a gift from God that I wouldn't trade for anything in this world. It has helped make me who I am.

MD: I also see that you made a compilation entitled "Piano Portraits Volume 1" with fellow pianists Michael Hicks, Jon Schmidt and David Tolk. What brought the four of you together?

Cardall: These pianists all live in the Salt Lake City area. We cross paths. We're fairly good friends. It was Mike who came up with the idea of putting together Piano Portraits a collection of music from each of our recordings plus one original. Jon Schmidt is one of my mentors. He began performing in the late '80s. David Tolk is on the Northstar label and plays in several Utah bands. Michael does a lot of Christian themed music.

MD: As for your last project, Live, for a live project, the production was outstanding. Granted it was an intimate setting that took place in the studio's orchestral room. How much overdubbing and fine-tuning took place after the initial taping?

Cardall: The only thing we did with the concert recording was mix a select number of songs from the show. In fact, a couple of tunes that I hoped would make the record didn't end up on it because there was bad noise in the background or cell phone in a couple places. But, for the most part it is as it was.

MD: It appears that most of your concert appearances are taking place close to your home base Utah. Any chances of extending these appearances even if they are courtesy of in-store appearances?

Cardall: I have a few shows this year outside of Utah. I recently signed with a booking agent and he booked some gigs in Florida, Michigan, Texas, and a couple other places. There will be many more in the future.
Over that past years and even this year, I visit a lot of states where I perform privately for church groups and charity organizations like; The American Heart Association, The Christmas Box Foundation (helping abused children), Hospice, University of Utah Foundation (medical research), and many others.

MD: And finally, what does the immediate future hold for Paul Cardall both personally and musically?

Cardall: I'm in the process of shopping Faithful to a couple of label for wider distribution. There is a Christmas album in the works, which will fall somewhere between the style of my albums The Looking Glass and Faithful.

I've been commissioned to compose a piece in honor of Topaz, which was the internment of Japanese Americans during WWII. This was one of the worst violations of civil rights in the history of the United States. The government and the US Army, citing "military necessity," locked up over 110,000 men, women, and children in 10 remote camps. These Americans were never convicted or even charged with any crime, yet were incarcerated for up to 4 years in prison camps surrounded by barbed wire and armed guards. There is more information at: http://www.topazmuseum.org. And I am putting together a concert with my band featuring music from Faithful, Miracles, and a few other recordings. We'll take this on the road in the fall and do a couple of shows around Christmas time and early winter.

Paul Cardall's Web site: http://paulcardall.com

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