November 19, 2024 • 50 mins
Air Date - 18 November 2024
OMTimes Radio is excited to present a special episode of VOICE RISING featuring the renowned German composer, pianist, and multi-instrumentalist Bernward Koch. Join host Kara Johnstad as she sits down with Bernward for an intimate conversation about his 16th album release, Calming Colors.
This serene collection of piano-based tracks, enhanced by delicate instrumentation such as flute and synthesizer, offers listeners a deeply relaxing and transformative experience. In this episode, Bernward will not only share the inspiration behind Calming Colors, but also provide insight into his unique creative process. From his own writing practice to how he taps into his inner voice to craft melodies, he will reveal the journey of how he brings each composition to life.
As one of the most streamed artists in the new age genre, Bernward’s music has the power to heal, inspire, and transcend stress. Discover how melody, tone, and rhythm serve as his voice to express a vision of calm and beauty that resonates deeply with listeners.
Join us for this enriching conversation on the role of music in personal healing and how Bernward’s compositions create a sanctuary for the soul.
Visit Bernward Koch a https://www.bernwardkoch.com
#BernwardKoch #VoiceRising #MusicAsMedicine #SoundHealing #KaraJohnstad #Music #Interviews #Voice
#CalmingColors #HealingThroughMusic #NewAgeMusic #MusicMedicine #Relaxation
To get in touch with Kara Johnstad, go to http://www.karajohnstad.com/
Visit the Voice Rising show page https://omtimes.com/iom/shows/voice-rising/
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OMTimes Radio is excited to present a special episode of VOICE RISING featuring the renowned German composer, pianist, and multi-instrumentalist Bernward Koch. Join host Kara Johnstad as she sits down with Bernward for an intimate conversation about his 16th album release, Calming Colors.
This serene collection of piano-based tracks, enhanced by delicate instrumentation such as flute and synthesizer, offers listeners a deeply relaxing and transformative experience. In this episode, Bernward will not only share the inspiration behind Calming Colors, but also provide insight into his unique creative process. From his own writing practice to how he taps into his inner voice to craft melodies, he will reveal the journey of how he brings each composition to life.
As one of the most streamed artists in the new age genre, Bernward’s music has the power to heal, inspire, and transcend stress. Discover how melody, tone, and rhythm serve as his voice to express a vision of calm and beauty that resonates deeply with listeners.
Join us for this enriching conversation on the role of music in personal healing and how Bernward’s compositions create a sanctuary for the soul.
Visit Bernward Koch a https://www.bernwardkoch.com
#BernwardKoch #VoiceRising #MusicAsMedicine #SoundHealing #KaraJohnstad #Music #Interviews #Voice
#CalmingColors #HealingThroughMusic #NewAgeMusic #MusicMedicine #Relaxation
To get in touch with Kara Johnstad, go to http://www.karajohnstad.com/
Visit the Voice Rising show page https://omtimes.com/iom/shows/voice-rising/
Subscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazine/
Connect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to Voice Rising with Kara John's Dad. Enjoy weekly
conversations with leading luminaries, pioneering visionaries, singers, poets, musicians, and
sound healers as we explore the profound role our voice
plays on the path to self realization and global enlightenment.
The internationally acclaimed singer, composer, author, healer, recording artist, voice expert,
(00:25):
creator of Voice Your Essence, and founder of the School
of Voice, Kara John's Dad uses her extraordinary spiritual gifts
to empower others. Everything in this world vibrates, Everything has
a frequency. A pioneer in the field of voice work
and transformational songwriting, her breakthrough methods are helping thousands of
(00:46):
people worldwide fine tune their body, mind, spirit system and
unlock the energetic frequencies of limitless creativity, health and abundance.
Share your voice, ask your questions, join in the conversation,
receive life changing positive transformation, and rise together to create
a sound world. And here's your host, Kara John's Dad.
Speaker 2 (01:14):
Hi, everybody, Welcome to Voice Rising today. I am delighted
to welcome the gifted composer, pianist and multi instrumentalist band
Vot Koch to the show. With sixteen albums to his name,
Bandvat's music has touched hearts around the world. His latest album,
(01:34):
Calming Colors, offers a serene journey through soothing melodies crafted
to calm the mind and uplift the spirit. Bandvat's ability
to blend piano with other delicate instruments creates a soundscape
that invites peace and introspection. Ban Hat, it's truly a
pleasure to have you here with me today. Welcome to Voice.
Speaker 3 (01:58):
Rising, Hello, welcome.
Speaker 2 (02:04):
So first of all, congratulations on the new album. It
is a very serene album, a relaxing album, a healing album.
Share with us what was the initial spark of inspiration
for this collection of music?
Speaker 3 (02:23):
Thank you so much, Caa. And yes, I live in
a small village in the countryside and it's a gentle,
hilly landscape and gentle but strong. And I have to
say the nature with which surround me is very impressive.
(02:47):
It's my, it's my, it's touching, touched me and it's
a great inspiration always. And I think the coming colors.
So there are colors too, and in the nature, the
warm colors mostly green, green, brown, and so colored flowers
(03:15):
in the summer, and the colors are always changing, and
so I felt the colors call me car me myself down.
And I have often walks in the nature. And yeah,
and I tried to go in on places which I
(03:39):
have no no noises from our civilization, civilization, only the
wind or birds, and and having a white vast view
standing on a hill that is fantastic for me, and
I can.
Speaker 2 (04:00):
Brief nice, you can really breathe deeply, as in German
we say hoogle lunch shaft. Where there's hilly, these these
these beautiful hills that I also know from my childhood band.
That you mentioned before in one of I think I
(04:20):
read it in on your homepage an interview you said
music offers an opportunity to travel through sound. So maybe
you describe for our listeners what does that mean to
you to journey and travel through sound while you're creating
a new piece of music.
Speaker 3 (04:42):
So if I sit in my studio in a very
lonely room, of course, I thought often I have often
I have the melody in mind first in my mind,
and then I played a recorded in the studio, and
then I start working starts the arrangement and performing and
(05:09):
so on, and in that situation, I really forget everything
surround me. I'm only living in the music. I think
it's it's a typical situation being in the studio, but
I'm not. I'm playing in a band, yes, but not
(05:31):
at my solo productions. I'm sitting alone in the studio
and work and work and work. Forget everything, but I
I'm I feel I live in a in a in
a lot, speaker in a box, and it's one one thing,
(05:52):
and so that that's my way of work. And in
the end, I'm happy if the music call me myself too.
Speaker 2 (06:09):
So when you say travel through sound, it's it's literally
the sound transports you into another place, which is not
a little box or not a lonely room. The sound
literally it's like going on vacation. Maybe that that your
melodies are carrying you into another place?
Speaker 4 (06:30):
Is that?
Speaker 2 (06:32):
Is that maybe the image that when you're when you're
working in the studio alone, that the sound really helps
you to fly fly away.
Speaker 3 (06:44):
Yes it is. But so you said, melody and melody
is the most important thing for me always. I start
always with a melody because the melody is the core
of my music. I like melodies and I need need
a melody, and otherwise I have to say it's first work.
(07:08):
It's just work. I'm thinking, of course, in harmonies, in
and melodies, in rhythm, in sounds, and I think I'm
thinking only in musical things, you know, and and that
it's it's hard work if you have, if you are
(07:31):
not satisfied with a with a version, so you repeat, repeat, repeat, repeat,
and but this is it's I think it's normal if
you have, if you want to produce a good project,
a good piece of music, which would say it's it's
(07:53):
it's lots of work always.
Speaker 2 (07:56):
So let's listen Banbach to your tracking Colors. That is
the title of your album. You explained a little bit
the beauty of the landscape that you live in, the greens,
the browns, the beautiful hills. Would you like to say
anything else about Calm and Colors or should we just listen.
Speaker 3 (08:15):
In I think you mean the first track, Distant Bell.
Speaker 2 (08:20):
I think no, no, this is I think this is
later in the album. It's called Calm and Colors.
Speaker 3 (08:26):
Correct, I'm not saying yes, it's.
Speaker 2 (08:30):
Yes number ten, yes.
Speaker 3 (08:33):
Yes, I know that track. It starts very sad, and
but it's it's like being being through walking through a
landscape in a in a weather like like the moment here,
(08:54):
it's very very foggy day. It's cold, it's a hard
a cold wind, and so it's it's it's healthy, I know,
but the colors are not rather gray, and you walk
away and you walk and walk and you are being
(09:17):
warmer and sun it's it's like suddenly sun is coming
a few sunbeams and the weather changed, and that's that felt.
If I produced what I composed and produced that track
Coming Colors, it's really.
Speaker 2 (09:37):
Beautiful, beautiful. Let's listen into Calming Colors. This is off
of the new album I Bang That.
Speaker 5 (09:44):
Coch b.
Speaker 4 (10:09):
B.
Speaker 2 (12:44):
You are listening to the track Calming Colors from ban
Vot Call. He's with me in studio and his new
album is also entitled Calming Colors. Bandbot. We hear that
the piano, it's very central to music. But you are
also a multi instrumentalist, So how do you decide which
(13:07):
instruments strings, bells, flutes are you going to use on
the different compositions that you're creating.
Speaker 3 (13:17):
So I first recorded the piano and it made the
completely complete form of the track. And I like traditional forms,
So the intro of vast chorus and so on. And
if I had that, then I try different instruments to
(13:45):
enrich different colors in music, and so I like playing
with synthesizers, with softly percussion symbols, with bass and sometimes guitar,
or with the flute flute is my wife plays the flute.
(14:08):
She's classical trend flute, and it's it's very good to
the music, alright. The Coming Colors album is more piano based,
because if I feel the track is the piano is
the most most important thing, and sometimes is it enough?
(14:33):
But mostly I have it eneraged with with other colors.
So I hear it and it must work, and then
I decide, yes, I put that sound to that part
of the track. It's more colorful, beautiful.
Speaker 2 (14:53):
So do you have a certain ritual that you tune
in to as a composer. Do you start recording every
morning at eight o'clock after your beautiful walk in the
hilly landscapes? Or is it more spontaneous? Is there something
that people that are starting to compose out there can
(15:16):
be inspired by to connect to their own writer's voice
or their own inner voice.
Speaker 3 (15:24):
Yeah, and understand, but it's not not at me. During
first during the Corona times I had. I had incredible
lots of ideas. It was I never had that experience
in my life. I sat on Pierre, I said, sat
(15:46):
on the piano and start improvising, and immediately I have
a new great melody. Five minutes later another melody. So
I collect lots of tracks for in that time. I'm
not so I'm I'm not an early man. I don't.
(16:09):
I don't like it go stand up too early in
the morning. And but ideas I have lots of ideas
come while improvising on the piano. But it could be
on a walk in the nature, it could be in
the shower, or if I try to sleep. So if
(16:32):
I want, I can. I can compose in actually every situation.
It's like like my my head. Sometimes I think my
head is as like a tape machine. Yeah, and I
have to say, my new album, Calmer and Colors is
(16:52):
out end of August, and at the moment I have
I I haven't the time to compose every day, but
I'm not worry. I know I've enough enough ideas for
for other and for the records. And yes, that's my
way of composing.
Speaker 2 (17:14):
Nice do you already have another album? Planned.
Speaker 3 (17:20):
Yeah, but it's it's not concrete. It's I haven't in
my mind, but in the moment I have. I have
no no, no space, no no room for that. Yeah.
But but I'm but I'm I'm in a good man
(17:43):
I have. I don't care about that.
Speaker 2 (17:47):
That's good. We we we still have this album to
uh yeah to savor. Talk to us, Bend about you
said when you walk in nature, it's very important for
you to experience a quietude away from civilization, the wind
and the birds. Talk to us a little bit about
the relationship between melody and silence. How does that shape
(18:12):
your melody lines or you shape your music?
Speaker 3 (18:16):
This is a good question. Color. Yes, Well, silence is
there and always, and a melody is it's like a
growing flower in your mind. My mind. Sometimes I can't sleep,
(18:43):
and if I can't sleep, I start composing, so I
line my bed and I try composing. And not always
there is a new, fantastic melody. And but a melody,
a good melody helps, always helps me. And if I
(19:08):
imagine a for example, a melody from the Beatles, a
Beatles song here there and everywhere everywhere, for example, this
is an incredible good melody and has lots of power,
and so that's then the silence is away. So the
(19:30):
silence is there, but not in my in my mind,
that's different.
Speaker 4 (19:36):
Mhm.
Speaker 2 (19:37):
Okay, So we're talking about when you're lying in bed,
you have you do have one track that I'd like
to play for everyone. It's a lullaby. And let's say
you're lying in bed and these melodies are haunting you.
They're just everywhere you can. You can't even sleep. Do
you do you grab a piece of paper and write
them down? Do you jump up and go back to
(19:58):
the studio, or do you you continue them in your
dreams and fall asleep?
Speaker 4 (20:06):
I have.
Speaker 3 (20:08):
If I had that melody in mind, I think it
was a play piano. But if I have a melody
in mind, I have a take a piece of paper
and make a little notice notice, but not not many.
Mostly I try to have it in my mind, and
(20:33):
so I think about and think and think and think,
and I know if Another example from the Beatles again
is the Beatles start. They hadn't a cast recorder, they
had tape machines, so the only way was playing the
song again and again, and if the idea in the
(20:54):
next morning, the next day comes again, then was it
a good idea, a good song?
Speaker 5 (21:00):
Ah?
Speaker 3 (21:00):
Okay if if, if, if it is, it was away
those then.
Speaker 2 (21:06):
Then not yeah, exactly. So let's listen. Yeah, so let's
lin that you. You wrote a beautiful track, a beautiful composition.
It is called children's lullaby? What can you share with
us about this track? And then we'll listen to children's
alabi before the break? Is there anything special?
Speaker 3 (21:31):
Yeah? I remember I played the piano and had with
only with one hand, right hand, and had had the melody.
And if I have the melody, oh, it sounds like
a children's lullaby could be. And so I I made
the composition complete and with with another part, and were
(21:58):
searching for the sounds. And I feel that bells fits
very good. And if the trick was ready, I think,
all right, this sounds like a children's lullaby. Why not
call it children's lullaby? And very important I have. I
(22:21):
have a daughter and a son, and my daughter works
with children's and and this is she often taked me.
So sometimes it's very hard, it's very loud in the room.
But if if it two o'clock PM, the children sleep,
(22:43):
and if they couldn't sleep, I play. I imagine, I
imagine the two years children and are sleeping, and it's
wonderful seeing sleeping children, and so they are so innocent
and it's just beautiful. And I think that fits. This
(23:10):
is a very good a good name and fits to
the music beautiful.
Speaker 2 (23:15):
So we're going to listen to Children's Lullaby and after
that we're going to head into a break for the
sponsors that support us here at Voice Rising at Home
Times Radio. So enjoy Children's Lullaby and then we'll be
back with a little bit more of inspiring insights by bench.
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Speaker 2 (29:08):
Welcome back to Voice Rising. We're here with the talented
band Vot Koch, diving deeper into the transformative power of
his music and his new album, Calming Colors. And if
you are enjoying today's conversation, please take a moment to
share this episode with your friends and community and subscribe
to Voice Rising on your favorite streaming platform to stay connected.
(29:33):
Your support helps us get beautiful and inspiring guests and
conversations going here at home times. So now let's continue
with Benot Bendvot.
Speaker 3 (29:42):
Welcome back, Welcome back, Cara, Benvot.
Speaker 2 (29:47):
Your music is well, I guess you would say new
age music, but it's really a healing music. It's very calming.
It relieves a lot of stress. What is your experience
using music as a tool for emotional or physical healing?
Speaker 3 (30:08):
Hmmm, So it's it's actually simply if I stressed, and
if I have a distance to my own music, then
sometimes I play the music, the music, my own music
sometimes and it's like a little test and whether it's calming,
(30:32):
calming down, and it it actually yes, I have to
say it works, and so I think if it works
at me and I'm stressed sometimes yes, but I think
if it works, then works for other people too.
Speaker 2 (30:57):
Do you ever work with the voice when you imposed?
Do you sing the melodies or do you only work
allowing your thoughts to go through your fingers.
Speaker 3 (31:08):
Yes, I play only with my fingers. But I have
a melody, a thing in mind. I have it in
my head and but I don't it's it's it's noiseless.
It's it's only in my mind and on the piano,
but sometimes on a guitar could be, but mostly on
(31:31):
the piano. And then it's yes, this works, beautiful.
Speaker 2 (31:39):
I read on your homepage Benvod that you're composing for
many different audiences, including you did a project for autism.
So how did you work on that project and were
there any specific emotional needs that the kids or people
had that were listening to your music.
Speaker 3 (32:03):
Yeah. My my former record company, Real Music Mindstream is
in it's based in Los Angeles, Beverly Hills, but the
headquarters is in London, England. And I got a call
from from the owner in London, and he is very
(32:25):
specialized for that music for autism. He said he had
an idea. He said, he knows my music and he
could imagine that my music helps people with autism and
and it would be better make a special producing a
(32:50):
special composition for that. And so I had a call
with with him in London, and with more two or
three calls with the director, doctor Maline Sotillo from the
Elf Institute in Jupiter, Florida, and we talk about yes,
(33:13):
since we talk about different things, and she shows me
a few videos and we talk about live everyday life
of the artistic people. And the idea was producing music
which help people in a start in the day, starting
(33:37):
in the she said, start thing in the day is
very very important and so she said, try to produce
music between ten and fifteen minutes one track, and it
should be in one direction, not too much melodies, but
(33:59):
special and not too predictable. And yes, I'll work and
work and work, and in the end it was finished
and she used the music in the institute and it works.
(34:21):
And she said, yes, very well. And this was the
research project and this music until now it's not for public,
it's only for its people. News yes, first, but the
good news is that it works very special. But yeah,
(34:44):
I tried to imagine that and it's I think it's
a good thing.
Speaker 2 (34:51):
What was one of the most beautiful stories or feedback?
Feedback so that you heard from someone who experience your
music and it brought them healing and it brought them relief.
Do your fans sometimes write you and share with you
what they're going through and how your music has touched them.
Speaker 3 (35:15):
I really have different experiences in that way. And yeah,
once very touching idea was there was a stewardess and
even from Germany. She was in Canada and she had
a special disease I forget the name, liguonaiers conkat in Germany.
(35:42):
So she could breathe. She couldn't breathe.
Speaker 2 (35:46):
Yeah, I think it is Legionnaires. I think it is. Yeah,
it's yeah, Legionaire's disease.
Speaker 3 (35:51):
Yes, exactly exactly. And she was in Canada. It's a
long time ago, over thirty years, and she found a
CD in the rocket in the records store. It was
my very first album. It's called Flowing m HM. And
she read it and she's flowing it sounds good and
(36:16):
she she heard the music and suddenly she said, I
can't breathe. So because it's very very important overnight and
as music, music really helps her, and so I'm very happy.
(36:37):
I'm in a touch with her until today. She has
all my records and she she is very grateful and
I'm grateful too that music can help. And if I
work here lonely in my studio, I think I don't
(36:59):
think on such things. I think only of harmony's melody, rhythm, etc.
But in the end, when it helps, when it's when
it's such a good help is for other people. I'm
very happy about that. Of course.
Speaker 2 (37:17):
Yeah, of course what made you go in this direction? Band?
But you could have been a rock you know, a
rock star, or you could have you could have done
jazz or you could go anyway. What what drew you
to this type of music.
Speaker 3 (37:34):
I don't know.
Speaker 4 (37:36):
I don't know.
Speaker 3 (37:38):
I don't know, I honestly, so it's my music. The
thing is my my impresses, my my. I'm a fan.
I'm actually I'm a rock musician. I played jazz rock
and I'm a funky keyboard player and I like I
played in many bands and this is music like from
(38:02):
the Beatles to the Grateful Debt, to from from John
Culture in Mars Davis to the Rolling Stones. So so
many good music in the world, and that my real inspiration.
I don't know why I make such music as I make,
but I think I start piano playing when I was
(38:25):
fifteen years old, and it was a typical classical education.
And I like that Sonatin rather not Sonatina's son from
Beethoven Moistart during the Bastian Bach that that was a
new world. And it's in my mind and maybe it
(38:50):
has it has to do with this, but yeah, it's
it is like it is.
Speaker 2 (38:58):
It is like it is is. Then let's listen to
one more track for our listeners from your new album,
and this track is Forever Green. I can imagine that
you're you're sharing your landscapes that are around you. You
talked about these beautiful hills. Is that what you were
(39:19):
seeing and feeling when you were writing about the color green?
Forever green?
Speaker 3 (39:26):
Yes, I think too. But if I think forever green,
it sounds for me a little bit irish. So Irish
is the green green island, and it's earlier I was.
I produced another track in that direction and it was
(39:47):
a chart hit in iron even though I was never there,
but I can imagine it and melody sounds for me
a little irish. I don't know why, but it is.
But of course I live in the green landscape. Two.
But this is more Irish and that I'm not like
(40:10):
Mozart or something.
Speaker 2 (40:12):
Okay, okay, So for our love of Ireland, let's listen
in to Forever Green, Almo. We're listening to Forever Green
(43:25):
off of Banvart Koch's newest album and Bandvak's with me
here in studio. Bandvot talk to me about the idea.
It says that your works, including Calming Colors, is featured
on international airlines. So what does that do to you?
(43:46):
Imagining people flying above the clouds, listening and enjoying your
music while they drift off in between maybe New York
and Tokyo or London in la. How is that for
you as a composer.
Speaker 3 (44:03):
It's great, it's really great. I remember a neighbor from
my small village. She flews to Tokyo and she it's
twenty years ago or so, and she had a journal
in the plane, the aeroplane, and suddenly she saw a
(44:25):
photo of me, of mine, and she said to her neighbor, look,
look this, this is my neighbor. So the other the
other woman said now, no, now impossible, and she said, yes,
yes it is. So it's very, very very I'm happy
about that. And sometimes I have a record walking through clouds,
(44:52):
and so this is like flying through clouds. It's real,
and I think, yeah, it's it's very suitable flying because
I often fly. I like flying, I like airplanes and
so on, and I often feel if I hear music,
(45:13):
I could fly, I would fly.
Speaker 2 (45:16):
Yeah, that's probably what you meant by by traveling through sound.
Speaker 4 (45:20):
Right.
Speaker 2 (45:21):
We opened the show with this idea of traveling through sounds.
So you do like flying to different places and flying
with music.
Speaker 3 (45:31):
Flying with music. I don't flying very often, but I
feel like flying through the music.
Speaker 2 (45:38):
Yes, beautiful, your music is you can stream it everywhere.
It is has a global reach. You were just talking
about Tokyo, Canada, everywhere. This is when you're composing. Do
you think about that that you're you're reaching all these
different cultures and people and and different ways of being
(46:03):
or do you just stay true to your melody and
that is universal and touches so many people.
Speaker 3 (46:11):
Well, if you you have to live from from the music,
I can live from a music. And but it is
you think about a little bit, you know, because you
have another person's you have good people and have a
distribution in Oakland, California and with El Evers and it's
(46:35):
very well and so it's good to know that the
music spread the world and it's it's a good thing.
And I think it's for me. It's makeing music, make
a little bit more serious and the otherwise it's my handwriting,
(47:02):
it's my work music, and so I think I take
it serious and it's it's the right way way for me.
Speaker 2 (47:16):
And what would you love people to take away when
they listen to your music? What would your message be here?
What is your intent when people stream for hours Vodko.
What would you love them to to take away from?
Speaker 3 (47:31):
Yeah, I often heard people told me that they have
an endurance, they had an operation, they had massive problems,
they lost a friend, sometimes even a child, a husband
or so on. It's very very hard stories. And they
(47:54):
people told me, so Bumbered, your music really helps me after.
I feel really better if hears the music and that's
touched me too and give me a good feel. It's
not for me. It's not as superficial music, superficial work.
(48:17):
It's so put a complete, my completely work, my soul,
my heart, everything in music, and so it's it's if
it work, I'm happy. I'm really happy and grateful helping
people too.
Speaker 2 (48:38):
Helping people to hear Ben. But do you have a
homepage where people can connect with you or do you
do a lot of social media where other people can
reach out to you if they want to connect.
Speaker 3 (48:49):
Yes, on my home page is an email address. I'm
on Facebook artist and a private Facebook, and on Instagram
and on threatred.
Speaker 2 (49:07):
Oh okay, okay, good a nix okay, very beautiful, very beautiful. Yeah.
So I as we're gonna close today, but I really
want to extend my deepest gratitude for you coming onto
the show and sharing with us your journey as a
composer and creating music out there that is keeping us
(49:29):
relaxed in a very hectic world. And all these stories
behind calming colors, we can really imagine walking through the
landscape with you. And thank you so much. And to
our listeners out there, thank you for tuning in and
for being part of this vibrant community. And if you
enjoy today's show, please subscribe to Voice Rising on your
(49:52):
favorite streaming platform and check out the past episodes featuring
some of the world top voices luminari poets, authors, musicians, visionaries,
and explore more conversations in the archives at Home Times Radio.
So thank you again, Baan Vat and take care of yourself.
Speaker 3 (50:14):
I thank you, Kara, thank you so much. It's my
pleasure and I wish you all very best.
Speaker 4 (50:22):
All right you take care, bye bye, take care bye bye.
Speaker 1 (50:45):
Lord
Welcome to Voice Rising with Kara John's Dad. Enjoy weekly
conversations with leading luminaries, pioneering visionaries, singers, poets, musicians, and
sound healers as we explore the profound role our voice
plays on the path to self realization and global enlightenment.
The internationally acclaimed singer, composer, author, healer, recording artist, voice expert,
(00:25):
creator of Voice Your Essence, and founder of the School
of Voice, Kara John's Dad uses her extraordinary spiritual gifts
to empower others. Everything in this world vibrates, Everything has
a frequency. A pioneer in the field of voice work
and transformational songwriting, her breakthrough methods are helping thousands of
(00:46):
people worldwide fine tune their body, mind, spirit system and
unlock the energetic frequencies of limitless creativity, health and abundance.
Share your voice, ask your questions, join in the conversation,
receive life changing positive transformation, and rise together to create
a sound world. And here's your host, Kara John's Dad.
Speaker 2 (01:14):
Hi, everybody, Welcome to Voice Rising today. I am delighted
to welcome the gifted composer, pianist and multi instrumentalist band
Vot Koch to the show. With sixteen albums to his name,
Bandvat's music has touched hearts around the world. His latest album,
(01:34):
Calming Colors, offers a serene journey through soothing melodies crafted
to calm the mind and uplift the spirit. Bandvat's ability
to blend piano with other delicate instruments creates a soundscape
that invites peace and introspection. Ban Hat, it's truly a
pleasure to have you here with me today. Welcome to Voice.
Speaker 3 (01:58):
Rising, Hello, welcome.
Speaker 2 (02:04):
So first of all, congratulations on the new album. It
is a very serene album, a relaxing album, a healing album.
Share with us what was the initial spark of inspiration
for this collection of music?
Speaker 3 (02:23):
Thank you so much, Caa. And yes, I live in
a small village in the countryside and it's a gentle,
hilly landscape and gentle but strong. And I have to
say the nature with which surround me is very impressive.
(02:47):
It's my, it's my, it's touching, touched me and it's
a great inspiration always. And I think the coming colors.
So there are colors too, and in the nature, the
warm colors mostly green, green, brown, and so colored flowers
(03:15):
in the summer, and the colors are always changing, and
so I felt the colors call me car me myself down.
And I have often walks in the nature. And yeah,
and I tried to go in on places which I
(03:39):
have no no noises from our civilization, civilization, only the
wind or birds, and and having a white vast view
standing on a hill that is fantastic for me, and
I can.
Speaker 2 (04:00):
Brief nice, you can really breathe deeply, as in German
we say hoogle lunch shaft. Where there's hilly, these these
these beautiful hills that I also know from my childhood band.
That you mentioned before in one of I think I
(04:20):
read it in on your homepage an interview you said
music offers an opportunity to travel through sound. So maybe
you describe for our listeners what does that mean to
you to journey and travel through sound while you're creating
a new piece of music.
Speaker 3 (04:42):
So if I sit in my studio in a very
lonely room, of course, I thought often I have often
I have the melody in mind first in my mind,
and then I played a recorded in the studio, and
then I start working starts the arrangement and performing and
(05:09):
so on, and in that situation, I really forget everything
surround me. I'm only living in the music. I think
it's it's a typical situation being in the studio, but
I'm not. I'm playing in a band, yes, but not
(05:31):
at my solo productions. I'm sitting alone in the studio
and work and work and work. Forget everything, but I
I'm I feel I live in a in a in
a lot, speaker in a box, and it's one one thing,
(05:52):
and so that that's my way of work. And in
the end, I'm happy if the music call me myself too.
Speaker 2 (06:09):
So when you say travel through sound, it's it's literally
the sound transports you into another place, which is not
a little box or not a lonely room. The sound
literally it's like going on vacation. Maybe that that your
melodies are carrying you into another place?
Speaker 4 (06:30):
Is that?
Speaker 2 (06:32):
Is that maybe the image that when you're when you're
working in the studio alone, that the sound really helps
you to fly fly away.
Speaker 3 (06:44):
Yes it is. But so you said, melody and melody
is the most important thing for me always. I start
always with a melody because the melody is the core
of my music. I like melodies and I need need
a melody, and otherwise I have to say it's first work.
(07:08):
It's just work. I'm thinking, of course, in harmonies, in
and melodies, in rhythm, in sounds, and I think I'm
thinking only in musical things, you know, and and that
it's it's hard work if you have, if you are
(07:31):
not satisfied with a with a version, so you repeat, repeat, repeat, repeat,
and but this is it's I think it's normal if
you have, if you want to produce a good project,
a good piece of music, which would say it's it's
(07:53):
it's lots of work always.
Speaker 2 (07:56):
So let's listen Banbach to your tracking Colors. That is
the title of your album. You explained a little bit
the beauty of the landscape that you live in, the greens,
the browns, the beautiful hills. Would you like to say
anything else about Calm and Colors or should we just listen.
Speaker 3 (08:15):
In I think you mean the first track, Distant Bell.
Speaker 2 (08:20):
I think no, no, this is I think this is
later in the album. It's called Calm and Colors.
Speaker 3 (08:26):
Correct, I'm not saying yes, it's.
Speaker 2 (08:30):
Yes number ten, yes.
Speaker 3 (08:33):
Yes, I know that track. It starts very sad, and
but it's it's like being being through walking through a
landscape in a in a weather like like the moment here,
(08:54):
it's very very foggy day. It's cold, it's a hard
a cold wind, and so it's it's it's healthy, I know,
but the colors are not rather gray, and you walk
away and you walk and walk and you are being
(09:17):
warmer and sun it's it's like suddenly sun is coming
a few sunbeams and the weather changed, and that's that felt.
If I produced what I composed and produced that track
Coming Colors, it's really.
Speaker 2 (09:37):
Beautiful, beautiful. Let's listen into Calming Colors. This is off
of the new album I Bang That.
Speaker 5 (09:44):
Coch b.
Speaker 4 (10:09):
B.
Speaker 2 (12:44):
You are listening to the track Calming Colors from ban
Vot Call. He's with me in studio and his new
album is also entitled Calming Colors. Bandbot. We hear that
the piano, it's very central to music. But you are
also a multi instrumentalist, So how do you decide which
(13:07):
instruments strings, bells, flutes are you going to use on
the different compositions that you're creating.
Speaker 3 (13:17):
So I first recorded the piano and it made the
completely complete form of the track. And I like traditional forms,
So the intro of vast chorus and so on. And
if I had that, then I try different instruments to
(13:45):
enrich different colors in music, and so I like playing
with synthesizers, with softly percussion symbols, with bass and sometimes guitar,
or with the flute flute is my wife plays the flute.
(14:08):
She's classical trend flute, and it's it's very good to
the music, alright. The Coming Colors album is more piano based,
because if I feel the track is the piano is
the most most important thing, and sometimes is it enough?
(14:33):
But mostly I have it eneraged with with other colors.
So I hear it and it must work, and then
I decide, yes, I put that sound to that part
of the track. It's more colorful, beautiful.
Speaker 2 (14:53):
So do you have a certain ritual that you tune
in to as a composer. Do you start recording every
morning at eight o'clock after your beautiful walk in the
hilly landscapes? Or is it more spontaneous? Is there something
that people that are starting to compose out there can
(15:16):
be inspired by to connect to their own writer's voice
or their own inner voice.
Speaker 3 (15:24):
Yeah, and understand, but it's not not at me. During
first during the Corona times I had. I had incredible
lots of ideas. It was I never had that experience
in my life. I sat on Pierre, I said, sat
(15:46):
on the piano and start improvising, and immediately I have
a new great melody. Five minutes later another melody. So
I collect lots of tracks for in that time. I'm
not so I'm I'm not an early man. I don't.
(16:09):
I don't like it go stand up too early in
the morning. And but ideas I have lots of ideas
come while improvising on the piano. But it could be
on a walk in the nature, it could be in
the shower, or if I try to sleep. So if
(16:32):
I want, I can. I can compose in actually every situation.
It's like like my my head. Sometimes I think my
head is as like a tape machine. Yeah, and I
have to say, my new album, Calmer and Colors is
(16:52):
out end of August, and at the moment I have
I I haven't the time to compose every day, but
I'm not worry. I know I've enough enough ideas for
for other and for the records. And yes, that's my
way of composing.
Speaker 2 (17:14):
Nice do you already have another album? Planned.
Speaker 3 (17:20):
Yeah, but it's it's not concrete. It's I haven't in
my mind, but in the moment I have. I have
no no, no space, no no room for that. Yeah.
But but I'm but I'm I'm in a good man
(17:43):
I have. I don't care about that.
Speaker 2 (17:47):
That's good. We we we still have this album to
uh yeah to savor. Talk to us, Bend about you
said when you walk in nature, it's very important for
you to experience a quietude away from civilization, the wind
and the birds. Talk to us a little bit about
the relationship between melody and silence. How does that shape
(18:12):
your melody lines or you shape your music?
Speaker 3 (18:16):
This is a good question. Color. Yes, Well, silence is
there and always, and a melody is it's like a
growing flower in your mind. My mind. Sometimes I can't sleep,
(18:43):
and if I can't sleep, I start composing, so I
line my bed and I try composing. And not always
there is a new, fantastic melody. And but a melody,
a good melody helps, always helps me. And if I
(19:08):
imagine a for example, a melody from the Beatles, a
Beatles song here there and everywhere everywhere, for example, this
is an incredible good melody and has lots of power,
and so that's then the silence is away. So the
(19:30):
silence is there, but not in my in my mind,
that's different.
Speaker 4 (19:36):
Mhm.
Speaker 2 (19:37):
Okay, So we're talking about when you're lying in bed,
you have you do have one track that I'd like
to play for everyone. It's a lullaby. And let's say
you're lying in bed and these melodies are haunting you.
They're just everywhere you can. You can't even sleep. Do
you do you grab a piece of paper and write
them down? Do you jump up and go back to
(19:58):
the studio, or do you you continue them in your
dreams and fall asleep?
Speaker 4 (20:06):
I have.
Speaker 3 (20:08):
If I had that melody in mind, I think it
was a play piano. But if I have a melody
in mind, I have a take a piece of paper
and make a little notice notice, but not not many.
Mostly I try to have it in my mind, and
(20:33):
so I think about and think and think and think,
and I know if Another example from the Beatles again
is the Beatles start. They hadn't a cast recorder, they
had tape machines, so the only way was playing the
song again and again, and if the idea in the
(20:54):
next morning, the next day comes again, then was it
a good idea, a good song?
Speaker 5 (21:00):
Ah?
Speaker 3 (21:00):
Okay if if, if, if it is, it was away
those then.
Speaker 2 (21:06):
Then not yeah, exactly. So let's listen. Yeah, so let's
lin that you. You wrote a beautiful track, a beautiful composition.
It is called children's lullaby? What can you share with
us about this track? And then we'll listen to children's
alabi before the break? Is there anything special?
Speaker 3 (21:31):
Yeah? I remember I played the piano and had with
only with one hand, right hand, and had had the melody.
And if I have the melody, oh, it sounds like
a children's lullaby could be. And so I I made
the composition complete and with with another part, and were
(21:58):
searching for the sounds. And I feel that bells fits
very good. And if the trick was ready, I think,
all right, this sounds like a children's lullaby. Why not
call it children's lullaby? And very important I have. I
(22:21):
have a daughter and a son, and my daughter works
with children's and and this is she often taked me.
So sometimes it's very hard, it's very loud in the room.
But if if it two o'clock PM, the children sleep,
(22:43):
and if they couldn't sleep, I play. I imagine, I
imagine the two years children and are sleeping, and it's
wonderful seeing sleeping children, and so they are so innocent
and it's just beautiful. And I think that fits. This
(23:10):
is a very good a good name and fits to
the music beautiful.
Speaker 2 (23:15):
So we're going to listen to Children's Lullaby and after
that we're going to head into a break for the
sponsors that support us here at Voice Rising at Home
Times Radio. So enjoy Children's Lullaby and then we'll be
back with a little bit more of inspiring insights by bench.
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Speaker 2 (29:08):
Welcome back to Voice Rising. We're here with the talented
band Vot Koch, diving deeper into the transformative power of
his music and his new album, Calming Colors. And if
you are enjoying today's conversation, please take a moment to
share this episode with your friends and community and subscribe
to Voice Rising on your favorite streaming platform to stay connected.
(29:33):
Your support helps us get beautiful and inspiring guests and
conversations going here at home times. So now let's continue
with Benot Bendvot.
Speaker 3 (29:42):
Welcome back, Welcome back, Cara, Benvot.
Speaker 2 (29:47):
Your music is well, I guess you would say new
age music, but it's really a healing music. It's very calming.
It relieves a lot of stress. What is your experience
using music as a tool for emotional or physical healing?
Speaker 3 (30:08):
Hmmm, So it's it's actually simply if I stressed, and
if I have a distance to my own music, then
sometimes I play the music, the music, my own music
sometimes and it's like a little test and whether it's calming,
(30:32):
calming down, and it it actually yes, I have to
say it works, and so I think if it works
at me and I'm stressed sometimes yes, but I think
if it works, then works for other people too.
Speaker 2 (30:57):
Do you ever work with the voice when you imposed?
Do you sing the melodies or do you only work
allowing your thoughts to go through your fingers.
Speaker 3 (31:08):
Yes, I play only with my fingers. But I have
a melody, a thing in mind. I have it in
my head and but I don't it's it's it's noiseless.
It's it's only in my mind and on the piano,
but sometimes on a guitar could be, but mostly on
(31:31):
the piano. And then it's yes, this works, beautiful.
Speaker 2 (31:39):
I read on your homepage Benvod that you're composing for
many different audiences, including you did a project for autism.
So how did you work on that project and were
there any specific emotional needs that the kids or people
had that were listening to your music.
Speaker 3 (32:03):
Yeah. My my former record company, Real Music Mindstream is
in it's based in Los Angeles, Beverly Hills, but the
headquarters is in London, England. And I got a call
from from the owner in London, and he is very
(32:25):
specialized for that music for autism. He said he had
an idea. He said, he knows my music and he
could imagine that my music helps people with autism and
and it would be better make a special producing a
(32:50):
special composition for that. And so I had a call
with with him in London, and with more two or
three calls with the director, doctor Maline Sotillo from the
Elf Institute in Jupiter, Florida, and we talk about yes,
(33:13):
since we talk about different things, and she shows me
a few videos and we talk about live everyday life
of the artistic people. And the idea was producing music
which help people in a start in the day, starting
(33:37):
in the she said, start thing in the day is
very very important and so she said, try to produce
music between ten and fifteen minutes one track, and it
should be in one direction, not too much melodies, but
(33:59):
special and not too predictable. And yes, I'll work and
work and work, and in the end it was finished
and she used the music in the institute and it works.
(34:21):
And she said, yes, very well. And this was the
research project and this music until now it's not for public,
it's only for its people. News yes, first, but the
good news is that it works very special. But yeah,
(34:44):
I tried to imagine that and it's I think it's
a good thing.
Speaker 2 (34:51):
What was one of the most beautiful stories or feedback?
Feedback so that you heard from someone who experience your
music and it brought them healing and it brought them relief.
Do your fans sometimes write you and share with you
what they're going through and how your music has touched them.
Speaker 3 (35:15):
I really have different experiences in that way. And yeah,
once very touching idea was there was a stewardess and
even from Germany. She was in Canada and she had
a special disease I forget the name, liguonaiers conkat in Germany.
(35:42):
So she could breathe. She couldn't breathe.
Speaker 2 (35:46):
Yeah, I think it is Legionnaires. I think it is. Yeah,
it's yeah, Legionaire's disease.
Speaker 3 (35:51):
Yes, exactly exactly. And she was in Canada. It's a
long time ago, over thirty years, and she found a
CD in the rocket in the records store. It was
my very first album. It's called Flowing m HM. And
she read it and she's flowing it sounds good and
(36:16):
she she heard the music and suddenly she said, I
can't breathe. So because it's very very important overnight and
as music, music really helps her, and so I'm very happy.
(36:37):
I'm in a touch with her until today. She has
all my records and she she is very grateful and
I'm grateful too that music can help. And if I
work here lonely in my studio, I think I don't
(36:59):
think on such things. I think only of harmony's melody, rhythm, etc.
But in the end, when it helps, when it's when
it's such a good help is for other people. I'm
very happy about that. Of course.
Speaker 2 (37:17):
Yeah, of course what made you go in this direction? Band?
But you could have been a rock you know, a
rock star, or you could have you could have done
jazz or you could go anyway. What what drew you
to this type of music.
Speaker 3 (37:34):
I don't know.
Speaker 4 (37:36):
I don't know.
Speaker 3 (37:38):
I don't know, I honestly, so it's my music. The
thing is my my impresses, my my. I'm a fan.
I'm actually I'm a rock musician. I played jazz rock
and I'm a funky keyboard player and I like I
played in many bands and this is music like from
(38:02):
the Beatles to the Grateful Debt, to from from John
Culture in Mars Davis to the Rolling Stones. So so
many good music in the world, and that my real inspiration.
I don't know why I make such music as I make,
but I think I start piano playing when I was
(38:25):
fifteen years old, and it was a typical classical education.
And I like that Sonatin rather not Sonatina's son from
Beethoven Moistart during the Bastian Bach that that was a
new world. And it's in my mind and maybe it
(38:50):
has it has to do with this, but yeah, it's
it is like it is.
Speaker 2 (38:58):
It is like it is is. Then let's listen to
one more track for our listeners from your new album,
and this track is Forever Green. I can imagine that
you're you're sharing your landscapes that are around you. You
talked about these beautiful hills. Is that what you were
(39:19):
seeing and feeling when you were writing about the color green?
Forever green?
Speaker 3 (39:26):
Yes, I think too. But if I think forever green,
it sounds for me a little bit irish. So Irish
is the green green island, and it's earlier I was.
I produced another track in that direction and it was
(39:47):
a chart hit in iron even though I was never there,
but I can imagine it and melody sounds for me
a little irish. I don't know why, but it is.
But of course I live in the green landscape. Two.
But this is more Irish and that I'm not like
(40:10):
Mozart or something.
Speaker 2 (40:12):
Okay, okay, So for our love of Ireland, let's listen
in to Forever Green, Almo. We're listening to Forever Green
(43:25):
off of Banvart Koch's newest album and Bandvak's with me
here in studio. Bandvot talk to me about the idea.
It says that your works, including Calming Colors, is featured
on international airlines. So what does that do to you?
(43:46):
Imagining people flying above the clouds, listening and enjoying your
music while they drift off in between maybe New York
and Tokyo or London in la. How is that for
you as a composer.
Speaker 3 (44:03):
It's great, it's really great. I remember a neighbor from
my small village. She flews to Tokyo and she it's
twenty years ago or so, and she had a journal
in the plane, the aeroplane, and suddenly she saw a
(44:25):
photo of me, of mine, and she said to her neighbor, look,
look this, this is my neighbor. So the other the
other woman said now, no, now impossible, and she said, yes,
yes it is. So it's very, very very I'm happy
about that. And sometimes I have a record walking through clouds,
(44:52):
and so this is like flying through clouds. It's real,
and I think, yeah, it's it's very suitable flying because
I often fly. I like flying, I like airplanes and
so on, and I often feel if I hear music,
(45:13):
I could fly, I would fly.
Speaker 2 (45:16):
Yeah, that's probably what you meant by by traveling through sound.
Speaker 4 (45:20):
Right.
Speaker 2 (45:21):
We opened the show with this idea of traveling through sounds.
So you do like flying to different places and flying
with music.
Speaker 3 (45:31):
Flying with music. I don't flying very often, but I
feel like flying through the music.
Speaker 2 (45:38):
Yes, beautiful, your music is you can stream it everywhere.
It is has a global reach. You were just talking
about Tokyo, Canada, everywhere. This is when you're composing. Do
you think about that that you're you're reaching all these
different cultures and people and and different ways of being
(46:03):
or do you just stay true to your melody and
that is universal and touches so many people.
Speaker 3 (46:11):
Well, if you you have to live from from the music,
I can live from a music. And but it is
you think about a little bit, you know, because you
have another person's you have good people and have a
distribution in Oakland, California and with El Evers and it's
(46:35):
very well and so it's good to know that the
music spread the world and it's it's a good thing.
And I think it's for me. It's makeing music, make
a little bit more serious and the otherwise it's my handwriting,
(47:02):
it's my work music, and so I think I take
it serious and it's it's the right way way for me.
Speaker 2 (47:16):
And what would you love people to take away when
they listen to your music? What would your message be here?
What is your intent when people stream for hours Vodko.
What would you love them to to take away from?
Speaker 3 (47:31):
Yeah, I often heard people told me that they have
an endurance, they had an operation, they had massive problems,
they lost a friend, sometimes even a child, a husband
or so on. It's very very hard stories. And they
(47:54):
people told me, so Bumbered, your music really helps me after.
I feel really better if hears the music and that's
touched me too and give me a good feel. It's
not for me. It's not as superficial music, superficial work.
(48:17):
It's so put a complete, my completely work, my soul,
my heart, everything in music, and so it's it's if
it work, I'm happy. I'm really happy and grateful helping
people too.
Speaker 2 (48:38):
Helping people to hear Ben. But do you have a
homepage where people can connect with you or do you
do a lot of social media where other people can
reach out to you if they want to connect.
Speaker 3 (48:49):
Yes, on my home page is an email address. I'm
on Facebook artist and a private Facebook, and on Instagram
and on threatred.
Speaker 2 (49:07):
Oh okay, okay, good a nix okay, very beautiful, very beautiful. Yeah.
So I as we're gonna close today, but I really
want to extend my deepest gratitude for you coming onto
the show and sharing with us your journey as a
composer and creating music out there that is keeping us
(49:29):
relaxed in a very hectic world. And all these stories
behind calming colors, we can really imagine walking through the
landscape with you. And thank you so much. And to
our listeners out there, thank you for tuning in and
for being part of this vibrant community. And if you
enjoy today's show, please subscribe to Voice Rising on your
(49:52):
favorite streaming platform and check out the past episodes featuring
some of the world top voices luminari poets, authors, musicians, visionaries,
and explore more conversations in the archives at Home Times Radio.
So thank you again, Baan Vat and take care of yourself.
Speaker 3 (50:14):
I thank you, Kara, thank you so much. It's my
pleasure and I wish you all very best.
Speaker 4 (50:22):
All right you take care, bye bye, take care bye bye.
Speaker 1 (50:45):
Lord
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