Al’s music career stemmed from a series of events that could almost be said to be ruled by fate.   Since a very young age, Al always wanted to be an actor. “When asked, none of the other kids in school really knew  what they wanted to be when they grew up, but I would always respond: I want to be a ‘dramatic actor,’ which of course drew chuckles from the questioning adult.”  Eventually, it was clear Al was serious.  So much so that at the age of 8 his parents enrolled him in acting classes. “I never looked back,” Al says, “and it was the first time I actually made friends with other kids, because they were as weird as I was!”  That Al would follow the life of an artist was of no surprise to his parents. His mother was a professional ballet dancer, his father a poet and Al’s grandfather a concert pianist.  Music was very much part of Al’s childhood, but he held fast to his desire to become an actor.  “I was always able to maintain tremendous focus and stick with something to the end.  I was going to be an actor and that was that. Eventually, this would come in handy when needing to focus on an album's creation for several years at a time.”  Al’s desire to act was, however, interrupted several times as his family moved to various countries for a period of three years. “All this moving, while exciting for a child, truly created a sense of loss in me that took years of introspection and therapy to work through.”  In each place Al lived, he took up acting.  “I remember I was about 14 and living in the US when I landed a role in a production of The Pied Piper.  All those months of rehearsals led to the final day of dress rehearsal in the actual theater.  To suddenly stand on stage and stare out at 1,500 seats before me which soon would be filled for an entire week confirmed for me this is where I belonged.  Honestly, I never wanted to get off the stage and go back to ‘normal’ life after that.”

Back in Argentina, Al once again took up acting training with some of Argentina’s most prestigious performers of the time.  He also found that working behind the scenes was just as exciting and would often be found among friends on various soundstages or theaters, either performing or working backstage.  He also joined a British theater troupe in Buenos Aires called The Suburban Players and performed with them for a while until his eventual return to the USA at age 17.    Soon after retaining an agent, Al began auditioning for roles in commercials and television shows.  But moving would continue to be in Al’s future and maintaining an acting career while constantly moving proved difficult. 

In between moves and acting jobs, Al began to compose music mostly for himself and eventually some music commissioned for various projects, but never intending for music to go beyond that.  Acting continued to be his main passion. “Actors spend most of their time trying to book a job and very little of that is actually spent acting.  To fill in the creative gap, many actors work on stage when possible.  For me, that creativity was channeled into composing music.  As an introvert, it was my creative downtime.”  

Eventually, his side work with music led to meeting Gerrit Ohm, of Ohmegasongs Productions in Germany. “They were very active in the music business over there, especially with an emerging Hip Hop German Pop style, completely different from what I was interested in musically.  At first they needed help with their English lyrics and that was my task.  But it became clear that I also had a music arranging and composing background and eventually created some music for them.  Instrumental New Age, however, was my preference and composing music for lyrics was not what I liked doing.  Soon, people began to ask if my music was available for sale anywhere; it was not and it was not part of my plan.  But I was growing tired of running down to New York City for auditions and work, while living in Vermont.  It got to the point where I felt that music could give me creative fulfillment, while I could also stay put in one place.”  It was then that Al decided to focus entirely on music. “Because I came into this with years of professional acting work, I understood that this is first and foremost a business, and if you do not approach it that way and behave accordingly, you do not get far. I have seen many aspiring musicians fail miserably because of this.”  He contacted his acting manager in NYC and called himself off for six months. “In acting, this basically means career suicide, but I knew if music was to be it, I had to devote myself fully. I am never one to multitask.”  After years of acting, Al also knew that in working with music he would want to maintain his creative independence. “I never felt I would eventually want to go in with a major label and I didn't work towards that goal. I already knew what that would entail and having been at everyone else’s beck and call in my acting career, I did not want that for my music work. I eventually came to meet many colleagues who regretted being signed by a major (label).”  So, Al made a bold move and created his own label and music publishing corporation, but assigned others as head of the companies so he would stay neutral. He knew he needed an album to jumpstart this move and, gathering material he had composed during the past decade, he reworked each song and compiled his first album: SHADOWS.  “I honestly never felt that it was a strong album, as it was really put together to launch my music career.  Throwing together a bunch of songs that were composed through the years, with different moods and visions, is not something I’d recommend to any musician. It lacks cohesiveness.”  

But SHADOWS was the start that was needed. “Eventually, as soon as I could I deleted this album from my catalog, but honestly, I owe it my music career.”  It was at this point that Al also met a professional he would work with for most of the albums to follow: sound engineer André Maquera. “André was extremely talented and had worked with some really interesting musicians from Al Di Meola to the Von Trapp family and his studio was in Vermont, so this was great.”

Soon after the release of SHADOWS, Al knew it was now important to compose an album that was strong enough to start getting known in the New Age music world.  SHADOWS had a modest success, but basically made no mark other than setting Al on his music journey.  By this time, Al was now working with a new manager, Kevin, who would prove to be enormous support for both his career and personal life.  "I had been working with a manager who, really, had no idea what he was doing.  I needed someone who was on top of things, and Kevin came along.  The chemistry was immediate, and from the start he handled me like no one else had."  

Work began on a new album. “I honestly cannot remember how this album came together, but looking back I can see hints in it of what was to come later.”  To create an album that was artistically cohesive and well crafted, he chose to record at the Ohmegasongs studios in Kiel, Germany.  “It was an intense three weeks, in part because the crew in Germany was extremely busy with some of their emerging acts and were juggling all of us.  It was quite a feat. I’d find myself working in the studio for hours on end and then attending many of these acts’ club performances to a slew of screaming fans.  During recording sessions, everyone was tense.  I recall that it was a highly charged atmosphere, but we pulled off the work in time.  Much of the promotional photography for the album was also done over there, adding to the stress, but one of those photos would become quite a staple in my promotion for years to come and would soon be featured everywhere.  I returned to the USA exhausted."

Adding the talents of artists in Germany who were currently working at Ohmegasongs, POETA was born.  Each song was based on some literary work, which combined Al’s acting and music talents. Upon returning home, POETA was then mastered by André at his Vermont studio and set for release.  "I remember it was still a toss up at the time. This was my second album but, really, my first cohesive one.  As far as I knew, no one knew me and this album could wrap my career and I'd be soon back knocking at Sue's (Al's New York acting manager) office door!  Everything was uncertain."  The album began to slowly get known in the New Age music circles and eventually climbed the New Age broadcast charts to number 40. “It was a bit of a shock to see the album suddenly appear on that chart at number 40 when, at this stage of my career, I never even thought of the charts at all. I did not even have promotion or publicity. But I remember the first glimmer that maybe, just maybe, this may work out after all.”  Unbeknownst to Al at that moment, POETA would soon prove to be the catalyst to his career’s turning point.

POETA behind him, work on a new album began.  This time, Al had a concept: The Arabian Nights. However, he chose his focus for the album to be about the actual teller of the 1001 Nights tales: Scheherazade. “I read a lot since I was little, and the Arabian nights always fascinated me.  I was originally planning on a different album concept, but it was just not coming together.  Suddenly, Scheherazade took over and it was clear this was to be my next album's concept. I remember thinking that this was a really smart and corageous woman who saved her own life in such a clever way, I had to tell that story!”

This time, work on the album was done in Al’s studios in Vermont and New York.  “I was back to commuting to New York. I was working closely with Kevin, my manager, and he was based in Manhattan. So, ironically, it was back to New York for me!  However, it was important for me to be able to maintain artistic focus, so I struggled to compose the album in two states - not an easy task. But my time in New York City was important both personally and professionally. The album came together seamlessly and I returned to André Maquera for the sound engineering and mastering, as I had done for my two previous albums.”  A tremendously skilled guitarist, André also played on various tracks of the album.  

As the album was set for release, something happened that would catapult Al’s career to a new level.  A prominent promoter in the New Age music industry reached out to Kevin in the hopes of representing Al.  Al’s previous album, POETA had come to the attention of this promoter and he was interested in the possibility of working together.  Kevin sent the promoter a preview copy of Al’s yet unreleased Scheherazade album and that settled it. "Ed was a big deal.  He was working with Will Ackerman (Windham Hill), who was huge, and many other prominent New Age artists, and here he was wanting to work with me.  It was a bit surreal."

Scheherazade was released to wide acclaim.  Between Kevin and Al’s new promoter, they pushed Scheherazade to great heights.  Suddenly, Al’s music was heard on television, radio stations around the world, and embraced by New Age music broadcasters and reviewers everywhere.  The album entered the New Age broadcast charts at number one, where it remained for an astounding three months, something rarely accomplished by any New Age musician.  “It was unreal. This meant I was getting played non stop, literally on rotation. They liked my work! Critics and reviewers were gushing about the album. Suddenly, I was getting mail from people around the world about my work.  Even my own mother would call me each time any of the album’s tracks would play of some television music channel!" 

The attention did become a heavy load for Al. "It was suggested I hired an assistant to deal with the bulk of mail, but I took all of that on myself as I felt a responsibility to every person reaching out. In hindsight, not the smartest thing, but I do not regret it. Eventually someone would take over much of my social media activity, but not yet." 

Indeed, Scheherazade was so well received, it catapulted Al to becoming one of the most prominent New Age artists of the time. “I was even hearing from Will Ackerman’s people congratulating me on my chart position, and suddenly other New Age artists were hearing my name and reaching out.  I had to take a step back and absorb all this.”  The attention led to Al eventually becoming close friends with some artists he had admired for years.  “To me, the Arabian Tales were always about magic and, well, Scheherazade was indeed magic for me!”  Not only had Scheherazade cemented Al as a respected New Age artist among his peers, but also settled Al’s musical style once and for all: the concept album.

Al’s career was now in full throttle.  This also meant a new album needed to be composed, and composed quickly.  Promoters encourage their artists not to linger past 18 months to release a new album.  However, this was something that Al wanted to avoid from the start and chose to turn down.  "I needed the time I needed to create what I felt was something good and I was not willing to cut corners.  And I was still trying to digest what was happening to me and my career."

Something Al now had to contend with was what many artists have to deal with once they reach a successful stage in their careers: moving beyond that success.  “As it happens with most of us artists when we reach a certain level of success is that we ask ourselves, ‘how do I top this?’  And you have to top earlier success if you are to stay relevant.  It is weird in some ways because now you're not trying to be better than someone else, you're trying to top yourself!  It suddenly becomes daunting, because you do not have a precise formula for why something you created earlier worked so well so that you can replicate it.   After the success of my album Scheherazade had been so big, this was the case for me.  Scheherazade could do no wrong, but would that be the case with my follow-up album?  In a way, the success of that album would haunt me for years to come.”  Pressure mounts on an artist to do better, as they become successful in their work. More demands and responsibilities are placed on them. “Suddenly, I had to hire more people and their livelihood and continued success was impacted by my output and choices.  Also, for an artist, pleasing one’s audience is also of utmost importance, and not always easy. A follow-up album to a successful one is always a toss-up.  Many artists cannot top their previous success.  Add to this staying true to myself as an artist.”  

The follow-up was Northern Seas, an album partly inspired by the loss of his 23-year-old nephew to Leukemia.  “It was a very hard time for my family, particularly my sister.  I cannot imagine what it is like to lose a son.”  This album saw Al back to working with André as his sound engineer and guitarist, and now adding the masterful talents of fiddle player Hannah Beth Crary and Celtic Whistle artist Tim Cummings, all Vermont based.   “I wanted to do something different, explore mythology from a different part of the world.  There is a tendency among artists once they hit on something successful to stay with it and do more of the same.  But I did not want to do Scheherazade Part 2. I wanted to grow as an artist, and that is always a gamble.  Your audience might not follow you down the road you choose to travel.  Still, I took the challenge head on.”  Northern Seas explored Norse mythology and, therefore, the music was quite different from the more Middle Eastern themed Scheherazade.  “When Northern Seas was released, some of the fans who loved Scheherazade were lukewarm.  Also, I released the album against some well-known artist’s releases, but I chose to not move up the album’s release date. I was not afraid or intimidated.”  Because of that, Northern Seas did not reach the coveted number one spot which Scheherazade had previously monopolized for three months. Instead, it reached number two, still an impressive spot. “Critics and reviewers were not sure what to do with it at first,” says Al. “Everyone was expecting more Scheherazade, but I was done with that and needed to move on artistically.”  Indeed, critics appreciated the album’s artistry, but this was a different ‘Al Conti' they may not have been prepared for.  

However, something unexpected happened.  Northern Seas reached Amazon’s Top 10 New Age Albums for that year, and a new audience discovered Al’s music. “Suddenly, my music was reaching an audience that may not have been as interested in Scheherazade.  I was now getting songs nominated on Celtic Radio!” Meanwhile, Al continued to see Scheherazade’s success with further plays and licensing opportunities, and his impact in the New Age music world continued to expand.  "You think I could sit and truly enjoy what was happening with my career, but I had no time. Sad, really."

Northern Seas reaching a wider audience also meant something else: Grammy® attention. “As the album had been submitted for the following year’s Grammys, I began to hear from many Recording Academy members who normally did not listen to New Age music (nor voted for it) and yet loved my album. At this time, another big change happened for Al.  Introduced by a fellow artist, publicist Beth Hilton began to represent Al in conjunction with his promoter, a relationship which continues to this day. 

This exposure also brought someone into Al’s life who would be pivotal, and also become very influential in his life: Bobby Susser.  As it turned out, a successful artist in his own right, Bobby was Paul Simon’s lifelong childhood friend and came with much industry experience under his belt.  “Bobby reached out to me and immediately we got on like a house on fire.  He was different.  In an industry where shallowness is pervasive, Bobby had been in music for decades and was above it all.   He liked that I was no-nonsense, and the feeling was mutual. He was ‘real,’ and that was important to me because at this point in my career, I could only trust those close to me. More importantly, Bobby obviously wanted nothing from me, something else that is rare in this industry.  This is why I always worked with people who eventually become like a close-knit family.  Bobby became my mentor and a dear friend.  We’d spend hours on the phone. His input was invaluable for me, but his insights about this industry were deep and truly forming for me.  And he had many amazing personal industry stories to tell.”  Grammy attention for Al’s album kept growing.  “I really did not think much about it because getting a Grammy nomination is nearly impossible, especially as an independent artist.  Winning, forget it!  I also was not 'hungry' enough for it. So, I just kept doing my thing.” Another important thing was happening in Al’s life: his mother was battling breast cancer.  “A thing like that puts a Grammy into perspective!”

And then it happened: Northern Seas received a Grammy nomination. “I remember that day very clearly. I was at my Vermont house getting ready to fly down to New York City for some engagements. I was a bit nervous because by now it looked very possible that a nomination could happen, but I still did not believe it would and put it out of my mind.  I remember that Kevin, my manager and Beth, my publicist, had a plan as to who would break the news to me one way or the other.  I arrived in New York City, Kevin picked me up at JFK airport and took me to dinner.  Both Kevin and Beth were checking for news. I stayed clear.   Then the news was out.  Kevin looked very serious as he told me that I had been nominated. It was big news, but it was also going to be life changing. I remember everything standing still and getting very quiet for a moment that felt like an eternity. Then the phone started ringing off the hook, beginning with my publicist in Los Angeles, followed by colleagues -- some who received a nomination, some who did not (awkward)-- and Bobby, who kept me on the phone until 3 AM.”

This also impacted Al’s personal life because Kevin and he were now in a relationship. “This nomination affected both my life and Kevin’s.  We artists are not always easy to have a relationship with because we’re complex and often temperamental, but Kevin really got me. Also, having a relationship with someone fast becoming a public figure is like walking on quicksand.  Add to it being gay when your audience is largely composed of women, and this created some pressure.  While Kevin was used to moving within a circle of prominent public professionals, this was personal. But Kevin knew how to work with me, everyone around me and the changes coming our way.  Kevin was not just a manager, he was also a certified coach and those skills proved indispensable in handling me and this business.  And he believed in me 200%.”  

What followed for Al was months of whirlwind activities, events, news, interviews and still trying to maintain balance due to his mother’s illness. “It was almost more than I could or wanted to handle.  At that moment, my mother’s cancer was first and foremost on my mind.” Kevin managed to shield Al from things he did not need to know about, as well as handling everything that was happening so that Al could concentrate on his work.  "I remember some stuff Kevin protected me from, like some nasty stuff some of my collagues were publicly saying about me out of restentment.  One particular radio host hammered me ruthlessly, and both Kevin and Beth made sure I never got to see his vitirol.  I tell you, when you hit successs, it can get ugly around you! I guess that is when you know you've made it." Al's schedule was becoming difficult to handle. "Kevin and Beth handled it all. All I knew was I had a TV interview on Friday, three radio interviews next week, an AP interview the day after and a photo session three hours later.  Then a rush to a New York Grammy Nominee reception, the LA trip, Grammy events and the actual telecast.  I just went with it but had you asked what day it was today, I would not have been able to answer. And still I managed to check in with mom periodically."

The Grammy telecast was fast approaching, which meant Al had to travel to Los Angeles.  “By this time I had attended so many events and had given so many interviews, I was really exhausted.  I also did not think I would win because of who I was competing against, but I have never been a person consumed by winning because success for me is relative. I know it may sound phony, but I honestly did not care for a win.  I have many Grammy winning colleagues and some were changed by the win, and not for the better.  I also did not want to attend the Grammy telecast. Remember, I am an introvert and those events are my idea of hell. I do not have fond memories of the whole thing. People don't believe you when you say that you can be sharing the red carpet with Lady Gaga, Katy Perry and Adele and still wish you were back home in peace and quiet away from it all - and still smile for the 100 photographers calling your name while pretending you're loving it.   That said, I also understood what the nomination was doing for my career and I accepted it had to be this way if I was staying in the game. I could not have it both ways.”

The Grammy Awards finally happened and Al did not win, losing to Pat Metheny. “It was OK. Some people around me were devastated and could not understand my nonchalance about the whole thing.  I was just glad it was over.  But no matter how many times I said I was fine, no one believed me. I started wondering what was wrong with me! I think that many around me had placed a lot on my winning, but I had not done that.  And, honestly, I lost to Pat Metheny, how many people can say that?!"

The Grammys were followed by endless meetings and other activities in Los Angeles. “I found myself at the Warner lot for a meeting and I pondered how amusing it was that I finally made it into the Warner lot not as an actor, but as a musician.  The irony was not lost on me.”

This had been another pivotal time for Al.  Now a public figure his personal life, one he always fought very hard to maintain private, was more public than ever.  To the world, Al’s relationship with Kevin was, until then, a professional one.  “I was good at compartmentalizing my life until that point.  My relationship with Kevin was both personal and professional, and we could keep both separate.  Even most of my colleagues did not know I was gay.  You have to understand that when you reach this level of success, you become a product.  ‘Al Conti’ was not really me, it was a product we sold. I was not a ‘sex symbol,’ I was a musician and music was what we sold.  My public bio, my promotion, my albums, even my photos, all were to sell a product. I felt it was all about 'Al,' not about me. I was so private that no one even knew (or asked) what ‘Al’ was short for, and the few times I shared with a colleague my full name, they could not make the transition. They kept calling me Al.  Bobby being Paul’s close friend, I remember that we had a running joke about ‘You Can Call Me Al!’  But even having artistically shortened my first name and going under my mother's maiden name helped maintain my privacy and keep my public and personal lives separate.  No one in my private life calls me Al.”

The Grammys changed all that.  The exposure Al received made maintaining privacy a challenge. “What was hard for me was that all through red carpet events, Kevin walked two feet behind me. Beth would lead on ahead of me and Kevin would follow behind me.  I was then thrust in front of cameras or journalists as both took a step back, and I felt utterly alone.  I utilized all my acting skills through this period to remain calm, professional, look like I was excited and follow along.  But I felt horrible for Kevin. No matter how much he said he was fine, I was leaving my partner two feet behind me!  I remember giving interviews and while my mouth was speaking, my mind was wondering where Kevin was.  Meanwhile, some colleagues would step on the red carpet, arm-in-arm with their spouses while I did not feel I could do the same. I remember one journalist at some red carpet event, microphone on my face, asking me flat out, being Valentine's Day, who I was taking out. I froze! After it was all over, I made a decision. I summoned a meeting between me, Beth and Kevin and I blurted out: I want to come out!  The 'how to come out'  led to five months of tactical planning until I was ready to scream. The gay community will crucify you if you are a public figure and do not come out, or if you come out too soon or too late. Also, I did not want it to look like a publicity stunt. I felt it was a no-win situation.”  

But someone was there to help.  Alison Arngrim, known for her role as the mean-spirited Nellie Oleson in the long running TV series Little House on the Prairie was in contact with Al during this period. “It was amazing that she gave her time so selflessly to me at that moment, when her own schedule was packed as she had just written an autobiography and was very busy promoting it. That is when you know the universe had just sent an angel your way."  Arngrim's words to Al would greatly influence how he came out.  "Alison said some things to me which profoundly affected my coming out.  During her work on Little House, her co-star, one she was best friends with, was closeted.  He later died of AIDS and this affected her greatly. I asked her would he had come out if it was now, and she gave me a definite ‘yes.’  But she said something very important to me, ‘No one really comes out now, you just ARE.’ That was the answer! After this, Beth figured out the best course of action: having me come out nonchalantly during a radio interview. I only wish she had told me about it ahead of time!”  During said interview, the radio host asked Al if there was an important person in his life and Al came out without much fanfare, the way he also handled his career.  “It was so funny, a few weeks later Wikipedia had picked up on this interview and the page quoted it. I was officially out and it had been painless. Somewhat.  The number of women fans slightly dropped, but I now had some new men fans!”

After the harrowing Grammy experience had ended, Al found himself exhausted.  It had taken too much out of him and he was burnt out.  His mother had successfully come through breast cancer treatment and a mastectomy, and was now recovering.  Work on a new album, which had commenced before the Grammy madness, was put on hold. “I was really worn out and my creativity was shot. I shelved my new album for six months.”  The album, which was eventually finished and released a year later, was The Blue Rose.  But the album’s reception was lukewarm.  “The critics and my audience had gotten used to my sound being full and powerful.  The Blue Rose was a very quiet and introspective album, because that is where I was at the time and what I needed to create. I remember a reviewer stating how quiet this album was, not like other ‘Al Conti albums,’ but that was exactly what I intended the album to be. In a way, that critic nailed it!”  Nonetheless, the album did have an audience and received attention.  “I remember a year later a broadcaster told me privately how this album helped him through a very hard year.  Things like that make one’s work worth it. And I cannot really complain because to this day I still receive some hefty royalty payments from some songs on this album!”  

However, music work was no longer feeling as fulfilling for Al. “I started questioning why I was doing this. People around me now had ulterior motives.  I found some using me to boost their own careers or even using my name to get into events. After my Grammy nomination, I suddenly found myself with plenty of ‘best friends,’ none which I wanted.  It felt like I had joined a society of artists whose main goal was to win Grammys and other awards, and it was no longer about the passion of creating music. I also had some resentment directed my way by colleagues who never managed a Grammy nomination, or some reviewer who resented that I and not someone else they liked better got it.  I started questioning my career and my future in the business.  For me, it was still about passion for music, but my surroundings said something very different.   Bobby helped me a lot during that time because he had seen enormous success as a musician, not to mention watching his dearest, childhood friend Paul Simon cope through life as a mega-celebrity.  Suddenly, I had absolutely no idea what my next album would be.  I usually had a concept lined up by this time after a previous album had been released, but it was not the case now. The thought of retiring started passing through my mind. I took a little time off.”

Indeed, it would be another three years before Al’s next and final album would see a release.  “At some point, an idea I had toyed with a few years earlier but which hadn't panned out came back to me.  I always admired mystic Hildegard von Bingen and wanted to compose an album about her.  A colleague of mine was friends with author Matthew Fox, who had just written a book about Bingen and spoke to him about my upcoming project.  Fox sent me a signed copy for inspiration.  I thought I was on the right track at the time, but after the Grammy experience and where I was emotionally, The Blue Rose took its place and this project was put on hold.  I kept the concept, however, and now it was back.  But as the album started taking shape it morphed and it became clear to me this was not going to be fully about Bingen, but about my own spiritual journey, and that of many people I met along the way who were searching for their own spiritual path.  Bingen was still very much on my mind as I composed the album's tracks.  I spent much time doing research on music of the period and music related the Santiago de Compostela pilgrimage road.”  

The album was to become MYSTIC, Al’s final work.  “Once work on the album was beginning, I heard from Ricky Kej, a colleague whom I had met at various past events.  Ricky had just released his latest album (he’d soon go on to win a Grammy for it - in the middle of my project), had time and loved the idea of collaborating with me on this album. After much discussion, we agreed he would be the project’s associate producer, and I would also use his studio facilities in Bangalore, India for some additional recording and the final mastering. It was also my first album not being mastered by André in Vermont.  It was a big departure for me, but I was looking for a new sound and Kej was it." Once this happened, the project quickly took flight.  The album would end up being recorded at five different studios in the USA and India.

"Something really lovely happened with this album. Colleagues of mine whom I had always admired, not just as artists but as human beings, joined the project."  Windham Hill guitarist Jeff Pearce performed all of the album’s ambient guitars; Pamela Copus, of the acclaimed New Age band 2002, played the harp; and vocalist Charlee Brooks, who had been working with New Age artist David Arkenstone signed on to perform ambient vocals in a couple of songs, including the album’s title track.  This collaboration would give birth to an album that Al considers to be the best work of his music career.  

MYSTIC would be released to critical acclaim, top radio playlists and win awards, including Best World Album at the ZMR Music Awards, something which he had not been able to accomplish since his album Scheherazade won in the same category years earlier. Pamela Copus actually accepted Al’s award, as he could not be physically present during his win.  “I felt that MYSTIC’s win brought me full circle to Scheherazade, as I always considered that album to be the turning point of my career.  MYSTIC was also the most personal of all my albums as I put a lot of me into it.  The album went on to do great things, especially as time went by. It was not immediate, but it built.  People are still discovering it now, a few years later.  I rarely ever listen to my own work, but I have listened to MYSTIC a few times in the last few years and am still very proud of that album.”

It was soon evident to Al that this was to be his final work.  A quick rise to success had taken its toll and Al found himself seeking a new path.  “It is not uncommon for a music act to burn out and call it quits after 10 years.  I was in good company.  I felt that I was done.  By now, a new album concept would have already germinated in my mind, but this time there was nothing.  It usually happened for me that when I composed an album, inspiration for the songs came through and I knew the album was done when inspiration was done. It was always as if someone had turned off the creative faucet.  This time, it was the album concept which was no longer coming to me.  I knew I was moving on.  I also felt I needed to live my life outside the entertainment business, one I had been in for decades. I had already been turning down many event invitations so I had been feeling this was coming.  I did not want to 'be seen,' I wanted quiet.  In fact, after MYSTIC was released and its promotion ended, I did not listen to any music for a year.  I now also wanted to explore my life outside public view.  Above all, I wanted privacy.  Once your life is splattered on Wikipedia, there goes your privacy.  That one was something I never got used to.  While I still get some public attention, I have detached from all of it.  An artist rarely lives a ‘normal’ life, but that is exactly what I was going to do now."  

Al’s career is truly one to be admired, but more so his determination to remain grounded, to make choices that many artists seeking fame may not have made, and to choose to retire on a high note. “I honestly never expected my music career to go as far and to reach the heights it did. I am not sure anyone ever does, but I certainly did not.  I still think about how awesome the ride was, but I tell you, I was ready to get off that train and walk the rest of the way, smelling the roses as I go.  Many I met in acting and music love the attention.  As an introvert, I never handled it well, nor wanted it. I loved expressing myself with acting or music, a need most artist have. This is how I best connected with others, but I do not like attention.  Even just dining out at a restaurant, I want the table furthest from people. I slide by and take a seat and want to be ignored.  Ironically, I chose a public career!  In this business, if you're not getting attention you're as good as done. I had been constantly plagued by this dichotomy. I had often blamed my astrological makeup, Pisces Sun, Leo Rising and Cancer Moon, all pulling in a different direction between seeking attention and not wanting it.  I'd say the two water signs won out!”  

Al’s music continues to enchant his audience and fans still reach out to him. “It is difficult for me when I am asked what I am working on now and when will a new album be released, because I know I am done with that part of my life. While my publicist once said ‘you never quit publicly, because you never know,’ I eventually had to make a statement and put to rest any notion that a new album would eventually come out.  But I do like knowing that work I have done continues to be embraced by people and they still get something out of it. Crazy as it sounds, royalties for my 2008 album Scheherazade still continue to come my way!   But the people who know me personally truly understand my need for a life outside music. Some artist friends of mine secretly thought that I would rest up and then come back to music, but now realize it is not happening.”  

Since retirement, Al has been happy living a quiet life.  However, it was with great sadness that Al found out about Bobby’s passing. “Beth reached out to me about it and I was in shock.  I had been consumed by a move across the country, so I was not aware that Bobby was gone.  And it had not yet been announced publicly, not even by Smithsonian Folkways, the label that had just acquired his entire catalog. They did release the news soon after.  I was stunned and felt the loss deeply. The last time we talked he was not feeling well, but I did not expect this.  Bobby left and I knew in my heart that the cycle of my music career had come to an end.  He had been with me through the most important phase and it would not be the same without him.”