Flute soloist - Saxes-World Music Woodwinds - Wind Synthesist & Composer
Flute soloist - Saxes-World Music Woodwinds - Wind Synthesist & Composer
Pedro Eustache article in Wikipedia [english]
Talking about woodwind players, we live in a time of both extremely high musical level & technical command in instrumental music. There are extraordinary flautists, phenomenal saxophonists, marvelous all-around woodwind players, amazing masters in flutes and woodwinds from different cultures of the world, and they all are absolutely powerful at what they have specialized in.
There are others that pursue more than one musical direction--beyond the traditional WWs doubling--while going after many of them as if they where their only activity. Case in point: Pedro Eustache. As a flautist alone, for example, he can "wear" the solo-recital, symphonic, jazz, pop, studio musician, Latin, world-music, and contemporary/avant-garde "hats" with profound stylistic appropriateness, changing from one to the other with effortless flexibility, in a natural way that is indeed--and without a doubt--extremely rare. If we add to this his musical knowledge & technical command in the 'reeds' [saxophones & bass clarinet]; world- music woodwinds [close to 600, from all six continents]; and wind synthesis [both analog & digital, and as a programmer & performer] we find a remarkable, deeply committed artist truly consumed by what he defines as "his Calling".
It is not common-in our times of 'doing-one-thing'-specialists--to find this sort of 'musical pentathlonist', someone that can go from sitting in a classical Symphony Orchestra, to playing a solo-flute recital,
on to improvise over Jazz standards, performing in deep musical understanding from Bach, to 'Charanga', to electronicca & computer-based interactive music,to the South-American kena; going from the Armenian duduk to the Australian didgeridoo, to wind synthesizers; from Mozart to Coltrane, from Indian Ragas to traditional evangelical Hymns, from the traditional Cuban flute of José Fajardo to the endless flute & compositional world of Dr. James Newton, from the Brazilian genius composer & multi-instrumentalist Hermeto Paschoal to the Middle Eastern nay flutes, he studies and 'digs' them all, out of sheer admiration & profound respect. He not only studies their traditions, but also has done serious acoustics research with remarkable acousticans (like Dr. John Coltman & Dr. Peter Hoekje, Phd)-- resulting in making more than 100 instruments --as well as many custom-modified mouthpieces & other especific components. These have resulted in unique instruments--thus, sonoriries--unavailable anywhere else in the world.
The pursuit--in a real, not superficially/simplistic way--of so many 'different' musical directions allowed him to achieve a 'voice' that is richly unique & personal, yet anchored by realistic humility. He knows that each one of them demands a lifetime of well focused, concentrated dedication, yet he keeps going after them with stubborn single-mindedness. In his own words he is "in the 'business' of following orders from Above". Where others in his place would perhaps fall in the trap of self-glorification, Pedro straightforwardly acknowledges that the merit is due solely "to The One that gave me the gift".
Quoting him still, he says: "God made me a musician to keep me humble for the rest of my life. How else could I be, after so many preceding great historic masters-geniuses, like J.S. Bach, J. Coltrane, L.V. Beethoven, Acharya Allaudin Khan, Ch. Parker, J. Brahms, Pndt. Ravy Shankar, W.A. Mozart, N. Banerjee, Stravinsky, Jimi Hendrix, Pndt. Hariprasad Chaurassia, Etc.?"
• We could say, perhaps, that Pedro embodies--more than the flautist of the 21st. century--the creative multi-directional Woodwinds-soloist of the new millennium!
• In Pedro's own words: "I simply hope--and I really work hard at this, through 'active submission'--that someday, whenever I see my Creator I would be able to give Him an answer worthy of the 'package-of- grace' he entrusted me with."
John Debney, world-class and multi-award winner film music composer, FB quotes about Pedro's playing on Disney’s 2016 version of “The Jungle Book”
Mark Swed, Los Angeles Times, “Noche de Cine” L.A. Phil’s & Gustavo Dudamel Hollywood Bowl concert review
Maestro Jorge Pardo, genius Flamenco & Jazz soloist
Ruben Luengas, star-journalist
Dr. José Antonio Abreu, genius-founder of “El Sistema”.
Maestro Gustavo Dudamel, Orchestral conductor extraordinaire
Mtro. Fergus McWilliam, French Horn soloist, Berlin Philharmonic
Prof. Victor Rojas, manger of the “Simon Bolivar” Venezuelan Symphony Orchestras.
John Bisharat, Composer-Arranger-Conductor, Los Angeles, USA
Anoushka Shankar, genius virtuoso-Sitarist
Dr. John Coltman, genius engineer-acoustician extraordinaire
John Williams, genius composer-conductor
Steven Spielberg, genius film director
Stevie Wonder, super-star genius musician
Pastor Benny Hinn, evangelist/preacher
Bharat Ratna Pandit Ravi Shankar, legendary genius Composer/Sitarist virtuoso
Yanni, New Age super-star
Prof. Dai Shuhong, the Conservatory of Chinese Music, Shanghai-PR. of CHINA
Dr. James Newton III, genius composer/flautist extraordinaire
Emmanuel Pahud, flute super-star soloist, principal flute with the Berlin Philharmonic Orchestra
Maestro Raymond Guiot, international flute soloist/composer
Dr. Jack W. Hayford, D.Lit. Pastor
Pat Taylor, the California Philharmonic concert review, The Tolucan Times
“Massis” weekly, review, L.A.
Grenadite concert "C" flute, Grenadite soprano flute in "G", Dynalance metal headjoint... Great instruments... Thanks Mr. Geoffrey!
Sopranino, and gold-plated Virtuoso Tenor Saxophones, Volare VOL 905 silver concert "C" flute: SPECTACULAR INSTRUMENTS! ...Thanks LES!
I play the Beechler Diamond M7S Alto sax mouthpiece... phenomenal!
Make Music's Finale, the most amazing music notation program ever...
Hall Crystal Flutes & Didgeridoo.
Amazing woodwinds tone improvement plates
Nuvo Instrumental: novel wind instruments for children! ...Thanks Max!
"I'm blessed to use the InEar ProPhile-8 monitoring system... They sound Amazing!! ...Thanks Marco & Andreas for an outstanding product!"
I use the in all flute-like wind instruments... This microphone is phenomenal: sounds fantastic, unbreakable gooseneck, comfortable to wear & extremely portable... An exceptional design!... Thanks to both Yvonne & George!
Légère reeds are absolutely SPECTACULAR! I've used them for years & now--while touring the world with Hans Zimmer--they bring stability in unpredictable weather affected conditions... THESE ARE LIFE SAVERS, AND A JOY TO PLAY!
Amazing Synchrodyne & Synchrodyne Expand… Unlimited uncharted analog sonic possibilities…
Powerful SYLPHYO midi Wind controller…
The best duduk reeds in the world!
Thanks for resurrecting genius Bill Bernardi’s L1 & L2 Lyricons [vintage classic analog wind synthesizers]…unparalleled expression!
PiezoBarrel are a blessing to any wind instrumentalist. They allow Immediate new sonic possibilities and yet are extremely affordable.
THE BEST SOP SAXES I'VE EVER PLAYED!!
Special thanks to George & Lynn from RovnerProducts.com for the fantastic Platinum Gold Ligature (and introducing me to Rampone e Cazzani Saxophones)
Thanks Girts, for the extraordinary Fusion-series Vacuum Tube-based analog synthesizer mini-Eurorack system!! ..I bless Hans for making me aware of you!
Thank you as well dear Jon, from for the amazing Wave MIDI controllers and Wavefront Eurorack analog modules...I'm already exploring new sonic control possibilities!!!
Laurie of ELBY Synths for making my genius friend Ian Fritz' amazing "2ble Pulser" Eurorack module!
Thanks Alissa, for the wonderful Powered Pods... Perfect portable Eurocase solutions & a blessing for my world tours!
Historically we live in a “permissive” society--a society in which everything is allowed—a consequence, partly perhaps, of excesses committed through history by social, political and religious organizations in power.
The mistake is that unfortunately because of this, we go from one end to the other, from one extreme (“you have to believe as I do or I'll kill you” attitude) to another (“anything and everything is OK and valid, since everything is relative anyway' ” attitude), from a terribly ignorant and intransigent position to a quasi-infantile, confused and purposeless reality. And I, for one, believe that extremes are not right. It is like either living in a jail chained, or being out in space without gravity.
I believe--the same way the great J.S. Bach did—that I make music both for the "glory of God" and the “sublimation of the human soul”, affecting people positively in His name. Thus, by being a creative musician I am simply fulfilling the statement that "we have been created to His image and similarity.” I also have the deep conviction that, as a creative musician, I am fulfilling God's command to "Sing unto the Lord a new song,” that it is possible to be openly creative--with infinite ideas and capabilities--because one of His promises states that "His blessings are new every morning.”
Also, I understand that imagination, hard work, and submission to His matchless creative power are key for us as musicians to get to the highest level, affecting people to a better, richer place, the same way as David's anointed music made depression disappear from King Saul's soul.
For me, performing is a sacred act: Regardless of the situation, place or time, when people see me play they are simply witnessing an act of worship, submission and dependency.
Of worship because, as a deeply committed follower of Christ, I believe that the act of music-making is at the very core of my identity: God created me to worship Him and playing for His glory—in this dynamically powerful, inter-personal relationship--fills me in a way that is impossible to describe in words. Of submission because getting myself “out of the way” (in a manner somewhat similar to Zen) and letting God do His “job,” is the only way I have experienced anything worthy, or musically valuable. And finally, of dependency, because I discovered a long time ago that I cannot do ANYTHING AT ALL on my own! All creative power, beauty, depth and substantial meaningfulness comes directly from the Almighty Creator. Like a specialist crossing a tightrope over an abyss, I have learned to trust His power--inexorably and completely in spite of me!-- to take me beyond what I could have ever imagined, possibilities-wise.
Thus, all of a sudden, and as a direct result of this, a whole new and fresh perspective emerges, giving meaning, sense, balance, certitude and direction in the endless journey that characterizes my experience as--hopefully--a creative artist.
I also believe God made me a musician to keep me humble for the rest of my life: How else could I be having learned of and met geniuses and great luminaries -- throughout both Western and non-Western history-- of such insurmountable creative capacity? Having been both blessed and affected by masters like Bach, Beethoven, Mozart, Bartok, Stravinsky, Messiaen, “Baba” Allaudin Khan, Ustad Ali Akbar Khan, Pandits Ravi-ji Shankar, Nikhil Banerjee, Hariprasad Chaurassia, John Coltrane, Charlie Parker, Louis Armstrong, and so many others... how could we have any room for arrogance.?.
I believe that we are lost without God, that we have a void in the very core of our existence that only God can fill. Like a child trying to put a square figure into a round hole, we try--unsuccessfully--to fill this emptiness with religion, mysticism, good deeds, intellectualism, art, activism, sex, drugs, alcohol …fill in the blank... But it is only when we find the cross as the door to the father that we can fill that gap, one that otherwise remains insurmountable. [For how could we--imperfect beings--connect with a 100% perfect God, by means of our imperfect ways?].
People may ask: How, as an educated artist/musician, in such an “advanced” time, can I still believe that the only way to salvation, God the Father and Heaven, is Jesus Christ? How about other cultures, religions, ways, convictions, etc., Why would not they be valid? How and why is Jesus exclusive (after all, I can believe in Him, while also believing in other philosophies, right?).
My answer is very simple, and I will not be quoting the Bible. I simply based it on logic : If God is omniscient (that means He knows it all) He definitely is not senseless! Any parent would agree with me in recognizing that there is nothing more precious than our kids. So, if God knows it all, wouldn't He then spare the life of His only Son, if there was any other way (s) through which we could be saved? That is why Jesus is exclusive. Because of our condition, we can only take God's answer--the only perfect one--to reestablish our relationship with Him. It is like being pregnant: We are or we are not! There is no such a thing as being "half pregnant" or a little bit-almost-"quasi" pregnant.
Or, again, it’s like speeding. Whenever we break the speed limit (be it 65 m.p.h. or other) we are speeding, period! We could never say: "I was speeding a little bit” or a lot. It is ON or OFF, and yes, there are aspects in life that subscribe to this reality.
You see, God loved us so much, that He paid the ultimate price for us--one that we were supposed to pay--by giving us His Son. If we could have made it on our own, through, again, any of the ways mentioned before, God, the perfect Father, would have never sacrificed his only Son while consciously knowing that humanity had other way (s) or mean (s) by which to be saved.
That would be the cruelest thing, God giving His Son in ransom while knowing that there was any alternative. UNLESS it was absolutely, inexorably necessary, God, who knows it all, knowing that the loss of a child is the worst natural tragedy any parent can go though--I can personally confirm that; I lost my daughter few years ago--would have definitely spared him if there was another way. And He did it out of love! What a tremendous, human logic-defying mystery, but what a fantastic and wonderful reality: God loves us so much He gave us His own Son for our sake!
I believe that music is by nature one and universal, the same way God, our Creator, is one and universal. In every kind of music, we observe parameters unequivocally common to all of them (in spite of art's supposedly subjective nature), like: playing on time, playing in tune, playing with life, developing a finely sophisticated vocabulary, engaging to convey a musical discourse with significance, full of musical rhetoric, etc. , the same way that human beings are universally the same, by our own nature, since the dawn of time. Regardless of our geographic origins or chronology, we are the same: We love, we hate, we are greedy, we pursue power and control over many things, etc.
There is, though, a difficulty that comes as a consequence from the very nature of music itself: Music happens to be such a powerful, undeniably elevated force that many times it gets confused with the Creator Himself! God--the Creator--has created absolutely everything, including music. But something created--like music--could never take the place of the One who created it--God Almighty! That is why I am also convinced that the best example of the universality of God's love towards humanity is the cross, where He gave His son Jesus Christ for our sake!! It is my tremendous privilege to thank Him for His all-encompassing love expressed through the different musical traditions and expressions that characterize my artistic direction.
In other words: By exercising these eclectic musical directions I am also conveying my gratitude for such an all-encompassing love!!