Pedro Eustache

Flute soloist - Saxes-World Music Woodwinds - Wind Synthesist & Composer

Welcome to Pedro’s

Official Web Site…

— My new single : “ONE” is out now! —

— Touring as featured wind soloist/wind synthesist with "The World of Hans Zimmer" 2022 —

— Touring also with - “Hans Zimmer Live”
Spring 2023/European Tour —



Pedro Eustache article in Wikipedia [english]

Pedro Eustache's Bio (English) -
Pedro Eustache - Biografía (En Español) -
Pedro Eustache - CV (English) -



"From East to West, from Ancient to Modern"...

Mr. Eustache: a new direction in creative multi-Woodwinds Performance

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."


Pedro Eustache's multidirectionality...


“Pedro you are on a pedestal my friend. Your artistry is sublime. It is pure love expressed through your instruments. It is life it is blood it is heart and soul. And you know that I know...much love J”

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”

“Pedro Eustache was a riveting, intense soloist on the folk flutes”

Mark Swed, Los Angeles Times, “Noche de Cine” L.A. Phil’s & Gustavo Dudamel Hollywood Bowl concert review

"Eres un monstruo Pedro!!!..."

Maestro Jorge Pardo, genius Flamenco & Jazz soloist

“In his [Pedro’s] lips & hands, wind becomes music”...

Ruben Luengas, star-journalist

“Your 'Suite Concertante for World WWs & Orchestra’ will become emblematic to our organization".

Dr. José Antonio Abreu, genius-founder of “El Sistema”.

"Bravíssimo for your "Suite Concertante for World WWs & Orchestra"]... but, of course, I couldn't expect anything less from you!!"

Maestro Gustavo Dudamel, Orchestral conductor extraordinaire

"... your recent ["Suite Concertante for World WWs & Orchestra"] Caracas performance...Tremendous! Moving! Fascinating! Riveting!…”

Mtro. Fergus McWilliam, French Horn soloist, Berlin Philharmonic

“To listen your ‘Suite Concertante for World WWs & Orchestra’ was like hearing something we had never ever heard before, yet has always been there!"

Prof. Victor Rojas, manger of the “Simon Bolivar” Venezuelan Symphony Orchestras.

...”I am absolutely astonished with your “Suite Concertante for World WWs & Orchestra”! ...Congratulations on an unbelievable work of sheer genius!..."

John Bisharat, Composer-Arranger-Conductor, Los Angeles, USA

"amazing! the music is so beautiful and of course your playing is brilliant!..."

Anoushka Shankar, genius virtuoso-Sitarist

“…we enjoyed tremendously your at performing and your creativity in producing unusual and fascinating instruments."

Dr. John Coltman, genius engineer-acoustician extraordinaire

"Very impressive "...

John Williams, genius composer-conductor

"That [solo] came from the heart!"...

Steven Spielberg, genius film director

"You're crazy, man... YOU'RE CRAZY!! "

Stevie Wonder, super-star genius musician

"Pedro, you have the annointing of the Lord! "...

Pastor Benny Hinn, evangelist/preacher


Bharat Ratna Pandit Ravi Shankar, legendary genius Composer/Sitarist virtuoso

"Pedro is the best flautist in the whole world"...

Yanni, New Age super-star

"Pedro is the United Nations of the Woodwinds!!"

Prof. Dai Shuhong, the Conservatory of Chinese Music, Shanghai-PR. of CHINA

..."Pedro could always be counted on to perform on flute, bass clarinet, and tenor sax with tremendous stylistic flexibility, lyricism, poignancy, and buckets of soulful energy....He has been touring the world, touching many souls with his God given voice"

Dr. James Newton III, genius composer/flautist extraordinaire

..."Pedro!... your talent and genius as composer, performer, arranger and improviser are so present in these compositions!... Bravo for your work and your gift!"

Emmanuel Pahud, flute super-star soloist, principal flute with the Berlin Philharmonic Orchestra

'Dear Pedro…Thank you and 'bravo' a thousand times for this magnificent achievement."

Maestro Raymond Guiot, international flute soloist/composer

"The range of Pedro's repertoire in varied music forms, the incredible quality of his skill and the stirring vitality and remarkable sensitivity in his delivery, give the term "world class" a whole new dimension of worth in meaning."

Dr. Jack W. Hayford, D.Lit. Pastor

..."Pedro Eustache, composer and brilliant musician... blew the audience away, playing the duduk, didgeridoo, saxophone, flute and bansuri (instruments many hadn't known before). Full of spirit and life, as well as monumental skill, he was a huge crowd pleaser!"

Pat Taylor, the California Philharmonic concert review, The Tolucan Times

..."the unparalleled and wizardly duduk & svhi player Pedro Eustache, the Venezuelan genius performer who in Ara Gevorkians successfull concert would have his lyon's share..."

“Massis” weekly, review, L.A.


  • sE Electronics

    Also blessed to be an official SE Electronics artist.

  • RS Berkeley

    Sopranino, and gold-plated Virtuoso Tenor Saxophones, Volare VOL 905 silver concert "C" flute: SPECTACULAR INSTRUMENTS! ...Thanks LES!

  • Beechler Diamond Mouthpieces

    I play the Beechler Diamond M7S Alto sax mouthpiece... phenomenal!

  • Finale

    Make Music's Finale, the most amazing music notation program ever...

  • Hall Crystal Flutes

    Hall Crystal Flutes & Didgeridoo.

  • lefreQue

    Amazing woodwinds tone improvement plates

  • Nuvo Instrumental

    Nuvo Instrumental: novel wind instruments for children! ...Thanks Max!

  • InEar

    "I'm blessed to use the InEar ProPhile-8 monitoring system... They sound Amazing!! ...Thanks Marco & Andreas for an outstanding product!"

  • Point Source Audio

    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

    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!

  • WMD

    Amazing Synchrodyne & Synchrodyne Expand… Unlimited uncharted analog sonic possibilities…


    Powerful SYLPHYO midi Wind controller…

  • Nurwind

    The best duduk reeds in the world!

  • David O’Brien

    Thanks for resurrecting genius Bill Bernardi’s L1 & L2 Lyricons [vintage classic analog wind synthesizers]…unparalleled expression!

  • PiezoBarrel

    PiezoBarrel are a blessing to any wind instrumentalist. They allow Immediate new sonic possibilities and yet are extremely affordable.

  • Rampone e Cazzani Saxophones.


  • Rovner Sax Mouthpieces & Ligatures

    Special thanks to George & Lynn from for the fantastic Platinum Gold Ligature (and introducing me to Rampone e Cazzani Saxophones)

  • Erica Synths

    Thanks Girts, for the extraordinary Fusion-series Vacuum Tube-based analog synthesizer mini-Eurorack system!! ..I bless Hans for making me aware of you!

  • Genki Instruments

    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!!!

  • ELBY Synths

    Laurie of ELBY Synths for making my genius friend Ian Fritz' amazing "2ble Pulser" Eurorack module!

  • 4ms

    Thanks Alissa, for the wonderful Powered Pods... Perfect portable Eurocase solutions & a blessing for my world tours!

  • Guo Flutes

    Grenadite concert "C" flute, Grenadite soprano flute in "G", Dynalance metal headjoint... Great instruments... Thanks Mr. Geoffrey!


For Composers, Orchestrators, Arrangers & anybody curious about these...

BANSURI (Indian Bamboo Flute)

Armenian DUDUK

Bass Persian NEY

Spanish DULZAINA [ZOURNA-like Shawm]

ORYXOPHONE (Antelope horn ‘World’ Saxophone)

Solo Recordings



This more than 25 years overdue project reflects my life-long musical ‘calling’. They are instrumental versions of hymns from the evangelical Christian tradition. May this Truth bless you the same way He have bless me through all these years…


Global M-Vission

This project --which is a direct consequence of a lifetime of studying different musical cultures of the World, as well as the power of new technologies-- engages the listener into a reality geographies &/or chronology.


The Giant Sleeps

This is my second solo statement. By 'reformatting' the traditional Latin-Jazz setup [guitar substituting for piano & flute/bs. clar.] new possibilities arise. From Coltrane to E. Dolphy, based on his Latin roots--Pedro pays tribute to some of his main jazz influences.

Strive for Higher Realities

Strive for Higher Realities

Traditional afro-rhythms & drums--from his native Venezuela-- converge with lush harmonic textures and powerful improvisation in Pedro Eustache's debut as a leader. The project was recorded in Venezuela in its entirity.

My Beliefs

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!!