It’s funny how these days every musical inspiration is becoming a story with a message from the Spirit realm. What happened the day after Thanksgiving is a case in point.  In the end, Beethoven joined the Beatles in the latest rendition of their music that had swept the world for the last 189 and 46 years respectively.  “Ode of Joy” and ”All You Need Is Love” became one, united at Eagle’s Nest, Scottsdale on Nov 29, 2013. And here’s how it happened…

In a note to a friend, who wrote to me about my (private) Thanksgiving 2013 Family Reunion at Eagle’s Nest story, I mentioned the Beatles 1967 hit “All You Need Is Love” as a good explanation for the healing miracles that unfolded last week with Theresa, Elizabeth’s eldest daughter.All_You_Need_Is_Love_(Beatles_single_-_cover_art)

I was a Beatles fan as a teenager.  I played a number of their hits in the 1960s (“Hey Jude,” “Yesterday,” “Let It Be” – to mention some).  I also have a history with that particular song. Yet I have never played “All You Need Is Love”.  It was just too simplistic for a pianist. And although the song carried a wonderful message at a time the U.S. was escalating the Vietnam war, I thought it was really just a jingle. Not worth a young pianist’s time.

Screen Shot 2013-11-30 at 1.46.47 PMWell, that was a teenager’s point of view. Yesterday, I realized that there was something else that grated on me. The Beatles hit “All You Need Is Love” opens with the sounds of “Marseillaise,” the French national anthem.  It’s a war song with a marching rhythm that grew out of the 1789 French Revolution in which thousands of people were guillotined or otherwise killed. Hardly something that would evoke unconditional or brotherly love that the lyrics of the Beatles’ hit talk about.

Guess John Lennon, who wrote the song, and who considered himself an artistic revolutionary, was not be bothered with such contradictions.  But I was.  And as I thought about it yesterday during a walk around our Scottsdale neighborhood, I began to hear the sounds of Beethoven’s “Ode of Joy,” the choral climax of its masterpiece – the 9th Symphony.

All You Need Is Love poster

So when came home, for the first time in my life, I started to play “All You Need Is Love.” Without sheet music, of course, except to determine the starting key.  On my Clavinova, I was able to do it using full orchestra voices. Which made it sound a lot better than just a piano solo. And then I transposed the key in which Beethoven wrote his “Ode of Joy” from D-major to G-major so be able to integrate it, hopefully seamlessly, with the Beatles’ song.

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The whole process from inspiration to creation to recording took one day. Which is usually what happens when the inspiration is divinely guided.  Then music just flows, almost effortlessly.

Speaking of which, I was awakened this morning before 5AM with sounds of Tibetan bowls within the “All You Need Is Love” music. So I got up and added it them to the recording.  And this was a result. The East and the West met once again through music (as they did the first time in Mar 2011 when I first recorded the “Moonlight Sonata” with Tibetan bowls).


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Here are now some “action shots” during the recording at Eagle’s Nest, as well as from the Beethoven’s 9th symphony concert at the Royal Albert Hall in London.

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Although Elizabeth and I have been to this magnificent concert hall a number of times, I IMG_1906was never there as a performer.

Well, that’s if you discount that I actually did play informally John Elton’s Big Red Piano there last February. That’s a real shot (right). The other images of me at the Royal Albert Hall were photoshopped into the photos.

Love Heart sunset



PEARLS OF WISDOM – NOV 29, 2013 Love Heart sunset PEARLS OF WISDOM – NOV 29, 2013 “When the power of Love replaces the love of Power, Man will have a new name: God.”  (Sri Chinmoy, Bengali (Indian) spiritual leader 1931-2007, nominated for Nobel Peace Prize). PEARLS Masters LAUNCH yourself to ascension by practicing – Love, Acceptance, Understanding, Compassion, Humility (Hope) – [LAUNCH] every day smiling_ckg Sri Chinmoy


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When I was a young pianist, I played Mozart piece usually just as a warmup. In the last five years, however, he has become an integral part of my Spirit guidance. It was his Piano Concerto, for example, that helped guide my move in early 2009 from Arizona to Maui (see Maui Calling…., Dec 2008).


Since that time, I have learned that we used to be friends when I was incarnated as Jacques Devereaux, a Saint Germain disciple.  In fact, we were so close, collaborating on the alchemy of music, that when he had settled down in Vienna after 1781, I followed him and moved from Paris to Vienna myself.

Well, Herr Mozart has been visiting me again in the last couple of days. I felt he wanted me to use some of his themes, such as Eine Kleine Nachtmusik, for my Thanksgiving Concert this year.

It was only this morning, however, that I realized why my old friend was visiting me again both in dreamtime and daytime these days. We are now approaching the 221st anniversary of his death (Dec 5). Mozart became gravely ill right about now, in late November 1791.  He never recovered. Mozart was only 35 when he passed.

So this Thanksgiving Concert is also a tribute from an old friend to a great man and an amazing composer.  I know that Wolfgang will not mind my taking liberties and changing his pieces a little bit. Or adding to them my own improvisations, both in content and with different orchestral voices. Because they come from the heart and are intended for wherever his heart resides in his light body.

So with that as a preamble, I wish you all a Happy Thanksgiving with this music.


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Here are also two earlier recordings of Eine Kleine Nachtmusik:


PEARLS Masters

What follows is a true story relayed to us, a group of shamans on a pilgrimage on Mount Ausangate in Peru in July 2008.  The story was being told by Apu Ausangate, a mountain spirit, who spoke in Spanish.  His words were being simultaneously translated to us by Jose Luis, an Inca shaman.  This is an excerpt from the notes from my trip diary “Conversations with Mountain Spirits.”


In answer to one of the questions by other group members about faith and prayers, a male spirit said, “let me answer that question with a story.”

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He said there was once a young man who got badly injured up in the mountains.  He somehow managed to drag himself down the mountain to a village.  He was barely alive.  A woman saw him, took him into an empty hut on the edge of the river, across from her home.  She nursed his wounds, and cared for him for days, bringing him food and drink every day.

Then one day, there was a violent storm that caused the river to swell up.  Flash floods washed away the only bridge.  So the woman became very despondent.  She was worried that the young man in the cottage across the river may suffer and die without her help.  So she prayed very earnestly to God and to the spirits to help her find the way out of her dilemma. In answer to her prayer, she got the message that she should just walk across the river.

ausangateSo having total faith in God and the spirits, that’s what she did.  She crossed the river on foot, without a bridge, literally walking on water.  She brought the food and drink to the young man and then walked back.

Now in the same village, there lived a priest who was very dedicated to his job.  He would at times serve 10 masses a day, even if only one person attended. So having seen what had just happened with that woman, he thought, “well, is an ordinary peasant woman can do that, surely I can do the same thing.  I’ve served the Lord faithfully for so many years.”

So he walked down to the edge of the river, said his usual prayers, and then waded in, expecting also to be able to walk on water. He was washed away and drowned.

Sananda Jeshua

The moral of the story, according to the Spirit: It is not the quantity of prayers that counts. And it’s not the prayers that come from your head by rote that matter.  It is the quality of prayers, and the depth of the feelings that come from the heart that make the difference. They will reach the Spirit and the Creator.

And then you will be able also to experience miracles, such as walk on water.

Freedom Day Altzar

That’s Pearls of Wisdom from the Spirit realm for this Thanksgiving 2013.



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Schubert’s Impromptu No. 4 was the hardest piece I had ever played when I was an aspiring pianist in my early teenage years. So it is with some trepidation that I now return to that Schubert composition.

My technical keyboard skills are now far from what they used to be when I would practice 6 hours a day or more. But my musical creative juices have advanced quite a bit since the time I attended the Music Conservatory at the age of 15.  So this time, you will hear this piece as a “Concerto.” Meaning, on piano with the sounds of the full orchestra.  Even the harp in the third movement.

Stand by for a post I will make when I finish editing the video.

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By the way, the image at the top of this post depicting a young man playing a Steinway piano is not me. It was taken from a video of a recital Elizabeth and I attended in England on Feb 5 of this year at Cambridge University College of Music.  But I do have somewhere a black&white photo of me in a similar pose during a concert at which I played this Schubert Impromptu when I was  about 13 or 14.


“That’s Schubert’s Impromptu,” I exclaimed excitedly during a visit to the Bosendorfer dealer in Honolulu (Mozart House) on March 11, 2010.

“That’s Rachmaninoff,” Yoshi, the owner of the store said.225px-Sergei_Rachmaninoff_LOC_33968_Cropped

“Rachmaninoff?  It can’t be.  I know that piece.  I used to play it in my youth.  It’s Schubert.”

Yoshi smiled.  “That’s Rachmaninoff playing Schubert’s Impromptu.”

“Rachmaninoff playing the same piece I adored when I was an aspiring young pianist?” my jaw dropped.  “I feel so humbled, so honored,” I whispered as my eyes teared up again (see The Day 9’s Trumped Aces).

Rachmaninoff is regarded by many  as the greatest pianist of the 20th century. He actually died in 1943. But his playing was preserved using this special rotary drum mechanical recording technology.

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Which has now been transferred to a Bosendorfer digital piano. Like the one below, to which I had Photoshopped Rachmaninoff’s image.

A Window in Time
Rachmaninoff performs classic piano works in a spectacular new recording made on Bosendorfer 290SE Reproducing Piano. This remarkable listening experience brings Rachmaninoff’s phenomenal pianistic talent to life in today’s world. By using unprecedented new techniques of transfer and reproduction, the mechanical aspects of music roll performances have been eliminated. More astonishingly, these advances reveal the subtleties and fine details of Rachmaninoffs playing with startling clarity, showing us why he was regarded as perhaps the greatest pianist of his time:


You can read more about this remarkable day in Honolulu, Mar 11, 2010, which signaled the beginning of my return to Schubert’s Impromptu (The Day 9’s Trumped Aces).  When I started playing it again on my new Steinway, I was not sure that I would be able to do it anymore.  I was very rusty after a 50-year hiatus. And playing this piece, especially the first and the third movements, is like running a 100-yard dash for a mile.

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In the months that followed, I would perspire so much by the end that I had to towel off. So I kept a towel next to my piano bench. Now, I don’t perspire anymore. But I am having to lift light weights before I play because of my right shoulder rotator cuff injury. Oh well, when there is a will, there is a way… 🙂 Enjoy!

Schubert Impromptu No. 4 performed as Piano Concerto

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ABOUT SCHUBERT (1797-1828)

In a short lifespan of just 31 years, Schubert was a prolific composer, writing some Franz_Schubert_by_Wilhelm_August_Rieder_1875600 songs, ten complete or nearly complete symphonies (including the most famous of the incomplete ones, the “Unfinished Symphony“), liturgical music, operas, incidental music and a large body of chamber and solo piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades immediately after his death. Felix MendelssohnRobert SchumannFranz Liszt and Johannes Brahms, along with other lesser lights, discovered and championed his works through the remainder of the century. Today, Schubert is ranked among the greatest composers of the early Romantic era (click here to read more).


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“‘Blue Danube’ is actually an ancient shamanic dream or transept” (Ancient Egyptian spirit, June 5, 2013)

“You are coaxing more out of this music than was originally there” (Light Beings, June 6, 2013)

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EAGLE’S NEST, Scottsdale, Nov 22, 2013 – The “Blue Danube” music first came to me in dreamtime six months ago while still on a Desert Quest in Arizona (May 16-17). I knew instantly it was a message from my Spirit guides, though not exactly what it was. I have been peeling that onion ever since.  And almost every day, a new aspect of the Blue Danube revealed itself (see Sounds from Desert Quest III (Blue Danube, May 27).

“You are coaxing more out of music than was originally there,” the Light Beings told me on June 6 in a channeling session with Earl Backman.

I found 11 different themes woven into this 8-minute waltz. And no, this is not just a “fluffy waltz” as I used to think of it dismissively as a young pianist. It is a tour de force of nature’s sounds, an “Ode de Gaia” – a “Song of and for Mother Earth” that Strauss was evidently unaware he was writing. Which is why it was so appropriate that I should dedicate it to Gaia-Pachamama.

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“Blue Danube is actually an ancient shamanic dream or transept, ” an ancient Egyptian Spirit who ascended 3,500 years ago told me in a June 5 discussion. 

“Vienna used to be one of those ancient shamanic sites where these people would gather,” he added. “It was a site a lot of Stonehenge with almost perfect acoustics.”

This Spirit who has access to Akashic Records also explained that Strauss and I knew each other as ancient shamans who lived in Vienna before the city was known as such (see “Blue Danube” in Hawaii, June 28).

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The Blue Danube music has everything one can hope to experience in one magic day on the river.  Or the lake. Or the ocean.  You will feel serenity, tranquility, passion, romance, elegance, joy, playfulness, fire of elation, relaxation after climax.

As any day, the piece starts with a dawn. It is followed by sunrise. It then runs through a full gamut of activities and emotions, including sweet, gentle love-making, before settling down with the sun. Only to rise with it again the next day in the grand finale.

Eagle Nest Bob

“Blue Danube” embodies the cycles of life. This music celebrates all of Creation – beauty of nature, animal kingdom, mineral kingdom, plant kingdom – and the sun and the moon. I tried to share with you what I actually “see” when I played this music at Eagle’s Nest.

I see, for example, Blue Danube as an epitome of transformational power of all Water energy, not just that of the river Danube. As most people know who live in Vienna or have been to this beautiful city, Danube is not blue even on a clear day. The fact that Strauss “saw” it as such is a tribute to the composer’s own shamanic instincts. Because he saw and embodied the Blue Adriatic and the Blue Pacific and the Blue Indian Ocean in this extraordinary piece of music.

Musical Octopus

And now, I will try to do the same in this music video with sounds of the full orchestra and many solos performed and recorded on my Yamaha Clavinova on Nov 20.  Here’s an introduction to it.  Open your chakras while watching this. For, music, especially this piece, is a connecting rod between the heaven and the soul.

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In this third recording of this piece, you will see and hear, for example, a new Overture. It is, of course, based on Strauss’ original one. But it differs from it quite substantially. It opens, for example, with a Bassoon solo. This was perhaps inspired by a four-bassoon concert Elizabeth and I attended on Monday night at a local church. In any event, it seemed a perfect way to with the night a farewell and usher a new dawn.

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Here are now also the two earlier Blue Danube stories and recordings:

Here are now also some “action shots” from this recording…

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Marking the 183rd Anniversary of Polish Uprising of 1830

Just this afternoon, I was saying to Elizabeth, “I never know what’s going to happen when I sit down to play my new Clavinova.”

This morning, for example, I was stuck trying to remember a passage from Chopin’s Etude “Tristesse” (Sorrow).  Writers get a “writer’s block.” Actors freeze on stage.  Pianists can sometimes acquire a (temporary) musical amnesia.

This Chopin piece is something I have played a “million times” since the early 1960s (to use a hyperbole). But this morning I needed the sheet music to get through that passage. Once I cleared the cobwebs, however, new horizons and unexpected vistas opened up as I have never seen them (meaning heard them) before within this etude.  As the fog lifted, the original piano version morphed into magnificent new orchestral voices.  

I was stunned myself by its fresh beauty. Like seeing an old sweetheart for the first time in a new light. So I just had to (re)record it again.

That’s what I spent most of today, Nov 18, doing. Playing, recording, editing, filming, editing the film, and the posting the music videos.

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Here’s now first the Introduction to the piece of music which Chopin himself termed as his best. Therein is also a historical perspective that explains its name “Tristesse” (Sorrow).  And how history ties Chopin with my own “revolutionary” life as a 23-year old in Belgrade.

It was only then that I realized why I was guided to play and record this piece today. This is the 183rd anniversary of the Polish uprising against the Russian empire which inspired this etude.

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This clip was actually filmed over five years ago when I first recorded this piece, also here at Eagle’s Nest in Scottsdale.  I just re-edited it into this 3-minute introduction:

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And now, here is the new recording of Chopin’s “Tristesse” (Sorrow):