I remember in writing the songs that eventually became "The Weaving", I was holding true to my creative process which was just to "show up" creatively, and let it happen. I would not censor, but rather just create the music for its own sake, one song at a time, not looking for any particular outcome or anticipating "the next album".

There were some amazing experiences with "The Weaving" I would like to share with you. I had moved up to the mountains in Bailey, Colorado. I lived in a little chalet that I just loved. For some reason at this particular time in my life, I was having many of what people refer to as "out of body" experiences or astral travel. It would happen at night and I would find myself soaring through the galaxy. It was an awesome experience, but of course the moment you go "Oh, I'm not in my body" bam! You're back in your body! LOL. I'm not sure you ever really leave in the first place as the truth is you already are all of it, but it certainly seems that way when it's happening!

Afterwards, usually about 3:00 am, I would get a gentle tap on my shoulder from the angelic realm, encouraging me to get up and go to my piano. My job was just to show up. Sleepily I would complain a bit, but would make my way to the music room, which happened to be adjacent to my bedroom. It still amazes me how the music would flow. "Angels Calling Me" and "The Weaving" came from those experiences.

"Dawn of Kosmon" is another interesting one. That music practically haunted me for days before I sat down to attempt to play it. I could hear it in my head but it was challenging to play at first. I had become somewhat familiar with an old spiritual text called the "Oahspe". The word "Kosmon" came from that. "Dawn of Kosmon" is what kept coming into my mind. I didn't know why. I just wrote the lyrics as quickly as they came without censoring. Then I decided I should look this up just to be sure. What I found was a chapter describing almost exactly what I had just written about and the text spoke of "The Dawn of Kosmon".

Other common experiences during that time were eagles coming and circling over where I lived. I would go for walks and there they would be. When I would play a particular piece I was working on at that time, they would show up and circle over the valley below, outside my upstairs window while I would play. They seemed to be dancing, so I named the piece "Dance of the Winged Ones".

"Ray of Love" came in a meditation and "To The Children" just presented itself while I was playing one day. The music itself showed me through image and symbol that it was meant for children, thus its name. It came with a very specific energy as a prayer for children. "Eagle Fly, But Don't Fly Away" was actually co-written while I was still in Nashville and during the "Fire Prayer" times, but it didn't really fit on that album. In fact I wasn't sure it fit on "The Weaving" either, but every song eventually named its place and why it belonged there.

In my mind, I thought I would/should be creating another "Fire Prayer". But I knew better than to get in my own way. I began to realize that all of the other aspects of my musical creativity were surfacing with a call for their place in my present journey: elements of my classical training and background, my gospel upbringing and my country/pop time in Nashville, all a part of my cumulative musical expression. They were all a part of the tapestry that was beckoning to be woven. Beckoning to become "The Weaving".

The ethereal parallel to this was the experience of angelic beings weaving their tapestry with threads of light! Even in the studio, as I would sing, there would be this angelic light that would surround me. Now, I don't know if anyone else in the studio was actually experiencing that too, but I certainly was. "The Weaving" was a blessed experience I will never forget. The angelic realm was so close to me during that time I could practically reach out and touch them.

May this album bless you as much as it has blessed me.