The ancient Hare Krishna chant is the focal point of this devotional, spiritual track. The piece culminates in an epic crescendo of layered ecstatic repetition, uniquely fused with operatic vocals. This track is for Meditation, Kirtan, Yoga and people who generally enjoy Eastern music with Soul.

28/06/2021

For all that is life, Hare Krishna

O MERE BHOLE BABA 

(ritornello/refrain)
O MERE BHOLE BABA TUM MUJHPE DAYA KARANA
O MERE BHOLE BABA TUM MUJHKO SHARAN RAKHNA
MAIN DUBA HI JAUNGA DUNIYA MAIN TERE VARANA
O mio Bhole Baba (Padre Semplice), abbi compassione di me
concedimi rifugio ai Tuoi piedi di loto
mi perderei nelle cose del mondo se non fosse per la Tua compassione
O MERE BHOLE BABA...

ISA MAILA BHARE MANA MAIN
TERE CHARANON KE BHAKTI KAHAN (x 2)
KHUDA PAHUNCHA SAKUN TUJHA TAK
MUJHE MAIN VO SHAKTI KAHAN (x 2)
TUM KHUDA HI JAGA DO NA
PRABHU PREM RUPI JHARANA
Dov’è la devozione per Te nella mente piena di desideri mondani?
Mi è impossibile raggiungerTi con le mie sole forze
Tu stesso Signore devi risvegliare in me l’amore per i Tuoi piedi di loto
O MERE BHOLE BABA...

BINA PREM BHALA JAGA MAIN (x 2)
YUN KAUN TUJHE PATA (x 2)
BHAKTI BINA TUJHAKO
DEKHUN KAISE DATA
EKBARA DARASHA DEDO
FIRA PRANA BHALE HARANA
Chi mai ha potuto trovarTi in questo mondo senza amore?
Senza devozione come posso vederTi?
Concedimi solo una Tua visione 
dopo puoi prendere la mia vita
O MERE BHOLE BABA...

NIJA PREM KI MADIRA SE (x 2)
MAD HOSH MUJHE KARA DO (x 2)
APANI SHARANA LEKE
BHAKTI SE HRIDAYA BHARA DO
RORO KE TERE DARA PAI BASA CHAUHUN PRABHU MARANA
Inebriami col nettare del Tuo amore, 
concedimi rifugio ai Tuoi piedi di loto
Riempi il mio cuore di devozione per Te
Signore, desidero solamente lasciare questo corpo piangendo d’amore alla Tua porta
O MERE BHOLE BABA...

ISA CHAHA NE DUNIYA KI (x 2)
YUN BANIHA LIYA MUJHKO (x 2)
BITA RAHA JIVANA
BIN YADA KIYE TUJHA KO
GARA HATHA PAKARA LE TU
FIRA KAHE MUJHE DARANA
Questo attaccamento per le cose del mondo 
mi ha tenuto prigioniero
Ora la mia vita sta passando 
senza il ricordo di Te
Ma se Tu mi prendi per mano 
per me non c’è nulla da temere
O MERE BHOLE BABA...

Bhajan dedicated to Babaji Mahavatar by Har Govind Baba & The Hairakhandi's.
Perfect for meditation, joy and music therapy.
CD Prabhuji by J. Amba Edizioni.
Digital Live Recorded in Babaji's Ashram in Hairakhan, India.

Prabhuji bhajans

O mere Bhole Baba

Mahadev sings the Hare Krishna Hare Rama mantra during a satsang at Yoga Vidya in Bad Meinberg, Germany. More mantra kirtan mp3 recordings can be listen at y-v.de/mantra-kirtan - or as videos at y-v.de/mantra-video

Hare Krishna Hare Rama chanted by Mahadev

Spandan
“Spandan”, in Sanskrit, means throb, pulsation, trembling, quivering, vibration. Through the present work, I attempt to convey the very basic throb or pulse of music and the environment of music manifesting, thereby.

About the album:
“Spandan” comprises of a group of ten Raags. A Raag in Indian classical music is a melody consisting of a group of notes within the musical octave, guided by definite grammar of patterns and movements, which convey a definite emotion. Eight of these ten Raags are in current usage. Two are my own creations. The entire work is my original conception and execution on the Indian bamboo flute, commonly known as “Bansuri”.
The ten Indian Classical Raags forming the body of this work are -
1) Bhairavi, 2) Smarana, 3) Gunkali 4) Bairagi, 5) Dhani, 6) Gyaankali, 
7) Bilaskhani Todi, 8) Rahasya, 9) Malkauns, and 10) Bhoopali Todi. 
(In the order of track listing)
Bhairavi is the parent Raag in this group. Seven out of the other nine Raags are its subsets and derivatives, whereas, the remaining two Raags are derivatives of other parent raags. Gunkali is a subset of Raag Bhairav, whereas, Dhani is derived from Raag Kaafi. But in my personal opinion, which goes contrary to the established norm, Raags Gunkali and Dhani can also be grouped under Raag Bhairavi, in terms of their note values. Out of the seven notes of the musical octave, Sa, Re, Ga, Ma, Pa, Dha and Ni, five notes, namely, Re, Ga, Ma, Dha and Ni are flat in Bhairavi, whereas, Sa and Pa are, perforce, natural. Hence, all the notes that can possibly go flat, do so in Bhairavi.
Raag Bhairavi and its subset Raags are particularly difficult to play on the flute because of the maximum number of flat notes present in them. A flat note corresponds to a half stop on the flute. This means that to play a flat note on the flute, the corresponding hole is opened only half, that too, not exactly half but precisely as much as would produce the desired frequency of the note in question. This difficulty is further augmented by the necessity to open the hole sideways from the outer end for reasons of dexterity and pitch. Since the flute is the least calibrated of all musical instruments, maintaining an equilibrium among the angulation, the volume modulation and the pitch, can be a rather tight rope walk.
Utmost care has been taken in maintaining the purity and character of Raags here. The form and the arrangement is where this work deviates from the tradition. Indian Music is essentially monophonic, i.e., only one melodic line is uttered at any given point in time. I have introduced the Western concept of harmony by creating polyphonic arrangements of each of the ten Raags as played by me on the flute. Essentially, this work is a flute ensemble. The only respect in which it differs from an ensemble, strictly speaking, is that it is a one-artist ensemble. Separate tracks of my rendition of a Raag are layered together to create a multi-flute arrangement set to that Raag. The same process is applied to the arrangements of all the pieces of music.
The only sound employed in the music other than the flute is the Tanpura as the background drone.


1 - Elephant's Gait - Raag Bhairavi

Ghosted

Hare Krishna Hare Rama

One of the beautiful Hanuman Chalisas from Chinmaya Mission UK's Hanuman Jayanti celebrations on 9 April 2017.

Hanuman  Chalisa - Swara to Ishwara Tune - Live at Hanuman Jayanti 2017

HMV Saregama presents "GURUKUL" - a collection of essential Daily Mantra's for the entire family. Sung by Sumeet Tappoo & Music by Sudeep Banerjee.

16 Govind Bolo

Manase Shiva Shankara
Hara Hara Mahadevaya
Pashupati Natha

Gopala:
Voice,Tabla, Harmonium, Swara Mandala,Tampura
Vani Devi: 
Backing vocal

Original composition based on traditional Raga and lyrics.
Recorded on MahaShivaratri Day (20/02/12) in Rio, Brazil.
Dedicated to Guruji Shri Hanuman.

Shiva Bhajan

Written, recorded and produced by Marti Walker.
From deeply introspective and inspirational moments to infectious worldbeat dance grooves, "Revolution" is a musical/spiritual journey like no other.  Marti's mesmerizing, timeless voice is the silken thread that weaves jazz, soul, pop, Latin and Sanskrit mantra in an eclectic yet interconnected tapestry of delight!  
"Rasa Lila" is the name of Marti's sacred chant and kirtan project.  

Revolution

Om Namah Shiva

40 stanzas on Hanuman, a devotional hymn addressing Lord Hanuman, written by 16th-century poet Tulsidas in the Awadhi language.
It is the most popular hymn in praise of Lord Hanuman.

श्री गुरु चरन सरोज रज, निज मन मुकुर सुधारि।
बरनौ रघुवर बिमल जसु, जो दायकु फल चारि॥
Cleansing the mirror of my mind with the dust of the lotus-feet of the Guru, may I describe the glory of Sri Rama perfectly, which bestows the four fruits - Purushartha - Dharma, Artha, Kama & Moksha.

For all that is life, Hare Krishna

nirajchag