🙏🏼🌞🎼🧎‍♀️♥️📿🌹👍🏼

this is a song to remind us to turn to the Ultimate and true nature of all life which flows from One Source. A prayer and aspiration to have the veils of confusion and limiting beliefs that keep us from experiencing
more ease, confidence and joy dissolve.

Precious

Lead us from the False to the Real

to engage the heart in feeling the pure LOVE that is always available right within one's Innermost Self..

HU ALLAH from the album PRECIOUS

there is an ALL PERVADING HOLY PRESENCE abiding in all beings without exception. It remains luminous, no matter one's circumstances and experiences in life.  It is most often covered by thoughts and feelings of greed, resentments, limiting beliefs and aversions.  The invitation is to wash ones heart, to purify the heart and mind. With sincerity it is SO !

LA ILLAHA ILLA'LLAH

The sounds of the Native American flute, deep mysterious pads (Jonny Lipford) and the majestic handpan  (Robin Burk) create an atmosphere to relax and be still, ground yourself. 

Arising To The Soul

Acoustic Instrumental
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Ed Sheeran - I See Fire (Acoustic Guitar Instrumental)

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

Jaijaavantee, Ninth Mehl:
Slipping away - your life is uselessly slipping away.
Night and day, you listen to the Puraanas, but you do not understand them, you ignorant fool!
Death has arrived; now where will you run? ||1||Pause||
You believed that this body was permanent, but it shall turn to dust.
Why don't you chant the Name of the Lord, you shameless fool? ||1||
Let devotional worship of the Lord enter into your heart, and abandon the intellectualism of your mind.
O Servant Nanak, this is the way to live in the world. - Sri Guru Tegh Bahadur Ji

kirtan

*RARE* - Beet Jehai Beet Jehai Janam Akaaj Re - Raag Jaijavanti Mahalla 9 - Ragi Samund Singh JI

Zikr by Leila Be
Sung with permission by PamAllah! Dussault

Pamela Dussault's Album 1

ya rahman ya rahim zikr

By Request.
Simar Mana Raam Naam Chitare - composition made popular by Bhai Niranjan Singh Jawaddi Kala Wale

Simar-Mana-Instrumental

Buy CD/Digital➔ kabecao.bandcamp.com/album/the-bell…ave-live-album

Full abum on Youtube➔ youtu.be/JQ8HdLUzq9w

The First Grain Of Sand [live album]

One of series of relationship inspired songs.

ya rahman ya rahim zikr

Pamela Dussault

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