Who needs a Grammy anyway, when you’ve got Hanuman? (Photoshop by Susie Anderson)

Mark this day in kirtan history:  Krishna Das played at the Grammys, invoking Narayana (that’s God) and the Yardbirds, the British invasion band of the 1960’s.  What could be more perfect for the Rock Star of Yoga?

Okay, so he didn’t win the coveted Grammy Award for Best New Age Album.  We’ve brooded.  We’ve pounded our fists on the ground. We’ve screamed NOOOOOOOOO! on social media.  But somehow we’ve managed to dig ourselves out of the deep dark pit of “so close!” despair to take a step back, chant an Om or two, and contemplate what this all means, win or lose.

What it means, folks, is that kirtan was at the Grammys.  ‘Nuf said, no?

Krishna Das was introduced as a “world-wide icon and the best-selling chant artist of all time” by David Alan Grier, the host of the Grammys pre-telecast.  He even called it “kirtan” in the introduction — not “yoga music” or “mantra music” or “sacred music” or any other euphemism being applied now to the ancient form of Sanskrit-language call-and-response chanting.  And not, thank Narayana, “new age music.”  Okay, so Grier couldn’t pronounce the word (he said KURR-tahn), but at least it was there.  (If you missed it, don’t despair:  the webcast version of the Grammys’ “non-mainstream” awards is available for 30 days at www.grammy.com.)  And, okay, there was that snarky remark by Grier after KD’s performance (“I’m so blissed out”).  But still….kirtan was at the Grammys.

Kirtan at the Grammys. (Photo by Bob Sinclair)

In fact, Krishna Das was the first performance of the special pre-telecast livestream of the less-known awards.  Right along with what he might wear (was he really going to buy a red tux?), what he would sing had been the subject of much speculation…would it be the world’s shortest Maha Mantra?  The all-time fan favorite Om Namah Shivayah?  Could he even “perform” a traditional call-and-response chant without a response choir backing him?  One could hardly expect the Grammys pre-telecast audience to jump into the role, but maybe he would bring along a whole posse of responders — who knew?  It was a well-kept secret in the kirtan world.  What would an artist whose average song is say, 15 minutes long and depends heavily on repetition from a chorus of responders, play live in a front of a kirtan-naive audience in a 5-minute time slot?

KD didn’t disappoint.  Backed up by Nina Rao, his long-time assistant and the person he credited for making the Grammy nomination happen at all; Arjun Bruggeman, his trusty tabla player; David Nichtern on guitar, and Steve Ross on vocals — along with a full-fledged orchestral Grammy House Band — the Yoga Rock Star delivered a rock-and-roll classic worthy of the Grammys, with a kirtan twist of course.  With a squeeze of the harmonium and that characteristic Ommm drone of his vocals, he launched into the original medley he created for Heart As Wide As the World (the brilliant 2011 CD that would have made so much more sense as a Grammy nomination, in our humble opinion).  In the end, it was For Your Love.

Narayana, meet the Yardbirds.  World, meet Krishna Das.

Yeah, there were sound issues.  Archit Dave, KD’s intrepid sound engineer, was apparently not in the house.  And we were watching it livestreamed — surely not our preferred way to experience KD’s debut on the world stage of the Grammys.  But still, it was kirtan at the Grammys.  Our hearts were all aflutter.  Here is the highest quality recording we’ve seen:

Afterward, there was the not-so-long wait for the actual award-granting (“Oh, yeah, there’s more!” seemed to be the collective opinion on social media).  It all happened very fast.  Before we knew it, they were announcing the nominees for Best New Age Album.  We were struggling with an internet connection that kept skipping on both laptops we had set up to ensure we didn’t miss a beat.  And scrambling to capture the announcement on video, recording from the skippy, pixelated livestream.  Before we could even hit record, the winner was announced — not the name we were looking for, needless to say.

We’d share the video with you but all you would get is a wide crowd shot as the Grammy producers searched their camera feeds for the winner (L.A.-based pianist Omar Akram) and a blood-curdling scream of NOOOOOOOO! in the background (that would be me, reeling with the shock of rejection).  We’ll spare you the ear-split.

So, there it was.  Hopes shattered in an instant.  Pacing-the-room excitement transformed to disbelief faster than you could say Ommmm.  *Sigh* So close, but yet so far…

Aided and abetted by the kirtan support group that is The Bhakti Beat community on facebook, we pulled ourselves up from the pit and saw the light.  Barriers were broken. History was made. Win or lose, Krishna Das had introduced call-and-response chanting to a world audience. A very mainstream world audience.

Kirtan was at the Grammys.

‘Baba Plaid’ at the Grammys. L-R: Krishna Das, Steve Ross, Nina Rao, Arjun Bruggeman. Photo by Amy Dewhurst

Oh, and the red tux?  Naaah.  Thankfully to fans everywhere who wouldn’t recognize him in anything else, he stuck to a Hanuman red T-shirt and a Baba Plaid button-down.  But we’re still wishing he had been interviewed on the Red Carpet, because we were dying to hear his response to the obligatory question, “Who are you wearing?”

This is classic Shyamdas, in all his spontaneous wit and wackiness.  The always-unpredictable closing session of Omega Ecstatic Chant had just gotten underway, with Shyamdas at the helm.  It was time to call in the troops — to get all the musicians on stage for the finale  and send the 1,000 or so chanters off with a final Radhe Shyam.

These grand all-wallah finales have become somewhat legendary at Ecstatic Chant, as they now have at Bhakti Fest and other kirtan festivals.  Where else do you get to see Krishna Das, Jai Uttal, Deva Premal, Snatam Kaur, Gaura Vani, Radhanath Swami, C.C. White, Sruti Ram and Ishwari, along with a host of world-class supporting musicians like Steve Gorn, Richard Davis and Daniel Paul, all on stage together, sharing mics and cajoling one another on with good-natured giddiness? 

It’s like the Mantra Dream Team, gathering jubilantly for one last blast of bhav — and invariably rousing the crowd to a full-on, dancing, swaying, shake-the-roof-rafters climax.

For over a decade at Omega Chant, Shyamdas has been the undisputed captain of the team, taking his place at the helm and steering his playmates in lila right up and over a tidal wave of bhav.  Every year, he would surprise with some completely unexpected twist on an old classic, effortlessly — and hysterically, at times — weaving his beloved Radhe into anything and everything.  You never knew what Shyamdas was going to come up with next.  (And neither, surely, did the musicians around him — witness the expression on Vishvambhar Sheth’s face when Shyam-ji broke out in a Radhe-fied version of “Working My Way Back to You Babe” at Omega 2011.)  Priceless!

Last fall, Shyamdas had something else up the sleeve of his old-style kurta.  As the session was getting underway and the musicians tuning up, Shyamdas leaned toward Richard Davis and whispered a question unheard by most, Davis recalled recently.  Davis, who has played guitar for Shyamdas for many years in all manner of venues, must have had a pretty good idea what was coming next when Shyam-Ji asked if he knew ‘Yesterday.’

The rest of us, I’d venture to guess, were more than a little perplexed when, moments later, the familiar and famous melody of the Beatles’ 1965 love ballad was rising from Shyam’s harmonium.  But this was no average ‘Yesterday’ cover.  Uh-uh.  This was Shyamdas in his element, his lila of unscripted, whole-hearted devotion on full display as he smiled knowingly and transformed the Fab Four’s words into a sweet improvised-on-the-spot lullaby to Radhe.

Looking out at all of us — who clearly weren’t ready to see this chant lovefest end — he deadpanned in perfect melody: “Why you have to go, I don’t know, Hari wouldn’t say. I said Radhe Shyam, now I long for Sri Radhe.”  The line brought ripples of laughter throughout the packed Main Hall, and the crowd gathered more tightly around the stage to see the master innovator in action, swarming like honeybees to collect the nectar of the lotus.  

That was yesterday. 

Today, the same line resonates differently.  It carries a bittersweet tenderness — a wholly different longing — as the kirtan and Krishna communities try to come to grips with the reality of the bhakti world without Captain Shyam steering the ship. 

*sigh*

“Why’d you have to go, Shyamdas-Ji? Hari didn’t say. Please say Radhe Shyam, one more time, say Radhe Shyam…”

Swept Up in A ‘Tidal Wave of Bhav’ with Shyamdas: Epic 45-Minute MahaMantra (VIDEO) 

Remembering Shyamdas Photo Journal on Facebook

Shyamdas Remembered Video Playlist of Kirtans and Teachings on YouTube

“We’re going to end on this,” Shyamdas said, as he launched us into the final powerful crest of an epic Hare Krishna chant that undulated like the waves of an ocean for 45 ecstatic minutes (two-part video below). 

It started as a slow, deep prayer before gradually rising to the inevitable full-on whirling cresendo, then ebbing again to a sweet low longing, barely a whisper, before rising up again… Over and over he led us through the peaks and valleys of the changing melodies and rhythms, inviting us all into the intimate dance with the Divine.  Soon there was no distinction between call and response, “performers” and “audience.”  All merged as one voice, one ocean of sound and devotion flowing with the joyful tears of a thousand streams.

It was, for this writer, one of those peak experiences in kirtan — the kind that just make you go, “Wow.” No exclamation point. Just “Wow.”

When it ended, after that long sweet silence where you get to do nothing other than breathe in all that bhav, he looked out at all of us and simply said: “That’s it.”  Silence broken, the crowd thundered.  Shyamdas’ kirtans always stand out, but this one was beyond outstanding, and the chanters let him know it. 

When the hoots and hollers died down, Shyamdas said this: “It’s amazing to float in the bhav — I don’t know whether I was imagining that, and it doesn’t really matter…But man, to be in such a tidal wave of bhav with everyone is …” He paused for just a moment.  “…is the way I would like to spend the rest of my life.”

“To be in such a tidal wave of bhav with everyone is the way I would like to spend the rest of my life.”

Hear Hear.

After the set, I caught up with Shyam-Ji just off-stage.  I wanted to thank him, to ask him how he did that, what magic did it take to create that experience. Maybe I needed some kind of confirmation that we had all just experienced something truly extraordinary, I don’t know.  I had a hundred questions for him! But when I opened my mouth, all I could muster was, “Wow.”  No exclamation point.  Just, “Wow.”  (And, I imagine, a glazed-eye, stoned-on-the-bhav expression — hey, we’d been chanting day and night for 3 days at this point.)

Despite my bhakti-fried brain-deadness, Shyamdas answered my unspoken question.  I didn’t write down what he said, but it was something along the lines of: “I was just taking it where it needed to go.”  He was reading the room, taking the pulse of the space, feeling the vibe and intuitively guiding us deeper and more completely into that Place That Cannot Be Described, to blissfully drown in a churning sea of ecstatic devotion.

This is Shyamdas as we will remember him, steering the ship on a “tidal wave of bhav” deep into the ocean of devotion, sweeping us all along with him on his boat full of bhakti.

Thank you Shyamdas-Ji. 

A note about the videos: Did I mention this was a 45-minute-long Maha Mantra?  And that I recorded EVERY moment of it?  Now, I know this is the Age of Twitter and 30-second news bites…so I thought about editing this down, cutting and slashing it to a manageable, YouTube-friendly size.  But then something slapped me upside the head (Shyam?) and said, Are you crazy?  This is a work of devotional art.  How dare you mess with it?  So I present it to you as I experienced it, in all its uncut, unedited glory.  In two parts, because the Age of YouTube has a 30-minute attention span (not long enough for kirtan).  Please put aside 45 minutes to watch — really WATCH — because you don’t want to miss a single moment of Shyam-Ji’s in-the-bhav expressionism.  Clear your space because you will want to dance during parts.  Have some tissues because you may cry.  But watch it all.  You will not be sorry. 

Here’s Part 1:

 And Part 2:

 

 Also see:

“Remembering Shyamdas” The Bhakti Beat’s Photo Journal on facebook

Shyamdas Video Playlist on YouTube

www.shyamdas.com

A musical match made in bhakti heaven? Tabla maestro Daniel Paul and Seattle-based songstress Gina Salá have set sail on their first road trip together to launch Paul’s latest CD, Tabla Mantra: Songs of Love and Rhythmic Rapture, which features Salá’s vocal prowess on almost every track.  (Jai Uttal, C.C. White, Prajna Vieira, Steve Gorn, and lots more make appearances as well.)  The tour, begun Thanksgiving weekend in Salá’s home ‘hood, takes them straight down the West Coast from Portland, Ore. (Nov. 30) all the way to San Diego (Dec. 16), and back up to San Francisco (Dec. 22).  Nineteen stops in 29 days — whew! 

A Combination With Chemistry

Photo by Julie Dittmar

Both Paul and Salá grew up in musical families, and both have studied Indian classical music extensively.  Paul is best known for his tabla magic but is a classically trained vocalist as well, and this “hidden talent,” as Salá described it, is on display in Tabla Mantra.  (He plays a pretty mean harmonica too.)  Salá’s deep passion for helping people realize “the power and pleasure in their own unique voices” has led her to teachers worldwide. She is a professional voice coach, Sanskrit tutor, singer (in two dozen languages!), and healer who regularly leads workshops and retreats in India, Mexico and other locales.

Rhythmic Rapture and Vocal Velvet

@ Bhakti Fest 2011 (Photo courtesy of Gina Salá)

Tabla Mantra lives up to its subtitle.  Blending haunting, multi-layered vocal harmonies with soft, melodic instrumentalism driven by Paul’s tabla and punctuated throughout with ripples of tarana — kind of an Indian classical version of scat — the music wraps around you and envelopes you like a lover’s embrace.  It has a dreamy, ethereal, even other-worldly feel, a soundscape where voice and rhythm swirl and rise and fall away to a whisper in a seamless circular interweaving of melody and mantra. 

This is a disc that should really be listened to — not just dropped into the background while you’re doing dishes.  Settle down and experience it.  Let the notes sink in deep.  Chant along with the mantras that ebb and flow like waves through the melodies.  If you don’t get goosebumps, check your pulse.

Tabla Mantra is Paul’s fourth CD, and his second “kirtan album” (the first two discs were instrumental, featuring his tabla tarang — a full set of 16 tabla tuned to different notes of the musical scale).  Here the foundation is kirtan fused with tarana, a particular type of classical Hindustani vocal composition with roots in the mystic poetry and music of ancient Persia.  Tarana is often described as akin to the scat riffs of jazz in its melodic repetition of seed syllables and sacred sounds that, to most of us, sound like nonsense words — albeit highly rhythmic ones.  It has a very distinctive flavor, and crops up again and again throughout the disc, interweaved with layer upon layer of vocal harmonies and mantras, fugue-like.

Tabla Mantra Collaborators

Paul learned tarana from his vocal teacher, the legendary Ali Akbar Khan, the “Emporer of Melody,” to whom the CD is dedicated.  If you’ve seen Daniel Paul play at all, you’ve no doubt heard bits and pieces of his brand of “drum-scat” during sets with Jai Uttal, Shyamdas, The GuruGanesha Band, C.C. White, Salá, or others. 

‘The One I Set Out to Make at 19’

Tabla Mantra has been a long time coming, Paul told The Bhakti Beat.  “Sometimes I jokingly think to myself that this CD is the one that I set out to make when I was 19 and first starting to study Indian classical music,” he said.  “I didn’t know anything about Indian music at the time; I thought I was just going to go study for a month or two and bring it back into my Western music. Nine years later I finally left, and it’s kind of surprising that I never did record this kind of music until now.  I feel like I’ve finally come full circle.”

Gina Salá: Power Vocals

He said he started composing and recording for Tabla Mantra three years ago.  “When I first started writing the material, I knew that I needed to find just the right voice, so in the process I tried a lot of voices.  I recorded a few friends on melody, then I recorded Prajna [Vieira] and C.C. [White], then finally I ran into Gina, and she had just that right Indian inflection and the ability to bring what I had been envisioning all along.”  Salá, he said, “is really the first person I’ve run into who could sing tarana with me… Without her, I think I may never have gotten [this CD] done.”

Master Tablist Meets Master Vocalist

The two met just three years ago at Bhakti Fest in California.  Paul was accompanying Jai Uttal on tabla, as he has for the last 20 years or so.  Salá was there performing for the very first time, even being introduced as “the best kirtan singer you’ve never heard of.”  The seeds for their collaboration were planted during her set, with Paul watching intently from the sidelines,  curious to hear for himself the singer everyone had been buzzing about…

Well, here, see how they tell the story:

 

By Bhakti Fest this past September, they were like old friends.  (I ran into Paul in the Palm Springs airport not once, but twice — before and after Bhakti Fest — where he excitedly filled me in on the collaboration.)  They had played some gigs together in the Northwest. They were recording his CD and beginning work on hers (coming next Spring).  They were planning their West Coast storm tour and a week-long kirtan & yoga retreat in Maui, near his long-time home.  And when Salá took the main stage for what has become a regular rise-and-shine spot on the Bhakti Fest line-up, Paul was right there beside her, surrounded by tabla of every size and shape. 

Here’s a little taste of their tarana magic, from our interview and Bhakti Fest:

 

Links

 You might also enjoy:

David Newman (Durga Das)

The Artist

In David Newman, aka Durga Das, kirtan meets singer/songwriter.  The marriage has been a prolific one, with Newman well on his way to album Nos. 8 (a remix due in early 2013) and 9 (the album currently being funded).  In the 11 years since his first self-produced CD, Soul Freedom, Newman’s visibility and popularity on the kirtan scene has risen steadily, each new release further showcasing his songwriting chops and talent for seamlessly mixing traditional Sanskrit mantras with original English lyrics evoking hope, unity, and devotion.

Kickin' it up at Bhakti Fest 2012

Today, Newman is one of kirtan’s most sought-after touring artists — he tours relentlessly worldwide — and, with wife Mira on percussion and back-up vocals, has become a favorite at chant festivals large and small.  He was a yogi before he was a bhakta, having opened his Yoga on Main studio in Philadelphia 20 years ago, long before yoga was the craze it is today.  He’s also an activist and master collaborator with a knack for circling the kirtan troops in support of environmental causes, as he has with Stay Strong, the popular single and video that raised funds for cleaning up the Gulf oil spill, and the soon-to-be-released Stay Strong 2: You Can Count on Me, which supports construction of “green” schools in needy communities (more on that below).

The Project

Newman has turned to IndieGogo, the popular crowd-funding website, to raise cash for the production of a new studio CD tentatively slated for late 2013 release.  The CD will include two or three original English songs, Newman told The Bhakti Beat, as well as “lots of chanting” in the more traditional vein.  In a departure from his last release, Stars, in which he and producer Bill Moriarty crafted the tracks and brought in musicians one at a time to add layers, the new CD will be recorded with a group of musicians playing together live in the studio. 

Axemen: with David Watts and Philippo Franchini

The band will include Brenda McMorrow and Emy Berti (vocals), Philippo Franchini (guitar), David Watts (bass), Corey Sokoloff (percussion) and Eli Salzman (keys), in addition to Mira on percussion and vocals.  Moriarty will produce.  A recording studio has been booked for early January to lay down the tracks.  Newman said most of the material for the as yet-untitled record is already written — and there are a couple pieces in particular that he is very enthusiastic to record — but he’s also leaving room for improvisation in the studio.  And with that group of musicians, improv is likely to spell magic…

Here’s Newman singing a solo version of the title track from Stars at Bhakti Fest in September:

Newman: Crowd-Funding is the ‘New Paradigm’

Long before he was a yogi or a bhakta, and even before he went to law school (yeah, he did that too), Newman worked for a stint in the L.A. music business — back when the music business was a very different animal. Today, he said, record labels no longer make enough money on physical CD sales to justify forking over a chunk of money in advance for an artist to make a new record. “This leaves the burden on the artist to foot that bill,” he told The Bhakti Beat.  In the beginning, he said he “definitely had a resistence to reaching out to my community to support me in this process,” but he has embraced it as a “new paradigm in the relationship between the artist and the listener.”

“This is a way for artists to say to the community: ‘If this music is important in your life, here is a way you can support its continued existence,'” Newman said.  “Ultimately, the music really belongs to the person who is listening to it and who is touched by it, so it’s like everybody is pooling in to bring forward this offering in all of our lives.”  Accepting the contributions from fans, he said, “has been kind of like a yoga for me, to just receive it and say thank you.”

More News

Remix Bliss: Newman just announced that Stars is being remixed by veteran composer and music mixologist Krishna Venkatesh and will be released in early 2013 as ReBliss: Stars Revisited.  Remixed releases are a growing trend in mantra music — Donna De Lory and Girish have offered remixes recently, and Srikalogy has a “Kirtan Sessions” series featuring funked-up remixes of mantras, to name just three — but this will be a first for Newman, who sees it as a “different vehicle for people to experience my music.” It will have a “trippy, groovy” feel, he said, that he hopes will appeal to a younger audience.

Banner for Stay Strong 2: You Can Count on Me/Shyam Bolo (credit: Jenni Young)

Stay Strong 2: You Can Count on Me:  The sequel to the Stay Strong charitable project that Newman initiated in 2011 is imminent, with a single called “You Can Count on Me/Shyam Bolo” and video to be released in mid-November.  Newman gave The Bhakti Beat a sneak peek at the joyride of a jam session where the song and video was recorded (at L.A.’s legendary Village Recorder studio) with an all-star cast of mostly SoCal bhaktas — and believe us, you won’t want to miss this.  The song was written by Newman and Donna De Lory and features the vocal nectar of De Lory, C.C. White, and Shyamdas, in addition to all three of the Newmans — yes, even toddler Tulsi got her chance at the mike.  (See this video from Bhakti Fest West for a mellower version of the song.)  All proceeds from the digital-only single go to Global Green’s Green School program.  UPDATE:  Read our article on the Stay Strong release.

A short sweet performance of “Like Rain,” (from To Be Home CD) at Shakti Fest in May:

Links and Deets

Stay tuned for more in this continuing series, Crowd-Funding Kirtan.  Please contact bpatoine@aol.com if you have a suggestion for an artist to feature.

There’s a lot of talk these days about a “mantra revolution,” and enough action in the chant world to back up the premise.

Witness: chant festivals that attract thousands, “rock-star” wallahs, new music expanding in every direction, community kirtan rising…even mainstream media coverage of mantra music (gasp!).  Yet it’s an undeniable truth that the bulk of the action is coastal: California and the northeastern seaboard are leading the charge, with some kirtan hotspots scattered in the midwest and mountain states. 

When mantra mania hits Vermont, a state known more for maple trees and mountains than mantra music, you’ve got to believe there’s something to this movement.

Boundaries dissolving

Enter VerMantra, which for the second year now — thanks to the nonprofit Call and Response Foundation — has brought 12 hours of nonstop multi-flavored kirtan to a state that is just barely on the kirtan map.  No, there were not thousands of people in attendance, and no rock stars or divas on the bill.   Instead, there was a solid line-up of 10  great bhakti bands, each one having signed on for peanuts, driven the extra mile to be there, and bringing with them an attitude of genuine service and devotion to the spirit of the gathering. 

The ingredients for Mulligan Stew, VerMantra style

You had luminaries like Gaura Vani and SRI Kirtan. You had up-and-comers like Devadas and Kirtan Soul Revival.  You had mantra warriors Keli Lalita and Adam Bauer and regional favorites Dave Russell and Tom Lena.  And you had a taste of the local talent in Yogi Patrick & the Funky Shanti, and the incomparable kirtan jam collective, the Kailash Jungle Band. 

‘Where this Movement is Going’

The “stage” was the center of the room, and everyone circled ’round the musicians like bees to nectar.  Collaboration and community were key:  everyone — musicians and ticket-holders alike — was in everyone’s band.  It was, by design, the kind of environment where the boundaries between performer and audience evaporate.  Where callers and responders meld together in a circular flow of rhythm and song, united as one voice calling out in joyful abandon.   The kind of environment where magic happens.

Gaura Vani: Delivering Nectar

“This is grassroots community kirtan at its best,” Gaura Vani said during his set at VerMantra, adding,  “and that is really where this movement is going.”

Brooklyn-based wallah Devadas used the analogy of a “Mulligan stew” to describe the gathering — the idea that each band, each musician, brings something unique to add to the bhakti soup.  “We come from all these places — different paths, different teachers — and we each bring our own ingredients, our own styles and perspectives.  In the end we have something like Mulligan stew that feeds us,” he said.  

Devadas, a devotee of Mata Amritanandamayi (Amma) who has sung at her darshans in the Northeast U.S., warmed up the stew-pot early in the day with the recitation of the 1,000 Names of the Divine Mother.   He stuck around to stir the pot throughout the day, playing mridanga or hand cymbals or just singing.  Twelve hours later, he was back at stage center to serve up the feast and close out the fest.  “To play clean-up,” the other musicians teased him.

Clean up he did.

Time to savor the stew...Devadas

With an unassuming grace, Devadas effortlessly elevated the delicious mood of devotion that had been simmering for nine sets to a whole new level.  Backed by a core band of Gaura Vani (mridanga & vocals), SRI Kirtan’s Ishwari and Sruti Ram (vocals), KC Solaris (tabla), Adam Bauer (bass), Richard Davis (guitar), Rasamrta Devi Dasi (cymbals) and Louise Ross (flute), he steered us right into a slow-building bhajan learned from his guru Amma that gradually but inevitably peaked in a tidal wave of ecstatic crescendo. 

The room was an ocean of motion.

People were dancing, clapping, spinning, singing out the Names like “souls crying out for our divine home,” in Gaura Vani’s words.  The mantra seemed to take on a life of its own, letting us surf the crest of the wave just…long…enough before settling us down ever so gently on the shores of our souls, as Kahlil Gibran might say. 

And then we did it all over again.  And we soared even higher…

Soaring...

Radhe Govinda Bhajo, the first chant Devadas led, is a traditional melody that Amma “has been singing for a very long time,” he said.  She taught it to him and he spoon- fed it to us.  It was delicious. 

You can taste it here:

The second chant Devadas led was a complex MahaMantra melody straight from the temples of Kainchi, India, the sacred land where Neem Karoli Baba often hung out and where his ashram stands today.  But that’s another story — and video — coming soon…

Toe-curling

At the risk of sounding hyperbolic, this was for me one of those peak experiences in kirtan that just doesn’t happen every day.  Maybe it was the fact that we’d been there for nearly 12 hours, simmering in the stew, steeping in all the flavors of bhav.  Maybe the group was really “on” after singing together all day, as the boundaries dissolved and egos melted away and the energy rose.   I don’t pretend to understand the magic that happens in kirtan.  I’d reallllly like to, but I think it’s beyond intellectual comprehension.  It defies logical explanation.

The power of mantra, as Dave Stringer has said, is not something you have to “believe in” or even understand; it is something that must be experienced.   

Simple as that.  All you have to do is sing the Names.

All that bhav and free chai too

Special thanks to director Jennifer Canfield and co-founders Susan Murphy and Ed Ritz of the Call and Response Foundation, whose programs support community kirtan events and bring mantra music to populations in need.  Please visit their website, www.callandresponsefoundation.org, and consider donating to support their efforts.  

Passionate about the planet

As the Bhajan Boat forged the troubled waters of Manhattan’s East River last weekend, SRI Kirtan punctuated their set with a passionate rap against “fracking,” one of the latest threats to water quality perpetrated by Big Oil & Gas.  The very UNtraditional lyrical riff was brilliantly wrapped inside a traditional chant venerating Ganga Ma — the troubled holy river revered in India as symbolic of the Divine Mother, the source from which all life and salvation flows. 

It was mantra with a message, a take-no-prisoners warning not to frack with Ma’s water…

 

Fracking — a moniker for hydraulic fracturing — is the process of pumping millions of gallons of water, chemicals and sand into shale rock to extract natural gas.  The practice has gained favor with gas drillers as a cost-effective way to harvest vast natural gas reserves, but many questions about its safety and how it affects the water supply remain unanswered.  In New York State, regulators are still debating whether to allow fracking.  A state-wide moratorium is in effect temporarily, while environmental and health reviews continue.  Meanwhile, with the state dragging its feet, more than 100 upstate NY municipalities have banned fracking, but these local rules are also under attack:  in the first of many legal battles, a state judge recently invalidated Binghamton’s municipal ban.

‘Are You Serious?/Are You Delirious?

Don't Frack with her

Fracking has “shortsighted benefits,” says Ishwari, SRI Kirtan’s female half, because it offers access to a “cheap resource” — untolled billions of gallons of natural gas preserves.  But the process is environmentally suspect, at best.  At worst, it’s a “Molotov cocktail/right at your tap,” as the song goes.  “We can’t afford to sell out on this one,” she says, with line-in-the-sand determination.

“There is no life on earth without water.”  Only about one percent of the Earth’s water reserves are suitable for drinking, Ishwari points out.   “Fresh, drinkable water is our most precious resource.”

SRI Kirtan's Sruti Ram & Ishwari at Bhakti Fest Midwest

Ishwari and SRI Kirtan’s other half, Sruti Ram, recorded a studio version of “Don’t Frack” last year with Srikalogy’s Srikala Kerel Roach, a NY-based conscious hip-hop artist who is making his mark on the new wave of experimental kirtan-rap fusion now gaining momentum  in the “yoga-music” world.  (Hear Don’t Frack here.) 

 The Message in the Mantra

It’s Undrinkable
Unthinkable
We’re on the brink
to sell our souls
to make a buck
so we can say
we lost our minds & gave it
away to Exxon/Mobil
they made their bottom line
America, your mantra
Will leave the world behind.

Are you serious?
Are you delirious?
on CNN with a
ridiculous grin
About the gas below
What do you know?
Chemical madness in your water flow.
Molotov cocktail
right at your tap
spontaneous combustion
delivered while you nap
There is so little time, we have
So much to learn
Please don’t let our water burn!

Captain Shyamdas & First Mate Krishna Das

With the Manhattan skyline as a backdrop, a few hundred people crowded the upper deck of one of NYC’s Circle Line cruisers to chant with an all-star line-up of musicians on the 2nd Annual NYC Bhajan Boat, a fundraiser presented by the Mantralogy record label.

The four-hour joyride circumnavigated the City That Never Sleeps, passing under iconic bridges, getting up close with Lady Liberty, and offering stunning panoramas from every direction.  But for all the world-class sightseeing outside the ship, the real magic was happening right on the cramped and crowded “stage” in the bow of the boat. 

Rockin’ & Rollin’ on the River

Gaura Vani

Shyamdas, who has really pioneered the kirtan cruise, captained this showboat as he has many in the past.  He warmed us up with Radhe and got us off the Pier 83 dock with Krishna. Then Gaura Vani put some wind in our sails with his crew of kindred spirits from New York as the boat headed north up the Hudson River, culminating in a rousing Krishna-Radhe mantra by NYC bhakta Acyuta Gopi that ended way too soon.  See it here, at about 15:40 into this clip from Gaura Vani’s set, posted by Om Factory NY.)  

SRI Kirtan, the Woodstock, N.Y.-based divine duo of Sruti Ram and Ishwari, took over just as the George Washington Bridge loomed overhead, and rocked our bhakti all around the northern tip of Manhattan with their signature Chalisa and a new anti-fracking rap they played live for the first time. Kamaniya Devi and Keshavacharya Das, aka Prema Hara — who have just launched an ambitious 12-state tour — accompanied SRI Kirtan and others.

SRI Kirtan rocked the boat

Now we were rockin’ and rollin’ down the crowded East River, with Roosevelt Island and Queens on our port side, midtown Manhattan’s cityscape starboard.  Nina Rao, the first mate of Krishna Das’s organization, took the helm at her boss’s harmonium (he sang back-up) and offered up a preview of her own upcoming debut album, Antarayaami – Knower of All Hearts, a 12-track double CD that will be released this fall.  (As one might hope, the CD will be heavy on Hanuman Chalisas, including a duet with KD, Rao told us.) Sign up to receive CD news and more at www.chantkirtan.com. 

Excerpted in the video below is a track from the upcoming CD (“Bhajagovindam/Narayana”) that melds three traditional chants in a slow-starting, fast-finishing fusion of mantra melodies.  Don’t miss little Bodhi, nestled in Grandpa KD’s lap, tapping right along on his own mini-drum (watch how he studies Arjun Bruggeman’s hand gestures on the tabla and mimics them).

 

Lady Liberty Dancing With Shiva

Lady Liberty: serenaded by Shiva

The special guest of the day, Krishna Das, had his chance to lead kirtan as well, just as the Williamsburg Bridge dominated the view ahead.  (Bodhi kept right on drumming, this time from the lap of Devadas.)  We all did the Krishna Waltz as we passed under the three massive spans bridging the lower East River, then Shiva danced with Lady Liberty as we rounded the iconic statue of the Roman goddess of freedom — symbol of chains unbound — while chanting Om Namah Shivaya to the Hindu god of destruction and transformation. 

Captain Shyamdas, dressed in a traditional dhoti kurta and a blue Nantucket baseball cap slightly cocked to one side, returned for the final leg up the West Side to seal the journey with a kiss to Radhe.  Krishna Das sang right alongside him as the boat steamed north again, the two occasionally exchanging private laughs like schoolboys with a secret.  Pier 83 appeared far too soon, but Shyamdas promised that the next boatride would be longer — to the Caribbean perhaps.  The crowd cheered.  With a final Radhe Shyam, the boat was docked, and the crew forced us to leave (they had to shoo a lot of us out…)

Charity Cruise Trend Setting Sail

This was the Bhajan Boat’s second cruise in Manhattan, but Shyamdas has been organizing kirtan cruises on the mid-Hudson River for a few years now as benefits for Food for Life Vrindavan, a non-profit organization that feeds poor children in India.  Three other charities — Share Your Care, The Seva Foundation, and Off the Mat Into the World — also benefited from the Sept. 30 NYC cruise.

As word gets out about these charity cruises, it seems that everyone is clamoring for one of their own.  Boston wants one on the Harbor, Toronto wants one on Lake Ontario, Midwesterners want one on the Mississippi, California wants more than one…this is the beginning of a trend folks.  Look for it to grow. 

Ki JAI to that.

The Bhajan Boat back-up band, the musicians and vocalists who supported various wallahs, reads like a who’s who of East Coast kirtaneers:  Arjun Bruggeman (tabla), Steve Gorn and Sundar Das (flutes), David Nichtern and Richard Davis (guitars), Adam Bauer (bass), Devadas (cymbals), Ananta Cuffee (mrdanga), Janaki Cuffee, Acyuta Gopi, Kamaniya Devi and Keshavacharya Das (vocals), Jaya Sita Lopez (cello), and more…Who have we left out?

More photos in our Bhajan Boat Photo Journal on The Bhakti Beat’s facebook page.

Stay tuned to The Bhakti Beat’s YouTube channel for new uploads from the Bhajan Boat and more.

Miten even had Snatam Kaur collaborating on stage. She did NOT wail on the harmonica or sing the blues...but maybe next time?

Miten, the sultry, guitar-strumming, wise-cracking singer/songwriter/soul partner of Deva Premal, just seems to inspire extraordinary musical improvs wherever he goes.  At last year’s Omega Chant, he managed to coax the normally reserved Radhanath Swami onto stage for a wailing harmonica solo that had the crowd roaring.

Well, Swami-Ji apparently left his harmonica behind, so what’s a blues lover like Miten to do?  Get Shyamdas in on the act, of course.  You just knew it was going to be good when Miten called him up to the stage toward the end of Miten and Premal’s set during the Labor Day session of Omega’s Ecstatic Chant weekend. 

Nothing quite like the Radhe blues…

Later that same evening (yes, sticking around Omega for that final, fourth day of chanting IS worth it), there was an even bigger surprise.  And yes, it too involved Miten…who was kind of hiding in the dark corner for this one:

Whoa!  Krishna Das singing Bob Dylan’s famous ballad (often credited to Eric Clapton, who made it famous).  Never seen that before.  

In fact, Krishna Das told The Bhakti Beat, this was the first time he has sung Knockin’ on Heaven’s Door at a public concert, and only the second time he has sung it at all.  A week prior to Omega, KD joined his Russian friend Boris Grebenshchikov — who KD called “the Bob Dylan of Russia” and Wickepedia calls the “grandfather of Russian rock” — on stage at a private gathering for a spontaneous rendition of it.  We can’t help wondering if this signals a return to rock ‘n roll for “Ex-Rocker” Krishna Das.

Omega Moments — highlights for us from a long weekend of inspired, blissful (and decidedly more traditional than these two videos suggest) chanting, in all the deliciously diverse incarnations of the contemporary practice of kirtan.  What were yours?