We are aspiring for harmony - Page 2

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Qwest thumbnail
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Posted: 19 years ago
#11

Originally posted by: X-rebel

Thanks Qwestji. So many articles.

Thanks for visiting this thread, would like to draw your attention please see why I have name this Theda Carlos Santana "East-West blends" and I have another opened another thread We are aspiring for harmony please see the relation between these two thread and you will understand who are these people.

Thank you so much.

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Posted: 19 years ago
#12

Carlos Santana and Sri Chinmoy

"This shit is not for me--I don't care how enlightening it is."

February 29, 2000
By Rick Ross

Renowned musician and multi-Grammy winner Carlos Santana was a follower of Guru Sri Chinmoy for nine years (1972-1981). In a recent interview (Rolling Stone March 16, 2000) he discussed his time as a devotee within the group. His name while a member was "Devadip" ("the eye, the light of the lamp of God"). That name, given to him by Chinmoy--is inscribed on a guitar strap he still keeps at his home displayed as an apparent memento. His wife of many years Deborah also joined the group and was then named "Urmila." Carlos Santana was first introduced to Sri Chinmoy by guitarist John McLaughlin, but soon his experience in the group became a regimented "West Point approach to spirituality." That regimen included daily meditation at 5:00 AM (Chinmoy's followers meditate on his picture). Because Chinmoy liked running Deborah Santana ran marathons. Though she once ran a "devotional vegetarian restaurant" for the group in San Francisco Deborah says now they did "ridiculous things" to "prove [their] devotion" (e.g. "who could sleep the least and still function"). She adds, "I once ran a forty-seven-mile race. It wasn't enough just to run a marathon." Carlos Santana didn't run claiming, "This shit is not for me--I don't care how enlightening it is." He offered his help through music--often playing Chinmoy's songs at meditation. But he was somewhat annoyed by group announcements that these were "Santana performances." Santana used to describe his guru as a graduate of "many Harvards of consciousness" who sat "at the seat of God." He once said, "I'm still in [spiritual] kindergarten [and] without a guru I serve only my own vanity…I am the strings, but [Chinmoy] is the musician." However, now the accomplished musician explains "everything about [Chinmoy] turned to vinegar." The guru apparently once preached sternly against champion tennis player Billie Jean King's homosexuality and Santana didn't like it. Something seemed to snap and he thought, "What the f**k is all this--this guy's supposed to be spiritual…mind your own spiritual business and leave her alone," he remembers thinking. After leaving the group it seems Sri Chinmoy "was pretty vindictive," recalls Santana. "He told all my friends not to call me ever again, because I was to drown in the dark sea of ignorance for leaving him." Despite all this Santana still claims, "It was a good learning experience."

Note: Originally published in the March 16, 2000 issue of Rolling Stone Magazine, "The Epic Life of Carlos Santana," By Chris Heath

Edited by Qwest - 19 years ago
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Posted: 19 years ago
#13

Archive for Sri Chinmoy

12.07.05

"'Sleazy' Sri" Chinmoy has new book about his "wisdom"

Posted in Brainwashing, Sri Chinmoy at 3:48 pm by Rick Ross

According to an obscure guru some call a "cult leader" living in Jamaica Queens, New York, saying his name can get you to a "very good higher world." This sage advice and other supposed gems can be found in the book titled "The Wisdom of Sri Chinmoy" reports the Queens Chronicle.

Here is another example of the guru's so-called "wisdom."

Guru Sri Chinmoy writes, "A young wife was terribly afraid of staying alone at night, so the Master said to the husband…I shall take care of her. That night she saw the Master in a corner of the room, not the Master's physical body but his luminous subtle body."

Hmmm.

'Sleazy' Sri Chinmoy once guru to Carlos Santana

Chinmoy claims to be celibate, but persistent allegations have arisen that his "physical body" has wandered about a bit and it's not so "subtle." The guru apparently has a penchant for pursuing sexual favors from his female followers.

The New York Post once named him "'Sleazy' Sri."

The now 74-year-old guru still has about 2,000 seriously committed followers. A core group composed of some of his most devoted believers has clustered around his house in Queens. They are known for frequently working long and hard hours at the guru's businesses, at times for little more than subsistence wages.

New York businesses associated with Sri Chinmoy include the Smile of the Beyond luncheonette in Jamaica Queens and the Oneness-Fountain-Heart restaurant in Flushing.

Chinmoy has a long history of staging self-serving publicity stunts, which include everything from "Peace Runs" to his followers performing feats in their guru's name to get him into the Guinness Book of World Records.

One devotee Ashrita Furman has held more than 86 Guinness records for such feats as pogo stick jumping, juggling while running 50 miles and playing the most games of hopscotch.

Last year Chinmoy had his faithful gather more than 1,000 roses to commemorate his 73rd birthday, no doubt hoping to set another record.

The guru teaches that overcoming ego is a spiritual goal, but apparently this doesn't include his own, which requires constant feeding.

Such staged theater took a dark turn when one of his disciples died apparently practicing a trick to please the guru.

In his latest book of "wisdom" Sri Chinmoy holds forth on the topics of "belief," "doubt" and "worry."

But Chinmoy doesn't have much to "worry" about with all his followers taking such good care of him. He lives a life of relative ease often leaving New York in the winter for balmy weather elsewhere.

Beyond "belief" though are Chinmoy's persistent claims that he can reportedly lift 7,064 pounds with his right arm and 7,040 with his left.

More amazing than this claim is that his followers don't seem to "doubt" such preposterous nonsense.

Anyone interested enough to scrutinize the guru's weightlifting will find out that he relies more upon machines to do the job for him rather than his muscles. But like so many devices used by this guru it seemingly serves to pumps up his ego.

"If one enters secret domains where the inherent powers of the cosmic realities exist, one can get the capacity to do anything," says Sri Chinmoy.

But it's hard to understand how the followers of this bizarre man continue to devote their lives to his various schemes and scams—is there some "cosmic" reason they seem willing "to do anything"?

Some say that Chinmoy's "inherent powers" are a form of "brainwashing." And that this is accomplished in part through a form of self-hypnosis, which renders them more suggestible and compliant, achieved through what the guru calls "meditation." Then there is also the so-called "cult" lifestyle, largely dependent upon living within what can be seen as a controlled environment dominated and defined by Chinmoy.

Maybe his disciples have bought into the proposition that their rewards from the guru won't be realized in this world, but rather in the next one?

In his book Chinmoy appears to cultivates this notion telling readers that as a teenager he followed his sister's soul "for about three hours in the world of death."

The guru also says he was once busy "fighting with three death forces that wanted to snatch away three of my close disciples…"

Hmmm.

Would those "forces" be families, old friends or maybe actually an attack of doubt and/or critical thinking?

Chinmoy wants readers to know that his "teaching is not a kind of miracle-mongering." Instead, his "business is to help the aspirant to reach God."

Perhaps it is a "business."

Famed musician Carlos Santana followed Sri Chinmoy for almost a decade and then left that "business" behind him.

"This shit is not for me–I don't care how enlightening it is," he told Rolling Stone.

Maybe that's a mantra that might help Sri Chinmoy's disciples "reach God." According to Deborah Santana, it didn't hurt her life, or her husband's life to get away from "Chinmoy's controlling ways."

Edited by Qwest - 19 years ago
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Posted: 19 years ago
#14

MAHAVISHNU JOHN McLAUGHLIN
AN INSPIRATION IN MUSIC & SPIRIT

Born in Kirk Sandall, Yorkshire, John Mclaughlin was surrounded by music from an early age. His mother, a violinist, exposed John to the classics of Brahms, Beethoven and Stravinsky and indeed his first musical lessons were on the piano. This early influence was to stay with him into his adult life ("I love strings and drums" he would say later when talking about his orchestral "Apocalypse" LP) although it was his elder brother's love of the blues and Spanish music that attracted a young Johnny to the guitar.

Blessed with an enormous appetite for learning and great discipline in application to study, John was gigging very early in life, picking up jazz influences from Tal Farlow that would become his trademark throughout his early professional life. It is believed that John had a variety of jobs as a delivery driver and working in music shops whilst he took every musical session he could. His somewhat anonymous style can be heard on very early recordings by such icons as David Bowie, The Rolling Stones, Tom Jones, touring with The Four Tops and appearing with the orchestra on Top Of The Pops. Indispersed with this 'commercial' work, John was also fast making a name for himself on the british R&B scene with groups lead by Georgie Fame, Alexis Corner and later Graham Bond, where he met and played with Jack bruce, Ginger Baker and Jimmy Paige.

Certainly by the time of his mid sixties recordings ("Experiments With Pops" and "Hair at it's Hairiest") the trademark fast runs and advanced melodic and harmonic knowledge were in evidence, but there was something more. Yes he had the 'chops' of his idol Tal Farlow, but he had also began to study in earnest the philosophical writings which had so intrigued him since his initiation with Graham Bond and the London Theosophical Society. It was the goal beyond mere musical excellence that was to profoundly single out John from the profusion of guitar giants in the next decade and imbue his music with a spiritual message that went far beyond the commercial aspirations of his fellow axe wielders. Soon he found the magic link between music and spirituality which was to fire his questing soul and bring him out of the doldrums of life in Philip Lane, North london and into the Emerald Beyond of New York and his latest idol, Miles Davis.

It was John's great good fortune to find himself at the home of his idol almost as soon as he touched down in America and through his work on Mile's albums, "In a Silent Way" and "Bitches Brew" finally broke out into the world at large after his localised fame in the UK. This exposure was the key element in bringing John to the forefront of the jazz guitar world and in particular, the new jazz-rock movement of which Davis was rightly considered the Father. The financial and popular success John enjoyed here created the platform from which he was to launch his phenominal career, collaborating with his fellow Davis allumini, Tony Williams and Larry Young in the first real Jazz-rock band, Lifetime. After cream's demise, the trio became a quartet when Jack Bruce joined the most exciting band of the time.


In tandem with his musical vision, encouraged by Miles, John was also progressing along his spiritual path and shortly after moving to the US, he met and became a disciple of the indian spiritual teacher, Sri Chinmoy. The guru gave John his spiritual name Mahavishnu, literally, Great Creation (from Maha=Great and Vishnu=the Hindu God of Creation).

Fired with this inspiration and his aspiration to fully materialise the bond between the Spirit and Music, he formed the Mahavishnu Orchestra, arguably the most powerful fusion band in the history of the jazz-rock and fusion movement. A heady cocktail of dazzling virtuosity, ferocious rock polyrhythms and burning spiritual aspiration, the band consisting of Billy Cobham (drums), Jan Hammer (keyboards), Jerry Goodman (violin) and Rick Laird (bass guitar) with JM himself on his trademark Gibson twin-necked SG guitar (something he had in common with Jimmy Paige, to whom he had given jazz guitar lessons to in England and to whom is attributed the legend of teaching Jimmy the intro chords to 'My Funny Valentine' from which he supposedly extrapolated the 'Stairway to Heaven' chord sequence). The stunning debut LP 'Inner Mounting Flame' was quickly followed up by 'Birds of Fire'. 1973's live release 'Between Nothingness & Eternity' proved to be the group's swan song. In the few short years that this original band burned across the horizon they played over 500 concerts and sold albums like a top rock act which put them in the heady heights of the billboard charts.


Jack Bruce, Tony Williams & John Mclaughlin in "Lifetime"


The first Mahavishnu Orchestra (1971-73) was such a commercial success that John was able to enlarge his musical concept to include a full string quartet and brass in the second Mahavishnu Orchestra (1974-75) featuring JM's first choice violinist (who was not available for the first incarnation due to work permit problems) Jean Luc Ponty, fellow Chinmoy disciple Narada Michael Walden on drums and the extraordinary 17 year-old Ralphie Armstrong on bass. Now working with band members who wholly supported his spiritual as well as his musical vision, they made two beautiful orchestral albums, 'Apocalypse' (1974) and 'Visions of the Emerald Beyond' (1975).

With the departure of Ponty the third incarnation toured once as a quartet to support the LP 'Inner Worlds' but by now Mclaughlin had become most enchanted with Indian music and in particular he returned to his love of the acoustic guitar, debuting his new group Shakti (1975-78) featuring the virtuoso Indian violinist, L Shankar and the amazing tabla player Zakir Hussein. Thus began an oscillation between Jm's love of the blues and electric power, and the beauty of acoustic music. After Shakti, he returned briefly to electric for The One Truth Band (1978-9) with Shankar, before a sustained period of acoustic music with The Guitar Trio (1979-80), featuring Paco De Lucia, Larry Coryell and later Al DiMeola, and The Translators (1980-82) with Katia Labeque.


In 1984 we saw the Triumphant Return of the Mahavishnu, this time wielding a synth-axe and with a band of young proteges, including the fiery bass player, Jonas Hellborg. The cycle that had started with the first Mahavishnu now started again. Although not the innovative trail blazer like its predecessor, MO IV did re-introduce John to high volume electric music, with which he had been toying through his brief re-instatement as a Miles alumini (cf. Miles' "You're Under Arrest" and "Aura" sessions). By the end of Mahavishnu IV (1984-86) however, his interest had already returned to the acoustic guitar, although now sporting a Photon MIDIguitar processor.

Taking Jonas from the now disbanded (forever ?) MO, they toured extensively as a duo until John added the multi talented Indian percussionist Trilok Gurtu and became the John Mclaughlin trio (1988-1992). In some ways this period echoed the move to acoustic with Shakti that followed the first MO, with the indian influences now more completely melded to Jazz per se and World music in general (although many journalists have already pointed to Shakti as being one of the first truly 'World Music' groups, along with Weather Report , Oregon etc).

John was now talking of himself as a jazz guitarist and composer, moving futher away from the rock propulsion of the 70's fusion sound he helped to forge. However with the breadth and depth of the musics with which he was associated throughout the past 20 years he showed that he could equally swap tals with the Indian classical players and chordal substitutions with the jazz fraternity, all with the deep emotions of the Blues and the funkiness that only those who play drums can muster :-)

Almost mimmicking the Lifetime line-up, he retuned to electric jazz with The Free Spirits (1993-5) with another great drummer in the engine room, (Mr DC) Dennis Chambers and enlarged this electric trio to form another fusion ensemble, The Heart of Things (1996-00) featuring Mathew Garrison (son of Jimmy garrison, the Coltrane bassman), and MBase reedsman Gary Thomas.


However, John seems only to be able to move away from Indian music so far before he bounces back into it again and after an opportunity to play a series of concerts with ex-Shakti colleague Zakir Hussein and the great bansuri player Hariprasad Chaurasia, he officially announced the re-invention of his ground-breaking 70's group, this time round called Remember Shakti, this time with child protege Srinivas on electric mandolin and son of the original Ghatam player V Selvaganesh. Whether or not John continues on this musical merry-go-round remains to be seen, but for now he is extremely happy to being playing with his brother musician Zakir again and one senses that he has truly found the perfect marriage of music and spirit for which he has constantly striven. With two double CDs (Remember Shakti and The Believer) a live 3CD set Saturday Night in Bombay, and a boxed set of all three releases already released, perhaps we have seen the last of the fiery, high voltage electric music with which john first burst onto the scene.

As this master musician moves into his 6th decade, his spirit seems as free as ever and his music still inspires and delights the discerning listener.

Edited by Qwest - 19 years ago
Qwest thumbnail
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Posted: 19 years ago
#15

John McLaughlin & The Mahavishnu Orchestra
Album title: Visions of the Emerald Beyond
Description: In late 1974 while on tour in Miami, Premik received an unexpected phone call from his friend Narada Michael Walden, then drummer for Mahavishnu, requesting his presence for some back-up sax work on what would prove to be a landmark recording for the Orchestra as well as Premik's first major label outing.
Track: "Cosmic Strut"


Edited by Qwest - 19 years ago
sareeta_ktm thumbnail
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Posted: 19 years ago
#16
Thanx Quest for such a nice thread u have started ...Same can be said about ur other thread about "Santana"
rongmon thumbnail
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Posted: 19 years ago
#17
Thanks for sharing, I had the opportunity to attend his so called spiritual concert in Manheim, Germany last year. There were lots of German people attending the concert, thinking of listening to some very good classical music (instrumentation) as it was mentioned in the ad that he can play more than 100 instruments. And it was horrible 😡 , most of the people left in the midst of the concert. One american navy officer we met later on in train, and she was laughing, we had to convince her that Indian music is really spiritual and great, even we requested her to attend a concert of Aman and ayan ali in Sarod, that followed in Frankfurt, to have some better idea about Indian classical music.
Qwest thumbnail
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Posted: 19 years ago
#18

Originally posted by: rongmon

Thanks for sharing, I had the opportunity to attend his so called spiritual concert in Manheim, Germany last year. There were lots of German people attending the concert, thinking of listening to some very good classical music (instrumentation) as it was mentioned in the ad that he can play more than 100 instruments. And it was horrible 😡 , most of the people left in the midst of the concert. One american navy officer we met later on in train, and she was laughing, we had to convince her that Indian music is really spiritual and great, even we requested her to attend a concert of Aman and ayan ali in Sarod, that followed in Frankfurt, to have some better idea about Indian classical music.

rongmon

Thanks that must be a an interesting experience? Can you please recall the name of the group and also can get the at least 4 top name of that group.just wanted to know.

Qwest thumbnail
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Posted: 19 years ago
#19

TURIYA ALICE COLTRANE/DEVADIP CARLOS SANTANA

ILLUMINATIONS

1/ Guru Sri Chinmoy Aphorism (Sri Chinmoy) 1.10
2/ Angel Of Air (Santana,Coster) 3.37
3/ Angel Of Water (Santana,Coster) 6.18
4/ Bliss: The Eternal Now (Coltrane) 5.32
5/ Angel Of Sunlight (Santana,Coster) 14.43
6/ Illuminations (Santana,Coster) 4.20

Recorded at ????
Engineered by Glen Kolotkin and George Engfer
Produced by Alice Coltrane, Carlos Santana and Tom Coster
Turiya Alice Coltrane : harp (2,3,4,5,6), acoustic piano (4), Wurlitzer organ (5); Devadip Carlos Santana : lead guitar (2), rhythm guitar (2), guitar (3,4,5,6), wind chimes (2), finger and hand cymbals (5); Tom Coster : electric piano (2,3), Hammond organ (5), acousic piano (6), finger and hand cymbols (5); David Holland (2,3,5) : acoustic bass; Jack DeJohnette : cymbals (2), drums (5); Julse Broussard : flute (2), soprano sax (3,5); Prabuddha Phil Browne (5) : tamboura (male); Armando Perez (5) : congas; Phil Ford (5) : tablas; STRING SECTION (2,3,4,6) - Murray Adler (Concert Master), Ron Folsom, Bill Henderson, Nathen Kaproff, Gordon Marron, Paul Shure and Charles Veal : violins; Anne Goodman, Glenn Grab, Jackie Lustgarten and Fred Seykora : celli; Marilyn Baker, Myer Bello, Rollice Dale, Alan Harshman, Myra Kestenbaum and David Schwartz : violas; James Bond : bass. 1974 - CBS/Columbia (USA), PC 32900 (Vinyl)
1996 - CBS/Columbia/Sony (Europe) (CD)
Note : Some of these tracks were remixed by Bill Laswell for 2001 Carlos Santana release DIVINE LIGHT.

REVIEWS :

Carlos' collaboration with John McLaughlin was followed by another "solo" album one year later with John Coltrane's widow "Turiya" Alice, a Sri Chinmoy follower like "Mahavishnu". Carlos' spiritual formation continued, and the solo projects were the main musical domain of experimentation to give expression to his spiritual experiences. Carlos became more and more concerned with music that expresses the "everlasting", as he called it himself, that is "cooked by the essence of spirituality". In 1974, Carlos was inspired by Indian and Brazilian music for his solo album Illuminations and Borboletta with the band later that year, respectively. As on Carlos' previous solo album Love Devotion Surrender, Illuminations was the result of a collaboration between several members of the Santana band and jazz musicians. Beside keyboardist Tom Coster and percussionist Armando Peraza, Illuminations features Jules Broussard on sax, Alice Coltrane on harp and keyboard, David Holland on bass, Jack DeJohnette on drums (both veterans of the Miles Davis electric bands), Phil Ford on tabla and Phil Browne added some tamboura drone. The resulting album consists of five tracks, which, apart from the short opening track Guru Sri Chinmoy Aphorism, is entirely instrumental. The compositions on Illuminations are almost all from Santana and Coster, with the exception of the track Bliss: The Eternal Now, which is composed by Alice Coltrane. The musical approach has changed considerably since Carlos' previous collaborative work. The fast runs that characterize Love Devotion Surrender now make space for long, sustained one-note riffs, a shift that is also evident on the band's album Borboletta. It typifies Carlos' changing musical approach, which was becoming more direct and explicit in terms of spirituality. Carlos' albums gradually seem to cover a path of growing spiritual independence. From the teachings of Sri Chinmoy it seems that Carlos is developing a view of his own. This becomes more evident on the subsequent album Borboletta, with Christian sounding songs like Life Is Anew. Illuminations may be conceived of as an ode to life and its creation. A part of the scatters of words in the Sri Chinmoy Aphorism seems to be pointing at the "breath of life". The album then proceeds with Angel of Air, which opens with a beautiful haunting flute solo played by Jules Broussard. Although almost all compositions are from Santana and Coster, it is striking to see that the drum section is strongly represented only on Angel of Sunlight, while on the rest of the album there is merely space for Jack DeJohnette's cymbals on Angel of Air. Bassist David Holland has a very prominent role, and is a driving force for Carlos' lead guitar work, Jules Broussard's soprano sax and Alice Coltrane's harp. The bass intro on Angel of Air is very similar to the one on Eternal Caravan of Reincarnation on the album Caravanserai. When the music swells, it is realized by Jules Broussard's soprano sax, backed by an 18-piece classical string section that was charted for every track except Angel of Sunlight. Carlos also adds wind chimes, which vanish when the track flows almost unnoticeably into Angel of Water. Alice Coltrane's composition Bliss: The Eternal Now has the same kind of arrangement as the previous tracks, but here we find only Alice Coltrane, on acoustic piano and harp, and Carlos playing, backed by the orchestra. Carlos plays some fine jazz chops at the beginning of the track, which are reminiscent of his collaborations with John McLaughlin. His playing fits well with the string orchestra and Alice's trademark harp. Her composition became one of the hallmarks of this historically important album. The fourth track, Angel of Sunlight, is the most distinctive track of the album, both in length and music performed. This 15-minute long track has elements of Indian music, most notably during the first four minutes with Carlos' Eastern flavored guitar play fitting magnificently with Phil Ford's tabla. The music then gradually transforms and intensifies, moving from the eastern atmosphere into more conventional jazz territory. Jules Broussard on soprano sax takes over from Carlos and Armando Peraza takes over from tabla and plays an outstanding conga solo for more than 10 minutes, which blends beautifully with Jack DeJohnette's drumming. In the final third part Carlos comes back to the front after Broussard's sax solo, which brings back the eastern atmosphere. This is one of the most accomplished Santana compositions up to date. The album ends with the title track Illuminations, a composition similar to the second and third track. Illuminations is, without doubt, Carlos' most experimental and unorthodox album. At first, the music is difficult to access and understand, which must have left his fans wondering about his current and future direction. It can only be understood within the context of Carlos' spiritual evolution. The album is an important stage in the musical offerings of that period, an era that eventually came to an end with the release of the band's album Borboletta in October 1974. Here we may find Santana at their peak, where Carlos' spiritual growth towards a more independent view and the ecstatic, cohesive mastery of the music played live on Lotus are combined to deliver some of the finest and most refined fusion of Latin, rock, funk, jazz and gospel. Illuminations is an indispensable album, especially for Santana fans, to understand Carlos' musical development. It may sound uncommon, but make no mistake: it has beautiful moments, and Angel of Sunlight is one of Santana's best compositions.
Edited by Qwest - 19 years ago
rongmon thumbnail
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Posted: 19 years ago
#20
There is no group, if i were a member of IF forum, I could have kept a photo of the concert. Chinmoy maharaj, is a spiritual guru, and he has lots of Sishyas here in Germany also. So they arranged this concert. He started with Shankh, then sitar, sarod, flute, Mridang and what not. He was playing Mridang and I can promise even a four year old kid can play better than him. They there was some video clips that he lifted Carl Lewis, Pt. Ravi Shankar, Bill Clinton etc. Of course due to him, I could see many of the old Indian instruments, but could not all, as he forced me to come out of the concert. There were around 1000 people in the beginning, later on there was hardly 100 people, by the time I left, most of them were his sishyas. A great experience, 😡 I still pray God that he gives me enough indication whether I should go or not. He roams around the world, so by chance if you get a chance, sonot miss it, it will be a life-time memorable program, you will feel how bad it might taste.

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