Shri Ramachandra Kripalu - Unplugged(revisiting an old post)

Shri Ramachandra Kripalu - Unplugged by Jaya Vidyasagar

 Revisiting an old post with an unplugged version

"Sri Ramachandra Kripalu" is a soul-stirring bhajan written in the "Ramacharitamanas" by the Hindi saint-poet Goswami Tulsidas in the sixteenth century . Goswami Tulsidas was one of the greatest saint-poets in the Bhakti tradition of medieval India. The song is written in Awadhi, a language that is considered as a bridge between Sanskrit and Hindi. It also has traces of the Khadiboli dialect of his time. It appears in the "Sundara Kandam" of the Ramayana, when Hanuman finds the daughter of King Janaka. The bhajan evokes a richly decorated, fully-limbed, handsome physical image of Lord Rama. However, the symbolism in the bhajan is purely to create a focus on Lord Rama. It is one of the most popular bhajans in India and is considered to be a classic. 

 
Based on Raag Yaman,  this is an unplugged version with just a tanpura for accompaniment.

Spiritual Bites - The Lotus Sutra Feat. Rishi S, Jaya V.

 

Spiritual Bites - The Lotus Sutra Feat. Rishi S, Jaya Vidyasagar by Sonore Unison

" When deluded, one is called an ordinary being, but when enlightened, one is called a Buddha. This is similar to a tarnished mirror that will shine like a jewel when polished. A mind now clouded by the illusions of the innate darkness of life is like a tarnished mirror, but when polished, it is sure to become like a clear mirror, reflecting the essential nature of phenomena and the true aspect of reality. Arouse deep faith, and diligently polish your mirror day and night. How should you polish it? Only by chanting Nam-myoho-renge-kyo"  " - The Writings of Nichiren Daishonin

Buddhism originates in the teachings of Shakyamuni (Gautama Siddartha), who was born in what is now Nepal some 2,500 years ago.

The Lotus Sutra is widely regarded as one of the most important and influential sutras, or sacred scriptures, of Buddhism. It is highly valued in the Mahayana tradition, which spread throughout East Asia.

Its key message is that Buddhahood--a condition of absolute happiness, freedom from fear and from all illusions--is inherent in all life. The Lotus Sutra is also unique among the teachings of Shakyamuni in that it makes the attainment of enlightenment a possibility open to all people, without distinction based on gender, race, social standing or education. In this way, it is seen to be a full expression of Shakyamuni's compassionate intention of opening the way to enlightenment to all people.

Almost 2,000 years after Shakyamuni's death, Nichiren, a 13th-century Japanese priest, distilled the profound theory of the Lotus Sutra into a practice which could enable every individual to reveal their Buddhahood, or highest state of life, in the midst of day-to-day reality.

Nichiren established the chanting of Nam-myoho-renge-kyo as the way to awaken one's Buddha nature and tap into the deepest levels of our existence, on which our own lives and that of the universe are one. He first taught the invocation of the phrase to a small group at Seicho-ji temple in Awa province, Japan, on April 28, 1253.

 Nichiren regarded Nam-myoho-renge-kyo as the Mystic Law, the natural principle governing the workings of life in the universe, the law to which all Buddhas are enlightened and the true aspect of our own lives. He saw the practice of repeatedly invoking this law as the "direct path to enlightenment."

Many people associate Buddhist religious practice with silent, interior meditation. But the practice of vocalizing, reciting and chanting various teachings has played a vitally important role in the history of Buddhism. To voice one's innermost conviction and vow in prayer is an intensely public act. The emphasis on audible chanting as opposed to silent meditation reflects a core stance of Nichiren's Buddhism. Rather than simply exploring and withdrawing into the private realms of the inner life, religious practice is focused on bringing forth our highest inner potential in relation to and for the benefit of our fellow humans and human society. Nichiren often quotes the words of an earlier Buddhist philosopher that "The voice does the Buddha's work."

In line with earlier schools dedicated to the Lotus Sutra, he considered the five Chinese characters of the title of the sutra--myo, ho, ren, ge, kyo--as embodying the essence of the sutra, the Mystic Law to which Shakyamuni and other Buddhas are enlightened. Thus, when on April 28, 1253, he declared that to chant Nam-myoho-renge-kyo was to activate its promise of universal enlightenment, Nichiren was establishing a form of practice that would open the way to enlightenment for all people--regardless of class or educational background. This was borne out in the diverse range of people who gathered around Nichiren, becoming his followers and fellow practitioners; they included people with a highly developed understanding of Buddhist doctrine and history as well as farmers with little if any literacy. It is also borne out in the astonishing diversity of people practicing Nichiren Buddhism globally today.

Myoho-renge-kyo is the name of the Lotus Sutra in Japanese pronunciation of classical Chinese characters, and so the literal meaning of Nam-myoho-renge-kyo is "I devote myself to the Lotus Sutra." As the following explanation shows, there are deeper levels of meaning attached to each element of the phrase.

Nam
Nam derives from the Sanskrit word namu, meaning "to devote oneself." Nichiren established the practice of chanting Nam-myoho-renge-kyo as a means to enable all people to put their lives in harmony or rhythm with the law of life, or Dharma. In the original Sanskrit, namu indicates the elements of action and attitude, and refers therefore to the correct action one needs to take and the attitude one needs to develop in order to attain Buddhahood in this lifetime.

Myoho
Myoho literally means the Mystic Law--the underlying truth or principle which governs the mysterious workings of the universe and our life from moment to moment. Myo refers to the very essence of life, which is "invisible" and beyond intellectual understanding. This essence always expresses itself in a tangible form (ho) that can be apprehended by the senses. Phenomena (ho) are changeable, but pervading all such phenomena is a constant reality known as myo. Myo also means to open, to revive, and to be fully endowed with the qualities we need to develop our lives.

Renge
Renge means lotus flower. The lotus blooms and produces seeds at the same time, and thus represents the simultaneity of cause and effect. The circumstances and quality of our individual lives are determined by the causes and effects, both good and bad, that we accumulate (through our thoughts, words and actions) at each moment. This is called our "karma." The law of cause and effect affirms that we each have personal responsibility for our own destiny. We create our destiny and we have the power to change it. The most powerful positive cause we can make is to chant Nam-myoho-renge-kyo; the effect of Buddhahood is simultaneously created in the depths of our life and will definitely manifest in time.
The lotus flower grows and blooms in a muddy pond, and yet remains pristine and free from any defilement, symbolizing the emergence of Buddhahood from within the life of an ordinary person in the midst of the struggles of day-to-day existence.

Kyo
Kyo literally means sutra, the voice or teaching of a Buddha. In this sense, it also means sound, rhythm or vibration. In a broad sense, kyo conveys the concept that all things in the universe are a manifestation of the Mystic Law.

By invoking the Mystic Law and bringing forth our highest, most enlightened nature, we naturally inspire those around us to strive toward the highest, most creative and compassionate way of life. This develops into a "virtuous circle" of mutually reinforcing celebration of the infinite dignity and value of all human beings. Nichiren uses a poetic metaphor to describe this process: "When a caged bird sings, birds who are flying in the sky are thereby summoned and gather around, and when the birds flying in the sky gather around, the bird in the cage strives to get out. When with our mouths we chant the Mystic Law, our Buddha nature, being summoned, will invariably emerge."

Rishi's beautiful composition of this chant does let you close your eyes and imagine the snow clad peaks of Himalayas.  Thank you Rishi for giving me an opportunity to be part of this heavenly chant through lending vocals for the Alaaps.

Composition, Mixing and Buddhist Chanting by Rishi S 

Record Label   Sonore Unison

Vocals for Alaaps  Jaya Vidyasagar 

 

Totakashtakam - Music for Healing

Totakashtakam - Music for Healing Ft. Jaya Vidyasagar, Rishi S for Sonore Unison

Whenever I sing or listen to this chant , I can visualize Dawn ,the hues of pink and blue breaking through the dark night sky , chirping birds, the serenity and peace of that Godly hour. Even without understanding the lyrics, it works its charm through your heart and soothes it.

But there is a beautiful history to this chant.

Totakacharya was one of the chief disciples of Adi Shankara.

It is said that when Adi Shankara was at Shringeri, he met a boy named Giri. Adi Shankara accepted the boy as his disciple. Giri was a hard-working and loyal servant of his Guru, Adi Shankara, though he did not appear bright to the other disciples. One day, Giri was washing his Guru's clothes, when Adi Shankara sat down to begin a lesson on Advaita Vedanta. He however did not start the lesson saying he was waiting for Giri to come back from his chores. At this, another disciple Padmapada pointed to a wall and said that it would be the same if Adi Shankara taught to this dumb object as he taught to Giri. Now, Shankara wanted to reward Giri for his loyalty and devotion. Thus he mentally granted Giri the complete knowledge of all the śāstras (sciences). The enlightened Giri composed extempore the Totakashtakam, Sanskrit verses , in praise of the Guru Adi Shankara.

The metre he has used in this composition is the difficult but beautiful totaka. Hence he was given the name Totakacharya. Every word of this exquisite hymn bespeaks the utter devotion of its author to Shankara. Shankara, the Guru, is all to him. There is nothing equal to the Guru; nothing superior to him. The Guru is the dispeller of the darkness of ignorance. There can be no greater good than the removal of ignorance. The spirit of devotion of the disciple is best expressed in the soul-moving burden of this song : Be Thou my refuge, O Master, Shankara (bhava Shankara deshika me sharanam)!

Thus due to the grace of the Guru, Giri became a 'knower' of all scriptures, and he earned the respect of Padmapada and other disciples He became one of Shankara's four most important disciples, and was later entrusted with running the Jyotirmath at Badari.

The Script with the translated meaning goes as follows:-

||तोटकाष्टकं ||

The TotakAShtakam has been composed in the toTaka meter, in which each pAda (quarter) has four sa-gaNa's. Here a sa-gaNa is made up of two short syllables followed by a long one. The hymn naturally lends itself to be set to music.



विदिताखिलशास्त्रसुधाजलधे महितोपनिषत् कथितार्थनिधे | हृदये कलये विमलं चरणं भव शंकर देशिक मे शरणम् ||१||

O knower of the nectar-ocean of the scriptures, the expounder of the knowledge of the great upanishadic treasure! I meditate on Your pure lotus feet in my heart | O Preceptor Shankara, be my refuge.



करुणावरुणालय पालय मां भवसागरदुःखविदूनहृदम् | रचयाखिलदर्शनतत्त्वविदं भव शंकर देशिक मे शरणम् ||२||

Save me whose heart is afflicted by the misery of the ocean of births, O (You who are) the ocean of compassion! (By Your grace) make me the knower of the truths of all the systems of philosophy | O Preceptor Shankara, be my refuge.



भवता जनता सुहिता भविता निजबोधविचारण चारुमते | कलयेश्वरजीवविवेकविदं भव शंकर देशिक मे शरणम् ||३||

The people have found happiness due to You, who have the intellect adept in the inquiry into Self-knowledge | Make me understand the knowledge of God and the soul | O Preceptor Shankara, be my refuge.




भव एव भवानिति मे नितरां समजायत चेतसि कौतुकिता | मम वारय मोहमहाजलधिं भव शंकर देशिक मे शरणं ||४||

You are Lord Shiva Himself | Knowing this my mind is filled with an abundance of joy | Put an end to my sea of delusion | O Preceptor Shankara, be my refuge.



सुकृते | अधिकृते बहुधा भवतो भविता समदर्शनलालसता | अतिदीनमिमं परिपालय मां भव शंकर देशिक मे शरणम् ||५||

Only after numerous virtuous deeds have been performed in many ways, does a keen desire for the experience of Brahman through You arise. Protect (me who am) extremely helpless | O Preceptor Shankara, be my refuge.




जगतीमवितुं कलिताकृतयो विचरन्ति महामहसश्छलतः | अहिमांशुरिवात्र विभासि गुरो भव शंकर देशिक मे शरणम् ||६||

For the sake of saving the world, (Your) great (disciples) wander assuming various forms and guises | O Guru, You shine like the sun (among them). O Preceptor Shankara, be my refuge.




गुरुपुंगव पुंगवकेतन ते समतामयतां नहि को | अपि सुधीः | शरणागतवत्सल तत्त्वनिधे भव शंकर देशिक मे शरणम् ||७||

O Best among the Gurus! The Lord whose flag bears the emblem of the bull! You have no equal among the wise | You who are affectionate to those who seek refuge! The treasure of truth! O Preceptor Shankara, be my refuge.




विदिता न मया विशदैककला न च किंचन काञ्चनमस्ति गुरो | द्रुतमेव विधेहि कृपां सहजां भव शंकर देशिक मे शरणम् ||८||

I have neither understood even one branch of knowledge clearly, nor do I possess any wealth, O Guru | Quickly bestow on me the compassion which is natural to You | O Preceptor Shankara, be my refuge.

My memory of this chant goes back to 2002, when I had the privilege of presenting this song in the presence of the former Prime Minister of India, Shri Atal Behari Vajpayee and his cabinet ministry in Delhi for a function commemorating the Kanchi Shankaracharya's 50th year of ascending the Peetham.

I had set it to tune basing it on an early morning Raaga, Bhibhas(of the Bhairav thaat).

A very big thank you to Rishi S, without whose help , this chant wouldn't have shaped up so beautifully. His arrangement and mixing has given a serene meditative feel to this divine shloka. Thank you Rishi, privileged to have an excellent friend like you-in all respects! :)


Credits
Composed and rendered by - Jaya Vidyasagar

Mixing and Arrangement :- Rishi S

Record Label :- Sonore Unison

Nee(Reprise) - Celebrating Raag Yaman

An improvisation piece based on an original composition " Nee" in Raag Yaman(Hindusani)/ Kalyani(Carnatic).

Nee, the original composition I had lent vocals to, on which this reprise is based, has been melodiously composed and mixed by Rishi S, written by Aisoorya for the label Sonore Unison.

Nee(Reprise) is an improvisation on the original ,delving into the Raaga that has always been close to my heart. Yaman- An all time peace bestowing Raag.


Yaman is the raag with which almost every music student enters this fascinating world of raags. The aura and the magic that this raag holds will always remain a mystery even to the greatest of musician, or scholar.

Though its usually the first raag that is taught to aspiring students of music, its a raag that you never really stop learning. There are innumerable aspects, sides, to raag Yaman - a thousand musical phrases can be woven around its basic melodic structure. It is a raag that gives the musician infinite opportunities to improvise and explore.


For me Yaman invokes spirituality, peace, love, harmony and a beauty that enthralls me every time I sing it.


Raag Yaman

Thaat	Kalyan
Aaroha	Ni Re Ga Ma Dha Ni Sa
Avroha	Sa Ni Dha Pa Ma Ga Re Sa
Pakad	Ni Re Ga, Ga Ma Pa, Ma Ga Re Sa (Ma is teevra, all other swaras are Shudha)
Vaadi	Ga
Samvaadi	Ni
Prahar (Time) Jaati	Evening (Raat ka Pratham Prahar) Shaadava Sampoorna (omits Pa in the Aroha, Avaroha has all 7 swaras)

Credits
Vocals and Improvisation:- Jaya Vidyasagar

Original Composition and Mixing:- Rishi S

Lyrics:- Aisoorya Vijaykumar

Label:- Sonore Unison

Spiritual Bites : Introspection - Ft. Rishi S, Jaya Vidyasagar

Santh Kabīr (1440—1518) was a mystic poet and saint of India, whose writings have greatly influenced the Bhakti movement.

Kabir composed in a pithy and earthy style, replete with surprise and inventive imagery. He expressed his poems orally in Hindi. His Hindi was of a vernacular, straightforward kind, very much like his philosophies.

His verses often began with some strongly worded insult to get the attention of passers-by. Kabir has enjoyed a revival of popularity over the past half century as arguably the most accessible and understandable of the Indian saints, with a special influence over spiritual traditions.

Kabir and his followers named his poetic output as ‘bāņīs’ - utterances. These include songs and couplets, called variously dohe, śalokā (Sanskrit ślokā), or sākhī (Sanskrit sākşī). The latter term, meaning ‘witness,’ best indicates the use that Kabir and his followers envisioned for these poems: “As direct evidence of the Truth, a sākhī is… meant to be memorized… A sākhī is… meant to evoke the highest Truth.” As such, memorizing, reciting, and thus pondering over these utterances constitutes, for Kabir and his followers, a path to spiritual awakening.

In this doha he says :-

बुरा जो देखन मैं चला, बुरा ना मिल्या कोई

जो मन खोजा अपना, तो मुझसे बुरा ना कोई

Translation
I went on the search for the Bad Person/Evil, A bad person/ Evil I couldn't find
When I searched deep within my mind- my innerself , No one is Nastier then Me

Meaning

This Doha is about observing ones own mind. Kabir says that he searched the world for the bad , the real evil person but he couldn't find an evil person no matter where he looked. Then he looked within at his own thinking process, his own mind. Thats when he found the real evil person , lived in his mind, unchecked. When we accuse, condemn another, it is our mind that is doing the finger pointing. Resultantly, we find ourselves being busy in criticizing and condemning others and conveniently term them as crooked or evil. In this simple two-line insightful doha, he says that instead of finding fault and maligning others, dive deep into your own self. Amazingly, an honest introspection will reveal that all fault lies with "us" and "our" perceptions and attitudes. If there is any evil or crookedness, it is in "us". Correcting this and opting for a loving and compassionate attitude will change one's perceptions and the world will appear wonderful again.

This was my first attempt at recording an orginal composition. Rishi S, A wonderful composer from Hyderabad has composed this soulful melody. It was a beautiful enriching experience.

Im glad my journey into singing original compositions began with this insightful Kabir couplet ,composed so melodiously By Rishi :)

Vocals - Jaya Vidyasagar

Composed and Mixed by - Rishi S

Label - Sonore Unison

Baajlo Tomar Alor Benu

The traditional six day countdown to Mahasaptami starts from Mahalaya. Goddess Durga visits the earth for only four days but seven days prior to the Pujas, starts the Mahalaya. Sarat in its bloom,mingled with the festive spirit of Durga Puja reaches its pitch on the day of Mahalaya.

This day bears immense significance for the Bengalis. It is according to the myths that Sree Rama hastily performed Durga Puja just before he set for Lanka to rescue Sita from Ravana.
According to Puranas, King Suratha, used to worship goddess Durga in spring. Thus Durga Puja was also known as Basanti Puja. But Rama preponed the Puja and worshiped Durga in autumn and that is why it is known as 'Akal Bodhon' or untimely worship. It was considered untimely as it is in the myths that puja was performed when the Gods and Goddesses were awake i.e. "Uttarayan" and was not held when the Gods and Goddesses rested ie."Dakshinayan". It was on the day of Mahalaya,the beginning of "devipaksha",the Gods and Goddesses woke up to prepare themselves for Durga Puja.


“Mahisasura Mardini “is a hugely popular early AIR programme which is being broadcast (first on Akashvani, Kolkata) since 1930. It is a beautiful two-hour audio montage of Chandipath (chanting from Chandi) recitation from the scriptural verses of Sri Sri Chandi or Durga Saptashati, Bengali devotional songs, classical music and a dash of acoustic melodrama.
This programme, which began in 1930, is aired every year at day-break on Mahalaya even till today. The programme, which started off as a live-performance has been broadcast in its pre-recorded format since the late nineteen-sixties. However, its great popularity remains undiminished even till today.
This program has almost become synonymous with Mahalaya which is celebrated to usher the Debipaksha lunar fortnight and the Durga Puja . To this day, the whole of Bengal rises up in the chilly pre dawn hours, 4 am at morning to be precise, of the Mahalaya day to tune in to the “Mahisasura Mardini” broadcast.


The person who will always be remembered for making Mahalaya memorable to one and all is Birendra Krishna Bhadra, the magical voice behind the “Mahisasura Mardini.” The legendary narrator recites the holy verses and tells the story of the descent of Durga to earth, in his inimitable style.
Bhadraji passed away long ago, but his recorded voice still forms the core of the Mahalaya program. In a sonorous, reverberating voice Birendra Bhadra renders the Mahalaya recital for two thrilling hours, mesmerizing every household with the divine aura of his narration, as the Bengalis submerge their souls in quiet moments of prayer.
Mahisasura Mardini is a remarkable piece of audio drama matchless in Indian culture. Though the theme is mythical and the mantras Vedic, this program is a landmark composition. It's scripted by Bani Kumar, and narrated by Bhadra while Dijen Mukhopadhya, Manobendra Mukhopadhya , Sandhya Mukhopadhya, Arati Mukhopadhya, Utpala Sen, Shyamal Mitra and Supriti Ghosh sang in their melodious voices. The enchanting music is composed by none other than the immortal Pankaj Mullick. As the recital begins, the serene morning air resonates with the long drawn sound of the sacred conch shell, immediately followed by a chorus of invocation, melodiously setting the stage for the recitation of the Chandipath.

Set to Raag Bhairavi, Bajlo Tomar is the first song that is beautifully rendered by Supriti Gosh.


I was first introduced to Bengali music and culture by my music teacher in school -Mrs. Shaili Banerjee. It was due to her that my passion and love for Bengali songs grew. She was someone who stood by, supported and watched me grow from a shy school girl who was terrified of the mic to a confident young girl who started loving the stage as a second home. Being a South Indian, I was naturally worried about picking up a Bengali song and that too to be performed during Durga pooja to an entirely Bengali audience. But Mrs Banerjee was confident and pushed me to perform it. It turned out to be one of the most memorable performances for me. The love and affection showered by the Bengali people when they heard the song was overwhelming. After that ,I was invited to perform the same song at several Durga Pooja funstions. And everytime it was a new and exhilarating experience. Surprisingly wherever I have performed this song ,despite the language barrier people would sway with devotion and be enraptured by this beautiful composition.


This recording was a performance I gave at Subramanya Samaj in Mumbai. Though the audience was primarily South Indian, most people came up and specially mentioned this song post the performance.


Over the years I lost in touch with my teacher, but her love and her genuine interest in my music lingered in my heart and will always be cherished wherever I am.

Mrs Banerjee, This one is for you Ma'am :) Thank you :)

Maili Chadar

Maili Chadar is a heartwarming song written and sung by the late Sri. Hari Om Sharan. He remains one of the most popular bhajan singers in India. His bhajans are straight from the heart, sung without any exaggeration and simplicity. Pandit Jasraj once compared his style of singing to that of a "fakir" (saint).

"Maili Chadar" is one of Hari Om Sharan's most popular bhajans.


This bhajan is a touching description of a devotee's feelings towards God. The lyrics go in the form of a one-to-one conversation between a devotee and the Lord.
Standing at the doorstep of the Lord's chamber, the devotee here draws a comparison between a precious human life as a soiled blanket (maili chaadar) given by God in a pure form, which we, in our quest for materialism, bring it down to a state that we ourselves are ashamed to even stand in God's presence.
With purity in thought, word and action, God sends us into this world. But we tend to forget the very purpose of life and only seek to cultivate vices and emit negativity. What can we sing to Him, when we have broken the strings of this human instrument. What can we garland Him with, when we have just lost and failed in our own eyes?


As a young school-going girl growing up in Bombay, I remember this particular recording used to be my father's favourite, and was played almost every morning. My father, a person ruled more by his heart than the head, would never fail to be moved and would wipe a tear at the end of this song.
This used to be a constant source of amusement for me as a school kid. I realized much later what actually made my father wipe a tear when I actually understood the true meaning of this song and when I started performing it.
At the time of a performance, I would get so involved in the overall feel of the song that it would even make me forget the lyrics :)
This beautiful bhajan has wonderfully worked its charm on both my father and me and I'm sure for most people who have heard it.