Thursday, December 24, 2009


Casabella is an exciting 9 piece Latin-Beat band that has been rocking festivals, dance floors and clubs with its vibrant songs and groovy rhythms.With musicians from Europe, South America, the Caribbean, Asia and Africa, the word „fusion“ takes real meaning with this colourful, young, and soulful band. Gigging regularly in the London circuit and festivals, Casabella is finalizing its first CD which is due for release in 2009, with a repertoire of new songs written by lead singers Gianni and Sam.

Casabella's e­nergetic live performance has something for all tastes: pop, Latin, Brazilian, reggae, all with a jazzy flavour given by Jivana on Trumpet and Kim on Sax. The main influences for the drums and percussion section are Cuban, Brazilian and afro beat and they have proven to get even the shyest of spectators grooving on the dance floor!!!

Casabella were formed in 2007 and started by Italian guitarist and vocalist Gianni Rossi, vocalist Samantha Grant of Anglo-Burmese descent and New Zealand keyboard player, Michael Lloyd.They began to write a mix of Latin fusion music taking in all of their influences from rock, pop, reggae, afro-beat to Latin and began gigging around London. During one of their performances they met Thierry Deneux a French drummer and percussionist who after hearing their music for the first time wanted to join the band immediately.

This 4 piece then continued writing, performing as well as going on to meet new band members South African bassist Winton Palmer, French trumpet player Jivana Hunt, Jamaican percussionist Derek Ferguson, Brazilian percussionist Manitu Szerman and saxophonist and percussionist Kim Eersel of French/Moroccan parentage to complete the 9 piece line-up.

Where did such distinct musicians meet? Gianni as a musician playing Afro and Latin music, and Samantha, formerly pop and rock singer?

You will be surprised but Sam and I came from a similar music background and generation time. I started playing in bands since I was 17 doing all sorts of alternative, indie rock music. Just after I started SY meditation in Italy I had the desire to compose music for live gigs where the audience could dance and feel happy. When I came to London I started playing in an indie music band but soon I decided to start my own project and I was lucky to met Sam, who is my wife's childhood best friend, and it just flew magically.

Like Gianni I have been in bands since the age of 16. I was singing in a new wave rock band until my early twenties and gigging around London. I have also been in many musical projects over the years from my own album ‘SAM’, to TV work, to all types of music ranging from dance, pop, rock, to ambient music. Singing, writing and performing from a young child has always been a passion of mine and is in my blood. When I started to meditate I was looking for a new direction, something deeper, music to touch people. We formed the ‘SAM’ project working with 3 other yogis and when that project came to it’s natural end I wanted to try a new style of music, something I hadn’t done before. By chance I met Gianni who is married to my best friend. We jammed and we just seemed to gel vey well musically. Gianni’s cool latin style mixed with my western melodies just seemed to work. It was the start of Casabella and I knew we were onto something special.

Casabella´s music is lively, raging and wild, it bears spontaneity of Latin American music, it is a mixture of all possible genres and it brings the joy of dance and motion. Do you compose songs together, or do you complement each other or are the songs the individual work of each of you? Does the band have its share on the songs?

I had quite few songs that I wrote in Italy and Sam arranged them and added her singing style and translations in English. Then we wrote new songs together very spontaneously. I respect Sam very much as an artist and person and we share ideas and listen to each other suggestions. The songs were quite strong just acoustic but without the whole band we could never have reached the level that we are now. Sam and I leave the band members to express themselves and they add their own creativity in every single song.

It was very inspiring to be free to express myself and add and arrange my own parts to Gianni’s already existing songs as I could hear that they were already very good. I too respect Gianni’s musicianship and when we started writing songs together it just seemed effortless and the songs just worked. As Gianni has said the band add their own creativity to each song. With all these elements it has helped us to get to this level and when we are one the vibrations just flow.

How did you get to music and playing? What were the grounds of your music? What did influence you?

I started playing guitar when I was 15. The first LP I bought was “Ummagumma“ by Pink Floyd and we went to listen it in a dark room with my brother and friends to listen all the special effects on that album. As a teenager I was into Deep Purple and Led Zeppelin but I kept on following the new music coming, so I went through west coast, country, Brazilian music, jazz, blues, blues rock, rock, punk, new wave, garage rock, reggae, ska, afro beat, indie rock, grunge - you name it. I had a lot of heroes when I was young but now I think it is just a projection of your mind - we are all human.

I started singing as a child in my bedroom and writing melodies and songs from about the age of 7, I wanted to be a DJ and I used to record my songs on an old tape recorder and pretend to play them to the nation!! As a child my cousin’s and I used to hold concerts for our parents and perform songs we’d written together, it was fun. My first serious influence was the SKA movement. I just loved the energy and the style of the bands. I then got into punk and new wave with bands like The Clash and Blondie. Then when I was about 13 I saw U2 on the tv and was completely blown away. Their passion and connection with the audience was something I’d not seen before. The ‘War’ album had a massive affect on me and I knew then that I wanted to be writing and performing in a band.

You give a lot of concerts and let know about yourselves. That is very good. Your profile on Myspace is one of the very extensive and now you have already your own EP disc. Do live concerts give you the feeling of satisfaction and fulfilment?

We are 7 yogis in the band plus 2 non yogis that have experienced meditation but they are not practicing. Well, you know most of the time when we play live we are like one, very strong, it is like taking a pill of happiness we all feel really good after a gig and the audience too.
There is a lot of work done behind the scenes to manage a 9 piece band and to build what we have achieved so far. There is a lot more to do but I am trying to be detached as much as possible. We are also working on some afro dance choreographies with 2 yogini to add more to our live performances.

Yes our drummer once said ‘a Casabella gig is like taking a happy pill’. It is such a good analogy. He is not a yogi but for him to feel the joy inside each time we perform is amazing. It means that we are touching people, we feel good and so does the audience. It makes all the hard work worthwhile. Working with 7 other yogis in the band gives us a real strength. I can feel the collectivity and the feeling of being one. The 2 yogini dancers will also add something very special.

Does Sahaja yoga play any role in your music and a musician life? What are your plans for the future?

If you listen to the lyrics they reflect the essence of sahaj. I would like to represent a life style out there in the world where it is possible to live and enjoy yourself without drinking and taking drugs. Meditation is the only ways to keep your subtle system clean and be able to get the most from your life. Casabella name is dedicated to Cabella village in Italy and that is the root where most of us are coming from. I would like that we can break through the minds and conditionings of people to help bringing a new era in our planet, together with every single project that Mother is working on, where we all have a role.

Sahaja yoga plays a very big role in our music. The lyrics are sahaj and with our music we want to tell people about another way of living, a life of peace with complete joy and self awareness as the spirit. A life does exist without stress and the need for alcohol and drugs. If we surrender we can be touched by the divine vibrations.

“If anyone out there wants to support Casabella, for gigs or helping to promote Casabella music, please get in touch with them through this radio station. Casabella's CD is available on Itunes and CDBaby”.

Tuesday, November 24, 2009

The IPO - Millennium and Blossomtime

We will finish this month by a close look at the trilogy album, which was recorded and published by The IPO during the years 1995–1999. I had both articles hidden in my computer and believed that one day I will use them and let the readers know after all these years about the reviews on these wonderful songs. We pay our attention to the albums Blossomtime and Millennium. Many of you have certainly those albums at home and you can listen to that music on our radio. Let´s together read those reviews which were published on the internet in the nineties.

1995 Blossomtime
is the first collection of songs from the diversely talented musical group, the IPO. It may sound on first listening like contemporary music, the kind that fills the airwaves. But listen again. This is world music – world music with roots, contemporary stylings and solid musicianship. A passing band graces the opening moments of this CD, like a collective memory or a dream. The music strains to touch our ears wrapped in a cool, refreshing wind, reaching out.

At first, like a ragtag mariachi band coming over the hill on their way to a wedding, then like an army of warriors announcing a new age, this overture gives tribute to the bedrock of IPO's genesis. It is with the unlikely rhythms of this spirited Indian village folk song, sung for generations, that this musical curtain rises. The words in the Marathi language – although we don't understand them – ask for spiritual awakening.

In a second homage to their antecedents, a voice, cloaked in the same winds of time, speaks the words of the visionary poet William Blake: „To see a world in a grain of sand and a heaven in a wild flower…“. And then, without delay, off we go… Blossomtime does just that. It blossoms and unfolds with the grace of a flower, each petal of a new color – urban rap (Paradox), playful pop (My Bubble Went Pop), even relaxed Latin lounge (Only the Spirit) and driving folk ballad (Horseback Ride). Blossomtime, for all its stylings, stands strong with one vision.

Best articulated in songs like Better Than Anything I Know, Great Moments of Joy and the anthem-like These are the Times, there is a call. With the immediacy of one voice, the songs together tell us „It's happening Here and it's happening Now“. „I know you've waited so long / These are the times“ one tune tells us. „We understand that life is in the palm of our hands“ echoes another line of lyrics. Everything is arranged for a new world to begin, as described in The Garden – a place not of the future, but a place of prophecy, set to begin right now. „People are ready“. That's the other theme laced through this work: „Everybody Knows“. Everybody knows something's wrong with the world, so the desire for change must be collective. Or, as the song Paradox recites, „They're dreaming of a tropical paradise, ‚cause the world we live in ain´ t so nice“.

The song Ananya speaks out with clarity. „Everybody knows that love is the truth / Everybody knows that their lives are sacred / …Everybody wants to become one with one“. With feelings like these, it's not surprising that Blake is cited before any singing even begins. Or that his painting, Glad Day, a portrait of a reborn Humanity, graces the the face of the CD jewel box. It is as if this music is more than just something to which we can listen. It should also be felt, but not just emotionally.

The music of Blossomtime is, as the liner notes invite, for us to enjoy as it registers and resonates, resounds and rejuvenates through us. „All we have to do is listen / to the flow of love within“. Blossomtime, with a fresh affirmation of the human spirit, is something more than just the music. Blossomtime is aimed at a mass audience, so it entertains. But the depth of its reach is way beyond the measuring stick of popular music.

is the latest recording from The IPO containing no less than 19 songs by various musicians from various countries in various styles. One of the interesting things about it is the way in which these songs flow on from one another with surprising fluency and unanimity of tone.

The CD opens with the soulful WHEN EVER which takes us back a full 2000 years, what better place to start, and then it comes right up to date with the lyric: „The truth is manifesting one thousand million stars“ the central message being „the Comforter will come!“ GOD IS CLOSER, a German rap song (in English) follows on. Slick and catchy, it embodies a rather startling statement about the Holy Ghost/Comforter. The lyrics announce: „To rescue the seekers, She traveled all over the world. She was also in your city. Haven't you heard? It seems the whole thrust of this musical ensemble is about startling statements and heartfelt announcements. (See what you think.)

Indeed, you could say that the whole CD seeks to deal with the questions: Can Pop be sublime? Can Rock Music, which is so associated with clubs and drugs and, to put it in a nutshell, the material body, be made into something transcendent, something spiritual? It doesn't let up there, COMFORTER the third track speaks of a meditation: "In that moment you showed me, just what it means, to go beyond time and space, and everything in between.“ The lyrics are serious in what they say, finishing up with: „Do we realize…this is the final revolution. The final revelation!“

Jeremy Clancy's THE REVOLUTION, with fine, stinging vocals continues on this theme „Don't you know the within“ refining the process further to „We're talking about love, love, love, love, love.“ This track has a tremendous undercurrent of real power and glory. Surely this would be the pop single? LIKE HEAVEN and WHY DON'T YOU TRY? by the Austrian singer Sia are two most beautiful and jazzy tracks, „Calm, peaceful, Oh so joyful“ they explode with flavor and are worth the price of the CD alone.

Matt Malley's LOVELY ETERNAL with its haunting vocals and maybe the best original line on the CD: „Your silence is louder than any devices of our own“, is particularly effective. This is real poetry delivered in the folk/rock genre. In praise of the eternal it overflows with bhakti (devotion). Ville Tantu's inspiring Finnish interpretation of some lines by the ancient seer William Blake, titled MERRY HEART, has a stunning chorus in what, I guess, is Finnish but sounds like Sanskrit, proves that modern styles can infuse ancient poetry with life. Folk music, with its ancient traditions, is maybe more easily or more obviously suited to the expression of spiritual subject matter, and several of the tracks here, including Doug Nicely's pleasant, sunny ON THE GROUND, recorded in L.A.,

Chris Marlow's OUT OF MY HEAD with neat guitar solo from Paddy Martin, Debbie Eckman' mystical GURU MANTRA and Daniel Wagner's SHE DOES IT ALL, featuring Joanne Levine on cello, come somewhere between folk and rock and make for uplifting, provocative and inspiring listening day or night. Provocative, because the songs sing of the feminine aspect of the divine, the Comforter, Counselor, Redeemer, the Mother, Guru and Holy Ghost, no soppy ‚here today-gone tomorrow love-lost songs here. „Sing all you people, sing from the Heart, sing like you've never done before“…and why…well these are special times, Millennium Times.

TRUE REFLECTION „Like a lake I will calm me down. Still my soul to that Holy Sound“ is perhaps the albums most introspective track as it echoes the innermost desire, „A true Reflection in my Soul I'll see.“ Following on in a similar tone is Ciaran McLaughlin's ac­complished STILL LIFE SUPREME, again reminiscent of a meditative experience recorded in song. Driving rock, you're probably asking? Don't worry, for those who enjoy playing a bit of‚ air guitar, we have your song here, recorded in Pennsylvania, USA. BORN OF FIRE, doesn't beat about the bush, starting right out from creation itself, the story brings us to the present day with the finale: „The secret of Selfhood is alive!“ Similarly, YOUR NAME in a rocky U2 style delivers up some striking guitar and lyrics: „A rising force of love that non can defy“. Try it!

Rap, yes we have that too. Shoebeat Rap a phenomenal song, a mystical lyric: „when the Mother's in your heart and the Child is in your head“. A song with an attitude, yet a song invoking a meditative state/experience. Instrumental, well that's how the cd finishes. a triumphal traditional song set in a modern composition, recorded in Italy. World music for sure. What's more the music comes with a 16 page booklet which seeks to discuss the Millennium time and also the subject of much of the music. The feminine aspect of the Divine. Read on – it's all here!

Monday, October 26, 2009

New CDs

Dear all,
we are pleased to inform you that we have added to the broadcast three new albums. The first one is older album of The IPO - Eternity (please, visit our radio blog). Second one is nice album of Nirmal Sangeet Sarita - Bandagi and other CD is Avahan – Various Sahaja Artists .…
Please continue to enjoy the radio!
Radio team

Nirmal Sangeet Sarita - Bandagi
Khud Ki Kudi Ko Kho Kar,
Khoje Tu Jise,
Muzrim Aadil Ho Gaye Hai,
Nakhuda Ko Dubte Beach,
Laharla Sahaja Cha Pataka,
Bramha Shodhile,
Maauli Ne Thotavile,
Matajiche Swapne Sahaj,
Muzrim Aadil Ho Gaye Hai

Various Sahaja Artists - AVAHAN

Raag Bilaskhani Todi,
Aa Tujhko Dikhaun,
Awaz Uthayenge (Chinese),
Maa Charno Par,
Aaya Hoon Darbar ,
Abhir Gulal ,
Hame Maa Se Pyaar Kitna,
Chala Nirmal Nagari Jaau,
Nasik Cha Jogwa


Our dear listeners,

at the end of this month we would like to introduce to you one of the beautiful record which was released more than thirteen years ago. The album belongs to the trilogy of records, which the band IPO introduced themselves in the second half of the nineties. In our blog we will gradually go through each of the three albums and also through reviews, which appeared on the Internet in the time of releasing the records. Now we shall have a look on the second album from the year 1996 with the title Eternity. The CD has not yet appeared on our radio, so you have the opportunity to listen to that wonderful record and at the same time read the review. But first of all – who are the IPO or who were they? Below you can find review of their second CD (courtesy Richard Payment) … Enjoy !

IPO stands for many things – from International People Orchestra to Integrated People Only to Inner Peace Orchestra. This is a ‚loosely-knit, closely connected band of artists who enjoy playing music which points to how we can connect with the „reality behind the everyday“. This is music with a message. The uniqueness of this band is that it is composed of many musicians from all over the world, getting together to compose, sing and play in innumerable styles, in a spontaneous way, but united by a common denominator which is the Spirit. Every one of them is a Sahaja Yogi, a realized soul who reflects the Spirit, and the music of IPO truly carries these vibrations of a divine musical coefficient. One can meditate on their music, as well as simply enjoy it in any moment of the day. People who are practicing Sahaja Yoga meditation will be able to feel the coolness of divine vibrations of the Kundalini energy emanating from such music.

1996 "Eternity". With songs of joy and songs of seeking all but vanished from the lyrics of popular music, the new Sahaja CD „Eternity“ stands out with its clarity of vision. This is more than a collection of songs by aspiring musicians. This is more than a sampler of varying styles and views. „Eternity“, the new CD and cassette from the musicians known as the IPO, is music with spiritual vibrations. It is music to awaken seeking and to reaffirm for us the truth of what we have found („What you seek, you're meant to find“).

From the Beatlesque drive of the opening song, „Oceanbound“ („Now I know exactly what it is I found“) to the simple mandolin-accompanied allegory of „A Leaf Falls“, the album starts with songs of seeking. Often direct („Are you in pain? / Don't you waste another minute / Forever is waiting for you / Just seek the joy of the Spirit / Reality is calling out to you“), often inspirational but dynamically upbeat („River of Life“), the eighteen songs of „Eternity“ are short, all in the three and four minute range of commercial radio. They build one to the next with singular unity. One title, „Opportunity“, has a particularly rich, soulful vocalist („If Heaven has a gate / Love is the key / It's inside of you“). „Here for a reason“ features a progressive jazz horn that brings the whole recording up to a new level.

„Only part of the story“ continues the jazz feel with a full big band sound, and then moves into the driving drums and solid rock sound of „Feeling Good Road“. By the second half of the CD we are taken farther along the journey of seeking to true songs of praise and worship, but still we are in the realm of popular music! „Salutation“, as the title suggests, offers praises to the divine („The Joy in my heart is You / You are the light in the children's eyes“) with an Indian style violin bringing new depth to a familiar style. Similarly, „In the Presence of You“ introduces spiritual surrender – something you don't hear about much in western music. „Reach Paradise“ offers hope: „I pray to my Mother for Love / The purity of a dove / I pray for man to rise / And reach Paradise“.

„Eternity“ is a recording of music that will please many people, Sahaja Yogis or not. Its songs of ascent raise the vibrations of the listener and tune into the harmony of the Spirit. The CD concludes with a seven minute guitar and synth instrumental called „Sangha“, mystical and true to the album title, „Eternity“. Incidentally this track was recorded at the Royal Albert Hall Programme given by Shri Mataji Nirmala Devi in 1996. This music reflects a Sahaj culture, speaking out in a familiar voice of pop music. It is, simply put, a landmark recording, joyous, fresh, direct.

When was the last time you heard a popular song with lyrics like „With Your love to guide the world / It's time to save mankind“? It's been a while. And now the music is back. Loaded with vibrations. May this precious recording be heard by many ears across the three worlds. And may its joyous lyrics be repeated on many lips

Tuesday, October 20, 2009

5 year anniversary

On October 18th, 2009, Sahaja Yoga Radio ( is celebrating five years of online broadcasting.

Thousands of Sahaja Yoga music tracks, podcasts, interviews belong now to the radio library.

In one month, the radio is accessed around 8000 times totaling to a 2500 hours of broadcast to over 80 countries.

The blog ( is promoting the art of Sahaja Yogis, having many daily visitors.

Thank you for your support and we are looking forward for your feedback at

Friday, September 11, 2009

New CD on radio

Jai Shri Mataji !

Dear listeners of the sahaja radio, after our shorter holiday break we are back with new CDs which you can listen to on our radio. We will again bring irregularly new CDs of sahaja artists in the order how we will get them. We will have a look back to the records which were released many years ago, for example the first one we are offering you are Eternal Roots. The album was a result of creativity and spontaneity of the students of the Musical Academy of P.K.Salve. After all those years it is interesting to read the review on this album which was then published on the Internet and some of you, who haven´t listened to it, will have the opportunity to listen to some songs in our broadcasting.

Next we added two beautiful CDs of the Lithuanian group Shanti - more than fifteen famous bhajans and quawali will be certainly
pleasure for you.

We are preparing other albums too, so stay with us and listen to us!!!

Eternal Roots

When we talk about World Culture these days, we usually mean cultural imperialism, the Americanization of the globe. World Culture seems to indicate something so popular that it can only possibly appeal to the lowest common denominator , broad and gross.. World Music, on the other hand, is something quite different. This is more than just another category in the record shop. It didn't come out of the head the marketing executive. It came out of our need to know about our neighbours. And ourselves. With World Music, there is a respect for the sound, the instruments, the musicianship that comes from another land. It is a festival, a fusion, a romance. Here a sitar is a sitar and doesn't need to be restrung for Western ears. This is not the Coca-Cola-ization of the planet. It is the celebration of many tastes.

And so it is with a new CD called "Eternal Roots"? With a chorus of voices from several countries, the musicians of the PK Salve Academy of Fine Arts and Music are reaching back to a common heritage of this one planet. Touching the earth at their school in the heart of India, the musicians' stylings roam freely, but always come back and make reference to the classical forms of the subcontinent, as if finding themself in the other.

Eternal Roots begins and ends with Indian raags. These are deep, yet unadorned, classical movements played on a sarod and a santoor respectively. These are the musical roots, the basis for all our music, eternal, where we came from and where we are going. In between, like seven pearls on an anklet, there is the music of that journey around the circle. Played mostly in a Western popular style still, but imbibed with a Eastern depth and spiced with a masala of sarod, tabla, santoor, Indian violin and even a didgeridoo, the seven intervening tunes are, most simply, spiritual music. This is not the music handed down by a church, sung for generations without meaning, but it is spiritual music that looks inside. It introspects and comes up with something. It describes journeys that never end, that are intimately personal, at the same time universal and collective.

Katie Ferris Gleave sings in a signature tune "Journey": Until this train stops, I will not arrive, but just pass through… I am going on a journey and I'm diving down to the depths of reality. Are you coming, my friend, cause you never know what wonders you might see?…

In "Hands of Fate" Stephen Day expands: Between the ancient and the modern On a collision course with time… Trying to hold on to tomorrow Trying to hold on to yesterday , when it´s gone.

We all know these travels that seems to have no resolution, trekking across a continent and not finding anything so much as our own home in a backpack of memories.

Katie Ferris Gleave sings of the "Indian Sun": I see Indian sights all around. Will my feet ever feel the ground Of England, once again? ‚Cause England has always and always will be my friend. But there is a peace, a discovery and a resolution at the end of this journey.

I would venture to say that it is because this music is rooted. There are strong guitar chords that make us feel at home. And there are harmonies and lyrics that are narrative, a diary of the trip. Like an impressionist painter who can improvise only because he really knows how to draw, these musicians can shape their music in popular Western conventions because they have tasted the real music, the raags, the scales, the eternal roots. After descriptions of cobras and monkeys and blue-skinned gods, after prayers for rains of peace and the advent of love and a sky without limit, there is one haunting passage from that same song, 'Journey?. It tells us of a: Complete feeling of timeless joy …I want to sit on this step forever and watch the world go by. Everything, everywhere in one moment, in one place. And peace reigns. Yes.

And then comes the santoor. George Macfairlaine-Reid plays "Raag Puriya Dhanashri" to take us back to where we started. In this Global Village in which we are all destined to live in each other's backyards, it is that music which spills over the garden fence by which we will better come to know our neighbours. Eternal Roots not only allows us to hear those sounds, it set out to carefully dismantle the fences.

Author unknown (for me)

About musicians and CD click here ...

Friday, July 31, 2009

Little Ganesha

In sahaja meditation there is only a small number of records of famous bhajans or of songs, which are sung or even played by children themselves. Except the CD A Day in Borotin and a new Universe, which is a great example of work with childrean, and the record also shows how children perceive music and their joy while singing, we play in our broadcasting one very nice record - the Goran Frolen´s album - Little Ganesha. Album is for small children and their parents and it is a great possibility how to sing together with children their favourite songs and at the same time concentrate on individual chakras. We have witnessed the words of the author who speaks about the recording of the album:

How did you come to SY?

I had been seeking for 7 years and tried a variety of methods. 1998 I went to London to look for work as a singer. I didn't get work but I found Sahaja Yoga. It was a great experience to take the first steps in the heart of the Universe.

How did you come to the idea to record CD Little Ganesha for little children?

When we got children we had some CD´s with songs but there were many Deities that didn't have songs. So actually they came because from a practical need. It was really spontaniously. It could be we were sitting with the children meditating and we came to a chakra where there were no song and song came during the meditation. So it was really was Shri Mataji writing the songs. I just had to adjust like 10-20%.

Who made the lyrics to the songs and what was the inspiration for creating this album?

The lyrics also came through me.The album also came from a practical need. Many parents asked for a CD when we were singing the songs.

Who all took part on creating this album and how long did it take to record it?

There were me, my sister and little Marie. Also Elis and Amina, my children are there. A girl named Satu played the violin and Eero from Finland did the recording and also performed "We only watch"

How did the child feel the recording and what were the first reactions of other children after listening to the album?

It is much easier to meditate with the children when we have the songs. We usually let them choose a Deity and then we sing that song.

What is it for you the meditation in SY?

Without SY there is no meaning to life. Of course it can be challenging to every day have to see my own faults but actually there is no other option for me.

Did you play these songs for children in front of our Mother?

We played in Cabella but not in front of Mother.

Thursday, June 4, 2009

Daniele Ferrari - Nell´immenso Immenso and Colours of inspiration

The guitar – it is the instrument which makes listeners´ hearts vibrate. The guitar can be loud in rock music, quiet in folk music, rhytmic in latin music or challenging in flamengo. But on this radio we woul also like to introduce another kind of guitar. It is the classic guitar that plays music of old masters. The interpretion is different, it is mild and chamber maybe because the reason it is being played for. Daniele Ferrari, an Italian Sahaja yogi is one of this guitar players. We would like to introduce his two very nice CDs – Colours of inspiration and Nell´immenso Immenso.

Daniele, could you tell us something about yourself?

I live near Milan, in the north of Italy, 150 km. far away from Cabella. I’m very lucky to live not so far from this very important place for the spirituality of human beings. As for me, Cabella represents also a big source of inspiration. I think music is my main commitment, even if I have a different job.

How did you get to the classic guitar? Is it difficult to master this instrument?

Music is a passion deeply rooted inside me. It was like this also many years ago when I used to play rock, very hard rock. As time went by, I started to broaden my musical knowledge. For this reason I began to listen different kinds of music like jazz, classical music, world music and fusion. Obviously I changed gradually the way I play and “make music”. I had experiences with electric guitar, with acoustic up to the classical one. As a matter of fact, at present I’m able to play all these types of guitars (as heard in “Colours of inspiration”) but I play them in a different way from the past time. I’ve always been a self-taught person, also when I started playing the classical guitar. Big masters of the classical, flamenco and brazilian guitar are my “guiding lights”. Difficulties in learning the technique of the classical guitar are similar to those of many other instruments. Everything depends from the aims to achieve and from the time devoted to the instrument.

What can you remeber about your coming in Sahaja yoga?

I had my first experience in Sahaja yoga in 2001 at the end of a spiritual seeking, which had started many years ago. Sahaja yoga has transformed my life, the knowledge of myself and also the way of playing guitar! Since I practise Sahaja Yoga, there has been a very positive reflection on my creativity, both in quality and quantity. I don’t have enough time to improve all the "newly born” tracks. I refine only some (perhaps the best ones!!)

Your CDs were in Cabella. There are most your songs on the older album but also a nice version of "Vishva Vandita" or "Mataji Mataji". How did you get the ispiration for musicalizing these two pieces?

“Vishwa Vandita” has a very intimate and profound melody. It’s one of the most beautiful bhajan at all. I often played an instrumental version of it during Pujas or public programmes. One day someone told me:” You should record it. It would be enough to make a good cd”. I took the advice, adding many others of my pièces. Regarding “Mataji Mataji”, I thought it could be the best conclusion for the cd. This represents my greeting, my thanks to Shri Mataji, who accompanied and inspired all my work.

Is it dificult to make music for classic guitar? Where do you find ideas and what motivates you?

As I told before, I think learning an instrument is like a long path to pass through to get the technique and the musical expressiveness. As for me, it’s a long path with no end: it’s always possible to learn new and exciting things. I never forced myself to create something new. It’s of no use! The creativity starts spontaneously. For example, sometimes I begin with an improvised arpeggio and at a certain point this one “sounds good”. From this point starts my seeking: I feel this is the sign for the birth of something new and more complex.

This new composition could grow a lot in a day, but then it could be ended in one year or two. I never compose chronologically, one pièce after another, but I create groups of tracks which grow in parallel, altogether. I don’t have any good reason that pushes me to create. It’ s rather a need that I had always had: to express myself through the music. The inspiration becomes easier if it comes from Mother Nature with her beauty and her infinite aspects.

The record Colours of ispiration is different from the previous one. You are surrounded by other musicians and other instruments. What was it like to make this album together?

I take this opportunity to thank them all, because it’s thank to them that this work has become more “colourful” and dynamic. Everyone has had the total freedom on how to perform and integrate the various tracks. It was funny to compare each other and to realize how the music can mix and mingle everything and everyone. All these musicians had an experience in Sahaja Yoga, so the mutual understanding was simple and amusing.

I was attracted by titles "Meditation" and "Kundalini Movement". Can you describe them more?

The track “Meditation” has an andamento lento like the thoughts which slow down before entering in a meditative state. On the contrary “Kundalini movement” was born thank an improvisation made together with Tiziana, who was playing the armonium during a Kundalini Puja. The track has been transformed along the time until I reached the final version, recorded in the CD.

Your music is suitable for evening meditation or just for time of relax with a candle. It has got the power to bring listeners to the state of relaxing. What is the meaning of this kind of music for you and what would you like to say to listeners with your music?

The meaning of my music is only one: to communicate the joy, love, depth and the dignity of the Spirit. This is what I feel during the inspiration, creation and performance of the various pièces. I thank Shri Mataji Nirmala Devi again and again for the inspiration, the joy and the support She gives me in making music……and not only for this!

Myspace link:

Both Cd´s you can buy in Cabella on Adi Shakti puja...

Wednesday, May 20, 2009

Victor Vertunni - William Blake in music and theatre

Victor Vertunni – the man and sahajayogi who is known to everybody who goes to Cabella or watches the TEV theatre. A broad smile and a face full of joy – such are typical features of the man who has been for the several past years connected with Sahaja Yoga through a quite unique project – he introduces to the world the work of William Blake, the famous visionary. The theatre performances of the Blake´s life periods were possible to be seen in Cabella or in the theatres of various countries. A few years ago Victor was so kind and gave to our Czech magazine Nirmala vidja a wonderful interview – not only about his CD Songs of Innocence and Experience and about William Blake´s work, but he also shared his experience with the meeting with Shri Mataji.

How did you get in Sahaja Yoga? What is your job,what your family does,what is your hobby, where do you live and how old you are?

I was born in London but have lived abroad for most of my life. I have been a Sahaja Yogi since 1983, I teach English for a living. I married Purna, a yogini from Rome in 1989 and have two children, Leo (narasiha) and Maxim (Navin). My wife’s parent are also Sahaj Yogis which is great especially for the children. We live in Voghera, about 60 Km from Cabella where we usually rent a house in the spring and summer months. we were blessed to live in Shri Mataji’s house with other young families until 1996. The foundation of Theatre of Eternal Values in 1996 involved big changes in our lives as Purna (who is a dancer) and I were on tour, on and off, for about two years. We played in many countries including Praha. I will never forget the warm hospitality and beautiful, deep, bhakti-filled ashram we stayed in!

Where and how did you start play the quitar? Where did you learn play the quitar?

I started at school. It was an English college where I spent 9 months of each year. There was a lot of free time in which we listened to played music together, but the truth is that I am a “diletante“: I’ve never had a music lesson in my life and my voice is a gift that never united with disciplined practice, unfortunately.

On CD Blossomtime is your beauty composition Kundalini. When and where did you compose it and what is the way to get on the world selection of Sahaja music?

Kundalini came to me one morning in my room in Cabella. I was recovering from severe tonsilitus and was having difficulty focusing attention on Sahasrara, probably due to the medicine. A sudden inspiration to pick up the guitar came to me and the nostalgia of the beautiful feeling when She, the kundalini rises. It was a sort of thanksgiving or invocation to our mother as the “Kumba“, the womb, the Divine water carrier that gives second birth to all her Spiritual Children. I almost didn’t have the courage to sing it to others because of the Tamasic feel of it – it was a time when kawalis were very popular.! But when Geoffrey the producer of Blossom Time heard it he asked for a proper recording to be made. I am not the one to ask about how to be selected for Sahaj Radio because it all happened by chance: years after the CD came out in the early 90’s I met an Australian yogi who said that „Kundalini“ was being used as the opening of their Australian radio show. What we really need now is a record label managed by yogis.

I was listening carefully your CD Songs…. It is really very nice, full of feelings and emotions, happy and sad at the same time. Why did you choose William Blake and why his Songs of Innocence and Experience?

William Blake wrote :“without contraries is no progression“. The Songs contrast a pure natural state of oneness with nature – a sort of paradise on earth with the harsh reality of the industrial revolution in which children were the principal victims. The Chimney Sweeper, Holy Thursday , the Little Boy Lost and London are chronicles of the abysmal social conditions and injustices of so-called “progress“. The Songs on one level are about childhood ; innocence attacked by poverty , physical and mental cruelty (still happening today)- and the hard road back to innocence by the ability to distinguish truth from untruth, justice from injustice – wisdom acquired through experience .

Release from the dualistic world can only occur when “Experience“ pushes humanity to seek for the Divine:

In futurity

I prophetic see

That the earth from sleep…

Shall arise and seek

For her maker meek

And the desert wild

Become a garden mild: (The Little Girl Lost)

In a time of revolutionary struggle for justice and freedom, Blake was against “systems“ that can be manipulated by reason and ambition. He urged people to free their spirit from “the mind-forged manacles of man“, racial, social, religious and material conditionings. Humans are divine (realized) according to the measure of the unconditional love they are able to generate and manifest.

then all must love the human form

in heathen turk or jew

where Mercy love and pity dwell

there God is dwelling too

There are many poems like “The Garden of Love“ and “The Chimney Sweeper (exp)“ that denounce the absence of love and freedom in false religions and cruel lifeless conditionings.

.. and priests in black gowns

were walking their rounds

and binding with briars

my joys and desires“ (The Garden of Love)

What do you mean about his production, what relation you have to him and his work. (Blake).What do you like on his work (figures and poems) the most?

This production grew organically over twenty years. Hearing the Songs made the meaning clearer to me and so I thought it might also be useful for others who wish to understand them. In fact, Blake used to sing them to his friends and a witness wrote that afterwards the audience sat in silence for fiteen minutes. They have a mantric quality that puts us in touch with our pure emotions: Blake was Shri Bairava, Lord and light of the Tamo Guna. Without pure emotions to nourish us we become dry and unable to feel compassion. The Songs were written at a time when England’s con­science was in a coma. Blake denounced colonial expansion, slavery and child labour which the church in its deafening silence tacitly condoned.

is that tender cry a song?

Can it be a song of Joy ,

And so many children poor

It is a land of (spiritual) poverty“

The problem is no longer next door but out of sight. It is amply demonstrated that our economic empires still benefit from undignified exploitation of cheap labour by financing corrupt regimes in “developing“ countries who deny their citizens freedom and dignity. I admire Blake´s courage . He was a Guru who who never compromised his message of truth which he believed he was called by God to express, with its inevitable consequences on his career. He was a prophet in the urban wilderness who epreached in visual and verbal form the universal truths that spring from the eternal fountain of knowledge according to the needs of every age. His courage, strength creativity and devotion to life, which is God’s creation, is an example to all of us to rise up and live our realization.

Titul composition of album Ganesha Arti is very nice. How, when and where did you make it? And what is your feeling about the Mantra to Ganesha? How did you come to compose his poems and after this produce the CD? Where did you record it and who was helping you ?

Ganesha Aarti has always been my favourite devotional Hymn. The traditional melody is joyful and upbeat. The version that I composed is quieter and introspective . It gradually builds to a choral crescendo and the drum beat of an army of ganas marching to protect the innocent –the movement from a gentle mood to fearless and powerful energy like the union of the left side(desire) and right side (action). But without the left side; vision and pure desire, there can be no inspired, enlightened action.

Without love and surrender there can be no devotion and Shri Ganesha is the Mahabhakta of the Devi. And so I suppose the Aarti’s purpose is to awaken and inspire pure Bhakti – the most innocent and pure emotion – the oil for the lamp of our pure thoughts and action. It was composed as the CD neared completion. I hope it makes sense to include it in the light of Blake’s vision of universal “poetic genius“ or “spirit of prophecy“ uniting races, cultures and creeds. He expressed the values of freedom and human dignity decades before Ghandi , Martin Luther King and the Woodstock generation who rediscovered him 200 years after his death.

The CD was recorded in a homestudio using a Behringer B2 studio microphone and Protools digital recording technology. Anyone can do it on a computer. The mike costs about Euro 150 but gives great results, with a little extra reverb to add depth to the voice, especially. I got them copied myself with a simple but powerful cover design by Jai Jalan (image from Blake Archive on internet.

What´s your relation to Sahaja Yoga? What did you find important there?

Shri Mataji.
Like many sahaja yogis and seekers I experienced on more than one occasion in my childhood states of meditation, release from barriers, deep spiritual silence – but it came and went and i didn’t now how to feel it at will. These experiences became the measure of all other experiences. And so at 19 I started seeking in a more focused way and met Shri Mataji at Heathrow airport in April 1983. That meeting changed my life. I immediately felt that I would follow her to the end of the earth. Sahaja Yoga is her gift to humanity: the technique to achieve , stabilize and deepen Samadhi – but only by Shri Mataji’s grace.

Did you ever play to Mother? For example on Puja or somewhere else?

Yes, I sang William Blake’s Tyger to her at Guru Puja in Gmunden in 1986 and Kundalini in a Public Program in Genova Nervi when She arrived on stage. It was She who encouraged me to perform from the beginning. Whenever She arrived to Cabella from India she would enquire what I was doing and said that I should write plays and do theatre. So I feel her blessings are on all artists in Sahaja Yoga.

Could you share with us some of your adventure from meeting with Mother ?

One in particular which has a relevance to art and artists. We were moving paintings around in the big living room in Cabella. She was seated in her white and gold chair and asked o be shown each and every painting. She told us exactly where to put each one, sometimes in rooms on upper floors that she had not even been to yet. She commented on them, mentioning the style etc. Then She turned to me and said that I should form my own theatre company and even gave the name “Theatre of Eternal Values“. I was not sure if she wanted plays performed in Cabella or a real theatre comapny to play for the general public; so I asked her.She confirmed that it should be „professional“ and organized to the highest standards. Then a doubt came to my mind, which of course I did not say ou loud: “But Mother how will it be financed?“ I thought. She smiled and said that artists in the past were great people who dedicated themselves entirely to their art but were not very good with money and dealers made fortunes out of them after their death. But they and their families often starved in garrets, …and then she looked at me straight in the eyes and said:“but not anymore not in this lifetime“. She continued to give precise instructions about how and where the company should be registered and who should form part of the company.

There is a beautiful sequel to this anecdote . In Bombay in 1998 we performed in the Sophia Baba auditorium and in Ganapatipule. The company of about 12 members were stayin in Washi. One day I am called to the phone; it was Hari Valmiki, from Shri Mataji’s residence. He told me to come to her house and to bring a suitcase with me. A suitcase? A SUITCASE?! “ Small, medium or large? “ I asked. Never mind, just any you can find. When I arrived, I went in straight to Mother’s feet. She congratulated us for coming all the way to India to perform Moliere’s ary Invalid“ and said that it was important that Indian audiences saw a play which showed the stupid things about western culture. Then She said that “theatre would have died out without Theatre of eternal Values“! (in all honesty, I cannot imagine that she was refering to the artistic result but more to the subtle benefits of the process!).

Then she asked if I had remebered the suitcase, which I was told to open on the carpet in front of me. She said something in marathi to hari who disappeared and reappeared with his arms full of Rupees, literally in big fat bundles that had been stapled together. He came and went several times until the suitcase was filled- I could hardly close it. I stared incredulously at the suitcase and then looked at Mother. What was i supposed to do with it? “it’s for you and the comapny. Please distribute it as you wish.“ I thanked her with tears in my eyes and said that it was a priviledge to come to perform in India and that we could not accept such a generous gift. But She insisted and said that we had earne by our work and dedication. I said i would like to donate it to sahaja Yoga. But I quickly realized that I must accept and I was overwhelmed with gratitude and thanked. (later I realised that The Patron of patrons of the arts, Shri Laxmi Herself was blessing all arts and artists.

It is She who in person incarnates as both Shri Saraswati and Shri Laxmi who was confering her blessings of auspiciousness and wellbeing to arty and artists) When I arrived back we all went up on the roof of Washi and had tea and cut a cake. Everyone was curious to know what was in the suitcase. I slowly opened it up. There was a gasp of shock, then shrieks of joy and then tears for everyone was moved by our Mother benevolence and generosity. She even told us that we should spend it on clothes and ornaments!

Jai Shri Mataji !

Friday, May 15, 2009

New CDs

Dear all,
we are pleased to inform you that we have added to the broadcast three new albums. The first one is Borotin Universe – CD of children from Borotin school – the songs of little Ganeshas. Second one is live album of Meri Marshall from 2006 – Koncert v Rýmařově (Czech Republic) – on this record Meri is singing nine songs in English and Maori language (live concert). The third album is nice album of Victor Vertunni – William Blake´s The Songs Of Innocence and Experience – very nice and beautifull songs. Recording is dedicated to the eternal spirit of William Blake. Interwiev with Victor Vertunni coming soon…

Please continue to enjoy the radio!

Radio team

Monday, April 27, 2009

Awakenings - new album of qawwali music

Dear all,
this month we added a new album on the radio – double album „Awakenings“ – Qawwali Voices of America. Album was recorded by Matt Malley and Nitin Haldankar at the Los Angeles Ashram recording studio and info about this nice album you can find on:

What says Matt Malley about recording?

Recording happened here at the LA Ashram studio over a 3 day period in ‚08. It was blissful. We would record a Qawwali song, then go down to the main house for the spiciest curry lunches in the world made by our sisters and wives. My mouth was on fire and it was all part of the experience of music and food. Singing in the dining room, eating, laughing. Then back to the studio to record another one. It´ s the way music should be made – light, happy and blissful.

We recorded everything live and the only overdubs were my (amateur) harmonium. Right at the end of our 3 day recording session, there was a ring around the moon and we all felt that it was an auspicious sign. One member of the band took a photo and we included it in the artwork on the inside of the cd jacket – it doesn't look like the moon but it is.After the printing costs of the CD are made back, we are giving 100% of the proceeds to the Canahojarie Expansion Project, for the Canahojarie school in New York.

The members are:
Nitin Haldankar – lead vocals
Matt Malley – harmonium and chorus vocals
Satish Mopur, Ravindra Kulkarni and Viraj Talpade – chorus vocals
Debasish Chaudhuri – Tabla

Don´t forget to vote !

Wednesday, April 22, 2009

Raga Todi Raga Yaman - How can we help our chakras

Mhmmm …. You don´t come across such records! There are only a few CDs which can help you to heal the caught chakra or to get into the secret of the indian music. This album was to buy at Guru Puja in Cabella. Behind the tent camp there was made a little „Vashi“ where you could hear tones of ragas and people sitting in groups work on each other. I was attracted by enclosed leaflet and surprised how wonderful is the use of this CD that doesn´t have to be just for listening. The whole record is made really profesionally and so is the leaflet which is full of information and can be appreciated not only by an early listener but also by yogis who are interested in music and play various musical instruments. If you are in Cabella and see this album, do not hesitate to get it, it is really worthy…
For information here is the content of the leaflet how to work with this CD…


Raga Todi is a morning Raga and works best for our morning meditation. Raga Yaman is an evening Raga, to be used in the same way.

For all Sahaja Yogis and seekers:

Tracks 2, 3 (Raga Todi) and 7, 8 (Raga Yaman) are for the practise of the' song in meditation. Give yourself bandhans and raise the Kundalini, sit on the ground with a straight back, relaxed on your pelvis. It could be better to place a cushion under your Mooladhara, so that the weight of your body is pushed forward a little. With the stomach relaxed but firm (not flabby !!!!), put your attention in your Nabhi and imagine making the sound from the Nabhi. Start the CD from track 2 (Todi) or 7 (Yaman).

In tracks 2 and 7 after the ascending scale Arohi and descending Avarohi, every Svara is sung twice, the second time at a lower volume so that you can repeat it.
In tracks 3 and 8 however, groups of Svara are repeated twice so that you can repeat a whole group when the guiding voice repeats it at a lower volume. Together, these groups of Svara form a Calana (in English: „chalan“). When we sing or play a Calana of a Raga it is as though we are drawing the salient points of a human figure. Every element or line is indispensable to identify the subject (Raga Sketch).

So the Calana are like the minimal phrases needed to have a picture of'„'a particular Raga ". The development of the Calana is the Alapa, that, relative to the Calana, is like a painting finished with colours insteated of merely outlined. Whereas tracks 5 and 6 (Raga Todi) and 9,10 (Raga Yaman) represent a "model of the minimal execution of the Raga“, in other words, a more developed Alapa and a composition with percussion and variations. They are just for listening to. Track 1. „Sarasvatí Vandana“ is an invocation to the Deví in the form of „Shri Saraswati" and the lyrics can be found in the Mantra Book.

B. For musicians who want to deepen or become aquainted with the language of the Raga, every track is important.

A first usage is the same as described in point A. Once you have mastered the „basics“ of these two Ragas, you can start to apply the elements (Arohi, Avarohi, Calana) to your musical instrument when you pratice.
Tracks 4 and 9 are for everyone (musicians and non) to learn to follow the tala (rhythmic cycle) of the percussion alone and together with the compositions. The method used is similar to that learned from our teachers at the Conservatory. That is to say, the Indian approach „Guru Sisya Param­para“ combined with the support of the CD to learn in the absence of a teacher.

We recommend that you do not use tempered instruments like keyboard, piano or harmonium. Try the "Svara" inside yourself, and not outside with the keys of these instruments. Indian music was not created on them, which are really of Western origin. The scales of both Raga contain sounds (frequencies) that cannot be ascribed to Western tempered scales or jazz styles.

Finally, in the CD booklet, you will notice some differences in the writing of words that we in Sahaja Yoga are used to reading, i.e. Sri Ganesha instead of Shri Ganesha. This different way of writing is an example, because all of us get to know, a little at a time, the sounds of the Devanagari alphabet in which Hindi, Marathi etc, as well as Sanskrit, are written and spoken. Normally we write these sounds using the letters of the English alphabet, that has 26 letters (instead of the approx 52 of the Devanagari !). But, in this way, we lose many of the sounds of those languages. Just think of mantras and their (even subtle) meanings. It is a new awareness. Some years ago, it seemed to us that Mother exhorted us to learn Hindi, even the basics, and to learn the most important bhajans and prayers by heart. Some of us are trying!

It will be a great pleasure to receive your impressions of using the CD and any suggestions for improvement. Please do not hesitate to send them to: or

A brotherly embrace to all,
The Collective of Verona (ITALY)