#samdhi

Rambodagalla | MONARAGALA TEMPLE

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The Samadhi Experience "Can lead one into a conscious out-of-body experiences which can occur spontaneously or intentionally. The ability of the soul to intentionally leave the body via the crown chakra and maintain continuity of consciousness is called "samadhi", which is a Sanskrit term. People generally associate samadhi with meditation; however conscious out-of-body experiences are not induced by controlling our consciousness but by controlling the matter of our inner subtle bodies. You hear a loud ringing or buzzing sound. This is caused by your astral-mental body detaching from your physical-etheric body. You travel very fast through a long dark tunnel. What this is; is consciousness the soul if you is traveling up the central sushumna channel of your etheric spine and out of the crown chakra. This is what many people experience when seeing the light at the end of the tunnel of a NDE. Our crown chakra is the portal into the next dimension. This point of exit allows the consciousness thread to remain connected, which enables "live" perception of the event and subsequent recollection by the waking consciousness after return. This inward movement is caused as consciousness (the soul) is withdrawing from the heavy dense physical body and being transferred and centered into the astral- or mental body. You notice that you are outside of your physical body but still in the immediate environment. However you are objectively conscious in your astral/mental body now. You look down on your physical body and feel intense emotional upheaval as attempts are made to resuscitate it. Emotions are greatly intensified when the astral body is free from the dampening effects of the dense physical body. You realize that you still have a body, but one of a very different nature to the physical one you have temporarily left behind. As the astral body can fly, pass through solid matter and visit non-physical dimensions. Eventually the soul decides to return to the physical body at some point as long as the silver cord remains intact. However the difference is the experiences is retained because of the conscious thread was in place during the whole experiences. Therefor difference with a NDE and Death is the silver cord. If the silver cord is intact then the soul can return. However if it is broken then death of the physical body takes place. And the soul can not return but remains now in one of the non -physical dimensions. Be still and Know... This is Samadhi..."

Dead Indian guru 'meditating' in freezer - News - Al Jazeera English | http://ift.tt/1nXLTX0 | December 16, 2014 at 03:08PM

Guys, NPR streamed Newport Jazzfest over the weekend! And Rudresh Mahanthappa played (multiple times)! And a good deal of the sets are archived for further streaming! Guess what I'm doing all this week! I'll start with the Samdhi set, since it was my favorite jazz record of last year and they are every bit as good live. Every single one of them, including David Gilmore on electric guitars, Rich Brown on six-string electric bass (I thought only my bassist was crazy enough to do this, and he switched from eight-string guitars), and Rudy Royston on drums. Setlist was also great, including all my favorites from the record: Killer (skipped day of, but recorded for all eternity), Playing with Stones, and breakfastlunchanddinner. Really can't add any more effusive praise for this group than I already have, so go and listen already.

Rudresh Mahanthappa - Killer

Rudresh Mahanthappa's Samdhi will be at the 2012 Newport Jazz Festival, which will take place on August 3, 4 & 5, in Newport, Rhode Island. In this official Newport Jazz interview from New York City hear what Rudresh has to say about the festival and the jazz-rock-fusion band he will be bringing in August, plus his personal feelings on her brothers musical non-boundaries, Michael Brecker, and John Hollenbeck. Property of Newport Festivals Foundation, Inc. All rights reserved. Photos by Ayano Hisa, Doug Mason, Michael Weintrob, Ken Kindet and Pete Matthews. Produced by Underbunny.

(originally published 10/31/11) Electronics and plugged-in textures play central roles in Samdhi, a project alto-saxophonist and composer Rudresh Mahanthappa began working on in 2007 with the help of a Guggenheim Fellowship. But when it comes to using electronics effectively in a live setting, Mahanthappa says he’s little more than a dabbler. “I’m having to remember to launch particular bits of files with my feet,” Mahanthappa said when he spoke to the Advocate by phone from an October tour stop in Germany. “When I’m in the groove, it’s great.” Samdhi (Sanskrit for “twilight”) is both the title of a new album released in September by ACT Music, a German label founded by Siegfried Loch, and Mahanthappa’s outstanding ensemble (guitarist David Gilmore, bassist Rich Brown, drummer Damion Reid and percussionist “Anand” Anantha Krishnan, who plays mridangam and kanjira), who will perform at Firehouse 12 in New Haven this Friday. The music on Samdhi continues down some of the same roads as Kinsman, his 2008 avant-Indian collaboration with Carnatic musician and fellow alto player Kadri Gopalnath. Both albums are based very literally on specific rhythmic and melodic concepts from South Indian music, re-contextualized. But Samdhi feels closer in spirit to the fast breakbeats and heavy thrum of drum and bass music; tracks like “Killer,” the pulsing, drone-heavy “Playing With Stones,” and “Ahhh,” a tune that takes shape slowly out of darkness, like a Miles Davis In A Silent Way outtake, offer what might be considered a new take on familiar Indian material. The use of electric guitar and bass lends tracks like “Still-Gas” an ’80s jazz-fusion vibe; they nod to groups like the Brecker Brothers, Yellowjackets and David Sanborn, artists Mahanthappa said he listened to before he ever heard Charlie Parker or John Coltrane. “I see it as another extension of hybrid identity through music,” Mahanthappa said. Going into the project, Mahanthappa had already mapped out what he wanted to achieve. “Without the Guggenheim,” he said, “maybe I would have gotten around to it, but this required from a resources kind of thing.” He took several trips to India, bought a new computer, a bunch of gear and some software. “Career-wise, I was touring the most I ever had at that point,” he said. “So between the Guggenheim and all the gigs, I was able to leave this private teaching gig I had for 10 years and shift to playing full time.” Given the music’s highly conceptual framework, it’s not surprising that the project has taken a long time to get here. “Most people in my peer group are on to the next thing by the time [a project] comes out,” Mahanthappa said. “I’ve never sat on anything like this for a while. Part of it was that there were a bunch of other things going on. ... Something more urgent kept getting in the way.” He also thought Samdhi was destined for greater commercial success, so how it got released was important. “I spent some time trying to hit up the major labels to see if there were interested,” he said. “But it was difficult trying to shop an album right when the economy tanked.” It’s not hard to find a nearby jazz snob who considers much of the fusion-y source material to be a sort of jazz “third rail,” not necessarily by any fault of the artists Mahanthappa grew up with but rather the smoother jazzers who followed. Mahanthappa believes there are a number of cool things about those bands and players that get overlooked. “When you talk about Grover Washington and David Sanborn, I never think about them being smooth jazz,” he said. “Grover was instrumental soul, important Black music. I think what happened later was that that fire and structure got sucked out of it. It became stylized to a degree. ... It was kind of less culturally relevant in a way than some dance music is. There’s almost a formula to making a smooth jazz tune. Back then it had a different sort of fire.”