The Making of Invocation
When searching for a title for this my second album, I wanted a word that encapsulated the entire span of my feelings. And so… “Invocation”. It is profound in its simplicity and complexity. Invocation implies reverence i.e. taking the name of a great saint and in uttering it, making every effort to attune through humility and deep respect, the vibrations emanating from that great soul.
The chants on “Invocation” are once again mainly from Paramahansa Yogananda.
There were many occasions when I was attending a service, and hearing the chant played, struck me as if I had never heard it at all. And this after playing these chants the same way for many years. I would sense a new approach, while not knowing what that approach was. I remember sitting down at the piano and a force would come into me and direct me to an altogether different way of expressing the chant.
I draw your attention to all of the SRF chants on this album. There was one occasion, when sitting down at the piano, I started Listen Listen Listen. Coming up with a radical chord structure, and played it continuously for 4 hours.
If you listen carefully to Hymn to Brahma, the chant is unchanged when the rhythm tracks are removed. These are but a few examples. All I can say is there is a unique and dramatic story behind all of these chants.
I have also been a bit more adventurous in adding unconventional kirtan instruments i.e. chorused guitar, grand piano, violin, flute, cello, etc.
I do sincerely hope you enjoy these renditions. I have made every effort to keep the principal focus on the chant itself rather than on the performers.
Lewis David Levin
|Listen Listen Listen||
||When Thy Song Flows Through Me||
||When My Dream’s Dream is Done||
|Wake Yet Wake Oh My Saint||
||Hymn to Brahma||
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