#ineffable joy

[victon-fy]

© INEFFABLE JOY

[iyemarathichiyenagari1971]

शब्दातीत सुख

प्रणवाचा माथा बुडे । येतुलेनि अनिर्वाच्य सुख जोडे ।म्हणोनि आधींचि बोलु बहुडे । तयालागी ।। ४६९ ।। ज्ञानेश्वरी अध्याय सहावा ओवीचा अर्थ – तो ओंकाराच्या अर्धमात्रेत लीन व्हावा, इतके त्याला शब्दातीत सुख मिळते. म्हणून त्याच्याविषयी शब्द अगोदरच परत फिरतो. ज्ञानेश्वर माऊली या ओवीत एक अत्यंत सूक्ष्म अध्यात्मिक अनुभव उलगडतात. आपण सर्व जण “ॐ” म्हणजे प्रणव हा शब्द ओळखतो. हा ध्वनी इतका पवित्र, इतका गूढ आणि…

शब्दातीत सुख

[balatarastarseedoforgiveness]

O Christ, be born within me.

Sit Quietly to Experience the Ineffable Joy of Spirit

You do not know what joy lies behind the screen of the subconscious mind. Do away with restlessness and bodily sensations, and sit quietly praying: “O Christ, be born within me.” Then on the altar of silence He will come. The joy of Christ and God is indescribable. When the lips of every cell are drinking the nectar of Christ, when every thought imbibes the joy of Spirit, you have the proof that Christ is ineffable joy - joy that no changing dream of life and death can ever take away. Be resurrected in Christ. This can be experienced if you meditate deeply and practice the meditation techniques that have been taught to you through the lessons by our great Gurus.

-Paramahansa Yogananda

[dustedmagazine]

Ivo Perelman / Matthew Shipp / William Parker / Bobby Kapp—Ineffable Joy (ESP-Disk)

Photo by Peter Gannushkin

If you’re into numbers, you could spend all night counting the recording dates that bind these musicians together. If you’re into astronomy or physics, you could draw their connections as a constellation with Matthew Shipp as the nucleus. Shipp began working with William Parker in 1989 and Ivo Perelman a few years later, and while Bobby Kapp first invited the pianist to play with him in 2015, you can bet his work with Marion Brown, Dave Burrell and Noah Howard occupied space in Shipp’s head well before that.

Or you could just listen to Ineffable Joy.  Each of the album’s eight tracks maps that web of connection in a different way. On “Bliss,” Shipp’s piano and Parker’s double bass seem to be racing and knotting together simultaneously, tugging at the fabric of time and letting what comes out of the holes rise up behind them like dust. First Shipp’s dark chords loom like clouds on a moonless night at the beginning of “Ecstasy,” and then Kapp’s brushed drums and Perelman’s sinuous tenor saxophone lines twist over that cloudscape like twin jet streams. Signature gestures of the various partnerships surface, flash, and then dip into the deep again like fish showing their flanks to fisherman who might just as well pack up their hooks and just watch.  

But this music isn’t simply an accumulation of dyads. It is a product of more complex synergies. The title track develops out of the energy generated as each man throws his best into the fray, their phrases swirling together like a funnel cloud. “Jubilation,” on the other hand, is like a funhouse mirror that exaggerates first one person’s conception of swing and then another. And regardless of the dynamics at play, it is always music that communicates clear intentions. As befits a quartet of veterans, they create tunes, grooves, and matrixes with purpose and acuity.  

Bill Meyer