Mike Cohen Interview

By Daniel Tucker

December 20, 2011

Mike Cohen: Daniel, that's a great question, and there's a fascinating story behind this song! Through a series of synchronicities I landed in Portland, Oregon in the winter of 2006 and unexpectedly found myself with an open week. Online I located a well-established ashram run by Swami Chetanananda, a brilliant American student of the great Indian Saint Swami Muktananda (the founder of Siddha Yoga). It was my good fortune to have arrived just in time for Chetanananda's bi-annual spiritual retreat. The program was held in an exquisite meditation hall, featuring dazzling Indian artwork. Present were huge statues and pictures of renowned Indian Saints, including Mutkananda and his guru Nityananda as well as Shirdi Sai Baba. This was the first time I had ever laid eyes on an image of Shirdi Sai Baba.

One afternoon break, I brought my harmonium into the spacious meditation hall. At that time I had only written a few chants. I started playing around with chords, working on how to get from D major to Bb major. Quickly I fell into something I liked, which became the chords for the A section of the chant. The chords and structure of this first section seemed to fall into place very easily.

With chords in hand, and in the presence of a larger than life-size statue of Swami Nityananda, I remembered a beautiful Siddha Yoga chant - Om Namoh Bhagavate Nityanandaya. To be honest, I wasn't exactly sure what those words meant. With the presence of several saints in the room it seemed inappropriate to focus on only one, so I turned it into Om Namoh Bhagavate Vasudevaya, which felt more all encompassing.

I played with the first section for a few weeks before the chords and a sequence of melodies emerged for the second section (Ram Ram Sita Ram and Govinda Govinda Gopala). Looking back, I'm surprised how this chant evolved so smoothly and organically. Believe me, that's not always the case.

At that point in my life Kirtan was mysteriously coming alive for me in a very new way. Clearly something wanted to be birthed in my life around Kirtan and the energy it generates. This was odd as I was first exposed to Kirtan in 1996 and it had been a part of my life in an ongoing way. For some reason, in 2005 my interest and commitment began growing, and by the end of 2006 I was quite consumed with a longing for the energy I could only find through Kirtan. Around this time it was becoming painfully obvious that I was missing the expert guidance of a teacher and a lineage.

One interpretation of Om Namoh Bhagavate Vasudevaya is 'Thy will, not my will, be done,' which invokes the will of the Divine rather than our personal, egoic will. Several months after my Portland trip a series of simply astounding synchronicities led me to my spiritual teacher. Philip Lipetz was one of the first Western students of Swami Kaleshwar and author of a dozen books on his work. The 'big boss' in Kaleshwar's lineage is Shirdi Sai Baba. In 2007 Philip initiated me into this lineage, and in 2009 I took my first trip to Kaleshwar's ashram in Penukonda, India. In 2010 I traveled to Shirdi with Philip and experienced the exhilarating and unforgettable energy at Shirdi Sai Baba's tomb. Looking back this journey seems to make logical sense. However, in real time it required a series of highly unlikely synchronicities.

DT: When you lead kirtan, you are generally playing harmonium, right? Why is that? What's your relationship with the harmonium?

MC: In my teens and twenties I was a professional saxophonist. I drummed and played piano, but never stringed instruments, so I don't have guitar in my background. Once I started playing harmonium I began to understand Kirtan at a much deeper level. There's something about the harmonium that, in my opinion, is perfect fit for Kirtan. The harmonium teaches us how to chant. It's like a heavenly choir that sings to and with us. It's a very powerful instrument. I can't imagine leading Kirtan without my harmonium.

I have developed a style that's somewhat rhythmic and very chordal. I intend for my relationship with my harmonium to be one of embodiment. For a time I was practicing, practicing, practicing harmonium, in order to build embodiment or muscle memory. It's like learning to drive a car. At first we go, "wait a minute, which one is the gas and which is the brake?" Now we cruise down the highway at breakneck speed, jamming out to super-funky Kirtan tunes and perhaps even holding conversation! Because of the embodiment I generated through practice now I don't have to think as much about the harmonium. This allows me to put more of my attention elsewhere. I can spend more attention listening to, attending to and guiding the band, the participants and the energy. I can listen for what wants to unfold and emerge. Kirtan, to me, is so much about listening.

DT: When you're singing a song like "Om Namoh Bhagavate Vasudevaya," where is your attention, what are you focused on?

MC: In a way I'm focusing on many things at the same time: my harmonium playing, my chanting, the musicians, the participants, the energy in the room. As these start to fall into alignment and I can feel the connection I start to feel/listen deeply to the energy that is present and that wants to come forth. I am listening to what is happening and what is possible with the energy (Shakti). This is the incredibly juicy intersection between the practice of Kirtan as a musical and Bhakti (devotional, heart-opening) practice and the profound energetic (Shakti channel) teachings I have been blessed to have been trained in through Sri Kaleshwar, Philip Lipetz and my spiritual lineage. My intention is to put as much attention and focus on this intersection as is possible. There is a particular energy that comes through this chant that is very different from, to give an example, Shiva Om from my debut album. This is where I focus so that Kirtan more deeply becomes playing with energy through music.

DT: What would you say to somebody who is just beginning to learn harmonium?

MC: Get a teacher and practice, practice, practice! At the beginning learning is the most important thing. Spend time each day practicing what you are being taught. Develop your understanding of the musical side of Kirtan. Practice and build embodiment. Shirdi Sai Baba was famous for saying 'Shradda and Saburi,' which translates as 'practice and patience.'

That said, it is equally as important to spend time each day deeply and profoundly chanting your heart open, for this is truly the essence of this practice.

DT: The kirtan community has really been blossoming over the last few years, it's so exciting! What do you see changing or evolving in the community over the next ten years?

MC: It has been quite exciting to see what is unfolding in the Kirtan world. For many reasons interest in Kirtan, and the practice of leading Kirtan is growing exponentially. I imagine we will see an ever-expanding community of chanters and Kirtan leaders, more events and festivals, useful educational experiences and even more fantastic recordings that appeal to Western audiences.

Beyond that, for a while I have been playing with the notion of "Kirtan 2.0." Like Web 2.0, Kirtan 2.0 moves us from being passive participants into active creators of the Kirtan experience. Daniel, you are helping this happen by encouraging and facilitating more and more Kirtan fans to learn harmonium, take up a personal chanting practice, chant with friends, and perhaps even build Kirtan communities. This is great. More chanting in the world is a wonderful thing, from my perspective.

On another level Kirtan 2.0 has to do with how we shape ourselves as Kirtan participants. For a number of years I have been working with my teacher Philip Lipetz to develop ways to more fully realize Kirtan as a collective spiritual practice at a very deep energetic level. We might call this a Dattatreya approach to Kirtan. This topic is beyond the scope of this interview. However, I will share that the key question I have been exploring since 2008 through conversation with my teacher, personal inquiry and practice is HOW to create this within my Kirtan events.

I think we are only scratching the surface of what is possible energetically through this mind-blowing, heart-opening and incredibly potent energy cultivating spiritual practice.

DT: Thanks for sharing your music and perspective with us!

MC: It's my pleasure. You're doing great work!

Click here to visit Mike Cohen's website

Click here for more about the Bhakti Breakfast Club online harmonium class