Of Eagles With Eagles...

کند ہم جنس با ہم جنس پرواز

کبوتر با کبوتر، باز بہ باز

Birds of a feather fly together

Doves fly with doves, Eagles with eagles

A word of warning. This is another of those "Pucca" Qawwali posts that feature scratchy recordings, obscure biographical details and other items that may not be interesting to the lay-reader but which - for me at least - are THE reason I fell in love with Qawwali. Let's begin...

Haji Mahboob Ali Qawwal was born in Pakpattan in 1914 and died at Golra in 1992. Although young Mahboob was trained in manufacturing silver flake (chandi kay warq), his father was intent on making him a Qawwal and sent him to the legendary Ustad Muhammad Ali Fareedi (Mahboob 's brother-in-law) to be trained. Haji Sb spent seven years under the tutelage of Muhammad Ali Fareedi but was unable to imbibe much in the way of Qawwali, and was sent back to his father as a "gone case". On one of his visits to Pakpattan, Hz Ghulam Mohyeddin Gilani (Hz Babuji R.A) - the son of Pir Meher Ali Shah of Golra(R.A) was approached by Mahboob's father who requested that Hz Babuji take the youngster under his wing and train him to be a Qawwal. Hz Babuji agreed and took the young Mahboob with him to Golra. Initially, Mahboob was sent to the famed Sufi Ali Bukhsh "Waiz" Qawwal to learn his unique style of Qawwali with Sitar accompaniment, but Waiz Qawwal also found himself unable to teach the student to his satisfaction, and Mahboob returned to Golra. 

At Golra, Hz Babuji decided to train Mahboob himself and took him to Pir Meher Ali Shah (R.A) to obtain his blessing. After Pir Meher Ali Shah (R.A)'s blessing, Mahboob started practicing Samaa under Hz Babuji's direct training as the Darbari Qawwal of the Golra Sharif shrine. Throughout Hz Babuji's lifetime, he taught Mahboob the intricacies of music, thousands upon thousands of Sufi texts and their explanations, as well as the core Sufi concepts that - as the Darbari Qawwal - Mahboob's task was to transmit to his audience. The result was that Haji Mahboob was acclaimed - by his audiences, Sufis and other Qawwals - as THE Darbari Qawwal. He was recognized as the spokesperson of the shrine, who effectively educated his audience under the direct supervision of the custodians of the shrine. Haji Mahboob Ali Qawwal performed almost daily at the Golra Sharif Shrine for more than half a century and his Mehfil recordings are a treasure for anyone who prefers Qawwali the way it was intended - as a form of spiritual instruction.

Agha Rasheed Ahmad Fareedi Qawwal was born in 1922 in Batala, (Gurdaspur) and died in 1985. He belonged to a traditional Qawwal family; he was the nephew of the great Muhammad Ali Fareedi, his elder brother Agha Bashir Ahmad was a famous Qawwal in his own right, while his younger brother Agha Majeed Ahmad Fareedi was one of the greatest accompanists in qawwali history. Agha Rasheed's journey to becoming a qawwal wasn't easy. He began his musical career as the tabla-nawaz with his elder brother Agha Bashir's party but became determined to become a Qawwal after being scolded (and reportedly slapped) by his elder brother due to a mistake in one of their performances. 

He then went to the great Qawwal of the first half of the 20th Century, Fateh Ali Khan, and asked to be taken under his wing. The story of his first day under as Fateh Ali Khan's shagird is also very interesting. Fateh Ali Khan had told the young student to stand next to a wall and loudly practice the musical scales. While Rasheed was practicing in his (even then) loud and raspy voice, an acquaintance of Fateh Ali Khan's passed by and commented in earshot of Rasheed, "Who is this donkey you've got braying next to the wall?". Luckily for Qawwali, Rasheed didn't take affronts like this to heart and studiously learnt Qawwali under Fateh Ali, ultimately becoming - in the opinion of wiser heads than mine - his pre-eminent pupil and the most perfect exemplar of his Ustads' style of Qawwali.

The stories of Haji Mahboob Ali and Rasheed Ahmad intersect at several key points. For one, they were cousins. Secondly, Rasheed was a disciple of Hz Babuji (RA) - he had obtained 'ba'et' on Hz Babuji's hand. Third, even though Rasheed wasn't permanently attached to any specific Sufi shrine, he practiced the "Darbaari" style of Qawwali throughout his life, eschewing - either willingly or through a lack of opportunity - the more commercial style of his peers. Further, both Haji Mahboob and Agha Rasheed Ahmad considered it their sacred duty to bring about a spiritual change in their listeners. Haji Mahboob had once said, "If there is one "Sahib-e-Haal" in my audience, my job is done; otherwise dust upon my face and upon the audience!". Agha Rasheed had once expressed similar sentiments, saying "If it were up to me, my audience would leave the mehfil with their clothes in tatters." Another important similarity was that both Qawwals were accompanied by their phenomenally talented brothers; Haji Mushtaq Ali with Haji Mahboob and Agha Majeed Ahmad Fareedi with Agha Rasheed. Both these accompanists were superbly talented in their own right but kept their talents subservient to their elder brothers for almost their entire careers. It is a fitting (and touching) tribute to their association that after the deaths of both Haji Mahboob and Rasheed, both their younger brothers joined hands and took over the duties of Darbaari Qawwals at Golra, each performing regularly till they passed away.

The two great Qawwals, as a result of their spiritual allegiance to Hz Babuji (RA), were great friends and admirers of each other. Agha Rasheed would visit Golra regularly during the days of the Urs, and out of deference to Haji Mahboob's seniority in both age and as the Darbari Qawwal of the shrine, would sit in with Haji Sb's party as an accompanist. On the conclusion of the Urs, Haji Mahboob would return the favor by giving the entire sum of money collected as "Nazr" during the 'Chaadar' ceremony over to Rasheed. Very few recordings exist of the two great qawwals singing together, but the few that remain are phenomenally powerful. Even when they were not singing together, their repertoires often contained kalaams that were distinct from their contemporary Qawwals. Most of these unique kalaams were either written by succeeding generations of the Pirs of Golra Sharif or by devotees of the Golra shrine like Isa Amritsari. By listening to both these Qawwals renditions of a common repertoire, one gets a better idea of their contrasting styles. While Haji Mahboob preferred an emphasis of text over music (mainly because he confessed to being relatively untrained in the intricacies of classical music), Agha Rasheed fully utilized the superb musical tutelage of Fateh Ali with taankari, sargams and stupendous takraars. Haji Sb's style was more meditative, mellower and more explanatory. Rasheed's was dramatic, brashly powerful and exclamatory. Both Qawwals succeeded where most others have failed, in their ability to transfer the spiritual meanings of the kalaam to their audience effectively.

Haji Mahboob Ali (with Sitar) and Haji Mushtaq Ali (on harmonium), with Agha Rasheed Ahmad Fareedi (extreme left) and Agha Majeed Ahmad Fareedi (6th from left)  in the 2nd row.

Baaz Ba Baaz - Haji Mahboob Ali and Agha Rasheed Ahmad Fareedi Qawwal

1. Aa Punla Mor Muharaan Ve
2. Khuda Ki Qasam Hai Khuda Jalwagar Hai
3. Arzooe Wasle Janaan
4. Apni Ghurbat Se Teri Shan Se

These first four kalaams are by Pir Sahibaan of Golra [the first by Pir Naseeruddin Naseer (RA), the next three by his father, Pir Ghulam Moinuddin (RA) who used "Mushtaq" as his takhallus] serve to highlight both Qawwals' approaches to Qawwali. Haji Mahboob presents these three pieces without much girahbandi or embellishment, as was his wont when performing the kalaams of Pir Ghulam Moinuddin (RA); adopting a beautiful, hauntingly melodic arrangement (especially in the latter three kalaams which are amongst my most favorite performances of his). What emerges is a series of performances steeped in longing, love and melancholy. Agha Rasheed on the other hand, uses long takraars to build up the kalaams to a series of crescendos. In between, there is lovely Punjabi girahbandi and superb taankari that highlights the Qawwals' musical credentials. The highlight is his rendition of the second kalaam, a masterpiece in the construction of a Qawwali performance. The performance builds in tempo and "zor" with each passing second, like a locomotive slowly gathering speed before whisking away the listeners to destinations unknown.

4. Diya Hota Kisi Ko Dil

This is a rather famous piece by Bedam Shah Warsi and both qawwals have sung it in its traditional tarz; un-embellished, with minimal girahbandi or taankaari.

5. La Ilah Di Ramz Niari

This is a beautiful Kafi of Hz Baba Buleh Shah (RA) which is rarely sung by Qawwals. It's message is of the One-ness of God and the fact that the belief in this One-ness - Tauheed - is the central tenet of Islam and Sufism. also explored is the Sufi concept of  'Wahdat-ul-Wujood' as expounded by Hz Ibn-al-Arabi (RA) and his successors. Here it is Haji Mahboob who expands the performance, performing a profound exposition of the test, using girahs from sources as varied as Guru Nanak and Rumi, Iqbal and Kabir. His 50 minute performance is the perfect example of Qawwali as 'Sama', Qawwali as 'Wa'z' and Qawwali as the means to spiritual education, with the takraars in the latter half taking the listener to strange places indeed. In contrast, Agha Rasheed Ahmad's recording is taken from a Radio Pakistan performance featuring musical accompaniment by Shehnai and Sitar, It's lovely to hear the younger voices of the Fareedi brothers, and Agha Majeed really shines in this performance.

6, Prem Nagar Ki Raah Kathin Hai

A lovely Poorbi kalam - almost a bhajan - by the poet Mehmood Shah again displays striking differences in the performance styles of the two Qawwals. Haji Mahboob Sb is in an absolutely sublime mood; mellow, meditative and contemplative. His style is languid, almost loving as he steers the kalaam into beautiful territory, making it an allegory for the events at Karbala. In between, he exclaims to the audience, "These are dangerous things that I am about to relate, not for everyone's ears!". It's a beautiful performance, one that sounds absolutely intimate and deeply personal. Agha Rasheed's performance is similar in many ways. He uses most of the same girahs that Haji Mahboob uses, even using the same introductory verses. His performance, though still possessing a certain languor, is more regal, more magisterial, more declamatory. The arrangement is really beautiful, as is the taankari and girahbandi.

7. Salaam Aye Fatima Ke Laal

This powerful Manqabat to Hz Sheikh Abdul Qadir Jilani (RA) was written by Isa Amritsari. Isa was a mureed of Hz Pir Meher Ali Shah (RA) who wrote some beautiful poetry in Farsi, Urdu and Punjabi. He perished during the partition riots on a train bound for Pakistan in 1947 at a relatively young age. This manqabat is regularly performed at the Golra Sharif shrine on the eleventh of every Islamic month (Gyarhveen). This kalaam was also significant in that after Hz Pir Meher Ali Shah (Ra) had bestowed his blessings on young Mahboob Ali, this was the kalaam that Mahboob had recited in front of Pir Meher Ali Shah. This kalaam is usually sung at the conclusion of Qawwali mehfils at Golra so it is fitting that I end this post with this wonderful manqabat. 

...Of The Envoy of The Forlorn

The best (and in fact only) way to keep the mind from going to dark and inhospitable places is to keep oneself busy. Therefore ...

Among the many common threads running through Arabic, Persian and Urdu literature is the extensive use of personification and anthropomorphism. Gazelles are coquettes, blooming flowers are the hearts of lovers, the moon is a lancet, reawakening old wounds, or a shepherd tending the flock of stars. These allusions, especially when used by poets  and artists with a mystical bent, are used to wonderfully encapsulate intricate metaphysical ideas and make them not only palatable but also relatable to the audience. The canon of folk and Sufi poetry is eminently enriched by these literary devices, and most of them are well known even to the lay-reader or listener.

A tree in the breeze. Mughal era painting, Masjid Wazir Khan

One of the most commonly used literary devices is that of the breeze - 'sabaa', 'naseem' or 'baad' - as a messenger, a confidant and a bearer of tidings. For centuries, poets have used the breeze to convey their innermost hopes and desires to the 'beloved'. With Sufi poets, the breeze is their only conduit to the faraway land of Arabia where their beloved, the Prophet (S.A.W) resides. They offer salutations, pleas, lamentations, offerings of devotion and hopes for Union, and hope that the breeze carries these messages across faraway lands to the court of the Prophet (SAW), where it will give a true account of all that they have endured in their separation. There is a charming, endearing quality to these kalaams, along with deep pathos and melancholy, as the poets seem unable to bridge the distances and instead pour their hearts out to the only envoy they can trust, the breeze.

Many Qawwali recordings feature such kalaams, in fact they are some of the most popular kalaams of the Qawwali repertoire. Probably because the listeners, both initiated into Sufism as well as novices, transpose their own hopes, fears and longings into those of the poets', and hope that the trusty messenger will fulfill its duty to them as it has done for the poets long passed. Following are some of my favorite Qawwali performances where the breeze is addressed as a messenger, and in choosing from among the hundreds of similar performances, I've followed the rules I lay down in some of my earlier posts; one recording per kalaam and one recording per artist.


1. Innilti Ya Reeh-as-Sabaa - Nusrat Fateh Ali Khan & Party

This is my kind of Nusrat recording. Intimate, focused and 'ba-ihteraam'. So intimate in-fact that Nusrat's "munshi" or prompter can be clearly heard guiding him through the verses. The celebrated Na'at by Hz Imam Zain-ul-Abideen (R.A) is beautiful in its evocative imagery and its pensive and heartfelt adoration of the Prophet (S.A.W). Nusrat wonderfully displays these qualities of the kalaam and sets the perfect tone with the Rubaai's at the start of the performance -the title of this post is derived from one of the phrases in the introductory Rubaai. The microphones seem to have been placed in such a way that only Nusrat, his brother Farrukh Fateh Ali, Farrukh's harmonium and Dildar Hussain's tabla can be heard in the foreground. I don't know what Raag this performance is based on, but the mood it evokes is perfect for this kalaam. Dildar Hussain's tabla is restrained, even during the up-tempo parts, and it lends an Arabic cadence to the entire performance. The entire party (which is the classic 1980's party by the sound of it) is wonderful in fact, offering taans and murkis only when required. It is a masterclass in minimalism.

2. Saba Ba Soo-e-Madina Ro Kun - Abdullah Manzoor Niazi Qawwal

Abdullah Manzoor Niazi is a wonderful Qawwal, with a mature, well rounded performance style and perfect command on the amazing voice he possesses. He spent his formative years as part of his uncle Ustad Bahauddin Khan's party, and later accompanied his father, Ustad Manzoor Ahmed Niazi. His performance style encompasses the best qualities of both the great ustaads; the vigor and vitality of Bahauddin Khan and the sweetness and melodic depth of Manzoor Niazi Sb. In this live recording of Hz Nizam-ud-Din Auliya (R.A)'s kalaam, he is accompanied by his younger brother. Again, the mood is pensive and restrained, just like the morning breeze being addressed, with wonderful flourishes (like at the 4 minute mark). Hz Nizam (R.A) offers a series of instructions to his messenger, instructions that are both charming in their affection and deeply poignant with the sense of separation. I love this na'at very much, and Abdullah Niazi's performance suits it perfectly.

3. Saba Madinay Main Mustafa Se - Manzoor Ahmed Niazi Qawwal Aur Hamnavaa

This is a recording of strange and enchanting power. Taken from the series of priceless recordings released by Zaheer Alam Kidvai Sb, it features three members of the original "Barri Party" - Munshi Raziuddin Ahmed, Ustad Manzoor Niazi and Iftekhar Ahmed Nizami. The recording is from a performance at somebody's home during the 1960's. The qawwals are launching into their standard performance of this kalaam but are immediately interrupted by the listener who instructs them to perform the kalaam in Raag Lalit. The remaining eleven minutes are a perfect reminder of why these qawwals are considered great Ustaads. The mood immediately becomes introspective, melancholy and resigned, as if the enormity of the separation from the Prophet (S.A.W) has suddenly become apparent to performers. The three voices are absolutely beautiful, Razi mian is rapier sharp, Manzoor Niazi is mellifluous and earthy, and Iftekhar Nizami is full of longing and love. Considering how woefully underrecorded he was in his brief life, I especially love this recording because of the prominent place Iftekhar Nizami's voice occupies here. His taans and girahs elicit sighs of 'haaye' from Razi mian, and I don't blame him. The taans are powerful, the performance is brilliant, and the sustained last note is perfect.

4. Naseema Jaanibe Bat'haa Guzar Kun - Rasheed Ahmad Fareedi Qawwal & Party

In my opinion, this legendary Na'at of Hz Jami (RA) rightfully belongs to Ustad Manzoor Niazi, but since I've included him in the recording above, I'll share a recording by another artist who can rightfully stake his claim on the na'at. Agha Rasheed Ahmad Fareedi was arguably the greatest shagird of Fateh Ali-Mubarak Ali Khan ( that's saying a lot considering other shagirds included Bakhshi Salamat Qawwal, Agha Bashir Qawwal and Nusrat himself), and he was probably the only shagird who consciously or subconsciously moulded his style on that of his Ustads. In this performance he is accompanied by younger brother Abdul Majeed Fareedi and Inayat Ali Khan, with Naseeb Khan on tabla, all of whom had performed in Fateh Ali-Mubarak Ali's party at one time or another. The recording is very shoddy, but the power comes through unhindered. Ths shifts in tempo, the exquisite girahbandi and taankaari, and the various thundering yet complicated takraars have rarely been emulated by any other qawwal, the takraars especially. There are a million wonderful facets to this performance, and it takes multiple listenings to appreciate them. It is a fitting testament to Fareedi Sb's talent that when I was planning this post, I chose his performance of Naseema over his Ustads.

5. Naseema Qasidaana Vais Laveen - Haji Mahboob Ali Qawwal

One of the main reasons I kept off writing this post was because I originally intended to do a post on this subject featuring only recordings by Haji Mahboob Sb, such was the depth of his repertoire. Later, when I decided on including a number of artists, I couldn't decide which of Haji Sb's recordings would best serve as a representative sample of his repertoire. Finally, I decided on this one because of a number of reasons. The main kalaam is a Punjabi 'nazm' written by Hz Pir Mehr Ali Shah (RA) in the style of Hz Jami (RA)'s mathnavi 'Yousuf Zulaikha", and Haji Sb uses verses from a number of other kalaams in Farsi and Punjabi to create a seamless whole from disparate sources. In the background is Haji Sb's sitar, Haji Mushtaq Ali's voice, his harmonium and the tabla; and at the fore are love, devotion and longing for the Prophet (S.A.W). The mood is languorous and pensive, full of the desire for Union. Like Hz Nizam-ud-Din (RA)'s kalaam above, the breeze is instructed to hurry to the 'land of the beautiful beloved' and there, offer prostrations and salutations to the beloved. With instructions on respectful etiquette, the breeze is dispatched with offerings of love, tales of longing and entreaties for union. Along the way, almost imperceptibly, the na'at morphs into something out of the great Punjabi love epics. It is a wonderful performance.

6. Payaam Laayi Hai Baad-e-Sabaa - Manzoor Hussain Santoo Khan Qawwal

The breeze is usually a messenger for the lover, taking away messages of longing and despair, but occasionally, when the Beloved is generous with his benevolence, it can also bring back news from faraway lands. That's the case in this recording by Manzoor Hussain Santoo Khan and party. The trademark clarinet starts it off, and the powerful voices take it over from there. This leaders of this party were instructed by Santoo Khan Qawwal, a disciple of Bhai Lal Rabaabi of the Gwalior gharana, and their style is distinct from their contemporaries. The voices are rich, deep and incisive, the instruments are unobtrusive and the tempo is lively and energetic. Manzoor Hussain Santoo still performs regularly with his son's party and despite the frailties of age, his occasional taans still retain the vitality and vivacity of this and ealier performances.

7. Ayi Naseem-e-Koo-e Muhammad (SAW) - Nusrat and Azimullah Qawwal

This kalaam of Bedam Shah Warsi (RA) is one of the most famous na'ats in Urdu, and justifiably so. Its imagery, sentiments and natural melodiousness make it a favorite of qawwals and na'at-khwaans, ensuring that almost everyone has sung it. I shall end this post by one of the simplest, most unadorned and understatedly brilliant performances in my collection. Three performers - hereditary qawwals from Firangi Mehal in Lucknow, one harmonium and one tabla, in a performance barely lasting five minutes.

...Of The Voice Of The Rohi

If you stopped me on the street tomorrow and asked, "What's the proudest day of your life?" I wouldn't hesitate a second before answering, " 30th October, 2010. "

It's not the day I got admission into Med School, it's not the day I graduated, or the day I started my professional life, or the day I got to talk to Mushtaq Ahmed Yusfi Sb (although come to think of it, that's a very close second). It's the day almost exactly two years ago when I ended my five day exploration of South Punjab with a visit to the shrine of one of the greatest Sufi poets in the history of the subcontinent, Hazrat Khwaja Ghulam Fareed Sb (RA).

I think I've written about it before but I'll give a quick recap. During the disastrous floods of autumn 2010, I went to Dera Ghazi Khan in Southern Punjab for a month of flood relief duties. Towards the end of my spell, I was given five days leave. Since my one month tour of duty was almost ending, I decided to use these five days to explore South Punjab; traveling more than 2000 kilometers over the course of five days and visiting Multan, Bahawalpur, Cholistan, Derawar, Ucch Shareef and various other places east of the river Indus. On the final day, when I was to return to DG Khan, I crossed the Indus and travelled a further 120 miles to the southernmost tip of Punjab, a little town called Mithan Kot. I was there to pay my respects at Khwaja Sb's mazaar.

Before going on to describe what happened that day, I'd like to take a few moments to explain the reason of my visit. My fascination with places of spiritual and historical significance had started during that one month of flood relief duty, yet my visits to various shrines and mazaars weren't motivated by any spiritual reasons. Of course I had the proper respect for them, but I wasn't going there as a pilgrim, merely as a tourist. With Khwaja Sb's shrine however, the motivation was different. I was going there out of spiritual and emotional affinity.

The reason for my "spiritual and emotional affinity" was that since earliest childhood, I had been exposed to Khwaja Sb's poetry via some of the greatest voices of Pakistani history. The names of Pathanay Khan and Zahida Parveen - especially Zahida Parveen - were not just familiar to me, their voices were part of my childhood. My grandparents listened to them - my Daada had me play Zahida Parveen's Kafis to him in his last days - my parents listened to them and in turn, I listened to them. The voices were filled with the sights, sounds and scents of the deserts of the "Rohi". Their tones depicted longing and hope, optimism and regret, love and heartbreak all in the same breath. It was much later when I started to better understand Seraiki that I really began to appreciate what was being sung by these amazing artists.

I think no other subcontinental Sufi poet has better expressed the feelings of longing and separation better than Khwaja Sb. Drawing from Punjabi romantic epics as well as the folk idiom of Seraiki, Khwaja Sb created a distinct language based solely on the concept of Love. Love in Khwaja Sb's poetry, whether spiritual or temporal, is a source of fulfillment and completion, while at the same time leaving one unfulfilled and incomplete. It's hard for a layman like me to explain the nuances of his kalaam, suffice to say that Khwaja Sb is the only poet whose verses have made me burst into tears.

What happened on that October day two years ago was described by me in a previous post as follows;

The obvious step after paying my respects was to ask around for anyone who might sing one of Khwaja Sb's immortal kaafis for me. Somebody directed me to a group of Fakirs sitting in a corner of the shrine courtyard, one of whom was the current Khalifa of the shrine. I introduced myself and expressed my desire to listen to some of Khwaja Sb's kalam and the Khalifa Sb graciously consented to sing some for me, albeit making excuses for his voice. As I brought out my cellphone camera and he started singing, goosebumpy silence was quickly followed by a sudden gush of emotion as tears came to my eyes. I looked around and realised that I wasn't alone, very soon the entire circle of Fakirs was gently sobbing (some of which can be heard on the recording). This in itself would've been enough to make this an unforgettable experience, but somehow I plucked up the the courage to ask the gathered audience if  I could sing something too. they graciously consented and there, right next to Khwaja Sb's resting place, in the company of a group of Fakirs, I sang one of my favorite (and my parents' and grandparents' favorite) kaafi. When I ended, the teary-eyed assemblage very kindly appreciated me and we prayed together for a while before I took my leave. Nothing, and I mean nothing has come close to the sheer spiritual and psychological elation I felt that day.

 Qawwali performers have mined the rich veins of Punjabi Sufi poetry for centuries, drawing from the inexhaustible well of poetry by the likes of Baba Fareed Ganj Shakkar (RA), Baba Bulleh Shah (RA), Hz Waris Shah (RA) and others, and although they have used Khwaja Ghulam Fareed Sb's Kafis in Qawwali too, the use hasn't been very widespread. His Kafis are mostly used as girahs, or as Dohas at the start of the performance, but relatively few Qawwals have performed Khwaja Sb's kalams as a separate piece. This may be due to a reluctance to use the lesser understood Seraiki dialect or due to the unusual Rubai-like quatrains of Khwaja Sb's Kafis which pose some difficulties when it comes to arranging and performing them in Qawwali settings. Yet the few Qawwals who have performed Khwaja Sb's Kafis, and the fewer still who have performed them well, have managed to rival the likes of Zahida Parveen, Pathanay Khan, Hussain Bash Dhaadi, Jumman Khan, Abida Parveen and other folk singers in elucidating the spiritual power of his kalaam.


The following collection comprises of some of my favorite Qawwali recordings of Khwaja Sb's Kafis, accompanied by renditions of the same kalaams by the pre-eminent Folk and Classical singers of their day. Three of these recordings have a very special place in my heart for various reasons, and all of them are very dear to me, as indeed are all renditions of Khwaja Sb's kalam.

Pathanay Khan and Haji Mahboob Ali Qawwal - Aa Mil Maroo, Mararroo

Ustad Salamat Ali Khan-Nazakat Ali Khan and Bakhshi Salamat Qawwal - Ishq Anookhri Peer

Zahida Parveen and Akhter Shareef Aroop Walay Qawwal - Itthaan Main Mutthri Nit Jaan Ba Lab

Abida Parveen and Agha Rasheed Ahmad Fareedi Qawwal - Yaar Sipahiya Aa Wass Mandray Kol

Haji Mahboob Ali Qawwal and Miandad Khan Qawwal - Bandi Te Bardi, Taen Dilbar Di O Yaar

...Of The Shattered Soul And The Lifeless Heart

Five of my favorite versions of one of my favorite Na'ats by one of my favorite Farsi poets, performed by some of my favorite Qawwals.....



Tanam Farsooda Jaanpara
Ze Hijraan Ya Rasul Allah

Dilam Paz Murda Aawara
Ze Isyaan, Ya Rasul Allah

My body is fragmenting, disintegrating in your separation
My soul lies shattered. Ya Rasul Allah!
Due to my sins, My heart has become lifeless and inconsolable. Ya Rasul Allah!

Choon Soo'e Mun Guzar Aari
Manne Miskeen Ze Nadaari.

Fida-E-Naqsh-E-Nalainat
Kunam Jaan. Ya Rasul Allah!



If you pass in my direction, In my wretched poverty,
I shall sacrifice my soul on your blessed sandals. Ya Rasul Allah!

Ze Jaame Hubbe To Mustam
Ba Zanjeere To Dil Bustam

Nu'mi Goyam Ke Mun Hustam
Sukhandaan. Ya Rasul Allah

I am intoxicated by the nectar of your love
And the chain of your love binds my heart.
Yet I cannot put my feelings into words. Ya Rasul Allah

Ze Kardaan Khaish Hairaanam
Siyah Shud Roo Ze Isyaanam

Pashemaanam, Pashemaanam, Pashemaanam. 
Ya Rasul Allah

I've tormented myself, my sinfulness frightens me;
And my sins have darkened my countenance.
I am in distress! I am in distress! I am in distress! Ya Rasul Allah!

Choon Baazoo'e Shafaa'at Raa
Kushaa'i Bar Gunehgaaran

Makun Mahruume Jaami Raa
Daraa Aan. Ya Rasul Allah

When you spread your benevolent arms to intercede for the sinners,
Do not deprive Jaami of your exalted intercession.

(Maulana Abdurrehman Jami )

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Manzoor Ahmed Niazi - Abdullah Manzoor Niazi Qawwal perform 'Tanam Farsooda Jaanpara' at Baba Saheb, Pakpattan. Recorded in the late eighties, this performance is taken from a rather worn-down cassette tape, hence the shaky audio.

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The second recording of this kalam is taken from one of my favorite Qawwali albums, "Jami" by Haji Ghulam Farid Sabri, released by Piranha records. (a must-have album if ever there was one). Of special note is the spirited Sazeena that precedes the kalaam.

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Nusrat Fateh Ali Khan performs the kalaam in Raag Mishra Kafi from the wonderful album titled "Sufi Qawwalis. With a prolonged, beautiful sazeena and preceded by the choicest of Farsi verses, this is one version to be enjoyed for it's mellow, slowly building mood.

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Ustads Fateh Ali Khan-Mubarak Ali Khan sang many versions of this kalaam - I have versions ranging from 6 minutes to 76 minutes - but this one is my favorite. Beginning madhyalay (mid-tempo), with Sarangi and Shehnai in the background, the two Ustads (a title they deserved in every sense of the word) explore and embellish the nuances of the kalaam as the tempo slowly builds to a crescendo.

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The wistful melancholy and intense love expressed in Jami's Kalam is most perfectly conveyed in this version by Haji Mehboob Ali Qawwal, the final one in this series of recordings. In an arrangement different from all other Qawwals, Haji Sahab's Sitar and voice express the longing, the pain of separation and the desire for 'benevolent intercession' so brilliantly that this is probably my favorite version of the kalaam. The slight lilt in the Ya Rasool Allah's  and the second metre of each couplet's first verse completely slay me.

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(Note To Self : Quit using the word 'favorite' so often.)

....Of The Tall, Coquettish Beloved

Two of my most favorite Qawwali recordings are both markedly different  versions of the same beautiful ghazal of Amir Khusrau's, Aye Sarve Nazneene Mun, Az Mun Che Deeda-ee. I have tried my hand at translating it as best as I can, and I must admit I haven't done a very good job. Some of the verbs were a tad too obtuse for me, so I have taken more than my share of poetic license.

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اے سرو نازنین من، از من چھ دیدہ ای 

یک بار مہر از من مسکین بریدہ ای 

اول وفا نمودی و بردی دل مرا 

آخر چھ شد کہ آ رض از من کشیدہ ای 

آرے بہ سیم و زر ہمہ کس بندہ می خرند

ما بندہ تویم کہ تو بے زر خریدہ ای 

فخرم بس است این کہ کمینہ سگ تویم

نازم برآں زماں کہ بہ لطفم وریدہ ای 

خسرو تو بس بلند شدی در قرین عشق 

گویا بہ پاے بوس سگا نش رسیدہ ای

O tall, coquettish beloved of mine; what change have you perceived in me?

 What has caused you to suddenly extinguish the benign light of your favors?

 First you displayed affection and whisked my heart away, and now;

What has occurred to make you withdraw the sight of your beauteous face?


Everyone buys slaves, paying handsomely in silver and gold.
Yet I am your slave, one that you bought free of cost.


It suffices my pride that I am a lowly dog living at your doorstep.
I am distinguished in the whole world, because you have blessed me with your pleasure.


Khusrau, you have reached great heights in your journey of love.
Now finally you are worthy of kissing the feet of the dogs of your beloved's alley.

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 The first is from 1969 and features the four scions of the Qawwal Bacchon Ka Gharana - Munshi Raziuddin Qawwal, Bahauddin Khan, Manzoor Ahmed Niazi and Iftekhar Ahmed Nizami - presenting the kallam in the mellifluous Raag Anandi. This is taken from the exquisite performance - all of which can be heard at Qaul - that I have listened to hundreds of times and still can't get enough of. The slow, contemplative build-up, Bahauddin Khan's brilliant changes of taal and the brilliant collaborative singing make it an absolute gem. I have tweaked the recording a bit to equalize the sound and bring out the vocals. It is unquestionably one of my most favorite Qawwali recordings.

The second recording is by Haji Mehboob Qawwal from the seventies. A departure from Haji saheb's usual declarative style of singing, this version features no girahs. A stately mid-tempo arrangement interspersed with Haji Mushtaq's alaaps and short but beautiful takraars, it makes for delightful listening. Another recording that I've listened to hundreds of times, it ranks with the above recording among my most favorite ones.

P.S, If anyone can improve on my rather primitive translation, please feel free to do so in the comments.