BB King passed away today at the age of 89. Rest in peace sir, and thank you !
Random ravings of an exile from the past...
Showing posts with label Videos. Show all posts
Showing posts with label Videos. Show all posts
Friday, May 15, 2015
Wednesday, November 19, 2014
....Of A Broke Down Engine
This is an updated version of a post originally published in January 2009. I haven't altered the text, only added some recently found recordings.
Blind Willie McTell sang,
"Feel like a broke-down engine, ain't got no drivin' wheel,
Feel like a broke-down engine, ain't got no drivin' wheel.
You all been down and lonesome, you know just how a poor man feels."
I don't know how many have been down and lonesome, but I'm pretty sure everyone's had the winter blues. There's sleet, fog, rain and ovaltine....perfect ingredients for perfect winter days, but somehow or the other the ennui and the gosh-awful lethargy take complete control and the cocooning starts again. A week and a half of indifferent academic mash-ups has brought forth the second long-weekend in a span of four days. Usually, a flurry of study, movie watching, downloading or a hastily hiccupped blog-post mark each one of these increasingly rarer moments of freedom.
As this time it was the Ashura holiday, naturally no extravagances can be planned, which greatly limits my options. So I've been forced to restrict myself to downloading things for later and trying (unsuccessfully) to study. On any normal day, being home alone would mean a binge of colossal proportions, but this time, despite my folks (and the domestic help) being away, there being no loadshedding ( ???) for the past 36 hours and perfect weather, I'm wrapped up in my cocoon and sipping away at ovaltine....
To get to the point of this post, here's a bunch of absolute gems I found at Youtube. The proverb "It never rains, it pours" could also apply here. After listening to it once or twice on radio (Cloud 89 on CityFM89 to be exact) I was madly in search of this.....
And when I finally found it, there was a whole treasure trove to go along with it.
There's this...
And this ....
And finally, this piece of utter brilliance ...
I'd rather not label these - if anyone's curious enough, they can be sure of a treat...
This is where the original post ended. Here are the two missing pieces of the puzzle. Once again, no labels on any of the videos.
Missing piece number five ...
Sunday, May 18, 2014
...Of A Sideman Par Excellence
I should append a disclaimer at the start of this post saying that this is one for dyed in the wool, hardcore Qawwali enthusiasts only; but that would discourage someone who like me six or seven ago, isn't a dyed in the wool, hardcore Qawwali enthusiast. So enter all ye who dare, but be warned, what follows includes scratchy, lengthy, low audio quality recordings of *somewhat* obscure artists. But if like me (and Ahmed Faraz) you believe that "Khazaanae tujhe mumkin hai kharaabon maen milaen", then read on. Also, there is a fair number of embedded Youtube videos, so my Pakistani friends will have to resort to a proxy to properly access the post. Moving on ...
The more I think about it, the more similarities I seem to find between Qawwali and Jazz. To name a few, both are improvisational, collaborative artforms - in fact, the collaborative nature of both elevates them from the status of simple 'music'. In each, a group of performers consciously or unconsciously molds a performance to give it their own unique "spin", both rely on a set of "Standards" which are interpreted by each artist according to their own personality, both have the capacity for extemporaneous innovation according to the needs of the performance and the history of both is defined by stellar ensembles led by supremely talented musical innovators ; The Duke Ellington Orchestra, Fateh Ali-Mubarak Ali Qawwal and Party, Art Blakey and the Jazz Messengers, The Sabri Brothers Ensemble, The Dave Brubeck Quartet, Nusrat Fateh Ali Khan Qawwal &; Party. The list goes on.
What characterizes these brilliant ensembles is the remarkable musical synergy that transformed each group from a collection of heterogeneous performers into almost an organic whole. This had much to do with the supremely gifted performers who led the groups and lent their names to the ensembles. But an equal (and in some cases, greater) share goes to some of the individual members who made their own extraordinary talents subservient to the group and decided to forgo individual glory in favor of group performance. Later, many of them became wonderful ensemble leaders in their own right. As in jazz, Qawwali is blessed with quite a few of them. Art Blakey had Horace Silver and Keith Jarrett, Kallan Khan Qawwal had Ghulam Fareed Sabri; Benny Goodman had Jack Teagarden, The Bakhshi Salamat Qawwal Ensemble had Sadiq Ali Saddo and Mubarak Ali Khan, Duke Ellington had Johnny Hodges, Nusrat Fateh Ali Khan had Farrukh Fateh Ali Khan. Again, the list goes on.
Unlike Jazz however, there is little history of collaborative 'jam sessions' amongst various Qawwali groups; musicians generally performed within their group throughout their careers, with leaders changing after the death/departure of previous leaders. As a result, we don't have any recordings of say, Haji Maqbool Sabri sitting in with Nusrat's group, or Farrukh Fateh Ali Khan lending his voiceto Munshi Raziuddin's party. Jazz has many such collaborations and is eminently enriched by them. There is however one glaring, glittering exception to the rule; and he is the subject of this post.
One of the great Qawwali parties of the twentieth century, and one of my absolute top 5 favorites (if I permit myself a little High Fidelity listmaking) was led by Agha Rasheed Ahmad Fareedi Qawwal. On the Tabla, Ustad Naseeb Khan, on the second harmonium and co-vocals in later years he had the phenomenal Mubarak Ali "Maakha" Lahoriya, and on first harmonium and co-vocals, one of the great voices of Qawwali, Rasheed Ahmad Fareedi's younger brother Ustad Majeed Ahmad Fareedi Qawwal.
O.P Nayyar described Shamshad Begum's voice as being like a Temple bell. Majeed Fareedi's voice was like a razor's edge; clear, sharp, distinctive, eminently malleable and tremendously effective. His was one of the very first voices I heard when I started taking an interest in Qawwali, and I remain a fan to this day.
In my long and rather aimless preamble about sidemen in Jazz and Qawwali, I mentioned that Majeed Ahmad Fareedi was the exception to the rule. That's because unlike most of his peers, Majeed regularly appears on recordings by other Qawwal groups. And unlike Woody Allen's Zelig, who would lose himself in each new surrounding, Majeed manages to retain his unique individuality and while doing so, enriches the whole recording. What follows is a selection of recordings featuring Ustad Majeed Ahmad Fareedi Qawwal, either performing in his brother's Qawwal party or sitting in with other groups, his virtuosity on vocals and the harmonium on full display.
1. Khol Aankh Zameen Dekh - Agha Rasheed Ahmad Fareedi Qawwal And Party
3. Kaahnon Yaar Da Vichora Saanu Paaya - Agha Rasheed Ahmad Fareedi Qawwal And Party
The more I think about it, the more similarities I seem to find between Qawwali and Jazz. To name a few, both are improvisational, collaborative artforms - in fact, the collaborative nature of both elevates them from the status of simple 'music'. In each, a group of performers consciously or unconsciously molds a performance to give it their own unique "spin", both rely on a set of "Standards" which are interpreted by each artist according to their own personality, both have the capacity for extemporaneous innovation according to the needs of the performance and the history of both is defined by stellar ensembles led by supremely talented musical innovators ; The Duke Ellington Orchestra, Fateh Ali-Mubarak Ali Qawwal and Party, Art Blakey and the Jazz Messengers, The Sabri Brothers Ensemble, The Dave Brubeck Quartet, Nusrat Fateh Ali Khan Qawwal &; Party. The list goes on.
What characterizes these brilliant ensembles is the remarkable musical synergy that transformed each group from a collection of heterogeneous performers into almost an organic whole. This had much to do with the supremely gifted performers who led the groups and lent their names to the ensembles. But an equal (and in some cases, greater) share goes to some of the individual members who made their own extraordinary talents subservient to the group and decided to forgo individual glory in favor of group performance. Later, many of them became wonderful ensemble leaders in their own right. As in jazz, Qawwali is blessed with quite a few of them. Art Blakey had Horace Silver and Keith Jarrett, Kallan Khan Qawwal had Ghulam Fareed Sabri; Benny Goodman had Jack Teagarden, The Bakhshi Salamat Qawwal Ensemble had Sadiq Ali Saddo and Mubarak Ali Khan, Duke Ellington had Johnny Hodges, Nusrat Fateh Ali Khan had Farrukh Fateh Ali Khan. Again, the list goes on.
Unlike Jazz however, there is little history of collaborative 'jam sessions' amongst various Qawwali groups; musicians generally performed within their group throughout their careers, with leaders changing after the death/departure of previous leaders. As a result, we don't have any recordings of say, Haji Maqbool Sabri sitting in with Nusrat's group, or Farrukh Fateh Ali Khan lending his voiceto Munshi Raziuddin's party. Jazz has many such collaborations and is eminently enriched by them. There is however one glaring, glittering exception to the rule; and he is the subject of this post.
One of the great Qawwali parties of the twentieth century, and one of my absolute top 5 favorites (if I permit myself a little High Fidelity listmaking) was led by Agha Rasheed Ahmad Fareedi Qawwal. On the Tabla, Ustad Naseeb Khan, on the second harmonium and co-vocals in later years he had the phenomenal Mubarak Ali "Maakha" Lahoriya, and on first harmonium and co-vocals, one of the great voices of Qawwali, Rasheed Ahmad Fareedi's younger brother Ustad Majeed Ahmad Fareedi Qawwal.
I must admit that I am very shaky on the biographical details of Majeed Ahmad Fareedi. He was born in the early 1930s and passed away four or five years ago. He was the nephew of Ustad Muhammad Ali Fareedi and hence a cousin to Abdul Raheem Fareedi. He along with his elder brother Rasheed were pupils of Ustads Fateh Ali-Mubarak Ali Qawwal (and especially favorite pupils at that). He performed most of his life with Agha Rasheed's party, and after Rasheed Fareedi's death in 1986, spent some time touring with his cousin Abdul Rahim Fareedi's party. Rasheed and Majeed, being devotees of Hz Babuji (RA), had a special affinity with Golra Sharif and a close friendship with Haji Mahboob Ali Qawwal (RA). the Darbari Qawwal at Golra. After Haji Mahboob Sb's death, Majeed settled in Golra and with Haji Sb's younger brother Mushtaq Ali Qawwal (himself an eminently talented sideman), took over the Qawwali duties at the shrine. After Mushtaq Ali's death, Majeed stayed on and taught the current darbaari qawwal of Golra, Billa Qawwal. Majeed Ahmad Fareedi Qawwal passed away almost four years ago.
Performing with an artist of the stature of Agha Rasheed Fareedi Qawwal would've been too much of a task for a lesser artist, but Majeed Ahmad Fareedi ably accompanied not only his brother, but many other performers as well. In a career spanning more than half a century, Majeed Fareedi performed with many other Qawwali ensembles, both before and after his the dissolution of his brother's Qawwali party following his death. Among all the various qawwali sidemen, he is by far my favorite. First and foremost, Majeed Ahmad Fareedi was a consummate harmonium player, taught by Ustad Salamat Ali khan, the younger brother of Fateh Ali-Mubarak Ali Khan. He arranged most of his party's repertoire and could accompany any vocalist with great skill. Being lead harmonium, he was the driving force of the qawwali party, deftly managing changes in key and scale. Second, he was a highly gifted, and extremely well-trained singer, his voice clearly showing signs of Mubarak Ali Khan's tutelage. His vocal delivery was wonderful, but what set him apart - and what made him one of my favorite Qawwals - was his supreme taan-kaari. His vacillating taans are a joy to behold, and intricate sargams and taans are rendered with such aplomb that the listeners are transported. Agha Rasheed Fareedi used to say, "If it were up to me, the audience would leave with their clothes in tatters", and a fair bit of said tattering was achieved by Majeed Ahmad Fareedi. Later, when their group was joined by another musical heavyweight (pun intended) Mubarak Ali 'Maakha" Lahori, the sargam/taankaari battles between the two harmonium players were the highlight of the performance, whipping audiences into a frenzy.
O.P Nayyar described Shamshad Begum's voice as being like a Temple bell. Majeed Fareedi's voice was like a razor's edge; clear, sharp, distinctive, eminently malleable and tremendously effective. His was one of the very first voices I heard when I started taking an interest in Qawwali, and I remain a fan to this day.
In my long and rather aimless preamble about sidemen in Jazz and Qawwali, I mentioned that Majeed Ahmad Fareedi was the exception to the rule. That's because unlike most of his peers, Majeed regularly appears on recordings by other Qawwal groups. And unlike Woody Allen's Zelig, who would lose himself in each new surrounding, Majeed manages to retain his unique individuality and while doing so, enriches the whole recording. What follows is a selection of recordings featuring Ustad Majeed Ahmad Fareedi Qawwal, either performing in his brother's Qawwal party or sitting in with other groups, his virtuosity on vocals and the harmonium on full display.
3. Kaahnon Yaar Da Vichora Saanu Paaya - Agha Rasheed Ahmad Fareedi Qawwal And Party
4. Bun Ke Tasveer-e-Gham Reh Gaye - Abdul Rahim Fareedi Qawwal And Party
5. Kaddi Saaday Des Vi Aa Dhola - Mubarak Ali Niaz Ali Qawwal And Party
6. Haar Ve Jaani Raat Reh Pau - Manzoor Hussain Santoo Khan Qawwal And Party
7. Sambhal Kar Dekhna Barq-e-Tajalla Dekhne Waale - Haji Mahboob Ali Qawwal, with Agha Rasheed Ahmad Fareedi Qawwal And Party
8. Ajj Na Jaaveen Ve - Mubarak Ali "Maakha" Lahori and Majeed Ahmad Fareedi Qawwal
9. Main Issi Maen Shadmaan Hoon - Haji Mahboob Ali Qawwal
10. Khayal in Raag Suha Kaanhra - Agha Rasheed Ahmad Fareedi Qawwal And Party
I end this post by sharing a small collection of photographs spanning the career of Agha Rasheed Fareedi and Majeed Ahmad Fareedi Qawwal.
P.S I had not planned to include this recording in this post, in fact I didn't plan on sharing it at all. There were a number of reasons for it; first because it has been patched together from a number of low quality audio sources and I haven't been able to improve the quality despite a fair bit of editing. But the main reason was an intense personal attachment and a desire to be just a teensy bit selfish. This recording has always elicited a VERY strong emotional - would it be too pretentious to say 'spiritual' - response in me. Several times I have found myself either weeping uncontrollably or walking around in a dazed, shivering and disoriented state of mind after listening to it. I have always found this recording difficult to describe. It has been performed at an emotionally charged gathering, by a group of performers for whom the emotions hold greater power than the listeners. The voices, the style of singing, the whole aural landscape of this recording seems like it belongs to a different time, a different place. When I'd first heard it, I felt like an extraterrestrial being, stumbling onto the Golden Record placed in the Voyager 1 spacecraft and listening to Blind Willie Johnson's "Dark Was The Night". Here then is one final recording featuring Ustad Majeed Ahmad Fareedi , accompanying his ustad, Salamat Ali Khan, on the chehlum of his other ustad, Mubarak Ali Khan. The kalaam serves both as a Na'at, and as a eulogy, and is one of the most perfect examples of girah-bandi ever.
11. Teri Yaad Hai Mun Ka Chain Piya - Ustad Salamat Ali Khan, accompanied by Ustad Majeed Fareedi and others, at the Chehlum of Ustad Mubarak Ali Khan, 1971.
Thursday, July 12, 2012
...Of A Diamond In The Rough
Qawwali has been blessed with many unique voices. Some of them, like Nusrat's, Munshi Raziuddin's or Ghulam Fareed Sabri's, are justifiably well known. Others, like Murli Qawwal's, Mubarak Ali-Niaz Ali Qawwal's or Rasheed Ahmed Fareedi Qawwal's , are probably not as widely acclaimed as they ought to be. One of the most unique voices in Qawwali was that of Maulvi Ahmed Hassan Akhter Bheranwale Qawwal. Emotive, raspy, mellifluous, with the ability to elicit tons of feeling out of a few notes. He performed mainly in the '70s and 80's with his father - who I'm 90% sure was named Maulvi Akhtar Hassan Qawwal, feel free to correct me if I'm wrong - and his younger brother Maulvi Haider Hassan Qawwal, who currently performs with the remaining members of his elder brother's Qawwali party..
Maulvi Ahmed Hassan quit performing in the late 1980s, which is a real shame because he had a voice and a performance style that was second to none. Performing traditional sufi Kalam in Urdu and Farsi with the same verve and vigour as his Punjabi performances, Maulvi Ahmed Hassan was a true representative of the Punjabi school of Qawwali; imparting a distinctly earthy feel to whatever he sang. The studio recordings he made for OSA are brilliant, with my only gripe being the fact that the recordists didn't place a microphone in front of Maulvi Akhter Hassan, with the result that we can barely hear the senior Qawwal's voice in most of them. Below are some of the recordings of the Maulvi Ahmed Hassan Akhtar Bheranwale Qawwal party that I've managed to accumulate, and they display the group's wonderful command on Urdu/Farsi kalam. The credit for sharing some of these recordings goes to Arif Ali Khan Sb and my dear friend Pedro Ferrari .
Main Nazar Se Pi Raha Hoon, Yeh Samaa Badal Na Jaye
A languid mood pervades this very melodious ghazal.
Na Woh Iltefaat-e-Awwal, Na Nigah Main Barhami Hai
A stately start, with a wonderful shift in tempo and some beautiful girahs make this recording stand out.
.
Dikhla Ke Jhalak Tum Chup Hi Gaye
Sounding almost like a Punjabi 'Jhol', this recording features brilliant takraars and girahs.
Aamada Ba Qatle Man
The Qawwals perform Khusrau in this crusty but brilliant mehfil recording, imparting a Punjabi flavor to the Farsi kalam.
Kahoon Kaise Sakhi Ri Mohe Laaj Lage
Another wonderful prelude and a beautifully sustained takraar are the highlights of this PTV performance.
Dil Burd Az Man Di-Roz Shaamay
Adopting a more measured andaz, the qawwals start off this wonderful Farsi kalam with a beautiful preamble.
Finally, I'd like to share something really special. This is probably among my Top 5 most favorite Qawwali performances ever. If anyone ever wondered whether a Qawwali performance could "swing", this should dispel their doubts. The following performance perfectly encapsulates the Punjabi 'Ang' of Qawwali; a wonderful beat, vigorous taali, taans and alaaps that are imbued with the feel of the land, emphatic yet nuanced singing and a brilliant use of takraar and girah. I have to thank Pedro Ferrari for sharing this video with me and I'm immensely proud to share probably the only complete version of this remarkable performance available on the internet.
Aaja Hun Aaja Arabi Dholna
Some more of Maulvi Ahmed Hassan Bheranwale Qawwal's wonderful performances can be found Here, Here and Here.
Maulvi Ahmed Hassan quit performing in the late 1980s, which is a real shame because he had a voice and a performance style that was second to none. Performing traditional sufi Kalam in Urdu and Farsi with the same verve and vigour as his Punjabi performances, Maulvi Ahmed Hassan was a true representative of the Punjabi school of Qawwali; imparting a distinctly earthy feel to whatever he sang. The studio recordings he made for OSA are brilliant, with my only gripe being the fact that the recordists didn't place a microphone in front of Maulvi Akhter Hassan, with the result that we can barely hear the senior Qawwal's voice in most of them. Below are some of the recordings of the Maulvi Ahmed Hassan Akhtar Bheranwale Qawwal party that I've managed to accumulate, and they display the group's wonderful command on Urdu/Farsi kalam. The credit for sharing some of these recordings goes to Arif Ali Khan Sb and my dear friend Pedro Ferrari .
Main Nazar Se Pi Raha Hoon, Yeh Samaa Badal Na Jaye
A languid mood pervades this very melodious ghazal.
Na Woh Iltefaat-e-Awwal, Na Nigah Main Barhami Hai
A stately start, with a wonderful shift in tempo and some beautiful girahs make this recording stand out.
.
Dikhla Ke Jhalak Tum Chup Hi Gaye
Sounding almost like a Punjabi 'Jhol', this recording features brilliant takraars and girahs.
Aamada Ba Qatle Man
The Qawwals perform Khusrau in this crusty but brilliant mehfil recording, imparting a Punjabi flavor to the Farsi kalam.
Kahoon Kaise Sakhi Ri Mohe Laaj Lage
Another wonderful prelude and a beautifully sustained takraar are the highlights of this PTV performance.
Dil Burd Az Man Di-Roz Shaamay
Adopting a more measured andaz, the qawwals start off this wonderful Farsi kalam with a beautiful preamble.
Finally, I'd like to share something really special. This is probably among my Top 5 most favorite Qawwali performances ever. If anyone ever wondered whether a Qawwali performance could "swing", this should dispel their doubts. The following performance perfectly encapsulates the Punjabi 'Ang' of Qawwali; a wonderful beat, vigorous taali, taans and alaaps that are imbued with the feel of the land, emphatic yet nuanced singing and a brilliant use of takraar and girah. I have to thank Pedro Ferrari for sharing this video with me and I'm immensely proud to share probably the only complete version of this remarkable performance available on the internet.
Aaja Hun Aaja Arabi Dholna
Some more of Maulvi Ahmed Hassan Bheranwale Qawwal's wonderful performances can be found Here, Here and Here.
Thursday, July 5, 2012
...Of An Absolute Genius
This is an unqualified, unsolicited testimonial.
I think C Ramchandra was one of the greatest composers of Bollywood's golden age.
The inventiveness, freshness, melodiousness and how shall I put it, musicality of his compositions are second to none, and I'm absolutely, wholeheartedly in love with them; especially the ones he composed for Lata Mangeshkar, with whom he was reputed to have had a romantic attachment. Not even Madan Mohan's compositions seem as perfectly tailored for Lata's voice. Unfortunately he's not as well remembered as some of the other great composers of his age like Naushad, Shankar-Jaikishen, OP Nayyar, SD Burman etc. I'd rather let Youtube carry on from here, with some of my most favorite C Ramchandra compositions. Since there are dozens upon dozens of his compositions that I love, I'll limit myself to my ten most favorite ones, plus a bonus .
Katate Hain Dukh Main Yeh Din - Lata Mangeskar - Parchaiyyan 1952
An absolutely stunning composition with beautiful lyrics, sung by Lata in her most lilting voice.
Shaam Dhale Khirki Tale - Lata Mangeshkar & C Ramchandra - Albela 1951
Geeta Bali is one of my favorite actresses, and Bhagwandada's shuffle-dance is utterly charming.
Woh Hum Se Chup Hain, Hum Un Se Chup Hain - Lata Mangeshkar & C Ramchandra - Sargam 1950
One of the sweetest duets ever, and Raj Kapoor is unbelievably handsome here.
Dil Ki Duniya Basaa Ke Saanwariya - Lata Mangeshkar - Amardeep 1958
That little piano flourish at the beginning of every verse absolutely slays me.
Yeh Zindagi Ussi Ki Hai - Lata Mangeshkar - Anarkali - 1953
C Ramchandra shows his versatility by composing a beautiful, classical-inspired score, ala Naushad.
Main Jagoon Saari Raien - Lata Mangeshkar - Bahurani - 1963
An almost Madan Mohan like composition, with Lata's voice having matured from the shrillness of the '50s.
Bholi Soorat Dil Ke Khote - C Ramchandra & Lata Mangeshkar - Albela - 1951
The castanets, the flute intro, the shehnai, the beat on the tambourine, the utterly charming dance steps, this is one of my favorite songs.
Shola Jo Bharke - Lata Mangeshkar & C Ramchandra - Albela - 1951
Another classic from Albela - I could write a post with just songs from that one film, they're that awesome.
Abhi Shaam Ayegi Niklain Ge Taare - Lata Mangeshkar - Samadhi 1950
I used to have a childhood crush on Nalini Jaywant, it's not hard to figure out why.
Mohabbat Aisi Dharkan Hai - C Ramchandra - Anarkali - 1953
The great composer himself, singing one of his landmark compositions live.
And finally ... I found out very late the C Ramchandra-Lata combo was responsible for one of my dearest and sweetest childhood memories.
I think C Ramchandra was one of the greatest composers of Bollywood's golden age.
The inventiveness, freshness, melodiousness and how shall I put it, musicality of his compositions are second to none, and I'm absolutely, wholeheartedly in love with them; especially the ones he composed for Lata Mangeshkar, with whom he was reputed to have had a romantic attachment. Not even Madan Mohan's compositions seem as perfectly tailored for Lata's voice. Unfortunately he's not as well remembered as some of the other great composers of his age like Naushad, Shankar-Jaikishen, OP Nayyar, SD Burman etc. I'd rather let Youtube carry on from here, with some of my most favorite C Ramchandra compositions. Since there are dozens upon dozens of his compositions that I love, I'll limit myself to my ten most favorite ones, plus a bonus .
Katate Hain Dukh Main Yeh Din - Lata Mangeskar - Parchaiyyan 1952
An absolutely stunning composition with beautiful lyrics, sung by Lata in her most lilting voice.
Shaam Dhale Khirki Tale - Lata Mangeshkar & C Ramchandra - Albela 1951
Geeta Bali is one of my favorite actresses, and Bhagwandada's shuffle-dance is utterly charming.
Woh Hum Se Chup Hain, Hum Un Se Chup Hain - Lata Mangeshkar & C Ramchandra - Sargam 1950
One of the sweetest duets ever, and Raj Kapoor is unbelievably handsome here.
Dil Ki Duniya Basaa Ke Saanwariya - Lata Mangeshkar - Amardeep 1958
That little piano flourish at the beginning of every verse absolutely slays me.
Yeh Zindagi Ussi Ki Hai - Lata Mangeshkar - Anarkali - 1953
C Ramchandra shows his versatility by composing a beautiful, classical-inspired score, ala Naushad.
Main Jagoon Saari Raien - Lata Mangeshkar - Bahurani - 1963
An almost Madan Mohan like composition, with Lata's voice having matured from the shrillness of the '50s.
Bholi Soorat Dil Ke Khote - C Ramchandra & Lata Mangeshkar - Albela - 1951
The castanets, the flute intro, the shehnai, the beat on the tambourine, the utterly charming dance steps, this is one of my favorite songs.
Shola Jo Bharke - Lata Mangeshkar & C Ramchandra - Albela - 1951
Another classic from Albela - I could write a post with just songs from that one film, they're that awesome.
Abhi Shaam Ayegi Niklain Ge Taare - Lata Mangeshkar - Samadhi 1950
I used to have a childhood crush on Nalini Jaywant, it's not hard to figure out why.
Mohabbat Aisi Dharkan Hai - C Ramchandra - Anarkali - 1953
The great composer himself, singing one of his landmark compositions live.
And finally ... I found out very late the C Ramchandra-Lata combo was responsible for one of my dearest and sweetest childhood memories.
Tuesday, July 3, 2012
...Of The Raqs-e-Bismil, Punjabi Style
It's time for one of those posts again, the ones in which I take one of my favorite pieces from the classical Qawwali canon and share some of my favorite recordings of that kalam. Like I've probably written before, Qawwali is primarily a performer's art, and the standard songbook is open to endless interpretation. The vast Qawwali canon offers each performer ample opportunities to interpret each classical kalam in his own peculiar style, embellishing it with taans and girahs, incorporating other kalaams with similar themes or altering the traditional arrangement to bring out new meanings in the text. This enables each Qawwal to 'own' each kalam and imbue it with some of his own personality, thus making each performance of the same kalam distinct and unique.
Of all the kalaams in the Qawwali - or rather Sub-continental sufi - canon, no kalam is as easily recognizable as Hz Baba Bulleh Shah (RA)'s immortal Kafi, Tere Ishq Nachaya Kar Thaiyya Thaiyya. It has been performed innumerable times by qawwals, folk musicians, pop singers, playback singers and what not. This paean to love's intoxicating power is probably the most widely performed kalam in the Sufi canon, and as is the wont of Qawwals, each Qawwal of note- or each group of Qawwals - has performed it in their own distinct 'andaz', making the piece their own. Unlike the kalams I've shared in posts of a similar nature, this kalam is unique in that it is part of the Punjabi Sufi canon, therefore it has most expertly been performed by Qawwals that are either from the Punjab or have incorporated the Punjabi sensibility into their performance style. The Punjabi sensibility being an emphasis on takraar, a vigorous 'Taali' and Tabla/Dholak accompaniment and heavy borrowing from the Punjabi sufi canon for girahs etc.
The exact words of the original kalam as written by Hz Baba Bulleh Shah (RA) are slightly modified by each performer, all the while keeping the meanings and the spirit of the original kalam intact. The kalam as written by Hz Bulleh Shah (RA) along with my attempt at a translation is as follows.
Your Love Has Made Me Dance
Your love has made me dance.
Your love has made a place in my heart;
See how I have drained the cup of hemlock
Do not tarry now o Physician !, or I am lost!
Your love has made me dance.
The sun has set, dusk settles on the sky;
My life!, My life for another glimpse of your countenance.
I erred when you called me and I did not follow you.
Your love has made me dance.
Mother, do not deter me from my obsession;
No one can bring back to shore, a boat that has been swept away by the current.
My mind had deserted me when I decided not to go with my beloved.
Your love has made me dance.
A peacock sings in the garden of my love;
Although the arrangement and composition used by most Qawwals is more or less the same, there are two slightly different arrangements with a slight alteration in the text. One arrangement, which is followed by some Qawwals and the majority of non-Qawwal performers of this kalam, uses the standard 'Tere Ishq Nachaya' - Your love has made me dance , while the other group of Qawwals, mostly those who learned from or were influenced by Fateh Ali-Mubarak Ali Khan Qawwals, use the slightly altered passive-voice opening 'Tere Main Ishq Ne Nachaiyaan' - I have been made to dance by your love. I'm slightly partial to the second arrangement, for its hint of submission to the beloved and because the arrangement imparts a more stately and subdued air to the piece, especially at the beginning. One final word before we begin, this post does not claim to share the best renditions of this kalam, nor the most representative ones; some of these are screechy, others may be too long or too short, the only criteria for inclusion in this post is that of all the versions of this kalam, I love these the best.
The first recording is by Farid Ayaz, Abu Muhammad Qawwal And Brothers. Although their illustrious father, Munshi Raziuddin Ahmed Sb didn't include many Punjabi kalams in his repertoire, concentrating instead on canonical Farsi and Urdu pieces, Farid Ayaz, Abu Muhammad And Bros have incorporated a wide number of influences; Punjabi, Seraiki and Sindhi into their performance style. Their performance of this kalam is spirited, with excellent 'Taali' and backing vocals. One of the standouts of their performance is the brilliant girah that I've heard inserted by this group only;
Yaar de agg'ay sajda karday Mullah dar'day vekhay
Apna yaar manaavan la'iee asaan Sayyad nachday vekhay
We've seen clerics shy from prostrating themselves in front of the Beloved;
We've seen Sayyids dancing before their beloved, hoping for forgiveness.
This verse alludes to the relationship between Hz Baba Bulleh Shah (RA) who was a Sayyid - a descendant of the Prophet (SAW) and his Pir, Hz Shah Inayat Qadri (RA) who was an Ara'ien - a lesser caste that engaged in agriculture and menial occupations. When Hz Bulleh Shah accepted Shah Inayat as his Pir, his Sayyid relations were outraged at the fact that one of the Prophet's descendants was acquiescing to a member of a lowly cast. But Hz Bulleh Shah (RA) paid no heed to the protestations of his peers and devoted himself to the love of his spiritual guide.
Further Punjabi and Urdu girahs, including another one of Hz Baba Bulleh Shah's kafis, further embellish the kalam. The non-native Punjabi accent and the obvious delight the Qawwals take in their presentation add a certain charm to this performance.
Of all the kalaams in the Qawwali - or rather Sub-continental sufi - canon, no kalam is as easily recognizable as Hz Baba Bulleh Shah (RA)'s immortal Kafi, Tere Ishq Nachaya Kar Thaiyya Thaiyya. It has been performed innumerable times by qawwals, folk musicians, pop singers, playback singers and what not. This paean to love's intoxicating power is probably the most widely performed kalam in the Sufi canon, and as is the wont of Qawwals, each Qawwal of note- or each group of Qawwals - has performed it in their own distinct 'andaz', making the piece their own. Unlike the kalams I've shared in posts of a similar nature, this kalam is unique in that it is part of the Punjabi Sufi canon, therefore it has most expertly been performed by Qawwals that are either from the Punjab or have incorporated the Punjabi sensibility into their performance style. The Punjabi sensibility being an emphasis on takraar, a vigorous 'Taali' and Tabla/Dholak accompaniment and heavy borrowing from the Punjabi sufi canon for girahs etc.
The exact words of the original kalam as written by Hz Baba Bulleh Shah (RA) are slightly modified by each performer, all the while keeping the meanings and the spirit of the original kalam intact. The kalam as written by Hz Bulleh Shah (RA) along with my attempt at a translation is as follows.
Your love has made me dance.
Your love has made a place in my heart;
See how I have drained the cup of hemlock
Do not tarry now o Physician !, or I am lost!
Your love has made me dance.
The sun has set, dusk settles on the sky;
My life!, My life for another glimpse of your countenance.
I erred when you called me and I did not follow you.
Your love has made me dance.
Mother, do not deter me from my obsession;
No one can bring back to shore, a boat that has been swept away by the current.
My mind had deserted me when I decided not to go with my beloved.
Your love has made me dance.
A peacock sings in the garden of my love;
I see my Ka'aba, my Qibla in the countenance of my beloved.
The one who wounded my heart and left me, never to look back.
Your love has made me dance.
My Lord finally brought me to Shah Inayat's door;
Who robed me in garments of green and red.
As soon as I began my dance, Lo ! I found my beloved.
Your love has made me dance.
Although the arrangement and composition used by most Qawwals is more or less the same, there are two slightly different arrangements with a slight alteration in the text. One arrangement, which is followed by some Qawwals and the majority of non-Qawwal performers of this kalam, uses the standard 'Tere Ishq Nachaya' - Your love has made me dance , while the other group of Qawwals, mostly those who learned from or were influenced by Fateh Ali-Mubarak Ali Khan Qawwals, use the slightly altered passive-voice opening 'Tere Main Ishq Ne Nachaiyaan' - I have been made to dance by your love. I'm slightly partial to the second arrangement, for its hint of submission to the beloved and because the arrangement imparts a more stately and subdued air to the piece, especially at the beginning. One final word before we begin, this post does not claim to share the best renditions of this kalam, nor the most representative ones; some of these are screechy, others may be too long or too short, the only criteria for inclusion in this post is that of all the versions of this kalam, I love these the best.
The first recording is by Farid Ayaz, Abu Muhammad Qawwal And Brothers. Although their illustrious father, Munshi Raziuddin Ahmed Sb didn't include many Punjabi kalams in his repertoire, concentrating instead on canonical Farsi and Urdu pieces, Farid Ayaz, Abu Muhammad And Bros have incorporated a wide number of influences; Punjabi, Seraiki and Sindhi into their performance style. Their performance of this kalam is spirited, with excellent 'Taali' and backing vocals. One of the standouts of their performance is the brilliant girah that I've heard inserted by this group only;
Yaar de agg'ay sajda karday Mullah dar'day vekhay
Apna yaar manaavan la'iee asaan Sayyad nachday vekhay
We've seen clerics shy from prostrating themselves in front of the Beloved;
We've seen Sayyids dancing before their beloved, hoping for forgiveness.
This verse alludes to the relationship between Hz Baba Bulleh Shah (RA) who was a Sayyid - a descendant of the Prophet (SAW) and his Pir, Hz Shah Inayat Qadri (RA) who was an Ara'ien - a lesser caste that engaged in agriculture and menial occupations. When Hz Bulleh Shah accepted Shah Inayat as his Pir, his Sayyid relations were outraged at the fact that one of the Prophet's descendants was acquiescing to a member of a lowly cast. But Hz Bulleh Shah (RA) paid no heed to the protestations of his peers and devoted himself to the love of his spiritual guide.
Further Punjabi and Urdu girahs, including another one of Hz Baba Bulleh Shah's kafis, further embellish the kalam. The non-native Punjabi accent and the obvious delight the Qawwals take in their presentation add a certain charm to this performance.
The second performance is one of my very favorite performances, not only of this kalam, but of Qawwali as well. It is a -horror of horrors- Filmi Qawwali. Qawwalis in films are generally frowned upon by serious Qawwali afficionadoes because they're either prefab,lipsynched and soulless affairs or those Sawal-Jawab, Male v/s Female qawwali muqablas that are the hallmark of the Bhendi Bazar Bombay school of Qawwali. Yet there are a few exceptions that prove that when done tastefully, Qawwali can have an enormous impact in film. The following performance is one such exception; sung by one of my personal heroes, the singer/actor/filmmaker/poet/politician/scholar Inayat Hussain Bhatti Sb, accompanied by two of the most distinctive voices in Pakistani music, the legendary folksinger Saieen Akhtar and the unbelievably melodious playback singer Munir Hussain . The fact that a single recording combines three of the greatest voices in Pakistan's history would be enough for it to become one of my very favorites, but this recording goes one step further.
From the 1964 Punjabi hit Waris Shah, produced by and starring Inayat Hussain Bhatti Sb as the eponymous Sufi poet, this recording is a bona-fide qawwali. There are two sarangis, there are two main vocalists, there are girahs and takraars, and there is a world of feeling. What I love is that Saieen Akhtar is lipsynching his own voice, so we get to see the intricate hand-movements that he used to do while performing. The arrangement is up-tempo and the sarangis provide wonderful accompaniment. The hallmarks of this performance are the voices of the singers, with their taans and alaaps displaying the range and dexterity they possessed. Bhatti Sb starts the doha with the first verse, Saieen Akhtar supplies the second, and we're off ! My favorite moment in this performance is at the 4:41 mark when Munir Hussain delivers the first verse of a beautiful girah in his wonderfully sweet voice, the second verse of which is supplied by Bhatti Sb. That one verse is the sole contribution of Munir Hussain in this performance, but what a contribution.
Maa Peo kolo'n luk luk rovaan kar kar lakh bahanay
Bulleh Shah je milay pyara, main lakh karaan shukraanay
I cry in secret, hiding my tears from my mother and my father, making thousands of excuses.
O Bulleh Shah, if only my beloved would return, I would spend a thousand years in thankfulness!
This short performance ends with one final girah and a couple of vacillating taans from Bhatti Sb, before winding down to it's conclusion.
The above two recordings were examples of the more commonly used arrangement of this kalam. The remaining recordings share the second arrangement.
Among the many shagirds of Fateh Ali-Mubarak Ali Khan, the foremost was of course Nusrat Fateh Ali Khan. He spent precious few years in the tutelage of his father, with the bulk of his training taking place under his uncle Mubarak Ali Khan; thus his style encompassed the vociferous, spirited delivery of Fateh Ali Khan and the vocal dexterity of Mubarak Ali Khan. Even though he brought many innovations to Qawwali, abandoning older arrangements for new ones, combining girahs and sargams in a unique way, in many instances he preferred the more traditional, classical arrangements of kalams, to spectacular effect. The following recording features Nusrat Fateh Ali Khan and, in my opinion, the best version of his frequently evolving party. Farrukh Fateh Ali Khan is on first harmonium, Mujahid Mubarak Ali Khan is on 2nd vocals, Atta Fareed on 2nd harmonium and Maqsood Hussain on 3rd vocals. A famous quatrain of Hz Baba Bulleh Shah (RA) leads directly to the kalam, and we can see how the slight alteration in the words and arrangement lends a different air to the kalam. All the vocalists share taans and alaaps as the Qawwals incorporate another canonical Qawwali text - Nami Danam Ke Aakhir Choon Dam'e Deedar Mi Raqsam by Hz Usman Harooni (RA) - into the performance. The unique feature here is that Nusrat also includes the beautifully translated Punjabi version of the kalam as well. As the tempo slowly builds and the Qawwals find their groove, launching into mini-takraars, another pretty characteristic feature of Nusrat's performances in England presents itself; drunk uncles dancing and swaying in front of the stage. I've always been very fond of Mujahid Mubarak Ali Khan and have felt that more often than not he gets shortchanged in Nusrat's performances, but here he's participating in full force, engaging in vocal sawal-jawabs with his cousin and using his raspy voice and vociferous hand-movements to great effect. Clocking at over 40 minutes, this performance is a perfect example of how Nusrat managed to stay faithful to the classical idiom yet become such an explosively gifted public performer, how he kept an eye on the requirements of the kalam as well as a finger on the pulse of the audience, and in doing so went down as one of the greatest Qawwals in history.
Note : From here onwards, the recordings get screechier and hissier, you have been warned. If like me, you believe that 'Khazanay tujhe mumkin hai kharaabon main milain', proceed.
The next performance is by another illustrious shagird of Fateh Ali-Mubarak Ali Khan, and one of my personal favorite Qawwali groups,Bakhshi Salamat Qawwal And Party. Bakhshi Khan possessed a voice that was uncannily similar to his ustad Fateh Ali Khan, and in his brother Salamat Ali Khan and fellow vocalist Sadiq Ali "Saddo" Khan, his party had three of the most distinctive voices in Qawwali. I simply love this group. Their recording of this kalam begins with a wonderful flute sazeena, followed by a drop-dead gorgeous quatrain of Hz Khwaja Ghulam Fareed (RA)
Aih dukh yaar Ranjhaitray walay, assan haar wangoon gul paaye
Hik hik dard mahi de utte, sau sukh mol gawa'ey
Jinhaan dardaan vich mera mahi raazi, shala oh dard raihn sawaaye
Ghulam Farida ! Oh dard salamat jinhaan dardaan yaar milaye
All the sorrows that my Ranjha gave me, i've worn around my neck like a necklace
For each one of these sorrows, I've sacrificed thousands of moments of happiness.
If my beloved is gladdened by my sorrows, let them remain with me till eternity;
Ghulam Farid, May God bless these sorrows, for they have brought me close to my Love.
The main kalam is then embellished with taans and zamzamas by Salamat Ali and Saddo Khan, while the flute weaves in and out of the melody. Selections from kafis of Khwaja Ghulam Fareed and Baba Bulleh Shah are used as a girahs. The tempo and the handclaps remain unflagging as the qawwals power through the kalam, creating mini-takraars out of every other verse before finally winding down and ending the kalam at the 13 and a half minute mark.
Another preternaturally gifted shagird of Fateh Ali-Mubarak Ali Qawwal was the late Agha Rasheed Ahmed Fareedi Qawwal. A contemporary of Nusrat, he preferred continuing in the tradition of Khanqahi qawwali over attempting excessive innovations and remained till his death in the late nineteen-eighties, one of the foremost khanqahi qawwals of Pakistan. His primary performance venue was Hz Baba Farid (RA)'s shrine at Pakpattan, where this following performance was recorded. Starting with the voice of Agha Majeed Fareedi and Rasheed Fareedi Sb delivering one of Baba Bulleh Shah (RA)'s most famous kafis, the qawwals linger on the phrase 'mera peer manay', invoking their patron saint, Hz Baba Farid RA with a series of very choice girahs. The main kalam is presented with an arrangement combining the two previously mentioned ones as the tempo builds very slowly and gradually. The qawwals take their time on each verse, creating takraars and then lingering on them till the listeners have had their fill. They also incorporate Hz Usman Harooni (RA)'s kalam and its Punjabi translation; offering protracted takraars on various verses and further girahs on those takraars, as the tempo increases, especially a seven to eight minute takraar on the phrase 'Biya janaan'. These are followed by a series of trademark sargams by Fareedi Sb and his accompanist Mubarak Ali 'Makha' Lahori, which gradually morph into another takraar. These long takrars are a hallmark of Fareedi Sb's performance style, he used these takraars to imperceptibly enhance the state of emotional agitation felt by his listeners to a point where, in his own words" Mera vass challay te aithay saareyaan de kapray paar ke utthaan" - If it were up to me, the audience would leave with their clothes in tatters. Incorporating a kalam made famous by Nusrat - 'Akkhiyaan Udeekdian' and following it with another wonderful sargam,which morphs into another supplication to the saint, the kalam ends just when the tempo can go no higher, bringing a whirlwind performance to a close.
I must mention here that Fareedi Sb's performance style, with its 8 and 10 minute long takraars, might not be to everyone's taste. Also, the pitch in this video is slightly off, making the recording slightly screechy. But I absolutely love it.
The final recording is one that I recently discovered, and I haven't been able to get over it. In fact, this recording prompted me to get busy with this long overdue post. One of the best kept secrets of Qawwali was the Mubarak Ali Niaz Ali Qawwal party. Mubarak Ali had a bullhorn of a voice that had the power to envelop the listener in a sonic stratosphere, he was accompanied by the piercing voice of Niaz Ali who played first harmonium, along with Tufail Khan and Gulloo Khan. Their studio recordings are few and far between but the few that remain are hair-raisingly good. I'm not aware if Mubarak Ali-Niaz Ali were shagirds of Fateh Ali-Mubarak Ali Qawwals, but they follow the arrangement favored by the other shagirds. I could've posted their excellent studio recording of this kalam, in fact I was going to, until I found this one. For one thing, live video recordings of thegroup are very rare, and for another, this is one absolutely kickass performance, which encompasses all the things i love about traditional Punjabi Qawwali. Observe for example the setting; the qawwals are seated on a platform constructed from bricks with a rug thrown over it, the stage isn't large enough to allow all the main performers to sit up front. The venue is open-air, under a shamiaana, with the audience surrounding the qawwals. The performance begins with a beautiful pair of dohas by Hz Khwaja Ghulam Fareed (RA), and the qawwals are off. I'm not going to waste much time on descriptions other than the fact that Mubarak Ali is one of the most animated, one of the most outstanding live performers I've ever seen, that the girahs inserted by the Qawwals, from kalams of baba Bulleh Shah (RA), Hz Baba Farid (RA), Hz Khwaja Ghulam Fareed (RA) and other canonical Punjabi poets, are some of the best I've ever heard (and are in the thaith-est Punjabi, which might make them hard to understand for listeners who don't have more than a passing knowledge of Punjabi). But for those who can understand and appreciate, or who make an effort to understand and appreciate, this recording is an absolute treasure.
N.B : In choosing a classical Punjabi kalam and focusing on performers who followed the Punjabi ang of Qawwali, I've allowed for the fact that many people might not find these recordings as wonderfully interesting as I do, but like I said at the start, of the dozens of recordings of this kalam, these are the ones I love.
Saturday, February 11, 2012
...Of Dargahs And Devotions
If I had a penny for every time someone's asked me variations on the following sequence of questions, I'd be a millionaire by now. The questions being...
"Where are you going ?"
"Data Darbar"
"Why?"
Rumors run rife among my friends and family as to what can my reasons be for frequenting Sufi shrines and Mazaars so often. According to some, I'm a hardcore dope-fiend who goes there to score. Others think I'm one of those multitudes who can be found 'maatha-taiking' and 'mannat maaning' at the graves of the Saints. Still others have the eerily accurate idea that a hardcore foodie like me goes there to sample the delights of the 'langar'.
My reasons are varied and even I'm not fully aware of them, but a few are very obvious. The places radiate peace and calm, there is an overpowering spiritual energy to them, they are perfect for contemplation and what people in my line of work call 'zeroing the bubble', and yes, the 'langar' food is brilliant. Another important reason is of course, the music. Almost invariably, the shrines that I've visited have had a tradition of regular musical performances that are carried out by a small, hereditary group of 'darbari' musicians. They vary from accomplished to inept, from crude to highly polished, but they share one common bond, the bond of devotion to their Dargaah and their 'Peer', and this devotion shines through in their performance, whether Qawwali, Kafi singing, Noha-khvaani or simple instrumental musical performances. Below is a selection of some of the many musical performances, both regularly held and impromptu, that I've come across in my travels around the various Sufi Shrines of Pakistan.
One of the first places I visited on my 'Great Roadtrip' across South Punjab was the Shah Rukne Alam (RA) shrine in Multan. One of the most easily identifiable landmarks of Pakistan, the beautiful shrine is normally a quiet, peaceful place. Music is generally not an important part of the 'Suhravardia' silsila's devotional practices, so it was a bit of a surprise for me when, sitting in the courtyard of the shrine, I heard a number of voices joined in a rather unusual chant. I immediately whipped out my cellphone and started recording. I found out later that it was a group of villagers from interior Sindh who regularly make the pilgrimage to the Saint's shrine to pray for bountiful crops, successful marriages and the birth of children.
Villagers chanting in prayer at the shrine of Shah Rukne Alam (RA)
Villagers chanting in prayer at the shrine of Shah Rukne Alam (RA)
Ucch Shareef is one of the most historically and culturally significant places in Pakistan, with Pre-Mughal tombs littering the landscape, nestled among scores of Sufi shrines, each with a unique history and a devoted flock of 'mureeds'. The birthplace of the great 'Pathanay Khan', the town also has a longstanding musical legacy. One of the many shrines in Ucch Shareef is the one belonging to the Naqshbandi saint Hz Mehboob-e-Subhani (RA), which was one of the noisiest, most interestingly populated places I've been to. There were children playing and crying, elders snoozing and eating, women knitting and chattering, and a group of seminary students reciting the Quran.In this astounding cacaphony were mingled the sounds of two local minstrels, a pair of wandering 'Noha-khvaans' who were singing a Seraiki 'Noha' or lament for the Shuhada of Karbala. An unusual style and beautiful language mixed with a unique 'takrar' based style make them two of the most unique performers I've heard.
Two wandering minstrels performing a 'Noha' at the 'Mehboob-e-Subhani' shrine at Ucch Shareef
Around six months ago, a friend received a rather anguished email from a Qawwal in which he lamented the 'disastrous decline of Qawwali' in Pakistan. I informed my friend that the reports of Qawwali's decline were greatly exaggerated and the genre was in fact, pretty healthy and more or less chugging along smoothly. The reason was that there's still a large number of 'Darbaari' qawwals who regularly perform at shrines all over Pakistan to undiminished audiences and who are still carrying out the task of propagating and transferring the wealth of devotional and musical treasures that Qawwali encompasses. Case in point is the following video. On a trip to Qasur, I made a detour to the hilltop shrine of Hz Kamal Chishti (RA). One has to climb at least two hundred steps to get to the shrine which overlooks the city of Qasur, a fact that ensures that the crowd of devotees is often very thin. On the day I went there, there was a small party of Qawwals performing there. They weren't musically very talented, the instruments were in a state of disrepair and there wasn't a soul in sight for them to perform for, yet they were singing away like nobody's business. And when I asked them if they knew anything in Farsi, they readily obliged ...
Qawwals at the shrine of Hz Kamal Chishti in Qasur
While on the subject of Qawwali, I've been lucky enough to have attended a fair number of mehfils, both private and in a Khanqahi setting. Each has its own pleasures, but I've always been partial to the Sufi kalam that's performed in a Khanqah. And of all the places I've been to, the one place that has proven to be an almost textbook example of what a Qawwali mehfil in a Khanqah should be is the daily Qawwali that takes place at the afternoon majlis at the shrine of Hz Pir Mher Ali Shah Sb (RA) in Golra Shareef. In a tradition that goes back to Hazrat Sb's own time, a daily Qawwali mehfil takes place at the shrine just before mid-day. The late, great Haji Mahboob Ali Sb (RA) performed in these mehfils for around forty years, and after his death the tradition was continued by his brother (and accompanist) Haji Mushtaq Qawwal. The current darbaari qawwal at the shrine is Billa Qawwal, who makes up in choice of kalaam and use of 'tazmeen' and 'gireh-bandi' what he lacks in classical musical training. All the requisites of khanqahi Qawwali are adhered to; the mehfil takes place in the presence of a Shaykh, in this case, Pir Mehr Ali Shah (RA)'s grandson, Hz Shah Abdul Haq Gilani, the attendees are respectful and discerning, the 'nazar' to the qawwals is given through the hands of one of the many important spiritual personages who attend, and the atmosphere is one of a spiritual "wa'az" or instruction.
Nasima - Billa Qawwal And Party at the Golra Sharif Shrine
The next video was recorded at what I can safely call the greatest day of my life. It wasn't the day I graduated, or the day I got accepted into Med school, or the day I got engaged (apologies to the future missus). It was the final day of my Great Roadtrip, when after having visited Multan, Bahawalpur, Ucch Shareef, Derawar and Dera Ghazi Khan, I made my way to the town of Mithankot to pay my respects at the shrine of one of the greatest of Sufi poets, Khwaja Ghulam Fareed (RA). Pathanay Khan and Zahida Parveen were playing in the car on my way there, and a large number of Khwaja Sb's Kaafis were written on the walls of the shrine. The obvious step after payng 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.
Kafi Khwaja Ghulam Fareed (RA) sung by Khwaja Sb's Khalifa
So there you have it. The secret's out and now whenever you see me heading out for another Sufi shrine, you'll know why I'm going there. I'm going there for spiritual solace, I'm going there out of curiosity and respect for the personage buried there, I'm going there because I've heard their langar is good. But I'm also going there in search of music, especially when it mixes with the rarefied atmosphere of a Dargah and produces moments of absolute joy like this one ....
Sunday, May 22, 2011
....Of Me And Mr. Dylan - 'Loyal And Much Loved Companions'
One of the things I credit Bob Dylan for is turning me into a musical expeditionary. Bob's music introduced me to an amazing selection of people and songs and stories that have given me countless hours of joy. This also had the serendipitous effect of steering me away from the cult of the rabid Dylan fans that Ron Rosenbaum has christened Bobdolators. Because a while into my newfound obsession I realized that Dylan, although the brightest star in the sky, wasn't the only one. Over the years, as I've explored more and more of the musical constellation that Dylan inhabits, I've found that he's surrounded by a large and diverse group of brilliant stars, each shining with it's own distinctive and brilliant light.
The first thing that got me exploring was 'Chronicles'. I'd known for a while that Dylan had written an autobiography but I wasn't sure if I could find it somewhere around Rawalpindi. An inquiry to a local bookstore in Islamabad revealed they stocked it, so I rushed there and got a paperback copy. Having read a number of celebrity biographies, I wasn't sure what to expect. But Dylan exceeded whatever expectations I might've or could've had. It is such an absolutely delicious book, and Dylan writes with the same distinctive style that populates his greatest songs. Both concealing and revealing according to the whims of it's author, Chronicles gave an insight more into Dylan's mind than to his life. If he was stingy in proving accurate details in tems of what-where and when, one thing he was generous in was paying tribute to musicians and artists who had inspired him. On and on he went, name checking everyone from Johnny Cash and Elvis to obscure artists like Karen Dalton and Slim Whitman. I knew I had to listen to these folks, these people who had left such an indelible mark on Dylan's life and music. I also realized at once that it was a nearly impossible task considering the sheer number of people Dylan had mentioned (conveniently and painstakingly listed here). But thanks to Chronicles, I discovered such jaw-droppingly magnificent singers like Karen Dalton (“My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday’s and played the guitar like Jimmy Reed.”), Johnny Ray, Lord Buckley, Dave Van Ronk and countless others.
It was around the same time that I watched Martin Scorcese's brilliant No Direction Home. To me, it was like the continuation of Chronicles. It was Dylan himself, telling his story with a little help from his friends. He was warm, funny and revealing. The archival footage and the interviews - some of them with people who had since then passed away - were phenominal. But what got me buzzed up were the painfully brief audio and video clips of the artists that had been associated with Dylan in one way or the other. Some of the artists and songs referenced in the film were absolutely breathtaking, and the minute I'd finished watching the film (and watching it a second time immediately after|), I set about trying to find recordings from the artists seen in those clips. Suffice to say that today I can't imagine not having the great Odetta , Muddy Waters , The Clancy Brothers And Tommy Makem or Hank Williams.
Most of the artists and songs that Dylan had introduced me to were people from Dylan's youth or from before his time, direct or indirect influences. It was partly because of my daily scouring of Expecting Rain that I started listening to Dylan's peers and contemporaries. I had only known Neil Young as the guy who sang 'Heart Of Gold', but I decided to give him a listen and I was blown away. Suffice to say that within two weeks, ol' Shakey was my hero and 'On The Beach' was one of my favorite albums (it still is). The first time I heard Tom Waits was one of the most earthshakingest experiences of my life, comparable to the first time I'd heard Dylan.These three -Dylan,Young and Waits- remain my musical Holy Trinity. Later, others joined in. Again, I was introduced to them because of their association with Bob. More often than not, they had the misfortune of being saddled with the title of 'the next Bob Dylan'. People like the amazing Townes van Zandt, Warren Zevon, Jeff Buckley, Jackson Browne, Tom Petty etc. Pretty soon, the Trinity had it's apostles and the church was rockin' down to it's foundations.
The final part of my musical education was again carried out by Dylan himself, in what must count among his greatest creations - your friendly DJ , spinnin' the tracks on arguably the greatest radio show ever - Theme Time Radio Hour. The artist name for TTRH on my iPod is 'Uncle Bob', and I think that's the persona Dylan adapted for the show. Since I couldn't get Sirius sattleite radio here in Pakistan, I religiously downloaded the shows on MP3 every week for two years, and they form a priceless part of what I'm not ashamed to call my 'musical education'. Dylan sang a capella , read recipes, mused on all topics under the sun, got taped messages from Tom Waits, and played music from his (and producer Eddie Gorodetsky's) record collection. In each show, I was gauranteed to find one or two absolutely hair raising performances, from artists as varied as Sister Rosetta Tharpe, The Clash, Charlie Parker, Elvis Costello and Los Lobos. It was ballsburstingly exciting for me to listen in each week and discover one brilliant artist after the other. Around the same time that a friend gave me the complete, 93 CD 'Blues Collection' that contained most of the more obscure artists Dylan played on his radio show. (Yes, my friends have impeccable taste). Since then' I've spent many a hour, enjoying the sheer brilliance of people like Professor Longhair, Screamin' Jay Hawkins, Tampa Red, Wynonie Harris et al.
The debt I owe to Dylan for directly or indirectly introducing me to this absolute musical treasure is enormous. It has provided me (and will continue to provide me) company and companionship in times of happiness, loneliness and sorrow. I can't imagine my life today without having listened to any of the artists mentioned above. On this 24th, when I think about Bob on his 70th birthday, I'll be sure to add another thank-you to a long list, a thank-you to Uncle Bob for introducing me to his 'loyal and much loved companions'.
Saturday, May 14, 2011
...Of Five Forgotten Voices
One of the many things I try in order to get myself out of ruts like the one I have been in for the past month and a half is to make lists. Lists help me organize the clutter that is my mind and provide me with rudimentary scaffolding on which I can string up the one or two ideas that I may have. More often than not, my blogger's block stems from having an excess of, rather than a dearth of ideas, topics and themes to write about. The photo/video studded posts about my Great Roadtrip remain unwritten, my photographing trips across Lahore remain undocumented and the long-brewing piece on Dylan languishes in the drafts (though that is something I should push to the front of the 'pending' cue given Bob's 70th birthday in less than two weeks time.) So today, on one of those rare occasions called 'a day off', I've decided to force myself to sit down and finish two posts that are all but complete and have only my extraordinary sloth to blame for being kept from the reading public.
The hallmark of a great book is that not only does it enlighten/entertain/inform during the read itself, it opens up new avenues of thought and exploration that go on long after the book's been read. Possibly my most rewarding read of the year has been Raza Ali Abidi's "Naghma Gar", an exhaustive history of songwriting and popular songs in the subcontinent. I've already written about one of the many amazing new songs/musicians/singers that I've discovered after reading about them in the book. A tangential effect has been a re-exploration of some of my favorite musical touchstones from the golden age of Sub-continental film music (which I now think spans three decades rather than just two). One of the things I discovered was that a lot of great music and great talent lies forgotten, and it's not just because of the dusts of time that cover it. Names like Lata Mangeshkar, Mukesh, Kishore Kumar and Rafi sahab, even Geeta Dutt, Manna Dey, Shamshad Begum etc are known to most people with mnore than a passing interest in old film music. But there are certain artists that were headed for obscurity even before their careers were over.
The history of Playback singing in Bollywood has been of two or three towering figures, with other artists restricted to secondary billing. There were Rafi, Kishore, Mukesh and Talat and there were the Mangeshkar sisters, and for all practical purposes, that was it. People like Hemant Kumar, Manna Dey, Bhupinder and Mahendra Kapoor among the men and Geeta Dutt, Suman Kalyanpur, Suraiyya, Shamshad Begum etc among the women were more like bit players in the industry and their contributions, though great, can not compare to the handful of "superstars" that reigned over Bollywood film music. An interesting observation is that there was still a sizeable number of men singing in Bollywood, with each having his own distinctive voice suited for his own type of song. Among the women, the story was different.
The arrival on the scene of Lata Mangeshkar (and what an arrival !!) in 1949 sounded the death knell for the careers of a number of playback singers who had been jointly ruling the roost since the mid '30s. Their more 'mature' voices soon lost favour with cinemagoers who preferred the sweeter, younger voice of Lata. Over the years, as the Mangeshkar sisters strengthened their hold over Bollywood playback, the careers of many promising singers fell by the way-side as a result of a combination of professional intrigue and audience tastes. Some names are still remembered as smaller stars on the firmament, but there are a few who shone so briefly that their names have all been forgotten. That is a pity, because even though they shone for a painfully brief moment, they produced a most brilliant light. What follows is a selection of performances from five of the most gifted singers ever to have sung playback, who are now sadly, all but forgotten.
Mubarak Begum
I first wrote about Mubarak Begum three years ago. At the time, she was living in absolute obscurity. At one time, she was among one of the most promising singers of Bollywood with a number of hits under her belt. But her fall into obscurity was sudden. When I heard of her, she was in her seventies, living in a one room house in the Bombay slums with a daughter who suffered from early onset Parkinson's and a son who barely made ends meet as a Taxi-driver. Thankfully, as a result of efforts of a number of her fans, she has been somewhat rehabilitated. She regularly performs and has a steady (though still small) source of income. I still remember the first time I heard her voice, it was hair-raising, crystal clear, sharp as a dagger and very mellifluous. I've heard a few of her other songs, but the one that still moves me the most is the first one I heard, "Kabhi Yanhaiyon Main Yun Hamari Yaad Ayegi" from the film "Hamari Yaad Ayegi". It's a haunting melody, and Mubarak sings it with immense feeling, making an obscure song from an obscure film by an obscure music director one of the great musical performances of the golden age of Playback.
The hallmark of a great book is that not only does it enlighten/entertain/inform during the read itself, it opens up new avenues of thought and exploration that go on long after the book's been read. Possibly my most rewarding read of the year has been Raza Ali Abidi's "Naghma Gar", an exhaustive history of songwriting and popular songs in the subcontinent. I've already written about one of the many amazing new songs/musicians/singers that I've discovered after reading about them in the book. A tangential effect has been a re-exploration of some of my favorite musical touchstones from the golden age of Sub-continental film music (which I now think spans three decades rather than just two). One of the things I discovered was that a lot of great music and great talent lies forgotten, and it's not just because of the dusts of time that cover it. Names like Lata Mangeshkar, Mukesh, Kishore Kumar and Rafi sahab, even Geeta Dutt, Manna Dey, Shamshad Begum etc are known to most people with mnore than a passing interest in old film music. But there are certain artists that were headed for obscurity even before their careers were over.
The history of Playback singing in Bollywood has been of two or three towering figures, with other artists restricted to secondary billing. There were Rafi, Kishore, Mukesh and Talat and there were the Mangeshkar sisters, and for all practical purposes, that was it. People like Hemant Kumar, Manna Dey, Bhupinder and Mahendra Kapoor among the men and Geeta Dutt, Suman Kalyanpur, Suraiyya, Shamshad Begum etc among the women were more like bit players in the industry and their contributions, though great, can not compare to the handful of "superstars" that reigned over Bollywood film music. An interesting observation is that there was still a sizeable number of men singing in Bollywood, with each having his own distinctive voice suited for his own type of song. Among the women, the story was different.
The arrival on the scene of Lata Mangeshkar (and what an arrival !!) in 1949 sounded the death knell for the careers of a number of playback singers who had been jointly ruling the roost since the mid '30s. Their more 'mature' voices soon lost favour with cinemagoers who preferred the sweeter, younger voice of Lata. Over the years, as the Mangeshkar sisters strengthened their hold over Bollywood playback, the careers of many promising singers fell by the way-side as a result of a combination of professional intrigue and audience tastes. Some names are still remembered as smaller stars on the firmament, but there are a few who shone so briefly that their names have all been forgotten. That is a pity, because even though they shone for a painfully brief moment, they produced a most brilliant light. What follows is a selection of performances from five of the most gifted singers ever to have sung playback, who are now sadly, all but forgotten.
I first wrote about Mubarak Begum three years ago. At the time, she was living in absolute obscurity. At one time, she was among one of the most promising singers of Bollywood with a number of hits under her belt. But her fall into obscurity was sudden. When I heard of her, she was in her seventies, living in a one room house in the Bombay slums with a daughter who suffered from early onset Parkinson's and a son who barely made ends meet as a Taxi-driver. Thankfully, as a result of efforts of a number of her fans, she has been somewhat rehabilitated. She regularly performs and has a steady (though still small) source of income. I still remember the first time I heard her voice, it was hair-raising, crystal clear, sharp as a dagger and very mellifluous. I've heard a few of her other songs, but the one that still moves me the most is the first one I heard, "Kabhi Yanhaiyon Main Yun Hamari Yaad Ayegi" from the film "Hamari Yaad Ayegi". It's a haunting melody, and Mubarak sings it with immense feeling, making an obscure song from an obscure film by an obscure music director one of the great musical performances of the golden age of Playback.
Jagjit Kaur
Jagjit Kaur kept on singing sporadically, again mainly compositions by her husband. Highlights from her later career include "Dekh Lo Aaj Hum Ko Ji Bhar Ke" from 1982's 'Bazar', which again featured brilliant Khayyam compositions, and her duet with Khayyam on his beautiful composition of Faiz Ahmed Faiz's "Kab Yaad Main Tera Saath Nahi".
Meena Kapoor
From the wife of one great music director to the wife of another. Meena Kapoor was a semi-successful playback singer who started her career in the late '40s. One of her earliest hits was from 1947's Shehnai, "Sunday Ke Sunday" the super-hit novelty/comedy number that Meena Kapoor sung with Shamshad Begum and the film's music director C. Ramchandra. Early in the fifties, she married the legendary composer Anil Biswas and all but left the film industry, instead dedvoting her time to her family. One of her greatest songs was "Kuch Aur Zaman Kehta Hai" for a film that was significant for a number of reasons. "Choti Choti Baatain" was the last film scored by Anil Biswas, it was a labour of love produced by one of Bollywood's greatest character actors, Motilal and starred him and
Zohrabai Ambalewali
The final artist in this list is the great Rajkumari, one of the most beautiful voices of Indian film. She started her career as a singing actress in the late '30s but soon had to quit acting because in her own words she 'couldn't keep herself off food' and gained a lot of weight. But a loss for the screen was a gain for the listening public as she concentrated on her voice and soon became one of the pre-eminent singers of the pre-partition era. After partition, her career slowed down to a few songs per year. She however had two superhit films to her credit in the immediate post-partition years, 1950's "Bawre Nain" in which she provided playback for the vivacious Geeta Bali, and 1949's Kamal Amrohi masterpiece "Mahal", a film that heralded a great change in the Indian film industry. It thrust a young Madhubala into superstardom and it provided Lata Mangeshkar with her first, career altering hit. Scored by the immensely talented Khemchand Prakash (who unfortunately died rather young), Mahal was an immaculately produced supernatural thriller and early Noir that still holds up more than 60 years later as one of the greatest films produced in the sub-continent. Rajkumari sang one of the film's, and indeed Indian cinema's most haunting songs, "Ghabra Ke Jo Hum Sar Ko Takrayen To Accha Ho"
Unfortunately, after Rajkumari's career fizzled out, she was reduced to penury and made her living singing in the backing choruses on film songs. It was while she was singing on the chorus for another great Kamal Amrohi film, 1972's "Pakeezah" that she was spotted by Naushad, who thought her condition exceedingly pitiful, having worked with her in her heydey. He offered her the chance to sing one of the thumris he had composed for the film and so Rajkumari sang for the first time in nearly two decades.
Rajkumari lived out her last days in strained circumstances, occasionally going on stage to perform songs from her golden days. She died in 2000 at a broken down house in Bombay.
As a footnote to this list of some of the greatest singers of the 20th Century is another song from Kamal Amrohi's Mahal. It is sung by two of the luminaries mentioned above, Zohrabai Ambalewali and Rajkumari. Everything that made the film a masterpiece is evident in the song - from the haunting melody to the brilliant cinematography to the expressive and emotive performances. Also, the song serves as a final glimpse at the passing parade of Old Bollywood at the brink of a major upheaval, when the faces, voices and names of the pre-partition era were suddenly thrust aside to make way for the new lot that was to rule sub-continental film for the next three decades.
Zohrabai Ambalewali And Rajkumari - "Yeh Raat Beet Jayegi, Jawani Phir Na Ayegi"
Sunday, March 27, 2011
...Of A Truly Amazing Find
Apart from one perfectly horrible day, the month of March has been extraordinarily kind to me. An amazing birthday has been followed by a torrent of wish-fulfillment. I've found some extraordinary things, some of which I had been searching for, for almost five years. These include the phenominal 13-part documentary on American silent film directed by Kevin Brownlow and the rare Jafar Hussain Khan Badayuni album I didn't have in my collection. Yesterday however, I found something absolutely phenominal.
One of the most informative and enjoyable books I've read in the recent past has been Raza Ali Abidi's "Naghma Gar" A history of Popular songs in 20th Century India, it is a labour of love that is a masterwork of scholarship as well as a highly enjoyable read. It has given me a new appreciation of the literally hundreds of songs that I've loved for years and years, introduced me to the characters behind the genesis of those immortal melodies from the golden age of Indian cinema as well as introduced me to artists, lyricists and composers that I hadn't paid sufficient attention to in the past.For example, it was due to this book that I rediscovered the brilliant C. Ramchandra, who I now rank with Naushad and Salil Choudhary as one of my favorite film composers. It is my aim to one day look up all the obscure songs, composers, singers and lyricists that Abidi saheb mentions in his book, thereby exponentially expanding my appreciation of sub-continental film music.
On page 98 of said book, the author writes about the great Kashmiri singer Malika Pukhraj;
"Unn ki woh film ab tak ba-hifaazat mehfooz hai jo Maharaja ne Europe se aayi hui film-saazon ki ek team se banwaai aur jis main Malika Pukhraj ne mehel ke kisi aaraasta kamray main siyah saari pehen kar aur tehal tehal kar gaana gaya. Bartaanvi television par woh film dekh kar andaaza hua ke Malika Pukhraj Maharaja-e-Kashmir ki manzoor-e-nazar yun hi to nahi theen."
My curiosity was instantly piqued by this passage. A rare film of one of the greatest singers of the last century in her prime was something that had to be seen. However, finding it proved to be an almost impossible task. Googling a number of search terms proved fruitless, as did scouring the dozens of internet message-boards that specialize in sub-continental music. Dozens of emails were sent, none of which provided any leads. I resigned myself to using my imagination to recreate that almost mythical recording, losing any hope of finding it.
A few days ago however, on an obscure file sharing site, I chanced upon a video file titled "Malika Pukhraj Rare 1930's", eagerly downloaded it and voila!! There's Pukhraj, the set looks like a 'mehel ka araasta kamra', the dazzling sari is indeed black and she has sung 'tehel tehel ke'. I'm pretty sure I've found the clip Abidi saheb mentioned in hes book (I'll ask the author to corroborate as well).
A delightful little time capsule. the clip is a short film shown as part of a double bill in theatres. Such brief musical films were made in the prepartition era ,mostly by the famous studio Wadia Movietone, and showcased some of the greatest artists of the time, such as this one featuring Ustad Habib Khan and Ustad Ahmed Jan Thirakwa (take a close look at the narrator at the start of the clip, for he appears again in this post). The Pukhraj clip begins with a spoken word introduction by a brilliantined, well attired gentleman which mentions the "super-film" that accompanied this short, 'Kahan Hai Manzil Teri'. The brief introduction is followed by a wide shot of a room with a figure in the corner, seated on a desk. Next we see Pukhraj in her beautiful black sari, writing something on a piece of paper with her back towards the camera. She puts down the pen, pushes away the paper, turns and then.....
The ghazal is typical Daagh, a light composition that would have been sung by the courtesans of the day. Pukhraj sings it in a beautiful, languid style which is terribly expressive. Her voice is clear as a bell, perfectly highlighted by the beautiful sarangi and clarinet accompaniment. The performance is phenomenal, elevating the rather commonplace kalaam to heights of great artistry. The picturization is also charming and seems unforced and very natural. At the time of the recording, she was at her prime, the court singer of Kashmir and a darling of the radio-listening public, and it's not hard to understand why. The Pukhraj we saw on PTV in her latter days ,complete with those trademark shades, had a unique style, adayegi and a peculiar 'pahaari' andaz that was a pleasure to listen to, but still felt somehow 'quaint'. Here though, we see the artiste as a young woman, and boy is she a sight to behold.
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