Too much loss: Ustad Bade Fateh Ali Khan

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Eighty two years ago Fateh Ali Khan was born into a family of courtly singers in the Indian princely state of Patiala. His father and grandfather had established themselves as prized royal servants and indeed, had been instrumental in founding an entirely new gharana of classical Indian music.

 

The young boy grew up learning the intricacies of khyal and the ancient mode of singing, dhrupad. He was an excellent student. He would sit at the side of his elder brother Amanat Ali to perform for the maharaja who quickly promoted the lads to official positions in the court.

 

The brothers travelled across India to sing at the major music festivals and ‘conferences’ where they wowed the staid and serious audiences. In the rarified world of north Indian classical music, Amanat and his younger brother, Fateh were as close to superstars as you could get.

 

Though they were blessed with golden voices (Fateh specialized in the lower registers, balancing the elegiac tenor of his brother) they shared a curse with an entire generation of Indians.

 

In 1947 their country was divided. A sort of inchoate whirlwind swept up Indians from all across the northern tier of the country and dropped them to earth, crushing families, livelihoods and dreams by the million.

 

Like countless other Muslims, Fateh’s family made its way to a new place called Pakistan, the Land of the Pure, hoping and praying it would a mini paradise on earth.   Whatever the country eventually became, in those early years, Pakistan was in chaos. The country needed administrators, soldiers, judges and teachers. Classical musicians, no matter how gifted, were completely ignored.

 

The family scraped together a meagre living, teaching and performing from time to time. There were offers and invitations from fellow musicians to return to India where at least some musical structures existed. Where audiences still existed. Where patronage still existed.

 

But Fateh and Amanat declined. They stayed loyal to Pakistan and eventually garnered a name for themselves. Radio and then TV welcomed them. Private mehfils were still few and far between but at least they were singing and recording.

 

Disaster struck again in 1974 when Amanat by now one of Pakistan’s most loved and accomplished voices, passed. Fateh sank into despair. In a grand gesture he refused to sing for several years, and when he at last took the stage again, tears stained his cheeks.

 

Yesterday, Fateh Ali Khan himself passed away. His life was bittersweet and touched repeatedly by death. His nephew, Amanat’s son, Asad, himself a master singer passed away at a young age. Despite his lineage, accomplishments and talent, Fateh was never able to make much money as a singer. The old patronage system had died in 1947. The only regular support he could count on was state TV and radio. Hardly enough to raise a family on.

 

He did find audiences outside of Pakistan, not just in India but in Europe, Japan and North America, too. Teaming up with his younger brother, Hamid or his son, Shafqat, Fateh Ali continued to make impressive music for many years.   But a certain sadness accompanied him throughout his life. In his eyes, voice and words there was always the tinge of regret and loss. As if all things irreplaceable had been snatched from him before their time.

 

We will miss you Ustadji.

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Track Listing:

01 Raga Bageshri

02 Raga Naraini

03 Raga Madhmad Sarang

04 Raga Multani

05 Raga Bheemplasi

Ustad FAK

Grace and Flow: Mehdi Hassan

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A little New Year’s gift for all the dear followers of Harmonium.

 

This album claims to capture Mehdi Hassan live in concert in New York. I find that to be a somewhat dubious statement as each track has a very ‘studio’ feel to it. Clean, sonically level and with none of the rough edges and spoken asides that accompany all live performances.

 

But I’m happy to be proven wrong.

 

Regardless of the veracity of the album’s title, the music is top quality. Mehdi’s tenor is suave and unforced. He delivers each ghazal with the panache of the supremely accomplished, hardly breaking a sweat. That doesn’t mean he is simply running through the material passion-baghair. Rather, he is at the top of his game. In the flow and full of grace.

 

And that seems to be a good attitude to possess as one year ends and another is soon to begin.

 

Happy New Year 2017. Thank you for dropping by from time to time!

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Track Listing:

01 Fitrat ka wo Paimana Bata Yaad Hahin Hai

02 Kabhi Kaha na Kisi Se Tere Fasane Ko Na Jane Kaise Khabbar ho Gayi Zamane Ko

03 Haath Men le ke Jam-e-mai Aaj Wo Muskara Diya

04 Gulon ki Baat Karo

05 Ajab Janoon-e-mussafat Mein Ghar se Nikla Tha

06 Yoon to Pahle Bhi Hui Us Se Kayi Baar Juda

07 Sehar Hoi Bhi to Ham ne Deeye Bhujai Nahin

MHv5NY

Overlooked Gem: S.B. John

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S.B (Sunny Benjamin) John is known in Pakistan primarily for his hugely popular song Tu Jo Nahin Hain from the film Savera (1959). It is a wonderful song with lyrics by Fayyaz Hashmi The song introduced John to a national audience. Critically acclaimed as one of the all time classics of Pakistani film music, John almost missed his date with destiny.

 

He had been down with the flu and fever for several days and only went to the audition on the insistence of a friend.  He apologised to the infamously moody music director Master Manzoor, “I’ve got a fever so won’t be able to sing well,” but Manzoor cut him off and told him to get on with it. After his rendition, Manzoor sat back stunned and exclaimed, “Where have you been all these years?”

 

History was made and a new voice was discovered.

With the advent of television in the mid-1960s, John commenced singing Christian hymns and carols every Christmas Eve, a tradition that has been embraced by the country’s Christian community.  In 2010, John was awarded Pakistan’s highest cultural award, the President’s Prize of Performance, for his outstanding services to music.

 

That most famous of his songs does NOT appear on this short collection. But I’m sure you will enjoy the music nonetheless. Every one of these songs is plump with melody. And John’s innately honeyed voice gives them that extra layer of cream that turns them into things of luxury.

 

I am taken by the difference in the timbre of John’s voice in these songs and Tu Jo Nahin Hain. The latter has him floating somewhere close to the sound of K.L Saigal—dark and heavy. (Perhaps it is was his ill health on the day that was the X factor!)

 

On these songs, John’s voice is like his name, sunny. He delivers each with a gentle and light touch that really is quite unique. I’ve not been able to identify any other male playback singer who has such a voice. There is a quality of openness and simplicity in it, no frills. But very pleasing. I’ve been listening to nothing but these songs for the past couple of weeks. They keep delivering.

 

For those of you who love ghazals, geets and filmi songs but looking for a rare, very overlooked voice, I commend this collection to you.

 

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Track Listing

Dekha Unhain To Apni Tabiyat

Ik Khalish Ko Hasal Umre Rawan

Mehke Gaysoo Rangeen Anchal

Raaste Bandh Kiye Dete Ho

Sare Gilley Tamam Hooey

Saza E Jazbat Main

Soch Raha Hoon

SBJ

From the Archives: Maqbool Ahmad Sabri

 

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Maqbool Ahmad Sabri, of the famous Sabri Brothers qawwali group died in South Africa on September 21st, where he had gone to seek medical treatment. He was 70 years old and had not sung for several months.  It is sad and ironic that the demise of the mighty voice of qawwali came with the softest of whispers in the world press.

I first heard the Sabri Brothers when they visited the States in the mid 70s. They played at Carnegie Hall and are credited with being the ones who introduced western audiences to traditional qawwali.  I loved them because they had long hair and connected me with a land I missed. For years when you heard the word ‘qawwali’ you automatically said, Sabri Brothers. The two words were synonymous.

In their steps would come others like Aziz Mian that other great purveyor of traditional naat qawwali.  And following behind him the giant Nusrat Fateh Ali Khan who popularised and blended qawwali with contemporary sounds and western sensibilities to raise the form to an internationally loved and lucrative style.  [Original post with goodies]

Qawwali Collection: Shan-e-Rasool

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An interesting collection of concise qawwali performances from an even more interesting group of singers.

Shan-e-Rasool-o-Aal-e-Rasool (roughly translated by me as The Glory and Grandeur of the Prophet) includes performances by some famous qawwals including Abdur Rab Chaush and Yusuf Azad Qawwal, a couple film playback singers [Mahendra Kapoor and Shamshad Begum] as well as a few (to me) new names such as the delightfully named Pyare Timmu Qawwal (Jaipuri) and Master Habib Nizami.

With the inclusion of filmi qawwali this record presents a sort of qawwali – lite which most connoisseurs would not rate very highly. The messages are simplistic and the language is of the sort someone unfamiliar with High Urdu or Persian can easily understand. Case in point: title of track 9 [Allah Bahut Bada Hai]!

The music, composed mostly by one Mami Bhachu, [any information on him would be much appreciated], is consistently lively and employs a range of traditional and more modern instruments including clarinet and guitar.

What I like about this sort of qawwali is that not only is it ‘simple’ and pretty straightforward but it has lots of stylistic similarities to some Christian gospel music. The lyrics tell stories of the heroes and villains of the Faith, as well as ordinary devout people grappling with the mystery of God’s ways. The philosophy and moral lessons are easy to discern.

And finally, what makes this recording special is the variety of voices. Ismail Azad Qawwal and Shafi Niazi and Yusuf Azad each bring a clear diction and suppleness to their singing that is perfect for story telling. And then of course, there is the grand Shamshad Begum, a very non-traditional qawwal, indeed.

Enjoy with blessings.

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Track Listing:

01 Sine Mein Rahne Do Hoton peh na Lao

02 Zindagi ka Sahara Madine Mein Hai

03 Qaflia Haj ko Chala

04 Ya Mohammad Kisi Haal Mein Bhi

05 Khuda Ne Tumko Rasoolon Mein Aftab Kiya

06 Dar-e-Huzoor pe Hazir Ghulam Ho Jata

07 Hasnain ki Takhti ka Vaqya

08 Mohabbat Husain Ki

09 Allah Bahut Bada Hai

10 Mohammad ke Dularon Par

SHAN O AAL