Quartet of Qawwali

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I hesitate to try to say anything about qawwali because there are so many who are far more knowledgeable about this distinctive South Asian form of music.  But I really enjoy qawwali and over the years my appreciation and understanding of the wide variety of styles of qawwali has grown immensely.

My first introduction to qawwali was filmi qawwali a very low brow, often humorous, certainly not serious, form of the music that spiced up  the Hindi films I watched as a young lad in India. It was an addictive and attractive style. The call and response, the male chorus, the handclaps and the driving drums were hard to resist.

Not until I heard Nusrat Fateh Ali Khan when I lived for some years in Pakistan did I begin to appreciate how magnificent qawwali really was.  During those years I often would spy Aziz Mian (paan-stained teeth and lips; crisp shalwar qameez; wild unruly hair) one of the all time greats of qawwali roaming the streets of Rawalpindi going about his daily business. His style of singing was so very different from Nusrat sahib’s that it seemed to be a completely different music.

Several years ago I happened across a fellow blogger, Musab bin Noor, who wrote about qawwali with such passion, insight and beauty it was irresistible.  I cannot and will not try to paraphrase his insights (where would I start, anyway?) and simply refer and recommend his blog to you.

I also think this excellent recent article from DAWN is worth reading. It traces the commercialisation of qawwali and places many of the contemporary styles in a historical context that is impacted by government policy, technology, suspicion of sufi traditions and decline of the shrine culture.

This collection of qawwali over four volumes are personal selections of mine that I have enjoyed over the past few years. There are ALL types of qawwali represented in this collection from commercial to authentic dargah-based and everything in between including a few selections that may surprise.

There are many omissions too, most notably, the aforementioned Aziz Mian. This is not intentional. Perhaps I will put together a separate volume of his fantastic stuff one day. In the meantime, I hope you enjoy these selections.

Qawwali

Track Listing Vol. 1

1-01 Alaf Allah (Baba Sultan Bahoo) [Wadali Brothers]

1-02 Avo Sayo Rul Davo Vadhai [Bakhshi Salamat Qawwal]

1-03 Bhai Murad aur Tajo Bahen [Abdur Rab Chaus]

1-04 Thal Wich Kharee Sassi Hakan Mardi [Muhammad Ali Faridi]

1-05 Ya Muhammad Noor-e-Mujassam[The Sabri Brothers & Ensemble]

1-06 Dekha Tamasha Lakdi ka [Yusuf Azad Qawwal, Talib Husain Warsi Qawwal]

1-07 Hai Mera Tan Man Nabi Pe Qurabaan [Unknown]

vol.1

Qawwali 2

Track Listing Vol. 2

2-01 Vah Vah Mouj Fakeeran Di [Tufail Niazi & Party]

2-02 Man Kunto Maula Ali [Ghulam Sabir and Ghulam Waris]

2-03 Shahar E Madeena Dikha De [Chand Nizami Brothers and Khurshid Alam]

2-04 Jhoom Barabar Jhoom Sharaabi [Aziz Nazan]

2-05 Sahib Teri Bandi [Nusrat Fateh Ali Khan]

2-06 Main Zuba Se Kaise [Ghulam Sabir and Ghulam Waris]

2-07 Jannat Ki Rel Hai [Yusuf Azad Qawwal]

Vol 2. 

Qawwali 3

Track Listing Vol. 3

3-01 Qurbani Qurbani [Anwar, Aziz Nazan, Babban, Kishore Kumar]

3-02 Malan Dil Mein Baasale [Yusuf Azad Qawwal]

3-03 Mohabbat Husain Ki [Shamshad Begum]

3-04 Khawaj Toore Daware [Maqbool Sabri Qawwal]

3-05 Na Karo Juda Khudara Mujhey Apney Aastan Se [Ameer Rafeeq Murkian Wale Qawwal]

3-06 Chomah Ho Dar Arzo Sama [Jafar Hussain Khan Badayuni Qawwal]

3-07 Khabaram Raseeda Imshab [Fareed Ayaz Al Hussaini Qawwal & Party]

Vol. 3

Qawwali 4

Track Listing Vol. 4

4-01 Adam Se Layi Hai [Jafar Hussain Khan Badayuni Qawwal]

4-02 Mujhe Peer Mila Subhanallah [Ghulam Sabir and Ghulam Waris]

4-03Jab Se Lagi Hai Aankh Bhi Meri Lagi Nahi [Fateh Ali Mubarak Ali Qawwal]

4-04 Ganj – E – Shakar [Nusrat Fateh Ali Khan]

4-05 Na Qaboo Main Dil Hai[Agha Bashir Faridi Qawwal]

4-06 Har Lehza Hai Momin [Manzoor Niazi Qawwal Aur Hamnavaa]

vol. 4

Ghazal Queen: Iqbal Bano

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Iqbal Bano

 

I read an amazing article this morning. It is an exposition on the ghazal, its dominant status in the world of serious Pakistani music and its sublime ability to express the deepest feelings of both the human and divine heart. The article includes a number of ghazalein that are interpreted by qawwals as well as ghazal singers and is definitely worth 20 minutes of your time. In fact, almost everything the writer Musab bin Noor does is worth reading.

 

As I listened to the ghazalein and reflected on the article (so full of information) my mind turned towards Iqbal Bano one of the subcontinent’s most accomplished singers who awed, excited and challenged her audience for half a century. This obituary from The Guardian provides an excellent summation of her life.

 

Indeed, with two outstanding pieces of writing like these there is little need for me to stumble around for words that do justice to the artistry of this important musical voice.

 

This selection of ghazalein is another of the gems from the treasure chest of Radio Pakistan archival material released in a massive 57 CD box set under the name Music Pakistan. If you’ve been following me around the net for the last several years you no doubt have heard of this collection. The more I listen to these CDs the more I appreciate just what a massive contribution to music they are.

 

A few years ago I wrote a piece on Iqbal Bano and shared another CD from this collection, of her singing thumris. If you’re interested I’ve updated the link there and you can enjoy that set as well!

Iqbal Bano vol 1 copy

Iqbal Bano vol 1_0001 copy

Track Listing

01 Hum baagh-e-tamanna mein

02 Ub kay hum bichhray

03 Jaaenge jeete ji

04 Tu bahar-e-naghma-e-nur

05 Mohabbat karne wale

06 Kitni taskin hai wabasta

07 Woh is ada se jo aaye

08 Ishq minnat kash-e-qarar nahin

09 Laayi hyat aaaye qaza10 Mujhe su bhula chuke hain

11 Diya hai dil agar us ko

12 Kab therega dard

13 Jis tarah tund hawa

14 Koi had nahin

Iqbal

Ragamala Vol. 7: Yaman/Kalyani

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This volume of variations on raga Yaman opens with a modern jazz-influenced rendition by the Neel Murgai Ensemble.  A New York based ‘chamber’ quartet led by sitarist Murgai, NME creates intricate, finely spiced musical atmospheres that draw on Indian classical, jazz, and gypsy music.

Also included is bansuri master Pannalal Ghosh‘s beloved Yaman, a couple of film songs from Umrao Jan Ada (1981) and Junglee (1961), Farida Khanum’s spectacular romantic ghazal Woh Mujh Se Hoay Humkalam Allah Allah as well as interpretations in a Western classical and contemporary jazz setting.

Yaman, also known as Kalyani, is by Indian classical music standards a relatively un-ancient raga. It first emerged in the 16th century with some claiming it was a composition of Mian Tansen and that he based it upon a Persian structure known as ‘Ei Man’. In Pakistan and Afghanistan the raga is often referred to as Eeman (in many varied spellings) and I have concluded this collection with a wonderful Afghan take on the raga  by Ustad Mohammad Omar, the famous rubab player.

Yaman emerged from the parent musical style of Kalyan, itself a style of classical Carnatic musical tradition called thaat. Considered to be one of the most fundamental ragas in the Hindustani Classical tradition, it is thus often one of the first ragas taught to students. In the context of traditional standards of performance, Yaman ragas are considered suitable to play at any time of the day, but they are traditionally performed in the evening. (Wikipedia).

Given its close relationship to Carnatic music the centerpiece of this collection is a stunning live recital by South Indian/Sri Lankan violinist L. Subramaniam and shenai nawaz Ustad Bismillah Khan. Listen carefully to this piece and to the playfulness, mastery and virtuosity of both musicians as they play off each other. It delights and enshivers!

Rudresh Mahantappa‘s group Dakshina Ensemble which features South Indian saxophone innovator Kadri Gopalnath and Pakistani American guitar whiz Rez Abbasi also explores the Carnatic original in their massive track Kalyani.

I hope you enjoy this collection as much I do!

Yaman

Track Listing:

01 Evening In A_ Raga Yaman [Neel Murgai Ensemble]

02 Raga Yaman [Pannalal Ghosh]

03 Zindagi Jab Bhi [Talat Aziz]

04 Raga Yaman [L Subramaniam and Bismillah Khan]

05 Yaman Kalyan (Largo moderato)[ Zubin Mehta and Ravi Shankar]

06 Ehsan Tera Hoga Mujhpar [Mohmmad Rafi]

07 Raga Emen Kalyan [Pt. Pratap Narayan and Kankana Banerjee]

08 Kalyani [Rudresh Mahantappa and Dakshina Ensemble]

09 Woh Mujh Se Hoay Humkalam Allah Allah [Farida Khanum]

10 Shakal and naghma in the melodic mode of Emen (Yaman) [Ustad Mohammad Omar]

YAMAN

Ragamala Vol. 6: Bhimpalasi

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Way back in 2013 I began this Ragamala series.  I wanted to collect a variety of tracks from diverse genres that were based upon or direct interpretations of particular ragas.  I have to confess that despite many years of listening to South Asian classical music my ear is still as wooden as when I began to seriously pay attention to khyaldhrupad and other forms of classical music.  I think I can identify Malkauns but that’s about it.

I feel terrible about this. Surely, I should be more competent and clever. But each time I try to read anything about the structure of ragas the better to tune my ear, my eyes glaze over and my mind closes up shop.  There is simply too much new vocabulary to learn and I’m not sure how much such knowledge would increase my listening pleasure.

Of more interest to me is the mood each raga attempts to induce in the listener. I like to see if it works on me, and I’m happy to report that Bhimpalasi does.

Bhimpalasi is an afternoon to early evening raga. A time of day that for most modern families is stressful. Kids back home from school. Commotion all over the place and pots and plates banging in the kitchen.

They say this raga speaks to the melancholy, sad aspects of the human soul. And in so doing, is effective for the release of stress and anxiety. Some recommend Bhimpalasi as part of the treatment for depression.

I began this weekend listening to Ali Akbar Khan‘s interpretation from his Bangla Desh album (1972).  I’ve since listened to it a couple more times and this afternoon let Saskia Rao’s doleful cello sink slowly beneath the skin.   And I am proud (and surprised) to report I feel absolutely peaceful, light and relaxed.

There are some very nice interpretations here.  Lata sings two film songs (one composed by SD Burman, the other by Madan Mohan) including one of my all-time favorites, Khilte Hain Gul Yahan. An enigmatic early fusion/jazz group from the UK give us Bhimpalazi (1969) and Ravi Shankar and Ali Akbar Khan contribute two straight-ahead versions on sitar and sarod, respectively. The Dutch cellist Saskia Rao shows how beautifully that instrument fits into the Indian soundscape and finally, Mehdi Hassan gives us a filmi ghazal from Azmat (1973).

PEACE. SUKOON. SHANTI.

Bhimpalasi

Track Listing:

01 Raga Bhimpalasi [Ali Akbar Khan]

02 Nainon Mein Badra Chaaya [Madan Mohan and Lata Mangeshkar]

03 Bhimpalazi (Looking Eastward to the Blues) [Indo-Jazz Ensemble]

04 Raga Bhimpalasi [Ravi Shankar]

05 Khilte Hain Gul Yahan [SD Burman and Lata Mangeshkar]

06 Bhimpalasi Alap Jod Jhala [Saskia Rao]

07 Zindagi Main To Sabhi Pyar Kiya Karte Hai [Mehdi Hassan]

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Multi-coloured soul: Susheela Raman

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Queen Between, Susheela Raman’s 2014 album, is grownup music by an artist of exceptional quality. When I say ‘grownup’ I mean, mature, substantial, packed with musical nutrition, polished and accomplished. I do not mean serious, ponderous or boring.

 

Raman, of Indian Tamil (Thanjavur) origin, was born in the UK and grew up in Sydney where she began exploring her gift in a number of ‘funk/rocknroll’ bands. In 2001 her debut album Salt Rain (highly recommended) caught the attention of the British and European progressive music scene, garnering her a shortlisting for the UK’s prestigious Mercury Award.

 

In Queen Between on which she jams with and is supported by Indian/Pakistani musicians as well as Tony Allen (Fela Kuti’s long time drummer), Raman takes us on a journey into her multi-coloured soul.

 

Sharabi, opens the album with a nod to the sharabi qawwali popularized in the late 70s by Pakistan’s giant king of qawwali Aziz Mian. Sharab literally means, wine/liquor, hence sharabi is generally a pharase used for a drunk. But in the context of qawwali there is always the hidden implication of spiritual intoxification and it is this ecstatic feel that infuses Sharabi.

 

The qawwali theme is woven throughout the album, flowering up again in the beautiful Sajana (Beloved) and the killer final track Taboo. The former settles into the familiar male voiced clapping/chorus on top of which Raman sings of anguish, pain and love sounding like a cross between PJ Harvey and a whirling dervish. The atmosphere is explosive and intense: harmonium, men chanting ‘sajana’ over and over, and guitars acoustic and electric picking and stabbing out their riffs.

 

Taboo which closes the album is a tour de force; a mythic, tale of soul-searching and mortal caution. One thinks immediately of Dylan’s epic story songs like Idiot Wind or Isis. But then we are pushed into some desert shrine in the faraway Tharparkar Desert where ecstatic, frenzied qawwals invoke god and all the saints, long into the night. The drama ultimately subsides and gives way to the very sounds of the Universe which carry, sparkle and whisper the majestic piece to its subdued end.

 

Karunei, sung in Tamil, is another gem. Acoustic guitar and traditional Indian mouth harp (morchang) form an electric nest for Raman’s stunning, resonant, slithering and orgasmic voice to do its dance.

 

The remaining songs, Corn Maiden, Riverside, North Star and the title track, are showcases of her rock n roll side. These vary in quality with Corn Maiden being the best of the lot. It moves like a freight train and Raman sings with a Coltrane like intensity.

 

The moods, rhythms and atmospheres of this album are several but the whole thing hangs together beautifully thanks to Raman’s spectacular voice and the qawwali.

 

I have no doubt this album will rank among your favourite after just a couple of listens. So much meat on this bone.

Queen Between

 

Track Listing:

01 Sharabi

02 Corn Maiden

03 Riverside

04 Sajana

05 North Star

06 Queen Between

07 Karunei

08 Taboo

SRQB