Folk Music from Western India: Part 11 (FINAL INSTALMENT)

Various Artists – Qaul

‘Qaul’ or Qawwali is a style of music that has evolved over the last 700 years. Part of the Sufi devotional music tradition, Qawwali has become a genre that is widespread across South Asia and can be found in Punjab and the rest of North India. Qaul is an Arabic word that translates to ‘promise’. Qawwali- a spiritual genre is a statement of the promise, devotion and love one feels for the almighty/ beloved/ muse/ Guru- all of which are referred to in a rendition and such is the potency of the metaphor that clear lines can rarely be drawn. Each one sings with their own meaning, the listeners understand in their own ways as well. Qawwalis can range in length from a few minutes to even as long as half an hour. They usually begin with an instrumental introduction that gently opens the piece and creates an ambiance. It is followed by the lead singer performing a few alaps (improvised unmetered melodies) that conform to the raag (traditional scale) of the song. After the alaps the lead singer performs a few verses which do not form part of the main song. He is mirrored by the accompanying singers who may add their own improvisations to the verses as they go along. Lastly, begins the main verses. These are usually sung in a traditional style and no improvisation is made on either the tempo or the lyrics. Throughout this process, there is a gradual increase in energy from the gentle beginnings of the piece to a powerful, uptempo, energetic end. This facilitates a creation of a hypnotic state within the performers and the audience alike and is believed to aid in connecting with the Almighty. This album presents Qawwali and Sufi performances of Punjab by Gurmej Raja, Shaukat Ali, Saida Begum and Akhtar Ali.

Various Artists – Kahe Kabira

`Kahe Kabira` is a unique compilation of compositions that are paradigms of the colloquial flavor of devotion in India. Saint Kabir wrote of philosophical and spiritual thoughts in very simple words and examples taken from day to day reality. He was brought up by a Muslim family who was weavers by profession and driven by an inner passion to decipher the truth of existence, he went on to become a glowing symbol of secular spiritualism and therefore appeals to all religions alike be it Hinduism, Sikhism or Islam. The verses of the saint are set to the sounds of Tandoora (single stringed folk instrument), Khanjeera, Harmonium, Khartal, Chimta, Dholak, and Manjira. The earthiness of the vocals and warmth of a folk rhythm together amount to a highly sonorous experience. Performed by the Manganiar, Meghwal, and Nath Jogi communities, the writings of Kabir are beautifully sung within social gatherings. Each song ends with an avowal: `Kahe Kabira Suno Bhai Sadhu….` which means- Oh Sadhu! Listen to what Kabir has to say… and goes on, to sum up, the moral of the piece in an aptly worded teaching.

Various Artists – Sancha Dev Baba Ramdev Rajasthani Bhajans

Regarded as the incarnation of Lord Krishna, Ramdeoji a folk deity of Rajasthan spent all his life in the uplifting the downtrodden. This prince who lived the life of a saint during the fourteenth century in India is revered as Ramshah Pir who is believed to have possessed miraculous healing powers and believed to have treated innumerable people from far and wide. Advocating the aspect of equality for all, Ramdeoji or Baba Ramdev treated the rich and poor equally. Disciples and believers of Baba Ramdev have put together devotional songs in praise of their Lord in this album.

Kurban Farid Shahi Qawwal – Fariyad

One of the most celebrated Sufi saints, Khwaja Moinuddin Chisti lived in Ajmer – India. Born in the year 1141, Khwaja Moinuddin Chisti is a proponent of a unique Sufi order of the Chishtis and is lovingly called Gareeb Nawaaz – one who cares for, nurtures and blesses the poor. Passionate renditions are sung in his praise and worship by famed Qawwali groups and a unique style of music characterized by spiritual ecstasy has evolved in his honor. He is referred to as the generous hearted, the savior of the down trodden and imagined as a decorated, youthful, prosperous groom in varying compositions dedicated to him. It is believed that unless he wills no one can visit his shrine and millions throng every year to pay their respects and tie threads of hope as they voice their wish to their loving Khwaja. So endearing is the relationship between the believer and the Khwaja that he is called out to as ‘tu’- an address reserved for someone younger to one and with whom one has an informal relationship. He is believed to be a mentor at times and at others spoken of as one’s love and at yet others as the true manifestation of the divine.

A Huge Loss: Shaukat Ali

Shaukat Ali

A few weeks ago the world of South Asian folk music received the news that Shaukat Ali had passed into jannat. The loss of his burly, warm and powerful voice is hard to accept, so long has he been a significant figure on the cultural scene. Beloved not just by Pakistanis but Punjabis and lovers of lokgeet around the sub continent Shaukat sahib will be incredibly missed.

I link here a wonderful tribute to Shaukat Ali by a dear friend and supporter of Harmonium Music, Musab Bin Noor. Not only is Musab one of the most affective writers about Pakistani culture and music that I know, his deep knowledge of and passion for qawwali is stunning. And though still a young man his contribution to its preservation and promotion as a living art form through his work with the Dream Journey ‘collective‘ has been tremendous. And is a huge contribution to world culture.

Shaukat Ali died on April 2. For his many millions of admirers across the globe, he was “Shaukat Ali”; beloved singer who embodied the sound and spirit of Punjab. For me and my family, he was always “Shoki”, a voice that permanently resided in our home. My Nani Amma had endearingly called him Shoki ever since I can remember, and whether visiting us, traveling with us in the family car, or selecting tapes for her 1970’s cassette deck, her musical tastes were simple, “Play something by Shoki”. As a result, along with a select few stalwarts of Punjabi music such as Zahida Parveen and Pathaney Khan, his wonderful voice has always rang in my ears. [Entire article]

I’m sharing today a set of four tracks, all entitled Saif ul Malook. They tell the love story of an Egyptian prince and a fairy princess and a lake in northern Pakistan. This particular song cycle is one that Shaukat Ali made his own and the telling of which became synonymous with him.

Track Listing

1. Saif ul Malook
2. Saif ul Malook
3. Saif ul Malook
4. Saif ul Malook

Shaukat

A reason to go back to school: Shaukat Ali

I first heard Shaukat Ali’s voice while watching an Urdu movie from the 1970s. It was a pretty dreary affair about a spoiled Pakistani playboy living a semi-scandalous lifestyle in London. At one point fairly early on the film the playboy is hosting a party at his flat. Hippies and Sikhs are in attendance.  The playboy’s best buddy from back in Pakistan has come to fetch him back.  To get the party started this chubby friend sings a song about the experience of ‘going foreign’ (overseas).

The dance was slapstick but the song was a cracker. I wrote about it in another blog and you can hear it here. The singer’s voice (which I later found out belonged to Shaukat sahib) contradicted everything about the fat comedian. It was strong, masculine and real.  Like a Punjabi Kishore Kumar the tone locked in between tenor and baritone and brooked no argument.

Shaukat Ali was born and raised in the small city of Malakwal about 200 kms southeast of Islamabad. He got a break singing for a Punjabi film in 1963 and as mentioned above contributed playback services to movies throughout his career.  He even sang in the 2009 Indian hit film Love Aaj Kal.  

But Shaukat Ali’s first and enduring love in the folk music of his native Punjab. He’s made his reputation as a classy singer of Punjab’s rich folk song repetoire and especially as an interpreter of such classics as Waris Shah’s Heer and the Sufi epic, Saif ul Malook.

In this wonderful double disc released by Pakistan’s national Folk Heritage institute, Lok Virsa, Shaukat Ali, is in impeccable form. He sings with gusto, feeling and nuance, mixing well known numbers as well as less familiar numbers (at least to me).  Punjabi folk music is full of a quality I call dildaari (a stout, exhilarating sense of discovery, fun and reverence). Accompaniment is always lively: tablas sound like locomotives on a fast track and the harmonium dances and bounces around the vocals.  Singing is full throated. On the softer numbers Shaukat may calm things down but there remains always a visceral, vital authenticity.

You can have fun but you never bullshit.

I love these discs and thank my dear Californian friend, Hanif, for sharing them with me.  It’s the sort of music that has me surfing the web for ‘Teach Yourself Punjabi’ courses!

Track Listing (Disc 1)

1-01 Interview

1-02 Tur Gaya Mera Hani

1-03 Choti Ummreh Pyaar Kari Naa

1-04 Jalliya Dilla

1-05 Oh Kannu Pyar Te Karobaar

1-06 Lag Gai Nain

1-07 Assein Ite Te Dhol Sada

1-08 Ho Jagga Jamiya

1-09 Pindi Peya Vee Nai

1-10 Assein Ite Te Dhol Sada

1-11 Sass Kapathi Eh

Vol 1

Track Listing (Disc 2)

2-01 Ho Rabba Sohnaya Nu Kaid Kara De

2-02 Wah Rangeeya Nu Kaid Kara De

2-03 Loki Anwey Te Nahi…

2-04 Kyon Door Rehnde O

2-05 Aap Jedeh Wasday

2-06 Dendi Phira Mein

2-07 Sanu Patha Nahi Vichoda Kinu Kehende

2-08 Oh Mahi Meriya

2-09 Maa Janat Da Parchanwa (Kaanwan)

2-10 Saif-Ul-Malook Kalaam

Vol. 2

Qaul of the Soul: Gurmej Raja and Shaukat Ali

Qaul is an Arabic word used to describe ‘an utterance’ and most often refers to the utterance of the prophet Muhammad (PBUH).

The term ‘qawwali‘ is derived from the word ‘qual’ and refers to the genre of Sufi devotional music.

Though qaul and qawwali are often used in conjunction with each other there is a difference between the two. Today, when referring to spiritual music, qual refers to the singing of the utterances of The Prophet (PBUH), while qawwali has developed to refer to a style of music in the Sufi tradition.  Here the lyrics may or may not have spiritual tones, and may even be secular in nature, but the music on the whole is understood to be spiritual in its expression.

Qawwali has evolved through the fusion of the Persian musical tradition, called sama, and the Indian musical tradition sometime around the 13th century. Today, it is popular all over South Asia, particularly in areas where a strong Islamic population. Punjab and most of northwest India have a strong qawwali tradition. Qawwalis are generally sung in Punjabi and Urdu, though some may be performed in Persian or local languages.

Shaukat Ali

Qawwalis can range in length from a few minutes to even as long as half an hour or more. They usually begin with an instrumental introduction that gently opens the piece and creates an ambience.  It is followed by the lead singer performing a few alaps (improvised, unmetered melodies) that conform to the raga of the song.  After the alaps the lead singer performs a few verses which generally do not form part of the main song. He is mirrored by the accompanying singers who may add their own improvisations to the verses as they go along.  Lastly begins the main verses. These are usually sung in a traditional style and no improvisation is made on either the tempo or the lyrics. Throughout the process, there is a gradual increase  in energy from the gentle beginnings of the piece to a powerful, up-tempo, energetic end. This facilitates a creation of a hypnotic state within the performers and audience alike and is believed to aid in connecting with the Almighty.

Gurmej Raja

This record presents qawwali and sufi performances of Punjab by Gurmej Raja and Shaukat Ali. (Liner notes)

A fantastic recording of two local artists from around the Amritsar area of Indian Punjab by the groovy De Kulture Record Label.  Booklet is included.

Allah hoo!

Track Listing:

01. Amir Khusrao (Gurmej Raja)

02. Ki Punchdiyo Ki Aankhan Mein (Shaukat Ali)

03. Tere Bin Na Jiva Maharaj (Shaukat Ali)

here  booklet