A (Genuinely) Rare Treasure: Links to Music Pakistan box set

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In 2006 the semi-government private Pakistani company Shalimar Recording Company issued a boxset of 57 compact discs titled simply Music Pakistan.  Not marketed very well, if at all, it soon disappeared from view without making much of a ripple.   More the pity because this hefty chunk of digitised music is a massive contribution to the documentation and preservation of global musics.

Pakistan embodies a contradictory position as far as music goes.  It’s many regions, language groups and cultures are the source of some of the most profound and rich folk traditions on the planet.  And not just folk.  Pakistani classical musicians, though less well known than their Indian counterparts, are among the best in South Asia’s gharana-based music. And yet, the official music industry (which includes private companies, government and private broadcasters and government policy-makers) of Pakistan has demonstrated only the most cursory interest in preserving and promoting this unique heritage.

A commercial bias toward film music and passive aggressive stance towards classical music which was often dismissed as too much influenced by Hindu cultural antecedents was almost completely ignored. Folk music, always popular outside middle class living rooms, was left to its own devices, thriving or shrivelling depending on circumstances and shifting audiences.

Institutions like Lok Virsa Folk Heritage Institute in Islamabad tried heroically to bring to folk artists and their music to a national and international audience but always struggled to cope with  restrictive budgets, internal politics and a gargantuan task.  In the past decade or so private citizens have made fantastic contributions to reviving classical music by providing venues, events and recording opportunities for the elders as well as a small handful of up-and-comers. The work of Tehzeeb Foundation has been recognised for its quality not just among Pakistani music circles but on the international stage as well. And of course, the efforts of Sachal Studios and the TV hit show Coke Studio to resurrect the careers of Lahore film studio musicians and make folk music palatable to the Millennial Generation respectively are other high points in the revival of interest in Pakistan’s musical heritage.

But so much remains forgotten, undiscovered or simply ignored. The vaults of Pakistan TV and Radio,  recording companies EMI and Polydor not to mention private collections and archives controlled by various provincial governments  are surely bursting with hours and hours of wonderful music. Will it ever be released? My advice is, do not hold your breath.

Within this context then the Music Pakistan Boxset assumes huge significance.  Taken from the vaults of Radio Pakistan, the music on this vast collection covers classical, folk, spiritual (Sufiana), light classical and film music.  With some recordings stretching back to pre-Independence its focus is clearly on the 50s-80s.  Recent pop music, film music beyond Noor Jehan’s singing, qawwali and music from the smaller ethnic groups are sadly not even touched.   Documentation on individual artists is very minimal, the art work lack lustre and information about the tracks (in some instances) less than accurate and inconsistent.

But production values aside the history that is captured in these performances is simply and without exaggeration priceless.  In certain cases, the recordings are extremely rare.  For anyone with an interest at all in Punjabi, Pakistani, Sindhi, South Asian folk and classical music this collection is absolutely indispensable.  One particularly pleasing element of Music Pakistan is the large place given to female singers including: Zahida Parveen, Farida Khanum, Kajjan Begum, Mehnaz, Noor Jehan, Samar Iqbal, Iqbal Bano, Khurshid Begum, Mussarat Nazir and others.    Among the rare recordings are some early post-Independence performances by Ustad Bundoo Khan (sarangi) and Nazakhat and Salamat Ali Khan as young boys.

Sadly, some of the CDs (such as the Nazakhat/Salamat one referred to above) were poorly produced and unplayable! That frustrating inattention to quality and details that characterises bureaucracies with little interest in the work they are charged to carry out!

I was given a copy of the box set soon after it was released by a dear friend and over several years and several blogs have shared them with the wider world.  Throughout this process I have never once felt guilty about doing so, rather have viewed my efforts as altruistic: promoting and keeping alive a rich and diverse tradition of folk and classical music.  You might be able to find some of these CDs elsewhere on the internet but you’re unlikely to find so many in one place.  And while there are outlets that claim they will sell you the full boxset, I’ve not yet found place that actually will.  You will receive either an ‘Out of Stock’ message or be met with total silence.

Of the 57 original CDs I’ve managed to digitise 46.  I’ve made a 47th out of several stray tracks from original CDs that were poorly produced.  Sadly, that leaves 10 of the original, including ghazals by Barkat Ali Khan, light classical performances by Amanat Ali Kasuri and several others by artists I’ve lost track of.  [Confession: it took me a couple years before I understood exactly what I held in my hands and in that time I tossed out CDs that didn’t work! Fool that I am!]

I am trying, through my contacts to get hold of the outstanding 10 CDs and of course will share them if and when I do. But again: do not hold your breath.

Rather than lament on what is missing I invite you to drink deeply of what IS available.

Here are links to all 47 plus 1 CDs.

I have given each a serial number that does NOT correspond to the original.  That is for personal reasons of no particular consequence.  Simply my way of keeping track of this vast and amazing collection.

  1. Ustad Umeed Ali Khan [Raga Kafi Kannada and Raga Emen]
  2. Mohammad Tufail Niazi [Punjabi Folk Songs]
  3. Salamat Ali [Urdu Ghazals]
  4. Ustad Mohammad Sharif Poonchwaley [Classical Sitar] Vol. 1
  5. Sadiq Ali Khan Mando and Master Sohni Khan [Classical Clarinet]
  6. Roshan Ara Begum [Raga Mian ki Malhar, Raga Neki Kannara and Raga Maru Sarang]
  7. Mai Bhaggi [Thar Folk Songs]
  8. Ustad Amanat Ali Khan [Urdu Ghazals]
  9. Ustad Nathoo Khan [Classical Sarangi]
  10. Hamid Ali Bela [Punjabi Sufi Kalam]
  11. Alam Lohar [Punjabi Folk Songs]
  12. Ustad Nazakhat Ali Khan and Ustad Salamat Ali Khan [Raga Abhogi Kanhra and Raga Kamod]
  13. Ustad Bundoo Khan [Classical Sarangi]
  14. Musarrat Nazir [Punjabi Folk and Pop]
  15. Noor Jehan [Film Hits Vol. 1] and [Vol. 2]
  16. Saeen Ditta Qadri [Classical Flute/Bansuri]
  17. Ijaz Hussain Hazarvi [Punjabi Ghazals]
  18. Farida Khanum [Urdu Ghazals Vol. 1]
  19. Farida Khanum [Urdu Ghazals Vol. 2]
  20. Mukhtar Begum [Ghazals, Dadra and Thumri]
  21. Saeen Marna and Munir Sarhady [Iktara and Sarinda]
  22. Mohammad Jumman and Allan Faqir [Punjabi Folk]
  23. Reshma [Thar Folk Songs]
  24. Ustad Munawar Ali Khan [Classical Vocal]
  25. Iqbal Bano [Thumris]
  26. Ustad Amanat Ali Khan and Ustad Fateh Ali Khan [Raga Bageshri, Raga Multani, Raga Gujri Todi and Raga Pooria]
  27. Ustad Amanat Ali Khan and Ustad Fateh Ali Khan [Raga Des, Raga Barbari, Raga Megh, Raga Malkauns and Raga Kedara]
  28. Iqbal Bano [Urdu Ghazals Vol.1]
  29. Iqbal Bano [Urdu Ghazals Vol.2]
  30. Abida Parveen [Sufi Kalam]
  31. Pathane Khan [Punjabi Sufi Kalam]
  32. Ustad Mohammad Sharif Khan Poonchwaley [Classical Sitar Vol. 2]
  33. Faiz Mohammad Baloch [Balochi Folk Songs]
  34. Mehnaz and Kajjan Begum [Folk Songs]
  35. Suriaya Multanikar [Punjabi Folk Songs]
  36. Kheyal Mohammad [Pashto Folk Songs]
  37. Ustad Misri Khan Jamali [Alghoza Folk]
  38. Hamid Ali Khan [Urdu Ghazals]
  39. Ghulam Ali [Urdu Ghazals Vol. 1]
  40. Ghulam Ali [Urdu Ghazals Vol.2]
  41. Mehnaz Begum [Urdu Ghazals]
  42. Mehdi Hassan [Urdu Ghazals Vol. 1]
  43. Mehdi Hassan [Urdu Ghazals Vol.2]
  44. Ustad Habib Ali Khan [Classical Been]
  45. Various Artists [Folk Sampler]
  46. Zahida Parveen [Sufi Kalam]
  47. Miscellany [Ustad Amanat Ali Khan Kasuri; Roshan Ara Begum; Bashir Ali Mahi]
  48. Ustad Barkat Ali Khan [Urdu Ghazals]
  49. Ustad Shaukat Hussain Khan [Classical Tabla]

 

NOTE: AS AND WHEN THE 10 MISSING DISCS ARE DISCOVERED THEY WILL BE ADDED TO THIS LIST. IF ANYONE IS ABLE TO TRACE ANY OF THEM PLEASE LET ME KNOW.

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Field Recordings: Sufi Songs from Sindh and Punjab

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I see its been quite a while since the last post. Indeed, my posts have become as infrequent as Halleys Comet over the past many months, not due to any slackening of interest or desire in music but rather through a necessary focus on a whole bag of other projects and issues. But in the past few weeks I’ve come into possession of some excellent South Asian music which I’m looking forward to sharing.

First off the rank is a small collection of field recordings from Sindh and Pakistani Punjab. Billed as ‘Sufi music’ this majmua’h is more accurately a sampler of folk music from those ancient fabled lands. The performers are all relatively unknown beyond the districts in which they live or wander and their performances are completely natural, raw and uninhibited. As the singer Fatah Daudpoto says in his introduction to Aa Mil Yaara (Track 4) ‘I’m a folk singer and folk music is direct. Not mechanical or digital.’ Which is similar to the adamant statement (and album title) of the old blues guitarist Mississippi Fred McDowell ‘I do not play no rock n roll’.

These recordings are made on site, live and several of the tracks include ambient sounds and whisperings from those in the crowd.  In many instances, especially tracks like #9 and #6, I am reminded of the soundtrack to the wonderful film Latcho Drom, about gypsies and their music. These songs have that same electric ‘chaos barely under control’ feeling.  My only complaint is that most of the tracks are too short which clearly is a decision made by the producers of the album and not the artists themselves who were barely allowed to pick up a head of steam.

Still, a wonderful little collection to add to your collection of South Asian/ Pakistani/ Punjabi/Sindhi folk music.

Ishq ke Maare_ Sufi Songs from Sindh and Punjab

Track Listing

1 Intro – Damadam Mast Qalandar [Ustad Aacher and Party]

2 Jo Tera Gham Na Ho [Kalyam Sharif Qawwali Troupe]

3 Aahe Arman Ajeebon [Meeh Wasaiyo]

4 Aa Mil Yaara [Fatah Daudpoto]

5 Sur Rano [Latif Sarkar]

6 Sehra [Basheer Haidari and Nazira Bano]

7 Aarfana Kalaam [Shazia Tarannum]

8 Mahi Yaar Di Gharoli Bhardi – Raag Jog [Babu]

9  Shah Jo Raag [Sain Juman Shah and Fakirs]

10 Ayman Kalyan Raag [Ghulam Arshad]

11 Kalaam of Bulle Shah [Unknown]

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From the Archives: Mohammad Rafi

Another look back to December 2011 from the archives

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Jhulelal, Sindhi Community Diety

Mohammad Rafi was one of the holy trinity of Indian playback singers that genuinely formed the soundtrack to India’s first thirty years of Independence. From the late 40’s to the late 70’s Rafi’s voice along with those of Lata Mangeshkar and Kishore Kumar filled not only every cinema but bounced off every narrow gali, blasted from every café and barbershop and wedding celebration across India. And beyond, to Russia, the Middle East and Africa.

 imgres-3Born near Amritsar but raised in Lahore Rafi was an improbable superstar. His family was not a traditional musical one and though he began singing publicly at a young age it was not until he moved to Bombay in the early 1940s that he received training from some of the greats of Indian khayal including Ustad Bade Ghulam Ali Khan. But what he lacked in pedigree he made up for in capability.  His first film work was in 1944. Four years later he was invited by the first PM of India, Jawaharlal Nehru, to sing at his home.

From then on film work increased with Rafi recording thousands of songs for the Bollywood musical directors. Some, such as O.P Nayyar, Naushad and Shankar-Jaikishan used Rafi almost exclusively at various stages in their own glorious careers.

I’ve posted some of Rafi sahib’s film work before and more will come. But tonight’s post is a record of devotional and spiritual music sung in Sindhi.  As such it is a delightful detour away from the filmi world with which he is almost always associated. 

The lyrics of these songs comes from some of Sindh’s great folk and mystical poets: Bulleh Shah, Shah Latif and Dharamdas. The music is composed by one of Sindh’s most beloved patriots Dr Ram Panjwani. He’s pictured on the front of the album with Rafi.

DADA-RAM-PANJWANIPanjwani was born in Larkana, the same district that was the stomping ground of Pakistan’s great Bhutto political dynasty.  At Independence he, with hundreds of thousands other Hindu Sindhis, fled to India.  Pajwani (who was a writer, musician and activist) became a great organiser of the displaced Sindhis in Bombay and across India. To assist him he used the Sindhis’ community god, Jhulelal as a cultural touchstone to give them hope and solace in their ‘exile’.

The (very crudely paraphrased) story of Jhulelal is a tale of deux–ex-machina.  In the early days of Muslim penetration of India the Hindu residents of Thatta in Sindh had the misfortune of being ruled by a Muslim ruler, Mirkshah, who was aggressive about converting the local population….by force if necessary.  Given 40 days to agree to abandon their faith and convert to Islam, the people of Thatta beseeched their gods for a way out. On the 40th day a local woman became pregnant and eventually gave birth to a boy child. From the infant’s mouth flowed the Indus River and on the river riding a fish was an old man with a long beard.

The child/man was able to convince the Mirkshah’s vizier that he was indeed a spiritual being and eventually when confronted with Jhulelal’s powers Mirkshah himself relented and let the people keep their Hindu faith. 

When Jhulelal, also known as Uderolal, died Muslims insisted upon erecting a mini ‘kaba’ in his honor. The Hindus insisted upon a temple. Fighting ensued. Suddenly from on high a voice was heard, “ Behold! You shall make my shrine acceptable to both Hindus and Muslims. Let one face be a temple and the other a dargah (Sufi shrine).”

The story is rich with Sindhi syncretic thinking. Indeed, the vast countryside of what is now Pakistan was for centuries the home of a highly syncretic culture and religious practice. Sufi poetry is appreciated by Hindu Sindhis as much as Muslims and Jhulelal is so revered by Sindhis of all persuasions, the phrase “Jhulelal beera hee paar” is a standard greeting between Sindhis wherever they are in the world.

And of especial interest to the Washerman’s Dog is the frequent reference to Jhulelal in that great Sufi qawwali Dama Dam Mast Qalandar.

So it is with great pleasure tonight I post Hindu and Muslim spirituals from Sindh sung by a Muslim set to music composed by a Hindu who revered the tolerant diety of Sindh who wanted his resting place to be half Hindu half Muslim.

The Wonder That Was Sindh! 

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            Track Listing:

01 Kahdi Karyan Mahmani (Sachal)

02 Badal Aaaya Bahar Miyan (Bhojal)

03 Jeko Sabhai Siyaka Satte (Roshan)

04 Hee Aashikan Ja Insaf (Dharmdas)

05 Tu Aheen Sahib (Sachal)

06 Dardan Ji Mari (Shah)

07 Kiya Janey Dum Koi (Bulleh Shah)

08 Kalangi Wara Lal (Ram)

Tere Ishq Nachaya: Deep Soul from the Indus Valley (vol. 2)

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Tere Ishq Nachaya: Deep Soul from the Indus Valley (Volume 2) is another zabardast collection of spiritual love songs from Pakistan.

Dirt, dust and water are the elements that give rise to a people’s music.  True folk music, the original music, has always been sung when the earth’s grit sits on the tongue. With dry lips and parched throats.  And not just any dust and water but the elements of places of holy, familial and personal significance.  Places that we call home.

The country we now call Pakistan has been traversed, settled and cultivated from millennia.  Its rich soil and many rivers are birth to a culture that has been Hindu, Buddhist, Greek, Muslim and Sikh by turns, and often at the same time.  Pakistan is arguably that part of the culturally rich Indian sub-continent that has the most fertile folk music culture.   Folk music is not a cultural artefact but a living and flowing source of inspiration. Singers and itinerant musicians wander from fair (mela) to fair and shrine to shrine, where they entertain rural and urban audiences by playing simple instruments made of gourds, camel gut and clunky iron.  Their lyrics are built upon love stories and mystic poetry so old and organic they seem to have been around since the creation of the world.

The listeners, devout or not, know these stories which speak mainly of Love, both earthly and divine. In fact, it is almost always both at the same time, for who is your beloved but God himself?  The tales have been retold a thousand times a thousand times and yet are fresh and urgent. Their beauty, tragedy and ecstasy are as brilliantly experienced in the 21st century as they were in the 15th.

Music came to Pakistan with Islam.  Poets, preachers and mystics met the Hindu people with ideas that drew upon those they found in place. Shrines were set up near Hindu temples or sacred sites and in an atmosphere not too dissimilar to what can be experienced at country fairs even today, music and dancing spread the message of Love, Unity and Brotherhood.  The people of Sindh in particular have been brought up in a cultural atmosphere where saints, shrines, mythologies and rites are a common property, revered by Hindu and Muslim equally.

This is the music and spirit that is captured in this collection.  The songs are largely kalam (poems) of the Sufis but draw inspiration from folk tales and the natural world as well.  They are full of images rural audiences would fully understand. Like the Delta blues, this music reflects the deep soul of a people.

Some of the artists in Volume 2 are familiar and hugely popular not just in Pakistan but India and indeed, across the World.  A pre-teen Abida Parveen sings a kalam with Waheed Ali Khan a Sindhi favourite.  One of the most expressive vernacular voices ever to sing in Punjabi, Mohammad Tufail Niazi’s rendering of Sada Chiriyan da Chamba is likely to bring tears to your eyes. Shafqat Ali Khan’s Kis Tarah Aaeyga Qarar, is a ghazal in the kind of contemporary mode his millions of fans around the world have come to expect, classy and professional. And the Bengali nightingale Tina Sani turns in a stunning performance on a recent tour of Pakistan, her once-upon-a-time home.

But you’ll also find here unknown qawwals, and singers, known only to those within their community.  The elderly Balochi singer Jiji Zarina sings a Sindhi kalam and of course, the doyen of Sindhi classical singing Ustad Manzoor Ali Khan, is present with a classical sufi song Weendas Yar Mari.

It has been a great pleasure putting together this collection, which I hope you’ll enjoy and use to explore more of this deep soul music.

Deep soul v 2

Track Listing:

01 Jagga [Jutt Brothers]

02 Sada Chiryan da Chamba [Mohammad Tufail Niazi]

03 Sufi Kalam [Waheed Ali Khan and Abida Parveen]

04 Weendas Yar Mari [Ustad Manzoor Ali Khan]

05 Kis Tarah Aaeyga Qarar [Shafqat Ali Khan]

06 O Te Kade Na Dubde Ne [Unknown]

07 Mai ni main kinu akhan [Sain Zahoor]

08 Nawai Ney [Tina Sani]

09 Okhay Panday [Sain Zahoor]

10 Rehman Baba Kalam [Imran]

11 Hay O Rabba Nai Laghda Dil Mera [Reshma]

12 Aik Alif [Noori and Sain Zahoor]

13 Naam Balach Tai ushkay Naam e Bibi [Mir Ahmad Baloch]

14 Mu Khe wani wiye [Ustad Manzoor Ali Khan]

15 Jeay Latif [Waheed Ali Khan]

16 Shaikh Ayaz Kalam [Jiji Zarina Baloch]

17 Alif Allah Chambe Di Butee {Allah Hoo} [Sain Khawar]

18 Rabba Mere Haal Da Mehram {Shah Hussain} [Hamid Ali Bela]

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