Gharanon ki Gayaki: Hameed Ali Khan and Fateh Ali Khan

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Fateh Ali Khan and Hameed Ali Khan

Thank you to a reader of this blog for pointing out that in wrapping up this series of  20 volumes of classical singing from Pakistan I have neglected Volume 18!  And he is right! Apologies for that!

I had the pleasure of hearing Ustad Fateh Ali Khan, one of the featured voices on this volume, in an openair concert in Karachi several years ago. He was a mesmerising presence. I remember he sang an old raga Malkauns and held the audience in the palm of his hand. He sat tall and straight holding his swarmandal in his lap. With eyes closed he started slowly sometimes seeming to do nothing more than groan. But as he sang on the intensity and urgency built and before long his eyes were fully dilated and his open palm at the end of his long extended arm rising and falling with drama.  This was the first I had heard him and of course he stole the show. A genuine master for whom the title ustad is absolutely appropriate.

Bearing the same name as one of the all time great singers of gayaki Fateh Ali Khan‘s life is less well known and documented than his namesake and brother of Amanat Ali Khan.  Even more so his brother and singing partner Hameed Ali Khan. So sadly, I’m not able to share many biographical details with you but then again, probably if you asked them, they would refer you back to the music anyway.

The brothers were proponents of the Gwalior gharana (the other Fateh Ali Khan and Hamid Ali Khan belong to the Patiala gharana) about which I’ve provided a bit of information in earlier posts. But here is another take on that old school of singing which you might enjoy as well.

And so, though a bit out of chronlogical order, this series on Gharanon ki Gayaki does end with this post. I hope you’ve enjoyed it and that these recordings will accompany you on your way for many years in the future.

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Track Listing:

01. Kafi Kanra

02. Gandhari

03. Bairagi

04. Bhopali

05. Gujri Todi

06. Puriya Kalyan

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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]
  50. Various Artists [Classical & Light Classical Vocal]
  51. Bashir Ali Mahi [Light Classical Vocal/ thumri]
  52. Various Artists [Rare Classical Recordings]
  53. Ustad Bade Ghulam Ali Khan [Classical Vocal]
  54. Ustad Nazakhat Ali Khan and Ustad Salamat Ali Khan [Classical Vocal]
  55. Roshanara Begum [Classical Vocal]
  56. Various Artists [Classical Vocal]

 

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.

The Final Show: Ustad Amanat Ali Khan

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When  I came to Amanat Ali Khan‘s music–in a time long long ago and land far far away-the first song that caught my attention was Inshaji Utho. I was completely overwhelmed with what I heard. The song seemed to have just dropped out of the sky complete and perfectly formed.  It was held together and driven by a subtle synergy between rhythm, lyric and spirit.  There is a world-weariness about the song. A man at the end of his journey giving in to the eternal and inevitable.

The song, I was told by everyone, had been sung in a concert just before ustadji passed away in 1974. This information heightened the drama of the song and it has been one of my favourite ghazals ever since.

Recently I came across a recording that purported to be Amanat Ali Khan‘s final concert. I quickly looked to see if Inshaji Utho was on it. Alas, it was not. But I picked up the album anyway and I share it here today.   It is an excellent recording of a master singer at the top of his game. While Inshaji is missing, there are renditions of many other wonderful ghazals such as Yeh Arzoo Thi, Mausam Badla and an epic interpretation of the thumri, Piya Tore.

Enjoy

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Track Listing:

  1. Yeh Arzoo Thi
  2. Kab Aao Ge
  3. Mausam Badla
  4. Piya Tore
  5. Tum re Daras

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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

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From the Archives: Ustad Amanat Ali Khan, Ustad Nathoo Khan and Hamid Ali Bela

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Again from the archives of the asli Dhobi ka kuta (original Washerman’s Dog) comes three male artists fro Pakistna.  Two of them are my favorite of any genre or place in the world, Ustad Amanat Ali Khan and Hamid Ali Bela.  Sarangi maestro Nathoo Khan (no slouch himself) joins to make this a truly must have post!

X marks the spot!