Wednesday 29 January 2014
Thursday 23 January 2014
Ek Bekasi Hai Hijr
Ek bekasi hai hijr ke maaron ke saath saath
Tuta hai mera dil bhi, sahaaron ke saath saath
Ji bhar ke dekhne bhi na paaye the chhup gaye
Armaan bhi hain udaas, nazaaron ke saath saath
Dil mein vafuur-e-shauq ka armaan liye hue
Khaamosh jaagta hoon, sitaaron ke saath saath
Itni toh mahviyat ho tasavvur mein tere dost
Khud ko bhi bhuul jaaoon, nazaaron ke saath saath
Yahya ye aag ishq ki phir bhi na bujh saki
Hai dil mein ashk-e-gham bhi sharaaron ke saath saath
Monday 30 December 2013
Sohni Da Garha
Coke Studio’s newest episode is break from too much of everything in
so little time, the global experiment that could not defy expectations.
Or may be after so many successful seasons, the bar has been raised so
high that any song less than extra-ordinary isn’t appreciated. One song
in particular in episode four stood out, “Aamay Bhashaili Rey” by
Alamgir.
The song is based on boatmen & the endless river. It speaks of the journey across this river on a boat with a broken rim and the longing of the other end. Lyrics are simple but they connect at so many different levels. It leaves room for imagination; this song could be about journey or about boatman, about self or even about life.
As Alamgir says in the BTS video of the song, this folk song really suits his voice.
Aamay Bhashaili Rey, Coke Studio Pakistan, Season 6, Episode 4 from Coke Studio on Vimeo.
Fariha Pervez did a decent job with her part. Coke Studio over the years has tried to reincarnate some of best compositions and songs, Dasht-e-Tanhai, Lambi Judai etc. They have also brought in segments and verses from older hits like “Tere Ishq Mein” bit originally by Alam Lohar, performed by QB in Coke Studio, “Parande” bit originally by Gurdas Mann, sung by Aatif Aslam in Season 2. The list is long and worth a separate post. Even in this song Fariha sang bits of the Pahari Thumri “Saiyyan Bina Ghar Soona.” If you haven’t yet listened to its rendition by Salamat Ali Nazakat Ali, you might like Fariha’s singing. I am not drawing any comparisons. All I am saying is that I am biased when to comes to such selections. I could add the usual comment of how Fariha’s performance would lead to a rediscovery of this thumri like Meesha Shafi’s performance led to rediscovery of Dasht-e-Tanhai (and Faiz, I should add).
I am tad disappointed by Fariha’s selection. To me the perfect complement to Aamay Bhashaili Rey is Sohni. The river is same roaring with torrents. The desire of Sohni to cross the river and longing for other end finds a match in saath mere lagaaiyo maajhi naao miri kinaare re. The infamous Kaccha Ghadha takes the place of boatman.
A very short summary of the qissa ~ Sohni would cross Chenab every night to meet Mahiwal with the help of Ghadha. One day her sister-in-law replaced the Pakka Ghadha with a Kaccha Ghada. When Sohni tried to cross the river with the Kaccha Ghada, it dissolved in the water and Sohni drowned. Mahiwal saw Sohni drowning and jumped into the river and drowned as well.
Qissa of Sohni Mahiwal is popular in Punjab and Sindh. Various folk songs are based on the tragic end of the duo, many of which are in the form of conversation between Sohni and the Ghadha. The difference between Kaccha and Pakka is brought out using various metaphors and examples.
Pathanay Khan’s rendition takes the form of conversation. It contrasts the urge of Sohni to cross the river with pragmatism of Ghadha. Sohni pleads, Ghadha explain how this day is different. The verse “Dosh Na Meri Sohniye, Mein Ishq Di Aag Vich Na Sadya” brings forth the difference in perspective and an honest confession on part of Ghadha of how ordinary it is. This difference is played out in lot many other songs as well.
Raat Kahira Di: If torrents of Chenab on the D-day find a match, it would be in the voice of Gurmeet Bawa. The energy in her performance is unmatched, so is grief. Her rendition describes the Sohni as courageous, willing to fight dark night and Chenab. Kaccha-Pakka contradiction has place here, but stands no chance of a philosophical discourse against the love of Sohni. This song best brings out the tragic end of Qissa. (Scroll down for audio)
Sohni Da Ghadha: Central to Shaukat Ali Motie Malerkotlawale and party’s qawwali is the difference between Kachha and Pakka. It has strands of Sufism along with folk wisdom and is rooted in a context which is laid out clearly at the start of recitation.
Kachha Vekh Na Leya: Swarn Noora’s rendition is much softer. It draws parallels between Heer, Sassi & Sohni. Kaccha-Pakka conundrum plays out here as well.
Folk artists bring in a color of their own in each renditions. The similarity of thought is countered with unique styles of singing and variety in poetry. These songs are inspired from the locality and have an element of pind in them which comes out in the form of words employed, tallafuz etc.
Radio station Poonch used to relay a popular gojri song “Na Pair Batad Mein Thariye, Iss Ne Tina Rod Le Janu” which was copied from Alam Lohar’s rendition of Sohni. In this transformation Ghadha was lost along with Sohni, what remained was self and Batad( a tributary of river Poonch) which has very little water during most of the year and swells up during monsoon.
“Kaafir Theevan Je Mukh Moodan, Chad Mahi Je Gayraan Lodaan”
Maulvi Ahmed Hassan Akhter’s recitation stands out with a fine selection of poetry, beautiful takraars and the impeccable voice of Ahmed Hassan. A qawwali provides adequate time to explore all aspects of portrayed reality. It is not restricted to mere stating of contradictions rather it builds on these contradictions. This recitation is a fine example of it.
Ustad Hafiz Miandad, Sitar, Sohni and Party. This one too takes the form of conversation.
This post would be incomplete without “O Dis Di Kulli Yaar Di” by Ustad Mubarak Ali Khan-Fateh Ali Khan. The influence of these two Qawwal in shaping up the modern day Qawaali form especially in Punjab is immense. Qawwali begins with slower mellower start and gradually picks up pace and action. It is marked with nuanced girahs and taans. This shift in the middle towards “Main Ki Karan” adds another beautiful color. This entire recording is really amazing. Nusrat Fateh Ali Khan has also performed this qawwali and the difference in styles is quite obvious with this one.
The song is based on boatmen & the endless river. It speaks of the journey across this river on a boat with a broken rim and the longing of the other end. Lyrics are simple but they connect at so many different levels. It leaves room for imagination; this song could be about journey or about boatman, about self or even about life.
As Alamgir says in the BTS video of the song, this folk song really suits his voice.
Aamay Bhashaili Rey, Coke Studio Pakistan, Season 6, Episode 4 from Coke Studio on Vimeo.
Fariha Pervez did a decent job with her part. Coke Studio over the years has tried to reincarnate some of best compositions and songs, Dasht-e-Tanhai, Lambi Judai etc. They have also brought in segments and verses from older hits like “Tere Ishq Mein” bit originally by Alam Lohar, performed by QB in Coke Studio, “Parande” bit originally by Gurdas Mann, sung by Aatif Aslam in Season 2. The list is long and worth a separate post. Even in this song Fariha sang bits of the Pahari Thumri “Saiyyan Bina Ghar Soona.” If you haven’t yet listened to its rendition by Salamat Ali Nazakat Ali, you might like Fariha’s singing. I am not drawing any comparisons. All I am saying is that I am biased when to comes to such selections. I could add the usual comment of how Fariha’s performance would lead to a rediscovery of this thumri like Meesha Shafi’s performance led to rediscovery of Dasht-e-Tanhai (and Faiz, I should add).
I am tad disappointed by Fariha’s selection. To me the perfect complement to Aamay Bhashaili Rey is Sohni. The river is same roaring with torrents. The desire of Sohni to cross the river and longing for other end finds a match in saath mere lagaaiyo maajhi naao miri kinaare re. The infamous Kaccha Ghadha takes the place of boatman.
A very short summary of the qissa ~ Sohni would cross Chenab every night to meet Mahiwal with the help of Ghadha. One day her sister-in-law replaced the Pakka Ghadha with a Kaccha Ghada. When Sohni tried to cross the river with the Kaccha Ghada, it dissolved in the water and Sohni drowned. Mahiwal saw Sohni drowning and jumped into the river and drowned as well.
Qissa of Sohni Mahiwal is popular in Punjab and Sindh. Various folk songs are based on the tragic end of the duo, many of which are in the form of conversation between Sohni and the Ghadha. The difference between Kaccha and Pakka is brought out using various metaphors and examples.
Pathanay Khan’s rendition takes the form of conversation. It contrasts the urge of Sohni to cross the river with pragmatism of Ghadha. Sohni pleads, Ghadha explain how this day is different. The verse “Dosh Na Meri Sohniye, Mein Ishq Di Aag Vich Na Sadya” brings forth the difference in perspective and an honest confession on part of Ghadha of how ordinary it is. This difference is played out in lot many other songs as well.
Raat Kahira Di: If torrents of Chenab on the D-day find a match, it would be in the voice of Gurmeet Bawa. The energy in her performance is unmatched, so is grief. Her rendition describes the Sohni as courageous, willing to fight dark night and Chenab. Kaccha-Pakka contradiction has place here, but stands no chance of a philosophical discourse against the love of Sohni. This song best brings out the tragic end of Qissa. (Scroll down for audio)
Sohni Da Ghadha: Central to Shaukat Ali Motie Malerkotlawale and party’s qawwali is the difference between Kachha and Pakka. It has strands of Sufism along with folk wisdom and is rooted in a context which is laid out clearly at the start of recitation.
Kachha Vekh Na Leya: Swarn Noora’s rendition is much softer. It draws parallels between Heer, Sassi & Sohni. Kaccha-Pakka conundrum plays out here as well.
Folk artists bring in a color of their own in each renditions. The similarity of thought is countered with unique styles of singing and variety in poetry. These songs are inspired from the locality and have an element of pind in them which comes out in the form of words employed, tallafuz etc.
Radio station Poonch used to relay a popular gojri song “Na Pair Batad Mein Thariye, Iss Ne Tina Rod Le Janu” which was copied from Alam Lohar’s rendition of Sohni. In this transformation Ghadha was lost along with Sohni, what remained was self and Batad( a tributary of river Poonch) which has very little water during most of the year and swells up during monsoon.
“Kaafir Theevan Je Mukh Moodan, Chad Mahi Je Gayraan Lodaan”
Maulvi Ahmed Hassan Akhter’s recitation stands out with a fine selection of poetry, beautiful takraars and the impeccable voice of Ahmed Hassan. A qawwali provides adequate time to explore all aspects of portrayed reality. It is not restricted to mere stating of contradictions rather it builds on these contradictions. This recitation is a fine example of it.
Ustad Hafiz Miandad, Sitar, Sohni and Party. This one too takes the form of conversation.
This post would be incomplete without “O Dis Di Kulli Yaar Di” by Ustad Mubarak Ali Khan-Fateh Ali Khan. The influence of these two Qawwal in shaping up the modern day Qawaali form especially in Punjab is immense. Qawwali begins with slower mellower start and gradually picks up pace and action. It is marked with nuanced girahs and taans. This shift in the middle towards “Main Ki Karan” adds another beautiful color. This entire recording is really amazing. Nusrat Fateh Ali Khan has also performed this qawwali and the difference in styles is quite obvious with this one.
.
Favourite Qawwalis
A couple of years ago, I was reintroduced to the genre of qawwali.
This interest was sparked by Kabir Project. Prior to that my playlist
was restricted to Nusrat Fateh Ali Khan and Sabri Brothers. I would no
longer call many of those tracks as qawwali. They were bollywoodish
medleys or fusion based improvisations.
I find it difficult to define what exactly constitutes a qawwali, more so because of the way the old tradition has been reinterpreted by various performers. The gap between Mubarak Ali-Fateh Ali and Nusrat Ali Khan is large. Even when it comes to recital there are differences. Aziz Mian for example had a unique style different from softer, melodic, charming recitals of Haji Mehboob who was an exception in his own right. But underneath all these differences is the common thread of poetry inspired by Sufism. “Inspiration” based would be a maximalist approach to include the variety of Kalams performed these days.
This post is a collection of Naatiya Kalams. Each one of these speaks in manners of beauty or grace and is a celebration of being & the urge of belonging. The thing about art or music is that there isn’t single way of understanding and appreciating. Everyone has his own interpretations of what is being sung and what is being heard. Sometimes, the gap between the sung and the heard can be wide. Qawwals have a large repertoire of kalams and they mix verses from different sources so as to bring out the meaning of what is being recited. Often this leads totally different interpretation of kalam or to much needed elaboration of it. This is true of the following qawwalis as well. There is repetition of verses but the andaaz of it differs.
Maine Pucha Husn Se ~ Mehr Ali Sher Ali.
Nothing fancy here, just some colorful poetry with harmonious vocals.
Laagi Jo Toh Se Nazariya Ameer Rafiq
Sarangi and "Kya Tum Se Kahun" bit at the start are wonderful. Recital continues on this brilliance till the end.
Dil Jis Se Zinda Hai ~ Nusrat Fateh Ali Khan
Naat by Zafar Ali Khan. This shift at 8:00 towards punjabi kalam and at 12:00 to Kalam Pir Meher Ali Shah add to the charm of recitation.
Ze Rehmat Kun Nazar ~ Munshi Raziddun and Sons
Nahi Hai Koi Asaara ~ Manzoor Niazi
Yaad-e-Mustafa ~ Manzoor Hussain Santoo
With an interesting Clarinet start which was the trademark of his party.
Ishq Ki Ibtida ~ Maulvi Ahmed Hassan
He really was a diamond in rough. More about him and some of his recordings here
Naseema Janibe ~ Fareed Ayaz and Abu Muhammad
Punjabi verses added in between and the melodic style leave nothing more to be desired.
Jab Husn Tha ~ Najmuddin Saifuddin
Excuse the audio quality.
Ya Muhammad ~Nusrat Fateh Ali Khan
I wanted to restrict this post to one recital per qawwal but am tempted to add this to the list.
I find it difficult to define what exactly constitutes a qawwali, more so because of the way the old tradition has been reinterpreted by various performers. The gap between Mubarak Ali-Fateh Ali and Nusrat Ali Khan is large. Even when it comes to recital there are differences. Aziz Mian for example had a unique style different from softer, melodic, charming recitals of Haji Mehboob who was an exception in his own right. But underneath all these differences is the common thread of poetry inspired by Sufism. “Inspiration” based would be a maximalist approach to include the variety of Kalams performed these days.
This post is a collection of Naatiya Kalams. Each one of these speaks in manners of beauty or grace and is a celebration of being & the urge of belonging. The thing about art or music is that there isn’t single way of understanding and appreciating. Everyone has his own interpretations of what is being sung and what is being heard. Sometimes, the gap between the sung and the heard can be wide. Qawwals have a large repertoire of kalams and they mix verses from different sources so as to bring out the meaning of what is being recited. Often this leads totally different interpretation of kalam or to much needed elaboration of it. This is true of the following qawwalis as well. There is repetition of verses but the andaaz of it differs.
Maine Pucha Husn Se ~ Mehr Ali Sher Ali.
Nothing fancy here, just some colorful poetry with harmonious vocals.
Laagi Jo Toh Se Nazariya Ameer Rafiq
Sarangi and "Kya Tum Se Kahun" bit at the start are wonderful. Recital continues on this brilliance till the end.
Dil Jis Se Zinda Hai ~ Nusrat Fateh Ali Khan
Naat by Zafar Ali Khan. This shift at 8:00 towards punjabi kalam and at 12:00 to Kalam Pir Meher Ali Shah add to the charm of recitation.
Ze Rehmat Kun Nazar ~ Munshi Raziddun and Sons
Nahi Hai Koi Asaara ~ Manzoor Niazi
Yaad-e-Mustafa ~ Manzoor Hussain Santoo
With an interesting Clarinet start which was the trademark of his party.
Ishq Ki Ibtida ~ Maulvi Ahmed Hassan
He really was a diamond in rough. More about him and some of his recordings here
Naseema Janibe ~ Fareed Ayaz and Abu Muhammad
Punjabi verses added in between and the melodic style leave nothing more to be desired.
Jab Husn Tha ~ Najmuddin Saifuddin
Excuse the audio quality.
Ya Muhammad ~Nusrat Fateh Ali Khan
I wanted to restrict this post to one recital per qawwal but am tempted to add this to the list.
Charkha Javed Babbar Niazi
Rurtrian Mud Ayeiyan, Sajjan Nahi Valleh
Guzar Gaaye Sau Samere.
Mahi Ve Tere Vekhan Lay, Chuk Charkha Gali Vich Dawaan
Main Loka Bhane Bada Katdi, Tand Teriyaan Yaadan Di Paavan
Babul Di Saun Dil Nahi Lagda, Sade Sekh Hijar Di Aag Da
Ve Ajj Mera Dil Karda, Ghar Chad Ke Malang Ban Jaavan
Dakh Nahi Dende SauRe-PaiKe, Har Dam Rehde Mainu Tere Bhulekhe
Ve Hor Kam Kaaj Koi Na, Ravaan Takdi Sajjan Diya Rawaan.
Sunday 8 December 2013
Piya More
Qawwali has undergone a lot of change in the last few decades. It has
largely moved away from its classical form and there are very few
qawwals who have held on the older tradition. Moreover the length of
each recital has been curtailed to less ten minutes. The old charm of
it is being lost slowly.
Piya More based on raag Khambhavti is filled with elements of classical form. Refrain of Piya More gradually transforms to Khawaja more. There are very verses and this provides a greater flexibility to rendition.
Nusrat Fateh Ali Khan was well versed with the classical form. But he experimented with the form and developed a style of his own. At the same time he performed some qawwalis on compositions of past, including compositions of his father and uncle. Early recordings of his performances reflect this where a much more emphasis is on the kalam being recited.
Second recital is by Ustad Rafeeq Ali Qawwal Murkeyan Wale and Party. This is another lesser known qawwali groups with immense talent. Their recital has a greater continuity and has punjabi verses blended in between which adds to the charm.
Piya More based on raag Khambhavti is filled with elements of classical form. Refrain of Piya More gradually transforms to Khawaja more. There are very verses and this provides a greater flexibility to rendition.
Nusrat Fateh Ali Khan was well versed with the classical form. But he experimented with the form and developed a style of his own. At the same time he performed some qawwalis on compositions of past, including compositions of his father and uncle. Early recordings of his performances reflect this where a much more emphasis is on the kalam being recited.
Second recital is by Ustad Rafeeq Ali Qawwal Murkeyan Wale and Party. This is another lesser known qawwali groups with immense talent. Their recital has a greater continuity and has punjabi verses blended in between which adds to the charm.
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