Archive for the Nusrat Fateh Ali KHAN Category

Nusrat Fateh Ali KHAN – Intoxicated Spirit 1996

Posted in JAZZ, Nusrat Fateh Ali KHAN on December 10, 2010 by whoisthemonk

Nusrat Fateh Ali KHAN – Intoxicated Spirit 1996

Jazz

INTOXICATED SPIRIT was nominated for a 1997 Grammy Award for Best Traditional Folk Album.

Nusrat Fateh Ali Khan is a dazzlingly, lavishly gifted vocalist. On this album, he is intense and passionate, and the effect is hypnotic and otherworldly. I’ve listened to this CD countless times in the past two years, and yet I never tire of it…I’m always discovering something new every time I listen to it. “Ruk pe Rehmat Ka” (a devotional qawaali) is my current favorite song, although in the past I’ve liked “Yeh Jo Halka Halka…” (a romantic qawaali) better. Both these songs go through these incredible cyclic rhythms and build to a dazzling crescendo. I’ve recommended this album to many friends who like world music, and it’s been a hit with all of them as well.
**
Nusrat Fateh Ali Khan and his party of singers are heard here performing the ancient ritualistic style of music known as qawwali, which comes from the poetry of ancient Sufi masters. Nusrat, up until his death in the late 1990s, was its key torch-bearer.

His inimitable voice glides effortlessly over the tabla drums and harmonium. His vocal range is impressive, and the passion with which he sings is always immediately apparent and moving. Few artists truly capture the essence of humanity and divinity in their music as Nusrat Fateh Ali Khan does with every composition here. Highlights include “Yeh Jo Halka Halka,” and “Meri Saqi Saqi Yeh.”
**
01. Yeh Jo Halka Halka 23:17
02. Ruk Pe Rehmat Ka 23:37
03. Be Wafa 11:53
04. Meri Saqi Saqi Yeh 13:48
**

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Nusrat Fateh Ali KHAN & Party – Devotional and Love Songs 1992

Posted in JAZZ, Nusrat Fateh Ali KHAN on November 17, 2010 by whoisthemonk

Nusrat Fateh Ali KHAN & Party – Devotional and Love Songs 1992

Jazz

Nusrat Fateh Ali Khan opens this album as he often opened his live shows, by calling upon God in the form of Allah to come and bless the gathering with His presence. For that is the sole purpose of the qawwal: to reach God through music, through his voice. And this collection of Devotional and Love Songs is set forth with that in mind. Unlike some of Khan’s more Western-influenced releases, such as Mustt Mustt and Night Song, the songs are presented here with minimal instrumentation (mostly harmonium and tabla) in the traditional call and response form, with Khan singing a line that is echoed by the party of musicians that shares the stage with him. Surprisingly accessible and captivating, you need not be a Muslim or a seeker of any kind to recognize the power of this music. Just try to not sway and clap in rhythm. Bet you can’t. With the repetition of certain phrases and syllables, qawwali music is designed to bring both the musicians and audience to a heightened plane of reality, an almost trance-like state of existence. For when Khan’s voice soars up to the heavens and then swoops back down to bring you along for the ride, you are swept away without a second thought. That is why, prior to his death in 1997, Khan was considered the brightest star in qawwali, the master of this art form.
By Kelly McCartney, All Music Guide.
**
Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party — “Party” is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money. Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.

Real World was the label largely responsible for Khan’s breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. “All these albums are experiments,” he told me in 1993. “There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful.” Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless. Many fans regret the dilution of his talent that has occurred with his “experiments.” However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow.
By Ken Hunt, All Music Guide.
**
The first thing you notice is the chunking guitar and mandolin that Majawar Abbas adds to Nusrat’s classic blend of male vocals, harmonium, and tabla here. The strings add a folksy element to these six religious songs, making this 1988 session about as warm and cuddly as Nusrat’s spiritually charged qawwali music gets. Shorter selections with more nods to pop music arranging give the music a different character than that found on more traditional records, while remaining well short of the reinventions found on Nusrat’s famous crossover collaborations with Canadian guitarist Michael Brook and others. This set begins with a friendly rendition of “Allah Hoo Allah Hoo,” which was always a crowd-pleaser in Nusrat’s legendary live shows. “Haq Ali Ali Haq” begins like a flamenco song full of lyrical melancholy, but as its praise for Hazrat Ali, the fourth Caliph, gathers steam, the tempo rises, and the mood shifts to righteous resolve and the blooming ecstasy that is qawwali’s trademark. A love song, called a ghazal, opens with strumming guitar work that seems to promise Celtic music, but before long, you’re back in familiar qawwali territory. This tends to be the pattern, colorful intros that morph into traditional qawwali. The final track, “Ni Main Jogi De Naal,” starts out sounding like Greek bouzouki music. Some tracks fade out in order to stay in or around eight minutes. This tends to keep the energy several notches below that found in the full-blown, ten-plus minute selections featured on other releases. Call this back porch Nusrat, something you can enjoy without being whisked straight to heaven.
By Banning Eyre. AMG.
**
Dildar Hussain- Tabla
Farrukh Fateh Ali Khan- Harmonium, Vocals
Majawar Abbas- Guitar, Mandolin
Ghulam Fareed- Vocals (Background)
Maqsood Hussain- Vocals
Rahat Fateh Ali Khan- Vocals (Background)
Rahmat Ali- Harmonium
Nusrat Fateh Ali Khan- Vocals
**
01. Allah Hoo Allah Hoo  7:57
02. Yaad-E-Nabi Gulshan Mehka  7:36
03. Haq Ali Ali Haq  7:23
04. Ali Maula Ali Maula Ali Dam Dam  7:44
05. Mast Nazroon Se Allah Bachhae  6:21
06. Who Hata Rahe Hain Pardah  7:57
07. Yeh Jo Halka Saroor Hae  7:15
08. Biba Sada Dil Morr De  7:11
09. Yaadan Vichhre Sajan Dian Aiyan  7:22
10. Sanson Ki Mala Pey  7:13
**

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