Posted:
Thanks Dada for the great post.
The first & only song of his that I heard is Jiya dhadak dhadak..and it is just fabulous...👏
Thanks Dada for the great post.
The first & only song of his that I heard is Jiya dhadak dhadak..and it is just fabulous...👏
Indus ji
Yes your right. Love Omkara songs and Naina by Rahat shab is simply great.
Originally posted by: soulsoup
Thanks dada - this is a new Info for me - LOVED THAT MOVIE!!! It left me very disturbed - for a long time!! 😊
I second that. That was a great movie, Susan Sarandon and Sean Penn were amazing. I think she got best actress OSCAR award for the movie.
At the end of the movie, also when the names of cast & crew are shown the peice composed by NFAKhan is played. That really kind of solace the soul.
BiographyQawwali, the mystical music of Indian and Pakistani Sufism, is rooted in song forms that are over 700 years old. Qawwali songs are devotional songs that extol Islamic virtues and shower praise upon Allah. Qawwali is intended to affect heightened spirituality through ritualized listening known as Sama. The transcendent nature of the poetic lyrics, in combination with a vivacious musical base and the participatory act of Sama, stirs ecstatic feelings of mystical adoration among both performers and audience members alike. Undoubtedly the most popular qawwali singer of all time was the Pakistani-born Ustad Nusrat Fateh Ali Khan. Six weeks after his death in 1997, nephew Rahat Fateh Ali Khan assumed the qawwali helm. Rahat took Nusrat's first name in a traditional gesture of admiration of his master, and in so doing was officially recognized as the new leader of Ustad Nusrat Fateh Ali Khan's group.Born in Faisalabad, Pakistan, Rahat Nusrat Fateh Ali Khan was selected at birth by his uncle for tutoring in the art of qawwali music. A precocious child, Rahat was singing at the age of three with his uncle and his father Farroukh Fateh Ali Khan, another respected qawwali singer. Rahat began formalized training with his uncle at the age of six. By age 15, Rahat officially joined his uncle's celebrated group. Since becoming the head of the group, Rahat Nusrat Fateh Ali Khan has performed on a variety of recordings and has sung with Eddie Vedder at the Dead Man Walking Concert put on by Tim Robbins. He and his band continue to entrance world audiences with numerous shows around the globe. Rahat Nusrat Fateh Ali Khan's self-titled release on American Recordings is his U.S. debut. Recorded in Santa Monica, CA, its four tracks are both emotionally charged and expertly performed. Producer Rick Rubin, of Red Hot Chilli Peppers and Beastie Boys fame, boosts Rahat's already potent sounds by cranking up the low end and placing the tabla way up in the mix. Though Rahat is excited to play with Western pop musicians and lay down tracks in state-of-the-art studios, he is ultimately most concerned with the art of qawwali and its mystically imbued message. As he states, "qawwali music is not only music, it is a message. It was created by Sufis, and when we compose and practice this music, it stays forever. Other music comes and goes, but qawwali never goes. Once you start listening, it goes in your soul, goes in your spirit, and you become more human. I feel that this music is my duty, to go and give the message of Sufism. My future is that one day I will fulfill the desire of Nusrat to give this message to the world." ~ John Vallier, All Music Guide |
| |
| |
| |
| |
| |
| |
| |
| Kaag Udawan Shagun Manawan | |
| Akhiyan Udeek Diyan | |
| Dus Tun Kien Yaar | |
| Rang Rangeeli Rut Sawan Ki | |
| Mere Yaara Mainu Apni Kar Lay |
Rahat Nusrat Fateh Ali Khan
Rahat Nusrat Fateh Ali Khan
(American)
by Michael Stone
When he died in 1997, Ustad Nusrat Fateh Ali Khan was the foremost exponent of Pakistani devotional Qawwali music, rooted in the 700-year tradition of Persian Samah religious song, as perpetuated by Sufi devotees of the Prophet Mohammed. Listeners who saw Dead Man Walking will immediately recognize the evocative Qawwali sound from Nusrat's sparkling contribution to the film soundtrack.
Following Qawwali tradition, Nusrat chose as his musical apprentice his nephew, Rahat Fateh Ali Khan, when he was still a youth. Rahat trained at his uncle's feet, joined his entourage and sang at his side. He received the master's mantle upon his uncle's death, and at his behest, assumed direction of his uncle's ensemble. This album is Rahat's self-titled debut, superbly produced by American Recordings. A sinuous vocal artistry resides at the heart of Qawwali tradition, in which vocal call-and-response plays a critical role in building the music's compelling emotional tension. Instrumental accompaniment comprises dramatic tabla hand percussion and handclapping, and the unique sonorities of the harmonium, a keyboard instrument powered by a hand-pumped bellows. (Allen Ginsberg followers will recognize the instrument and its organ-like sound from the poet's harmonium use in his poetry readings.)As a devotional form Qawwali seeks to inspire and elevate listener and performer alike, inducing a sense of inner peace and ecstatic spiritual rapture. Revealing himself as a worthy successor to his uncle, Rahat performs four extended songs on the album, the shortest exceeding 12 minutes in length. This is unequivocally music for reflection and meditation. Rahat's invocations cultivate a soothing, hypnotic quality, and while the tabla often surges to the fore, the accomplished instrumental array ornaments and enhances without ever overpowering the stunning vocal solo and ensemble performance. The interlocking voices weave and wail, swoop and soothe in perfect cadence, borne ever higher upon a robust rhythmic and melodic underpinning. Rahat Fateh Ali Khan is a singer of powerful intonation and imaginative projection whose every vocal nuance constitutes a piercing cry from the soul by an emergent master.
Qawwali, the mystical music of Indian and Pakistani Sufism, is rooted in song forms that are over 700 years old. Qawwali songs are devotional songs that extol Islamic virtues and shower praise upon Allah. Qawwali is intended to affect heightened spirituality through ritualized listening known as Sama. The transcendent nature of the poetic lyrics, in combination with a vivacious musical base and the participatory act of Sama, stirs ecstatic feelings of mystical adoration among both performers and audience members alike. Undoubtedly the most popular qawwali singer of all time was the Pakistani-born Ustad Nusrat Fateh Ali Khan. Six weeks after his death in 1997, nephew Rahat Fateh Ali Khan assumed the qawwali helm. Rahat took Nusrat's first name in a traditional gesture of admiration of his master, and in so doing was officially recognized as the new leader of Ustad Nusrat Fateh Ali Khan's group.
Born in Faisalabad, Pakistan, Rahat Nusrat Fateh Ali Khan was selected at birth by his uncle for tutoring in the art of qawwali music. A precocious child, Rahat was singing at the age of three with his uncle and his father Farroukh Fateh Ali Khan, another respected qawwali singer. Rahat began formalized training with his uncle at the age of six. By age 15, Rahat officially joined his uncle's celebrated group.
Since becoming the head of the group, Rahat Nusrat Fateh Ali Khan has performed on a variety of recordings and has sung with Eddie Vedder at the Dead Man Walking Concert put on by Tim Robbins. He and his band continue to entrance world audiences with numerous shows around the globe. Rahat Nusrat Fateh Ali Khan's self-titled release on American Recordings is his U.S. debut. Recorded in Santa Monica, CA, its four tracks are both emotionally charged and expertly performed. Producer Rick Rubin, of Red Hot Chilli Peppers and Beastie Boys fame, boosts Rahat's already potent sounds by cranking up the low end and placing the tabla way up in the mix.
Though Rahat is excited to play with Western pop musicians and lay down tracks in state-of-the-art studios, he is ultimately most concerned with the art of qawwali and its mystically imbued message. As he states, "qawwali music is not only music, it is a message. It was created by Sufis, and when we compose and practice this music, it stays forever. Other music comes and goes, but qawwali never goes. Once you start listening, it goes in your soul, goes in your spirit, and you become more human. I feel that this music is my duty, to go and give the message of Sufism. My future is that one day I will fulfill the desire of Nusrat to give this message to the world." ~ John Vallier, All Music Guide
The Bhatts are known to use cross-border talents to churn out hit songs in their movies. And Jiya dhadak dhadak jaye from Kalyug is yet another testimony to that.
The composers of the track, Faisal Rafi and Rohail Hyatt, run a music production company called Fried Junkies in Karachi, Pakistan. They compose film music, produce songs and also manage artists like Jiya dhadak singer Rahat Fateh Ali Khan -- the late Nusrat Fateh Ali Khan's nephew -- and Ustaad Saami.
The Fried Junkies have composed many a jingle in Pakistan, for biggies like Pepsi, Coke, Nestle, Lever Brothers, Citibank, etc. Faisal, a drummer, has been in the music business for over 10 years. Rohail founded the famous Pakistani pop band Vital Signs.
In fact, Jiya dhadak dhadak jaye was part of Rahat's yet unreleased album, being produced by the Fried Junkies.
Faisal is a very good friend of the Mahesh Bhatt family. That turned into a professional equation for Kalyug. Co-composer of the by-now-rocking track, Faisal speaks about the making of the song and his association with the Bhatts.
Did you have any reservations about releasing the Jiya dhadak dhadak jaye song before the album?
Rohail and I normally don't like giving out songs to films before an album's release. But [Mahesh] Bhatt saab really liked the song. And he has a keen ear for music.
Does your hesitation about films stem from your being left out of the credits of Paap?
That was certainly a disheartening experience. Man ki lagan was a beautiful song, and we were surprised to see Anu Malik credited as the music director. But Pooja Bhatt and Mukesh Bhatt are two different entities. In hindsight, I guess it's ok. Paap was in 2003; [when] the relations between India and Pakistan were not that good. Maybe Pooja felt the need to use the name of a famous Indian music director to sell the music.
It was interesting to hear the flute in a romantic song like Jiya dhadak.
True, a flute is normally not associated with romantic songs. There's a technical reason behind the flute. Jiya dhadak is based on the Pahadi raga, and the tabla and flute are normally used in northern Punjab, where the raga originates. Still, we were unsure. We tried a lot of instruments, including the violin, but the flute sounded perfect. Incidentally, the flautist for the song is the very talented Ustad Shaukhat Ali's son.
You use sparse instrumentation in your compositions.
We apply the formula of sticking to the melody. Man ki lagan was recorded using only four instruments. For Jiya dhadak, we recorded in a room with two percussionists, one flautist, one guitarist and one bassist, with Rahat singing.
Film music, both in India and Pakistan, typically tries to sell the 'grand sound' using a 40-piece orchestra. We believe that less is more; in fact keeping it simple requires more intelligence and talent.
Why did you insist on recording the song in Pakistan?
That's because we have our own studio and that would allow us undivided concentration without having to worry about time or financial limits. Plus, I felt that the style of the musicians there [in Pakistan] suited the melody. I knew in Pakistan, we would be more in control. Such music cannot be created if you're limited by time and practicalities.
Do you bother about a film's premise and where your song will be placed?
We research details intricately. This is another reason why we shy away from most films -- there is little control over how the song will be used and its picturisation. We have to be careful. Even Nusrat saab had to face threats in Pakistan because of the Afreen afreen music video with Lisa Ray. Since we know the Bhatts well, we know they'll honour our opinions as well.
Yes, but Kalyug sends out a strong social message. There have been similar incidents in Pakistan, where innocent people have been made victims. There was a lot of controversy about this a few months back. In fact, like in the film, an innocent victim committed suicide. The film sends out a social message that we support.
Yes, many. Mahesh Manjrekar too approached us, but we refused. He wanted a few disco and remix songs, which is not up our alley. Our songs are more classical and qawali based.
Do you thing music is bringing India and Pakistan closer?
As long as millions like and accept your music, it doesn't matter what five negative people have to say. Now, even the gates of the LoC [Line of Control] have been opened. From here on, there's no turning back.
It is surprising. Countries like India, Pakistan, Bangladesh and Nepal have a musical heritage dating back thousands of years. And I think songs like Jiya dhadak prove that a commercially viable song can be created within a classical structure.
comment:
p_commentcount