Catalogue Of Musical Renditions - Pakistan National Council of the

Transcription

Pakistan National Council of the Arts
National Intangible Heritage Archives
Catalogue
Of
Musical Renditions
A Joint Project of
&
Pakistan National Commission of UNESCO
Catalogue
Of
Musical Renditions
•
•
•
•
•
Supervision
Tauqeer A. Nasir
Chief Exective Director Gerneral
Researcher and Data Collection
Arif Jafri
UNESCO Fellow of Bucharest University of Music Romania
Project Director
Agha Khalid Zubair
Recording Engineer
Agha Sehir Tanveer
Computer Proecessing
Miss Salma Iftikhar
(Project Grantee)
Miss Khizra Ambreen
(Project Grantee)
Acronyms
NIHA
PNCA
PNCU
UNESCO
Pakistani National Council of the Arts
Pakistan National Commission of UNESCO
United Nations Education, Scientific and Cultural Organization
Medium and their Abbreviations
I = Instrumental
V= Vocal
AC
ACD
DISCS
DF
DVC
DVD
EPD
F-F
LPD
SPT
VCD
VHS
VUH
VUL
AUDIO CASSETTES
AUDIO COMPACT DISCS
(Audio CD)
DISCS RECORDS
(78 RPM)
DOCUMENTARY FILMS
(8, 16, 35 & 70mm)
DIGITAL VEDIO CASSETTES
DEGITAL VIDEO DISCS
EXTENDED PLAYING DISCS
(45 RPM)
FEATURE FILMS
(8, 16, 35, 70 mm)
LONG PLAYING DISCS
(35.5 RMP)
SPOOL TAPE
(MEGNETIC TAPES ¼)
VIDEO COMPACT DISCS
VIDEO CASSETTES
(VIDEO HOME SERVICES)
VIDEO UMATIC HIGH BAND
VIDEO UMATIC LOW BAND
Indexation Pattern of Vocal Music
AC – 01 / VCL
AC – 01 / VSC
AC – 01 / VFK
LPD – 01 / VLT
SPT – 01 / VCL
SPT – 01 / I – SIT
VHS – 01 / QI
VHS – 01 / KI
Audio Cassette No. 01 of Vocal Classical
Audio Cassette No. 01 of Vocal Semi Classical
Audio Compact Disc No. 01 of Vocal Folk
Long Playing Disc 33.5 RPM – Vocal Light
Spool Tape No. 01 – Vocal Classical
Spool Tape No. 01 – Instrumental Sitar
Video Cassette (VHS) No. 01 of Qawali
Video Cassette (VHS) No. 01 of Kafi
Vocal Music
KFI
NAT
QLI
VCL
VFK
VLT
VSC
Kafi (Mystic Music)
National & Patriotic Songs
Qawali, Qaul, Qalbana & Other Allied Forms
Vocal Classical Music
Vocal Folk Music
Vocal Light Music
Vocal Semi Classical Music
Indexation Pattern of Instrumental Music Recordings
I = Instrumental
I- AL
I-BNJ
I-BANS
I-DK
I-DLE
I-DIL
I-IK
I-HRM
I-JAL
I-KB
I-NQ
I-PKJ
I-PN
I-RB
I-SBN
I-SD
I-SIT
I-SRA
I-SNR
I-SRB
I-SRI
I-TA
I-TNB
I-TT
I-VN
I-VV
Instrumental ALGHOZA
Instrumental BANJO
Instrumental BANSURI
Instrumental DHOLAK / PER
Instrumental DHOLE / PER
Instrumental DILDUBA
Instrumental IKTARA
Instrumental HARMONIUM
Instrumental JALTARUNG
Instrumental KEYBOARD
Instrumental NAQQARA/PER
Instrumental PAKHAWAJ/PER
Instrumental PIANO
Instrumental RUBAB
Instrumental SOOR BEEN
Instrumental SAROD
Instrumental SITAR
Instrumental Sarinda, Surendo, Siroz
Instrumental SANTORE
Instrumental SOOR BAHAR
Instrumental SARANGI
Instrumental TABLA/PER
Instrumental TANBORE/PER
Instrumental TABLA TARUNG
Instrumental VIOLIN
Instrumental VICHITRA VEENA
GHARANA MUSIC
Khayal Gayaki (style), as it exists today in the sub-continent, has been developed,
nourished and brought to perfection under the aegis of different Gharanas founded by
some of the great masters of this art during the past two hundred years. Haddoo Hassoo
Khan (Gawalior), Tan Rus Khan (Dehli), Behram Khan (Jaipur), Ghagge Khuda Bukhsh
(Agra), Abdul Karim Khan (Kirana) Ali Bukhsh Khan and Fateh Ali Khan (Patiala) – such are
the immortals who have shaped and chiseled classical music into its present noble form.
The Gharana System originated and flourished under the lavish patronage of
princely states of the sub-continent, but under the new social order with the disappearance
of these states from the scene, the Gharanas have also gone to seed and are fast
disintegrating. This certainly would be a most undeserved and sad end to an institution
which has been a most watchful and able custodian of our traditional classical music for the
last two centuries.
Gharana Music System consists of eight (8) Gharanas;
1. Agra Gharana
2. Delhi Gharana
3. Gwalior Gharana
4. Kirana Gharana
5. Patiala Gharana
6. Qawwal Bachon Ka Gharana
7. Sham Chorasi Gharana
8. Talwandi Gharana
AGRA GHARANA
Agra Gharana traces its lineage to Tansen and was originally a Gharana of Dhrupad
Gayaki (Style). Shayamrang and his brother Sarasrang were its most celebrated
representatives in the early nineteenth century. It was from them that Nathan Khan and Pir
Bukhsh of Gawalior Gharanas learned some essential aspects of Dhrupad, Hori and Dhamar
in order to enrich their own style of Khayal Gayaki (Style). Ghagge Khuda Bukhsh left Agra
for Gawalior to become a disciple of Nathan Khan and Pir Bakhsh took the young son of
their guru (Master) under their wing and after years of strenuous training, they were able
to remove the rough edges of their disciple’s husky voice and transformed it into a wellrounded soulful voice of a peculiar touching quality. They also initiated him into the artistic
discipline of Khayal Gayaki and so when Ghagge Khuda Bukhsh left Gawalior for Agra, he
was already well set on the road to fame as one of the foremost Khayal singers of his time.
Ghagge Khuda Bakhsh’s full-throated voice acquired under the strict guidance of Nathan
Khan and Pir Bukhsh made use of a slight nasal resonance to cover the faint traces of
gruffness still clinging to it. This lent certain pathos to his voice which pulled at the heart
strings of his listeners. This peculiar mode of intonation has become the distinguishing
mark of singers belonging to Agra Gharana.
During the succeeding generations Ghulam Abbas Khan, the eldest son of Ghagge
Khuda Bakhsh, Sher Khan his nephew and finally Nathan Khan, the illustrious son of Sherr
Khan transformed Agra Gharana into one of the noblest Gharanas of Khayal Gayaki (Style).
In the more recent past Aftab - e – Mosiqi Fayyaz Khan manifested in his art all that
was stately, dignified and beautiful in Agra Gharana and bought it to the acme of perfection.
Due to the early axchange of ideas between the two Gharanas, Agra and Gawalior have
many features in common. Both utilizes full-throated voice to expound Dhrupad Ang
Khayals and both excel in bol – tans, though the bol – tans of Agra are more polished, much
livelier and hence more impressive. The bandish in Agra Gharana is invariable preceded by
elaborate alap in nom – tom style, which helps in immediate identification of this Gharana.
DELHI GHARANA
Delhi Gharana is the oldest Gharana of Khayal Gayaki (style) in the sub-continent,
since its roots reach back to Naimat Khan Sadarang court musician to the fun – loving
Mughul Emperor Muhammad Shah Rangeela (1719 – 1748). Sadarang stands at the head of
a long line of eminent Khayal singers belonging to different Gharanas who were to come
after him during the next century and were to establish, once and for all, the supremacy of
Khayal Gayaki (style) over Dhrupad. Sadarang’s Khayal compositions that have come down
to us are embellished with ‘Zamzamas’, ‘Murkis’, “Behlavas’ and ‘Drut Tans’ that show
complete departure from Dhrupad Gayaki. Qawwal Bachon Ka Gharana which also is an out
– shoot of Delhi Gharana concentrated mainly on intricate Tan Phirat and Layakari.
All the above mentioned elements of Khayal Gayaki found their perfect culmination
in the art of Tan Rus Khan perhaps the ‘purest’ Khayal singer of all times.
Tan Rus Khan was the court musician of the last Mughal Emperor Bahadur Shah
Zafar (1837 – 1857). This close association of Delhi Gharana from its very inception with
the court at Delhi has lent it a certain prestigious position among other Gharanas and this
has resulted in disdainful refusal of this Gharana to imbibe ideas from extraneous sources.
Delhi Gharana is concerned mainly with the sensuousness and expressive power of
‘Sawara’ and ‘Laya and the ‘Bandish’ is treated not merely as a statement of a Raga but as a
fine ‘Tonal Poem’. Rhythmic and Tonal patterns are not considered as ends in themselves
but are treated as technical means to be employed to depict specific feelings, objects and
movements.
The very names of different tans which have originated in this Gharana (Ustad
Chand Khan in one of his books has enumerated 105 of them) suggest not only the tonal
pattern but also rhythmic swing involved in their execution. Jhoola Tan, Bijli Chamak Tan,
Badal Garaj Tan, Hindola Tan, Bahao Tan, Chhalang Tan, Lachadar Tan, Shrinagar Tan, to
name a few, all suggest a meaningful fusion of ‘Laya’ and ‘Swara’. Similarly one can visualize
the ‘pattern of movement’ involved in ‘Sawari Ke Khayal’, ‘Palke Ke Khayal’ etc. Proud of its
ancestry, this Gharana has scrupulously remained inside its own shell and this musical
inbreeding has hastened its disintegration.
The direct line of this Gharana came to an end with the death of Khan Sahib Sardar
Khan the grandson of Tan Rus Khan, a few years ago in Pakistan. The other branch
stemming from Ustad Mamman Khan and Ustad Bundu Khan the two greatest Sarangi
players of the subcontinent is represented by the two septuagenarians – Ustad Chand Khan
of Delhi and Ustad Ramzan Khan of Karachi.
GAWALIOR GHARANA
The seed of Gawalior Gharana was sown by two eminent Khayal singers of the early
nineteenth century Abdullah Khan and Qadir Bakhsh. They sang with full throated voice in
the Dhrupad manner and their Gayaki was lucid and simple characterized by
straightforward Tans occasionally embellished with Gamaks. Qadir Bukhsh two sons
Nathan Khan and Pir Bakhsh who had received some training in Dhrupad, Hori and Dhamar
from two great Dhrupad singers of their time Shyamrang and Sarasrang og Agra
incorporated the characteristics of Dhrupad style with their own mode of Khayal singing
inherited from their father. Their Dhrupad Ang Khayal compositions serene and stately and
at the same time enlivened by rhythmic play of Hori and Dhamar were immensely popular
throughout the sub – continent. Bol – Tans which play a prominent role in Dhrupad singing
became an integral feature of Gwalior Gharana of Khayal Gayaki.
It was however, during the next generation that Haddoo Khan and Hassoo Khan the
two distinguished sons of Nathan Khan brought this Gharana to the pinnacle of its
greatness. Groomed carefully in the best traditions of their Gharana, they soon came under
the spell of Bade Muhammad Khan, of Qawwal Bachon Ka Gharana. Bade Muhammad Khan
and his son Mubarak Ali Khan were celebrated for their intricate ‘Tan Phirat’ and ‘Layakari’.
Haddoo Hassoo Khan avidly assimilated their technique and incorporated it with their own
style of Bol – Bant and thus achieved a finally balanced fusion of ‘Laya’ and ‘Swara’ which is
the ultimate goal of all Gharanas.
Mian Banney Khan, one of the ablest disciples of Haddoo Hassoo Khan, introduced
Gawalior Gharana’s Gayaki in our part of the century. Mian Mubarak Ali Khan of Sind and
Khan Sahib Pyar Khan were his most eminent disciples and it is in their families that the
fine gayaki of Gawalior Gharana has been preserved in its purest form.
KIRANA GHARANA
Kirana Gharana whose ancestry goes back to Naik Dhondoo and Naik Bhanoo in the
fifteenth century was originally a Gharana of Dhrupad Gayaki. Later on it also produced
some eminent beenkers and sarangi players of the great distinction like Rajab Ali Khan,
Banday Ali Khan and Haider Bukhsh Khan. Emergence of this Gharana as one of the leading
Gharanas of Khayal Gayaki is comparatively a recent event belonging t the beginning of the
current century. This Gharana reach its perfection in the art if Khan Saheb Abdul Karim
Khan and his cousin Khan Sahib Abdul Waheed Khan and the numbers of their disciples
who have brought distinction and glory of their Gharana is legion. It includes such
illustrious names as Amir Khan of Indore, Sawai Gandharva, Hira Bai Barodekar, Gangu Bai
Hangal and Malka – e – Mausiqi Roshan Ara Begum. Kirana Gharana is predominantly
‘Swara’ oriented and concerns itself mainly with tonal patterns created leisurely and step
by step in slow tempo. This gradual progression from note to note in ‘Vilambit Laya’ is the
most characteristic feature of Kirana Gayaki. ‘Alap’ takes precedence over rhythmic
progression and tonal ‘Naqqashi’ supersedes intricate ‘Phirat’ and ‘Layakari’.
This formal structure of Kirana Gayaki in which ‘Swara’ dominates ‘Laya’ has been
handled differently by the two masters of this Gharana Khan Sahib Abdul Waheed Khan
and Khan Saheb Abdul Karim Khan. Abdul Waheed Khan employed the marked style of alap
in which all the possible permutations and combinations of notes permissible in a Raga are
used without taking into consideration their aesthetic significance. Hus approach was that
of an Ustad, a scholar and a pedagogue. He sang with an open full – throated voice which
though perfectly in tune, lacked sweetness and warmth of feelings. His Khayal recitals in
‘Vilambit Laya’ with their endless permutations of ‘Swara’ patterns though quite fascinating
were at the serine time apt to tire the listeners. On the other hand, Khan Sahib Abdul Karim
Khan’s exceptionally sweet and pointed voice possessed all the subtle shades and nuances
of the ‘Swara’ (Srutis) and he could weave with its help tonal patterns of extreme
delicacacy and beauty which soothed and at times hypnotized his listeners his peculiar
mode of vocal intonation with a deliberately constricted wind – pipe lent a flavor of
‘Thumri’ to his ‘Khayal’ gayaki. This lightweight Gayaki is a fine synthesis of Karnataki and
Hindustani styles and though it lacks the gravity of Abdul Waheed Khan’s style. It has a
beauty, gracefulness and serenity that charms and captivates the listeners.
PATIYALA GHARANA
Patiyala Gharana founded by Mian Kaloo and brought to perfection by his
distinguished son ‘Jarnail’ Ali Bukhsh and his equally distinguished singing partner Fateh
Ali Khan is the youngest Gharanaof Khayal Gayaki in the sub – continent. Coming at the tail
– end of Gharana has freely absorbed in itself all that was noble and of abiding value in
other Gharanas – especially Jaipur, Delhi, Gwalior, the three main sources of its musical
training. Its versatility is due to the variety of musical ideas thus assimilated during its
formative period.
Akaar the mode of vocal intonation and ‘Alap', (Behram Khan, Allah Banday Khan)
sensuous expressiveness of the Swara and the lilting cadence of ‘Bandish’ (Tan Rus Khan)
‘bol – bant’ and ‘gamak’ (Haddoo Hasso Khan) and intricate tonal patterns of Tan
‘Taephirat’ (Bade Mubarak Ali Khan) have all contributed to the beautiful formal designs of
Patiala Gayaki. Patiyala ‘Akaar’ surrounded by a soft halo of subtle overtones, is so
delicately balanced that it requires years of ‘Mehnat’ and ‘Riaz’ for its true realization.
Patiala ‘Bandish’ and ‘Asthai’ presentation is elegant, neat and graceful with beautiful tone
colours and fine rhythmic swing. This Gharana is equally at home in all the three registers
of ‘Laya’ ‘Vilambit’ ‘Madhya’ and ‘Drut’ and even in the fastest tempo ‘Swara’ and ‘Laya’
remain well balanced. The synthesis of soulfulness of ‘Swara’ and playfulness of ‘Laya’
achieved by Patiala Gharana is much more subtle and satisfying than the one achieved by
Gwalior. Its electicism has made Patiala a ‘complete Gharana – a gharana per execellence.
Qawwal Bachon Ka Gharana
Qawwal Bachon Ka Gharana holds aunique position among the Gharanas of music in
the Sub – Continent. Infact it is not a ‘regular’ Gharana sense that, unlike other Gharanas, it
does not offer a complete ‘Kaeyda’ ot artistic discipline to be followed for delineation of
Ragas, nor does it as aspire after a distinct and finished formal pattern of Khayal Gayaki
which could set it apart from other Gharanas. This Gharana emanates from the Qawwals
who used to perform at the ‘Dargahs’ of Khawaja Mueen – un – Din Chishti at Ajmer and
Hazarat Nizam – ud – Din Aulia at Delhi. For these Qawwals ‘word’ was more important
than ‘Swara’ and ‘massage’ took precedence over ‘Bandish’. In in order to bring the
massage home these qawwals created tensions and counter – tensions and finally brought
them to an effective climax. To bring out the significance of the ‘word’ they employed
meaningful, fusion of ‘Laya’ and ‘Swara’ in the form of ‘Zamzamas’ and ‘Behlavas’ and for
the climax they resorted to ‘Tan Phirat’ and ‘Layakari’. Later on when some eminent singers
of this Gharana took to Khayal Gayaki they made ‘Tan Phirat’ and ‘Layakari’ be – all and end
– all of music. Bade Muhammad Khan and his son Mubarak Ali Khan of this Gharana were
wizards of the intricate ‘Tan Phirat’ and with their ‘Drut Tans’ of unusual complexity and
dexterity they took the music by storm. No Gharana of Khayal Gayaki escaped hypnotic
influence, even such great masters as Haddoo Khan, Ghaggi Khuda Bukhsh, Alahdiya Khan
of Kolhapur and Tan Ras Khan came under their spell. Since then ‘Drut’ ‘Tan Phirat’ and
‘Tayarri’ has become an integral element in the formal organization of all Gharanas of a
‘Chhota Khayal’ in Drut Laya which ‘Tan Phirat’ and ‘Laya Kari’ play a dominant role and
bring the recital to a satisfying conclusion.
In the realm of Thumri too, where ‘word’ is an equal partner with ‘Swara’ and lends
it a voluptuous sensuousness, the technique employed by Sadiq Ali Khan and his illustrious
disciple Moj – ud – Din of this Gharana has proved most effective. Meaningful and
suggestive ‘Behlavas’ creat and erotic mood in ‘Madhya Laya’ and the climax is created
through ‘Tan Phirat’ in Drut Laya and this ‘Thha – Doon’ technique has become the
standard of thumri recital.
Sham Chorasi Gharana
Tracing back its origin to Chand Khan and Suraj Khan eminent Dhrupad singers of
the sixteenth century, Sham Corasi Gharana has produced some fine Dhrupad singers and
Beenkars during the past three hundred years of existence as a prominent Gharana of
Dhrupad Gayaki. Its transformation into one of the foremost Gharana of Khayal caliber this
Gharana has produced, Ustad Salamat Ali Khan.
Ustad Salamat Ali Khan his musical training from his father Ustad Vilayat Ali Khan
and other elders of his Gharana and this initial training has supplied his Gayaki with a solid
foundation. His crystal – clear, full – throated and natural vocal intonation, his mastery over
‘Laya’ and ‘Swara’, his lively bol – bant and his well modulated gamaks are precious gifts
inherited from a Dhrupad Gharana of no mean distinction. He was barely nine years old
when he made his first appearance as a vocalist at the famous Harvallabh Music Festival. It
was a wonderful experience for young Salamat Ali khan as he sat enraptured listening to
the performances of some of the greatest Khayal singers of his time. From amongst then he
selected his models with fastidious care and then set to work in right earnest to reach
perfection in his art. It was all sweet and tears at first with no Haddoo Hassoo Khan or Tan
Ras Khan to guide him but after years of strenuous riaz and mehnat, he suddenly
blossomed fort as a Khayal singers of exceptional power and sensibility.
Like most of the renowned musicians in the past Ustad Salamat Ali Khan is free from
sectarian prejudices and has freely absorbed all that is best and significant in other
Gharanas and incorporated it with his personal style. His extremely flexible Akaar, majestic
in the lower (Mandra), delicate and tender in the middle (Madhya), and nimble and playful
in the upper (Taar) register, helps him to weave tonal patterns of the infinite variety. He is
also equally at home in all the three registers of ‘Laya’, ‘Vilambit’, ‘Madhya’, ‘Drut’ and his
command over Laya, probably, unsurpassed in the sub – continent.
Sham Chorasi Akaar is Chaste, natural and dignified and avoids nasal resonance or
other artificial devices employed by some Gharanas to lend sensuousness to the ‘Swara’.
This ‘ascetic’ akaar has given a strong flavor of ‘spirituality’ to the Gayaki of Ustad Salamat
Ali Khan.
TALWANDI GHARANA
Dhrupad with its distinctive formals structure in four parts – asthai, antra, sanchari
and abhog was evolved in the court of Raja Man Singh Tomar of Gwalior (1486 – 1516) and
for the next two hundred years remained the prevalent form of Gayaki in the sub –
continent. In the maintime ‘Khayal’ which had originated, almost simultaneously with
dhrupad, in the court of Sultan Hussain Sharqi of Jaunpur (1458 – 1477) had found its
ablest votary in Sadarang, the court musician of Muhammad Shah Rangeela (1719 – 1748).
Sadarang’s Khayal compositions with their variety of tonal patterns and their rhythmic lilt
became immensely popular and before this rising tide of Khayal Dhrupad started receding
into the background. By the end of the nineteenth century Dhrupad wad disappearing into
the mists of antiquinty and Khayal was emerging triumphantly as the Gayaki of the future.
During this transitional period from Dhrupad to Khayal many established Gharanas
of Dhrupad Gayaki such as Agra. Gwalior and Jaipur transformed themselves into the
supremacy of Khayal and continued their struggle for existence right into the middle of the
twentieth century. The famous Talwandi Gharana belongs to these gallant fighters for a
cause which was already doomed. Talwandi Gharana of Dhrupad Gayaki is one of the most
respected Gharanas of music in the sub – continent. Its ancestors were among the
prominent musicians at the Mughal court and names of a few of them like Chhatar Khan,
Parvez Dad, Hamzan Khan, Khurram Dad and Jahangir Dad have come down to us in the
writings of contemporary historians. In the most recent past the illustrious Mian Muala
Bukhsh (1845 – 1930) was one of the greatest Dhrupad singers of his time and was visited
by the late Pandit Bhatkhande during the latter’s painstaking search for valuable material
for his collection of Dhrupad compositions of famous Gharanas.
Since Tan sen’s time there have been four distinct styles of Dhrupad Gayaki known
as ‘Banis’. These are (a) Gobarhar or Shudh Bani, (b) Dagar Bani, (c) Khandhar Bani and
musicians of this Gharana proudly distinguish themselves from others by calling
themselves Khanderays.
AC / VCL
Audio Cassette / Vocal Classical
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
Abdul Karim Khan Saheb
Kerana Gharana
30+30=60 minutes (C-60)
Karachi Music Centre; Sommerset Street, Karachi
Contents
Side “A”
1- Khayal in Raga – LALIT
(Bhairo Thath)
Mudh Teen Tal, “Bhavda yarda Jaban”
2- Khayal in Raga – GOJRI TODI
(Todi Thath)
Drut Teen Tal, “Begun Gun Gae”
3- Tarana in Raga – MARWA
(Marwa Thath)
Drut Teen Tal
4- Khayal in Raga – MISHRA ZANGOLA
(Jangla)
“Ram Nagariya Mein Kese Jaon”
5- Filler: Raga – MUDHWANTI on Santoor
By Shiv Kumar Sharma,
Mudh Teen Tal
Instrumental Accompaniment:
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
12345-
Side “B”
Khayal in Raga – PATDEEP
(Misher Male Thath)
Mudh Teen Tal, “Dhan Dhan Dhari”
Khayal in Raga – MISHRA KAFI
(Kafi Thath)
“Bhavri Dam De Gae”
Khayal in Raga – ABHOGI KANHRA
(Kafi Thath)
Mudh Teen Tal, “Banna Rangeela”
Khayal in Raga – DERBARI KANHRA
(Asawari Thath)
Mudh Teen Tal, “Jhanak jhanakva Morey”
Filler: Raga – Mudhusanti on Santoor
By Shiv Kumar Sharma,
Drut Teen Tal
Note:
a) Ustad Abdul kareem khan was the most notable of Kerana singers (Born 1889 died 1937)
Learnt Khayal and Thumri singing from his father ustad kaley khan and uncle ustad
Abdullah Khan, who hailed from Kerana, a town in District Saharanpur, India. He enjoys the
credit of being the ustad (Teacher) of Legendry Singers like Malika-e- Mauseeqi Roshan Ara
Bagum and Hirabai Barodeker. Ms. Deepali Nag has guoted the followimg compliment of
Aftab-e- Mauseeqi, ustad Faiyaz Khan (1881-5-11-1950) of Agra:- Debabadprasad Garg of
Mahishadal said, on being told about the death of Abdul Karim Khan in 1937, after a pause
of a few minutes, Khan Saheb (ustad Faiyaz Khan) had said “Sur Mar Gaya” i.e Melody is
deed! What a fine compliment from one Musician to the other.
Book - Faiyaz Khan by Ms. Deepali (NAG- Page No.41)
b) With reference to filler (Ring – 5) as per Side “A”. Raga “Mudhwanti” does not fit in any of
the ten fundamental groups (Thanth) by Pandit Bhat Khunday in 1927. However this Thath
as well as raga hes been mentioned as DHARMOTI and GOHRI MANOHARI respectively in
Karnataka Sangeet (Music of South India).
Nath Jogi was the first to expose this Raga, slightly before the formation of Pakistan and was
popularized by Ustad Ashiq Ali Khan and Ustad Umeed Ali Khan (Ustad Ghulam Haider Khan
“100 Acchop Rag” 1983- Page 14).
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: _________
Kerana Gharana
30+30=60 minutes (C-60)
Karachi Music Centre; Sommerset Street, Karachi.
Contents
1234-
Side “A”
Khayal in Raga – LALIT
(Bhairon Thath)
Mudh Teen Tal, “Bhavda Yarda Joban”
Khayal in Raga – GOJRI TODI
(Todi Thath)
Drut Teen Tal, “Begun Gun Gae”
Tarana in Raga – MARWA
(Marwa Thath)
Drut Teen Tal
Khayal in Raga – MISHRA ZANGOLA
(Jangla)
“Ram Nagariya Mein Kese Jaon”
12345-
Side “B”
Khayal in Raga – PATDEEP
(Misher Male Thath)
Mudh Teen Tal, “Dhan Dhan Dhari”
Khayal in Raga – MISHRA KAFI
(Kafi Thath)
“Bhavri Dam De Gae”
Khayal in Raga – ABHOGI KANHRA
(Kafi Thath)
Mudh Teen Tal, “Banra Rangeela”
Khayal in Raga – DERBARI KANHRA
(Asawari Thath)
Mudh Teen Tal, “Jhanak Jhanakva Morey”
Filler: Raga – MUDHVANTI ON SANTOOR
By Shiv Kumar Sharma
Drut Teen Tal
Instrumental Accompaniments
• Tabla:
• Sarangi:
• Harmonian:
Note:
a) Ustad Abdul Karim Khan was the most notable of Kerana singers. Born 1868 (died 1937)
Learnt Khayal and Thumri singing from his father ustad Kaley Khan and uncle ustad
Abdullah Khan , who hailed from Karana, a Town in District Saharanpur, India. He enjoy’s
the credit of being the ustad of Legendry singers like Malika-e- Mauseeqi Roshan ara Begum
and Hirabai Barodeker. Ms.Deepali Nag has quoted the following compliment of Aftab-eMauseeqi, ustad Faiyaz Khan (1881-05-11-1950) of Agra:
“Debarasad Gary of Mahishadal said, on being told about the
death of Abdul Karim Khan in 1937, after a pause of a few
minutes, Khan Saheb (ustad Faiyaz Khan) had said “Sur Mar
Gaya” i.e. Melody is dead! What a fine compliment from one
Musician to the other”.
(Book: - Ustad Faiyaz Khan by Ms.Deepali ‘Nag-Page No-41’)
b) With reference to filler (Ring-5) as per side “A”, Raga ‘Mudhwanti’ does note fit in any of thr
ten foudamental groups (Thath) framed by Pandit Bhat Khunday in 1927. However this
Thath as well as raga has been mentioned as DHARMOTI and GOHRI MANOHAR
respectively in Karnataka Sangeet (Music of South India).
Nath Jogi was the first to expose this Raga, slightly before the formation of Pakistan and was
papularised by ustad Ashiq Ali Khan and ustad Umeed Ali Khan.
(Ustad Ghulam Haider Khan “100 Aechop Raga” 1983-page 14)
Artist
Gharana
Cassette Duration
Production
1234-
AC. No: _____ / VCL
Volume: __ II____
Kerana Gharana
30+30=60 minutes (C-60)
Rendition time 43 minutes
Karachi Music Centre; Sommerset Street, Karachi
Side “A”
Khayal in Raga – BILAWAL
(Bilawal Thath)
Mudh Teen Tal, “ Piyara Nazar Nahin
Aonda”
Thumari in Raga – TALUNG
(Khamach Thath)
“Sajan Sung Kahey Naina Lagae”
Mudh Teen Tal
Khayal in Raga – BASANT
(Porbi Thath)
“Phagwa Brij Dekhan Ko Chalo Ri”
Mudh and Drut teen Tal
Khayal Ang Thumri in Raga – SHUDH
PILU
(Kafi Thath)
“Soch Samajh Nadan”
Mudh Teen Tal
Contents
1234-
Side “B”
Khayal in Raga – SARPARDA
(Bilawal Thath)
“Gopala Mori Karana”
Dadra in Raga – GHARA
(Kafi Thath)
“Kaun Albeley Ki Nar”
Dadra Tal
Khayal in Raga – MALKAUNS
(Bhairvin Thath)
“Piran Jani”
Khayal in Mudh Teen Tal
Thumri – BHAIRVIN
“Jamuna Ke Teer”
Mudh Teen Tal
• Tabla: Zahid Imran Farani
• Sarangi:
• Harmonium:
• Tanpura:
Note:
Khan Saheb Abdul Karim Khan had a gifted voice stretched over three complete octaves in
which he used to sing with equal ease and dexterity. His Tonic note (KHURAJ) used to be the 4th
white note of Middle octave “f” or chotha 4th safeid of Mudh Saptak, which is guite unusual.
(For detail please see under volume I)
Artist
Gharana
Cassette Duration
Type of
Renditions
Production
AC. No: _____ / VLT
Volume: ___________
Amanat Ali Khan, Ustad
Patyala Gharana
30+30=60 minutes (C-60), Rendition time 43 minutes
Vocal Light (VLT) Ghazals
Disco Music; Liberty Market, Gulberg III – Lahore.
Contents
123456-
Side “A”
Insha Ji Otho Ab Koch Karo
Ghazal, Ibn - e – Insha
Mora Jia Na Lage Bin Teray Yar
Geet, Adeem Hashmi
Piyar Nahin Hei Soor Sey Jis Ko
Raga – Malkauns (Teen Tal)
Kub Aaoge, Mera Tum Bin Jia Odas
Thumri – Bhairvin (Mughlai Tal)
Kesi Guzar Gae Hei Jawani
Ghazal
Yar ko Mein Ne, Mojhay Yaar Ne
Ghazal, Atish Lakhnavi
1234567-
Side “B”
Kabhi Jo Nikhat - e - Gul
Ghazal
Yeh Na Thi Hamari Qismat
Ghazal, Mirza Ghalib
Mazey Jehab Ke Apni Nazar Mein
Ghazal
Jo Guzar Gae Hei
Ghazal
Yeh Arzo Thi Tojhe Gul Ke Robro Kertey
Ghazal, Atish Lakhnavi
Mah-e-Nau Ko Aya
Ghazal
Honton Pe Kabhi On Ke Mera Naam
Ghazal, Ada Jafri
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Ustad Amanat ali Khan (1927 to16-9-1974 at Lahore) son of Ustad Akhtar Hussain Khan,
died February 1974 at Lahore and Grand son of ustad Ali Bukhsh Khan, alias Gernail Khan (died
1915) the founder of Patyala Gharana Although Amanat Ali Khan was a classical vocalist, yet he
astonished our world of Music by singing Ghazal Geet and received tremendous applause, both by
people and professionals. He emerges as light vocalist in middle of 1971. That was the time when
Master Ghazal singers like, “Mehdi Hassan, Ghulam Ali Ejaz Hussain Hazravi, Madam Fareeda
Khanam and Iqbal Bano were enjoying complete monopoly as the only five Ghazal Geet Veterans
and for a new entrant it was quite an up hill task to rank himself amongst the rulling Ghazal Geet
singers, but ustad Amanat Ali Khan made his debut as a Ghazal Geet Singer with a loud bang. Since
than he is ranked as one of the few top Ghazal Geet Singers of Pakistan’s world of Music, The
pedegri of late ustad Amanat Ali Khan is as under;
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: ____I____
1. Amanat Ali Khan (Ustad)
2. Fateh Ali Khan (Ustad)
Patyala
30+30=60 minutes (C-60)
A PNCA Production, Islamabad
Contents
Side “A”
1234-
(Bhairvin Thath)
Drut in Teen Tal, “Piyar Nahin Hei Jisko”
Khayal in Raga – DERBARI
(Asawari Thath)
Drut Khayal Iktala
“Nain So Naib Milae Rakne Ko”
Khayal in Raga – KALAWATI
(Khamach Thath)
Drut Khayal Teen Tal
“Piya Nahin Aae Morey Sakhi”
Khayal in Raga – RAM SAAKH
(Khamach Thath)
Mudh Jhup Tal
“Karam Karo Mo Pe”
• Tabla:
• Sarangi:
• Harmonian:
12-
Side “B”
(Light Renditions)
Ghazal
“Kesi Guzer Gai Hei Jawani Na Pocchiye”
Ghazal, Aatish
“Ye Aarzo Thi”
3-
Thumri – BHAIRVIN
“Kub Aao Ge, Mera Toom Bin Jia Odas Re”
4-
Kafi “Qadar Na Jani Beqadra Ve”
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ____________
Ameer Khan (Ustad), Indor Walay
Kerana Gharana
30+30=60 minutes
Private Collection of Mr. Zahid Farani
Contents
1-
Side “A”
Khayal in Raga – AIMAN
(Bilampat , Jhomra Tal)
12-
Side “B”
(Durat Iktala)
Khayal in Raga – MADHUKAUNS
(Bilampat Jhomra Tal)
• Tabla: Mian Shaukat Hussain
• Sarangi: Nazim Ali Khan
• Harmonium:
Note:
Raga “MADHU KAUNS” is a less familiar Raga, also known as Raga “SOGUND” IN Music
world of Pakistan, also known as Raga “Hemawti” in south Indian Music also known as Raga
“SULTANI” and is said to be a composition of Nawab Wajid Ali Shah (Died-1861) of Awadh State
(U.P, India).
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
Ameer Khan (Ustad) , Indor Walay
Kerana Gharana
30+30=60 minutes
Private Collection of Mr. Zahid Imran Farani
Contents
1-
Side “A”
Khayal in Raga – HUNS DHOON
(Bilawal Thath)
Bilampat khayal, “IKTALA”
Followed by Tarana in Drut Teen Tal.
• Tabla:
• Sarangi:
• Harmonium:
Note:
It is donated by Mr.Zahid Imran Farani.
1-
Side “B”
(Bharvin Thath)
Jin ke Mun Ram Biraje, Bilam IKTALA
Mere Ghar Aae Balama, Drut Teen Tal.
Artist
Gharana
Cassette
Duration
Production
Presented by
AC. No: _____ / VCL
Volume: _________
Ameer Khan , Indor Walay (Ustad)
Kerana Gharana
30+30=60 minutes (C-60)
Radio Recording (All India Radio)
Zahid Imran Farani
Contents
1-
Empty
Side “A”
• Harmonium:
1-
Side “B”
Khayal in Raga – Anundi
Bilampat Jhomra Tal, Drut Iktala
Artist
Gharana
Cassette Duration
Producttion
AC. No: _____ / VCL
Volume: ____________
Ameer Khan, Ustad (Indor Waley)
Kerana
45+45=90 minutes (C-90)
All India Radio Concert, a Private collection of Mr. Zahid Imran Farani,
Islamabad.
Contents
12-
Side “A”
Khayal in Raga – SHUDH KALYAN
(Kalyan Thath)
Bilampat Khayal Jhomra Tal
Khayal in Raga – JAE JAE WANTI
(Khamach Thath)
Bilampat Khayal Jhomra Tal
(Carried over to ring No.1 of Side “B”)
1234-
Side “B”
Khayal in Raga – JAE JAE WANTI
(Carried over from Side “A”, continuation of
ring No.2 of Side “A”)
Khayal in Raga – SUHA KANHRA
(Kafi Thath)
Tarana in Drut Teen Tal
Khayal in Raga – CHARUKESHI
(Misher Male Thath)
Khayal in Mudh and Drut Teen Tal
“Laj Rakho Toom Meri”
Khayal in Raga – BHATYAR
(Marwa Thath)
Khayal in Mudh Jhup Tal
• Tabla:
• Sarangi:
• Harmonian:
Note:
a- RAGA – CHARUKESHI is a popular Raga of South India and is mentioned under “MUKHARI”
Thath. Charukesh does not fit into any of the Ten Thaths of Pandit Bhat Khundey (18621940). A combination of BHIRON and BHAIRVIN Thath in first and second TATRACHORD
respectively, not a common Raga in Pakistan and North Indian Music System.
b- BHATYAR is a RAGA of MARWA Thath. Almost all Ragas of MARWA Thath are rendered
slightly before or after sun set. But due to the excessive use of SHUDH MADHIM (4th
Augmented or Tritone above Tonic) is the main tonal characteristic of Ragas of MARWA
Thath.
Raga BHANKAR or BHIKAR, Raga PUNCHAM and Raga LALIT PUNCHAM are other Ragas of
MARWA Thath, which completely takes after the tonal character of Raga BHATYAR is
devotional or Mysticism.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
1. Ameer Khan (Ustad) , Indor walay
2. Baray Ghulam Ali Khan (Qasuri)
3. Kishori Amonkar
1. Kerana Gharana
2. Qawal Bachon Ka Gharana
30+30=60 minutes (C-60)
Contents
12-
Side “A”
Interview Ustad Baray Ghulam Ali Khan
22:00 minutes
Tarana in Raga – TILAK KAMOD
(Bilawal Thath)
Teen Tal
08:05 minutes
12-
Side “B”
Khayal in Raga – SHUDH KALYAN
24:30 minutes
(Kalyan Thath)
Khayal in Raga – BERAGI
(Bhairon Thath)
• Harmonium:
Note:
Side “A” – Radio Recording (All India Radio)
Side “B” – It is a donation by Mr. Zahid Imran Farani, Islamabad.
I.
Concert Recording
II.
Radio Recording of Madam Kishori Amonkar, Radio Recording (All India Radio)
Artist
Gharana
Cassette
Duration
Production
AC. No: _______ / VCL
Volume: ____________
Ashiq Ali Khan (Ustad)
Patyala
30+30=60 minutes (C-60)
It has tranferd from L.P. Private Collectiom to Mr. Zahid Farani.
Contents
1-
23-
456-
Side “A”
(Asawari Thath)
Bilampat Iktala
Khayal in Raga – PORIYA DHANASRI
(Porabi Thath)
Drut Iktala, “Khoosh Rahey Sanam”
Drut Teen Tal
2-
Khayal in HINDOL BAHAR
(Misher Male Thath)
4-
Khayal in Raga BHAIRON BAHAR
(Misher Male Thath)
Bilampat in Jhomra Tal
Thumari in PILU
(Kafi Thath)
Multani Kafi
(Bhairvin Thath)
“Dilber Milsi Kedey War”
8- Sindhi Kafi Shah Lateef in SINDHDA
(Kafi Thath)
• Tabla:
• Sarangi:
• Harmonium:
7-
1-
Note:
3-
56-
Side “B”
Ashiq Ali Khan and Umeed Ali Khan
(Bhairon Thath)
a) Bilampzt Iktala, “Rein Ka Sapna”
b) Drut Khayal,
Teen Tal, “Piho Piho Ratat Papiha”
Khayal in Raga – SHAM KALYAN
(Kalyan Thath)
Bilmpat Dhamar (Punjabi), “Sawan Ki”
Ashiq Ali Khan
Khayal in Raga – GOON KALI
(Bhairon Thath)
Mudh Teen Tal
Punjabi Theka, “Hey Kartar”
Khayal in Raga – BHAIRON
(Bhairon Thath)
Khayal in Komal Rekhab – ASAWARI
(Bhairvin Thath)
Drut Iktala
Khayal in Raga – NUT NARAINI
(Khamach Thath)
Drut Teen Tal, “Laj Rakho Kartar”
Ustad Ashiq Ali Khan (1895-1948 at Karachi, Pakistan) known as Baray Ashiq Ali Khan; a
representative of Patyala Gharana, Ashiq Ali Khan was the only son of Ustad Fateh Ali Khan alias
KERNEL KHAN, one of the two founders of Patyala Gharana i.e, Ustad Ali Bux alias “Gernel” (18351915) and Fateh Ali Khan alias “Kernel” (died 1904).
Ustad Fateh Ali Khan Kernel was a fast friend of Ali Bux Khan Gernel and had no blood
relation with Gernel Khan. Ustad ashiq Ali Khan died unmarried in 1948 at Lahore. He became a
legend in his life time. He is said to be the initiater of “Palta” (Solmization) and “Tehai” (Triplet)
following are his known disciples.
Ustad Baray Ghulam Ali Khan, Chhotey Ashiq Ali Khan, Amanat Ali Qusuri (youngest
Brother of Baray Ghulam Ali Khan) Mukhtar Bagam, Fareeda Khanam, Zahida Perveen, Bilawal
Balgium and many others.
AC. No: _____ / VCL
Volume: ____III____
Artist
Bashir Ahmad Khan (Ustad)
Gharana
Cassette Duration
Production
Delhi Gharana of Seni Kalawantan
30 + 30 = 60 minutes (C - 60)
A PNCA, Islamabad Production
(1939-2003)
Contents
1234-
Side “A”
Khayal in Raga – JAE JAE VANTI KANHRA
(Misher Male, combination of Khamach and
Kafi Thath)
Bilampat Iktala, “Ae Re Nanadia”
Mudh Teen Tal, “ Albela Sajan”
DADRA
(Combination of Raga – KOSHAK DHANI
and Raga – SRI RANJANI)
(Bilawal Khamach Thath)
“Katey Katey Nahin Ren”
Khayal in Raga – DEVGARI BILAWAL
( Bilawal Thath)
Mudh Teen Tal, “Sogher Bana Ghar Aya”
Khayal in Raga – ILAIYA BILAWAL
(Bilawal Thath)
Mudh Teen Tal, “Kahan Gaey Wo Log”
12
• Tabla:
• Sarangi:
• Harmonian:
AC. No: _____ / VCL
Side “B”
Khayal in Raga – PAT BEHAG
Mudh Teen Tal
“Babu Ji Thari Soni Mandaiya Kiyon”
Khayal in Raga – MANYARI BILAWAL
(Misher Male Thath)
(A combination of Bilawal and Bhairon
Thath, 1st and 2nd Tatra Chord, respectively)
Khayal in Mudh Teen Tal, “Tero Derbar”
Artist
Gharana
Cassette
Duration
Production
Volume: _________
Baray Ghulam Ali Khan Qasuri (Ustad)
Qawal Bachon Ka Dehli Gharana and Patyala Gharana
45+45=90 Minutes (C-90)
Private Collection of Mr. Zahid Farani
Contents
12-
3-
4-
Side “A”
Thomari in Raga – TILAK KAMOD
(Bilawal Thath)
Thomari in Raga – KHAMACH
(Khamach Thath)
Thomari in Raga – PAHADI
(Bilawal Thath)
Thomari in Raga – BHAIRVIN
(Bhaivin Thath)
12-
Side “B”
Khayal in Raga – DARBARI
(Asawari Thath)
a) Bilampat Iktala
b) Drut Teen Tal (Anokha Ladala)
Khayal in Raga – KOSHAK DHANI
(Bilawal Thath)
a) Bilampat Iktala
b) Drut Teen Tal
• Tabla:
• Tanpura:
Note:
Ustad Baray Ghulam Ali Khan was an indirect disciple of Mian Qutab Bukhsh Khan Alias
“Tan Rus khan” (1770-1872) of Qawal Bachon ka Dehli Gharan. He received his training in KHAYAL
singing from Ustad Ashiq Ali Khan, S/O Ustad Fateh Ali, alias Kernail Khan and title holder of “Tan
Kaptan” (1830-1898) of Patyala Gharana, who was a direct disciple of Tan Rus Khan. Later on he
established his own “QASURE” Gharana, an auxilary of Qawal Bachon ka Gharana.
AC. No: _____ / VCL
Artist
Gharana
Cassette
Duration
Production
Volume: _________
Qawal Bachon Ka Dehli Gharana
30+30=60 Minutes (C-60)
Karachi Music Centre; Sommerset Street, Saddar Karachi.
Contents
12345678-
Side “A”
(Todi Thath)
Khayal in Raga – DESI TODI
(Todi Thath)
Khayal in Raga – BHIMPALAS
(Kafi Thath)
Khayal in Raga – KAMOD
(Kalyan Thath)
Khayal in Raga – KEDARA
(Kalyan Thath)
Thumri – PAHADI
(Bilawal Thath)
Khayal in Raga – JAE JAEWANTI
(Khamach Thath)
(Asawari Thath)
1234567-
Side “B”
Khayal in Raga – ADANA
(Asawari Thath)
Khayal in Raga – MAL KAUNS
(Bhairvin Thath)
Khayal in Raga – PARAJ
(Porabi Thath)
Thumri in Raga – PAHARI
(Bilawal Thath)
(Bilawal Thath)
Khayal in Raga – BHOPAL Todi
(Bhairvin Thath)
Bhajjan in Raga – MISHER KAFI
(Kafi Thath)
• Tabla:
• Tanpura:
Note:
Ring No. 6 and 7 are rendered by Professor Vinayak Rao Patwardhon, a representative of
Gawalior Gharana.
AC. No: _____ / VCL
Artist
Gharana
Cassette
Duration
Production
Volume: _________
30+30=60 Minutes (C-60)
EMI, Pakistan, released by Karachi Music center.
It is a donation by Mr. Zahid Farani.
Contents
1234-
Side “A”
Khayal in Raga – SHUDH SARUNG
(Kafi Thath)
Bilampat, Iktal, Drut, Teen Tal.
Thumri in SIND BHAIRVIN
(Bhairvin Thath)
“Prem Ke Phandey Mein Aa Ke Sajni”
Thumri in Raga – SOHNI
(Marwa Thath)
“Prem Ki Marey Kattar”
Thumri in Ragni – PILU
(Kafi Thath)
“Katey Na Heen Birha Ki Raat”
• Tabla:
• Tanpura:
1234-
Side “B”
Khayal and Sadhra in Raga – MEGH
(Kafi Thath)
Thumri – PHADI
(Bilawal Thath)
Thumri – BEHARI
(Kalyan Thath)
“Prem Agan Jiara Jalae”
Thumri – JUNGLA BHAIRVIN
(Bhairvin Thath)
“Naina Morey Taras Rahey Re”
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
30+30=60 Minutes (C-60)
Private Collection.
It is a donation by Mr. Zahid Imran Farhani, Islamabad.
Contents
123-
Side “A”
(Asawari Thath)
Khayal in Raga – ADANA BAHAR
(Misher Male)
Khayal in Raga – HINDOL
(Misher Male)
12-
Side “B”
Tarana in Raga – BAGESHRI
(Kafi Thath)
Thumri – PAHARI
(Bilawal Thath)
• Tabla:
• Tanpura:
Note:
Raga ADANA BAHAR is a combination of Two Ragas i.e. Raga ADANA of Asawari Thath and
Raga HINDOL BAHAR of Kalyan Thath therefore it is not grouped in any of Ten fundamental Thaths.
Such Ragas are said to be of Misher Mail Ragas, meaning combination of Two or more.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VLT
Volume: ___________
Barkat Ali Khan Qasuri (Ustad)
Qawal Bachon Ka Gharana
30+30=60 Minutes (C-60)
A Lok Virsa Production, Islamabad.
Contents
12-
345-
Side “A”
Wo Aa Ke Khwab Mein
(Ghazal, Mirza Ghalib)
Dono Jehan Teri Mohabat Mein
(Ghazal, Faiz Ahmed Faiz)
Hasti Apni Hobab Ki Si Hei
(Ghazal, Mir Taqi Mir)
Ah Ko Chahiey
(Ghazal ,written by Mirza Ghalib)
Ratiyan Kahan Ganwain
(Thumri BHAIRVIN)
12345-
Side “B”
Baghon Mein Paray Jhooley
(Geet, Charagh Hassan Hasrat)
Piya Kub Se Hamein
(Dadra in Ragni BHAIRVIN)
Dum Dum Dokhrey
(Kafi Khwaja Fareed in BHAIRVIN)
Ho Watan Bolae
(Kafi Khwaja Fareed in SINDHRA)
Wo Mein Mer Mitiyan
(Thumri Ang Punjabi Geet in BHAIRVIN)
• Tabla:
• Tanpura:
Note:
Ustad Barkat Ali Khan (Born Qasure 1907 died 1963 at Lahore) was the younger brother of
late Ustad Baray Ghulam Ali Khan (died-1968, New Delhi-India). He had his training from his
paternal uncle late Ustad Kalay Khan and also from his elder brother Baray Ghulam Ali Khan. His
illustrious teachers trained him well to render all forms of our Music with equal ease and dexterity.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: _________
1. Bhimsen Joshi (India)
2. Hari Prasad Chorrasia
3. Sultan Khan, Sarangi Nawaz (India)
Kerana Gharana
45+45=90 minutes (C-90)
A private Collection of Mr. Zahid Imran Farani, Islamabad.
Contents
12-
Side “A”
Khayal in Raga – LALIT PANCHAM
(Misher Male Thath)
A combination of Raga – LALIT of Bhairon
Thath Raga – BHANKAR of Marva Thath
Khayal in Raga – GAWATI
(Khamach Thath)
Bilampat Jhup Tal, Drut Teen Tal
123-
Side “B”
Instumental Flute by Pandit Hari Prasad
Chorrasia, India.
Khayal in Raga – MARU BEHAG
(Kalyan Thath)
On flute (BANSURI) Teen Tal
Khayal in Raga – RAGESHRI
(Khamach Thath)
On flute Bansuri
By Pandit Hari Prasad Chorrasia.
Mudh Jhup Tal
Khayal in Raga – OSHAAQ on Sarangi
(Misher male Thath)
A Combination of Bahairvin and Bhairon
Thath by Ustad Sultan Khan (India).
Khayal in Mudh ROPAK Tal
• Tabla:
• Sarangi:
• Harmonian:
Note:
a) Bhimsen Joshi (1922 to 2009) was an exellent exponent of Khayal Gaeki (Style), was an
outstading disciple of Professor, SAVAI GANDHERVA, who was student of late Ustad Abdul
Karim Khan Saheb of KERANA Gharana. This Bhimsen Joshi was a grand disciple of Abdul
Karim Khan Saheb, deid 1937.
Bhimsen Joshi made his debut in 1952, by singing Raga “DESI” with Usdat Ameer Khan of
Indor, in feature film BAIU BAVRA.
b) Raga Lalit Pancham is a Combination of Raga Lalit of Bhairon Thath and Raga Bhankar of
Marva Thath. Lalit in “Utang” (First Tatra chord) and Raga “Bhankar” in Porvang (Second
Tatra Chord) this Raga in its tonal quality takes after with another Raga “SOHAG”, According
to the “Grunths” (Ancient Theatises of Music of South India) Raga Lalit is a Raga of SURIYA
KANT Thath and its DHIWAT/Dha (That is 6th Major above Tonic) is Shudh (Natural). Raga
Lalit Panchan is another raga of Marva thath which also has all the tonal characters of Raga “
Bhankar”, Moreover our Raga Lalit is mentioned in South Indian Music system with
Panchain (5th perfect above tonic or Dominent) where as our Raga Latil is Sung without
Pancham. However the Raga Lalit Pancham is a Combination of Lalit and Bhankar.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
Faiyaz Khan (Ustad)
Disciple of his Maternal Ground Father Ustad Ghulam Hussain Khan (18251934)
Agra Gharana
30+30=60 minutes (C-60)
Karachi Music Centre; Sommerset Street, Sadar Karachi.
Contents
1-
Side “A”
Alap and Khayal in Raga – BHANKAR
(Marwa Thath)
Mudh Teen Tal, “Hey Kartar”
1-
Side “B”
a) Alap in Raga – DES
(Khamach Thath)
b) Hori in Raga – DES in Dhamar Tal
“Aaj Holi Khelat Nunad Lal”
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Faiyaz Khan (Ustad), Agrey Waley was born at Agra in 1881 and died 05-11-1950 at Agra India.
AC. No: _____ / VCL - VLT
Volume: ____I_____
Artist
Fareeda Khanam, Madam
Title
Cassette Duration
Production
Fareeda Khanam
30+30=60 minutes (C-60)
PNCA Islamabad – 1997
(Born in Amritsar-1935)
Disciple of Ustad Badey Ashiq Ali Khan of Patyala Gharana
Contents
123-
Side “A”
(Kalyan Thath)
“Chhand De Mora Anchra”
Merey Hum Nafas Merey Humnava
Ghazal, Shakeel Badayuni
Na Ganwao Navik-e-Neem Shub
Ghazal, Faiz Ahmed Faiz
• Tabla:
• Sarangi:
• Harmonian:
12
3-
Side “B”
Khayal in Raga – DURGA
(Bilawal Thath)
Sakhi Mori Rom Jhom
Youn Saja Chaand Ke Chhalka Terey
Andaz Ka Rung
Khayal in Raga – NUT NARAINI
(Khamach Thath)
“Laj Rakho Kertar”
AC. No: _____ / VCL
Volume: _________
Artist
Gharana
Cassette
Duration
Production
1. Fateh Ali Khan (Ustad)
2. Amjad Amanat Ali Khan
Patyala Gharana
30+30=60 minutes (C-60)
Lok Virsa, Islamabad
Side “A”
Contents
1-
Interview
2-
BHAIRVIN KAFI
3-
Thumri – KHAMACH
3(Khamach Thath)
“Mora Piya Mo se Bolat Na”, Mudh Teen Tal.
PAHADI Geet
“Ve Kidda Sohna Lagna”
4-
12-
Side “B”
Khayal in Raga – MALOHA KEDARA
(Bilawal Thath)
Bilampat in Iktala, “Anchra Mora Chhando”
Drut Teen Tal, “Kahon Aali Kesey Jia
Dharka”
Thumri – BHAIRVIN
(Bhairvin Thath)
“Bhar Pichkari Na Maro To Se Hari”
Thumri – BHAIRVIN
(Rupak Tal)
“Kub Aao Ge Toom Aao Ge”
• Tabla: Talib Hussain (Ustad) – (Side “A” of Cassette)
Shaukat Hussain (Ustad) – (Side “B” of Cassette)
• Sarangi: Nazim Ali Khan (Ustad)
• Harmonium:
Note:-
a- Amjad Amanat Ali (Born 1954 at Lahore and died 01-12-2002 at Lahore) was the eldest
son of Late Ustad Amanat Ali Khan (died 16-09-1974 at Lahore).
b- Recording of the under refernce concert was registered in 1985 at the Lok Virsa
Auditorium at Shakar Puriyan Islamabad. Almost after a span of ¼ century, ”Thumri
Khamach” as per ring No, 3 of side “A” was reproduced by his nephew “Shafqat Amanat
Ali in 2009, under the title “Khamach” in a fusionistic style in accompaniment with
western Pop Musical Instruments.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: _________
Ghulam Ali Khan
(Ustad Chhotry Ghulam Ali Khan Qasuri)
Qasure Gharana, an auxiliary of Qawal Bachon ka Delhi Gharana
30+30=60 minutes (C-60)
Contents
Side “A”
1-
Interview
2-
Khayal in Raga – GAUND MALHAR
(Khamach Thath)
a) Mudh and Drut Khayal Teen Tal,
“Sawan ke Jhook Aae Ri Badra”
b) Drut Khayal Iktala, “Bhega Bagh”
Dadra in Raga – KHAMACH
(Khamach Thath)
“Toom Bin Raja Nahin Mai Ko Chin”
3-
4-
Thumri “BHAIRVIN”
(Bhairvin Thath)
“Baju Bund Khool Khool Jaen”
Deep Chudi Tal
123-
Side “B”
Khayal in Raga – JAI JAI WANTI
(Khamach Thath)
Mudh Teen Tal “ Dholan Away Tan Mein
Lanwan Ni Kalaway”
Khayal in Raga GHARA
(Kafi Thath)
Mudh Iktala, “Meinu Ve Chaheenda Yar”
(Asawari Thath)
a) Mudh Teen Tal, “Saheladiyan Aain
Sub Bun Thun Aisi Banno Ki”
b) “Ajab Khel Kartar Ke”,
Composition in Mudh Teen Tal
c) “Yar - e - Mun Baya Baya”,
Composition in Mudh and Drut
Iktala
• Tabla: Muneer Hussain
• Sarangi: Allah Rakha Khan
• Harmonium: Mohammed Aslam and Basheer Ali
• Tanpura: Ms. Sara Zaman and Ms. Samina Syed
• Interview: Ms. Sara Zaman
Artist
Gharana
Cassette
Duration
Production
1-
2-
AC. No: _____ / VCL
Volume: ____II____
Ghulam Ali Khan
(Ustad Chhotey Ghulam Ali Khan Qasuri)
Qasure Gharana, an auxiliary of Qawal Bachon ka Delhi Gharana.
30=30=60 minutes (C-60)
Lok Virsa, Islamabad.
Side “A”
Khayal in Raga – ALLAIYA BILAWAL
(Bilampat Thath)
Bilampat Khayal Ikwai Tal
“Tu Bhali Nibhai We Yar”
Drut Teen Tal, “Pochhda Nain Je Hal”
Khayal – ANG KAFI
(khamach Thath)
Mudh Teen Tal , “Dholan Aawe”
Contents
1-
2-
Side “B”
(Kalyan Thath)
a) Khayal in Mudh Rupak Tal, “Godhey
Rung Ranga”
b) Drut Khayal Iktala, “Tori Chhub
Dekhan Ko Nari, Sub Aain Bari Bari”
(Bhairon Thath)
Mudh teen Tal, “Saiyo Ni Jogi Aaya”
• Tabla: Muneer Hussain
• Sarangi: Allah Rakha Khan
• Harmonium: Mohammed Aslam and Basheer Ali
• Tanpura: Ms. Sara Zaman and Ms. Samina Syed
• Interview: Ms. Sara Zaman
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
1. Ghulam Shabbir Khan
2. Ghulam Jaffar Khan
(Disciples of Ustad Niaz Hussain Shami, Abdul Lateef Khan and
Ghulam Hussain Khan, Ludehaney Walay)
Sham Chorrasi
30=30=60 minutes (C-60)
Radio Recording. Private Collection of Mrs. Rana Ali
Contents
1-
Empty
Side “A”
1-
Side “B”
Khayal in Raga – SARASWATI
(Misher Male Thath)
Bilampat Khayal in Iktala, “Sanwrey Torey
Nain”
Drut khayal in Teen Tal,
“Peharva Mein Ka Se Kahon”
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Raga Saraswati has not been mentioned in Moaraful-ul-Naghmat by Thakur Nawab Ali as
well as by Pandit Bhat Khunday in any of the volumes of his Sangeet Padhati as it does not fit in any
of his Ten Thaths.hoowever its Thath is Mentioned as “Wachaspati” in Kernataka Sangeet (Music of
South India) Raga Saraswati was papularised in Pakistan by Ustad Ashiq Ali Khan and Ustad Nathu
Khan Sarangi Nawas.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
Malini Rajorker (India)
Gawalior and Kalawanton ka Delhi Gharana
30+30=60 minutes (C-60)
Tranferd from L.P. Private Collection to Mr. Zahid Farani
Contents
12-
Side “A”
Khayal in Raga – BHOPAL TODI
(Todi Thath)
Khayal in Raga – KAUSHAK RANJNI
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
12-
Side “B”
Tappa in Raga – KHAMACH
(Khamach Thath)
Mudh Teen Tal, Punjabi Theka
Khayal in Raga – BAGESHRI
(Kafi Thath)
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: ____ / VCL
Volume: _____I____
Malika Pukhraj, Madam
Talwandi Ka Dhrupad Gharana, disciple of Maula Bukhsh Khan (Ustad),
Talwandi Waley and Akhtar Hussain (Ustad) of Patyala Gharana.
30+30=60 minutes (C-60)
Malika Pukraj – Volume I
A PNCA Production – 1997
Contents
Side “A”
Mein Jo Madhosh Hoa
Ghazal
2- Wo Batain Teri, Wo Fasane Terey
Ghazal, Abdul Hameed Adum
3- Nigah - e - Yar Jisey
Ghazal
4- Wo Kehtey Hain Ranjish Ki Batain
Ghazal
5- Her Aik Jalwa - e - Rangeen
Ghazal
6- Raz - e - Ulfat Ayan Natto Jae
Ghazal, Behzad Lakhnawi
7- Jagein Tamam Raat Jagaen Tamam Raat
Ghazal
8- Taskeen Ko Hum Na Roein Jo
Instrumental Accompaniment
• Tabla:
• Sarangi:
• Harmonian:
1-
12345678-
Side “B”
Zulmat Kadey Mein Meri
Ghazal
Zahid Na Keh Borri
Ghazal
Kiya Keh Gai Kisi Ki Nazar
Ghazal
Arey Megusaro Sawerey Sawerey
Ghazal
Jis Ko Na Taab - e - Zabt Ho
Ghazal
Ehd - e - Rangeen Ki Yadgar Hon Mein
Ghazal
Kub Thehrey Ga Dard - e - Dil
Abhi To Mein Jawan Hon
Nazm, Hafeez Jalundhri
Note:
Malika Pukhraj, Madam (born at Jammu Kashmir and died 2007 at Lahore) was a disciple of
Maula Bukhsh (Ustad) Talwandi Walay of Dhrupad Gharana of Talwandi. Latter on, she became
disciple of Akhtar Hussain Khan (Ustad), Son of Ali Bukhsh alias Gernail Khan (Ustad), founder of
Patyala Gharana. Although her discipleship with Maula Bukhsh Khan (Ustad) is spread over a short
span of one year, yet blend of Dhrupad can not be separated from her renditions. Serenity of her
Gaiki or Style is the main characteristic of her renditions. She was an outstanding exponent of
ghazal form of our music and her excellence as an exponent of Pahadi / Kashmiri folk songs is
matchless, which she has very successfully transmitted to her illustrious daughter Ms. Tahira Syed.
Both, Mother and Daughter are the reciepients of President of Pakistan’s Medal for Pride of
Performance.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ___________
M. Iqbal (Ustad)
Rampur, an auxiliary of Delhi Gharana of SENIS
30+30=60 minutes (C-60)
Produced and Released by Lok Virsa, Islamabad.
Contents
1234-
Side “A”
Interview of Ustad M. Iqbal
Interviewer, Khalil Ahmed (Music
Composer), Died 17-07-1997 at Lahore.
Khayal & Tarana in Raga – SHRI / SRI
(Porabi Thath)
a) Bilampat in Iktal, “Sanjh Bhai”
b) Tarana, Drut Teen Tal
Khayal in Raga – SHIV MADHIM
(A Raga of Kernataka Music system of
South India)
Mudh Teen Tal, “ Charanwa Lagey”
Thumri – PILU
(Kafi Thath)
Deep Chandi Tal, “Morey Naina Lagey”
• Tabla:
• Sarangi:
• Harmonium:
123-
Side “B”
Khayal in Raga – MALOHA KEDARA
(Bilawal Thath)
Bilampat in Iktala, “Anchra Mora Chhando”
Drut Teen Tal, “Kahon Aali Kesey Jia
Dharka”
(Bhairon Thath)
Bilampat in Iktala,
“Ik Baat Batao Pia Ka mo so Chuke Pari”
Drut Teen Tal, “Jogia Merey Gher Aao”
Thumri – BHAIRVIN
(Bhairvin Thath)
Tala Deep Chundi, “Bhor Bhai Re Piya Oth
Jago”
Artist
Gharana
Cassette
Duration
Production
Ac No: ________ / VCL
Volume: _____________
M. Iqbal (Ustad)
(Born 1924, Died 11- 08-1986)
Rampur, an auxiliary of Dehli Gharana
30+30=60 Minutes (C-60)
Contents
12-
Side “A”
Khayal in Raga – BEHAGDA
(Bilawal Thath)
Bilampat Iktala,
“ Piyari Pug Ho Lal Dhariey”
Drut, Teen Tal, “Dhan Dhan Ri”
Khayal in Raga – CHANDAR KAUNS
(Misher Male)
Bilampat Jhup Tal, “Bhalo Matwaro”
Drut, Teen Tal, “Aray Ja Ja Re Kagwaa”
12-
Side “B”
Khayal – NUT BHAIRON
(Misher Male Thath)
Mudh Teen Tal, “Kaison Keriey”
Khayal in Raga – JOG
(Misher Male Thath)
Bilampat Jhup Tal, “E Ri Aaj”
Drut, Teen Tal, “Balam Tohey Kaisey”
• Tabla:
• Tanpura:
Note:
Raga CHANDAR KAUNS is a sweet combination of Kafi and Bhairon Thath, Kafi in first and
BHAIRON in upper Tatrachord. The term “MISHER MALE” stands for “combination”. Thus the
Ragas, which are composed by fusing two or more Ragas of different Thaths, fall under the purview
of “MISHER MALE” Thath. Raga JOG is a Panta Tonic Night Raga and is a combination of “KAFI” and
“KHAMACH” Thath in first and second Tatra Chord, respectively. Ustad M.Iqbal born Patyala (died
11-08-1986) was a mentionable disciple of Sarangi Maaestro, Ustad Hamid Hussain Khan of DELHI
Gharana of SENIS also known as Kalawantan-e- Delhi. Ustad M. Iqbal was cultural officer of Italian
Embassy at Islamabad. He breathed his Last on 11-08-1986 at Islamabad.
Artist
Gharana
Cassette
Duration
Production
AC No: _________ / VCL
Volume: _______________
1. M. Iqbal (Ustad)
(Born 1924, Died 11- 08-1986)
2. Amanat Ali Khan, Fateh Ali Khan
1. Rampur
2. Patyala
30+30=60 Minutes (C-60)
Private Collection of Arif Jafri (Radio Recording)
Contents
12345-
Side “A”
Amanat Ali Khan , Fateh Ali Khan
Thumri BHIRVIN
“Kub Aao Ge Toom Aao Ge”
Ustad M. Iqbal
(Kalyan Thath)
“Mor Bolay Bagan Mein”
Drut Teen Tal
Jo Bhi Dookh Yad Na Tha
(Ghazal, Ahmed Faraz)
Dadra in Raga – MALTI/SHIV RANJNI
(Kafi Thath)
“Tani Dhirey Se Bol”
Thumri – BEHARI/KOSYA
(Bilawal Thath)
• Tabla:
• Tanpura:
1234-
Side “B”
(Kalyan Thath)
“Jadu Bhari Piya Ki Najariya”
(Drut Teen Tal)
Khayal in Raga – KAFI KANHRA
(Kafi Thath)
Drut Teen Tal
(Bilawal Thath)
Drut Teen Tal
Thumri in SHUDH KHAMACH
(Khamach Thath)
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: _____ / VCL
Volume: ___________
Mohammed Tufail Niazi
Kapoorthala Gharana
30+30=60 minutes (C-60)
Mohammed Tufail Niazi – Volume I
Contents
1234-
Side “A”
Mein Nain Jana Khedeyan De Nal
Punjabi Geet
Sada Kaleyan Da dil Nain Lagda
Punjabi Geet
Sajna Wachhora Tera
Punjabi Geet
Ni Ranjha Jogda Bun Aaya
Kafi, Bulleh Shah
1234-
Side “B”
Sada Chidiyan Da Chanba We Babula
Traditional Marriage Song
We To Nedey Vus We
Kafi Ang Punjabi Geet
Charkha Lenda Pheriyan
Punjabhi Geet
Mein Vi Jana Jhok Ranjhan Di Nal Merey
Koi Challey
Kafi, Shah Hussain
Orchestra:
Abdul Sattar Tari
Mohammed Ajmal Khan
• Sarangi: Nabi Bux Khan, Ustad
Allah Rakha Khan
• Vichitra Veena: Abdul Rasheed Beenkar, Sarod, Sharif Khan
• Shehnai: Aurangzeb Khan alias Rungi Khan
Note:
Ustad Mohammed Tufail Niazi (born Jalundhar 1920 and died 22-09-1990 at Islamabad)
was a legendry Folk singer of Indo – Pakistan sub continent, whose excellence in folk rendering is
yet to be surpassed. His Masterly Command over tinging of his renditions with a blend of classical,
use of BEDAAR Notes (a forbidden note of the Raga or Melody) embalishing of Folk renditions with
coloraturas (MURKI) short passages and perfect intonation separates him from his contemporary
singers.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ____________
1. Munawar Ali Khan
2. Hameed Ahmed Khan
1. Qawal Bachon Ka Gharana
2. Dehli ka Seni Gharana
45+45=90 Minutes (C-90)
Private Collection of Mr. Zahid Imran Farani, Islamabad
Contents
1234-
Side “A”
Khayal in Raga – DESI TODI
(Todi Thath)
Bilampat Teen Tal
Khayal in Raga – GOJARI TODI
(Todi Thath)
Drut Iktal
Dadra in Raga – JANGLA BHAI RON
Khayal in Raga SOORATH
(Khamach Thath)
Teen Tal, Mudh Leia
• Harmonium:
1234-
Side “B”
Khayal in Raga – BASANT MOKHARI
(Bhairvin Thath)
Bilampat Teen Tal, Drut Iktal
Thumri in Raga – BHAIRVIN
Khayal in Raga – RUSRANJANI
(Bilawal Thath)
Bilampat, Drut Teen Tal
Tarana in Raga SHAHANA
(Kafi Thath)
Artist
Gharana
Cassette
Duration
Production
1-
AC. No: _____ / VCL
Volume: ____________
Munawar Ali Khan and his Son Ghulam Raza Khan
30+30=60 Minutes (C-60)
Radio City Islamabad
Side “A”
Khayal in Raga – KOMAL REKHAB
ASAWRI
(Bhairvin Thath)
Contents
123-
Side “B”
Khayal in Raga – GAUD SARUNG
(Kalyan Thath)
Dhoon in RAGNI PILU
(Kafi Thath)
Bhajan in RAGNI
(Bilawal Thath)
• Tabla: Tanmoy Bose
• Tanpura: Mithilesh Amin
Note:
Late Ustad Munawar Ali Khan (Died:- 2004) was the son of Ustad Baray Ghulam Ali Khan
Qasuri (Died -1968 at Delhi, India) Usdat Baray Ghulam Ali Khan Saheb is an indirect disciple of
Qawal Bachon ka Delhi gharana. He later on established his own Qasure Gharana, which is an
auxiliary of Qawal Bachon ka Gharana.
The presentation of Raga in pure classical “Khayal” form was transmitted to Usdat Baray
Ghulam Ali Khan though Ustad Baray Ashiq Ali Khan (died 1948 at Karachi) son of Usdat Fatheh Ali
Khan, alias “Kernail Khan” one of the two founder members of Patyala gharana.
Ustad Fatheh Ali Khan, alias Kernail Khan, titled as “Tan Kaptan” (1830-1898) was the
prodigious disciple of Mian Qutab Bukhsh Khan, alias “Tan Rus Khan (1770-1872) of Qawal Bachon
ka Delhi Gharana.
However Ustad Baray Ghulam Ali Khan preferred his son Munawar Ali Khan, to be the direct
disciple of late Ustad Sardar Khan, (died 1960 at Lahore) grand son of Mian Qutab Bukhsh Tan Rus
Khan.
Artist
Gharana
Cassette Duration
Production
12-
AC. No: _____ / VCL
Volume: _________
1- Nazakat Ali Khan (Ustad)
2- Salamat Ali Khan (Ustad)
Sham Chorrasi
45+45=90 minutes (C-90)
Radio Recordings, a Private Collection of Mr. Zahid Imran Farani, Islamabad.
Contents
Side “A”
(Khamach Thath)
Bilampat in Jhomra Tal, “Piya Perdes”
Drut Teen Tal, “Dhan Dhan Mero Bhag”
(Todi Thath)
Bilampat in Ikwai Tal, “Ja Ja Re Ja”
Drut Teen Tal, “Sotan Ghar Na Ja”,
Followed by Tarana Drut Teen Tal,
“Tan Na De Re Na Deem”
• Tabla: Shaukat Hussain Khan (Ustad)
• Sarangi: Nazim Ali Khan (Ustad)
• Harmonium:
12-
Side “B”
Khayal in Raga – BHOPALI
(Kalyan Thath)
Bilampat in JhomraTal, “Mori Sudh Na Li”
Drut Teen Tal, “Tarana”,
“Ta Na, De Re, Na, Tad.Re, Dani”
Khayal in Raga – MALKAUN
(Bhairvin Thath)
Bilampat in Ikwai Tal, “Koyaliya Boley”
Drut Teen Tal, “Torey Bina”
AC. No: _____ / VCL
Volume: _________
Artist
Gharana
Cassette Duration
Production
Sham Chorrasi Gharana
45+45=90 minutes (C-90)
Karachi Music Centre, Sommeret Street Karachi.
Contents
Side “A”
1-
Interview
2-
(Bilawal Thath)
Bilampat Jhomra, “Piya Perdes”
Drut Teen Tal, “Dhan Dhan Mero”
3-
(Todi Thath)
Bilampat IKWAI Tal, “Ja Ja Re”
Drut Teen Tal, “Sotan Ghar Na Ja”
Followed by Taran in GOJRI TODI in Teen
Tal
12-
Side “B”
(Kalyan Thath)
Bilampat in Jhomra Tal, “Mori Sudh Li Na”
Followed by Tarana “BHOPALI” in Teen Tal
(Bhairvin Thath)
Bilampat in Jhomra Tal, “Torey Bina”
Drut Teen Tal, “Mohay Kul Na Aae”
• Tabla:
• Sarangi:
• Harmonium:
Note:
1. Nazakat Ali Khan (Ustad), (1930 at Sham Chorrassi, Jalundar and died 1985 at Rawalpindi).
2. Salamat Ali Khan (Ustad), (12-12-1934 at Sham Chorrasi, Jalundar and died 09-07-2001 at
Lahore). He is a disciple of Ustad Wilayat Ali Khan (father) Niaz Hussain Shami (Maternal
Cousin) and Ustad Ghazanfar Ali (Maternal Uncle).
a.
b.
It is a private collection of Mr. Imran Zahid Farani.
Nazakat Ali Khan (Ustad), Salamat Ali Khan hails from a family of DHRUPAD singers
of Sham Chorrasi, a village in Drst Jalundhar in Indian Punjab. In 1947, the whole
family opted for Pakistan and settled in Multan. Both the prodigious brothers
received their primary Music education from their illustrious father Willayat Ali
Khan (Ustad). Later on their first cousin and also brother in aw, Niaz Hussain Shami
c.
(died 1975-Lahore) took the responsibility of Ali Brothers grooming (Nazakat Ali
Khan, Salamat Ali Khan, Tassadaq Ali Khan, Akhter Ali Khan (Died -1997) and Zakir
Ali Khan (Died – 03-07-2004). Ustad Nazakat,Salamat also had training in Khayal
Singing from their maternal uncle Ustad Ghazanfar Ali Khan alias GAJU KHAN> they
also recived mentionable guidance from Ustad Fateh Ali Khan Qawal died, 1963 at
Layalpur, father of NUSRAT FATEH ALI KHAN (died 16-08-1997). Ustad Nazakat,
Salamat are one of those who become Legend in their life time. They are the one
who bestowed upon Pakistan’s World of Music, with purely Pakistan style of Khayal,
Thumri and Kafi singing.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: ______I_____
Nisar Hussain Khan (India)
(Died 1998)
Sehsawan
30+30=60 minutes (C-60)
Transferred from L.P. A private collection of Mr. Zahid Imran Farani,
Islamabad.
Contents
1-
Side “A”
Tarana in Raga – JAE JAEWANTI
(Khamach Thath)
1234-
• Tabla:
• Sarangi:
• Harmonian:
Side “B”
Tarana in Raga – DES
(Khamach Thath)
Mudh and Drut Teen Tal
Tarana in Raga – HAMEER
(Kalyan Thath)
Mudh and Drut Iktala
Tarana in Raga – PURIYA
(Marwa Thath)
Drut Teen Tal
Tarana in Raga – BHAIRVIN
(Bhairvin Thath)
Drut Teen Tal
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
Pandit Onkar Nath Thakur
(1897-1867)
Gawalior Gharana
30+30=60 minutes (C-60)
Marketed by Rhythm House, Bombay India and released by Karachi Music
Centre, Sommerset Street, Karachi.
Contents
1-
Side “A”
Khayal in Raga – CHHAYA NUT
(Kalyan Thath)
Bilampat Khayal Iktala,
“Karat Ho Jhoti Batiyan”
12-
Side “B”
(Carried over from Side “A”)
Mudh and Drut Khayal in Teen Tal
“Bhari Gagari Mori Dhulkai Chhail”
“Toom Rakho Ho Mun Mein Kutch Mael”
VANDAY MATRUM
• Tabla:
• Sarangi:
• Harmonium:
Note:
Raga CHHAYA NUT is a popular Night Raga of Kalyan Thath but old musical Treatises have
mentioned CHHAYA NUT as a Raga of Bilawal That. However Pandit Bhaat Khunday has
grouped this raga in Kalyan Thath due tothe occasional use of Tiwar Modhim (augmented 4th
above Tonic or Tri-tone).
Parichat Grunth, 18th century and “Rag Tarangni”17th century has mentioned “CHHAYA
NUT” as a Raga of Kedaar Thath and Shankra Bharan Male, respectively. Ustad Ghulam Haider
Khan and Ustad Bader-u-Zaman are also of the opinion that Raga Chhaya Nut is a Raga of
Bilawal Thath.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: ______I_____
Perveen Sultana (India)
Rampur, an auxiliary of Gawalior
30+30=60 minutes (C-60)
Karachi Music Centre
Contents
12-
Side “A”
Khayal in Raga – MEGH
(Kafi Thath)
Bilampat Iktala “Aeri Jal Jhar Lae”
Drut Teen Tal, “Badra Barsan Laga”
Khayal in Raga – SARUNG KAUNS
(Misher Male Thath)
Bilampat Iktala, “Guru Charan”
Drut Teen Tal, “Jagi Re Sari Ren”
• Tabla: Nazam-u-DIN Khan
• Sarangi:
• Harmonian: Mehmood Dhulpuri
12-
Side “B”
Khayal in Raga – MIAN KI MALHAR
(Kafi Thath)
Bilampat Iktala, “Naveli Ritu Aai”
Drut Teen Tal, “Damkey Damani”
Khayal in Raga – MANAVI
Bilampat Iktala, “Mere Nain Mein Baso”
Drut Teen Tal, “Mora Neendaniya”
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: _____II_____
Parveen Sultana (India)
Rampur
30+30=60 minutes (C-60)
HMV- Delhi India
Contents
1-
Side “A”
(Kafi Thath)
Bilampat Iktala , “Ae Ri Jal Jhar Lae”
Drut Teen Tal, “Badarwa Barsan”
• Tabla:
• Sarangi:
• Harmonian:
12-
Side “B”
Khayal in Raga – MANAVI
Bilampat Iktala, “Merey Nain Mein Baso”
Drut Teen Tal, “Mora Neendaniya Nasani”
Thumri in Raga
“Taras Gae Morey Nain”
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: _________
Rasheed Khan, Ustad (India)
Qawal Bachon ka Gharana – Delhi
30+30=60 minutes (C-60)
Kabul Music Centre Collection of Mr. Zahid Imran Farani, Islamabad.
Contents
1-
Side “A”
Khayal in Raga – MIAN KI TODI
(Todi Thath)
Bilampat Iktala, “Ab Morey Ram”
Mudh and Drut, Teen Tal,
“Kub Mori Naiya Par Karoge”
12-
Side “B”
Khayal in Raga – PURIYA
(Marwa Thath)
Bilampat Iktala , “Piya Goonvanta”
Mudh and Drut, Teen Tal,
“Main Tou Ker Aai Piya Sung Rung Raliyan”
BHAJAN of Mira Bai
“Koi Kahio Re Prabo Aawan Ki”
• Tabla:
• Sarangi:
• Harmonian:
Note:
Teen Tal BUNDISH of RAGA – GOJRI TODI and RAGA – PORIYA are Composition of Main Qutab Bux
Tan Rus Khan.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ____________
Roshan Ara Begum, Malika- e-Mausiqi
Kerana Gharana
30+30=60 minutes
A PNCA Production, Islamabad.
Contents
12-
Side “A”
(Khamach Thath)
Khayal in Raga – ANUNDI
(Kalyan Thath)
12-
Side “B”
Khayal in Raga – DES
(Khamach Thath)
Thumri in Raga – JHUNJOTI
(Khamach Thath)
• Harmonium:
Note:
Roshan Ara Begum, Malika- e-Mausiqi (1915 to 5-12-1982) disciple of Ustad Abdul Karim
Khan Saheb of Kerana School of Music (1868 – 1937).
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ____________
Kerana Gharana
30+30=60 minutes
Contents
12-
Side “A”
Khayal in Raga – BHIBAS
(Bhairon Thath)
Khayal in Raga – JAUNPURI
(Asawari Thath)
12-
3-
Side “B”
(Bhairon Thath)
Khayal in Raga – BHATIYAR
(Marwa Thath)
Thumri in Raga – GHARA
(Kafi Thath)
• Harmonium:
Note:
Artist
Gharana
Cassette
Duration
Production
12-
AC. No: _____ / VCL
Volume: ____________
Kerana Gharana
30+30=60 minutes
An EMI Production
Side “A”
Khayal in Raga – MARU BEHAG
(Kalyan Thath)
Khayal in Raga – Adana
(Asawari Thath)
Contents
12-
Side “B”
(kalyan Thath)
Khayal in Raga – Shudh Kalyan
(Kalyan Thath)
• Tabla: Ustad Shaukat Hussain Khan
Note:
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ___________
Kerana Gharana
30+30=60 minutes
Contents
12-
Side “A”
Khayal in Raga – SHANKRA
(Bilawal Thath)
(Porabi Thath)
12-
3-
Side “B”
Khayal in Raga – BAHAR
(Kafi Thath)
Khayal in Raga – NAEKI KANHRA
(Kafi Thath)
Khayal in Raga – PORIYA DHANASRI
(Porabi Thath)
• Harmonium:
Note:
This cassette is a PNCA production, Volume IV.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ___________
Kerana Gharana
30+30=60 minutes (C-60)
Pakistan Broad Casting (PBC) Production
Contents
1-
Side “A”
Raga – KAMOD
“Balam Rangeele”
1-
Side “B”
Raga – AIMAN
“Aai Re Main Toori Nagaria”
• Tabla: Mian Shaukat Hussain khan Sarangi (Nazimali)
• Harmonium:
Note:
This cassette is a PNCA production, Volume IV.
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
1. Salamat Ali Khan (Ustad)
2. Sharafat Ali Khan (Son)
3. Shafqat Ali Khan
Sham Chorrasi
30+30=60 minutes (C-60)
Direct Recording from PTV’s Classical Music programme “RAG RUNG”.
A private collection of Arif Jafri, Islamabad.
Contents
1-
Side “A”
Khayal in Raga – HUNS DHOON
(Bilawal Thath)
Bilampat Khayal in Jhomra Tal, “Lagi
Lagan” Mudh and Drut khayal in Jhup Tal,
Kul Na Parat Mai Ko”.
Followed by Taran in Drut Iktala,
“O, De, Tab, Na, De, Re, Na, Ta, De, Re, Dani”
• Tabla: Ustad Mian Shaukat Hussain
• Harmonium:
1-
2-
Side “B”
Tarana in Raga – HUNS DHOON
Drut Iktala
(Carried over from side “A”)
Shafqat Ali Khan
(khamach Thath)
Bilampat Khayal in Ikwai Tal, “Piya Perdes”
Followed by Tarana in Drut Teen Tal
Artist
Gharana
Cassette
Duration
Production
12-
AC. No: _____ / VCL - VSC
Volume: __________________
2- Sharafat Ali Khan (Son)
Sham Chorrasi
30+30=60 minutes (C-60)
Contents
Side “A”
(Bilawal Thath)
“Jiya Le Gaeo Re Mora Gaon Ka Chhora”
Kafi Khwaja Fareed in Raga – SINDH
BHAIRVIN
“Ishaq Anokhdi Peed”
• Tabla: Gulam Abbas
• Sarangi: Ustad Allah Rakha Khan (Ustad)
(Pride of Performance)
• Harmonium:
12-
Side “B”
Dadra in Ragni – PAHARI
(Bilawal Thath)
“Daradwa Na Jana”
Khayal in Raga – SUHA KANHRA
(Kafi Thath)
Drut Khayal in Iktala “Piherva Morey Aae”.
TARANA RAGA - SUHA KANHRA
Drut Teen Tal
Drut Khyal in SUHA KANHRA in Asule
Fakhta Tal, “Moj Darya”
Note:
With Reference to Ring 2 of side “B”;
a) The Bundish (Composition) of Raga “SUHA KANHRA” belongs to “Mian Nemat Khan” alias
“SADA RUNG” (1668 to 1743). A legendry Musician of 17th and 18th century, Chief Court
Musician of 11th Mughal King, “Mohammed Shah alias Rangeela (1719-1748).
b) Tala “Asule Fakhta” is a Persian Rhythm, Said to be introduced by “Hazrat Ameer Khusrau”
(1253-1325 AD) in subcontinental Music System. ASULE, meaning Principle where as the
Word “Fakhta” stand’s for Dove (Principle of Dove’s Singing) The Tala is derieved from
Female Doves Voice whose one singing circle comprises of 5 beats and goes like://: K 0 – 0 – K 0 – 0 – K 0 : //
1 2
3 4
5
Therefore the Tala ASULE “FAKHTA” is a circle of 5 beats to a bar. Its tone syllables are as
under://: Dhin Dhin
1
K0
Dha Dha
2
0
Dhin Dhin
3
4
0
0
Dha Dha
5
K0
Kut Ta : //
The Tala Asule Fakhta is mentioned in Persian Music treatises as Fakhta Zarab.
(Book – Nizam-ul-Mulk Toosi, Urdu translation by Maula Abdul Razzaq Kanpuri – Karachi
1960, with refrence to Fakhta Zarab).
Artist
Gharana
Cassette
Duration
Production
1-
AC. No: _____ / VCL
Volume: _________
2- Sharafat Ali Khan (Son)
Sham Chorrasi
30+30=60 minutes (C-60)
Side “A”
(Kalyan Thath)
Bilampat in Jhomra Tal, “Sudh Aan Le”.
Contents
1-
Side “B”
(Bilampat Khayal carried over from Side
“A”)
Mudh and Drut Khayal in Jhup Tal,
Followed by Tarana in Teen Tal.
• Tabla: Ghulam Abbass
• Sarangi: Allah Rakha Khan (Ustad)
• Harmonium:
Note:
With reference to Jhup Tal Composition” Punjtun Pak”;
This famous Bandish (Composition) is a Creation of Mian Qutab Bux alias “Tan Rus Khan
(1770 – 1872). The founder of Khiyal Gharana of Dehlis Qawal Bachey, Mian Kalu Ji died 1845,
(approximate) and his son, Ustad Ali Bux Khan, alias Jenail Khan, Died 1935, and his friend Fateh Ali
Khan alias Kernail Khan (Founders of Patyala Gharana, are the Direct disciples of Tan Rus Khan
Sahib, all Patyala and Qasure Musicians, including Ustad Baray and Chhotey Ghulam Ali Khan).
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: _________
Sham Chorrasi
30+30=60 minutes (C-60)
Private Collection of Mr. Zahid Imran Farani, transfered from L.P to audio
cassette.
Contents
1-
Side “A”
(Asawari Thath)
Bilampat in Jhomra Tal,
“Hazrat Torak Kaman Ke Bul Bul Jaie”
Drut Teen Tal, “Aaj Moray Ghar Aai Re”
1-
• Tabla: Mohammed Tufail Narowali (Ustad)
• Sarangi: Hussain Bux (Ustad)
• Harmonium:
Side “B”
(Khamaeh Thath)
Bilampat in Ikwai Tal,
“Piya Gher Aai”
Drut Teen Tal, “Ban Ban Aae”
Artist
Gharana
Cassette
Duration
Production
AC. No: _____ / VCL
Volume: ___________
Sharafat Ali Khan
Sham Chorasi
30+30=60 minutes (C-60)
Private Collection of Mr. Zahid Imran Farani (Drawing Room Recording)
Contents
1-
Side “A”
Alap and Khayal in Raga – DERBARI
(Asawari Thath)
Bilampat Khayal in Jhomra Tal
1-
Side “B”
(Asawari Thath)
Mudh and Drut in Teen Tal
“Kin Beran Kaan Bharey”
• Sarangi:
• Harmonium:
• Tanpura:
Note:
Sharafat Ali Khan (eldest s/o, Ustad Salamat Ali Khan), born 24-06-1955 and died 30-11-2009 at
Lahore.
Artist
Gharana
Instrument
Cassette Duration
Production
AC. No: _____ / VCL
Volume:______I______
Umeed Ali Khan (Ustad), Gawaliori
(1911 - 1979)
Gawalior Gharana
Tabla
30+30=60 Minutes (C-60)
Contents
1-
Side “A”
(ASAWARI THATH)
Bilampat and Mudh Teen Tal
“Saiyo Ni Meinu Ranjha Piyara Lagda”
1-
2-
Khayal in Raga – TIRWAN
(PORABI THATH)
Bilampat Iktala
”E Main Jagi”
2-
3-
Khayal in Raga – NILAMBERI
(KAFI THATH)
3-
Side “B”
(BHAIRVIN THATH)
Bilampat Iktala
“Peer Na Jani”
Drut Khayal Teen Tal
“Jag Omung Othi”
(BHAIRON THATH)
Bilampat Khayal Iktala
“Kub Gher Aaen Morey Piya”
Drut Khayal in ASULE FAKHTA TAL
“Aao Morey Gher”
Thumri PAHADI
(BILAWAL THATH)
“Mein Bheij Piya Pachhtai”
• Tabla:
• Sarangi:
• Harmonian:
Note:
Ustad Umeed Ali Khan (Born 1911 Amritsar, India, Died 1979 at Lahore) was a legendry classical and
semi classical vocalist of Pakistan and a representative of Gawalior Gharana. He was disciple of Ustad
Piyaray Khan Khan (Father). Such a Stalwart of our world of Music, that he did not even hesitate to sing
in Duo with legendry Ashiq Ali Khan of Patyal and got registered Raga “Lalit” and Raga Sham Kalyan” in a
78 RMP Disc of HMV in 1944. In his last days, he lost his hearing sence and hung his fiddle in 1976. In
recognition of his meritorious services in the field of Music, he was awarded with the President of
Pakistan’s Medal for Pride of Performance in 1968.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: ___________
1. Tajummal Hussain Khan
2. Ahmed Ali Khan Rehmat Ali Khan
3. Khan Bundhu (India)
1. Kerana
2. 2.Gawalior
3. Seni Gharna of Delhi
30+30=60 minutes (C-60)
Side, “A” Radio recording, PBC Karachi
Side, “B” Radio recording, All India Radio
Contents
123-
Side “A”
Raga – DERBARI
By Tajammal Hussain Khan.
Bilampat Iktala, “Ghonghat ke Pat Khol”
Drut Teen Tal,
” Jhannan Jhanak Jhun Baje Bichhwa”
Thumri – BHAIRVIN
“Bara Jori Nahin” Teen Tal
Khayal in Raga – VANTI
(Kafi Thath)
By Ustad Ahmed Ali Khan, Rehmat Ali
Khan.
Bilampat Iktala, “Kub Ghar Aao Ge”
1-
Side “B”
Khayal in Raga – GOR MALHAR
(Khamach Thath)
By Khan Bundhu
Bilampat Teen Tal, “Maan Na Kar”
Drut Teen Tal, “Piherva Aj Na Aae”
• Tabla:
• Sarangi:
• Harmonian:
Note:
a) Tajammal Hussain Khan does not hail from a family of Musicians. His thirst for music took
him to be a disciple of Mr.G.A Farooq, a disciple of Ustad Abdul Waheed Khan of Kerana alias
Behrey Waheed Khan died 1948.
b) Ustad Ahmed Ali Khan and Rehmat Ali Khan are the direct representatives of Gawalior
Gharana and both are disciple of their cousin, Ustad Umeed Ali Khan. They had initial
training from their father, Ustad Misri Khan.
Artist
123-
45-
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
AC. No: _____ / VCL
Volume: ___________
Baray Ghulam Ali Khan
Roshan Aa Begam
Salamat Ali Khan
Nazakat Ali Khan
Amanat Ali Khan
Fateh Ali Khan
Ashiq Ali Khan
Chotay Ghulam Ali Khan
Assad Ali Khan
Ghulam Hussain Shagan
Contents
Side “A”
1(Kalyan Thath)
Drut Teen Tal, “Chand De Mora Anchra”
Ustad Baray Ghulam Ali Khan
Khayal in Raga – ANUNDI (Kalyan Thath) 2Teen Tal, “Bare Sainyan”
Roshan Aa Begam
(Kafi Thath)
Mudh and Drut Teen Tal, “ Kaun Gut Bai
Ke”
Ustad Nazakat Ali Khan and Salamat Ali
Khan
(Asawari Thath)
Ustad Amanat Ali Khan and Fateh Ali Khan
(Porbi Thath)
Drut khayal teen tal, “Phagwa Brij Dekhan”
Ustad Ashiq Ali Khan
3-
Side “B”
Khayal in Raga – TILAK KAMOD
(Khamach Thath)
Bilampat Khayal in Iktala
Ustad Chotay Ghulam Ali Khan
(Kalyan Thath)
Bilampat Iktala, “Kesay Kesay Bol”
Ustad Assad Ali Khan
Khayal in Raga – PORBI
(Porbi Thath)
Bilampat Khayal in Iktala
Ustad Ghulam Hussain Shagan
• Tabla:
• Sarangi:
• Harmonian:
Note:
A PNCA production titled “50 Years of Golden Music of Pakistan” released on 14-08-1997 in
connection with Pakistan’s Golden Jubilee Celebrations. The under refrence title comprises of 4
audio cassettes of C-60, containing 36 legendry voices of the music artists of Pakistan.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VCL
Volume: ______I_____
1. Zaheer-ud-Din Dagar (India)
2. Faiyaz-u-Din Dagar
Seni Gharana of Kalawantan-e-Delhi
30+30=60 minutes (C-60)
Ustad Faiyaz-u-Din Dagar Memorial Trust, 379 Asiad Village – New Delhi
India
Contents
1-
Side “A”
Dhrupad in Raga – MARWA
(Marwa Thath)
Alap
1-
Side “B”
Alap and Composition in – Dhammar in
Raga – MARWA
Continuation of Side “A”
(Vocal Jugalbandi)
• Pakhawaj accompaniment: Laxmi Narayan Pawar
• Tabla:
• Sarangi:
• Harmonian:
AC / VLT
(Audio Cassette / Vocal Light)
Artist
Gharana
Title of Cassette
Cassette Duration
Production
AC. No: _____ / VLT
Volume: ____I____
Bagam Akhtar Faizabadi (India)
Died 1996
Agra Gharana
The Golden Collection- Volume - I
30+30=60 minutes (C-60)
Personal Collection of Mr. Zahid Imran Farani, Islamabad.
Dubbed from L.P.
Contents
12345-
Side “A”
Aey Mohabbat Terey Anjam Pe
Ghazal, Shakeel Badayoni
Ab Chhalktey Hoye Saghar
Ghazal, Ali Ahmed Jaleeli
Diwana Banana Hei Tou
Ghazal, Ali Ahmed Jaleeli
Wo Jo Hum Mein Tum Mein Qarar Tha
Ghazal, Momin Khan Momin
Ulti Ho Gain Sub Tadbeeren
Ghazal, Mir Taqi Mir
12345-
Side “B”
Dayam Para Hoye Terey Der Par Nahin
Kuchh Tou Doniya Ki Inayaat Ne
Ghazal, Sudershan
Na Socha Na Samjha
Ghazal, Mir Taqi Mir
Dil Ki Baat Kahi Nahin Jati
Ghazal, Kaifi Azmi
Itna Tou Zingagi Mein
Ghazal, Kaifi Azmi
• Tabla:
• Sarangi:
• Harmonian:
Note:
Born 1920 at Faizabad, a town in Lukhnow Drst, U.P, India; Bagam Akhtar Faizabad is a
legendry Light and Semi Classical Vocalist of the Indo – Pakistan Subcontinent. Bagam Akhtar
Faizabad has unique and enticing style, later on she became a school of thought in Ghazal, Thumri,
Dadra and Geet singing. Before her the Ghazal singing was confined to just Astai Antra (The
Composition). She is the first to introduce improvisation in ghazal singing, such as use of Murki
(Colloraturas) and BEHLAVAS (improvisation of Raga or Melody on the one syllable “Aa”.
She was introduced to the people of the subcontinent the in 1930 as Talkie Film Heroine.
Few of her movies are, “Mohabat ke Aansu” of new Theatres, (1931) “Mumtaz Begam” of East India
film (1933) “Roop Kumari” (1934) of Maiden Theatres. “Ameena”, 1934 of Kali film of Calcutta.
Artist
Title
Cassette Duration
Production
12345-
AC. No: _____ / VLT
Volume: _________
Bagam Akhtar Faizabadi (India)
Died 1996
The Golden Collection of Bagam Akhtar-Volume-II
30+30=60 minutes (C-60)
Personel collection of Mr.Zahid Farani. Duble from L.P.
Side “A”
Zikr Os Parivash Ka
Merey Humsafar Merey Hum
Ishq Mein Gherat-e- Jazbat Ne
Ghazal, Sudershan Fakir
Merey Naseeb Ne Jub
Ghazal, Shad Tamaknat
Ab Tou Yehi Hein Dil Ki Doaen
Ghazal, Taskeen Qureshi
• Tabla:
• Sarangi:
• Harmonian:
Contents
12
345-
Side “B”
Ozr Aaney Mein Bhi Hei
Ghazl, Mirza Daagh
Kis Se Pochhein
Ghazal, Taskeen Qureshi
Onki Berukhi Mein
Ghazal, Ameer Qizalbash
Zindagi Ka Dard Le Ker
Rah-e- Aashiqi Ke
Yas Sadunwala
AC. No: _____ / VLT
Volume: _________
Artist
Fareeda Khanam, Madam
Gharana
Cassette Duration
Production
Patyala
30+30=60 minutes (C-60)
PNCA Islamabad – 1997
(Born in Amritsar - 1935)
Disciple of Ustad Badey Ashiq Ali Khan Of Patyala Gharana
Contents
123-
Side “A”
(Kalyan Thath)
Chhand De Mora Anchra
Merey Hum Nafas Merey Humnava
Ghazal, Shakeel Badayuni
Na Ganwao Navik-e-Neem Shub
12
3-
Side “B”
(Bilawal Thath)
Sakhi Mori Rom Jhom
Youn Saja Chaand Ke Chhalka Terey
Andaz Ka Rung
Khayal in Raga NUT NARAINI
(Khamach Thath)
“Laj Rakho Kertar”
• Tabla:
• Sarangi:
• Harmonian:
Note:
Recepient of Pride of Performance and sitara-e-Imtiaz born at Amritsan, 1935; Madam
Fareeda Khanam is the most out standing Light and sami classical vocalist of Pakistan, equally
popular in music world of India. At the tender age of 8, her father Feroz Din took her to Patyala
waley Ustad Ashiq Ali Khan to be his disciple, who trained her to sing out all form our music, right
from classical Khayal to Light Ghazal Geet with equal and dexterity. In her Thumri and Ghazal
singing, she is also inspired by her elder sister, late Mukhtar Bagam (born Amritsar 1923) Fareeda
Khanam is the younger sister of late Mukhtar Bagam and elder sister of late film star Madam Rani .
AC. No: _____ / VLT
Volume: ____I_____
Artist
Ghulam Ali
Gharana
Cassette Duration
Title of Cassette
Production
Qasure Gharana. An auxiliary of Qawal Bachon Ka Delhi Gharana.
30+30=60 minutes (C-60)
Ghulam Ali in concert. 1996
PNCA, Islamabad
(Born 1941 at Village Kaleykey of Drst Sialkot)
Contents
123-
Side “A”
Bechein Bohat Phirna
Ghazal, Muneer Niazi
Khatir Se Ya Lehaaz Sey
Ghazal, Daagh Dehlavi
Youn Saja Chand Key Chhalka
123-
Side “B”
Ishq Mojh Ko Nahin Vehshat Hi Sahi
Ghazal, Mirza Assad Ullah Khan Ghalib
Mein Nazar Sey Pi Raha Hoon
Ghazal, Anwar Hussain
Ley Chala Jan Meri Roth Key Jana Tera
Ghazal
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Born 1941 at village Kaley Key, Drst Sialkot, recipient of Pride of Performance, Ghulam Ali is
ranked as one of the few best exponents of Ghazal singing, whose style/Gaiki has become a school
of thought for almost all Ghazal Singers of the Indo-Pakistan subcontinent. He is equally popular in
the Music World of Pakistan as well as India, Afghanistan, Bangla Desh and Nepal.
He had his early Training from Ustad Barkat Ali Khan (Died 27-5-1963 at Lahore) Aftar his death,
he came under the discipleship of Barkat Ali Khan’s youngest brother Ustad Amanat Ali Khan
Qasuri (died 1981 at Lahore) who exposed all secrets of our music to his prodigious disciple and
turned him into a living legend.
AC. No: _____ / VLT
Volume: _________
Artist
Ghulam Ali
Gharana
Cassette Duration
Title of Cassette
Production
Qasure Gharana. An auxiliary of Qawal Bachon Ka Delhi Gharana.
30=30=60 minutes (C-60)
Ghulam Ali in concert. 1996
PNCA Islamabad
Born 1941 at village “Kaleykey of Drst Sialkot”
Contents
123-
Side “A”
Ghazal, Muneer Niazi
Khatir Se Ya Lehaaz Sey
Ghazal, Daagh Dehlavi
Youn Saja Chand Key Chhalka
123-
Side “B”
Ishq Mojh Ko Nahin Vehshat Hi Sahi
Ghazal, Mirza Assad Ullah Khan Ghalib
Mein Nazar Sey Pi Raha Hoon
Ghazal, Anwar Hussain
Ley Chala Jan Meri Roth Key Jana Tera
Ghazal
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Born 1941 at village Kaley Key, Drst Sialkot, recipient of Pride of Performance Ghulam Ali is
ranked as one of the few best exponents of Ghazal singing, whose style/Gaiki has become a school
of thought for almost all Ghazal Singers of the Indo-Pakistan subcontinent. He is equally popular in
the Music World of Pakistan as well as India, Afghanistan, Bangla Desh and Nepal.
He had his early Training from Ustad Barkat Ali Khan (died 27-5-1963 at Lahore); after his
death he came under discipleship of Barkat Ali Khan’s youngest brother Ustad Amanat Ali Khan
Qasuri (died 1981 at Lahore) who exposed all music secrets to his prodigious disciple and turned
him into a living legend.
Artist
Gharana
Title of Cassette
Cassette Duration
Production
AC. No: _____ / VLT
Volume: _________
Iqbal Bano
(16-08-1938 to 21-04-2009)
Delhi Gharana of seni Kalawantan-e-Delhi
Iqbal Bano, Volume-I
30+30=60 minutes (C-60)
Contents
123-
Side “A”
Wo is Tarah Se Jo Aae
Ghazal, Nasir Kazmi
Payal Men Geet Hein
Film song, Qateel Shifai
(Film “Qatil” released on 22-01-1955)
Wo Zolf Khool Gai Tou
Ghazal, Aziz Hamid Madni
1234-
Side “B”
Anjuman Anjuman Shanasai
Tufail Hoshiyar Puri
Ho Sanam Bichhwa Bajey Re
Film Song (Qateel Shifai)
(Film “Ankh Ka Nasha” released on 30-051957)
Ab Ke Hum Bichhdey
Ghazal, Ahmed Faraz
Kub Thehrey Ga Dard-e-Dil
• Tabla:
• Sarangi:
• Harmonian:
Note:
Madam Iqbal Bano; born on 16-08-1938 at Rohtak - Drst Hisar, India and died 21-04-2009
at Lahore. Her father, Mohsin Ali Khan migererated to Delhi, when she was just 5 years of age, she
started learning from Ustad Chhotey Chand Khan Delhi waley. She migerated to Pakistan in
September 1947 along her family and later on settled in Lahore (Anarkali). She made her debut in
1954 by singing a film song, “Tou Lakh Chaley Ri Gori Thum Thum Ke” Later on her songs, “Ulfat Ki
Nai Manzil Ko Chala” (Film Gumnam) “Bichhwa Bajey” (Ankh Ka Nasha) “Toot Gaiyan Choriyan,
Dopata Siron Leh Gaya” (Dulla Bhatti) “Ambwa Ki Daliyon Pe Jholna Jhula Ja, Abke Sawan Tou Ghar
Aa Ja (Film Nagan) took her to the heights of popularity. But “Thumri, Dadra, Ghazal, Geet remained
her forms of concentration. She will be remembered for her enticing style of semi classical and light
renditions based on perfect intonation and perfection of pronouciation and above all presentation
of Raga with its purity in light renditions are the mentionable of her Gaiki or style.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / VLT
Volume: ____I____
Iqbal Bano (Madam)
16-8-1938 to 21-4-2009
Delhi Gharana of Seni Kalawantan-e-Delhi
30+30=60 minutes (C-60)
Contents
123-
Side “A”
Thumri in Raga – Des
(Khamach Thath)
“Na Hin Paray Mohey Chein”
Thumri – PILU
(Kafi Thath)
Gori Teray Naina Kajar Bin Karey”
Thumri – TILAK KAMOD
(Bilawal Thath)
“Na Ja Re Morey Saiyan”
123-
Side “B”
Thumri in Raga – TALUNG
“Torey Naina Jadu Bharey”
Thumri in Raga – GOR MALHAR
(Khamach Thath)
“Ghir Aai Baderiya Sawan Ki”
Teen Tal , “Masit Khani Theka”
Thumri – BHAIRVIN
“Ratiyan Kahan Ganwain Re Balam Herjai
Re”
• Tabla:
• Sarangi:
• Harmonian:
Note:
About Iqbal Bano, please see foot note as per “Iqbal Bano, Volume I”.
AC. No: _____ / VLT
Volume: ____IV____
Artist
Iqbal Bano, Madam
Gharana
Cassette Duration
Title of Cassette
Production
30 + 30 = 60 minutes (C - 60)
Mayari Mausiqi, Iqbal Bano, Volume II
A PNCA, Islamabad Production, Concert Recording
(16.08.1938 – 21.04.2009)
Contents
1-
Side “A”
Garifta Dil Hay Bohat
Ghazal Nasir Kazmi
Ambwa Ki Daliyon Pe
1-
3-
Film Song ‘Film Nagan, 1959’
Dil Ki Baton Ko Badey Piyar Se
Ghazal Shabnam Shakeel
3-
2-
45-
Ram Karey Kahin Nainan
Dadra Khamach (Traditional)
Payal Mein Geet Hain
Film Song of Feature Film “Qatil”1955
Lyrics, Qateel Shifai
• Tabla:
• Sarangi:
• Harmonian:
Note:
Iqbal Bano, please see under volume I
2
4-
Side “B”
Khamosh Ho Kiyon
Ghazal Ahmad Faraz
Mohabbat Karnay Walay Kum Na
Hongay
Ghaza Hafeez Hushyarpuri
Dasht e Tanhai Mein
Nazm, Faiz Ahmad Faiz
Hum Dekhien Gey
Nazm, Faiz Ahmad Faiz
AC. No: _____ / VLT
Volume: ____III____
Artist
Iqbal Bano, Madam
Gharana
Cassette Duration
Title of Cassette
Production
30 + 30 = 60 minutes (C - 60)
Mayari Mausiqi, Iqbal Bano, Volume II
A PNCA, Islamabad Production, Concert Recording
(16.08.1938 – 21.04.2009)
Contents
1234-
Side “A”
Ranjish hi Sahi
Ghazal, Ahmad Faraz
Anjuman Anjuman Shanasai
Tufail Hushyarpuri
Dayam Pada Hua Terey Dar Per
Mirza Ghalib
Toti Hay Nazar Ki Aas Kahan
Ghazal
• Tabla:
• Sarangi:
• Harmonian:
Note:
Iqbal Bano, please see under volume I
12
345-
Side “B”
Na Hareef Na Shareek e Gham
Ghazal
Dagh e Dil Hum Ko
Ghazal
Thumri Pilu
(Kafi Thath)
“Nadiya Dhirey Baho Jao”
‘Ulfat Ki Nai Manzil Ko Chala’
Film Song of feature film ’Gomnam’ 1954
Lyrics Qateel Shifai
Ho Balam Bichhwa Bajey
Film song of feature film “Aankh Ka Nasha”
1957
Lyrics, Qateel Shifai
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: _____ / VLT
Volume: __ II____
Malika Pukhraj, Madam
Disciple of Maula Bukhsh Khan (Ustad), Talwandi Waley and Akhtar
Hussain (Ustad) of Patyala Gharana.
Talwandi Ka Dhrupad Gharana
30+30=60 minutes (C-60)
Malika Pukraj – Volume II
A PNCA Production – 1997
Contents
12345-
Side “A”
Kiya Mojhe Ishq Ne
Ghazal
Dard Se Merey
Ghazal
Terey Ishq Ki
Ghazal, Dr. Alama Iqbal
Yeh Gunbad - e – Minai
Ghazal, Dr. Alama Iqbal
Lehra Ke Jhom Jhom Ke
Ghazal
• Tabla:
• Sarangi:
• Harmonian:
12345-
Side “B”
Yeh Kaun Sakhi Hein
Ghazal
Merey Qatil
Ghazal
Kahin Aah Bun Ke Lub Pe
Ghazal
Sokhan Dard Ka Ab Kaha Jae Na
Ghazal
Kub Tuk Dil Ki Kheir Manaen
Ghazal
Note:
Malika Pukhraj, Madam (born at Jammu Kashmir and died 2007 at Lahore) was a disciple of
Maula Bukhsh (Ustad) Talwandi Walay of Dhrupad Gharana of Talwandi. Latter on, she became
disciple of Akhtar Hussain Khan (Ustad), Son of Ali Bukhsh alias Gernail Khan (Ustad), founder of
Patyala Gharana. Although her discipleship with Maula Bukhsh Khan (Ustad) is spread over a short
span of one year, yet blend of Dhrupad can not be separated from her renditions. Serenity of her
Gaiki or Style is the main characteristic of her renditions. She was an outstanding exponent of
ghazal form of our music and her excellence as an exponent of Pahadi / Kashmiri folk songs is
matchless, which she has very successfully transmitted to her illustrious daughter Ms. Tahira Syed.
Both, Mother and Daughter are the reciepients of President of Pakistan’s Medal for Pride of
Performance.
Artist
Gharana
Title of Cassette
Cassette Duration
Title of Cassette
Production
AC. No: _____ / VLT
Volume: ____________
1. Malika Pukhraj
(1926-2007)
2. Tahira Syed (Daughter)
1. Talwandi
2. Patyala Gharana
Aks Der Aks, Malika Pukhraj and Tahira Syed
30+30=60 minutes (C-60)
A PNCA Production, Islamabad - 1997
Contents
123456-
Side “A”
Khuda Wo Waqt Na Lae
Nazm
Lo Phir Bahar Aai
Geet
Pia Baj Piyala Pia Jae Na
Ghazal
Be Zabani Bayan Na Ho Jae
Ghazal
Jhanjher Phabdi Na
Kashmiri Lok Geet
Pal Pal Bai Jana
Kashmiri Lok Geet
123456-
• Tabla:
• Sarangi:
• Harmonian:
Note:
For Madam Malika Pukhraj, please see under Vol - I.
Side “B”
Wo Batein Teri Wo Fasaney Tery
Ghazal, Abdul Hameed Adum
Teri Jo Pazeib (Tahira Syed Solo)
Geet
Kya Sarokar Ab Kisi Se
Ghazal
Mojhe Yad Kerney Walo
Ghazal
Mehndi Se Likh Do
Geet
Ab Ke Yon Mosam - e - Bahar Aaya
Artist
Gharana
Title of Cassette
Cassette Duration
Title of Cassette
Production
AC. No: _____ / VLT
Volume: ___IV____
1. Malika Pukhraj
(1926-2007)
2. Tahira Syed (Daughter)
1. Talwandi
2. Patyala Gharana
“Malika Pukhraj and Tahira Syed” Pahadi Geet
30+30=60 minutes (C-60)
A PNCA Production, Islamabad - 1997
Contents
123456-
Side “A”
Kis KIs Jana Naukeriya
Kashmiri Pahadi Folk Song
Allah Beluwa Ho
Madey Bunk Deya Chachua
Jora Kinju Dolna, Manda Kinju Bolna
Bindu Majorya Mein Nain Jana Terey Nal
Kashmiri Lok Geet
Razi Rehna
• Tabla:
• Sarangi:
• Harmonian:
1234567-
Side “B”
Ho Ho Madiey Jindediey
Maney Di Mauj Moya Hansna
Mithiyan Beriyan
Fiker Na Ker Goriey
Maney Di Mauj Moya Hunsna Khedna
Pal Pal Bal Jana Ho jindey
Filler: Solo Flute, “PAHADI”
Mr. Inayat Ali
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: _____ / VLT
Volume: ____________
Mohammed Tufail Niazi (Ustad)
Jalundher Gharana, Punjab ka Doaba Gharana (East Punjab)
30+30=60 minutes (C-60)
Mohammed Tufail Niazi – Volume II
Contents
123-
Side “A”
Hae Ruba Naion Lagda Dil Mera
Punjabi Geet, Manzoor Jhalla
Mein Nain Jana Khedeyan De Nal
Punjabi Geet
Ranjha Jogi Aa Ni Gaya
Punjabi Geet
123456-
Side “B”
Na Maar Nenan De Teer
Traditional Marriage Song
To Nedey Nedey Vus We
Kai fang Punjabi Geet
Dil Taang Taang E
Saraiki Folk Song
Gul Soon Ja Kodiey Motyarey
Punjabi Geet
Lai Be Qadran Nal Yari
Punjabi Geet
Punjabi BHAJAN
Devotional / Tradition
Orchestra:
Mohammad Ajmal (Disciple of Mian Shaukat Hussain)
• Sarangi: Allah Rakha Khan, Ustad
• Flute (Bansuri): Baber Ali
• Harmonian: Mubarik Ali Niazi
Note:
Ustad Mohammed Tufail Niazi (born Jalundhar 1920 and died 22-09-1990 at Islamabad)
was a legendry Folk singer of Indo – Pakistan sub continent, whose excellence in folk rendering is
yet to be surpassed. His Masterly Command over tinging of his renditions with a blend of classical,
use of BEDAAR Notes (a forbidden note of the Raga or Melody) embalishing of Folk renditions with
coloraturas (MURKI) short passages and perfect intonation separates him from his contemporary
singers.
AC. No: _____ / VLT
Volume: _________
Artist
Muneer Hussain
Gharana
Cassette Duration
Title of Cassette
Production
Rubabi Gharana / Gawlior Gharana
30=30=60 minutes (C-60)
Muneer Hussain, Geet or Naghmey
PNCA Islamabad - 1995
(Light Voclist, play back)
Born 1930 at Lahore and died 27-09-1995 at Lahore
Contents
123456-
Side “A”
Ae Meri Zindagi
Urdu Feature Film Song
Arz Hei Yeh Gila Naheen
Qarar Lootney Waley
Jo Dil Ko Todtey Hein
Kiun Nenan Neer Bahae
Panchhi Tey Perdesi
Punjabi Feature Film Song
12345-
Side “B”
Na Milta Ger Yeh Tauba k Sahara
Filmi Qawali
Q Vanjli Valedeya
Punjabi Film Song
Dila Thehr ja Yaar Da
Punjabi Film Song
Tum Joog Joog Jeo Maharaj
Bhool Janeya Kisey Dey Nal
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Born, 1930 at Lahore, died 27-09-1995 at Lahore, Muneer Hussain was an outstanding Light
Vocalist of Pakistani (electronic media, stage and Film Industry). He hailed from a mentionable
“RUBABI” family of Lahore. His father Rodey Khan and Uncle Bodey Khan are ranked as two of the
few best classical singers of 20th century. Muneer Hussain made his debut as a Radio Voice of
Lahore Radio in 1953. He Started singing for feature Films in 1954. During his musical career, he
sung for some 155 feature films.
Artist
Gharana
Cassette Duration
Title of Cassette
Production
123456-
AC. No: _____ / VLT
Volume: _____I____
Muneer Hussain
(Light Voclist, Play Back)
Born 1930 at Lahore and died 27-09-1995 at Lahore
Rubabi Gharana / Gawlior Gharana
30=30=60 minutes (C-60)
Muneer Hussain, Geet or Naghmey
PNCA Islamabad- 1995
Side “A”
Ae Meri Zindagi
Arz Hei Yeh Gila Naheen
Qarar Lootney Waley
Jo Dil Ko Todtey Hein
Kiun Nenan Neer Bahae
Panchhi Tey Perdesi
Contents
12345-
Side “B”
Na Milta Ger Yeh Tauba k Sahara
Film Qawali
Q Vanjli Valedeya
Punjabi Film Song
Dila Thehr ja Yaar Da
Punjabi Film Song
Tum Joog Jhoog Jeo Maharaj
Bhool Janeya Kisey Dey Nal
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Born, 1930 at Lahore, died 27-09-1995 at Lahore, Muneer Hussain was an outstanding Light
Vocalist of Pakistani (electronic media, stage and Film Industry). He hailed from a mentionable
“RUBABI” FAMILY OF Lahore. His father Rorey Khan and Uncle Bodey Khanwho are ranked as two
of the few best classical singers of 20th century. Muneer Hussain made his debut as a Radio voice of
Lahore Radio in 1953. Started singing for feature Films in 1954. During his musical career, he sung
for some 155 feature films.
Artist
Gharana
Title of Cassette
Cassette Duration
Production
AC. No: _____ / VLT
Volume: ____I____
Muni Bagam (Nadira Bagam)
Bangal
Muni Bagum in Concert - volume I
30+30=60 minutes (C-60)
EMI, Karachi
Contents
1234-
Side “A”
Har Tajalli Ko Mein Dekhon
Ghazal, Qammar Talalvi
Marey Hum Nafas Merey Humnawa
Ghazal, Shakeel Badayoni Shakeel Badayoni
Dekhtey hein Raqs
Ghazal, Qammar Jalalvi
Fasley Aesey bhi Hongey
Ghazl, Adeem Hashmi
1234-
Side “B”
Hosn Sey Raswa Na Ho Ga
Mujhe Baghban Sey Gila Nahin
Jub Aas Ka Deeepak Bojhta Hei
Ghazal, Soz akbar Abadi
Zindgi Dey Cha Loko Sarey Mook Gae
Punjabi Geet
• Tabla:
• Sarangi:
• Harmonian:
Note:
Nadira Bagam (born 1956 at Dacca, East Pakistan), commonly known as Munni Bagam,
made her debut from a stage programme of Karachi Arts Council in 1973. She is almost a house
hold name in Pakistan and perhaps the only female light vocalist, having over 100 audio releases.
Currently she is based at Karachi.
Artist
Title
Cassette Duration
Production
AC. No: _____ / VLT
Volume: _________
Munni Bagam (Nadira Bagam)
The Golden Collection of Bagam Akhtar-Volume-II
45+45=90 minutes (C-90)
PTV Concert Recording
Contents
12345678-
Side “A”
Kabhi Kaha Na Kisi Sey Terey Fasaney
1Ko
Ghazal, Qammar jalalvi
Phir Sawan Root Ki Pawan Chali
2
Ghazal, Nasir Kazmi
Rung Batein Karein Baaton Se Khushbo
3Aae
Ghazal, Zia Jalun Dheri
Aap Apni Aarzo Se Beganey Ho Gae Hein
Ghazal, Saif-u-Din Saif
Dil Ke Liey Hayat Ka PKa Pegham Bun
Gain
Ghazal, Baqi Siddiqui
Ehd-e-Wafa Kahan Ka Faqat Nam Ke Liey
Ghazal, Ahmed Zafar
Fasiley Aesey Bhi Honge
Ghazal, Adeem Hashmi
Kya Ishq Tha Judai Sey Roswai Bun Gaya
Ghazal, Qateel Shifai
• Tabla:
• Sarangi:
• Harmonian:
Side “B”
Weisey Tou Badi Sachai Sey
Koi Hum Nafas Nahin Hei
Ghazal, Mustafa Zaidi
Milatey Ho Os Ko Khak Me Jo Dil Sey
Milta Hei
Ghazal, Dagh Dehlavi
AC. No: _____ / VLT
Volume: ____________
Artist
Nusrat Fateh Ali Khan
Gharana
Cassette Duration
Production
Jalundhar ka Qawal Gharana. An auxiliary of Qawal Bacchon ka Gharana
30=30=60 minutes (C-60)
Rehmat Gramaphone Company, Aminpur Bazar Faisalabad.
(14-10-1948 to 16-08-1997)
Contents
1234-
Side “A”
“Chul Merey Dil”
Ghazal
“Yadon Key Saey”
Ghazal
“Kub Yad Mein Tera Sath”
Ghazal
“Dost Kya Khube Wafaon Ka Sila”
Ghazal
12345-
Side “B”
“Konplein Phir Phute Aain”
Ghazal
“Galay Liptey Hein Wo”
Ghazal
“Admi Admi Se Milta Hei”
Ghazal
“Kahan Aa Ke Rukay They”
Ghazal
“Ae Kaash Tujhey”
Ghazal
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Born 14-10-1948 at Faisalabad (then Layalpur) and died 16-8-1997 at London; Nusrat
Fateh Ali Khan started his career as a Qawal sometime in 1967. He had his basic Music education
from his father, Ustad Fateh Ali Khan Qawal Jalundhar walay. After his father’s death in 1963, he
came under the guidance of his paternal uncles, i-e Ustad Mubarik Ali Khan and Ustad Nawazish Ali
Khan, who exposed all secrets of rendering all forms of our music with equal ease and complete
command, right from all devotional forms of qawali to classical khayal and light Ghazal and geet. He
was a house hold name in the indo Pakistan subcontinent but also gained equal popularity in
Europe, America, Africa, Canada and far eastern countries.
AC. No: _____ / VLT
Volume: ____________
Artist
Gharana
Jalundher Ka Qawalon Ka Gharana (An auxiliary of Qawal Bachon Ka
Gharana)
30=30=60 minutes (C-60)
Personnel Collection of Arif Jafri, Islamabad.
Cassette Duration
Title of Cassette
Production
(Born, 14-10-1948 at Layalpur, Faisalabad and died 16-08-1997 at London – burried at
Faisalabad)
Contents
12345-
Side “A”
Dekhi Hein Jub Se Hum Ne
Geet Ang Ghazal
Son Lay Pukar Kabhi Aa Ja
Geet
Dookh Roag Tou Chahat Ke
Geet
O Jan-e-Mun-e-Wafa
Geet
Janay Kub Hongay Kum
Geet
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
12345-
Side “B”
Meri Aankhon Ko, Aankhon Ka Kinara
Kaun De Ga
Geet
Jis Simt Bhi Dekhon
Ghazal
Dookh Rog Ko Chahat Ke
Geet
Suna Suna Din Lagta Hei
Geet
Meinu Soachan Diyan De Gaya Soghatan
Punjabi Geet
AC. No: _____ / VLT
Volume: ______II______
Artist
Gharana
Jalundher Ka Qawalon Ka Gharana. (An auxiliary of Qawal Bachon Ka
Gharana)
30+30=60 minutes (C-60)
Sonic Enterprize Karachi - 1996
Cassette Duration
Title of Cassette
Production
(Born, 14-10-1948 at Layalpur, Faisalabad, died 16-08-1997 at London, buried at Faisalabad)
Contents
123-
Side “A”
Afreen Afreen, Husn – e – Janaa Ki
Tareef Keisey Karon
Indian Feature Film Song,
Lyrics, Javed Akhter
Mein Or Meri Awargi
Indian Film Song
Ab Kiya Sochain
Indian Film Song
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
1234-
Side “B”
Jism Damakta Hei
Indian Feature Film Geet
Aap Sey Mil Ke
Shehr Ke Dokandaro
Afreen Afreen
Indian Feature Film Remix Song
Artist
Cassette Duration
Title of Cassette
Production
AC. No: _____ / VLT - FOLK
Volume: _________I__________
Shaukat Ali
(Vocalist Light and Folk) Born 1946 at village Dinga Drst Gujrat
30=30=60 minutes (C-60)
Saif-ul-Maluke
Abstract from popular musical narrative of Punjab “Saif-ul-Maluke” by Mian
Mohammad Bukhsh died 1907 at Lahore, buried at Khodi Sharif, Drst
Mirpur.
Lyric Gold Presentation (Lahore)
Contents
1-
Side “A”
Abstracts from famous Punjabi musical
Narrative by Mian Mohammad Bhukhsh.
1-
Side “B”
Saif-ul-Maluke
• Bass Flute accompaniment by Mr. Inayat Ali
(Elder brother of Shaukat Ali)
Note:
Recipient of President of Pakistan’ s Medal of Pride of Performance, born 1946 at village
“Dinga” Tehsil Malakwal, Drst Gujrat, Shaukat is an outstanding exponent of Punjabi Folk songs,
with particular reference to “SAIF-UL-MALUKE” the popular ballad of Punjabi by Mian Mohammad
Bukhsh.
Shaukat Ali was bestowed upon with the title of “Lok Geeton Ka Shehzada” (Prince of Folk
Songs) by all Pakistan Music conference, held at Lahore in 1972. He recived his music education
from his father (Faqir Hussain) and his elder brother Ustad Inayat Ali. Shaukat Ali made his debut
in 1963, by singing an evergreen Patriotic song in duo with Masood Rana “Sathiyo Mujahido, Jag
otha Hei sara Watan” . He is a house hold name in Pakistan and equally respected in India as well.
Artist
AC. No: _____ / VLT
Volume: _________
1- Malika Pukhraj
(1926 – 2007)
2- Nasim Bagam
(Died 19-08-1971 at Lahore)
3- Ghulam Ali
(Born 1941 at Kaley Drst Sialkot)
4- Surraya Multanikar
(Born 1940 at Multan)
5- Fazal Hussain
6- Saleem Raza
(Died 25-11-1987 at Monteriyal Canada)
7- Naheed Niazi
(Born 26-02-1940)
8- Muneer Hussain
9- Mala Bagam
10- Ahmed Rushdi
(Died 11-04-1983 at Karachi)
11- Masood Rana
(Died 04-10-1995 at Sahiwal)
12- Reshman
Gharana
Cassette Duration
Title of Cassette
Production
(Born 1943 at Laiah)
Gawalior Gharana of Dehli
Disciples of Ustad Latafat Hussain Khan Khurjey Waley (Died-2004)
30=30=60 minutes (C-60)
Golden Voices of Pakistan (1947-1997)
PNCA, Islamabad, A golden Jubilee Celebration release, 1997.
Contents
1234-
Side “A”
Wo Batein Teri Wo Fasaney Tere
Malika Pukhraj
Hum Bhol Gae Her Baat
Nasim Bagam
Mein Ney Lakhon Ke Bol Sahey
Dadra in Raga – MARO BEHAG
Ghulam Ali
Najeriya Kahey Milai Sajna
Khayal Composition in Raga – ADANA
In Teen Tal
Surraiya Multaniker
1234-
Side “B”
Jan-e-Baharan
Film Song
Saleem Raza
Ik Apna Ik Begana
Film Song
Naheed Niazi
Arz Hei Ye Gila Nahin
Film Song
Muneer Hussain
Tarapna Bhi Hamein Aata Hei
Film Song
Mala Bagam
5-
Ya Rub Dil-e-Hijran Mein
Non Film Ghazal
Fazal Hussain
567-
Dil Toom Ko Dey Diya Hei
Film Song
Ahmed Rushdi
Ho Gai Zindagi Mojhey Piyari
Film Song
Masood Rana
Akser Shab-e-Tanhai Mein
Reshman
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
The under reference cassette, titled “Golden Voices of Pakistan”, was released in 1997 to
mark the Golden Jubilee Celebrations (1947 to 1997). It comprises of 4 audio Cassettes, each of 60
minutes of duration, containing 43 Golden voices of music world of Pakistan. The title is available in
a card board pack of 4 audio cassettes from PNCA, Islamabad.
Artist
AC. No: _____ / VLT
Volume: _________
1- Zubeda Khanam
(Born 1935 at Lahore)
2- Inayat Hussain Bhatti
3- Bashir Ali Mahi
(Born, 1913 at Qasure, died 1970 at Lahore)
4- Noor Jehan Bagam
(Born 1941 Lahore, died 1968 Lahore)
5- Kausar Parveen
(Died 03-12-1968 Lahore)
6- Sharafat Ali
(Died 1981 at Karachi)
7- Ejaz Hussain Hazravi
(Born 29-02-1928 at Hazro, died 05-12-1989 at Rawalpindi)
8- Abida Perveen
(Born 20-04-1957 at Larkana)
9- Tahira Syed
10- Shaukat Ali
(Born 1946 at Dingo)
11- Naiyara Noor
(Born 1952 at Sylhet East Pakistan )
12- Naheed Akhtar
(Born 1954)
13- Tasawar Khanam
Cassette Duration
Title of Cassette
Production
(Born 1950 at Rawalpindi)
30+30=60 minutes (C-60)
Golden Voice of Pakistan, Volume – IV
PNCA, Islamabad
A Pakistan Golden Jubilee Celebration release, 1997
Contents
1234-
Side “A”
“Asan Jan Ke Meet Lsi Akh Vey” (Punjabi
Film Song
Zubeda Khanum
Bhagan Waleyo
Punjabi Film Song
Inayat Hussain Bhatti
Kis Ki Awaz Kaan Mein Aai
Ghazal
Bashir Ali Mahi
Ochiyan Lamiyan Tahlian
Non Filmi Song
1234-
Side “B”
Ye Batein Jhoti Batein Hein
Non Filmi Ghazal
Abida Perveen
Kuchh Batein Unkahi
Non Film Ghazal
Tahira Syed
Saif-ul-Mauke
(Abstract from popular Punjabi musical
narrative
“saif-ul-maluke
by
mian
Mohammed Bukhsh,died 1907)
Shaukat Ali
Kabhi Hum Bhi Khabsorat They
Non Film
567-
Noor Janahn Begam
Her Qadam Per Sitam
Film Song
Kausar Parveen
Jub Teray Shehr Saey Quzarta hoon
Film Song
Sharafat Ali
Jehan Tera Naqsh-e-Qadam
Non Filmi Ghazal
Ejaz Hussain Hazravi
56-
Naiyara Noor
Tojhey Pyar Kertey Kertey
Film Song
Naheed Akhtar
Ve Sub Toun Sohneyan
Film Song
Tasawar Khanam
• Tabla:
• Sarangi:
• Harmonium:
Note:
a) Bashir Ali Mahi (Born 1913 at Qasure, died 1970 at Lahore) was disciple and younger
brother of Ustad Badey Ghulam Ali Khan. He was an excellent exponent of Thumri and
Ghazal Geet.
b) Noor Jehan Bagam, born 1941 at Lahore, died 1968 at Lahore in a road accident. She was a
popular voice of Radio Pakistan of 50’s and 60’s. A disciple of Ustad Sardar Khan Dehli
Waley died 1962 at Lahore. Her ever green Melodies, which she sung for Radio Pakistan
Lahore, are as under:
• Dil Soach Samajh Ke Lanvin Dookhdey Umran Dey
• Na Dil Deindi Bedardi Noon , Na Koonj Vangon Kurlandi
• Ochiyan Lamian Tahlian, Te Heith Vagey Darya Ve Mahiya
• Ravi Diyan Chhalan
c) Sharafat Ali (Syed) was not a professional vocalist, but yet an accomplished singer. He
appeared on the horizon of Music World of Pakistan with a bang by singing an ever green
song “Jub Terey Shehr Sey Guzarta Hoon” , for feature film “WADA” released a classical duet
with Late Madam Zahida Perveen. The song “Bar Bar Tersein Morey Nain” was a light
version of Khayal in Raga “SHAHANA” of Kafi Thath in Drut Iktala. Both of his above
mentioned songsgained Nations vide popularity. His career started with feature Film WADA
and ended with the same movie. Why he hung his fiddle? Is a mystery. He was a
Government Servant.
For detail about the title, please see under vol, I of “Golden Voices of Pakistan”.
Artist
AC. No: _____ / VLT
Volume: ____IV_____
1. Zubeda Khanam
2. Inayat Hussain Bhati
3. Bashir Ali Mahi
(Born, 1913, Qasure, Died 1970 at Lahore)
4. Noor Jehan Bagam
(Born 1941 Lahore, died 1968 Lahore)
5. Kausar Parveen
(Died 03-12-1968 Lahore)
6. Sharafat Ali
(Died 1981 at Karachi)
7. Ejaz Hussain Hazravi
(Born 29-02-1928 at Hazro – died 05-12-1989 at Rawalpindi)
8. Abida Perveen
9. Tahira Syed
10. Shaukat Ali
(Born 1946 at Dinga)
11. Naiyara Noor
(Born 1952 at Sylhet East Pakistan)
12. Naheed Akhtar
(Born 1954)
13. Tasawar Khanam
Cassette Duration
Title of Cassette
Production
(Born 1950 at Rawalpindi)
30=30=60 minutes (C-60)
Golden Voice of Pakistan, Volume – IV
PNCA Islamabad. A Pakistan Golden Jubilee Celebration release, 1997
Contents
1234-
Side “A”
“Asan Jan Ke Meet Lsi Akh Vey”
(Punjabi Film Song)
Zubeda Khanum
Bhagan Waleyo
(Punjabi Film Song)
Inayat Hussain Bhatti
Kis Ki Awaz Kaan Mein Aai
(Ghazal)
Bashir Ali Mahi
Ochiyan Lamiyan Tahlian
(Non Filmi Song)
1234-
Side “B”
Ye Batein Jhoti Batein Hein
(Non Filmi Gazal)
Abida Perveen
Kuch Batein Unkahi
(Non Filmi Ghazal)
Tahira Syed.
Saif-ul-Mauke
(Abstract from popular Punjabi musical
narrative “saif-ul-maluke by mian
Mohammed Bukhsh,died 1907)
Shaukat Ali
Kabhi Hum Bhi Khabsorat They
(Non Filmi)
567-
Noor Janahn Begam
Her Qadam Per Sitam
(Film Song)
Kausar Parveen
Jub Teray Shehr Saey Quzarta hoon
(Film song)
Sharafat Ali
Jehan Tera Naqsh-e-Qadam
(Non Filmi Ghazal)
Ejaz Hussain Hazravi
56-
Naiyara Noor
Tojhey Pyar Kertey Kertey
(Film Song)
Naheed Akhtar
Ve Sub Toun Sohneyan
(Film Song)
Tasawar Khanam
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
a) Bashir Ali Mahi (Born 1913 at Qasure, died 1970 at Lahore was disciple and younger
brother of Ustad Badey Ghulam Ali Khan. He was an excellent exponent of Thumri and
Ghazal Geet.
b) Noor Jehan Bagam, born 1941 at Lahore, died 1968 at Lahore in a road accident. She was a
popular voice of Radio Pakistan of 50’s and 60’s. A disciple of Ustad Sardar Khan Dehli
Waley died 1962 at Lahore. Her ever green Melodies, which she sung for Radio Pakistan
Lahore, are as under:
• Dil Soach Samajh Ke Lanvin Dookhdey Umran Dey
• Na Dil Deindi Bedardi Noon, Na Koonj Vangon Kurlandi
• Ochiyan Lamian Tahlian, Te Heith Vagey Darya Ve Mahiya
• Ravi Diyan Chhalan
c) Sharafat Ali (Syed) was not a professional vocalist, but yet an accompalished singer. He
appeared on the horizon of Music World of Pakistan with a bang by singing an ever green
song “Jub Terey Shehr Sey Guzarta Hoon” , for feature film “WADA” a classical duet with
Late Madam Zahida Perveen. The song “Bar Bar Tersein Morey Nain” was a light version of
Khayal in Raga “SHAHANA” of Kafi Thath in Drut Iktala. Both of his above mentioned
melodis gained Nation vide popularity. His career started with feature Film WADA and
ended with the same movie. Why he hung his fiddle? Is a mystery. He was a Government
Servant.
For detail about the title, please see under Vol.I of “Golden Voices of Pakistan”.
AC. No: _____ / VLT - FOLK
Volume: ____I_____
Artist
Shaukat Ali
Cassette Duration
Title of Cassette
30=30=60 minutes (C-60)
Saif-ul-Maluke
Abstract from popular musical narrative of Punjab “Saif-ul-Maluke” by Mian
Mohammad Bukhsh who died 1907 at Lahore and buried at Khodi Sharif,
Drst Mirpur.
Lyric Gold Presentation (Lahore)
Production
(Vocalist Light and Folk)
Born 1946 at village Dinga Drst Gujrat
Contents
1-
Side “A”
Abstracts from famous Punjabi musical
Narrative Saif – ul – Maluke by Mian
Mohammad Bhukhsh.
1-
Side “B”
Saif-ul-Maluke
• Bass Flute accompaniment by Mr. Inayat Ali
(Elder brother of Shaukat Ali)
Note:
Recepient of President of Pakistan’s Medal of Pride of Performance, born 1946 at village
“Dinga” Tehsil Malakwal, Drst Gujrat, Shaukat is an outstanding exponent of Punjabi Folk songs,
with particular reference to “SAIF-UL-MALUKE” the popular ballad of Punjabi by Mian Mohammad
Bukhsh.
Shaukat Ali was bestowed upon with the title of “Lok Geeton Ka Shehzada” (Prince of Folk
Songs) by all Pakistan Music conference, held at Lahore in 1972. He took music education from his
father (Faqir Hussain) and his elder brother Ustad Inayat Ali. Shaukat Ali made his debut in 1963,
by singing an evergreen Patriotic song in duo with Masood Rana “Sathiyo Mujahido, Jag Otha Hei
Sara Watan”. He is a house hold name in Pakistan and equally respected in India as well.
Artist
AC. No: _____ / VLT
Volume: _________
1. Baray Ghulam Ali Khan
(Died 1968 at Delhi, India)
2. Barkat Ali Khan
(Died 19-07-1963 at Lahore, Pakistan)
3. Roshan Ara Begam
(Died 05-12-1982 at Lala Mosa, Pakistan)
4. Mukhtar Begam
5. Khursheed Begam
(Died 1986 at Lahore, Pakistan)
6. Umroozai Begam
7. Rafiq Ghaznavi
(Died 1975 at Karachi, Pakistan)
8. Kajjan Begam
(Died 1998 at Karachi, Pakistan)
9. Salamat Ali Khan
10. Amanat Ali Khan & Fateh Ali Khan
Cassette Duration
Production
(Amanat Ali Khan – Died 16-09-1974 at Lahore, Pakistan)
30+30=60 minutes (C-60)
A PNCA production-1997
Contents
123456-
Side “A”
Thumri Raga – KOSHAK DHANI
“Yad Piya Ki Aai”
Ustad Baray Ghulam Ali Khan
Thumri Ang Geet
“Baghon Mein Paray Jholay”
(Lyricist: Chiragh Hassan Hasrat, Artist:
Ustad Barkat Ali Khan)
Ghazal
“Honay Ko Tuo Kuchh Hao Nahin Hai”
Roshan Ara Begam
Ghazal
“Merey Qabo Mein Na”
Mukhar Begam
“Ghata Ghun Ghor Ghor”
Film Song of Tan Sen 1944
By Khursheed Begam, alias Tani
“Mera Salam Le Ja”
Popular Radio Geet of 1943
Umroozia Begam
1234-
Side “B”
“Heer”
Rafique Ghaznavi
“Nahin Lagey Jiara Hamara”
Kajjan Begam
Dodra – PAHARI
“Saiyan Bedardi Se Jia Mora Laga”
Ustad Salamat Ali Khan
Drut Teen Tal
Ustad Amanat Ali Khan and Fateh Ali Khan
• Tabla:
• Sarangi:
• Harmonian:
Note:
A PNCA production titled, “Golden Voices of Pakistan” released on 14-08-1997. The under
refrence title comprises of 4 cassettes of C-60 minutes, containing 43 golden voices of Pakistan.
(Available from PNCA Islamabad)
Artist
Naheed Niazi
AC. No: _____ / VLT
Volume: ___III___
(Born 26-2-1940 at Delhi, India)
Mehdi Hassan Khan Ustad
(Born 27-6-1933 at Jalpur India)
Saleem Raza
(Died 25-11-1987 at Monteryal, Canada)
Ghulam Abbass
(Born 1-1-1954 at chiniot Drst Jhung)
S.B Jhon
Amanat Ali Khan
(Born 1932 Patyala, India, died 16-9-1974 Lahore)
Malika Pukhraj
Cassette Duration
Title of Cassette
Production
(Born 1926 at Jammu, Died 2007 at Lahore)
30=30=60 minutes (C-60)
Ghazal Geet
Music Archives Collection PNCA,2011
Contents
12-
Side “A”
“Ik bar Phir Kaho Zara”
(Geet) Naheed Niazi
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
12-
Side “B”
Artist
AC. No: _____ / VCL – Assorted
Volume: ____I____
1- Ghulam Ali Khan (Badey)
(Died 1968 at Delhi)
2- Roshan Ara Bagam, Malika-e- Mausiqi
(1915 to 05-12-1982)
3- Nazakat Ali Khan Ustad
4-
Salamat Ali Khan Ustad
5-
(12-12-1934 to 2001)
67-
Ashiq Ali Khan Ustad
8-
(Died 1948 at Lahore)
10-
Cassette Duration
Title of Cassette
Production
Amanat Ali Khan Ustad
9-
Gharana
(Died 1983 at Rawalpindi)
Fateh Ali Khan
(Born 1939 at Patyala , India)
Ghulam Ali Khan Chhotey
(Born 1910 at Qasure Died 29-12-1986 at Lahore)
Assad Ali Khan , Ustad Agrey Waley
(Died 1981- Karachi)
Ghulam Hussian Shagan Ustad
(Born-1927 at Amritsar India)
1- Delhi Qawal Bachon Ka Gharana
2- Kerana Gharara
3- Sham Chorasi Gharana
4- Sham Chorasi Gharana
5- Patyala Gharana
6- Patyala Ghrana
7- Patyala Ghrana
8- Delhi Ka Qawal Bachon Ka Gharana
9- Agra Gharana
10- Gawalior Gharana
30+30=60 minutes (C-60)
50 years of Golden Music of Pakistan ( 1947-1997)
PNCA, Islamabad 1997 - A Pakistan Golden Jubilee Celebration Release
Contents
1-
Side “A”
(Kalyan Thath)
“Chhand Dey Mora Anchra”
(Mudh Teen Tal)
Ustad Badey Ghulam Ali Khan
1-
Side “B”
Khayal in Raga – TILAK KAMOD
(Bilawal Thath)
Bilampat Iktala
Ghulam Ali Khan (Ustad Chootay Ghulam
Ali Khan)
2-
3-
4-
5-
Khayal in Raga – ANUNDI
(Kalyan Thath)
“Barey Saiyan”
(Bilampat Iktabla)
Rashan ara Bagam
(Kafi Thath)
“Kaun Gat Bai Ke Saiyan, Nahin Ghar Aae”
(Bilampat and Drut Teen Tal)
Ustad Nazakat Ali, Salamat Ali Khan
(Asawari Thath)
“Nain So Nain Milae Rakhney Ko”
(Drut Iktala)
Ustad Amanat Ali Khan and Ustad Fateh Ali
Khan
Khayal in Raga – BASANT BAHAR
(Misher Male Thath)
Combination of Porabi and Kafi Thath)
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
2-
Khayal in Raga – NUT BEHAG
“Kesey Kesey Bol”
Bilampat Iktala
3-
Khayal in Raga – PORABI
(Porabi Thath)
Bilampat Iktala
Artist
AC. No: _____ / VLT
Volume: _________
1- Malika Pukhraj
(1926
– 2007)
2- Nasim Bagam
3- Ghulam Ali
(Born 1941 at Kaley Key Drst Sialkot)
4- Surraiya Multanikar
5- Fazal Hussain
6- Saleem Raza
(Died 25-11-1987 at Monteriyal Canada)
7- Naheed Niazi
(Born 26-02-1940)
8- Muneer Hussain
9- Mala Bagam
10- Ahmed Rushdi
11- Masood Rana
(Died 04-10-1995 at Sahiwal)
12- Reshman
Cassette Duration
Title of Cassette
Production
(Born 1943 at Laiah)
30+30=60 minutes (C-60)
Golden Voices of Pakistan (1947-1997)
PNCA, Islamabad, A golden Jubilee Celebration release, 1997.
Contents
12345-
Side “A”
Wo Batein Teri Wo Fasaney Tere
(Malika Pukhraj)
Hum Bhol Gae Her Baat
(Nasim Bagam)
Mein Ney Lakhon Ke Bol Sahey
(Ghulam Ali)
Dadra in Raga – MARO BEHAG
Najeriya Kahey Milai Sajna
(Surraiya Multaniker)
Khayal Composition in Raga – Adana in
Teen Tal
Ya Rub Dil-e-Hijran Mein
Fazal Hussain
12345-
Side “B”
Jan-e-Baharan
(Saleem Raza)
Film Song
Ik Apna Ik Begana
(Naheed Niazi)
Film Song
Arz Hei Ye Gila Nahin
(Muneer Hussain)
Film Song
Tarapna Bhi Hamein Aata Hei
(Mala Bagam)
Film Song
Dil Toom Ko Dey Diya Hei
(Ahmed Rushdi)
Non Film Ghazal
67-
Film Song
Ho Gai Zindagi Mojhey Piyari
(Masood Rana)
Film Song
Akser Shab-e-Tanhai Mein
(Reshman)
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
The under reference cassette, titled “Golden Voices of Pakistan”, was released in 1997 to
mark the Golden Jubilee Celebrations (1947 to 1997). It comprises of 4 audio Cassettes, each of 60
minutes of duration, containing 43 Golden voices in music of Pakistan. The title is available in a card
board pack of 4 audio cassettes from PNCA, Islamabad.
AC / QI
Audio Cassette / Qawali
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: _____ / QI
Volume: ____II____
Ghulam Fareed Maqbool Ahmed Sabiri
Gawalior Gharana
30=30=60 minutes (C-60)
Sawery Sawery
Tip Top Music Islamabad.
Contents
1234-
Side “A”
Mera Koi Nahi Hei Terey Siwa
Qawali
Aaey Hain Terey Dar Pe
Qawali
Mohabat Kerney Walo
Qawali
Teri Nazr-e-Karam Ka Sahara
Qawali
1234-
Side “B”
Shah-e-Madina
Naat-e-Rasul-e-Maqbool
Meri Tauba, Tauba Ya Rub
Qawali
Ali Maula Ali Maula
Manqabat
Sawerey Sawerey
• Tabla:
• Sarangi:
• Harmonium:
Note:
a. Ghulam Fareed Sabiri, died 5-4-1994.
b. Maqbool Ahmed Sabiri, died 21-09-2011.
For detail please see under Volume I of Ghulam Fareed Maqbool Sabiri Brothers.
AC. No: _____ / QI
Volume: __________
Artist
Ghulam Fareed Maqbool Sabiri Qawal
Gharana
Cassette Duration
Title of Cassette
Production
Gawalior Gharana of Dehli
30=30=60 minutes (C-60)
Qawali, Music from Pakistan
PNCA, Islamabad-1997
Disciples of Ustad Latafat Hussain Khan Khurjey Waley (Died-2004)
Contents
1-
Side “A”
Bhar Do Jholi Meri Ya Mohammed
Qawali
12-
Side “B”
Surriya Al Habibi
Qawali
Tajdar-e-Haram
Qawali
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Ustad Haji Ghulam Fareed Sabiri (Died 05-04-1994) at Karachi and his younger brother late
Haji Maqbool Sabiri (Died 21-09-2011 at South Africa) is ranked as one of the few legends of Qawali
in Pakistan. The disciples of Haji Ustad Latafat Hussain (Died – 2004) Sabiri Brothers made their
debut from Radio Pakistan Karachi in 1959. Later on their Qawali rendition Tajdar-e-Haram (1968)
took them to the pinnacles of popularity first to introduce the art of Qawali to United States
(February – 1973).
Their “Soreelapun” (Perfect Intonation) separates them from their contemporary Qawals.
Amjad Fareed Sabiri, S/O, Ghulam Fareed Sabiri is successfully carrying forward the Qawali
Traditiond of his ancestors.Their family migerated to Pakistan in 1947 from KALYANA, a village in
ROHTAK Town, of Drs Hisar (India).
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: _____ / QI
Volume: _____III___
Ghulam Fareed Maqbool Ahmed Sabiri
Gawalior Gharana
30=30=60 minutes (C-60)
Sawery Sawery
Tip Top Music Islamabad
Contents
1234-
Side “A”
Mera Koi Nahi Hei Terey Siwa
Qawali
Aaey Hain Terey Dar Pe
Qawali
Mohabat Kerney Walo
Qawali
Teri Nazr-e-Karam Ka Sahara
Qawali
1234-
Side “B”
Shah-e-Madina
Naat-e-Rasul-e-Maqbool
Meri Tauba, Tauba Ya Rub
Qawali
Ali Maula Ali Maula
Manqabat
Sawerey Sawerey
• Tabla:
• Sarangi:
• Harmonium:
Note:
c. Ghulam Fareed Sabiri, died 5-4-1994.
d. Maqbool Ahmed Sabiri, died 21-09-2011.
For detail please see under Volume I of Ghulam Fareed Maqbool Sabiri Brothers.
Artist
Gharana
Cassette Duration
Title of Cassette
Production
AC. No: _____ / QI
Volume: ____I_____
Gawalior Gharana of Dehli, Disciples of Ustad Latafat Hussain Khan Khurjey
Waley (Died-2004)
30=30=60 minutes (C-60)
Qawali, Music from Pakistan
PNCA, Islamabad – 1997
Contents
1-
Side “A”
Bhar Do Jholi Meri Ya Mohammed
Qawali
12-
Side “B”
Surriya Al Habibi
Qawali
Tajdar-e-Haram
Qawali
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Ustad Haji Ghulam Fareed Sabiri (Died 05-04-1994) at Karachi and his younger brother late
Haji Maqbool Sabiri (Died 21-09-2011 at South Africa) is ranked as one of the few legends of Qawali
in Pakistan. The disciples of Haji Ustad Latafat Hussain (Died – 2004), Sabiri Brothers made their
debut from Radio Pakistan, Karachi in 1959. Later on their Qawali rendition Tajdar-e-Haram (1968)
took them to the heights of popularity. They are the first to introduce the art of Qawali to United
States (February – 1973).
Their “Soreelapun” (Perfect Intonation) separates them from their contemporary Qawals.
Amjad Fareed Sabiri, S/O, Ghulam Fareed Sabiri is successfully carrying forward the Qawali
Traditiond of his ancestors. Their family migerated to Pakistan from Kalyana (a village in Rohtak
Town of Drst Hisar, India) in 1947.
AC. No: _____ / QI
Volume: ____IV____
Artist
Gharana
Title of cassette
Cassette Duration
Production
Gawalior Gharana of Delhi
Qawali Music from Pakistan
30+30=60 minutes (C-60)
PNCA Islamabad, 1997
(Died 2004)
Disciples of Ustad Latafat Hussain Khan Khurjey Waley
Contents
1-
Side “A”
Bhar Do Jholi Meri Ya Mohammad
Qawali
• Tabla:
• Sarangi:
• Harmonian:
12
Side “B”
Surriya Ak Habibi
Qawali
Tajdar-e-Haram
Qawali
AC. No: _____ / Q I
Volume: ___III___
Artist
1- Ghulam Fareed Sabiri Qawal
(Died 5-4-1994 Karachi)
2- Maqbool Ahmed Sabiri Qawal
Gharana
Cassette Duration
Title of Cassette
Production
(Died 21-09-2011 at South Africa)
Gawalior Gharana
30=30=60 minutes (C-60)
Qawalian
Personal Collection of Arif Jafri, Islamabad.
Contents
12-
Side “A”
Hazir Hein Hazir Hein
(Qawali)
Teiba Ke Janey Waley
(Qawali)
12-
Side “B”
Tajdar- e- Haram
(Qawali)
Sir - e – La – Makan Sey Talab Hoi
(Qawali)
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
For Sabiri brothers, please see under volume I, Ghulam Fareed maqbool Sabiri
Artist
AC. No: _____ / QI
Volume: ________
1. Ghulam Fareed Sabiri Qawal
(Died 5-4-1994 Karachi)
2. Maqbool Ahmed Sabiri Qawal
Gharana
Cassette Duration
Title of Cassette
Production
Gawalior Gharana
30+30=60 minutes (C-60)
Qawalian
A private collection of Arif Jafri, Islamabad.
Contents
12-
Side “A”
Tajdar - e- Haram
(Qawali)
Sirre Lamakan Sey Talab Hoi
(Qawali)
Side “B”
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
For Sabiri brothers, please see under volume I, Ghulam Fareed maqbool Sabiri.
AC. No: _____ / Q I
Volume: ____I____
Artist
Manzoor Ahmed Khan Niazi Qawal
Gharana
Cassette Duration
Title of Cassette
Production
Qawal Bachon ka Delhi Gharana
30+30=60 minutes (C-60)
(Concert Recording 25-10-1975, Liaqat Memorial Hall, Rawalpindi)
(Born, 1925 at Delhi, India)
Contents
1-
Side “A”
Mein Kya Tha Mojhe Kya Bana Diya
Qawali
12-
Side “B”
Chhap Tilak Sub Chheen Lini
Qawali, Lyrics Hazrat Amir Khusru
Lal Ni Mera Piya Ghar Aaya (Punjabi)
Qawali
Lyrics, Baba Bulleh Shah
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
a) Manzoor Hussain Khan is the great Grandson of Mian Qutab Bukhsh Khan alias “ Tan Rus
Khan (1770 – 1872), the legendary vocalist of 19th century and Chief Court Musician of last
Mughal King “Bahadur Shah Zafar”.
b) Manzoor Ahmed Khan Niazi took his music training from his father Abdul Rahim Khan, both
in Qawali and Classical Khayal singing. In 1947, he along with his family members opted for
Pakistan and chose to settle in Karachi. He is 86 years of age at the time of the under
reference citation, Mr. Manzoor Ahmed Khan Niazi is in his late 80’s (18-10-2011).
AC. No: _____ / QI
Volume: ___I_____
Artist
Gharana
Cassette Duration
Title of Cassette
Production
30=30=60 minutes (C-60)
(Concert Recording 25-10-1975, Liaqat Memorial Hall, Rawalpindi)
(Born, 1925 at Delhi, India)
Contents
1-
Side “A”
Mein Kya Tha Mojhe Kya Bana Diya
Qawali
12-
Side “B”
Chhap Tilak Sub Chheen Lini
Qawali, Lyrics Hazrat Amir Khusru
Lal Ni Mera Piya Ghar Aaya (Punjabi)
Qawali, Lyrics Baba Bulleh Shah
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
c) Manzoor Hussain Khan is the great Grandson of Mian Qutab Bukhsh Khan alais “Tan Rus
Khan (1770 – 1872), the legendry vocalist of 19th centuary and Chief Musician of last
Mughal King “Bahadur Shah Zafar”.
d) Manzoor Ahmed Khan Niazi took his music training from his father Abdul Rahim Khan, both
in Qawali and Classical Khayal singing. In 1947, he along with his family members opted for
Pakistan and chose to settle in Karachi. He is 86 years of age at the time of the under
reference citation, Mr. Manzoor Ahmed Khan Niazi is in his late 80’s (18-10-2011).
Artist
Gharana
Cassette Duration
Title of Cassette
Production
1-
AC. No: _____ / Q I
Volume: ________
1- Mehr Ali Qawal
2- Sher Ali Qawal
30=30=60 minutes (C-60)
Mehr Ali, Sher Ali Qawal
PNCA, Islamabad-1997 (A Golden Jubilee Celebration Released)
Side “A”
QAUL, “Mun Konto Maula”
Contents
12-
Side “B”
Mahi Baj Akalian, (Kalam Khwaja
Fareed)
Saraiki Kafi
Mein Punj Tanni, Punj Tani, Punj Tani
Aan
Punjabi Qawali
(Lyrics, KHAKI)
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Recipient of President of Pakistan Medal for Pride of Performance Ustad Mehr Ali Khan,
born 1948 at Multan and Sher Ali Khan born 1952 at Multan are ranked as most outstanding and
popular Qawal of Pakistan. Both the brothers had their basic music education from their father
Ustad Badar-u-Din, a representative of Talwandi Gharana. Later on came under the discipleship of
ustad Bakhshi Khan Qawal (disciple of ustad Fateh Ali Khan Qawal Jalundhar Walay father of Nusrat
Fateh Ali Khan).
Mehr Ali Khan Ser Ali Khan made their debut from Radio Pakistan Multan in 1975 as
Classical singer but later, on decided to try their luck in the field of Qawali.
Artist
AC. No: _____ / QI – KFI
Volume: ______IV______
Mubarik Ali Khan Qawal
(Born 1904 at Jallandher India and died 1977 at Faisalabad)
2- Fateh Ali Khan Qawal
(Born 1906 at Jallandher, India, died 1963 at Lyalpur, Faisalabad)
3- Ghulam Fareed sabiri, Qawal
4- Maqbool Ahmed Sabiri Qawal
5- Qurban Hussain Qawal
6- Tufail Hussain Qawal
(Born 1937 at Ali Gudh, India)
7- Nusrat Fateh Ali Khan
(Born 14-10-1948 at Lyalpur, died 16-8-1997 at Landon and burried at Faisalabad)
8- Pathaney Khan
(Born 1920 at Kot Addu, Drst Muzaffar Gudh, died on 10-03-1997 at Kot Addu)
9- Zahida Perveen Madam
10- Abida Perveen
Gharana
Cassette Duration
Title of Cassette
Production
3- Gawalior Gharana
4- Gawalior Gharana
8- Patyala Gharana
9- Patyala Gharana
10- Gawalior Gharana
30+30=60 minutes (C-60)
“Pakistan Mausiqi – 50 Sonehri Sal” (50 Years of Golden Music of Pakistan),
cassette 4, comprising of Qawali and Kafi.
PNCA, Islamabad - A Pakistan Golden Jubilee Celebration Release 1997.
Contents
123-
Side “A”
“Ilmon Bus Karin O Yar”
Qawali by Ustad Mubarik Ali Khan and
Ustad Fateh Ali Khan
“Mun Konto Maula”
‘QAUL’ Ustad Ghulam Fareed Maqbool
Ahmed Sabiri Qawal
“Mera Piya Ghar Aaya”
123-
Side “B”
“Ali Maula Ali Maula Ali Ali”
Qawali by Ustad Nusrat Fateh Ali Khan
Qawal
“ Ki Hal Sonawan Dil Da”
Kafi Khwaja Ghulam Fareed by Madam
Zahida Perveen
“Meinda Ishq Vi Tou”
Qawali by Qurban Hussain Tufail Hussain
commonly known as Sormey Waley Qawal
4-
Saraiki Kafi, Khwaja Ghulam Fareed by
Pahaney Khan
“Sadey Vehrey Aaya Ker”
Kafi Hazrat Sachal Sarmust by Madam
Abida Perveen
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
a- Item No 3 of Side “A” is the ever First Qawali Programmed Presented/Telecast on the inaugural
of PTV, 29-11-1964 (Lahore). M/S. Qurban Tufail enjoy’s the credit of being the ever first Qawali
artistes of Pakistan Television Corporation.
b- Pathanay khan received his classical music education from Late Ustad Ashiq Ali Khan.
Reference, Mr. Saeed Malik’s Article published in “The News”, (English Daily-Islamabad -17-022007)
AC. No: _____ / QI
Volume: ____I____
Artist
1- Santoo Khan
(Born 1879 at Taran Taran, Drst Amritsar, died,1979 at Lahore)
2- Manzoor Hussain
Cassette Duration
Title of Cassette
Production
(Born, 1939 at Amritsar)
30=30=60 minutes (C-60)
Santoo Khan Manzoor Hussain Qawal
Contents
1-
Side “A”
Qaul, “Mun Koonto Maula”
1-
Side “B”
Qawali, “Hosn-e-Khuda, Bakhuda Hosne-Rasule Hei”
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
a- Mushtaq Ahmed Khan, commonly known as “Santoo Khan, born 1879 at village Taran
Taran, a town in Drst, Amritsar (India) and died 1979 at Lahore at the age of 100 years. He
was one of the most outstanding Qawals of Indo Pakistan Subcontinent. His father Maula
Bukhsh was a government servant but wanted him to be a classical vocalist. Santoo Khan
studied up to class 8th and then became a disciple of Babu Lal Mohammed, a renowned
classical vocalist of Delhi Gharana of Qawal Bachchey.
Due to Mushtaq Ahmed’s Shoulder cut hair style, his friends started calling him SUNT
(Saint), which later on became Santoo. He enjoys the credit of being the first musicians of
Radio Pakistan as his Qawali:“Zamaney Ke Andaz Badley Gaey”
“Naya Rag Hei Saaz Badley Gaey” (Iqbal) went on air at 0005 Hours (14-08-1947)
Late Mustafa Ali Hamadani will be remembered as the first on air voice of Radio Pakistan.
Detail of the first on air voice is as under:“Bismillah Hir Rehman Ir Rahim, Aaj 14, August 1947 Hei, Pakistan Moariz-e-Wajood Mein
Aa Choka Hei. Ab Aap “Jan Mohammed Se “Qudsi Mashhadi” Ki Naat Samaat Fermaiey”
The second announcement was:“Ab Aap Santoo Khan, Mohammed Siddiq Qawal Sey Kalam-e-Iqbal Soniey,
“Zamaney Ke Andaz Badley Gaey”
“Naya Rag Hei Saaz Badley Gaey” (Iqbal)
b- Mohammed Siddiq is the younger brother of Santoo Khan, who used to be the second “Mori
or Soor Chokiya of the Qwal Party”.
(Mori or Soor Chokiya are the lead singers of any Qawal Party)
AC / I
Audio Cassette
Instrumental Music
Artist
Gharana
Instrument
Cassette Duration
Production
AC. No: _____ / I – SD
Volume:___ ___I________
Amjad Ali Khan, Sarod Nawaz (India)
Dehli Ka Seni Gharana
Sarod
30+30=60 Minutes (C-60)
Shanmukhanada Hall, Bombay, India
Live Concert Recording 21 – 05 - 1983
Contents
1-
Side “A”
Raga SHUD KALYAN
(KALYAL THATH)
Gat In Mudh and Drut Teen Tal
Followed by Jhala
12-
Side “B”
Raga DURGA on Sarod
(BILAWAL THATH)
• Tabla: Sharafat Ahmed (Delhi, India)
• Sarangi:
• Harmonian:
Note:
a. The charity concert was organized by Indian Cancer Society Bombay on 21 -05 – 1983 at
Shanmukhanandan Hall Bombay, India. Ustad Amjad Ali Khan’s Father – in – Law, Pursh
Ram Burva, who happened to be the first hero of Asami Feature Films, died of Cancer. After
his death, Amjad Ali Khan and his wife has been working for the course of Cancer.
b. Cassette donated by Mr. Imran Zahid Farani
AC. No: _____ / I – SIT
Volume: _______________
Artist
Ashraf Shareef Khan, Sitarist
Instrument
Cassette Duration
Production
Sitar
30 + 30 = 60 minutes (C - 60)
(Born 1962, Lahore)
(available also in Video, VHS and DVD)
Contents
1-
Side “A”
Raga – AIMAN
on Sitar, Alap and Jod
1-
Side “B”
Raga – AIMAN
Gat and Jhala
(Continuation of Side “A”)
• Tabla Accompaniment: Late Ustad Shaukat Hussain Khan
• Sarangi:
• Harmonian:
Note:
Ashraf Shareef Khan born in 1962 at Lahore is the son and disciple of legendary sitar player
Ustad Muhammad Shareef Khan, Poonch Waley and died in 1981 in Lahore. Shareef Khan learnt the
art of sitar playing from his illustrious father Abdul Raheem Khan. Ashraf Shareef Khan migrated to
Germany in 1996 currently based at BONN, republic of Germany.
Artist
Instrument
Title of Cassette
Cassette Duration
Production
AC. No: _____ / I – Banjo
Volume:___ ______________
Bilawal Balgium (Ustad), Banjo player
Banjo
Bilawal Balgium
45+45=90 Minutes (C - 90)
Contents
1234-
Side “A”
Popular Sindhi Dance Tune “Jamalo”
Balochi Wedding Song
Balochi Love Song
Song of Sheep Hearders of Balochistan
1234-
Side “B”
Dervesh Dance Tune “Dhamal”
Song of Balochi Deserts
Folk Tune of Sheedis of Balochistan
A Khayal composition in Raga – MALKAUNS
(Bhairvin Thath)
• Tabla:
• Sarangi:
• Harmonian:
Note:
Born in 1928 at Mirpur Khas (Sindh), Died 1977 at Lahore, Ustad Bilawal Balgaim was an
astonishing exponent of “Banjo”, Recipient of president of Pakistan’s Medal for pride of
performance, he is one of those, who become Legend in their life time. Till now, there is no one who
could surpass his excellence in Banjo playing. He was an illustrious disciple of late ustad ASHIQ ALI
KHAN of patyala Gharana.
He served as a staff artist of central production unit of radio Pakistan Lahore.
Artist
Gharana
Instrument
Title of Cassette
Cassette Duration
Production
AC. No: _____ / I – SIT
Volume:___ __II_____
Fateh Ali Khan Ustad (Sitar Player)
Feroz Khani Gharana in sitar playing
Sitar
Hamaray Saaz (Sitar)
45+45=90 Minutes (C - 90)
PNCA Islamabad
Contents
12-
Side “A”
Alap and Gat in Ragni Pilu
(Kafi Thath)
Alap and Gat in Raga Aiman
(Kalyan Thath)
12-
Side “B”
Alap and Gat in Raga Mehtabi
(Porabi Thath)
Alap and gat in Raga Poriya
(Marwa Thath)
• Tabla:
• Sarangi:
• Harmonian:
Note:
For Ustad Fateh Ali Khan, please see under Ustad Fateh Ali Khan Sitar Player volume- 1.
Artist
Instrument
Cassette Duration
Production
AC. No: _____ / I – SIT
Volume: ___________
1- Fateh Ali Khan Ustad Sitar Nawaz (Pride of Performance)
(22-11-1983)
2- Kabir Khan, Ustad, Sitar Nawaz (Pride of Performance)
Sitar
30 + 30 = 60 minutes (C - 60)
A PNCA, Islamabad Production (Concert Recordings)
Contents
1-
Side “A”
Fateh Ali Khan Ustad Sitar Nawaz
Raga – AIMAN
(Kalyan Thath)
Alap, Gat and Jhala, (Teen Tal)
1-
Side “B”
Kabir Khan, Ustad, Sitar Nawaz
Raga – GHARA
(Khamach Thath)
Alap, Gat and Jhala, (Teen Tal)
• Tabla: Late Ustad Manzoor Hussain of Rawalpindi
Ustad Talib Hussain Lyalpuri
• Sarangi:
• Harmonian:
Note:
a) Ustad Fateh Ali Khan was an illustrious disciple of his paternal uncle (Taya) Mian Mehboob
Ali Fareedi, who learnt the art of sitar playing from a legendary sitar Maastro Syed Nasir Ud
Din early 20th century, father of sitar player Nafees Ahmad Khan (Tamgha e Imtiaz) and
violinist Raees Ahmed (Pride of Performance). He was also a renowned composer of feature
films, scored music for AINA 1945; DIRECTOR 1947, DO KINARAY 1950, SHOLA 1952,
HARJAI 1952, BEDARI 1957, SATHI 1959, TUM NA MANO 1961. He breathed his last on 2211-1983 at Rawalpindi.
b) Recipient of President of Pakistan’s Medal for pride of Performance, Ustad Kabir Khan died
in 2002 at Karachi. He hailed from SENI family of JAIPUR Gharana of sitar players. He was a
disciple of late Ustad Muhammad Khan of JAIPUR (Rajistan, India). Ustad Kabir Khan is
ranked as one of the three top sitarists of Pakistan. Ustad Sharif Khan of Poonch and Ustad
Fateh Ali Khan.
Artist
Instrument
Disciple
Cassette Duration
Production
AC. No: _____ / I – VVA
Volume: ________________
Habib Ali Khan Beenkar (Ustad)
(Died – 1975)
Vichitra Veena
Ustad Abdul Aziz Khan Beenkar (Brother)
(Died 1950)
30+30=60 minutes (C-60)
Joint release of Shalimar recording Co Islamabad.
Transfered from L.P to Audio Cassette.
Contents
1-
Side “A”
Raga – AIMAN on VICHITRA VEENA
Alap and Gat in Bilampit Teen Tal
Mudh and Drut Teen Taal, Gat Jhala
1-
Side “B”
Raga – MARU BEHAG
(Kalyan Thath)
On VICHITRA VEENA
Alap and Bilampat Gat in Teen Tal
Drut Teen Taal, Gat Jhala
• Tabla:
• Sarangi:
• Harmonian:
Note:
Late ustad Faqir Habib Khan Beenkar (Beena Exponent) was the younger brother of late
Ustad Abdul Aziz Khan Beenkar, the inventer of VICHITRA VEENA. Habib Ali Khan like his
illustrosus brother started his musical career as a SARUNGI player and then in the quest of tonal
perfection both the brothers switched over to VICHITRA VEENA, a variation of the ancient
SARASWATI VEENA.
VICHITRA VEENA was exposed to our Music some times in earliar part of the 20th century.
Artist
Instrument
Cassette Duration
Production
Majid Khan
AC. No: _____ / I – SIT
Volume: ______________
1940-2008, Disciple of late ustad Fateh Ali Khan (Sitarist)
Sitar (Light and folk renditions with Orehestra)
45+45=90 Minutes (C - 90)
Contents
12345-
Side “A”
Under the Bough and Though
Oasis
Journey to Midnight
Calling East
Spring
12345-
Side “B”
Pakhair Raghley ( Pashto folk song)
Anticipation
You are my Destiny
Dancing Feet
Solitude
• Tabla:
• Sarangi:
• Harmonian:
Note:
Dr. Majid Khan, born Bahawalpur 1940, died 2008 Lahore, highly educated person, an
agriculturist and also a homeo practitioner as well. His quest for music took him to be a disciple of
Sitar Maestro, Late Ustad Fateh Ali Khan.
Mr. Majid Khan extensively toured abroad and won a great acclaim through his enthrawling
renditions.
The cassette comprises of 10 renditions, 5 at each side. All renditions are traditional and
also performed in a light and popular style.
Artist
Instrument
Cassette Duration
Production
AC. No: _____ / I – FLT
Volume: _______________
Masood Ahmad
(Bansuri Nawaz)
Gharana, Disciple of Ustad Salamat Hussain of Delhi Gharana
Flute (Transverse base flute-with tonic “D”)
45+45=90 Minutes (C - 90)
EMI, Pakistan Ltd, Karachi
Contents
12-
Side “A”
Raga AIMAN on flute
(Kalyan Thath)
Alap and Khayal in Mudh Teen Tal
Raga RAGESHRI
(Khamach Thath)
Khayal in Mudh and Drut Teen Taal
12-
Side “B”
Raga Chandar KAUNS MISHER MAIL
Thath (Combination of Bhairon and
Bhairvin Thath)
Thumri KOSHAK DHANI
(Bilawal Thath)
Famous composition: Yad Piya Ki Aye,
Kehrva Tal
• Tabla: Eid Muhammad Ajmeri 1937-2010
• Sarangi:
• Harmonian:
Note:
Mr. Masood Ahmed (Born 1950, Karachi) is a Karachi based classical flutist and a disciple of
recipient of pride of performance, ustad salamat Hussain (flutist). Masood Ahmad is a non
professional. However, he is ranked as an outstanding exponent of concert flute.
AC. No: _____ / I-AL
Volume: ____I____
Artist
Misri Khan Jamali, Alghoza Player
Instrument
Title of Cassette
Cassette Duration
Production
Alghoza (Double Flute)
Hamaray Saz, Alghoza Par Lok Dhoonein
30 + 30 = 60 minutes (C - 60)
(1921-1984)
(available also in Video, VHS and DVD)
Contents
1234-
Side “A”
TALUNG
(Sindhi Folk Tune in Talung Raga)
Punjabi Folk Tune MAHIYA on Alghoza
SARUNG Folk Tune of Sindh in Raga –
SARUNG
(Kafi Thath)
RANO Sindhi Folk tale MOMAL RANO
1234-
Side “B”
Popular Devotional Tune SHAHBAZ
QALANDAR
(A popular composition in Raga – AIMAN)
Folk Tune of Sindh in Raga – MAAND
Sindhi Folk Tune PAHADI in Raga – PAHADI
(Bilawal Thath)
SURATH Sindhi Folk Tale SURATH RAE
DEACH, in Raga – SURATH of Khamach
Thath
• Tabla:
• Sarangi:
• Harmonian:
Note:
Recipient of President of Pakistan’s medal for pride of performance, Late Ustad Misri Khan
was an outstanding exponent of popular Sindhi folk musical instrument Alghoza. Born 1921 in
Nawab Shah Sindh, died at Nawab Shah Sindh 1984 was a disciple of Ustad Ali Murad Khan
Jamali. As a member of national cultural delegations, he toured Afghanistan, England, U.S.S.R
and Switzerland and won great acclaim for his country.
Artist
Cassette Duration
Production
AC. No: _____ / I – SIT
Volume: ________II_______
1- Muhammad Sharif Khan Poonch Waley
(1918-1981 Pride of Performance)
2- Ustad Kabir Khan Sitarist
(Born Jaipur India 1924, died 2002 at Karachi)
45+45=90 Minutes (C - 90)
PNCA production recorded on 26-10-1975 at Liaqat Memorial Hall
Rawalpindi in connection with the 700th birthday of Hazrat Amir Khusro.
Contents
1-
Side “A”
Ustad Sharif Khan
“Raga Saazgiri”
(Marwa Thath)
Alap, Jod, Gat and Jhala
Tabla: Side “A” Late Ustad Shaukat Hussain Khan
Side “B” Ustad Talib Hussain Lyalpur Walay
• Sarangi:
• Harmonian:
12-
Side “B”
Ustad Kabir Khan
Raga “BAHAR”
(Kafi Thath)
Alap and gat (Mudh and Drut Teen Tal)
Raga “GHARA”
(Khamach Thath)
Alap and Gat, Mudh and Drut Teen Tal
AC. No: _____ / I - TAB
Volume: ______I______
Artist
Mohammed Tufail Master
Gharana
Cassette Duration
Instrument
Production
Punjab Gharana in Tabla Playing
30=30=60 minutes (C-60)
Tabla
Personnel Collection of Mr. Zahid Imran Farani; recorded at Mr. Faranis
Residence, F-7/4, Islamabad. (1987)
Tabla Nawaz (Born 1939 at Jammu and died at Rawalpindi 03-01-2001)
Contents
1-
Side “A”
Teen Tal (16 Matras)
Lehra accompaniment on harmonium by
Arif Jafri.
1234-
Side “B”
Jhup Tal (10 Matras)
Followed by improvisation of Kehrva Tal.
Arif Jafri.
Demonstration of Mojra Style Tabla
Playing
Ab Ke Sau Bar Gham-e-Hijr Mein
Ghazal
Manda Nain Bolna
Kashmiri Geet
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Master Muhammad Tufail was an outstanding Tabla exponent and an accomplished
Harmonium player, a cornetier and a vocalist too. He served as music teacher at Islamabad Model
College for Boys F-6/3; Islamabad also served PNCA’s Music Institute from 1972 to 2000.
Ustad Tufail was deciple of Ustad Des Khan (Father) and Tassadaq Jafar Kotiya. Mohammed
Ajmal, Zahid Farani, Mohammed Ashraf, Sabir Hussain are his mentionable disciples.
Artist
Gharana
Cassette Duration
Instrument
Production
AC. No: _____ / I - TAB
Volume: ________I_______
Mohammed Tufail Master, Tabla Nawaz
(Born 1939 at Jammu, died at Rawalpindi 03-01-2001)
Punjab Gharana in Tabla Playing
30=30=60 minutes (C-60)
Tabla
Personnel Collection of Mr. Zahid Farani; recorded at Mr. Faranis residence.
F-7/4, Islamabad. (1987)
Contents
1-
Side “A”
Teen Tal (16 Matras)
Arif Jafri.
1234-
Side “B”
Followed by improvisation of Kehrva tal.
Arif Jafri.
Demonstration of Mojra Style Tabla
Playing
Ab Ke Sau Bar Gham-e-Hijr Mein
Ghazal
Manda Nain Bolna
Kashmiri Geet
• Tabla:
• Sarangi:
• Harmonium:
• Tanpura:
• Interview:
Note:
Master Muhammad Tufail was an outstanding Tabla exponent and an accomplished
Harmonium player, a corntier and a vocalist too. He served as music teacher at Islamabad Model
College for Boys F-6/3; Islamabad also served PNCA’s Music Institute from 1972 to 2000.
Ustad Tufail was deciple of Ustad Des Khan (Father) and Tassadaq Jafar Kotiya. Mohammed Ajmal,
Zahid Farani, Mohammed Ashraf, Sabir Hussain are his mentionable disciples.
Artist
Gharana
Disciple of
Title of Cassette
Cassette Duration
Production
AC. No: _____ / I – INST - BAND
Volume:_______ ______I____________
Nazir Hussain Master
(Born 1938 at Amritsar, India)
Leader of SOHN BAND LAHORE)
Gawalior Gharana
Late Master Sohni Khan (Father)
‘Traditional Sohni Band of Lahore’
30+30=60 Minutes (C-60)
Music Archives, PNCA, Islamabad
Contents
123456789-
Side “A”
Jiway Banra
Marriage Song
On SOHNI BRASS BAND
Veer Mera Ghori Charheya
Film Song
On SOHNI BRASS BAND
Jhan Di Panwan Jhankar Mein
Film Song
On SOHNI BRASS BAND
Wada Nah Tod
Film Song
On SOHNI BRASS BAND
Summi Meri Var
Punjabi Folk Song
On SOHNI BRASS BAND
Rahon Main Teri – Kub Aae
Film Song
On SOHNI BRASS BAND
Chandni Ratain
Film Song
On SOHNI BRASS BAND
Ho Jamalo
Sindhi Folk Song
On SOHNI BRASS BAND
Chhod Babul Da Gher
Punjabi Film Song
On SOHNI BRASS BAND
• Tabla:
1234567-
Side “B”
Sohneya Dil Da Mamla
Punjabi Film Song
On SOHNI BRASS BAND
Jis Din Say Piya Dil Lay Gaey
Urdu Film Song
On SOHNI BRASS BAND
Ik Bar Chalay Aao
Urdu Film Song
On SOHNI BRASS BAND
A composition in Raga – MARU
Bilampat Drut Iktala
Dhamal, Shahbaz Qalander
Traditional
Baharoo Phol Barsao
Indian Feature Film Song
Char Beta, Ya Qurban
Pushto Folk Tune
• Sarangi:
• Harmonian:
Note:
a. SOHNI BAND is one of the few reputed traditional mobile band group of Pakistan, also
known as “SHADI” (Marriage) Band. It was founded by Master Sohni Khan (1907 –
1976) in the year 1939. Master Sohni Khan was a legendry clarinetist of all times. He
was disciple of Allah Ditta Naqurchi and Ustad Mubarik Ali Khan s/o Gamman Khan.
b. Master Nazir Hussain (Born 1938) is the eldest son of Master Sohni Khan and is heading
the band group for the last 30 years.
Artist
Sabir Hussain
Gharana
Instrument
Cassette Duration
Production
AC. No: _____ / I – SD
Volume:___ ___I________
(Born 1968 at Marala District Sialkot)
Punjab
Tabla
30+30=60 Minutes (C-60)
Playing Time 30minutes, “A” Side
Blanck - “B” Side
Personal Collection of Mr. Zahid Farani
Drawing Room Recording at Mr. Imram Farani’s Residence at F – 7 /4,
Islamabad – 1992
Contents
1-
Side “A”
Improvisation of different rhythmic
patrons of DADRA (6 Matras)
KEHRVA TAL (8 – Matras) and Teen Tal
(An informal Performance)
Side “B”
• Tabla:
• Sarangi:
• Harmonian:
Note:
Sabir Hussain born MARALA, a town in district Sialkot, an outstanding Tabla exponent, a light
vocalist and an outstanding exponent of Harmonium. He is disciple of his elder brother, Late Ustad
Mohammed Tufail Tabla Nawaz (Died 03 – 01 – 2001).
Sabir Hussain shifted to USA in 1994.
Artist
AC. No: _____ / I – TAB
Volume:____ ____________
1. Allah Rakha Khan (Ustad), Tabla Nawaz
(Born 1925 at Jammu Kashmir, Died 2008 at Lahore)
2. Zakir Hussain, Tabla Nawaz (S/O Allah Rakha)
Gharana
Instrument
Cassette Duration
Production
Punjab Ghrana in Tabla Playing Disciple of Late Ustad Mian Qadir Bukhsh
Tabla
30+30=60 Minutes (C-60)
Karachi Music Center, Sommerset Street Karachi
Personal Collection of Mr,Zahid Farani
Street 48, F-7/4, Islamabad
Contents
12-
Side “A”
SULE FAKHTA TAL
(ASULE FAKHTA)
On Tabla, 5 Matras
CHAR TAL KI SAWARI
On Tabla, 11 Matras
12-
Side “B”
Teen Tal
On Tabla, 16 Matras
Iktala
On Tabla, 12 Matras
• Tabla:
• Sarangi:
• Harmonian:
Note:
Ustad Allah Rakha Khan came from Jammu Kashmir where he was born sometime in 1925, with the
establishment of Lahore Radio in 1937, the whole family shifted to Lahore. At the age of 14, Allah
Rakha Khan became a disciple of Ustad Mian Qadir Bukhsh. In 1947, the family opted for Pakistan.
In 1958, Allah Rakha Khan migrated to along with his second wife and two sons, i.e Zakir Hussain
and Faisal Quresh and sought Indian Nationality but some of his family members Sabir Khan
(Young Brother) two daughters and first wife preferred to remain Pakistani Ms. Rohi Bano, the
elderest daughter of Allah Rakha Khan earned fame as an accomplished heroin of Glass and Silver
Screen of Pakistan. Allah Rakha Khan also earned fame as an outstanding composer of Indian
Feature Films as A. R. Qureshi.
After seeking Indian Nationality, Ustad Allah Rakha Khan came to Lahore in 1962 and
provided Tabla accompaniment for famous Dance Song ‘Lagan Lagi Tori Sajan Munma’, (Film “BAJI”
1963 – Release, Sung by Madam Noor Jahan and Madam Fareeda Khanam).
Ustad Allah Rakha Khan is a 20th century trend setter and founder of his own school of
thought in Tabla Playing, which is being followed, not only in subcontinent but in Western World of
Music also.
Artist
AC. No: _____ / I – TABLA & SARANGI
Volume:____ ____________________ ________
1. Karim Bukhsh Peinal
(Died 1976 at Quetta)
2. Qadir Bukhsh Mian, Tabla Player
3. Ghulam Mohummed Khan (Ustad), Sarangi Player
Instrument
Cassette Duration
Production
(Died 1980 at Qasure)
1. Tabla
2. Sarangi
30+30=60 Minutes (C-60)
Personel Collection of Mr,Zahid Farani
Contents
12-
Side “A”
Iktala (12 Matras)
Ustad Mian Qadir Bukhsh
Ustad Mian Qadir Bukhsh
12-
Side “B”
9 Tal Ki Sawari (29 Matras)
Raga Sawant Sarang (KAFI THATH) on
Sarangi
Mudh Teen Tal
Ustad Ghulam Mohummed Khan
• Tabla:
• Sarangi:
• Harmonian:
Note:
Ustad Mian Qadir Bukhsh known as “Jagat” Ustad (Guru of all Tabla Maestro with Sawa
Lukh (1, 25,000) disciples. Mian Qadir Bukhsh was disciple of Late Baba Malung Ali Khan (1872 –
1948 Buban District Hoshyarpur, India). Mian Qadir Bukhsh is said to be the founder of Punjab
Gharana in Tabla playing. He served Radio Pakistan Lahore till his death.
His illustrious disciples are, Ustad Allah Rakha Khan, Mian Shaukat Hussain, Iltaf Hussain
Tafo, Jomul Hussain Khan and thousands others.
Artist
Instrument
Cassette Duration
Production
AC. No: _____ / I-SIT
Volume: ____II____
1) Sharif Khan Poonch Waley Sitar Nawaz
2) Farrukh Bashir (Disciple of Ustad Sharif Khan)
Sitar
45+45=90 Minutes (C - 90)
Concert Recording (Lahore Radio) Private collection of Mr. Zahid Farani
Contents
1-
Side “A”
Raga DES
(Khamach Thath)
Alap, Gat and Jhala
Tabla Accompaniment: Abdul Sattar Tari
12-
Side “B”
Raga “Bilawal”
(Bilawal Thath)
Alap, Gat and Rupak Tal, Mudh Lei
Tabla Accompaniment: Jan ul Hassan
Farrukh Bashir Khan Sitarist
Raga “MEGH”
(Kafi Thath)
Alap, Gat, (Teen Tal) Jhala
Tabla Accompaniment: Abdul Sattar Tari
• Tabla:
• Sarangi:
• Harmonian:
Note:
Tabla maestro Late Ustad Jan ul Hassan was disciple and younger brother of Tabla maestro
Late Ustad Mian Shaukat Hussain (Died 25 – 01 – 1996 Lahore) Ustad Jan – ul – Hussan died in
September 2010 at Lahore.
AC. No: _____ / I - TAB
Volume: _______I________
Artist
Gharana
Instrument
Titte of cassette
Cassette Duration
Production
1. Shaukat Hussain Mian Ustad (Tabla Nawaz)
2. Disciples, (Mohammad Ajmal, James Messeh, Shabbir Hussain
Jhari)
Punjab Gharana in Tabla playing DISC
Tabla
Ustad Mian Shaukat Hussain aur Shagird Tabla nawaz.
Concert recording National Library-1992
30+30=60 (C-60)
PNCA – Islamabad - 1992
Contents
Side “A”
Tal – DHAMMAR
(14-Matras)
On Tabla Ustad shaukat Hussain Khan
Lehra on Harmonium by Mr.Umeed Ali
(RWP)
Teen Tal
On Tabla (Ustad Shaukat Hussain Khan)
Lehra on Harmonium by, Ustad Umeed Ali
(RWP)
12-
Side “B”
1-
Teen Tal
On Tabla,
Continuation of Ring No-2, of side “A”
2
Teen Tal on Tabla
By Mohammad AjmalKhan (disciple)
3-
Teen Tal on Tabla
By James Messeh (Disciple)
Teen Tal on Tabla
By Shabbir Hussain Jhari (Disciple)
4-
• Tabla:
• Sarangi:
• Harmonian:
Note:
a) Ustad Shaukat Hussain Khan (born-1931 at Philor, India, died, 25-01-1996 at Lahore) was
an out standing Tabla exponent and one of the few top disciples of Mian Qadir Bukhsh. He
served Radio Pakistan Lahore as staff artist (Tabla Player) for a marathon span of 38 years.
His notable disciples.
•
•
Abdul Sattar Tari,Born 9-10-1953 at Lahore (Pride of Performance)
Shabbir Hussain Jhari, Born 1964 at Lahore (Pride of Performance)
•
•
•
•
•
Mohammad Ajmal, 08-04-1958 at Multan
James Masseh, Born 1967 at Sialkot
Jan-ul-Hussain Khan, Died 2010 at Lahore (Younger Brother)
Tahir Hussain, commonly known as Tahir Sonyara
Azhar Farooq
Artist
Gharana
Instrument
Cassette Duration
Production
AC. No: _____ / I – TAB
Volume:____ ___I________
Tafo, Iltaf Hussain Tafo Khan
Punjab Ghrana in tabla playing Disciple of Late Ustad Mian Qadir Bukhsh
Tabla
30+30=60 Minutes (C-60)
Registration Time 30 Minute (Only Side “A”) Side “B” Blank
Personel Collection of Mr,Zahid Farani
Contents
1-
Side “A”
Teen Tal
‘Lehra’ accompaniment on ‘Sarangi’ by Late
Mr. Nazim Ali Khan
• Tabla:
• Sarangi:
• Harmonian:
12-
Side “B”
Artist
Gharana
Instrument
Cassette Duration
Production
AC. No: _____ / I – TAB
Volume:_____ __III_______
Punjab Ghrana in tabla playing Disciple of Late Ustad Mian Qadir Bukhsh
Tabla
30+30=60 Minutes (C-60)
Registration Time-30 Minute (Only Side “A”) Side “B” Blank
Gathering at Mr,Zahid Farani’s residence, street 48-F-7/4, Islamabad-1992
Friendly Get-together
Contents
1-
Side “A”
Different Qaidas (Patrons) of Teen Tal and
Kehrava tal and different position of Tabla
playing.
1-
Side “B”
2-
• Tabla:
• Sarangi:
• Harmonian:
Note:
It was an informal get together. Those who were present, includes, Late Master Mohammad
tufail Brother Sabir Hussain Tabla player, and few foreigners.
Artist
Gharana
Cassette Duration
Production
AC. No: _____ / I – TAB
Volume:____ ____II______
Punjab Ghrana in tabla playing Disciple of Late Ustad Mjan Qadir Bukhsh
30+30=60 Minutes (C-60)
Concert Recording ( Bombay 1997) Personel collection of Mr, Zahid farani
Contents
12-
Side “A”
Introduction of Tafo khan by abdul Hameed
Gawaliori Followed by tribute by Pandit
Shankar Lal
Teen Tal, Lehra Accompaniment on
harmonium
Side “B”
Teen Tal continuation of ring 2 of side “A”
• Tabla:
• Sarangi:
• Harmonian:
Note:
Continuation of Teen Tal carried over from side “A”.
a) Born 1941 at Lahore, Recipient of presedintial Medal. For Pride of Performance, ustad Iltaf
Hussain tafo is last of the illustrious disciples of Late Ustad main Qadir Bukhsh (died1961).Tafo is a living legend in tablea playing and is currently ranked as the best. He is also
an outstanding composer of Pakistani feature films and enjoy’s the credit of being Music
director of over 200 Feature movies.
b) About concert: This public concert was orgfanised by Legendry Tabla player ustad Allah
Rakhan khan to mark the death anniversary of his teacher late ustad Main Qadir Buksh, at
the Jinnah hall, Bombay in 1997. The concert was attended by some of the matchless.
Personalities of Indain world of Muric, such as, ustad Allah rakha khan, his son Zakir
Hussain, tabla nawaz Nizam-u-Din khan, S/O Azeen Khan Javerey waley, Classical vocalists,
Niaz Ahmed, faiyaz Ahmed, Composer of Composer, late Naushad Ali Khan, Laxmi kant
piyarey Lal, kalian ji Anund Jd, Daneing Legend sitara devi and tara devi and many others.
Artist
Instruments
Title of Cassette
Cassette Duration
Production
AC. No: _____ / I – SHI/SIT/VN
Volume: ____________II___________
1- Bismillah Khan Ustad ( Shehnai Player, India)
2- Vilayat Khan ( Sitar Player, India)
3- V.V. Jog, Professor (Violinist, India)
Shehnai, Sitar, Violin
Jugal Bandi
45+45=90 Minutes (C - 90)
EMI, Delhi, transferred from LP. Private collection of Mr. Zahid Farani
Contents
12-
Side “A”
Raga JAI JAI VANTI
(Khamch Thath)
on Shehnai and Violin, by Ustad Bismillah
Khan and professor V.V.Jog, respectively.
Bilampat, Durat Teen Tal
Thumri in Raga “Mishra Khamach”
(KHAMACH THATH)
Re production of Punjabi traditional song “
Rakh aj di Ghari Meri Doli ni Maan”
• Tabla: Prem valabh and Lal Ji Ghokley
• Sarangi:
• Harmonian:
12-
Side “B”
CHAITI DHOON
(Khamch Thath)
on Shehnai and Sitar, by Ustad Bismillah
Khan and Ustad Vilayat Hussain Khan in
Mudh Kehrava Tal
Thumri BHAIRVIN
(Bhairvin Thath)
On Shehnai and Sitar, Popular Thumri
Composition” Baat Chalet Nae Choneri Rang
(Mudh Teen Tal)
Artist
Title of Cassette
Cassette Duration
Production
AC. No: _____ / I – Assorted
Volume: __________II__________
1- Tasadduq Hussain (Flute)
2- Mubarik Ali Niazi ( Dilruba)
3- Bilawal Balgium (Banjo)
4- Mukhtar Malik (Santoor)
5- Muhammad Ajmal ( Tabla)
6- Misri Khan Jamali ( Alghoza)
7- Munir Sarhadi ( Sarinda)
8- Imdad Hussain ( Sitar)
9- Sharif Hussain ( Sarod)
10- Salamat Hussain (Flute)
Hamaray Saaz
30+30=90 Minutes (C - 60)
A PNCA production
Contents
12345-
Side “A”
Punjabi Folk Tune PATTAN on Flute
Punjabi Folk Tune NIKA MOTA BAJRA on
Dilruba
Makrani Folk Tune on Banjo
Kashmiri Folk Tune on Santoor
Solo Rendition of Kehrva Tal on Tabla
• Tabla:
• Sarangi:
• Harmonian:
12345-
Side “B”
Popular Sindhi Tune on Alghoza
Pashto Folk Tune on Sarinda
Sindhi Folk Tune on Sitar
PunjabiFolk Tune on Sarod
Sindhi Folk Tune on Flute in Raga Bhairvin
ACD / VCL
Audio Compact Disc
Vocal Classical
Artist
Gharana
Awards
C.D Duration
Production
ACD. No: _____ / VCL
Volume: _____________
1- Akhtar Ali Khan (Born 1942, Died 15 – 06 – 1996 at Lahore)
2- Zakir Ali Khan (Born 03 – 07 – 1944, Died 2004 at Lahore)
Disciple of Ustad Nazakat Ali Khan, Ustad Salamat Ali Khan (elder brother)
Ustad Niaz Hussain Shami (cousin)
Pride of Performance
46:08 Minutes
Music Archives, PNCA Islamabad
Contents
Khayal in Raga ASAWARI
(Tawar Rekhab) Asawari Thath
“Bawarya Jaag Rey” Bilampat Tilwara Taal
07:53
2- Khayal in Raga AHEER BHAIRON
(Bhairon Thath)
“Torey Gaon Gaoon” Bilampat Jhomra Tal
08:32
3- Khayal in Raga ASAWARI
(Komal Rekhab, Bhairvin Thath)
“Ab Root Aai” Bilampat Ikwai
07:43
4- Khayal in Raga KALAWATI
(Khamach Thath)
03:51
5- Thumri in Raga PILU
(Kafi Thath)
“Gori Torey Nainan Kajor Bin Karey”
08:09
• Tabla: Ustad Shaukat Hussain
• Sarangi: Ustad Nazim Ali
• Harmonium:
1-
Note:
a- Late Ustad Akhtar Ali Khan , born 1942 at Sham Chorasi Drst. Hoshyar Pur – India, died 15 –
06 – 1996 at Lahore and Late Zakir Ali Khan , born 03 – 07 – 1944, Hoshyar pur, died
January 2004 at Lahore, were the younger brothers of Ustad Nazakat Ali Khan and Ustad
Salamat Ali Khan, had their music education from their elder brothers and Ustad Niaz
Hussain Shami (cousin) and to some extent from Ustad Gajju Khan (Uncle). Both the
brothers (Akhtar Ali Zakir Ali) made their debut in 1963 from Radio Pakistan on participate
in Music conferences, held at Cullcutta and Amritsar – India 1965 and Dacca (Bangla Desh)
in 1972 respectively.
b- Reference rings No. 1 and 3, there are two type of Raga Asawari, the Asawari, which
employ’s Komal Rekhab (A 2nd minor above Tonic or “d” flat) falls under the purview of
Bhairvin Thath. Whereas Raga AAWARI, sung with Shudh Rekhab (2nd Major above Tonic or
“d” Natural). The former is called Komal Rekhab Asawari and Late as Tiwar Rekhab
Asawari.
Artist
ACD No. ____ /VCL
Volume: _____I_____
Assad Ali Khan (Ustad)
(Born 1910 at Fatehpur Sikri, Drst Agra (India)), died 1981 at Karachi)
Disciple of Abdul Majeed Khan (Father, Died 1949) and Ustad Tassadaq
Hussain Khan (1879-1946)
Gharana
Agra Gharana
CD Duration
48 minutes
Award
Production
Dubbed from L.P. Music Archives, PNCA, Islamabad
Contents
1- Khayal in Raga – BARVA
(Kafi Thath)
“Ae Ri Meiko Aaj”
Bilampat Tilwada Tal (16. Matras)
12:06 minutes
2- Khayal in Raga – JAE JAE WANTI
(Khamach Thath)
“Jin Key Piya”
Bilampat Iktala (12 Matras)
11:58 minutes
3- Khayal in Raga – CHANDNIKEDARA
(Kalyan Thath)
“Bun Thun Key Aaj kahan Chaley”
Bilamat Iktala
06:34 minutes
4- Khayal in Raga – CHHAYANUT
(Kalyan Thath)
Alap
5-
Khayal in Raga – NUT BEHAG
(Kalyan Thath)
Bilampat Iktala
“Keisey Keisey Log”
• Tabla: Bashir Ahmed
• Sarangi: Mohiuddin
• Harmonium:
Note:
Ustad Assad Ali Khan Agra Waley (1910- 1981) was the only representative classical
vocalist, who opted for Pakistan in 1947, where as the other notable singer preferred to stay in
Agra, such as Aaftab-e- Mausiqi. Ustad Faiyaz Khan Prem Piya (1881-1950), Khadim Hussain Khan,
Sajan Piya, Villayat Hussain, Pran Piya(1892-1962), grandson and son of Nathan khan (1840-1901)
and many others. Ustad Assad Ali khan was trained by Ustad Abdul Majeed khan (Father-Died 1949
at Karachi) and uncle, ustad Tassadaq Hussain Khan, Vinod Piya son of Ustad Ghuggey Khuda
Bukhsh known as Haseen Gawaiya (1790- 1880) who brought khayal Gaeki to Agra Gharana. He
had Two sons, i.e Ghulam Abass Khan (1825-1934), maternal Grandfather of Faiyaz Khan and Ustad
Kallan Khan (1835-1925), father of Ustad Tassadaq Hussain Khan, teacher of late Ustad Assad Ali
Khan.
Dhrupad style note to note progression presentation of Raga in its purest form, perfect
intonation and overall serenity of rendition are the praiseworthy characteristics of Ustad Assad Ali
khans style (Gaeki).
Volume: ______________
Artist
Gharana
Awards
Production
1- Assad Amanat Ali Khan (Born 1958 at Lahore, Died 08 – 04 – 2007 London,
Burried at Lahore)
2- Hamid Ali Khan (Born 1956 at Lahore)
Patyala Gharana
Disciple of Ustad Akhtar Hussain Khan (Grandfather) Late Ustad Amanat Ali
Khan (Father) and Ustad Fateh Ali Khan (Paternal Uncle)
Contents
123-
Khayal in Raga MALKAUNS
(Bhairavin Thath)
“Dhan Dhan Bhag” Jhup Taal
12:55
Khayal in Raga BEHAG
(Bilawal Thath)
“Kaun Dhung Torey” Iktala
13:15
Khayal in Raga MARVA
(MarvaThath)
“Maru Kawan Kaj” Teen Taal
11:57
• Harmonium:
Note:
Patayla is the Punjab Gharana in Khayal singing founded by two best friends Ustad Ali
Bukhsh Khan, titled Gernail Khan (1835 – to – 1915) and Ustad Fateh Ali Khan titled Kernail
(Died 1904) Ali Bukhsh’s father, Mian Kalu Ji, came to India from Afghanistan to quench his
thirst for music and become a disciple of Ustad Mian Qutab Bukhsh Tan Rus Khan (1770 –
1872 ) of Qawal Bachon Ka Delhi Gharana, ccording to Ustad Fateh Ali Khan, grandson of
Ustad Ali Bukhsh Gernail, along with his friend Ustad Fateh Ali Khan Kernail, came under
the disciple of Gernail Khan. It is said thath the pair also received training from Tan Rus
Khan. In 1870 both went to see Tan Rus Khan, who was confined to bed in bed in
Hyderabad Decan – India and demonstrated their art of Khayal singing before their mentor,
who permitted the pair to sing for the public, after seeking permission, ustad Ali Bukhsh
and Ustad Fateh Ali Khan Reached Patyala and became court musicians of Maharaja of
Patyala.
The title of Gernail and Kernail (Gerneral and Colonel of Music) was bestowed upon by the
Lord Elegan, the than viceroy of British India after Listining their rendition at the court of
Maharajo of Patyala.
The family Tree of the Lineage goes as under:
Senday Khan
Mian Kalu
Ali Bukhsh Khan (titled Gernail Khan, died 1915)
Akhtar Hussain Khan (died February 1974)
Amanat Ali Khan (Died 16 – 09 – 1974) - Fateh Ali Khan (Born 1938) - Hamid Ali Khan (Born 1956)
Amjad Amanat Ali (Died 2001) - Assad Amant Ali Khan (Died 08 – 04 – 2007) - Shafqat Amanat Ali
(Born 1968)
Volume: _______________
Artist
Fateh Ali Khan, Ustad
Gharana
Patyala Gharana
Disciple of Ustad Akhtar Hussain (father)
Pride of Performance, Sitara – e – Imtiaz , Tamgha – e – Khidmat, PTV
excellent Award
65:18 Minutes
Music Archive PNCA - Islamabad
Award
C.D Duration
Production
Born 1938 at Patyala – India
Contents
123456-
Side “A”
Khayal in Raga KEDARA
(Kalyan Thath)
11:53 minutes
Khayal in Raga DES
(Khamach Thath)
“Kya Janoon Kaun Ghari Thi” Drut Teen Taal
09:27 minutes
Khayal in Raga BILAS KHANI
(Bhairvin Thath)
Mudh Teen Taal
13:25 minutes
Khayal in Raga JAUNPURI
(Asawari Thath)
Mudh Teen Taal
16:28 minutes
Khayal in Raga BAIRAGI
(Bhairon Thath)
11:30 minutes
Khayal in Raga BILAWAL
(Bilawal Thath)
• Tabla: Sajjad Hussain
• Sarangi: Ustad Mubarik Ali Khan, Allah Rakha Khan
• Harmonium:
Volume: _____________
Artist
Gharana
Patyala Gharana
excellent Award.
66:53 Minutes
Award
C.D Duration
Production
Contents
(Bhairon Thath)
“ Sub Ke Sub Kaam”
11:43
2Khayal and Raga KEDARA
(Kalyan Thath)
“Ae Ri Dhun Bhaag” Iktala
12:05
3Khayal in Raga NARAINI
(Khamach Thath)
“Aaj Mori Laj Rakho” Jhup Taal
10:47
4Khayal in Raga PATDEEP
(Misher Male Thath)
“Dhun Merey Bhag” Jhup Taal
10:47
5Khayal in Raga SHAHANA
(Kafi Thath)
“Lagan Lagi” Jhup Taal
11:01
6Khayal in Raga Sham Kalyan
(Kalyan Thath)
Hori Khelein Rung” Iktala
11:04
• Sarangi: Ustad Nazim Ali Khan
• Harmonium:
1-
Note:
Side “A”
a- Ustad fateh Ali Khan (Born 1938 at Patyala – India) is the direct descendent
grandson of Ustad Ali Bukhsh Khan, titled Gernai Khan, founder of Patyala
Gharana and younger brother of Late Ustad Amanat Ali Khan (Died 16 – 09 –
1974 at Lahore). He is one of the few living legends of vocal classical Music
world of Indo – Pakistan Subcontinent, has received his music educaton from his
father Late Ustad Akhtar Hussain Khan (Died in February 1974 at Lahore) Ustad
Fateh Ali Khan Saheb is permanently based at Islamabad and is running his own
Music Academy.
Volume: _____________
Artist
Gharana
Patyala Gharana
excellent Award.
66:53 Minutes
Award
C.D Duration
Production
(Born 1938 at Patyala – India)
Contents
123456-
Side “A”
(Bhairon Thath)
“ Sub Ke Sub Kaam”
11:53 minutes
Khayal and Raga DES
(Khamach Thath)
“Kya Janoon Kaun Ghari Thi” Drut Teen Taal
09:27 minutes
Khayal in Raga BILAS KHANI
(Bhairvin Thath)
Mudh Teen Taal
13:25 minutes
Khayal in Raga JAUNPURI
(Asawari Thath)
Mudh Teen Taal
16:28 minutes
(Bhairon Thath)
11:30 minutes
Khayal in Raga BILAWAL
(Bilawal Thath)
• Sarangi: Ustad Mubarik Ali Khan, Allah Rakha Khan
• Harmonium:
Volume: __________
Artist
Gharana
Patyala Gharana
Disciple of Ustad Akhtar Hussain Khan (Father)
Tamgha – e – Khidmat, Pride of Performance, Sitara – e- Imtiaz
66:58 Minutes
Awards
C.D Duration
Production
Contents
123456-
(Bhairon Thath)
“Sub Ke Sub Kaam” Jhup Taal
11:43
Khayal in Raga KEDARA
(Kalyan Thath)
“Ae Ri Dhun Bhag” Iktala
12:05
Khayal in Raga NARAINI
(Khamach Thath)
“Aaj Mori Laaj Rakho” Jhup Taal
10:16
Khayal in Raga PAT DEEP
(Misher Male Thath)
“Dhun Merey Bhag” Jhup Taal
10:49
Khayal in Raga SHAHANA
(Kafi Thath)
“Lagan Lagi” Jhup Taal
11:01
Khayal in Raga SHAM KALYAN
(Kalyan Thath)
“Hori Khelein Rung” Iktala
11:04
• Harmonium:
Artist
ACD No. ____ /VCL
Volume: ____IV_____
Fateh Ali Khan (Ustad)
Born 1938 Patyala (India)
Gharana
Disciple of
CD Duration
Awards
Production
123456-
Patyala Gharana
Ustad Akhtar Hussain Khan (Father)
73:04 minutes
Tamgha – e – Kidmat, Pride of Performance, Sitar – e - Imtiaz
Joint Production, “PNCA, EMI”, Dubbed from LP
Contents
(Kafi Thath)
Aa Jeiso Hei, Iktala
12:41 minutes
Khayal in Raga – BHIM PALASI
(Kafi Thath)
Ab To Bari Ber, Iktala
12:03 minutes
(Kalyan Thath)
Pia Gher Aae, Iktala
12:06 minutes
Khayal in Raga – MUDH MAAD SARUNG
(Kafi Thath)
Yeh Root Aaee, Iktala
12:42 minutes
(Kafi Thath)
Jub Goo, Gavan, Jhup Tal
12:14 minutes
Khayal in Raga – MULTANI
(Todi Thath)
Gokul Gaon Ki Gori, Iktala
11:18 minutes
• Harmonium:
Artist
Gharana
Award
C.D Duration
Production
ACD. No: _______ / VCL
Volume: _____________
1. Fateh Ali Khan, Ustad, disciple of Akhtar Hussain Khan (father)
(Born 1938 at Patyala – India)
2. Rustam Fateh Ali Khan s/o, Ustad Fateh Ali Khan (Born 1968 at
Lahore)
3. Sultan Fateh Ali Khan s/o Ustad Fateh Ali Khan (Born 1970 at Lahore)
Patyala Gharana
2-3 Disciple of Ustad Fateh Ali Khan (father)
Pride of Performance, Sitara – e – Imtiaz, Tamgha – e – Khidmat, PTV
excellent Award.
21:48 minutes
Contents
12-
Side “A”
Khayal in Raga PORIYA DHANASRI
(Porabi Thath)
“Khoosh Rahey Sanam Mera” Drut Ik Tala
11:58 minutes (Rustam Fateh Ali and Sultan Fateh Ali Khan)
Khayal and Tarana in Raga MEGH
(Kafi Thath)
“Bilampat Iktala”
Followed by Tarana in Drut Teen Taal
09:50 minutes (Ustad Fateh Ali Khan)
• Sarangi: Ustad Mubarik Ali Khan
• Harmonium:
Note:
a- Video recording of the concert was carried out in Feb 1992 at the recording hall of Alama
Iqbal University, Islamabad, under the UNESCO Participation programme 1990 – 91.
b- The word MEGH is a corruption of Persian word MEGH, meaning Cloud.
Artist
Gharana
Cassette Duration
Awards
Production
1-
2-
3-
4-
ACD No. ____ /VCL
Volume: ______I_____
Ghulam Hussain Shagan (Ustad)
Disciple of sanget Sagar Bhai Lal Mohammed Amritsari, died – October 1962 at Lahore
Gawalior Gharana
47:41 minutes
Pride of performance and Sitara-e-imtiaz
Dubbed from L.P. Music Archives, PNCA and Islamabad
Contents
(Todi Thath)
“Hazrat Nizam-u-Din Aoliya”
Bilampat Ikwai Tal
11:57 minutes
(Kafi Thath)
“ Sajan Bhool Gayo”
Bilampat Ikwai
12:08 minutes
Khayal in Raga – PORBI
(Porbi Thath)
“Sookh Sapney Sub Ley Gayo”
Bilampat ikwai.
11:56 minutes
Khayal in Raga – RAM KALI
(Bhairon Thath)
“Prem pankhi pinhari”
Bilampat Ikwai
11:40 minutes
• Tabla: Shaukat Hussain, Ustad
• Sarangi: Nazim Ali Khan, Ustad
• Harmonium:
Note:
Ustad Ghulam Hussain, born Amritsar (India 1927) is an outstanding classical vocalist of Indo
Pakistan subcontinent, disciple of his father Sangeet Sagar Ustad Bhai Lal Mohammad Amritsari
(Rubabi) who acquired Khayal singing training from Pandit Bahaskar Rao, of Gawalior Gharana,
Khayal singing was exposed to Hindu Pandits by late Ustad Hussain Bukhsh Khan, alias Hassu Khan.
For more details about Gawalior Gharana, please see Ustad Hameel Ali Khan, Fateh Ali Khan.
Artist
Gharana
CD Duration
Awards
Production
1-
2-
3-
4-
5-
6-
ACD No. ____ /VCL
Volume: ____I____
1- Hameed Ali Khan (Ustad)
(Born 1946 at Haiderabad Sindh)
2- Fateh Ali Khan (Ustad)
(Gawaliori) Born 1948 at Haiderabad
Gawalior Gharana
44:18 minutes
Contents
(Kafi Thath)
“Ley Janda Nain Je Nal”
Iktala
6:55 minutes
Khayal in Raga – GANDHARI
(Kafi Thath)
“Najam Sultan”
Jhup Tal
6:33 minutes
Khayal in Raga BERAGI
(Bhairon Thath)
“Ab Karam kijiey,”
Jhuptal
7:11 minutes
(Kalyan Thath)
“Aeri Aali”
Iktala
7:48 minutes
(TODI THAHT)
“Ja Ja Rey”
Iktala
7:04 minutes
Khayal in Raga – PORIYA KALYAN
(Kalyan Thath)
“Aaj Sohna”
Bilampat Jhmra
08:36 minutes
•
•
Sarangi: Mohiuddin Khan
Harmonium:
Note:
“GAWALIOR GHARANA”
Gawalior (India) has always been nursery of Musicians. Gowalior is also the birth place of
DHRUPAD Form of our classical music. KHAYAL Form reached Gowalior , sometimes in mid of the
19th century A.D through one Naek Ghulam Rasool Naek of Lukhnow, who learnt Khayal singing
directly from Naubad Khan an Nirmal Shah, grand sons of main Nemat Khan Sada Rung (16681743) the initiator of Khayal form. Ustad Ghulam Rasool Naek imparted Khayal education to two
musicians of Gawalior i.e. Makhan Khan and Nathan Pir Bukhsh; who were associated with
Gawalior Court. Makhan Khan’s son Shakkar Khan and grandson Mubarik Khan left Gwalior and
Settled in Rampur. State and started imparting music education to Dhrupad singers of their time.
Nathan Pir Bukhsh’s grandsons, Haider Khan, alias Hassu Khan and Haider Khan alias Haddu Khan
(died 1883) spread Gaeki. Hassu Khan taught Khayal only to Hindu Pandits where as Haddu Khan
transferred Khayal singing to Rajistan and Punjab musicians. Ustad Bannay Khan of Amritsar
(India) died 1910, received training in Khayal singing. Nangli Family’s Ustad Banney Khan f
Amritsar (India) died 1910, was the first to receive training in Khayal Singing directly from Ustad
Haddu Khan Gawaliori and transferred this art to his cousin “Miran Bukhsh” who further
transferred art of Khayal singing to his four sons, i.e. Piyarey Khan, Sendey Khan(Died 1940), Jamal
Khan also known as “Muccher Khan” (1882 – 1955) and Misri Khan. Families od all the above
mentioned maestros and their disciples are settled in Hyderabad, Sindh and Karachi. Hameed Ali
Khan and Fateh Ali Khan (Pride of Performance and Sitara – e – Imtiaz)mare the grand sons of Late
Ustad Piyarey Khan and Ustad Ahmed Ali Khan Rehmat Ali Khan (Pride of Performance) are two
sons of Late Ustad Misri Khan.
Volume: __________
Artist
Nazakat Ali Khan
Gharana
Sham Chorasi
Awards
C. D Duration
Production
12-
(Born 1931 at Sham Chorasi, Drst. Hoshyar Pur – India, Died May 1985 at Rawalpindi,
Burried at Lahore)
Disciple of Ustad Willayat Ali Khan (Father), Ustad Ghazanfar Ali Khan alias Gajju Khan, Died
1989 at Chicha Watni and Late Ustad Niaz Hussain Shami (Cousin), Died 2nd November 1972
at Lahore.
25:28 Minutes
PNCA Islamabad
Contents
Interview
Thumri in Raga Khamach
(Khamach Thath)
“ Saiyan Morey Parde”
Note:
Ustad Nazakat Ali Khan, Born 1931 at Sham Chorasi Drst. Hoshyar Pur – India, Died May
1985 at Rawalpindi, was the eldest son of Late Ustad Willayat Hussain Khan, (Died 1943 at Jabalpur
– India), Till 1971 he used to sing along with younger brother Late Ustad Salamat Ali Khan (12 – 12
– 1944 to 12 – 07 – 2001) but due to certain domestic reasons the duo could not continue. His son
Rafaqat Ali Khan (Born 1965) is a renowned Pop vocalist of Pakistan. Akhatar Ali Khan, Zakir Ali
Khan, Tassaduq Ali Khan (Brothers) Imtiaz Ali, Riaz Ali Khan, Ghulam Shabbir Ali, Ghulam Jafar
Khan are his notable disciples. He died of a heart attack in May 1985 at Rawalpindi.
Artist
ACD No. ____ /VCL
Volume: _____I_____
Ramzan Khan (Ustad)
(1902- 1984)
Disciple of Ustad Adulghafoor Khan (Father) and Ustad Memman Khan
(Uncle)
Gharana
Delhi ka Seni Gharana
Cassette Duration
43 minutes
Awards
Production
Contents
1- Khayal in Raga – JAIT KAHYAN
(Kalian Thath)
Mudh Teen Tal
“Khwaja Usman”
9:59 minutes
2- Khayal in Raga – KHAMBAWATI
(Khamach Thath)
“Toom Bim Aaj”
Mudh Jhup Tal ( 10 Matras)
10:55 minutes
3- Khayal in Raga – HINDOL
“Koyalia Boley”
Teen Tal
10:32 minutes
4- Khayal in Raga – SUHA
“Tu Hei”
Teen Tal
11:32 minutes
• Sarangi: Mohiuddin
• Harmonium:
Note:
Ustad Ramzan Khan, Delhi Waley, born 1902 Delhi, India and died 1983 at Karachi, was an
outstanding and legendry khayal exponent of Indo Pakistan sub-continent. He along with his other
family members migrated to Pakistan in September 1947. A disciple of his father late Ustad Abdul
Ghafoor Khan and Legendry Sarungi Player Ustad Momman khan (Uncle), There are two Delhi
Gharanas, “a”, Delhi gharana of “Kalawantan-e- Delhi”.(Kalawant meaning maestro on a veteran
Musician) also known as SENI or Senia Gharana and are said to be the direct descendents of Mian “
Tan Sen”( Died 1587) a legendry classical vocalist of 16th century and one of the 9 jewels of the
court of Mughal emperor “ Akbar” (1555-1604). One of their ancestors, “Mian Nemat Khan, alias
Sadarung” (1668-1743) introduced “KHAYAL” form of our classical music. He and his early
descendents and disciples disseminated the lilting Khayal singing to all others. This Gharana Claim’s
that their ancestors always remained associated with Muslim Courts of Delhi as classical singers.
Qawal Bachon ka Gharana is the other musicians Gharana of Delhi whose ancestors
remained associated with the shrines of HAZRAT NIZAM-U-DIN Aulia and (Died 1325) Hazrat Amir
Khusrau (1253-1325) and other shrines of Delhi. One of their ancestors Mian Ghulam Rasool, alias
Mian Achpal Khan, introduced Khayal form to Qawal Bachas of Delhi, Achpal Khan’s illustrious
disciple “ Main Qutab Bukhsh Titled “ tan Rus khan (1770-1872) became a legendry Khayal
exponent in his life time. Two of tan Rus Khans disciples “Ali Bukhsh Khan and Fateh Ali Khan, titled
“ Gernail and Kernail khan, respectively laid the foundation of Patyala Gharana. The famous Qasure
Gharana also an auxiliary of Qawal Bachon ka Gharana. Ustad Sardar khan died 1960 at Lahore, was
the last Khayal exponent of this lineage. His only son “Ibrahim khan” alias Barkhurdar did not adopt
Music as profession.
Mumman Khan, Ustad Bundo Khan (died 1955, Karachi) Two legendry Sarungi players.
Umrao Bundo khan, classical, semi classical vocalist (died 1990, Karachi) Ustad Ramzan Khan and
Ustad Chand Khan are mentionable Musicians of Seni Gharana of Kalawantan-e-Delhi.
Presentation of Raga in its purest form with all the ten prescribed characteristics variety of
tans are few of the mentionable qualities of Delhi Gharana. Ustad Chand Khan mentioned some 105
species of Tanas or vocalization patrons. Some of these Tanas are Lachhey Dartans, Guchheydar
Tans, Jhola Tan Chhanlang Tan, Badal garaj Tan, Bijli Chamak Tan, Ishq-e- Peichan Tan, Hindola
Tan, Pani Bahao Tan, Shoala Tan Shinghar Tans to name a few.
Volume: ______________
Artist
Salamat Ali Khan, Ustad
Gharana
Awards
C.D Duration
Production
Born 12 – 07 – 2001
Disciple of Ustad Willayat Khan (Father) Ustad Ghazanfar Khan (Gajju Khan) Uncle, Ustad
Karim Bukhsh Khan (Grandfather) Niaz Hussain Shami (cousin)
Tamgha – e – Khidmat, Pride of Performance, Sitara – e- Imtiaz, Ameer
Khusrau Award – India, PTV excellence Award.
48:19 Minutes
Contents
Khayal in Raga HAMEER KALYAN
(Kalyan Thath)
12:31
2- Khayal in Raga HEM KALYAN
(Kalyan Thath)
12:11
3- Khayal in Raga SHUDH SARUNG
(Kafi Thath)
11:14
4- Khayal in Raga SRI
(Parabi Thath)
12:13
• Harmonium:
1-
Note:
For Ustad Salamat Ali Khan, please see under Volume 1
Volume: _________
Artist
Salamat Ali Khan
Gharana
Sham Chorasi
Diciple of Ustad Willayat Ali Khan (Father) Ustad Ghazanfar Ali Khan , alias
Gajju Khan (Maternal Uncle) Ustad Karim Bukhsh Nana, maternal
grandfather) and Niaz Hussain Shami (cousin and brother in Law)
Pride of Performance, Sitara – e – Imtiaz , Ameer Khusrau Award – India , PTV
excellence Award.
74:17 minutes
Music Archives PNCA - Islamabad
Award
C.D Duration
Production
Born 12 -12 – 1934 at village Sham Chorasi, Drst Hoshyarpur – India , Died 12 – 07 2001 at
Lahore
Contents
123456-
Khayal in Raga GOON KALI
(Bhairon Thath)
12:05 minutes
Khayal in Raga MIAN KI MALHAR
(Kafi Thath)
12:48 minutes
Khayal in Raga MIAN KI TODI
(Todi Thath)
12:13 minutes
Khayal in Raga GAUR MALHAR
(Bilawal Thath)
12:19 minutes
Khayal in Raga BHAIRON
(Bhairon Thath)
12:41 minutes
Khayal in Raga ILLAIYA BILAWAL
(Bilawal Thath)
12 : 11 minutes
Side “A”
• Harmonium:
Note:
a- Reference ring 4 of a the under reference CD according to different Grunths (ancient
treatises) “GAUR MALHAR” is a Raga of Bilawal Thath recording to “Rag Chander
Vidiya” Rag Manjraiyam Grunths, “GAUR MALHAR” is a raga of KEDAR group of Ragas
which is our Bilawal Thath. As per Grunth Rag “DIBODH”, it’s a Raga of MALARI Thath
(Bilawal). “NIRITIYA NIRITYA” “GAUR MALHAR” is a Raga of “SAWERI” (Bilawal Thath).
Sangeet SAAR AMRIT Grunth, calls it a Raga of SHANKARA BARAN MALE, which is our
Bilawal Thath. But there are many Grunths which includes “GAUR MALHAR” in
KAMACH Thath, due to the application of both NIKHADS, i-e SHUDH and KOMAL “NI”,
that is 7th major and 7th minor above Tonic or B natural and B flat (Provided the Tonic is
“C”) but Raga GAUR MALHAR is rendered in two ways, one with Tiwar of SHUDH
NIKHAD (b) the other with Komal Nikhad (b flat). The Gaur Malhar with only Shudh
Nikhad is a Raga of Bilawal Thath; where as Gaur Malhar with the application of both
Nikhads (b and b flat) is considered as a Raga of Khamach Thath.
b- “MALHAR” is the generic name of all Ragas of rainy days, is a combination of two words,
MAIL+HAR, meaning dirt and defeat. When the rain comes it takes alway the dirt.
Artist
Gharana
Award
C.D Duration
Production
Volume: _________
Salamat Ali Khan
Born 12 -12 – 1934 at village Sham Chorasi, Drst Jallandher – India , Died 12 –
07 2001 at Lahore
Sham Chorasi
Diciple of Ustad Willayat Ali Khan (Father) Ustad Ghazanfar Ali Khan , alias
Gajju Khan (Maternal Uncle) Ustad Karim Bukhsh Nana, maternal
grandfather) and Niaz Hussain Shami (cousin and brother in Law)
Pride of Performance, Sitara – e – Imtiaz , Ameer Khusrau Award – India , PTV
excellence Award.
72:31 minutes
Contents
123456-
Khayal in Raga ABHOGI KANHRA
(Kafi Thath)
11:41 minutes
Khayal in Raga AIMAN KALYAN
(Kalyan Thath)
12:17 minutes
Khayal in Raga BARVA
(Kafi Thath)
12:23 minutes
Khayal in Raga DERBARI
(Asawari Thath)
12:30 minutes
Khayal in Raga DESI
(Asawari Thath)
11:53 minutes
Khayal in Raga DURGA
(Bilawal Thath)
11:34 minutes
• Tabla:
• Sarangi:
• Harmonium:
Side “A”
Volume: _________
Artist
Umrao Bundo Khan Ustad
Gharana
Dehli Gharana, Disciple of Ustad Bundo Khan(uncle) and Ustad Chand Khan
Delhi waley
46:32 Minutes
Music Archives PNCA – Islamabad
Awards
C. D Duration
Production
Born, 1924, Dehli – India, Died 1980 at Karachi
Contents
1234-
Khayal in Raga GORI
(Porabi Thath)
‘Jiya Nahin Lagey ‘ Teen Tal , 11:27 minutes
Khayal in Raga LALIT PANCHAM
(Misher Male)
‘Ab Toom Kahey Sona’ Teen Tal 11:52 minutes
Khayal in Raga GAUR SARUNG
(Kalyan Thath)
‘Soonder Naar’ Roopak Tal, 11:31 minutes
Khyal in Raga SARRPARDA
(Bilawal Thath)
‘Bachhra Tera Charawan’ (Bilampat Ikwai) 11:33 minutes
• Tabla: Ameer Sultan
• Sarangi:Ustad Hamid Hussain Khan
• Harmonium:
Note:
a-
Ustad Umrao Bundu Khan started his career as an accomplished Sarungi player, but later
on chose the field of classical and semi classical singing. He was an outstanding exponent of
Rare Ragas and had some 300 Ragas to his repertoire.
b- Raga “Lalit Pancham” is a Misher Male Raga and a combination of Bhairon Thath and Marwa
Thath in first and second Tatra Chord respectively.
c- Dehli Gharana, please see under Ramazan Khan.
Artist
12-
3-
4-
5-
6-
7-
8-
9Cassette Duration
Title of Cassette
Production
1-
2-
3-
4-
10-
ACD No. ____ /VCL – Assorted
Volume: ____I____
Ghulam Ali Khan (Badey)
(Died 1968 at Delhi)
Roshan Ara Bagam, Malika-e- Mausiqi
(1915 to 05-12-1982)
Nazakat Ali Khan Ustad
(Died 1983 at Rawalpindi)
Salamat Ali Khan Ustad
(12-12-1934 to 2001 at Lahore)
Amanat Ali Khan Ustad
Fateh Ali Khan
(Born 1939 at Patyala , India)
Ashiq Ali Khan Ustad
Ghulam Ali Khan Chhotey
(Born 1910 at Qasure Died 29-12-1986 at Lahore)
Assad Ali Khan , Ustad Agrey Waley
(died 1981- Karachi)
Ghulam Hussian Shagan Ustad
(Born-1927 at Amritsar India)
30+30=60 Minutes (C-60)
PNCA, Islamabad 1997- A Pakistan Golden Jubilee Celebration Release
Contents
Khayal Composition in Raga – KAMOD
(Kalyan Thath)
“Chhand Dey Mora Anchra”
(Mudh Teen Tal)
Ustad Bodey Ghulam Ali Khan
Khayal Composition in Raga – ANUNDI
(Kalyan Thath)
“Barey Saiyan”
(Bilampat Iktabla)
Rashan ara Bagam
Khayal Composition in Raga – BAGESHRI
(Kafi Thath)
“Kaun Gat Bai Ke Saiyan, Nahin Ghar Aae Balma”
(Bilampat and Drut Teen Tal)
Ustad Nazakat Ali, Salamat Ali Khan
Khayal Composition in Raga – DERBARI
(Asawari Thath)
“Nain So Nain Milae Rakhney Ko”
(Drut Iktala)
Ustad Amanat Ali Khan Ustad Fateh Ali Khan
Khayal Composition in Raga – BASANT BAHAR
(Misher Male Thath)
Combination of Porabi and Kafi Thath)
• Tabla:
Artist
1-
Mubarik Ali Khan Qawal
2-
(Born 1904 at Jallandher India and died 1977 at Faisalabad)
34-
Maqbool Ahmed Sahiri Qawal
5-
1234-
Qurban Hussain Qawal
Tufail Hussain Qawal
7-
(Born 1937 at Ali Gudh, India)
10-
2-
Ghulam Fareed sabiri, Qawal
6-
9-
1-
Fateh Ali Khan Qawal
(Born 1906 at Jallandher, India and died 1963 at Lyalpur, Faisalabad)
8-
Cassette Duration
Title of Cassette
Production
ACD No. ____ /QI
Volume: ____IV____
(Born 14-10-1948 at Lyalpor, died 16-8-1997 at Landon, Burried at
Faisalabad)
Pathaney Khan
(Born 1920 at Kot Addu, Drst Muzaffar Gudh, died 10-03-1997 at Kot Addu)
Zahida Perveen Madam
Abida Perveen
(Born 02-04-1957 at larkana)
30+30=60 Minutes (C-60)
PNCA, Islamabad 1997- A Pakistan Golden Jubilee Celebration Release
Contents
Side A
Ilmon Bus Karin O Yar” Qawali by Ustad Mubarik Ali Khan, Ustad Fateh Ali Khan
“Mun Konto Maula, “ QAUL” Ustad Ghulam Fareed Maqbool Ahmed Sabiri Qawal
“Mera Piya Ghar Aaya”
Qawali by Qurban Hussain Tufail Hussain commonly known as Sormey Waley Qawal
Side B
“Ali Maula Ali Maula Ali Ali”
Qawali by Ustad Nusrat Fateh Ali Khan Qawal
“ Ki Hal Sonawan Dil Da”
Kafi Khwaja Ghulam Fareed by Madam Zahida Perveen
“Meinda Ishq Vi Tou”
Saraiki Kafi, khwaja Ghulam Fareed by Pahaney Khan
“Sadey Vehrey Aaya Ker”
Kafi Hazrat Sachal Sarmust by Madam Abida Perveen
• Tabla:
• Sarangi:
Note:
a) Item No 3 of Side “A” is the ever First Qawali Programmed Presented/Telecast on the
inaugural of PTV, 29-11-1964 (Lahore). M/S. Qurban Tufail enjoy’s the credit of being the
ever first Qawali artistes of Pakistan Television Corporation.
b) Pathanay khan received his classical music education from late ustad Ashiq ali khan.
Reference, “b”Mr. Saeed Malik’s Article published in “The News”, (English Daily-Islamabad -17-022007).
ACD / VLT
Audio Compact Disc
Vocal Light Music
ACD. No: _____ / VLT
Volume: ______II______
Artist
Amanat Ali Khan , Ustad
Gharana
Patyala Gharan
Disciple of ate Ustad Khatar Hussain Khan (Father)
Tamgha – e – Khidmat , Pride of Performance
70 : 18 Minutes
Award
C.D Duration
Production
Born 1932 at Patyala – India, Died 16 – 09 – 1974 at Lahore
Contents
Side “A”
Yeh Arzo Thi Tujhey
Ghazal
14 : 56 minutes
2Kaisi Guzer Gai Hei Jawani
Ghazal
08: 05 minutes
3Yar ko Mein Ney Mujhe Yar Ney
Ghazal
03:58 minutes
4Aa Mere Pyar Ki Khoshboo
Ghazal
06:58 minutes
-5
Ik Khalish Ko
Ghazal
03:08 minutes
-6
Go Zara Si Baat Pey
Ghazal
07:05 minutes
-7
Honton Py Kabhi Un key
Ghazal
04:09 minutes
-8
Yeh Na Thi Humari Kismat
Ghazal
04:24 minutes
9Dil Mein Meithey Meithey Dard Key Phol Khiley
Ghazal
05:47 minutes
10- Inshah Jee Otho Ab Kooch Kero
Ghazal
05:43 minutes
11- Mosam Badla Root Gadrai
Ghazal
05: 14 minutes
1-
•
•
•
Note:
Tabla:
Sarangi:
Harmonium:
a- Ustad Amanat Ali Khan (Born 1931, Died 16 – 09 – 1974 ) was the eldest son of Late
Ustad Akhtar Hussain Khan (Died February 1974 at Lahore) and grandson of Late Ustad
Ali Bakhsh Khan, titled Gernail Khan the founder of Patyala Gharana ( 1835 – 1950). He
was disciple of his father. Made his debut at the tender age of 14, when he performed
with his father as a co – singer from all India Radio Delhi in 1945, although Late Ustad
Amanat Ali Khan was a classical vocalist but, he was well at home in rendering of semi
classical, Thumri, Dadra and Light forms like Ghazal Geet and Devotional Kafi, he put
himself on the map of Ghazal singing in 1971. When it was being ruled over by then
Master Ghazal singers like Mehdi Hassan Khan (Born 27 – 06 – 1933 ) , Ejaz Hussain
Hazravi (Died 05 – 02 – 1989), Ghulam Ali (Born 1942), Madam Fareeda Khanam (Born
1935) and Madam Iqbal Bano (Born 16 – 08 – 1938, Died 21 – 04 - 2009)
b- For Patyala Gharana please see under volium 1 of Fateh Ali Khan Ustad.
Volume: _______________
Artist
Ghulam Ali
Gharana
Qasure Gharana an auxilary of Qawal Bachon Ka Delhi Gharana
Disciple of Late Ustad Barkat Ali Khan and Late Ustad Amanat Ali Khan
(Manay Khan) younger brother of Ustad Badey Ghulam Ali Khan
Pride of Performance, PTV excellence Award.
48 Minutes
Collection of Music Archive PNCA Islamabad
Awards
C.D Duration
Production
Born 1942 at village Kalay Kay, Drst Sialkot
Contents
Hangama Hei Kiun Berpa
Ghazal
6:30 minutes
2- Toomharey Khut Mein
Ghazal
08:49 minutes
3- Yeh Dil Yeh Pagal Dil Mera
Ghazal
11:07 minutes
4- Dil Mein Ik Lehr Si Uthi Hei Abhi
Ghazal
09:01 minutes
-5 Bechein Bohat Phirna
Ghazal
11:50 minutes
-6 Mein Khayal Hoon Kisi Aur Ka
Ghazal
10:09 minutes
-7 Andaz Apney
Ghazal
10:39 minutes
• Tabla:
• Sarangi:
• Harmonium:
1-
Side “A”
Note:
Ghulam Ali recipient of Pride of Performance, Ghulam Ali was born 1942 at Kaley Key Drst.
Sialkot. He had his music education from Ustad Barkat Ali Khan (Died 19 – 07 – 1963 at Lahore) and
Ustad Amanat Ali (Alias Manay Khan, Died 1981 at Lahore) both the teacher was younger brother
of Ustad Badey Ghulam Ali Khan, Qasuri (Died 1968 at Delhi).
Ghulam Ali is a great exponent of Ghazal, Geet, Dadra and Thumri. He is equally popular in
India. He is a good Tabla and Harmonium player too.
Volume: _________
Artist
Roshan Ara Bagam, “Malika – e – Mausiqi”
Gharana
Kerana Gharana
Disciple of Khan Saheb Ludden Khan Culcuttey waley and Khan Saheb Abdul
Karim Khan of Kirana.
Malika – e – Mousiqi, Roop Saraswati, “Danam Badi” Jug Jiuti
Pride of Performance, Sitara – e – Imtiaz
49:56 minutes
Burhan Enterprises, 3rd Floor, Ahmed Plaza, 7 Hall Road Lahore. Personal
collection of Arif Jafri
Title
Awards
C.D Duration
Production
Born 1915 at Calcutta – India , Died 05 – 12 – 1982 at Lala Moosa
Contents
12-
Khayal in Raga KAMOD
(Kalyan Thath)
20:47 minutes
Balam Rangeeley
Khayal in Raga AIMAN
(Kalyan Thath)
29:09 minutes
Side “A”
• Sarangi: Ustad Nabi Bukhsh Khan
• Harmonium:
Note:
a- Roshan Ara Bagam is one of those few, who become legend in their life time. The Indo
Pakistan subcontinent has yet to experience another singer of her stature and her
excellence as a classical, semi classical and light vocalist is yet to be surpassed. She was born
sometime in the year 1915 in Culcultta – India and Shifted to Bombay. Her birth name was
Waheed – un – Nisa, then Roshan Jehan and finally Roshan Ara. At the time of partition of
the subcontinent in 1947, she along with husband Late Chaudhri Ahmed Khan opted for
Pakistan and settled in Lalamusa, a town situated at G.T road, right in the middle of Lahore
and Rawalpindi, where she breathed her last on 05 – 12 -1982. A treasure of her recordings,
comprising of 102 renditions of 280 hours of duration are lying intact with Pakistan
Broadcasting corporation’s central Production unit and some 35 hours recordings with
PNCA’s Music archive, in different Audio Video formats.
b- Tabla Maestro Ustad Shaukat Hussain (Born 1934 at Phagwara, Drst. Jallandher – India,
Died 25 -01 – 1996 at Lahorre) disciple of Mian Qadir Bukhsh, Recipient of Pride of
Performance.
c- Ustad Nabi Bukhsh Khan, (Born 1920 at Jhujja – India, Died 27 – 05 – 1989 at Lahore)
disciple of Ustad Hussain Bukhsh (Uncle) recipient of Pride of Performance.
Volume: _________
Artist
Gharana
Kerana Gharana
Disciple of Khan Saheb Ludden Khan Culcuttey waley Khan and Saheb Abdul
72:51 minutes
Music Archives PNCA Islamabad
Title
Awards
C.D Duration
Production
Born 1915 at Calcutta – India, Died 05 – 12 – 1982 at Lala Moosa
Contents
Khayal in Raga BIBHAS
(Bhairon Thath)
“Mora Rein” Ik Tala
12:28 minutes
2Khayal in Raga JAUNPURI
(Asawari Thath)
“Sohagan Rung Gholian” Ik Tala
12:40 minutes
3Khayal in Raga BASANT
(Porabi Thath)
“Ab Maan Deikhey” Ik Tala
12:08 minutes
4Khayal in Raga BAHAR
(Kafi Thath)
“Nai Root” Ik Tala
11:15 minutes
5Khayal in Raga “LALIT
(Bhairon Thath)
“Bida Bhai Rein” Ik Tala
12:30 minutes
6Khayal in Raga BHATYAR
(Marva Thath)
“Basant Ke Din” Ik Tala
11:50 minutes
1-
Side “A”
Note:
For Malika – e – Mausiqi Roshan Ara Bagam, please see under volium 1 .
Volume: _________
Artist
Gharana
Kerana Gharana
Disciple of Khan Saheb Ludden Khan Culcuttey waley Khan and Saheb Abdul
72:51 minutes
Music Archives PNCA, Islamabad
Titles
Awards
C.D Duration
Production
Contents
Khayal in Raga MARU BEHAG
(Kalyan Thath)
“Rasiya Na Ja” Ik Tala
12:42 minutes
2Khayal in Raga ADANA
(Asawari Thath)
“Mondri Mori Kahey Ko” Ik Tala
12:20 minutes
3Khayal in Raga KAMOD
(Kalyan Thath)
“Aae Balma Rang”
12:35 minutes
4Khayal in Raga SHUDH KALYAN
(Kalyan Thath)
“Ae Ri Aali Piya” Ik Tala
12:17 minutes
5Khayal in Raga Kalawati
(Khamach Thath)
“Sapne Mein Deikhey” Ik Tala
11:35 minutes
6Khayal in Raga ANUNDI
(Kalyan Thath)
“Aa Rey barey Saiyan” Ik Tala
11:37 minutes
1-
Note:
Side “A”
For detail about Malika – e – Mausiqi Roshan Ara Bagam, please see under Volume I
Artist
Gharana
Titles
Awards
C.D Duration
Production
Volume: _________
Kerana Gharana
Disciple of Khan Saheb Ludden Khan Culcuttey waley and Khan Saheb Abdul
Malika – e – Mousiqi Roop Saraswati, “Danam Badi” Jug Jiuti
44:56 minutes
Music Archives PNCA, Islamabad
Contents
12345-
Khayal in Raga DES
(Khamach Thath)
“Hey Raaj Bhejey” Ik Tala
11:44 minutes
Khayal in Raga SHANKRA
(Bilawal Thath)
“Maathey Tilak Dharo” Ik Tala
10:45 minutes
Khayal in Raga NAIKI KANHRA
(Kafi Thath)
“Ae Ri Mein Ka Kahoon” Ik Tala
10:45 minutes
Thumri in Raga JHINJHOTI
(Khamach Thath)
“Na Hi Aawat Chein” Ik Tala
11:28 minutes
Khayal in Raga “LALIT
(Bhairon Thath)
“Bida Bhai Rein” Deep Chandi Taal
12:30 minutes
(14 Matra)
11:39 minutes
• Harmonium:
Side “A”
Volume: ________________
Artist
Shaukat Ali
Title
Title of Cassette
Dilect
C.D Duration
Production
Lok Geeton Ka Shehzada (Prince of Folk songs)
Saif – ul Maluke
Punjabi of “Lamma” or Lammay Di Tata the Norther area in brtween
Collection of Musin Archive PNCA Islamabad
Music Archives, PNCA, Islamabad
Born 1946 at Dinga, Tehsil Malakwal, Drst, Gujrat
Contents
1234-5
-6
-7
Side “A”
Abstracts from “SAIF – UL – MALUKE” the popular music narrative of Punjab, by Mian
Mohummed Bukhsh of Khori Sharif
(Died 1907 at Lahore, Burried at Khori Sharif, Drst Jehlum, a twon 35 km. north of Jhelum)
Toomharey Khut Mein
Ghazal
08:49 minutes
Yeh Dil Yeh Pagal Dil Mera
Ghazal
11:07 minutes
Dil Mein Ik Lehr Si Uthi Hei Abhi
Ghazal
09:01 minutes
Ghazal
11:50 minutes
Mein Khayal Hoon Kisi Aur Ka
Ghazal
10:09 minutes
Andaz Apney
Ghazal
10:39 minutes
On Bass Flute by Ustad Inayat Hussain (Elder brother of Shankat Ali)
Note:
a- Shaukat Ali, (Born 1946 at village Dinga, Tehsil Malikwal, Drst Gujrat) an outstanding
exponent of Folk songs of Punjab, highly popular to the extent of a house hold name in the
four corners of Pakistan as well as in India Punjab. He is disciple of Mian Faqir Din (Father )
Inayat Huderi (uncle) and Inayat Ali (Brother) recipient of Pride of Performance (1990),
PTV excellence Award and several awards from Private sector.
Artist
12-
34567Cassette Duration
Title of Cassette
Production
123456712345-
ACD No. ____ /VLT – Assorted
Volume: ____IV____
Naheed Niazi
(Born 26-2-1940 at Delhi, India)
Mehdi Hassan Khan Ustad
(Born 27-6-1933 at Jaipur India)
Saleem Raza
(Died 25-11-1987 at Monteryal, Canada)
Ghulam Abbass
(Born 1-1-1954 at Chiniot Drst Jhung)
S.B Jhon
Amanat Ali khan
(Born 1932 patyala, India, died 16-9-1974 Lahore)
Malika Pukhraj
(Born 1926 at Jammu, Died 2007 at Lahore)
30+30=60 Minutes (C-60)
Ghazal Geet
Music Archives Collection PNCA, 2011
Contents
Side A
“Ik bar phir kaho Zara”
(Geet) Naheed Niazi
“Baat kerni mujhey muhkil”
(Ghazal Bahadarshah Zafar) Ustad Mehdi Hassan
“Zindagi Mein Aik Pal Bhi Chein Aaey Na”
(Song From Feature Film saheili-1960) Saleem Raza
“Aesey wo sharmae” (Film Song) Ghulam Abbass
“Tou jo Nahin Hei Tou Kuchh Bhi Nahin Hei”
(Song from feature film Sawera-1959)
S.B jhon (Debut Song)
“Insha Ji Otho Ab Kouch Karo”
(Ghaza-Ibn-e- insha) Ustad Amanat ali khan
“Ranjish Hi Sahi”
(Ghazal, Ahmed Faraz) Ustad Mehdi Hassan Khan
Side B
(Malika Pukhraj)
“Hum Bhi Pien Tumhein Bhi Pilaen Tamam Raat”
(Ghazal)
“Abhi Tou Mein Jawan Hoon”
(Nazm Hafeez Jalaandheri)
“Mein Jo Madhosh Hoa”
(Ghazal)
“Wo Baatein Teri Wo Fasaney Terey”
(Ghazal)
“Kuchh Is Andaz Se Wo Mehfil Mein Aae”
(Ghazal)
6789-
“Nigah-e-Naz Jisey Aashna-e-Raz Kerey”
(Ghazal)
“Raz-e-Ulfat Ayan Na Ho Jae”
(Ghazal)
“Zahid na Keh Bori Key Yeh Mastaney Admi Hein”
(Ghazal)
“Kiya Keh Gai Kisi Ki Nazar”
(Ghazal)
• Tabla:
• Sarangi:
ACD / IMC
Audio Compact Disc
International Music Collection
Country
Title of CD
Genre
Producer
Released
Contents
ALGERIA
ACD No. ____ / IMC
ACD (Audio Compact Disc)
IMC (International Music Collection)
SAHARA MUSIC OF GOURARA
Recordings: PIERRE AUGIER
Tradition, Vocal
International Music Council of UNESCO
UNESCO (Paris, France), 1991
ALGERIA MUSIC
1.
2.
3.
4.
5.
6.
7.
Ahellil song
Tagerrabt song
Hadra song
Tebla song of the Meharza
Song for the insemination of the date palm
Song with amzad accompaniment
Dance with qarqabou
Remarks
a. For details, please see the inlay card.
b. Donation by Arif Jafri, Islamabad.
7’42 minutes
5’54 minutes
8’10 minutes
9’00 minutes
1’59 minutes
4’45 minutes
5’03 minutes
Country
Title of CD
Genre
Producer
Released
Contents
ACD No. ____ / IMC
AZERBAIJAN
Azerbaijani Mugam Bahram Mansurov,tar
Recordings: Alain Danielou and Jacques Cloarec
Commentary: Alain Danielou
Tradition, Vocal
Kurdish Music
1.
2.
3.
4.
5.
6.
7.
Mugum Bayati-Isfahan
Mugam Humayum
Magam Nivanishapur
Mugam Shur
Mugam Mahur-Hindi
Mugam Bayati-Kurd
Mugam Chahargah
Remarks
05’25 minutes
08’25 minutes
04’51 minutes
08’58 minutes
11’50 minutes
06’60 minutes
09’02 minutes
Country
Title of CD
Genre
Producer
Released
Contents
BAHRAIN
ACD No. ____ / IMC
Fidjeri: Songs of the pearl’ divers
Recordings: HABIB HASSAN TOUMA
Tradition, Vocal
Bahrain Music
1.
2.
3.
4.
5.
6.
Bahri
Khrab, Sidi, Meydaf, Jeeb
Adsani
Duwari, Ashari, Khatfat-Shra
Makhmus
Hesawi
Remarks
05’05 minutes
09’02 minutes
10’33 minutes
11’08 minutes
04’42 minutes
11’59 minutes
Country
Title of CD
Genre
Producer
Released
Contents
EGYPT
ACD No. ____ / IMC
Taqasim & Layali Cairo Tradition
Recording JACQUES CLOAREC
Tradition, Vocal / Instrumental
EGYPT MUSIC
1.
2.
3.
4.
5.
6.
LAYALI & MAWWAL (Maqam Bayati)
Ibrahim el-Haggar, voice
Sami Nussair, qanun
TAQSIM BAYATI
Wahbi labib, nay
Muhammad el-Arabi, req
SAMA’I EL-‘ ARYAN
The takht ensemble of cairo ensemble takht du caire
TAQSIM BAYATI
‘Ud solo by gomaa Muhammad Ali’
TAQSIM FARAH-FAZA
Sami Nussair , qanun
Muhammad el-Arabi, req
DARABUKKA SOLO
By par Muhammad el-Arabi
Remarks
14’52 minutes
05’11 minutes
04’09 minutes
13’30 minutes
08’34 minutes
03’58 minutes
Country
Title of CD
Genre
Producer
Released
Contents
IRAQ
ACD No. ____ / IMC
IQA’AT
TRADITIONAL RHYTHMIC STRUCTURES
Recordings: HABIB HASSAN TOUMA
Tradition, Vocal
Iraq Music
1. Mukhalif
Maqam Iraqi
2. Iqa’at
Solo improvisation
3. Fann Khammari
4. Iqa’at
Collective improvisation
5. Murabba’
6. Abuziyyah
7. Mawwal
Remarks
14’36 minutes
09’42 minutes
04’49 minutes
08’01 minutes
04’18 minutes
06’39 minutes
07’37 minutes
Country
Title of CD
Genre
Producer
Released
Contents
ACD No. ____ / IMC
KHORASAN
The Traditional Music of Herat
Recordings: Jon Baily and Veronica double day for items 4,6,12
Commentary Jon Baily
Tradition, Vocal
KHORASAN MUSIC
1- “Chaharbaiti Koshki”
Play by Gada Mohammad, 14 stringed
7’28 minutes
2- ‘’Na ‘t’’ , by Sa’di,
Sung by Sufi Abu Bakr
3’ 40 minutes
3- ‘’Shaikh Ahmed - e Jam’’
Sung by Abdul Sha’er with own 2 stringed dutar accompaniment
5’31 minutes
4- ‘’Bada Bada’’, sung by Abdul Sha’ by Hawa with own daira accompaniment./ chantae par
Hawa s’accompagnant elle-meme a la doiira
2’07 minutes
5- Medley of wedding songs / pot-pourri de chanta de noce: “Olang olang” , “Mobarak Bada”,
“bibi gol arus”, “haina ba-karha ”, sung by Sharafoddin and Nezamoddin ,with Osta
Main,Sorna and habibollah jan dohol
6’49 minutes
6- “Shirin Chain a khordom ”, sung by Madar-e-Zahir, with own daira accompagniant ,and her
two daughters
3’18 minutes
7- “Dokhtar Amu Jan”, played by Abdur Rehman Saljuqi, chahartar
2’54 minutes
8- “Ai Zaman”, played by Karim Dutari , 3 stringed dutar
2’34 minutes
9- “Chaharbaiti” played / joue par Abdullah, nai Chopani
2’49 minutes
10- Sufi song, sung Mohammad Yusuf
2’51 minutes
11- “Allah Hu” chante par / sung by Zainab Hairawi
3’44 minutes
12- “Asheq manam Laili”, sung by Gholam Nabi Zendadel, with own daira accompaniment and
gada Mohammad 14 stringed dutar
3’15 minutes
13- “Jam-e Narenji”, sung by Mohammad Sadeq Bolbol , accompanied by Rahim khushnawaz,
robab , gada Mohammad 14 stringed dutar and Nahim Khushnawaz tabla
6’35 minutes
14- “Ghazal”, by Badil , sung by Amir Jan Khushnawaz with own Harmonium accompaniment ,
with Rahim Khushnawaz table
5’45 minutes
Remarks
Country
Title of CD
Genre
Producer
Released
Contents
KOREA
ACD No. ____ / IMC
Instrumental Music 1
Tradition, Vocal
31 July 1988 SAMHYUNOOGGAG
KOREON MUSIC
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Ung anjiak
Chonp yehuimun
Pohoja
Sujech on
Samhyonyongsanhoesang
Hahyon~kunak
Ch onnyonmanse
Kilgunak
Yomyangch
P yongjohoesang
Remarks
02’10 minutes
08’34 minutes
03’03 minutes
17’04 minutes
09’20 minutes
13’59 minutes
05’10 minutes
04’21 minutes
05’15 minutes
03’14 minutes
Country
Title of CD
Genre
Producer
Released
Contents
KOREA
ACD No. ____ / IMC
Instrumental Music 2
Tradition, Vocal
1991 SAMHYUNOOGGAG
KOREAN MUSIC
1.
2.
3.
4.
5.
6.
Samulnori (by KTPAC)
Kayagum sanjo (by Kim Juk-p’a)
Taegum sanjo (by Kang Paek-Ch on)
P’iri sanjo (by Jong Jae-kuk)
T’aep yongso Shinawi (by Choi Kyong-man)
Shinawi (by so yong-sok etc)
Remarks
11’15 minutes
10’14 minutes
14’10 minutes
06’22 minutes
04’05 minutes
23’58 minutes
Country
Title of CD
Genre
Producer
Released
Contents
ACD No. ____ / IMC
MIDDLE EAST
Sung Poetry
Recording JACQUES CLOAREC and JOCHEN WENZEL
Tradition, Vocal
MIDDLE EAST MUSIC
1. “THE VOICE OF HIS MAJESTY THE SHAH”
Nafes de Pir Sultan Abdal sung in Turkish by Feyz-ullah Cinar
2. GHAZAL
Poem by Sa’di Sung in Persian by Hossein Ghavami
3. “BADA -O- JANE”
Klam sung in Kurmanshi by Mohammed-Ali Tedjo
4. ATABA HAWAWIE
Sung in colloquial Arabic by Ibrahim Alouane Jarad
Remarks
04’35 minutes
08’51 minutes
11’25 minutes
23’21 minutes
Country
Title of CD
Genre
Producer
Released
Contents
ACD No. ____ / IMC
Mountainous Region of IRAN and TURKEY
Kurdish Music
Recordings: Jochen Wenzel
Tradition, Vocal
Kurdish Music
1. NAGHMA JABALIWA BINAFSHE
Mohammed Ali Te’djo, meydan saz
Said Hassan, tanboura
2. MAWAL WA RAQSA
For two zorna and tabl/Pour deux zorna et tabl
Hamo Hassan Ra’sho, zorna 2
Hussein Mohammed Ra’sho,tabl
3. MAWAL WA RAQSA
For two pik, tumbalak and zil
Pour deux pik, tumbalak et zil
Hanan Ahmed Nasser, pik 1
Hanan Ahmed Nasser, pik 2
Hanan Ahmed Nasser, tumbalak
Hussein Ahmed Abdo, zil
4. O DELAL SHERIN HAYAT
Sung by / Chante per Said Hassan
Said Hassan, tanboura
Mohammed Ali Te’djo, Maydan saz
5. SAR HAWA
Said Youssef, tanboura
Remarks
23’26 minutes
04’45 minutes
06’55 minutes
11’50 minutes
10’44 minutes
Country
Title of CD
Genre
Producer
Released
Contents
OMAN
ACD No. ____ / IMC
Traditional arts of the Sultanate of Oman
Recording and Commentary: DIETER CHRISTENSEN
Tradition, Vocal
OMAN MUSIC
1. Taghrud
Camel song
2. Azi
Praise song
3. Razhah qasafiya
Dance with weapons
4. Wahhabiyah
Dance with weapons
5. Lewah
Dance with the oboe
6. Malid
Praising the Prophet
7. Tamburah
Voice of the lyre
8. Shubani
Song of the sailors
9. Haryabuh
Pleading for safe return
10. Sharh
Song of Happiness
11. Bar’ah
Dance of youth
Remarks
04’59 minutes
05’01 minutes
05’08 minutes
05’19 minutes
04’58 minutes
12’26 minutes
08’19 minutes
03’27 minutes
07’40 minutes
04’43 minutes
03’45 minutes
Country
Title of CD
Genre
Producer
Released
Contents
ACD No. ____ / IMC
PAKISTAN
THE MUSIC OF THE QAWAL (Wandering Minstrels)
Recordings: HEINZ WERGELT and HABIB HASSAN TOUMA
Tradition, Vocal
Pakistan Music
1. Ghazal
Peom of Maulana Kausar Niazi
2. NAT SHARIF
In praise of the Prophet (PBUH) Poem of Hazrat Bedam Shahwarsi
3. HAMD
Sufi Poem Text (Hazrat Niyaz bin Niyaz Rehmatullah Brelvi)
Music Hadji Maqbul Ahmed Sabri
4. NAT SHARIF
In praise of the Prophet (PBUH) Poem of Munawar Badayuni
Remarks
15’05 minutes
09’57 minutes
18’42 minutes
06’01 minutes
Country
Title of CD
Genre
Producer
Released
Contents
ACD No. ____ / IMC
TAJIKISTAN
Tajik Music of Badakhshan
Recording and Commentary
Tradition, Vocal
TAJIKISTAN
1.
2.
3.
4.
5.
Suite of song from the heydari and Setayesh maqam
A song (Rubayat –i- Khalqi quatrains)
A series of lullabies: Dardilik, Lala’ ik, Dodo’ ik and Roba’I
Falak song on the setayesh rhythm
Instrumental suite in three movement
Navazesh, Sedayi del, ancient air
6. Navazesh -i- Falak in three movement :Falak, heydari, setayesh
7. “Bad –i- Roshan”, a song in the Roshan dialect
8. Falak –i- talqin
MYSTIC SONGS
6’48 minutes
7’44 minutes
7’22 minutes
6’13 minutes
6’58 minutes
3’25 minutes
2’46 minutes
2’56 minutes
9. Ode to Imam ‘Ali (end of the poem)
Followed by another poem by Jami
10. Monajat, maqam –i- satayesh,
Falak “khod sefid”, lala’ik
8’31 minutes
11.
12.
13.
14.
15.
2’26 minutes
2’49 minutes
4’51 minutes
2’39 minutes
6’00 minutes
XINJIANG (China)
Wedding air and dance, maqam –I rapo’i ance
Songs by the troupe of Ge wu tuan
Volvolakik, Tombak suz, Oynasin
Uyman tartur, Oyimcha, Takanja dandun nars
Shingan Gul, Oynasin, Tilumijun, Gulbate
Remarks
6’07 minutes
Country
Title of CD
Genre
Producer
Released
ACD No. ____ / IMC
TURKMENISTAN
Turkmen epic Singing
Recordings and Commentary, SALAWOMIRA ZERANSKA-KOMENEK
Tradition, Vocal
1- Kheiran Eiledi
3’39 minutes
She overwhelmed me with the fire of love
2- Ovazy Geldi
4’14 minutes
The voice is heard/Ovez est venu
3- Airylymadymy?
4’41 minutes
Haven’t thay sptil up? / Ne se sont-ils pause separes?
4- Ovezdzhan
4’36 minutes
5- Gummur-gummurlendi
4’41 minutes
Mountains are trembling / Les montagnes tremblent
6- Getirgin
3’15 minutes
Bring them here/Amene-les ici
7- Chaper arlaya-arlaya
3’57 minutes
A horse leaping, neighing / Le cheval saute en hennissant
8- Soltanym
4’47 minutes
Your majesty / Mon sultan
9- Mama seni
3’13 minutes
To you, grandmother / A toi grand-mere
10- Bar-da mama dzhan, khabaryng ber
3’ 08 minutes
Go grandmother fetch the world to them/ Va, grand-mere, porte les nouvelles
11- Uchup geldim
3’ 59 minutes
I came back on wings / je suis revenue avec des ailes
12- Bezirgen
4’”18 minutes
13- Agam seni
6”11 minutes
To you, my brother / A toi mon frère
14- Geldingmi?
4’51 minutes
Are you back again? / Es – tu revenue?
Remarks
Country
Title of CD
Genre
Producer
Released
Contents
YEMAN
ACD No. ____ / IMC
TRADITIONAL MUSIC OF THE NORTH
Recordings: JOCHEN WENZEL
Tradition, Vocal
YEMAN Music
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
CHARGUI and HAKIF dances
GHAZAL
ZAR
RAHIL
AGHANI ATIFI
MUTAWAL
Yemenite ZAFAT
MUTAWAL
GHINA
HAKFAT
Remarks
5’50 minutes
4’55 minutes
3’20 minutes
4’10 minutes
5’50 minutes
6’13 minutes
5’20 minutes
3’20 minutes
2’45 minutes
7’00 minutes
VCD / VLT
Video Comapct Disc
Vocal Light Music
VCD / I
Video Compact Disc
Instrimental Music
LPD
Long Playing Disc
33 ½ RPM
Long Playing Disc No. LPD – 5060 – 07 / VCL
Sham Chorasi Gharana (EMCP – 5060)
Artist
Tabla
Sarangi
Ustad Salamat Ali Khan (Born 1934)
Ustad Shaukat Hussain
Ustad Nazim Ali
BHAIRROV
GUNKALI
DARBARI
ABHOGI KANRA
JHUMRA
Karam Keejo Kareem
ROOPAK
Lal Shehbaz Qalander
TAL WARA
Hazrat Turkaman
JHUP TAAL
Laj Rakhlijo Mori
Artist
Tabla
Sarangi
Ustad Nazim Ali
MIAN KI TODI
ALAIYA BILAWAL
GAUR MALHAR
MIAN KI MALHAR
TAL WARA
Mohummad Shah
EK TAALA
Re Dayya Kahan Gaye
EK WAI
Barkha Rut Aaee
JHUMRA
Karam Karo Kareem
Artist
Tabla
Sarangi
Ustad Nazim Ali
AIMAN KALYAN
HEM KALYAN
DESI
BARVA
EK WAI
Aj Suhag Racho
DHAMMAR
Piya More Aali
AARA CHAUTALA
Maathe Aa
JHUMRA
Piya Gher Na
Artist
Tabla
Sarangi
Ustad Nazim Ali
SHUDH SARANG
SRI
DURGA
HAMEER
AARA CHAUTALA
Rab Gharib Nawaz
EK TAALA
Bal Bal Jaoon
EK TAALA
Piya Man Bhae
DHAMMAR
Suno Mori Baat
Kirana Gharana (EMCP – 5064)
Artist
Tabla
Sarangi
Malka – e – Mausiqi Roshan Ara Begum (Born 1915)
Ustad Nabi Bukhsh
BIBHAS
JAUNPURI
BASANT
BAHAR
EK TAALA
Mora Rain
EK TAALA
Sohagan Rang Gholian
EK TAALA
Ab Man Dekhe
EK TAALA
Naee Rut
Artist
Tabla
Sarangi
Malka – e – Mausiqi Roshan Ara Begum (Born 1915)
Ustad Nabi Bukhsh
LALIT
BHATYAR
MARU BEHAG
ADANA
EK TAALA
Bida Bhai Rain
EK TAALA
Basant Ke Din
EK TAALA
Rasia Na Ja
EK TAALA
Mundri Mori Kahe Ko
Artist
Tabla
Sarangi
Malka – e – Mausiqi (Born 1915)
Ustad Nabi Bukhsh
KAMOD
SHUDH KALYAN
KALAVATI
ANAND
EK TAALA
Aae Balma Rangeela
EK TAALA
Ae Ri Aali Piya
EK TAALA
Sapne Men Dekhe
EK TAALA
Aare Bare Sayyan
Artist
Tabla
Sarangi
Malka – e – Mausiqi Roshan Ara Begum
Ustad Nabi Bukhsh
DES
SHANKRA
NAIKI KANRA
JHINJHOTI
EK TAALA
He Raaj Bheje
EK TAALA
Mathe Tilak
EK TAALA
Ae Ri Main Ka Kahoon
DEEPCHANDI
Piya Bin Nahin Aawat
Patiala Gharana (EMCP – 5068)
Artist
Tabla
Sarangi
Ustad Fateh Ali Khan (Born 1933)
Ustad Nazim Ali
BAGESHRI
NARAINI
MADHMAD SARANG
MULTANI
EK TAALA
Aa Jaiso Hae
JHAP TAAL
Aj Mori Laj Rakho
EK TAALA
Yeh Rut Aaee
EK TAALA
Gokul Gaoon Ki Gori
Artist
Tabla
Sarangi
Ustad Nazim Ali
BHEEMPALASI
SHAHANA
MEGH
SHYAM KALYAN
EK TAALA
Ab To Bari Ber
JHAP TAAL
Lagan Laagi
JHAP TAAL
Jab Guni Gawen
EK TAALA
Hori Khelen Rang
Artist
Tabla
Sarangi
Ustad Nazim Ali
BHOPALI
KEDARA
BAIRAGI
PATDEEP
EK TAALA
Aa Jaiso Hae
EK TAALA
Ae Ri Dhan Bhag
JHAP TAAL
Sab Ke Sab Kaam
JHAP TAAL
Dhan Mere Bhag
Artist
Tabla
Sarangi
Assad Amanat Ali (Born 1958)
Hamid Ali Khan (Born 1954)
Ustad Nazim Ali
MALKAUS
BEHAG
MARVA
PURIA DHANASRI
JHAP TAAL
Dhan Dhan Bhag
EK TAALA
Kaun Dhang Tore
TEEN TAAL
Maru Kawan Kaj
JHAP TAAL
Sultan Aalam
Qawal Bachon Ka Gharana (EMCP – 5072)
Artist
Tabla
Sarangi
Ustad Chottay Ghulam Ali Khan (Born 1910)
Ustad Nazim Ali
SOHNI
DESKAR
TILAK KAMOD
NAIKI
TEEN TAAL
Chana We Toon
TEEN TAAL
Ae Dayya
EK TAALA
More Khawaja
TEEN TAAL
Sahelyan Aaeen
Artist
Tabla
Sarangi
Akhter Ali Khan (Born 1942)
Zakir Ali Khan (Born 1944)
Ustad Nazim Ali
ASAVARI
(Rekhab Teevar)
ASAVARI
(Rekhab Komal)
AHEER BHAIRROV
BILAS KHANI TODI
RAGESHRI
PURIA
TAL WARA
Bawarya Jaag Re
EKWAI
Ab Rut Aaee
JHUMRA
Tere Gun Gaoon
DHAMMAR
Ae Jag Data
EK TAALA
Piya Ko Manao
AARA CHAUTALA
Karat Menoon Pyar
Gawalior Gharana (EMCP – 5074)
Artist
Tabla
Sarangi
Ustad Nazim Ali
RAMKALI
GUJRI TODI
KAFI KANRA
PURBI
EKWAI
Prem Pankhi Panhari
EKWAI
Hazrat Nizamuddin Aoliya
EKWAI
Sajan Bhool Gayo
EKWAI
Sukh Sapne Sab Le Gaye
Delhi Gharana (EMCP – 5075)
Artist
Tabla
Sarangi
Ustad Ramzan Khan (Born 1902)
Bashir Ahmed
Mohi – ud – Din
JAIT KALYAN
KHAMBAVTI
HINDOL
SUHA
TEEN TAAL
Khawaja Usman
JHAP TAAL
Tum Bin Aaj
TEEN TAAL
Koyalya Bole
EK TAALA
Tu Hai
Delhi Gharana (EMCP – 5076)
Artist
Tabla
Sarangi
Ustad Umrao Bundoo Khan (Born 1924)
Amir Sultan
Ustad Hamid Hussain
GAURI
LALIT PANCHAM
GAUR SARANG
SARPARDA
TEEN TAAL
Jiya Nahin Laage
TEEN TAAL
Ab Tum Kahe Sona
ROOPAK
Sunder Naar
EKWAI
Bachhra Tera Charawan
Gawalior Gharana (EMCP – 5077)
Artist
Tabla
Sarangi
Hameed Ali Khan (Born 1946)
Fateh Ali Khan (Born 1948)
Bashir Ahmed
Mohi – ud – Din
KAFI KANRA
GANDHARI
BAIRAGI
BHOPALI
EKWAI
Prem Pankhi Panhari
EKWAI
Hazrat Nizamuddin Aoliya
EKWAI
Sajan Bhool Gaya
EKWAI
Sukh Sapne Sab Le Gaya
Agra Gharana (EMCP – 5078)
Artist
Tabla
Sarangi
Ustad Assad Ali Khan (Born 1910)
Bashir Ahmed
Mohiuddin
BARVA
JAI JAI VANTI
CHANDNI KEDARA
CHHAYANAT
NAT BEHAG
TAL WARA
Ae Ri Meko Aaj
EK TAALA
Jin Ke Piya
EK TAALA
Ban Than Ke Aaj Kahan
Chale
EK TAALA
Alaap
EK TAALA
Kaise Kaise Log
Talwandi Gharana (EMCP – 5079)
Artist
Pakhawaj
Sarangi
Malik Zada Mohummad Afzal Khan
Malik Zada Mohummad Hafiz Khan
Ustad Talib Hussain
Ustad Nabi Bukhsh
ADNANA
MIAN KI MALHAR
MULTANI
HUSSAINI
CHAR TAAL
Belaryan Phoolen
CHAR TAAL
Berkha Patar Naachi Ho
CHAR TAAL
Waddiyo Bhali Jane
CHAR TAAL
Aapas Men Dum Pat
Artist
12-
Ustad Salamat Ali Khan
Side “A”
Rag SHUDH BAHAR
Rag GHARA KANHRA
Contents
12-
Side “B”
Rag ZEELAF (Tarana)
Rag SHAHANA KANKRA and TARANA
Contents of LP
Long Playing Disc No. LPD – 5007 – 1 / QI
(Format 331/2 RPM)
Artist
Title
Production
Released
by
Lyrics
Music
Manzoor Ahmed Khan Niazi – Qawal
(Persian and Urdu poetry rendered in Qawali form)
Tribute to Hazrat Amir Khusrau
EMI Pakistan for Pakistan National Council of the Arts,
Islamabad to mark the 700th anniversary of Hazrat Ameer Khusrau
Pakistan National Council of the Arts – 1975
Hazrat Amir Khusrau
Munshi Raziuddin and Ahmed Manzoor
Contents
Side “A”
1- Khabaram Raseeda Im Shab
2- Mose Bol Na Bol
3- Ghar Nari Ganwari
Note:
1234-
Side “B”
Tori Surat Ke Balhari
Mohe Apne Hi Rang Men
Hazrat Khawaja Sang
Tarana
Manzoor Ahmed Khan Niazi (Born 1925 at Hyderabad Deccan – India) is a representative of
Dehlis Qawal Bachon Ka Gharana and a direct descendent of Miann Qutab Bukhsh Rus Khan
(1770 – 1872) a legendry classical vocalist of his times and Chief Musician of the Dehli
Court. He is a disciple of Late Ustad Azeem Khan (Father) and Ustad Suleman Khan (Uncle).
He is an outstanding exponent of all forms of Qawali and great Musicologist. He is 86 years
of age (2011).
Contents of LP
No – LPD – 5013 – 6 / I – SIT
(Format 331/2 RPM)
Artist
Title
Production
Released by
Back Cover Write
up
Cover Design of L.P
Ustad Mohummed Shareef Khan Poonchwalay (Pride of Performance)
Rendition of Ameer Khusrous Ragas on Sitar
EMI Pakistan for Pakistan National Council of the Arts, Islamabad to mark
the 700th anniversary of Hazrat Ameer Khusrau
Sir Faiz Ahmed Faiz
Mr. Amwar Maqsood
Side “A”
1- Raag Saz Giri On Sitar
2- Tabla: Mohd Tufail Narowali
Note:
Contents
1-
Side “B”
Raag Surparda On Sitar
Late Ustad Mohummed Shareef Khan Poonchhwalay (Born 1918 at Poonch – Kashmir, Died
1981 at Lahore) is ranked as the top Sitaist of Pakistan having an individual style. He was a
disciple of Ustad Abdul Rahim Khan (Father).
Contents of LP
No – LPD – 5011 – 4 / INS
(Format 331/2 RPM)
Composer
Title
Production
Released
by
Sohail Rana (Pride of Performance)
A Tribute, Sazeena in Four Parts ,
EMI Pakistan for Pakistan National Council of the Arts, Islamabad to mark the 700th
anniversary of Hazrat Ameer Khusrau
Contents
12-
Side “A”
Part 1: Seher (Dawn)
Part 2: DOA (Prayer)
12-
Side “B”
Part 3: Rim Jhim (Rain Fall)
Part 4: Rang (Finale)
Note:
a- SAZEENA is an orchestral composition or a parallel word for symphony. Contents of the
under reference long playing record are based on the Ragas introduced or composed by
Hazrat Ameer Khusrau (1253 – 1325 AD)
b- Mr. Suhail Rana is a celebrated composer of Pakistan, currently based in United States.
Contents of LP
Long Playing Disc No. LPD – 5010 – 3 / QI
(Format 331/2 RPM)
Artist
Title
Production
Released by
Lyrics
Music
Haji Ghulam Fareed Sabairi
Haji Maqbool Ahmed Sabairi
(Persian and Urdu poetry rendered in Qawali form)
EMI Pakistan for Pakistan National Council of the Arts,
Islamabad to mark the 700th anniversary of Hazrat Ameer Khusrau
Hazrat Amir Khusrau
Munshi Raziuddin and Ahmed Manzoor
Contents
Side “A”
1- Chhap Tilak Sab Cheen Lini
Mosey Naina Milai Ke
2- Man Kunto Maula (Qaul)
3- Aaj Rang hai Ae Maa (Rung)
Note:
12-
Side “B”
Ze Hal – e – Miskeen Miskeen Makun
Taghaful (Ghazal)
Kahe Ko Beyahi Bides (Rukhsati
Haji Ghulam Fareed Sabari (Born 1930 at Village Kalyana Drst Rohtak – India, Died 05 – 04
– 1994 at Karachi) Haji Maqbool Ahmed Sabari (Born 1938 at Kalyana, Died 21 – 09 – 2011
at Derbin – South Africa) Representative of Gawalior, both the brothers are ranked as
legend of our world of Qawali, at the time of partition of the Subcontinent, their family
opted for Pakistan and settled in Karachi and the worthy duo came under the discipleship of
Ustad Latafat Hussain Khan Rampurwaley who traind them well to sing out all the Qawali
forms with equal ease and complete command. Haji Ghulam Fareed and Maqbool Sabari are
the first to introduce Qawali to the people of United States of America in February 1973
Contents of LP
Long Playing Disc No. LPD – 5009 – 2 / VLT
(Format 331/2 RPM) (EMCPM – 5009)
Title
Contents
Side “A”
1- Khabaram Rassed Imshab
(Iqbal Bano)
2- Bishaguft Gul Dar Bositan
(Ghulam Ali)
3- Har Shab Manam Fitada
(Ijaz Hussain Hazravi)
4- Mara Dosh Goee
(Mehdi Hassan)
1234-
Side “B”
Jan Ze Tan Burdi
(Ghulam Ali)
Abar Mi Barad
(Iqbal Bano)
Ai Chehra – e – Zebaye Too
Ijaz Hussain Hazarvi)
Man Banda – e – Aan Ruye
(Mehdi Hassan)

Catalogue Of Musical Renditions - Pakistan National Council of the

Transcription

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