The 'NFAK' appreciation thread

[Supporter of Pak legends]

I'm sincerely sure that many other posters are much more aware of Nusrat Fateh Ali Khan's stature and ability than I am, but I thought it would be necessary to create a thread to appreciate the legend.

 

[coca-cola]

That's a good one.

My two favorite artists:

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Also "Tum ek ghorak dhanda ho" - grew up listening to that.

 

[kingusama92]

Legend.

 

[The Dark Corner]

What a legacy this man has left behind.

He was a true master.

 

[Haroon786]

The GOAT of Qawalis.

 

[Red Devil]

A true Legend.

My All time Favorite.

 

[akheR]

Find the lyrics in that one particularly powerful, prototypical example of uncorrupted, pure, raw, elevating and virile Indo-European spirituality

<iframe width="420" height="315" src="//www.youtube.com/embed/alMEZfaAYq4" frameborder="0" allowfullscreen></iframe>

Sometimes I looked for you here, and some times there
To have your sight I’ve been ruined and I’ve everywhere
The dear ones vanished, but No one got a lead to you

You are not, yet you are at every place,
You are a puzzle

With what splendour you can be seen in every speck
But the mind is puzzled what you look like and what you are
You are a puzzle

I looked for you in the houses of worship, but couldn’t find you
Yet I found you residing in my heart,
You are a puzzle

I couldn’t find you anywhere
But the spectacle is that You are there, where we are
You are a puzzle

If there is none but you
Then I cannot understand why veil Yourself
You are a puzzle

You manifest-in the houses of worship
Your light is resplendent in these places
You are a puzzle

He who is lost in your love, He is rewarded
You could not be found either in a temple or Ka’bah
But you could be found in a broken heart
Sometimes you are hidden as non-existence and somewhere you appear as existence
If you are not then why deny?
Even the negation confirms your existence
The one I call my Existence who is that if not you?
If you didn’t come in my thoughts
Then how did I learn you are God?
You are a puzzle

What puzzles me is who and what are You
You’re an idol when You come by and if not then You are God
You are a puzzle

How did the one who entered wisdom could become Everlasting? How did one who comes into mind’s grasp become God
The philosopher doesn’t find God in an argument
He is trying to untangle the cord but cannot find the top
You tell all You are homeless
But surprisingly You dwell in a broken heart
You are a puzzle

If there is none but You 0 God,
Then what is all this commotion about?
You are a puzzle

You don’t hide, You don’t show Yourself
You show the manifestation but don’t show Yourself
You don’t remove the conflicts of the manner of worship
You don’t reveal the exact things
I’m surprised how You accommodated in my heart?
When the two worlds are not enough for You
You are in the houses of worship
You are faithless for not showing Your countenance
You are a puzzle

The puzzle taken strange possession of my heart
A confused picture it’s drawn within it
I do not understand what all this puzzle is
What is this game You’ve been playing since the beginning of time
You made the soul the prisoner of the body’s cage and then put the guard of death on it
You make the bird of contrivance fly ‘ yet you’ve spread the net of fate everywhere
For years you adorned the world and hereafter yet you have also made the plan of destruction
Though you claim to be homeless
Yet you preached about home, kith and kin
This is bad, this good, this is hell, this is heaven
Please tell me what is in this perplexity?
For Adam’s crime you punish his children
Is that the standard of your justice?
By giving the earthly vicegerency to the man,
You have made it into a spectacle
For Your own recognition you created all
But you hide yourself from all
You are a puzzle

You draw and erase yourself
I don’t know which crime of desire you punish us
Sometimes you’ll turn a pebble into a diamond
Other times you’ll turn a diamond into dust
The one who revived many dead
You made him to adorn the crucifix
The one that longed to have your sight on the Mount Sinai
You reduced the Mount to ashes with the Lightning of your Manifestation
You wished Abraham to be thrown into Nimrud’s Fire
Then you turned that fire into flowers yourself
Sometimes you throw a Canaanite into the well of Canaanites
And then deprive Jacob of his sight
You make Joseph to be put into the slave-mart of Egypt
And then you also make him the king of Egypt
When someone reaches to the destination of higher spirituality
You make him to voice: I’m the Truth
Then allow the verdicts of infidelity against Him
You send yourself Mansoor to the crucifix
One day he too loses his life
Whom You make to see Your sight
If a Ranjha goes in Your quest
You make him in the charity of Jhang
If some Majnun goes in Your quest
You make him a beloved of some Laila
If Your love awakens in Sassi’s heart
You scorch her in a burning desert
If Sohni imagined you as her Mahinval
You drowned her into the ragging currents
You do as You wish by summoning to the Heaven
And in a single night You can make the Prophet’s Accession to Heaven
You are a puzzle

You’re Your Veil
You are a puzzle

I accept what I say You mind it a little
But still I’ve a little complaint to make
You sat quiet on your Throne and watched Muhammad’s grandson the scorching desert of Karbala
How he was giving his blood for Your Love though he was thirsty for three days
His enemies were after all enemies, but it’s sad even you didn’t provide him with a little Water
Every favour of oppression is the inheritance of the oppressor
But the oppressed is neither consoled nor comforted
Yesterday he who had a crown on his head
Today I see him with a begging bowl
What is this? If I ask, your answer is
That no one can get acquainted with this secret
You are a puzzle

You are a world of astonishment
You are a puzzle

You are Omnipresent but I do not know where
I have heard your name but I do not know your location
You are a puzzle

Once the heart’s wish is fulfilled it glows
And when eyes are gratified they are filled With tears
When a person is lost in spiritual love
He is elevated and becomes like Bahu the poet
No one comes to harm under a dagger
But the arrow in an infant’s throat becomes the scale of justice
You are a puzzle

How carefree you are.
A long story you are
You are a puzzle

Inquiring about you cause confusion at Every step
I see discord between the circumstances and Ideas
I become a picture of distress
Whenever I see in the mirror of the world
I see so many contradictions in a single eye
I see one place divided into so many parts
Somewhere I see the autumnal smoke of hardship and somewhere I see the monsoon showers of blessing
Here I see hissing rivers and there silent Mountains
Here I see a forest, there I see a desert and somewhere else I see a garden
This style of division writhes me
I see some rich and some poor here
In Day's share, I see only one sun shinning
While the night is bedecked with millions of stars
Here I see the withered flowers of truth
There I see the thorns of lies abloom
Somewhere I see Shamas skinned alive
Somewhere I see Sarmad’s head severed
What is night? What is morning?
What is light? What is darkness?
After all I’m also your deputy, why You say "what is yours?"
You are a puzzle

What would a person see of you?
You are veiled in every way
You are a puzzle

These mosques, temples and taverns
Some believe in this and some believe in that
All are your abodes dear,
Some believe in this and some believe in that
We are convinced of your Oneness
Someone leans towards negation
But You know the truth
Someone believes in this and someone believes in that
One includes him with the creation
The other stays aloof from all
Both are Your devotees
Some believe in this and some believe in that
If all are the devotees of your name
Then why the conflict of your names?
You are a puzzle

You are in every house of worship
You are in both the worlds wherever one is
You are there for him
In everywhere You are Unique
You are a puzzle

You are the centre of our quest, the world of colour and scent
You manifest all the time, You are Omnipresent
In Bahu’s surrounds there is only You
You are the beloved, very Handsome
You are the Glory and Honour of the Heavens
You are the gain of longings of the two worlds
You gave eyes and makes us perform ablution with the tears
Now give us a flask of your manifestation
Come out of the veil before me
For a short meeting and a conversation
Naaz will tell his beads place to place, street to street
Allah is one, He has no partner
Allahu, Allahu, Allahu

 

[Haroon786]

I may be completely wrong here, but is that not blasphemous ?

 

[Ims1]

I may be completely wrong here, but is that not blasphemous ?

yaar ab lets not turn this in to a halal/haram debate thread .

suppo bro ,fantastic lyrics : Tumhein Dillagi Bhool Jani Paray Gi.....
Mohabbat Ki Raahon Mein Aa Kar To Dekho.....
Tarapnay Pay Mere Na Phir Tum Haso Gei ....
Kabhi Dil Kisi Say Laga Ker To Dekho

 

[Haroon786]

I genuinely want to know.

 

[Ims1]

I genuinely want to know.

any particular portion which you think is bordering on blasphemy ?

 

[DeadlyVenom]

I may be completely wrong here, but is that not blasphemous ?

Its highly metaphorical as most sufi poetry is, conveying an awe for Gods majesty that most people find blasphemous as they try to box God into a strict framework.

Its a masterpiece. Pure love and devotion.

The first time I heard these verses it sent shivers down my spine.

These mosques, temples and taverns
Some believe in this and some believe in that
All are your abodes dear,
Some believe in this and some believe in that
We are convinced of your Oneness
Someone leans towards negation
But You know the truth
Someone believes in this and someone believes in that
One includes him with the creation
The other stays aloof from all
Both are Your devotees
Some believe in this and some believe in that
If all are the devotees of your name
Then why the conflict of your names?
You are a puzzle

 

[Haroon786]

any particular portion which you think is bordering on blasphemy ?

The overall theme of the poem.

 

[Haroon786]

Its highly metaphorical as most sufi poetry is, conveying an awe for Gods majesty that most people find blasphemous as they try to box God into a strict framework.

Its a masterpiece. Pure love and devotion.

The first time I heard these verses it sent shivers down my spine.

These mosques, temples and taverns
Some believe in this and some believe in that
All are your abodes dear,
Some believe in this and some believe in that
We are convinced of your Oneness
Someone leans towards negation
But You know the truth
Someone believes in this and someone believes in that
One includes him with the creation
The other stays aloof from all
Both are Your devotees
Some believe in this and some believe in that
If all are the devotees of your name
Then why the conflict of your names?
You are a puzzle

Perhaps I'm taking it too literally than.

 

[Ims1]

Haroon, if Ghalib was alive today & living in a intolerant society ,he would have been hounded to death btw

 

[DeadlyVenom]

Hounded to death by who exactly?

 

[Ims1]

Hounded to death by who exactly?

people who hold extremist view of what a Muslim should be like .

 

[DeadlyVenom]

people who hold extremist view of what a Muslim should be like .

The spiritual founder of Pakistan Allama Iqbal has penned couplets very similar to what Akher posted in fact even taking on the role of God in his poems and addressing the Muslims and his photograph is adorned on money,buildings and schools.

Countless Qawalis with metaphorical meaning ( mein sharabi) and 'romantic' poetry about the Prophet (saw) and Allah blast out of concert halls and cars daily. Abida Parvin sang about Mansoor ul Haraj and sings the poems of Bulleh Shah to mass acclaim.

People congregate on shrines and pay their respect to the dead saints going against traditional Islamic orthodoxy almost daily.

Junoon released an album of Islamic spirituality and it was a massive hit. NFAK and countless others chant the name of Ali ( Ali ka pehla number etc etc)

Nobody hounds them to death.

 

[akheR]

I may be completely wrong here, but is that not blasphemous ?

For Sufis who have attained a high spiritual station "words" don't have an effective reality and don't mean much - in fact, for them, to "reduce" God's infinite potentialities with mere vocabulary is actually "shirk", because you "add" to God's essence additive qualities ("Almighty", ...) which are human intellectual constructions.

It's of course not limited to Sufis, you can find such theories in all genuine religious traditions. In Hinduism there's the concept of Brahman in the Advaita Vedanta darshana or, later, Christian mystics like Meister Eckhart wrote heavily on that subject, on how language delimits God's "godliness" by default.
From China, that's how the Tao Te Ching begins

The tao that can be described
is not the eternal Tao.
The name that can be spoken
is not the eternal Name.

In the poem, author (Naz Khialvi of Faisalabad, who passed away in 2010) makes reference to Mansur al Hallaj, the Persian mystic who was executed for uttering the words "Ana al Haqq", "I am the Truth" (Haqq being a name of Allah). The legal scholars who are only able to judge the zaheer (external aspect) found these words "blasphemous". But Mansur al Hallaj was a genuine Sufi of rare pedigree. In his mind, after reaching a state of such self-knowledge, to say "Ana al Haqq" didn't mean that it was a pretentious claim over divinity ; in fact, it's the exact opposite. It was the humblest request for a modesty on ontological level, that "I'm nothing and Allah is all ; when the drop falls into the ocean, it becomes the ocean and can't continue to identify as a drop" and, in the same way, Mansur al Hallaj sought the union of his self with the Absolute Reality (Allah) to the the extent that his existence became nominal and death - which he wished for, and the Sufi master of "orthodox school" Junaid of Baghdad didn't deny him - became a mere formality.

The spiritual founder of Pakistan Allama Iqbal has penned couplets very similar to what Akher posted in fact even taking on the role of God in his poems and addressing the Muslims and his photograph is adorned on money,buildings and schools.

Countless Qawalis with metaphorical meaning ( mein sharabi) and 'romantic' poetry about the Prophet (saw) and Allah blast out of concert halls and cars daily. Abida Parvin sang about Mansoor ul Haraj and sings the poems of Bulleh Shah to mass acclaim.

People congregate on shrines and pay their respect to the dead saints going against traditional Islamic orthodoxy almost daily.

Junoon released an album of Islamic spirituality and it was a massive hit. NFAK and countless others chant the name of Ali ( Ali ka pehla number etc etc)

Nobody hounds them to death.

He's from India, where the Islamic population professes a lethargic and sclerosed form of Islam, which also plagued our own traditions since the Afghan "jihad" (Gangetic Barelvi/Deobandi ideology taking on the Indus Sufism of Pakistan. Brahmins of Ganges already corrupted Vedic teachings.)
He doesn't know about the dynamic Sufi tradition of Sindh and Punjab (and, to some extent, KPK and Balochistan.)
Pakistan is probably the most Sufi-influenced region of the 'ummah, with Iran as the only respectable competition, but whereas Omar Khayyam who wrote Sufi poetry with symbolic meanings didn't reach the Iranian masses because of its "audacity", in Pakistan some poets have written such "heterodox" verses that it would make the mathematician of Nishapur looks like a maulana (Sachal Sarmast of Sindh is particularly notable in that exercise, and yet he has beautiful mausoleum and still regarded as one of the pillars of Sindhi poetry.)

 

[Pakz]

I'm sincerely sure that many other posters are much more aware of Nusrat Fateh Ali Khan's stature and ability than I am, but I thought it would be necessary to create a thread to appreciate the legend.

What made you interested in quwalis, is it because you want to match your writing style and old and boring

Or have for relaxation? Junoons songs are also good, if you find quwalis boring. I think there is another thread on that.

 

[Haroon786]

For Sufis who have attained a high spiritual station "words" don't have an effective reality and don't mean much - in fact, for them, to "reduce" God's infinite potentialities with mere vocabulary is actually "shirk", because you "add" to God's essence additive qualities ("Almighty", ...) which are human intellectual constructions.

It's of course not limited to Sufis, you can find such theories in all genuine religious traditions. In Hinduism there's the concept of Brahman in the Advaita Vedanta darshana or, later, Christian mystics like Meister Eckhart wrote heavily on that subject, on how language delimits God's "godliness" by default.
From China, that's how the Tao Te Ching begins



In the poem, author (Naz Khialvi of Faisalabad, who passed away in 2010) makes reference to Mansur al Hallaj, the Persian mystic who was executed for uttering the words "Ana al Haqq", "I am the Truth" (Haqq being a name of Allah). The legal scholars who are only able to judge the zaheer (external aspect) found these words "blasphemous". But Mansur al Hallaj was a genuine Sufi of rare pedigree. In his mind, after reaching a state of such self-knowledge, to say "Ana al Haqq" didn't mean that it was a pretentious claim over divinity ; in fact, it's the exact opposite. It was the humblest request for a modesty on ontological level, that "I'm nothing and Allah is all ; when the drop falls into the ocean, it becomes the ocean and can't continue to identify as a drop" and, in the same way, Mansur al Hallaj sought the union of his self with the Absolute Reality (Allah) to the the extent that his existence became nominal and death - which he wished for, and the Sufi master of "orthodox school" Junaid of Baghdad didn't deny him - became a mere formality.



He's from India, where the Islamic population professes a lethargic and sclerosed form of Islam, which also plagued our own traditions since the Afghan "jihad" (Gangetic Barelvi/Deobandi ideology taking on the Indus Sufism of Pakistan. Brahmins of Ganges already corrupted Vedic teachings.)
He doesn't know about the dynamic Sufi tradition of Sindh and Punjab (and, to some extent, KPK and Balochistan.)
Pakistan is probably the most Sufi-influenced region of the 'ummah, with Iran as the only respectable competition, but whereas Omar Khayyam who wrote Sufi poetry with symbolic meanings didn't reach the Iranian masses because of its "audacity", in Pakistan some poets have written such "heterodox" verses that it would make the mathematician of Nishapur looks like a maulana (Sachal Sarmast of Sindh is particularly notable in that exercise, and yet he has beautiful mausoleum and still regarded as one of the pillars of Sindhi poetry.)

Thanks for answering my query, but yet again you make me seem like a first grader.

 

[miandadrules]

The spiritual founder of Pakistan Allama Iqbal has penned couplets very similar to what Akher posted in fact even taking on the role of God in his poems and addressing the Muslims and his photograph is adorned on money,buildings and schools.

Countless Qawalis with metaphorical meaning ( mein sharabi) and 'romantic' poetry about the Prophet (saw) and Allah blast out of concert halls and cars daily. Abida Parvin sang about Mansoor ul Haraj and sings the poems of Bulleh Shah to mass acclaim.

People congregate on shrines and pay their respect to the dead saints going against traditional Islamic orthodoxy almost daily.

Junoon released an album of Islamic spirituality and it was a massive hit. NFAK and countless others chant the name of Ali ( Ali ka pehla number etc etc)

Nobody hounds them to death.

Shikwa and Jawab-e-Shikwa are two powerful poems, especially if you read them in the context of colonial rule over muslim lands.

 

[Ims1]

emphasis on words ...not meaning . Forget our friend Akher ,he is in love with his bookish knowledge

 

[akheR]

Jeff Buckey "appreciating" (understatement) NFAK

The first time I heard the voice of Nusrat Fateh Ali Khan was in Harlem, 1990. My roommate and I stood there, blasting it in his room. We were all awash in the thick undulating tide of dark punjabi tabla rhythyms, spiked with synchronized handclaps booming from above and below in hard, perfect time.

I heard the clarion call of harmoniums dancing the antique melody around like giant, singing wooden spiders. Then all of a sudden, the rising of one, then ten voices hovering over the tonic like a flock of geese ascending into formation across the sky.

Then came the voice of Nusrat Fateh Ali Khan. Part Buddha, part demon, part mad angel...his voice is velvet fire, simply incomparable. Nusrat's blending of classical improvisations to the art of Qawwali, combined with his out and out daredevil style and his sensitivity, outs him in a category all his own, above all others in his field.

His every enunciation went straight into me. I knew not one word of Urdu, and somehow it still hooked me into the story that he weaved with his wordless voice. I remember my senses fully froze in order to feel melody after melody crash upon each other in waves of improvisation; with each line being repeated by the men in the chorus, restated again by the main soloists, and then Nusrat setting the whole bloody thing alflame with his rapid-fire scatting, turning classical Indian Solfeggio (Sa, Re, Gha, Ma, Pa, Dha, Ni) into a chaotic/manic birdsong. The phrase burst into a climax somewhere, with Nusrat's upper register painting a melody that made my heart long to fly. The piece went on for fifteen minutes. I ate my heart out. My roommate just looked at me knowingly, muttering, "Nusrat...Fa-teh...A-li...Khaaan," like he had just scored the wine of the century. I felt a rush of adrenaline in my chest, like I was on the edge of a cliff, wondering when I would jump and how well the ocean would catch me: two questions that would never be answered until I experienced the first leap.

That is the sensation and the character of Qawwali music, the music of the Sufis, as best I can describe it.

Interpreting "Yeh Jo Halka Halka Suroor Hai"

<iframe width="420" height="315" src="//www.youtube.com/embed/BRlHb2gQNgI" frameborder="0" allowfullscreen></iframe>

 

[Pakz]

^ Is there a translation of that qawali or whatever you would call it? I listed to and all that you can do is... Just wanted to know the meaning as I didn't know what some parts (actually most parts) were referring to and whether literal or not. However the whole rhythm etc.

 

[endymion248]

http://www.youtube.com/watch?v=xiretALpP5M


One of the most beautiful poems of all times interpreted by one of the most melodious voices of all times.

 

[akheR]

^ Is there a translation of that qawali or whatever you would call it? I listed to and all that you can do is... Just wanted to know the meaning as I didn't know what some parts (actually most parts) were referring to and whether literal or not. However the whole rhythm etc.

Found this, with the lyrics it becomes so powerful

Dancing to every look of the wine-giver, I drank
Playing with the waves, I drank
O Lord, forgive my sins
That I was afraid, but still with great pleasure, I drank
That I would drink without prerogative, when did I have such courage?
With the acquiescence of my lover’s veiled eyes, I drank

Close to me, far from me
Someone surely lives in my heart
Since I have seen her eyes
This mild inebriation remains with me

She lives in my heart
Like light lives in darkness
Now is the state of this man that all the time
I remain enraptured, broken

This mild intoxication
It is the fault of your gaze
That you have taught me how to drink
With my desire, my longing for you

Your flirtatious looks
Have made me a lover of wine

What a drink, what a high
These are all your gifts
How you have made me elated with your looks
That I am not even aware of myself

Your flirtatious looks
Have made me a lover of wine

The whole world is exhilarated
Day, night, morning and evening
The heart is intoxicated, so is the mirror, the glass and even the wine itself
Your captivating eyes have made everything delirious

Every kind of wine resides in your cellar
And then there is that look in those eyes as well
I understand your cleverness well
It is the fault of your gaze, but the blame is put on the wine

Your flirtatious looks
Have made me a lover of wine

To love you is my life
To love you is my bondage
To love you is my life,
To love you is my life

Not prayer nor ablution do I know
I prostrate when before me you come

My life is only my love for you

I am a true lover
With no fear of the hereafter
Now that my head has found your mat
No need have I to search for heaven
My bondage is to that spot
Which is tied to no sacred place
My taking one look at you
By God is equal to prayer

My life is only my love for you
My life is only my love for you

To take your name,
To bow down before you
My ardor tells me,
To make you my God
With your name on my lips,
I remember you every where
The world will forget me,
If I forget you
In my heart reside,
Your many glories
That candle which has not your light,
Will be put out by me

When I asked how rain happens
From her forehead, she dripped a few beads of sweat
When I asked how lightening falls
She met my eyes, and then lowered her lids
When I asked how night and day come together
She moved the hair away from her face
When I asked about the magic in music
She whispered a few things sweetly
Of my own desires when I inquired
Quickly, she snuffed some candles
And I was left saying, what a punishment for the sin of loving

After inhabiting my heart’s world, you destroyed it
Who will you torment after me?
How will you obliterate me?
Where will you direct your arrows?

Thank my friendship
Raise your hands and bless me
That I have made you a murderer

Look at me, desire of my life’s life
That I am that same man

When did you ever have such self-awareness
Don’t argue with me like this
In fact, be grateful
That I was the one who taught how you to speak

This mild intoxication
It is the fault of your gaze
That you have taught me how to drink

 

[Mamoon]

Amazingly awesome.

 

[Pakz]

Found this, with the lyrics it becomes so powerful

Thanks. I had only heard a few Qawwalis by NFAK and didn't really find the one in the opening post that good (as was described by OP, ), however listening to that one and the lyrics was very good. The only question I had was the bit when it refers to 'she', who is that referring to? Is it supposed to be praise? Although I get the gist of it. (well, think I do)

There are other good ones, seems like I was wrong to say qawwalis were boring

 

[Supporter of Pak legends]

What made you interested in quwalis, is it because you want to match your writing style and old and boring

Or have for relaxation? Junoons songs are also good, if you find quwalis boring. I think there is another thread on that.

First of all, Qawwali isn't boring or monotonous at all.

It transcends religion, race or caste - and its scope isn't limited to Muslims only - and even though I don't understand Nusrat's words (because I am incredibly bad at speaking Urdu/Punjabi), I have to state it is definitely one of the most beautiful and heart-warming types of "music" I have ever heard. Even for someone like me who doesn't actually understand the lyrics, I can attest to this level of spiritual devotion that people have stated Qawwalis allow you to attain.

For example, take a look at Nusrat performing at a Gurdwara in Slough way back in 1989:

[UTUBE]d3JPGm6khlQ[/UTUBE]​

 

[Supporter of Pak legends]

Just thought I'd make an addition to this thread with these two remixes, providing Nusrat's qawwalis with a modern touch:

http://www.youtube.com/watch?v=pw1SbslHsOU

http://www.youtube.com/watch?v=lRX14ORGhy0

There are also some very special ones that I will post later.

 

[Pakz]

First of all, Qawwali isn't boring or monotonous at all.

It transcends religion, race or caste - and its scope isn't limited to Muslims only - and even though I don't understand Nusrat's words (because I am incredibly bad at speaking Urdu/Punjabi), I have to state it is definitely one of the most beautiful and heart-warming types of "music" I have ever heard. Even for someone like me who doesn't actually understand the lyrics, I can attest to this level of spiritual devotion that people have stated Qawwalis allow you to attain.

It was a sarcastic comment. I think that understanding the lyrics gives it more meaning, than just listening to it as described before in this thread.

Just thought I'd make an addition to this thread with these two remixes, providing Nusrat's qawwalis with a modern touch

But doesn't it take the original meaning away?

 

[Crazy_K]

A real trend-setter. His style was later adopted by Biggie Smalls*

* The above statement is probably a lie

 

[DeadlyVenom]

@SOPL - I went to a gurdwara for a look around and they had Nusrat Cd's.

 

[Supporter of Pak legends]

Two of the main aspects of Nusrat's productions that I love is the amazing clarity in all of his performances and the gradual build-up into the Qawwali.

From the troupe's percussionist Dildar Hussain to Nusrat's own brother Farrukh Fateh Ali Khan, and of course Nusrat himself, the touring Qawwali party was blessed with so much unbelievable talent. From what I've heard of his music, all of his productions - whether live or recorded - don't seem to be uncoordinated or not euphonious. Put simply, there were no conspicuous weak links in Nusrat's group.

For example, take a look at the following Qawwali performed at the Nelson Mandela concert in 1993 in Birmingham (this aforementioned quality is undeniably brilliant):

[UTUBE]M2K_2MQij9Q[/UTUBE]​

And now compare it to a performance from Rahat Fateh Ali Khan, Nusrat's own nephew:

[UTUBE]HANAMH0K8YM[/UTUBE]​

I think it is perfectly clear of the absolutely huge disparity which exists between the two.

Furthermore, take a look at the Qawwali Main Sharabi by Aziz Mian who is held in high regard by some:

http://www.youtube.com/watch?v=H8mANIcmi80

Obviously I have some bias as a colossal Nusrat fan, but to me this guy isn't a patch on Nusrat and instead his Qawwali sounds simply like a random cacophony of ear-aching sounds.

Ultimately though, the key feature which separates Nusrat from all of these other artists is how he managed to maintain such a substantial amount of passion of exuberance in his Qawwalis and yet ensured his Qawwalis were heart-warming and smooth - unlike the atrociously-sounding Main Sharabi.

 

[Supporter of Pak legends]

But doesn't it take the original meaning away?

It may do sometimes but to be honest, the two that I posted are actually improvements on the original tracks.

They provide a modern touch.

 

[Pakz]

It may do sometimes but to be honest, the two that I posted are actually improvements on the original tracks.

They provide a modern touch.

Sometimes I think it takes away the meaning of the lyrics which as posted in this thread before by other posters have deep meaning to it. I agree with the post above as well with the comparison, although those who have watched it live and when they were produced, might have a differing opinion.

PS: That last video, what was that?

 

[blinding light]

http://www.youtube.com/watch?v=KXDGri8MXBs

Not exactly a qawwali, but I honestly believe only NFAK could pull this off.. Brings me to tears!

 

[Supporter of Pak legends]

I'll post this video alone for the time being:

http://www.youtube.com/watch?v=vI4GXh6SNXI

And I think I should also share a magnificently beautiful rarity:

http://www.youtube.com/watch?v=IRSw3dE9w_o

I'll begin to discuss lyrics and the meanings of the Qawwalis at a later date. For now though, simply revel in the euphonious nature of these Qawwalis.

P.S: I think the kid dancing at the beginning of the performance of Akhiyan Udeek Diyan is TalhaSyed.

 

[Supporter of Pak legends]

Although I'm only 16 years of age, I'm a colossal fan of NFAK. Despite not understanding most/all of his lyrics - due to my deficiencies in speaking Urdu or any Pakistani dialect (having spoke English for the majority of my life) - and thus not fully being able to appreciate the true meaning of his words (and subsequently the poetry of Iqbal, Ghalib etc), I'm immersed in his music. That said however, I hope to eventually become proficient in speaking Urdu - possibly during this year's summer holidays.

When the world is blessed with such inferior music nowadays, who wouldn't expect this to be the case? Nusrat Fateh Ali Khan's voice alone is one of the most beautiful sounds ever transmitted and his Qawwalis are undoubtedly the most euphonious existence upon this planet. Even I will testify to this extreme level of spirituality and closeness to the Almighty Allah that Sufis have claimed Qawwalis allow them to attain.

Nusrat's Qawwalis transcended all notions of religion, race and caste - evident with his performances in front of non-Muslims (i.e his concert at Slough Gurdwara in 1989). In my opinion, he was and will forever be unparalleled in the Qawwali - or for that matter any music - genre, either by members of his own family (he allegedly came from a family with a tradition of Qawwali productions spanning over 600 years) or non-related Qawwali players. For this, one needn't look past Rahat Fateh Ali Khan and Miandad Khan, respectively his nephew and cousin, who are good but nowhere near the calibre of Nusrat.

Along with this approbation is an impressive performance from Nusrat Fateh Ali Khan:

[UTUBE]yuUaVc-Vqyw[/UTUBE]​

 

[Supporter of Pak legends]

The wonderful thing about Nusrat's Qawwalis is that spectacular ones can be discovered every single day. In fact, I'd even be inclined to state that some of his rarest Qawwalis are arguably his most brilliant ones too. The further one delves into the unknowns of Qawwali, the more magnificent the productions seem to become.

For example, look at the two Qawwalis located below (which I think haven't received much adulation as of yet):

[UTUBE]IRSw3dE9w_o[/UTUBE]

[UTUBE]2lUCGmNoj5M[/UTUBE]​

 

[Supporter of Pak legends]

I'd like to ask to any of the posters present in this thread: have you ever attended any of Nusrat's live performances?

If so, what was the experience like?

 

[Supporter of Pak legends]

The following Qawwali is truly a beautiful one, both in acoustic value and in the lyrical, poetic sense too (at least I think that would probably be the case):

[UTUBE]zPXYi6axdQc[/UTUBE]​

Admittedly though, this is but merely one of the instances where my complete lack of ability in understanding/even conversing in Urdu places me at a great disadvantage. This is because whilst I still love listening to the Qawwali regardless of whether I can truly understand its full meaning, the fact that I can't understand Urdu means I can never fully appreciate its lyrical value and contextual significance - especially the more depressing given English translations of such Qawwalis isn't available.

 

[Supporter of Pak legends]

Sometimes I think it takes away the meaning of the lyrics which as posted in this thread before by other posters have deep meaning to it.

Although that is probably true for the majority of occasions, it can sometimes just be the case that editing a Qawwali/Ghazal to incorporate a modern touch will actually only help to improve its quality and euphonious nature.

Simply take a look at the original Fasl-E-Gul Hai Sharab Pilije available upon YouTube and compare it to the remix. Admittedly, some of its contextual significance may have been lost in translation but the core of the Qawwali is still retained whilst its "beat" has been improved.

Whereas Wich Pardesan - if I'm not mistaken - isn't even a remix of one of Nusrat's Qawwalis; it is actually a production by Dr Zeus into which he has inducted the melodious voice of Nusrat Fateh Ali Khan.

PS: That last video, what was that?

It was a Qawwali by Aziz Mian, who is held in high regard by some.

In fact, by posting that performance of Mein Sharabi I hadn't aimed to tarnish the reputation of Aziz Mian nor to propagate my opinion that NFAK was the greatest Qawwali artist of all time. Rather, it was simply to display how key coordination and euphonious worth, along with the meaning of the lyrics themselves, is in the Qawwali genre.

After all, if acoustics weren't important in judging the merit of Qawwali, then everybody would simply read the poems themselves, wouldn't they?

Personally, I believe Nusrat was undoubtedly the greatest ever proponent of the Qawwali genre of all-time (and in fact never to be matched).

The underlying notion in the previous paragraph corresponds to my belief that the beauty of Qawwali, similarly to rap music but even more salient in the Qawwali genre, is as much due to acoustic value as it is to contextual significance/meaning.

For all I know, Mein Sharabi may have some truly wonderful lyrics but because of the pure racket/cacophony of arbitrary, ear-aching background music (i.e the uncoordinated nature of the playing of the harmoniums) that the tune appears to be, it will never attain any recognition from me.

This assigning of priority to acoustics in Qawwali is especially important for me considering the deficient nature of my ability to understand/converse in Urdu or any other Pakistani dialects. Besides, even if I understood Urdu, I presume it would be terribly difficult to translate - never mind understand - such sophisticated poetry into English and thus because translations of Qawwalis are quite rare, I think I'll continue with my 50:50 ratio of placing emphasis upon acoustic worth/lyrical value.

 

[Supporter of Pak legends]

And before I depart for the day, I leave you with this invigorating collaboration:

[UTUBE]DQKxUHEmO3o[/UTUBE]​

Come on PPers, pitch in with some of your favourite Nusrat Qawwalis, any anecdotes you have regarding Nusrat etc. It seems like I'm the only one posting within this thread...

 

[Vegitto1]

[utube]UA0iAt7nqTY[/utube]

Great Qawwali - It really makes you think and relax

 

[Hasan]

Man Kunto Maula is a very famous qawali based on the events of Ghadir-e-Khum when the Prophet of Islam assembled all his companions and followers after his last Hajj. The Messenger of Allah said "Do I not have more right over the believers than what they have over themselves?" and the people cried and answered "Yes, O' Messenger of God." He than said "For whoever I am his Leader (mawla), 'Ali is his Leader (mawla) - "man kunto maula fahaza ali maula"

This qawali was composed by Amīr Khusro to great acclaim, so much so that it became a famous sufi tradition that all qawali gatherings always commenced with this qawali. NFAK also following this tradition and this must go down as one of his greatest qawalis. Enjoy......


http://www.youtube.com/watch?v=w_HmZF-tK3c

 

[Supporter of Pak legends]

I couldn't resist posting this following Qawwali - this masterpiece is far too good to delay its presence within this thread.

Thanks goes to the person upon another forum who mentioned this particularly haunting piece of music featuring NFAK and Eddie Vedder:

[UTUBE]l6w-tWPlH-E[/UTUBE]​

 

[Pakz]

Although that is probably true for the majority of occasions, it can sometimes just be the case that editing a Qawwali/Ghazal to incorporate a modern touch will actually only help to improve its quality and euphonious nature.

After all, if acoustics weren't important in judging the merit of Qawwali, then everybody would simply read the poems themselves, wouldn't they?

Personally, I believe Nusrat was undoubtedly the greatest ever proponent of the Qawwali genre of all-time (and in fact never to be matched).

The underlying notion in the previous paragraph corresponds to my belief that the beauty of Qawwali, similarly to rap music but even more salient in the Qawwali genre, is as much due to acoustic value as it is to contextual significance/meaning.

For all I know, Mein Sharabi may have some truly wonderful lyrics but because of the pure racket/cacophony of arbitrary, ear-aching background music (i.e the uncoordinated nature of the playing of the harmoniums) that the tune appears to be, it will never attain any recognition from me.

This assigning of priority to acoustics in Qawwali is especially important for me considering the deficient nature of my ability to understand/converse in Urdu or any other Pakistani dialects. Besides, even if I understood Urdu, I presume it would be terribly difficult to translate - never mind understand - such sophisticated poetry into English and thus because translations of Qawwalis are quite rare, I think I'll continue with my 50:50 ratio of placing emphasis upon acoustic worth/lyrical value.

That's a fair point, it's not just the meaning behind the lyrics, but the point I was making was the meaning might add to how you see the overall theme of the performance as you explained the build up ect in one of your posts.

I would add more to the reply, but don't know what to add, so you win this round

 

[MenInG]

The World Cup 1992 victory has been the most glorious cricketing moment for Pakistan and Nusrat Fateh Ali had a massive contribution in it. The Men in Green defeated a solid English side in the final to become the World Champions.

Youngsters like Wasim Akram, Inzamam Ul Haq, Aaqib Javed, Mushtaq Ahmed and Moin Khan emerged as heroes in the campaign. After having a shaky start in the tournament, the senior pro Javed Miandad and the skipper Imran Khan gave team the confidence that they can win the tournament.

There was another factor that boosted team’s confidence, it was the legend’s Nusrat Fateh Ali Khan’s qawwali ‘Allahu Allahu’ that boosted the troop’s morale. The track became the theme song of Pakistan cricket team during the campaign.

Cricketers including Imran Khan and Javed Miandad give credit of Pakistan’s triumphant win in World Cup 1992 to Nusrat Fateh Ali Khan as well.

“Nusrat Fateh Ali Khan has great contribution in our World Cup win,” Javed Miandad told during an interview. “We used to listen his qawwalis in our dressing room, in our bus, during practice sessions, it used to give us energy,” he said.

Before Pakistan flew to Australia in 1992 to participate in the World Cup, Nusrat Fateh Ali Khan recorded some qawwalis especially for the team.

“All players of Pakistan team liked my qawwalis,” Nusrat Fateh Ali Khan once told in an interview. “When they were in Australia, they had lost a number of matches, I asked Imran Bhai that you are losing matches, fans are not only cursing you but also cursing me that you are losing after listening to my qawwalis,” he added.

Imran Khan assured the legendary qawwal to not to worry, they will win the World Cup.

“He said ‘by the grace of God, we will win’, I told him I am praying for your victory,” the legend recalled.

Nusrat Fateh Ali Khan died on August 16, 1997. He is regarded as one of the best qawwals that the history has ever seen, he was a star all around the world.

https://arysports.tv/how-nusrat-fateh-ali-khan-helped-pakistan-win-world-cup-92/

 

[last_knight]

"Wohi Khuda Hay"

To realize how great was NFAK, listen to Atif Aslam version and then listen to NFAK version. Atif Aslam was brave enough to accept it. And it only tells us NFAK was a Devine Voice.

This trend of Remaking NFAK classics is awkward.

 

[Vegitto1]

If you didn’t appreciate NFAKs brilliance before you will after hearing Atif Aslam’s cover of Wohi Khuda hai and that re-hearing NFAKs version