Private Concert by the Queen: Farida Khanum

Before bidding farewell to Pakistan for the Christmas season I invite you to join me in a tremendous concert with the Queen of Ghazal Farida Khanum.

Up until the middle part of the last century Indian music, whether classical or tawwaif (courtesan), was performed mostly privately.  Wealthy, aristocratic or royal patrons sought out and employed the subcontinent’s greatest singers and musicians as necessary adornments of their glittering courts.  Musicians served these patrons loyally and the same family remained part of the wider court community for generations.

The advent of recorded music in the form of phonographs and more particularly the radio started to break this system down.  Musicians on the make or those who saw opportunities in the ‘market’ rather than in the court travelled the length and breadth of India to perform for public admission-paying audiences. After 1947 and the horrific upheaval created by the Partition of British India into two independent countries, the patron-performer system took a very serious beating.  Many, indeed, most of the most prominent musicians were Muslim. They migrated to Pakistan in great numbers.  At the same time, many of the richest patrons were Hindus and Sikhs. Those who lived in Lahore and the other centres of what became Pakistan moved to India. 

In the 1950s musicians found themselves orphaned while patrons bemoaned the loss of their talent.  The intimacy that had once nurtured Indian music was never fully restored.

But it didn’t completely die either.

In Pakistan, more than in India, the private mehfil (concert) continues to be a common and much loved way to enjoy music.  The patrons are no longer princes and nawabs but bureaucrats, dentists and retired generals. And the patronage is not long term or permanent but for a night or two.  Often weddings, homecomings and births are celebrated by a feast and an evening of music by one of the country’s biggest musical stars.  The audience may number no more than 50 or up to several hundred but they are there by invitation only and the atmosphere is always intimate and special.

Farida Khanum

Tonight’s selection, an old cassette I picked up when I first landed in Islamabad over 20 years ago, is a real gem. The Calcutta born Farida Khanum gives her small audience a performance that is electrifying on the Punjabi folk numbers  (Balle Balle, Mungawa de Jhumka) and exquisitely accomplished on some outstanding Urdu ghazals (Dono Jahan Tere, Gulon ki Baat Karo).  She opens with her signature Woh Ishq jo Ham se Rooth Gaya and moves quickly into a rousing Punjabi folk rocker with some out of this world drumming. If you’re blood doesn’t run faster in this one, please call your doctor immediately. 

The fact that you can hear tea cups clinking against saucers and some dinner conversation in the background makes this tape one of my favorite Live performances of all time. 

Lovely music.

            Track Listing:

            01 Voh Ishq Jo Hum Se

02 Mangwa de Jhumka

03 Voh Mujhse Huwe

04 Tere Bajray Di

05 Balle Balle

06 Dono Jahan Tere

07 Gulon Ki Baat Karo

08 Yad-E-Gizal Chashma

09 Nachunni Lay

Listen here.

            

Chambe di Booti: Deep Soul from the Indus Valley (Link Now Available)

Multan sufi shrine

O' Bulleh Shah let's go there

Where everyone is blind

Where no one recognizes our caste (or race, or family name)

And where no one believes in us

The country we now call Pakistan is ancient and heavy with history. Like Aboriginal Australia the very earth seems to be burdened with a weighty spirituality.  Yes, burdened is the right word because a burden is a nuisance and what could be a bigger nuisance and irritation in modern Pakistan than true matters of the spirit? 

I recall once upon a time taking a road trip with a wagon full of friends through southern Punjab, the land that gave birth and sustenance and inspiration to one of the world’s most esteemed mystical poets, Baba Bulleh Shah.  It was getting near to sundown. We’d been travelling all day and were tired and a bit cranky.  Someone suggested we stop and take a dip in a slow moving wide river that slithered like a grey serpent into the darkness.  The evening seemed to grow suddenly silent. A flock of birds swept in dense formation above our heads. The sky was pale and slightly purple.  The water was strong and warm. You knew it could very easily sweep you away, draw you under and deal you some serious harm.  But it also gripped you like a reassuring father. I felt safe and calm there.

We splashed and swam around for some time and then got back in the wagon and headed off into the night.  Nothing remarkable. But in memory that swim that capped a long day which had begun in the holy ruins of Uch Sharif was like a baptism.  I remember feeling refreshed in more than a physical way.  And the sky seemed to sigh and encompass everything that could possibly be questioned. There was an aura, a rooh that hung in the trees and the cooling sky and especially the waves of the river.

A river runs through it.  This about sums up Sindh, the land of the Indus, the ancient Harappa, the old Hindustan, the modern Pakistan. It is a land etched like an old person’s veined hand with holy and mighty rivers. And on the banks of those many rivers have over the centuries sat and danced poets and musicians made restless by the Spirits.  The Indus Valley is spiritual zone richer than most others in the world.

If you doubt this simply listen to the music. It is music that catches the ear of 8 year olds and old folks equally.  It cuts directly to the heart and springs straight from the ruins and the deserts and the muddy river banks of this sad knowing land. It is deep soul music.

Tonight’s post scrapes the surface of that soulful landscape. Folk songs of parting lovers, joyous qawwali, Baba’s poetry, gypsy tunes, truck driver favorites, calls to prayer and devotional hymns are on offer in this collection. Thanks to new friends Dr Ashfaq Khan sahib and Dewaani for sharing some of their own treasures with the Washerman’s Dog for tonight’s offering.

            Track Listing:

           

 01 Allah Allah Karya Karo (Tahira Syed)

02 Shah Ranjha Albeila (Mohammad Jumman)

03 Ya Qurban Bailtoon Da (Kheyal Mohammad)

04 Rangi Rang (Musafir)

05 Oh Kesario Hazari Gul Ro Phool (Daoud Langa)

06 Taaran Pounda (Allan Faqir)

07 Sikandar Mein (Mai Bhaggi)

08 Mera Ranjhan Hun Koi (Pathana Khan)

09 Isa Khel Door te Nahin (Attaulah Khan Niazi)

10 Chambe Di Booti (Arif Lohar)

11 Ghar aae ni mera (Surraiya Multanikar)

12 Unki jataan pind khech jo (Manzoor Ali Khan)

13 Raba Mere Haal Da (Abida Parveen)

14 Charka Mera O Rangia (Hamid Ali Bela)

15 Kaput Ko Ko Kono Baya (Faiz Mohammad Baloch)

16 Ja Ve Vichhoria (Reshma)

17 Subhanallah (Mohammad Ibrahim)

18 Laakh jatan kar haari (Ali Baksh Zahoor)

19 Wich rohi de rehndian nazak nazak jattia'n (Taj Multani)

20 Sohnia we ik badli(Mohammad Tufail Niazi)

21 Ek Kudhi Jeda Naam Mohabat (K Deep)

22 Kaman Garo Kanhaji (Ghazi Khan Maghaniyar)

23 Sahib Teri Bandi (Nusrat Fateh Ali Khan)

24 Azaan (Murjan Ismail Sidi)

Listen here

Forgotten Singers of Sindh: Master Muhammad Ibrahim

Sindhi man with traditional 'topi'

Tonight I post the second in this series of ‘forgotten’ heroes of Sindhi music.  Master Muhammad Ibrahim is in the spotlight tonight and I must say it is a dim spotlight indeed. I know absolutely nothing about this artist except that his name figures in several lists of Sindhi artists on the internet. 

Is he still alive?

This collection came from the same Sindhi bureaucrat who gifted me Suleman Shah’s music. He was a funny guy. He had a dignified air about him. Even as the Scotch flowed into the late night he never lost his senses, and neither did he let his collar down. Figuratively or sartorially. He breathed contempt for Punjabis as a group and concept, but seemed on easy terms with all the other men in the room, Punjabis through and through. I must have heard more than 30 references to Bhuttos of all genders and political eras throughout the evening. He loved them all as if they were his dearest relatives.

His other great love was music and literature, which is not surprising given the others in this badly lit flat on the outer rims of Islamabad were a prominent novelist and a music industry executive.  Sindh’s superior accomplishments in the field of arts was for him a point that needed no argument but was worthy of frequent repetition.

Anyway, the next time I see him, if I ever do, I’ll try to get some background information on Master Muhammad Ibrahim. In the meantime, enjoy!

As usual, Sindhi speakers, please correct the titles of the songs! Thanks.

            Track Listing:

01.  Dilbara

02.  Diyan Dinayee Fair Mubarak

03.  Karya Yaad Dama Dam

04.  Lago Mujhe Andar Aaja

05.  Kangala De ka Qabar

06.  Subuhanallah

07.  Paido Kedo

08.  Mohabbat Ye Kare Baqi

09.  Yeh Sab Moori Maaya

10.  Cho Duniya Ke

11.  Jalwe Yaar

Listen here

Forgotten Singers of Sindh: Suleman Shah (Re-upped)

Suleman Shah

The title of this post will no doubt inflame some readers because Suleman Shah is not forgotten at all. In the Pakistani province of Sindh, he was an idol during his lifetime. And in his death is idolized as one of that culturally lush country’s  celebrated performers. 

But he is forgotten in that other than to Sindhi patriots his music has been forgotten by the broader music listening world.

I’ve not been able to find any information of significance on Shah sahib, except a number of YouTube videos.  All I can report is that he was apparently born in the provincial town of Mirpur Bhatoro (south of Hyderabad) and passed away some years ago. If anyone is able to provide more details on this one-of-a-kind singer please feel free to pipe up and leave a comment or two at the bottom of the page.

The music is pure Sindhi folk music that draws on mystical poetry and folk tales as old as the water of the Indus.  The singing takes place in a live setting, perhaps at an open-air mehfil, with Suleman introducing each song with a bit of wonderfully evocative narrative. This man is a natural storyteller. Though I understand not a word of Sindhi, I’m totally hooked to the story. I imagine him as an itinerant actor/singer and all round performer, dragging his straggly band of musicians from one village to the next, providing late evening performances for his rural and small town audiences that mix music, religion, comedy and telling of ancient epics. 

In his group you can hear all the instruments of Sindh: the dhol (round drum), the murli (snake charmer’s horn), bansuri (flute), borrindo (clay drum) and yaktoro (single stringed lute).

Another reason for inflamed feelings will be the titles I’ve given the tracks. As I’ve confessed earlier I do not speak Sindhi. But I’ve tried to grab a word or two from each song and use that as the title. I beg, in advance, forgiveness from all Sindhi speakers and once again request you to send me the real titles so I can make amends.

A final pretext for being irritated by this post is the background noise on the first two tracks.  You see, this CD was given to me by a few friends after a night of drinking Black Dog Whiskey and salacious storytelling (mainly in Punjabi, which I understood better after a few bara pegs of Black Dog).  How my friends voices got on to the CD I will never know and I do admit their conversation is slightly bothersome. But honestly, Suleman Shah’s singing and storytelling is no match for them and they soon shut up.

So with all these caveats and pre-apologies, I offer you, ladies and gentlemen the scintillating storytelling/singing of Syed Suleman Shah of Sindh!

            Track Listing:

            01 Hayati

02 De Allo

03 Marte Marke Mari

04 Karamadhar

05 Key Nadi Ho

06 Bazaar

07 Asaan to Ishq Balbal Karega

08 Muddat Tarie

09 Ranjha Ja Hazaar

10 Teeran

11 Hanu Barja

Listen here

Best of 2011: The Finalists

Its that time of year again when every music blogger puts together her/his ‘Best of 2011’ list.  A reminder of the Washerman’s Dog selection criteria.

·                *These were not 2011 releases. Just a few of the albums I    enjoyed listening to the most over the past 12 months.

·                 *The music must amaze.

·                  *The music must make you smile.

·                  *The music must groove and move.

So without further ado, let’s to it.

Ilham Madfai  Baghdad (2003)

The John Lennon of Iraq sings a set of tunes in homage to his hometown. Infectious rhythms, rousing choruses, tasty blends of traditional and modern instruments. The lonely and intimate title track is a killer. A glimpse into the once (and future?) city.

Listen here.

The Audreys Between Last Night and Us (2006)

Australian folk/roots band from Adelaide/Melbourne won Australia’s version of a Grammy for this debut.  Splendid lead singer Taasha Coates has a voice as heavenly as Emmylou Harris’s that especially shines on Pale Dress and

Long Ride. Understated sophisticated songwriting and musicality.

Listen here.

Harry Manx Road Ragas Live (2005)

An epiphany. Canadian (via England) blues guitarist studied for ten years with Vishwamohan Bhatt in India during which time he mastered the mohan veena Bhatt’s adaption of the slide guitar. Manx lives to play live and this set is an astoundingly good acoustic blues record, which includes occasional slices of Indian masala.

Listen here.

O.V. Wright 8 Men 4 Women (1967)

Drug troubled Overton Vertis Wright died prematurely at 41 in 1980. But what a voice! And backed by the gold standard of Memphis soul sound production out of Willie Mitchell’s Hi Studio this record is pure black gold. Smooth, effortless and absolutely committed. Completes the Hi Studio Holy Trinity along with Al Green and Ann Peebles.

Listen here.

Various Artists Darker Than Blue: Soul from Jam Town 1973-1980 (2001)

Beautifully rendered, deeply felt interpretations of the great American soul classics by some of Jamaica’s tuffest reggae stars. Is It Because I’m Black by Ken Boothe, For the Love of You by John Holt and Darker Than Blue by Lloyd Charmers just three of the many gems in this treasure chest.

Listen here.

Freddie Roach Brown Sugar (1964)

Slinky, funky Hammond B3 by one of the giants of the instrument. Accompanied by some of the era’s finest jazz musicians such as Joe Henderson on sax, this is top shelf soul jazz from the golden age.

Listen here.

Mavis Staples Live: Hope at the Hideout (2008)

The return of the native. Back to Chicago with a power (rockin’) trio and a very lucky and appreciative audience. One of the best live records in a long while. You get the atmospherics. You get the poor ventilation. You get Mavis’s larger than life personality. But most of all you get some very juicy slabs of blues/gospel music that will keep you listening again and again.

Listen here.

Stovall Sisters Stovall Sisters (1971)

What do the touring back up singers for the following artists, The Staple Singers, The Caravans, Bobby Womack, Al Green, Ray Charles & The Blind Boys, The Harmonizing Four, The Soul Stirrers,The Salem Travelers, The Pilgrim Jubilees The Highway Q.C's, BB King, Big Mama Thornton, Etta James, Jimmy McCracklin, Bobby Bland, Charles Brown, Sugar Pie DeSanto, Earth Wind & Fire, Jackie Wilson, Joe Tex, Parliament/Funkadelic, Sam Cooke, Cannonball Adley, Creedence Clearwater Revival and Norman Greenbaum and Ike & Tina Turner, have to offer? Only optimal 1970’s R&B-funk infused gospel music. Get it or go straight to hell.

Listen here.

The Green Arrows  4 Track Recording Session (2006)

19 cuts of fast moving guitar driven southern African ‘beer music’ from the legendary Zimbabwean band which led the way for other chiromenga stars like Thomas Mapfumo throughout the 1970’s.

Listen here.

Dan Baker Sad Song Junkie (2010)

Boston folkie Baker has a warm sonorous voice and tells some interesting tales on his second album.

Listen here.

The Sound Stylistics Greasin’ the Wheels (2009)

British jazz/funk group The Sound Stylistics let rip with sparkling organ keyboard runs, sizzling guitar riffs and waves of big band brass that tips the hat to the American soul jazz era of the 1960s and especially that produced by the Chicago based Prestige label.

Listen here.