Every few weeks, I return to a Nusrat Fateh Ali Khan phase. Strangely enough, the latest one was inspired a few weeks ago by Baba Sehgal. The 1990s rap singer has done a YouTube version of Khan’s ‘ Mere Rashke Qamar ’, using only his voice and the percussion instrument djembe.
Sehgal’s rendition is pretty good, actually. But soon, I heard three other versions in the film Baadshaho . There are a few more on the Internet. Tired of the overdose, I went back to Khan's original 18-minute qawwali , first recorded in 1988. And that prompted the latest phase.
Tomorrow, October 13 marks the legendary Pakistani singer’s 69th birth anniversary. And I might as well continue with the gems I’ve been tripping on during the past few weeks. Basically, in keeping with his versatility, a mix of classic qawwalis, international collaborations, later ballads and Bollywood songs he composed for a short while before his untimely demise on August 16, 1997.
I was lucky to interview Khan twice and attend two of his recitals. The first was in 1996, during the launch of his album Sangam with lyricist Javed Akhtar, when he performed at Tulip Star (then Juhu Centaur). The next time, he had come to record for Milan Luthria's Kacchhe Dhaage , and did a mehfil for 40 invitees at Sun N’ Sand. No qawwalis, but only ghazals with him playing harmonium and one tabla player. Sheer bliss.
The maestro was soft-spoken and full of praise of Indian musicians, despite accusations to the contrary by a section of the Mumbai media. When Khan sang, he got totally involved in his art, leading his audience into a trance.
The mid-1990s had sparked off the music video wave, thanks to MTV, Channel V, etc and B4U. Khan's ‘ Aafreen Aafreen ’ was on the charts in 1996, and the following year ‘ Piya Re ’ was huge. These, along with his film songs in Aur Pyaar Ho Gaya , Kacchhe Dhaage and Kartoos attracted the younger generation. In the west, the albums Night Song and Mustt Mustt with producer Michael Brook, served the same purpose.
During that period, there was friction between India and Pakistan. An interesting incident comes to mind. Rahul Rawail, director of Aur Pyaar Ho Gaya , had approached Balasaheb Thackeray to launch the music at his residence. In attendance were Bobby Deol, Aishwarya Rai and lyricist Akhtar. I had requested Saregama HMV to help me get in, and pretended to be their assistant marketing manager.
The Shiv Sena supremo wondered who the film’s music director was, and was taken aback when informed. Of course, it was too late to do anything, but someone in his office must have been pulled up.
Khan passed away in London a day after the film’s release. To pay tribute, I approached singer Peter Gabriel, who had promoted Khan in the west through his Real World record label and Womad festival, and producer Brook through faxed questionnaires. Their answers came in promptly, and it was an exclusive.
One could write pages on the Khan experience. Let me suffice it to say that before meeting him, I was exposed only to hits like ‘ Yeh Jo Halka Halka SuroorHai’ , ‘ Chaap Tilak ’, ‘ Allah Hoo ’ and ‘ Dam Mast Qalandar . The Sangam launch kick-started my real exploration.
So what’s on my set list today and tomorrow? The Night Song album, for sure. A 30-minute version of ‘ Saanson Ki Mala ’. His later songs ‘ Sheher Ke Dukaandaaron ’, ‘ Ab Kya Soche ’, ‘ Ishq Da Rutba ’ and ‘ Mera Gham Aur Meri Har Khushi ’. Plus qawwalis like ‘ Ankhiyan Udeek Diyan ’, ‘ Kehna Ghalat Ghalat ’, ‘ Mast Nazaron Se Allah Bachaaye ’, ‘ Phiroon Dhoondhta Maiqada ’ and ‘ Kali Kali Zulfon Ke Phande Na Daalo ’.
Well, this may just be the beginning. Humein zinda rehne do ae husn waalon .
