‘I want to work with Rahman’: Rahat Fateh Ali Khan

From qawwali to play back singing, Rahat Fateh Ali Khan sings to the gallery and the discerning with equal felicity.

December 20, 2015 06:44 pm | Updated 08:03 pm IST

Rahat Fateh Ali Khan

Rahat Fateh Ali Khan

Rahat Fateh Ali Khan’s voice transcends both nature and man-made boundaries. Be it reaching out to the believers with qawwali or appealing to Bollywood fans with play back singing, Rahat has a song for every mood. In Delhi to promote the music of Jugni, the Pakistani singer takes some questions.

On the cross between Sufi and pop music branded as Sufi-Pop...

Ye to aisa hai ki jaise koi Sadhu hai aur jeans pant pahan le (It is like a ascetic wears a jeans). The rhythm of sitar cannot be created with chords of guitar and vice versa as both the instruments have a distinct purpose in music. If guitar is played in the manner of sitar then the music becomes synonymous with what has been created through sitar all these years. Same is the case with the so called Sufi-pop. There can be different ways of producing the same music using several instruments but the form should not be diluted. It should remain pure, only then the true Sufi music can be created. In my opinion because of the times we live in and its soothing nature, Sufi is becoming popular and perhaps that it why it is called Sufi pop (chuckles).

What does Jugni mean to you?

Jugni which is one of the most used words in Punjabi singing which stands for niyat (intention) and is also interpreted as soul by some people. Everything you do has some niyat behind it and you get results accordingly.

You have experimented in this album…

I have sung the title song “Jugni” which has spiritual elements and has been marvellously composed by Clinton Cerejo. In some ways I have taken qawwali to a new level which I am sure will be liked by everyone. It has pure Sufi elements blended with other instrumental innovations leading to a new symphony which is soothing for ears

Qawwalis are being used as item songs in Bollywood…

It is something related to the commercialisation of music in which one song is put into the film which later becomes its USP. One thing is certain if something is gaining popularity that means there is a market and audience for it. New things will comes but pure Sufi music will stay as it has for centuries. I don’t mind item songs. Item songs banao, atom bomb nahin. (laughs)

Your turning point in Bollywood…

In 1993, the composition “Laagi Tujhse Mann Ki Lagan” made by my father Ustad Farrukh Fateh Ali Khan and uncle Nusrat Fateh Ali Khan was not released because of some reasons. When Mahesh Bhatt along with Pooja Bhatt came to Karachi in 2002, they listened to it and decided to use it in Paap. I always wanted to be a part of Bollywood and that break proved fruitful to me as people started recognising me after that.

Tell us about your learning process under the legend Ustad Nusrat Fateh Ali Khan.

Ustad Nusrat Fateh Ali Khan was a very strict mentor. We had atmosphere of music at our home but it was not easy for me to pursue learning music under his guidance as he used to choose his disciple on merit and not on any other consideration. I learnt every composition he asked me to and he used to scold me a lot on making mistakes. But at the same time he gave me a lot of exposure at an early age as I used to accompany him on his concerts around the world and when I was just 13, he asked me to sing as a gesture to open his concert. I am trying to take forward his legacy.

Ustad was among those artistes from the South Asia who started collaborating with Western artistes. As you are carrying it forward how do you think collaboration helps in breaking the language barrier?

When a European, who does not know Urdu or Hindustani, listens to qawwali, it is the rhythm, music and beats which create a ta'assur (atmosphere created by music) that he imbibes. It is not the shayari (poetry). When Ustad collaborated with Western artists, he did not dilute his pure Sufi form. Even though his voice was accompanied with electronic instruments, he did not keep the qawwali elements at bay. So while collaborating, we intend to create a musical atmosphere which is enjoyed by everyone without giving up our own style and culture of singing. Eventually, it becomes a good piece which has no barrier of language and is enjoyed by everyone.

“Dil Toh Bachcha Hai Ji” continues to win hearts…

I enjoyed working with Vishal Bhardwaj. As an artist I still think the song could have been better but everyone liked it the way it was composed, so no complaints.

Whom do you aspire to work with?

I have not yet worked with A.R. Rahman and it is my hearty desire to do so. In Jugni both of us have a song but we have not sung together.

0 / 0
Sign in to unlock member-only benefits!
  • Access 10 free stories every month
  • Save stories to read later
  • Access to comment on every story
  • Sign-up/manage your newsletter subscriptions with a single click
  • Get notified by email for early access to discounts & offers on our products
Sign in

Comments

Comments have to be in English, and in full sentences. They cannot be abusive or personal. Please abide by our community guidelines for posting your comments.

We have migrated to a new commenting platform. If you are already a registered user of The Hindu and logged in, you may continue to engage with our articles. If you do not have an account please register and login to post comments. Users can access their older comments by logging into their accounts on Vuukle.