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Nusrat Fateh Ali Khan - Shahen-Shah (1989) MP3 ~ 192Kbps ~ RS.com ~ 102mb Genre: World/Ethnic / Qawwali

Nusrat Fateh Ali Khan was the leading exponent of traditional qawwali music until his death in 1997. Developed as devotional music by the ancient Sufi poets, the qawwal often serves as a conduit between the worshipper and the Creator. This music also has a secular side to it, too, when it appears in the form of a love song, or ghazal.

This CD features both songs of praise, and songs of love and beauty. For example, "Shamas-Ud-Doha, Badar-Ud-Doja" is based thematically around the worship of Mohammed, Allah's prophet, while "Kehna Ghalat Ghalat To Chhupana Sahi Sahi" is a ghazal sung in Urdu about a hypocritical lover. Nusrat was recognized as "Shahen-Shah-e-Qawwali," which means "The Brightest Star in Qawwali." SHAHEN-SHAH confirms this assertion.

Qawwali, which means "utterance" in Arabic, is the musical medium through which the Sufis of Pakistan and India travel toward a state of mystical bliss.

Since its inception in the seventh century, orthodox Islam has been particularly fearful of the corrupting influence of music. Singing and the playing of instruments were long considered sinful, and to this day music has no place in the mosque. But perhaps it is not surprising, given the rich roots of Arabic and Persian music that long predate Islam, that an alternate Muslim sect embracing the power of music was born. Sufism originated in tenth century Persia and generated various factions, one of which was the Chisti order that traveled 200 years later to the Indian subcontinent where the modern form of qawwali evolved. (Another well-known Sufi diaspora group is the whirling dervish of Sudan.)

The original qawwali repertoire of Farsi (Persian), Punjabi, and Braj Bhasha (an old form of Hindi) has given way in recent times to Urdu and Arabic. The text usually consists of a few lines that are repeated over and over, with such unorthodox subjects as romantic love and alcoholic intoxication used as metaphors for spiritual adoration and mystical enlightenment, e.g., "The eyes of my sweetheart are so bewitching that even the best wine of the tavern pales in comparison."* It is no wonder that qawwali, minus the religious interpretations, has become a staple of Indian film scores.

The typical modern-day qawwali group consists of a qawwal (the lead singer) backed up by a harmonium, dholak (a double-headed finger drum), tabla, plus a couple of backup singers leading the choral response and vigorous hand claps. Often a song will begin with a slow instrumental vamp that introduces the melodic motif. The qawwal then meanders in with the first line and soon the call-and- response pattern is established. Phrases are repeated ad infinitum punctuated by sudden and furious breaks of virtuoso coloratura singing by the leader. As the piece progresses the tempo and volume are gradually increased thus elevating the listeners to higher and higher states of entrancement. A seasoned qawwal alertly monitors the audience response and adjusts the degree of repetition and the "heat" accordingly.

By far the most famous qawwal today is Nusrat Fateh Ali Khan of Pakistan. Since his introduction to the West in 1985 by Peter Gabriel's WOMAD (World of Music and Dance) project, the Shahen-Shah-e- Qawwali (Brightest Star of Qawwali) has contributed music for the films Last Temptation of Christ, Natural Born Killers, and Dead Man Walking.

Tracks:

1. Shamas-Ud-Doma, Badar-Ud-Doja

2. Allah, Mohammed, Char, Yaar

3. Kali Kali Zulfon Ke Phande Nah Dalo

4. Meri Ankhon Ko Bakhshe Hain Aansoo

5. Nit Khair Mansan Sohhia Main Teri

6. Kehna Ghalat Ghalat To Chhupana Sahi Sahi

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