“Hazrat kay samnay
pesh karthay huay hum bohoth darthay hain …”
[We feel terribly afraid to sing
before the revered one].
This was Fareed’s first reaction I asked him to sing at
Abba’s chambers at the Sind club for this performance.
This concert was held in February 2005, to commemorate
Abba’s 90th birthday. It was held one month after the Abba’s actual birthday. In January of that year, a birthday bash was held at the Club, organized by his
many friends and admirers. I could not make it to Karachi for the party, since
the obligations of profession and work intervened, keeping me in Vienna or
maybe on the road to another country. So I came to Karachi as soon as I could
and this concert was organized by way of atonement….
I was somewhat surprised at Fareed’s remark. Truly, Abba had
a keen ear and knowledge of music, surpassed by few. However he was the
kindest, most non-judgmental of people and invariably sought the good in others
rather than dwell upon their weaknesses. He dealt with the meek and the mighty
with equivalent humility, gentleness and attentiveness. This characteristic was
reflected in his comport as musical audience.
Two beloved friends in a state of hypnosis. The Late Mehdi Hasnain Sahib and the Late Bilal Dallenbach
This was the first session we held after Munshi Raziuddin’s
passage in 2003. His absence created a large void, and I suppose Fareed and Abu
Mohammad felt some apprehension at attempting to satisfy Abba’s discerning taste
without their father’s guidance and stewardship of the performance, as had been
the case thus far.
The setting was simple, informal and intimate with a few
close friends, family, and the qawwals in Abba’s room. Fareed and Abu Mohammad
presented the recital with virtuosity that reflected firm resolve to preserve
and build upon the rich legacy of knowledge and training bequeathed to them by
their father.
I really do not know how to describe the performance … the atmosphere was marked by a creative tension that is palpable throughout the performance. The tension is borne from the discipline exercised to stay in the classical form, at least for the first hour or so of the performance. Despite the studied expose of the raga, the first three pieces are neither conventional Khyaal nor are they rendered as “conventional” Qawwali. They have not sung some of the pieces like this (to my awareness) before or since …
The tenor of the music is marked by Darbari, the Raaga with which Fareed opens the recital, and they go
on to sing several variations and bandishes of Malkauns for the first part. Some of these pieces have attained
considerable popularity since they have sung them in various episodes of the Pakistani
Coke Studio series of musical programmes that were brilliantly developed and
orchestrated by Rohail Hayat.
Returning to the performance, Fareed’s apprehensions were
quite dispelled. Abba and the rest of the audience were mesmerized by the shear
uniqueness and the mastery of the classical rendition by Abu Mohammad and him. The singers were matched by the audience in the concentration in exploring and
grasping the soul of the music
While the listener is familiar with Fareed and Abu
Mohammad’s classical qawwali, this session, veering towards Khyaal, represents their musical
foundation. Looking back at this session, I am so impressed by Fareed’s range, Abu
Mohammad’s sweetness of voice and of the alto voices of the younger ones in the
ensemble. The careful, detailed expose and vocalization of the earlier pieces are
a joy. —Asif Mamu
2005 Playlist:
1.
Bandish in Darbari
2.
Taraana Biya Biya
3.
Bandish in Malkauns
4.
Manqabat: Mun Kunto Malua
5. Raag Maru Bihag / Ay Dil Bageer e Daaman e Sultan e Auliya / Tarana
6.
Ghazal in Anandi: Ay Sarv e Nazaneen e Mun
7.
Chaap Tilak / Padaro Maro / Paiyan Paroon Gi / Aao Piya Darron Main Tope
8.
Baro Ghee Kay Diye Na / Haryala Bana / Phool Rahi Sarson
