Coke Studio Sessions has gained exceptional popularity with their musical fusion of exciting elements and diverse influences, ranging from traditional eastern, modern western and regionally inspired music. Bringing together big stars of Pakistani folk and Sufi music and Rock/Pop stars . . . very rich in sound.
Produced by Rohail Hyatt, founder of the first Pakistani pop band Vital Signs, and his wife Umber Hyatt since 2008. Its featured artists on each episode are backed by a house band and guest artists.
♦ → Abida Parveen ↓ ‘Soz-e-Ishq’
Abida Parveen is a well-known Pakistani singer in the traditions of qawwali, ghazal and kafi, and known to many as the Sufi Queen of music. Abida composes her own music adding to it lyrics from Sufi poetry, and she sings in Urdu, Sindhi, Hindi, Punjabi and Seraiki. Though often compared to Nusrat Fateh Ali Khan, Parveen says “We are all the same species — all humans have a representative of godliness, so there is really no male/female division. I have been given this gift by the Divine, who does not recognize differences between male and female singing. I am simply a medium, and if you listen to me sing, even over the period of a few days, it will be entirely different because the transmission is from the Divine.”
Abida Parveen´s father, Ghulam Haider, ran a music school. Though women in Muslim society are rarely encouraged to pursue musical (or other performance) careers, her father recognized his daughter´s extraordinary talent at an early age and encouraged her to sing and brought her along to the annual religious festivals…
∞ Abida Parveen & Rahat Fateh Ali Khan ⇓ ‘Chaap Tilak’
♦ Noori ↓ Hor Vi Neevan Ho, Noori
♦→ Saieen Zahoor & Noori ↓ Aik Alif ←
•→ Hadiqa Kiani – ‘Kamlee’ ⇐
♦ ♦ → Sanam Marvi ↓ Pritam
♦ ‘Manzil-e-Sufi’ ↓ منزلِ صوفی (The Sufi’s Station)
Language: Siraiki / Poetry: Sachal Sarmast (1739-1829) and others
O Mullah, don’t rebuke me ملّاں مار نہ میکوں جھڑکوں mullaan maar na maikon jhirkoon
let me cajole my beloved میکوں اپݨاں یار مناوݨ ݙے maikon apnaan yaar manaawan de
becoming a dancing girl does not cheapen us کنجری بݨ کے ساݙی عزت ناں گھٹدی kanjri ban ke saadi izatt naan ghatdi
let us cajole our beloved by dancing ساکوں نچ کے یارمناوݨ ݙے saakoon nach ke yaar manaawan de
I’ll become a roaming (female) beggar-mystic in pursuit of my beloved جوڳݨ تھیساں یار دے پچھوں jogan theesaan yaar de picchhon
let us wear the devotee’s beads around our neck ساکوں ڳل وچ مالھڑا پاوݨ ݙے saakoon gal wich maalhra paawanr de
Ghulam Farid – he knows his own heart best غلام فریدا اوندی اوہ ڄاݨے ghulaam fareeda ondi oah jaane
let us just fulfill our own pledge to the utmost ساکوں اپݨی توڑ نبھاوݨ ݙے saakoon apni tor nibhaawan de
I am really just a thought میں تاں کوئی خیال ہاں main taan koi khayaal haan
now I can only be met with ہݨ ملساں نال hun milsaan naal
I can only be met with through a thought ملساں نال خیال دے milsaan naal khayaal de
I am really just a thought میں تاں کوئی خیال main taan koi khayaal
I am the vision and the vision is in me میں دیدار دیدار میں وچ main deedar deedar main wich
I rove in the land of union پھریم دیس وصال دے pahriyam des wisaal de
now I can only be met with ہݨ ملساں نال hun milsaan naal
I can only be met with through a thought ملساں نال خیال دے milsaan naal khayaal de
I am really just a thought میں تاں کوئی خیال main taan koi khayaal
“Sachal” makes the Truth apparent سچل سچ کریندا ظاہر sachal sach karenda zaahir
except it would result in battle اِلّا کان قتال دے illah kaan qitaal de
now I can only be met with ہݨ ملساں نال hun milsaan naal
I can only be met with through a thought ملساں نال خیال دے milsaan naal khayaal de
I am really just a thought میں تاں کوئی خیال ہاں main taan koi khayaal haan
میں تاں کوئی خیال main taan koi khayaal
♦ → Shafqat Amanat Ali ↓ Khamaaj
♦ The Sketches ↓ Mandh Waai
♦ → Ustaad Naseer-ud-din Saami ↓ Mundari
♦ Akhtar Chanal Zahri ↓ Nar Bait
♦ Akhtar Chanal Zahri & Komal Rizvi ↓ ‘Daanah Pah Daanah’
♦ → Fareed Ayaz & Abu Muhammad ↓ Khabaram Raseeda
◊ Asif Bhatti Ensemble ↓
>
Qawwali (Nastaʿlīq: قوّالی; Gurmukhī: ਕਵਾਲੀ; Devanāgarī: क़व्वाली; Eastern Nagari: ক়ব্বালী) is a form of Sufi devotional music popular in South Asia, particularly in the Punjab and Sindh regions of Pakistan, Hyderabad, Delhi and other parts of India. It is a musical tradition that stretches back more than 700 years. The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two).
Originally performed mainly at Sufi shrines or dargahs throughout South Asia, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Pakistani singer Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals.
A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one. Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping. The performers sit cross-legged on the ground in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.
Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi, which had to be retuned between songs; the harmonium didn’t, and was soon preferred.
نصرت فتح علی خان →http://nusratonline.com/blog/ ਨੁਸਰਤ ਫਤਿਹ ਅਲੀ ਖਾਨ [1948-1997]
∞ NUSRAT FATEH ALI KHAN @ Lok Virsa, Islamabad:
•→ ‘Mein Neevan Mera Murshad Ucha’ ⇔ (lyrics)
♦→ Akhiyaan Udeek Diyan ⇓ (1993)
♣ Tum ik Gorakh Dhanda Ho ↓ . . .
… set captions ↑ for English subtitles ↓
O the living one! O the self-subsisting one! O the merciful! O the beneficent! O the just one, O the judge! O the protector, O the concealing one! O the unique one! O the forgiver! O the owner! O the provider!
Deja un comentario