QAWALI'S SINGING:

Qawwali is a form of Sufi devotional music popular in South Asia, particularly in areas with a historically strong Muslim presence, such as Pakistan, especially Punjab and Sindh, and parts of North India. The style is rare, though not entirely absent, in North and West Pakistan, Bangladesh, and Kashmir. It is a musical tradition that stretches back more than 700 years.

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QAWALI'S SINGING:

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. Other famous Qawwali singers include Pakistan's Sabri Brothers.

Although famous throughout the world, its hub remains the Punjab province of Pakistan from where it gained entry into the mainstream commercial music industry and international fame.

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QAWALI'S SINGING:

NUSRAT FATEH ALI KHAN: MAIN WADA SHIKEN:

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QAWALI'S SINGING:

The roots of Qawwali can be traced back to 8th century Persia (today's Iran and Afghanistan). During the first major migration from Persia, in the 11th century, the musical tradition of Sema migrated to the South Asia, Turkey and Uzbekistan. Amir Khusro Dehelvi of the Chisti order of Sufis is credited with fusing the Persian and Indian musical traditions to create Qawwali as we know it today in the late 13th century in India (Hindustani classical music is also attributed to him). The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.

Qaul (Arabic) is an "utterance (of the prophet)", Qawwāl is someone who often repeats (sings) a Qaul, Qawwāli is what a Qawwāl sings.

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QAWALI'S SINGING:



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QAWALI'S SINGING:

The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Siraiki. There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.

The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. The central themes of qawwali are love, devotion and longing (of man for the Divine).

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QAWALI'S SINGING:

NUSRAT FATEH ALI KHAN: ASTAN HAI YEH KIS ZESHAN

The glorious voice of Ustad Nusrat Fateh Ali Khan: the man who revolutionizes Qawallies.

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QAWALI'S SINGING:

NUSRAT FATEH ALI KHAN: ASTAN HAI YEH KIS ZESHAN

THE URDU LYRICS:

Allah ne kiya baargaah e Gaus jalee hai
gardan ko jhukkaay hue aik aik wali hai
har gaam pe sajde ki tamanna hai jabeeN ko
ye kis ka dar e naaz hai ye kis ki gali hai

AastaaN hai ye kis shaah e zeeshaan marhaba marhaba
AastaaN hai ye kis shaah e zeeshaan marhaba marhaba

AastaaN hai ye kis ka
aastaaN hai ye kis ka

Sajde jahaN pe karte haiN aa ke farishtay
//aastaaN hai ye kis ka

Malaaiik sar jhukhaate haiN wali aankhaiN bichaataiN haiN dekho
//aastaaN hai ye kis ka

AastaaN hai ye kis shaah e zeeshaan marhaba marhaba
AastaaN hai ye kis shaah e zeeshaan marhaba marhaba

[PERSIAN] Ni baarghaah e hazrat e gaus as saqalain ast
naqade kamare haidar o nasl e hasanain ast
madarsh hussainii nasabast o pidaray oo
zaulaad e hussan yani kareem ul abawanain ast [PERSIAN]

//AastaaN hai ye kis shaah e zeeshaan marhaba marhaba

Jhukhee behr e ibadat jab shah e baghdad ke dar par
ajab tauqeer e sajdah apni paishaani mai dekhee hai

AastaaN hai ye kis shaah e zeeshaan marhaba marhaba
AastaaN hai ye kis shaah e zeeshaan marhaba marhaba

-Qalb haibat se larzaaN hai insaan ka marhaba marhaba
hai asar bazm par kis ke faizaan ka marhaba marhaba
ghar basaade meri chashm e weeraaN ka marhaba marhaba
chand nikla hasan ke shabistaan ka marhaba marhaba-

//chand nikla wo nikla
//chand nikla wo nikla

marhaba marhaba wo wo chand nikla wo nikla

-Sar ki zeenat amama hai irfaan ka marhaba marhaba
jubba tan par Muhammed ke ihsaan ka marhaba marhaba
rang aankhoN mai Zahra kai faizaan ka marhaba marhaba
Roop chehre pe Ayaat e Quraan ka marhaba marhaba

(Chants)

Roop chehre pe Ayaat e Quraan ka marhaba marhaba
Roop chehre pe Ayaat e Quraan ka marhaba marhaba
Saj ke betha hai naushaah Jeelaan ka marhaba marhaba-

Nagar nagar mai karo manaadi
hai shaah e JeelaaN ki aaj shaadi
//Saj ke betha hai naushaah Jeelaan ka

Sare walioN ko mehmaaN banayia gaya
Gaus e Azam ko doolha banayia gaya
//wo wo Saj ke betha hai naushaah Jeelaan ka marhaba marhaba (Chants)
//Saj ke betha hai naushaah Jeelaan ka marhaba marhaba

MeeraN ke ghar hai shaadi aaye wali nabi sab
Taiba se Mustafa bhi tashreef laa rahaiN haiN
//Saj ke betha hai naushaah Jeelaan ka marhaba marhaba

NazroN ko shauq e deed hai mangatoN mai jashan e eid hai
//Saj ke betha hai naushaah Jeelaan ka marhaba marhaba

-Bazm e qaun o maqaaN ko sajaaya gaya aaj Salleh Ala
saaibaaN rehmatoN ka lagaaya gaya aaj Salleh Ala
Ambiya Auliya ko bulaaya gaya aaj Aalleh Ala
Ibn e Zahra ko doolha banaya gaya aaj Salleh Ala

Ibn e Zahra ko doolha banaya gaya aaj Salleh Ala
Ibn e Zahra ko doolha banaya gaya aaj Salleh Ala
Ibn e Zahra ko doolha banaya gaya aaj Salleh Ala

Urs hai aaj mehboob e Subhaan ka marhaba marhaba-

Aao deewano muraadaiN apni apni maang lo
//Urs hai aaj mehboob e Subhaan ka marhaba marhaba

JhooliaN har sawali ki bhar jaayaiN giiN
dar sakhi ka khula hai ataa ke liye
//Urs hai aaj mehboob e Subhaan ka marhaba marhaba

(Nusrat Raag # 1)

//Urs hai aaj mehboob e Subhaan ka marhaba marhaba

-Aasnaa manzalat kis ka aiwaan hai wah kiya shaan hai
aaj khalq e Khuda kis ki mehman hai wah kiya shaan hai
La Takhaf kis ka mashhoor farman hai wah kiya shaan hai
bil yaqeeN wo shehenshaah e Jeelaan hai wah kiya shaan hai

haq diya jis ko qudrat ne ailaan ka marhaba marhaba
haq diya jis ko qudrat ne ailaan ka marhaba marhaba

(Chants)

haq diya jis ko qudrat ne ailaan ka marhaba marhaba
haq diya jis ko qudrat ne ailaan ka marhaba marhaba-

-Har taraf aaj rehmat ki barsaat hai wah kiya baat hai
aaj khulne pe qufl e muhimmaat hai wah kiya baat hai
chaar soo jalwa aaraaiyai zaat hai wah kiya baat hai
koi bharne pe kashkol e haajaat hai wah kiya baat hai

aao faqeero aao jholee ko apni bhar lo
//koi bharne pe kashkole haajaat hai wah kiya baat hai

Ye waqt hai karam ka sarkar karam farmataiN haiN
//Aao koi bharne pe kashkole haajaat hai wah kiya baat hai

Jaagne ko muqaddar hai insaan ka marhaba marhaba
Jaagne ko muqaddar hai insaan ka marhaba marhaba-

(Nusrat Raag # 2)

Jaagne ko muqaddar hai insaan ka marhaba marhaba
Jaagne ko muqaddar hai insaan ka marhaba marhaba

-Gulshan e Mustafa ki phaban aur hai ye chaman aur hai
Shah e Abraar ki anjuman aur hai ye chaman aur hai
rooaay gul dasta e panjtan aur hai ye chaman aur hai
shaan e Aal e Hussain o Hasan aur hai ye chaman aur hai

shaan e Aal e Hussain o Hasan aur hai ye chaman aur hai
shaan e Aal e Hussain o Hasan aur hai ye chaman aur hai

Sarmadi rang hai is gulistaan ka marhaba marhaba-

-Do larre ki zameen kitni masood hai khita e jood hai
Pir Mehr e Ali jis mai maujood hai khita e jood hai

//Pir mehr e ali pir mehr e ali
//Pir mehr e ali pir mehr e ali

Koi kisi ka koi kisi ka mere
//Pir mehr e ali pir mehr e ali

Majnoo ko mili Laila, Yusuf ko Zulaikha aur mujh ko mere
//Pir mehr e ali pir mehr e ali

Khiyaal apna apna pasand apni apni mere to haiN
//Pir mehr e ali pir mehr e ali

Pir Mehr e Ali jis mai maujood hai khita e jood hai

-Do larre ki zameen kitni masood hai khita e jood hai
Pir Mehr e Ali jis mai maujood hai khita e jood hai
kiya haseen manzar e shaan e mahmood hai khita e jood hai
har aayaan ghamghosh e mahmood hai khita e jood hai

Auj paya hai phir cheez o qaiwaan ka marhaba marhaba-

-Sham e tauheed dil mai jala kar piyo dil laga kar piyo
shah e batha ki khairaat paa kar piyo dil laga kar piyo
shaykh ke aastane pe aa kar piyo dil laga kar piyo
aankh mehr e ali se mila kar piyo dil laga kar piyo

Khud pilane pe saaqi hai Jeelan ka marhaba marhaba
Khud pilane pe saaqi hai Jeelan ka marhaba marhaba-

-Hai adab husan ka baank pan saamne ik chaman samne
ahl e tatheer haiN khaima zan saamne panj tan saamne
hai ye rooaay hasan ki phaban saamne ya hasan saamne
jalwa farmaaN hai Gaus e Zaman saamne zofigan saamne

Daikhiye kiya bane chashm e hairaan ka marhaba marhaba-

-Shah e Jeelaan ki chaukat salamat rahe ta qiyamat rahe
naqsh e paa ka chaman pur karamat rahe ta qiyamat rahe
khalate ijtebaaze be qaamat rahe ta qiyamat rahe
sar pe walioN ka taaj e imamat rahe ta qiyamat rahe

Silsila Gaus e Azam ke faizaan ka marhaba marhaba

-Mazhar e zaat e Rabb e qadeer aap haiN dastgeer aap haiN
kaarwaan e karam ke ameer aap haiN dastgeer aap haiN
shah e baghdad peeraan e peer aap haiN dastgeer aap haiN

Dastgeera kar mehr tu mehr ali te tere baaj hai kaun Allah raasiaa daa
//shah e baghdad peeraan e peer aap haiN

Mehr hai saari Ali di shak na reh gaya ik tarah
karam kita Gaus e Azam sadaaN sardiaN waliaN
//shah e baghdad peeraan e peer aap haiN

shah e baghdad peeraan e peer aap haiN dastgeer aap haiN
shah e baghdad peeraan e peer aap haiN dastgeer aap haiN
kis naseer e hali ke naseer aap haiN dastgeer aap haiN

koi hamsar nahin aap ki shaan ka marhaba marhaba
koi hamsar nahin aap ki shaan ka marhaba marhaba-

AastaaN hai ye kis shaah e zeeshaan marhaba marhaba
AastaaN hai ye kis shaah e zeeshaan marhaba marhaba

THE TRANSLATIONS:

O Allah, how splendid is Gaus’s shrine every saint has bowed his head everyone is longing to prostrate whose glorious threshold is this? Whose lane is this?
Of which splendid king is this shrine? Bravo: Bravo;
Of which splendid king is this shrine where the angels prostrate?
The angels bow
The saints show great respect
This is shrine of the one who comes to
The rescue here and Hereafter
He descends from the family of the Prophet His parents belong to the Prophets family being the descendent of Hassan means he’s of
Ancient nobility
When the prayer was said at the threshold of the King of Baghdad
I saw a strange veneration of the supplication on my forehead
With fear a person’s heart is trembling
Whose bounty has made an effect on the gathering? Every tale has my sad eyes in them
The Moon of Hassan’s seraglio has emerged
His head is graced with the turban of the highest knowledge of God
The gown on the body is Muhammad’s favour the colour of his eyes is the bounty
Of Fatima
The splendid countenance reflects the
Verses of Quran
In splendour sits the groom of Jeelan 1 Announce all over today it’s the wedding of the King of Jeelan
All the saints are guests
The great benefactor has become the bridegroom
The wedding is ~n the Prophet’s family ‘ All the saints and prophets have come
Muhammad is also coming from Madina
Now the eyes have the longing of his sight it’s like Eid festivity
The universe has been adorned today, O Muhammad The marquee of bounty has been erected today,
O Muhammad
The saints and prophets have been invited Son of Fatima has been made a groom
It’s the glorious day of the Beloved of God come, and seeks what you want
Every seeker will be rewarded the door of the generous is open to give you
His palace is in the heavens how splendid he is
Whose guests are God’s humanity today how splendid he is?
His famous order is not to fear how splendid he is
Surely he is the King of Jeelan How splendid he is
God gave him right to proclaim everywhere there are showers of blessing How wonderful’
Today the locks of ventures will be opened everywhere it’s a splendid sight
How wonderful!
Someone is having his needs fulfilled how wonderfully
. O Faqirs, have your needs fulfilled today This is the time for kindness
And the Master is doing that
The fortunes of man are about to be awakened the grace of Muhammad’s garden is something else But this is different
The assembly of the King of holy saints is different from others
The fragrance of the flower of Muhammad’s family is different from others
The Grandeur of Hassan and Hussain’s descendants is different from others
The colours of their garden are everlasting and ‘ different from others
It is a generous place
Their Pir Mahar Ali is present
It’s the continuity of the Divine Light The bond between souls
My faith is the Love of the Prophet, O Pir Mahar Ali
People have different bonds; mine is with Pir Mahar Ali
Majnun got Laila, Yousuff got ZuleikhaJ I got Pir Mahar Ali
Each has a different world and so is the choice
How splendid is the sight of this generous place
Every person is equal here It is a generous place
It has reached the zenith of the Jupiter and Saturn
Bravo’ Bravo’
Drink after you have kindled the flame of Oneness of God in your heart
Drink with love
As a charity from the King of Madina, drink Come to the shrine of the saint and drink Meet the eyes of Mahar Ali and drink
The cup-bearer the King of Jeelan himself Bravo; Bravo;
Strange is the gaiety of beauty before me a splendid sight before me
The scribes are encamped before me The Prophets family is before me
The grace of Hussain’s countenance is before me
Hassan is splendidly seated before me The Rescuer of the Age is luminously before me
Just think what will become to my puzzled
Eyes’ be the threshold of the King of Jeelan may remain safe for ever
Let the imprints of his miraculous feet remain forever
May your Robe of honour remain splendid forever
May the crown of the leadership of all the saints remain on your head forever
May the bounties of the Great Giver continue forever
You are the phenomenon of the Omnipotent You are the helper
You are the leader of the caravan of kindness you are the helper
O King of Baghdad, you are the spiritual guide of all the saints
Do the favour to let Mahar Ali be who else we the sinners have but you Al1 love is for Ali, no doubt is left so you showered kindness on us
O King of Baghdad, you are the helper you are the helper of the grieved Naseer None is equal to your splendour
Bravo! Bravo!

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QAWALI'S SINGING:

A naat Qawwalis are classified by their content into several categories:

A hamd (arabic for praise) is a song in praise of Allah. Traditionally, a qawwali performance starts with a hamd.
A naat (arabic for description) is a song in praise of the Prophet Muhammad. The opening hamd is traditionally followed by a naat.
A manqabat (arabic for characteristics) is a song in praise of either Imam Ali or one of the Sufi saints. Interestingly, manqabats in praise of Ali are sung at both Sunni and Shi'a gatherings. If one is sung, it will follow right after the naat. There is usually at least one manqabat in a traditional programme.
A marsiya (arabic for lamentation for a dead person) is a lamentation over the death of much of Imam Husayn's family in the Battle of Karbala. Once again, this would typically be sung only at a Shi'a concert.
A ghazal (arabic for love song) is a song that sounds secular on the face of it. There are two extended metaphors that run through ghazals -- the joys of drinking and the agony of separation from the beloved. These songs feature exquisite poetry, and can certainly be taken at face value, and enjoyed at that level. In fact, in Pakistan and India, ghazal is also a separate, distinct musical genre in which many of the same songs are performed in a different musical style, and in a secular context. In the context of that genre, the songs are usually taken at face value, and no deeper meaning is necessarily implied. But in the context of qawwali, these songs of intoxication and yearning use secular metaphors to poignantly express the soul's longing for union with the Divine, and its joy in loving the Divine. In the songs of intoxication, "wine" represents "knowledge of the Divine", the "cupbearer" (saaqi) is God or a spiritual guide, the "tavern" is the metaphorical place where the soul may (or may not) be fortunate enough to attain spiritual enlightenment. (The "tavern" is emphatically not a conventional house of worship. Rather, it is taken to be the spiritual context within which the soul exists.) Intoxication is attaining spiritual knowledge, or being filled with the joy of loving the Divine. In the songs of yearning, the soul, having been abandoned in this world by that cruel and cavalier lover, God, sings of the agony of separation, and the depth of its yearning for reunion.

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NUSRAT FATEH ALI KHAN: DATA TERA DARBAAR HAIN

THE MYSTIQUE OF THE QAWALLIS CAN BE QUITE FASCINATING AND INTRUGUEING AND FOR THE MUSICIAN AND SINGER GRUELLING AT SOMETIME GOING FOR A NON STOP THIRTY MINUTES.

For 25 years, his mystical songs transfixed millions. It was not long enough

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QAWALI'S SINGING:

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 (i.e. a left-handed percussionist would play the tabla with his left hand). 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. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.

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QAWALI'S SINGING:

NUSRAT FATEH ALI KHAN: ES SHAN-E-KARAM KA

Nusrat did this one from the 1999 Bollywood Flix Kacche Dhaage: This was amongs't the last set of songs he had sang.

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Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained an exclusively male business. There are still no mainstream female qawwals. Although Abida Parveen performs many songs that are in the traditional qawwali repertoire, she does not perform them in the traditional qawwali style. Typically missing is the chorus which repeats key verses, as well as the handclapping.

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Musical structure

Songs are usually between 15 to 30 minutes long. However, the longest commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.

Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Songs are usually arranged as follows:

They start with an instrumental prelude where the main melody is played on the harmonium, accompanied by the tabla, and which may include improvised variations of the melody.
Then comes the alap, a long tonal improvised melody during which the singers intone different long notes, in the raag of the song to be played.

The lead singer begins to sing some preamble verses which are typically not part of the main song, although thematically related to it. These are sung unrhythmically, improvised following the raag, and accompanied only by the harmonium. After the lead singer sings a verse, one of the side singers will repeat the verse, perhaps with his own improvisation. A few or many verses will be sung in this way, leading into the main song.

As the main song begins, the tabla, dholak and clapping begin. All members join in the singing of the verses that constitute the refrain. Normally neither the lyrics of the main verses nor the melodies that go with them are improvised; in fact, these are often traditional songs sung by many groups, especially within the same lineage. As the song proceeds, the lead singer or one of the side singers may break out into an alap. Nusrat Fateh Ali Khan also popularized the interjection of sargam singing at this point. The song usually builds in tempo and passion, with each singer trying to outdo the other in terms of vocal acrobatics. Some singers may do long periods of sargam improvisation, especially alternating improvisations with a student singer. The songs usually end suddenly.

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QAWALI'S SINGING:

5) NUSRAT FATEH ALI KHAN: JE TU RAB NO MANUNA

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QAWALLI MAESTRO: NUSRAT FATEH ALI KHAN

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NUSRAT FATEH ALI KHAN 10/13/48 - 08/16/97

Nusrat Fateh Ali Khan: October 13, 1948 – August 16, 1997, was a Punjabi musician from Pakistan, primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). He was featured in Time magazine's 2006 list of "Asian Heroes". He is often referred to as one the greatest singer Pakistan has ever produced.

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NUSRAT FATEH ALI KHAN:

Early life and career

Nusrat Fateh Ali Khan was born on October 13, 1948 in the city of Faisalabad, Pakistan. He was the fifth child and first son of Ustad Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and Qawwal. Khan's family, which included his four older sisters and his younger brother, Farrukh Fateh Ali Khan grew up in central Lyallpur. In 1979, Khan married his first cousin, Naheed (the daughter of Fateh Ali Khan's brother, Salamat Ali Khan); they had one daughter, Nida.

Khan began by learning to play tabla alongside his father before progressing to learn Raag Vidya and Bol Bandish. He then went on to learn to sing within the classical framework of khayal. Khan's training with his father was cut short when his father died in 1964, leaving Khan's paternal uncles, Ustad Mubarak Ali Khan and Ustad Salamat Ali Khan, to complete his training.

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QAWALI'S SINGING:

6) NUSRAT FATEH ALI KHAN: KARAN TASBIH MAIN DATA

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COLLECTIONS VOL 1: NUSRAT FATEH ALI KHAN:

1) NUSRAT FATEH ALI KHAN: MAIN WADA SHIKEN:

2) NUSRAT FATEH ALI KHAN: ASTAN HAI YEH KIS ZESHAN

3) NUSRAT FATEH ALI KHAN: DATA TERA DARBAAR HAIN

4) NUSRAT FATEH ALI KHAN: ES SHAN-E-KARAM KA

5) NUSRAT FATEH ALI KHAN: JE TU RAB NO MANUNA

6) NUSRAT FATEH ALI KHAN: KARAN TASBIH MAIN DATA

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NUSRAT FATEH ALI KHAN:

Early life and career

His first performance was at a traditional graveside ceremony for his father, known as chehlum, which took place forty days after his father's death.

In 1971, after the death of Ustad Mubarak Ali Khan, Nusrat became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party.

Khan's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Brajbhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Nusrat's sargam improvisations.

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NUSRAT FATEH ALI KHAN:

Early life and career

Early in his career, Khan was signed up by Oriental Star Agencies [OSA] of Birmingham UK to their Star Cassette Label. OSA sponsored regular concert tours by Nusrat to the U.K. from the early '80s onwards, and released much of this live material on cassette, CD, videotape and DVD.

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Qawwali is a unique art of music. There are poems that are sung in it and shairs but the difference is they are not limited to the poem shairs or stanzas. They can take whatever shairs form other poems or poets and mix it with the qawwali. That is why qawwalis are so long than normal songs or ghazals.

Normally what happens is the Qawwal sings a shair from the poem then keeps repeating one line or part of the shair and sings many other shairs which are not a part of this poem he is singing and then he mixes it with the line he chooses.

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7) NUSRAT FATEH ALI KHAN: KHAWAJA E KHAWAJGAN:

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VIDEO: NUSRAT FATEH ALI KHAN: YE JO HALKA HALKA SAROOR HAIN

Nusrat Ali Khan and Party with another gem in the Qawwali world.

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VIDEO: NUSRAT FATEH ALI KHAN: MERA PIYA GHAR AAYA

This one was soo popular, and because of the popularity, qawalli audiences always clamour for this, they could not get enough.

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NUSRAT FATEH ALI KHAN:

LATER:

Khan teamed with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1985, with Canadian musician Michael Brook (on the albums Mustt Mustt (1990) and Night Song (1996))[3],[unreliable source?] and with Pearl Jam lead singer Eddie Vedder in 1995 on two songs for the soundtrack to Dead Man Walking. He also contributed to the soundtrack of Natural Born Killers.

Peter Gabriel's Real World label later released five albums of Nusrat's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Nusrat provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. Nusrat also collabrated with Michael Brook to create music for the song 'Sweet Pain' used in the movie Any Given Sunday. He also performed traditional Qawwali before international audiences at several WOMAD world music festivals and the single Dam Mast Qalandar was remixed by electronic trip hop group Massive Attack in 1998.

His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album.

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QAWALI'S SINGING:

NUSRAT FATEH ALI KHAN:

LATER:

Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he recorded a song each for two Bollywood films, Aur Pyaar Ho Gaya (in which he also sang the song onscreen) and Kachche Dhaage. He sang the title song of the film, Dhadkan. He also sang Saya bhi saath jab chhod jaye for Sunny Deol's movie, Dillagi. The song was released only in 1999, two years after Nusrat's death.

Khan contributed the song 'Gurus of Peace' to the album 'Vande Mataram', composed by A.R. Rahman, and released to celebrate the 50th anniversary of India's independence.

According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist—a total of 125 albums as of 2001.

Khan was taken ill with kidney and liver failure on August 11, 1997 in London, England while on the way to Los Angeles in order to receive a kidney transplant. He died of a sudden cardiac arrest at Cromwell Hospital, London, on Saturday, August 16, 1997, aged 48. [unreliable source?] His body was returned to Faisalabad, Pakistan and his funeral was attended by the public.

After his death, the song "Solemn Prayer", on which Nusrat provided vocals, was used by Peter Gabriel on his album Up and in the soundtrack to the film Blood Diamond.

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QAWALI'S SINGING:

8) NUSRAT FATEH ALI KHAN: MAN ATKELIYAN BE PARWAH NAAL

THE CHANTING OF THE QAWALLI 'MAN ATKELIYAN' IS SO PLEASING WITH HEAVENLY VOICE OF NUSRAT AND PARTY BRINGS BACK MEMORIES OF THE CLASSICAL 'THUMRI' THAT HOLDS ONE WITH RAPT ATTENTION.

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QAWALI'S SINGING:

9) NUSRAT FATEH ALI KHAN: MORE KHAWAJA

An awesome Qawwali and performance of Nusrat Fateh Ali Khan from the album "NUSRAT FATEH ALI KHAN Vol. 1" in a super audio quality.

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QAWALI'S SINGING:

10) NUSRAT FATEH ALI KHAN: MUJHKO TERE KASAM

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QAWALI'S SINGING:

11) NUSRAT FATEH ALI KHAN: PYAR AKHIYAN DE BOW

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QAWALI'S SINGING:

12) NUSRAT FATEH ALI KHAN: TASBIH DE EK EK DA

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QAWALI'S SINGING:

13) NUSRAT FATEH ALI KHAN: DATA KA GHULAMOON:

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QAWALI'S SINGING:

14) NUSRAT FATEH ALI KHAN: EK DIN MAHI DE GHAR

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QAWALI'S SINGING:

15) NUSRAT FATEH ALI KHAN: FASL E GUL HAI:

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QAWALI'S SINGING:

16) NUSRAT FATEH ALI KHAN: JHUK FAREDAN JANA

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QAWALI'S SINGING:

17) NUSRAT FATEH ALI KHAN: KHALI MOR DA NAHIN

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QAWALI'S SINGING:

18) NUSRAT FATEH ALI KHAN: KITHE ISHQ DA ROOG

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