Ali Sher is hard at work with Rafaqat Ali Khan for a series of collaborations; the first being 'Ishq'. The song comes at the heels of his third studio album Beetaye Pal, which enjoyed reasonable success with the masses but not enough to be labelled a massive hit.
But this time, Ali is once again giving Rafaqat's next album (Rafaqat is from the Sham Chaurasia Gharana and contributor to soundtracks of Bollywood hits like Krrish) and the first fruit of this labour is the song 'Ishq'. A song composed entirely by Ali, featuring Rafaqat Ali Khan's traditional kafi style of singing.
The track was originally written by Ghulam Farid Khan and heavily influenced and inspired by the Sindhi Bharwain raag. Ali's composition mixes east and west with traditional percussions and contemporary sound as well. The result is a fusion track intertwined with traditional and contemporary instruments, a groovy yet sombre beat - something Ali describes as "dark" - and the free flowing vocals of Rafaqat Ali Khan. The two had been planning a collaboration for quite some time and only recently did they find the time to work on this single.
"I've known him for a long time now and seen him perform numerous times and his command on the raags is truly amazing. I had spoken to Rafaqat bhai about collaboration a while back, and it was just talk but to work on this, both of us had to take out time to put this track down."
And that's not all. Currently Ali and Rafaqat are working hard towards completing at least two more collaborations. It's clear that they are really getting along.
"Totally, he's a very humble and down to earth person to get along with and it just comes naturally," says Ali about working with Rafaqat Ali Khan.
Though he has worked as a composer before (for the likes of Hadiqa Kiyani and others) when does Ali feel most comfortable? As a singer or a composer?
"I find that I'm more comfortable doing both," he says. "If I do one and not too much of the other, I feel that I'm not doing things right. Especially with my own music, I just don't think about anything else and go in on all fronts trying for the best composition and music for myself."
After having been part of the music industry since 1994, how does Ali Sher react to or treat criticism? Ali's last album-although enjoyed by listeners-wasn't too well received with the critics.
"Criticism itself doesn't bother me at all," he says, adding, "however, if it's baseless criticism, putting someone down just for the heck of it, well I don't agree with that." Ali adds that he enjoys hearing from his fans about what they thought of the music and wholeheartedly welcomes creative suggestions.
'Ishq' will be enjoyed by listeners here and abroad. It will enjoy radio airplay in Houston, London and other major cities around the world. Not a bad first step for Ali Sher in 2010 but can we expect giant leaps? Only time will tell.
Showing posts with label experimental music. Show all posts
Showing posts with label experimental music. Show all posts
17.5.09
A Tale of Two Cities
By Sonya Rehman and Khaver Siddiqi
“It was the best of times, it was the worst of times”. Charles Dickens’ literary masterpiece, ‘A Tale of Two Cities’ begins with these words. Though the novel has a theme of self-sacrifice and resurrection, the starting line of the novel can be applied here in Pakistan, to the two of its largest and most prominent cities; Karachi and Lahore.
Indeed both cities have seen the best of times and the worst of times, as far as the music industry is concerned, but how do these cities relate to one another? How does their music combine and form the modern music scene as we know it?
The music that originates from the Punjab is as intricate as its historic architecture. Lahore, the Garden of the Mughals, has seen a myriad of melodies, genres, and vocals alongside a variety of musical instruments (both new and old) over the past few decades. This has given rise to the city’s diverse sound of music and rapidly evolving culture.
From the earthy qawwals of Nusrat Fateh Ali Khan, the Punjabi ditties of Abrar-ul-Haq, the pop sensations; Atif Aslam and Ali Zafar, the underground Lahori grunge/rock revolution (of a handful of bands) in the early 90s and to the revolutionaries of yesteryear – Noor Jehan, Farida Khanum, Ustad Amanat Ali Khan and many more. In addition, the dhol maestro, Pappu Saien, and the master of the ek tara, Saien Zahoor (both of whom have shared their glory performing for people at shrines to concerts), to the fresh crop of commercialized Lahori pop acts (of both the past and today), to the jaded, angst-ridden rockers/bands such as Shahzad Hameed, Call, and eP…music from Lahore has been assorted at best.
Infact the Lahori music scene has churned out so many musicians over the years that it would be almost impossible to list each band/musician down. Nonetheless, each has contributed to the country’s music scene on a macro level – making it what it is today; pulsating with promise.
Even though things have been on the downslide – given the worldwide economic recession and the security situation within the country – our local musicians have still managed to stay in the game by taking out albums (some of which are completely self-funded), and playing at concerts and gigs throughout the country.
Therefore, given the innumerable genres, the music from the Punjab cannot really be ‘defined’ as such, rather, just ‘felt’, and taken in. And perhaps this is what sets the city of Lahore’s music apart from Karachi’s music scene. Where Karachi carries its very own, signature sound, melodies from Lahore come wrapped in unrequited love, Sufi-istic devotion, and nostalgia – which oft reminds one of luminous diyas, and fresh jasmine.
On the other hand, Karachi as a city can best be described as a potpourri of people, traditions, lifestyles and history. This stepping stone of Mohammad Bin Qasim, a picturesque city of light and lightlessness, has its own distinct sound which permeates through the air and settles amongst its populace.
Music has been a vital part of this city, whether it is the sound of the drums at Abdullah Shah Ghazi’s Mazar or the tone of socialism in Faiz Ahmad Faiz’s poetry, the music (and its words) very much echo the mood of the city. It is somber and realist, laced with satire and melancholy. Karachi music has no definite history to speak of, such as Lahore has. This is because compared to Lahore; Karachi is a modern city with a modern sound. It is the sound of realism, sometimes the harshness of reality and sometimes an echo of its soul.
The music from the city by the sea is gritty, real and often makes many political statements. ‘Social Circus’ by Ali Azmat is an album that, in recent times, speaks this city’s language. Take this album and drive along the streets of Karachi and you’ll find yourself traveling the city with an accompanying soundtrack. From the raging guitars of the intro track accompanied by the blaring W-11 and all, to the calming rushes of the waves at the coast, this album really does speak the language of this city.
But its not just Azmat’s album that beckons the sights and sounds of Karachi, bands like Strings and Junoon evoke a particular Karachi sound. In terms of heritage, giants like Allan Fakir and Abida Parveen evoke a rich texture unto the language of the entire province. Going further deep into heritage we come to the mazars of Karachi, most particularly the Abdullah Shah Ghazi, the monument that is perhaps the epitome of this land, long before our time and the British Raj. One will often find people from all walks of life loitering about the mazar; some simply paying their respects through prayer whereas others through their stories of song. And it is those stories of song that truly paint an unseen picture of the city by the sea. No matter where you are in the world, if you hear tracks by these artistes or the songs of these faithful, one would be compelled to think of Karachi.
Comparisons between Lahore and Karachi are ultimately inevitable. Though we are one nation and one people, we speak many languages and we have a collective history of many generations. Though the two cities are so vastly different, so vastly apart, they are indeed just branches of the one same tree.
In Pakistan, we have at our disposal, a thoroughly rich and diverse cultural heritage, which has blossomed over the decades, if not centuries. From almost every facet of what ‘art’ encompasses – such as; music, fashion, poetry, architecture and so on.
That being stated, there is a hidden but devastating war taking place. Unlike our neighbors that celebrate, support and cherish their culture, our culture is slowly being eroded by ourselves. Our children are more familiar with Miley Cyrus’ songs and Aamir Khan’s 15 minute memory that they are ambiguous and lost to the rich culture that is their own.
And what is the result of that?
The result is we are now on the brink of losing our identity. Our art and culture must be held on to with an unflinching zeal. It must constantly be nurtured, nourished and cultivated without letting and allowing ‘borrowed culture’ from overseas sully it. For in these trying times, art seems to be our only release, making everything, at the end of the day seem all the more worthwhile.
“It was the best of times, it was the worst of times”. Charles Dickens’ literary masterpiece, ‘A Tale of Two Cities’ begins with these words. Though the novel has a theme of self-sacrifice and resurrection, the starting line of the novel can be applied here in Pakistan, to the two of its largest and most prominent cities; Karachi and Lahore.
Indeed both cities have seen the best of times and the worst of times, as far as the music industry is concerned, but how do these cities relate to one another? How does their music combine and form the modern music scene as we know it?
The music that originates from the Punjab is as intricate as its historic architecture. Lahore, the Garden of the Mughals, has seen a myriad of melodies, genres, and vocals alongside a variety of musical instruments (both new and old) over the past few decades. This has given rise to the city’s diverse sound of music and rapidly evolving culture.
From the earthy qawwals of Nusrat Fateh Ali Khan, the Punjabi ditties of Abrar-ul-Haq, the pop sensations; Atif Aslam and Ali Zafar, the underground Lahori grunge/rock revolution (of a handful of bands) in the early 90s and to the revolutionaries of yesteryear – Noor Jehan, Farida Khanum, Ustad Amanat Ali Khan and many more. In addition, the dhol maestro, Pappu Saien, and the master of the ek tara, Saien Zahoor (both of whom have shared their glory performing for people at shrines to concerts), to the fresh crop of commercialized Lahori pop acts (of both the past and today), to the jaded, angst-ridden rockers/bands such as Shahzad Hameed, Call, and eP…music from Lahore has been assorted at best.
Infact the Lahori music scene has churned out so many musicians over the years that it would be almost impossible to list each band/musician down. Nonetheless, each has contributed to the country’s music scene on a macro level – making it what it is today; pulsating with promise.
Even though things have been on the downslide – given the worldwide economic recession and the security situation within the country – our local musicians have still managed to stay in the game by taking out albums (some of which are completely self-funded), and playing at concerts and gigs throughout the country.
Therefore, given the innumerable genres, the music from the Punjab cannot really be ‘defined’ as such, rather, just ‘felt’, and taken in. And perhaps this is what sets the city of Lahore’s music apart from Karachi’s music scene. Where Karachi carries its very own, signature sound, melodies from Lahore come wrapped in unrequited love, Sufi-istic devotion, and nostalgia – which oft reminds one of luminous diyas, and fresh jasmine.
On the other hand, Karachi as a city can best be described as a potpourri of people, traditions, lifestyles and history. This stepping stone of Mohammad Bin Qasim, a picturesque city of light and lightlessness, has its own distinct sound which permeates through the air and settles amongst its populace.
Music has been a vital part of this city, whether it is the sound of the drums at Abdullah Shah Ghazi’s Mazar or the tone of socialism in Faiz Ahmad Faiz’s poetry, the music (and its words) very much echo the mood of the city. It is somber and realist, laced with satire and melancholy. Karachi music has no definite history to speak of, such as Lahore has. This is because compared to Lahore; Karachi is a modern city with a modern sound. It is the sound of realism, sometimes the harshness of reality and sometimes an echo of its soul.
The music from the city by the sea is gritty, real and often makes many political statements. ‘Social Circus’ by Ali Azmat is an album that, in recent times, speaks this city’s language. Take this album and drive along the streets of Karachi and you’ll find yourself traveling the city with an accompanying soundtrack. From the raging guitars of the intro track accompanied by the blaring W-11 and all, to the calming rushes of the waves at the coast, this album really does speak the language of this city.
But its not just Azmat’s album that beckons the sights and sounds of Karachi, bands like Strings and Junoon evoke a particular Karachi sound. In terms of heritage, giants like Allan Fakir and Abida Parveen evoke a rich texture unto the language of the entire province. Going further deep into heritage we come to the mazars of Karachi, most particularly the Abdullah Shah Ghazi, the monument that is perhaps the epitome of this land, long before our time and the British Raj. One will often find people from all walks of life loitering about the mazar; some simply paying their respects through prayer whereas others through their stories of song. And it is those stories of song that truly paint an unseen picture of the city by the sea. No matter where you are in the world, if you hear tracks by these artistes or the songs of these faithful, one would be compelled to think of Karachi.
Comparisons between Lahore and Karachi are ultimately inevitable. Though we are one nation and one people, we speak many languages and we have a collective history of many generations. Though the two cities are so vastly different, so vastly apart, they are indeed just branches of the one same tree.
In Pakistan, we have at our disposal, a thoroughly rich and diverse cultural heritage, which has blossomed over the decades, if not centuries. From almost every facet of what ‘art’ encompasses – such as; music, fashion, poetry, architecture and so on.
That being stated, there is a hidden but devastating war taking place. Unlike our neighbors that celebrate, support and cherish their culture, our culture is slowly being eroded by ourselves. Our children are more familiar with Miley Cyrus’ songs and Aamir Khan’s 15 minute memory that they are ambiguous and lost to the rich culture that is their own.
And what is the result of that?
The result is we are now on the brink of losing our identity. Our art and culture must be held on to with an unflinching zeal. It must constantly be nurtured, nourished and cultivated without letting and allowing ‘borrowed culture’ from overseas sully it. For in these trying times, art seems to be our only release, making everything, at the end of the day seem all the more worthwhile.
11.1.09
Presenting The Chand Taara Orchestra
We’re sitting in an open-air restaurant, located in a secluded area of defence. Babar Shaikh, Glen John and Rizwan are positively brimming with excitement. They’ve just had their first show as the Chand Taara Orchestra at the Indus Valley School of Arts and Architecture’s (IVSAA) Alumni Show, and they’re looking forward to doing more. For each them, this journey into experimental music has been long in the making.
About a year ago, director musician Babar Shaikh was invited to play at a Spanish Film Festival. There he joined other world musicians as they played live improvisational music to silent animation movies being played on the screen. It would prove to be an experience that he wouldn’t forget anytime soon. His recent musical ventures include his own band Dusk, which continues to evolve to this day.
As he returned back to Pakistan from Spain, the first person Babar contacted was Rizwan. “Musically, whatever I’ve done, I’ve always involved Rizwan.” Their initial foray into music began with 1996’s Ganda Banda and the 3d Cats, along with Ahmad Chagla and Ali Alam (now associated with The Aunty Disco Project). Ganda Banda was perhaps a phenomenon of its time, achieving cult status to this day. “Post-GandaBanda, Rizwan and I were getting into a lot of world music,” recalls Babar. “It was also very simple, just complete raag-based songs,” adds Rizwan. But both agree it was the diversity of Ganda Banda that made it the success that it was.
Rizwan’s journey has been long and winded in music, “I’ve played different instruments and I started playing in a band in 1988. It was a rock ‘n’roll band, but at the same time, I was really interested in classical music. From rock, I progressed to psychedelic, then blues and reggae and ultimately, world music.” Regarding his input in the band, he said, “I don’t have a particular style in mind when I play, perhaps I mimic a style, but for me it’s just about playing diverse music.”
The commonality between Babar and Rizwan was not just diversity, but the diversity of world music. In 2002, the two musicians teamed up with Areeb Azhar and performed a few gigs. It would be Areeb’s diverse sound that would further solidify Babar’s and Rizwan’s journey towards where they are today. Then, upon Babar’s return from his experience with the Trans Orient Express, Glen John came into the picture. John, the son of revered musician S B John, has his own band Gurus Trilogy, met up with Babar and the two discussed possibilities of perhaps forming a band together. “This is something that I always wanted to do, something experimental, something that made me feel good inside, the kind of music that would appeal to me,” Glen said. “My own band – Gurus – does appeal to me, but it has a very commercial aspect to it and one needs to earn their bread and butter, but one also needs to satisfy their creative self.”
Both Babar and Glen agreed that whereas commercial music serves its purposes, it doesn’t satisfy them as musicians. Glen was immediately taken by the idea and possibilities from that meeting, but it wouldn’t be until the IVSAA invited Babar to perform at their first Alumni Show that the hard work would come to fruit. The three of them rehearsed together to establish the base of the Chand Taara Orchestra. “Initially, it was just Babar and me rehearsing,” remembers Glen, “I was so excited that I had worked on a few things even before Babar showed up for the rehearsal.”
“The thing that makes this work is the synergy,” Babar states, “It’s the fact that Glen had already worked out something before I joined him, and the fact that when Rizwan joined us afterwards, he brought in something new that added to the whole ambience of the band.” The purpose of the band wasn’t just to play guitar with a raag, a practice common amongst fusion bands, but to achieve a totally different kind of sound with the addition of other instruments, (particularly world instruments) such as a harmonica, electric tanpura, and an Arabic duff, to name a few. “It’s not your typical fusion,” adds Rizwan. And indeed it isn’t. The band’s strength is its diversity, whether it is Babar’s rock influences, Glen’s experience of classical music and Rizwan’s world music.
The result is a fresh sound of experimental fusion music, made in the spirit of making music with a purpose of more than just earning money. The band currently has one track, and at almost 25 minutes, it is a sheer display of love for music, if anything else. Again, for one to comprehend on such a track length, one has to understand the band’s motives and the fact that this isn’t a commercial venture. The track sways in with the electric tanpura and carries the listener along with it. One doesn’t even catch each of the instruments coming in, such is the subtly of the music. The guitar and bass blend in with the aura of the sound and the harmonica and duff – instead of sounding off beat or out of tune – create that perfect harmony to take the track onwards.
Already there is praise for them after their first show. They have been approached by fellow musicians to be a part of the proverbial orchestra. “That’s the general idea,” says Babar – and both Glen and Rizwan agree with him, “the three of us are the nucleus of the band but other musicians will come and add on their inputs according to our sound.”
At the end of it all, Babar sums up his own vision. “I read someplace that if a music listener goes back home from a concert and thinks, ‘wow that was a good gig, the guitar player was amazing, the drummer was amazing, etc’ – you really haven’t fulfilled your purpose as a band. But if that same listener says, ‘wow what a band’ then you’ve hit the mark.” The three of them agree in unison that whatever music they play, it should impart itself upon the listeners, touching their lives in some sort of way.
Surely then we can expect to hear more from this unique group as they continue their journey as the Chand Taara Orchestra.
About a year ago, director musician Babar Shaikh was invited to play at a Spanish Film Festival. There he joined other world musicians as they played live improvisational music to silent animation movies being played on the screen. It would prove to be an experience that he wouldn’t forget anytime soon. His recent musical ventures include his own band Dusk, which continues to evolve to this day.
As he returned back to Pakistan from Spain, the first person Babar contacted was Rizwan. “Musically, whatever I’ve done, I’ve always involved Rizwan.” Their initial foray into music began with 1996’s Ganda Banda and the 3d Cats, along with Ahmad Chagla and Ali Alam (now associated with The Aunty Disco Project). Ganda Banda was perhaps a phenomenon of its time, achieving cult status to this day. “Post-GandaBanda, Rizwan and I were getting into a lot of world music,” recalls Babar. “It was also very simple, just complete raag-based songs,” adds Rizwan. But both agree it was the diversity of Ganda Banda that made it the success that it was.
Rizwan’s journey has been long and winded in music, “I’ve played different instruments and I started playing in a band in 1988. It was a rock ‘n’roll band, but at the same time, I was really interested in classical music. From rock, I progressed to psychedelic, then blues and reggae and ultimately, world music.” Regarding his input in the band, he said, “I don’t have a particular style in mind when I play, perhaps I mimic a style, but for me it’s just about playing diverse music.”
The commonality between Babar and Rizwan was not just diversity, but the diversity of world music. In 2002, the two musicians teamed up with Areeb Azhar and performed a few gigs. It would be Areeb’s diverse sound that would further solidify Babar’s and Rizwan’s journey towards where they are today. Then, upon Babar’s return from his experience with the Trans Orient Express, Glen John came into the picture. John, the son of revered musician S B John, has his own band Gurus Trilogy, met up with Babar and the two discussed possibilities of perhaps forming a band together. “This is something that I always wanted to do, something experimental, something that made me feel good inside, the kind of music that would appeal to me,” Glen said. “My own band – Gurus – does appeal to me, but it has a very commercial aspect to it and one needs to earn their bread and butter, but one also needs to satisfy their creative self.”
Both Babar and Glen agreed that whereas commercial music serves its purposes, it doesn’t satisfy them as musicians. Glen was immediately taken by the idea and possibilities from that meeting, but it wouldn’t be until the IVSAA invited Babar to perform at their first Alumni Show that the hard work would come to fruit. The three of them rehearsed together to establish the base of the Chand Taara Orchestra. “Initially, it was just Babar and me rehearsing,” remembers Glen, “I was so excited that I had worked on a few things even before Babar showed up for the rehearsal.”
“The thing that makes this work is the synergy,” Babar states, “It’s the fact that Glen had already worked out something before I joined him, and the fact that when Rizwan joined us afterwards, he brought in something new that added to the whole ambience of the band.” The purpose of the band wasn’t just to play guitar with a raag, a practice common amongst fusion bands, but to achieve a totally different kind of sound with the addition of other instruments, (particularly world instruments) such as a harmonica, electric tanpura, and an Arabic duff, to name a few. “It’s not your typical fusion,” adds Rizwan. And indeed it isn’t. The band’s strength is its diversity, whether it is Babar’s rock influences, Glen’s experience of classical music and Rizwan’s world music.
The result is a fresh sound of experimental fusion music, made in the spirit of making music with a purpose of more than just earning money. The band currently has one track, and at almost 25 minutes, it is a sheer display of love for music, if anything else. Again, for one to comprehend on such a track length, one has to understand the band’s motives and the fact that this isn’t a commercial venture. The track sways in with the electric tanpura and carries the listener along with it. One doesn’t even catch each of the instruments coming in, such is the subtly of the music. The guitar and bass blend in with the aura of the sound and the harmonica and duff – instead of sounding off beat or out of tune – create that perfect harmony to take the track onwards.
Already there is praise for them after their first show. They have been approached by fellow musicians to be a part of the proverbial orchestra. “That’s the general idea,” says Babar – and both Glen and Rizwan agree with him, “the three of us are the nucleus of the band but other musicians will come and add on their inputs according to our sound.”
At the end of it all, Babar sums up his own vision. “I read someplace that if a music listener goes back home from a concert and thinks, ‘wow that was a good gig, the guitar player was amazing, the drummer was amazing, etc’ – you really haven’t fulfilled your purpose as a band. But if that same listener says, ‘wow what a band’ then you’ve hit the mark.” The three of them agree in unison that whatever music they play, it should impart itself upon the listeners, touching their lives in some sort of way.
Surely then we can expect to hear more from this unique group as they continue their journey as the Chand Taara Orchestra.
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