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Nusrat Fateh Ali Khan Best Qawwali Mp3 Free Download Skull
Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party - 'Party' is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money.
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Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.
Qawwali Nusrat Fateh Ali Khan
Real World was the label largely responsible for Khan's breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. 'All these albums are experiments,' he told me in 1993.
'There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful.' Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless.
Many fans regret the dilution of his talent that has occurred with his 'experiments.' However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow.
Ustad Nusrat Fateh Ali Khan (October 13, 1948 - August 16, 1997) was primarily a singer of Qawwali, the devotional music of the Sufis, a mystical offshoot of Islam. Traditionally, Qawwali has been a family business.
Nusrat's family (originally from Afghanistan, though they had been living in Pakistan for a large part of their lives) has an unbroken tradition of performing qawwali for the last 600 years. Nusrat took over his family's qawwali party in 1971 after the death of his father and his uncle. In Pakistan, his first major hit was the song 'Haq Ali Ali'. This was performed in a traditional style and with traditional instrumentation, and featured only sparse use of Nusrat's innovative sargam improvisations. Nevertheless the song became a major hit, as many listeners were attracted to the timbre and other qualities of Nusrat's voice. He reached out to Western audiences with a couple of fusion records produced by Canadian guitarist Michael Brook. In 1995, he collaborated with Eddie Vedder on the soundtrack of Dead Man Walking.
His contribution to that and several other soundtracks and albums (including The Last Temptation of Christ), as well as his friendship with Peter Gabriel, helped to increase his popularity in Europe and the United States. Peter Gabriel's Real World label released five albums of Nusrat's traditional Qawwali performances in the West. He also performed traditional Qawwali live to Western audiences at several WOMAD world music festivals. Nusrat was noted for introducing other forms of improvisation into the style. From his classical music training, he would interject much more complex alap improvisations, with more vibrato and note bending.
He would also interject sargam improvisations. While it is undoubtedly difficult to put into words what makes Nusrat's music appeal so deeply to so many listeners, many of whom do not understand a single word of the languages he sings in, here is one fan's attempt to explain: 'Nusrat's music invites us to eavesdrop on a man communing with his God, ever so eloquently. He makes the act of singing a passionate offering to God. But we do not merely eavesdrop. The deepest part of Nusrat's magic lies in the fact that he is able to bring our hearts to resonate with the music, so deeply, that we ourselves become full partners in that offering. He sings to God, and by listening, we also sing to God.'
'Singing with Nusrat was pretty heavy,' says Eddie Vedder. 'There was definitely a spiritual element. I saw him warm up once, and I walked out of the room and just broke down. I mean, God, what amazing power and energy.' The late American rock singer Jeff Buckley paid tribute to Nusrat on the album 'Live at Sin-'.
In his introduction, he states, 'Nusrat, he's my Elvis,' before performing the song 'Yeh Jo Halka Halka Saroor Hai'. This recording generated interest in Nusrat among an audience that was previously unaware of his music. In 2005, a tribute band called Brook's Qawwali Party was formed in New York City by percussionist Brook Martinez to perform the music of Nusrat Fateh Ali Khan. The 11+ piece group performs (mostly instrumental) jazz versions of Nusrat's traditional qawwali songs, using the instruments conventionally associated with jazz (saxophones, brass, electric guitar, double bass, djembe, drum set, and percussion) rather than those associated with qawwali. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
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