Kuchi Jai Tund Teri Yari Si
- Length: 10:26
- Rating: 5.00 (5 ratings)
- Views: 735' favoriteCount='8
- Author: miqbalmian
Tags: Ali Amanat Asad classical Khan Music Pakistan Pakistani Patiala Punjab Punjabi Ragae
with love and regards for the fan's of Asad Amanat Ali Khan.
masih bhajan by bhawani angiras
- Length: 1:52
- Rating: 4.00 (1 ratings)
- Views: 211' favoriteCount='1
- Author: bhawaniangiras
Tags: angiras bhajan bhawani masihi religious singer
hui baat jo salib par mere haq mein harfe dua lagi
Ustad Bade Ghulam Ali Khan, Raag Malkauns, Drut, Teentaal
- Length: 3:15
- Rating: 5.00 (9 ratings)
- Views: 4379' favoriteCount='28
- Author: kishoriray
Tags: ali bade classical gharana ghulam indian kasur khan malkauns music patiala raag ustad
'Mandir dehk dare Sudama'Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali'sbirth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulaniand Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music(Patiala gharana); he taught the young Ustadsimple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developedhis stamina, but also gave him the rare sensitivity to gauge the externalresponse. In 1932, he lost his wife Allah Jiwai. His grief, poured intomelody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different peoplein the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitationof King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenshipand sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Alishifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtriansare great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the peopleof Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple).She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the richand the poor alike! In this respect, theSufis of Islam, the Bhaktas of thethe Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie.After having accomplished a lot,Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners onan inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large.http://www.youtube.com/watch?v=jCrzVnHSYoQhttp://www.youtube.com/watch?v=-ZJlzgs5bUohttp://www.youtube.com/watch?v=IMQtmYUv-ig
Ustad Bade Ghulam Ali Khan, Raag Kafi Kanada
- Length: 9:40
- Rating: 4.91 (11 ratings)
- Views: 5481' favoriteCount='18
- Author: kishoriray
Tags: ali bade classical ghulam indian khan music ustad
His Live videos:Part 1http://www.youtube.com/watch?v=jCrzVn...Part 2http://www.youtube.com/watch?v=sTwNzy...Part 3http://www.youtube.com/watch?v=-ZJlzg...Part 4 http://www.youtube.com/watch?v=rGc5Uo...Part 5http://www.youtube.com/watch?v=IMQtmY...A clip found on Patrick Moutal's site:http://www.youtube.com/watch?v=OL3VmT...Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali'sbirth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulaniand Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music(Patiala gharana); he taught the young Ustadsimple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developedhis stamina, but also gave him the rare sensitivity to gauge the externalresponse. In 1932, he lost his wife Allah Jiwai. His grief, poured intomelody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different peoplein the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitationof King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenshipand sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Alishifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtriansare great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the peopleof Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple).She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the richand the poor alike! In this respect, theSufis of Islam, the Bhaktas of thethe Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie.After having accomplished a lot,Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners onan inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large.
Page: 2 of 5
