மதறாஸி ஸிங்கிங்! - குலாம் அலியின் ஒரு கஜல்

'இஸ்மே ஆப்கோ சவுத் கா டேஸ்ட் மிலேகா.. ’ என்று சொல்லியவாறு உஸ்தாத் குலாம் அலி  பாடும் ஒரே கஜல் இதுதான்.  இந்த யூட்யூபில், 'is it raag brindavani sarang?’ என்பவரின் கேள்விக்கு ‘ This is the scale of Madhmat Sarang in Hindustani music. In Carnatic music, this corresponds to raga Madhyamavati. But, the raga of this ghazal is Megh. In Hindustani music, the same scale (Madhyamavati) delivers two ragas -- Madhmat Sarang and Megh’ என்று பதில் சொன்ன Ranchhoddasji-ம் மதறாஸியாகத்தான் இருக்கவேண்டும். ஆமாம், இவ்வளவு விபரங்களெல்லாம் தெரிந்துகொண்டுதான் இசை கேட்க வேண்டுமா என்ன? மினிமைஸ் செய்துவிட்டு கேளுங்கள். போதும், மதறாஸி போல ‘மியூட்’ செய்துவிட்டு கேட்டாலும் சரிதான்! - ஆபிதீன்

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Thanks to : samarjitacharjee

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போனஸ் : பழைய மதறாஸி பதிவு!

Courtesy : The Hindu - Metro Plus  (Wednesday, Sep 15, 2004)

Ghulam, ghazals and geet

His ghazals are as much about lyrics as they are about melody. SAVITHA GAUTAM in conversation with Pakistani ghazal maestro Ghulam Ali

"THERE MAY be many who enjoy my music, but I only listen to your ghazals... " That was Indian playback legend Mohammed Rafi's comment during a conversation with Ghulam Ali. Such has been the reach of the Pakistani ghazal maestro, who has been often dubbed one of the most influential cultural ambassadors from across the border.

Ghulam Ali was in the city after a 19-year hiatus for a charity concert put together by the Rotary Club of Chennai Samudra, Ability Foundation and Rotary Club of Madras. Why such a long gap? "Aapko hame yaad karne mein itni der lagi" (It took you so long to remember me), was his reply. Despite the fact that he was an hour late for a dinner engagement, the singer was happy to share his thoughts in an exclusive interview the evening before his show. ("Normally, we singers do not like to talk much on the day of a concert. We want to conserve our energy").

Do you remember your earlier concert here in 1985, you asked. With an endearing smile, he replied, "Yes, it was Hema Malini who organised the show at the Music Academy. I remember quite a few members of the film fraternity sitting in the first few rows. It was a memorable concert for me."

Pioneering role

In the early 1960s and 1970s, singers such as Ghulam Ali and Mehdi Hassan, played a pioneering role in popularising the ghazal in the film-dominated music scene. The Sialkot-born Ghulam Ali began his musical journey as a teenager under the tutelage of Bade Ghulam Ali Khan and his brothers Barkat Ali Khan and Mubarak Ali Khan of the Patiala Gharana. He recalls, "My father was a big fan of Bade Ghulam Ali saab, and in fact, I was named after him. I was in awe of Khan saab, sometimes even terrified. If I had to sing before him, I would do riyaaz (practice) for days, then sing before Barkat saab to ensure that I did not go wrong with the raag. I think I am blessed to have trained under him, even if it was for a short while."

Even though his training was in the classical form, it was the ghazal that attracted him most. "Besides raags, Barkat saab also used to sing thumris, dadras and ghazals. I was particularly drawn towards the ghazal and wanted to learn as many as I could," says Ghulam Ali, whose first ever public programme was in a classical one. It was to be 1960 before he could actually record a ghazal for Radio Pakistan in Lahore.

"I remember the number. It was Ahmed Nazim Kazmi's "Shaam ko subah chaman yaad aaye... " And I was paid a grand sum of Rs. 15!" The response was overwhelming. A new ghazal singer had captured the musical hearts of Pakistan. After that, radio programmes, live concerts in Pakistan and Europe, and recordings kept him busy.

However, it was not before 1980 that he could cross the border and showcase his rich baritone voice before an Indian audience, in Mumbai. "I recall doing eight shows in 15 days." Ever since, his bond with India has been getting stronger, despite some ugly and forgettable moments, like when his concert was disrupted by the Shiv Sena in 1998. Even then, he would sing "Faasle aise bhi hoonge yeh kabhi socha na tha" (I never thought there would be such differences).

In India, Ghulam Ali made friends and collaborated with various artistes, including Asha Bhonsle (who called him "a miracle of God") and Gulzar, releasing hit albums. As for his personal favourites the list includes "classical artistes such as Aamir Khan saab, Kishori Amonkar and Ravi Shankar, and the songs of A. R. Rahman. Yes, I hope to work with him some day." As far as shayars (poets) go, he names Nazim Kazmi as his favourite. "We worked together for a while with Radio Pakistan. I learnt a lot from him. I also enjoy singing Ghalib, Mir Taki Mir and Nida Fasli."

Western influence

Are the classical arts getting the attention they deserve in Pakistan? "Haan, yeh bahut buri baat hai. West ka influence bahut zyada ho gaya hai. Aaj kal koi bhi kala ko paise ki nazaron se dekha jata hai, puja ya ibadat ki nazar se nahin (It's a sad thing. There's too much of the Western influence. The arts have been commercialised. Devotion seems to be lacking.)

Ghulam Ali today spends quite a bit of time training students, including his son Nazar Ghulam Ali. "But my younger son Aamir's tastes lean more towards rock and jazz," he smiles.

He is a role model for many ghazal singers and aspiring musicians. What would he like to say to them, "I would say, give as much importance to the lyrics as to the music. A deep understanding of the classical form helps a singer go a long way. Also, it is important to learn Urdu to understand a ghazal.

On that positive note, he left for dinner, all fired up about some dish his friend had mentioned.

THE PACKED hall of the Kamaraj Arangam was evidence enough that Ghulam Ali is still a name to reckon with. Brought to Chennai by the Rotary Club of Chennai Samudra, Ability Foundation and Rotary Club of Madras, the Pakistani singer was in top form as he began the evening with guru Bade Ghulam Ali Khan's famous thumri, "Gori tori naina" in Raag Pilu. He was accompanied by Shamir Sarkar on the tabla, Arshad Ahmed on Guitar, Abrar Ahmed on the santoor and Raju Das on harmonium.

He set the pattern for the evening by beginning with some couplets before launching full flow on to a ghazal, letting the audience experience his superb vocal range. Somebody once remarked "Ghulam Ali is the master of the unpredictable turn of the phrase which he does with ease." One saw glimpses of that when he played on the word `leher' in "Dil mein ek leher."

The audience was, of course, waiting for classics such as Ghalib's "Har ek baat," "Chupke Chupke" (first recorded nearly 28 years ago for Radio Pakistan) "Yeh dil yeh paagal dil mera" and "Hungama hai kyon." And they were not disappointed.

Perhaps, the only sore note was the guitar, which somehow sounded out of place in the almost classical show.

The show raised funds for the various projects supported by the Rotary such as polio eradication, eye care, AIDS awareness and homes and education for the underprivileged.