Ghulam Ali ~ The Ghazal Maestro - Page 2

By Anila Ali

Los Angeles: Filmy songs and their popularity are short lived whereas classical singing holds the interest of listeners forever. Ghulam Ali can easily be termed as the most versatile ghazal singer ever.

Mehdi Hasan and Ghulam Ali were the pioneers who revived ghazal singing in the seventies and that was exactly when I heard Ghulam Ali play in London for the first time in my life. Although not a ghazal enthusiast at that young age, I could not forget his melodious tunes. So when Naz Cinemas, Lakewood, hosted Ustad Ghulam Ali in a concert, many followers like myself, went to hear him sing his lilting ghazal "Chupke Chupke".

We can easily concede that music transcends all boundaries and so the likes of Ustad Ghualm Ali, Mehdi Hasan and Nusrat Fateh Ali can deservedly be called one of the most influential ambassadors from our part of the world. The ardent ghazal listeners were left breathtaken and captivated as Ustad Ghulam Ali took center stage and unlocked the emotions that ran through his superb rendering of ghazals.

The timeless poetry attained new heights when he expressed it in his vocals. His incomparable rendition of the ghazal "Chupke, Chupke" through his new style, "Main Khayal Hoon Kisis Aur Ka", "Dil Main Aik Lehar", coupled with his impeccable voice, carried even the most disinterested listener to a height where sheer ecstasy reigned supreme.

Kasuri and Ghulam Ali in India — A concert in Delhi and a solo in Chennai Rasheeda Bhagat
Ghulam Ali, ghazal singer from Lahore... Building bridges between people. — Bijoy Ghosh WITHIN a week of the Foreign Ministers of India and Pakistan, Mr Natwar Singh and Mr Khurshid Mahmud Kasuri, meeting in New Delhi for another round of Indo-Pak dialogue — which ended up in little more than friendly noise from both sides — the city of Chennai, steeped in a rich music tradition, hosted a spectacular ghazal evening by the Pakistani maestro Ghulam Ali. The event did not catch the national headlines or prime-time television news, nor was it touted as a bridge-building measure between the two countries. And yet, for both for the music rasikas of Chennai and Ghulam Ali himself, the Ghazal Evening, organised by the Rotary Club of Chennai Samudra, te Rotary Club of Madras and the Ability Foundation, and sponsored by Airtel, would have thrown up positive surprises. The applause and adulation he got are not new to the Pakistani singer, who visits India regularly, though he was in Chennai after 19 years. Taking the Indo-Pak talks first, there was bluster on both sides. Mr Kasuri said at the outset that, contrary to media reports, Pakistan was not "unifocal" on Kashmir, and that he had come prepared to discuss everything, including Kashmir. And at the press conference, when journalists from both countries came out with complaints on the rigid visa regime on both sides, Mr Natwar Singh promised with a flourish to talk to the Home Minister, Mr Shivraj Patil, to ensure that visas are given freely to Pakistani journalists. When Imtiaz Alam, promoter of the media group SAFMA (South Asia Free Media Association) lambasted both the sides for keeping a tight control on the movement of journalists, Mr Natwar Singh said with a smile: "There should be no problem in allowing Pakistani journalists to move freely" and asked Mr Alam, "Aap kahan jana chhateh ho? (where do you wish to travel?). Mr Kasuri, of course, was more cautious and said that with the recent Cabinet reshuffle in Pakistan, he could not make any concrete promises, like his Indian counterpart, but was sympathetic to giving journalists access. "In fact, in Pakistan, I'm known as an anti-establishment man," he said. That all this was mere rhetoric will soon be evident when journalists knock on the High Commission doors in either country. Regulars know only too well how difficult it is for the media fraternity to get visas; even when you get one, on occasions like the Indo-Pak talks, the visa is for a very short period and confined to the city where the talks are to be held. A bonus, of course, is the tail you always have, but this should not bother a journalist whose intent is anyway just news coverage. In Islamabad, this correspondent found it very convenient to have an "escort" — as my taxi driver referred to the man on the motorbike who followed us religiously — because he could be used to find addresses! In an interview to The Hindu in New Delhi, Mr Kasuri had sounded keen on the oil-gas pipeline project and suggested a joint working groups comprising India, Iran and Pakistan. That was on September 8. Within a week, the newly appointed Pakistan Prime Minister, Mr Shaukat Aziz, thundered, on the eve of the meeting at the UN between the Prime Minister, Dr Manmohan Singh, and the Paksitan President, Gen Pervez Musharraf, that the gas pipeline is linked to Kashmir. In an interview to the Pakistan Observer, he said: "We are ready to allow transit facilities and foolproof security to the Iran-India gas pipeline but India will have to deal with the Kashmir issue in an equitable and peaceful manner." This hardly comes as a surprise because only the nave and the uninitiated in the web of Indo-Pak relations could have imagined that the road from New Delhi to Islamabad does not run through Kashmir. That is why, and in the background of this blow-hot, blow-cold relationship, the ghazal evening with Ghulam Ali, and an interaction with him , came as such a pleasant experience. In a chat with Business Line, Ghulam Ali said that he is overwhelmed by the "respect and love I always get from the audiences in India." Even when he performs overseas, in the US or the UK, Indians form a chunk of the audience. In April 2004, he had performed to a packed hall in Sunnyvale, California. The event had been organised by the Hindu Temple and Community Centre and the Indo-American Society of Bay Area. The event, which raised over $20,000, was for the renovation of the temple and, before the concert, Ghulam Ali visited the temple and was honoured by the temple management. The singer does not make much ado about his involvement in a temple fund-raiser, saying, "After all, our maker is the same." He adds that, whether it is Pakistan, India or a Western venue, he is "extremely lucky to be heard in rapt attention by the audience." India is, of course, a favourite venue, and when one asked him before his concert in Chennai whether he was not apprehensive about the audience's limited ability to understand the chaste Urdu in which most ghazals are composed, he said with a smile, "People in Chennai might not know Urdu, but no other city in the world can appreciate music like this city... So, on that count, I have no fear." Considering that some Malayali rasikas came all the way from Kollam in Kerala to Chennai, and that too without knowing a word of Hindi or Urdu, to listen to him last Saturday, speaks a lot for the interest Pakistani ghazal singers like Ghulam Ali generate in India. Among Indian musicians, Ghulam Ali, who has been singing ghazals for 44 years, admires Pandit Jasraj and Ravi Shankar the most. A soft-spoken and pleasant man, he says with a frown, when asked to comment on pop music: "Perhaps today's generation might call it music and enjoy it; but I can't enjoy music jaha par idhar udhar stage par chalang lagatey hei." At the concert, his faith in the Chennaiite's knowledge of music was fully justified. The hall was packed and, luckily, though the donor tickets were priced between Rs 1,000 and Rs 2,000, tickets at the lower end were available at Rs 250. As one watched him render the evergreen thumri "Gori tere nain kajal bina kale", or Mirza Ghalib's delightful "Har ek baat pe kehte ho tum ke tu kya hai/ Tumhi kaho yeh andaz-e-guftgu kya hai", or his all-time favourite "Chupke chupke raat din ansoo bahana yaad hei" or the unbeatable "Hangama hai kyo barpa thodisi so pi li hei", one could hardly believe the transformation of the simple, unassuming person one had met over dinner just the previous evening. Incidentally, at that dinner, he had asked for "soda with ice", prompting the question of stronger spirits being normally required to put ghazal singers in mood. "It is Allah who gives me the mood to sing; I've never touched alcohol in my life. My father had told me to strictly keep off this stuff," he said. Privy to this secret, one heard with a smile his delightful rendering of the famous Hangama number, which is dedicated to the tipplers of this world.

Anyway, the thunderous applause he got from the Chennai audience which, most of the time, did not even require his helpful translation of intricate Urdu words, will remain with Ghulam Ali for long, as will the magic of that evening.

COMMUNITY: News in Brief

Music Beyond Borders: Ghulam Ali and Talat Aziz Concert
Noted ghazal singers Talat Aziz from India and Pakistan's Ghulam Ali presented Sada-e-Ghazal or "Music Beyond Borders" to a sold-out audience of over 900 people at the Sunnyvale Hindu Temple. Temple organizers said over $11,000 was donated to the American Red Cross to support victims of Hurricane Katrina.

Ghazal singers Ghulam Ali (l) and Talat Aziz in concert at the Hindu Temple in Community Center in Sunnyvale, Calif. (Shashi Desai/DreamSnaps photo)


Ghazal singers Ghulam Ali (l) and Talat Aziz in concert at the Hindu Temple in Community Center in Sunnyvale, Calif. (Shashi Desai/DreamSnaps photo)

The two ghazal singers performed individually as well as together. Both Talat Aziz and Ghulam Ali are doing their bit for the Indo-Pak peace initiative with a series of joint concerts that started in March this year spanning seven weeks across fifteen cities in the U.S. The singers have hit upon a novel fusion technique where they render their popular ghazals with songs of both countries merged and sung like duets.

Ghulam Ali's evergreen, "Chupke Chupke," "Hungaama Barpa," "Faasle Aise Bhi Honge," and "Kal Chodwi Ki Raat Thi" mesmerized listeners, as did Talat Aziz with his memorable "Kaise Sukoon Pao Tujhe Dekhne Ke Baad," "Aaina Mujhse Meri," and "Zindagi Jab Bhi Tere Bazm Mein." and a new one for audience here in a folk style "Peete Hai Nazar Se Roz Magar, Hothon Pe Koi Jaam Nahin."


Their song for fraternal unity, "Kadam Mila Ke Chalo, Ab Kadam Mila Ke Chalo," earned enormous audience applause.

Thanx Qwest da for articles

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

Music sans frontiers: 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. Classic notes

Stealing hearts 'Chupke Chupke'... At Kamaraj Arangam during a recent concert - Pic. by R.Ragu 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.

Ghulam Ali was born in 1940, at village Kaleke, district Sialkot, which is now a part of Pakistan. (India and Pakistan became two separate countries in august 1947). He belongs to a musical family, his father was vocalist and sarangi player who trained him earlier, he also learnt from Bade Ghulam Ali Khan's brother Ustad Barkat Ali Khan who is another great singer. He is usually known as a disciple of one and only Ustad Bade Ghulam Ali Khan, an unparalleled legend of classical music. Besides him, he was trained by Bade Mubarak Ali Khan. All these great teachers of classical music taught him finer details of classical music, making him one of the best classical singers of all times. And his solid foundation in pure classical music, raagas, thumaris is very apparent in all his singing, making is style unique and inimitable. He started singing at Lahore radio during 1960.

He sings his ghazals, thumaris and nazms in the live concerts in many countries. He is selective about his foodstuffs and avoids anything that could harm his voice.

While experimenting with classical singing, melodies, raagas, he realized that music lovers usually enjoy semi-classical or classical based ghazal more as compared to pure classical music. Also, he came under the association of a master poet whom he has called Sufi Sahab. He guided Ghulam Ali to enter into the realm of the heart and aesthetics of ghazals. Sufi Sahab taught him how to recite the shers effectively without distorting the beauty of the poetry. He told him where to stop and where to stress so that the words remained crystal clear.

Ghulam Ali has a heavy, baritone voice, and while rendering ghazals he creates an effect which is simply out of this world. He has a very subtle vibrations in his voice which he uses very beautifully, to convey a whole range of emotions through it. He could make it sound hopelessly romantic, he can make it sound melancholy, he can make it sound anything that he wants almost effortlessly owing to his relentless riyaaz (practice).

Ghulam Ali is equally sensitive about the rhythm and technical virtuosity of the ghazals. He recites each word very clearly, making sure that the meaning of the ghazal is conveyed effectively. He could recite same sher (couplet) five times making it sound different each time and conveying a new meaning each time with his amazing flair. It's sheer bliss to listen to his ghazal which has only a few shers but goes on for about 15-20 minutes enjoying his voice modulations. Recall his rendering of "Tez hawaaaaaaa ne muzse puchha, ret pe kya likhate rahete ho..." from "Itni muddat baad mile ho" ghazal, you'll know what I mean. IMHO, the only other person who can make 15 plus minute long ghazal sound equally beautiful is Mehdi Hassan.

It's his classical style of singing combined with soul & emotion of the ghazal without compromising clarity of reciting the words makes Ghulam Ali so unique. Many music critics and experts unanimously agree that Ghulam Ali's compositions are very tough, and it's next to impossible to imitate them.

For his live concerts, usually the accompanying musical instruments are harmonium and tabla. He himself plays these instruments quite well. The musical instruments such as sarod, sitar, santoor often complement him, but it is his voice which rules, and not the instruments.

Despite of his classical based ghazals, he is very popular among critics as well as music lovers giving him rare adulation in various countries besides his own. Due to this very reason many music labels such as HMV Saregama, Music India, Polydor, Venus, Tips, T-Series, Navras Sony across the globe have produced numerous compilations of his ghazals. That is the reason why I have not mentioned any particular album for most of his ghazals in the site database, instead it mentions "Various" in the album column.

Again, owing to his immense popularity, some of his ghazals have been used in the Indian hindi movies. His popular ghazal "Chupke chupke raat din.." has been used in the movie Nikaah featuring Raj Babbar and Salma Aghaa. Moreover, many of the hindi film songs have been "inspired" from some of his ghazals. "Thodi si jo pi li hain, chori to nahi ki hain" from Namak Halal (Ghazal - Hungama hain kyon barpa) as you would recognize, is one them.

It is indeed surprising why there's not much information available about him and his songs on the internet. As far as I know, he doesn't have a fan site yet like jagjitsingh.com, the search on google for his name usually gives links of sites like teenstation.com or musicindiaonline.com which features some of his songs in ra and mp3 format. Anyway, I hope this micro-site grows into a decent information site about Ghulam Ali.

Ghulam Ali produces only a few albums a year (1 or 2), concentrating more on his live concerts. Recently in Sept 2001, he has released a new album Visaal with famous Indian poet Gulzar. This indeed is a great news because some of his latest albums did lack good poetry to match his earlier classics, I hope he makes more albums with great poets like Gulzar.

Also, he sang live at Swar Utsav, which was conducted during 23 - 25 November 2001 at India Gate, New Delhi. A recording of this live concert has been recently made available on cassettes and CDs by Music Today.