Ishq Anokhi Peerd Ae - Kaafi by Ghulam Farid at BBC

Shafqat Ali Khan performs a Kaafi by Ghulam Farid at BBC Bush House, London, with Nafees Irfan on Tabla. Recording Engineer: John Andrew. Shot by Mazhar Zaidi, Directed and Edited by Nofil Naqvi.

Khelichho E Bishwa Loye - Nazrul Sangeet

Love this song especially because of the soft and gentle style of the vocals and the accompanying music. Even though I do not understand the words, they sound sweet in this recital by Jalota.



Kazi Nazrul Islam (Dukhu Miah) - The National Poet of Bangaldesh.
Nazrul Sangeet - Khelichho E Bishwa Loye sung by Anup Jalota.

Kazi Nazrul Islam (Bengali: কাজী নজরুল ইসলাম Kazi Nozrul Islam) (May 25, 1899, August 29, 1976) was a Bengali poet, musician and revolutionary who pioneered poetic works espousing intense spiritual rebellion against fascism and oppression. His poetry and nationalist activism earned him the popular title of Bidrohi Kobi (Rebel Poet). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognised as the national poet of Bangladesh and commemorated in India.

Born into a Muslim middle class family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Kolkata (then Calcutta). He assailed the British Raj in India and preached revolution through his poetic works, such as "Bidrohi" ("The Rebel") and "Bhangar Gaan" ("The Song of Destruction"), as well as his publication "Dhumketu" ("The Comet"). His impassioned activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the "Rajbandir Jabanbandi" ("Deposition of a Political Prisoner"). Exploring the life and conditions of the downtrodden masses of India, Nazrul worked for their emancipation.

Nazrul's writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religious and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best-known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records) [1], collectively known as Nazrul geeti (Nazrul songs), which are widely popular today. At the age of 43 (in 1942) he began suffering from an unknown disease, losing his voice and memory. Eventually diagnosed as Pick's disease, it caused Nazrul's health to decline steadily and forced him to live in isolation for many years. Invited by the Government of Bangladesh, Nazrul and his family moved to Dhaka in 1972. Four years later he died on August 29, 1976 at the age of 77. He was buried by the mosque of Dhaka University.

credit: bangguyraj on youtube

Sahib Teri Bandi Haaan - صاحب تیری بندی ہاں

Badar Miandad's recital of this well known Shah Hussain kalam is slow and unhurried and the sargam from 5.53 to 7.00 is especially beautiful.

In the poetry of Sufi Saints the Pir, Prophet or Almighty God Himself (in order of hierarchy) is considered the male and the disciple female. Just as the female yearns for the male so also does the finite soul yearn for the Infinite.

مندی ہاں کہ چنگی ہاں بھی، صاحب تیری بندی ہاں
گہلا لوک جانیں دیوانی،نی رنگ صاحب دے رنگی ہاں

ساجن میرا اکھیں وچ وسدا، گلیئیں پھری نشنگی ہاں
کہے حسین فقیر سائیں دا، میں ورچنگے نال منگی ہاں

Sahib Teri Bandi Haaan
Mandi Haan Ke Changi Haan

Kamlay Loog Kehan Deewani
Main Rung Shaib Da Rangi Haaan
Mandi Haan Ke Changi Haan Main

Sajan Mera Ankhi Vich Was da
Galiyan Pheran Tay Changi Haan
Mandi Haan Ke Changi Haan Main

Sadhan De Goli Hosaan
Gooli Walay Karam Karesan
Mandi Han Ke Changi Haan Main

Keh Hussain Fakeer Saiyan Da
Bhar Changay Naal Mangi Haan
Mandi Haan Ke Changi Haan

Kehay Hussain Fakeer Saiyan Da
Jina Chaiyan Toor Nibahiyan Na
Mandi Haan Ke Chandi Haan

Sahib Teri Bandi Haan
Sahib Teri Bandi Haaan
Mandi Haan Ke Changi Haan

Aye dilbigeer daaman-e-sultaane-Aulia

The above is an rare recital of a Hazrat Shah Niyaz kalam (incomplete) by Farid Ayaz and Abu Muhammad. While the audio quality leaves a lot to be desired, the words that are special and the style of recital that has poise and sentiment that is precious, especially so to the lovers of Imam Hussain.

In glory of Hazraat Imaam Hussain (R।A.) Huzoor Qibla wrote:

Aye dilbigeer daaman-e-sultaane-Aulia,
Yaani Hussain ibn-e-ALi jaan-e-Aulia.

zauq-e-digar bajaam-e-shahadat azo raseed,
shauq-e-digar bamasti-e-irfan-e-Aulia

Chun sahib-e-maqaam-e-Nabi-o-Alistou,
Hum fakhr-e-Ambiya shuda hum shan-e-Aulia.

Aaeena-e-jamaal-e-Ilaahist sooratash,
Zanro shudast qibla-e-imaan-e-Aulia.

Taqard sarf-e-haq sar-o-samaan-e-hastiyash,
Goye sabak rabooda zameeran-e-Aulia.

Daarad `Niyaz’ hashr khud um’meed ba Hussain,
Ba Auliast hashr muhib’baan-e-Aulia.

Kalam: Hazrat Shah Niyaz

Abida Parveen Sings Kalam Sultan Bahu

"Meray Ghar Aya Piya Humra"
My Beloved has come to my abode
by Hazrat Sultan Bahu (ra).

Recommended from Vienna by Mr. Asif Hasnain:
"I had been looking forward to hearing/seeeing what Abida would do on Coke studio. She chose this kalaam from Sultan Bahu. It is ethereal, and she is on another plane of existance..."

جو دم غافل سو دم کافر مرشد ایہہ پڑھایا ہُو
سنیا سخن گئیاں کھلھ اکھیں چت مولا ول لایا ہُو
کیتی جان حوالے رب دے ایسا عشق کمایا ہُو
مرن تھیں اگے مرگئے باہُو تاں مطلب نوں پایا ہُو

http://sultanbahoo.blogspot.com/2008/05/bait-61-70.html

Sakhiri Mohe Piya Bin - (Amir Khusrau) by NFAK

credit: Balraj50 on youtube

This is a classical piece written by Hazrat Amir Khusraw and sung by Nusrat Fateh Ali Khan. Recorded live at Allah Ditta Hall on Feb 8th 1985. This is without the alaap the full version with alaap is also on youtube.


Sakhi Ri Mohe Piya Bin Ghar Nahi Aaye.
Bina Tanda Mora Jiya Raja Laye.
Jase More Piya Pardes Satawe.
Hone Mere Aap Mohe More Kato Naso Aaye.

Mirza Sahiba by Arif Lohar

Packed with energy this recital by Arif Lohar has a classic wild climax that is not to be missed. This guy from Lahore is a piece of work :-) .

credit: cokestudio on youtube & wikipedia.org

Mirza–Sahiba is a treasure of Punjabi literature. It is a romantic tragedy. Sahiba was a love-lorn soul. Shayer Pillo raves about her beauty and says," As Sahiba stepped out with a lungi tied around her waist, the nine angels died on seeing her beauty.

Mirza and Sahiba were childhood playmates and both were born in Jat family ^[1], as mentioned in many books and folk tales in punjab,and they fell in love with each other. But when this beauty is about to be wedded forcibly to Tahar Khan by her parents, without any hesitation she sends a taunting message to Mirza, whom she loves, to his village Danabad, through a Brahmin called Kammu.

"You must come and decorate Sahiban’s hand with the marriage henna.....

Mirza Khan was the son of Wanjhal Khan, the leader of the Kharal tribe in Danabad, a town in the Jaranwala area of Faisalabad, Pakistan. Sahiba was the daughter of Mahni, the chief of Khewa, a town in Sial Territory in the Jhang district Punjab. Mirza was sent to his relatives' house in Khewa to study, where he met Sahiba and they fell in love. Her family opposed the relationship, and instead arranged a marriage with a member of the Chadhar family.

This is the time you have to protect your self respect and love, keep your promises, and sacrifice your life for truth. Mirza arrived on his horse, Bakki the night before the wedding and secretly carried her away, planning to elope. Sahiba's brothers got to know about this and decided to follow them. On the way, as Mirza lies under the shade of a tree to rest for a few moments, Sahiba's brothers and chanders caught up with them.

Sahiba was a virtuous and a beautiful soul who did not desire any bloodshed to mar the one she loved. She did not want her hands drenched in blood instead of henna. She knew Mirza was a great archer and he will not miss his target, and if he strikes, her brothers would surely die. Before waking up Mirza, Sahiban breaks his arrows so he can't use them. She presumes on seeing her, her brothers would feel sorry and forgive Mirza and take him in their arms. But the brothers and chanders attack Mirza and kill him. Sahiban takes a sword and slaughters herself and thus bids farewell to this world.

Out of all the legendary stories, mirza sahiba's story is the only story where the guy's name comes first and then the girl's. all others start with girl's name for example: Heer Ranjha, Sassi Punnun, Sohni Mahiwal, Laila Majnu. actually theother folk love stories where the guy's name comes first as (Yousaf khan Sherbano)(Mosa khan Gul maky)(Umar Marvi).

Innumerable folk songs of Punjab narrate the love tale of Sassi and Punnu. The women sing these songs with great emotion and feeling, as though they are paying homage to Sassi with lighted on her tomb. It is not the tragedy of the lovers. It is the co ly believed that the soil of the Punjab has been blessed. God has blessed these lovers. Though their love ended in death, death was a blessing in disguise, for this blessing is immortalized.

Waris shah who sings the tale of Heer elevates mortal love to the same pedestal as spiritual love for God saying," When you start the subject of love, first offer your invocation to God". This has always been the custom in Punjab, where mortal love has been immortalized and enshrined as spirit of love.

Just as every society has dual moral values, so does the Punjabi community. Everything is viewed from two angles, one is a close up of morality and the other is a distant perspective. The social, moral convictions on one hand give poison to Heer and on the other make offerings with spiritual convictions at her tomb, where vows are made and blessings sought for redemption from all sufferings and unfulfilled desires.

But the Sassis, Heers, Sohnis and others born on this soil have revolted against these dual moral standards. The folk songs of Punjab still glorify this rebelliousness.

"When the sheet tear, It can be mended with a patch: How can you darn the torn sky? If the husband dies, another one can be found, But how can one live if the lover dies?"

And perhaps it is the courage of the rebellious Punjabi woman, which has also given her a stupendous sense of perspective. Whenever she asks her lover for a gift she says,

"Get a shirt made for me of the sky And have it trimmed with the earth"

-------------

Heer Ranjha (Punjabi: ਹੀਰ ਰਾਂਝਾ, ہیر رانجھا, hīr rāñjhā) is one of the four popular tragic romances of the Punjab. The other three are Mirza Sahiba, Sassi Punnun and Sohni Mahiwal^{[citation needed]}. There are several poetic narrations of the story, the most famous being 'Heer' by Waris Shah written in 1766. It tells the story of the love of Heer and her lover Ranjha. Well-known poetic narrations have also been written by Damodar Das Arora, Mukbaz and Ahmed Gujjar, among others.

Heer is an extremely beautiful woman, born into a wealthy Jat family of the Sayyal clan in Jhang, Punjab (Pakistan)). Ranjha (whose first name is Dheedo; Ranjha is the surname), also a Jat of the Ranjha clan, is the youngest of four brothers and lives in the village 'Takht Hazara' by the river Chenab. Being his father's favorite son, unlike his brothers who had to toil in the lands, he led a life of ease playing the flute ('Wanjhli'/'Bansuri'). After a quarrel with his brothers over land, Ranjha leaves home. In Waris Shah's version of the epic, it is said that Ranjha left his home because his brothers' wives refused to give him food. Eventually he arrives in Heer's village and falls in love with her. Heer offers Ranjha a job as caretaker of her father's cattle. She becomes mesmerised by the way Ranjha plays his flute and eventually falls in love with him. They meet each other secretly for many years until they are caught by Heer's jealous uncle, Kaido, and her parents Chuchak and Malki. Heer is forced by her family and the local priest or 'mullah' to marry another man called Saida Khera.

Ranjha is heartbroken. He wanders the countrtyside alone, until eventually he meets a 'jogi' (ascetic). After meeting Baba Gorakhnath, the founder of the "Kanphata"(pierced ear) sect of jogis, at 'Tilla Jogian' (the 'Hill of Ascetics', located 50 miles north of the historic town of Bhera, Sargodha District, Punjab), Ranjha becomes a jogi himself, piercing his ears and renouncing the material world. Reciting the name of the Lord, "Alakh Niranjan", he wanders all over the Punjab, eventually finding the village where Heer now lives.

The two return to Heer's village, where Heer's parents agree to their marriage. However, on the wedding day, Heer's jealous uncle Kaido poisons her food so that the wedding will not take place. Hearing this news, Ranjha rushes to aid Heer, but he is too late, as she has already eaten the poison and died. Brokenhearted once again, Ranjha takes the poisoned Laddu (sweet) which Heer has eaten and dies by her side.

Heer and Ranjha are buried in Heer's hometown, Jhang. Lovers and others often pay visits to their mausoleum.

Woh to hum mein tum mein karar tha - وہ جو ہم میں تم میں قرار تھا

vo jo ham mein tum mein qaraar thaa, tumhein yaad ho ke na yaad ho
vahii yaanii vaadaa nibaah kaa, tumhein yaad ho ke na yaad ho

vo naye gile vo shikaayatein, vo maze maze kii hikaayatein
vo har ek baat pe roothnaa, tumhein yaad ho ke na yaad ho

koi baat aisii agar huii jo tumhaare jii ko burii lagii
to bayan se pahale hii bhuulanaa tumhein yaad ho ke na yaad ho

suno zikr hai kai saal kaa, koi vaadaa mujh se thaa aap kaa
vo nibaahane kaa to zikr kyaa, tumhein yaad ho ke na yaad ho

kabhii hammein tum mein bhii chaah thii, kabhii ham se tum se bhii raah thii
kabhii ham bhii tum bhii the aashnaa, tumhein yaad ho ke na yaad ho

hue ittefaaq se gar baham, vo vafaa jataane ko dam-ba-dam
gilaa-e-malaamat-e-arqabaa, tumhein yaad ho ke na yaad ho

vo jo lutf mujh pe the beshtar, vo karam ke haath mere haath par
mujhe sab hai.n yaad zaraa zaraa, tumhein yaad no ki na yaad ho

kabhii baiThe sab hai.n jo ruu-ba-ruu to ishaaraton hii se guftaguu
vo bayaan shauq kaa baramalaa tumhe.n yaad ho ki na yaad ho

vo biga.Danaa vasl kii raat kaa, vo na maananaa kisii baat kaa
vo nahiii.n nahii.n kii har aan adaa, tumhe.n yaad ho ki na yaad ho

jise aap ginte the aashnaa jise aap kahate the baavafaa
main vahii huu.N "Momin"-e-mubtalaa tumhein yaad ho ke na yaad ho

- Momin Khan Momin

--------

وہ جو ہم میں تم میں قرار تھا، تمہیں یاد ہو کہ نہ یاد ہو
وہی وعدہ یعنی نباہ کا، تمہیں یاد ہو کہ نہ یاد ہو

وہ جو لطف مجھ پہ تھے پیش تر، وہ کرم کہ تھا مرے حال پر
مجھے سب ہے یاد ذرا ذرا، تمہیں یاد ہو کہ نہ یاد ہو

وہ نئے گلے، وہ شکایتیں، وہ مزے مزے کی حکایتیں
وہ ہر ایک بات پہ روٹھنا، تمہیں یاد ہو کہ نہ یاد ہو

کبھی بیٹھے سب میں جو رُوبرُو، تو اشارتوں ہی سے گفتگو
وہ بیانِ شوق کا برملا، تمہیں یاد ہو کہ نہ یاد ہو

ہوئے اتفاق سے گر بہم، تو وفا جتانے کو دم بہ دم
گلہء ملامتِ اقربا، تمہیں یاد ہو کہ نہ یاد ہو

کوئی ایسی بات اگر ہوئی کہ تمہارے جی کو بری لگی
تو بیاں سے پہلے ہی بھولنا، تمہیں یاد ہو کہ نہ یاد ہو

کبھی ہم میں تم میں بھی چاہ تھی، کبھی ہم سے تم سے بھی راہ تھی
کبھی ہم بھی تم بھی تھے آشنا، تمہیں یاد ہو کہ نہ یاد ہو

سنو ذکر ہے کئی سال کا کہ کیا اِک آپ نے وعدہ تھا
سو نباہنے کا تو ذکر کیا، تمہیں یاد ہو کہ نہ یاد ہو

کہا میں نے بات وہ کوٹھے کی مِرے دل سے صاف اتر گئی
تَو کہا کہ جانے مِری بلا، تمہیں یاد ہو کہ نہ یاد ہو

وہ بگڑنا وصل کی رات کا، وہ نہ ماننا کسی بات کا
وہ نہیں نہیں کی ہر آن ادا، تمہیں یاد ہو کہ نہ یاد ہو

جسے آپ گنتے تھے آشنا، جسے آپ کہتے تھے با وفا
میں وہی ہوں مومنِ مبتلا، تمہیں یاد ہو کہ نہ یاد ہو

(حکیم مومن خان مومن)

Taskeen ko Ham na Royen - Iqbal Bano recites Ghalib - تسکیں کو ہم نہ روئیں

Iqbal Bano recites Ghalib

Taskin ko ham na royen jo zauq-e-nazr mile,
Huraan-e-khuld mein teri surat magar mile.

Apni gali mein mujhko na kar dafan baad-e-qatal,
Mere pate se khalaq ko kyon tera ghar mile?

Saqi gari ki sharm karo aaj warna ham,
Har shab piya hi karte hain, mai jis qadar mile.

Tujh se to kuchh kalaam nahin lekin ai nadim!
Mera salaam kaheyo agar naama bar mile.

Tum ko bhi ham dikhaenge Majnun ne kya kiya,
Fursat kashaakash-e-gham-e-pinhaan se gar mile.

Laazim nahin ke khizar ki ham pairwi karen,
Maana ke ek bazurg hamen ham safar mile.

Ai saaknaan-e-kucha-e-dildaar dekhna,
Tum ko kahin jo Ghalib-e-aashufta sar mile.

Taskeen : Consolation,
Zauq - Taste,
Hoor - Fairy (Hourise of Paradise)
Khuld- Paradise
Dafn- burial
Khalk- People,
Kalam:speech,word;commandment
Nadeem- an intimate friend from whom somebody is inseparable
Nama bar-Letter bearer
----

تسکیں کو ہم نہ روئیں‘ جو ذوقِ نظر ملے
حورانِ خلد میں تری صورت مگر ملے

اپنی گلی میں‘ مجھ کو نہ کر دفن‘ بعد قتل
میرے پتے سے خلق کو کیوں تیرا گھر ملے؟

ساقی گری کی شرم کرو آج‘ ورنہ ہم
ہر شب پیاہی کرتے ہیں مے‘ جس قدر ملے

تجھ سے تو کچھ کلام نہیں‘ لیکن اے ندیم!
میرا سلام کہیو‘ اگر نامہ بر ملے

تم کو بھی ہم دکھائیں کہ‘ مجنوں نے کیا کیا
فرصت کشاکشِ غمِ پنہاں سے گر ملے

لازم نہیں کہ‘ خضر کی ہم پیروی کریں
جانا کہ‘ اک بزرگ ہمیں ہم سفر ملے

اے ساکنانِ کوچۂ دلدار! دیکھنا
تم کو کہیں جو غالبؔ آشفتہ سر ملے