Request for Qawwalli songs and movies
VIJAYA R LAKAMRAJU
I was trying to list Hindi films which had Qawwalli songs and dances in
them.
After some brain storming, I could only come up with a few..
1) Hum kisi se kam naheen : The song with Rishi Kapoor and Zeenat Aman
2) Waqt: remember the song "Ae meri johra jabeen"
I know there are a few in which Amitabh starred,
like I think there is
a Qawwalli in Namak Halaal, Amar Akbar Antony and Sharaabi.
Can someone confirm this for me?!!
Also, I am sure there are many more of those old movies
which had Qawwallis in them. I would really appreciate if someone
can
post the names of the movies and songs for me.
Thanks in advance
Vijay
--
zoo...@my-dejanews.com
VIJAYA R LAKAMRAJU <vlak...@spock.ecs.umass.edu> wrote:
>
> --------------0C634E165D78F87F125F8B27
> Content-Type: text/plain; charset=us-ascii
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>
> Hi Folks,
> I was trying to list Hindi films which had Qawwalli songs and dances
> in
> them.
> After some brain storming, I could only come up with a few..
>
> 1) Hum kisi se kam naheen : The song with Rishi Kapoor and Zeenat Aman
> 2) Waqt: remember the song "Ae meri johra jabeen"
> I know there are a few in which Amitabh starred, like I think there
> is
> a Qawwalli in Namak Halaal, Amar Akbar Antony and Sharaabi.
> Can someone confirm this for me?!!
>
> Also, I am sure there are many more of those old movies
> which had Qawwallis in them. I would really appreciate if someone can
> post the names of the movies and songs for me.
>
Kajra Mohabatwala (Samshad Begum & Lata? in Kismat. Samshad sings for
Biswajeet!!)<BR>
Na to Karwan ki talash hai (Barsaat ki raat)<BR>
> Thanks in advance
>
> Vijay
>
> --
>
> --------------0C634E165D78F87F125F8B27
> Content-Type: text/html; charset=us-ascii
> Content-Transfer-Encoding: 7bit
>
> <HTML>
> Hi Folks,
> <BR> I was trying to list Hindi films which had Qawwalli songs
> and dances in
> <BR>them.
> <BR> After some brain storming, I could only come up with a few..
>
> <P>1) Hum kisi se kam naheen : The song with Rishi Kapoor and Zeenat Aman
> <BR>2) Waqt: remember the song "Ae meri johra jabeen"
> <BR> I know there are a few in which Amitabh starred,
> like I think there is
> <BR>a Qawwalli in Namak Halaal, Amar Akbar Antony and Sharaabi.
> <BR>Can someone confirm this for me?!!
>
> <P>Also, I am sure there are many more of those old movies
> <BR>which had Qawwallis in them. I would really appreciate if someone
> can
> <BR>post the names of the movies and songs for me.
>
> <P>Thanks in advance
>
> <P>Vijay
> <PRE>--</PRE>
> </HTML>
>
> --------------0C634E165D78F87F125F8B27--
>
>
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nIRAV sHAH
some more qawallis:
parda hai parda hai - namak halal
hume to loot liya milke husmu walon ne
raaz ki baat keh do to yaar mehfil mein phir kya ho (i know pran sings
this part in the song - Isharo ko agar samjo, raaz ko raaz rehne do)
tu cheez badi hai mast mast - mohra
yaari hai imaan mera yaar - zanzeer
are these qawallis? :
zhoom barabar zhoom sharabi zoom barabar..
yeh chaand sa roshan chera zulfo ka rang sunehra
nirav
nIRAV sHAH
>
> some more qawallis:
> parda hai parda hai - namak halal
meant amar akbar anthony
nirav
> hume to loot liya milke husmu walon ne
> raaz ki baat keh do to yaar mehfil mein phir kya ho (i know pran sings
> this part in the song - Isharo ko agar samjo, raaz ko raaz rehne do)
> tu cheez badi hai mast mast - mohra
> yaari hai imaan mera yaar - zanzeer
>
> are these qawallis? :
> zhoom barabar zhoom sharabi zoom barabar..
> yeh chaand sa roshan chera zulfo ka rang sunehra - kashmir ki kali
Narendra Joshi
1. Nigahen milaneko jee chahata hai :
Singer: Asha Bhosale
Film : Dil hi to hai
MD : Roshan
2. Chehra chhupa liya hai kisine hijab me
Singer: Mahendra Kapur
Film : Nikah
MD : Ravi
3. Na mooh chhupake jiyo aur na sar jhooka ke jiyo
Singer : Mahendra Kapur
Film : Hamraaz
MD : Ravi
4. Haseenose muhobat ka boora anjam hota hai
Singer : Chitalkar
Film : Albela
MD : C. Ramchandra
5. Marna bhi muhobatme kisi kaam na aaya
Singer : ???
Film : Azaad
MD : C. Ramchandra
6. Teri Mehfil me kismat ajama ke hum bhi dekhenge
Singers : Lata and Shamshad Begum
Film : Mugale-Azam
MD : Naushad
7. Husnawalonko na dil do ye mita dete hai
Singer : Talat Mehmood
Film : Babul
MD : Naushad
8. Pardeme rahane do parda na uthao
Singer : Asha Bhosale
Film : Shikar ???
MD : Shankar Jaykishan
9. Aaj faisala ho jayega tum nahi ya hum nahi
Singers : ???
Film : Karmayogi
MD : Kalyanji Anandji
10. Pal do pal ke saath hamara, pal do pal ke yarane hai
Singer : Rafi and Asha Bhosale
Film : Burning train
MD : RD Burman
11. Hoke majboor muze usane bhulaya hoga
Singers : Rafi, Bhupendra singh
Film : Hakikat
MD : Madan Mohan
Regards,
Narendra
VIJAYA R LAKAMRAJU wrote:
Hi Folks,
I was trying to list Hindi films which had Qawwalli songs and dances in
them.
After some brain storming, I could only come up with a few..
1) Hum kisi se kam naheen : The song with Rishi Kapoor and Zeenat Aman
2) Waqt: remember the song "Ae meri johra jabeen"
I know there are a few in which Amitabh starred, like I think there is
a Qawwalli in Namak Halaal, Amar Akbar Antony and Sharaabi.
Can someone confirm this for me?!!
Also, I am sure there are many more of those old movies
which had Qawwallis in them. I would really appreciate if someone can
post the names of the movies and songs for me.
Thanks in advance
Vijay
--
Surajit A. Bose
<na...@informix.com> wrote:
>
> 8. Pardeme rahane do parda na uthao
> Singer : Asha Bhosale
> Film : Shikar ???
> MD : Shankar Jaykishan
>
>
> 11. Hoke majboor muze usane bhulaya hoga
> Singers : Rafi, Bhupendra singh
> Film : Hakikat
> MD : Madan Mohan
>
There's no way these two songs qualify as qawwaaliis!
Surprisingly so far nobody has mentioned the soundtrack of BARSAAT KI RAAT
which is laden with examples of the genre.
-s
rdh...@del3.vsnl.net.in
> Teri Mehfil me kismat ajama ke hum bhi dekhenge
> Singers : Lata and Shamshad Begum
> Film : Mugale-Azam
> MD : Naushad
Another song from the same film ought to qualify:
"jab raat hai aisi matvaali
phir subah ka aalam kyaa hoga"
> 8. Pardeme rahane do parda na uthao
> Singer : Asha Bhosale
> Film : Shikar ???
> MD : Shankar Jaykishan
As Surajit says elsewhere in this thread, this one certainly isn't a qawwali.
I wonder about "hoke majboor mujhe usne bhulaaya hoga"; I agree with Surajit
that it does'nt have the sound of a qawwali, but it does seem to have part of
the structure, in two of its elements: one, that the mukhda is a rhyming
couplet (though that alone wouldn't suffice) and two, that it contains
sections that are sung without taala. What it doesn't have is the clapping in
the background, nor upbeat tone and pace that we associate with qawwalis, and
the convention of singing variants of the basic phrases, as in "nigaahen
milane ko ji chaahtaa hai," "naa to kaarvaan ki talaash hai." I wonder if
someone can come up with the basic minimum requirements of a qawwali. For
example, is the clapping rhythm essential? I suppose. What about melodic AND
rhythmic variants of phrases? Most indisputable qawwalis have those, but "na
muh chhupa ke jiyo" doesn't, and neither does the Muhal-e-Azam song I
mentioned ("jab raat hai aisi matvaali"). Neither does "ai meri zohra
jabeen." Bahu Begum has a wonderful, very detailed, very difficult qawwali
sung by Rafi and Manna Dey. I think it appears in two slightly separate
sections, one beginning "vaaqif hoon khoob ishq ke tarz-e-bayaan se main
keh doonga dil ki baat nazar ki zubaan se main" and the other "ab jaanbalab
hoon shiddat-e-dard-e-nihaan se main aise mein tujhko dhhondh ke laaoon
kahaan se main"
Another one I like is from Mere Hamdam Mere Dost, sung by Lata "aur saathi,"
as All India Radio would say: "Allah ye ada kaisi hai in haseenon mein
Roothe pal mein na maane maheenon mein" Very enjoyable: loads of qawwali
activity, plenty of noise, lots of clapping, nice tune, interesting changes
of pace, very well-sung. Not in the league of some of the earlier ones, since
poor Laxmikant-Pyarelal couldn't hope to hold a candle to King Roshan, but
great fun all the same.
Roopa
Kuntal M. Daftary
1. mere mehboob mein kyaa nahin kyaa nahin
film: mere mehboob
lata and asha
2. jab raat hai aisi matwaali to subah kaa aalam kyaa hoga
film: mughal-e-azam
lata
> VIJAYA R LAKAMRAJU wrote:
> > I was trying to list Hindi films which had Qawwalli songs and dances in
> > them.
Kuntal Daftary
Kuntal M. Daftary
> > 8. Pardeme rahane do parda na uthao
> > Singer : Asha Bhosale
> > Film : Shikar ???
> > MD : Shankar Jaykishan
> >
> >
> > 11. Hoke majboor muze usane bhulaya hoga
> > Singers : Rafi, Bhupendra singh
> > Film : Hakikat
> > MD : Madan Mohan
> >
>
>
> There's no way these two songs qualify as qawwaaliis!
how about:
1. kajra mohabbat walaa
Shamshad Begum
2. laaga chunri mein daag
not sure of singer, Shamshad begum again ?
is there a pointer that better defines qawwaliis and gives moer insight about
them ?
Kuntal Daftary
Surajit A. Bose
> I wonder about "hoke majboor mujhe usne bhulaaya hoga"; I agree with Surajit
> that it does'nt have the sound of a qawwali, but it does seem to have part of
> the structure, in two of its elements: one, that the mukhda is a rhyming
> couplet (though that alone wouldn't suffice) and two, that it contains
> sections that are sung without taala. What it doesn't have is the clapping in
> the background, nor upbeat tone and pace that we associate with qawwalis, and
> the convention of singing variants of the basic phrases, as in "nigaahen
> milane ko ji chaahtaa hai," "naa to kaarvaan ki talaash hai." I wonder if
> someone can come up with the basic minimum requirements of a qawwali. For
> example, is the clapping rhythm essential? I suppose.
To my mind, the absence of a rhythmic clapping sets "hoke majabuur mujhe"
apart from the qawwaalii genre. But more important, perhaps, is the nature
of the song as performance. Qawwaaliis tend dramatic rather than lyric in
their affinity; they are performed before a public audience, they're
performed to impress that audience.
The lyric genre, by contrast, is far more introspective. It's private
emotion privately expressed, not exaggerated reactions put on display. The
point of the lyric is to express emotions, not to impress an audience.
"hoke majabuur mujhe" in this regard is even less of a qawwaalii than the
other non-starter, "pa^rde me.n rahane do." The lyrics (the words of the
song) are far more lyric (introspective and romantic) than dramatic
(performative and flamboyant). Sorry to use "lyrics" and "lyric" as words
with two different meanings--there aren't substitutes, unformtunately, so
it's a limitation of language.
The distinction is not an absolute one, of course. One of the best filmi
qawwaaliis I've heard, Sajjad Husain's "phir tumhaarii yaad aa_ii ai
sanam, ai sanam" from RUSTOM SOHRAB, blurs the boundaries expertly. Only
the hyperbolic description of the lovers' agonies make clear the
performative rather than introspective nature of the song. And then
there's the clapping....
-s
SKalra902
1. Aahein na bhariin shiqawe na kiye kuchh bhii na zubaan se kaam liya, from
Zeenat, led by Noorjahan. Note for RAMLI - Shyama featured as an extra in this
qawwali for the first time in her film career.
2. Film Sadhna, aaj kyon humse parda hai - Music by N. Dutta.
3. Dil Hi To Hai had another fine qawwali - Parda utthhe salaam ho jaaye, by M.
Dey and Asha.
4. Barsaat Ki Raat, as mentioned by Surajit Bose, had a total of four (three
in the film, as Na to karawaan ki talaash hai and yeh ishq ishq hai ishq ishq
are combined into one).
i. Pehchaanat a huun khuub tumhari nazar ko main/ji chaahta hai chuum
luun..
ii. Nigaahe naaz ke maaron ka haal kya hoga.
iii & iv - See above. :))
5. As a 'sequel' to humein to luut liya mil ke.., there was one titled "ghalat
hai luut liya tumko husn waalon ne, tumhein to luuta tumhaare bure khayalon
ne", I can't remember the film's name right now.
6. Aarzoo, 1965, had a beautiful qawwali by Mubarak Begum and Asha Bhosle, jab
ishq kahiin ho jaata hai, tab aisi haalat hoti hai, MD SJ.
7. Here is a rare one - a qawwali by Kishore Kumar. Film Naya Andaaz, "Mehfil
mein aaj teri, diiwaane aa gaye hain, music by OP Nayyar.
I guess I"ll stop here, let someone else add others to the list.
Happy listenings.
Satish Kalra
il_...@yahoo.com
Teri Mehfil me kismat ajama ke hum bhi dekhenge
> > Singers : Lata and Shamshad Begum
> > Film : Mugale-Azam
> > MD : Naushad
> "jab raat hai aisi matvaali
> phir subah ka aalam kyaa hoga"
> > 8. Pardeme rahane do parda na uthao
> > Singer : Asha Bhosale
>
> As Surajit says elsewhere in this thread, this one certainly isn't a qawwali.
> I wonder about "hoke majboor mujhe usne bhulaaya hoga"; I agree with Surajit
> that it does'nt have the sound of a qawwali, but it does seem to have part of
> the structure, in two of its elements: one, that the mukhda is a rhyming
> couplet (though that alone wouldn't suffice) and two, that it contains
> sections that are sung without taala. What it doesn't have is the clapping in
> the background, nor upbeat tone and pace that we associate with qawwalis, and
> the convention of singing variants of the basic phrases, as in "nigaahen
> milane ko ji chaahtaa hai," "naa to kaarvaan ki talaash hai." I wonder if
> someone can come up with the basic minimum requirements of a qawwali. For
> example, is the clapping rhythm essential? I suppose. What about melodic AND
> rhythmic variants of phrases? Most indisputable qawwalis have those, but "na
> muh chhupa ke jiyo" doesn't, and neither does the Muhal-e-Azam song I
> mentioned ("jab raat hai aisi matvaali"). Neither does "ai meri zohra
> jabeen." Bahu Begum has a wonderful, very detailed, very difficult qawwali
> sung by Rafi and Manna Dey. I think it appears in two slightly separate
> sections, one beginning "vaaqif hoon khoob ishq ke tarz-e-bayaan se main
> keh doonga dil ki baat nazar ki zubaan se main" and the other "ab jaanbalab
> hoon shiddat-e-dard-e-nihaan se main aise mein tujhko dhhondh ke laaoon
> kahaan se main"
>
> Another one I like is from Mere Hamdam Mere Dost, sung by Lata "aur saathi,"
> as All India Radio would say: "Allah ye ada kaisi hai in haseenon mein
> Roothe pal mein na maane maheenon mein" Very enjoyable: loads of qawwali
> activity, plenty of noise, lots of clapping, nice tune, interesting changes
> of pace, very well-sung. Not in the league of some of the earlier ones, since
> poor Laxmikant-Pyarelal couldn't hope to hold a candle to King Roshan, but
> great fun all the same.
>
> Roopa
I cannot claim to be an expert on this question, but here is
my "take" on the issue, for whatever it is worth.
Originally, a Qawwali was a religious song which used to be
sung at the Khanqaahs (the headquarters of Muslim saints) by
the disciples of the saint. Many of the qawwalis attributed
to Amir Khusrau were sung at the Khanqaah of Hazrat Nizamuddin
Aulia. (The period: 14th century A.D.). There would be
a few basic words, which would form the core of the qawwali.
This collection of words was called a "Qaul", which can be
rendered in English as "quotation". This could be either
some verse from the Holy Qur'aan or some rhetorical comment/
saying of some saint. The word "qawwali", I think, is
derived from this root "qaul". There would be very few
musical instruments accompanying this collective singing by
the disciples. The rhythmic clapping would determine the
"taal" of the qawwali.
Till about 50-60 years back, qawwali retained its original
religious bias. Singers belonging to the early part of this
century, Gohar Bai, Janki Bai, and (later on) singers like
Kaalu Qawwal, Peeru Qawwal sang qawwalis which were recorded
by HMV and may still be available with old collectors, music
archives. I myself have some records by these singers, which
formed part of my late father's collection. I still remember
a qawwali by Kaalu Qawwal where the first sher was :
Na mansab na daulat na dar chaahiye
Mujhe Mustafa ki nazar chaahiye
(Mustafa being an appellation of the Prophet Muhammad, PBH).
( I do not crave status, wealth or mansions. I only seek
the blessings of the Prophet.)
It is only in films, I believe, that the trend of non-religious
qawwalis began. The qawwali in "Zeenat" ---"AaheN na bhareeN,
shikwe na kiye..." was probably the first filmi qawwali. Since
the religious aspect of the original qawwali is no longer a
criterion for dubbing anything "sung" as a qawwali, I think one
of the surviving aspects (which should be the determining factor)
is the rhythmic clapping. Without this, it may not be appro-
priate to label a song as a qawwali. Of course, any song which
is accompanied by clapping does not ipso facto become a qawwali.
In many songs composed by O.P. Nayyar, there is such clapping
but to call them as qawwalis would be a misnomer. Also, a
certain refinement of lyrics is expected. I recall that, in
the wake of the success of "Barsaat Ki Raat", a lot of B and
C grade films also carried "qawwalis". {Film industry to apni
bheD chaal ke liye mash'hoor hai hi.). The other surviving
as pect is collective singing.
A lot of songs have been mentioned in related posts
and I don't have a ready list of these songs handy. But, in
my view, "Parde men rehne do" is not a qawwali. Nor is the
"Haqeeqat" song "Ho ke majboor mujhe us ne bhulaaya hoga".
It is a marvellous song, but not a qawwali. The "Dulhan
Ek Raat Ki" song "Kabhi ai haqeeqat-e-muntazar nazar aa
libaas-e-majaaz men" has been "sung" as a "qawwali". But
originally it is a Ghazal by Iqbal. It is the manner of
singing that makes it a "qawwali". The three songs mentioned
by Roopa ("Hamraaz", "Mughal-e-Azam" and "Waqt") are, in my
view, not qawwalis. I believe rhythmic clapping and
collective singing are essential aspects of a qawwali.
As mentioned earlier, there should be a certain refinement
about the lyrics. The song in "Arzoo" suffers from the
orchestral accompaniment. It is a sort of competition
between western instrumentation and dancing and the eastern
sitar and dance steps. This sort of reduces the impact of
the song as a qawwali. Shankar-Jaikishan did this in
another inconsequential song from an inconsequential film
"JoDi hamaari jamega kaise raani.." from "Aulad".
Two other songs mentioned in this thread ("Babul"
and "Naya Andaz") are in my view not qawwalis. They
are Ghazals sung as Ghazals. Lastly, a qawwali has become
a musical genre now. Originally, it had some claim to be
a poetical genre too.
Afzal
rdh...@del3.vsnl.net.in
il_...@yahoo.com wrote:
>
> I cannot claim to be an expert on this question, but here is
> my "take" on the issue, for whatever it is worth.
> Originally, a Qawwali was a religious song which used to be
> sung at the Khanqaahs (the headquarters of Muslim saints) by
> the disciples of the saint. Many of the qawwalis attributed
> to Amir Khusrau were sung at the Khanqaah of Hazrat Nizamuddin
> Aulia. (The period: 14th century A.D.). There would be
> a few basic words, which would form the core of the qawwali.
> This collection of words was called a "Qaul", which can be
> rendered in English as "quotation". This could be either
> some verse from the Holy Qur'aan or some rhetorical comment/
> saying of some saint. The word "qawwali", I think, is
> derived from this root "qaul". There would be very few
> musical instruments accompanying this collective singing by
> the disciples. The rhythmic clapping would determine the
> "taal" of the qawwali.
Very nice post on the qawwali, Afzal, especially coming from someone who's
reluctant to be considered an expert!
> criterion for dubbing anything "sung" as a qawwali, I think one
> of the surviving aspects (which should be the determining factor)
> is the rhythmic clapping. Without this, it may not be appro-
> priate to label a song as a qawwali.
I tend to agree, in spite of my earlier question about "hoke majboor." So the
absence of clapping, alone, should disqualify a song as a qawwali, since what
is generally considered a cosmetic musical device in other songs seems to
take on a special significance here. However, I can think of one case in
which everything else about the song makes it sound like a qawwali, except
the absence of clapping; I think the film is either Bahu Begum, or Bheegi
Raat, or some other Roshan soundtrack anyway: "unse nazrein milin aur hijaab
aa gayaa/zindagi mein haseen inqilaab aa gaya." Typical Roshan qawwali
melody, lots of busy sakhis, even the characteristic variation on a line, in
this case "hamne kab socha that ki aise bhi din aaayenge/aaina dekhenge aur
apne se sharmaaenge." But, no clapping. So, not a qawwali? Hindi film music
certainly bends the rules, and some songs want to straddle more than one
genre.
> The other surviving
> as pect is collective singing.
> my view, "Parde men rehne do" is not a qawwali. Nor is the
> "Haqeeqat" song "Ho ke majboor mujhe us ne bhulaaya hoga".
One reason I earlier hesitated over "hoke majboor" was precisely because of
the collective singing you mention, as well as other elements like the
couplet in the beginning, the intermediate pauses in rhythm, and so on. Of
course, even if the song had had clapping, it would still be a diluted
qawwali to my mind, since I associate qawwalis with far more intricate
rhythmic and melodic patterns than this song has.
> The three songs mentioned
> by Roopa ("Hamraaz", "Mughal-e-Azam" and "Waqt") are, in my
> view, not qawwalis. I believe rhythmic clapping and
> collective singing are essential aspects of a qawwali.
The Hamraaz song was originally mentioned by someone else, and I must say I
wouldn't have immediately thought of it as a qawwali; though it does have
some rudimentary clapping, there are no collective voices. I can't remember
offhand of the Mughal-e-Azam song has clapping, but both that one and the
Waqt song have collective singing. I'm assuming that by collective singing
you mean multiple voices, in which case songs like "mere mehboob mein kya
nahin," though qawwali-like, are not qawwalis. Getting back to the Waqt song,
the visuals are surely set up to indicate a qawwali; throw in the clapping
and collective singing, and I think you've got a light qawwali in the filmi
mode.
Having said all this, it seems important to determine precisely how purist
we're going to be while we identify qawwalis in Hindi films. I'd say all the
Roshan qawwalis I've heard are qawwalis in the strictest sense of the term.
Others are often set up to seem like qawwalis, but they either omit an
ingredient or two, or are simply too simple, and so begin to sound like
energetic ghazals, or nagmas, often in the mujra mould. They use the qawwali
form as a skeletal framework, from where they pretty much slip into being
just songs! I associate qawwalis with experiment and improvisation, where the
central "qaul" (learnt a new word!) functions as the melodic hook, from where
singers take brief, and sometimes long, excursions into rhythmic and
expressive possibilities. Roshan's qawwalis are composed to appear as if this
improvisation is happening.
Perhaps Hindi film music has added brave new categories to the qawwali :-).
We now have the sort-of-qawwali, the maybe(oops! mebbe)-qawwali, the
qawwali-ish qawwali, the qawwali-wannabe.
Roopa
sanj...@my-dejanews.com
"Kuntal M. Daftary" <daf...@cisco.com> wrote:
Any takers for (not sure if anyone has already mentioned this)
Chandi Ka Badan, Sone Ki Nazar from Taj Mahal (wouldn't you know it, it's
Roshan again), featuring Rafi, Manna Dey, Asha, Meena Kapoor, and chorus
(anyone else?)
Sanjeev
vijay...@my-dejanews.com
> I cannot claim to be an expert on this question, but here is
> my "take" on the issue, for whatever it is worth.
A lot, Afzal. A lot.
> Originally, a Qawwali was a religious song which used to be
> sung at the Khanqaahs (the headquarters of Muslim saints) by
> the disciples of the saint.
(snip)
> There would be very few musical instruments accompanying this
> collective singing by the disciples. The rhythmic clapping would
> determine the "taal" of the qawwali.
(snip)
It would appear that a qawwali must have one or more of the following features
1) a religious theme
2) choral voices
3) hand-clapping as musical accompaniment
4) Minimal orchestration (often harmonium & tabla only)
5) Melodic & Rhytmic shifts (this from Roopa's post)
To me, 1) has a lot more significance than any of the posters have attached
to it. Be it Sahir's sufiana qalaam of 'naa to kaaravaa.n kii' or the more
straight non-filmi qawwali's of Aziz Nazan, Aziz Khan and others whom DD
deigns to feature from time to time.
To me, the language (predominantly Persianised Urdu), is a significant
deterrent to my whole-hearted enjoyment of the song. Add to it my woeful
ignorance of Islamic/Biblical myth and fables; the interpretation becomes
difficult. Yet, I enjoy the 'true' qawwali.
The 'filmi' qawwali, is a different kettle of fish altogether - it being
enjoyable has nothing to do with its being a qawwali. I submit that most of
the songs mentioned in this thread are NOT qawwali's since they do not
satisfy the basic condition of a qawwali - a religious theme, or a love song
wrapped up in religiosity - a la Meera.
My $0.02
Vijay
Sami Mohammed
rdh...@del3.vsnl.net.in wrote:
> In article <7f3iee$eni$1...@nnrp1.dejanews.com>,
> il_...@yahoo.com wrote:
>
> Very nice post on the qawwali, Afzal, especially coming from someone who's
> reluctant to be considered an expert!
Maybe he is an expert afterall! (To Maybe or not to Maybe - Shakespeare in
RMIM's "Much Ado About Nothing" :-) ) It was really a nice post by Afzal on
one of my favourite genres of music. Many moons back, Guri had posted some
very informative articles on quawwalis. A dip into the DejaNews archives to
retrieve the posts will be well worth the effort.
> > criterion for dubbing anything "sung" as a qawwali, I think one
> > of the surviving aspects (which should be the determining factor)
> > is the rhythmic clapping. Without this, it may not be appro-
> > priate to label a song as a qawwali.
>
> I tend to agree, in spite of my earlier question about "hoke majboor." So the
I'm surprised that "Hoke majboor…" was listed among prospective quawwalis.
But for having multiple singers, it does not even remotely come close to a
quawwali. My assessment of what constitutes a quawwali and what doesn't is
rather qualitative. It does require some basic elements such as clapping,
chorus, etc. but these are necessary rather than sufficient conditions.
Usually, one is able to FEEL a quawwali and differentiate it from other
songs. HMV ought to be blamed for foisting many non-quawwali songs as
quawwalis in their cassettes and CDs. Just as the presence of a few
(non-Hindi) Urdu words is sufficient for the stereotypical definition of a
GHazal, so also a fast paced chorus seems to be the only requirement for a
quawwali.
> absence of clapping, alone, should disqualify a song as a qawwali, since what
> is generally considered a cosmetic musical device in other songs seems to
> take on a special significance here. However, I can think of one case in
> which everything else about the song makes it sound like a qawwali, except
> the absence of clapping; I think the film is either Bahu Begum, or Bheegi
> Raat, or some other Roshan soundtrack anyway: "unse nazrein milin aur hijaab
> aa gayaa/zindagi mein haseen inqilaab aa gaya." Typical Roshan qawwali
> melody, lots of busy sakhis, even the characteristic variation on a line, in
> this case "hamne kab socha that ki aise bhi din aaayenge/aaina dekhenge aur
> apne se sharmaaenge." But, no clapping. So, not a qawwali? Hindi film music
> certainly bends the rules, and some songs want to straddle more than one
> genre.
I think you are referring to the chorus from the film GHazal, a good
mMohan/Sahir combo. IMHO, this is not a quawwali despite the chorus
accompanying the main singer. It may be GHazal (don't remember whether the
stanzas have 2 lines or 3). Now, as Afzal mentioned in his post, GHazals have
been sung as quawwalis in the past. For instance, the Asha/Roshan combo in
Dil Hi To Hai "Nigaahen milaane ko ji chaahta hai…." is a GHazal until the
last stanza "Mulaquaat ka koi paiGHaam deeje…" But in the song that you have
mentioned, the utilization of the chorus is different. In a quawwali, the
chorus is usually used as a sidekick to bolster the meaning of the lyrics
being sung by the main singer. To give a crude example, consider the bandar
ka tamashas on the streets of India. The perfromer invariably says "Bachha
log taali bajaega" and the sidekick chips in with "Bajaaega". The main line
is sung by the singer and the chorus repeats a portion for extra emphasis -
this repetition is usually the refrain of the quawwali. Here are some egs:
1. Rafi and Manna sing:
Tera quayaal teri tamanna lie hue, dil bujh raha hai aas ka shola lie hue
Hairaan khaRi hui hai do raahe pe zindagi , naakaam hasraton ka janaza lie hue
(EXCELLENT lines by Sahir in the Bahu Begum quawwali)
The lines are first sung slowly by Rafi and at a much faster pace by Manna.
But now look at how the chorus comes into play. Manna Dey follows the above
lines with "Ab aise me tujhko" and stops abruptly for the chorus (the
sidekick) to come in with "DhoonDke laaun kahan se main".
2. Asha sings:
Kisike manaane me lazzat woh paaee (repeated several times in diff tunes in
quawwali fashion)
Ke phir rooTHjaane ko jee chaahta hai (again, great lines by Sahir)
Now, she repeats the second line but stops abruptly at "jee" for the chorus to
step in and compelte the "chaahta hai" bit.
3. The BkiRaat quawwali:
Sab sakhiaan gaee pi ko rijhaane, mere sajan hai door Thikaane
Aur mera bhi! (chorus: jee chaahta hai jee chaahta…)
> > The three songs mentioned
> > by Roopa ("Hamraaz", "Mughal-e-Azam" and "Waqt") are, in my
> > view, not qawwalis. I believe rhythmic clapping and
> > collective singing are essential aspects of a qawwali.
>
> The Hamraaz song was originally mentioned by someone else, and I must say I
> wouldn't have immediately thought of it as a qawwali; though it does have
> some rudimentary clapping, there are no collective voices.
The Hamraaz song is not a quawwali. The probable reason for the confusion
would be the beat and the clapping. Ravi's other song "Yaara dildaara mera
dil karta…." is also not a quawwali although it has both the clapping as well
as the collective voices.
>I can't remember
> offhand of the Mughal-e-Azam song has clapping, but both that one and the
>Waqt song have collective singing.
I agree with Afzal that "Jab raat hai aisi matwaali…." is not a quawwali.
Again, the use of the chorus is different here. The other song from MeA "Teri
mehfil me quismat aazmaakar hum bhi dekhenge…", however, is. Notice how the
chorus is used as the sidekick (I apologize for using this term, but couldn't
find another one that would fit the purpose of the chorus better) here. The
main singer sings "GHaRi bhar ko tere nazdeek aakar" or "Kisi ke ishq me
duniya luTaakar" and the chorus takes over with "Hum bhi dekhenge, aji haan,
hum bhi dekhenge…"
>you mean multiple voices, in which case songs like "mere mehboob mein kya
>nahin," though qawwali-like, are not qawwalis.
IMHO, it is not even "quawwali-like". The only resemblance to a quawwali is
the clapping that Naushad and the dance director have used so very well.
>Getting back to the Waqt song,
> the visuals are surely set up to indicate a qawwali; throw in the clapping
> and collective singing, and I think you've got a light qawwali in the filmi
> mode.
I would term this "quawwali-like" at the max. Doesn't the chorus come in only
at the end ?
> Having said all this, it seems important to determine precisely how purist
> we're going to be while we identify qawwalis in Hindi films. I'd say all the
> Roshan qawwalis I've heard are qawwalis in the strictest sense of the term.
Let's not forget the other king of filmi quawwalis - N. Dutta. His quawwalis
are on par with those of Roshan. The use of the harmonium by both these
maestros in their quawwalis is excellent. N. Dutta's most famous quawwali
must be "Aaj kyon humse parda hai…" from Saadhna. I wish I could write more
about his quawwalis - perhaps some other day.
Some quawwalis by other MDs:
Naushad: Main idhar jaaun ya udhar jaaun
MM: Ye maana meri jaan mohabbat saza hai
RDB: Hum kisise kam nahin, Pal do pal ka saath humara (quawwali-like)
LP: Parda hai parda, Shirdiwaale Sai Baba (quawwali-like)
The most important aspect of the quawwali is that it is one of the big
weapons of the RAFIans against the KKKlan :-) KK and Lata have a pathetic
quawwali "Kahin janaab ko mera to intezaar nahin…." in the Dev starrer Amir
Gharib. The only bright spot about this song is that it starts with the
letter Thha (Thha intezaar jiska who raat aaee hai…) which is important from
the Antakshiri point of view.
Sami Mohammed (A Naushad fan)… and a fan of the great Hyderabadi quawwal, the
Late Aziz Ahmed Khan Warsi
> Roopa
************************************************************************
Lines for the day:
Jo maangna hai musabbib-e-sabab se maango
Minnat se, KHushaamat se, adab se maango
Kyun GHair ke aage haath phailaate ho
Bande ho agar Rab ke to Rab se maango
Amjad Hyderabadi in "Phir maang, phir maang…." an Aziz Warsi quawwali
************************************************************************
il_...@yahoo.com
sanj...@my-dejanews.com wrote:
> In article <Pine.GSO.3.96.990414...@daftary-ultra.cisco.com>,
> "Kuntal M. Daftary" <daf...@cisco.com> wrote:
>
> Any takers for (not sure if anyone has already mentioned this)
> Chandi Ka Badan, Sone Ki Nazar from Taj Mahal (wouldn't you know it, it's
> Roshan again), featuring Rafi, Manna Dey, Asha, Meena Kapoor, and chorus
> (anyone else?)
>
> Sanjeev
Yes, it is a qawwali, a "love qawwali", if you
please !
As I mentioned earlier, encouraged by the popularity
of "Barsaat Ki Raat" qawwalis, it became a trend to
have at least one qawwali in films. I think this
accounts for the presence of this qawwali in "Taj
Mahal" and the other two qawwalis in "Dil Hi To
Hai". Both had music by Roshan and both were
released in 1963, about three years after the
release of "Barsaat Ki Raat". Roshan's musical
genius is unquestioned. There was a rare virtuosity
in his qawwali compositions. Apart from the above
three films, his "Bahu Begum" qawwali also comes
to mind, which was mentioned I think by Roopa. BTW,
this last qawwali is in chaste Urdu (chaste with a
capital 'C') and I must compliment her for inscribing
it so accurately.
Much as we admire qawwalis in general (and Roshan's
compositions in particular), the "Taj Mahal" qawwali,
I thought, was misplaced or, can we say, "mis-included".
To have a blatantly "love qawwali" sung during the
medieval period of Jahangir/Shah Jahan was not quite
appropriate. In period films, one is entitled to
expect a certain amount of historical accuracy.
RMIMers who know more about classical music than
I can ever hope to do may perhaps agree with me that
Khemchand Prakash did a superb job with his composi-
tions in "Tansen". These were more akin to the
Dhrupad-Dhamar style in vogue then, rather than the
Khayal-gayaki which is prevalent today. It is only
in this sense that I voiced my view about the "Taj
Mahal" qawwali.
I think there was a film called "Qawwali Ki Raat"
released around 1964. I had seen the film but
can neither remember the cast nor any of the songs !
Afzal
Surajit A. Bose
(SKalra902) wrote:
> 5. As a 'sequel' to humein to luut liya mil ke.., there was one titled
"ghalat
> hai luut liya tumko husn waalon ne, tumhein to luuta tumhaare bure khayalon
> ne", I can't remember the film's name right now.
The movie is AL HILAL.
-s
Balaji A.S. Murthy
No Surajit, the song referred to by Kalraji is the parody of the al-hilaal
qawwali and is from chaa.Nd(1959). Yes the same film which has the Lata-Suman
duet. The al-hilaal qawwali goes 'hame.n to luuT liyaa milake husnavaalo.n ne,
kaale kaale baalo.n ne, gore gore gaalo.n ne'.
- Balaji
Umesh Garg
:
: some more qawallis:
: parda hai parda hai - namak halal
Ity is a qawwali alright, but from "Amar Akbar Anthony" (Rishi Kapoor as Akbar
Ilahabadi).
: are these qawallis? :
: zhoom barabar zhoom sharabi zoom barabar..
to be absent from most of the popular ones.
: yeh chaand sa roshan chera zulfo ka rang sunehra
:NO!!!!!
While I am here, my compliments to Afzal for the most informative post on
qawallis.
-Umesh
nawat...@my-dejanews.com
> I think there was a film called "Qawwali Ki Raat"
> released around 1964. I had seen the film but
> can neither remember the cast nor any of the songs !
There is a qawalli in this film - the title song infact. Unfortunately I
remember almost nothing about it except the refrain sung by the chorus (or the
sidekick, as Sami refers to it :-) "...qawaallii kii raat hai, qawaalii kii
raat!". I have the song on two sides of a 78 rpm but that is back in India. It
was a nice qawalli AFAIR.
Chaudhvin ka Chand had "sharmaa ke ye kyuu.N sab pardaa nashii.n aa.Nchal ko
sambhaalaa karate hai.n". Does "meraa yaar banaa hai dulhaa" also qualify?
A Rafi-Asha song that HMV included in its Memorable Qawallis CD is
"merii tasviir lekar kyaa karogii, tum merii tasviir lekar
merii tasviir lekar, dil-e-dilagiir lekar,
jalii taqadiir lekar kyaa karogii tum, merii tasviir lekar."
I forget the name of the movie. However, going by the accepted definition of a
qawalli on RMIM, it would certainly not qualify as one.
Now a query. There are songs which consists mainly of an exchange of repartees
by two parties usually of the opposite, usually no chorus and/or rhythmic
clapping. Under what genre would such songs be categorized (if indeed there is
a separate genre for such songs)? A song that stands out in my memory is "kyaa
thii aur kyaa ho ga_ii re tuu" This is a non-filmi song that came out in the
70s and IIRC such songs were also called qawallis - even if it did stretch the
definition of a qawalli to some extent.
Nita
Visit My Urdu Poetry Page:
http://www.geocities.com/~fhnaqvi
SKalra902
>There is a qawalli in this film - the title song infact. Unfortunately I
>remember almost nothing about it except the refrain sung by the chorus (or
>the
>sidekick, as Sami refers to it :-) "...qawaallii kii raat hai, qawaalii kii
>raat!". I have the song on two sides of a 78 rpm but that is back in India.
>It
>was a nice qawalli AFAIR.
>Nita
I could not resist myself! :))
Qawwali Ki Raat had another one, "jaate jaate ik nazar bhar dekh lo, dekh lo".
In Aazaad, CR gave the gem "marna bhi muhabbat mein kissi kaam na aaya", sung
by Rangnath Yadav.
While on CR, it would be unkind not to mention his "mere dard-e jigar ki har
dhadkan manzil ka pata batlaati hai" from Nausherwaan-e-Aadil.
Would the song "dekh ke jisko dil lalchaaye, surat ho to aisi ho" in Baarish
qualify as a qawwali?
Was "qismat hamaare saathh hai jalnewale jala karein" in Khidki not a
qawwali!!
OP Nayyar composed the "Meri duniyaa lut rahi thhi aur main khaamosh thha" in
Mr. & Mrs. 55.
And now coming to last year's RMIMeet's chief guest speaker, S. Mohinder, who
gave us that great qawwaali in Shirin Farhad, "aankhon mein tumhaare jalwe hain
hothon pe tumhaare afsaane".
And I am suddenly reminded of a recent thread on Talat songs, as an offshoot of
which I had mentioned the "madine waale se mera salaam keh dena" from Mera
Salaam.
I guess that does for my 'quota' for today. :)))
Happy listenings.
Satish Kalra
pvyas
AAj Kyoon Haamse Parda Hai
Film: Sadhana
Singers Rafi, Asha SD Baatish??
Music Ravi
Pankaj
"Kuntal M. Daftary" wrote:
>
> two of my favorites:
>
> 1. mere mehboob mein kyaa nahin kyaa nahin
> film: mere mehboob
> lata and asha
>
> 2. jab raat hai aisi matwaali to subah kaa aalam kyaa hoga
> film: mughal-e-azam
> lata
>
> > VIJAYA R LAKAMRAJU wrote:
>
> > > I was trying to list Hindi films which had Qawwalli songs and dances in
> > > them.
>
> Kuntal Daftary
Sreenivas Paruchuri
: Was "qismat hamaare saathh hai jalnewale jala karein" in Khidki not a
: qawwali!!
Yes! IMO, CR set a new trend in composing _Qawwali-s_ with the above number.
Incidentally, R. sudarSanam's LEGENDARY (no exaggeration! ask ANY old timer
in A.P!! (S)he 'd know it.) number, the socalled "Da Da Daa..." song, in
"jeevitam" (1950, Tamil: vaazhkai-1949) was based on the above tune.
Thanks to the lyricist tOlETi venkaTareDDi (who unfortunately died quite
young), you don't feel the _dubbing smell_, in Telugu version.
While I am at R. Sudarsanam and Vazhkai/jeevitam, another 'very' popular
song: "chakkanaina kOyaraajunu ekkaDaina choochaaraa?", from it was based
on CR's: "pyar kii jahaankii" (patanga, 1949).
Once VAK Ranga Rao told me that most of songs from Vazhkai/jeevitam were
based on CR's compositions. One of these days I 'd make a list of CR's
pre-1949 works and compare.
Regards, --Sreenivas
--
E-Mail: sre...@ktp.uni-paderborn.de
ashwini_...@unc.edu
use Roopa's classification, a qawwalish -qawwali? It certainly has the
clapping and the superimposition of alaap interludes on a fast beat. The
lyrics, as far as I recall, deal with life and love and what not (which I
realise is not saying much, but anyway). It's a peppy RDB tune, picturised on
a multi-star cast and I remember singing it a lot in my younger days. I just
can't recall the words right now. I haven't followed this thread very closely
so maybe it has been mentioned already, but on the other hand, mebbe not.
Ashwini.
Ikram A. Khan
> Would the song "dekh ke jisko dil lalchaaye, surat ho to aisi ho" in Baarish
> qualify as a qawwali?
From a somewhat hazy memory, I seem to recall the song being picturised
on Nutan who's filling water in her maTka and the gali ke mawaalii
are trying to tease her. The mukhD.a of the song seems to be sung
in chorus, with different voices being used for each mawaali singing
a stanza each. Was there clapping involved? I don't remember it.
Also, Mehmood, one of the guys in the song, was probably holding
some guitar-like instrument which he plays during his imaginary
sequence-stanza. So, after trying to fill in certain blanks, is this
a Qawwaali? :)
> And I am suddenly reminded of a recent thread on Talat songs, as an offshoot of
> which I had mentioned the "madine waale se mera salaam keh dena" from Mera
> Salaam.
Perhaps this song should be added to a list of those songs where two
or more songs have the same initial wordings. A song in Coolie, sung
either by ShabbirK or Munna Aziz has roughly the same wordings in
the refrain -
madine waale se mera salaam kehna.
Later,
Ikram.
rdh...@del3.vsnl.net.in
ashwini_...@unc.edu wrote:
> Wasn't there a song in " The Burning Train" that is a sort of a qawwali or to
> use Roopa's classification, a qawwalish -qawwali? It certainly has the
> clapping and the superimposition of alaap interludes on a fast beat. The
> lyrics, as far as I recall, deal with life and love and what not (which I
> realise is not saying much, but anyway). It's a peppy RDB tune, picturised on
> a multi-star cast and I remember singing it a lot in my younger days. I just
> can't recall the words right now. I haven't followed this thread very closely
> so maybe it has been mentioned already, but on the other hand, mebbe not.
> Ashwini.
Ashwini, I think it's "pal do pal ka saath hamaara/pal do pal ke yaaraane
hain". And yes, I seem to remember mebbe it was mentioned in an earlier post.
Dear god, this "mebbe" seems to have seeped into everyone's brains! Certainly
mine (:-)). And as Ikram once said earlier, what an adorable word! Ashok,
you've accomplished a coup! Meanwhile, to my growing alarm, "mebbe" is
becoming a permanent part of my active vocabulary. As Jim Carey would say:
SOMEBAADEEEEEEE... STAAP MEEEEEEEE!!!!!!!
SKalra902
>
>From a somewhat hazy memory, I seem to recall the song being picturised
>on Nutan who's filling water in her maTka and the gali ke mawaalii
>are trying to tease her. The mukhD.a of the song seems to be sung
>in chorus, with different voices being used for each mawaali singing
>a stanza each. Was there clapping involved? I don't remember it.
>Also, Mehmood, one of the guys in the song, was probably holding
>some guitar-like instrument which he plays during his imaginary
>sequence-stanza. So, after trying to fill in certain blanks, is this
>a Qawwaali? :)
A perfect description of the picturization. Not so hazy memory, Ikram. :))
Though there was no clapping, I personally consider it a qawwali.
Happy listenings.
Satish Kalra
il_...@yahoo.com
iak...@bigfoot.com wrote:
> SKalra902 wrote:
> > Would the song "dekh ke jisko dil lalchaaye, surat ho to aisi ho" in
Baarish
> > qualify as a qawwali?
>
> on Nutan who's filling water in her maTka and the gali ke mawaalii
> are trying to tease her. The mukhD.a of the song seems to be sung
> in chorus, with different voices being used for each mawaali singing
> a stanza each. Was there clapping involved? I don't remember it.
> Also, Mehmood, one of the guys in the song, was probably holding
> some guitar-like instrument which he plays during his imaginary
> sequence-stanza. So, after trying to fill in certain blanks, is this
> a Qawwaali? :)
>
of
> > which I had mentioned the "madine waale se mera salaam keh dena" from Mera
> > Salaam.
>
> Perhaps this song should be added to a list of those songs where two
> or more songs have the same initial wordings. A song in Coolie, sung
> either by ShabbirK or Munna Aziz has roughly the same wordings in
> the refrain -
> madine waale se mera salaam kehna.
>
> Later,
> Ikram.
I think the "Baarish" song should be deemed as a qawwali.
The picturisation details are quite accurate. At the same time,
I feel the production values of this film were very poor. It
was an indifferently made film. That is why, it didn't do too
well at the box office, despite the presence of two top-notch
stars like Dev Anand and Nutan and music by a reputed MD like
C. Ramchandra. Even the music, except a couple of very good
songs, was comparatively pedestrian.
It is probable that the song was originally conceived as
a qawwali but was not picturised as such. There are certain
rhythms and tunes which are basically typical of qawwalis and
this tune is definitely one such.
The other songs from "Mera Salaam" and "Coolie" involve
an often used theme and verse of qawwalis, the poet/singer
expressing his dismay at not being able to visit Madina (where
Prophet Mohammed is buried). There are innumerable qawwalis
composed and sung on this theme.
Reverting to "Baarish", another guy in the qawwali scene
(apart from Mehmood) was Kumud Tripathi. Somehow his career
did not quite take off. Some years back, he did a prominent
role in a TV serial, as the father of the leading character.
It was a serious role, quite opposed to his film career as
a comedian.
Afzal
il_...@yahoo.com
>
> 1. Aahein na bhariin shiqawe na kiye kuchh bhii na zubaan se kaam liya, from
> Zeenat, led by Noorjahan.
>
>
> 3. Dil Hi To Hai had another fine qawwali - Parda utthhe salaam ho jaaye, by
M.
> Dey and Asha.
>
> 4. Barsaat Ki Raat, as mentioned by Surajit Bose, had a total of four (three
> in the film, as Na to karawaan ki talaash hai and yeh ishq ishq hai ishq ishq
> are combined into one).
> i. Pehchaanat a huun khuub tumhari nazar ko main/ji chaahta hai chuum
> luun..
> ii. Nigaahe naaz ke maaron ka haal kya hoga.
> iii & iv - See above. :))
>
"ghalat
> hai luut liya tumko husn waalon ne, tumhein to luuta tumhaare bure khayalon
> ne", I can't remember the film's name right now.
>
jab
> ishq kahiin ho jaata hai, tab aisi haalat hoti hai, MD SJ.
> I guess I"ll stop here, let someone else add others to the list.
>
> Happy listenings.
>
> Satish Kalra
I remembered another qawwali from an old film,
"Bara Dari", with music by Nashad :
Dil hum se woh lagaayeN jo haNs ke teer khaayeN
Jinko ho jaan pyaari woh saamne na aayeN
In the movie, it is sung by Minoo Mumtaz and "Humnawa"
i.e Chorus.
Ashok
>
>
>
>> I think there was a film called "Qawwali Ki Raat"
>> released around 1964. I had seen the film but
>> can neither remember the cast nor any of the songs !
>
>
>remember almost nothing about it except the refrain sung by the chorus (or the
>sidekick, as Sami refers to it :-) "...qawaallii kii raat hai, qawaalii kii
>raat!". I have the song on two sides of a 78 rpm but that is back in India. It
>was a nice qawalli AFAIR.
The words are
. kehnevaale tu bhi keh le jo dil ki baat hai
qavvaali ki raat hai ye qavaali ki raat hai
sung by Rafi, Asha, Manna Dey, Balbir, and saathi.
It's a 1964 film, starring Kumkum, Kamal Jeet, and Mumtaz. Quite a successful
film, at least partly due to very good music, which was independently populaar
on the radio. It is one of the most successful soundtracks of Iqbal Qureshi,
along with 'Love In Simla' and 'Cha Cha Cha.' The lyricist was Shevan Rizvi.
I vaguely remember the film; fortunately, and somewhat surprisingly, a
single-film cassette is available.
The name of the film doesn't disappoint; there are three very good qawwalis.
In addition to the title song, there is
. jaate jaate ik nazar bhar dekh lo, dekh lo
There do not seem to be any other lines in the mukhaDaa; just this line
repeated seemingly endlessly! The singers are Shamshad, Rafi, and saathi.
The third qawwali is by Asha, Rafi, and chorus:
. Asha: husnavaale husn kaa anjaam dekh
Doobate sooraj ko vaqt-e-shaam dekh
Rafi: subah ke sooraj ka bhi andaaz dekh
bhool jaa anjaam ko, aaGhaaz dekh
(aaGhaaz: beginning; opposite of anjaam)
The allocation of lines is puzzling. One would have expected the lines
for the male and female singers to be interchanged!
The delights of the soundtrack go beyond the three qawaalis. There is
a melodious Raf-Suman duet. Rafi starts with a pleasant humming:
. dil gayaa dil kaa etabaar gayaa
As one is wondering that the mellow, cheerful tune doesn't quite go
along with the words, the next line makes it clearer:
zindagi bhar kaa raazdaar gayaa
Suman also has a nice solo. Simple-minded words, but appealingly
simple tune:
. mujhe tum se mohabbat hai, mohbbat hai, mohabbat hai
Khudaa bhi Gavaah hai mohabbat hai, mohabbat hai!
The most popular song on the radio was perhaps the Rafi-Asha duet
(what Afzal calls tandem song, I suppose; the two singers appear
to be in different locales):
. pyaar ki hasrate.n Khaak me.n mil gayee.n
do qadam chal ke do hamsafar jal gaye
My favourite song from the film is the following:
>Now a query. There are songs which consists mainly of an exchange of repartees
>by two parties usually of the opposite, usually no chorus and/or rhythmic
>clapping. Under what genre would such songs be categorized (if indeed there is
>a separate genre for such songs)? A song that stands out in my memory is "kyaa
>thii aur kyaa ho ga_ii re tuu" This is a non-filmi song that came out in the
>70s and IIRC such songs were also called qawallis - even if it did stretch the
>definition of a qawalli to some extent.
>
>Nita
I suppose you mean the opposite sexes! I don't know if the genre has a name,
but going by your description, my favourite song from 'Qawwali Ki Raat' seems
to be one. I don't know which class of Muslim society this behaviour
corrsponds to, if any (it might be a filmi invention). The man and the
woman sit across from each other, in the presence of largish gathering, although
it is a domestic setup. They trade verses, ending each with polite bows. When
well-done, the exchange establishes enough basis for romantic feelings to spring,
or at least the audience feels that way!
The film has a very pretty duet of that kind, very slow and quiet, with minimal
orchestration, just tablaa and saarangi. It is sung by Mubarak Begum and Rafi:
. Rafi: ei jaan-e-nazar, chilman se agar, halkaa saa ishaaraa ho jaae
paiGhaam-e-mahabbat mil jaae, jeene kaa sahaaraa ho jaae
ei jaan-e-nazar
Mubarak: ye baat samajh me.n aa na sake, ye raaz samajh me.n aa na sakaa
aaGhaaz-e-mahabbat aap kare aur naam hamaaraa ho jaae
ye baat samajh me.n aa na sake
Seems to be a ghazal, with some half-hearted internal rhyming of the first line.
Ashok
Surajit A. Bose
dil leke aayaa huu.N" from JOHAR IN KASHMIR qualify as a qawwaalii? It
even meets Vijay's strict requirement of a religious theme.
-s
mrat...@my-dejanews.com
ADhar...@WorldBank.Org (Ashok) wrote:
> In article <7f5g3c$3lp$1...@nnrp1.dejanews.com>, nawat...@my-dejanews.com
says...
> >
>
repartees
> >by two parties usually of the opposite, usually no chorus and/or rhythmic
> >clapping. Under what genre would such songs be categorized (if indeed there
is
> >a separate genre for such songs)? A song that stands out in my memory
is "kyaa
> >thii aur kyaa ho ga_ii re tuu" This is a non-filmi song that came out in the
> >70s and IIRC such songs were also called qawallis - even if it did stretch
the
> >definition of a qawalli to some extent.
> >
> >Nita
>
> I suppose you mean the opposite sexes! I don't know if the genre has a name,
> but going by your description, my favourite song from 'Qawwali Ki Raat' seems
> to be one. I don't know which class of Muslim society this behaviour
> corrsponds to, if any (it might be a filmi invention). The man and the
> woman sit across from each other, in the presence of largish gathering,
although
> it is a domestic setup. They trade verses, ending each with polite bows.
When
> well-done, the exchange establishes enough basis for romantic feelings to
spring,
> or at least the audience feels that way!
>
>
The two parties do not really need to be of opposite sexes. In M-E-A there
is Lata and Shamshaad. In Barasaat Kii Raat there are both males and females
in one party. But the real question is was there such a tradition. For that
matter where do the terms "bazm", "mushaayera" and "mehfil" come from ?
Weren't these supposed to be the musical events where musicians get together
and sing ghazal/nazm/quwwalli etc.
Now while I am at it, here some more qualities of qawwalli I have observed.
More traditional qawwals used to have high pitched and rough voice as opposed
slow soothing voice a ghazal singer supposed to have. On RMIM (with
Rafi/KK/Asha/Lata patronage) this is a point that seems to be ignored, but I
feel Nusrat Fateh Ali Khan's songs more qawwallish than "real" qawwallis
mentioned here. One good example from that era is this qawwali from
film "Putalibai" which goes like "....aanaa gazab dhaa gayaa".
From musical perspective a qawwalli is musically more elaborative than a
song or ghazal. You can almost see a parallalism with a classical rendition
where aalaap/joD/jhaalaa are intertwined with a main repeating line. For
example consider how various phrases intertwin with "laaz raakho more
ghu.nghat pat kii" in "ye ishq ishq hai", or even better example is "chaa.ndi
kaa badan sone kii nazar" where repeating line "ab ye haal hai in diwaano.n
kaa" runs across some 15-20 different line.
This musical richness of a traditional qawwalli would make a qawwal a
professional musician rather then a saint or a religious pro. Though religious
theme in traditional qawwallis can be explained by the fact that religion has
always been the theme of music untill Bollywood bloated love theme like
Internet stocks.
--
Have fun
Mohan
nawat...@my-dejanews.com
track was available and that too as a single fim cassette. I shall redouble my
efforts to look for it.
Nita
nawat...@my-dejanews.com
Just remembered another qawalli. Its another qawalli that I have been looking
for but haven't found yet. The first two lines are:
pyaar ke mo.D par mil gaye ho agar
ab milane-milaane kaa vaadaa karo [Not sure whether the 'ab' is there or not]
This qawalli is from a Zeenat Aman film released in the late 80s or maybe
even the early 90s. It was a film in which she becomes a dacoit. I think the
name of the movie was Daku Hasina. Can anyone help me lay my hands on this
qawalli please?
BTW I am surprised no one has mentioned the Sabri Brothers in this thread
about qawallis. They are an absolute treat to listen to, if you are into
qawallis, that is.
Nita
--
Visit My Urdu Poetry Page:
http://www.geocities.com/~fhnaqvi/
Ashok
>
>BTW I am surprised no one has mentioned the Sabri Brothers in this thread
>about qawallis. They are an absolute treat to listen to, if you are into
>qawallis, that is.
>
>Nita
I am surprised that it took you two weeks to be surprised!
Don't I love the "I am surprised no one .." sentence template.
I wonder if people deliberately wait to see if they are going to
be surprised! Otherwise, it is not obvious why you didn't post
about Sabri bandhus much earlier.
It mebbe that they are culturally unimportant, since they
were not playback singers in Indian films. After all, the
world is such that a Bhimsen Joshi had to be advertised as
"Of the *mile sur mera tumhaara* fame" (as pointed out by
Sanjeev Ramabhadran on RMIC recently.
Interestingly, the Sabris have sung at least one song in
Hindi films. It is a wonderful religious qawwali, composed
by, again!, Iqbal Qureshi, for a genre of film described as
Muslim devotional: Mere Gharib Nawaz aka Sultan-e-Hind. I
think it was a late 1960s or early 1970s film. I am not sure
of the poet; perhaps Anjum Jaipuri. The song is:
. aaf_taab-e-risaalat madeene me.n hai
aur kiran jagamagaate hai.n ajamer me.n
The song begins with the same kind of sonorous majesty that
Roshan achieved in "naa to kaaravaa.n ki talaash hai" and
holds the listener in thrall for more than six minutes.
There have been quite a few films centering around a final trip
by the participants to Ajmer Shareef and the fulfilment of their
hearts' desire or resolution of problems often through a miracle.
There are very strong parallels with many South Indian films
that center around, for example, Tirupati Veknatachala.
Ashok
SKalra902
>In article <7fnp5k$td0$1...@nnrp1.dejanews.com>, nawat...@my-dejanews.com
>says...
>>
>>BTW I am surprised no one has mentioned the Sabri Brothers in this thread
>>about qawallis.
...snipped....
So far, the qawwali songs that I had psoted were all from Hindi films. I
stayed away from non-film qawwalis. And I had completely forgotten that Sabri
brothers have sung qawwalis in Hindi films, too, as brought out by Ashok.
IIRC, there was one in the Yash Chopra film "Parampara", too.
The name of the late Ustad Nusrat Fateh Ali Khan is known the world over for
his qawwalis. However, in the tradition of Ashok's piece about Sabri brtohers,
here is a qawwali by the late Ustad, with his brother, sung in the Yash Chopra
(surprise, surprise again) film "Nakhuda" from the very early 80's, probably
1981. It is a qawwali very widely available in other renderings by the Ustad,
viz., "Shah-e mardaan-e ali..". Music for the film was by Khayyam, though the
tune for this qawwali seems to be the late Ustad's own. It was picturized on
Yunus Parwez and another artiste.
Ustad Nusrat's father, Ustad Fateh Ali Khan also sang in a couple of films,
can't recollect now whether they were qawwalis or otherwise. This would have
been in the late 40's probably. Any one kind enough to add more information on
that!
Also, Ustad NFAK sang four Shabads in qawwali form! They are:
1. Turiya turiya ja Farida turiya turiya ja.
2. Koi bole ram ram koyi khudaaye.
3. Mitr piyare noon.
4. Awwal Allah noor upaya.
What a delight!
Happy listenings.
Satish Kalra