Supreme Ishq - Anarkali (Shoaib Mansoor)

The video for the Pakistani song "Anarkali,"
from the album Supreme Ishq.
The song is sung by Shabnam Majeed,
concept and video by Shoaib Mansoor.
The video features Iman Ali.



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"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Ab ke hum bichhRay - Ejaz Hussain Hazravi - OriginaL Version






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Video Description
I was reading a book Sur Sansaar and when i saw Ejaz Hussain Hazravi in it i remembered i had a 90 min recording of that gem of a singer from the past. Ahmed Faraz ki ye ghazal pehlay Radio kay liay banai gai thi aur Ghazal style mein hi compose ki gai. Baad mein Mehdi Hassan nay isay film Angaray mein gaya aur phir apni har concert mein gaya..aur khoob daad paai. But i want my viewers to have a taste of the original too. so here it is.

A bit about the book am reading too..

Sur Sansaar
By Shahbaaz Ali
Published by Ali Publications, Rawalpindi,2007.
Price Rs.200
Pages 217

In the first edition Shahbaaz Ali had covered such greats as Bhai Lal Muhammad, Ustad Ashiq Ali Khan Ustad Barre Ghulam Ali Khan, Ustad Abdul Qadir Piyarung, Mian Nabi Buksh Kalrewale, Ustad Firoz Khan Nishiwale, Rafiq Ghaznavi, Qazi Zahurul Haq, Ustad Latafat Hussain Khan, Master Muhammad Sadiq Pindiwale, Ustad Ghulam Hussain Shaggan, Ustad Barkat Ali Khan, Mukhtaar Begum, Tufail Niazi, Noor Jehan, Ijaz Hussain Hazravi, Zahida Parveen, Fareeda Khanum, Mehdi Hasan, Iqbal Bano and Ghulam Ali. In the second edition, besides revising and adding to the list mentioned above, he has also included write-ups on Ustad Jhande Khan and Begum Akhter.

If there is any scholarship of music in Pakistan it is limited to classical musical forms like the dhrupad and kheyal because probably there has been a tradition of placing music in the spiritual and material totality of human existence. Even in the last thousand years or so, as the unity of the classical world, between the spiritual calling and the mundane necessities started to show a dichotomous divide, the force of tradition continued its attempt at comprehending the change in musical expression with the tools and canons at hand. This visibly led to widening the gap between theory and practice of music, a characteristic of the period that preceded the colonisation by the western powers of the entire subcontinent.

Z.A Bokhari, Rafeeq Ghaznavi, Firoze Nizami, Khurshid Anwar, Abid Ali Abid, Khadim Mohyeddin, Aziz Sheikh, S.M Shahid, Daud Rehbar, Prof.Israr , Rasheed Malik, Muhammad Hasan Askari, Saeed Malik, Badruzzaman, Shahid Ahmed Dehlavi, Shah Muhammad Jaffar Phulwari, Rafiullah Shahab, M.A Sheikh, Munir Ahmed Qureshi, Pervez Paras, Ghulam Haider, Afzal Pervez, Inayat Illahi Malik, N.A Baloch, Saleem Gilani, Mehfooz Khokar, Khalid Malik, Ustad Salamat Ali Khan, Adeeb Sohail, Aqeel Rubi, to name a few have written on music. A few of these have been scholars as well as practising musicians while others have just been scholars with second-hand knowledge of music. But nearly all of them concentrated on the higher forms of music and the place of music in our society viz a viz our ideological moorings. But where the more popular forms or folk musical expression was concerned it was considered sufficient to let the musical expression be rendered with no effort made to evaluate critically the low forms of musical expression. And despite a collapsing system of traditional artistic values that trend has persisted.

The reason may be baffling as to why this appeal and popularity could not become the subject of scholarly concern. In the last few years the changes in the music scene have been traumatic and the debate has gone much beyond the relationship of the classical and folk forms.

Sur Sansaar attempts to redress and creates some kind of balance between the Ustads and singers practicing lighter and popular genres. Usually Ustads are treated as demi gods and women singers' life sketches are full of trivia. By maintaining a fine balance Sahbaaz Ali has narrowed the gap. He has also included in his writeups artistes who have made significant contributions but are not that well-known even among the discerning sections. Especially those who live away from the centres of culture always suffer on one count or the other. Pindi and Potohari musicians have been treated with candour.
Enjoy the Ghazal of Ahmed Faraz by our unsung Hero Ejaz Hussain Hazravi.
Regards
Dr.Bukhari





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Music forms a part of me again It gives Shape to my faceless Expressions...To my Thoughts. {Alochana}

Attaullah Khan With Happy Tabla Player

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Born on August 19, 1951, "ESAKHELVI" was given the family name "Atta Ullah Khan Niazi". He was brought up in Esakhel. He got his basic education and done matric from Esakhel. For higher education he got admission in Faisalabad and done intermediate from there. Then he got his Graduate degree from Mianwali.

After coming to the music profession the first radio program he signed with Radio Pakistan, Bahawalpur in 1972. The same year he done his first stage show in Mianwali. Then he performed in his first T. V. Program at Nilam Ghar, Karachi in 1973. After his success in homeland he won hearts of his fans in England in 1980 in his first foreign concert.

His first film as a singer was "Siren" in Punjabi. While "Dil Lagi" was his first film as actor. Atta has a number of films on his record, he appeared in three (3) movies as main character or a "Hero" and sung for about eight (8) movies. Esakhelvi sings in 5 different languages including Saraiki, Urdu, Punjabi, Pushto and Sindhi. His first professional cassette was recorded by RGH-Faisalabad in 1978.









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Music forms a part of me again It gives Shape to my faceless Expressions...To my Thoughts. {Alochana}

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Music forms a part of me again It gives Shape to my faceless Expressions...To my Thoughts. {Alochana}