Search results for Ghulam
Results 1-15 of about 2551 (Found in 0.089s)
4,
03:52,
2008-04-02 17:55:01
Description: Ghulam Aamir Khan fight ( with Russian subs)
Channel: youtube
22,
07:51,
2008-04-02 17:59:09
Description: It is a pet Ghazal of Ghulam Abbas. Wherever he goes for concert its a Must-Sing item for him. Poet is Professor Aslam Ansari from Multan. An important thing to note is the pre-ghazal chat inwhich Ghu (More) It is a pet Ghazal of Ghulam Abbas. Wherever he goes for concert its a Must-Sing item for him. Poet is Professor Aslam Ansari from Multan. An important thing to note is the pre-ghazal chat inwhich Ghu (Less) Channel: youtube
28,
06:52,
2008-04-02 23:55:54
Description: The Legend, Ustad Bade Ghulam Ali Khansaheb singing two very famous thumris: 1. Aaye Na Baalam 2. Yaad Piya Ki Aaye [Note:although is is already in my channel, I had to upload it again.] Ustad Bade (More) The Legend, Ustad Bade Ghulam Ali Khansaheb singing two very famous thumris: 1. Aaye Na Baalam 2. Yaad Piya Ki Aaye [Note:although is is already in my channel, I had to upload it again.] Ustad Bade (Less) Channel: youtube
30,
04:18,
2008-04-03 04:53:16
Description: Twinkle Khanna working on the punching bag, then boxing Johnny Lever with her sisters. From Joru Ka Ghulam, requested by beakheadram.
Channel: youtube
35,
03:55,
2008-04-17 12:25:47
Description: Shankar Chatterjee's [the tabla players] tribute to Ustad Bade Ghulam Ali Khan
Channel: metacafe
36,
09:40,
2008-02-06 15:09:51
Description: A radio broadcast - Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (More) A radio broadcast - Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali's
birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani
and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad
simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the external
response. In 1932, he lost his wife Allah Jiwai. His grief, poured into
melody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different people
in the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitation
of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali
shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtrians
are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people
of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple).
She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich
and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the
the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie.
After having accomplished a lot,
Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on
an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large.
http://www.youtube.com/watch?v=jCrzVnHSYoQ
http://www.youtube.com/watch?v=-ZJlzgs5bUo
http://www.youtube.com/watch?v=IMQtmYUv-ig (Less) Channel: youtube
19,
09:56,
2008-02-04 15:28:45
Description: Raag Bageshree, drut, teentaal. An incredible Life recording [audio] recorded in Calcutta, India 1963. Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed (More) Raag Bageshree, drut, teentaal. An incredible Life recording [audio] recorded in Calcutta, India 1963. Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali's
birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani
and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad
simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the external
response. In 1932, he lost his wife Allah Jiwai. His grief, poured into
melody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different people
in the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitation
of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali
shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtrians
are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people
of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple).
She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich
and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the
the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie.
After having accomplished a lot,
Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on
an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. *** (Less) Channel: youtube
14,
06:32,
2007-10-27 14:41:55
Description: aaj huni aiye balamwa...Ustad Bade Ghulam Ali Khansaheb inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose (More) aaj huni aiye balamwa...Ustad Bade Ghulam Ali Khansaheb inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali's
birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani
and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad
simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the external
response. In 1932, he lost his wife Allah Jiwai. His grief, poured into
melody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different people
in the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitation
of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali
shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtrians are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple).
She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich
and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the
the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot, Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on
an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. ***
http://www.youtube.com/watch?v=jCrzVnHSYoQ
http://www.youtube.com/watch?v=-ZJlzgs5bUo
http://www.youtube.com/watch?v=IMQtmYUv-ig
Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi;
http://video.google.com/videoplay?docid=9166034051968590538
http://video.google.com/videoplay?docid=3399328193716946741
http://video.google.com/videoplay?docid=-7526764871398003507
Tags: ustad bade ghulam ali khan kasur patiala (Less) Channel: youtube
13,
05:02,
2007-08-25 09:38:16
Description: Ustad Bade Ghulam Ali Khansaheb inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is (More) Ustad Bade Ghulam Ali Khansaheb inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali's birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the external response. In 1932, he lost his wife Allah Jiwai. His grief, poured into melody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different people in the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitation of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtrians are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple). She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich
and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot, Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. ***
Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi;
http://video.google.com/videoplay?docid=9166034051968590538
http://video.google.com/videoplay?docid=3399328193716946741
http://video.google.com/videoplay?docid=-7526764871398003507 (Less) Channel: youtube
25,
10:23,
2007-07-08 03:37:48
Description: a part of an interview enveloped by Raag Mian Ki Todi and Raag Bihag
Ustad Bade Ghulam Ali, one of the greatest singers of all times,
was capable of weaving a magic spell with his swaras and taans. (More) a part of an interview enveloped by Raag Mian Ki Todi and Raag Bihag
Ustad Bade Ghulam Ali, one of the greatest singers of all times,
was capable of weaving a magic spell with his swaras and taans.
He had once said: "My throat is like a paint brush
and I paint on the waves of wind with my voice. The swaras -- the
notes of the raga -- are my colours. It is like a painting
created in the air, which is my canvas."
He inherited the formidable musical parampara (tradition)
of Punjab that encompassed the Hindu, Muslim and Sikh religions.
Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)
is sung even today, was buried in Kasur, Ghulam Ali's
birth place. The shepherds, wandering in the hills,
sang in praise of Hazrath Ali andHussain -- grandsons
of Prophet Muhammad -- in melodies akin to classical Indian
ragas. The shabads and qawwalis of the Sikhs
were often based on ancient Dhrupads
and Khayals, again Indian classical ragas.
In the biography of Bade Ghulam Ali Khan, authors Malti Gulani
and Quratulain Haider have paid a rich tribute to the maestro.
Ghulam Ali's uncle and guru, Ustad Kale Khan,
was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad
simple compositions. In 1911, Ghulam Ali accompanied
Kale Khan to Delhi, at the age of 9, and watched him
perform at the 'Dilli Darbar'. Thus began the grooming
and development of the musicalpersonality of the young
disciple, alongside rigorous taleem (training) under
his uncle's baton. Later after a brief acquaintance with
Lucknow and its highly refined soirees, Ghulam Ali returned to
Lahorewith his father and resumed his nightly riyaaz (practice)
on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the external
response. In 1932, he lost his wife Allah Jiwai. His grief, poured into
melody, gave birth to the immortal thumri: Yaad piya ki aye,
reflecting the very trauma of his heart.
On arrival in Mumbai in 1940, Ghulam Ali thrived under the
benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem
Hari Om Tat Sat, and rendered it musically in the haunting raga
Pahari. Years later, he explained, "God, Truth and Haq is one. I've
Allah in my mind when I sing these words...Different people
in the world have different names for the Supreme Being
who is 'One'. In 1947, he visited Afghanistan at the invitation
of King Zahir Shah and re-established the splendid
rapport in music between the Afghans and Indians,
where the Afghan string instruments like
Rabab and Santoor were part of the Hindustani
ensemble. Many Indian musical instruments still retain their
Persian roots, such as Tabla, derived from Persian tabl;
Sitar meaning seven strings and Dilruba
being a longer version of Sarangi.
The Partition in 1947 dealt a severe blow to the composite culture
of the Indian subcontinent. But Ghulam Ali at a concert organized
by Radio Lahore sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In
1951, he was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the cognoscenti,
earlier the Ustad's singing was like the sound of the waterfall
striking against the mountainside and rushing with great force
to mingle with the ocean; now it resembled the vast ocean itself
whose might and depth was unfathomable! In 1963, Ghulam Ali
shifted to Kolkata where he was frequently invited to sing
before highly appreciative audiences. He would say: Maharashtrians
are great connoisseurs of classical music, with their approach
being technical and academic. The exuberance, which the people
of Kolkata show, is characteristic of their emotional and artistic nature!
It is in Kolkata that he took young Malti Gilani (singer and later his
biographer) as his gunda-bund shagird (committed disciple).
She has noted how the open house atmosphere prevailed
at the Ghulam Ali residence - reminiscent of the Sufi Khanas
and hospices of the Middle Ages. In such places -- as even
in the Dargahs today -- a cauldron of rice was always
being cooked for the traveller and food distributed to the rich
and the poor alike! In this respect, theSufis of Islam, the Bhaktas i
f the Vaishnava cult and the Catholic mystics of the Medieval Europe -
they all shared a similar spirit of tolerance and bonhomie.
After having accomplished a lot,
Ghulam Ali breathed his last in 1968 in Hyderabad --
far away from the green wheat fields of Kasur on the
eastern seaboard of India. That he always took his listeners on
an inward journey of musical understanding and fulfillment
remained true to his last day. This biography
provides an insight not only into the
music of Ustad Bade Ghulam Ali Khan but into the history of
Indian classical music at large. ***
Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi;
Price Rs. 1200/ (Less) Channel: youtube
38,
06:52,
2008-02-04 16:06:10
Description: The Legend, Ustad Bade Ghulam Ali Khansaheb singing two very famous thumris:
1. Aaye Na Baalam
2. Yaad Piya Ki Aaye
[Note:although is is already in my channel, I had to upload it again.]
Ustad (More) The Legend, Ustad Bade Ghulam Ali Khansaheb singing two very famous thumris:
1. Aaye Na Baalam
2. Yaad Piya Ki Aaye
[Note:although is is already in my channel, I had to upload it again.]
Ustad Bade Ghulam Ali Khan, inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Ali's
birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani
and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad
simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the external
response. In 1932, he lost his wife Allah Jiwai. His grief, poured into
melody, gave birth to the immortal thumri: Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different people
in the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitation
of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustad's singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali
shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtrians
are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people
of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple).
She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich
and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the
the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie.
After having accomplished a lot,
Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on
an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. ***
http://www.youtube.com/watch?v=jCrzVnHSYoQ
http://www.youtube.com/watch?v=-ZJlzgs5bUo
http://www.youtube.com/watch?v=IMQtmYUv-ig (Less) Channel: youtube
15,
03:44,
2007-08-13 14:54:37
Description: Rani Mukherji and Amir Khan in song Aati Kya Khandala From movie "Ghulam"
Channel: youtube
29,
10:22,
2007-07-04 02:09:45
Description: Darbari, Malkauns excerpts.
Ustad Bade Ghulam Ali Khan was the greatest interpreter of the Patiala gharana. LAKSHMI VISWANATHAN
pays tribute to the master in his birth centenary year (2002).
(More) Darbari, Malkauns excerpts.
Ustad Bade Ghulam Ali Khan was the greatest interpreter of the Patiala gharana. LAKSHMI VISWANATHAN
pays tribute to the master in his birth centenary year (2002).
RECENTLY a host of disciples and music lovers celebrated the centenary of Khan Sahib Bade Ghulam Ali Khan's birth. He was from Lahore. Many in South India do not know of his connections with this part of the country. He stormed Madras in the 1950s, when he was still a citizen of Pakistan and gathered around him ardent fans, among whom were the giants of Carnatic music.
Old sabhas like Parthasarathy Swami Sabha, and a host of other institutions and wealthy patrons, organised his concerts. Among his devoted rasikas was the famous singer and music director Ghanatasala. In fact, for Khan Sahib's sojourn in Madras, Ghantasala offered his house as a guesthouse. Elders in my family, along with people like GNB the great maestro, Veena Balachander, M.S. Subbulakshmi, M.L. Vasanthakumari, and others flocked to spend their evenings with the great Hindustani master.
Many a time, I accompanied my mother to these soirees and became addicted to the music that only Bade Ghulam Ali Khan could create. He was a genius, and a romantic. Plucking the strings of the swara mandal on his lap, Khan Sahib would take his listeners on a journey into the ethos of the princely courts, rose gardens, cool fountains and the lingering poetry of love — the hallmark of Mughal India. Much later the whole country heard him in the film "Mughal-e-azam".
Bade Ghulam Ali Khan was the greatest interpreter of the Patiala Gharana. But like a true artiste, he brought his own to a tradition and made Hindustani music a vivacious and innovative essay.
He composed songs of great beauty, with the signature "Sabrang", and reached millions through the radio. There was a time when All India Radio banned this "Pakistani" singer's records! An imposing personality, he had a child-like simplicity which endeared him to all. His repertoire consisted of khayals, thumris, ghazals and bhajans.
In all, he excelled with his imagination and innovations. His voice was very special. The timbre and quality of its resonance had a lingering delicate quality, which communicated nuances of infinite variety.
From an erotic teasing thumri, which created pictures of the nayikas one sees in miniature paintings, he would easily switch to "Hari Om Tat Sat" in Pahadi, mesmerising his listeners to journey with him in search of the Divine.
His appeal to a wide section of the public naturally drew criticisms from the purists. But none could fault his technique or his mastery of the swaras. He had learnt from his uncle and father the authentic Patiala gayaki noted for its emotional appeal and clear articulation.
He realised early in his singing career that chamber music lasting many hours was not what big audiences wanted. He was the master of brevity in his elaborations of ragas, and drew his listeners into an intimate circle of pure melody, which lingered in their minds. He was able to chisel his tradition of music to suit the contemporary circumstances of performance without sacrificing the fundamental principles of a grand technique.
The singing of thumri was Khan Sahib's forte. In the purab ang of thumri singing, which has its origin in the eastern region of Uttar Pradesh, the songs are sung in the dialects of the region like Purabi and Brij Bhasha. The style follows a tradition, which is distinct.
What Khan Sahib introduced in his thumris was essentially a blend of the folk tunes of Punjab. This form came to be known as Punjab Ang and had an irresistible charm of its own. As Khan Sahib was soaked in the culture of that region, his artistic instincts were true to an ethos with clear characteristics. Khan Sahib made frequent trips to India to perform as all his fans were here.
Eventually, after considerable effort and with the help of influential people, he decided to settle in India, dividing his time between Bombay and Calcutta. He received the Padma Bhushan and the Sangeet Natak Akademi awards. A charitable man, he gave a lot of his earnings to the needy.
In his lifetime he trained disciples, including his son Munawwar Ali Khan, a mature singer, and a good man whose life was sadly cut short in 1989.
Ajoy Chakraborty who learnt from him is at present keeping the links with the Patiala Gharana alive.
Memories of this great artist and his music will linger for long. The term "Bade" (big) defined his music, his personality, and his heart.
His affection for children was touching and when I danced for him he blessed me with a generosity, which only a great artist and a good human being can command.
* * *
# Ustad Bade Ghulam Ali Khan was born in Lahore in 1902.
# At the age of seven, he ws put under the training of his uncle Khan Saheb Kale Khan of Patiala for the next 10 years.
# Following the Khan Saheb's death, he continued his training under his father Khan Saheb Ali Bux.
# His favourite bhajan was "Hari om tat sat".
# Under the pen name "Sabrang", he has left numerous compositions.
# Ustad Bade Ghulam Ali Khan amalgamated the best of four traditions: his own Patiala-Kasur style; the sculpturesque Behram Khani elements of Dhrupad; the intricate gyrations of Jaipur; and the robust behlavas (embellishments) of Gwalior.
# He died in the Basheerbag Palance, Hyderabad, in 1968. Source: Internet
source:
http://patialakasurgharana.com/j/index.php?option=com_content&task=view&id=22 (Less) Channel: youtube
0,
04:44,
2008-01-20 16:03:55
Description: Mein toh Panjatan ka ghulam hoon By Aamir Liaqat Hussain - Panjatan means Paanch pak hastiyan yaani k * Hazrat Muhammad [Saw], Hazrat Bibi sayeda Fatima *R* , Hazrat Ali *R*, Hazrat Iman Hassan and (More) Mein toh Panjatan ka ghulam hoon By Aamir Liaqat Hussain - Panjatan means Paanch pak hastiyan yaani k * Hazrat Muhammad [Saw], Hazrat Bibi sayeda Fatima *R* , Hazrat Ali *R*, Hazrat Iman Hassan and Iman Hussain *R* , We love them all .... (Less) Channel: youtube
5,
00:14,
2007-12-06 09:16:29
Description: Jassim Ghulam's goal for his club (al-Rayyan) vs al-Khor
The game ended 1-0
Channel: youtube
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