Ustad Nazakat and Salamat Ali two legendry classical maestros from Pakistan, had their musical from Pakistan, had their musical grooming from their father Ustad Vilayat Ali Khan, himself a well known exponent of classical music, and a follower of the Sham Chaurasi School of music, which specialises in the faithful reproduction of “ragas” in their original form. Both the artistes used to perform together but each had his individual style of developing a theme. The elder brother Nazakat Ali had a gradual and elaborate method of workmanship whereas the younger Salamat Ali was spectacular and his artistry was matchless for its beauty, form and conception. Nazakat Ali had a soft and mellow voice and his style was necessarily subdued. Salamat Ali had a powerful and well modulated voice that enabled him to perform through an unusually wide range and at an extremely fast tempo with perfect ease and grace. In weaving a musical pattern, it will be true to say that where as Nazakati Ali’s contribution was in drawing the outline, Salamat Ali filled in the details with fast flourishes rich in variety and colour. The featured renditions bear ample testimony to the artiste’s virtuosity and provides a rich experience for the discerning listener. Truly, a rare opportunity to experience timeless music in the voices of Ustad Nazakat Ali and Salamat Ali, the unparalleled maestros.
1. Raga: Abhogi – Kanada
Abhogi – Kanada is a raga of night variety and is an admixture of the North and South Indian styles. It is Pentatonic in structure since both the 5th (Pancham) and 7th (Nishad) notes are dropped both in the ascent (Aroha) and the descent (Avaroha) A very quiet atmosphere pervades throughout the exposition of the Raga. The maestros start with a composition which is very slow in tempo. It is confirmed to a rhythmic cycle of fourteen beats (Matras) known as Jhoomra. The slow movement affords great scope to the artistes to give an elaborate development of the melody. This is followed by a fast (Drut) composition in Teental in which the artistes display their proficiency in taking fast and intricate Taans.
2. Raga: Gavati
Raga Gavati is of a rare variety, it is expounded usually in the afternoons or early evenings like bheem to which to which it has a very has a very strong affinity. The compositions is confined to Ektal, a rhythm consisting of twelve beats. This is followed by a fast composition in teental consisting of twelve beats.
3. Thumri – Mishra Khamaj
Featuring an enchanting Thumri in Raga Mishra Khamaj. The piece depicts the uncanny skill of the artistes in weaving out short intricate taan patterns at lightening speed and leaves the listeners in a very exhilarating mood.
|1||Raga: Abhogi Kanada (1964)|
|Khayal Vilambit Jhoomra|
|Khayal Drut Teentaal|
|"Tum Bin Mohe Kal Nahin"|
|2||Raga: Gavti (1964)|
|Khayal Vilambit Ektaal|
|"Dhan Dhan Bhag"|
|Khayal Drut Teentaal|
|3||Thumri - Mishra Khamaj (1964)|
|"Lage Tose Nain"|