Dr Amjad Parvez

I have known singer Rajab Ali for a long time both at personal and professional level. I have sung with him a number of times for the Pakistan Television Corporation and Radio Pakistan, Lahore. His loving nature and tuneful singing has enticed me to write on him. Like me, he falls in the second generation of singers after the creation of Pakistan; the first generation comprising Noor Jehan, Zubaida Khanum, Nahid Niazi, Salim Raza, Ali Bukhsh Zahoor, Fazal-e-Hussain, Munir Hussain, Inayat Hussain Bhatti, Alam Lohar, Masood Rana, Ahmad Rushdi, Mehdi Hasan (late), Iqbal Bano (late), Ijaz Hussain Hazarvi (late), Tufail Niazi (late), Farida Khanum and alike. Ghulam Ali, Nayyar Noor, Abida Parveen and alike are my contemporaries. Parvez Mehdi, Rajab Ali, Mahnaaz, Akhlaque Ahmad, Nahid Akhtar, Alamgir, Muhammad Ali Shehki, Nazia/ Zuhaib Hasan, Shaukat Ali, Ghulam Abbas, Afshan and alike are the product of 1970s. There are many others not mentioned here.

It was music composer Nazir Ali’s music and a song “Ainaan phul kaliyan di mehfil” picturised on Waheed Murad in the movie ‘Mastana Mahi’ that gave fame to Rajab. This was a piano number picturised on chocolate hero Murad with Naghma dancing around in a drawing room. The lyrics of the song penned by Hazeen Qadri depict Murad abhorring the modern culture, which the girls adopted negating the Eastern culture. Talking of Nazir, he gave another popular break to Rajab through the song “Aseen aan qalandri diwane laj paal de” in the 1971 film ‘Asoo Billa’. Then a duet with Noor Jahan “Mujh sa tujh ko chahne wala” from the movie ‘Yaadain’ picturised on Zeba and Muhammad Ali brought Rajab’s popularity graph higher. Music of this song was by M Ashraf, a close relative of Rajab. The problem with music composers of that era was that they always preferred giving break to their relatives/students; if not the only reason, at least one of the reasons of downfall of film music today. 

Rajab hails from Hyderabad, Sindh where he belongs to an established Gowaliar Gharana of music. His whole family is related to music at large and Sindhi music in particular. His real brother Waheed Ali is a big name in Sindhi music and his maternal uncle Manzoor Ali Khan is also remembered for his association with classical music, Sindhi Kafis and Sufiana Kalam like that of Hazrat Shah Abdul Lateef Bhitai. Rajab’s elder brother Ustad Fateh Ali Khan Hyderabadi is an established exponent of Gowaliar Gharana. He has contributions towards making Kheyal format of classical vocalisation popular. He got training from his father Ustad Ghulam Rasool Khan and from his uncle Ustad Umaid Ali Khan. Fateh Ali Khan therefore has managed to collect many ‘bandishes’ of this school of thought. One amazing quality of this Gharana is that it lays emphasis on appropriate use of ‘Akaars’ (vocal depiction of proper sound of the word) and still remains within the gamut of full throat singing. Rajab is content with being labeled as one of stylish playback singers who is known more as ghazal and film playback singer rather than a classical one. He possesses a beautiful voice with heavy tone and leaves an impression of owner of presentable demeanour. 

Before proceeding ahead I must mention that Kheyal form of classical music that has over-shadowed ‘Dhurpad’ form of classical music since last three centuries, was introduced as a popular genre by Naimat Khan Adarang. Those were the times of the reign of last of Mughal kings, Muhammad Shah Rangeela. It was because of Muslim ‘gaiks’- (singers) that Muslims’ contribution for advancement of this genre has been enormous. It was because of such classical vocalists that the basic ‘scales’ especially those in vogue in the northern part of Indian subcontinent, were modernised as per need of the times. Rajab got his early tutelage from Ustad Umaid Ali Khan, his paternal uncle and inherited Gowaliar style of singing. Rajab also obtained training from his father Ghulam Rasool Khan who had settled in Hyderabad, Sindh before the creation of Pakistan. Rajab is one among seven brothers. Initially his elder brothers Hameed Ali Khan and Fateh Ali Khan used to render classical music as a duo. Education has been introduced in the family. One of his brothers was a civil servant.

During one of informal sessions with me in the distant past, Rajab informed that his school of thought in music was the same as that of Bhai Lal Muhammad Amritsari and Ustad Ghulam Hassan Shaggan. These classical vocalists were scions of Rajab’s forefather, Khan Saheb Banne Khan. It always irked me that despite having a classical base, why did Rajab choose to be in filmdom as a playback singer (instead of becoming a classical singer). He responded that he had decided to move to Lahore from Hyderabad in 1970 because of the break to sing playback for the famous hero Muhammad Ali for film ‘Yaadain’. Continued

From : Daily Times May 18, 2014

 

Part I

This breakthrough was too attractive for him to refuse especially as the female voice accompanying him was by none else than that of Madam Noor Jehan for heroine Zeba. Perhaps filmdom’s’ lights were too bright for him to opt for life long struggle to become a recognised classical vocalist, especially when his elder brothers were already established in that domain as such. As far as his choice of hero he desired to sing for, it was Waheed Murad. Rajab Ali quoted his Punjabi song for the film ‘Mastana Mahi’ in this regard.

In one of other informal discussions, about being a folk singer also, Rajab agreed that folk music is as much our heritage as is classical music. His only condition is that its impact is long lasting if rendered in ‘Sur’ (tune). Just by appearing in gaudy attire, holding a chimta (pliers) in hand and playing rhythm with it and dancing with it may enchant the audience for a while but its impact vanishes once the audience realises that the performer is out of tune, contended Rajab. He elaborated that most of folk singers of today and the past have paid very little attention to attain a voice level in proximity to sur (tunefulness). Either they sing ‘Kum Sura’ (below the note) or be-sura (out of tune), he said. Rajab’s opinion about pop music is that the word “pop” is a misnomer in our country. Merely holding a guitar and singing on electronic drums and instruments does not make a person a pop singer. Being a frequent visitor to the western countries and now living permanently in UK, he believes that he finds western pop music very appealing being close to its ethnicity and customs. The performers render their lyrics in tune. The dance and rhythm sequel suit their genetic behaviour. The same is applicable to black race whether in Africa or elsewhere. I may add here the charming dancing steps of West Indian teams after winning a cricket match are a treat to watch.

According to Wikipedia, ‘African popular music, like African traditional music, is vast and varied. Most contemporary genres of African popular music build on cross-pollination with western popular music. Many genres of popular music like blues, jazz, salsa, zouk and rumba derive to varying degrees on musical traditions from Africa, taken to the Americas by African slaves. These rhythms and sounds have subsequently been adapted by newer genres like rock, and rhythm and blues. Likewise, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of western music. Afro Pop is a term sometimes used to refer to contemporary African pop music. The term does not refer to a specific style or sound but is used as a general term for African popular music.’ We, on the other hand are trying to create tunes on guitars, drums and keyboards, which have little melodic base. Indian commercial cinema has destroyed this form further by making a hotchpotch of Punjabi or other folk music turned into dance numbers (item songs) with western instruments and cheap lyrics. It has forgotten its own rich melodic cinema base in music.

Rajab mostly sang for the movies made in 1970s and 1980s. Looking into just film songs, not the ones sung for Radio Pakistan and PTV, by Rajab, the list seems very impressive. One of the most talked about songs is “Zindigi apni guzar jayegi araam ke saath” with Madam Noor Jehan for the movie ‘Khaak Aur Khoon’ in Nisar Bazmi’s music. This legendary music composer again opted for Rajab along with Munir Hussain, Runa Laila for the song “Khuda hai muhabbat, muhabbat Khuda hai”’ in the movie ‘Meri Zindigi Hai Naghma’ in 1972. Lyrics were by Shevan Rizvi. Music composer Nisar Bazmi this time paired Rajab with Mahnaaz for the song “Teri qasam tere sir ki qasam” for the 1975 movie ‘Zeenat’. This song was written by poet Taslim Faazli.

Legendary music composer Khwaja Khursheed Anwar also used Rajab for the song “Mujh se tujhko pyar hai kitna” for the movie ‘Parai Aag’. This song was rendered along with Naseem Begum for this 1971 movie with lyrics by none else than Habib Jalib. Ustad Tafo Khan used Rajab for the song “Pehlaan kadi main janeda jhoota aei tera pyar ni” for the 1971 movie ‘Ucha Naan Pyar Da’. Tafo used Rajab for another three songs; “Wichre yaar milan te lagda” in 1979 movie ‘Jutt Da Kharak’, “Batti pichle ander di bujh gai” in 1980 film ‘Sohra Tei Jawai’ and “Jaddun vi sharif koi ghusa khanda ae” (with Masud Rana) in the film ‘Attal Faisla’. 

Movie ‘Dil Ik Aina’ with music by M Ashraf and lyrics by Hazeen Qadri had a song “Meri aahon sei muhabbat ka jahan jalne laga”. Another 1972 movie with Runa Laila was ‘Jab bhi sunoon gi teri bansuriya” was for M Ashraf’s movie ‘Main Bhi Tau Insaan Hun’. Continued