Amir Khan - Aiman Kalyan & Malkauns
گردشِ ساغرِ صد جلوۂ رنگیں تجھ سے آئنہ داریِ یک دیدۂ حیراں مجھ سے
the going-around of a colorful hundred-gloried flagon, from you
the mirror-possessing of one stupefied eye, from me (Ghalib)
This update is a peculiarly pleasant one to make. Shiladitya Banerjee and Abhik Majumdar have kindly shared with us two private/mehfil recordings of Amir Khan. We have previously uploaded Aiman and Malkauns by Amir Khan, and unsurprisingly, these two performances we have here are well worth hearing alongside. The Aiman Kalyan ends with several surprise - and presumably welcome - minutes of a Kafi Kanada vilambit and a few abrupt moments of Madhukauns.
Amir Khan - Aiman Kalyan & Malkauns
January 12th, 2008 at 12:32 pm
“by virtue of the ease which which his voice surfs through three octaves”
try 3.5-4 octaves with clarity and depth. There is a recording of his singing Bairagi in which he goes down to ati-mandra Pa. Another recording, of the Darbari bandish “yaar e man biya biya”, has him hitting the ati-mandra Sa if I’m not mistaken.
January 11th, 2008 at 6:11 am
Although well known and very well respected, particularly amongst the Afghans, Ustad Mohammad Hussain Sarahang is perhaps one of the under-rated singers of Indian Classical Music.
My association with his music started with his brilliant Aiman Farsi Bandish cum tarana we found on an Afghanistan Music website. It was a long wait thereafter until we got a hold of the treasure trove of music now available on his page. Over the years I have come to regard him as one the most versatile singers, not only by virtue of the ease which which his voice surfs through three octaves but also in terms of his command and delight in performing almost various genres from khayal, tarana, thumri, ghazal, in urdu, farsi, pushto, darri, right upto what appears to be a something like a folk tappa/mahiyaa in saraiki/Punjabi (available somewhere on youtube). By the way, hats off to the people uploading large volumes of his work onto youtube of late, I understand that that some of his recordings from sarangi.info have also been made onto videos…more of such dedication please….
After listening to the thoroughly enjoyable Bahar recording kindly shared by Aftab Datta here, I feel that Ustad Sarahang was also very adept in number of gaiki styles. In this recording, it seems that he is deliberately singing in the style of his guru Ashiq Ali Khan (particularly note double staccato sargam hits around 14.10 / 14.36). The gamak laden drut bandish for me emphasizes the overlap between Gwalior and Patiala gaiki (also seem in Ashiq Ali Khan’s recordings with Umeed Ali Khan).
Anyways, I may be completely off here and I would welcome comments by more discerning listeners but I would like to narrate the anecdote about Ustad Sarahang’s live Bhairvi recording (available on the site) to highlight the earlier point. It is said that Roshan Ara Begum was in the audience at the time of that particular performance and had requested Sarahang sahib to sing the Jamuna ke teer thumri in the style of her guru Abdul Karim Khan as she had heard that Sarahang Sahib at times used to sing it in that manner…..
In the end, I have an obnoxious request to anybody who is reading this in Kabul. Please borrow a set of loud speakers from the local mosque, kindly connect them to your sound unit and play the bhairvi recording if its daytime and the Bahar one if its night-time……………all in memory of Zahir Shah, the Last King of Afghanistan….who as Robert Fisk independently tells us was not really interested in politics (http://news.independent.co.uk/world/asia/article2795821.ece) …I think after listening to Ustad Sarahang one can perhaps conclude that he had good reason not to be….
January 7th, 2008 at 5:43 pm
hii
thanx umesh for ur help, appreciate it .. yep ustad ji does sing it http://www.youtube.com/watch?v=Qspqy7jsVlQ itz the third bandish on this video n starts around 2 minutess into it.
thanx but.
January 4th, 2008 at 12:55 am
I wish to thank Suhaib Kiyaniji & their team for their effort to spread the Classical Music & Publishing such rare gems as private recordings of great masters like Amir KhanSaheb & bade Ghulam Ali Khansaheb!
I have immnensly enjoyed the recordings & would continue doing so!
I had one request being a Tabla player, I would love if you could publish recordings of Pakistani masters like Ustad Karim Baksh Perna, Shaukat Hussain Khan or Alla Dhettasahab! I would also appreciate if somebody could let me know if such recordings are available, thanks in advance!
To answer Rupinder’s question, the live recording of Todi is commercially available under album Takseen, though he sings the traditional bandish Ja Ja Re Piya in Vilambit & Manke Panchi Bhaye baaware in Drut a musical composition by himself & couplet itself is by Hazrat Amir Khusro……..
I am not aware that he used to sing ‘Allah Jaane Maula Jaane’. I have heard this Bandish sung by Bade Ghulam Ali Khansaheb.
Though belated, wish all the organisers & listeners of Sarangi.info a very happy & musical new year!
Best Regards,
Umesh Sontakke
January 1st, 2008 at 5:13 pm
Hi
i am dying for the ‘ustad amir khan miyan ki todi rendition- allah jane maula jane’.. if anyone has it please please let me know, i wud realy apreciate it.
thankyou
December 4th, 2007 at 9:00 pm
Hi dear friends,
It is a great joy to listen to such a great singer.
Ustad Amir khan saheb was one of great masters of his time and a legend that can,t be found over many many centuries.
He had a golden voice and these recordings can prove the abalities of the master of the whole raga.
I must thank my friend who shared these rare recording with us and let us listen to such a presious recording of a geniues (Ustad Amir Khan).
May Allah bless ustadji’s soul
We will be looking forward for more recording of ustad amir khan and other great matsers in the future
With true regards
Ali from holland
November 26th, 2007 at 6:54 pm
hi siyar thanx again uve been a big help,realy apreciate it..now il jus have to work on correct pronunciation.
November 26th, 2007 at 4:48 pm
*shaahaa ze karam bar man-e darwesh negar
bar haal e man-e khasta o del resh negar
har chand niyam laayeq e bakhshaayesh e tu
dar man manegar bar karam e khesh negar
translation:
O *King, look with favour upon me who is destitute-
Regard my state of weariness and wounded heart
However much I am unworthy of your mercy
Do not look upon me, look upon your own benevolence
*In some diwans, ‘ya rabb’ (O Lord!) is found instead of shaahaa (O King!).
November 24th, 2007 at 1:02 pm
hi
thanx siyar heapz for the translation. so wat are the next to lines of the rubai?
November 23rd, 2007 at 5:43 pm
This is in response to Rupinder’s request for an explanation of Ustad Amir Khan’s Aiman bandish.
Amir Khan saheb sings the first two lines of an Amir Khusrau ruba’ee (quatrain). I would to say that the language is modern Persian, in linguistic terms, so there is no problem of understandability.
shaahaa ze karam bar man e darwesh negar
bar haal e man e khasta o del resh negar
translation:
O King, look with favour upon me who is destitute-
regard my state of weariness and wounded heart
Unfortunately, Khan saheb has not sung the last two lines of the ruba’yee so the full sense of the poem is left incomplete.