Nazakat & Salamat Ali Khan , [World Network Vol. 20: Pakistan] Raga Darbari Kan

Astonishing vocal gymnastics by the Khyaliya brothers Nazakat and Salamat Ali (Khan) during a performance captured in Cologne in June, 1970. The sons of Vilayat Ali Khan were destined to follow in their father's footsteps, to belong to the Sham Chaurasi Gharana, (a gharana is an open family were all the members are learning or teaching indian classical music), the five hundred year old culture and tradition of Dhrupad and Khyal singing, an important part of Indian classical singing.

Salamat is famous for reviving the gharana form. The Dhrupad style of singing, the basic component of Sham Chaurasi Gharana, was obscure to say the least until Salamat introduced the Khyal style in this gharana for the first time. Khyal means "imagination" in Hindi, and it is indeed a purely improvisational style, as it doesn't follow a single preconceived poetical structure, nor a particular tal. Like all innovators in a traditional form, some people criticized Sham Chaurasi Gharana for singing layakari (multiple rhythms). But Salamat had proved the versatility of these raga singers when once he sang one rhythm for hours on stage.

Many westerners have been impressed with Qawwali, a 14th century Muslim fusion with Persian music, as performed by the great and much lamented Nusrat Fateh Ali Khan. Khyal is similar, building to the same crescendo that brings ecstatic haal or wajd to the listeners, the devotees who flock to the shrines of Sufi saints. But Khyal is really a music fashionable amongst 18th century courtiers to the Moghul emperors that incorporates a poetical structure drawn from Hindu and Muslim sources, aiming to reunite opposites; meditation and virtuosity, slow and fast, giving ragas of restrained structure and freedom of inspiration. Hence the freedom introduced through improvisation.

The songs take on a raga structure; a slow alap introduction of 10, 12, 14 or 16 beats, sometimes subdivided and marked by a tabla. The pace builds and quickens with audacious oral pyrotechnics, but always with a repeat of the opening vocal melody (compare to a jazz head) in conclusion to each cycle. Sometimes sections that employ rhythmic nonsense syllables are used to conclude. These "tarana" are similar to jazz scat.

Perhaps this heady mixture was too much to ignore for the western audience in the also heady 60's and 70's. The Ali brothers became quite well known outside their own country, and it was during a world tour in 1970 that this concert were captured in Germany. The 76 minutes on offer here cover the Ragas Darbari Kanarra and Rageshvari plus the shorter Thumri in Raga Pahadi. The title piece opens slowly but doubles its tempo according to a change in melody and Tala cycle; 1. slow Jhumra (14 beats), 2. medium Tintal (16 beats), 3. fast Ektal (12 beats). This information and much more is packed into an excellent accompanying booklet, whilst the jewel case and a catalogue are housed in an attractive cardboard sheath.

Sadly Salamat Ali died on 11 July 2001, aged 67, but his son Shafqat Ali Khan now continues the Sham Chaurasi Gharana into it's 11th generation.

A wonderfully exciting music that deserves a wider audience.