wo humsafar tha by Abida Parveen

Malika Pukhraj - Bezabani Zaban Na Ho Jaye

Sindhi Track - Tunjha Kehra Thora Gayan Abida Parveen (Abida Parveen)

Besides their message of love and harmony, Shah’s poetry and music compositions have always been popular among Sindh’s old and young.

The tradition of Faqirs singing at the shrine is 300-year old. They sing Shah’s verses to the accompaniment of Tambooro (a variation of an Arabic stringed instrument, invented by Shah Latif) almost round the clock.

There are 80 Faqirs who sing in 14 groups with each group assigned a day or a night.

A singing session usually starts with Sur Kalyan, opening chapter of Shah jo Risalo, the anthology of Shah Latif, flowed by other Surs, according to time of the day and season.

In monsoon, Sur Sarang (the rain raga) is sung and on the 14th night of a lunar month, Sur Khambhat is sung. Shah addresses moon in Sur Khambhat as he praises the beauty of his beloved and narrates the pain of separation.

In the middle of the session comes Sur Suhni with a particular prayer called Suhni ji Dua.

The popular Sur Rano is sung at late night and the session comes ends with Sur Marui early in the morning.

Sur Sasui Abri - Faqirs of Bhitshah

Sajda Kar Ke Qadam - E-yaar Pe Qurbaan Hona - Farid Ayaz Qawwal

Manam Mehve Jamal - E-ouu, Ustad Bahauddin, Bou Ali Qalander, Translation - DASH

Album : Faiz by Abida 
Singer: Abida Parveen 
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Yeh Jafaa E Gham

Lyrics: Faqeer Dur Mohammad Hisbani
Singer: Sohrab Faqeer

Meda Rooh Mangda Mehboob Aawe

Aake Sajjada nasheen qais ~ Mehdi Hassan

Sajda Kar Ke Qadam E Yaar Pe Qurban Hona - Fareed Ayaz - Abu Muhammad Qawwal  Party.mp3

1.	Sufi poetry is sung in multiple ways in India and the Sufi Kalam is one of the most common renditions as compared to the rare genres of Bheth and Waai that have very few living exponents. Also this style is less fervent than the Qawwali and can be sung in both classical Ragas or to folk rhythms. There are Sindhi and Muslim variants to the style that also acquires typical traits from region to region and in terms of the instruments employed in each case. The genre is thus identified more by the poetry that is sung and less by any particular style of music integral to its character.  ‘Kalam’ is a term for poetry and etymologically derives from the Arabic word for conversation. A poet gets into a communion with a muse and slowly unearths its character and the statement of this exchange is a work of poetry. The Sindhi and Mehar Sindhi communities that inhabit the extremities of the Barmer and Jaisalmer regions of Rajasthan on the border of India and Pakistan, are one of the many exponents of the Sufi Kalam style of music. Deriving from the words of Sufi poets like Shah Latif, Bulleh Shah and SachalSarmast, this music explores the meanings and modes of spirituality. Algoza, Kamyacha, Khartal, Dholak and Sindhi Sarangi are used in the performances that are conducted either on significant festive occasions or even upon invitations by patrons. 

Manam Mehve Jamal - E-ouu, Ustad Bahauddin, Bou Ali Qalander, Translation - DASH

Imran_Ali

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