This is not a good performance of Sur Sasui Abri......It has many mistakes.....It has actually been spoiled by Juman Shah who leads the Friday night Raag at the shrine.....This is not Shah Jo Raag because it is never sung correctly by Juman's Toli (group........

Juman is actually spoiling Shah Jo Raag.....Not even us Sindhiss can understand the particularities of Shah Jo Raag....except the ones who are simple and poor....We the educated class are totally oblivious about this Raag as we dont know how it wrks and what is its original shape and how it is sung correctly.......The Sadd or the Call of this Sur has been given improperly by Juman who is leading the raag and many other things which are ver complex to define........

ڪونهي اُتِ ڪوهيارُ، جِتِ تو، ڀورِي! ڀانـئِيو؛ پَنڌُ مَ ڪَرِ پَهاڙَ ڏي، وُجُودُ ئِي وَڻِڪارُ؛ ڌارِيا ڀانـئِجِ ڌارَ، پُڇُ پِريان ڪَرَ پاڻُ تون.سُر سسئي آبري شاه جو رسالو Translation : Nadeem Junejo HE is Not There Where You're  Don't Walk on Mountains in HIS Search, He is within You, Why are You Asking Strangers Abo-ut HIM ,Ask Yourself About HIM - Sur -Sassi Shah Abdul Latif Bhittai

sur sassui the melodious cry ever by sindhi sufi mystic shah latif bhittai 

مُحَبَّتَ جن جي مَنَ ۾، تن تِشۡنَگِي تارِ؛ پِي پِيالو اُڃ جو، اُڃَ سي اُڃَ اُٿِيارِ؛ پُنهون پاڻَ پِيارِ، ته اُڃَ سِين اُڃَ اُجھائِيان.

Abida Parveen - Tujh Lab Ki Sifat Lal e Badakhshan

Artist - Ustad Abdullah
Instrument - Shehnaee
Raag - Puriya Kaliyan (Thaat Maarva)

Created & Produced by: Saif Samejo

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Ustad Abdullah - Shehnaee - Puriya Kaliyan - Lahooti Live Session

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

Manqabat - Mun Kunto Moala By Farid Ayaz - Qawwali 2

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

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

https://qaul.blogspot.com/2008/07/1988-mehfil-munshi-raziuddin-sons.html

Mere bane ki Baat Na Puchcho

This was performed at T2F, and it is an absolutely beautiful rendition. It is very different from the old one as they are many new giraahs.  
Here is a video link: https://vimeo.com/150773092

Ishq Mein Tere Koh-e-Gham - Subhan Nizami (New Rendition)

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

Chaap Tilak - Manzoor Niazi

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. 

Saleh Mohammad - Ratadli

I am a dancer and actress by profession. I love creating and experiencing art.

Sur Sasui Abri - Faqirs of Bhitshah

Suhaee Abro

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