Raaga Based Song Of The Day #52

Raaga Based Song of the Day: Hum kisi se kam nahin…….
Raag Kalavati, Tal Kaherava

We have completed fifty-one days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

Our fifty-first post was titled ‘Raaga Based Song Of The Day #51’ and the song was a Ustad Bade Ghulam Ali Khan and Shreya Ghoshal song from the 2009 Rakeysh Omprakash Mehra movie Delhi 6: Bhor bhaye tori baat takat piya. It is in Raag Gujri Todi, Tal Tintal.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raaga Bhimpalasii – Part II‘.

In the last fifty-one days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari and Gujri Todi. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag. That makes a total of 47 raagas so far; today’s one is 48th.

Today, I give you a song in Raag Kalavati, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall learn about Qawwali.

Qawwali is a form of Sufi devotional music, having been first composed or created by the Sufi saint Hazrat Amir Khusro or Khusrau. He was a disciple of Hazrat Nizamuddin Auliya, and belonged to Chishti sect of Sufism. Qawwali, as part of the more traditional Mehfil-e-Sama, is a Chishtia Sufi practice to honour and invoke the glory of a peer. Chishtiya Sufism is a South Asian Sufi sect, where the Qawwali becomes the core of spiritual practice. Sufism represents “Ihsan” or the will “to do beautiful things”. Sufism represents the essential core of Islam and an all-embracing concept of ishq/love which links a seeker to the sought, the lover to the Beloved and the Qawwali becomes the celebratory core of this Sufi practice.

Amir Khusro trained a group of 12 resident musicians at the dargah, the Qawwal Bachche, in the art of the Qawwali, some of whom went on to form the Delhi Gharana of music. When Amir Khusrau put the Quranic hadith “Man Kunto Maula” to tune (a manqabat in praise of Hazrat Imam Ali, the first Qawwali of the Chishtiya tradition), he pioneered a musical form which would be popularised by the Sabri Brothers, Ustad Nusrat Fateh Ali Khan, Begum Abida Parveen and Fareed Ayaz/Abu Muhammad in international music cultures.

What about the language of Qawwali? Well, it is mostly in Urdu or Punjabi and is rarely in regional languages. There is mention of Qawwali in Persian in the Mughal courts.

Qawwalis are classified by their content into several categories:

• A Hamd, Arabic for praise, is a song in praise of Allah. Traditionally, a qawwali performance starts with a hamd.
• A Na`at, Arabic for description, is a song in praise of Muhammad. The opening hamd is traditionally followed by a na’at.
• A Manqabat (plural manaqib, which means characteristics) is a song in praise of either Imam Ali or one of the Sufi saints. Manaqib in praise of Ali are sung at both Sunni and Shi’a gatherings. If one is sung, it will follow right after the na’at. There is usually at least one manqabat in a traditional programme.
• A Marsiya, Arabic for lamentation for a dead person, is a lamentation over the death of much of Imam Husayn’s family in the Battle of Karbala. This would typically be sung only at a Shi’a gathering.
• A Ghazal, Arabic for love song, is a song that sounds secular on the face of it. There are two extended metaphors that run through ghazals—the joys of drinking and the agony of separation from the beloved.

In Hindi movies, Qawwalis used to be very common. One of the best composers of Qawwalis in Hindi movies has been Roshan Ali, especially with Sahir Ludhianvi as the lyricist; eg, Na to karvaan ki talaash hai/Yeh ishq ishq hai sung by Mohammad Rafi, Manna Dey, Asha Bhosle and Sudha Malhotra in Barsaat Ki Raat, Nigaahen milane ko ji chahta hai (Asha Bhosle in Dil Hi To Hai) and Chandi ka badan sone ki nazar uspe ye nazaaqat kya kahiye sung by Mohammad Rafi, Asha Bhonsle, Meena Kapoor, and Manna Dey in Taj Mahal.

My favourite lyricist Shakeel Badayuni penned some memorable ones; eg, Jab raat hai aisi matwali to subah ka aalam kya hoga (composed by Naushad for Mughal-e-Azam), and Sharma ke agar youn pardanasheen (composed by Ravi for Chaudhvin Ka Chand).

One of the Qawaalis that impressed me enormously was for the MS Sathyu movie Garam Hawa: Maula Salim Chishti sung by Aziz Ahmed Khan Warsi (of Warsi Brothers).

Some other popular qawwalis are: Jhoom barabar jhoom sharabi (5 Rifles), Parda hai parda (Amar, Akbar, Antony), Raaz ki baat keh doon to (Dharma), and Hamen to loot liya milake husn waalon ne (Al Hilal).

In more recent times, two of the qawwalis composed by AR Rahman became very popular: Khwaja mere Khwaja (Jodha Akbar) and Kun faya kun (Rockstar).

As I mentioned, today’s song is composed in Raag Kalavati, Tal Kaherava.

Kalavati belongs to Khammaj Thaat in Bhatkhande’s system of raagas. Its Jati is Audhav-Audhav, ie, five notes each in Aaroha and Avaroha (the swars that is missing are Rishab (Re) and Madhyam (Ma). Nishad (Ni) is Komal. Rest all are Shuddha Swaras. The raag is normally to be sung at midnight. This raaga has come to us as a derivative of a raaga Yagapriya in Carnatic music. In the North Indian tradition, it has been popularised by stalwarts such as Chidanand Nagarkar, Roshan Ara Begum and Gangubai Hangal.

Kalavati is a simple and melodious raag. In the songs from Hindi movies that I have given you, the best qawwali ever in Hindi movies: Na to kaarvan ki talaash hai has been composed in this raag.

As far as Tintal is concerned, I have already told you enough on the 19th and 25th days.

Some of the popular songs composed in this raaga are: Kahe tarsaye jiya (Tal Tintal, Kaherava), Maike piya bulawe (Tal Punjabi Theka), Na to karwan ki talaash hai (Tal Kaherava), Sanam tu bewafa ke naam se (Tal Kaherava), Subah aur shaam kaam hi kaam (Tal Kaherava), Aayi pari rang bhari, Koi sagar dil ko behlata nahin, Kabhi to miloge, Haay re wo din kyun na aaye, Chand si mehbooba ho and Ye tara wo tara (Tal Kaherava).

Today’s song (qawwali) is from the 1977 Nasir Hussain movie Hum Kisise Kum Nahin starring Rishi Kapoor, Kaajal Kiran, Tariq Khan, Amjad Khan, Zeenat Aman, Om Shivpuri, Jalal Agha and Tom Alter.

Songs of the movie were penned by Majrooh Sultanpuri and composed by RD Burman. Mohammad Rafi sang many pop songs for the movie and won both the National and Filmfare Awards for the song Kya hua tera wada. Just before this song, at the height of their popularity, the Swedish group ABBA’s Honey Honey played in the background. Another super hit from ABBA Mama Mia inspired RD Burman to compose Mil gaya hamako saathi mil gaya:

1	“Bachna Ae Haseeno”	Kishore Kumar
2	“Chand Mera Dil Chandni Ho Tum”	Mohammad Rafi
3	“Aa Dil Kya Mehfil Hai Tere”	Kishore Kumar
4	“Hai Agar Dushman (Hum Kisi Se Kam Nahi)” ‡	Mohammad Rafi, Asha Bhosle
5	“Hum Ko To Yaara Teri Yaari Jaan”	Kishore Kumar, Asha Bhosle
6	“Kya Hua Tera Wada”	Mohammad Rafi, Sushma Shreshta
7	“Mil Gaya Hum Ko Saathi”	Kishore Kumar, Asha Bhosle
8	“Tum Kya Jano Mohabbat Kya Hai”	Rahul Dev Burman
9	“Yeh Ladka Hai Allah Kaisa Hai”	Mohammad Rafi, Asha Bhosle

 

Please enjoy Mohammad Rafi and Asha Bhosle sing a composition of RD Burman in Raag Kalavati, Tal Kaherava, on the lyrics of Majrooh Sultanpuri: Hum kisi se kam nahin….

Ra: aa.a
Hai agar dushman -2
Ko: dushman
Ra: zamaanaa Gam nahii.n, Gam nahii.n
Hai agar dushman
Ko: dushman
Ra: zamaanaa Gam nahii.n, Gam nahii.n
Ko_ii aaye e e e e
Ko_ii aaye ko_ii aaye ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n

Hai agar dushman
Ko: dushman
Ra: zamaanaa Gam nahii.n, Gam nahii.n
Ko: ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n
Ra: hai agar dushman
Ko: dushman
Zamaanaa Gam nahii.n, Gam nahii.n
hai agar dushman

Ra: aa.a
Kyaa kare.n dil kii jalan ko,
Is mohabbat ke chalan ko
Jo bhii ho jaaye ke ab to sar pe baa.Ndhaa hai qafan ko
Ham to diiwaane dilajale
Zulm ke saaye me.n pale
Daal kar aa.Nkho.n ko tere ruKsaaro.n pe
Roz hii chalate hai.n ham to a.ngaaro.n pe
Aa.a
Aaj ham jaise jigar waale kahaa.N
Ko: aa haa
Ra: zaKm khaayaa hai tab huye hai.n jawaa.N
Ko: aa haa
Ra: tiir ban jaaye dosto.n kii nazar
Ko: aa haa
Ra: yaa bane Ka.nzar dushmano.n kii zubaa.N

BaiThe hai.n tere dar pe to kuchh kar ke uThe.nge
Yaa tujhako hii le jaaye.nge yaa mar ke uThe.nge

Aaj ham jaise jigar waale kahaa.N
ZaKm khaayaa hai tab huye hai.n jawaa.N
Aa.a

Aaj to duniyaa
Aaj to duniyaa
Ko: duniyaa
Ra: nahii.n yaa ham nahii.n, ham nahii.n
Ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n
Ko: hai agar dushman
Dushman
Zamaanaa Gam nahii.n, Gam nahii.n
Hai agar dushman, dushman

Ra: aa.a
Aa: aa.a

Ho lo zaraa apanii Kabar bhii
Ik nazar dekho idhar bhii
Husn waale hii nahii.n ham
Dil bhii rakhate hai.n jigar bhii
Jhuum ke rakhaa jo qadam
Rah ga_ii za.njiir-e-sitam
Kaise ruk jaaye.nge ham kisii chilaman se
Zulfo.n ko baa.Ndhaa hai yaar ke daaman se
Aa haa haa
Ishq jab duniyaa kaa nishaanaa banaa
Ko: aa haa
Aa: husn bhii ghabaraa ke diiwaanaa banaa
Ko: aa haa
Aa: mil gaye ra.ng-e-hinaa Kuun-e-jigar
Ko: aa haa
Aa: tab kahii.n ra.ngii.n ye fasaanaa banaa

Bhes majanuu kaa liyaa mai.nne jo lailaa ho kar
Ra.ng laayaa hai dupaTTaa meraa mailaa ho kar

Ishq jab duniyaa kaa nishaanaa banaa
Husn bhii ghabaraa ke diiwaanaa banaa

Aa haa haa
Aa aa aa
Ye nahii.n samajho
Ye nahii.n samajho
Ko: samajho
Aa: ke hamame.n dam nahii.n, dam nahii.n
Ko_ii aaye aa aa aa aa
Ko_ii aaye ko_ii aaye ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n

Ko: hai agar dushman
Dushman
Zamaanaa Gam nahii.n, Gam nahii.n
Hai agar dushman
Dushman

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. And today, on the fifty-second day we learnt about Qawwali.

There is much more still to be learnt and enjoyed.

Please stay tuned!