1984 Mehfil - Munshi Raziuddin & Sons

Munshi Raziuddin was largely out of circulation in the Karachi 'society' circles, during the late
seventies. His patrons began to pass away, or fade from prominence, audiences were demanding
the more rock 'n roll type of Qawwali. Above all, the break-up of the Manzur Qawwal group left him
without accompanists, as Abu Mohammad and Fareed Ayaz were not yet mature enough to come
out on their own. He was, as one saw, going through a hiatus, although he bore his difficulties with
grace and equanimity.
My elder brother and I were visiting Karachi, and Razi Mian came over one day to call on our father.
We talked and he told us that his sons were performing these days. An appointment was set, and
since our mother was a bit under the weather, we arranged a session at a friend's house in
Defense. This was a stag session.
Most (unpleasantly) memorable was the presence of a local man of letters, scion of one of Karachi's
leading 'intellectual' families. Unfortunately, his vast knowledge of Indian classical music was
exceeded only by his obnoxiousness in showing it off. In this session, he repeatedly interrupted the
singers, asking them to switch from one raaga to another, upsetting their concentration and
frustrating the full exposition. We heaved a collective sigh of relief when he prominently and loudly
announced his departure, somewhere in mid session. I remember saying, sotto voce, Janaa hai to
dafaa ho, kiss ney rokaa hai? Raziuddin and his sons took it all in stride and rendered a
performance that convinced one of their mastery of the classical genre.
The Maru Behag with which they started this recital, remains my favourite. Maru Behag holds a very
special place in the heart. In 1969, my father and I did a driving tour of the north of Pakistan, and we
found ourselves in Kalaam in northern Swat. We stayed in a rest house on a plateau above what
was then a tiny hamlet. We sat in quiet solitude after dinner, on the patio of the rest house, with the
moon casting a silvery glow. In front of us was a majestic mountain, Falakh Seher, which is about
17,000 feet higha mere hill by Himalayan standards. Below us was the river Swat, with its gushing
white waters. The sounds of the river and the rustle of the crystalline breeze in the pine trees
providing a soothing aural backdrop. Across the narrow valley a young shepherd boy played the
flute to no apparent melody, dawdling over random notes, as young boys are prone to do. And the
simple transistor radio we had with us was receiving an All India Radio broadcast of Malavika
Kaanan singing Maru Behag, in a rendition that radiated a teasing sensuality, despite the crackling
of the airwaves and the puny size of the speaker in the radio. The perfection of all this harmony
caused me to tell my father that this was the moment to leave this world, since never again would
one reach such a state of absolute spiritual peace. He laughed, and told me that I had a few years
ahead of me, so should perish the thoughts of an exit
Also the Kedaaraa favourite of mineis quite special.
The recording was made on my father's Akai cassette deck, bought in 1972a machine that still
soldiers on. Says a lot for Akai.Asif Mamu
The raagas sung are:
Volume I
1. Rasiya Ao Na (Raaga Maru Behag)
2. Mangal Karan Soondhar (Raaga Tilak Kamod)
3. Qaul - Man Kunto Maula (Raaga Shudh Kalyan)
Volume II

1. Jia Chahe so Kahe (Raaga Mishra Pilu) - Tarana (Raaga Zeelaf)

2. Raaga Jaijaiwanti
3. Keenay Jattan Re Ghanay/Lagi Ri Mein Tau Charran Tehare (Raaga Bilawal)
4. Ay Daiya Kahan Gaye Veh Log (Raaga Bilawal) / Teri Re Mein Tau Charan Lagi
5. Sej Nis Neend Na Aave / Ay Sukhe Daiya (Raaga Kedara)
6. Mati Malaniya/Hoon Tau Janam Chadde (Raaga Kamod)
7. Jhanjhan Jhanjhan Payal Baaje Reh (Raaga Nut-Bihag) - Jhana Jhanan Baje Bichwa (Raaga
Chayya-Nut).
Volume III
1. Harva Mora Re/Guru Binay Kaisey Gun Gavain (Raaga Yaman Kalyan)
2. Preet Na Jane / Mori Bangari / Kangana (Raaga Malkauns)
3. Ali Ghar Deyo Badhayi - Aaj Badhawa Sanjan Ghar
4. Hajrat Khaja Sung Khailiey Dhamaal (Raaga Bahar)
-References:
1. The text for this post was taken from Asif Mamu's "Notes on the Music".