His recitation was eerily reminiscent of how his father, Ghulam Farid Sabri performed his signature qawwali tracks. It was the exact same way his uncle, Maqbool Ahmed Sabri also performed. This style of qawwali can probably be traced to how his ancestors had performed, right back to the time of Mian Tansen, a favourite musician of the Mughal court. Perhaps because theirs was a proverbial ‘qawwal gharana’ (a family of qawwals), was why in my mind, Sabri’s Karachi household eternally vibrated to the combined music from harmoniums, tablas, dholaks and sarangis used to produce a qawwali. All of us know that qawwali is no ...
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